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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. -
The Equality of Kowtow: Bodily Practices and Mentality of the Zushiye Belief
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Apollo Journal of Cambridge Studies 1 The Equality of Kowtow: Bodily Practices and Mentality of the Zushiye Belief Yongyi YUE Beijing Normal University, P.R. China Email: [email protected] Abstract: Although the Zushiye (Grand Masters) belief is in some degree similar with the Worship of Ancestors, it obviously has its own characteristics. Before the mid-twentieth century, the belief of King Zhuang of Zhou (696BC-682BC), the Zushiye of many talking and singing sectors, shows that except for the group cult, the Zushiye belief which is bodily practiced in the form of kowtow as a basic action also dispersed in the group everyday life system, including acknowledging a master (Baishi), art-learning (Xueyi), marriage, performance, identity censorship (Pandao) and master-apprentice relationship, etc. Furthermore, the Zushiye belief is not only an explicit rite but also an implicit one: a thinking symbol of the entire society, special groups and the individuals, and a method to express the self and the world in inter-group communication. The Zushiye belief is not only “the nature of mind” or “the mentality”, but also a metaphor of ideas and eagerness for equality, as well as relevant behaviors. Key Words: Belief, Bodily practices, Everyday life, Legends, Subjective experience Yongyi YUE, Associate Professor, Folklore and Cultural Anthropology Institute, College of Chinese Language and Literature, Beijing Normal University, Beijing, 100875, PRC Volume -
The Diary of a Manchu Soldier in Seventeenth-Century China: “My
THE DIARY OF A MANCHU SOLDIER IN SEVENTEENTH-CENTURY CHINA The Manchu conquest of China inaugurated one of the most successful and long-living dynasties in Chinese history: the Qing (1644–1911). The wars fought by the Manchus to invade China and consolidate the power of the Qing imperial house spanned over many decades through most of the seventeenth century. This book provides the first Western translation of the diary of Dzengmeo, a young Manchu officer, and recounts the events of the War of the Three Feudatories (1673–1682), fought mostly in southwestern China and widely regarded as the most serious internal military challenge faced by the Manchus before the Taiping rebellion (1851–1864). The author’s participation in the campaign provides the close-up, emotional perspective on what it meant to be in combat, while also providing a rare window into the overall organization of the Qing army, and new data in key areas of military history such as combat, armament, logistics, rank relations, and military culture. The diary represents a fine and rare example of Manchu personal writing, and shows how critical the development of Manchu studies can be for our knowledge of China’s early modern history. Nicola Di Cosmo joined the Institute for Advanced Study, School of Historical Studies, in 2003 as the Luce Foundation Professor in East Asian Studies. He is the author of Ancient China and Its Enemies (Cambridge University Press, 2002) and his research interests are in Mongol and Manchu studies and Sino-Inner Asian relations. ROUTLEDGE STUDIES -
Intangible Heritage in Performing Arts in Taiwan
LIVING HERITAGE: INTANGIBLE HERITAGE IN PERFORMING ARTS IN TAIWAN by SHANGRONG TSAI A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Ironbridge International Institute for Cultural Heritage School of History and Cultures College of Arts and Law University of Birmingham May 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Intangible heritage is a growing concept of emphasis in international communities. This study will define intangible heritage and focus on the performing arts in Taiwan. Inasmuch as Taiwanese Opera and Hand Puppetry are two of the most significant manifestations among others, research methods of qualitative interviews and non-participant observations will be used to gain an insight into their practices through investigating certain practitioners. This study will in particular explore organisational management and training approaches that ensure their artistry and skills are transmitted, contributing to the dissemination of intangible heritage. Furthermore, this study will inspect how the competent authorities determine the designation and registration of intangible heritage. Governmental schemes and their implementation for the safeguarding intangible heritage will be thoroughly examined, revealing the integrity and effectiveness of administrative systems, especially as the competent authorities are confronted by certain problems in the interpretation of intangible heritage, interaction with practitioners and controversy. -
JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary
JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary Chinese Composer Zhou Long’s Works for Solo Piano Mongolian Folk-Tune Variations, Wu Kui, and Pianogongs. (2014) Directed by Dr. Andrew Willis. 136 pp. Zhou Long is a Chinese American composer who strives to combine traditional Chinese musical techniques with modern Western compositional ideas. His three piano pieces, Mongolian Folk Tune Variations, Wu Kui, and Pianogongs each display his synthesis of Eastern and Western techniques. A brief cultural, social and political review of China throughout Zhou Long’s upbringing will provide readers with a historical perspective on the influence of Chinese culture on his works. Study of Mongolian Folk Tune Variations will reveal the composers early attempts at Western structure and harmonic ideas. Wu Kui provides evidence of the composer’s desire to integrate Chinese cultural ideas with modern and dissonant harmony. Finally, the analysis of Pianogongs will provide historical context to the use of traditional Chinese percussion instruments and his integration of these instruments with the piano. Zhou Long comes from an important generation of Chinese composers including, Chen Yi and Tan Dun, that were able to leave China achieve great success with the combination of Eastern and Western ideas. This study will deepen the readers’ understanding of the Chinese cultural influences in Zhou Long’s piano compositions. CHINESE AND WESTERN ELEMENTS IN CONTEMPORARY CHINESE COMPOSER ZHOU LONG’S WORKS FOR SOLO PIANO MONGOLIAN FOLK-TUNE VARIATIONS, WU KUI, AND PIANOGONGS by Wei Jiao A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2014 Approved by _________________________________ Committee Chair © 2014 Wei Jiao APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. -
Norway China World Music Concert Tour
Proposal for A Sino-European Musical Cultural Exchange Programme Liu Nian Arts Studio Beijing, China Introduction The cultural exchange between countries of the European Union and P.R of China is becoming an increasingly important dimension in Sino European relations. However the people of Europe and China still have rudimentary knowledge about each other’s cultures. One of the most important aspects of culture is music. Europe was the cradle of the birth of classical music, symphony orchestras and many of the great world composers are from the EU member states. Many of these are well known to the Chinese public. European folk and more contemporary world music however is not as well known to the Chinese public and the people of Europe have a very rudimentary idea of traditional Chinese Music. European folk music is usually thought of as the music of traditional peasant societies, rooted in work and in fixed customs. It is rural music; taught, without being written down, from one generation to the next. However, folk music is affected by, and interwoven with, art music and popular music, of which the different genres are often hard to distinguish. There are numerous times that folk music is sung and played. Folk music is sung as lullabies, and while cooking or weaving. It is played while dancing. Folk music is sung while working by sailors, lumberjacks, shepherds, and farmers. As folk music was not traditionally spread through written notation, many songs have been lost. However, an incredible amount of folk music does exist in written form and folk music archives exist. -
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 ................................................................................................................... -
The Far East
1 Gallery Guide St. Louis, A Musical Gateway: THE FAR EAST Asia, the world’s largest continent on earth, is surrounded by the Pacific, Arctic, and Indian Oceans. Featured in Rooms 1 & 2 of the display are musical instruments from the East Asia geographical region. This region shows the musical intersections influenced by travel and trade among the People’s Republic of China, Taiwan, Mongolia, Japan, Tibet, and South and North Korea. This exhibit is the third in a series that celebrates St. Louis’ multicultural heritage communities. It features rare and beautiful instruments of the Far East and Oceania drawn from the Hartenberger World Music Collection of Historical Instruments Dr. Aurelia & Jeff Hartenberger, Karrie Bopp, Dr. Jaclyn Hartenberger and Kevin Hartenberger. 2 The Far East The musical traditions of the Far East serve to demonstrate important aspects of the social, spiritual, and aesthetic values of their cultures of origin. These traditions have also been shaped over centuries, as people traveled by land and sea along trade routes spanning vast territories. Merchants and travelers exchanged silk and spices as well as languages, ideas, music, and musical instruments. By the eleventh (11th) century musical instruments from the Middle East and Central Asia could be found both in Europe and in parts of East, South, and Southeast Asia. In ancient China, musical instruments were divided into "eight sounds" — based on the materials used in their construction: Metal (jin), stone (shi), silk (si), bamboo (zhu), gourd (pao), clay (tao), leather (ge) and wood (mu). Today, instruments associated with this early classification system are reconstructed for use in ensembles that perform in museums and historical buildings. -
JIGU! Thunder Drums of China Suggested Study Guide* BEFORE SEEING the PERFORMANCE 1
JIGU! Thunder Drums of China Suggested Study Guide* BEFORE SEEING THE PERFORMANCE 1. Ask the class to brainstorm all that they know about China and the Chinese people. 2. Ask students to locate China on a map of the world. How does China’s geographic location, size, and different climates affect the daily lives of the people there? How do they think China’s location and different climates may have affected Chinese history? 3. Have students read and discuss the attached information about the city of Jiangzhou and the province of Shanxi, Chinese daily life, politics, theatre, and the background on Chinese music and the percussive arts. 4. Discuss capitalism and socialism as economic systems. Discuss democracy and communism as political systems. What are the pros and cons of each system? How would your daily life be different if you did not live in a Western democracy? 5. Based on the attached information, have the students compare their daily lives to the daily life of a Chinese drummer or musician. How might their routine differ? How is it the same? 6. Review the attached vocabulary list. Or, assign a portion of the list to different groups of students and have them provide definitions. Have the groups share their definitions with the class as they relate to the actual definitions from the list. 7. Have students read and discuss the attached information about Shanxi Province, China, Chinese daily life, politics, theatre, and background on Chinese Musicians. 8. Have the class compare daily life in China from ten years ago and as it is today. -
A Study Guide of the Taiwanese Composer, Nan-Chang Chien, and His Four Aboriginal Lieder for Soprano and Orchestra
A Study Guide of the Taiwanese Composer, Nan-Chang Chien, and his Four Aboriginal Lieder for Soprano and Orchestra. D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts In the Graduate School of The Ohio State University By Szu-Yu Chu, M.M. Graduate Program in School of Music The Ohio State University 2014 Document Committee: Robin Rice, Advisor Scott McCoy Alan Green Joseph Duchi Copyright by Szu- Yu Chu 2014 ABSTRACT Beginning in the middle of the twentieth century, Taiwanese musicians began to preserve the musical culture of the Taiwanese aboriginal tribes. A few composers started to arrange music based on aboriginal music and more and more pieces have been composed throughout the years; Nan-Chang Chien is one of the pioneer composers. Although Taiwanese musicians have begun composing and performing these works, few studies have been done which has left this music still mostly unknown to the world. This document aims to contribute to the study of Taiwanese composers by offering an introductory study guide for the Taiwanese composer, Nan-Chang Chien, and for his unpublished work, Four Aboriginal Lieder for Soprano and Orchestra. This study begins with a discussion of Taiwanese music history. It includes a brief investigation of the colonial history in Taiwan beginning in the seventeenth century and colonialism’s effect on the musical culture. Furthermore, it seeks to describe some of the different characteristics and influences in Taiwanese music that have been influenced by ii Taiwanese aboriginal music, traditional Chinese music, and western music. The document then continues with a brief study of the life and work of Nan-Chang Chien. -
Falun Gong and China's Continuing War on Human Rights Joint Hearing
FALUN GONG AND CHINA’S CONTINUING WAR ON HUMAN RIGHTS JOINT HEARING BEFORE THE SUBCOMMITTEE ON AFRICA, GLOBAL HUMAN RIGHTS AND INTERNATIONAL OPERATIONS AND THE SUBCOMMITTEE ON OVERSIGHT AND INVESTIGATIONS OF THE COMMITTEE ON INTERNATIONAL RELATIONS HOUSE OF REPRESENTATIVES ONE HUNDRED NINTH CONGRESS FIRST SESSION JULY 21, 2005 Serial No. 109–62 Printed for the use of the Committee on International Relations ( Available via the World Wide Web: http://www.house.gov/international—relations U.S. GOVERNMENT PRINTING OFFICE 22–579PDF WASHINGTON : 2005 For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2250 Mail: Stop SSOP, Washington, DC 20402–0001 VerDate Mar 21 2002 10:01 Sep 14, 2005 Jkt 000000 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 F:\WORK\AGI\072105\22579.000 HINTREL1 PsN: SHIRL COMMITTEE ON INTERNATIONAL RELATIONS HENRY J. HYDE, Illinois, Chairman JAMES A. LEACH, Iowa TOM LANTOS, California CHRISTOPHER H. SMITH, New Jersey, HOWARD L. BERMAN, California Vice Chairman GARY L. ACKERMAN, New York DAN BURTON, Indiana ENI F.H. FALEOMAVAEGA, American ELTON GALLEGLY, California Samoa ILEANA ROS-LEHTINEN, Florida DONALD M. PAYNE, New Jersey DANA ROHRABACHER, California ROBERT MENENDEZ, New Jersey EDWARD R. ROYCE, California SHERROD BROWN, Ohio PETER T. KING, New York BRAD SHERMAN, California STEVE CHABOT, Ohio ROBERT WEXLER, Florida THOMAS G. TANCREDO, Colorado ELIOT L. ENGEL, New York RON PAUL, Texas WILLIAM D. DELAHUNT, Massachusetts DARRELL ISSA, California GREGORY W. MEEKS, New York JEFF FLAKE, Arizona BARBARA LEE, California JO ANN DAVIS, Virginia JOSEPH CROWLEY, New York MARK GREEN, Wisconsin EARL BLUMENAUER, Oregon JERRY WELLER, Illinois SHELLEY BERKLEY, Nevada MIKE PENCE, Indiana GRACE F. -
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.