scholarly journals China and Russia – «The Great Silk Road» - the interpenetration of cultures in composing in the 21st century

2020 ◽  
Author(s):  
Liu Y.W.
Keyword(s):  
21St Century ◽  
Symphony Orchestra ◽  
Silk Road ◽  
Musical Language ◽  
Chinese Music ◽  
Characteristic Modes ◽  
Direct Quotation ◽  
Symphonic Work

The article is devoted to the premiere of the symphonic work of the Russian composer Viktor Pleshak "Dun Huang" held in China in 2018. In this regard, the problem of interpenetration of cultures on the basis of their integration and striving for peaceful cooperation is considered. The urgency of such cultural initiatives between countries is emphasized. The features of the musical language of this symphony are noted: the introduction of Chinese folk instruments (pipa, erhu, shen) into the classical composition of the symphony orchestra. As a feature of the musical language of the symphony, the ability of the Russian composer to penetrate into the essence of the characteristic modes of Chinese music and create a large symphonic work with a national flavor in the absence of direct quotation of Chinese folk melodies is noted.

“Band Wagon and Gravy Train”: uses and abuses along the Silk Road

Afghanistan ◽  
2019 ◽  
Vol 2 (2) ◽  
pp. 171-194
Author(s):  
Warwick Ball
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Silk Road ◽  
Late 20Th Century ◽  
Ancient Trade ◽  
International Image ◽  
Academic Discussion ◽  
The Silk Road

The Silk Road as an image is a relatively new one for Afghanistan. It appeals to both the pre-Islamic and the perceived Islamic past, thus offering an Islamic balance to previous identities linked to Bamiyan or to the Kushans. It also appeals to a broader and more international image, one that has been taken up by many other countries. This paper traces the rise of the image of the Silk Road and its use as a metaphor for ancient trade to encompass all contacts throughout Eurasia, prehistoric, ancient and modern, but also how the image has been adopted and expanded into many other areas: politics, tourism and academia. It is argued here that the origin and popularity of the term lies in late 20th century (and increasingly 21st century) politics rather than any reality of ancient trade. Its consequent validity as a metaphor in academic discussion is questioned

scholarly journals China–Sri Lanka Joint Center for Education and Research for the 21st Century Maritime Silk Road

2017 ◽  
Vol 10 (5) ◽  
pp. 354-357
Author(s):  
Yao Luo ◽  
Dong-Xiao Wang ◽  
Gang Pan ◽  
Zhen-Qiu Zhang ◽  
Wei-Qiang Wang ◽  
...  
Keyword(s):  
Sri Lanka ◽  
21St Century ◽  
Silk Road ◽  
Maritime Silk Road ◽  
Joint Center

scholarly journals The 21st-century Maritime Silk Road: challenges and opportunities for transport management and practice

2018 ◽  
Vol 38 (4) ◽  
pp. 413-415 ◽  
Author(s):  
Jasmine Siu Lee Lam ◽  
Kevin Patrick Brendan Cullinane ◽  
Paul Tae-Woo Lee
Keyword(s):  
21St Century ◽  
Silk Road ◽  
Maritime Silk Road ◽  
Challenges And Opportunities ◽  
Transport Management

scholarly journals Classical Traditions of the Piano Concerto by Ruslan Agababayev

2021 ◽  
Vol 4 (1) ◽  
pp. 130-139
Author(s):  
Parvin Rustamova
Keyword(s):  
21St Century ◽  
Complex Analysis ◽  
Symphony Orchestra ◽  
Research Work ◽  
Scientific Work ◽  
Point Of View ◽  
Specific Work ◽  
Piano Concerto ◽  
Methodological Basis ◽  
Classical Traditions

The article is devoted to the analysis of the concert for piano and symphony orchestra by the modern Azerbaijani composer R. Agababayev. The article is very relevant from the point of view of identifying ways to implement classical traditions in a modern piano concerto of the 21st century. It must be said that in this issue we have found many such stylistic features that testify to the strong reliance of Azerbaijani composers on classical traditions. This article is devoted to the study of identifying the stylistic features of R. Agababayev’s piano concerto in the context of the historical development of this genre. Research methodology. The choice of the methodological basis for this study is due to the above goals and tasks that we set ourselves in the framework of this work. Based on the subject matter of the article, the methodological basis of this scientific work is a complex analysis, which implies the interaction of several research methods at different levels. The basis for the analytical analysis of the piano concerto was a theoretical approach, in which such aspects of the work as the problem of form formation, stylistic features of individual elements of the musical language are subject to research. The scientific novelty of the research lies in the fact that for the first time as special research work is the study and detailed analysis of R. Agababayev’s piano concerto. Conclusions. The main conclusion of our scientific research was to determine the stylistic features of the Azerbaijani piano concert created in the 21st century. Based on the data obtained during the analysis, we were able to determine the main trends and ways of development of this genre at the present stage of the development of Azerbaijani academic music. One of the important, if not decisive, aspect in achieving this kind of goal is to identify issues of preserving and transforming traditions, as well as innovative tendencies in the composer’s solution of a particular work. Single-movement piano concertos have become widespread in academic music since the beginning of the era of romanticism. And in the Azerbaijani one-part piano concerts, connections with romantic traditions are deeply felt. Moreover, in each specific work, these traditions are reflected especially. Since the concert by R. Agababayev demonstrates an interesting and original one-part interpretation, combined with an inner poly-part one, this is a typically romantic tendency associated with the composers’ desire to compress the cycle.

TAN DUN'S VIOLIN CONCERTO "THE LOVE" AS A REFLECTION OF STYLISTIC DIVERSITY OF MODERN COMPOSITION

2020 ◽  
Vol 1 (3) ◽  
pp. 61-74
Author(s):  
Xin Xing ◽  
Keyword(s):  
Human Life ◽  
Symphony Orchestra ◽  
Violin Concerto ◽  
Avant Garde ◽  
Chinese Music ◽  
Peking Opera ◽  
Tan Dun ◽  
Percussion Instruments ◽  
Solo Violin ◽  
Stylistic Diversity

The article analyzes "The Love" Violin Concerto (2009) by the famous Chinese and American composer Tan Dun in contextual, composing and linguistic aspects. Based on the statements of his contemporaries, the author considers the composer's musical and aesthetic views that determine the originality of his style, organically combining avant-garde techniques with elements of traditional Chinese music. Tan Dun's Violin Concerto exists in three versions with different titles ("Out of Peking Opera" 1987, "The Love" 2009, "Rhapsody and Fantasy" 2018), representing different artistic concepts with a new viewpoint on the same intonational material. Three movements of the Concerto "The Love" reflect the evolution of feelings at different stages of human life. The composer manages to combine the idea of "national" (a tendency going back to the version of the Concerto "Out of Peking Opera" 1987) with a philosophical understanding of the category of love. The paper discusses the originality of the dramaturgy of "The Love" Violin Concerto, which assumes the third part as the main center (based on the development of thematic material of the first and second movements), the consolidation of parts of the attacca cycle and the rondality of the musical form. The most important peculiarity of the composition is the mixture of elements belonging to different cultural and temporal layers of music. The stylistic diversity of Tan Dun's Concerto is reflected in the following details: the composer's introduction of a stylized tune from the Beijing Opera erhuang, speech intonations resembling recitatives of Chinese dramas, borrowings from his own film music (the second movement), the use of methods typical for traditional Chinese music, yaoban and sanban, the timbre of oriental percussion instruments in a classical symphony orchestra, as well as dodecaphone techniques, aleatorics and Hip-hop rhythms. Special attention in the article is paid to interpretation of expressive possibilities of solo violin: methods of classical-romantic technique are synthesized with traditions of performance on Chinese stringed instruments.

The Study of Intellectual Property Protection System

2019 ◽  
pp. 58-66
Author(s):  
Ping Zhou ◽  
Dongjuan Lv ◽  
Ying Chen
Keyword(s):  
21St Century ◽  
National Development ◽  
Silk Road ◽  
Foreign Affairs ◽  
Xi Jinping ◽  
Maritime Silk Road ◽  
One Belt One Road ◽  
Strategic Coordination ◽  
Silk Road Economic Belt ◽  
The One

The “One Belt One Road” strategy is the abbreviation of “Silk Road Economic Belt” and “21st Century Maritime Silk Road.” In September and October of 2013, Chinese President Xi Jinping proposed to build the cooperation initiative of “New Silk Road Economic Belt” and “The 21st Century Maritime Silk Road.” President Xi Jinping projected to establish the “21st Century Maritime Silk Road” during his visit in Indonesia in October 2013. Finally, the National Development and Reform Commission, the Ministry of Foreign Affairs, and the Ministry of Commerce cooperatively issued the “Vision and Action for Promoting the Construction of the Silk Road Economic Belt and the 21st Century Maritime Silk Road” on March 28, 2015. The “One Belt One Road” countries were key areas of cooperation in the context of China's policy in communication, road connectivity, smooth trade, currency circulation, people's mutual understanding, strategic coordination to strengthen bilateral and multilateral teamwork, and corresponding development.

scholarly journals Kenya and the 21st Century Maritime Silk Road: Implications for China-Africa Relations

2018 ◽  
Vol 04 (03) ◽  
pp. 401-418 ◽  
Author(s):  
Muhammad Sabil Farooq ◽  
Tongkai Yuan ◽  
Jiangang Zhu ◽  
Nazia Feroze
Keyword(s):  
21St Century ◽  
Positive Impact ◽  
Silk Road ◽  
Cultural Impact ◽  
African Countries ◽  
The Past ◽  
Long Run ◽  
Maritime Silk Road ◽  
Belt And Road ◽  
The Belt And Road

China remains Africa’s largest financier of infrastructure, and the Belt and Road Forum held in May 2017 estimated pledge of funds of about US$40 billion. Reportedly, projects worth much more than the pledged funds are in the planning or have been underway, making the “Belt and Road Initiative (BRI)” the biggest development initiative in history. China and Africa need each other in development, and the Asian giant continues to make inroads into Africa, home to minerals, oil, and other resources that help feed China’s phenomenal economic growth. This article intends to discuss the “21st Century Maritime Silk Road (MSR)” under the BRI and its socioeconomic and cultural impact on China-Africa relations, with an emphasis on China’s relationship with Kenya, a founding member of the East Africa community (EAC) that has enjoyed lasting friendship with China. It is concluded that despite the generally positive impact of Chinese economic presence in Africa over the past decades, both China and African countries have much to do to consolidate their mutually beneficial relationship and to achieve the MSR’s target of common prosperity in the long run.

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