DOCSLIB.ORG

Acmr V22n1 2016.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Acmr V22n1 2016.Pdf ACMR Newsletter http://acmr.info/ Association for Chinese Music Research 中國音樂研究會通訊 Volume 22, number 1 May 2016 Membership Dues MESSAGE FROM THE PRESIDENT It is with great pleasure that we welcome you to the spring 2016 issue of ACMR Newsletter. We are excited to welcome Yun Emily Wang as our incoming newsletter editor. Once again, I want to thank Gloria Wong for all her contributions over the past many years as newsletter editor. We had a pleasant meeting last December in Austin, Texas, with three delightful presentations by ACMR members Yuxin Mei, Mercedes Dujunco, and Elise Ander- son. Slightly over a dozen of us also joined an informal pre -meeting dinner at Koriente Restaurant and Tea House. We were very pleased to have Nora Yeh, long-time Chuen-Fung ACMR member and generous donor of the Ruby Chao Yeh Student Travel Award, with us at both the dinner and Wong Inside this issue: the meeting. The Rulan Chao Pian Prize for the best article on Chinese Music was presented at the meeting. The Ruby Chao Yeh Student Travel Award was awarded Recent Publications 2 retroactively in January 2016. See the annual meeting report and prize announcements for details. People and Places 3 Readers of this issue of the newsletter will enjoy Elise Anderson’s excellent featured Ruby Chao Yeh 4 review of an “archival package” on the Uyghur master musician Musajan Rozi (b.1925), Prize Announcement put together by Andrew Xiaoshi Wei and team members of his Tash Music and Ar- chives. It is our purpose to continue to utilize the review column of the newsletter to ACMR Prizewinner 5 explore printed and/or audiovisual publications of Chinese music (very broadly defined, Media Review: as always) that have fallen under the radar of major scholarly journals. Please send us suggestions for book or audiovisual reviews, or volunteer to review one. Musajan Rozi, 6 The Korla Diaries This year marks the thirtieth anniversary of ACMR. I have been working with my fellow board members to get ready for this year’s annual meeting (November 10 in Conference Reports: Washington, D.C.) to celebrate this major milestone of the Association. I will have more to announce in the fall issue of the newsletter or via our email list. We CHINOPERL/AAS 9 welcome ideas. Please feel free to contact me with any questions or comments ([email protected]). Please also send announcements, new publications, field IMS-EA 11 reports, and other relevant items to one of our three newsletter editors, Lars Chris- tensen, Adam Kielman, and Yun Emily Wang via [email protected]. ACMR 2015 Meeting 12 Upcoming 14 I wish you a productive and enjoyable summer. Conferences Chuen-Fung Wong, ACMR President Vol. 22, no. 1 ACMR Newsletter Page 2 About ACMR The Association for Chinese Music Research (ACMR) serves as a forum for the exchange of ideas and information Announcementfor anyone interested of 2014 in Yeh the Studentscholarly Travel study Awardof Chinese music. Catering mainly though not exclusively to those living Competitionin North America, ACMR holds an annual meeting in conjunction with the annual meeting of the Society for Ethno- musicology. ACMR’s online discussion group is hosted by the University of Hawai’i. To send messages to the list, please use the address [email protected]. If you have any questions about the list, write to Ted Kwok at [email protected]. ACMR Newsletter is published twice a year in spring and fall. We encourage ACMR members to submit the following kinds of materials: notices of recent publications and recently completed dissertations or theses, announcements of and reports on scholarly and performing activities, news of institutions and individuals, as well as views and opinions on any matter relevant to ACMR. Please send all materials and enquiries to [email protected]. Back issues are available at http://acmr.info/. Membership Reminder We encourage your new membership and renewal Payment can now be made through the ACMR PayPal for the 2016-17 period. account. If you wish to pay through this method send Alan Kagan a request for a PayPal invoice and currency Current membership dues are $15 for those in pro- type (e.g. Hong Kong Dollars) at [email protected]. fessional positions and independent scholars, and $10 Otherwise, make your payment by check to ACMR and for students. Please define your status when paying. mail to: Please notify us of address and email changes. Pay- ments made at the annual meeting, especially in cash, Alan L. Kagan, Treasurer are cumbersome and a poor use of the business Association for Chinese Music Research meeting time. 1376 Christensen Ave. West St. Paul, MN 55118 Recent Publications Cheung, Joys H. Y. 2015. “Riding the Wind with Mo- 音乐学院学报 [Journal of the Central Con- zart’s ‘Jupiter’ Symphony: The Kantian and servatory of Music] 1: 81-91. Daoist Sublimes in Chinese Musical Moderni- Gong, Hongyu 宫宏宇. 2016. “Wan Qing Shanghai zujie ty.” Music & Letters 96 (4): 534-563. xiqiao yinyue huodong shulue, 1843–1911” 晚 Cheung, Joys H. Y. 2015. “Ear-Pleasing or Not: Listen- 清上海租界西侨音乐活动述略 (1843–1911) ing to Qin Music in Shanghai during the Inter- 之二—寓沪外侨乐人、业余音乐组织及其演 音樂研究 war Period.” Yinyue yanjiu [Journal 出活动 [Musical Life in Shanghai’s International of Music Research (NTNU, Taipei)] 23: 73- Settlement and the French Concession, 1843– 115. 1911 (2)]. Yinyue yishu 音乐艺术 [Art of Music] 宫宏宇 Gong, Hongyu . 2016. "Beiduofen zai Shanghai, 1: 87-101. 贝多芬在上海 1861–1880” (1861–1880) Gong, Hongyu 宫宏宇. 2016. “Jidujiao chuanjiaoshi yu [Beginnings of Beethoven in Shanghai, 1861– Ningbo zaoqi yinyue jiaoyu” 基督教传教士与 1880]. Zhongguo yinyuexue 中国音乐学 宁波早期音乐教育 [Ningbo—The Birthplace [Musicology in China] 1: 36-43. of China’s Modern Music Education]. Xinhai Gong, Hongyu 宫宏宇. 2016. “‘Beiduofen zuihou zhi yinyue xueyuan xuebao 星海音乐学院学报 dichuan dizi’ zai hua de jichang yinyuehui, [Journal of Xinghai Conservatory of Music] 1: 贝多芬最后之嫡传弟子 在 (1895–1897)” “ ” 40-51. 华的几场音乐会 (1895–1897) [“The Last Lam, Joseph S.C. 2015. “Ci Songs from the Song Dynas- Remaining Pupil of Beethoven”: Anton de ty: A Ménage à Trois of Lyrics, Music, Kontski and His Concerts in China, 1895– and Performance.” New Literary History, 46 (4): 1897]. Zhongyang yinyue xueyuan xuebao 中央 623-646. Vol. 22, no. 1 ACMR Newsletter Page 3 People and Places The Center for Chinese Music and Culture nese Award from the Federation of Overseas Chinese (CCMC) at Middle Tennessee State University Association of Taiwan, a graduate Fellowship from the officially opened on March 17th, 2016. The Center East-West Center, and a 2016 Ning travel award for contains a musical instrument gallery, a library, ar- her fieldwork. As guzheng performer, Lai has premi- chives, and classrooms. Under the direction of Dr. Mei ered many new compositions written by Taiwanese Han, the Center’s initial acquisition consisted of close and American composers in Hawaii and across the US. to one hundred musical instruments from China. The highlight of this collection is a set of twenty-four repli- Joseph Lam will serve as a visiting professor at Duke ca chime bells from the royal court of Zenghou Yi Kunshan University in Kunshan, Jiangsu Province, China (433 BCE) complete with a companion set of eighteen from April 18 through June 12, 2016, during which stone chimes made specifically for the Center in Hu- time he will teach a course on kunqu and conduct re- bei, China. The Center’s archives now house the late search on performing arts in the Jiangnan region. He Dr. Fredric Lieberman’s entire collection of Chinese will also give a series of four lectures on Song dynasty music donated by his family. The Center activities will music historiography at the Shanghai Conservatory of include: concert and lecture series; academic exchange Music. programs; Chinese musical instrument instruction and ensemble performances as MTSU School of Music Xiaorong Yuan earned a Master’s Degree in May credit courses; and an outreach school and community 2016 from Kent State University with a thesis titled programs. The Center’s website is http://mtsu.edu/ “Authenticity in Chinese Minority Popular Music: A chinesemusic. Case Study of Shanren, a Contemporary Multi-Ethnic Band.” She received her Bachelor’s Degree in musicol- The University of Hawaii at Manoa Chinese En- ogy from the Central Conservatory of Music in Beijing semble, under the direction of Frederick Lau, was in 2012. Her thesis focuses on contemporary Chinese invited by the University of French Polynesia (UFP) to minority popular musicians who are active in Beijing. perform concerts in Tahiti for one week in February. Other areas of interest include Thai classical music, Members of the group include Yuan-yu Kuan (erhu), Xi cognitive ethnomusicology, and East Asian music and Yang (pipa), Benjamin Fairfield (zhongruan), Yi-chieh Lai culture, especially popular music. (guzheng), and Frederick Lau (dizi). They performed several concerts at venues such as the Artistic Con- Thesis Abstract: servatory of French Polynesia, the Sinitong Chinese This study reviews the history and present state of Association New Year Celebration at the Kanti ethnic minority popular music in Mainland China. A (Guandi) Temple ground, the UFP Confucius Institute, primary focus is on the influence of government policy and the community ukulele class at the Kuo Min Tang with regards to authenticity in association with ethnic community center. Performing a combination of re- minorities and mainstream popular music artists. The gional sizhu pieces, instrumental solos, and popular indie popular group, Shanren, which has strong ties to Hawaiian tunes transcribed for Chinese ensemble, the minority music and culture in China, is used as a case group was enthusiastically received and praised for its study to examine how authenticity is achieved through artistic excellence, technical proficiency, and dynamic visual, aural, and linguistic connections to the social presentations.
Load more

Recommended publications
  • Globalization and Theater Spectacles in Asia
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 15 (2013) Issue 2 Article 22 Globalization and Theater Spectacles in Asia I-Chun Wang National Sun Yat-sen University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Wang, I-Chun.
    [Show full text]
  • SILK ROAD: the Silk Road
    SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished.
    [Show full text]
  • China Study Journal
    CHINA STUDY JOURNAL CHINA DESK Churches Together in Britain and Ireland Sh- churches ìogethe AU r IN BRITAIN AND I II i u « 0® China Study Journal Autumn/Winter 2008 Editorial Address: China Desk, Churches Together in Britain and Ireland, Bastille Court, 2 Paris Garden, London, SEI 8ND, United Kingdom Email: [email protected] ISSN 0956-4314 Cover: Nial Smith Design, from: Shen Zhou (1427-1509), Poet on a Mountain Top, Ming Dynasty (1368-1644). Album leaf mounted as a hand scroll, ink and water colour on paper, silk mount, image 15 lA x 23 % inches (38.74 x 60.33cm). © "The Nelson-Arkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Trust, 46-51/2. Photograph by Robert Newcombe. Layout by raspberryhmac - www.raspberryhmac.co.uk Contents Editorial Section 1 Articles Zhuo Xinping Societal Changes and Religious Reconstruction in Contemporary China Li Shunhua Another Aspect of Chinese Rural Christianity — Based on a field survey of a rural church in north Henan province Chen Shengbai A Minority amongst a minority: an investigation into the situation of [Protestant] Christianity in Southern Gansu Section 2 Documentation Editor: Edmond Tang Managing Editor: Lawrence Braschi Translators: Cinde Lee, Lawrence Breen, Alison Hardie, Lawrence Braschi Abbreviations ANS : Amity News Service (HK) CASS : Chinese Academy of Social Sciences (Beijing) CCBC : Chinese Catholic Bishops' Conference CCC : China Christian Council CCPA : Chinese Catholic Patriotic Association CM : China Muslim (Journal) CPPCC : Chinese People's Consultative Conference FY : Fa Yin (Journal of the Chinese Buddhist Assoc.) SCMP : South China Morning Post(HK) SE : Sunday Examiner (HK) TF : Tian Feng (Journal of the China Christian Council) TSPM : Three-Seif Patriotic Movement UCAN : Union of Catholic Asian News ZENIT : Catholic News Agency ZG DJ : China Taoism (Journal) ZGTZJ : Catholic Church in China (Journal of Chinese Catholic Church) Note: the term lianghui is used in this journal to refer to the joint committees of the TSPM and CCC.
    [Show full text]
  • Recent Publications in Music 2010
    Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A.
    [Show full text]
  • This Is a Complete Transcript of the Oral History Interview with Mary Goforth Moynan (CN 189, T3) for the Billy Graham Center Archives
    This is a complete transcript of the oral history interview with Mary Goforth Moynan (CN 189, T3) for the Billy Graham Center Archives. No spoken words which were recorded are omitted. In a very few cases, the transcribers could not understand what was said, in which case [unclear] was inserted. Also, grunts and verbal hesitations such as “ah” or “um” are usually omitted. Readers of this transcript should remember that this is a transcript of spoken English, which follows a different rhythm and even rule than written English. Three dots indicate an interruption or break in the train of thought within the sentence of the speaker. Four dots indicate what the transcriber believes to be the end of an incomplete sentence. ( ) Word in parentheses are asides made by the speaker. [ ] Words in brackets are comments made by the transcriber. This transcript was created by Kate Baisley, Janyce H. Nasgowitz, and Paul Ericksen and was completed in April 2000. Please note: This oral history interview expresses the personal memories and opinions of the interviewee and does not necessarily represent the views or policies of the Billy Graham Center Archives or Wheaton College. © 2017. The Billy Graham Center Archives. All rights reserved. This transcript may be reused with the following publication credit: Used by permission of the Billy Graham Center Archives, Wheaton College, Wheaton, IL. BGC Archives CN 189, T3 Transcript - Page 2 Collection 189, T3. Oral history interview with Mary Goforth Moynan by Robert Van Gorder (and for a later portion of the recording by an unidentified woman, perhaps Van Gorder=s wife), recorded between March and June 1980.
    [Show full text]
  • 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.
    [Show full text]
  • 07 Jan 2016 (Jil.60, No.1, TMA No.2)
    M A L A Y S I A Warta Kerajaan S E R I P A D U K A B A G I N D A DITERBITKAN DENGAN KUASA HIS MAJESTY’S GOVERNMENT GAZETTE PUBLISHED BY AUTHORITY Jil. 60 TAMBAHAN No. 1 7hb Januari 2016 TMA No. 1 No. TMA 1. AKTA CAP DAGANGAN 1976 (Akta 175) PENGIKLANAN PERMOHONAN UNTUK MENDAFTARKAN CAP DAGANGAN Menurut seksyen 27 Akta Cap Dagangan 1976, permohonan-permohonan untuk mendaftarkan cap dagangan yang berikut telah disetuju terima dan adalah dengan ini diiklankan. Jika sesuatu permohonan untuk mendaftarkan disetuju terima dengan tertakluk kepada apa-apa syarat, pindaan, ubahsuaian atau batasan, syarat, pindaan, ubahsuaian atau batasan tersebut hendaklah dinyatakan dalam iklan. Jika sesuatu permohonan untuk mendaftarkan di bawah perenggan 10(1)(e) Akta diiklankan sebelum penyetujuterimaan menurut subseksyen 27(2) Akta itu, perkataan-perkataan “Permohonan di bawah perenggan 10(1)(e) yang diiklankan sebelum penyetujuterimaan menurut subseksyen 27(2)” hendaklah dinyatakan dalam iklan itu. Jika keizinan bertulis kepada pendaftaran yang dicadangkan daripada tuanpunya berdaftar cap dagangan yang lain atau daripada pemohon yang lain telah diserahkan, perkataan-perkataan “Dengan Keizinan” hendaklah dinyatakan dalam iklan, menurut peraturan 33(3). WARTA KERAJAAN PERSEKUTUAN WARTA KERAJAAN PERSEKUTUAN 2 [7hb Jan. 2016 7hb Jan. 2016 PB Notis bangkangan terhadap sesuatu permohonan untuk mendaftarkan suatu cap dagangan boleh diserahkan, melainkan jika dilanjutkan atas budi bicara Pendaftar, dalam tempoh dua bulan dari tarikh Warta ini, menggunakan Borang CD 7 berserta fi yang ditetapkan. TRADE MARKS ACT 1976 (Act 175) ADVERTISEMENT OF APPLICATION FOR REGISTRATION OF TRADE MARKS Pursuant to section 27 of the Trade Marks Act 1976, the following applications for registration of trade marks have been accepted and are hereby advertised.
    [Show full text]
  • Music at Application of Makeup That Transforms the Actress Into Qiao Xiao-Qin
    time and becoming the main character in the ancient Friday, May 23, 2014 story – Du Li-Niang. The performance features 8:00 p.m., Concert Hall Carleton College superstar Kunqu Opera actress Shen Yi-Li from Carleton Choir Concert Shanghai, accompanied by top professional performers Something Like A Star of Chinese traditional instruments. The first half of Lawrence Burnett, conductor the evening includes live music accompanying the Julian Pozniak, student conductor Music at application of makeup that transforms the actress into Qiao Xiao-Qin. This provides the audience a rare Lawrence Burnett conducts a program of choral opportunity to view live on stage this amazing makeup favorites on the theme of earth and sky. Senior process that is such an important part of Chinese music major Julian Pozniak conducts Vivaldi’s traditional opera. Gloria to culminate his years of musical leadership Carleton in the choral ensembles. Co - Sponsored by the Department of Asian Studies, the Office of the Director of Arts, and the Department Spring 2014 of Music Wednesday, May 28, 2014 7:00 p.m., Concert Hall Sunday, April 27, 2014 Saturday, April 5, 2014 7:30 p.m., Concert Hall Piano Studios Recital 2:20 – 3:00 p.m., Mall of America - Nicola Melville, coordinator Sears Rotunda Guest Artist Concert Mass Appeal 7th Annual A Passage to China: Thursday, May 29, 2014 Music of East Asia I Cantanti Chamber Choirs, Wayne Kivell, conductor 12:10 p.m., Concert Hall Chinese Music Ensemble, Student Chamber Music Recital I Gao Hong, director The concert features settings of the modern Mass, all Nicola Melville, coordinator Carleton Singers, composed in the last 50 years.
    [Show full text]
  • Research on the New Ways of the Spread of Traditional Operas in the Wechat-Era
    2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) Research on the New Ways of the Spread of Traditional Operas in the Wechat-Era Ou Yangmei Hunan Institute of Traffic Engineering, Hengyang, Hunan 421219, China Keywords: Wechat-era, Drama, Communication, New approach Abstract: The opera is one of the traditional Chinese art and is unique in the history of world drama. It has a long history and a profound mass base, and is an important carrier for expressing and inheriting the fine traditional Chinese culture. This paper attempts to explore how to use the characteristics of micro-era communication to make more extensive dissemination and development of opera art by using the latest mobile new media communication methods. 1. Introduction Chinese opera and Greek tragedy and comedy, Indian scriptures and the world's three ancient drama cultures, compared to the other two ancient drama cultures, Chinese operas are produced later, but the first two ancient drama cultures have been long The history of the river has disappeared one after another, and it no longer exists. However, although Chinese opera has experienced thousands of years of enthusiasm and rise and fall, it is still full of vitality and vitality. It is not only a treasure of the excellent traditional culture of the Chinese nation, but also plays an important role in the treasure house of world culture and art. Historically, traditional Chinese opera has continued to be passed on by word of mouth. Although in the hundreds of years, the channels of the drama are very simple and difficult, but it does not affect the people's love for the opera.
    [Show full text]
  • National Endowment for the Arts Annual Report 1993
    L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform­ ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts.
    [Show full text]
  • Kunqu Opera in the Last Hundred Years in China
    Review of Educational Theory | Volume 02 | Issue 04 | October 2019 Review of Educational Theory https://ojs.bilpublishing.com/index.php/ret REVIEW Kunqu Opera in the Last Hundred Years in China Yue Wang* The University of Milan, Milan, 20122, Italy ARTICLE INFO ABSTRACT Article history Kunqu, literally means kun melody, is one of the most ancient forms of Received: 26 September 2019 Chinese opera. Originally her melody derives from Kunshan zone of Jiangsu province therefore it has been named Kunshan melody before, Revised: 15 October 2019 now Kunqu also known as Kunju, which means Kunqu opera. This paper Accepted: 21 October 2019 mainly focuses on the development of Kunqu in the past 100 years and the Published Online: 31 October 2019 influence of historical social and humanistic changes behind the special era on Kunqu, and compares the attitudes of scholars of different schools Keywords: of thought in different eras to Kunqu and the social public to compare and analyze the degree of love of Kunqu. Kunqu Last hundred years Development Inuence 1. Introduction opera have been developed on the basis of Kunqu. It is the most complete type of drama in the history of Chinese The original name of Kunqu is “tune of KunShan”, is opera, the biggest feature is the lyrical and delicate move- the ancient Chinese opera intonation type of drama, now ments, the combination of singing and dancing is inge- known as the “Kun drama”. Originated from the Yuan nious and harmonious ,in the costumes and make-up, the Dynasty (the middle of the 14th century), it’s a traditional generals have various kinds of costumes, the civil servants Chinese culture and art of the Han ethnic group.
    [Show full text]
  • Paper Title (Use Style: Paper Title)
    HK.NCCP International Journal of Intelligent Information and Management Science ISSN: 2307-0692, Volume 8, Issue 4, August, 2019 International Journal of Intelligent Information and Management Science Volume 8, Issue 4, August, 2019 http://www.hknccp.org -------------------------------------------------------------------------------- President: Zhang Jinrong Chief Planner: Hu Yuejuan Executive Chief Editor: Chen Lihua, Cui Shuzhen, Shuyu Chen Editorial Board: Li Shu, Xu Ya, Gao Shufen, Ya Hui, Su Daqi, Albert, Yu Borui, Souza, Pei Liu, Chun Hao, Li Dhidai, Meng Yu Audit Committee: Lin Lichan, Xu Lijuan, Dong Peiwang, Su Jianmin, Ali Coskun, You Wenying, Chen Xingeng, An Xin, Yan Yanhui, Tang Ming, Yang Ming, Zhi Zhong, Xiao Han, Sun Wenjun, Yoon-seon Lee, Bom Sook Kim, Chang-Duk Jun, Jin Hong Cha, Tan Ker Kan, Tian-Hua Huang, Jorge Serra Colina, Yong Shao, Vikram Kate Publisher: HongKong New Century Cultural Publishing House Address: Unit A1, 7/F, Cheuk Nang Plaza, 250 Hennessy Road, Wanchai, Hong Kong -------------------------------------------------------------------------------- Copyright© 2019 HongKong New Century Cultural Publishing House -All Rights Reserved HK.NCCP International Journal of Intelligent Information and Management Science ISSN: 2307-0692, Volume 8, Issue 4, August, 2019 HK.NCCP International Journal of Intelligent Information and Management Science ISSN: 2307-0692, Volume 8, Issue 4, August, 2019 Contents The Creative Features and Aesthetic Significance of Liu Wenjin’s Erhu Opera "Sanmen Gorge Rhapsody" Jihou Yu………………………………………………………………………………………………………………………………(1)
    [Show full text]