Relevant bibliographies by topics / Qin music Qin music

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

Academic literature on the topic 'Qin music Qin music'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Qin music Qin music"

1

Fujie, Linda, Yao Gong-bai, Yao Gong-jing, and Yao Bing-yan. "Yaomen Qin Music." Yearbook for Traditional Music 27 (1995): 211. http://dx.doi.org/10.2307/768144.

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Judd, Aaron. "Qin Music: Two Recordings." Asian Music 50, no. 2 (2019): 175–77. http://dx.doi.org/10.1353/amu.2019.0021.

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Goormaghtigh, Georges. "Qin Music on Antique Instruments." Cahiers de musiques traditionnelles 12 (1999): 243. http://dx.doi.org/10.2307/40240363.

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Mingmei, Yip, and Georges Goormaghtigh. "L'art du qin." Asian Music 25, no. 1/2 (1993): 238. http://dx.doi.org/10.2307/834205.

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Chen, Xi, and Loo Fung Ying. "Erhu Pedagogy: A Comparison of Qinfeng and Jiangnan Chunse." Global Journal of Arts Education 6, no. 2 (October 18, 2016): 64. http://dx.doi.org/10.18844/gjae.v6i2.956.

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This paper examines the area of erhu pedagogy, looking at the two different styles of Northern and Southern China: Qin pai and Jiangnan pai. The development of Qin pai erhu since the 1950s has resulted in a regional style that reflects a strong Shaanxi local folk and traditional music genre. On the other hand, Jiangnan music is widely developed in Shanghai, Jiangsu province, and Zhejiang province in the area of folk music. The musical style of Jiangnan is melodious, with simplicity as its main character. Past literatures reveals some insights into the different styles of erhu playing, however, a detailed performance practice of two major repertoires Qinfeng and Jiangnan Chunse is absent. This paper discusses the unique playing style and techniques of Qin pai and Jiangnan pai. The differences between the two are analysed based on two representative repertoires, Qinfeng and Jiangnan Chunse. Methodology includes observation, score analysis, transcription and a discussion that includes a self-reflexive account on the performance of the two pieces. The outcome highlights various pedagogical concerns regarding playing techniques, stylistic features and interpretation that provide a reference for future scholars and erhu players. Keywords: Erhu, Qin Pai, Jiangnan Pai, music;
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Yi, Xiaoming. "Understanding curriculum based on the study of Chinese “Gu Qin”." International Journal of Music Education 35, no. 3 (November 15, 2016): 403–13. http://dx.doi.org/10.1177/0255761416667468.

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This article initiates a dialogue between Chinese “ Gu Qin” art and curriculum theory. “ Gu Qin” is the ancient Chinese musical instrument which best embodies Chinese aesthetic notions. The ancient Chinese never regarded Gu Qin as only an instrument; they thought that performing on it was a process of experiencing life and self-cultivation. Therefore, the value of pursuing Gu Qin study is not only the skill that is mastered, but also the growth of the spirit. This orientation makes the teaching of Gu Qin a fight against instrumental rationalism and materialism. It highlights lived experience based on the unity of the subjective and the objective, and breaks the closed, predetermined teaching process to create openness and possibilities. All of these characteristics have much in common with the new perspectives on curriculum and can help us better understand what a curriculum and a music curriculum are.
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Rault-Leyrat, Lucie, and Georges Goormaghtigh. "L'art du QIN, deux textes d'esthétique musicale chinoise." Revue de musicologie 79, no. 1 (1993): 143. http://dx.doi.org/10.2307/947449.

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Yang, Chenghai. "Enlightenment of Confucian Thoughts of Music Education on Contemporary General Music Education." Journal of Contemporary Educational Research 4, no. 2 (February 19, 2020): 35–39. http://dx.doi.org/10.26689/jcer.v4i2.1046.

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In the pre-Qin period, Confucius proposed six subjects namely the etiquette, music, archery, driving, literacy, and calculation. Among the six subjects, music was ranked the second. Among them, traditional education in China can fully reflect the importance of music education, and the essence and core of music education can be reflected from the requirements of aesthetic education. In recent years, with the continuous development and improvement of production and life, the theme of education in today's society has changed, and quality education is the center and focus of education today. Moreover, people begin to focus on how to inherit and publicize the traditional music culture. As the music culture is of great importance, many people are encouraged to continue to practice and publicize the traditional music. The main point of this article is Confucian theory of music education.
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Yuehong, Ren. "The study of "music" in pre-qin works." Music Report 2, no. 1 (2020): 25–32. http://dx.doi.org/10.35534/mur.0201005c.

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Wen, Xiong. "My View on Confucius’ Musical Aesthetics." Lifelong Education 9, no. 7 (December 8, 2020): 75. http://dx.doi.org/10.18282/le.v9i7.1473.

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During the Spring and Autumn Period and Warring States Period, the ideology environment was severe. Hundreds of scholars competed and argued, and they all used their own musical concepts and aesthetic consciousness to influence social life. Confucius was one of them. As we all know, Confucius was the great pre-Qin period thinker, politician, and educator of etiquette and music. His achievements in music aesthetics are different from other schools of “contend of a hundred schools of thought”. Confucius’s aesthetic thoughts are actually the aesthetic thoughts he formed in the practice of ritual and music education. This article discusses his musical spirit, the aesthetic propositions of “benevolence”, “perfect perfection”, “neutrality”, and music education.
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Dissertations / Theses on the topic "Qin music Qin music"

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Yang, Yuanzheng. "Japonifying the qin : the appropriation of Chinese qin music in Tokugawa Japan /." View the Table of Contents & Abstract, 2008. http://sunzi.lib.hku.hk/hkuto/record/B40695074.

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Yang, Yuanzheng, and 楊元錚. "Japonifying the qin: the appropriation of Chinese qin music in Tokugawa Japan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40987644.

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The Best PhD Thesis in the Faculties of Architexture, Arts, Business & Economics, Education, Law and Social Sciences (University of Hong Kong), Li Ka Shing Prize, 2007-2008.
published_or_final_version
Humanities
Doctoral
Doctor of Philosophy
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Yang, Yuanzheng. "Early Qin music : manuscript Tōkyō, Tōkyō Kokuritsu Hakubutsukan TB1393 and manuscript Hikone, Hikone-Jō hakubutsukan V633 /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31066938.

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Lee, Daphne. "The transmission of Qin music : the analysis of four versions of the composition Pingsha luoyan /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25103180.

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Mäder, Marion. "Die Musik der Qin im Umfeld von Li Xiangting." Bonn : Holos-Verlag, 2001. http://catalog.hathitrust.org/api/volumes/oclc/50645359.html.

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Wu, Zeyuan. "Playing Antiquity: Qin Musiking and Literati Culture in Late Imperial China." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429844729.

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李德芬 and Daphne Lee. "The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.

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Yang, Yuanzheng, and 楊元錚. "Early Qin music: manuscript Tōkyō, Tōkyō Kokuritsu Hakubutsukan TB1393 and manuscript Hikone, Hikone-Jōhakubutsukan V633." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B32222634.

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The Best MPhil Thesis in the Faculties of Architecture, Arts, Business & Economics, Education, Law and Social Sciences (University of Hong Kong), Li Ka Shing Prize, 2003-2005.
published_or_final_version
abstract
Music
Master
Master of Philosophy
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Wu, Zeyuan. "Becoming Sages: Qin Song and Self-Cultivation in Late Imperial China." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587689622910344.

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Hwang, Chiung-Hui. "The multilayered monophony and sliding tones of Qin music : perception, structure and aesthetic interpretation." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.575377.

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Qin music comprises three basic kinds of tones: open-stringed, stop-stringed sounds, and harmonics. Its intricate fingerwork provides further nuances to the sound, while its aesthetics is influenced by philosophical ideas. This thesis explores two significant perceptual characteristics of qin music: multilayered monophony and sliding tones. 'Multilayered monophony' refers to the way that enculturated listeners hear multiple audible streams or voices in the qin's monophonic melodies, as if produced by several instruments of an ensemble rather than a single instrument, and within qin culture is attributed to multilayered interplay between contrasting tones of Yin and Yang. Sliding tones are produced after the initial pluck to extend and continuously modify the pitch. These extensions are faint and even become inaudible, leaving the sound of frictional sibilance, which produces intermittent silence in qin melodies. This forms the basis for qin aesthetic conception of soundlessness (wu sheng). These interpretations reveal the influence of Taoist philosophy: the dualism of Yin and Yang is the basic concept of Taoist philosophy, while the concept of soundlessness reflects the important Taoist concept of emptiness (kong ), or non-being (wu). By addressing these features of qin music, this thesis aims to understand the way in which traditional qin music has been perceived and received by enculturated listeners. This thesis analyses selected recordings of qin pieces and explores how the characteristics of multilayered monophony and inaudible sliding inflections are produced, perceived, and conceptualised as aesthetic meanings. This research crosses disciplines of music analysis, traditional qin studies, as well as music perception and cognition. It examines how multilayered monophony and inaudible sliding inflections contribute to the perceived intricacy and subtleness of qin music. From a broader perspective, it also contributes to understanding of how musical structures afford particular kinds of aesthetic interpretation with the influence of specific philosophical ideas.
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Books on the topic "Qin music Qin music"

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Gu qin. Hangzhou Shi: Zhejiang ren min chu ban she, 2005.

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Gu qin. Beijing: Zhongguo wen lian chu ban she, 2009.

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Qiu lai ju qin hua. Beijing Shi: Sheng huo, du shu, xin zhi san lian shu dian, 2009.

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Liang, Xu, ed. Xi shan qin kuang. Beijing Shi: Zhonghua shu ju, 2013.

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Tang dai gu qin yan zou mei xue ji yin yue si xiang yan jiu. Taibei Shi: Xing zheng yuan wen hua jian she wei yuan hui, 1993.

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Qin: Zhonghua qian gu wen ren de yang xing yi qing. Beijing Shi: Zhongguo wen shi chu ban she, 2008.

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Huang, Guangyuan. Ma tou qin: Lian lian feng qing = Matouqin : love for the scenery. Guangzhou Shi: Guangdong yin xiang chu ban she, 2016.

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Gu qin shu tu kao. Beijing Shi: Xue yuan chu ban she, 2009.

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Zhongguo yue qi xue: Gu qin pian. Jiayi Shi: Fa xing ren Zhao Pu, 1991.

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Ming dai qin pu ji kao: Jian ji Ming dai qin xue shi. Haerbin Shi: Heilongjiang ren min chu ban she, 2014.

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Book chapters on the topic "Qin music Qin music"

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Yung, Bell. "From humble beginnings to qin master." In Routledge Handbook of Asian Music: Cultural Intersections, 88–122. [1.] | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003142720-5.

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Urrows, David Francis. "The Wind Qin." In Reshaping the Boundaries. Hong Kong University Press, 2017. http://dx.doi.org/10.5790/hongkong/9789888390557.003.0004.

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This chapter examines the history of the pipe organ in late imperial China. Using a selection of official accounts, travel writings, and literary texts from the 17 and 18th centuries, the author argues that Chinese understandings of this fantastic Western object did not take any simple form of exoticism or indifference, but rather a mixture of diverse transcultural experiences shifting between intellectual openness and ideological resistance. The intersection of religion, music, and science brought to light a typical Chinese cultural centricity encountering the otherness of Western high culture, from which a new mode of in-between existence emerged along the process of dynamic mutual perceptions and evaluations.
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Kuang, Lanlan. "(Un)consciousness? Music in the Daoist context of nonbeing." In Music and Consciousness 2, 306–23. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0018.

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This chapter explores the interpretation of music as a philosophical concept within the context of Chinese aesthetics. A particular focus is the Daoist connection of music with psychological concepts such as consciousness, the experience of time, and the emergence of memory in space and time. The human body, regarded as both physical and spiritual, is an integral element of Daoism, which offers a route to understanding consciousness as coterminous with being and nonbeing, and to linking the latter to music. In the Daoist tradition nonbeing, in musical time, brings forth dynamic and temporal connections between the conscious and the unconscious through memory. The chapter uses the programmatic title and literary preface of Seagulls and Forgetting Schemes, a Song dynasty qin piece, as an exemplar of the Daoist aesthetic of (un)consciousness, approached as both an ideal comprising a world or state of enlightened detachment and an aesthetic activity for cultivating such a world or state.
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"The Elder Of The Eastern Hall Reforms A Prodigal Son: A Play By Qin Jianfu." In Text, Performance, and Gender in Chinese Literature and Music, 83–112. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004179066.i-468.22.

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"Music and Performance in Hong Sheng’s." In Trauma and Transcendence in Early Qing Literature, 454–87. BRILL, 2006. http://dx.doi.org/10.1163/9781684174157_016.

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"“Music is the Language of the Heavens” Theory by Qing Zhu." In On the Meta-Category of Chinese Music Aesthetics, 395–413. WORLD SCIENTIFIC, 2021. http://dx.doi.org/10.1142/9789811225208_0015.

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"la drawing, a category of folk classification for music instruments, meaning bowed instruments Liushui The Running Waters, a qin piece luo gong lülü Chinese system of notation using the names of the 12 pitches Luxinan Minyue Diaoyan Folk music performing meeting in the Southwest area of Shandong Province Mu wood, a category of ancient classification for musical instruments Nanbeipai Shisantao Daqü The new pipa collection of thirteen long pieces of the Pipa Xinpu southern and northern performing schools, a pipa collection edited by Li Fangyan in 1895 paiban clappers paixiao pan pipe Pao gourd, a category of ancient classification for musical instruments Paolü Donkey running, a folk singing and dancing program pipa short neck plucked lute with pear-shaped soundbox qi chess, one category of the literati’s self-cultivation and entertainment qin seven-string plucked zither, also one category of the literati’s self-cultivation and entertainment, which includes playing qing L-shaped sonorous stone Qingke Chuan Free guests’ ensemble, a kind of group in Jiangnan Sizhu Qingyin Hui Qing’s music society Qincjü Jicheng A comprehensive collection of qin pieces Qüjiaying Yinyuehui Music society at Qüjiaying village Renmin Yinyue Chubanshe People’s Music Press in Beijing ruan long neck plucked lute with round soundbox sanxian three-string long neck plucked lute sanxü prelude in free rhythm, a part of daqü se large half tube plucked zither Shanghai Yinyue Shanghai Music Press in Shanghai Chubanshe sheng mouth organ Shenqi Mipu Fantastic scores, a collection of qin pieces Shi stone, a category of ancient classification for musical instruments." In Tradition & Change Performance, 33. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-5.

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"7 Catholic Music in Macau and Mainland China during the Late Ming and Early Qing Dynasties." In Setting Off from Macau, 224–56. BRILL, 2016. http://dx.doi.org/10.1163/9789004305526_009.

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"bianzhong bell chime bili a double-reed cylindrical instrument bo cymbals Chaozhou Xianshi String music in Chaozhou chiba vertical bamboo flute chui blowing, a category of folk classification for music instruments, meaning wind instruments Chuige Hui Society of wind songs da beating, a category of folk classification for music instruments, meaning percussion instruments Dadiao Qüzi a local singing narrative genre in Henan Province daqü large suite di bamboo flute erhu two-string bowed lute Erquan Yingyue Moonlight reflected on the water of Erquan Spring, an erhu piece played by Abing Fanglü Pasture donkey, a wind and percussion ensemble piece played in Chuige Hui in Hebei Province fengshou konghou arched harp Ge hide, a category of ancient classification for musical instruments gonche Chinese system of notation gu drum guan a double-reed cylindrical instrument, basically the same as the ancient bili Guangdong Yinyue Cantonese music, a genre of instrumental ensemble in Guangdong Province Guangling San Tune of Guangling, a qin piece Guchui yue drum and blowing music gudi bone flute haidi small suona (small conical oboe) hua painting, one category of the literati’s self-cultivation and entertainment hujiao horn Ji Kong Yuewu Worshiping music and dance to Confucius Jiangnan Sizhu String and wind ensemble in the south area of the Yangtze River Valley jianzi pu simplified character notation Jin metal, a category of ancient classification for musical instruments jinghu two-string bowed lute, like a small erhu but with its soundbox made of bamboo." In Tradition & Change Performance, 32. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-4.

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"Glossary Bo idiophone, cymbal Dang idiophone, small brass gong suspended in a wooden frame Dao the transcendent eternal Cosmic Way Daozang Taoist canon Di aerophone, horizontal flute Difang yun regional chants Dujiang chief cantor Fangshi man of magical techniques Faqi ritual instruments Fujiang assistant cantor Gaogong fashi chief Taoist or master of exalted merit Gongchi notational system Gu membranophone, drum Guan aerophone, reeded pipe He process of uniting the yin and yang Huoju daoshi non-celibate Taoist priests Jinian fashi rituals celebrating the birthdays of various gods, deities, and past Taoist masters Luo idiophone, gong Moyu idiophone shaped like a fish, made of wood Qi the primordial energy Qing idiophone in the shape of a large bowl, usually made of brass Quanzhen Perfect Realization Quanzhen zhenyun Orthodox Quanzhen chants Sandong three-part classification of historical documents used in the Taoist canon Sanjiao heyi Three religions (Taoism, Buddhism, Confucianism) into one Sanqing The Three Pure Ones, highest of the Taoist gods Shougu membranophone, hand-held drum Suona aerophore, oboe Taiping Dao The Way of Great Peace Tan Taoist altar Tian ren he yi human in/as universe Tianshi Dao The Way of the Heavenly Masters Wushi shaman and spirit-medium Wuwei Taoist philosophical idea of non-interference Xiudao fashi daily morning and evening offices Yangyun chants praising the virtues and power of the gods Yanyue court banquet music." In Tradition & Change Performance, 79. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-15.

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Conference papers on the topic "Qin music Qin music"

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Lei, Yong-Qiang. "On Confucian Thought of Ya Music Teaching in Pre-Qin Period." In 2nd Annual International Conference on Social Science and Contemporary Humanity Development. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/sschd-16.2016.21.

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