Relevant bibliographies by topics / Chinese Traditional Music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Chinese Traditional Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Chinese Traditional Music"

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Tan, Yunshu, and Lauren Conti. "Effects of Chinese popular music familiarity on preference for traditional Chinese music: Research and applications." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 329–58. http://dx.doi.org/10.1386/jpme.3.2.329_1.

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Teaching and learning popular music and world musics are prominent topics in music education but often play a supplement role in the classroom. The main purpose of this quantitative experimental study was to investigate the effects of Chinese popular music on students’ familiarity and preference for its traditional version. Participants were undergraduate students from a university in the northeastern United States who completed a pre-test, minimum four weekly treatments and post-test. Results suggest participation in a world music course may contribute to preference for Chinese traditional music, but short-term exposure to popular versions of Chinese traditional music does not seem to contribute to preference for Chinese traditional music. A reason for this may be that popular music has its own cultures and characteristics that are not necessarily transferable to music from other music genres. In addition, the personality traits of open-mindedness or closed-mindedness showed significant influence over preference for traditional or popular music, respectively.
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Li, Jing. "The Inheritance Form of Chinese Traditional Music under College Music Education System." Region - Educational Research and Reviews 1, no. 2 (January 2, 2020): 6. http://dx.doi.org/10.32629/rerr.v1i2.69.

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In colleges and universities music education system, strengthen the inherit and carry forward the Chinese traditional music, from the point of view of the school, are beneficial to improve college music education quality and effectiveness, to help colleges and universities music education better and the combination of Chinese traditional music teaching, also help colleges and universities music education to fully absorb the cultural charm of Chinese traditional music and national music elements, enrich the college music education content and education resources, and further promote the college music education and the common development of the Chinese traditional music. From the perspective of students, inheriting traditional Chinese music in the music education system in colleges and universities is conducive to enhancing students' profound understanding of the theoretical knowledge of traditional Chinese music, enabling students to better feel the cultural charm and national connotation of traditional music, and solving the problem of disconnection that appeared in the process of students learning music with the development of traditional music culture.
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Lam, Joseph S. C. "‘There is No Music in Chinese Music History’: Five Court Tunes from the Yuan Dynasty (AD 1271–1368)." Journal of the Royal Musical Association 119, no. 2 (1994): 165–88. http://dx.doi.org/10.1093/jrma/119.2.165.

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‘There is no music in Chinese music history.’ This paradox is often expressed by music scholars in Hong Kong, a modern metropolis in which Chinese and Western musics and music scholarship mingle and thrive. Highlighting the contrasts between traditional Chinese and contemporary Western views of music and music historiography, the paradox refers to the scholars' observation that Chinese music histories include few descriptions of actual music, and that performances of early Chinese music are often inauthentic. Published accounts of China's musical past include little hard evidence about the structure and sounds of specific musical works. Thus, the scholars argue, the accounts are more theoretical than factual, and their musical descriptions disputable. Public performances and recorded examples of early Chinese music reveal obvious use of Western tonal harmony and counterpoint, and thus cannot be authentic music from China of the past. The scholars' arguments, however, cannot refute that in Hong Kong many Chinese music masters and audiences find the so-called early Chinese music authentic and its histories credible.
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Ho, Wai-Chung, and Wing-Wah Law. "Challenges to globalisation, localisation and Sinophilia in music education: A comparative study of Hong Kong, Shanghai and Taipei." British Journal of Music Education 23, no. 2 (June 29, 2006): 217–37. http://dx.doi.org/10.1017/s0265051706006942.

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In the past, the music curricula of Hong Kong (HK), Mainland China and Taiwan have focused on Western music, but with the advent of music technology and the new tripartite paradigm of globalisation, localisation and Sinophilia this has begun to change. Hong Kong, Shanghai and Taipei share a common historical culture and their populations are mainly Chinese, but their recent socio-political experiences have been diverse. This paper aims to explore the secondary school cultures of Hong Kong, Shanghai and Taipei by examining the similarities and differences between their musical practices and the ways in which they have delineated this tripartite paradigm. Data are drawn from questionnaires completed by 5,133 students (1,750 from HK, 1,741 from Shanghai, and 1,642 from Taipei) attending grades 7 to 9 and interviews with their 46 music teachers between March and August 2004. The survey data show that students from the three communities much prefer Western classical and popular music to their respective forms of local traditional music and to traditional Chinese styles. Though most music teachers recognise the importance of teaching traditional Chinese music, local traditional music, and other world music in schools, they believe that it is difficult to teach different types of music in the classroom. This article argues that globalisation is leading to a common cosmopolitan culture of Western musical learning in school; the emergence of traditional Chinese music, local music, and socio-political movements challenge globalisation in school music education.
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Shen, Jingyi, Runqi Wang, and Han-Wei Shen. "Visual exploration of latent space for traditional Chinese music." Visual Informatics 4, no. 2 (June 2020): 99–108. http://dx.doi.org/10.1016/j.visinf.2020.04.003.

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Prescott, John, Sun Li, and Meng Lei. "Traditional Chinese instrumental music: importing diversity into Midwestern America." International Journal of Music Education 26, no. 4 (November 2008): 374–84. http://dx.doi.org/10.1177/0255761408098057.

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Bao, Yueli. "Not Forgetting the Original, Absorbing Foreign Things, Facing the Future—Comment on Wu Guodong’s “Chinese National Music”." World Journal of Social Science Research 7, no. 3 (August 3, 2020): p61. http://dx.doi.org/10.22158/wjssr.v7n3p61.

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Mr. Wu Guodong has devoted his life to the research of national music and ethnomusicology. His works are various and achieved. Also, he practices the academic concepts himself introduced and takes the research of traditional Chinese music and culture to a more profound level. “Chinese National Music” is a masterpiece of Wu Guodong, which concentrates on teaching and combines the ethnomusicology discipline theory and traditional music research techniques. This book describes Chinese national music from five perspectives: folk songs, folk instrumental music, song and dance music, opera music, and opera music. As a new variety of textbooks, its combination of rational cognition and perceptual experience dramatically improves readers’ interest in reading. Thus, it intends to allow more students to comprehend and understand China’s rich and diverse national music from each perspective.
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Cui, Xiaolan. "National musical instrument; Timbre; Charm; Piano music." Review of Educational Theory 1, no. 4 (December 4, 2018): 105. http://dx.doi.org/10.30564/ret.v1i4.98.

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At the beginning of the 20th century, Western music gradually integrated into Chinese music education institutions and various music social activities. The timbre, range and comprehensive expression of Western musical instruments have played an important role in promoting the performance of Chinese national musical instruments. At the same time, Chinese traditional music culture has also had an important impact on the localization of Western music in China, especially for the piano music.
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KEYES, CHRISTOPHER J. "Recent technology and the hybridisation of Western and Chinese musics." Organised Sound 10, no. 1 (April 2005): 51–56. http://dx.doi.org/10.1017/s135577180500066x.

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Although the hybridisation of Western and Chinese musics has been progressing for over a century, many early attempts tended to treat Chinese material in a rather superficial manner. This resulted in mere ‘Orientalist’ Western pieces and rather bland pentatonic/romantic ‘Chinese’ music that simply harmonised the basic outline of popular Chinese melodies with Western chord progressions. The use of recent technologies has greatly accelerated the pace and depth of this hybridisation and solved many of its artistic problems. Technological advances now make it possible and practical to incorporate the subtle but essential elements of traditional Chinese music, and of course other world musics, in works that seem satisfying for Western and non-Western audiences. This paper presents a brief historical overview of the hybridisation of Western and Chinese musical traditions, examines common pitfalls of many early attempts, and reviews how these issues are addressed compositionally and technically in the author's recent electroacoustic pieces, Li Jiang Etudes No. 1, 2 & 3.
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Quin, Rhythy. "East meets West: Investigating the state of DJing culture and turntablism pedagogy in China." International Journal of Music Education 39, no. 3 (February 10, 2021): 327–39. http://dx.doi.org/10.1177/0255761421990813.

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In the West, the music practice of turntablism continues to gain traction and awareness both inside and outside of the music classroom, as DJing becomes more prevalent in mainstream music culture. This qualitative study investigates the extent and type of turntablism pedagogy in China, a country with different cultural and political values where traditional Chinese music remains the centre of Chinese music education. Twelve DJs from cities across China took part in a series of in-depth interviews. They were asked to recall their experiences learning how to DJ in China, as well as their opinions of turntablism’s inclusion in music education. Findings showed that participants preferred independent learning methods. In particular, participants significantly depended on Chinese social media applications to learn about turntablism and develop a national DJing culture. An absence of turntablism and popular music pedagogy in Chinese music education was the main reason for participants’ self-discovery and learning of turntablism. Findings also revealed a cultural disconnect between the younger generation engrossed in DJing versus the older generation’s fixation on traditional Chinese music to uphold nationalism and patriotism in society. This study examines an ongoing struggle regarding the extent to which popular music performance practices can be accommodated to work with the political aims of Chinese music education.
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Dissertations / Theses on the topic "Chinese Traditional Music"

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Li, Zheng. "Teaching Chinese Traditional music with Generative instruction and Effective music teaching." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34617.

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This text is the carefully adapted transcription of the recording of the presentation of Zheng Li and Huo Gua at the symposium in Leipzig 2014. Prof. Dr. Zheng Li read parts of her presentation in Chinese language alternating with her assistant Huo Gua, who translated into English. Only the English part is printed in this book. The title is given from the editor.
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Zhu, Minqi 1953. "Literary motifs in traditional Chinese drama." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290589.

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The purpose of this dissertation is to examine some of the distinctive qualities of traditional Chinese drama in light of comparative studies in literature and drama, especially of Richard Wagner's theory of motifs. Opposed to realism, Wagner argued that music is necessary to the finest drama, for it should be "distanced" from actual life. Wagner intended to fuse all artistic arts into his "music drama." However such drama has existed in China for at least seven hundred years. Moreover, it still keeps vigorously springing up, and greatly manifesting its vitality. The hypothesis of this dissertation is that traditional Chinese theatre has been able to survive through the historical sediment primarily due to the influence of literary motifs that have sustained the vitality of the old dramatic form. This dissertation is based on the research of three theatrical aspects: drama-in-itself, dramatic creation, and dramatic appreciation. For the area that is called "dramatic-in-itself" it deals with the general function of dramatic presentation, either for the sake of art or for moral education; for dramatic creation, it emphasizes on playwrights and their worldview of dramatic creation; and for dramatic appreciation, it examines the viewpoint of the audience. Traditional Chinese drama is a high synthesis of arts. The chief factors that promoted the formation of this art are the literary motifs resulting from the Chinese cultural tradition. Literary motifs can be traced in almost every aspect of Chinese drama: in dramatic purpose, in language, in music, in acting, in dress-up, and in stage scenery. Every aspect of Chinese drama is marked with Chinese national traits. And all these dramatic elements constitute a complexity that incorporated both representational and presentational qualities. This complexity has turned Chinese drama into a uniquely mixed art, long-lasting and durable. This dissertation will explore how literary motifs work in traditional Chinese drama. It will primarily focus conventions of music composition, poetry tradition, dramatic structure, thematic construction and theatrical movements.
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Mei, Yuxin. "Negotiating Decades of Change in America: The Houston Chinese Traditional Music Group." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011833/.

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For over two hundred years, Chinese immigrants have brought ancient customs and musical traditions to their new homes in America. As in many immigrant communities, a new heritage that embodies and exhibits both the quintessential features of American culture and genuine Chinese heritage have come together to form new expressive cultures that are uniquely "Chinese American." As the youngest of the major American Chinese immigrant centers, the city of Houston, Texas provides an exemplary example of a distinct cultural cohesion that, in part, resulted from significant cultural and political upheavals in the latter half of the twentieth century. During this era of political unrest, many Chinese people's attitudes towards their traditional culture changed drastically. The Houston Chinese Traditional Music Group (HCTMG) is a Chinese orchestra comprised of amateur and professional musicians ranging in age from 13 to over 60 years old. Performing regularly for the Chinese immigrant population in Houston, HCTMG's take on traditional Chinese music deviates greatly from that of older, more established immigrant communities on the East and West Coasts and in some parts of mainland China. Via participant observation, interviews, and analysis of source materials, this paper examines how changing political and economic climates in China during the 1960s to the 1990s—when the majority of HCTMG musicians lived in China –are reflected in the musical decisions of HCTMG and the greater Houston Chinese immigrant community at large.
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Huang, Hsun-Pin. "Theory and Practice in the Traditional Chinese Music: Observations and Analysis." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279161/.

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Chinese music has one of the longest histories of development of all music cultures of the world. A system of music (theory) was formulated, in its unique way, but is differed fundamentally from its occidental counterpart. The discussion of this thesis focuses on the following two aspects: (1) the observations on those musical and non-musical factors, which had conditioned the course of development of Chinese music and (2) the analysis of selected examples to summarize the tonal structures and modal patterns, particularly, on the modal and modulatory analysis. A comparison of similarities and differences on melodic gesture between Chinese and Western tonal practice is also included in this study.
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Cheung, Kwok-hung Stephen, and 張國雄. "Traditional music and ethnicity : a study of Hakka shange." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195958.

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This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical data and theories documented by earlier studies. In this study, both synchronic and diachronic aspects are covered. Framed in an ethnomusicological paradigm, which posits music as part of culture and social life and utilises ethnography as a major means of gathering data, the study incorporates fieldwork carried out on location in Hong Kong and the Chinese mainland as an essential component. Seeing cultures as fluid and adaptable to outer forces rather than as a monolithic entity, the aim of this study is not to seize the “last opportunity” to preserve records of Hakka shange, before this musical tradition declines further into oblivion, but rather, to account for the processes by which traditional music adapts to the global system at various local levels. It is noteworthy that, in the local-global continuum, a society is not conceived as a static and structured system in which music is performed as a mere cultural marker that connects to or reflects the other structural parts of that society. On the contrary, a society is seen as a flexible and fluid social space in which music plays an active, transformational role.
published_or_final_version
Music
Doctoral
Doctor of Philosophy
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Cheung, Kwok-hung Stephen. "Traditional folksongs in an urban setting a study of Hakka Shange in Tai Po, Hong Kong /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31364846.

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Lee, Elsa. "Sunan chui da : an investigation of the role of percussion in traditional Chinese music." Title page, table of contents and introduction only, 1988. http://web4.library.adelaide.edu.au/theses/09MUM/09muml477.pdf.

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Wong-Yuen, Suk Kum Gladys. "An investigation into teaching strategies for Chinese traditional music in Hong Kong secondary schools." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10020507/.

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Chinese music has always been in the school music syllabuses of Hong Kong but it did not have a firm place until the change of the political status in 1997. The return of sovereignty to China brought about a new stress on Chinese culture for Hong Kong generally and for schools in particular. There is now a strong emphasis on Chinese music, especially traditional Chinese music. However, the emphasis on Chinese music may have caused an overloaded curriculum, as teachers have to cover both Chinese and Western music. It is possible that teachers emphasize factual knowledge about Chinese music, because information about Chinese music can be transmitted by means of technological devices such as CD_ROM, audio and audio-visual teaching materials, PowerPoint and the interne. The use of such aids can alleviate the problems of overload, as teachers can cover most aspects of the teaching topics listed in the music syllabuses. However, it has been argued that the goals of music education should include the acquisition of a personal experience of music, rather than focusing exclusively on acquiring knowledge about music. Reid (1986) claimed that the kind of personal experience-knowledge of arts could not be derived merely from `know-that' and 'know-how', which he called propositional knowledge. He said that an 'acquaintance knowledge of music', which results from direct contact or acquaintance with music, is crucial to the understanding of music. This kind of musical knowledge is an accumulation of knowledge-experience, a kind of personal knowledge of music over and above factual knowledge about music. Reid (1986) suggested that personal knowledge of music should be acquired by means of "renewed and fresh cognitive occurrences and repeated cognitive experiences". However, there has been little agreement on ways to acquire the acquaintance knowledge of music. Therefore this study initially focuses on teaching strategies that might help students acquire personal knowledge of music. What teaching strategies can help students to acquire a personal appreciation and experience of music? To what extent is it possible to formulate teaching strategies to bring about a personal knowledge of traditional Chinese music in Hong Kong schools? From a literature review of Chinese music teaching I identified four observational teaching variables, which appeared to influence the acquisition of personal knowledge. The variables were (a) teaching sequence, (b) the relative proportion of teaching time devoted to giving information and to providing musical experience, (c) students' control over music activities or 'framing' and (d) repeated rather than one-off listening. I investigated each variable separately in a secondary school context. A pilot test was followed by experiments to isolate and investigate the four main variables. In the case of the first variable, there were two treatments: (a) a teaching sequence that placed information first and (b) a teaching sequence that placed information last; In the case of the second variable, there were also two treatments: (a) a high proportion of information-giving relative to musical involvement and (b) a low proportion of information-giving relative to musical involvement (a) In the case of the third variable, the two treatments were: (a) strong didactic instructional framing and (b) weak didactic instructional framing. In the case of the fourth variable, the responses of the same group of students were taken after their first listening to a series of traditional pieces of Luogudianzi in Beijing opera and after subsequent listening to the same music,. Data on students' personal knowledge of Luogudianzi in Beijing opera were collected in two ways. The first quantitatively evaluated students' changes on (a) level of musical understanding of, (b) attitude towards the Luogudianzi in Beijing opera after the teaching of a series of lessons called "Chinese non-melodic percussion instruments and Beijing opera Luogudianzi". Students completed an attitude inventory and a written response on the test music of Luogudianzi after the teaching of the lessons. Their musical understanding of and attitudes towards the test music of Luogudianzi under Treatment 1 were then compared with their musical understanding of and attitudes towards the test music after Treatment 2. I also collected qualitative data on students' attitude towards and musical understanding of the Luogudianzi in semi-structured student interviews, and also interviewed the teacher at the end of a series of lessons. Each teaching variable was tested separately in every experiment. The findings showed that not every teaching variable affected students' personal knowledge of Luogudianzi. Only the teaching variable which emphasized more information and less direct musical experience in listening had an effect on students' attitudes to and musical understanding of the Luogudianzi. Factors which might have contributed to the unexpected results were identified. The study raised as many questions as it answered and authentic musical experience in teaching traditional music remains an issue which deserves further investigation in formulating teaching strategies to bring about a personal knowledge of Chinese music.
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Su, Wen-hui. "An acoustic study of the singer's formant the comparison between Western classical and traditional Chinese opera singing techniques /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3354922.

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Thesis (Ph.D.)--Indiana University, Dept. of Speech and Hearing, 2009.
Title from PDF t.p. (viewed on Feb. 4, 2010). Source: Dissertation Abstracts International, Volume: 70-04, Section: A, page: 1098. Adviser: Karen Forrest.
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Cheung, Kwok-hung Stephen, and 張國雄. "Traditional folksongs in an urban setting: a study of Hakka Shange in Tai Po, Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364846.

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Books on the topic "Chinese Traditional Music"

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1965-, Chen Jing'e, ed. Zhongguo min zu yin yue: Chinese traditional music. Hangzhou: Xiling chu ban she, 2009.

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Taiwan chuan tong yin yue gai lun: Ge yue pian = Taiwanese traditional music : vocal music. Taibei Shi: Wu nan tu shu chu ban gu fen you xian gong si, 2005.

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Stock, Jonathan P. J. Chinese violin solos: A collection of music for the traditional Chinese two-stringed fiddle = Solos de violon chinois = Chinesische Violinsoli. Mainz: Schott, 1998.

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1964-, SanGregory Paul, Healey Derek 1936-, Chen Chin-Chin 1964-, Huang Zi 1904-1938, Li Qingzhu, Huang Youdi 1912-2010, Li Yinghai, and Liu Wenjin, eds. Traditional and modern Chinese art songs. Geneseo, N.Y: Leyerle, 2009.

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Lau, Frederick Cheungkong. Music and musicians of the traditional Chinese dizi in the People's Republic of China. Ann Arbor: UMI, 1991.

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Passion, poverty and travel: Traditional Hakka songs and ballads. Hackensack, NJ: World Century Publishing Corporation, 2015.

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Er shi shi ji Xianggang Zhong yue shi gao = A sketch history of traditional Chinese music in 20th century Hong Kong. Xianggang: Guo ji yan yi ping lun jia xie hui (Xianggang fen hui), 2006.

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Lloyd, Dean. Acutone: A new system of healing based on the ancient science of sound. La Mesa, Calif: La Mesa Holistic Center, 2000.

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Zhongguo chuan tong yin yue yi bai ba shi diao pu li ji: A collection of 180 modes' annotation Chinese traditional musical scales. Beijing: Ren min yin yue chu ban she, 2003.

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Ma, Baolin. Sing Chinese II: China's best folk songs = Zhongguo you xiu min ge ji cui. San Francisco, CA: China Books & Periodicals, 1997.

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Book chapters on the topic "Chinese Traditional Music"

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Liu, Annie Yen-Ling, and Yang Yinuo. "Technological Mediation and Traditional Culture in Chinese Electroacoustic Music." In Teaching Electronic Music, 193–207. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815349-15.

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Chow, Sheryl Man-Ying. "Redefining Essence: Tuning and Temperament of Chinese Traditional Music." In Of Essence and Context, 255–67. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14471-5_20.

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Mark, Lindy Li. "Some Mysteries of Kunqu Music and its Melodic Characteristics 1." In The Routledge Encyclopedia of Traditional Chinese Culture, 352–71. Abingdon, Oxon ; New York : Routledge, [2019]: Routledge, 2019. http://dx.doi.org/10.4324/9781315453491-20.

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Yue, Yuan. "The Classification Model of the Network Electronic Music Based on the Chinese Traditional Opera Music." In Advances in Intelligent Systems and Computing, 1086–91. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25128-4_135.

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Wong, Joseph Y. W. "Chinese Musical Culture in the Global Context – Modernization and Internationalization of Traditional Chinese Music in Twenty-First Century." In Chinese Culture in the 21st Century and its Global Dimensions, 105–22. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2743-2_7.

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Wang, Keping. "Ethos of the Rites-Music Tradition." In Beauty and Human Existence in Chinese Philosophy, 33–54. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1714-0_3.

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HM, Ernest. "Medical Resonance Therapy Music®." In Annals of Traditional Chinese Medicine, 175–84. WORLD SCIENTIFIC, 2013. http://dx.doi.org/10.1142/9789814425674_0009.

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GOLDIN, PAUL R., and VICTOR H. MAIR. "Early Discussions of Music and Literature." In Hawaii Reader in Traditional Chinese Culture, 130–33. University of Hawaii Press, 2005. http://dx.doi.org/10.2307/j.ctvvn6qz.28.

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"19. Early Discussions of Music and Literature." In Hawaii Reader in Traditional Chinese Culture, 130–33. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824852351-026.

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Fan, Xing. "Fresh yet Familiar: Music." In Staging Revolution. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455812.003.0008.

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Chapter 7 examines music in model jingju, the dimension that has been generally acknowledged as the most successful among these productions’ artistic aspects. The author approaches music in model jingju from four perspectives: (1) orchestra organization which features a Chinese-Western combined orchestra, realized through artistic experimentation in the use of instruments, orchestral composition, orchestral conducting, and playing techniques; (2) percussive music, the innovative adaptation of traditional percussive passages, and the creation of new percussive passages to accompany arias, movement, and combat; (3) instrumental music and its functions in building up theatricality; and (4) vocal-melodic music, its association with traditional modes and modal composition, traditional metrical types and metrical-type composition, and traditional melodic-phrases and melodic-passage composition. This chapter features a detailed analysis of the use of musical motifs and personal interviews with chief composers and instrumentalists.
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Conference papers on the topic "Chinese Traditional Music"

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Chen, Wei. "The Inheritance of Chinese Traditional Music in College Music Education." In 2017 7th International Conference on Education and Management (ICEM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icem-17.2018.37.

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Islam, Rashedul, Mingxing Xu, and Yuchao Fan. "Chinese Traditional Opera database for Music Genre Recognition." In 2015 International Conference Oriental COCOSDA held jointly with 2015 Conference on Asian Spoken Language Research and Evaluation (O-COCOSDA/CASLRE). IEEE, 2015. http://dx.doi.org/10.1109/icsda.2015.7357861.

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Wang, Shan, and Yang Li. "Study on vocal music and Chinese traditional literature." In 2015 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/essaeme-15.2015.17.

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Zeng, Zhen, and Li Zhou. "A Memetic Algorithm for Chinese Traditional Music Composition." In 2021 6th International Conference on Intelligent Computing and Signal Processing (ICSP). IEEE, 2021. http://dx.doi.org/10.1109/icsp51882.2021.9408813.

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Gao, Yan, Xinyu Ma, and Lingyun Xie. "The visual synaesthesia analysis of Chinese traditional music aesthetics." In The Second International Conference on Image, Video Processing and Artificial Intelligence, edited by Ruidan Su. SPIE, 2019. http://dx.doi.org/10.1117/12.2547497.

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Liumei, Zhang, Jiang Fanzhi, Li Jiao, Ma Gang, and Liu Tianshi. "K-means clustering analysis of Chinese traditional folk music based on midi music textualization." In 2021 6th International Conference on Intelligent Computing and Signal Processing (ICSP). IEEE, 2021. http://dx.doi.org/10.1109/icsp51882.2021.9408762.

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Wu, Wen, and Lingyun Xie. "Discriminating Mood Taxonomy of Chinese Traditional Music and Western Classical Music with Content Feature Sets." In 2008 Congress on Image and Signal Processing. IEEE, 2008. http://dx.doi.org/10.1109/cisp.2008.272.

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Cao, Xian. "Musicological Significance of Traditional Chinese Music Inheritance and Information Theory Research." In ISIS Summit Vienna 2015—The Information Society at the Crossroads. Basel, Switzerland: MDPI, 2015. http://dx.doi.org/10.3390/isis-summit-vienna-2015-s2018.

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Li, Zhicheng. "Study on Problem of Protection and Inheritance of Chinese Traditional Music." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.27.

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Lyu, Lanlan. "The Creative Application of Computer Technology in Chinese Traditional Music Culture." In International Conference on Communication and Electronic Information Engineering (CEIE 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/ceie-16.2017.34.

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Reports on the topic "Chinese Traditional Music"

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Jiang, Xiaolin, Jing Gao, and Yuping Zheng. Effectiveness of traditional Chinese medicine music therapy on anxiety and depression emotions of lung cancer patients: A protocol for systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, February 2021. http://dx.doi.org/10.37766/inplasy2021.2.0021.

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