A Guide To Chinese Music Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of A Guide To Chinese Music book. This book definitely worth reading, it is an incredibly well-written.
The TENG Guide to the Chinese Orchestra is a seminal guide to equip composers, scholars and music enthusiasts worldwide with the necessary knowledge to work with Chinese musical instruments. The INSTRUMENTATION section outlines the history, physical attributes and performance techniques of Chinese musical instruments in detail. It also includes practical scoring advice for composers and reference charts for fingerings and chords. The ORCHESTRATION section contains systematic analyses of score excerpts from Chinese orchestra pieces spanning the last 60 years to demonstrate how Chinese musical instruments work together in an orchestra.
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.
Access audio files at:https://soundcloud.com/k-chu-j-petrus/sets/singing-in-mandarin-recorded The success of Chinese artists internationally across many art forms has focused the world's attention on the developing cultural phenomenon in China, an emerging stage for the vocal arts. As one of the most widely spoken languages in the world, Mandarin is poised to become the next addition to lyric languages. Singing in Mandarin: A Guide to Chinese Lyric Diction and Vocal Repertoire is a comprehensive guide to unlocking the mysteries of Chinese contemporary vocal literature. In part one, Chu and Petrus focus on diction and language, providing detailed descriptions and exercises for creating the sounds of the language. They take a uniquely systematic approach, fusing together best practices from international music conservatories for diction study, with those for Chinese language learning. Part two outlines the historical context of Chinese vocal literature, chronicling the development of the language and its repertoire over the last one hundred years. Audio files narrated by native speakers demonstrating the sounds are also included. Singing in Mandarin provides guidance for both novices and those with previous experience singing or speaking Mandarin and is the first book of its kind to help bring the fascinating and previously inaccessible treasure of Chinese vocal music to Western audiences.
"Playing Erhu: Bridging the Gap" was written for English readers who are interested in learning how to play the erhu, but could not find any erhu instruction books in English. The book covers: Assembly of the erhu; Reading staff and jianpu notation; Fingering charts for all common keys; Music symbols, terms, ornamentation; Exercises in staff and jianpu notation for each key; Annotated regional folksongs in staff and jianpu notation for each key; Internet access to recordings of all music found in this book as performed by the author.
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.
"Poems about children playing Chinese musical instruments and getting ready for a concert are accompanied by factual information about each instrument."--Provided by publisher.
This is a clinical handbook for practitioners of Traditional Chinese Medicine (TCM) that aims to provide quick and easy reference to the selection of herbs for treatment and their action alone and in combination. Written by two eminent teachers from the Nanjing College of Traditional Chinese Medicine, who between them have accumulated over 60 years of clinical practice and teaching, this handbook emphasizes how to combine herbs and differentiate between single herbs and formulae depending on the treatment strategy adopted. It contains case histories illustrating how to adapt formulae in practice, and tables of information help with quick identification of herbs and combinations of herbs."
Author : Thomas Irvine Publisher : University of Chicago Press Page : 272 pages File Size : 17,12 MB Release : 2020-05-08 Category : Music ISBN : 022666712X
From bell ringing to fireworks, gongs to cannon salutes, a dazzling variety of sounds and soundscapes marked the China encountered by the West around 1800. These sounds were gathered by diplomats, trade officials, missionaries, and other travelers and transmitted back to Europe, where they were reconstructed in the imaginations of writers, philosophers, and music historians such as Jean-Philippe Rameau, Johann Nikolaus Forkel, and Charles Burney. Thomas Irvine gathers these stories in Listening to China, exploring how the sonic encounter with China shaped perceptions of Europe’s own musical development. Through these stories, Irvine not only investigates how the Sino-Western encounter sounded, but also traces the West’s shifting response to China. As the trading relationships between China and the West broke down, travelers and music theorists abandoned the vision of shared musical approaches, focusing instead on China’s noisiness and sonic disorder and finding less to like in its music. At the same time, Irvine reconsiders the idea of a specifically Western music history, revealing that it was comparison with China, the great “other,” that helped this idea emerge. Ultimately, Irvine draws attention to the ways Western ears were implicated in the colonial and imperial project in China, as well as to China’s importance to the construction of musical knowledge during and after the European Enlightenment. Timely and original, Listening to China is a must-read for music scholars and historians of China alike.
This is a very interesting popular account of the theory of Chinese music, with numerous wood-cuts illustrating the principal instruments and the mode of musical notation used by Chinese musicians. The author states his aim to have been 'to point out the contrasts or similarity between Western and Chinese music, to present abstruse theories in the least tiresome way, to add details never before published and to give a. short yet concise account of Chinese music.' After an introductory chapter on ancient music in general or rather on the history of European music, which our author believes to have 'gradually risen and progressed with Christianity, ' follows a chapter entitled, 'on Chinese music.' Here we are told that of the ancient music of China nothing remains now but a few abstruse theories, and that, at the rise of the Han dynasty the great music master Chi, whose ancestors had for generations held the same dignity, scarcely remembered anything about (ancient) music but the noise of tickling bells and dancers' drums.' We venture to say, that the author Would have modified his opinions regarding ancient Chinese music very considerably, if he had read Faber's essays on the subject. In the same chapter it is asserted, that ever since the Han dynasty nothing has been done of any value in the sphere of music, either practically or theoretically, that the attempt of Kanghi and Kienlung to revive the study of music in China failed, and that the Chinese people, erroneously supposed to be quite unchangeable in their predilections, have so radically changed in the course of ages, that the musical art, which anciently always occupied the place of honour, is now deemed the lowest calling a man can profess. Serious music, according to Mr. Van Aalst, has been totally abandoned, and the kind of music in which the populace of China. now-a-days delights in, consisting of the deafening noise of gong or drum accompanied by the shrieking tones of the clarinet, requires no scientific study. But as Mr. van Aalst informs his readers at the same time, that ' Chinese music must be divided into two different kinds, ritual 0r sacred music, which is passably sweet and generally of a minor character, and the theatrical or popular music, ' and as he subsequently describes the ritual music now used at Court and at religious ceremonies in the temples of Confucius and elsewhere, we are constrained to assume, either that ritual music is not serious because it is passably sweet, or that his previous allegation, that ' serious music is totally abandoned in China, ' goes for nothing. The next chapter treats the twelve Lii of ancient Chinese music, and we are told that they form ' a kind of semi-diatomic scale of 12 degrees, nearly identical with our chromatic gamut, the only difference being that our scale is tempered, while that of the Chinese is untouched.' Then follow five brief sentences on the pitch of Chinese music, and we learn that 'the present pitch approaches our D (601.5 vibrations per second) as nearly as possible.' Next we have a chapter on the Chinese system of notation, illustrated by diagrams, a few words on the stave, the value of notes, the rests, the time, the signs of alteration of notes, the diatonic gamut, etc