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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. -
Full Curriculum Vitae
Chenxiao.Atlas.Guo [email protected] Updated Aug 2021 atlasguo @cartoguophy atlasguo.github.io CURRICULUM VITAE EDUCATION University of Wisconsin-Madison (UW-Madison) (Madison, WI, USA; 2022 Expected) • Ph.D. in Geography (Cartography/GIS), Department of Geography - Core Courses: Graphic Designs in Cartography, Interactive Cartography & Geovisualization; Advanced Quantitative Analysis, Advanced Geocomputing and Big Data Analytics, Geospatial Database, GIS Applications; Seminars in GIScience (VGI; Deep Learning; Storytelling); Natural Hazards and Disasters (audit) • Doctoral Minor in Computer Science, Department of Computer Science - Core Courses: Data Structure, Algorithms, Artificial Intelligence, Computer Graphics, Human-Computer Interaction, Machine Learning (audit) • Research Direction: Spatiotemporal Analytics, Cartographic Visualization, Social Media Data Mining, Natural Disaster Management (bridging geospatial data science, cartography, and social good) • Current GPA: 3.7/4.0 University of Georgia (UGA) (Athens, GA, USA; 2017) • M.S. in Geography (GIS), Department of Geography - Core Courses: Statistical Method in Geography, Geospatial Analysis, Community GIS, Programming for GIS, Seminars in GIScience, Geographic Research Method, Satellite Meteorology and Climatology, Seminar in Climatology, Urban Geography (audit), Psychology (audit) • Research Direction: Location-based Social Media, Sentiment Analysis, Urban Spatiality, Electoral Geography • GPA: 3.7/4.0 Sun Yat-Sen University (SYSU) (Guangzhou, China; 2015) • B.S. in Geographic -
Chinese Zheng and Identity Politics in Taiwan A
CHINESE ZHENG AND IDENTITY POLITICS IN TAIWAN A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC DECEMBER 2018 By Yi-Chieh Lai Dissertation Committee: Frederick Lau, Chairperson Byong Won Lee R. Anderson Sutton Chet-Yeng Loong Cathryn H. Clayton Acknowledgement The completion of this dissertation would not have been possible without the support of many individuals. First of all, I would like to express my deep gratitude to my advisor, Dr. Frederick Lau, for his professional guidelines and mentoring that helped build up my academic skills. I am also indebted to my committee, Dr. Byong Won Lee, Dr. Anderson Sutton, Dr. Chet- Yeng Loong, and Dr. Cathryn Clayton. Thank you for your patience and providing valuable advice. I am also grateful to Emeritus Professor Barbara Smith and Dr. Fred Blake for their intellectual comments and support of my doctoral studies. I would like to thank all of my interviewees from my fieldwork, in particular my zheng teachers—Prof. Wang Ruei-yu, Prof. Chang Li-chiung, Prof. Chen I-yu, Prof. Rao Ningxin, and Prof. Zhou Wang—and Prof. Sun Wenyan, Prof. Fan Wei-tsu, Prof. Li Meng, and Prof. Rao Shuhang. Thank you for your trust and sharing your insights with me. My doctoral study and fieldwork could not have been completed without financial support from several institutions. I would like to first thank the Studying Abroad Scholarship of the Ministry of Education, Taiwan and the East-West Center Graduate Degree Fellowship funded by Gary Lin. -
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. -
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. -
Bell Type Instruments • Bamboo Vibraphone • Belltree • Bhutan Bells
Bell Type Instruments Bamboo Vibraphone Iran Fingercymbals Tibetan Cymbals Belltree Metallophon Tibetan Singing Bells Bhutan Bells Mini Bells Vietnam Bells China Finger Cymbals Saron Gamelan Windbells Dream Catcher Shanghai Baby Piano Windchimes Ethno Gamelan Crash Bells Small Burma Bells World Glockenspiel Small Tubular Bells Bowed Instruments Gaohu Dilruba Ih Khuur Bass Morin Khuur Violin Egyptian Fiddle Jinghu Operaviolin Small Morin Khuur Erhu Morin Khuur Strings Western Fiddle Licks Esraj Ensemble CONSTRUCTION SETS China Set 100 Mid East Set 100 China Set 120 Mid East Set 120 Mid East Set 80 China Set 140 Mid East Set 140 GONGS & BOWLS Big FengGong Big Rako Bowls Java Gong Tam Tam Besar “ Big Tibetan Singing Mongolian Gong Thai Gong 14 Bowls Rin Singing Bowls Wuhan Tam Tam “ Gong Besar 18 KEYED INSTRUMENTS Scale Changer Dallape Accordion Melodica Harmonium India METAL TYPE INSTRUMENTS Kalimba Kibirizi 15 Bass Kalimba tuning Plates Metal Squares Cymbals Kalimba Kibirizi 5 Military Cymbals Hand Cymbals tuning Plates Mongolian Jews Harp Jews Harp Kalimba Hugh Tracey STRINGED INSTRUMENTS Acoustic Bass Vester Domra Sitar Balalaika Dra-Ngen Small Erhu Plectrum Bandura Grand Monochord Violin Banjo Framus Joochin Dulcimer Small Kantele Banjolin Kantele Steel String Guitar Big Erhu Plectrum Mandolin Truxa Falcon Violin Oud Tampura Bouzouki Sakis Oud Licks Tanbur Ceylon Guitar Resonator Guitar Timple Contra Guitar F - Bass Santoor Saberi Turke Saz Cora -
Association for Chinese Music Research Bibliography 2016
Association for Chinese Music Research Bibliography 2016 Compiled by Alec McLane Books & Conference Proceedings: Chabrowski, Igor Iwo. 2015. Singing on the River : Sichuan Boatmen and Their Work Songs, 1880s - 1930s. China Studies; 32. Leiden: Boston. [ISBN: 9789004305632] Chan, Sau-yan. 2015. 书谱絃歌: 二十世纪上半叶粤剧音乐著述研究 (Shu Pu Xian Ge: Er Shi Shi Ji Shang Ban Ye Yue Ju Yin Yue Zhu Shu Yan Jiu) [Early Twentieth Century Publications and Studies on Cantonese Operatic Music]. Hong Kong: Xianggang yue ju xue zhe xie hui. [ISBN: 9789881400307] Chen, Yu. 2015. 唱响和平: 中国人民抗日战争 世界反法西斯战争 精选歌曲 200 首 (Chang Xiang He Ping: Zhongguo Ren Min Kang Ri Zhan Zheng, Shi Jie Fan Faxisi Zhan Zheng, Jing Xuan Ge Qu 200 Shou) [Sing For Peace]. Beijing: Dang dai shi jie chu ban she. [ISBN: 9787509010501] Chiu, Elena Suet-Ying. 2017. Bannermen Tales (Zidishu) : Manchu Storytelling and Cultural Hybridity in the Qing Dynasty. Harvard-Yenching Institute Monographs; 105. Cambridge, MA: Harvard University Asia Center. [ISBN: 9780674975194] Dai, Dingcheng. 2015. Catholic Music in Macao in the Twentieth Century: Music Writers and Their Works in a Unique Historical Context. Trans. Tang, Yating. Macao: Cultural Affairs Bureau of the Macao S.A.R. Government. [ISBN: 9789993702429] Fu, Jingqi, et al., eds. 2015. Chinese Ethnic Minority Oral Traditions : A Recovered Text of Bai Folk Songs in a Sinoxenic Script. Amherst, New York: Cambria Press. Cambria Sinophone World Series. [ISBN: 9781604978957] Gesang Qujie. 2015. 中国西藏佛教寺院仪式音乐研究 (Zhongguo Xizang Fo Jiao Si Yuan Yi Shi Yin Yue Yan Jiu) [A Study of the Music Rituals and Practices in Tibetan Buddhist Temples]. National Achievements Library of Philosophy and Social Sciences. -
The Interaction of Cello and Chinese Traditional Music
The Interaction of Cello and Chinese Traditional Music BY LAN JIANG Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Dr. Paul Laird Mr. Edward Laut Mr. David Leslie Neely Dr. Martin J. Bergee Dr. Bryan Kip Haaheim Defense Date: May 25, 2017 i The Dissertation Committee for Lan Jiang certifies that this is the approved version of the following dissertation: The Interaction of Cello and Chinese Traditional Music Chairperson Dr. Paul Laird Date approved: May 30, 2016 ii Abstract This document concerns the interaction of the cello and Chinese traditional music with an emphasis on three major areas. An historical introduction to western music in China includes descriptions of its early appearances and development, musical education influences, and how the cello became an important instrument in China. The second section is a discussion of techniques of western music and Chinese traditional music as used by Chinese composers, who write works in both styles separately and in admixtures of the two. The third section is a description of four Chinese works that include cello: “《二泉印月》” (Reflection of Moon in Er-Quan Spring), 《“ 川腔》” (The Voice of Chuan), “《渔舟唱晚》” (The Melodies of the Fishing Night), and “《对话集 I》” (Dialogue I). Analysis of these four works helps show how the cello has been assimilated into Chinese traditional music in both solo and ensemble fields, with specific looks at incorporating traditional performing techniques on the cello, the imitation of programmatic themes and aspects of Chinese culture in such works, and complex issues concerning aspects of performance. -
MUSIC INSPIRED by the MOVING IMAGE 4—16 May
MUSIC INSPIRED BY THE MOVING IMAGE 4—16 May MSO In Concert Program MSO Principal Partner Supported by What’s On May — August Beethoven’s Symphony No.7 Education Week Britten’s War Requiem FRIDAY 22 MAY MONDAY 1 JUNE TO THURSDAY 11 JUNE SATURDAY 23 MAY SATURDAY 6 JUNE FRIDAY 12 JUNE MONDAY 25 MAY Join the MSO and internationally Benjamin Britten’s War Requiem, One of the world’s most sought- acclaimed music educator, Paul a haunting piece interweaving the after composers, Matthias Pintscher, Rissmann, for the MSO’s fifth annual traditional Latin Mass for the Dead returns to conduct the Australian Education Week at the Melbourne with the works of First World War premiere of idyll, an MSO co- Town Hall and Hamer Hall, with a poet Wilfred Owen, is paired with commission, in a program that series of events for schools and the profoundly moving Elegy in also includes Beethoven’s Seventh families which integrate learning and memoriam Rupert Brooke. Symphony and Saint-Saëns’s Third entertainment, and foster a lifelong Violin Concerto with Karen Gomyo. love of music. Mahler 4 Yuja Wang Plays Prokofiev Tchaikovsky’s FRIDAY 19 JUNE THURSDAY 23 JULY Piano Concerto No.1 SATURDAY 20 JUNE FRIDAY 24 JULY FRIDAY 7 AUGUST MONDAY 22 JUNE SATURDAY 25 JULY SATURDAY 8 AUGUST A milestone in the MSO’s musical Chinese piano superstar Yuja Wang MONDAY 10 AUGUST evolution, Sir Andrew Davis’ brings her acclaimed virtuosity to The very epitome of Romantic Mahler Cycle series returns for Prokofiev’s tempestuous Second music, Tchaikovsky’s Piano Concerto its fourth chapter, alongside Piano Concerto. -
A Chinese New Year Concert with the Orchestra Now
US-CHINA MUSIC INSTITUTE OF THE BARD COLLEGE CONSERVATORY OF MUSIC CENTRAL CONSERVATORY OF MUSIC, CHINA THE SOUND OF SPRING A CHINESE NEW YEAR CONCERT WITH THE ORCHESTRA NOW JANUARY 25 AND 26, 2020 SOSNOFF THEATER, FISHER CENTER AT BARD COLLEGE ROSE THEATER, JAZZ AT LINCOLN CENTER’S FREDERICK P. ROSE HALL Welcome to the first annual Chinese New Year concert with The Orchestra Now, presented by the US-China Music Institute of the Bard College Conservatory of Music. This is a happy, optimistic time of year to honor family and wish one another good fortune, while enjoying the season’s many THE SOUND OF SPRING traditions. I am delighted that you have chosen to join us for today’s celebration. A CHINESE NEW YEAR CONCERT WITH THE ORCHESTRA NOW This year’s program, The Sound of Spring, features many extraordinary musicians on the distinguished faculty of our copresenter, the Central Conservatory of Music in Beijing, China. I would like to thank Saturday, January 25 at 7 pm President Yu Feng of the Central Conservatory, as well as our guests today: conductor Chen Bing; and Sosnoff Theater, Fisher Center for the Performing Arts soloists Wang Jianhua on percussion, Wang Lei on sheng, Yu Hongmei on erhu, Zhang Hongyan on pipa, and Zhang Weiwei on suona. Thanks also to folk singer Ji Tian, who has traveled from Shaanxi Sunday, January 26 at 3 pm Province, in Northwest China, to take part in today’s concert. In this program you will learn more about Rose Theater, Jazz at Lincoln Center’s Frederick P. -
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. -
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Advances in Social Science, Education and Humanities Research, volume 119 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017) The Development of China 's Over - Seven - holes Hulusi Music Hongfei Liu School of Music, Hubei Engineering University, Xiaogan Hubei, 432000,China Key words: Over seven holes Hulusi, Hulusi music, Li Chunhua. Abstract. In this paper, the advantages and disadvantages of Over seven holes Hulusi and the traditional Hulusi were compared and analyzed. The basic conclusion of the analysis of the results, the present situation and the development potential of the super-seven-hole Hulusi is that the super-seven-hole Hulusi is still in the primary stage of development, and there are contradictions in the process of developing communication with the traditional Hulusi, But the development of Over seven holes Hulusi is the direction of the development of Hulusi, and the traditional Hulusi is also the basis of Over seven holes Hulusi, in the development process of Over seven holes Hulusi to learn from the traditional Hulusi excellent development experience. Over seven holes Hulusi instrument Hulusi music in recent years in the social music has been widely disseminated, showing a hot situation, Hulusi music performance theme is also increasingly rich, but the traditional Hulu instrument because of its sound field performance and other defects, has been in the gourd Silk music development process reflects a larger problem. In order to make Hercules music to sustainable development, in recent years, many people in the Hulusi industry began to improve the traditional gourd instruments. Such as: the 20th century, 70 years Hulusi artist Yu Tianyou according to their own playing experience, and proposed and Hulusi Craftsman Liu Zhen jointly developed a double master tube, four pipe, six pipe gourds, and in the reform of the Hulusi On the basis of the key to the test, which created a 17-degree, six-tube tone gourd silk.