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Topic: Chinese musicology

	Chinese musicology - Wikipedia, the free encyclopedia
		Chinese musicology is the academic study of traditional Chinese music.
		The ancient Chinese defined, by mathematical means, a gamut or series of 12 frequencies (called the 十二律12 lü) from which various sets of five or seven frequencies were selected to make the sort of "do re mi" major scale familiar to people who have grown up in the United States and the United Kingdom.
		Since the Chinese system is not an equal tempered tuning, playing a melody starting from the lǜ nearest to A will not necessarily sound the same as playing the same melody starting from some other lǜ, since the wolf interval will occupy a different point in the scale.
	en.wikipedia.org /wiki/Chinese_musicology (322 words)

	NationMaster.com - Encyclopedia: Music of China (Site not responding. Last check: 2007-11-04)
		Chinese hip hop is a relatively new phenomenon in China and first made it to Taiwan where artists such as MC HotDog were first rapping but then made it to Hong Kong with the success of LMF.
		Chinese vocal music has traditionally been sung in a thin, nonresonant voice or in falsetto and is usually solo rather than choral.
		Main article: Chinese opera 19th century drawing of Chinese opera, public domain This image is in the public domain because its copyright has expired in the United States and those countries with a copyright term of life of the author plus 100 years.
	www.nationmaster.com /encyclopedia/Music-of-China (9581 words)

	Chinese classical music - Wikipedia, the free encyclopedia
		Chinese classical music is the traditional art or court music of China.
		It has its own unique systems of musical notation, as well as musical tuning and pitch, musical instruments and styles or musical genres.
		Chinese music is pentatonic-diatonic, having a scale of twelve notes to an octave (5+7 = 12) as does European-influenced music.
	en.wikipedia.org /wiki/Chinese_classical_music (120 words)

	Music of China: Facts and details from Encyclopedia Topic (Site not responding. Last check: 2007-11-04)
		Chinese rock () is oftenly and inaccurately described as a style of music which combines chinese musical instruments with techniques...
		Dou wei () is a chinese musician born in 1969 in beijing....
		Baisha xiyue (chinese for "baisha fine music") is one of the two surviving forms of traditional music of the naxi (also spelled nakhi or nahi) people of...
	www.absoluteastronomy.com /encyclopedia/m/mu/music_of_china.htm (9043 words)

	Aspects of the Profession
		Yet there is much that such a student could learn that would assist in his or her lifework: general methods of scholarship, mechanics of reference and bibliography, text-criticism, recording, filming, and archiving techniques, laboratory techniques such as pitch and tempo measurement, and so forth.
		Musicology today embraces the music of the entire world as the subject of its research.
		Independence has been all the more necessary to ethnomusicology because it had to break away from two traditional fields, anthropology&emdash;a social science&emdash;and traditional musicology&emdash; a branch of the humanities&emdash;to assert its identity as a field that is neither social science, history, linguistics, psychology, nor acoustics, to mention some of the principal components.
	arts.ucsc.edu /faculty/lieberman/profession.html (2971 words)

	Chinese Curriculum Units for NEH Workshops (Site not responding. Last check: 2007-11-04)
		Musicologists divide Chinese music history into the four general music periods - the formative from the third millennium B.C. through the fourth century A.D., the international from the fifth through the ninth centuries A.D., the national the tenth through the nineteenth centuries, and the period of world music in the twentieth century (Malm,107-108).
		Huang-ti, founder of the Chinese Empire, sent a man by the name of Linglun to the northern part of the Kwen-lun mountains in the year 2486 B.C. In the valley he saw some beautiful bamboo shoots, all nearly the same height and he cut them.
		The ancient Chinese believed that the twelve tones went around in a cycle like the twelve months of the year and that they could be used as fundamentals of a series of simpler successions, five-tone scales, which total 60 in number, each from one of the twelve semi-tones.
	web.jccc.net /neh/units_china/goode.htm (6855 words)

	[No title] (Site not responding. Last check: 2007-11-04)
		The current aim of this institute is to connect Chinese musical scholarship with the outside world by breaking down the language barrier to allow a better exploration, discovery, study, and understanding of the music in China.
		In this analysis special attention is given to the narrative structure of the poem, the structure and contour of Chinese speech style, the overall pentatonic pitch structure, and the contrast in temporality to show the composer’s effectiveness in communicating through the characteristic qualities of Chinese lyrics.
		In a comparison with Chinese pentatonic modes, the ryukyu scale is a Yang parallel of the yu mode, and the miyako-bushu scale is a Yin parallel of the zhi mode.
	www.musicinchina.org /journal.htm (4116 words)

	A Rediscovery of Classical Chinese Tone Therapy. Acupuncture Today, February 2003
		The authors were clearly inviting their readers to use tone as a method of treatment, but as was often the case in the classical literature, they were leaving the clinical details to posterity.
		Up until this point, I had assumed Chinese "tone" therapy would be a matter of otoconduction: finding a certain frequency that patients would hear through their auditory canals.
		The ancient Chinese built this scale from a fundamental of F#, not the "C" of the modern Western scale.
	www.acupuncturetoday.com /archives2003/feb/02lloyd.html (1558 words)

	Asian Studies Center
		The music, literature, Chinese thought systems, and visual arts of China are well covered by China specialists in the humanities faculty.
		The wealth of these combined interests is reflected in the faculty-produced Contemporary Chinese Societies, a CD-ROM about Chinese culture and society, which recently won the prestigious Buchanan Prize (Columbia University Press).
		Chinese Language Program students have opportunities for study abroad during the summer or the academic year.
	www.ucis.pitt.edu /asc/academics/china.html (600 words)

	Chinese Music Vol 16 No 4 (Site not responding. Last check: 2007-11-04)
		The more we got to know him and his mind, the more we desired, to set the highest standards - for all we do - whether it be in the arena of music making or for other areas of activities of human civilization.
		Perhaps due to mental activities deeply rooted in the Chinese musical system and Chinese culture, and a love for music and progress in society, Sha Mei's talents and vision projected far beyond many of his peers.....
		The ancient traditions of Chinese music and poetry are valuable sources of inspiration and influence for computer music today.
	www.chinesemusic.net /cm934.htm (339 words)

	[No title]
		A lack of education and formal training in the field of musicology go hand in hand with the lack of sources and research material to be used for research in the field of Chinese avantgarde-music.
		Probably, he reckons, the difficulty of preserving a Chinese flavour is even greater for the new generation: their cultural identity was formed during the years of the Cultural Revolution, and is hence a cultural non-identity, their culture being Chinese Communism12.
		When one talks of Chineseness, a Chinese or an Asian flavour, one is reminded of Xu Changhui`s statement at the 1990 conference that it might be fruitful to consider Chinese music in the context of other Asian music-traditions rather than in constant comparison with the West.
	sun.sino.uni-heidelberg.de /sin/libam/liu.htm (5212 words)

	New York Qin Society (Site not responding. Last check: 2007-11-04)
		He is also editor of a series of books on exemplary conduct in traditional Chinese culture and at work on a collaborative project concerning the German polymath G. Leibniz and his association with the French Jesuits at the Chinese court in the late 17th and 18th centuries.
		From 1973-75 she was assistant curator of Chinese art at the Metropolitan Museum in New York and later taught at Yale, George Washington University, the University of Virginia, Columbia University in the City of New York, the University of Maryland and Georgetown University.
		Appreciation of Chinese art is still her major pastime, but she has retired from academic research and full-time teaching to pursue her interests in music, dance and opera.
	www.newyorkqin.org /memberE.html (2235 words)

	Bell Yung and Helen Rees / Understanding Charles Seeger, Pioneer in Musicology
		A giant in the development of American musicology, Charles Seeger was a scholar-musician active in practically all areas of musical endeavor.
		His ideas about music and musicology, incorporating perspectives as wide-ranging as physics, philosophy, and anthropology, set the stage for the rise of modern ethnomusicology.
		BELL YUNG is a professor of music at the University of Pittsburgh and concurrently holds the Kwan Fong Chair in Chinese Music at the University of Hong Kong.
	www.press.uillinois.edu /f99/yung.html (266 words)

	[No title]
		All the papers by Chinese scholars were presented in Chinese; about 10 foreign scholars gave papers, most with running translations by Tsao Pen-yeh, myself, or the official interpreter provided by the organizers, who also provided translations during question and answer sessions for the duration of the conference.
		Most of the Western scholars stoically sat through four days of papers in Chinese, but since there were often musical examples and or/recordings, plus English abstracts and an interpreter for questions, everyone got an idea of the present state and approaches of Chinese musicology.
		In fact, most of the papers were not what we would call ethnomusicological: studies of historical texts and collections of notation were numerous, and although many papers included transcriptions, few scholars discussed their implications or the musical elements (non-equal-tempered scales, slides and other ornaments, singing style, etc.) which are not shown in the transcriptions.
	www.lib.umd.edu /ETC/ReadingRoom/Newsletters/EthnoMusicology/Digest/91-053.erd (1706 words)

	[No title]
		The sessions and discussions on modern and contemporary China and on Chinese composers were interesting and stimulating, also thanks to the presence of the Macao-born composer Lam Bunching, who talked about her inspirational motivation and her composition techniques.
		Some participants had difficulties in accepting the notion, and they objected on various grounds, such as that it is only descriptive of urban elites, and that Chinese people have a strong sense of their own cultural identity, which outside metropolitan areas is strongly rooted in the locale.
		Finally, the idea of Chineseness as a trademark of Chinese composers living abroad was raised, and the example of Tan Dun's 'writing different pieces for different governments' was mentioned.
	home.planet.nl /~chime/entries/meetings/pastmeet.html (3360 words)

	Joseph Lam
		Joseph Lam is a music historian who currently chairs the Department of Musicology and serves as the Director of the Stearns Collection of Musical Instruments.
		He studied at the Chinese University of Hong Kong (B.A.), the Tokyo National University of Fine Arts and Music (MFA), and Harvard University (Ph.D.).
		Among the major grants that Lam has received are: a Chiang Ching-Kuo Foundation Conference Grant (2005-2006), a Regents’ Humanities Faculty Fellowship from the University of California (1994–95), and a UPGC Grant from the Research Grants Council of the Hong Kong Government (1989–91).
	www.music.umich.edu /departments/musicology/JosephLam.htm (852 words)

	school of music (Site not responding. Last check: 2007-11-04)
		The musicology and ethnomusicology degrees are separate at the masters levels.
		These include three world music ensembles (African, Thai, and Chinese), the LER survey of world musics, a colloquium series, and coordination with other units on campus concerned with multi-cultural education and cultural diversity.
		Our African, Thai, and Chinese ensembles have achieved national and international recognition; the Thai ensemble is virtually the only such active group in an American educational institution.
	dept.kent.edu /Music/Graduate/musicology.htm (359 words)

	[No title]
		These are neither ethnomusicology, musicology, nor theory journals.
		And though set theory was once again taken up in "Tone-sets motion--assembling and dispersion," it does not explore the relevance of set theory as an analytical tool.
		Insofar as original research is concerned, both journals are primarily devoted to scholarship in Chinese music.
	www.societymusictheory.org:16080 /mto/issues/mto.97.3.4/mto.97.3.4.cheong.rev (1303 words)

	[No title] (Site not responding. Last check: 2007-11-04)
		The importation and Koreanization of Chinese poetry and music is not as simple a process as this group’s music-making, but I believe it was made possible by similar factors: the open-minded willingness to accept a foreign music without resistance, and the musical ability to make that music one’s own.
		But the Chinese component is limited to the mention of historical figures or famous literary phrases, while the melodies are purely Korean and quite unrelated to Chinese music.
		Thus, the Chinese people, places, events, and expressions that appear in Korean vocal music serve only to elevate the tone and enrich the content of the lyrics, while in the music there is no direct influence from China at all.
	www.gwu.edu /~eall/special/hwang.doc (1559 words)

	Wang Lisan
		In this period of multiculturalism, we the modern Chinese composers should carry the flag of nationalism and modernism, marching into the world as a shining beacon of multi-colored light.
		But as a Chinese composer, I feel that borrowing ideas from foreign sources is not a sign of weakness and servitude, but it is for gaining a few more tricks.
		Because this piece is the first published twelve tone work in Chinese piano music, and it is based on the contents of Li He's original poem, hence this piece significantly combines the old with the new, and Chinese and western cultures.
	www-rcf.usc.edu /~echew/projects/ChineseMusic/composers/wang_lisan.html (4769 words)

	Abing, Biography of a Folk Musician
		In 1950, the year of his death, six of his performances were recorded by a visiting team of Chinese musicologists (who happened to be in Wuxi engaged on a different research project): on three he played theerhu (two-stringed fiddle) and on the other three the pipa (four-stringed, pear-shaped lute).
		These performances were later published in music notation as instrumental solos to be performed by new generations of Chinese conservatory-trained musicians, and some of Abing's solos were issued on LP.
		Subsequent generations of Chinese music scholars have pointed out that Abing remained a Daoist his whole life, a fact that would have been immediately obvious to Yang Yinliu.
	www.shef.ac.uk /music/staff/js/AbLife.html (1952 words)

	ArtBarge-A Virtual Gallery Experience: Kaiyu Sun (Site not responding. Last check: 2007-11-04)
		In 1999 I graduated from Columbia University in New York City with a master in musicology.
		I have written short stories and children's stories in Chinese, which appear regularly on World Journal, a Chinese newspaper published in North America.
		In addition to writing and drawing, I am also a musician and play violin, piano, and the Chinese fiddle and bamboo flute.
	www.artbarge.com /artists/ksun (165 words)

	Dissertation
		From multiple perspectives, including Chinese philosophy (e.g., Daoism and yin-yang elements), aesthetics, hermeneutics, and gender-related issues, this dissertation discusses and analyzes five solo piano compositions by Chen Yi, a leading Chinese-American composer.
		This study also offers a review of selected Chinese piano works as possible influences on Chen, as well as some criticism of existing literature on Chen Yi.
		This study attempts to meet the need of inter-disciplinary study of Chinese, or Chinese-American composers' works, reflecting trends toward globalization and pluralism in contemporary music.
	www2.hawaii.edu /~xiaole/Dissertation.html (250 words)

	Journal of Chinese Ritual (Site not responding. Last check: 2007-11-04)
		The study of musical instruments is both a field in its own right (organology) and a branch of several disciplines, especially historical musicology and ethno-musicology.
		The articles are not so concerned here with the intricacies of instrument structure or acoustics as with instruments that are perceived as social objects with meanings that can be understood as products of cultural processes.
		Instruments can reveal knowledge not only about themselves but also about the societies and cultures in which they are entangled as meaningful objects of material culture.
	www.amis.org /pubs/newsletter/2004/v33no3/chinese_ritual.htm (333 words)

	[No title]
		Many of the Chinese scholars chose to shorten their papers and allot part of the time to a translation of the main ideas of their paper.
		A Chinese Chamber Music concert with a very broad program of high quality, a "folkloristic ballet" performance to recorded music (Chinese flavored Borodin and Rimskij-Korsakov) which was not so exciting, and a performance by an "ethnic minorities" troupe from Xinjiang with a number of virtuoso performers.
		The Chinese instruments used in the ensemble, the two-stringed fiddles tehyan, kongahyan, and sukong are still very popular in southern Hokkien (Mandarin: Fujian) which is where most Paranakan Chinese' ancestors are from and in Taiwan, across the strait from Fujian.
	www.lib.umd.edu /ETC/ReadingRoom/Newsletters/EthnoMusicology/Digest/51-75.erd (15737 words)

	Music of China - Chinese Music - Chinese Art
		Musically, these range from New Wave musicNew Wave (Lingdian) to heavy metal musicheavy metal (Heibao), alongside punk rock bands like Catcher in the Rye (band)Catcher in the Rye and Dixiayinger.
		Punk rockPunk became famous in China around 1994 - 1996 (first Chinese punker: He Yong) and was successed by nu-metal (influenced by Limp Bizkit, Linkin Park, others).
		The Naxi of Lijiang CityLijiang play a type of song and dance suite called baisha xiyue, which was supposedly brought by Kublai Khan in 1253.
	www.famouschinese.com /virtual/Music_of_China (3245 words)

	China art, China art links, China Tourism
		To help foreign friends overcome language barriers, English captions were used in the performance from libretto to the spoken parts, thus making the performance a "bilingual" Peking opera worthy of the name...
		Modern Chinese drama has developed under the influence of foreign dramatic literature and conventions.
		When a graduate from the secondary music school enters a conservatory, he or she may choose courses offered by various departments such as composition, folk music, vocal music, orchestral music and the piano.
	www.chinatour.com /art/art.htm (678 words)

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