DOCSLIB.ORG

Download Article (PDF)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Article (PDF) Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) Aesthetic Reflection of Neutral Tone of National Mode in Accordion Music Composition Taking Dai People’s Water-splashing Festival as an Example Rong Xing Kunming University Kunming, China Abstract—In the 1960s and 1970s, more excellent works with embody the sound effect principle of national music in formal the basis of mass social music culture were presented under the aesthetics. condition of concentrating on the composition of national traditional style. It is on the premise of such rich and productive II. THE HISTORICAL OPPORTUNITY OF ACCORDION MUSIC composition that the author observes the relevant style of accordion music works and finds that polyphonic technique COMPOSITION "neutral tone" is widely used in the composition of elements of The introduction and development of accordion in China is national music. Therefore, the author tries to infer the a process of germination and development accompanied by the expression position of "neutral tone" by analyzing the melody in music life of the masses. The first reason for its popularity was the works, and further explain the use of this technique in that accordion, as an instrument accompanying the songs of national mode melody and how to embody the sound effect national salvation, was played in various propaganda principle of national music in formal aesthetics. performances of national salvation during the period of anti- Japanese aggression. This process itself embodied that as a Keywords—accordion; neutral tone; national mode; formal foreign culture and symbol, it began to blend with Chinese aesthetics culture, and from the very beginning it was closely related to the real life of China. After the founding of the People's I. INTRODUCTION Republic of China, many local cultural troupes and other Accordion, as a kind of Western musical instrument, has literary and artistic performers also equipped with professional been introduced into China, and is welcomed by the masses accordion players. Accordion as a teaching tool had also because of its diverse timbre and rich harmony. Since the entered the classroom of primary and secondary schools. More 1970s, literature and art began to flourish, which promoted the popular development was that millions of people felt the new rapid development of accordion music and produced a large era and life in the form of mass singing activities flourished number of excellent works. During this period, composers throughout the country. Accordion accompaniment seemed to began to mine the elements of traditional Chinese music, be a standard form of performance. combining accordion with Chinese national characteristics, Of course, the accordion is indeed a foreign instrument. Its and composed a number of original accordion works with twelve-tone equal temperament expresses pitch performance Chinese traditional music style. Dai People’s Water-splashing sound and it is more suitable for the performance of Western Festival is an accordion adaptation with national elements music. Of course, it has unique charm in the performance of composed by imitating Lusheng and other musical instruments foreign music. The temperament of the accordion when through sound and articulation feeling. The song vividly moving a large number of fast minor second melodies is imitates the sound of Dai people’s singing and dancing difficult for other instruments to match. However, with the accompanied by Lusheng, and ingeniously reproduces the need of New China's cultural undertakings, Chinese art in the happy scene of Dai people’s Water-splashing Festival through 1960s and 1970s experienced a history of "foreign-to-Chinese" various decorative sounds and harmony with national color. reform. From the perspective of cultural development, the The music not only retains the national melody characteristics older generation of Chinese accordionists and composers could and traditional cultural connotations of the original Dai not only be satisfied with the function of playing foreign works people’s festival, but also gives full play to the characteristics and accompaniment, but also needed to explore an innovative of accordion on the basis of national tone. It uses Western way to express music with Chinese characteristics more widely musical instruments to express the valuable neutral tone - to create diverse music of Chinese nationalization. So far, techniques in traditional music, and vividly displays the accordion art has made a breakthrough in the progress of profound national spirit and cultural context. Through the China. However, during the Cultural Revolution period from analysis of the melody in the works, the author has inferred the 1966 to 1976, along with the coincidence with the literary and expression position of "neutral tone", and further explained the artistic policy of "Wulan Muqi" at that time, it objectively use of this technique in national mode melody and how to provided a good opportunity for the popularization of Copyright © 2018, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 741 Advances in Social Science, Education and Humanities Research, volume 284 accordion in China. However, due to the Cultural Revolution, accordion is a Western equal-temperament musical instrument, the free composition of art was greatly restricted, and all the it is surprising to give an auditory feeling of "neutral tone" literary and artistic stages could only be used for "model (three-quarter microtone) in its performance. opera" and “red play“. But it did not change the significance of 1 the instrument itself. During this period, accordion played the Neutral tone originated from the special acoustics of most important role in history, accompanying revolutionary minorities, and it existed since ancient times. The beauty songs and aiming at adapting revolutionary songs and model embodied in neutral tone is also the unity of the content of the opera music, which made accordion survive in the cracks sound and the melodic form presented. From the perspective of under the suppression of literary and artistic creation and the relationship between the aesthetic subject and object, the performance. Indirectly, it has provided an opportunity for formal music beauty of neutral tone contains the expression accordion to absorb more nutrients from Chinese traditional and communication of intervals and other factors. From the culture and to combine with Chinese folk music deeply. analysis of the characteristics of the neutral tone of national music (especially southern minority music), it is helpful to Since the Third Plenary Session of the CPC Central observe the aesthetic tendencies of "neutral tone" in the Committee held in 1978, the cultural policy has been greatly composition of specific ethnic groups. Of course, it has also adjusted. At the same time, a gratifying new era of literature become an important feature for us to distinguish the and art has emerged in the Inland areas. If Chinese accordion universality of the same ethnic group. That is to say, the life works produced before 1978 were branded by the special experiences of different ethnic groups have different national social environment and cultural policies, then the reform and temperament, different aesthetic and appreciation habits. opening-up and ideological emancipation brought a new People may have different perceptions on same music situation for Chinese accordion composition in the new era. It characteristics, so aesthetic perspectives are also different for liked a sudden spring breeze overnight, and thousands of trees such a non-mainstream formal technique. Anyway, what we and pears blossomed. Artists were not satisfied with the past usually see is that we tend to seek a very deep foundation of thinking mode of "folk song plus harmony" and "theme plus national music among the ethnic groups. The musical variation", and began to go beyond the framework limit of expression of ethnic minorities uses this special tone to express simple transplantation, and gradually explored a way of their inner feelings from generation to generation, which they individualized composition of Chinese accordion works. think is beauty. During this period, a lot of high-quality works emerged, which included three types of composition: adaptation of transplanted If the sound perception of the neutral tone is arranged works, focusing on popular traditional songs; re-composition according to the mode, what we hear should be the elevated fa of traditional Chinese music with strong local national and the lowered si in the seven-tone mode. To be exact, the character based on folk music; and use of modern western difference between them is 50 cents. In fact, there is no so- composing techniques for reference, both keeping the national called semitone relationship in this seven-tone mode, which is charm and concerning works that were progressively extremely interesting in the composition of works. This synchronized with the world. provides a great assistance for the composition of instrumental music with distinctive national and regional characteristics. From a large number of creative works, the works highlighting national consciousness prominently are This paper takes the accordion work Dai People’s Water- undoubtedly the second composition of national folk music splashing Festival
Load more

Recommended publications
  • TV Show Knows What's in Your Fridge Is Food for Thought
    16 | Wednesday, June 17, 2020 HONG KONG EDITION | CHINA DAILY YOUTH ometimes you have to travel didn’t enjoy traditional Chinese to appreciate your own. music that much until he pursued his Sometimes, waking up in a music studies in the United States. foreign land gives you a pre- When leaving China, he took with Scious insight into your own country. him the hulusi, a kind of Chinese Fang Songping is a musician and wind instrument made from a has traveled but when he was at gourd, and played it recreationally home with his pipa-player father, in the college. The exotic sound of Fang Jinlong, he preferred Western the instrument won him lots of fans rock. and requests to perform on stage. It was hulusi, the gourd-like Then he started researching about instrument, that really changed his traditional Chinese music and com- life. He happened to bring it to Los bining elements of it into his own Angeles, while studying music there. compositions. In 2015, he returned His classmates were fascinated to China and started his career as an when he played music with it, and a indie musician. new horizon opened up before him. Now, Fang Songping works as the According to a recent report on music director of a popular reality traditional Chinese music, young show, Gems of Chinese Poetry, Chinese people are turning their which centers on traditional Chi- attention to traditional arts. More nese arts, such as poetry, music, and more are listening to traditional dance and paintings. He composed Chinese music. eight original instrumental pieces, The report was released on June inspired by traditional Chinese cul- 2, under the guidance of the China ture, like music, chess, calligraphy Association of Performing Arts, by and paintings.
    [Show full text]
  • February 2019 a Winter Wonderland That Warms Your Spirit
    CHINAINSIGHT Fostering business and cultural harmony between China and the U.S. VOL. 18 NO. 2 February 2019 A winter wonderland that warms your spirit . News, p. 4 Business & Economy, p. 5 Language, p. 7 The 35th Harbin International Ice and Snow Festival, the largest in the world, is celebrated during Harbin’s Sister Cities Conference. See pages 8-9. Books, p. 11 Community Minneapolis artist Paul Kwok exhibits at Chung Chi College in Hong Kong By Greg Hugh More than 100 guests recently attended Kwok currently lives in Minneapolis an exhibit of landscape paintings titled “In with his partner Pat Hui where they also and Out of Tradition” by Paul Ka Yin Kwok share a studio at Traffic Zone Center for Arts & Culture, p. 14 held at Chung Chi College of The Chinese Visual Art. The studio was the site of the University of Hong Kong from which Kwok recent group discussion of “Crazy Rich graduated in 1967. Asians” held by the Chinese Heritage Foundation. ♦ In This Issue Arts & Culture 12-14 Right: Books 10-11 Pat Hui Business & Economy 5 and Kwok in front of Community 8-9 one of his Events 15-16 paintings Government & Politics 6 Language 7 Officiating at the ribbon cutting ceremony was News 3-4 (far left Professor Fong Wing Ping, head of Pronouncements 2 college; and artist Kwok (second from left). Recent CHF discussion at studio. PAGE 2 / February 2019 pronouncements www.chinainsight.info Publisher’s Pronouncements CHINAINSIGHT Greetings and Gung Hay Fat Choy (Happy New Year): As we went to press with this issue of We also are pleased to announce that a team player.
    [Show full text]
  • Video Competition 2020
    VIDEO COMPETITION 2020 ABOUT: The United States International Music Competition is organized by the United States International Music ​ ​ ​ Foundation affiliated with the Chinese Music Teachers’ Association of Northern California, a non-profit organization. This competition provides young musicians with an opportunity to exhibit their talents and reward their hard work, as well as to encourage them to appreciate cross-cultural exchanges . ​ ELIGIBILITY: Contestants of all nationalities.No Age Limit. Past First Place winners may not compete in an age group ​ that they have won previously. However, they may elect to compete in another age-appropriate group. INSTRUMENT CATEGORIES: Piano (Solo, Duet, and Concerto), Violin, Viola, Cello, Classical Chamber Ensembles ​ (Western Instruments), Vocal (Solo and Ensemble), Marimba, and Traditional Chinese Instruments categories are held annually. Harp and Classical Guitar are also included in the 2020 competition categories. AGE GROUPS: Eligibility for each group will be determined by the contestant’s age as of June 1, 2020. Each ​ ​ ​ ​ ​ ​ ​ instrument category has different age groups. Category & Piano Violin Viola Cello Vocal Age groups A Age 9 or under Age 9 or under Age 14 or under Age 11 or under Age 9 or under B Age 11 or under Age 13 or under Age 18 or under Age 14 or under Age 12 or under C Age 14 or under Age 18 or under Age 19 or above Age 18 or under Age 14 or under D Age 18 or under Age 19 or above Age 19 or above Age 18 or under E Age 19 or above Age 19 or above Piano Duet Category
    [Show full text]
  • Performing Chinese Contemporary Art Song
    Performing Chinese Contemporary Art Song: A Portfolio of Recordings and Exegesis Qing (Lily) Chang Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide July 2017 Table of contents Abstract Declaration Acknowledgements List of tables and figures Part A: Sound recordings Contents of CD 1 Contents of CD 2 Contents of CD 3 Contents of CD 4 Part B: Exegesis Introduction Chapter 1 Historical context 1.1 History of Chinese art song 1.2 Definitions of Chinese contemporary art song Chapter 2 Performing Chinese contemporary art song 2.1 Singing Chinese contemporary art song 2.2 Vocal techniques for performing Chinese contemporary art song 2.3 Various vocal styles for performing Chinese contemporary art song 2.4 Techniques for staging presentations of Chinese contemporary art song i Chapter 3 Exploring how to interpret ornamentations 3.1 Types of frequently used ornaments and their use in Chinese contemporary art song 3.2 How to use ornamentation to match the four tones of Chinese pronunciation Chapter 4 Four case studies 4.1 The Hunchback of Notre Dame by Shang Deyi 4.2 I Love This Land by Lu Zaiyi 4.3 Lullaby by Shi Guangnan 4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng Conclusion References Appendices Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs Appendix B: Text of commentary for 56 Chinese contemporary art songs Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination Appendix D: University of Adelaide Ethics Approval Number H-2014-184 ii NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library.
    [Show full text]
  • Quand Le Bambou Répond Au Phénix
    UNIVERSITE PARIS – SORBONNE François PICARD Quand le bambou répond au phénix Observatoire Musical Français Documents de recherche Série Histoire, théorie, analyse n° 12 2007 Picard Quand le bambou répond au phénix 2 Quand le bambou répond au phénix Comme en écho à la trilogie « Musique, Mythe, Nature »1, une histoire chinoise raconte comment un ministre chargé de trouver la juste hauteur des notes coupa des bambous et comment à leur son répondit le phénix. Cette célèbre histoire met en scène les trois éléments, sous la forme d’un mythe qui lie musique et nature ; une étude critique des sources précédera un historique de leur transmission, puis nous examinerons les lectures à la lumière des autres données archéologiques ou ethnographiques avant d’arriver à une proposition de lecture et d’interprétation. Ce texte se veut bien évidemment hommage à François-Bernard Mâche, érudit, musicien, musicologue, parrain de l’archéologie musicale, penseur, qui reste pour moi un modèle et un maître, à qui je dois tant. Une histoire, plusieurs textes -236 Lü Buwei : le texte source 黃帝令伶倫作為律。伶倫自大夏之西，乃之阮隃之陰，取竹於嶰 谿之谷，以生空竅厚鈞者，斷兩節間，其長三寸九分而吹之，以為黃 鐘之宮─吹曰舍少。次制十二筒。以之阮隃之下，聽鳳凰之鳴，以別 十二律。其雄鳴為六，雌鳴亦六。以比黃鐘之宮適合，黃鐘之宮，皆 可以生之。故曰，黃鐘之宮，律呂之本。黃帝又命伶倫與榮將，鑄十 二鐘，以和五音，以施《英》《韶》；以仲春之月，乙卯之日，日在 奎奏之，命之曰“咸池”。 呂不韋『呂氏春秋』。仲夏記．古樂 Huangdi ling Linglun zuowei lü. Linglun zi Daxia zhi xi, naizhi Ruan Yu zhi yin, qu zhu yu Xiexi zhi yu, yi sheng kong qiaodun junzhe, duan liang jie jian, qi zhang san cun jiu fen er chui zhi, yi wei huangzhong zhi gong — chui yue she shao.
    [Show full text]
  • The Saxophone in China: Historical Performance and Development
    THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
    [Show full text]
  • De La Música Tradicional De China. Selección
    Discografía de la música tradicional de China. Selección Biblioteca Fundación Juan March Esta selección discográfica ha sido preparada con motivo de la exposición El principio Asia. China, Japón e India y el arte contemporáneo en España (1957-2017) y del ciclo de cinco conciertos Oriente y la música occidental. Durante la preparación de esta discografía no han sido incluidos numerosos registros publicados en China de muy difícil localización en Occidente. Tampoco se mencionan grabaciones sonoras anteriores al vinilo. Las músicas que aparecen en estos discos son un breve apunte de la riqueza musical tradicional que aún se practica en este país. Muchos de estos soportes sonoros han sido y son, además, fuente de estudio para compositores e intérpretes occidentales. La influencia de estas músicas sobre las técnicas compositivas, el timbre vocal e instrumental o sobre la concepción del tiempo musical es esencial para comprender una gran parte de la historia musical del siglo XX. Selección discográfica de José Luis Maire Biblioteca Fundación Juan March Abril de 2018 Música y canto budista La liturgia budista y taoísta en China tiene una historia de casi 2000 años y todavía se practica ampliamente en la actualidad. Desde su llegada a China hasta las llamadas tres dinastías del Norte y del Sur (420-589 d. C.), el budismo sufrió un proceso de consolidación hasta su profunda adaptación. Como numerosos documentos históricos demuestran (textos, pinturas y esculturas), el budismo introdujo en China nuevos géneros y prácticas rituales de una manera progresiva. Uno de los géneros más representativos y específicos de la liturgia vocal china es el denominado canto fanbei, caracterizado por la construcción de melodías melismáticas surgidas como consecuencia de un proceso de transculturación con las formas nativas de China.
    [Show full text]
  • Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Qualification: Phd
    Access to Electronic Thesis Author: Lonán Ó Briain Thesis title: Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Qualification: PhD This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Lonán Ó Briain May 2012 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music University of Sheffield © 2012 Lonán Ó Briain All Rights Reserved Abstract Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Lonán Ó Briain While previous studies of Hmong music in Vietnam have focused solely on traditional music, this thesis aims to counteract those limited representations through an examination of multiple forms of music used by the Vietnamese-Hmong. My research shows that in contemporary Vietnam, the lives and musical activities of the Hmong are constantly changing, and their musical traditions are thoroughly integrated with and impacted by modernity. Presentational performances and high fidelity recordings are becoming more prominent in this cultural sphere, increasing numbers are turning to predominantly foreign- produced Hmong popular music, and elements of Hmong traditional music have been appropriated and reinvented as part of Vietnam’s national musical heritage and tourism industry. Depending on the context, these musics can be used to either support the political ideologies of the Party or enable individuals to resist them.
    [Show full text]
  • China As an Issue: Artistic and Intellectual Practices Since the Second Half of the 20Th Century, Volume 1 — Edited by Carol Yinghua Lu and Paolo Caffoni
    China as an Issue: Artistic and Intellectual Practices Since the Second Half of the 20th Century, Volume 1 — Edited by Carol Yinghua Lu and Paolo Caffoni 1 China as an Issue is an ongoing lecture series orga- nized by the Beijing Inside-Out Art Museum since 2018. Chinese scholars are invited to discuss topics related to China or the world, as well as foreign schol- ars to speak about China or international questions in- volving the subject of China. Through rigorous scruti- nization of a specific issue we try to avoid making generalizations as well as the parochial tendency to reject extraterritorial or foreign theories in the study of domestic issues. The attempt made here is not only to see the world from a local Chinese perspective, but also to observe China from a global perspective. By calling into question the underlying typology of the inside and the outside we consider China as an issue requiring discussion, rather than already having an es- tablished premise. By inviting fellow thinkers from a wide range of disciplines to discuss these topics we were able to negotiate and push the parameters of art and stimulate a discourse that intersects the arts with other discursive fields. The idea to publish the first volume of China as An Issue was initiated before the rampage of the coron- avirus pandemic. When the virus was prefixed with “China,” we also had doubts about such self-titling of ours. However, after some struggles and considera- tion, we have increasingly found the importance of 2 discussing specific viewpoints and of clarifying and discerning the specific historical, social, cultural and political situations the narrator is in and how this helps us avoid discussions that lack direction or substance.
    [Show full text]
  • The World of Tan Dun: the Central Importance of Eight Memories in Watercolor, Op
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 The orW ld of Tan Dun: The eC ntral Importance of Eight Memories in Watercolor, Op. 1 Lin Tian Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Tian, Lin, "The orldW of Tan Dun: The eC ntral Importance of Eight Memories in Watercolor, Op. 1" (2014). LSU Doctoral Dissertations. 1819. https://digitalcommons.lsu.edu/gradschool_dissertations/1819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE WORLD OF TAN DUN: THE CENTRAL IMPORTANCE OF EIGHT MEMORIES IN WATERCOLOR, OP. 1 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music By Lin Tian B.M., Shandong University, 2009 M.M., University of Tennessee at Knoxville, 2011 July, 2014 ACKNOWLEDGEMENTS I would like to thank my major professor Mr. Gregory Sioles for everything he has done for me throughout my doctorate study at LSU. Thank you for teaching me not only to be a better musician, but also a better person. Thank you for all the effects you have put into guiding me through the process of writing this dissertation.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 341 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019) Living Inheritance of Ancient Miao Songs in Southern Sichuan* Jia Yu Southwest Minzu University Chengdu, China Abstract—Ancient Miao songs in southern Sichuan are a literature. In the earliest collection of poems in China, "The living expression of Miao people's ideology and a vivid Book of Songs", there are verses such as "blowing reed-pipe reflection of their unique culture and religious beliefs. It is the wind instrument and playing reed, blowing reed-pipe wind special performance and inheritance environment of the ancient Miao songs in southern Sichuan that makes the ancient instrument and reed-pipe wind instrument, playing reed" songs form the "text" style of the combination of vocal music, and so on. In "The Book of Songs·Xiaoya", there are also instrumental music and even dance rhythm. Only in its folk six lost poems, namely, "Nangai", "Baihua", "Huashu", environment can it really survive. "Yougeng", "Chongqiu" and "Yuyi". "The annals of Xuyong Yongning County" contains: "Miao people data on Keywords—the Miao nationality in southern Sichuan; the high mountains in early January, date Gaofu, and dance ancient songs; living inheritance with each other." For the people of marriage, men blow reed-pipe wind instrument; women play mouth harps; and I. INTRODUCTION they will sing to each other. When Yang Sheng'an saw the Ancient Miao songs are collective creation epics written Miao people's grand mountain-stepping party, he wrote orally by the ancient Miao people. They are rich in content poems and praised it: "men and women dance with the and complete in categories.
    [Show full text]
  • Analysis and Modeling of Timbre Perception Features in Musical Sounds
    applied sciences Article Analysis and Modeling of Timbre Perception Features in Musical Sounds Wei Jiang 1,2,3, Jingyu Liu 1,2,3, Xiaoyi Zhang 1,2,3, Shuang Wang 1,2,3 and Yujian Jiang 1,2,3,* 1 Key Laboratory of Acoustic Visual Technology and Intelligent Control System, Communication University of China, Ministry of Culture and Tourism, Beijing 100024, China; [email protected] (W.J.); [email protected] (J.L.); [email protected] (X.Z.); [email protected] (S.W.) 2 Beijing Key Laboratory of Modern Entertainment Technology, Communication University of China, Beijing 100024, China 3 School of Information and Communication Engineering, Communication University of China, Beijing 100024, China * Correspondence: [email protected] Received: 25 December 2019; Accepted: 20 January 2020; Published: 22 January 2020 Abstract: A novel technique is proposed for the analysis and modeling of timbre perception features, including a new terminology system for evaluating timbre in musical instruments. This database consists of 16 expert and novice evaluation terms, including five pairs with opposite polarity. In addition, a material library containing 72 samples (including 37 Chinese orchestral instruments, 11 Chinese minority instruments, and 24 Western orchestral instruments) and a 54-sample objective acoustic parameter set were developed as part of the study. The method of successive categories was applied to each term for subjective assessment. A mathematical model of timbre perception features (i.e., bright or dark, raspy or mellow, sharp or vigorous, coarse or pure, and hoarse or consonant) was then developed for the first time using linear regression, support vector regression, a neural network, and random forest algorithms.
    [Show full text]