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Research on the Development and Application of Kindergarten Curriculum Based on Traditional Chinese Culture
Creative Education, 2018, 9, 280-284 http://www.scirp.org/journal/ce ISSN Online: 2151-4771 ISSN Print: 2151-4755 Research on the Development and Application of Kindergarten Curriculum Based on Traditional Chinese Culture Jinzhi Zhang Rizhao Polytechnic, Rizhao, China How to cite this paper: Zhang, J. Z. Abstract (2018). Research on the Development and Application of Kindergarten Curriculum Chinese traditional culture is the wisdom crystallization of the laboring people Based on Traditional Chinese Culture. of our country in the development of history. It contains excellent education Creative Education, 9, 280-284. resources such as excellent classic, handicraft and folk game. Integrating tra- https://doi.org/10.4236/ce.2018.92018 ditional culture into the education stage of children, can make children expe- Received: January 17, 2017 rience and appreciate the excellent culture of Chinese people from an early Accepted: February 11, 2018 age, help young children to establish a good moral quality, and form a fine Published: February 14, 2018 character. Preschool period is a critical period for children’s physical and Copyright © 2018 by author and mental development. Children education stage is an important part of child- Scientific Research Publishing Inc. ren’s acceptance of education, and it is the beginning stage of preschool edu- This work is licensed under the Creative cation, which has important influence on children’s future study and life de- Commons Attribution International License (CC BY 4.0). velopment. Therefore, we should fully tap the education resources in Chinese http://creativecommons.org/licenses/by/4.0/ traditional culture, provide the most classic and valuable content for children Open Access education, and build a good foundation for children’s future development. -
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. -
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. -
嶺南音樂天地 the Music Scene at Lingnan
嶺南紀事 Lingnan Events 20 Lingnan Chronicle 嶺大薈訊 嶺南音樂天地 The Music Scene at Lingnan 樂會已成為嶺大校園生活不可缺少的一部分。 oncerts have become an integral part of campus life at 音今年4月7日,嶺大邀得著名粵劇研究學者、 CLingnan. “A Treasure of Lingnan Culture: Cantonese Opera 資深演唱家李天弼先生主持「嶺南文化之寶:粵曲講 Music Demonstration-Concert” was held on 7 April, with renowned 座」,為本校師生介紹粵曲的吐字、曲式、伴奏和各 researcher and performer of Cantonese opera Patrick Lee explaining 種唱腔。講座上,嘉賓更作選段示範,演唱了《粧台 the enunciation, song structure, accompaniment and variety of styles 秋思》等小曲和板青的名曲。 within the genre. Famous xiaoqu (set tunes) and banqing (melody-type) excerpts such as “Autumn Reveries in the Boudoir” were sung during 同月18日,嶺大校園再次揚起樂聲。在「大提琴鋼 the live vocal demonstrations and instrumental performance. 琴二重奏」表演節目中,年輕大提琴手李再冉及鋼琴 手黃歷琛合作無間,演奏多位作曲家的曲目,包括孟 Another concert, “Cello and Piano Duo Recital,” staged by cellist Aleck 德爾遜《無言之歌,作品一零九》、舒曼《三首幻想 Lee and pianist Alexander Wong, was held on 18 April. The two young 曲,作品七十三》等,樂韻悠揚。 musicians performed pieces by various composers including “Songs without words, Op.109” by Felix Mendelssohn and “Fantasy pieces, 一邊彈結他,一邊用海豐話唱出反映時弊的歌詞,是 Op.73” by Robert Schumann. 否別出心裁?在4月11日舉辦的「《開放音樂》嶺南大 學演出」露天音樂會暨座談會上,有特別嘉賓廣州樂 Have you ever thought about singing a song to criticise social ills in the 隊《五條人》的獨特演出。他們自彈自唱,結合傳統 Haifeng dialect with a guitar? At a street music concert held on campus 海豐民歌及廣東即興音樂的元素,加入帶有社會意識 on 11 April, Wutiaoren (Five People), a Guangzhou-based band, brought 的歌詞,為觀眾帶來了一場別開生面的 to the audience a brand new music experience with socially conscious 演出。是次音樂會由本地實驗音樂劇場 lyrics set to traditional Haifeng folk tunes and Guangdong music. 先驅龔志成先生策劃,除了廣州 Organised by Kung Chi-shing, a pioneering figure in local experimental 樂隊《五條人》,亦邀請了 music theatre, the concert featured Wutiaoren as well as several local 多位本地及內地的 and mainland indie musicians. -
The Musical Style and Creative Elements of Shaanxi Erhu Works
2019 2nd International Conference on Cultures, Languages and Literatures, and Arts (CLLA 2019) The Musical Style and Creative Elements of Shaanxi Erhu Works Chen Xi School of Music, Shaanxi Normal University, Xi’an 710119, China Email: [email protected] Keywords: Music style, Creative elements, Shaanxi erhu works. Abstract: As one of the representatives of folk musical instruments, Erhu is deeply loved by the general public. Affected by different geographical environments, Erhu has a strong local character in its musical style and performance techniques. These factors not only make the erhu expressive, but also make the music of the erhu more understandable. The material of Shaanxi Erhu music mainly comes from Shaanxi folk music. It not only has the commonality of general erhu music, but also has special local music personality in Shaanxi. This paper explores its artistic features through a brief analysis of the musical style and creative elements of Shaanxi erhu works. This summarizes the artistic value of the music creation and performance of Shaanxi erhu works, clarifies the positive influence of Shaanxi erhu works on the development of erhu art, and provides a direction for future erhu music creation. 1. Introduction As an outstanding representative of Chinese national musical instruments, Erhu has not been able to erase her brilliance after the changes of the times [1]. Nowadays, it has a certain influence in domestic instrumental music performance and even on the international stage, so it must have its extraordinary significance. Most of the erhu works are created or adapted and transplanted by erhu performers, and there are many pieces of music with strong regional style [2]. -
Orchestrating the World - a Manualvico of Intercultural Music Making
Orchestrating the World - a manualVICO of intercultural music making by Moshe Denburg Copyright and Fair Use Notification SAMPLE The author does not object to the use of these materials for personal educational purposes or for any fair use, such as quoting or citing these materials, as long as their authorship is credited by the user. Making copies of these materials as part of any commercial venture, or for any monetary reward, or reproducing the materials for public use, requires the written consent of the author. All reasonable requests will be honoured. © VICO, 2017 Erhu Description The Erhu is a bowed two-stringed instrument. It has a long round neck of hardwood attached to a hardwood resonator, usually covered with snakeskin. Its steel strings are tensioned between the tuning pegs at the neck's upper end,VICO and the lower edge of the resonating box. The speaking length of the string extends from a nut at the peg end of the neck to a bridge placed upon the resonator. The horsehair bow, rosined on both sides, is inserted between the strings, and the strings are played one at a time, virtually never together. The player fingers the strings not by pressing them against the neck but by placing them on the strings lightly, to create different speaking lengths. Tuning d1 - a1 Scordaturas and Extensions 1 1 1 1 In the Erhu db - ab and c -g scordaturas are possible, but an oversize instrument may render lower pitches better. Erhus with extensions are being made, but they are not yet common (as of 2004). -
The Music from China International Composition Prize
The Music From China International Composition Prize Award: $1,000 Winning composition(s) will be premiered in New York City in 2017 Deadline for submission of entries: August 15, 2017 The Music From China International Composition Prize is established by Music From China, a Chinese chamber ensemble founded in New York City in 1984. The purpose of the Prize is to promote and encourage the composition of new music for Chinese instruments alone or with Western instruments. Terms: 1. The competition is open to composers of all nationalities without age limit. 2. Eligible works in 2017 may be for chamber ensembles of two or more performers, lasting from six to fifteen minutes. Instrumentation must be based on the following: erhu (1, doubling on gaohu, banhu or zhonghu), dizi (1), pipa (1, doubling on zhongruan or daruan), zheng (1), Chinese percussion (1). Western instrument may include cello (1). 3. All works submitted must not have been the subject of any previous award, nor have been previously published, performed in public, nor have been used commercially in whole or in part, or in any other version prior to the announcement of the Prize in fall 2017. 4. Composers have copyrights to their compositions. 5. Entry forms can be downloaded from the Music From China website http://www.musicfromchina.org. Scores and entry forms may be submitted as PDF files and emailed to [email protected]. Scores must be legible, preferably by computer output, or they will not be reviewed. Recordings of entries, if available, are welcome and may be submitted in MP3 format. -
Concert Report on "Golden Chinese Classics of the Century: Parade I"
Yangqin) gradually came in with repeating short Concert report on melodic fragments. Special sound effect was "Golden Chinese Classics produced by the Dizi blowing air across the mouth-hole without producing a specified pitch. of the Century: Parade I" At times flutter tonguing was also applied in 30 Nov 2002 (8pm) producing this kind of airy sound. The sound of Hong Kong Cultural Centre Concert Hall bird calls was also heard throughout the entire © 2002 by Helen Kin Hoi Wong movement, played by the small wind instruments Xun ( 塤). The highlight in the movement was the For the vast majority of Hong Kong sound of Yangqin. The third movement “ The Silk audiences, Chinese music is regarded as Worms Spinning Silk” featured the sound of wind “traditional” and conservative in its instruments (Dizi and Shao) with harmonics of compositional approach. The concert presented the bowed-strings (Gehu and Bass Gehu). The 4 th by the Hong Kong Chinese Orchestra last month movement “Butterflies among the Flowers” proved otherwise. On 30 Nov 2002, the HKCO explored the different colours on the Zheng. The launched its first of 4 series of concerts organized final movement “The Insert World” incorporated by “Golden Chinese Classics of the Century”, the use of all instruments. Themes from the featuring works by Hong Kong composer previous movement reappeared again created an Doming Lam, Chinese composers Liu Xing, interplay which reflected the harmonious Wang Jainmin and Kuan Nai-chung, displaying a co-existence of all insects. mixture of traditional, contemporary and experimental styles. Following all kinds of exotic sounds from The Insect World , a standard concerto work was Under the baton of guest conductor Yu Feng, presented. -
Appendix Vi Statutory and General Information
APPENDIX VI STATUTORY AND GENERAL INFORMATION 1. FURTHER INFORMATION ABOUT THE COMPANY A. Incorporation The Company was incorporated with an authorised share capital of HK$20,000,000 divided into 2,000,000 shares of HK$10.00 each on 2 January 1964. The Company was incorporated in Hong Kong under the Companies Ordinance on 2 January 1964 under the name of Hang Chong Investment Company, Limited (恒昌企業有限公司). The Company changed its name from Hang Chong Investment Company, Limited (恒昌企業有限公司) to Dah Chong Hong Holdings Limited (大昌貿易行集團有限公司) on 10 March 1994 and subsequently to Dah Chong Hong Holdings Limited (大昌行集團有限公司) on 7 January 2005. The Company’s registered office is at 8th Floor, DCH Building, 20 Kai Cheung Road, Kowloon Bay, Hong Kong. A summary of various parts of the Company’s Memorandum and Articles of Association is set out in Appendix V to this Prospectus. B. Changes in share capital of the Company As at 1 January 2004, the Company has an authorised share capital of HK$300,000,000 divided into 30,000,000 shares of HK$10.00 each. On 28 September 2007, it was resolved, amongst other resolutions, that: (a) (i) 2 shares of HK$10.00 each was allotted and issued to Silver Ray Enterprises Inc. (“Silver Ray”) at par, at the direction of CITIC Pacific and in settlement of HK$20.00 due from the Company to CITIC Pacific; (ii) each of the issued and unissued shares of HK$10.00 each in the share capital of the Company was consolidated into shares of HK$30.00 each (“Consolidated Share(s)”), resulting in the issued share capital of the Company -
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. -
An Analysis of Nanyin in Cantonese Opera Professor Chan Sau Yan (Learning and Teaching Material for Teachers’ Reference)
An Analysis of nanyin in Cantonese Opera Professor Chan Sau Yan (Learning and teaching material for teachers’ reference) Produced by Mr Lee Siu Yan, Mr Chow Shi Shum and Miss Chui Shing Yan Introduction Teaching yueju (粵劇) (Cantonese opera) and yuequ (粵曲) (Cantonese operatic song) as a music subject in the school curriculum must begin with listening to and appreciating the operas and songs, as well as attending live performances. In addition, these activities must work together with lectures to enable students to understand the basic structure and attraction of Cantonese opera music. nanyin (南音) is originally a music genre which is independent from opera. Belonging to a kind of shuochang (說唱), i.e., ballads, nanyin had been popular in the region of the Pearl River Delta and performed in Cantonese all along. Since the early 1920s, nanyin has been incorporated into Cantonese opera and Cantonese operatic songs, forming a shuochang system together with muyu (木魚), longzhou (龍舟), banyan (板 眼) and yue’ou (粵謳). And shuochang, banqiang (板腔) and qupai (曲牌) constitute the three major changqiang (唱腔) systems of Cantonese opera and Cantonese operatic songs. This unit will help teachers and students understand the features of the basic structure of yueju nanyin. Glossary baban banmian (八板板面) kuaiban (快板) ban (板) kuhou (苦喉) banmian (板面) laqiang (拉腔) banqiang (板腔) lianhuan nanyin (連環南音) banshi (板式) liushuiban (流水板) banyan (板眼) liu (六) baziju erhuang manban (八字句二黃慢板) liuzixu (六字句) baziju zhongban (八字句中板) longzhou (龍舟) changdiding (唱底叮) muyu (木魚) changduan