Recent technology and the hybridisation of Western and Chinese musics

2005 ◽  
Vol 10 (1) ◽  
pp. 51-56 ◽  
Author(s):  
CHRISTOPHER J. KEYES
Keyword(s):  
Essential Elements ◽  
Historical Overview ◽  
Chinese Music ◽  
Technological Advances ◽  
Musical Traditions ◽  
Other World

Although the hybridisation of Western and Chinese musics has been progressing for over a century, many early attempts tended to treat Chinese material in a rather superficial manner. This resulted in mere ‘Orientalist’ Western pieces and rather bland pentatonic/romantic ‘Chinese’ music that simply harmonised the basic outline of popular Chinese melodies with Western chord progressions. The use of recent technologies has greatly accelerated the pace and depth of this hybridisation and solved many of its artistic problems. Technological advances now make it possible and practical to incorporate the subtle but essential elements of traditional Chinese music, and of course other world musics, in works that seem satisfying for Western and non-Western audiences. This paper presents a brief historical overview of the hybridisation of Western and Chinese musical traditions, examines common pitfalls of many early attempts, and reviews how these issues are addressed compositionally and technically in the author's recent electroacoustic pieces, Li Jiang Etudes No. 1, 2 & 3.

scholarly journals Evolution of endovascular therapy for aneurysm treatment

2005 ◽  
Vol 18 (2) ◽  
pp. 1-4 ◽  
Author(s):  
Yassine Kanaan ◽  
David Kaneshiro ◽  
Kenneth Fraser ◽  
David Wang ◽  
Giuseppe Lanzino
Keyword(s):  
Endovascular Treatment ◽  
19Th Century ◽  
Endovascular Therapy ◽  
Intracranial Aneurysms ◽  
Therapeutic Option ◽  
Historical Overview ◽  
Stepping Stones ◽  
Technological Advances ◽  
The 19Th Century ◽  
Work Done

The endovascular treatment of intracranial aneurysms has recently become an established therapeutic option. The foundation of this treatment modality was laid by the work done in ground-breaking cases, combined with technological advances since the first half of the 19th century. In this historical overview the authors describe the steps taken by the early pioneers and the results of their work, which was often done under challenging circumstances. The work of these predecessors established the stepping-stones for constant development and refinement for those who have come after them, eventually evolving into the procedures used today. Endovascular treatment of intracranial aneurysms is only possible because of the work of these innovators.

scholarly journals The Integration of Chinese Opera Traditions into New Musical Compositions

2021 ◽  
Author(s):  
◽  
Nalin Shen
Keyword(s):  
Original Compositions ◽  
Paradigm Shifts ◽  
Musical Style ◽  
Global Village ◽  
Chinese Opera ◽  
Chinese Music ◽  
Historical Continuity ◽  
Cultural Roots ◽  
Generic Term ◽  
Musical Traditions

<p>Almost fifty years ago Chinese composer Chou Wen-chung proposed a musical “re-merger” of East and West. For many Chinese composers of today a sense of historical continuity and an awareness of inherited musical traditions are important contributor to cultural identity, and a basis on which to build the future. The generation that emerged after the Cultural Revolution found new freedoms, and has become, at the beginning of the twentyfirst century, a significant presence on the international musical stage, as the paradigm shifts away from being European-centered, to a culture belonging to the “global village”. As with many other Chinese composers of my generation, the creation of new compositions is both a personal expression and a manifestation of cultural roots. Techniques of “integration” and “translation” of musical elements derived from traditional Chinese music and music-theatre are a part of my musical practice. The use of traditional Chinese instruments, often in combination with Western instruments, is a no longer a novelty. The written exegesis examines some of the characteristic elements of xìqǜ (the generic term for all provincial Chinese operas), including dǎ (percussion - an enlarged interpretation of dǎ, as found in chuānjù gāoqiāng Sichuan gāoqiān opera), bǎnqiāng (The musical style that characterizes Chinese xìqǚ), and niànbái  (recitation and dialogue), as well as the kuàibǎnshū (storytelling with percussion) of qǚyì (a term to use to include all folk genres), and shāngē (mountain song). The techniques employed in integrating and translating these elements into original compositions are then analyzed. In the second volume of the thesis the scores of five compositions are presented, four of the five works are set in Chinese, exploring the dramatic aspects of language, and may be considered music-theatre, one being an opera scene intended for stage production.</p>

scholarly journals INTEGRATED APPROACH TO AESTHETIC EDUCATION OF SCHOOLCHILDREN IN THE PEOPLE'S REPUBLIC OF CHINA

2020 ◽  
pp. 143-154
Author(s):  
Olena Ionova ◽  
Svetlana Luparenko ◽  
Yuliia Lakhmotova
Keyword(s):  
Integrated Approach ◽  
Aesthetic Education ◽  
Educational Process ◽  
People’S Republic Of China ◽  
People's Republic Of China ◽  
Republic Of China ◽  
Chinese Music ◽  
Musical Traditions ◽  
Regional Music ◽  
Characteristic Features

The article is dedicated to revelation of the peculiarities of integrated approach in the process of schoolchildren's aesthetic education in the People's Republic of China. The possibilities of using art while teaching different subjects (Mathematics, different languages, Literature, History etc.) have been outlined. The Chinese pedagogues underline the close connection of Mathematics and Music. It provides opportunities to learn fractional nature of the notes, feel the rhythm of the music, relate harmony, intervals, melody and notes to whole numbers, proportions, arithmetic operations, logarithms, Geometry and Trigonometry. The authors have pointed out that aesthetic subjects (music, art, theatre) are also closely connected in educational process of schools. The characteristic feature of schoolchildren's aesthetic education in the People's Republic of China is taking into account the regionality (differences in development of art depending on the region of the country). It is due to different historical, socio-economic and cultural factors of development of different regions in China. The regionality strengthens the connection of arts with History, Economics and Geography and helps schoolchildren to understand the significance and differences of regional music in China, to learn various Chinese musical instruments, folk lullabies and to investigate the important characteristic features of the Chinese music. So, schoolchildren's aesthetic education in China has a strong national basis: art is connected with national expression, development of musical traditions, nature and mental aesthetic ideas.

Rekindling Ancient Values: The Influence of Chinese Music and Aesthetics on Harry Partch

2010 ◽  
Vol 4 (1) ◽  
pp. 1-32 ◽  
Author(s):  
S. ANDREW GRANADE
Keyword(s):  
Spoken Word ◽  
Chinese Music ◽  
Early Experiences ◽  
The Arts ◽  
Li Po ◽  
Cantonese Opera ◽  
Musical Traditions ◽  
Theoretical Thinking ◽  
Unpublished Manuscripts ◽  
Scale Composition

AbstractScholarship on American composer Harry Partch (1901–74) has long focused on the composer's use of Greek musical ideals as the basis of his aesthetic, but little attention has been paid to China, a nation with which Partch had familial ties and with which he claimed an affinity. Using Partch's published writings, along with unpublished manuscripts, letters, and interviews, this article repositions China's role in the development of Harry Partch's music and aesthetic. By surveying his early experiences with Cantonese opera, his early expositions of his theoretical thinking, and his first full-scale composition, a setting of seventeen poems by Li Po, it demonstrates that China symbolized an alternative path. China's musical traditions were tied directly to the spoken word and featured integration of the arts through ritual, and thus for Partch presented a way to renew Western music. Through the Chinese musical quotations that reside in several of his works, the article also shows that, despite his later protests to the contrary, Chinese music both informed and shaped his music. Finally, it suggests that only by exploring the implications of China in his music can we fully understand Partch's compositional aesthetic.

scholarly journals The Integration of Chinese Opera Traditions into New Musical Compositions

2021 ◽  
Author(s):  
◽  
Nalin Shen
Keyword(s):  
Original Compositions ◽  
Paradigm Shifts ◽  
Musical Style ◽  
Global Village ◽  
Chinese Opera ◽  
Chinese Music ◽  
Historical Continuity ◽  
Cultural Roots ◽  
Generic Term ◽  
Musical Traditions

<p>Almost fifty years ago Chinese composer Chou Wen-chung proposed a musical “re-merger” of East and West. For many Chinese composers of today a sense of historical continuity and an awareness of inherited musical traditions are important contributor to cultural identity, and a basis on which to build the future. The generation that emerged after the Cultural Revolution found new freedoms, and has become, at the beginning of the twentyfirst century, a significant presence on the international musical stage, as the paradigm shifts away from being European-centered, to a culture belonging to the “global village”. As with many other Chinese composers of my generation, the creation of new compositions is both a personal expression and a manifestation of cultural roots. Techniques of “integration” and “translation” of musical elements derived from traditional Chinese music and music-theatre are a part of my musical practice. The use of traditional Chinese instruments, often in combination with Western instruments, is a no longer a novelty. The written exegesis examines some of the characteristic elements of xìqǜ (the generic term for all provincial Chinese operas), including dǎ (percussion - an enlarged interpretation of dǎ, as found in chuānjù gāoqiāng Sichuan gāoqiān opera), bǎnqiāng (The musical style that characterizes Chinese xìqǚ), and niànbái  (recitation and dialogue), as well as the kuàibǎnshū (storytelling with percussion) of qǚyì (a term to use to include all folk genres), and shāngē (mountain song). The techniques employed in integrating and translating these elements into original compositions are then analyzed. In the second volume of the thesis the scores of five compositions are presented, four of the five works are set in Chinese, exploring the dramatic aspects of language, and may be considered music-theatre, one being an opera scene intended for stage production.</p>

Not so fast: Speed-related conceptsin Chinese music and beyond

2016 ◽  
Vol 2 (2) ◽  
Author(s):  
Adrian Tien
Keyword(s):  
Musical Performance ◽  
Musical Experience ◽  
Fast Speed ◽  
Chinese Music ◽  
Musical Interpretation ◽  
Musical Traditions ◽  
Major Consideration ◽  
Culture Dependent

AbstractWhile speed as a sonic and musical experience may be a universal phenomenon, concepts referring to kinds of speed are language-specific and culture-dependent. This paper focuses on the notion of speed in Chinese and concepts associated with speed in Chinese, especially in relation to music. Five speed-related concepts in Chinese are subjected to scrutiny:Preliminary findings demonstrate that, unlike in some other musical traditions in which one might expect the capacity to play at markedly contrastive speeds in a musical performance to be aesthetically desirable or even essential, as the meanings of the speed-related concepts in Chinese reveal, the ability to play fast is not necessarily aesthetically praiseworthy in at least traditional Chinese music, nor is speed necessarily a major consideration as one executes speed in a Chinese musical interpretation.

scholarly journals Challenges to globalisation, localisation and Sinophilia in music education: A comparative study of Hong Kong, Shanghai and Taipei

2006 ◽  
Vol 23 (2) ◽  
pp. 217-237 ◽  
Author(s):  
Wai-Chung Ho ◽  
Wing-Wah Law
Keyword(s):  
Hong Kong ◽  
Music Education ◽  
Music Teachers ◽  
Mainland China ◽  
Traditional Music ◽  
School Cultures ◽  
Chinese Music ◽  
School Music ◽  
Musical Practices ◽  
Other World

In the past, the music curricula of Hong Kong (HK), Mainland China and Taiwan have focused on Western music, but with the advent of music technology and the new tripartite paradigm of globalisation, localisation and Sinophilia this has begun to change. Hong Kong, Shanghai and Taipei share a common historical culture and their populations are mainly Chinese, but their recent socio-political experiences have been diverse. This paper aims to explore the secondary school cultures of Hong Kong, Shanghai and Taipei by examining the similarities and differences between their musical practices and the ways in which they have delineated this tripartite paradigm. Data are drawn from questionnaires completed by 5,133 students (1,750 from HK, 1,741 from Shanghai, and 1,642 from Taipei) attending grades 7 to 9 and interviews with their 46 music teachers between March and August 2004. The survey data show that students from the three communities much prefer Western classical and popular music to their respective forms of local traditional music and to traditional Chinese styles. Though most music teachers recognise the importance of teaching traditional Chinese music, local traditional music, and other world music in schools, they believe that it is difficult to teach different types of music in the classroom. This article argues that globalisation is leading to a common cosmopolitan culture of Western musical learning in school; the emergence of traditional Chinese music, local music, and socio-political movements challenge globalisation in school music education.

scholarly journals Analysis of European and national experience performance of police enforcement activities

2020 ◽  
pp. 328-332
Author(s):  
Yevhen Bakutin
Keyword(s):  
Human Rights ◽  
Rule Of Law ◽  
State Institution ◽  
Legal Regulation ◽  
Essential Elements ◽  
The European Union ◽  
The Rule Of Law ◽  
Technological Advances ◽  
Systematic Improvement ◽  
European Values

The article reflects the experience of European countries, where much has been done to transform the police into an effective state institution, which enjoys the trust and respect of citizens. The basic organizational and legal foundations of the police - one of the oldest and inalienable components of world civilization, the conceptual justification of the reliable protection of individuals, society and the state from criminal attacks, the rule of law, public safety are considered. Formulating the purpose of the article. The use of technical means of fixing offenses is one of the essential elements of a highly developed society. At the same time, Ukraine is actively pursuing its foreign policy towards accession to the European Union. That is why the integration intentions of our state necessitate the systematic improvement of the use of technical means of fixing offenses. Resolving objections and conflicts requires the proper regulation of the procedure for bringing the offender to justice, which, in turn, requires comprehensive scientific studies of these problems. Technological advances have led to new challenges for human rights, as legal regulation tends to regulate existing legal relationships and does not account for the emergence of new forms. A striking example of this is the geometric progression of the use of technical means of fixing offenses by the police in compliance with public order. According to the analysis of the law enforcement practice of the use of technical means, quite often leads to strong objections between citizens and representatives of authorized state bodies, which need their resolution and resolution. This is especially the case for the use of technical means of fixing offenses for the purpose of counteracting offenses, and also when using these technical means as evidence. Police activity is one of the foundations for the promotion and development of pan-European values. However, in order for it to be effective, it is essential that the police respect human rights, the rule of law and the principles of democracy - otherwise these pan-European values will be threatened.

scholarly journals ‚Störende‘ und ‚gestörte‘ Tänze – Zyklizität und zentrierte Wahrnehmung als Bausteine einer impliziten Poetik des Tanzens in der deutschen Literatur des Mittelalters

2018 ◽  
Vol 23 (2) ◽  
pp. 308-330
Author(s):  
Stefan Abel
Keyword(s):  
Fifteenth Century ◽  
Essential Elements ◽  
Virtual Space ◽  
The Other ◽  
Literary Texts ◽  
Spatial Metaphors ◽  
Cyclic Motion ◽  
Other World ◽  
The Way

AbstractA vernacular fifteenth-century sermon tells us, in order to warn of the threats to spiritual welfare posed by dance, that cyclic motion and centering of sensory impressions – amongst them intimate conversation – are essential elements of dance. When blending out the parenesis, implicit poetics of medieval dance can be distilled from that sermon. The way how these essential elements of dance are used for generating disruptions within literary plots will be demonstrated in three literary texts dating from the thirteenth to the fifteenth century: Disruptions in connection with dance occur when contrary concepts of motion clash with each other, for example the linearity of the chivalrous way through the Other World with the cyclicity of round dances (‚Prosa-Lancelot‘). ‚Der Württemberger‘, however, collides two contrary concepts of time which can be paraphrased as spatial metaphors, namely the linearity of earthly life which collides with the cyclicity of eternal damnation, a collision symbolized by the expulsion of life out of the dance of the death. Finally in ‚Ritter Sociabilis‘, dance generates a virtual space which subverts the courtly society. The protagonists of all these texts differently manage to resolve disruptions, namely by redemption, by repentance, or by continuing disruptions which they have caused themselves.

scholarly journals Music Confucius Institute: Evaluating Its Approach as an Agent for International Chinese Music Dissemination

2016 ◽  
Vol 6 (1) ◽  
pp. 182
Author(s):  
Wei Guo ◽  
Sheng Bing Li
Keyword(s):  
Host Country ◽  
Chinese Culture ◽  
Cultural Communication ◽  
Confucius Institute ◽  
Chinese Music ◽  
The World ◽  
Research Findings ◽  
Cultural Dissemination ◽  
Musical Traditions ◽  
Positive Results

<p>The paper identifies the educational and presentational functions of the Confucius Institute (MCI) at the Royal Danish Academy of Music (RDAM) as its core approaches which mostly influence Chinese cultural dissemination in its host country. The MCI’s utilization of the two dissemination approaches aligns with the “receiver-centered” framework introduced by Jiang and Zhang (2009), providing three concurrent strategies—Localization, “Entertainalization” and Regulation (LER)—in order to enhance the dissemination of Chinese culture to the general public. Through detailed analysis of somewhat limited pre-existing research findings and literature, this article makes the claim that the MCI has achieved positive results in its two functional domains, meeting its overseas audience’s needs at various levels whilst supporting Chinese cultural dissemination internationally. This article concludes on the prospect that more MCIs are expected to be established around the world in order to satisfy the growing needs of authentic studies in Chinese musical traditions without travelling to China, as well as to support Chinese cultural communication with the rest of the world.</p>

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