Influence of Guzheng Music Art, Music Theory Thoughts of Han and Wei Dynasty on Later Generations
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Lipsey, Eleanor Laura (2018) Music motifs in Six Dynasties texts. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/32199 Copyright © and Moral Rights for this 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 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 thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Music motifs in Six Dynasties texts Eleanor Laura Lipsey Thesis submitted for the degree of PhD 2018 Department of East Asian Languages and Cultures China & Inner Asia Section SOAS, University of London 1 Abstract This is a study of the music culture of the Six Dynasties era (220–589 CE), as represented in certain texts of the period, to uncover clues to the music culture that can be found in textual references to music. This study diverges from most scholarship on Six Dynasties music culture in four major ways. The first concerns the type of text examined: since the standard histories have been extensively researched, I work with other types of literature. The second is the casual and indirect nature of the references to music that I analyze: particularly when the focus of research is on ideas, most scholarship is directed at formal essays that explicitly address questions about the nature of music. -
Response to Leonard Tan and Mengchen
Title Response to Chiao-Wei Liu, “Response to Leonard Tan and Mengchen Lu, ‘I Wish to be Wordless’: Philosophizing through the Chinese Guqin” Author(s) Leonard Tan and Mengchen Lu Source Philosophy of Music Education Review, 26(2), 199-202 Published by Indiana University Press Copyright © 2018 Indiana University Press This paper was published as: Tan, L., & Lu, M. (2018). Response to Chiao-Wei Liu, “Response to Leonard Tan and Mengchen Lu, ‘I Wish to be Wordless’: Philosophizing through the Chinese Guqin”. Philosophy of Music Education Review, 26(2), 199-202. https://www.muse.jhu.edu/article/704999 No part of it may be reproduced, stored in a retrieval system, transmitted, or distributed in any form, by any means, electronic, mechanical, photographic, or otherwise, without the prior permission of Indiana University Press. For education reuse, please contact the Copyright Clearance Center at http://www.copyright.com For all other permissions, contact IU Press at http://iupress.indiana.edu/rights This document was archived with permission from the copyright owner. In Dialogue Response to Chiao-Wei Liu, “Response to Leonard Tan and Mengchen Lu, ‘I Wish to be Wordless’: Philosophizing through the Chinese Guqin” Philosophy of Music Education Review 26, no. 2 (2018): 202. Leonard Tan National Institute of Education, Nanyang Technological University, Singapore [email protected] Mengchen Lu National Institute of Education, Nanyang Technological University, Singapore [email protected] Chiao-Wei Liu’s response to our paper raised important issues regarding the translation and interpretation of Chinese philosophical texts, our construals of Truth and ethical awakening, differences between the various Chinese philosophical traditions, and the importance of recognizing students’ selves as music educators work with them through diverse musical traditions. -
Self and Society in Pre-Modern Chinese Literature
Self and Society in Pre-modern Chinese Literature ASIA 3891: Special Topics Fall 2015 MWF 10:10-11:00 Buttrick Hall 250 Prof. Guojun Wang ([email protected]) Office Hours: MW 11:15-12:15 (and by appointment) (Prior knowledge of Chinese language or literature is NOT required) Course Description: How did traditional Chinese people think and write about their selves, society, state, and nature? How have these traditions sustained a millennia-long civilization? How is today’s China connected or severed from its past? And above all, how can we answer these questions through reading Chinese literature? This course is the first of two survey courses on Chinese literature from pre-dynastic to contemporary periods (the second one will be offered in 2016 spring). This ASIA 3891 Self and Society in Pre-modern Chinese Literature 2 course introduces the major intellectual traditions, literary texts, and authors in pre-modern China (ca. 17th century BCE to 13th century CE). The readings follow a chronological order, but in each period we focus on some particular themes about self and society. The central topics include the intersections between literature and history, religion, gender, urban life, and print culture. This introductory course will provide you with a firm grasp of Chinese literary tradition, and prepare you for further studies in Chinese literature and history. Through this course, you will be familiar with China’s intellectual traditions and literary history, hone the skills of close reading, and learn to think and write critically. Class meets three times a week. Each class meeting comprises a 30-minute lecture followed by a 20-minute discussion. -
Study on the Rise and Fall of the Duyi Fu and Geography Record of the Pre-Tang Dynasty and the Mutual Influence
2017 International Conference on Social Sciences, Arts and Humanities (SSAH 2017) Study on the Rise and Fall of the Duyi Fu and Geography Record of the Pre-Tang Dynasty and The Mutual Influence Tongen Li College of Chinese Language and Literature of Northwest Normal University, Lanzhou, Gansu, 730070 Keywords: The Duyi Fu, The Geography Record, The Earthly Consciousness, The Literariness, The Mutual Influence Abstract. There are two important regional works in the Tang Dynasty. As an important subject of Fu literature, it has a close relationship with the flourishing period of the Wei, Jin and Southern and Northern Dynasties. Both have a common origin, but also has a different development track; both self-contained, but also mutual influence. The artistic nature of the city and the nature of the material are permeated with each other, and the development and new changes are promoted. Introduction Duyi Fu, including Jingdu Fu and Yi Ju Fu, began in the Western Han Dynasty, to Yang Xiong "Shu Du Fu" as the earliest. Xiao Tong "anthology" received more than 90 articles, divided into 15 categories, the first category of "Kyoto", income 8; Li Fang and others compiled "Wen Yuan Yinghua" sub-43, "Kyoto" Yi "in the head; Chen Yuan-long series of" calendar Fu "column" city "head, a total of 10 volumes of 70 articles. Duyi Fu mainly revolves around the geography, politics, culture and social life of the metropolis,used for singing praises of the emperor and boast of their homelands, with obvious geographical characteristics. Geography Record also known as the geography, geography or geography book, "Sui Shu · books catalogue" called it "geography". -
Study on the Guqin Teaching Method: “Inner Understanding Through Oral Teaching”
Open Journal of Social Sciences, 2019, 7, 138-146 http://www.scirp.org/journal/jss ISSN Online: 2327-5960 ISSN Print: 2327-5952 Study on the Guqin Teaching Method: “Inner Understanding through Oral Teaching” Ye Zhao Conservatory of Music, Nanjing Normal University, Nanjing, China How to cite this paper: Zhao, Y. (2019) Abstract Study on the Guqin Teaching Method: “In- ner Understanding through Oral Teaching”. “Inner understanding through oral teaching” is the main teaching method Open Journal of Social Sciences, 7, 138-146. that runs through Guqin for thousands of years. In order to inherit and pro- https://doi.org/10.4236/jss.2019.72011 tect traditional Guqin art originally in the modern society, it’s very important Received: January 12, 2019 to research this method which is used to teach Guqin in the ancient. It con- Accepted: February 16, 2019 sists of two teaching levels: “Oral” and “Mentality”: the combination of the Published: February 19, 2019 two promotes the inheritance and development of traditional Guqin. The teaching method of “inner understanding through oral teaching” is closely Copyright © 2019 by author(s) and Scientific Research Publishing Inc. related to the application of the word reduction spectrum, and it is not con- This work is licensed under the Creative tradictory to “viewing teaching”. In the current society, “inner understanding Commons Attribution International through oral teaching” is of great significance to the protection and inherit- License (CC BY 4.0). ance of Guqin. http://creativecommons.org/licenses/by/4.0/ Open Access Keywords Inner Understanding through Oral Teaching, Guqin 1. What Is the Connotation of the “Inner Understanding through Oral Teaching” “Inner understanding through oral teaching” is a teaching method formed under certain historical conditions and social and humanistic environment. -
Dietary Fiber: Chemistry, Structure, and Properties
Journal of Chemistry Dietary Fiber: Chemistry, Structure, and Properties Lead Guest Editor: Ji Kang Guest Editors: Qingbin Guo, Yanjie Bai, and Feng Xu Dietary Fiber: Chemistry, Structure, and Properties Journal of Chemistry Dietary Fiber: Chemistry, Structure, and Properties Lead Guest Editor: Ji Kang Guest Editors: Qingbin Guo, Yanjie Bai, and Feng Xu Copyright © 2018 Hindawi. All rights reserved. This is a special issue published in “Journal of Chemistry.” All articles are open access articles distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is prop- erly cited. Contents Dietary Fiber: Chemistry, Structure, and Properties Qingbin Guo, Ji Kang , Yanjie Bai ,andFengXu Editorial (2 pages), Article ID 1328797, Volume 2018 (2018) Relationship of Moisture Status and Quality Characteristics of Fresh Wet Noodles Prepared from Different Grade Wheat Flours from Flour Milling Streams Li Li, Na Wang, Sen Ma , Songzhu Yang, Xuehua Chen, Yingying Ke, and Xiaoxi Wang Research Article (8 pages), Article ID 7464297, Volume 2018 (2018) Effects of Fermented Wheat Bran on Flour, Dough, and Steamed Bread Characteristics Li Li, Zhen Wang, Li-Min Li, Xue-Ling Zheng ,SenMa ,andXiao-XiWang Research Article (7 pages), Article ID 1597308, Volume 2018 (2018) Acetylation Modification Improves Immunoregulatory Effect of Polysaccharide from Seeds of Plantago asiatica L. Le-Ming Jiang ,Shao-PingNie , Dan-Fei Huang, Zhi-Hong Fu, and Ming-Yong Xie Research -
Author Index
Author Index npg 163 10.1038/aps.2013.119 CHANG, Xin-feng S1.4, S1.15 CHEN, Wei S5.4, S5.6, S8.60 CUI, Jun-jun S13.32 ABDUL NASIR, Nurul Alimah S13.1 CHANG, Yan S5.2, S8.44, S8.45, S8.51, CHEN, Wei-chuan S8.4 CUI, Liao S2.59, S2.63, S8.61 ABDUL RAHMAN, Thuhairah Hasrah S8.56, S8.74, S8.75, S13.64 CHEN, Wei-wei S6.39, S6.9, S10.22 CUI, Su-ying S8.50, S11.49, S13.26 S13.2 CHAO, Jung S8.2, S8.3 CHEN, Wen-pin S6.8 CUI, Xiang-yu S8.50, S11.49 AGARWAL, Puneet S2.18, S13.2, S13.20, CHAO, Ming-yu S2.7 CHEN, Wen-shuang S8.61 CUI, Xiao-lan S2.39, S2.69, S2.9, S5.27 S13.60, S13.61 CHAO, Xiao-juan S10.54 CHEN, Xi S11.54 CUI, Xiu-ming S2.71 AGARWAL, Renu S2.18, S13.1, S13.2, CHAO, Yung-mei S13.4 CHEN, Xian-zhuo S2.70 CUI, Ya-ru S1.33 S13.20, S13.37, S13.60, S13.61 CHAO, Zhen-hua S1.28 CHEN, Xiao-hong S13.6 CUI, Yi-min S3.18, S3.21, S3.25, S4.19 AHMAD, Zuraini S6.21, S6.70 CHE, Ling S8.78 CHEN, Xiao-ping S11.7, S12.35 DAI, De-zai S8.8 AHMAD FISOL, Nur Farhana S2.18 CHEANG, Wai San S5.3, S11.4 CHEN, Xiao-qiang S13.16 DAI, Hai-bin S6.57 AHN, Kwang Seok S1.45 CHEN, Ai-ying S12.5 CHEN, Xiao-yu S6.11 DAI, Mi-yang S1.37 AI, Hou-xi S10.61, S10.75 CHEN, Bai-nian S8.73 CHEN, Xin S13.25 DAI, Sheng-ming S13.13 ALKHARFY, Khalid S6.15, S6.48, S11.8 CHEN, Bei-fan S2.29 CHEN, Xiu-ping S1.61, S1.62, S2.53, DAI, Xin S2.16 ALYAUTDIN, Renad S13.1, S13.2, CHEN, Ben-kuen S1.3 S2.8, S5.5, S6.113, S11.22 DAI, Yan-wen S8.69 S13.60 CHEN, Bo S11.5, S13.6 CHEN, Xue-mei S6.10 DAI, Yin S8.8 AN, Yu S11.1 CHEN, Chang S2.5, S10.78 CHEN, Xu-meng S8.5 DAI, Yue S2.55, S8.67, S13.45 -
Notes on the Earliest Sanskrit Word Known in Chinese
SINO-PLATONIC PAPERS Number 201 May, 2010 Notes on the Earliest Sanskrit Word Known in Chinese by Hoong Teik TOH 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 FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD SINO-PLATONIC PAPERS is an occasional series dedicated to making 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-in-chief 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. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. We do, however, strongly recommend that prospective authors consult our style guidelines at www.sino-platonic.org/stylesheet.doc. -
Author Template for Journal Articles
MATHEMATICS, RHYTHM, AND NATURAL LANGUAGE IN CHINESE AND EUROPEAN CULTURE by Daniela Galante Sommario La ricerca in didattica negli ultimi anni si è mostrata sensibile alle problematiche della multicultura e nella cultura cinese, l’applicazione della matematica nel linguaggio della musica è assai diversa rispetto all’Occidente. Infatti, in Occidente il linguaggio musicale si è evoluto nella direzione di una complessa forma architettonica, con complesse strutture ritmiche, timbriche e formali. Viceversa, la cultura cinese presenta da millenni caratteri di continuità e di unità specifici come quello del sistema di scrittura, non di carattere alfabetico, ma costituito da caratteri indipendenti, ciascuno con un proprio valore semantico e fonetico, con un significato concreto la cui forma ha necessariamente influenzato il pensiero, la cultura e la musica cinese. Dallo studio è emerso che in Cina la natura dell’arte musicale è correlata al suono, in quanto espressione di potenza trascendente. In Occidente i compositori da secoli imitano la natura, invece nella cultura cinese il musicista non deve imitare nulla poiché la musica è natura che si manifesta attraverso l’espressione umana del suono. La mancanza di documenti scritti rende difficile l’analisi del vasto patrimonio musicale cinese e ancor più impegnativo il confronto con quello occidentale. All’interno di questa concezione, proprio perché la lingua cinese è monosillabica, la dimensione ritmica è il principale elemento del linguaggio musicale abbinato alla matematica e si è tramandata per secoli con la caratteristica dell’immutabilità, cioè senza sviluppare una pratica e di conseguenza una notazione mensurale articolata e complessa. Abstract Research in Education in recent years has shown itself sensitive to issues of multiculturalism and in Chinese culture the application of mathematics in the language of music is very different from the West. -
Remaking History: the Shu and Wu Perspectives in the Three Kingdoms Period
Remaking History: The Shu and Wu Perspectives in the Three Kingdoms Period XIAOFEI TIAN HARVARD UNIVERSITY Of the three powers—Wei, Shu, and Wu—that divided China for the better part of the third century, Wei has received the most attention in the standard literary historical accounts. In a typical book of Chinese literary history in any language, little, if anything, is said about Wu and Shu. This article argues that the consider- ation of the literary production of Shu and Wu is crucial to a fuller picture of the cultural dynamics of the Three Kingdoms period. The three states competed with one another for the claim to political legitimacy and cultural supremacy, and Wu in particular was in a position to contend with Wei in its cultural undertakings, notably in the areas of history writing and ritual music. This article begins with an overview of Shu and Wu literary production, and moves on to a more detailed discussion of Wu’s cultural projects, both of which were intended to assert Wu’s legitimacy and cultural power vis-à-vis Wei and Shu’s claims to cultural and polit- ical orthodoxy. Ultimately, this article implicitly asks the question of how to write literary history when there is scant material from the period under question, and suggests that we perform textual excavations and make use of what we have to try and reconstruct, as best as we can, what once was. A good literary history of the Chinese medieval period, the age of manuscript culture and that of heavy textual losses and transfigurations, should be written with the awareness of the incomplete and imperfect nature of the data we do have, and incorporate the phenomenon of textual losses and transfigurations as well as some reflections on the underlying reasons into its narrative and critical inquiry. -
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Advances in Social Science, Education and Humanities Research, volume 233 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018) An Investigation on the Creation and Existence of Yuefu Lyric Poetry of the Xianbei Regime during the Northern and Southern Dynasties* Xing Tang School of Liberal Arts Northwest Minzu University Lanzhou, China Abstract—During the period of the Northern and Southern Five Dynasties. Scholars paid much attention to Yuefu lyric Dynasties, the regimes of northern ethnic minority were poetry of the Northern Dynasties. However, the focus of everywhere. After the Xianbei nationality began to rise in the research has been on individual articles and important writers northeast, they turned to fight in the east and the west, and for a long time. In recent years, this situation has been established a number of independent regimes. They almost improved. However, there are still many problems that need crossed the entire period of the Northern Dynasties. With the further investigation. establishment of these Xianbei ethnic regimes, the Yuefu lyric poetry has both inherited and newly created in various political powers. It shows differences and uniqueness in the II. CREATION AND EXISTENCE OF YUEFU LYRIC POETRY subject matter, content, quantity, and ethnic composition of DURING FOEMER YAN TO NORTHERN WEI DYNASTY the author. And at the same time, it presents a certain degree The Yuefu lyric poetry created under Xianbei regime of of commonality and succession. South and North Dynasties should be "Agan Song" in Foemer Yan established by Murongwei. In "Jin Shu", Keywords—Southern and Northern Dynasties; Xianbei "Xianbei called the brother Agan, and Murongwei recalled it regime; Yuefu lyric poetry; creation; existence with a song of Agan"[1]. -
QIN MUSIC in CONTEMPORARY CHINA by Da
MEDIA, MARKET ECONOMY, AND CULTURAL TRANSFORMATION: QIN MUSIC IN CONTEMPORARY CHINA by Da Lin B.A. in Music, Xi’an Conservatory of Music, 2005 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2010 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Da Lin It was defended on November 29, 2010 and approved by Andrew Weintraub, Professor, Department of Music Adriana Helbig, Assistant Professor, Department of Music Thesis Director: Bell Yung, Professor, Department of Music ii Copyright © by Da Lin 2010 iii Bell Yung MEDIA, MARKET ECONOMY, AND CULTURAL TRANSFORMATION: QIN MUSIC IN CONTEMPORARY CHINA Da Lin, M.A. University of Pittsburgh, 2010 The qin, historically recognized as an instrument of Chinese literati, has been presented in various forms of mass media for over fifty years. After the establishment of the People’s Republic in 1949, the government promoted public performances in a propaganda/persuasion media system; consequently, mass media started to play significant roles in reshaping aesthetic standards, performance practices, musical features, and meanings of the qin tradition. The mass media in China, however, went through a commercialization reform after the late 1970s and has shaped the current propaganda/persuasion model. This new media structure has hastened the emergence of new musical features and meanings of the qin in the commercial logic as opposed to the Party logic. Such interactions with technology have arguably constituted contemporary performance practices that have departed from traditional aesthetic standards held by literati practitioners who played the qin for self-satisfaction.