Bitiruv Malakaviy Ishi
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Singapore Chinese Orchestra Instrumentation Chart
Singapore Chinese Orchestra Instrumentation Chart 王⾠威 编辑 Version 1 Compiled by WANG Chenwei 2021-04-29 26-Musician Orchestra for SCO Composer Workshop 2022 [email protected] Recommendedabbreviations ofinstrumentnamesareshown DadiinF DadiinG DadiinA QudiinBb QudiinC QudiinD QudiinEb QudiinE BangdiinF BangdiinG BangdiinA XiaodiinBb XiaodiinC XiaodiinD insquarebrackets ˙ ˙ ˙ #˙ ˙ ˙ #˙ ˙ ˙ 2Di ‹ ˙ ˙ ˙ ˙ #˙ [Di] ° & ˙ (Transverseflute) & ˙ ˙ ˙ ˙ ¢ ˙ ˙ ˙ ˙ b˙ ˙ ˙ ˙ s˙ounds 8va -DiplayerscandoubleontheXiaoinForG(samerangeasDadiinForG) -ThischartnotatesmiddleCasC4,oneoctavehigherasC5etc. #w -WhileearlycompositionsmightdesignateeachplayerasBangdi,QudiorDadi, -8va=octavehigher,8vb=octavelower,15ma=2octaveshigher 1Gaoyin-Sheng composersareactuallyfreetochangeDiduringthepiece. -PleaseusethetrebleclefforZhonghupartscores [GYSh] ° -Composerscouldwriteonestaffperplayer,e.g.Di1,Di2andspecifywhentousewhichtypeofDi; -Pleaseusethe8vbtrebleclefforZhongyin-Sheng, (Sopranomouthorgan) & ifthekeyofDiislefttotheplayers'discretion,specifyatleastwhetherthepitchshould Zhongyin-GuanandZhongruanpartscores w soundasnotatedor8va. w -Composerscanrequestforamembranelesssound(withoutdimo). 1Zhongyin-Sheng -WhiletheDadiandQudicanplayanother3semitonesabovethestatedrange, [ZYSh] theycanonlybeplayedforcefullyandthetimbreispoor. -ForeachkeyofDi,thesemitoneabovethelowestpitch(e.g.Eb4ontheDadiinG)sounds (Altomouthorgan) & w verymuffledduetothehalf-holefingeringandisunsuitableforloudplaying. 低⼋度发⾳ ‹ -Allinstrumentsdonotusetransposednotationotherthantranspositionsattheoctave. -
Listening to Chinese Music
Listening to Chinese Music 1 Listening to Chinese Music This article is an English translation of part of the book Listening to Chinese Music 《中國音樂導賞》edited by Chuen-Fung Wong (黃泉鋒) and published by the Hong Kong Commercial Press in 2009 as a project of the Chinese Music Archive of the Chinese University of Hong Kong. With the permission by the Chinese Music Archive, this article is uploaded onto the Education Bureau’s website for teachers’ and students’ reference. As for the recordings of selected music, please refer to the CDs accompanying the printed copy of the Chinese version. © The Chinese Music Archive, the Chinese University of Hong Kong. All rights reserved. No part of this publication can be reproduced in any form or by any means. 2 Contents Foreword…………………………………………………………………………………..5 Translator’s Preface……………………………………………………………………….6 Chapter 1 Modern Chinese Orchestra ............................................................................. 8 Section 1 The Rise of the Modern Chinese Orchestra ......................................................... 9 Section 2 Instruments Used in the Modern Chinese Orchestra .......................................... 10 Section 3 The Characteristics of Chinese Orchestral Music and Its Genres ....................... 11 Section 4 The “Improvement” of Chinese Instruments ...................................................... 13 Section 5 The Development of Modern Chinese Orchestra ............................................... 15 Listening Guide ................................................................................................................... -
Ethnomusicology 126: Musical Practices of the World Fall and Winter Quarter 2012 – Tuesday and Thursday 11:00Am-1:00Pm, Friday Discussion Section
Ethnomusicology 126: Musical Practices of the World Fall and Winter Quarter 2012 – Tuesday and Thursday 11:00am-1:00pm, Friday Discussion Section Instructor: Brian Hogan University of California, Santa Cruz Department of Anthropology office: Social Sciences II 410 e-mail: [email protected] office hours: by appointment classroom: Social Sciences I 210 COURSE DESCRIPTION This upper division course in ethnomusicology provides an introduction to selected musical cultures of the world. Focusing on differences in musical practice, the goal of the course is to convey both the breadth and diversity of music from the world over, critically examining some of the numerous cultural frameworks through which music created, conceived, and valued. Through this anthropologically oriented survey, we come across many issues surrounding the interrelatedness of music with other cultural areas, including language, dance, visual art, religion and spirituality, style and identity, modernization and cultural change, and many other issues. We will examine music across several different historical periods throughout the quarter, drawing upon a variety of studies to develop anchor points of understanding on several continents while attending to both traditional and contemporary styles. The course consists of several units divided by geographic area, and organized according to the prominent or unique musical characteristics of a particular region or style. The format of the class is a series of modified lectures, which incorporate musical examples through audio, video, and in-class performances. No musical background is required for this class, aside from a keen interest and enthusiasm for music and musical activity. COURSE REQUIREMENTS Regular attendance in class and Friday sections is required, as well as the completion of all three written assignments, as well as the midterm and final exams. -
NACCL-20 Proceedings Volume 2
Proceedings of The 20th North American Conference on Chinese Linguistics (NACCL-20) Dedicated to Professor Edwin G. Pulleyblank in honor of his 85th birthday VOLUME 2 East Asian Studies Center Edited by 25-27 April 2008 Marjorie K.M.Chan Columbus, Ohio and Hana Kang Cover graphics designer: Graeme Henson Printing manager: Jennifer McCoy Bartko © Cover design and front matters by NACCL-20 2008 © All papers copyrighted by the authors 2008 Proceedings of the 20th North American Conference on Chinese Linguistics (NACCL-20). Volume 2 / edited by Marjorie K.M. Chan and Hana Kang ; contributors, Edwin G. Pulleyblank … [et al.] p. cm. ISBN: 978-0-9824715-1-7 1. Chinese language—Congresses. For information on NACCL-20 (held on 25-27 April 2008, Columbus, Ohio), visit our website at http://chinalinks.osu.edu/naccl-20/ Published by: East Asian Studies Center The Ohio State University 314 Oxley Hall 1712 Neil Avenue Columbus, Ohio 43210 USA easc.osu.edu Printed and bound by UniPrint, 2500 Kenny Road, Columbus, Ohio, USA. CONTENTS OF VOLUME 1 Page Preface ….…….………....………….……..…...…..………………...……...…... ix Acknowledgements ….…….………....………….……..…...…..….....……...…... xi History of NACCL: The first two decades ……..……......….…..….....……...…... xiii Dedication to Professor Edwin G. Pulleyblank ……..……...……..…………..…... xix ICS Lecture introduced by Jennifer W. Jay and Derek Herforth PART 1. PLENARY AND INVITED PAPERS I PULLEYBLANK Edwin G (Plenary Speaker & ICS Lecture Series Speaker) …….. 1 Language as digital: A new theory of the origin and nature of human speech II TAI James H.-Y. (Plenary Speaker) ……………………………………………. 21 The nature of Chinese grammar: Perspectives from sign language III LI Yen-hui Audrey (Plenary Speaker) …………..……...……………………… 41 Case, 20 years later IV ERNST Thomas (Invited Speaker) …………..........……………….………….... -
Season 2019-2020
23 Season 2019-2020 Saturday, October 12, at 8:00 The Philadelphia Orchestra China Night Tan Dun Conductor Magdalena Baczewska Piano Dan Zhu Violin Nie Jiapeng Cello Guo Yazhi Suona Tan Weiwei Vocalist John Adams The Chairman Dances, foxtrot for orchestra Tan Dun Triple Concerto, for piano, violin, and cello (“Crouching Tiger, Hidden Dragon”) I. Allegro—Andante II. Adagio—Allegro III. Andante—Allegro IV. Adagio—Allegro First Philadelphia Orchestra performance Intermission 24 Guan Xia 100 Birds Flying Towards the Phoenix, for suona and orchestra First Philadelphia Orchestra performance Ye Xiaogang from Cantonese Suite, Op. 51: III. Moonlight Reflection in the Serene Lake IV. Thunder in Drought First Philadelphia Orchestra performance Tan Weiwei The Song Lines of China I. Old Song II. Crying Song III. Water Song IV. Qin Song North American premiere This program runs approximately 1 hour, 50 minutes. The International cooperation project between the China Philharmonic Orchestra and six orchestras around the world is in celebration of China’s musical culture and commemorates the 70th anniversary of the People’s Republic of China. Tonight’s concert is the only one in North America. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 25 26 A Long Story with a Bright Future Tonight’s concert of Chinese music performed by leading Chinese musicians in Philadelphia is the latest milestone in a dynamic relationship that began more than 40 years ago. -
A Comparative Study of the Social Function of African Algaita and Chinese Suona
A COMPARATIVE STUDY OF THE SOCIAL FUNCTION OF AFRICAN ALGAITA AND CHINESE SUONA A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Shasha Zhu May, 2018 ii Thesis written by Shasha Zhu B. A., Tianjin Conservatory of Music, 2007 M. A., Tianjin Conservatory of Music, 2010 M. A., Kent State University, 2018 Approved by Kazadi wa Mukuna, Ph.D., Advisor, Master Thesis Committee Theodore Albrecht, Ph.D., Member, Master Thesis Committee Richard Devore, Ph.D., Member, Master Thesis Committee iii TABLE OF CONTENTS TABLE OF CONTENTS ....................................................................................................................... iii LIST OF FIGURES ............................................................................................................................... iv LIST OF TABLES .................................................................................................................................. v ACKONWLEDGEMENTS ................................................................................................................... vi CHAPTER I. INTRODUCTION ............................................................................................................ 1 II. THE GENESIS OF DOUBLE-REED MUSICAL INSTRUMENTS ........................... 19 III. THE ETYMOLOGY OF “ALGAITA” AND “SUONA” ........................................... 40 IV. THE MORPHOLOGICAL STRUCTURES OF THE AFRICAN ALGAITA AND THE CHINESE -
Musik Tradisional Di Cina Dimainkan Pada Instrumen Solo Atau Dalam Ansambel Kecil Dipetik Dan Di Gesek, Seruling, Dan Berbagai Simbal, Gong, Dan Drum
Musik tradisional di Cina dimainkan pada instrumen solo atau dalam ansambel kecil dipetik dan di gesek, seruling, dan berbagai simbal, gong, dan drum. Skalanya pentatonis. Pipa bambu dan qin adalah salah satu instrumen musik tertua yang dikenal dari Cina, instrumen secara tradisional mereka dibagi dalam kategori berdasarkan komposisi materi yaitu: kulit binatang, labu, bambu, kayu, sutra, pasir/ tanah liat, logam, dan batu. Orkestra China tradisional terdiri dari string ttuunndduukk, wwooooddwwiinnddss/ ttiiuupp, ssttrriinng ppeettiik ddaan ppeerrkkuussii.. Instrumen WWooooddwwiinnd ddaan ppeerrkkuussii dii, sheng, paigu, gong, pai!iao, guan, bells, cymbals SSttrriinng ttuunndduuk erhu, honghu, dahu, banhu, "inghu, gaohu, gehu, yehu, cihonghu, diyingehu, leiqin SSttrriinng ggeesseek ddaan ddi ppuukkuull.. gguuqqiinn, ssaann!!iiaann, yyaannggqqiinn, gguuhheenngg, rruuaann, kkoonngghhoouu, lliiuuqqiinn, ppiippaa, hhuu Musik #okal tradisional Cina telah dinyanyikan dengan suara lembut, non resonansi atau dalam suara tinggi dan biasanya solo, bukan paduan suara. Semua musik tradisional China berbentuk melodi haharmononisis. Musisik #okal CiCina bibiasasanya didikembabangkan dadari puisi dadan ayayatat$ayatat dinyanyikan dengan musik. %nstrumental potongan dimainkan pada &rhu atau dii yang populer, dan sering tersedia di luar China, tetapi musik pipa dan heng, yang lebih tradisional, lebih populer di Cina sendiri. 'ang qin mungkin instrumen yang paling dikagumi di Cina, meskipun sangat sedikit orang tahu apa itu atau melihat dan mendengar ketika sedang dimainkan. Para heng, bentuk sitar, yang paling populer di (enan, Chaohou, (akka dan Shandong. Pipa, semacam kecapi, diyakini telah diperkenalkan dari daerah Semenan"ung )rab dari abad ke$* dan diadopsi sesuai selera Cina. %ni merupakan yang paling populer di Shanghai dan sekitarnya. zhonghu MMuussiik EEttnniis HHaann (an China terdiri dari +- penduduk Cina. Musik &tnis (an terdiri dari musik heterophonic, di mana musisi memainkan #ersi melodi tunggal. -
Traditional Music in China Is Played on Solo Instruments Or in Small Ensembles of Plucked and Bowed Stringed Instruments, Flutes
china Traditional music in China is played on solo instruments or in small ensembles of plucked and bowed stringed instruments, flutes, and various cymbals, gongs, and drums. The scale is pentatonic. Bamboo pipes and qin are among the oldest known musical instruments from China; instruments are traditionally divided into categories based on their material of composition: animal skins, gourd, bamboo, wood, silk, earth/clay, metal, and stone. Chinese orchestras traditionally consist of bowed strings, woodwinds, plucked strings and percussion. Instruments •Woodwind and percussion dizi, sheng, paigu, gong, paixiao, guan, bells, cymbals <bottle gourd silk> •Bowed strings erhu, zhonghu, dahu, banhu, jinghu, gaohu, gehu, yehu, cizhonghu, diyingehu, leiqin •Plucked and struck strings guqin, sanxian, yangqin, guzheng, ruan, konghou, liuqin, pipa, zhu Chinese vocal music has traditionally been sung in a thin, non resonant voice or in falsetto and is usually solo rather than choral. All traditional Chinese music is melodic rather than harmonic. Chinese vocal music probably developed from sung poems and verses with music. Instrumental pieces played on an erhu or dizi are popular, and are often available outside of China, but the pipa and zheng music, which are more traditional, are more popular in China itself. The qin is perhaps the most revered instrument in China, even though very few people know what it is or seen and heard one being played. The zheng, a form of zither, is most popular in Henan, Chaozhou, Hakka and Shandong. The pipa, a kind of lute, believed to have been introduced from the Arabian Peninsula area during the 6th century and adopted to suit Chinese tastes, is most popular in Shanghai and surrounding areas. -
Modernization and Music in Contemporary China: Crisis, Identity, and the Politics of Style
Copyright by Timothy Lane Brace 1992 MODERNIZATION AND MUSIC IN CONTEMPORARY CHINA: CRISIS, IDENTITY, AND THE POLITICS OF STYLE APPROVED BY DISSERTATION COMMITTEE: STEPHEN SLAWEK STEVEN FELD KATHLEEN HIGGINS GAIL KLIGMAN GERARD BEHAGUE MODERNIZATION AND MUSIC IN CONTEMPORARY CHINA: CRISIS, IDENTITY, AND THE POLITICS OF STYLE by Timothy Lane Brace, B.A., B.M., M.M., Ph.D. DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST, 1992 ACKNOWLEDGEMENTS I would like to thank those most responsible for the ideas contained within this dissertation: the Chinese themselves. However, to do so by name would be ethically indefensible. I acknowledge their voices as the bases from which my interpretations have been built. Without them my ideas would be mere theoretical fancy; with them they have a power that only grounded theory can have. I can, however, name others who have contributed to different phases of this project. I am grateful to the Kaltenborn Foundation for its enlightened attitude in understanding music as a form of communication and for helping to fund some of my fieldwork in Beijing. I would like to thank Huang Qingliang for opening her Beijing apartment to me twice and for mothering me into the subtleties of Chinese social life, and to Cai Liangyu for devoting so much of her busy time to helping arrange for me to meet with Chinese music scholars, and for becoming my friend. For the members of my committee I have special thanks. -
Admission Brochure for International Applicants to Bachelor Programs At
Notes of Application for International Students I. Application Eligibility for Application Examinees of foreign nationalities must hold the graduation certificate (graduating students may submit an official document indicating their status as enrolled graduating students) from Senior High School and the transcript. Examinees of foreign nationalities must hold a certificate for Level 2 or above of Chinese Proficiency Test (HSK) According to the regulations specified in Notice of the Ministry of Education on standardizing the acceptance of international students in Chinese universities (No.83 issued in 2009), the applicants who used to be residents on the mainland, Hongkong, Macao and Taiwan before emigration must have hold valid foreign passports or documents indicating their nationalities for at least four years, if they want to apply for undergraduate programs in China as international students. Besides, they must have records of having settled abroad for over two years in the recent four years by the end of April 30 in the enrollment year. (The living up to nine months abroad in one year can be counted as one year. The entry stamp shall prevail.) Means of Application Only online application is acceptable for admission in our conservatory. Applicants may either refer to the admissions website of our conservatory: zhaoban.ccom.edu.cn, or enter the “Undergraduate Enrollment System” via the link “Admission and Training→Undergraduates” on the homepage of our campus network: www.ccom.edu.cn Application time From 01/15/2015 to 01/30/2015 The fee for application and examinations must be paid online with this portion of the application. The advisory telephone for online payment is 95516. -
University of Oklahoma Graduate College Xiqu Liangzhe by Wenjing Guo: an Analytical Study and Performer's Guide a Document
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE XIQU LIANGZHE BY WENJING GUO: AN ANALYTICAL STUDY AND PERFORMER’S GUIDE A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By SHAOHONG YUAN Norman, Oklahoma 2018 XIQU LIANGZHE BY WENJING GUO: AN ANALYTICAL STUDY AND PERFORMER’S GUIDE A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Anthony Stoops, Chair ______________________________ Dr. Mark Neumann, Co-Chair ______________________________ Dr. Xun Ge ______________________________ Dr. Eugene Enrico ______________________________ Dr. Frank Riddick © Copyright by SHAOHONG YUAN 2018 All Rights Reserved. This document is dedicated to my parents Cunyi Yuan (袁存意) and Zhongli Sun (孙忠莉). Their love, support, kindness and encouragement carried me through this process for many years. No words can be beyond this. With all my love, this is for you... Acknowledgements I would like to acknowledge and thank the following people for all of their input and guidance during the formation of this document. Without your gracious time and guidance, this document would not be possible. Committee members: Dr. Mark Neumann Dr. Anthony Stoops Dr. Xun Ge Dr. Eugene Enrico Dr. Frank Riddick Interviewees: Wenjing Guo – Composer Changhai Wang Dr. Dan Schwartz Dr. Gregory Lee Wenting Kang iv Contents ACKNOWLEDGEMENTS ................................................................................ iv LIST OF CHARTS ........................................................................................... -
Shanghai Conservatory of Music Admission Brochure of Master's Degree Program for International Applicants 2021
Shanghai Conservatory of Music Admission Brochure of Master’s Degree Program for International Applicants 2021 About Shanghai Conservatory of Music As the pioneer and incubator of professional music education in modern China, Shanghai Conservatory of Music (SHCM) has been widely reputed to be the “cradle of musicians” for its prestigious status in China’s music education. The Conservatory is currently under the leadership of Mr. Xu Xu, Secretary of the SHCM Party Committee, and President Liao Changyong. SHCM, formerly the National Conservatory of Music, was founded as the first independent music institution of higher education in China by Mr. Cai Yuanpei, who also served as its first president, and Dr. Hsiao Yiu-mei on November 27, 1927. With the strategic vision of developing Chinese music by learning from the West, it has laid the basis for professional music education in China with its distinctive, multidisciplinary structure. In 1956, the Conservatory became a key university under direct administration of the Ministry of Culture of the PRC and received its current name. Now it is jointly administered by the Ministry of Culture and Tourism of the PRC and the Shanghai Municipal Government. SHCM started offering master’s degree programs in 1978, followed by its being authorized as a doctoral degree-conferring unit in 1983. In 2017, it was listed among the first universities supported by the “Double First-Class” initiative and selected as a member of the Local High-level University Construction Scheme of Shanghai. As the first Chinese conservatory that has the authority to confer doctoral degree in three first- level disciplines including Musicology & Dancology, Art Theory and Drama & Film Studies, SHCM boasts its full-fledged, multidisciplinary music education system featuring an interconnected curriculum covering music creation, music performance, music theory and applied music.