Author: Jie Jin
Publisher: Cambridge University Press
ISBN: 0521186919
Category : History
Languages : en
Pages : 157
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Book Description
This accessible, illustrated introduction explores the history of Chinese music, an ancient, diverse and fascinating part of China's cultural heritage.
Author: Xi Qiang
Publisher: Shanghai Press
ISBN: 9781602201057
Category : Music
Languages : en
Pages : 114
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Book Description
With dozens of color photographs and insightful text, Chinese Music and Musical Instruments describes in detail the musical instruments with which a Chinese folk orchestra is equipped and their working and sounding principles. There are as many as a thousand different kinds of musical instruments in China. Only a tiny portion of them are used in an orchestra. The selection of musical instruments for an orchestra depends on how well they complement one another. A Chinese folk orchestra is composed of four sections: wind, plucked, percussion and bowed. This book is also devoted to the description of the development of classical Chinese music and the introduction of some music-related tales of profound significance. Chinese music is a big family composed of various distinctive types of music: Chinese folk music played at weddings, funerals or in festivals an fairs. The religious music played in religious services conducted in Buddhist and Taoist temples. Court music, which reached its zenith during the Tang Dynasty. The scholars' music based on Confucian thinking was the embodiment of the musical life of academia and refined music of this kind is still prevalent in today's society.
Author: Michael Saffle
Publisher: University of Michigan Press
ISBN: 0472122711
Category : Music
Languages : en
Pages : 345
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Book Description
Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. As China and the West demonstrates, the emergence of “Westernized” music from China—concurrent with the technological advances that have made global culture widely accessible—has not established a prominent presence in the West. China and the West brings together essays on centuries of Sino-Western musical exchange by musicologists, ethnomusicologists, and music theorists from around the world. It opens with a look at theoretical approaches of prior studies of musical encounters and a comprehensive survey of the intercultural and cross-cultural theoretical frameworks—exoticism, orientalism, globalization, transculturation, and hybridization—that inform these essays. Part I focuses on the actual encounters between Chinese and European musicians, their instruments and institutions, and the compositions inspired by these encounters, while Part II examines theatricalized and mediated East-West cultural exchanges, which often drew on stereotypical tropes, resulting in performances more inventive than accurate. Part III looks at the musical language, sonority, and subject matters of “intercultural” compositions by Eastern and Western composers. Essays in Part IV address reception studies and consider the ways in which differences are articulated in musical discourse by actors serving different purposes, whether self-promotion, commercial marketing, or modes of nationalistic—even propagandistic—expression. The volume’s extensive bibliography of secondary sources will be invaluable to scholars of music, contemporary Chinese culture, and the globalization of culture.
Author: Alan R Thrasher
Publisher: Routledge
ISBN: 1317386728
Category : Music
Languages : en
Pages : 245
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Book Description
Presenting the latest research in the area, this volume explores the fundamental concept of qupai 曲牌, melodic models upon which most traditional Chinese instrumental music (and some vocal music) is based. The greater part of the traditional instrumental repertoire has emerged from qupai models by way of well-established 'variation' techniques. These melodies and techniques are alive today and still performed in 'silk-bamboo' types of ensemble music, zheng 箏, pipa 琵琶 and other solo traditions, all opera types, narrative songs, and Buddhist and Daoist ritual music. With a view toward explaining qupai as a musical system, contributors explore the concept from multiple directions, notably its historic development, patterns of structural organization, compositional usage in Kunqu classical opera, influence on the growth of traditional ensemble and solo repertoires, and indeed on 19th-century European music as well. Related essays examine the use of shan'ge 山歌 folksongs as qupai models in one local opera tradition and the controversial relationship between qupai forms and the metrically-organized banqiang 板腔 forms of organization in Beijing opera. The final three essays are focused upon traditional suite forms in which qupai and non-qupai tunes are mixed, examples drawn from the Minnan nanguan 南管 repertoire, Jiangnan 'silk-bamboo' tradition and the ritual music of North China.This is the first Western-language study on the nature and background of the qupai tradition, and the methods by which model melodies have been varied in creation of repertoire. The volume is essential reading for East Asian music specialists and contributes to the fields of ethnomusicology, musicology, music theory, music composition, and Chinese music and performing arts.
Author: Andrew F. Jones
Publisher: Duke University Press
ISBN: 0822380439
Category : Music
Languages : en
Pages : 225
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Book Description
Yellow Music is the first history of the emergence of Chinese popular music and urban media culture in early-twentieth-century China. Andrew F. Jones focuses on the affinities between "yellow” or “pornographic" music—as critics derisively referred to the "decadent" fusion of American jazz, Hollywood film music, and Chinese folk forms—and the anticolonial mass music that challenged its commercial and ideological dominance. Jones radically revises previous understandings of race, politics, popular culture, and technology in the making of modern Chinese culture. The personal and professional histories of three musicians are central to Jones's discussions of shifting gender roles, class inequality, the politics of national salvation, and emerging media technologies: the American jazz musician Buck Clayton; Li Jinhui, the creator of "yellow music"; and leftist Nie Er, a former student of Li’s whose musical idiom grew out of virulent opposition to this Sinified jazz. As he analyzes global media cultures in the postcolonial world, Jones avoids the parochialism of media studies in the West. He teaches us to hear not only the American influence on Chinese popular music but the Chinese influence on American music as well; in so doing, he illuminates the ways in which both cultures were implicated in the unfolding of colonial modernity in the twentieth century.
Author: Jingzhi Liu
Publisher: Chinese University Press
ISBN: 9629963604
Category : History
Languages : en
Pages : 962
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Book Description
By the end of the nineteenth century, Chinese culture had fallen into a stasis, and intellectuals began to go abroad for new ideas. What emerged was an exciting musical genre that C. C. Liu terms "new music." With no direct ties to traditional Chinese music, "new music" reflects the compositional techniques and musical idioms of eighteenth- and nineteenth-century European styles. Liu traces the genesis and development of "new music" throughout the twentieth century, deftly examining the social and political forces that shaped "new music" and its uses by political activists and the government.
Author: Barbara Mittler
Publisher: Otto Harrassowitz Verlag
ISBN: 9783447039208
Category : China
Languages : en
Pages : 532
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Book Description
Barbara Mittler's book is the first comprehensive monographic study of China's New Music written in a Western language. It deals with two key points of contention: the effects of politics on the development of Chinese New Music, and the importance of China's indigenous musical traditions for the development of her New Music. In many ways, it is a handbook to New Chinese Music as it provides biographical and musicological sketches of the greater number of China's composers. As a reference work it will thus be of interest to libraries as well as to musicologists and music impressarios. The book is unique as a comparative study of New Chinese Music under three different political systems. Its conclusions, the discovery of (and explanations for) inherent similarities in those three New Musics will be of interest to sinologists in the field of politics and cultural studies.
Author: C. Victor Fung
Publisher: Oxford University Press
ISBN: 0190234466
Category : Music
Languages : en
Pages : 241
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Book Description
Based on Yijing, classic Confucianism, and classic Daoism, 'A Way of Music Education' proposes a philosophy of music education as a trilogy: change, balance, and liberation. Author C. Victor Fung presents an overview of the fundamentals of classic Chinese philosophy and offers their music educational interpretations. Fung's work also offers practical advice on how to integrate his theoretical models into real life situations.
Author: Marc L. Moskowitz
Publisher: University of Hawaii Press
ISBN: 0824833694
Category : Music
Languages : en
Pages : 186
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Book Description
Since the mid-1990s, Taiwan’s unique brand of Mandopop (Mandarin Chinese–language pop music) has dictated the musical tastes of the mainland and the rest of Chinese-speaking Asia. Cries of Joy, Songs of Sorrow explores Mandopop’s surprisingly complex cultural implications in Taiwan and the PRC, where it has established new gender roles, created a vocabulary to express individualism, and introduced transnational culture to a country that had closed its doors to the world for twenty years. In his early chapters, Marc L. Moskowitz provides the historical background necessary to understand the contemporary Mandopop scene, beginning with the birth of Chinese popular music in the East Asian jazz Mecca of 1920s Shanghai. A brief overview of alternative musical genres in the PRC such as Beijing rock and revolutionary opera is included. The section concludes with a look at the manner in which Taiwan’s musical ethos has influenced the mainland’s music industry and how Mandopop has brought Western music and cultural values to the PRC. This leads to a discussion of Taiwan pop’s exceptional hybridity, beginning with foreign influences during the colonial period under the Dutch and Japanese and continuing with the country’s political, cultural, and economic alliance with the U.S. Moskowitz addresses the resulting wealth of transnational musical influences from the rest of East Asia and the U.S. and Taiwan pop’s appeal to audiences in both the PRC and Taiwan. In doing so, he explores how Mandopop’s "songs of sorrow," with their ubiquitous themes of loneliness and isolation, engage a range of emotional expression that resonates strongly in the PRC. Later chapters examine the construction of male and female identities in Mandopop and look at the widespread condemnation of the genre by critics. Drawing on analyses and data from earlier chapters (including interviews with dozens of performers, song writers, and lay people in Taipei and Shanghai), Moskowitz attempts to answer the question: Why, if the music is as bad as some assert, is it so central to the lives of the largest population in the world? To answer, he highlights Mandopop’s important contribution as a poetic lament that simultaneously embraces and protests modern life. Cries of Joy, Songs of Sorrow is a highly readable introduction to an important but understudied East Asian phenomenon. It will find a ready audience among scholars and students of Chinese and Taiwanese popular culture as well as musicologists studying transnational music flows and non-Western popular music.
Author: Nancy Faber
Publisher: Hal Leonard Corporation
ISBN: 1616773413
Category : Music
Languages : en
Pages : 32
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Book Description
(Faber Piano Adventures ). ChordTime Piano Music from China takes Level 2B pianists on a musical trip through original Chinese compositions, folk songs, and dance themes. Mid-elementary students will enjoy analyzing the pentatonic scales and intervals that make up the distinctive Chinese sound. A picture tour and historical information provide rich context, while LeLe the musical panda highlights key performance details and invites creative improvisation. Songs include: Divertimento * Lady Meng Jiang * The Little Bird Song * Little Dance Song * Luchai Flowers * The Luhua Rooster * Picking Flowers * Talk Back.
