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Journal articles on the topic 'Xin pian'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Kwak, Hyun-Suk. "A study on the special characters of Chinese and Korean, in Han Xian Wen Xin Yu Pian." Chinese Studies 56 (September 30, 2016): 85–114. http://dx.doi.org/10.14378/kacs.2016.56.56.8.

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2

Sun, Hui, Xue-na Li, Ai-hua Zhang, et al. "Exploring potential biomarkers of coronary heart disease treated by Jing Zhi Guan Xin Pian using high-throughput metabolomics." RSC Advances 9, no. 20 (2019): 11420–32. http://dx.doi.org/10.1039/c8ra10557j.

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3

Xu, Bi‐Yu, Ying‐Juan Huang, Bao‐Guo Sun, et al. "Skin‐patch of Xin Huang Pian on relieving joint symptoms in patients with acute gouty arthritis: A Randomized, Double‐Blind, Active‐Controlled Trial." Journal of Advanced Nursing 76, no. 6 (2020): 1416–24. http://dx.doi.org/10.1111/jan.14338.

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4

Milkiewicz, Piotr, and Jenny Heathcote. "Cholestasis induced by Chinese herbal remedy Xia-Ku-Hua-Tan-Pian." Liver International 31, no. 5 (2011): 746–47. http://dx.doi.org/10.1111/j.1478-3231.2011.02506.x.

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5

Zhang, Mengzhe. "POLYPHONIC GENRES IN PIANO CREATIVITY OF CHINESE COMPOSERS." Aspects of Historical Musicology 24, no. 24 (2021): 148–65. http://dx.doi.org/10.34064/khnum2-24.08.

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Statement of the problem. The twentieth century marked an increased interest in polyphonic music. The geography of polyphonic works for piano expanded significantly and a creative development of many Chinese composers, writing polyphonic piano pieces, took place. Today, polyphonic pieces make up a significant part of the piano repertoire in China, but they are little studied by musicologists and performers. The objective of this study – to reveal the contribution of Chinese composers to the creation of polyphonic piano repertoire of the XX – early XXI century. Analysis of the research and publ

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6

Grigoryev, Anatoly, Lyudmila Sukhitashvili, and Yulia Tselkovaya. "Piano-performance intonation in historical retrospect of the xix century." KANT Social Sciences & Humanities, no. 6 (April 2021): 92–98. http://dx.doi.org/10.24923/2305-8757.2021-6.7.

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The article discusses the issues of the formation and once-ultimate piano-performing intonation, nature and essence of expressive execution in the musical pedagogy of the first half of the nineteenth century. Qualitative changes, the most important style, performing, pedagogical features of various "schools", methodic-theoretical ideas about the expressiveness of the execution of not only classical, but also romantic pianism, "brilliant style" are defined and identified. Based on the integrated analysis, the uniqueness of innovative pedagogical principles, new terms and concepts in the field o

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Zakharbekova, Irina S. "The theme of childhood in French 19th-century music: a first-time overview." Contemporary Musicology, no. 4 (2019): 3–32. http://dx.doi.org/10.56620/2587-9731-2019-4-003-032.

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The paper describes piano and vocal music of the 19th-century French composers – Ch. Alkan, Ch. Gounod, J. Bizet, and G. Fauré. The research does not focus that much on the analysis of musical language of selected works, rather, it explores their historical and cultural context as well as some of the reasons for their appearance. The theme of childhood in the 19th-century French musical culture has a special role. It naturally follows from the general attention to childhood demonstrated by philosophers, educators, and writers of the 18th-19th centuries, and has several ideas behind. Firstly, a

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8

Sradzhev, Viktor Pulatovich, and Zi Ye. "The experience of traditional piano pedagogy of the early 19th century in the innovative technical development of modern pianists." Pan-Art 5, no. 1 (2025): 145–51. https://doi.org/10.30853/pa20250017.

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The aim of the research is to identify the methodological principles of traditional piano pedagogy of the early 19th century that can help in the search for modern innovative developments in the field of forming the "fine" technique of a pianist. The article discusses the continuity and essential differences in the requirements for the technique of keyboard players and pianists of the first third of the 19th century. The continuity of requirements concerned a range of issues related to "hand positioning" and finger play, and the difference consisted in the need to develop the physical qualitie

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9

Shkolina, Marina S. "MUSICAL ORNAMENTATION AND ITS USING IN RUSSIAN PIANO WORKS OF THE FIRST HALF OF THE 19 CENTURY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 55 (2024): 214–21. https://doi.org/10.17223/22220836/55/17.

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The article deals with aspects of the embodiment of ornamentation3 in music. The musical arrangement is a special kind of text4 . On the one hand, its essence is manifested in the sound, which materializes in time and space, and on the other hand, in the sphere of sense perceptions, including emotional impressions or experiences, visual images, etc. The associative similarity with some elements of fine art allows revealing a special musical “pattern” by means of which the piano texture acquires ornamental features. The ornamentation means the introduction of ornamentation1 elements into the mu

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10

Liu, Jie. "Russian and Chinese traditions in the piano piece by G. Ya. Ore “Fantasy of Southern China”." Культура и искусство, no. 7 (July 2023): 90–98. http://dx.doi.org/10.7256/2454-0625.2023.7.43647.

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The subject of the research is the piece for piano solo "Fantasy of Southern China: Lady and the Flower Seller" (1931) by the Russian &#233;migr&#233; composer Harry Yakovlevich Ore (Xia Like, 1885-1972), forgotten in his homeland. A graduate of the St. Petersburg Conservatory, he lived most of his life in China, where he distinguished himself as a pianist, teacher and composer. Ore left a notable mark on the history of Chinese music, including as the author of the first piano arrangement of typical qupai melodies of the traditional Cantonese opera yueju. The purpose of the study is to

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11

Pezzini, Elena. "Articolazioni territoriali a Palermo tra XII e XIV secolo." Mélanges de l École française de Rome Moyen Âge 116, no. 2 (2004): 729–801. http://dx.doi.org/10.3406/mefr.2004.9340.

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L’autore tratta delle grandi divisioni territoriali urbane della Palermo bassomedievale e della loro relazione con l’amministrazione urbana. L’analisi delle fonti documentarie consente di intravedere gli assetti territoriali attestati dall’età normanna alla prima età aragonese, e di rilevare i nessi che legano l’organizzazione del territorio alla fiscalità e all’amministrazione della giustizia. Si individua nell’età federiciana un momento di cesura che vede avviarsi un processo di riconfigurazione della città sul piano demografico, sociale, istituzionale, urbanistico. Importanti tappe di quest

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12

Chan, Kenneth. "The Global Return of the Wu Xia Pian (Chinese Sword-Fighting Movie): Ang Lee's Crouching Tiger, Hidden Dragon." Cinema Journal 43, no. 4 (2004): 3–17. http://dx.doi.org/10.1353/cj.2004.0030.

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13

de Blaauw, Sible. "A mediaeval portico at San Giovanni in Laterano: the Basilica and its ancient conventual building." Papers of the British School at Rome 58 (November 1990): 299–316. http://dx.doi.org/10.1017/s0068246200011685.

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UN PORTICO MEDIOEVALE A SAN GIOVANNI IN LATERANO: LA BASILICA E L'EDIFICIO CONVENTUALE ADIACENTENella campata dell'angolo nord-ovest del chiostro di S. Giovanni in Laterano in Roma, ed in un ambiente adiacente, appaiono delle vestigia di una struttura di epoca precedente a quella dell'attuale chiostro, costruito nel secondo quarto del XIII secolo. Tali resti vengono interpretati in questo articolo come appartenenti ad un portico risalente ai primi decenni del XII secolo. Esso comprendeva un colonnato di almeno cinque colonne ed era sormontato da un piano superiore dove si trovava una stanza de

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14

Zhang, Mengzhe. "Rao Yuyan’s polyphonic works for piano in terms of performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (2021): 201–23. http://dx.doi.org/10.34064/khnum1-61.11.

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Statement of the problem. Rao Yuyan (1933–2010) is one of the most famous Chinese composers, who created many polyphonic works. His creative and research practices have profoundly influenced on the development of polyphony in China. Some aspects Rao Yuyan’s polyphonic thinking have been examined in the studies by Chen Yiwen (2015) and PanJia (2018). Innone of the researches the piano polyphonic works of the composer are studied from the standpoint of performance issues, definition of piano tasks in the process of their interpretation. In this study for the first time the piano polyphonic works

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15

Chow, Hei Ching, Tsz Him So, Horace Cheuk Wai Choi, and Ka On Lam. "Literature Review of Traditional Chinese Medicine Herbs–Induced Liver Injury From an Oncological Perspective With RUCAM." Integrative Cancer Therapies 18 (January 2019): 153473541986947. http://dx.doi.org/10.1177/1534735419869479.

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Traditional Chinese medicine (TCM) herbs are commonly regarded to be safe with minimal toxicities in Chinese communities. Cancer patients who are receiving Western oncology therapy often concurrently take TCM herbs for anticancer and symptom relief purposes. We performed a literature review for current evidence on TCM herb–induced liver injury from an oncological perspective. A literature search on PubMed was performed to identify publications regarding TCM herbs and concoctions with hepatoprotective or hepatotoxic properties. Lists of commonly used herbs and their causality levels were compil

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16

Сетьян, Г. Г. "ВОКАЛЬНОЕ ИНТОНИРОВАНИЕ В ФОРТЕПИАННОМ ВОСПРОИЗВЕДЕНИИ: МЕТОДОЛОГИЧЕСКИЙ ДИСКУРС". Традиції та новації у вищій архітектурно-художній освіті, № 4 (1 грудня 2018): 124–31. https://doi.org/10.5281/zenodo.1807069.

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The article is devoted to the substantiation of the specificity of the phenomenon defined by the metaphor “singing piano”. It is noted that this metaphor has deep historical and stylistic roots, stemming from the nature of music as the art of an intonated sense (B. Asafyev), in which the sound is primary (F. Chopin), and the word and music are only various vectors of this art. In the process of the evolution of musical thinking, the vocal and instrumental elements interacted in a complex and varied manner, alternately occupied leading positions in the practice of public music-makin

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17

Shiu, Cao. "PIANO SUITE DU MING XIN «MERMAID» AS AN EXAMPLE OF THE COMBINATION OF THE PRINCIPLES OF NATIONAL AND EUROPEAN MUSICAL LANGUAGE." Ukrainian music 32, no. 2 (2019): 98–104. http://dx.doi.org/10.33398/2224-0926-2019-32-2-98-104.

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18

Shiu, Cao. "PIANO SUITE DU MING XIN «MERMAID» AS AN EXAMPLE OF THE COMBINATION OF THE PRINCIPLES OF NATIONAL AND EUROPEAN MUSICAL LANGUAGE." Ukrainian music 32, no. 2 (2019): 98–104. http://dx.doi.org/10.33398/2224-0926-2019-32-2/98/104.

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19

Abla, Adib A., Arnau Benet, and Michael T. Lawton. "The Far Lateral Transpontomedullary Sulcus Approach to Pontine Cavernous Malformations: Technical Report and Surgical Results." Operative Neurosurgery 10, no. 3 (2014): 472–80. http://dx.doi.org/10.1227/neu.0000000000000389.

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Abstract BACKGROUND: Pontine cavernous malformations (CMs) located on a peripheral pontine surface or the fourth ventricular floor are resectable lesions, but those deep within the pons away from a pial surface are typically observed. However, the anterior bulge of the pons formed by the brachium pontis creates a unique entry point for access to deep pontine lesions from below, working upward through the pontomedullary sulcus. OBJECTIVE: We developed a transpontomedullary sulcus (TPMS) approach to these lesions. METHODS: The TPMS approach used the far lateral craniotomy and upper vagoaccessory

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20

Gelli, Annica. "Acque vive: le gore di Colle di Val d'Elsa e gli edifici andanti a acqua." STORIA URBANA, no. 125 (April 2010): 133–49. http://dx.doi.org/10.3280/su2009-125007.

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La cittŕ di Colle di Val d'Elsa deve il suo sviluppo alla presenza dell'acqua e agli opifici che potevano funzionare mediante l'energia idraulica. Nella vallata sottostante il centro medievale di Onci ricche sorgenti perenni, opportunamente incanalate, vanno a rinvigorire il fiume Elsa. Nel XII secolo l'unico modo per sfruttare tali acque fu deviarne la quasi totalitŕ in un canale artificiale, la gora, la quale seguendo il naturale dislivello morfologico del terreno arrivava fin dentro il Piano della cittŕ, una vera e propria area manifatturiera. Successive scissioni e prolungamenti dei canali

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21

Alaggio, Rosanna. "Modelli di gestione del potere signorile nel Salento medievale." Mélanges de l École française de Rome Moyen Âge 118, no. 1 (2006): 59–76. http://dx.doi.org/10.3406/mefr.2006.9404.

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Una «rilettura » di alcune fonti da tempo edite, riguardanti la storia degli insediamenti più importanti del Salento, ha consentito l’individuazione dell’applicazione di alcuni poteri signorili in ambito urbano e, quindi, la definizione di una peculiare differenziazione della condizione giuridica tra le diverse parti della città. A Brindisi, città demaniale, l’esercizio di simili prerogative, fin dalla fine del XII sec., si esprimeva nella possibilità per alcuni enti religiosi di riscuotere, nei settori di relativa pertinenza – definiti attraverso il termine pheudo o più frequentemente tenimen

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22

Petrova, Valeria. "The specifics of the development of accompanist art in Russia in the second half of the 19th – 20th centuries." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 15 (2023): 59–65. https://doi.org/10.17223/26188929/15/8.

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This article is devoted to specific hysterical facts that influenced the development of concertmaster art in Russia in the second half of the XIX – XX centuries. The main factors are considered, as a result of which the process of becoming a professional concertmaster, having an inextricable connection with vocal art, piano performance and the genre of opera, acquired an innovative national style. Attention is paid to the characteristic features of the contribution of composers, pianists, conductors and music teachers to the development of accompaniment in Russia. The prerequisites for the for

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23

Molteni, Ilaria. "High cultures e low cultures visualizzate: le metamorfosi del “Sacro Catino” di Genova tra temi cavallereschi e miti di fondazione." Eikon / Imago 11 (March 1, 2022): 107–18. http://dx.doi.org/10.5209/eiko.78846.

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Il “Sacro Catino”, oggetto esotico giunto a Genova intorno al 1100, riceve diverse identificazioni tra XII e XIII secolo: da manufatto meraviglioso a santo Graal, reliquia della Passione. Analizzando le identificazioni del catino alla luce del dialogo con il mondo letterario, questo saggio indaga la trasformazione di temi esclusivi e complessi in elementi della memoria cittadina. L’articolo si concentra dapprima sull’appropriazione del motivo del Graal, e mostra come proprio il trattamento visuale che il tema riceve nei romanzi arturiani fa di questa letteratura il veicolo ideale per identific

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24

Brancoli Busdraghi, Piero. "Le origini del concetto di feudo come istituto giuridico." Mélanges de l École française de Rome Moyen Âge 114, no. 2 (2002): 955–68. http://dx.doi.org/10.3406/mefr.2002.9260.

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Lo scritto ha per tema la genesi della nozione di «feudo » nel senso preciso, rigorosamente giuridico, che fu proprio del termine sino alla fine del XVIII secolo : quello cioè di una concessione reale tipica, qualificata e condizionata da uno specifico comportamento (fedeltà ed eventualmente servizio) dovuto dal concessionario (vassallo) nei riguardi del concedente (signore). Il concetto perviene a compiuta maturazione intorno alla metà del XII secolo a seguito dell’elaborazione, avutasi nella giurisprudenza e nella consuetudine, delle norme emanate con l’Edictum de beneficiis dell’imperatore

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25

Stepanidina, Ol’ga Dmitrievna. "Dithyramb - Concert Romance in the Russian Chamber-Vocal Culture of the Second Half of the XIX Century: Transformation of Piano Part." Manuskript, no. 3 (March 2020): 155–63. http://dx.doi.org/10.30853/manuscript.2020.3.32.

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26

de Savage, Heather. "Massimiliano Sala, ed, Piano Culture in 19th-Century Paris. Speculum Musicae 26 (Turnhout: Brepols, 2015). xii+413 pp. €105,00." Nineteenth-Century Music Review 15, no. 2 (2017): 278–81. http://dx.doi.org/10.1017/s1479409817000702.

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27

Lee, Ning, та Minjeong Shin. "Contradictory Realizations of Ethnic Poetry: Analysis and Comparative Study of Song of the same name by Chinese artists Su Xia and Lu Zhaiyi 《Beloved Our Motherland》(我愛這土地)". Korean Society of Music Education Technology 63 (30 квітня 2025): 355–76. https://doi.org/10.30832/jmes.2025.63.355.

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The art song in China began to develop with the introduction of Western music in the early 20th century. Initially, German art songs such as Schubert, Schumann, Wolf, and Hindemith provided a series of models, but gradually traditional and ethnic elements were incorporated into the creation of art songs. Around 1920, Chinese kosmosa was utilized, and from then on, Eastern pentatonic scales became the basis for melody and harmony. At the turn of the modern era, with the opening up of the socio-economy and the influx of German and other art songs from various schools, Western art songs became mo

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Бахтина, Зарета Вахтангиевна. "Adyghe (Circassian) theme in the work of Western European composers of the 19th century." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(277) (October 6, 2021): 171–81. http://dx.doi.org/10.53598/2410-3489-2021-2-277-171-181.

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Целью является рассмотрение в контексте эстетики романтизма тип отражения образов Кавказа композиторами XIX века в Западной Европе без апелляции к «чужому слову» и использования этнических языковых элементов. Вводятся в научный обиход две фортепианные пьесы - «Черкесский марш» австрийского композитора Иоганна Штрауса (сына), «Черкесская песня» немецкого композитора Жана Вогта (Фогта) и пьеса Альфреда Лебо для фисгармонии (органа) «Черкесский марш». Использование контекстного подхода и музыковедческого инструментария анализа, позволяет выявить существенные черты музыкальной поэтики сочинений и

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Tekavčić, Pavao. "Le interiezioni (fonosimboli) nella prosa rovignese dell'antologia "Istria nobilissima"." Linguistica 29, no. 1 (1989): 71–80. http://dx.doi.org/10.4312/linguistica.29.1.71-80.

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Come risulta da un recente studio di Paola Villani (Villani 1986), le interiezioni (o, come le chiama l'autrice, fonosimboli) sono un po' la Cenerentola delle descrizioni linguistiche. Menzionate in modo piu o meno marginale, descritte sommariamente, definite in modo non soddisfacente, esse sembrano riunire in sé lo status «tuttofare» degli avverbi tradizionali (v. Crystal 1971, p. 75) e quello di «small change of linguistic currency», molto appropriatamente attribuito da E. Löfstedt alle preposizioni, «particelle» e parole affini (Löfstedt 1959, p. 163). In un termine, sono elementi linguisti

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30

Silverman, Robert. "Jeremy Norris. The Russian Piano Concerto. Volume I: The Nineteenth Century. Bloomington and Indianapolis: Indiana University Press, 1994. xii, 227 pp. $35.00." Canadian-American Slavic Studies 31, no. 1 (1997): 88–89. http://dx.doi.org/10.1163/221023997x00186.

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Скурко, Евгения Романовна, and Елена Владимировна Гусева. "Five Poems by Arensky at the Verses by Schepkina-Kupernik: Towards the Problem of Poetic Text Interpretation in Music at the Edge of the 19-20 centuries." Музыкальная академия, no. 1(773) (March 31, 2021): 130–45. http://dx.doi.org/10.34690/133.

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Статья посвящена проблеме отражения новых тенденций русской художественной культуры рубежа XIX-XX веков в позднем вокальном цикле А. Аренского Пять романсов op. 70 на стихи Т. Щепкиной-Куперник. В частности, речь идет о проявлении в поэтике и стилистике признаков стихотворения с музыкой, ставшего, как известно, одним из репрезентантов «нового стиля» данной эпохи. Рассматривается изменение отношения композитора к слову, определившее особенности трактовки как мелодики, так и других средств музыкальной выразительности (гармония, фактура, партия фортепиано и так далее). Сопоставление с более ранни

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Bottazzi, Marialuisa. "Alienazioni a titolo gratuito in documenti dei secoli XI-XII." Italian Review of Legal History, no. 7 (December 22, 2021): 595–643. http://dx.doi.org/10.54103/2464-8914/16899.

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Solo un numero esiguo di chartae rogate sin dall’alto medioevo si può dire abbia avuto una vita parallela alla consueta e preminente destinazione giuridica o amministrativa notarile grazie alla scelta d’incidere su pietra, il più delle volte da parte dei legatari, anche una sola parte del contenuto testuale pergamenaceo al fine di notificare, di pubblicizzare e di perpetuare, generalmente pro redemptione animae, la memoria di quanto veniva disposto da agiati benefattori a favore, in un primo tempo delle istituzioni monastiche ed ecclesiastiche e più tardi anche gli enti assistenziali, sia reli

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Valvo, Paolo. "Una conciliazione ufficiosa? Le relazioni tra la Santa Sede e il Messico negli anni di Pio XII." Anuario de Historia de la Iglesia 33 (May 10, 2024): 143–72. http://dx.doi.org/10.15581/007.33.017.

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El ensayo analiza las relaciones entre la Santa Sede y México durante el pontificado de Pío XII , partiendo de la documentación inédita conservada en el Archivo Histórico de la Sección para las Relaciones con los Estados de la Secretaría de Estado de la Santa Sede, y concentrándose en los años que van desde la elección de Eugenio Pacelli al trono pontificio hasta el inicio del sexenio presidencial de Adolfo Ruiz Cortines (1952-1958). Del examen de los documentos vaticanos se desprenden dos tendencias principales: por un lado, la indudable consolidación del frágil modus vivendi inaugurado por e

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Skowroneck, Tilman. "Erard: A Passion for the Piano Robert Adelson New York: Oxford University Press, 2021 pp. xii + 238, ISBN 978 0 197 56531 5." Eighteenth Century Music 20, no. 1 (2023): 81–83. http://dx.doi.org/10.1017/s1478570622000379.

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Ying, Bixian, Pranti Sutar, Peter Nagel, Stefan Schuppler, and Karin Kleiner. "(Digital Presentation) Investigations into the Capacity Degradation Due to an Electronic Structural Change in Homogenous Boron-Substituted Ni-Rich Layered Oxides." ECS Meeting Abstracts MA2022-01, no. 4 (2022): 519. http://dx.doi.org/10.1149/ma2022-014519mtgabs.

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Ni-rich layered oxides (LiNixCoyMnzO2, x≥0.8, x+y+z=1) would fulfil the energy density requirements of the automobile industry since they offer outstanding capacities at relatively high mean voltages and sufficient power densities1-3. However, the materials still show significant capacity and voltage fade which requires substantial research. Recently we have shown that the electronic structure is the key to understand the performance but also the failure of the materials1. Thus, we intend to modify the electronic structure using anionic dopants such as Boron. Thus, homogenous B-substituted NCM

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Kirwan, Paul. "Piano: An Encyclopedia (2nd edition)2004216Edited by Robert Palmieri and Margaret W. Palmieri. Piano: An Encyclopedia (2nd edition). New York and London: Routledge 2003. xii + 534 pp., ISBN: 0 415 93796 5 £100/$150 Encyclopedia of Keyboard Instruments." Reference Reviews 18, no. 4 (2004): 44–45. http://dx.doi.org/10.1108/09504120410535506.

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Rovner, Anton A. "An Interview with Composer and Pianist Nina Siniakova." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 77–87. http://dx.doi.org/10.56620/2782-3598.2023.1.077-087.

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The journal Problemy muzykal'noi nauki / Music Scholarship would like to present its readers with an interview with Nina Siniakova, a composer and pianist of a diverse cultural background and broad interests. Her music explores the eternal subjects of beauty, love, life, and death. Her colleagues describe her style as “unique and refined,” (Mark Hagerty, composer, USA) and that in their opinion makes Nina Siniakova “one of the most interesting composers of her generation.” (Krzysztof Meyer, Professor Emeritus, Cologne Hochschule für Musik) Her interests in musical genres span from music writte

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Chambers, D. S. "Il ‘Liber Secretus Iuris Caesarei’ dell'Università di Bologna 1451–1500. By Celestino Piana. (Orbis Academicus. Saggi e Documenti di Storia delle Università, I.) Pp. xii + 109* + 444. Milan: Giuffrè, 1984. L.50,000." Journal of Ecclesiastical History 36, no. 3 (1985): 502. http://dx.doi.org/10.1017/s0022046900041336.

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Huang, Lei. "Heroic pastoral and its national-style reception IN THE CANTATA “YELLOW RIVER” BY XIAN XINGHAI." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 126–50. http://dx.doi.org/10.34064/khnum1-60.07.

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The statement of the problem. The cantata “Yellow River” (&#40644;&#27827;) is one of the most expressive works in Chinese musical art. The article offers interpretation of the cantata in the light of national Chinese pastoral symbolism. Created in 1939 by Xian Xinghai (&#20924;&#26143;) and based on the text of a poem by Guang Weizhan (&#20809;&#26410;&#28982;), the cantata is still of great interest to the researchers. The poetic text of the cantata tells about hard struggle of the Chinese people against the Japanese invaders during the Second Sino-Japanese War. T

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Cooper, Barry. "LUDWIG VAN BEETHOVEN (1770–1827), ED. JON CEANDER MITCHELL PIANO CONCERTO IN E FLAT MAJOR WoO 4 Recent Researches in the Music of the Classical Era80Middleton: A-R, 2010 pp. xii+99, ISBN978 0 89579 665 3." Eighteenth Century Music 9, no. 1 (2012): 133–35. http://dx.doi.org/10.1017/s1478570611000443.

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Duvernoy, Jean. "La Procédure de répression de l'hérésie en Occident au Moyen-Âge." Heresis 6, no. 1 (1986): 45–53. http://dx.doi.org/10.3406/heres.1986.2120.

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Investigatory proceedings against those accused of heresy in northern Europe all cases decided by ordeal, up to the year 1204. At that date many Cathars were burnt to death in Braine, (Aisne department). This procedure made sacred by the chuch up to the Lateran Council of 1215, was the normal procedure of common law. It was also the procedure that prevailed in the south of France. After the submission of the Count of Toulouse in 1229, the council held in Toulouse during the same year paid particular attention to what concerned the denunciation of heretics, either «perfects» or their abettors,

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Hou, Bing, Hui Xie, Shengyue Piao, Zhi Guo, Bo Shan, and Jay Mei. "Abstract 4032: Identification of Muc5B mutation as a positive predictive biomarker for mTORC1/2 inhibition by ATG-008 in lung cancer." Cancer Research 82, no. 12_Supplement (2022): 4032. http://dx.doi.org/10.1158/1538-7445.am2022-4032.

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Abstract Background: mTOR is a serine/threonine kinase that regulates cell growth, metabolism, proliferation, and survival. mTOR complex-1 (mTORC1) and mTOR complex-2 (mTORC2) are critical mediators of the PI3K-AKT pathway. Signaling by the PI3K/AKT/mTOR pathway is frequently deregulated in solid tumors and hematological malignancies. Inhibition of mTOR by small molecule inhibitors has therefore attracted great attention as an anti-cancer therapy. However, due to relatively modest clinical efficacy, no mTOR inhibitor has been approved for the treatment of lung cancer. The research of potential

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SUTCLIFFE, W. DEAN. "MUZIO CLEMENTI, OPERA OMNIA VOLUME 1: SIX SONATAS FOR HARPSICHORD OR PIANO, OP. 1 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2000 pp. xii + 55, ISMN M 2153 0537 3 VOLUME 10: DUO FOR TWO PIANOS OR TWO HARPSICHORDS, OP. 1A, AND DUO FOR TWO PIANOS, OP. 12 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2001 pp. ix + 28, ISMN M 2153 0655 4 VOLUME 12: THREE SONATAS FOR HARPSICHORD OR PIANO, OP. 7 ED. COSTANTINO MASTROPRIMIANO Bologna: Ut Orpheus Edizioni, 2002 pp. x + 36, ISMN M 2153 0656 1 VOLUME 21: THREE SONATAS FOR PIANO AND VIOLIN, OP. 15 ED. LUCA SALA Bologna: Ut Orpheus Edizioni, 2000 pp. ix + 71, ISMN M 2153 0571 7 VOLUME 30: THREE SONATAS FOR PIANO OR HARPSICHORD, VIOLIN AND CELLO, OP. 27 ED. MASSIMILIANO SALA Bologna: Ut Orpheus Edizioni, 2001 pp. xi + 70, ISMN M 2153 0576 2 VOLUME 35: THREE SONATAS FOR PIANO WITH FLUTE AND CELLO AD LIBITUM, OP. 32 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2003 pp. ix + 43, ISMN M 2153 0859 6 VOLUME 37: TWO SONATAS AND TWO CAPRICCIOS FOR PIANO, OP. 34 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2002 pp. x + 81, ISMN M 2153 0782 7." Eighteenth Century Music 2, no. 2 (2005): 351–59. http://dx.doi.org/10.1017/s1478570605280417.

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Ridgway, F. R. Serra. "More Material From Tarquinia - Giampiero Pianu: Ceramiche etrusche sovradipinte. (Archaeologica 21: Materiali Del Museo Archeologico Nazionale di Tarquinia, 3.) Pp. viii + 149; 114 plates. Rome: Giorgio Bretschneider, 1982. Paper, L. 130,000. - Annamaria Comella: Il deposito votivo presso ;'Ara della Regina. (Archaeologica 22: Materiali del Museo Archeologico Nazionale di Tarquinia, 4.) Pp. xii + 242; 126 plates. Rome: Giorgio Bretschneider, 1982. Paper, L. 180,000." Classical Review 35, no. 1 (1985): 166–69. http://dx.doi.org/10.1017/s0009840x00107802.

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Matsen, Herbert S. "Celestino Piana O. F. M. Il “Liber Secretus Iuris Caesarei” dell’ Università di Bologna (1451-1500). (Orbis Academicus: Saggi e Documenti di Storia delle Università, 1.) Milano: Giuffrè Editore, 1984. xii + 444 pp. L. 50.000. - Tiziana Pesenti. Professori e promotori di medicina nello Studio di Padova dal 1405 al 1509: repertorio bio-bibliografico. (Contributi alia Storia dell'Università di Padova, 16.) Trieste-Padova: Edizioni Lint, 1984. 279 pp. L. 30.000." Renaissance Quarterly 38, no. 4 (1985): 718–21. http://dx.doi.org/10.2307/2861963.

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González, Juan Pablo. "Editorial." Contrapulso - Revista latinoamericana de estudios en música popular 6, no. 2 (2024): 1–3. http://dx.doi.org/10.53689/cp.v6i2.266.

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De acuerdo con las acciones realizadas por la UNESCO para promover el acceso público a los recursos científicos a nivel mundial, desde este volumen 6/2 de noviembre de 2024, Contrapulso suma a su indexación habitual la suscripción a ROAD, Directorio de Recursos Científicos y Universitarios en acceso abierto. También nos hemos suscrito a la gran base de datos bibliográfica Crossref, y nos adscribimos al modelo legal de licencias Creative Commons que facilita la distribución y uso de contenidos digitales dentro del dominio público. La licencia de nuestros artículos es: Reconocimiento – No comerc

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Chen, Xuezhao, Xiaoyong Zhang, Wei Li, Shouxin Li, Shenglin Ma, and Jingkui Tian. "A two‐step strategy for quality control of Xin‐Yu‐Tie‐Pian, an ointment patch." Biomedical Chromatography, August 25, 2021. http://dx.doi.org/10.1002/bmc.5225.

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WU, H. "PIANO WORKS OF CONTEMPORARY CHINESE COMPOSERS: STYLISTIC AND GENRE FEATURES." Университетский научный журнал, no. 85 (April 28, 2025). https://doi.org/10.25807/22225064_2025_85_114.

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The article is devoted to the stylistic and genre features of piano works by contemporary Chinese composers. A classification of concert piano works is given depending on the genre and programmatic nature. A general characteristic of contemporary Chinese piano works is given, as well as the legacy of individual composers - Xin Huguang, Zhang Shuai, Wei Dongming. Pieces by composers Felix Firmiana Wot, Kio Song, Ed Peng, Xavier Shuang Xu are analysed. Common features of concert piano works by contemporary Chinese composers are revealed: the free attitude to form, abundance of melismas, chromati

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Wanmeng, Li. "Wuzhen pian 悟真篇". Database of Religious History, 27 червня 2024. https://doi.org/10.5281/zenodo.12573378.

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Wuzhen pian (DZ 263.26, j. 26-30 and DZ 1017, j. 18, "Essay on the [Immediate] Awakening to Truth." Also translated as "Chapters on Awakening to Perfection." Its preface is dated to 1075, and its postface is dated to 1078) is a seminal Daoist inner alchemical work that underpins inner alchemy as the essential method for immortal cultivation. Inner alchemy (neidan, which literally means internal cinnabar, 內丹) refers to a range of esoteric teachings and practices derived from diverse theories including but not limited to correlative cosmology, laboratory alchemy (also known as outer alchemy, wai

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Wu, Yi. "Современное обучение пианистов в Китае и технические установки фортепианных школ XIX века". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 1(51) (4 квітня 2019). https://doi.org/10.26086/nk.2019.51.1.025.

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В статье анализируются методы обучения пианистов в XIX веке в Европе и в современном Китае. XIX век в истории фортепианного искусства считался «веком виртуозов». Техника пианистов, в то время, отличалась блеском, совершенством, производила на слушателей ошеломляющее впечатление. Вместе с тем, наряду с блестящими виртуозными достижениями музыкально-художественное развитие пианистов, вследствие механистических методов обучения, заметно ущемлялось, что со временем привело педагогов-практиков к их радикальному пересмотру. В современном воспитании пианистов в Китае опыт «века виртуозов» широко испо

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