scholarly journals First Chinese concerto for violin and orchestra Ma Siсong as an example of synthesis of the European and national style paradigm

2019 ◽  
pp. 256-278
Author(s):  
Li Yan Long
Keyword(s):  
Chinese Culture ◽  
Solo Performance ◽  
Temporal Perspective ◽  
String Instruments ◽  
Violin Concerto ◽  
Chinese Music ◽  
Violin Music ◽  
Harmonic Language ◽  
Solo Violin

Turning of Ma Siсong to the concerto genre was not determined exclusively by the historical cultural circumstances, because in the first half of the 20th century the Chinese violin music only started to master the European genres. Thus, the violin and orchestra concerto written in 1943-1944 became the first Chinese work in this genre.Ma Siсong created an exceptionally interesting and remarkable canvas that combined seamlessly the Chinese national thematic nature and principles of the European violin concerto, classical genre paradigmatics aligned with the new mental conditions of creation. Using the wealth of the style parameters and the genre varieties of the wide temporal perspective, the composer represents an authentic vision of the solo violin concerto proper as an expression of the distinctive Chinese culture which has been shown essentially on the intonational-melodic, tonal-harmonic levels, manifested in the sphere of the form creation. The concerto concept solved in the neoromantic key gravitates toward the type of the lyrical-patriotic poem about the beauty of the homeland. Thus, the most innovative for the concerto genre became the means of the form creation that originate from the nature of the Chinese music (alternation of the concentrated brief tunes that to some extent play the role of the leitmotifs with more spatial melodic sections), that render the dramaturgic model a suite-poem type; using compositional and performing principles of the Chinese folk orchestras and solo performance on the bowed string instruments (enhance improvisational opening, specific performing techniques – typical flageolets, sliding play with one finger, traditional bourdon two-part texture, typical for the folk violin erhu, etc.). Especially innovatory is the harmonic language of the concerto (whose characteristic feature is the refined play between anhemitonics, pentatonics and chromatics) that gives not only a specific flair, but produces also an essential effect on the general tonal plan of the whole demonstrating the new modal-tonal relationships. Ma Siсong, preserving in the ternary construction of the concerto for violin and orchestra the features and certain typological European principles of this genre fills it up not only with the new content, but tries to give a new meaning to the basic form creating principles from the standpoint of the Chinese music mentality.

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.

FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’

2020 ◽  
Vol 17 (2) ◽  
pp. 177-199
Author(s):  
ANA LOMBARDÍA
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
Cultural Identity ◽  
Chamber Music ◽  
Musical Identity ◽  
Violin Sonata ◽  
Violin Music ◽  
Musical Traditions ◽  
Solo Violin

ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.

scholarly journals Harmonic language as a generator of mediation between contrasting meanings in the post-tonal context

New Sound ◽  
2018 ◽  
pp. 111-130
Author(s):  
Atila Sabo
Keyword(s):  
Bela Bartok ◽  
Binary Opposition ◽  
Tonal Music ◽  
String Instruments ◽  
Main Assumption ◽  
Semantic Categories ◽  
Harmonic Language ◽  
Tonal Context

This paper examines the influence of harmonic language on the narrative processes in post-tonal music. The main assumption is that the phenomenon of mediation, expounded on by David Lidov on the examples of music of Classicism and Romanticism, is quite similarly manifested when the major-minor system is suspended. Mediation, according to Lidov, implies cancelling opposition or blurring opposed semantic categories, which can be achieved by various music means. In music that emerged after the suspension of tonality, especially in authors who have not opted exclusively for either of the two opposed ways of harmonic thinking, the tonal or the atonal, harmonic language remains a significant factor in generating narratives. They play a key role in forming transitional categories between contrasting meanings within a binary opposition, that is to say, in emphasising the process of mediation. Departing from these views, the paper analyses the role of specific manifestations of the tonal vertical in forming meaning in the second movement of Music for String Instruments, Percussion and Celesta by Béla Bartók (1881-1945).

scholarly journals Studying Collaboration Dynamics in Physical Learning Spaces: Considering the Temporal Perspective through Epistemic Network Analysis

Sensors ◽  
2021 ◽  
Vol 21 (9) ◽  
pp. 2898
Author(s):  
Milica Vujovic ◽  
Ishari Amarasinghe ◽  
Davinia Hernández-Leo
Keyword(s):  
Collaborative Learning ◽  
Temporal Analysis ◽  
Learning Design ◽  
Learning Spaces ◽  
Limited Evidence ◽  
Temporal Perspective ◽  
Learning Space ◽  
Collaboration Dynamics ◽  
Collaborative Activities

The role of the learning space is especially relevant in the application of active pedagogies, for example those involving collaborative activities. However, there is limited evidence informing learning design on the potential effects of collaborative learning spaces. In particular, there is a lack of studies generating evidence derived from temporal analyses of the influence of learning spaces on the collaborative learning process. The temporal analysis perspective has been shown to be essential in the analysis of collaboration processes, as it reveals the relationships between students’ actions. The aim of this study is to explore the potential of a temporal perspective to broaden understanding of the effects of table shape on collaboration when different group sizes and genders are considered. On-task actions such as explanation, discussion, non-verbal interaction, and interaction with physical artefacts were observed while students were engaged in engineering design tasks. Results suggest that table shape influences student behaviour when taking into account different group sizes and different genders.

scholarly journals 'To do or not to do'? The neurobiology of decision-making in daily life: I. Getting the basics

2007 ◽  
Vol 1 (1) ◽  
pp. 10-17 ◽  
Author(s):  
André Palmini ◽  
Victor Geraldi Haase
Keyword(s):  
Decision Making ◽  
Everyday Life ◽  
Theory And Practice ◽  
Moral Issues ◽  
Temporal Perspective ◽  
Prefrontal Cortical ◽  
Cortical Regions

Abstract The constant conflict between decisions leading to immediate pleasurable consequences versus behaviors aiming at long-term social advantages is reviewed here in the framework of the evolutionary systems regulating behavior. The inescapable temporal perspective in decision-making in everyday life is highlighted and integrated with the role of the executive functions in the modulation of subcortical systems. In particular, the representations of the 'non-existent' future in the prefrontal cortical regions and how these representations can bridge theory and practice in everyday life are addressed. Relevant discussions regarding the battle between emotions and reasons in the determination of more complex decisions in the realm of neuroeconomics and in moral issues have been reserved for a second essay.

Holliger's Violin Concerto

Tempo ◽  
2005 ◽  
Vol 59 (231) ◽  
pp. 70-70 ◽  
Author(s):  
Peter Palmer
Keyword(s):  
Violin Concerto ◽  
Solo Violin

HOLLIGER: Violin Concerto, ‘Hommage à Louis Soutter’. YSAŸE: Sonata op. 27, No. 3, ‘Ballade’ for solo violin. Thomas Zehetmair (vln), SWR Sinfonieorchester c. Heinz Holliger. ECM New Series 476 1941.

scholarly journals Digital Guqin Museum from a Virtual World to the Real World : Conception and design of an ongoing cultural sim

2010 ◽  
Vol 2 (5) ◽  
Author(s):  
Shuen-git Chow
Keyword(s):  
Second Life ◽  
Virtual World ◽  
Chinese Culture ◽  
Mixed Reality ◽  
Real Life ◽  
Musical Instrument ◽  
Good Match ◽  
Chinese Music ◽  
Place Holder ◽  
Informal Settings

This paper provides an overview of the Digital Guqin Museum built in Second Life that provides the user an opportunity to experience and interact with different facets of Chinese culture. The user will find examples of Guquin culture, considered by some to be a place holder for Chinese culture , such as the guqin, a rarely seen musical instrument sometimes confused with the guzheng, a more common popular instrument. Users can see the making of a guqin instrument and listen to guqin music being played, which represents both Chinese music, and more specifically, the guqin music genre - an elegant and quiet music – that might be considered a good match for a virtual world. The Digital Guqin Museam enables participants to play guqin music both in-world and via mixed-reality session, such as the recreation of an online “yaji” – elegant gatherings . This paper questions which groups of Guqin players would be interested and which group would not, and what types of uses might be most engaging . The Digital Guqin Museum in Second Life enables meetings possible only in a virtual world. Real life people could meet in virtual places, visit cities, venues as an end in itself. DGM has been shown to professional guqin players, in informal settings and at a specialists conference.

scholarly journals The Influences of Performers and Composers on Selected  Violin Works of Johannes Brahms

2021 ◽  
Author(s):  
◽  
Joanna Lee
Keyword(s):  
New Zealand ◽  
19Th Century ◽  
Johannes Brahms ◽  
Violin Concerto ◽  
School Of Music ◽  
Violin Music ◽  
High Esteem ◽  
Joseph Joachim ◽  
The 19Th Century ◽  
Hungarian Dances

<p>Joseph Joachim was the most influential violinist in Brahms’s life. Not only did the pair have a close personal friendship, but they also admired and respected each other on a professional level. Their high esteem and appreciation for each other led to performance and compositional collaborations. One of the most beloved and well-known works of Brahms’s violin music, the Violin Concerto, was dedicated to Joachim. Indubitably, Joachim influenced the Violin Concerto. Regardless, there are many debates on how much of an input Joachim had on the concerto. In order to examine the influences of performers and composers on selected violin works of Johannes Brahms, the three sections in this paper will investigate Joachim and Brahms, then discuss the importance of a performer-composer’s relationship in the 19th century and, finally, assess the amount of Joachim’s influence on the Brahms Violin Concerto. Each category will have an introduction and information presented in a biographical form, a historical form and musical analysis. Some of the following analysis may be hypothetical, yet, a possibility. Further part of my research will conclude with a recital programme consisting of the Beethoven Violin Concerto in D major, Op. 61, I. Allegro Ma Non Troppo, Brahms Sonata No. 3 in D minor, Op. 108, Sonatensatz/Scherzo movement of the F-A-E Sonata, and Hungarian Dances No. 1, 5 and 7. This will take place on June 18, 2011 in the Adam Concert Room at New Zealand School of Music at 10:30 A.M.</p>

The Academic Role of Hong Kong in the Development of Chinese Culture, 1950s–70s

China Report ◽  
2017 ◽  
Vol 54 (1) ◽  
pp. 66-80
Author(s):  
Au Chi Kin
Keyword(s):  
Hong Kong ◽  
Chinese Culture ◽  
Tertiary Education ◽  
Republic Of China ◽  
Academic Role ◽  
Chinese Studies ◽  
The 1960S ◽  
Cultural Bridge ◽  
The University

For many people, ‘Hong Kong is a cultural desert’. However, we find that Hong Kong plays an important academic role and acts as a cultural bridge between China and Western countries, especially when China experiences unstable political, economic, social and cultural situations. The People’s Republic of China was established in 1949. During this time, numerous scholars fled China and selected Hong Kong as a ‘shelter’. Some decided to stay for good, whereas others viewed the territory as a stepping stone. Regardless of their reasons, their academic performance has significantly influenced Hong Kong. Two of the most famous scholars in this period were Luo Xianglin (羅香林 Lo Shan Lin) and Qian Mu (錢穆). Luo taught at the Department of Chinese of the University of Hong Kong. Qian was a faculty member at the New Asia College, which was one of the founding members of the Chinese University of Hong Kong. This study will examine the following issues: (i) why these two scholars selected Hong Kong, (ii) what role they played in the development of tertiary education with regard to Chinese studies in Hong Kong, (iii) how they developed the role of Hong Kong as a haven for the protection of Chinese culture and (iv) how Qian Mu developed New Asia College as a vehicle for spreading the ‘New’ Asian culture in the 1960s.

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