Relevant bibliographies by topics / Sheng music

Contents

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

Academic literature on the topic 'Sheng music'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Sheng music"

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Lister, Rodney. "Proms 2004: Turnage, Bingham, Sheng, Silk Road, Henze." Tempo 59, no. 231 (2005): 47–49. http://dx.doi.org/10.1017/s0040298205270055.

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In fulfillment of a commission from the BBC for a work in commemoration of the 75th anniversary of the BBC Symphony Chorus, Mark-Anthony Turnage produced Calmo, an untypically quiet and gentle work for chorus with handbells – and, what has become something of a signature instrument for him, desk bells. The text of the work consists of the words ‘Dona nobis pacem’ and their translations in several languages. It is dedicated to the memory of Turnage's friend Sue Knussen. Calmo's intense eloquence was enhanced by its brevity, and, both despite and because of it, stood out in a program of music for chorus, harp, and organ by an assortment of older and newer Czech and British Composers, including Janáček, MacMillan, Holst, and Eben, presented by the BBC Symphony Chorus, conducted by Stephen Jackson.
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Wong, Hoi-Yan. "Bartók's influence on Chinese new music in the post-cultural revolution era." Studia Musicologica 48, no. 1-2 (2007): 237–43. http://dx.doi.org/10.1556/smus.48.2007.1-2.16.

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Abstract In the wake of the Cultural Revolution (1966–76) and with China's new “Open Door” policy towards Western culture and Western new music, we have witnessed the exuberant growth of a new generation of Chinese composers. Tan Dun, Chen Yi and Bright Sheng have expressed in various ways their indebtedness to the heritage of Béla Bartók's music. Chen Yi, a fellow student of Tan Dun during her time at Central Conservatory of Music and Columbia University, recalled studying all of Bartók's six string quartets in the composition classes. Bright Sheng also openly admits that his use of the “primitiveness and savageness” of folk elements is directly modelled on the music of Bartók. The dissemination of Bartók's music in China is signified by the extent to which the journals published by China's top two music conservatories — the Central Conservatory of Music and the Shanghai Conservatory of Music — focus on discussion of this repertoire. Frank Kouwenhoven's studies of contemporary Chinese composers also point out that Bartók's influence overshadows most other major composers from the West. In this paper the reception of Bartók's music by Chinese composers in the post-Cultural Revolution era will be explored with reference to the musical as well as socio-cultural factors that fostered the influence.
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Chinn, Meilin. "Music with and Without Images." Journal of Chinese Philosophy 47, no. 3-4 (2020): 137–53. http://dx.doi.org/10.1163/15406253-0470304003.

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Ji Kang’s 嵇康 argument against the presence of emotions in music in “Sound Has Neither Sorrow nor Joy” (sheng wu ai le lun 聲無哀 樂論) relies centrally on his claim that harmonious sounds are “without image” (wu xiang 無象). In contrast, the Ru 儒(Confucian) view of music is that it transmits images and emotions between musicians and listeners, which provides the basis for the musical cultivation of virtue (de 德). In this paper, I provide a reading of Ji Kang’s argument that elucidates key differences between music with and without images, and offer an analysis of these differences in terms of intransitive musical meaning.
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Wu, Yi-Cheng Daniel. "An Extension of the Minimally Divergent Contour Network: Considering Nonconsecutive Repeated Contour Pitches." Music Theory Spectrum 41, no. 2 (2019): 341–62. http://dx.doi.org/10.1093/mts/mtz012.

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Abstract In a 2013 article, I partitioned all musical contours into fifteen types and arranged them in a network called the minimally divergent contour network (MDCN). Within the MDCN, we can examine the similarity between any two contour types by measuring the shortest path between them. However, despite the methodological efficiency, none of the fifteen types considers nonconsecutive repeated contour pitches. Prompted by this issue, this article extends the MDCN to include nonconsecutive repeated contour pitches. To demonstrate the analytic utility of the extended MDCN, I examine works by Bright Sheng and György Kurtág.
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Githiora, Chege. "Sheng: Peer language, Swahili dialect or emerging Creole?" Journal of African Cultural Studies 15, no. 2 (2002): 159–81. http://dx.doi.org/10.1080/1369681022000042637.

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Githinji, Peter. "Sexism and (mis)representation of women in Sheng." Journal of African Cultural Studies 20, no. 1 (2008): 15–32. http://dx.doi.org/10.1080/13696810802159230.

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Githiora, Chege. "Sheng: the expanding domains of an urban youth vernacular." Journal of African Cultural Studies 30, no. 2 (2016): 105–20. http://dx.doi.org/10.1080/13696815.2015.1117962.

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Yi, Ju-Eun. "On the Relationship between Music and Morality in Xi Kang’s Essay “Sound Has Neither Sorrow nor Joy”(Sheng wu ai le lun)." YANG-MING STUDIES ll, no. 46 (2017): 309–44. http://dx.doi.org/10.17088/tksyms.2017..46.009.

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Pushkarskaia, Natalia. "Five Phases in the modern Chinese culture." Философия и культура, no. 1 (January 2021): 10–29. http://dx.doi.org/10.7256/2454-0757.2021.1.33489.

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This article reviews the universal conceptual system of Ancient China, an intrinsic part of which is the so- called quinary classification or the doctrine of Five Phases of Wuxing, and its impact upon the modern Chinese culture (modernity implies the period from the beginning of the XX century to the present). The doctrine of Five Phases , which emerged during the period of the early categorical thinking (approximately 1045 – 221 BC) and comprised the backbone of the traditional Chinese culture Yinyang and Wuxing (Yinyang Wuxing Wen hua 阴五行文化), continues influencing the life of modern China, having overcome the disastrous consequences of the “Cultural Revolution” of 1966-1976. Within the framework of historical-philosophical research, the author analyzes the two traditional spheres of Chinese culture – martial art Taijiquan and music, revealing the substantial structural components in their theoretical frameworks that indicate the profound conceptual rootedness in the culture Yinyang and Wuxing. It appears that the conceptual framework of Taijiquan includes not only the basic proto-categorical conceptual constructions Yinyang 阴阳, Sancai 三才, and Wuxing 五行, but also the closely related 8 trigrams Bagua 八卦and the magic Lo Shu Square 洛书. It is not a coincidence that the pentatonic system or five colors of Wŭ Sheng 五声 becomes the fundamentals of musical thinking in China. Along with the musical system Shí-èr-lǜ 十二律吕(12 pitches), the pentatonic system is a continuation of the ancient proto-categorical thinking that took foothold in the Chinese mentality.
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Yan, Yang. "The formation of the Chinese orchestra of traditional instruments of a new type in the 1920s-1930s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 165–80. http://dx.doi.org/10.34064/khnum1-50.12.

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Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in Chinese society. Nevertheless, the process of integrating the Western musical traditions was carried out in China for several centuries, which prepared the ground for the qualitative changes that began in the 20th century in the field of national musical art. The development of orchestral music for Chinese traditional instruments is not sufficiently studied today in musicology. One of the little studied periods is the initial stage of the formation of the Chinese orchestra of folk instruments of a new type in the 1920s – 1930s. Objectives. The purpose of the article is to reveal the prerequisites and specifics of the formation of the Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s, to determine the role of outstanding Chinese musicians in the process of modernizing the orchestra and creating the appropriate national repertoire. The methodology of research is based on musical-historical approach combined with musical-theoretical and performer analysis. Results. The first shifts in the integration of Western and national traditions in Chinese traditional orchestral music became possible thanks to the activities of the music society “Datong yuehui”, as well as the emergence of higher professional musical institutions in China and the training of Chinese musicians abroad. The most important role in the formation of the Chinese orchestra of traditional instruments of a new type was played by outstanding musicians Zheng Jinwen, Liu Tianhua, Zheng Tisi. Zheng Jinwen was the initiator of the creation of the society “Datong Yuhui” in 1920. He began the process of standardizing various Chinese instruments with the goal of unifying their sound tuning fork. This was necessary for a well-coordinated game in the orchestral ensemble. The musician modernized and developed new methods of tuning traditional instruments for flute dizi, multi-barrel sheng and expanded the orchestra to forty people. Zheng Jinwen adapted the national repertoire to a new type of orchestra, performing as an author of orchestral transcriptions of ancient music for traditional Chinese instruments. Liu Tianhua became the creator of the Society for the Development of National Music at Peking University (1927–1932). The musician reformed the old system of Chinese notation “gongchi” based on hieroglyphs, modernized it and adapted it to the Western musical notation. Substantial achievement of Liu Tianhua was a significant modification of the erhu with the replacement of strings by metal, changing the settings in accordance with the standards of Western stringed instruments. As a result, the erhu acquired the status of a leading or solo instrument in a new type of orchestra. The activity of the first modern Chinese orchestra of traditional instruments, the musical collective of the Broadcasting Company of China, created in Nanjing in 1935, had a great importance. In 1937, from the Second Sino-Japanese War, the orchestra was transferred to Chongqing, and after the victory of the Communists in 1949, he moved to Taiwan. One of the orchestral musicians, Zheng Tisi, played an outstanding role in the formation of this group. The musician carried out the reformation of this orchestra in the field of tuning instruments. The range of the orchestra was expanded by the introduction of additional wooden string instruments dahu and dihu, having a volumetric sound-board and tuned an octave below the violin erhu. Their purpose was to fill the lower register, alike to the cellos and double basses in Western orchestras. For the first time the post of conductor and his assistant was introduced by Zheng Tisi, which was also able to attract professional composers to create a multi-voiced orchestral national repertoire. The innovations of the outstanding musician made his orchestra a role model for all subsequent similar contemporary Chinese orchestras. Conclusions. The process of forming a Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s made it possible to modernize Chinese traditional folk instruments and the ancient Chinese notation system in order to adapt Chinese orchestral music to the integrative processes in musical art. Orchestral music was reformed in accordance with the principles of Western European symphonic and conducting art. In this process, outstanding highly professional Chinese musicians who contributed to the development of orchestral music in their country and the creation of a corresponding national repertoire played the leading role.
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Dissertations / Theses on the topic "Sheng music"

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Qin, Haochen. "The Evolution of Sheng in Mainland China from 1949 to 2018." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1624481163616101.

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Szczepanski, Beth. "Sheng Guan in the Past and Present: Tradition, Adaptation and Innovation in Wutai Shan's Buddhist Music." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211286766.

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Kwok, Koi Hin Samuel. "The life and choral works of the Hong Kong composer Lin Sheng-shih (林聲翕) (1914-1991)". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6453.

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Over the past ten to fifteen years, there has been a trend to perform multicultural choral works in the United States, including Chinese music. Although there are a number of studies about Chinese choral music, there is not much written specifically on Hong Kong choral music. Lin Sheng-shih was one of the most important Hong Kong music leaders in the twentieth century. Lin, an immigrant from mainland China, was a patriotic musician who dedicated his life to promoting Chinese music through his professional career in Hong Kong. This study confirms that he contributed tremendously to his new home. Chapter One contains a brief historical and sociological background of Hong Kong choral music under British sovereignty and the biographical overview of Lin’s life into four periods from his early life in China to his immigration to Hong Kong. Chapter Two presents findings of Lin’s philosophical beliefs as an educator, composer and conductor through his own writings. Last, Chapter Three contains a discussion and analysis of his compositional styles chronologically with supporting examples from fifteen of his most representative choral works. The analysis leads to a greater understanding of the development of his evolving compositional style, from his continual search for new techniques in Western Classical-Romantic style to his use of Chinese elements with effective and illustrative piano accompaniments. This study illustrates that through his distinctive compositional periods, he combined Chinese idiomatic sonorities with Western compositional techniques in order to create his own voice.
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Shen, Hexue. "Bright Sheng’s Hot Pepper for Violin and Marimba:A Performer’s Guide to Interpretation." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1471783386.

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Ching, Ka-wai Elsa. "Guangdong music, Guangdong cuisine, Guangdong art ... a living Guangdong heritage community in old urban Sheung Wan /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947011.

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劉榕. "嵇康 聲無哀樂論 研究 = The study of Ji-Kang's On the Grieflessness and Joylessness of Music". Thesis, University of Macau, 2004. http://umaclib3.umac.mo/record=b1636188.

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He, Qianwei. "Western influence and the place of music in the works of Shen Congwen." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/21691.

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Shen Congwen [沈从文] (1902 – 1988), the famous Chinese writer most active from the late 1920s to the end of the 1940s, took particular interest in music throughout his literary career. From Shen’s earliest works, folksongs feature in his regional stories about West Hunan, his home region. These songs not only provide the stories with a special local colour, but also indicate Shen’s strong connection with Western anthropology and psychology. From the mid-1930s, Shen developed a passion for Western classical music. He stated on several occasions that he wished he could use the method of musical composition in his writing, even though he never attempted to learn to compose. This thesis will investigate Shen’s insistence on the assumption that the method of musical composition – especially the use of ‘harmony’ – would make literary works more beautiful and infinite. Shen’s discussion of Western classical music also points to the connection between music and abstraction. In Shen’s later career, he seems to be consistently pursuing the beauty of abstraction. At the same time, he writes about ‘soundless music’, which goes beyond concrete music such as folksongs or Western classical music. In the analysis of Shen’s ideas on music, one question remains: what are the possible sources of these ideas? Shen started writing after May Fourth Movement, a movement that massively involved learning from the West. His career thrived while socialising with a group of Chinese writers whose works bear evident marks of Western literature, and some of whom were also the translators of many Western works. Furthermore, Shen’s ideas on music appear to reflect those of Western literature, especially modern literature. This thesis will consider possible influences on Shen, starting with an examination of what Shen might have read or known about Western literary ideas. Finally, according to the evidence uncovered in my research, this thesis will propose a comparative study between possible Western sources of influence and Shen’s ideas on music, focusing on the influence of Western anthropology, psychology, Goethe (1749 – 1832), French Symbolism, Nietzsche (1844 – 1900), and Joyce (1882 – 1941).
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Ching, Ka-wai Elsa, and 程嘉慧. "Guangdong music, Guangdong cuisine, Guangdong art......a living Guangdong heritage community in old urban Sheung Wan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986365.

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Gary, Julie. "Esthétique de la musique en Chine médiévale : idéologies, débats et pratiques chez Ruan Ji et Ji Kang." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1061/document.

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Dans la Chine du IIIè siècle, les mutations politiques et intellectuelles considérables survenues après l’effondrement des Han favorisent l’éveil d’une conscience inédite de l’individu, ainsi que l’émergence de nouvelles tendances philosophiques (le néo-taoïsme de l’Étude du Mystère) et l’apparition d’une activité artistique en rupture avec la tradition qui s’est imposée durant quatre siècles d’hégémonie confucéenne. La musique, qui occupe une place d’élection dans la vie des lettrés, voit évoluer le statut et la pratique auxquels elle était jusqu’alors confinée, l’outil moralisateur au service de la concorde sociale s’affirmant désormais comme une distraction libre et privée, affranchie de ses finalités politiques et civilisatrices. Notre travail prend pour objet les conceptions de la musique qui ont vu le jour dans ce contexte de l’avènement esthétique et d’une valorisation sans précédent des émotions individuelles. En nous concentrant plus particulièrement sur Ruan Ji 阮籍 (210-263) et Ji Kang 嵇康 (223-262), figures de proue de la pléiade des Sept Sages de la Forêt de Bambous et éminents poètes, philosophes et musiciens, nous avons cherché à étudier la réflexion esthétique qui s’élabore dans leurs écrits autour des questions de l’origine et la nature de la musique, de ses fonctions morales et sociales, de son utilisation politique ou macrobiotique, de ses vertus éthiques ou diététiques, ou encore de son lien aux émotions. L’analyse textuelle est complétée par celle de pratiques ou de gestes musicaux : le sifflement chez Ruan Ji, la cithare chez Ji Kang, qui donnent corps aux discours et illustrent leur mise en œuvre concrète dans la vie de ces auteurs. De sorte que l’esthétique ne se définit plus seulement comme un discours, mais aussi comme un ethos, et que l’effort d’affranchissement de la musique est contemporain d’une d’émancipation des sujets mêmes de l’expérience esthétique<br>In third-century China, the huge political and intellectual mutations occurring after the collapse of the Han dynasty result in the awakening of a new self-consciousness of man and the emergence of new philosophical trends (the so called Dark Learning), or also an artistic activity breaking off with four centuries of Confucian orthodoxy. Music, which occupies a privileged position in the life of literati, evolves as well, as far as its traditional status and practice are both concerned. No more considered a tool of moralization for the sake of civilized order or social harmony, it becomes a private and free distraction, emancipated from political or any other pragmatic purpose. The conceptions of music appearing in this context of nascent aesthetics provide the subject matter of our research. Focusing on Ruan Ji 阮籍 (210-263) and Ji Kang 嵇康 (223-262), two leading figures of the well-known literati group “the Seven Sages of the bamboo grove” who were also famous poets, thinkers and musicians, we attempt to examine their aesthetic thought throughout their main writings on music, concerning issues such as the origins and nature of music, its moral or social functions, its political or macrobiotic use, its ethical or dietetic virtues, and also its relation to man’s emotions. The textual analysis is completed by the study of musical practices or gestures (Ruan Ji’s whistling, Ji Kang’s playing the zither), that illustrate the effective application of their ideas in concrete life. Therefore, aesthetics does not only consist in a mere discourse, but becomes a kind of ethos, in which the emancipation of music is inseparable from that of the individual himself, through his aesthetic experience
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Shang, Peilei [Verfasser]. "Hybridity of Chinese and Western Music: The Application of the Chinese Instrument Qin to Western Orchestra / Peilei Shang." Hamburg : Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky, 2020. http://d-nb.info/1223620999/34.

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Books on the topic "Sheng music"

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Zhou, Shiseng. Guo sheng ji. Beijing zhong xian tuo fang ke ji fa zhan you xian gong si, 2012.

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Jiao xiang ren sheng: Giao [sic] xiang ren sheng. Dong fang chu ban she, 2001.

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Li, Guojun. Sheng guo yuan sheng--Zhongguo di yin yue. You shi wen hua shi ye gong si, 1988.

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Wang, Wen. Wen sheng: Hear voice. Jiu zhou yin xiang chu ban gong si, 2016.

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Lu sheng yue tan. Guizhou ren min chu ban she, 2010.

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Lu sheng yue tan. Guizhou ren min chu ban she, 2010.

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Zhongguo chuan tong sheng guan yue shen lun. Hunan wen yi chu ban she, 2005.

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Zhongguo chuan tong sheng guan yue shen lun. Hunan wen yi chu ban she, 2005.

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Ju gao sheng zi yuan. Bai hua wen yi chu ban she, 2000.

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Chen, Mei Yu. Ren sheng xie zou qu. Yinyuezhiliao, 2002.

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Book chapters on the topic "Sheng music"

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Chen, Kuang Yu, Zhenhao Song, Yuan Liu, and Matthew Anderson. "Music Performance." In Reading of Shāng Inscriptions. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-6214-3_113.

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Furaha, Emmanuel, and Eunice Kamaara. "Interrogating Sheng in gospel music in Kenya:." In Linguistic and Sociolinguistic Perspectives of Youth Language Practices in Africa. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx07820.19.

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Rutherford-Johnson, Tim. "1989 and After." In Music after the Fall. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520283145.003.0001.

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Beginning with examples by Steve Reich, Galina Ustvolskaya, Merzbow, Hildegard Westerkamp, and Bright Sheng, this chapter introduces the diversity of composition being produced at the end of the 1980s and explains the need for a new form of music history that can reflect and organize that variety. It provides a rationale for 1989 as a starting point for that history and describes six main developments in society, culture, and technology that have enabled and inspired developments in Western art music since then: social liberalization, globalization, digitization, the Internet, late capitalist economics, and the green movement.
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Aki, Tsumori. "How Shen Congwen became a “Believer in Music”." In Routledge Companion to Shen Congwen. Routledge, 2019. http://dx.doi.org/10.4324/9781351253727-16.

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Manning, Jane. "JOHN BECKWITH (b. 1927)Five Lyrics of the T’ang Dynasty (1947)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0010.

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This chapter discusses a brief early cycle by a distinguished senior Canadian composer, John Beckwith. The texts of its five parts are written by three different authors: Li Po, Wang-Wei, and Li Shang-Yin. The chapter considers this piece to be especially suitable for young singers, as it can give them every chance to shine. In addition, the poems’ delicate economy is mirrored in music which is direct in appeal, becoming fresh and natural. A subtly ‘oriental’ flavour is evoked by means of simple modality in the musical themes. The chapter describes how this piece can almost sing itself, since voice and piano writing is entirely idiomatic, and the modest proportions and range are not at all taxing.
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"Sing a Soundless Song for Beauty: Beauty in Literature and Music through Shen Congwen’s Fengzi." In Beauty: Exploring Critical Perspectives. BRILL, 2016. http://dx.doi.org/10.1163/9781848883949_010.

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"Glossary Bailian Jiao White Lotus teachings baimiao paying homage at the temples ban band caijie street procession cha, ban small cymbals chi hui hold a feast for all the households chuige songs for winds chuigu shou drumers and wind players dangzi gong in frame daqu large pieces dizi transverse flute with kazoo membrane fang dengke releasing the lanterns fangshe or shishi pardon and distribution of food fang hedeng releasing the river lanterns gongche traditional notation gu large barrel drum guanshi, zan guan helper guanzi double-reed pipe guyueban, chuida ban wind-and-percussion band huahui assembly of performing troupes hui association huishou association head nanyue the southern music nao, bo large cymbals pai prelude paizi percussion pieces, cf. the melodic qupai qu pieces qupai labelled melodies shang miao going to the temple shan hui charitable associations she society she hui altar assembly shen body sheng free-reed mouth organ sheng-guan yue type of wind-and-percussion music shenghui outstanding association shifu masters tao suites wei tail xiangshou incense head xiaoqu small pieces xueshi learning the [ritual] business xuyuan make vows to the gods." In Tradition & Change Performance. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-10.

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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. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-5.

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"Shimian Maifu Ambush on All Sides, a pipa piece shu calligraphy, one category of the literati’s self-cultivation and entertainment shu konghou angular harp Si silk, a category of ancient classification for musical instruments Sichuan Yangqin a local singing narrative genre in Sichuan Province sihu four-string bowed lute suona conical oboe tan plucking, a category of folk classification for musical instruments, meaning plucked instruments taoxun pottery ocarina taozhong pottery bell Tianjin Minjian Yinyue The great meeting of folk music in Tianjin City Shenghui tongbo brass cymbals Tu earth, a category of ancient classification for musical instruments Wenban Shi’er Qü Twelve civil short pieces, a collection of pipa pieces edited by Yang Yinliu and Cao Anhe in 1943 wenqü civil pieces wenzi pu character notation wo konghou half-tube plucked zither with frets on the soundboard wuqü martial pieces xiao vertical bamboo flute, similar to ancient chiba xianghege song, accompanied by instruments xiqin bowed lute xun egg or ball shaped wind instrument, comparable to ocarina yangqin dulcimer yanyue banquet music in the court Yayin Ji Collection of elegant music edited by Yang Yinliu in 1923–1929 yayue ceremonial court music yazheng zither yü a type of ancient sheng, mouth organ yü (different Chinese scraped wooden block character) yunluo small gong chime zheng bridged zither." In Tradition & Change Performance. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-6.

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Conference papers on the topic "Sheng music"

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Y.W., Liu. "China and Russia – «The Great Silk Road» - the interpenetration of cultures in composing in the 21st century." In SCIENCE OF RUSSIA: GOALS AND OBJECTIVES. L-Journal, 2020. http://dx.doi.org/10.18411/sr-10-12-2020-54.

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Abstract:
The article is devoted to the premiere of the symphonic work of the Russian composer Viktor Pleshak "Dun Huang" held in China in 2018. In this regard, the problem of interpenetration of cultures on the basis of their integration and striving for peaceful cooperation is considered. The urgency of such cultural initiatives between countries is emphasized. The features of the musical language of this symphony are noted: the introduction of Chinese folk instruments (pipa, erhu, shen) into the classical composition of the symphony orchestra. As a feature of the musical language of the symphony, the ability of the Russian composer to penetrate into the essence of the characteristic modes of Chinese music and create a large symphonic work with a national flavor in the absence of direct quotation of Chinese folk melodies is noted.
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