Journal articles on the topic 'Chinese Hymns'

The global dissemination of Christianity has resulted in diverse singing styles and historical narratives that incorporate different languages and musical traditions. Chinese Christian hymns, in particular, possess distinctive features that reflect the Chinese thinking mode and cultural values, showcasing the interplay between Western hymns and Chinese singing and poetic and cultural traditions within the Chinese historical context. This paper takes Chinese Christian hymnals published between 1807 and 1949 as its object of study. It conducts research on representative hymnals from three historical stages: the emergence, flourishing, and prosperity of hymns, and examines their compilation and publication. Using methods such as historical research, textual criticism, translation studies, and cross-cultural communication, the paper explores the evolution of Chinese Christian hymns. The paper analyzes such aspects of the hymnals as translating and writing strategies, thematic content, linguistic features, editing and formatting, as well as the selection and composition of melodies. It is concluded that the indigenization of Chinese hymns does not involve outright rejection of foreign elements or unquestioning adherence to local traditions, but rather represents a common ground between Chinese and Western languages and vocal traditions, reflecting the characteristic of glocalization.

Abstract This article studies the formation of the Canaan Hymns (Jianan shige 迦南诗歌) in relation to the history of the contemporary Chinese indigenous church. Over the last thirty years, Lü Xiaomin (吕小敏, 1970–) has composed more than two thousand hymns. They reflect not only her own personal life and evangelism, but also the growth of the Fangcheng Fellowship (方城团契) in Henan Province from a local home gathering to a national mission movement. Through textual studies, interviews, and archival research, this article examines how local congregants adopted Lü’s hymns, which are distinct from both western traditional hymns and Chinese rural spiritual songs (lingge 灵歌). These hymns represent a unique form of theological meaning-making within the indigenous church movement and serve as a pointer to the Chinese understanding of missio Dei as a whole.

American missionary William Newbern (1900–1972), one of the first C&MA missionaries to China, is known as the father of the Hong Kong Alliance Bible Seminary. Newbern, a successful evangelist and educator, also made a major contribution to Chinese hymnology in the mid-twentieth century, especially in his editorial role in preparing Youth Hymns, whose hymns are still used in Chinese churches today. As primary sources, I use mainly his autobiography ( The Cross and the Crown), his articles in Alliance Magazine, and his music commentaries Narrating Hymns ( Shengshi mantan).

For over a century, Hong Kong Christians have sung Chinese hymns in an “out-of-tone” manner. Lyrics in traditional hymnals were translated or written to be sung in Mandarin, the national language, but most locals speak Cantonese, another Sinitic and tonal language. Singing goes “out-of-tone” when Mandarin hymns are sung in Cantonese, which often causes meaning distortions. Why did Hong Kong Christians accept this practice? How did they move from singing “out-of-tone” to creating contextualized Cantonese contemporary worship songs? What does this process reveal about the evolution of Chinese Christianity? From a Hong Kong-centered perspective, this article reconstructs the city’s hymnological development. I consider the creation of national Mandarin hymnals during Republican China as producing a nationalistic Mainland-centric and Mandarin-centric Chinese Christianity. Being on the periphery, Hong Kong Christians did not have the resources to develop their own hymns and thus continued to worship “out-of-tone”. With the decline of the old Chinese Christian center of Shanghai, the growth of Cantonese culture and Hongkonger identity, and the influence of Western pop and Christian music, local Christians began to create Cantonese contemporary worship songs. This hymnological contextualization reflects and contributes to not only the decolonization but, more importantly, the decentralization of Chinese Christianity.

Optical music recognition (OMR) is attracted a lot attention on different music notation system which could be so focused on Back’s C-Clefs; in contrast, it could handle complete modern music symbols. One of notation system, numbered music notation, which is literally call “simplified notation”, is popular in many Asia countries. There is a traditional Chinese hymnbook, which usually used in small group of worship, in which one page has several hymns. We propose algorithms for the recognition of those notations in camera images of the hymn, which could effectively identify score zone and lyric zone, segment notation image, classify music notation, and reconstruct scores from classified notation by their coordinates and neighborhood relationship. Those algorithms comprise the preliminary demo system by which we provide a solution for music information retrieval and reconstruction.

"Primary tectonic projections" of culture are realized in the discourse of nationalism of the PRC and the Chinese Republic (Taiwan), receiving verbalization in the texts of the national patriotic songs of these states. Being laconic and capacious symbolically, the lyrics of hymns and patriotic songs carry out the main task, which is to consolidate these symbols in everyday life and initiate the process of participation of the citizen with the national state. The relevance of the research topic is due to the intensification of the processes of national identity of the Chinese continental and island communities, which have been pursuing alternative development paths for more than 70 years. The novelty lies in the identification of significant projections of the primary tectons of Chinese culture, representing a number of mythologemes, numbers, visual and role images in the national text of the PRC and the Chinese Republic (Taiwan). English version of the article is available at URL: https://panor.ru/articles/verbalization-of-primary-tectonic-projections-of-chinese-culture-in-the-corpus-of-national-patriotic-song-lyrics-of-rc-taiwan-and-the-prc/78345.html

“The Shi Jing’’(‘‘The Book of Poetry”） is one of the first poems in the world, including Chinese poems, from the 11th century BC to the 6th century BC. During this period, about 3 000 verses appeared, of which 305 poems were selected by Confucius. Poetic texts in “The Shi Jing’are divided into three categories: regional songs, odes, hymns. The composition of the poems uses such techniques as Fu, Bi and Xing. These poems constitute the creative source (source) of Chinese poetry. “Fu”，“Bi” and “Xing” are important artistic features of “The Shi Jing”. “Fu”” - direct narration, parallelism. “Bi” is a metaphor, comparison. “Sin” means “stimulation”， it first speaks about others, then about what the poet wants to express. Fu and Bi are the most basic techniques of expression, and Xing is a relatively unique technique in “The Shi Jing”， even in Chinese poetry in general. “The Shi Jing” is an excellent starting point for Chinese literature, which has already reached a very high artistic level from the very beginning. "The Shi Jing” affects almost all aspects of the early social life of ancient China, such as sacrifice, banquet, labor, war, love, marriage, corvee, animals, plants, oppression and resistance, manners and customs, even astronomical phenomena, etc. It became historical value for the study of that society. The overwhelming majority of the poems in “The Shi Jing”reflect the reality, everyday life and everyday experience. There is almost no illusory and supernatural mythical world in it. As the first collection of poetry in China, “The Shi Jing” laid the foundation for the lyrical and realistic tradition of Chinese literature. “The Shi Jing” also has a huge impact on the genre structure and linguistic art of Chinese literature, etc., which is a role model for writers of later generations. “The Shi Jing”has already been translated into the languages of the countries of the world. “The Shi Jing”has been influencing Chinese poetics; it has become the source of the classical realistic tradition and literature in China. Lively description is essential for historical, anthropological and sociological research. We expect that as the cultural ties between China and Russia deepen, as well as the popularization and spread of Chinese-Russian translations, more and more Russian people will read “The Shi Jing”， study “The Shi Jing”， the Russian translation of “The Shi Jing” will improve and play its role as the original classic of Chinese literature. “The Shi Jing”is a book that cannot be read or translated forever. Keywords: “The Shi Jing” （“The Book of Poetry” )， regional songs, odes, hymns, artistic features, Chinese unique cultural value

Abstract Contemporary Christian songs (CCSs) are gaining more favor in Chinese churches than traditional hymns (THs) nowadays; however, many scholars have criticized the intimate relationship established with God in CCSs from the perspective of theology. This study aims to explore whether the God-human relationship built in THs and CCSs has experienced a change by carrying out a comparative analysis of their respective constructed interpersonal meanings. Combining Halliday’s framework with judgment in Martin and White’s Appraisal system, this study compares 100 CCSs and THs from the aspects of modality, judgment, mood and projected roles with the help of UAM Corpus Tool 3.0., with some changes of the original categories of judgment system due to the specific nature of the judged subject in the data. The semantic analyses show that the God-human relationship constructed in hymns has changed, with the encompassing view of God narrowed to one focused on love, the sinful nature of humans replaced by their incapability, and the assurance in and reverence to God outweighed by closeness and intimacy with Him. Some cultural realities and the situation of the church are referred to as a way of explaining this change.

The article traces the early development of Chinese choral art: from the singing courses introduced into the secondary school curriculum and the "school song" (Xue tang yuey ge), which acted both as an academic discipline and a popular vocal genre, to the appearance of the first three-voice choir "Spring Walk" by the composer and teacher Li Shutong. It is noted that the school song genre originated as an independent phenomenon in Japan, where works written in the hogaku style were highly revered, and the reforms of the Meiji period (1898–1912) played an important role in the development of choral art. Many Chinese students continued their studies in Japan, where, during the reforms, Western military and school music was borrowed, and choral singing began to be cultivated as a result of the perception of Christian culture. The purpose of this article is to present the works of Chinese educators, Shen Xingong and Li Shutong, whose activities were aimed at establishing the choral art in China. It describes the first school songs composed by Shen Xingong and Li Shutong to music borrowed from folklore, Christian hymns or famous Western European works, and the first three-voice composition by Li Shutong, which paved the way to Chinese choral polyphony.

Oral tales, which are known as “tales of the fiddle” (quγur-un üliger or bengаsün-ü üliger) derived in the eastern part of Inner Mongolia, are well-inherited to this day and have been the focus of many Mongolist scholars since long ago. Although many international scholars studied the tales of the fiddle from different perspectives, there is a lack of study on lexicological components in the tales of the fiddle. In this paper, author chose the “Romance of the Three Kingdoms (in Mongolian: γurban ulus-un üliger; in Chinese:三国演义)” which was performed by Bürenbayar bard (quγurči, Lit: the fiddle player) as a research object. It was broadcasted by the Khulun Buir Radio Committee for a total of 62 hours length in August 1984. The author considered these materials as oral sources (transcriptions of audio recordings) for his research and conducted a comparative lexical analysis between the original Chinese text and other Mongolian translations. The Chinese source of the “Romance of the Three Kingdoms” contains 209 stanzas (192 poems, 2 hymns, 2 panegyrics, 2 eulogies, 10 songs, 1 children's tale), 3 of which correspond to the selected tale of the fiddle. In addition, the vocabulary items of the bards and some words of the local dialect were compared with the words used in two other translated versions of the "Romance of the Three Kingdoms", which were translated by Temget and D. Boldbaatar translated from Chinese into Mongolian. In this article, the author not only summarizes the study of the “Romance of the Three Kingdoms” and its translation into Mongolian, but also compares Burenbayar's tale of the Fiddle with other Mongolian translations of the “Romance of the Three Kingdoms” in terms of lexical components and features of poetry, and it was determined that the tale of the fiddle originated from Temget's translation of the Romance of Three Kingdoms.

Abstract The various rhapsodies or poetic expositions of the Han dynasty known as Han fu are replete with passages from the classic Chinese poetry collection the Shijing, or Book of Poetry. The reverse is also true: Shijing scholarship has likewise cited Han fu in many of its exegetical works. As a result, the various editions of the Han fu are important sources in the study of the Confucian classics, a discipline commonly known in Chinese as jingxue. The classical citations of the Shijing throughout the Han fu can be placed into one of two categories: “language citation” and “meaning citation”, while the “ironic citation” of Han fu in exegeses of the Shijing that is prevalent in the interpretative system of the Confucian classics can be further broken down into three types: “meaning and principle”, “verification and justification” and “language and exposition”. In the meaning-based citations of the Shijing by the Han fu – especially those of “persuasive remonstrance” and “hymns and eulogies” – the conveyed messages were ironically cited by later generations of interpreters of Confucian classics, which helped form new meanings and principles. The main themes, subject matter, emotional expression and language style of Han fu are lifted heavily from the Shijing. Later generations of Confucian scholars then cited text from the Han fu, thereby constructing new forms of language and exposition. The unique characteristics of fu to “describe things and express themselves clearly” and reference a wide range of “names and things” were used by later Confucian scholars who sought to better understand a whole host of signifiers referred to in the classic texts, from herbs, trees and birds, to beasts, insects and fish. Meanwhile, the perception of fu as knowledge-laden texts inspired Confucian scholars to carry out textual research on them. Scholarly comparisons in premodern China between the Shijing as a Confucian classic, the Shijing as a literary corpus, and Han fu developed during a process of ordinary citation and ironic citation. This resulted in the practice of “complementary citations” of meaning and principle, verification and justification, and language and exposition. A scholarship cycle was thus formed in which the classics were used to revere the fu, then the classics were used to enrich the fu, and interpretations of the fu started to be used to transmit canonical messages. It was a cycle that was imbued with a cross-permeation of neo-Confucian, historical and literary dimensions, eventually resulting in the construction of a new interpretative system for premodern Chinese scholarship of classic texts.

The article presents a translation and interpretation of a previously unpublished two-sided Sogdian fragment (written on Chinese scroll DHN [Russian: ДХН] 5966 from the Dunhuang Collection of the IOM, RAS), which contains a prosaic text on the Verso side and a Manichaean hymn on the Recto side of the manuscript.

Chinese culture and tradition stand in direct opposition to American and European cultures. Chinese children must live according to the principles of metaconfucianism from an early age. Failure to do so threatens social ostracism.Amy Chua in her autobiographical novel Battle Hymn of the Tiger Mother describes the education of her two daughters living in America according to the principles present in China. The educational methods used by Chua are considered controversial by western parents. The author made an attempt to explain the motives of Asian mothers.

“Mythorealism” is a formal literary experiment developed by Yan Lianke, whose 2008 novel Ballad, Hymn, Ode ( Feng ya song) produces a cumulative effect of absurdity that has provoked controversy over the extent to which it offers an effective social critique. In response to the scholarship based on realist readings of the novel, this article analyzes it from a “mythorealistic” perspective. It argues that the mythorealist narrative does not necessarily cancel out Yan’s social commentary but instead transfers his critical impulse to a psychological exploration of marginal intellectuals in a desymbolized society. In particular, this article is concerned with thematic interpretation and the relation between literary form and meaning in Yan’s parody of the Shijing in Ballad, Hymn, Ode. By focusing on Yan’s symbolic representation of sex and disgust, this article investigates how such imagery and motifs speak from their own space to reveal Chinese intellectuals’ spiritual crisis in an academic world pervaded with an instrumentalist ethos.

Abstract During the 20th-century Chinese revolution, L’Internationale was one of the most important political symbols. After the failure of the Paris Commune in 1871, Eugène Pottier wrote the poem titled “L’Internationale” which was published for the first time until 1887. It was set to music by Pierre Degeyter in 1888 and introduced into China from both France and the Soviet Union (USSR). Qu Qiubai and Xiao San made great contribution to the work of translation that influenced the official version in 1962. From a hymn for the International Workingmen’s Association to the revolutionary song of all the proletariats, L’Internationale was the historical witness of the National Revolution, the Chinese Communist Revolution and the Continuous Revolution, whose symbolic meanings were connected closely to the tensions between nationalism and internationalism.

AbstractAmy Chua catapulted to fame in the United States with the publication of her bestsellingWorld on Fire: How Free Market Democracy Breeds Ethnic Hatred and Global Instability(2002) and a much-discussedWall Street Journalexcerpt from her next book,Battle Hymn of the Tiger Mother(2011). A wry account of a ‘Chinese’ mother's efforts, not all successful, to raise her two daughters to be high-achievers,Tiger Mothercreated some controversy owing to its critique of ‘Western’-style parenting and its perceived advocacy of a ‘Tiger Mother’ brand of parenting that drew on the author's own experience of being raised by Chinese-Filipino immigrant parents in America. Not only didBattle Hymngenerate heated discussion in America about the stereotyping of Asian-Americans as ‘model minority’; it also tapped into American anxieties about the waning of U.S. power in the wake of a rising China, while provoking spirited responses from mainland Chinese women looking to raise their children in ‘enlightened’ ways. This article follows Amy Chua's career as an ‘ethnopreneur’ who capitalises on her claims of ‘Chineseness’ and access to ‘Chinese culture.’ Drawing on localised/provincialised, regional, and family-mediated notions of Chineseness, Chua exemplifies the ‘Anglo-Chinese’ who exploits – and profits from – national and cultural differences within nations as well as among Southeast Asia, the U.S., and China in order to promote particular forms of hybridised (trans)national identities while eschewing the idea of mainland China as the ultimate cultural arbiter of Chineseness.

Focused on a detailed philological analysis of the sacrificial hymn “Chu ci” in theShijing, the present study aims to reconstruct the dramatic multi-vocal structure of an exemplary early Chinese performance text. Examining the interrelation between performance and commemoration from anthropological, art historical, and linguistic perspectives, the study in its first part outlines major characteristics of early Chinese ritual culture in terms of ritual self-reference, aesthetic expression, cultural memory, and the performative act of constituting ritual reality. After these historical and theoretical considerations, a fully annotated translation of “Chu ci” is offered, with the text presented in its multi-vocal structure. This structure of multiple voices and changing perspectives is then discussed through a close analysis of linguistic features such as rhyme shifts, the distribution of pronouns and formal designations for the ritual participants, and the use of formulaic prayer sequences. It is argued that these features are directly interrelated and, if seen together, allow us to reconstruct “Chu ci” as an actual performance text that can be related to specific practices and situations of early Chinese ritual culture. It is concluded that only such a reconstruction renders the text fully intelligible, integrating all its otherwise unruly linguistic elements into a coherent reading. In view of the evidence from “Chu ci,” it is suggested that its multi-vocal structure is not a singular phenomenon but reflects a principle of composition that might also apply to other early Chinese ritual texts.

The article is devoted to the work of the outstanding Russian composer Nikolay Nikolayevich Sidelnikov (1930–1992), who made a great contribution to modern Russian music. The composer worked in various genres, each time choosing an extraordinary interpretation for them. The musician's erudition, which was especially noted by his friends, colleagues and students, allowed him to address the topics from various literary sources, whether from the ancient Russian chronicles of the XIIth – XVIth centuries (the oratorio "The Sword Raised"), F. Engels' philosophical work "Dialectics of Nature" (the symphony "Hymn to Nature") or poetic texts (a vocal cycle of lyrical poems to the verses by Spanish poet F. G. Lorca, the "Sichuan Elegies" dilogy to the poems by Chinese Medieval poet Du Fu, the vocal symphony "The Rebellious World of the Poet" to verses by M. Yu. Lermontov). A special place in Sidelnikov's oeuvre belongs to vocal and choral works, including spiritual compositions, among which "The Liturgy of St. John Chrysostom", dedicated to the 1000th anniversary of the Baptism of Rus, and the Spiritual Concerto for a cappella choir stand out. The genres of church music concentrated all the main constants of his style, nurtured on the fusion of Znamenny chant and folklore origins, expressed in the trichordism of the thematicism. Such a synthesis, carried out within the framework of polystylistics and harmony, appeals to secular musical culture up to the elements of jazz, which demonstrates the composer's freedom in mastering the styles of different eras. At the same time, all of Sidelnikov's works, including spiritual pieces, are permeated with personal emotional overtones.

Background/Context In 2010, I was invited to give the annual lecture that honors Lawrence Cremin, the historian of American education who became the seventh president of Teachers College, Columbia University. To pay tribute to the way in which Cremin used an academic discipline to bring rigor and depth to educational research, I described my own use of an academic discipline—linguistics and its varied tools of discourse analysis—in conducting research at the College. Focus of Research I focused on two major areas of research: (a) ethnocultural variation in processing spatio-temporal information in languages throughout the world and (b) children's interaction with multiple-choice tests of reading comprehension, with particular attention to the ways in which their ethnocultural background affects how they respond. Research Design and Findings The first area of research used experimental methods developed by a research team that I directed. The major finding was that distinctive patterns of processing spatiotemporal information by speakers of African languages (e.g., Hausa) and Asian languages (e.g., Chinese) are preserved when African Americans and Chinese Americans speak English in the Western hemisphere. In addition to ethnocultural identity, our research team uncovered other factors such as age and gender that are reflected in the preservation of these patterns. I draw on the model structured heterogeneity (Herzog, Weinrich, & Labov, 1968) to show that what may appear to be random variation in language use can be accounted for by attending to sociocultural factors. The second area of research used quantitative methods (experimental probes) and qualitative methods (interviews). Our major finding was that children, especially African Americans who live in the inner city, often make inferences when responding to a multiple-choice task, which, although stimulated by features in the test item, lead them to select a choice, which, given the test makers’ highly restricted model of literacy, cannot be justified. Our research team drew on the model ethnography of communication (Hymes, 1962) in identifying the contrasting interpretive norms used by test makers and test takers. We then developed a model grounded constructivism (Hill, 2004) that was used to build an alternative approach to assessment in which children respond to an integrated set of tasks that call for three different kinds of response: factual, inferential, and experiential. Recommendations An academic discipline can provide greater depth and rigor in educational research, but those who draw on one must seek, much like Lawrence Cremin, to make their research intelligible to an informed public concerned with educational policy.

The 21st century is marked by the exponential growth of Christianity in the Global East beyond Christendom. In the last thirty years, Canaan Hymns ( jianan shixuan, 迦南诗选), over two thousand indigenous songs composed by a rural woman named Lü Xiaomin (吕小敏, 1970–) have spread and been sung from the underground to the world. They have become a hallmark of the Chinese church and mission movement beyond the borders of the Mainland. Coined as “God’s gift to China,” Xiaomin, a junior high school drop-out without any musical training, wrote these songs inspired by the Holy Spirit from the village fields of northern China. Despite ample video clips and documentaries of Xiaomin and Canaan Hymns being made available online, scholarship on their missiology has been underheard and underdeveloped. Drawing from the methodologies of “lived theology,” “grassroots theology,” and “biography as theology,” this article studies the formation, themes, and styles of Canaan Hymns through textual analysis, literature reviews, and interviews. In conversation with missiologists and theologians of the West and Asia such as Bosch, Moltmann, and Chan, a grassroots missiology that is contextual, pneumatological, and communal is discerned and articulated. In doing so, not only voices from the margins are heard and brought into global conversations, missio Dei is also given new meanings and significance in the context of the contemporary indigenous mission movement.

This article provides a narrative of how the collection Canaan Hymns is embedded in the context of the life and struggles of ecclesial life within the Chinese church movement, embodied in their pneumatologically-led creation, and empowered by the theology of laity and women. It argues that the ecclesiological mode of the grassroots together with the affective style of worship and reflections form the two key characteristics of a decolonizing missiology, offering an epistemology of “knowing with” in relation to missio Dei. This is followed by further examining the mission impulse, nationalistic fever and transnational currents. Contesting the ideology of atheism, a decolonizing missiology of the Chinese church movement offers a bottom-up construction in that the lived embodied experiences of everyday life in Christ within a cultural soil take priority as sources of a theology of mission.

AbstractMost of the materials on the history of Manichaeism during the time of the East Uighur empire are Chinese sources (Chinese works and the Karabalgasun inscription) which are well known on account of its French translation with detailed notes by Chavannes and Pelliot (1911-1913). Thereafter several new materials in Middle Iranian or in Old Uighur have been published as follows: T II D 135, a colophon in Middle Persian; M 1, a colophon of the Mahrnāmag (Hymn-Book); U 1 (= T II K Bündel Nr. D 173), a fragment of an Uighur historical book about Old Turkic peoples; U 72 and U 73, an Uighur Account of Mouyu Qaγan’s Conversion to Manichaeism; U 168 II (= T II D 173 a2), the colophon of a prayer appended to a Uighur Manichaean scripture in 795. Also just recently Peter Zieme has discovered new material: 81TB10: 06-3a. I have tried to reconstruct the history of Manichaeism during the time of the East Uighur empire synthesizing all materials mentioned above.

The purpose of the work is to trace the genesis of the aria typology and its inherent expressiveness of aria singing in its pre- and non-opera existence, comparing relevant materials from the history of the genre in Europe and China. As a methodological basis, we put forward the intonation approach of B. Asafyev's school in Ukraine, as it developed in the works of O. Markova, O. Muravska, Liu Bing Jiang, with emphasis on hermeneutic and stylistic-comparative analysis. The scientific novelty of the study is caused by the historical novelty of emphasising symbolic and religious beginnings in culture and art, which was traditionally ignored in the classical for Europe period of New time, as well as by the fact that, for the first time in Ukrainian and Chinese musicology, about hymnographic and song-chant forming of syncretism are put in logical chain of receivership information, from which an aria was born in the 12th-13th centuries in China and the 15th-16th centuries in Europe, which was later absorbed into the opera at the level of an essential component of the composition. Conclusion. The culture of the aria as a finished expressive quality and arias as a type of singing developed into the spiritual activity in the diametrically opposed cultural formations of China and Europe. They are historically connected by their appearance only in them in the planetary scope of the operatic action by its singing saturation from the beginning to the end of the performance. For China, the concept of forming an aria from the ritual syncretism of a hymn-song-aria is proven. For the European thinking, the awareness of the aria as a derivative of the Byzantine hymnography and liturgical-canto song with vocality inseparable from it was the achievement of musicological developments of the last decades. The adoption of such a concept, developed in the presented work, significantly corrects the “generic emphasis” of the expressiveness of the aria, traditionally considered in the context of the specifics of the operatic action. Key words: aria, genre in music, opera, song, chant, hymn.

The purpose of this research is to analyse J. Hummel's Third Piano Concerto from the perspective of Biedermeier's establishments of Restoration "light" pianism, which embodied the spiritual aspirations to preserve the Rococo savings in the context of the adoption of the secularised art of the New Vienna School. The research methodology is the intonation approach of B. Asafiev school in Ukraine, which has direct analogies to the principles of Chinese musicology (see works by Ma Wei, Wu Go Ling). The specifics of the methods of historical and descriptive, musicological analytical, cultural, stylistic comparative, and interdisciplinary methods constitute the specifics of the apparatus of researching the works of the named author. The scientific novelty of the work lies in the fact that for the first time in Ukrainian and Chinese musicology, J. Hummel's Concerto is analysed in the light of the positions of Budermayer's "light play" pianism in continuation of the Mozartian line of piano creativity (according to the works of D. Androsova and L. Shevchenko) and in the development of the concept of neo-symbolism of post-avant-garde modernity according to O. Markova. Conclusions. J.N. Hummel's Piano Concerto h-moll op. 89 is marked by an impressive breadth of pianistic lyrical fioritura and the absence of theatrical drama, which corresponds to the instructions of Biedermeier, who tended to the ideal beginnings of worldview and religious humility of expression. The Concerto reproduces certain signs of Mozartian constructiveness (the second exposition with the soloist's theme, mainly the compensatory function of the orchestra), strophic expositionality that "blurs" sonata relations. The main thing is the dominant position of "piano lyricism" of ultra-fast finger movement, signs of waltzing, nocturnal, hymn-like themes in the presentation of themes that correspond to Biedermeier's mythological and religious settings, based on the crescendoing dramaturgy of increasing the intensity of movement from the beginning to the end of the concert cycle in a two-phase presentation of the energy flow in the spirit of early Christian liturgy, adopted by the salon style of Biedermeier.Key words: piano Mozartianism, pianism, "light" pianism, musical style, musical genre, concert.

The purpose given work is a history argumentation of the "entering" of genre genetic spanish romance in ukrainian artistic world with his forming on wave of the biedermeier and solo chamber vocal in him, inheritting traditions to have music of aristocracies of the Ukraine and national song cultures as a whole on her actual social-political directivity. Methdological base of the work forms intonation approach of the school B.Asafiev in Ukraine, with special separation genre-сstyle cоmparison and hermeneutics forshortening of the last, as this bequeathing great G.Adler, which directed studies Asafiev, as well as it was perceived and built in system music history hermeneutics in works Liu Binjang, E.Markova and others. Scientific novelty of the work is determined that that for the first time in ukrainian and chinese musicology musical history hermeneutic is attracted for explanation of the romance phenomenon in ukrainian music and straightening to concepts madrigal type of ukrainian romance as independent culture of the expression in composer and in performance practical person. For the first time in specified forshortening appear the tumblings from ukrainian lyrical chant to romance type and presence in it practical persons of the spiritual singing, honoure biedermeier and generation of T. Shevchenko, formed poem-romance preference in compositions and in performance art. The findings. Ukrainian romance as genre quality was defined in chronologies of his shaping from XVIII to XIX cl. on intersection spiritual lyric poets edging and european-actual " spanisms", which were historically brought forth with the end XVIII on the first half XIX centuries, saving early-operatic performance installation, going from madrigal border position of spiritual and worldly in art. Border situation of russian and ukrainian romances is determined chant headwaters that and the other, but with special accentuation of instructivity and philosophical contemplation in ukrainian romance, firmly saved the song-mаdrigal basis its lyric poets. Essential for Ukraine poem - admiring – orientation of romance figurativeness, inspired poem shall adjust of the poetries T.Shevchenko, culled and in heritage of Ossian, and in irish-briton headwaters to monastic poetry, supplied in due course art of the itinerant players on a kind of lute – bandore-players in parallel and in continuation creative activity bards-felleds. Accordingly, ukrainian romance contains mainly philosophical-inctructive hymn motives, which concentrate the facility of expressiveness in riverbed self-significant vocal type and has not that of autonomy to song-madrigal type, which characterizes other national romance layers creative activity. For ukrainian romance lyric poets specifically significant line romance-elegies and corresponding to mental mindset lyrics lachrymal penitent faith that dictates the corresponding to performance skills of acceptability from church singing traditions and spiritual forshortening tragic amorous lyric poets madrigal.

The technical apparatus is, then, being made at home with the rest of our world. And that's a thing that's routinely being done, and it's the source of the failure of technocratic dreams that if only we introduced some fantastic new communication machine, the world will be transformed. Where what happens is that the object is made at home in the world that has whatever organisation it already has. -- Harvey Sacks (Lectures on Conversation Vol. 2., 548-9) Chatting, or having a conversation, has long been a favourite activity for people. It seemed so ordinary, if not to say trivial, that it has for almost equally long not been studied in any dedicated way. It was only when Harvey Sacks and his early collaborators started using the tape recorder to study telephone conversations that 'conversation' as a topic has become established (cf. Sacks, Lectures Vol. 1). Inspired by Harold Garfinkel, the perspective chosen was a procedural one: they wanted to analyse how conversations are organised on the spot. As Sacks once said: The gross aim of the work I am doing is to see how finely the details of actual, naturally occurring conversation can be subjected to analysis that will yield the technology of conversation. (Sacks, "On Doing 'Being Ordinary'" 411) Later, Sacks also started using data from audio-recorded face-to-face encounters. Most of the phenomena that the research on telephone conversation unearthed could also be found in face-to-face data. Whether something was lost by relying on just audio materials was not clear at the beginning. But with video-based research, as initiated by Charles Goodwin in the 1970s, one was later able to demonstrate that visual exchanges did play an essential role the actual organisation of face-to-face conduct. When using telephone technology, people seemed to rely on a restricted set of the interactional procedures used in face-to-face settings. But new ways to deal with both general and setting-specific problems, such as mutual identification, were also developed. Now that an increasing number of people spend various amounts of their time 'online', chatting with friends or whoever is available, it is time to study Computer-Mediated Conversation (CMC), as we previously studied face-to-face conversation and Telephone (Mediated) Conversation, using the same procedural perspective. We may expect that we will encounter many phenomena that have become familiar to us, and that we will be able to use many of the same concepts. But we will probably also see that people have developed new technical variations of familiar themes as they adapt the technology of conversation to the possibilities and limitations of this new technology of communicative mediation. In so doing, they will make the new technology 'at home in the world that has whatever organisation it already has.' Space does not allow a full discussion of the properties of text-based CMC as instantiated in 'chat' environments, but comparing CMC with face-to-face communication and telephone conversations, it is obvious that the means to convey meanings are severely restricted. In face-to-face encounters, many of the more subtle aspects of the conversation rely on visual and vocal productions and perceptions, which are more or less distinguishable from the 'text' that has been uttered. Following the early work of Gregory Bateson, these aspects are mostly conceived of as a kind of commentary on the core communication available in the 'text', that is as 'meta-communication'. While the 'separation' between 'levels' of communication, that these conceptualisations imply may distort what actually goes on in face-to-face encounters, there is no doubt that telephone conversations, in which the visual 'channel' is not available, and text-based CMC, which in addition lacks access to voice qualities, do confront participants with important communicative restrictions. An important aspect of text-based computer-mediated chatting is that it offers users an unprecedented anonymity, and therefore an unprecedented licence for unaccountable action, ranging from bland banality to criminal threat, while passing through all imaginable sexual 'perversities'. One upshot of this is that they can present themselves as belonging to any plausible category they may choose, but they will -- in the chat context -- never be sure whether the other participants 'really' are legitimate members of the categories they claim for themselves. In various other formats for CMC, like MUDs and MOOs, the looseness of the connections between the people who type messages and the identities they project in the chat environment seems often to be accepted as an inescapable fact, which adds to the fascination of participation1. The typists can then be called 'players' and the projected identities 'characters', while the interaction can be seen as a game of role-playing. In general chat environments, as the one I will discuss later, such a game-like quality seems not to be openly admitted, although quite often hinted at. Rather, the participants stick to playing who they claim they are. In my own text, however, I will use 'player' and 'character' to indicate the two faces of participation in computer-mediated, text-based chats. In the following sections, I will discuss the organised ways in which one particular problem that chat-players have is dealt with. That problem can be glossed as: how do people wanting to 'chat' on the Internet find suitable partners for that activity? The solution to that problem lies in the explicit naming or implicit suggestion of various kinds of social categories, like 'age', 'sex' and 'location'. Chat players very often initiate a chat with a question like: "hi, a/s/l please?", which asks the other party to self-identify in those terms, as, for instance "frits/m/amsterdam", if that fits the character the player wants to project. But, as I will explain, categorisation plays its role both earlier and later in the chat process. 'Membership Categorisation' in Finding Chat Partners The following exploration is, then, an exercise in Membership Categorisation Analysis (MCA; Hester & Eglin) as based on the ideas developed by Harvey Sacks in the 1960s (Sacks, "An Initial Investigation", "On the Analyzability of Stories", Lectures on Conversation Vol. 1). An immense part of the mundane knowledge that people use in living their everyday lives is organised in terms of categories that label members of some population as being of certain types. These categories are organised in sets, called Membership Categorisation Devices (MCDs). The MCD 'sex' (or 'gender'), for instance, consists of the two categories of 'male' and 'female'. Labelling a person as being male or female carries with it an enormous amount of implied properties, so called 'category-predicates', such as expectable or required behaviours, capacities, values, etc. My overall thesis is that people who want to chat rely mostly on categorical predications to find suitable chat partners. Finding a chat partner or chat partners is an interactive process between at least two parties. Their job involves a combination of presenting themselves and reading others' self presentations. For each, the job has a structure like 'find an X who wants a Y as a partner', where X is the desired chat character and Y is the character you yourself want to play. The set of XY-combinations varies in scope, of course, from very wide, say any male/female combination, to rather narrow, as we will see. The partner finding process for chats can be loosely compared with partly similar processes in other environments, such as cocktail parties, poster sessions at conferences, and telephone calls. The openings of telephone calls have been researched extensively by conversation analysts, especially Schegloff ("Sequencing", "Identification", "Routine"; also Hopper). An interesting idea from this work is that a call opening tends to follow a loosely defined pattern, called the canonical model for telephone openings. This involves making contact, mutual identification/recognition, greetings and 'how-are-you?'s, before the actual business of the call is tackled. When logging on to a chat environment, one enters a market of sorts, where the participants are both buyers and sellers: a general sociability-market like a cocktail party. And indeed some writers have characterised chat rooms as 'virtual cocktail parties'. Some participants in a cocktail party may, of course, have quite specific purposes in mind, like wanting to meet a particular kind of person, or a particular individual, or even being open to starting a relationship which may endure for some time after the event. The same is true for CMC chats. The trajectory that the partner-finding process will take is partly pre-structured by the technology used. I have limited my explorations to one particular chat environment (Microsoft Chat). In that program, the actual partner-finding starts even before logging on, as one is required to fill in certain information slots when setting up the program, such as Real Name and Nickname and optional slots like Email Address and Profile. When you click on the Chat Room List icon, you are presented with a list of over a thousand rooms, alphabetically arranged, with the number of participants. You can select a Room and click a button to enter it. When you do, you get a new screen, which has three windows, one that represents the ongoing general conversation, one with a list of the participants' nicks, and a window to type your contributions in. When you right-click on a name in the participant list, you get a number of options, including Get Profile. Get Profile allows you to get more information on that person, if he/she has filled in that part of the form, but often you get "This person is too lazy to create a profile entry." Categorisation in Room Names When you log in to the chat server, you can search either the Chat Room List or the Users List. Let us take the Chat Room List first. Some room names seem to be designed to come early in the alphabetically ordered list, by starting with one or more A's, as in A!!!!!!!!!FriendlyChat, while others rely on certain key words. Scanning over a thousand names for those words by scrolling the list might take a lot of time, but the Chat Room List has a search facility. You can type a string and the list will be shortened to only those with that string in their name. Many room names seem to be designed for being found this way, by containing a number of more or less redundant strings that people might use in a search. Some examples of room names are: A!!!!!!!!!FriendlyChat, Animal&Girls, Australia_Sydney_Chat_Room, christian evening post, desert_and_cactus_only, engineer, francais_saloppes, francais_soumise_sub_slave, german_deutsch_rollenspiele, hayatherseyeragmensürüyor, holland_babbel, italia_14_19anni, italia_padania_e_basta, L@Ros@deiVenti, nederlandse_chat, sex_tr, subslavespankbondage, Sweet_Girl_From_Alabama, #BI_LES_FEM_ONLY, #Chinese_Chat, #France, #LesbiansBiTeenGirls_Cam_NetMeeting, #polska_do_flirtowania, #russian_Virtual_Bar?, #tr_%izmir, #ukphonefantasy. A first look at this collection of room names suggests two broad classes of categorisation: first a local/national/cultural/ethnic class, and second one oriented to topics, with a large dose of sexual ones. For the first class, different kinds of indicators are available, such as naming as in Australia_Sydney_Chat_Room, and the use of a local language as in hayatherseyeragmensürüyor, or in combination: german_deutsch_rollenspiele. When you enter this type of room, a first function of such categorisations becomes apparent in that non-English categorisations suggest a different language practice. While English is the default language, quite a few people prefer using their own local language. Some rooms even suggest a more restricted area, as in Australia_Sydney_Chat_Room, for those who are interested in chatting with people not too far off. This seems a bit paradoxical, as chatting in a world-wide network allows contacts between people who are physically distant, as is often mentioned in chats. Rooms with such local restrictions may be designed, however, to facilitate possible subsequent face-to-face meetings or telephone contacts, as is suggested by names like Fr@nce_P@ris_Rencontre and #ukphonefantasy. The collection of sexually suggestive names is not only large, but also indicative of a large variety of interests, including just (probably heterosexual) sex, male gay sex, female lesbian or bi-sexuality. Some names invoke some more specialized practices like BDSM, and a collection of other 'perversities', as in names like 'francais_soumcateise_sub_slave', 'subslavespankbondage', 'golden_shower' or 'family_secrets'. But quite often sexual interest are only revealed in subsequent stages of contact. Non-sexual interests are, of course, also apparent, including religious, professional, political or commercial ones, as in 'christian evening post', or 'culturecrossing', 'holland_paranormaal', 'jesussaves', 'Pokemon_Chat', 'francais_informatique', and '#Russian_Philosophy_2918'. Categorisation through Nicknames Having selected a room, your next step is to see who is there. As chatting ultimately concerns exchanges between (virtual) persons, it is no surprise that nicknames are used as concise 'labels' to announce who is available on the chat network or in a particular room. Consider some examples: ^P0371G , amanda14, anneke, banana81, Dream_Girl, emma69, ericdraven, latex_bi_tch1 , Leeroy, LuCho1, Mary15, Miguelo, SomeFun, Steffi, teaser. Some of these are rather opaque, at least at first, while others seem quite ordinary. Anneke, for instance, is an ordinary Dutch name for girls. So, by using this nick name, a person at the same time categorises herself in two Membership Categorisation Devices: gender: 'female' and language: 'Dutch'. When using this type of nick, you will quite often be addressed in Dutch, for instance with the typically Dutch chat-greeting "hoi" and/or by a question like "ben jij Nederlandse?" ("are you Dutch?" -- female form). This question asks you to categorise yourself, using the nationality device 'Dutch/Belgian', within the language category 'speaker of Dutch'. Many other first names like 'amanda' and 'emma', do not have such a language specificity and so do not 'project' a specific European language/nationality as 'anneke' does. Some French names, like 'nathalie' are a bit ambiguous in that respect, as they are used in quite a number of other language communities, so you may get a more open question like "bonjour, tu parle francais?" ("hi, do you speak French?"). A name like 'Miguelo' suggests a roman language, of course, while 'LuCho1' or 'Konusmaz' indicate non-European languages (here Chinese and Turkish, respectively). Quite often, a first name nick also carries an attached number, as in 'Mary15'. One reason for such attachments is that a nick has to be unique, so if you join the channel with a nick like 'Mary', there will mostly be another who has already claimed that particular name. An error message will appear suggesting that you take another nick. The easiest solution, then, is to add an 'identifying detail', like a number. Technically, any number, letter or other character will do, so you can take Mary1, or Mary~, or Mary_m. Quite often, numbers are used in accord with the nick's age, as is probably the case in our examples 'Mary15' and 'amanda14', but not in 'emma69', which suggests an 'activity preference' rather than an age category. Some of the other nicks in our examples suggest other aspects, claims or interests, as in Dream_Girl, latex_bi_tch1, SomeFun, or teaser. Other examples are: 'machomadness', 'daddyishere', 'LadySusan28', 'maleslave', 'curieuse33', 'patrickcam', or 'YOUNG_GAY_BOY'. More elaborate information about a character can sometimes be collected from his or her profile, but for reasons of space, I will not discuss its use here. This paper's interest is not only in finding out which categories and MCDs are actually used, but also how they are used, what kind of function they can be seen to have. How do chat participants organise their way to 'the anchor point' (Schegloff, "Routine"), at which they start their actual chat 'business'? For the chatting environment that I have observed, there seems to be two major purposes, one may be called social, i.e. 'just chatting', as under the rubric 'friendly chat', and the other is sexual. These purposes may be mixed, of course, in that the first may lead to the second, or the second accompanied by the first. Apart from those two major purposes, a number of others can be inferred from the room titles, including the discussion of political, religious, and technical topics. Sexual chats can take various forms, most prominently 'pic trading' and 'cybersex'. As becomes clear from research by Don Slater, an enormous 'market' for 'pic trading' has emerged, with a quite explicit normative structure of 'fair trading', i.e. if one receives something, one should reciprocate in kind. When one is in an appropriate room, and especially if one plays a female character, other participants quite often try to initiate pic trading. This can have the form of sending a pic, without any verbal exchange, possibly followed by a request like 'send also'. But you may also get a verbal request first, like "do you have a (self) pic?" If you reply in a negative way, you often do not get any further reaction, or just "ok." A 'pic request' can also be preceded by some verbal exchanges; social, sexual or both. That question -- "have a pic?" or "wanna trade" -- can then be considered the real starting point for that particular encounter, or it can be part of a process of getting to know each other: "can i c u?" The second form of sexual chats involves cyber sex. This may be characterised as interactionally improvised pornography, the exchange of sexually explicit messages enacting a sexual fantasy or a shared masturbation session. There is a repertoire of opening moves for these kinds of games, including "wanna cyber?", "are you alone?" and "what are you wearing now?" Functions of Categorisations Categorisations in room names, nicks and profiles has two major functions: guiding the selection of suitable chat partners and suggesting topics. Location information has quite diverse implications in different contexts, e.g. linguistic, cultural, national and geographical. Language is a primordial parameter in any text-based activity, and chatting offers numerous illustrations for this. Cultural implications seem to be more diffuse, but probably important for some (classes of?) participants. Nationality is important in various ways, for instance as an 'identity anchor'. So when you use a typically Dutch nick, like 'frits' or 'anneke', you may get first questions asking whether you are from the Netherlands or from Belgium and subsequently from which region or town. This may be important for indicating reachability, either in person or over the phone. Location information can also be used as topic opener. So when you mention that you live in Amsterdam, you often get positive remarks about the city, like "I visited Amsterdam last June and I liked it very much", or "I would die to live there" (sic) from a pot-smoking U.S. student. After language, age and gender seem to be the most important points in exploring mutual suitability. When possible partners differ in age or gender category, this quite often leads to questions like "Am I not too old/young for you?" Of course, age and gender are basic parameters for sexual selection, as people differ in their range of sexual preferences along the lines of these categories, i.e. same sex or opposite sex, and roughly the same age or older/younger age. Such preferences intersect with straight or kinky ones, of which a large variety can be found. Many rooms are organised around one or another combination, as announced in names like '#LesbiansBiTeenGirls_Cam_NetMeeting', 'Hollandlolita' or '#Lesbian_Domination'. In some of these, the host makes efforts to keep to a more or less strict 'regime', for instance by banning obvious males from a room like '#BI_LES_FEM_ONLY'. In others, an automated welcome message is used to lay out the participation rules. Conclusion To sum up, categorisation plays an essential role in a sorting-out process leading, ideally, to small-group or dyadic suitability. A/S/L, age, sex and location, are obvious starting points, but other differentiations, as in sexual preferences which are themselves partly rooted in age/gender combinations, also play a role. In this process, suitability explorations and topic initiations are intimately related. Chatting, then, is text-based categorisation. New communication technologies are invented with rather limited purposes in mind, but they are quite often adopted by masses of users in unexpected ways. In this process, pre-existing communicational purposes and procedures are adapted to the new environment, but basically there does not seem to be any radical change. Comparing mutual categorisation in face-to-face encounters, telephone calls, and text-based CMC as in online chatting, one can see that similar procedures are being used, although in a more and more explicit manner, as in the question: "a/s/l please?" Footnote These ideas have been inspired by Schaap; for an ethnography focussing on the connection between 'life online' and 'real life', see Markham, 1998. References Hopper, Robert. Telephone Conversation. Bloomington: Indiana UP, 1992. Hester, Stephen, and Peter Eglin, eds. Culture in Action: Studies in Membership Categorisation Analysis. Washington, D.C.: UP of America, 1997. Markham, Annette H. Life Online: Researching Real Experience in Virtual Space. Walnut Creek, London, New Delhi: Altamira P, 1998. Sacks, Harvey. "An Initial Investigation of the Usability of Conversational Data for Doing Sociology." Studies in Social Interaction. Ed. D. Sudnow. New York: Free P, 1972. 31-74. ---. Lectures on Conversation. Vol. 1. Ed. Gail Jefferson, with an introduction by Emanuel A. Schegloff. Oxford: Basil Blackwell, 1992. ---. Lectures on Conversation. Vol. 2. Ed. Gail Jefferson, with an introduction by Emanuel A. Schegloff. Oxford: Basil Blackwell, 1992. ---. "On Doing 'Being Ordinary'." Structures of Social Action: Studies in Conversation Analysis. Ed. J. Maxwell Atkinson and John Heritage. Cambridge: Cambridge UP, 1984. 413-29. ---. "On the Analyzability of Stories by Children." Directions in Sociolinguistics: The Ethnography of Communication. Ed. John. J. Gumperz and Dell Hymes. New York: Rinehart & Winston, 1972. 325-45. Schaap, Frank. "The Words That Took Us There: Not an Ethnography." M.A. Thesis in Anthropology, University of Amsterdam, 2000. <http://fragment.nl/thesis/>. Schegloff, Emanuel A. "Identification and Recognition in Telephone Conversation Openings." Everyday Language: Studies in Ethnomethodology. Ed. George Psathas. New York: Irvington, 1979. 23-78. ---. "The Routine as Achievement." Human Studies 9 (1986): 111-52. ---. "Sequencing in Conversational Openings." American Anthropologist 70 (1968): 1075-95. Slater, Don R. "Trading Sexpics on IRC: Embodiment and Authenticity on the Internet." Body and Society 4.4 (1998): 91-117. Ten Have, Paul. Doing Conversation Analysis: A Practical Guide. Introducing Qualitative Methods. London: Sage, 1999. Citation reference for this article MLA style: Paul ten Have. "Computer-Mediated Chat: Ways of Finding Chat Partners." M/C: A Journal of Media and Culture 3.4 (2000). [your date of access] <http://www.api-network.com/mc/0008/partners.php>. Chicago style: Paul ten Have, "Computer-Mediated Chat: Ways of Finding Chat Partners," M/C: A Journal of Media and Culture 3, no. 4 (2000), <http://www.api-network.com/mc/0008/partners.php> ([your date of access]). APA style: Paul ten Have. (2000) Computer-mediated chat: ways of finding chat partners. M/C: A Journal of Media and Culture 3(4). <http://www.api-network.com/mc/0008/partners.php> ([your date of access]).