DOCSLIB.ORG

Chinese Zheng and Identity Politics in Taiwan A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chinese Zheng and Identity Politics in Taiwan A CHINESE ZHENG AND IDENTITY POLITICS IN TAIWAN A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC DECEMBER 2018 By Yi-Chieh Lai Dissertation Committee: Frederick Lau, Chairperson Byong Won Lee R. Anderson Sutton Chet-Yeng Loong Cathryn H. Clayton Acknowledgement The completion of this dissertation would not have been possible without the support of many individuals. First of all, I would like to express my deep gratitude to my advisor, Dr. Frederick Lau, for his professional guidelines and mentoring that helped build up my academic skills. I am also indebted to my committee, Dr. Byong Won Lee, Dr. Anderson Sutton, Dr. Chet- Yeng Loong, and Dr. Cathryn Clayton. Thank you for your patience and providing valuable advice. I am also grateful to Emeritus Professor Barbara Smith and Dr. Fred Blake for their intellectual comments and support of my doctoral studies. I would like to thank all of my interviewees from my fieldwork, in particular my zheng teachers—Prof. Wang Ruei-yu, Prof. Chang Li-chiung, Prof. Chen I-yu, Prof. Rao Ningxin, and Prof. Zhou Wang—and Prof. Sun Wenyan, Prof. Fan Wei-tsu, Prof. Li Meng, and Prof. Rao Shuhang. Thank you for your trust and sharing your insights with me. My doctoral study and fieldwork could not have been completed without financial support from several institutions. I would like to first thank the Studying Abroad Scholarship of the Ministry of Education, Taiwan and the East-West Center Graduate Degree Fellowship funded by Gary Lin. I also want to thank the donors and organizations of the Sumi Makey Scholars Awards, the Faith C. Ai Memorial Scholarship Fund, the John Young Scholarship in the Arts, the UH Graduate Student Organization, the UH Music Department Scholarship, the Chung-fong and Grace Ning Chinese Studies Fund, the Haigo and Irene Shen Scholarship, the East-West Center Association, the UH Outstanding International Student Scholarship, the June Chun Naughton International Student Services Scholarship, and the Louise Hess Miller Communication Awards. i I would like to thank my friends, especially Benjamin Fairfield, Kuan Yuan-yu, Yeh Jiuan-reng, and Jonathan Valdez, who provided constructive comments and encouragement during my writing process. Last but not least, I would like to express my deepest appreciation to my parents, my aunts, and my sister and brother for their endless support. ii Abstract This dissertation examines the ideologies and embodiments of identity politics of transplanted music by taking the Chinese zheng, also known as guzheng, in Taiwan as subject of study. Through examining state policy and Taiwanese zheng players’ musical behavior, I investigate Taiwanese musicians’ ambivalent identity constituted in zheng performance—from playing Chinese zheng music to creating Taiwanese zheng music—under the political tension between the Republic of China (ROC) and the People’s Republic of China (PRC). This dissertation examines the ways that Taiwanese musicians actively contribute to the body of zheng music. I demonstrate that cultural ideologies were instrumental during the musical transmission; additionally, I detail the individual approaches of executing these cultural practices. Given that the government policy was inseparable from the way Taiwanese zheng musicians played music, the zheng thus can be seen as a site of negotiating one’s position in the socio-political condition. This dissertation engages theories on nationalism and identity to demonstrate not only how cultural policies affect music but also how musicians make music and interact with the nations. Rather than viewing Chinese/Taiwanese zheng music as merely a musical product, I examine zheng performance in Taiwan as a social behavior that allowed performers to participate in a modern China that led to the creation of a local Chinese practice in Taiwan. As a result, the zheng became the only Chinese musical instrument that signified both Chinese and Taiwanese cultural identities. This research illustrates how the zheng, as a cultural instrument, builds social connections and negotiates identities and conflicts in everyday life. The complex issues of zheng music in Taiwan will provide a new understanding of modern iii Chinese/Taiwanese history with a focus on identity politics that relates to the cross-strait relationship. iv Table of Contents Acknowledgement ……………………………………………………………………….. i Abstract …………………………………………………………………….…………….. iii List of Figures ……………………………………………………………………………. viii List of Audio Examples ………………………………………………………………….. x List of Abbreviations …………………………………………………………………….. xi Note on Romanization …………………………………………………………………… xii Chapter 1: Introduction ………………………………………………………………... 1 Project Statement ………………………………………………………………………… 1 An Overview of Zheng …………………………………………………………………... 3 Ethnographic and Historical Background ……………………………………………….. 8 Literature Review ………………………………………………………………………... 11 Zheng Music ……………………………………………………………………….. 11 Nationalism ………………………………………………………………………... 13 Identity …………………………………………………………………………….. 15 Methodology …………………………………………………………………………….. 18 Positionality ……………………………………………………………………………… 20 Significance ……………………………………………………………………………… 22 Outline of Chapters ……………………………………………………………………… 23 Chapter 2: Performing Zheng, Playing Chineseness ………………………………… 25 Nationalizing Chinese Musical Culture …………………………………………………. 25 China as Nation, Taiwan as Local ………………………………………………… 26 Zheng and the Modern Chinese Orchestra ………………………………………… 27 Zheng and the Chinese Cultural Renaissance Movement …………………………. 29 Popularization and Institutionalization of Zheng Performance ………………………….. 34 Popularization of Zheng Performance ……………………………………………... 34 Institutionalization of Zheng Performance ………………………………………… 37 The Locals’ First Encounters with Zheng ………………………………………………... 41 Commodification of Zheng ………………………………………………………………. 43 Rarity of Zheng …………………………………………………………………….. 43 Prosperity in the Production of Zheng ……………………………………………... 44 Becoming Chinese Elite ………………………………………………………………….. 45 Silenced Local Zheng Music Practice ……………………………………………………. 47 Conclusion ……………………………………………………………………………….. 51 Chapter 3: Two Chinese Nations ………………………………………………………. 52 Cultural Ideology and Zheng Music Making in mainland China ………………………... 52 Creation of Modern Zheng Music ………………………….……………………… 53 v Unified Notation and Technical Symbols ………………………….………………. 60 Cultural Ideology and Zheng Music Making in Taiwan ………………………….……… 64 Multiple Sources of New Zheng Music ………………………….………………… 65 Diversity of Technical Symbols ………………………….………………………... 69 Contesting Chinese Nationalisms and Zheng Music …………………………………….. 72 Cultural Revolution Zheng Music ………………………….……………………… 73 Chinese Cultural Renaissance Movement and Zheng Music ……………………… 77 Beyond Contesting Chinese Nationalisms ………………………………………………. 78 Performing Cultural Revolution Zheng Music in Taiwan ………………………… 79 Re-contextualization of Cultural Revolution Zheng Music ……………………….. 82 The Politics of Zheng Performance …………………….………………………….…….. 83 Conclusion ………………………….………………………….………………………… 85 Chapter 4: One Cultural China ………………………….…………………………….. 87 Mainland Fever ………………………….………………………….……………………. 87 Chinese Zheng Pilgrimage ………………………….……………………………… 88 Musical Publications ………………………….………………………….………... 90 Evolving Techniques ………………………….………………………….………….…… 91 From Fingernails to Plectrums ………….………………………….……………… 92 From Tuopi to Yaozhi Technique ………….………………………….……………. 95 Changing Tempos ………….………………………….…………………………………. 99 Tempo on the Fingertips ………….………………………….……………………. 100 Timing and Tempo of Improvisation ………….………………………….……….. 106 Tempo of the Times ………….………………………….………………………… 107 Rethinking Authenticity ………….………………………….…………………………… 110 Musical Synchronization ………….………………………….………………………….. 113 Conclusion ………….………………………….…………………………….………….. 116 Chapter 5: Becoming Taiwanese …………….…………………………….…………... 117 Interplay of Cultural and Political Identities …………….………………………………. 117 Untuned Identities Between the Zheng and the Politics …………….…………….. 117 Re-centering the Cultural Identity of the Zheng …………….…………………….. 120 Construction of Taiwanese Zheng Music …………….………………………………….. 124 The Rise of Taiwanese Zheng Music …………….………………………………... 124 What is the “Taiwanese” in Taiwanese Zheng Music? …………….……………… 127 Who are the “Taiwanese” Playing Taiwanese Zheng Music? …………….………. 130 Musical Analysis of Taiwanese Zheng Music …………….……………………………... 133 Musical Infusion of Chinese Musical Culture …………….………………………. 133 Musical Infusion of Taiwanese Musical Culture …………….……………………. 138 Musical Infusion of Western Classical Musical Culture …………….……………. 142 vi Musical Infusion of Other Musical Cultures …………….………………………... 156 Zheng and Taiwanese Identity …………….………………….………………….………. 159 Conclusion …………….…………………………….…………………………………... 159 Chapter 6: Conclusion …………….…………………………….……………………... 161 Zheng and Overlapping Identities ……………….………………………………………. 161 Zheng and Identity Politics ….…………….………………………….…………………. 164 For Future Research ……………….………………………….…………………………. 166 Glossary ……………….………………………….……………………………………… 168 Names of Persons and Institutions ……………….………………………….…….. 168 Terms ……………….………………………….…………………………………... 173 Bibliography …………….…………………………….…………………………………. 178 List of interviewees …………….…………………………….………………………….. 198 vii List of Figures Figure 1.1 Supposed 5-stringed zheng ………………….………………….……………. 4 Figure 1.2 The 16-stringed zheng ………………….………………….………………… 4 Figure 1.3 The 21-stringed
Load more

Recommended publications
  • Response Report
    DSIAC TECHNICAL INQUIRY (TI) RESPONSE REPORT Top Global Researchers and Organizations in Low Observable Material Science Report Number: DSIAC -2019-1188 Completed October 2019 DSIAC is a Department of Defense Information Analysis Center MAIN OFFICE 4695 Millennium Drive Belcamp, MD 21017-1505 443-360-4600 REPORT PREPARED BY: Taylor Hegeman Office: DSIAC DISTRIBUTION STATEMENT A. Approved for public release: distribution unlimited. Form Approved REPORT DOCUMENTATION PAGE OMB No. 0704-0188 Public reporting burden for this collection of information is estimated to average 1 hour per response, including the time for reviewing instructions, searching existing data sources, gathering and maintaining the data needed, and completing and reviewing this collection of information. Send comments regarding this burden estimate or any other aspect of this collection of information, including suggestions for reducing this burden to Department of Defense, Washington Headquarters Services, Directorate for Information Operations and Reports (0704-0188), 1215 Jefferson Davis Highway, Suite 1204, Arlington, VA 22202-4302. Respondents should be aware that notwithstanding any other provision of law, no person shall be subject to any penalty for failing to comply with a collection of information if it does not display a currently valid OMB control number. PLEASE DO NOT RETURN YOUR FORM TO THE ABOVE ADDRESS. 1. REPORT DATE (DD-MM-YYYY) 2. REPORT TYPE 3. DATES COVERED (From - To) 24-10-2019 Technical Research Report 4. TITLE AND SUBTITLE 5a. CONTRACT NUMBER FA8075-14-D-0001 Top Global Researchers and Organizations in Low Observable 5b. GRANT NUMBER Material Science 5c. PROGRAM ELEMENT NUMBER 6. AUTHOR(S) 5d. PROJECT NUMBER Taylor H.
    [Show full text]
  • SUMMER 2014 He Power of Group Practice Is Not Superstition; It Comes from “Tthe Collective Energy of Meditating with Others for a Common Goal
    SUMMER 2014 he power of group practice is not superstition; it comes from “Tthe collective energy of meditating with others for a common goal. We should trust in this power. When everyone’s mind consistently points in the same direction, this creates resonance. Although we cannot hear this resonance, it is indeed mutually supported by an invisible force. The saying that two heads are better than one is also true for meditation practice. Practicing alone yields the brightness of a single lamp; bring two or three lamps together, or even more, and it gets even brighter. Similarly, in sitting meditation a single mind, like a single lamp, may not be very bright, but when five or ten people with strong minds gather, the brightness is much enhanced. Those of weaker mind as well as the stronger ones will all gain mutual benefit. In this manner the power of group practice can be very strong. People often meditate together in this house we are in, so coming in here, one feels very calm. I have visited the Chan halls of ancient monasteries in China, some from the Song and Ming Dynasties, and some of them were ruined and rebuilt many times. Entering these Chan halls, one feels a powerful energy and deep calmness. The Chan hall at Ningbo Tian Tong Monastery is not very large, but many people were enlightened there. Although these people have long passed away and the temple has been rebuilt after many collapses, inside I sensed the power of the people who once practiced there. In the Chan hall of Jiangtian Monastery in Jingshan, in Jiangsu Province, eighteen people became enlightened in one night.
    [Show full text]
  • Withdrawal from the Monastic Community and Re-Ordination of Former Monastics in the Dharmaguptaka Tradition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ghent University Academic Bibliography WITHDRAWAL FROM THE MONASTIC COMMUNITY AND RE-ORDINATION OF FORMER MONASTICS IN THE DHARMAGUPTAKA TRADITION ANN HEIRMAN Centre for Buddhist Studies, Faculty of Arts and Philosophy Ghent University, [email protected] Abstract: At the apex of Buddhist monasticism are its fully ordained members—Buddhist monks (bhikṣu) and nuns (bhikṣuṇī). The texts on monastic discipline (vinayas) indicate that some monks and nuns, at certain points in their lives, may choose to withdraw from the saṃgha (monastic community). The vinaya texts from every tradition attempt to regulate such decisions, as well as the re-ordination of former monastics. In this paper, I focus on the Dharmaguptaka tradition, the vinaya of which has become standard in China and neighboring regions. My intention is to answer intriguing questions raised by Petra Kieffer-Pülz in her study on the re-ordination of nuns in the Theravāda tradition, which appeared in the first volume of this journal (2015–2016): which options are available to monks and nuns who wish to withdraw from the monastic community; and is it possible for them to gain readmission to the saṃgha? I also address a third question: what does this imply for the Dharmaguptaka tradition? My research focuses on the Dharmaguptaka vinaya, and on the commentaries of the most prominent Chinese vinaya master, Daoxuan (596–667 CE), whose work lies at the heart of standard—and contemporary—under- standing of vinayas in China. Keywords: formal and informal withdrawal; re-ordination; Buddhist monks; Buddhist nuns; Dharmaguptaka 159 160 BUDDHISM, LAW & SOCIETY [Vol.
    [Show full text]
  • Towards Chinese Calligraphy Zhuzhong Qian
    Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings.
    [Show full text]
  • MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), Piano
    MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), piano FRIDAY, JANUARY 18, 2019 | 7:30 PM NEIDORFF-KARPATI HALL FRIDAY, JANUARY 18, 2019 | 7:30 PM NEIDORFF-KARPATI HALL MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), piano PROGRAM JOHN WILLIAMS For New York (b. 1932) (Trans. for band by Paul Lavender) FRANK TICHELI Acadiana (b. 1958) At the Dancehall Meditations on a Cajun Ballad To Lafayette IGOR ST R AVINSKY Concerto for Piano and Wind Instruments (1882–1971) Lento; Allegro Largo Allegro Joseph Mohan (DMA ’21), piano Intermission VITTORIO Symphony No. 3 for Band GIANNINI Allegro energico (1903–1966) Adagio Allegretto Allegro con brio CENTENNIAL NOTE Vittorio Giannini (1903–1966) was an Italian-American composer calls upon the band’s martial associations, with an who joined the Manhattan School of Music faculty in 1944, where he exuberant march somewhat reminiscent of similar taught theory and composition until 1965. Among his students were efforts by Sir William Walton. Along with the sunny John Corigliano, Nicolas Flagello, Ludmila Ulehla, Adolphus Hailstork, disposition and apparent straightforwardness of works Ursula Mamlok, Fredrick Kaufman, David Amram, and John Lewis. like the Second and Third Symphonies, the immediacy MSM founder Janet Daniels Schenck wrote in her memoir, Adventure and durability of their appeal is the result of considerable in Music (1960), that Giannini’s “great ability both as a composer and as subtlety in motivic and harmonic relationships and even a teacher cannot be overestimated. In addition to this, his remarkable in voice leading. personality has made him beloved by all.” In addition to his Symphony No.
    [Show full text]
  • The Butterfly Lovers' Violin Concerto by Zhanhao He and Gang Chen By
    The Butterfly Lovers’ Violin Concerto by Zhanhao He and Gang Chen By Copyright 2014 Shan-Ken Chien Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson: Prof. Véronique Mathieu ________________________________ Dr. Bryan Kip Haaheim ________________________________ Prof. Peter Chun ________________________________ Prof. Edward Laut ________________________________ Prof. Jerel Hilding Date Defended: April 1, 2014 ii The Dissertation Committee for Shan-Ken Chien certifies that this is the approved version of the following dissertation: The Butterfly Lovers’ Violin Concerto by Zhanhao He and Gang Chen ________________________________ Chairperson: Prof. Véronique Mathieu Date approved: April 17, 2014 iii Abstract The topic of this DMA document is the Butterfly Lovers’ Violin Concerto. This violin concerto was written by two Chinese composers, Gang Chen and Zhahao He in 1959. It is an orchestral adaptation of an ancient legend, the Butterfly Lovers. This concerto was written for the western style orchestra as well as for solo violin. The orchestra part of this concerto has a deep complexity of music dynamics, reflecting the multiple layers of the story and echoing the soloist’s interpretation of the main character. Musically the concerto is a synthesis of Eastern and Western traditions, although the melodies and overall style are adapted from the Yue Opera. The structure of the concerto is a one-movement programmatic work or a symphonic poem. The form of the concerto is a sonata form including three sections. The sonata form fits with the three phases of the story: Falling in Love, Refusing to Marry, and Metamorphosis.
    [Show full text]
  • Adaptive Fuzzy Pid Controller's Application in Constant Pressure Water Supply System
    2010 2nd International Conference on Information Science and Engineering (ICISE 2010) Hangzhou, China 4-6 December 2010 Pages 1-774 IEEE Catalog Number: CFP1076H-PRT ISBN: 978-1-4244-7616-9 1 / 10 TABLE OF CONTENTS ADAPTIVE FUZZY PID CONTROLLER'S APPLICATION IN CONSTANT PRESSURE WATER SUPPLY SYSTEM..............................................................................................................................................................................................................1 Xiao Zhi-Huai, Cao Yu ZengBing APPLICATION OF OPC INTERFACE TECHNOLOGY IN SHEARER REMOTE MONITORING SYSTEM ...............................5 Ke Niu, Zhongbin Wang, Jun Liu, Wenchuan Zhu PASSIVITY-BASED CONTROL STRATEGIES OF DOUBLY FED INDUCTION WIND POWER GENERATOR SYSTEMS.................................................................................................................................................................................9 Qian Ping, Xu Bing EXECUTIVE CONTROL OF MULTI-CHANNEL OPERATION IN SEISMIC DATA PROCESSING SYSTEM..........................14 Li Tao, Hu Guangmin, Zhao Taiyin, Li Lei URBAN VEGETATION COVERAGE INFORMATION EXTRACTION BASED ON IMPROVED LINEAR SPECTRAL MIXTURE MODE.....................................................................................................................................................................18 GUO Zhi-qiang, PENG Dao-li, WU Jian, GUO Zhi-qiang ECOLOGICAL RISKS ASSESSMENTS OF HEAVY METAL CONTAMINATIONS IN THE YANCHENG RED-CROWN CRANE NATIONAL NATURE RESERVE BY SUPPORT
    [Show full text]
  • Three Millennia of Tonewood Knowledge in Chinese Guqin Tradition: Science, Culture, Value, and Relevance for Western Lutherie
    Savart Journal Article 1 Three millennia of tonewood knowledge in Chinese guqin tradition: science, culture, value, and relevance for Western lutherie WENJIE CAI1,2 AND HWAN-CHING TAI3 Abstract—The qin, also called guqin, is the most highly valued musical instrument in the culture of Chinese literati. Chinese people have been making guqin for over three thousand years, accumulating much lutherie knowledge under this uninterrupted tradition. In addition to being rare antiques and symbolic cultural objects, it is also widely believed that the sound of Chinese guqin improves gradually with age, maturing over hundreds of years. As such, the status and value of antique guqin in Chinese culture are comparable to those of antique Italian violins in Western culture. For guqin, the supposed acoustic improvement is generally attributed to the effects of wood aging. Ancient Chinese scholars have long discussed how and why aging improves the tone. When aged tonewood was not available, they resorted to various artificial means to accelerate wood aging, including chemical treatments. The cumulative experience of Chinese guqin makers represent a valuable source of tonewood knowledge, because they give us important clues on how to investigate long-term wood changes using modern research tools. In this review, we translated and annotated tonewood knowledge in ancient Chinese books, comparing them with conventional tonewood knowledge in Europe and recent scientific research. This retrospective analysis hopes to highlight the practical value of Chinese lutherie knowledge for 21st-century instrument makers. I. INTRODUCTION In Western musical tradition, the most valuable musical instruments belong to the violin family, especially antique instruments made in Cremona, Italy.
    [Show full text]
  • Recent Articles from the China Journal of System Engineering Prepared
    Recent Articles from the China Journal of System Engineering Prepared by the University of Washington Quantum System Engineering (QSE) Group.1 Bibliography [1] Mu A-Hua, Zhou Shao-Lei, and Yu Xiao-Li. Research on fast self-adaptive genetic algorithm and its simulation. Journal of System Simulation, 16(1):122 – 5, 2004. [2] Guan Ai-Jie, Yu Da-Tai, Wang Yun-Ji, An Yue-Sheng, and Lan Rong-Qin. Simulation of recon-sat reconing process and evaluation of reconing effect. Journal of System Simulation, 16(10):2261 – 3, 2004. [3] Hao Ai-Min, Pang Guo-Feng, and Ji Yu-Chun. Study and implementation for fidelity of air roaming system above the virtual mount qomolangma. Journal of System Simulation, 12(4):356 – 9, 2000. [4] Sui Ai-Na, Wu Wei, and Zhao Qin-Ping. The analysis of the theory and technology on virtual assembly and virtual prototype. Journal of System Simulation, 12(4):386 – 8, 2000. [5] Xu An, Fan Xiu-Min, Hong Xin, Cheng Jian, and Huang Wei-Dong. Research and development on interactive simulation system for astronauts walking in the outer space. Journal of System Simulation, 16(9):1953 – 6, Sept. 2004. [6] Zhang An and Zhang Yao-Zhong. Study on effectiveness top analysis of group air-to-ground aviation weapon system. Journal of System Simulation, 14(9):1225 – 8, Sept. 2002. [7] Zhang An, He Sheng-Qiang, and Lv Ming-Qiang. Modeling simulation of group air-to-ground attack-defense confrontation system. Journal of System Simulation, 16(6):1245 – 8, 2004. [8] Wu An-Bo, Wang Jian-Hua, Geng Ying-San, and Wang Xiao-Feng.
    [Show full text]
  • Historical and Contemporary Development of the Chinese Zheng
    Historical and Contemporary Development of the Chinese Zheng by Han Mei MA, The Music Research Institute of Chinese Arts Academy Beijing, People's Republic of China, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 2000 ©HanMei 2000 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. The University of British Columbia Vancouver, Canada DE-6 (2/88) ABSTRACT The zheng is a plucked, half-tube Chinese zither with a history of over two and a half millennia. During this time, the zheng, as one of the principal Chinese instruments, was used in both ensemble and solo performances, playing an important role in Chinese music history. Throughout its history, the zheng underwent several major changes in terms of construction, performance practice, and musical style. Social changes, political policies, and Western musical influences also significantly affected the development of the instrument in the twentieth century; thus the zheng and its music have been brought to a new stage through forces of modernization and standardization.
    [Show full text]
  • Season 2017-2018
    23 Season 2017-2018 Wednesday, November 1, at 7:30 China’s National Centre for the Performing Arts Orchestra Lü Jia Conductor Ning Feng Violin Gautier Capuçon Cello Zhao Jiping Violin Concerto No. 1 (in one movement) Chen Qigang Reflection of a Vanished Time, for cello and orchestra United States premiere Intermission Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso—Poco meno presto—Tempo I IV. Allegro energico e passionato—Più allegro This program runs approximately 1 hour, 50 minutes. China’s National Centre for the Performing Arts Orchestra’s 2017 US Tour is proudly supported by China National Arts Fund. International Flight Sponsor: Hainan Airlines Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 24 Conductor Lü Jia is artistic director of music of the National Centre for the Performing Arts (NCPA) in Beijing, China, as well as music director and chief conductor of the NCPA Orchestra. He is also music director and chief conductor of the Macao Orchestra. He has served as music director of Verona Opera in Italy and artistic director of the Tenerife Symphony in Spain. Born into a musical family in Shanghai, he began studying piano and cello at a very young age. He later studied conducting at the Central Conservatory of Music in Beijing, under the tutelage of Zheng Xiaoying. At the age of 24 Mr. Lü entered the University of Arts in Berlin, where he continued his studies under Hans- Martin Rabenstein and Robert Wolf.
    [Show full text]
  • HANDLING DESIGN SUPPORT PROGRAMMES COMPLEXITY an Interpretative Framework for Barriers and Drivers to Introducing Design Innovation Into Brazilian Msmes
    HANDLING DESIGN SUPPORT PROGRAMMES COMPLEXITY An interpretative framework for barriers and drivers to introducing design innovation into Brazilian MSMEs Mariana Fonseca Braga HANDLING DESIGN SUPPORT PROGRAMMES COMPLEXITY An interpretative framework for barriers and drivers to introducing design innovation into Brazilian MSMEs Mariana Fonseca Braga, MSc Supervisor Francesco P. Zurlo, PhD Vice-Dean, School of Design, Politecnico di Milano Assistant supervisor Viviane dos Guimarães Alvim Nunes, PhD Dean, Faculdade de Arquitetura, Urbanismo e Design (FAUeD), Universidade Federal de Uberlândia (UFU) Controrelatore Gisele Raulik-Murphy, PhD Partner, DUCO - Driving Design Strategies Politecnico di Milano Department of Design PhD programme in Design 30th Cycle January 2019 ACKNOWLEDGEMENTS This research was supported by the Brazilian National Council for Scientifc and Technological De- velopment (CNPq), which made it possible. I am grateful to CNPq for this opportunity. I am indebted to the amazing people, who surrounded me in the Design Department at Politecnico di Milano, especially Prof. Francesco Zurlo, the best supervisor I might have, and the Creative Industries Lab (Cilab) staff, particularly Prof. Arianna Vignati. I also thank Prof. Marzia Mortati, from the Design Policy Lab, for the meaningful advice she has provided throughout this investigation. In addition, I had especial support from Prof. Viviane dos Guimarães Alvim Nunes, Prof. Gisele Rau- lik-Murphy, and from my friend, Prof. Silvia Xavier. I am really glad for your voluntary contributions to this research. I also thank all interviewees who told me their project’s stories, without them this research would lack meaningful insights, and the non-proft private entity, which provided information about two of its projects.
    [Show full text]