Bowed Stringed Instruments
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Dictionary of the Chuj (Mayan) Language
A DICTIONARY OF THE CHUJ (MAYAN) LANGUAGE As Spoken in San Mateo Ixtatán, Huehuetenango, Guatemala ca. 1964-65 CHUJ – ENGLISH WITH SOME SPANISH GLOSSES Nicholas A. Hopkins, Ph. D. © Jaguar Tours 2012 3007 Windy Hill Lane Tallahassee, Florida 32308 [email protected] i A DICTIONARY OF THE CHUJ (MAYAN) LANGUAGE: INTRODUCTION Nicholas A. Hopkins The lexical data reported in this Chuj-English dictionary were gathered during my dissertation field work in 1964-65. My first exposure to the Chuj language was in 1962, when I went to Huehuetenango with Norman A. McQuown and Brent Berlin to gather data on the languages of the Cuchumatanes (Berlin et al. 1969). At the time I was a graduate student at the University of Texas, employed as a research assistant on the University of Chicago's Chiapas Study Projects, directed by McQuown (McQuown and Pitt-Rivers 1970). Working through the Maryknoll priests who were then the Catholic clergy in the indigenous areas of Huehuetenango and elsewhere in Guatemala, we recorded material, usually in the form of 100-word Swadesh lists (for glottochronology), from several languages. The sample included two speakers of the Chuj variety of San Mateo Ixtatán (including the man who was later to become my major informant). In the Spring of 1962, as field work for the project wound down, I returned to Austin to finish drafting my Master's thesis, and then went on to Chicago to begin graduate studies in Anthropology at the University of Chicago, with McQuown as my major professor. I continued to work on Chiapas project materials in McQuown's archives, and in 1963 he assigned me the Chuj language as the topic of my upcoming doctoral dissertation. -
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Advances in Social Science, Education and Humanities Research, volume 213 4th International Conference on Humanities and Social Science Research (ICHSSR 2018) Discussion on the Coordinated Development and Innovation of National Music and Contemporary Multicultural Music Education Guo Wei College of Arts, Xiamen university,Xiamen,361000 Keywords: Multicultural music education, national music, innovation, development Abstract. The existence of music culture determines that music education is a certain form of human music culture, while music education, as a certain form of music culture, acts against a certain musical culture, making music education a profound cultural and spiritual connotation,and music Education plays an important role in the inheritance and development of national music culture. Only when we pay more attention to the humanistic connotation of music education, can we put music education research in the background of music culture, and music education will have vitality. The function of multicultural music education is to give full play to the cultural inheritance function of music education, and make music education become a musical culture form with profound national background in the heritage of music culture. This article is based on the background of multicultural music education. In view of the present situation of China's national music inheritance and development, this paper analyzes the problems in the practice of national music teaching under the multicultural background and puts forward the corresponding solutions,at the same time,Let students know more about the basic characteristics of Chinese folk music and the outstanding national culture behind it. 1. INTRODUCTION National music is a characteristic musical art form that can demonstrate national culture, which fully embodies the connotation and national spirit of national culture. -
Season 2017-2018
23 Season 2017-2018 Wednesday, November 1, at 7:30 China’s National Centre for the Performing Arts Orchestra Lü Jia Conductor Ning Feng Violin Gautier Capuçon Cello Zhao Jiping Violin Concerto No. 1 (in one movement) Chen Qigang Reflection of a Vanished Time, for cello and orchestra United States premiere Intermission Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso—Poco meno presto—Tempo I IV. Allegro energico e passionato—Più allegro This program runs approximately 1 hour, 50 minutes. China’s National Centre for the Performing Arts Orchestra’s 2017 US Tour is proudly supported by China National Arts Fund. International Flight Sponsor: Hainan Airlines Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 24 Conductor Lü Jia is artistic director of music of the National Centre for the Performing Arts (NCPA) in Beijing, China, as well as music director and chief conductor of the NCPA Orchestra. He is also music director and chief conductor of the Macao Orchestra. He has served as music director of Verona Opera in Italy and artistic director of the Tenerife Symphony in Spain. Born into a musical family in Shanghai, he began studying piano and cello at a very young age. He later studied conducting at the Central Conservatory of Music in Beijing, under the tutelage of Zheng Xiaoying. At the age of 24 Mr. Lü entered the University of Arts in Berlin, where he continued his studies under Hans- Martin Rabenstein and Robert Wolf. -
Plucked Stringed Instruments
Plucked Stringed Instruments Fig. 2.1: The Pipa 18 Pipa 2 琵琶 Pipa HISTORY The grand dame of plucked stringed instruments, the pipa is one of the most expressive instruments in the Chinese orchestra (Fig. 2.1). Recent moves by some major Chinese orchestras include removing the instrument entirely from the orchestral formation due to its overpowering character and inability to blend. Its techniques, however, are applied to almost every plucked stringed instrument and its concepts have been borrowed for the reformations of various plucked stringed instruments. The term pipa used today refers to the lute-shaped instrument which comprises of four strings and a fretted soundboard of 20 to 25 frets. In the ancient Chinese dynasties of Sui and Han, the term pipa was generic for any instrument that was plucked or had a plucked string aspect to it. The word pipa is made up of two Chinese characters – 琵 pi and 琶 pa1. The words describe how the instrument is played and the sounds it produced. The forward plucking of the string using one’s right hand was termed pi, and the backward plucking of the string with the right hand was termed pa. The first recorded connotation to the word pipa was found in 刘熙 Liu Xi’s <<释名>> Shi Ming, where it was recorded as piba2. Although greatly associated with the Chinese, the pipa is not native to China; the instrument was introduced to China by Asia Minor over 2000 years ago. As the instrument is foreign, its counterparts in the forms of lutes and mandolins can still be found in Central and Western Asia. -
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International Conference on Education, Management and Computing Technology (ICEMCT 2015) Birth and Research of Erhu Concerto Jindi Zhang Art College, Shandong University, Weihai, 264209, China Keywords: Erhu; Concerto Abstract. Erhu concerto is a type of music which was born under integration of Chinese and western cultures. It is one of the most typical solo concertos in Chinese national musical instruments. Since the establishment of new China, Erhu concerto has developed rapidly. It gained different development in four historical periods: before the reform and opening-up, 1980s, 1990s and the 21st century. Erhu concerto generates significant influence on development of Erhu music and occupies an important position in development history of Erhu music. Birth of Erhu concerto Since the 20th century, Erhu concerto born under multi-culture development is a kind of new music expression form. It derives from European music, but is different from European music. In 1930s, Erhu divertimento The Death of Yang Yuhuan created by Russian Jewish composer AapoHABUiajiyMOB (1894-1965) consists of 6 songs and adopts the form of Erhu and symphony orchestra. This is the earliest Erhu concerto recorded in the history and originated from the melody of self-created song Evening Scene of Ynag Yuhuan in 1936. In Yearbook of Chinese Music (2002), Mr. Zheng Tisi said in his memoirs that, this works was performed in public in Shanghai Lanxin Theater. The band was Shanghai Municipal Council Orchestra. The outstanding folk music performer Mr. Wei Zhonglei took charge of Erhu solo, and the composer was responsible for commanding. Such manifestation pattern of Erhu music was certain far-sighted in the development of world music and also reflected world culture had walked out of European cultural circle and went to other developing countries. -
Preliminary Pages
UNIVERSITY OF CALIFORNIA Los Angeles Ascending the Hall of Great Elegance: the Emergence of Drama Research in Modern China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Hsiao-Chun Wu 2016 © Copyright by Hsiao-Chun Wu 2016 ABSTRACT OF THE DISSERTATION Ascending the Hall of Great Elegance: the Emergence of Drama Research in Modern China by Hsiao-Chun Wu Doctor of Philosophy in History University of California, Los Angeles, 2016, Professor Andrea Sue Goldman, Chair This dissertation captures a critical moment in China’s history when the interest in opera transformed from literati divertissement into an emerging field of scholarly inquiry. Centering around the activities and writings of Qi Rushan (1870-1962), who played a key role both in reshaping the modes of elite involvement in opera and in systematic knowledge production about opera, this dissertation explores this transformation from a transitional generation of theatrical connoisseurs and researchers in early twentieth-century China. It examines the many conditions and contexts in the making of opera—and especially Peking opera—as a discipline of modern humanistic research in China: the transnational emergence of Sinology, the vibrant urban entertainment market, the literary and material resources from the past, and the bodies and !ii identities of performers. This dissertation presents a critical chronology of the early history of drama study in modern China, beginning from the emerging terminology of genre to the theorization and the making of a formal academic discipline. Chapter One examines the genre-making of Peking Opera in three overlapping but not identical categories: temporal, geographical-political, and aesthetic. -
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. -
Banhu Playing Techniques in Northern China Yun Meng a Thesis Submitted in Partial Fulfillment of Requirements for Degree of Doct
Banhu Playing Techniques in Northern China Yun Meng A Thesis Submitted in Partial Fulfillment of Requirements for degree of Doctor of Philosophy in Music February 2021 Copyright of Mahasarakham University เทคนิคการบรรเลงของซอบา่ นหู ในภาคเหนือ ของประเทศจีน วิทยานิพนธ์ ของ Yun Meng เสนอต่อมหาวทิ ยาลยั มหาสารคาม เพื่อเป็นส่วนหน่ึงของการศึกษาตามหลกั สูตร ปริญญาปรัชญาดุษฎีบัณฑิต สาขาวิชาดุริยางคศิลป์ กุมภาพันธ์ 2564 ลิขสิทธ์ิเป็นของมหาวทิ ยาลยั มหาสารคาม Banhu Playing Techniques in Northern China Yun Meng A Thesis Submitted in Partial Fulfillment of Requirements for Doctor of Philosophy (Music) February 2021 Copyright of Mahasarakham University The examining committee has unanimously approved this Thesis, submitted by Mr. Yun Meng , as a partial fulfillment of the requirements for the Doctor of Philosophy Music at Mahasarakham University Examining Committee Chairman (Assoc. Prof. Wiboon Trakulhun , Ph.D.) Advisor (Asst. Prof. Sayam Juangprakhon , Ph.D.) Committee (Asst. Prof. Peerapong Sensai , Ph.D.) Committee (Asst. Prof. Khomkrit Karin , Ph.D.) Committee (Assoc. Prof. Phiphat Sornyai ) Mahasarakham University has granted approval to accept this Thesis as a partial fulfillment of the requirements for the Doctor of Philosophy Music (Asst. Prof. Khomkrit Karin , Ph.D.) (Assoc. Prof. Krit Chaimoon , Ph.D.) Dean of College of Music Dean of Graduate School D ABSTRACT TITLE Banhu Playing Techniques in Northern China AUTHOR Yun Meng ADVISORS Assistant Professor Sayam Juangprakhon , Ph.D. DEGREE Doctor of Philosophy MAJOR Music UNIVERSITY Mahasarakham University YEAR 2021 ABSTRACT The purpose of this thesis is to study the technique and application of Banhu. The purposes of this study are: 1) to examine the history of Banhu in northern China; 2) to classify banhu according to the difficulty of his playing skills; 3) to analyze selected music examples. -
Printer-Friendly Receipt
Printer-Friendly Receipt https://www.musicalamerica.com/news/printarticle.cfm?sid=41537&ci... Wu Man's Pipa Spotlighted with Taipei Chinese Orchestra By Clive Paget , Musical America November 12, 2018 Wu Man, pipa player extraordinaire and founding member of the Silk Road Ensemble, was named Instrumentalist of the Year by Musical America in 2013. Five years on, her Carnegie Hall mainstage appearance with the internationally acclaimed Taipei Chinese Orchestra was both a chance to hear why, and, with the orchestra presenting four representative works in their U.S. premieres, the perfect introduction to the repertoire. Forgive the digression, but for those unfamiliar with the sound and makeup of a “Chinese Orchestra,” here’s a crash course. First, there are a number of key similarities with their Western cousins, chiefly the use of cellos and double basses to create the lower string sounds, but also the inclusion of harp and a common deployment in the percussion of timpani, cymbals, and tam tam. Then there are the similar but different instruments, like the bamboo flutes (the zhongdi and the dadi ), and an array of Chinese percussion, some of it familiar perhaps from “exotic” 20th-century scores like Turandot . Lastly, there are the uniquely Chinese instruments. An array of plucked lute-like instruments that include the pipa , the liuqin , the zhongruan, and the daruan (defined by their different sizes and different numbers of strings) sit alongside hammered and plucked dulcimers and zithers like the yangqin and the guzheng , which add to the characteristically glittering mid-range sound of the orchestra. At the apex of the sound sit the erhus , a phalanx of gentle two-string fiddles (held on the lap and bowed low down) that essentially take the place of violins and violas. -
2019 Huain Cup International Chinese Instrument Competition
2019 Huain Cup International Chinese Instrument Competition The Chinese Musicians Association of America (CMAA) and the Central Conservatory of Music of China announced the sixth “Huain Cup” International Chinese Instrument Competition. The event is supported by the Ministry of Culture of China and the Chinese Musicians Association of China. It belongs to the Chinese National Music Development Project approved by the Ministry of Culture. The competition aims to promote the inheritance of Chinese traditional culture, to discover talents, promote cultural exchange and strengthen friendship among different countries and regions. Previous competitions has been published and widely praised by the Chinese Consulate in the United States on the website of the Ministry of Culture and the Ministry of Foreign Affairs. Honorary President ★ Feng Yu: Conductor, educator, president of Central Conservatory of Music Honorary Chief Judge ★ Hongmei Yu: Erhu soloist, educator, vice-president of Central Conservatory of Music Committee Chair ★ Yongping Tian: President of Chinese Musicians Association of America Committee Vice-chair ★ Chen Shen: Banhu soloist, educator, professor of China Conservatory of Music Chief Judge ★ Hongyan Zhang: Pipa soloist, educator, Chair of Chinese Traditional Instrument Department of Central Conservatory of Music Artistic Director ★ Jindong Cai: Director of US-China Music Institute of Bard College Conservatory of Music Director of Committee ★ Junzhi Cui: Guest professor of China Conservatory of Music Deputy Director of Committee ★ Hecheng Liu: Director of CCOM Exam and deputy director of Chinese Musicians Association of America ★ First class composers, theorists, and performers from China and abroad will also be serving on the panel of judges. Competition Guidelines: A. Competition Categories ● Discipline: Solo for plucked instruments, string instruments, wind instruments, and percussion. -
Lu Yen List of Complete Music Works
Lu Yen─List of Complete Music Works Title : Waltz Finished Time : 1964 Instrumentation : Soprano Clarinet in Eb (1), Soprano Clarinet in Bb (3),Alto Clarinet in Eb (1), Bass Clarinet in Bb (1),Bass Clarinet in Eb (1) Total : 11 Pages Title : Septet Finished Time : 1967 Instrumentation : Flute, Clarinet in Bb, French Horn in F,Trumpet in Bb,Cello, Percussion groups (2) Total : 19 Pages Title : Quartet Finished Time : 1969 Instrumentation : Flute,Piano, Bass Trombone, Percussion Total : 22 Pages Title : Quartet Finished Time : 1970 Instrumentation : Clarinet in Bb, Bass, Tuba, Percussion groups (2) Total : 17 Pages Title : To A Little, White Flower (unfinished) Finished Time : 1970 Instrumentation : Symphony Orchestra Total : 86 Pages Title : Sonata for Violin and Piano Finished Time : 1971 Instrumentation : Violin and Piano Total : 38Pages Title : Long Tao Sha【Lang Tao Sha】 Finished Time : 1973 Instrumentation : Medium Voice,Flute,B flat Clarinet , Violin, Cello, Percussion Total : 33 Pages Title : Ching Pin TiaoI【Qing Ping Diao I】(unfinished) Finished Time : 1978 Instrumentation : Chamber Orchestra Total : 56Pages Title : I Jiang Nan II【Yi Jiang Nan II】(Music for Chamber Orchestra) Finished Time : 1979 Instrumentation : Chamber Orchestra Total : 57Pages Title : Four Preludes for Solo Piano Finished Time : 1979 Instrumentation : Piano Total : 22Pages Title : Music for Oboe and Percussion Finished Time : 1979 Instrumentation : Oboe and Percussion Total : 23Pages Title : Dusk Finished Time : 1980 Instrumentation : Concert Band Total : 69Pages -
Teachers' Guide to Set Works and the World Focus
Cambridge Secondary 2 Teachers’ Guide to set works and the World Focus Cambridge IGCSE® (9–1) Music 0978 For centres in the UK For examination in June and November 2019. Version 1 Cambridge International Examinations is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which itself is a department of the University of Cambridge. UCLES retains the copyright on all its publications. Registered centres are permitted to photocopy any material that is acknowledged to a third party even for internal use within a centre. ® IGCSE is the registered trademark Copyright © UCLES September 2017 Contents Felix Mendelssohn (1809–1847) .......................................................................2 Italian Symphony No. 4 in A major Op. 90 (Movements 2 and 4) 2 1 Background 2 2 Instruments 3 3 Directions in the score 3 4 Techniques 4 5 Structure and form 5 6 Commentary 6 Wolfgang Amadeus Mozart (1756–1791) ......................................................10 Clarinet Concerto in A major, K622 (Movement 1) 10 1 Background 10 2 Instruments 11 3 Directions in the score 12 4 Techniques 12 5 Structure and form 13 6 Commentary 14 World Focus for 2019: China ...........................................................................18 The ensemble music of China 18 1 Historical background 18 2 Types of silk-and-bamboo ensemble 19 3 Overall musical features of Chinese music 24 4 Notation and transmission 25 Cambridge IGCSE (9–1) Music 0978 Teachers’ Guide to set works and The World Focus for 2019. Felix Mendelssohn (1809–1847) Italian Symphony No. 4 in A major Op. 90 (Movements 2 and 4) There are a few small differences between editions of the score of this work (e.g.