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ಋᖚ୺ he Hong Kong Arts Festival is a prominent ࠗຝ̯ܰ Tarts event in the cultural calendar of Hong Δʥԓʪਂ Kong and the Asia Pacific region. Proudly ؿʼʝଞ stepping into its 33rd year, the Festival ಳም continues its vigorous pursuit of innovativeסԑe ɃɍɊɍ՚ development; the presentation of new works αc˚ፒዀ and the provision of quality arts. ೸ٻ࿚ᆅʘুұ௚ณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚ୺ຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔΃Ρ of inspiring art, music and cultural ੓Ԟਝ჌Ίࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓ࿫ˮc๫ผ˥ࠗಋ஛ artists and leading local talents. I am sure that ਝ჌ʼʝ஭ผࠛ૚ቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚ୺ࡼ਄ၤܰωଞٴᔑϊᚭ ఻d I extend our warmest welcome to all؀ผcԎूࣵʑ̔ᜮଠʶ̈́ သጙϤᓊe participating artists and wish all local and overseas members of the audience a most enjoyable time. ւٽܧϷਂܧࠗಋऋПϷ TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region ˚࢐ᘆᖽ Message from the Chairman .਄ၤ଱ɍɊɍ։ࠗಋᖚ୺ warmly welcome you to the 33rd Arts Festivalٴ ᚭ ຝc஛ܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝ჌՗ԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ୺၀ߜc˞ʥ̯Δ௚෮ݗึؿᖚ Festival presents the finest international andਂ ୺ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶ෰ᑢ஦༦੖ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ৛֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚ୺ຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚ୺ຝྦྷֺτᖳХዀ࿚d Club Charities Trust. Their long and continued ᖚ୺྆᛽˞ʥ࠯Ɂ༅Хc͛ߎ˞টʶ patronage are what make these cultural ᑢ෮e presentations possible. In addition, we gratefully acknowledge the ,ȹΣ˞֡cࠗಋᖚ୺ຝ஦༦˸ძነ́ generous support of many corporate sponsors .ʭαɾʤི߮cߎɈ arts institutions and individualsڇ଩᎚య˞ʥ ར᎞ነ́ʥαႦᜮଠઅᘩΈᗘᖚ୺e ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥ࠯Ɂ༅ The Festival has always made our programmes Хcɻነʥɣነነ́ɖʦᎶᆅईe accessible to students and young audiences through half-price student tickets and our Young 2005αࠗಋᖚ୺ຝຝ͌ᔔఒd˳ᖓ Friends Scheme. These schemes are funded by the ΋ɺ΃ᜮଠؿ௩ΡʥɟՈc generous donations from numerous corporateٴຒτc .փe and individual donorsڻϢ̢ c౨શၤ੬Ε The 2005 Festival offers a rich and stimulatingܛω෰ᑢჇɎؿʻʹ 2005αࠗಋᖚ୺ຝɻӮࠍe programme, with a variety of captivating performances and choices, presenting a diverse range of tastes with artistic excellence. We hope to offer something enjoyable and of interest to everyone. Above all, I would like to thank you, our patrons, for your support and participation in the 2005 Festival. ңพᄤ Charles Lee :ࠗಋᖚ୺ຝؿ༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of Ϸܧᐢဟᘆᖽ Message from the Executive Director 005αࠗಋᖚ୺ຝؿຝ͌˞ he starting point for the programming of this 2005 ݯ˚ᕀeु T Festival was the idea of contrasting opposites – ‘sacredڙ˖2ुັၤ ஛ԭඖʏॖc஭ܰΈိ and profane’. Both of these elements are rich sources ofڙ˖dັ ᖚ୺Ѽβؿ੒Ӯᕀҥၤ᜙෰ݖ creative impulses for the performing arts in most cultures ฻cʌ։ຝ͌గऋПॶਪʦܮ஛ and this thematic link is evident in much of our ᗐ programming. We hope these connections and contrastsޚܫ࠯෮֨e҈ࠨѴશ஛ԭඖ Ɍྦྷ͓ؿʏॖcॶݯɣࡼొԜҡ will make your Festival experience more engaging and .৽Ɂdҡᗒѿؿᜮሌ᛽᛻e memorable ࿘۾৖ȿࣵ̔ᖚ୺ɮАّc҈ࠨ Alongside all of our international artists, we are proud to ॶᑼᇼ̯Δ࿫ᖚ၀ߜcΣࠗಋ֗ present many outstanding Hong Kong artists. For example, ဳ֞ᅥ྆dࠗಋ໷ჱ྆d̯Δ௑ ˮαႦ፡ೄ࿫ۗࡼਜ਼ᆼ౟d૜ࠓ the Hong Kong Philharmonic Orchestra and the Hong Ⴛဳʄࠇۗᘆᖚeԯˢ਄ၤ࿫ˮ Kong Repertory Theatre, as well as the fine young Hong ຣჱΊД૆ Kong musicians, pianist Rachel Cheung and the Fresh Airܢ˳ؿ̯Δ࿫ᖚ၀ߜ ு໱ʥң᎘d7AऒᎻჱୂdɻߜ Brass Quintet. Other important Hong Kong artists taking ɩմdࠗಋ part include Cantonese opera stars Mui Suet-see and Leeټܖჱ྆d89268d ϐcᑹτ΋Ɉݵႇ Lung; Class 7A Drama Group; Chung Ying Theatre; Groupܬᇁၦࡼฦ лؿྡྷɈݢୂ΋ ңᔪ 89268; the Material Girls; choreographer Daniel Yeungؒ ,ݘdષഥࠦdңɻͲʥ୥૆֍e and the remarkable combined talents of Lee Chun-chow Faye Leong, Gabriel Lee and Chong Mui-ngam in The ᖚ୺ຝᘗᙩዶรկ޸̯Δၤࣵ̔ French Kiss. ܢ˳ˮϳؿ௚АɁc̯։ณА In addition, our commitment to commissioning new work קdէᚗdʌէ࿨ၦރು ਝ჌࠭ᅥ஫dཫ҈ from Hong Kong and around the world continues, withټܖd̡ dؒлd׭ pieces such as Amber, The Nightingale, All That Shanghai̟ے஛ᅚؿȹ࠯ ˚τ௩ʥɩ˔ɥనʊতe Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. 2005αࠗಋᖚ୺ຝݯᜮଠᘆɐȹ ࿫྆᛽ٲϛɀɊ̒௿࿫ˮc਄ၤ The 2005 Festival will offer a total of 124 performances ༠̒Ɋɀ࠯˳ܢɍɊɀ࠯ࣵ̔ with 42 performing groups (32 overseas and 10 local), two ʥɊ࠯̯Δ྆᛽cᑹτԭ࠯ࢄ ,ᙴc˞ʥɺࢀ፟༦ؿᖚ୺ຝ˱ࢿ exhibitions and our Festival Plus programme of talks ຝ͌iᑟ࢔d࢔ᇹผʥᖚɁᇹe seminars and meet-the-artist sessions. ΛۜcࠓࣟΛʏ This is one of our largest Festivals to date, in terms of theٻ։ຝ͌Λ̯ ʝcܰࠗಋዃԞஃᅡ௖ɣd௖˥ number and the diversity of programmes. I am sure too, Ɂሌʶࢧ͌d௖Ԯઢೕֲؿᖚ୺ that it will be one of our most enjoyable and inspiring. We .਄ၤe are delighted that you could join usيຝɾȹc෰ᑢჇɎ׊ ঢ়ᄨᓤ Douglas Gautier 34 Ensemble Antipodes 5 ຝ͌໯ੱ For programme details Page 11 ࠒ ޸1ɩࣂ10ʗᘸcٽ࿫ˮ ˳ܢȹຝɻ௿ͤࢠ Running time: approximately 1 hour and 10 minutes with one interval ࠗಋɣผਦჱ৑ Theatre, Hong Kong City Hall 16.3.2005 ᗐઌʹ፜dಲᇃཋ໷ʥඨՓዀؿᚊባ໦کݯȿᜑɣࡼྦྷ஛ω࿫ˮजɎ޻ΡͿോcᇼʘতΕຝ͌඀௿ ສeผ௿ʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕ՗мํcΛᑢ΋Аk To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your ALARM WATCHES, MOBILE PHONES and PAGERS. Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your cooperation. ᅥ྆ʍଽ Ensemble Profile 7 ԭร۩ᅥ྆ 1995αcਿɮ̀԰Ʉࠇۗς͌hξכɄϽ௑ˮαႦࠑᅥࡼୂιؿԭร۩ᅥ྆ι͓ͅ ৽cԎۃ౎Ѽβ࿫ᖐϴ̛࢟౜g෌ढ़ਥ౜ؿΪढ़μቭԓc౦Εᅥኋʵ঴ܞα˞ಲ ᘰ੡๥ɡMGBɣᑩ۩ᅥୂɣᆉࣦ࿘eΛαԞcԭร۩ᅥ྆ؿӷ༌༧ʥ෮ɣСdؒ ᒚؿ௅άࠑᅥᜨeڲਝdϹऒˑdᄨਝd޻ਝdɻਝ՗ cԯɻɺʭҡܰਿݯˢۂ๫ˤࠑᅥʥ௖ณؿАכ৖ȿ̀԰ࠑᅥcԭร۩ᅥ྆ɖᆅট ผɾᑼcԷʱቭ๥ɡʼʝɻʶ࿫ᖐ๫ˤࠑټࠨϤᄘiԭร۩ᅥ྆౦Ꮆ๥ɡʼʝਥ ᅥe2000αያ౲ఃਝ჌ࠑᅥˀɻcԯ࿫ˮ୽ᙷݯኬ࠯ࠑᅥຝ௖᜹͌ؿຝ͌eϊ ๫ˤࠑᅥຝɻ࿫ˮeಳϤcԭร۩ᅥ྆Ԏ̰ੀϬێcԭร۩ᅥ྆ЩᏵᑼΕΛ࠯ɣ܃ ೸࠷ؿ࿫ᖐeٻ๫ˤࠑᅥֶన̀࿫ۗcʦϤ̝ќΔ⬰΋ԭّcАˮ၀כɯѫࠉ 2001α11˂cԭร۩ᅥ྆਄ၤАςࡼɮАыRomainmótier 2001cʄϽАςࡼᎶᑼੀ ౦ΕۂΛωԀি࿫ˮؿς͌cԯɻ஫ʗА܃͚೽ԭร۩ᅥ྆࿫ˮcԎιݯˀۂА 2002αࠗಋ˖ވࠑᅥˀɻ࿫ˮe ԭร۩ᅥ྆࿘Ᏽկͨݯ2005ਝ჌ଊˤࠑᅥԾผ቙ผᅥ྆e The Ensemble Antipodes The Ensemble Antipodes was founded in 1995 by eight outstanding young musicians to explore the literature of the classical octet. Their unconducted rendering of Anaktoria by Iannis Xenakis caused an uproar among fellow musicians, and won the prestigious Swiss MGB Chamber Music Award. The Ensemble Antipodes has since performed in prestigious halls in Italy, France, Spain, Germany and the US, as well as China and Korea. Aside from their focus on classical music, they take pride in performing the latest music, often specially written for them. The Swiss cultural foundation, Pro Helvetia, invited the Ensemble to the Swiss Cultural Centre in Paris to present this particular aspect of their repertoire. Their concert at the 2000 World Music Day in Luxembourg was hailed by critics as the most “striking event of the Festival” which led to invitations from other important festivals. Rather than specialising solely in contemporary music or authentic performances, the Ensemble excels in combining these two features in highly charged concerts. In November 2001 the Ensemble Antipodes participated in a composer’s workshop, Romainmótier 2001. Five composers were invited to present their works with the Ensemble Antipodes and have them performed in successive tours. Some of these works went on to be performed at the World Music Days Festival in Hong Kong. The Ensemble Antipodes has been awarded ISCM Ensemble in Residence 2005. ᅥ྆ιࡗ Ensemble Members 9 ϭ́iနᗫΪ࡭g༞ແdෙСၐဍg༠Ӵဍ̛dϴճ࢟КgؒᙬКd৛࢒౜g̛ᄨႚዉd̞ͅ ࡥ΁߻उ౜g౜ऋፆʩʥ৛ແ౜g̠ဍਅ From left to right: Mariana Doughty, Olivier Darbellay, Imke Frank, Markus Niederhauser, Egidius Streiff and Matthias Bühlmann ԭร۩ᅥ྆ ࡥ΁߻उ౜g౜ऋፆʩ ɩొೄ χ୧ԓǧᖓᄨ ɩొೄ နᗫΪ࡭g༞ແ ɻొೄ ϴճ࢟КgؒᙬК ɣొೄ ɽ̛g෌৺ Гࠑɣొೄ ৛࢒౜g̛ᄨႚዉ ௰ᓫဳ ෙСၐဍg༠Ӵဍ̛ ෋໔ ৛ແ౜g̠ဍਅ ʱ׸ဳ Ensemble Antipodes Egidius Streiff Violin Julia Schröder Violin Mariana Doughty Viola Imke Frank Cello Daniel Sailer Double bass Markus Niederhauser Clarinet Olivier Darbellay Horn Matthias Bühlmann Bassoon ຝ͌ Programme 11 ӂဍʩ֋gɈ࢟ ᅕΥVI ʶ ̷܏ؿʪඈעஈ 42ۂϹᜃ ɄࠇۗcА˔ Ðɻ௿ͤࢠɊʄʗᘸ Ð К௜౜g߈В ȹ೻೻ؿɺ΋ࣂփIII ϴ̛࢟౜g෌ढ़ਥ౜ Ϊढ़μቭԓ Wolfgang Rihm Chiffre VI Melissa Hui Eternal Sun Wang Xilin Octet, Op 42 Ð 15 minute interval Ð Klaus Huber Ein Hauch von Unzeit III Iannis Xenakis Anaktoria ᅥςʍଽ Programme Notes 13 ᅕΥVI ӂဍʩ֋gɈ࢟1952- Εޫඊʥ൒ཊఃነୌАςcʗП࢑ֻ˺ဍࣵ܃ဍ౜ቧʣcͱ˺כӂဍʩ֋gɈ࢟́ ෑऋኪ۪ͨ࢐ኒ࢑h1985αܪ༠ճכΐওǧμႚ౲ʥК௜౜g߈ʱh1978α঴ց౨ ঴ͨ˺ဍ౜ቧʣࠑᅥነ৑Аςઠ઒e ᅕΥVI1985ᾳ˺ဍ౜ቧʣᅩݘʼʝຝկ޸Ɉ࢟௚Аhࠖ࿫๫ˀၤഒВऋؿɄࠇ eܮሣޚ΃௿࿫ˮcʃۗ Ɉ࢟˞ഒВऋؿ৉ኂݯਥᓣcʹ଑˱ҝ৽iҝ͂Гࠑ௰ᓫဳcॶۗˮร૯รҶؿᅥ ᅥςୄ೶୮ۗˮᚊྵඔቈؿᅥࠑeȹϻכҝ͂Eሁ௰ᓫဳcΡ܃ࠑh௰ᓫဳᅥʹ೟ ӼিςҗؿไࠑੀᅥςઐΉঢ়ᅸcԎΕ௖ঢ়ʅࢯኍؿࣂԳѧ೶e Chiffre VI Wolfgang Rihm (1952-) Wolfgang Rihm studied composition with Karlheinz Stockhausen, in Cologne, and Klaus Huber, in Freiburg/Breisgau. He has been a regular guest instructor at Darmstadt since 1978 and Professor of Composition at the Musikhochschule Karlsruhe since 1985. Chiffre VI was commissioned by the 1985 European Cultural Festival in Karlsruhe, Rihm’s hometown, where it was played in concert ‘versus’ the Schubert Octet. Rihm took Schubert’s instrumentation as his starting point, but with modifications, and by using the bass clarinet he reaches the abyss of deepest sounds. Later the clarinetist changes over to the E clarinet to achieve the piercing notes at the end of the piece. A long tortuous glissando draws out to an extreme climax and the piece finishes with only the highest and most intense notes. 14 ᅥςʍଽ Programme Notes ؿʪඈ܏̷ ʶ1966-עஈ ɣhᏵ߁ቧɣነࠑᅥᖚ୺௟ɡነϽʥ˱ήᖚ୺ነ৑ᖚٽࠗಋcΕใࡐജכʶ́עஈ ʥ૆ဍgؐၐဍhଊֈၬऋСဍcټ୺ဨɡነϽc࢑ֻඏК̠gᄨቧКਅdϴဍg 1994α঴ͨ̌ɽ⮲ɣነࠑᅥӡХଉઠ઒e cɺЎͿോ૯ԳcԎઢೕ΢ྦྷ܃ݘຄɁ՗ˀ̯ඏᅥࡾѸᅥ྆ؿࠑᅥڈʶઅᘩ༦עஈ ౦Ε޻ݘdᅩݘdዌݘdۂdጱʘҕੱʥውੱᅹಢࠑᅥؿুұeԯАڙ௚А᎚޻୓ ᄤ௿ؿ৉پဳ֞ᅥςdᎻჱࠑᅥ˞ʥཋᄧˀˮʨΪܢ˳ԓݘΈΔ࿫ˮcկ޸௚А ཫᆉొΊeټ˺ᅥe໮ːҡᏵ੡ෙ౜ ˞ےᒚࠖဍ࿵ڲΕܢ˳ʶΛωၤࡥ΁߻उ౜g౜ऋፆʩʥԭร۩ᅥ྆΋Аcעஈ ࠑᅥˀeϊݯ֞ᅥʄࠇۗd௰ᓫဳd෋໔ʥʱ׸ဳϤވ˖ʥΕ๥ɡᐾϷؿ2004α ࠖ࿫eވ˖ผկ޸hܰω࿫ˮȽټᄘؿณАͅ˱ࢬɣਝࡼʼᖚਥ Eternal Sun Melissa Hui (1966-) Melissa Hui was born in Hong Kong and raised in Vancouver.
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    A STUDY OF THE MODERN CHINESE NOVEL, GAP YUBAO ( rtjXE ^ ) AND ITS AUTHOR GAO YUBAO ((|n:E-JE ) CHRISTINE JEANETTE KLEEMEIER B.A., De Pauw University, 1969 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Asian Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1981 D Christine Jeanette Kleemeler In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Christine KLeemeier Department of Asian Studies The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 9 April 1981 ii Abstract Gao Yubao, a soldier in the Chinese People's Liberation Army, was nearly illiterate when he began to write his autobiographical novel, Gao Yubao, in 19^9. The PLA's literary branch helped him finish the novel and after its publication Gao and his struggle to become literate by writing a novel served as an inspiration for others striving for education. Gao Yubao was republished several times up until as late as the 1970's and each time it was republished it was revised.
  • Research Grant – Spring 2014 Faculty Member: John O. Robison Unit: School of Music Project/Proposal Title: Wang Xilin

    Research Grant – Spring 2014 Faculty Member: John O. Robison Unit: School of Music Project/Proposal Title: Wang Xilin

    Research Grant – Spring 2014 Faculty member: John O. Robison Unit: School of Music Project/Proposal Title: Wang Xilin, Human Suffering, and Composition in Twenty-First Century China Abstract: This project is devoted to the works of Chinese composer Wang Xilin. An outspoken critic of the Communist government, Wang was imprisoned during the Cultural Revolution, with no opportunity to develop his mature musical style until he was fifty years old, after the Chinese government relaxed its censorship of Western music during the 1980s. Since he has rarely been allowed to leave China, his music is virtually unknown in Europe and North America. As an intercultural composer who integrates modern Western trends with indigenous Chinese musical styles, his music is incredibly innovative, symbolizing conflicts between oppressed people and their oppressors. Proposal: Wang Xilin’s story is a compelling one that shows his own personal struggles, as an ordinary person of modest means, against oppressive ruling powers: Coming from a poor family background, Wang could not study the music that he wanted to due to government restrictions, was imprisoned for fourteen years during the Cultural Revolution, and could not find his truly distinctive voice as a composer until he was more than half a century old, after the Chinese government allowed people to have exposure to European music written after 1900. One of the few senior Chinese composers to embrace these progressive European styles, Wang also draws inspiration from the Chinese traditional music that he has researched. The driving force behind Wang’s music can be summarized by a statement that he made to this applicant during our interview in Beijing (November 10, 2012): “I want to express the suffering of contemporary people, and the evil of modern China.” A central theme in Wang’s music is the struggles between oppressed people and those who dominate them, and this research will focus on compositions exemplifying this theme.
  • International Journal of Legal English

    International Journal of Legal English

    International Journal of Legal English Volume 2 Issue 2 2014 International Journal of Legal English Volume 2 Issue 2 2014 The International Journal of Legal English Volume 2 Issue 2 September 2014 Chief Editor: Prof. Li LI China University of Political Science and Law Beijing China Chief Australian Advisor Dr. Beata Webb Bond University Australia Published by the English Language Education Publishing 1 International Journal of Legal English Volume 2 Issue 2 2014 © English Language Education Publishing Brisbane Australia This book is in copyright. Subject to statutory exception no reproduction of any part may take place without the written permission of the English Language Education Publishing No unauthorized photocopying All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the. English Language Education Publishing [email protected] Chief Editor: Prof Li Li ISSN (to be assigned) 2 International Journal of Legal English Volume 2 Issue 2 2014 Table of Contents I. The Use of ‘or’ in Post-graduate Student Academic Legal Writing. Paschal Maher ……………………………………………………………………………………… 4 II. Social Semiotic Approach to Civil Judgments in the Mainland of China: Generic Structure Potential Model. Min Dong Nancy, Songdan Buo……………………... 19 III. Legislation Translation in China: A Perspective of Horizontal Equivalence. Luping Zhang……………………………………………………………………………………….. 52 IV. The Progress of Legal Semiotics in China. Hongqin Zhang………………………………….. 70 V. Chinese Translation of Long Sentences in Legal English: From a Contrastive Study Perspective. Xiaojuan Liu ………………………………………………………….. 88 VI. Narrative Study on Witnesses’ Involvement in Their Statements.
  • THE CHINA INSTITUTE Dean Say’S Message the Year of the Sheep Is Said to Herald a Year of Promise and Prosperity, Kindness and Benevolence

    THE CHINA INSTITUTE Dean Say’S Message the Year of the Sheep Is Said to Herald a Year of Promise and Prosperity, Kindness and Benevolence

    THE CHINA INSTITUTE Dean Say’s Message The Year of the Sheep is said to herald a year of promise and prosperity, kindness and benevolence. These are qualities long shared between CSUN’s China Institute and its many partners in China. Over the past 33 years the China Institute has cultivated strong and meaningful relationships with 67 Chinese institutions of higher education, and as a result scores of CSUN students have been awarded full scholarships to pursue their dreams of studying abroad at a versatile array of universities and technical schools. Beginning in the Fall semester, we will welcome a new faculty member who will join our China Studies program and further develop opportunities for our students to study Chinese language and culture. I want to take this opportunity to recognize and thank the China Institute, our Chinese higher education partners, and CSUN’s Tseng College of Graduate, International, and Midcareer Education for their tireless work in moving our students’ academic and career goals forward. And I want to wish everyone a most Dean Say and Dr. Su wish you all a happy, healthy and prosperous Year of the Sheep! successful Year of the Sheep! In connection with the Cultural Exhibit, the China Institute and Director Su’s Review—Year of Oviatt Library Music and Media staff also hosted the longest- the Horse in Focus running Chinese Film Festival at CSUN, showing the multi- award-winning and internationally acclaimed “Mysteries China” Dear Members and Friends of the series of 12 documentaries on China’s 5,000 years of history and China Institute, culture, traditions and modern development for 12 consecutive weeks in the spring semester.
  • VITA YANG HON-LUN, HELAN I. Academic and Professional

    VITA YANG HON-LUN, HELAN I. Academic and Professional

    VITA YANG HON-LUN, HELAN I. Academic and Professional Qualifications Washington University in St. Louis 1998 Ph. D. Musicology University of Texas at Austin 1989 M. M. Musicology Chinese University of Hong Kong 1985 B. A. Music II. Employment History 2011-present Hong Kong Baptist University, Professor 2011-2012 Programme Director of Bachelor of Music Studies (self-funded top-up programme run by the Department of Music in collaboration with College of International Education) 2005-2011 Hong Kong Baptist University, Associate Professor 2008-2009 Hong Kong Baptist University, Acting Head of the Department of Music 1998-2005 Hong Kong Baptist University, Assistant Professor 2006 Nov. Visiting Lecture, taught four sessions of Research Methodology to post-graduate students at University of Hong Kong 1997-1998 Hong Kong Baptist University, Visiting Assistant Professor 1994-1997 Washington University, Teaching Fellow and Teaching Assistant 1992-1994 The Hong Kong Academy for Performing Arts, Lecturer 1989-1992 Washington University in St. Louis, Teaching Assistant 1986-1989 University of Texas at Austin, Teaching Assistant III. Teaching Experience Subjects Taught Mus 1112 History of Western Music I (core subject for Year 1 music majors, class size 30 to 33) Mus 2111, 2112 History of Western Music II (core subject for Year 2 music majors, class size 30 to 33) Mus 3120 Comparative Study of Western and Chinese Music 1 (used to be core subject, but now elective subject for students with a keen interest in research, class size 7 to 16) Mus 1230 Canto-pop, Manda-pop, and Chinese Rock ‘n’ Roll (elective subject open to all university students, class size from 100 to 200) Mus 7370 Music in Chinese and other Societies (MA subject for post-graduate students, class size from 8 to 16) Mus 1672 Class Violin (for non-music majors, class size from 5-12) Teaching Development Grants and Seminars 2012 -2013.
  • JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary

    JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary

    JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary Chinese Composer Zhou Long’s Works for Solo Piano Mongolian Folk-Tune Variations, Wu Kui, and Pianogongs. (2014) Directed by Dr. Andrew Willis. 136 pp. Zhou Long is a Chinese American composer who strives to combine traditional Chinese musical techniques with modern Western compositional ideas. His three piano pieces, Mongolian Folk Tune Variations, Wu Kui, and Pianogongs each display his synthesis of Eastern and Western techniques. A brief cultural, social and political review of China throughout Zhou Long’s upbringing will provide readers with a historical perspective on the influence of Chinese culture on his works. Study of Mongolian Folk Tune Variations will reveal the composers early attempts at Western structure and harmonic ideas. Wu Kui provides evidence of the composer’s desire to integrate Chinese cultural ideas with modern and dissonant harmony. Finally, the analysis of Pianogongs will provide historical context to the use of traditional Chinese percussion instruments and his integration of these instruments with the piano. Zhou Long comes from an important generation of Chinese composers including, Chen Yi and Tan Dun, that were able to leave China achieve great success with the combination of Eastern and Western ideas. This study will deepen the readers’ understanding of the Chinese cultural influences in Zhou Long’s piano compositions. CHINESE AND WESTERN ELEMENTS IN CONTEMPORARY CHINESE COMPOSER ZHOU LONG’S WORKS FOR SOLO PIANO MONGOLIAN FOLK-TUNE VARIATIONS, WU KUI, AND PIANOGONGS by Wei Jiao A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2014 Approved by _________________________________ Committee Chair © 2014 Wei Jiao APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
  • China and the West: Music, Representation, and Reception

    China and the West: Music, Representation, and Reception

    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk.
  • The Legend of Violin Education in China

    The Legend of Violin Education in China

    Bard College Bard Digital Commons Senior Projects Fall 2018 Bard Undergraduate Senior Projects Fall 2018 Lin Yaoji: The Legend of Violin Education in China Bihan Li Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2018 Part of the Chinese Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Li, Bihan, "Lin Yaoji: The Legend of Violin Education in China" (2018). Senior Projects Fall 2018. 39. https://digitalcommons.bard.edu/senproj_f2018/39 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Lin Yaoji—The Legend of Violin Education in China Senior Project Submitted to The Division of Languages and Literature of Bard College by Bihan Li Annandale-on-Hudson, New York December 2018 Acknowledgements Thanks to my advisors, Jindong Cai, Li-hua Ying, and Robert Martin, who have helped me make this project possible. They gave me great inspirations, constructive advice, and constant encouragement. Thanks to my violin teachers, Weigang Li, Laurie Smukler, Jinzhou Zhang, who have given me valuable guidance on the writing of violin techniques.
  • Building a Black Bridge China’S Interaction with African-American Activists During the Cold War

    Building a Black Bridge China’S Interaction with African-American Activists During the Cold War

    Building a Black Bridge China’s Interaction with African-American Activists during the Cold War ✣ Hongshan Li On 24 December 1956, William Worthy, a special correspondent for The Baltimore Afro-American, walked across the Luohu Bridge from Hong Kong. As he set his feet down in Shenzhen, a small town in Guangdong Province, he became the first U.S. journalist to enter the People’s Republic of China (PRC) under an official invitation from the Communist regime. Following Worthy’s example, many African-American activists, including W. E. B. Du Bois, Shirley Graham Du Bois, Robert F. Williams, Mabel Williams, Vicki Garvin, Huey Newton, and Elaine Brown, traveled to and even stayed for ex- tended periods in the PRC over the next decade-and-a-half. As special guests carefully chosen by Beijing, they toured both the cities and the countryside, delivered speeches at mass rallies, and had their writings published in Chi- nese. Once back in the United States, they appeared on television and radio shows, gave public talks, and published articles in journals and newspapers, sharing their experiences in and thoughts about the PRC. With all traditional diplomatic, commercial, and cultural ties between the two countries termi- nated, the visits of these African-American activists not only allowed Beijing to maintain a controlled flow of people and information across the Pacific, but also provided it with a new instrument to engage and challenge Washington on the cultural front in the Cold War. This close interaction between the PRC and a large number of African-American activists was unprecedented in the long history of Sino-American cultural exchange.