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TV Show Knows What's in Your Fridge Is Food for Thought
16 | Wednesday, June 17, 2020 HONG KONG EDITION | CHINA DAILY YOUTH ometimes you have to travel didn’t enjoy traditional Chinese to appreciate your own. music that much until he pursued his Sometimes, waking up in a music studies in the United States. foreign land gives you a pre- When leaving China, he took with Scious insight into your own country. him the hulusi, a kind of Chinese Fang Songping is a musician and wind instrument made from a has traveled but when he was at gourd, and played it recreationally home with his pipa-player father, in the college. The exotic sound of Fang Jinlong, he preferred Western the instrument won him lots of fans rock. and requests to perform on stage. It was hulusi, the gourd-like Then he started researching about instrument, that really changed his traditional Chinese music and com- life. He happened to bring it to Los bining elements of it into his own Angeles, while studying music there. compositions. In 2015, he returned His classmates were fascinated to China and started his career as an when he played music with it, and a indie musician. new horizon opened up before him. Now, Fang Songping works as the According to a recent report on music director of a popular reality traditional Chinese music, young show, Gems of Chinese Poetry, Chinese people are turning their which centers on traditional Chi- attention to traditional arts. More nese arts, such as poetry, music, and more are listening to traditional dance and paintings. He composed Chinese music. eight original instrumental pieces, The report was released on June inspired by traditional Chinese cul- 2, under the guidance of the China ture, like music, chess, calligraphy Association of Performing Arts, by and paintings. -
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. -
The Saxophone in China: Historical Performance and Development
THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China. -
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. -
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. -
2016 SDF 5.5X8.5 NFA Book.Pdf 1 6/24/16 7:56 AM
National Flute Association 44th Annual Convention SanSan Diego,Diego, CACA August 11–14, 2016 SDF_5.5x8.5_NFA_Book.pdf 1 6/24/16 7:56 AM C M Y CM MY CY CMY K YOUR VOICE ARTISTRY TOOLS SERVICES unparalleled sales, repair, & artistic services for all levels BOOTH 514 www.flutistry.com 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 3 nfaonline.org 4 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 nfaonline.org 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 5 nfaonline.org INSURANCE PROVIDER FOR: ALL YOU NEED TO KNOW ABOUT FLUTE INSURANCE www.fluteinsurance.com Located in Florida, USA or a Computer Near You! FL License # L054951 • IL License # 100690222 • CA License# 0I36013 6 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 nfaonline.org TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Coordinators ............................................................... 14 From the Convention Program Chair ................................................. 21 2016 Awards ..................................................................................... 23 Previous Lifetime Achievement and Distinguished Service Award Recipients ....................................................................................... 26 Instrument Security Room Information and Rules and Policies .......... 28 General Hours and Information ........................................................ -
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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. -
Playing Guqin
Playing guqin Carolyn Chen from The Middle Matter: Sound as interstice, ed. Caroline Profanter, Henry Anderson, and Julia Eckhardt (Brussels: umland, 2019), 47-52. The guqin is seven-string Chinese zither. Its body is a single piece of wood, hollowed to resonate, with seven strings strung over the top. Most guqin repertoire is solo. It is a quiet instrument. In folklore, it is played on a mountaintop in the middle of the night, to bring the player into harmony with the self and with nature. The decade-plus that I have studied guqin has been a long meditation on this idea of music as a way to seek for a harmonious relationship with our environment. I first met the guqin by accident. Growing up in New Jersey, I never really encountered opportunities for learning a Chinese instrument. Had I been offered a choice, I might have gravitated toward the conversational-sounding two-string fiddle, the erhu, or the mellow gourd-mounted free-reed pipe, the hulusi. In my last year at university, the music department at Stanford started offering classes in guzheng, the larger, more extroverted and brilliant- sounding relative of the guqin. Then, in my first year of graduate school, I had the fortune of being assigned to assistant-teach for Music of Asia at the University of California, San Diego. One of the first guest lecturers was the neurocomputational ethnomusicologist Alex Khalil, then a graduate student, who had first ventured to China to research stone bells, discovered the guqin, and then returned many times to deepen his study of the instrument. -
CHINA Speaks Your Language Presented by Silk Road Music
CHINA Speaks Your Language Presented by Silk Road Music www.silkroadmusic.ca This show was created with the generous support of Prologue to the Performing Arts China Speaks Your Language! Performed by Silk Road Duo: Qiu Xia He and Andre Thibault Program Description: In ancient times, Chinese explorers visited many places in the world, from Africa to Australia, and evi- dence suggests possibly North and South America. In a similar adventure and with as much excite- ment, Qiu Xia He came from China and learned that her instrument, the Chinese pipa, could speak the languages of musical traditions from around the globe. “China Speaks Your Language” is a music performance that will introduce audiences to different cul- tures through the experience, discoveries, and travels of the Silk Road Duo: Qiu Xia accompanied by multi-instrumentalist Andre Thibault. The pipa, a Chinese lute with a wide range of expression, will be the focal point. This husband-and-wife team is well equipped for their cultural voyage. Both have lived passionately as professional musicians. Their common bond and love of music have taken them on tours all over the world with award-winning groups like Silk Road Music, ASZA, Cordes en Folie and Jou Tou. They have performed from Montreal to London, from South Africa to Malaysia, from British Columbia to Hawaii. In 2004, they were featured with the Vancouver Symphony at the Orpheum to welcome His Holiness the Dalai Lama. “China Speaks Your Language” will surround the Chinese pipa with many world instruments, such as the flamenco guitar from Spain and the oud and bouzouki, lutes from the Middle East and Greece. -
Kawai KCP90 Owner's Manual
Preparation Before Use Basic Operations Accompaniment Styles KCP90 Owner’s Manual Recorder Settings Appendix Thank you for purchasing this Kawai KCP90 digital piano. This owner’s manual contains important information regarding the usage and operation of the KCP90 digital piano. Please read all sections carefully, keeping this manual handy for future reference. Preface AboutthisOwner’sManual Before attempting to play this instrument, please read the Preparation Before Use section from page 10 of this owner’s manual. This section explains the name and function of each part, how to connect the power cable, and how to turn on the power. The Basic Operations section (page 14) provides an overview of the instrument’s most commonly used functions, allowing the KCP90 digital piano to be enjoyed almost immediately after being connected, while the Accompaniment Styles section (page 24) explains how the instrument’s Styles feature can be used to enhance performances with backing accompaniments. The Recorder section (page 31) provides instructions on how to record and play back pieces stored in the instrument’s internal memory, while the Settings section (page 35) details the various options and settings that be used to adjust the sound and operation of the instrument. Finally, the Appendix section (page 48) includes assembly instructions, troubleshooting recommendations, lists for all internal sounds and styles, as well as chord charts, MIDI reference information, and full specification details. KCP90 Feature Highlights Advanced Hammer Action IV-F weighted-key keyboard action The Advanced Hammer Action IV-F (AHA IV-F) keyboard action has been developed to represent the distinctive touch of an acoustic grand piano, with its remarkable springless design providing consistent upward and downward motion for a smooth, natural, piano playing experience. -
Detailed Instrument List & Descriptions
DIRECTORY OF INSTRUMENTS IN GARRITAN WORLD INSTRUMENTS 66 THE WIND INSTRUMENTS ARIA name: Description: Controls: Africa Arghul The Arghul is a reed woodwind instrument that Vel (attack), MW consists of two asymmetrical pipes. One pipe, (vol/eq), Porta, a chanter with between five and seven finger Lgth, VAR1, holes, is dedicated to the melody. The second VAR2, FiltLv, pipe, longer than the first, produces a drone. FiltFq, VibSpd, Arghuls come in different sizes and are played in Vib Amt, AirNs, Egypt and surrounding regions. Fluttr, Auto- • Range: C3- C6 Legato, BndSpd, Keyswitches Mijwiz 1 The Mijwiz is a traditional instrument of Egypt Vel (attack), MW and is one of the oldest wind instruments. Its (vol/eq), Porta, name means “dual” as it consists of two short Lgth, VAR1, bamboo reed pipes tied together. Instead of hav- VAR2, FiltLv, ing a separate reed attached to a mouthpiece, FiltFq, VibSpd, the reed in the Mijwiz is a vibrating tongue Vib Amt, AirNs, made from a slit cut into the wall of the instru- Fluttr, Auto- ment itself. Legato, BndSpd, • Range: C3 - C6 Keyswitches Mijwiz 2 Another Mijwiz instrument with a different Vel (attack), MW range and character. (vol/eq), Porta, • Range: C4 - C6 Lgth, VAR1, VAR2, FiltLv, FiltFq, VibSpd, Vib Amt, AirNs, Fluttr, Auto- Legato, BndSpd, Keyswitches A User’s Guide to Garritan World Instruments THE WIND INSTRUMENTS ARIA name: Description: Controls: China Bawu The Bawu is a side-blown wind instrument Vel (attack), MW found throughout China. Although it re- (vol/eq), Porta, Lgth, sembles a flute, it is actually a reed instrument. -
Garritan World Instruments Complete Instrument List
Garritan World Instruments Complete Instrument List Garritan: World Instruments Complete Instrument List Africa: Sakara India: Sangban Arghul Bansuri 1 Sanza Mijwiz 1 Bansuri 2 Sistrum Mijwiz 2 Pungi Snake Charmer Tama (Talking Drum) Adodo Shenai Televi African Log Drum Shiva Whistle Tonetang (Stir Drum) Apentima Basic Indian Percussion Udu Drums Ashiko Chenda Begena Balafon Chimta Bolon Basic African Percussion Chippli Domu Bougarabou Dafli Kora Dawuro Damroo Ngoni Djembe Dhol Dondo China: Dholak Doun Ba Bawu Ghatam Atoke Di-Zi Ghungroo Axatse Guanzi Gong (Stinging Gong) Gankokwe Hulusi Hatheli Kagan Sheng Kanjeera Kpanlogo 1 Large Suona Khartal Kpanlogo 2 Medium Xiao Khol Kpanlogo 3 Combo Basic Chinese Percussion Manjeera Sogo Bianzhong Murchang Fontomfrom Bo Mridangam Gome Chinese Cymbals Naal Gyil Chinese Gongs Nagara Ibo Datangu Lion Drum Pakhawaj Kalimbas Pan Clappers Stir Drum Kenkeni Temple Bells Tablas Kpoko Kpoko Temple Blocks Tamte Krin Slit Drum Choazhou Guzheng Tasha Likembe Erhu Tavil Mbira Guzheng Udaku Morocco Drum Pipa Electric Sitar Nigerian Log Drum Yueqin Sarangi Sarangi Drone Thai Gong Uilleann Pipes Sitar Tibetan Cymbals Bone Flute 1 Tambura Tibetan Singing Bowls Bone Flute 2 Japan: Tibetan Bells Irish Flute Tingsha Shepherds Folk Pipe 1 Hichiriki Dan Tranh Shepherds Folk Pipe 2 Knotweed Flute Dan Ty Ba Bodhran Shakuhachi Gopichand Hang Drum Chanchiki Jaw Harps Chu-daiko Europe: Rattle Cog Daibyoshi Double Flute Hira-Daiko Dvojnice Double Flute Latin America: Hyoushigi Double Flute Drone Andean Panpipes Ko-Daiko