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Protection and Transmission of Chinese Nanyin by Prof
Protection and Transmission of Chinese Nanyin by Prof. Wang, Yaohua Fujian Normal University, China Intangible cultural heritage is the memory of human historical culture, the root of human culture, the ‘energic origin’ of the spirit of human culture and the footstone for the construction of modern human civilization. Ever since China joined the Convention for the Safeguarding of the Intangible Cultural Heritage in 2004, it has done a lot not only on cognition but also on action to contribute to the protection and transmission of intangible cultural heritage. Please allow me to expatiate these on the case of Chinese nanyin(南音, southern music). I. The precious multi-values of nanyin decide the necessity of protection and transmission for Chinese nanyin. Nanyin, also known as “nanqu” (南曲), “nanyue” (南乐), “nanguan” (南管), “xianguan” (弦管), is one of the oldest music genres with strong local characteristics. As major musical genre, it prevails in the south of Fujian – both in the cities and countryside of Quanzhou, Xiamen, Zhangzhou – and is also quite popular in Taiwan, Hongkong, Macao and the countries of Southeast Asia inhabited by Chinese immigrants from South Fujian. The music of nanyin is also found in various Fujian local operas such as Liyuan Opera (梨园戏), Gaojia Opera (高甲戏), line-leading puppet show (提线木偶戏), Dacheng Opera (打城戏) and the like, forming an essential part of their vocal melodies and instrumental music. As the intangible cultural heritage, nanyin has such values as follows. I.I. Academic value and historical value Nanyin enjoys a reputation as “a living fossil of the ancient music”, as we can trace its relevance to and inheritance of Chinese ancient music in terms of their musical phenomena and features of musical form. -
Chinese Video Tape (3)
Chinese Video Tape (3) 3-1 "Gusuxing" – Dizi (transverse flute) with ensemble. Song is based on melodies from music found in Jiangsu province. Note the lyrical quality that depicts a teahouse and garden. Ensemble also features the erhu (bowed lute), sheng (mouth organ), yangqin (hammered zither), zheng (plucked zither with movable bridges), and pipa (plucked lute). 3-2 "Shimian maifu" - Pipa solo (Lute) – famous solo piece that depicts an ancient battle. Performance techniques include tremolo (plucking the strings quickly with alternating fingers), stopping the string with the fingernails, and striking the body of the instrument to depict the sounds of war. 3-3 "Erquan yingyue" - Erhu with yangqin (zither). Erhu was originally used only for accompanying the voice or in ensemble settings but since the 1900s become a solo instrument as well. 3-4 "Yuzhuo changwan" – Zheng (zither) solo – song depicting a fisherman singing in the evening. Note use of pitch bending by pressing the strings (called an) and vibrato (called rou). 3-5 "Chunjiang huayeuye" - ten part instrumental ensemble suite. Depicts the mood of a river flowing on a spring night. Other instruments include a dongxiao (end-blown flute), erhu, sheng, yangqin, zheng, and pipa. The lead instruments are the dongxiao and the pipa. 3-6 "Paixiongwu" – excerpt from theatre work, depicts men walking down the street beating their chests. Originally a folk dance, it eventually made its way into the theatre. Accompanied here by a paiban (clapper), erxian (fiddle), dongxiao (flute), sanxian (lute), pipa, xiangzhan (small gong), nangu (drum), and gujiao (small gong). Dancers use a sibao ( clappers ), ruan (large, plucked lute), yugu ( drum ), and erxian (fiddle). -
Banhu Playing Techniques in Northern China Yun Meng a Thesis Submitted in Partial Fulfillment of Requirements for Degree of Doct
Banhu Playing Techniques in Northern China Yun Meng A Thesis Submitted in Partial Fulfillment of Requirements for degree of Doctor of Philosophy in Music February 2021 Copyright of Mahasarakham University เทคนิคการบรรเลงของซอบา่ นหู ในภาคเหนือ ของประเทศจีน วิทยานิพนธ์ ของ Yun Meng เสนอต่อมหาวทิ ยาลยั มหาสารคาม เพื่อเป็นส่วนหน่ึงของการศึกษาตามหลกั สูตร ปริญญาปรัชญาดุษฎีบัณฑิต สาขาวิชาดุริยางคศิลป์ กุมภาพันธ์ 2564 ลิขสิทธ์ิเป็นของมหาวทิ ยาลยั มหาสารคาม Banhu Playing Techniques in Northern China Yun Meng A Thesis Submitted in Partial Fulfillment of Requirements for Doctor of Philosophy (Music) February 2021 Copyright of Mahasarakham University The examining committee has unanimously approved this Thesis, submitted by Mr. Yun Meng , as a partial fulfillment of the requirements for the Doctor of Philosophy Music at Mahasarakham University Examining Committee Chairman (Assoc. Prof. Wiboon Trakulhun , Ph.D.) Advisor (Asst. Prof. Sayam Juangprakhon , Ph.D.) Committee (Asst. Prof. Peerapong Sensai , Ph.D.) Committee (Asst. Prof. Khomkrit Karin , Ph.D.) Committee (Assoc. Prof. Phiphat Sornyai ) Mahasarakham University has granted approval to accept this Thesis as a partial fulfillment of the requirements for the Doctor of Philosophy Music (Asst. Prof. Khomkrit Karin , Ph.D.) (Assoc. Prof. Krit Chaimoon , Ph.D.) Dean of College of Music Dean of Graduate School D ABSTRACT TITLE Banhu Playing Techniques in Northern China AUTHOR Yun Meng ADVISORS Assistant Professor Sayam Juangprakhon , Ph.D. DEGREE Doctor of Philosophy MAJOR Music UNIVERSITY Mahasarakham University YEAR 2021 ABSTRACT The purpose of this thesis is to study the technique and application of Banhu. The purposes of this study are: 1) to examine the history of Banhu in northern China; 2) to classify banhu according to the difficulty of his playing skills; 3) to analyze selected music examples. -
Proquest Dissertations
TO ENTERTAIN AND RENEW: OPERAS, PUPPET PLAYS AND RITUAL IN SOUTH CHINA by Tuen Wai Mary Yeung Hons Dip, Lingnan University, H.K., 1990 M.A., The University of Lancaster, U.K.,1993 M.A., The University of British Columbia, Canada, 1999 A THESIS SUBIMTTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA September 2007 @ Tuen Wai Mary Yeung, 2007 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-31964-2 Our file Notre reference ISBN: 978-0-494-31964-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. -
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111111 1111111111111111111111111111111111111111111111111111111111111 US007507891B2 (12) United States Patent (10) Patent No.: US 7,507,891 B2 Lau et al. (45) Date of Patent: Mar. 24,2009 (54) FIBER BRAGG GRATING TUNER 4,563,931 A * 111986 Siebeneiker et al. .......... 841724 4,688,460 A * 8/1987 McCoy........................ 841724 (75) Inventors: Kin Tak Lau, Kowloon (HK); Pou Man 4,715,671 A * 12/1987 Miesak ....................... 398/141 Lam, Kowloon (HK) 4,815,353 A * 3/1989 Christian ..................... 841724 5,012,086 A * 4/1991 Barnard ................... 250/222.1 (73) Assignee: The Hong Kong Polytechnic 5,214,232 A * 5/1993 Iijima et al. ................... 841724 5,381,492 A * 111995 Dooleyet al. ................. 385112 University, Kowloon (HK) 5,410,404 A * 4/1995 Kersey et al. ............... 356/478 5,684,592 A * 1111997 Mitchell et al. ............. 356/493 ( *) Notice: Subject to any disclaimer, the term of this 5,848,204 A * 12/1998 Wanser ........................ 385112 patent is extended or adjusted under 35 5,892,582 A * 4/1999 Bao et al. ................... 356/519 U.S.c. 154(b) by 7 days. 6,201,912 Bl * 3/2001 Kempen et al. ............... 385/37 6,274,801 Bl * 8/2001 Wardley.. ... ... ..... ... ... ... 841731 (21) Appl. No.: 11/723,555 6,411,748 Bl * 6/2002 Foltzer .......................... 38517 6,797,872 Bl 9/2004 Catalano et al. (22) Filed: Mar. 21, 2007 6,984,819 B2 * 112006 Ogawa .................. 250/227.21 7,002,672 B2 2/2006 Tsuda (65) Prior Publication Data 7,015,390 Bl * 3/2006 Rogers . ... ... ... ..... ... ... ... 841723 7,027,136 B2 4/2006 Tsai et al. -
Nanyin Musical Culture in Southern Fujian, China : Adaptation and Continuity
Lim, Sau-Ping Cloris (2014) Nanyin musical culture in southern Fujian, China : adaptation and continuity. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/20292 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. NANYIN MUSICAL CULTURE IN SOUTHERN FUJIAN, CHINA: ADAPTATION AND CONTINUITY Sau-Ping Cloris Lim Volume 1: Main Text Thesis submitted for the degree of Doctor of Philosophy 2014 Department of Music School of Oriental and African Studies University of London 1 DEDICATION Dedicated to the Heavenly Father DECLARATION 2 3 ABSTRACT This thesis is a study of the musical genre nanyin, one of the oldest and most prestigious living folk traditions preserved in southern Fujian (Minnan), China. As an emblem of Minnan ethnic identity, nanyin is still actively practised in the Southeast Asian Fujianese diaspora as well. Based on ethnographic investigations in Jinjiang County, this research explores multifaceted nanyin activities in the society at large. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
Chinese Music Across Generations – Case Studies of Conservatory Musicians in 20Th-Century China
Chinese Music across Generations – Case Studies of Conservatory Musicians in 20th-Century China Frank Kouwenhoven, Lin Chen and Helen Rees Abstract: This paper looks at ways in which some instrumental realms of traditional Chinese music have survived in or alongside modern music conservatory contexts, and how subsequent generations of musicians in China have dealt with the challenges of new teaching methods or performing styles. Four case studies will be presented here in some detail, with additional references to some other musicians recently interviewed. Frank Kouwenhoven introduces Li Guangzu,1 widely regarded as one of the founders of modern style pipa (lute) playing in China. Li never studied or taught at a music conservatory, but was very influential. Next, together with Lin Chen, Kouwenhoven traces the musical and spiritual development of Chinese guqin (seven-string zither) master Lin Youren (Lin Chen's father). He was among the first generation of qin students to be trained at a music conservatory and witnessed the clash of tradition with modernity first-hand. He struggled with it for much of his life. Thirdly, the fate of Cantonese instrumental ensemble music will briefly be traced via the stories of senior fiddle player Yu Qiwei (Hong Kong) and his son Yu Lefu (Guangzhou [Canton]). The latter built up an impressive career as a modern style erhu (two-stringed fiddle) virtuoso at the Xinghai Conservatory in Guangzhou, but he also began to teach the favorite traditional music of his father, trying to be “more traditional” than his dad. Such a smooth continuation of tradition is rare in Chinese conservatory contexts, but one further example of this is provided by Helen Rees; she looks at two Shanghai-based performers of the endblown bamboo flute xiao, an instrument too quiet and introspective to be favored by many conservatory students. -
Listening to Chinese Music
Listening to Chinese Music 1 Listening to Chinese Music This article is an English translation of part of the book Listening to Chinese Music 《中國音樂導賞》edited by Chuen-Fung Wong (黃泉鋒) and published by the Hong Kong Commercial Press in 2009 as a project of the Chinese Music Archive of the Chinese University of Hong Kong. With the permission by the Chinese Music Archive, this article is uploaded onto the Education Bureau’s website for teachers’ and students’ reference. As for the recordings of selected music, please refer to the CDs accompanying the printed copy of the Chinese version. © The Chinese Music Archive, the Chinese University of Hong Kong. All rights reserved. No part of this publication can be reproduced in any form or by any means. 2 Contents Foreword…………………………………………………………………………………..5 Translator’s Preface……………………………………………………………………….6 Chapter 1 Modern Chinese Orchestra ............................................................................. 8 Section 1 The Rise of the Modern Chinese Orchestra ......................................................... 9 Section 2 Instruments Used in the Modern Chinese Orchestra .......................................... 10 Section 3 The Characteristics of Chinese Orchestral Music and Its Genres ....................... 11 Section 4 The “Improvement” of Chinese Instruments ...................................................... 13 Section 5 The Development of Modern Chinese Orchestra ............................................... 15 Listening Guide ................................................................................................................... -
The Mausoleum of Emperor Tang Taizong
SINO-PLATONIC PAPERS Number 187 April, 2009 Zhaoling: The Mausoleum of Emperor Tang Taizong by Xiuqin Zhou Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS is an occasional series edited by Victor H. Mair. The purpose of the series is to make available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including Romanized Modern Standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino-Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. The only style-sheet we honor is that of consistency. Where possible, we prefer the usages of the Journal of Asian Studies. Sinographs (hanzi, also called tetragraphs [fangkuaizi]) and other unusual symbols should be kept to an absolute minimum. Sino-Platonic Papers emphasizes substance over form. -
Newsletter Volume 6, No.2, Summer 1993
~SSOC~Alr OINJ IF IRl © ~S~ U¥D C [g1~ ~ ~ !PL. $lIl ••iMft. Newsletter Volume 6, No.2, Summer 1993 Published by the Music Department and the Asian Studies Program University of Pittsburgh Pittsburgh, Pennsylvania, U.S.A. The AssociIIion f...OJi...... Music Researdl (ACMR) sem:s IS a forum f... ""chonse of ideas and infonnalion for anyone in_led in !be scbolarly _y ofOJi...... music. Caterina mainly Ihou", not exclusi1ldy to lhose living in NorIh America. ACMRholds two -mp a year. in conjuctioo willi !be annal Dle<'''IJS of!beCoof_on OJ 0nJ and Fafc.-ming l.iIcraIlR (CHlNOPERL) and !be AsIociaIion f Aaian Studies m Much- April. and wilh !be anouaI _ng of !be Society of Edmomusicology in October·No.......ber. BcUYuna WuBen Kuo-HIIIIlI Han FICdril: Liellerman Rulan Ow> PiIn !laItJoJa B. SIDIIh The ACMR Nnlslener (lSSN: 1071 • (639). publisbed twiCe a year by !be MUS1C Depanmeut and !be Aaian StudlCS Propmn of !be Umvcrsity 01 Pilllburgb. enc:ourases ACMR _ ..... to submit !be following kinds 01 material: nolices of """",t.JlUblic:a1ions on Chineae mUS1C and of """",dy compleled Ph.D. dissenations and M.A. theIes. anDOUIICCIOCnts of and reports on scholarly -mp and map perfc.-ma......s ofChineae music. news of institutions and individuals. news of scholarly and performing IIClivities from !be PRC. Taiwan. Hoog Kona. and oveneas Chinese communities, views and opinions on any _Idovantto ACMR. Unless oIberwiJe spcc:ifted, please send aU material and enquUes to Bell Yuog. Editor. ACMR Newsleuer. Music Depanmeu~ University of Pittsb....... Pitsbur.... PA IS26O; Fax'412-624-4180: e-mail: byun@pittvms. -
Sizhu Instrumental Music of South China Sinica Leidensia
Sizhu Instrumental Music of South China Sinica Leidensia Edited by Barend J. ter Haar In co-operation with P.K. Bol, D.R. Knechtges, E.S. Rawski, W.L. Idema, E. Zürcher, H.T. Zurndorfer VOLUME 84 Sizhu Instrumental Music of South China Ethos, Theory and Practice By Alan R. Thrasher LEIDEN • BOSTON 2008 On the cover: Hakka qingyue ensemble, Guangzhou. Photo: A. Thrasher, 1986. This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data A C.I.P. record for this book is available from the Library of Congress ISSN 0169-9563 ISBN 978 90 04 16500 7 Copyright 2008 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. printed in the netherlands For Huang Jinpei, scholar, mentor and friend CONTENTS Preface ......................................................................................... ix Conventions ...............................................................................