Fantastic Works of Peking Opera -- On the Artistic achievements of Xu Jiujing's Promotion to Official

2021 ◽  
Vol 1 (1) ◽  
pp. 6-14
Author(s):  
Hu Decai
Keyword(s):  
Peking Opera

Perceiving Humor in Traditional Chinese Peking Opera

2018 ◽  
Vol 14 (3) ◽  
pp. 371-391
Author(s):  
Zhiyi Zhang ◽  
Xiaobing Jin
Keyword(s):  
Performing Arts ◽  
Negative Influence ◽  
Contributing Factors ◽  
Comprehension Difficulty ◽  
Inverse Proportion ◽  
Peking Opera ◽  
And Performance ◽  
Interview Analysis

Abstract Peking opera epitomizes the traditional Chinese performing arts, and all six factors concerning the story and performance of Peking opera, namely plot, role type, song, speech, acting, and combat, can produce humorous effects among the audience. The present paper is a tentative study on humor and sensing humor in Peking opera. The scale study testified that all six factors were able to produce humorous effects and that they had different degrees of comprehension difficulty and humor for different contributing factors. The degree of comprehension difficulty can assert negative influence upon the degree of humor. Different from the traditionally held nonmonotonic (inverted-U) correlation between the two, a monotonic inverse proportion between the two has been detected. The interview analyses revealed that the humorous effects had something to do with incongruity but that resolution might not necessarily be involved. The scale study and the interview analysis both support this finding.

If You Can Recite It You Can Play It: The Transmission and Transcription of Jingju (Peking Opera) Percussion Music

CHINOPERL ◽  
2016 ◽  
Vol 35 (2) ◽  
pp. 89-113
Author(s):  
Po-wei Weng
Keyword(s):  
Peking Opera

scholarly journals CHINA COSTUME ART OF PEKING OPERA: Analytical&its translation

2011 ◽  
Vol 22 (null) ◽  
pp. 223-277 ◽  
Author(s):  
ManHoe Cho ◽  
정유선
Keyword(s):  
Peking Opera

scholarly journals The Conception of the Contemporary Chinese Opera Music Score Database

2019 ◽  
Vol 4 (1) ◽  
Author(s):  
Xiaojuan Chen
Keyword(s):  
Oral Tradition ◽  
Academic Research ◽  
Vocal Music ◽  
Transmission Method ◽  
Chinese Opera ◽  
Music Integration ◽  
Comprehensive Collection ◽  
Music Score ◽  
Peking Opera ◽  
Music Specialists

Music score are the carrier of musical works, and Chinese Opera is an important part of traditional Chinese folk music. The enduring transmission method of music is an oral tradition, and only a few operatic scores (such as Kunqu Opera, Peking Opera, etc.) have been published before 1949. It was only in the 1950s where the surge of music specialists in the workforce has initiated an effort to record operatic works, resulting in the publication of Chinese Opera and vocal music. After the 1980s, various operatic texts were found stacked on top of each other. In particular, during the Seventh Five-Year Plan key scientific research project of the National Philosophy and Social Sciences, the “Chinese Opera Music Integration” series was founded to compile a comprehensive collection of vocal scores from various operas. By creating a database, a large number of rich resources on opera music can be accessed when all of its information and classification are compiled into the database. By providing the function of searching and browsing some of the vocal scores and images online, its significance is not only limited to providing complete access to operatic works but also promotes the development of academic research in opera music.

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.

Chapter Four. Peking Opera, from Listening to Watching

2017 ◽  
pp. 133-163
Keyword(s):  
Peking Opera
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