6,710 research outputs found
Composition of New Music for Zheng
No full text[[abstract]]Zheng, also known as Guzheng, is a traditional music instrument, and, yet, capable of producing new sounds with widely varying styles of music. Therefore, the author adopted it as the research theme of this thesis study. Improvement of this music instrument was driven by social and cultural needs of each era. Better understanding of its characteristics was achieved through investigation of the instrument evolution, technique development and the scale system. Such understandings may be applied to the composition of Zheng music. Subsequently, the author analyzed the Zheng music of contemporary Taiwanese composers. Through research on music teachers’ works, the author was able to transform the learned techniques into author’s own music expressions. Using these elements, the author composed three Zheng music pieces as a demonstration of her transforming theoretical studies into creation of new Zheng music.
This thesis comprises five chapters:
Chapter 1 is the “Introduction,” which presents the motivation and purpose of this study as well as the sequence of the study and the structure of the thesis.
Chapter 2 is the “History of Zheng,” which describes the evolution of the instrument, the playing techniques and its scale system.
Chapter 3 is the “Analysis of Zheng Music by Contemporary Taiwanese Composers,” which allows the author to transform music phrases of other composers into music expressions of the author’s own.
Chapter 4 is the “Composition of New Music for Zheng, by author” which presents the three compositions for Zheng ensembles of different sizes.
Chapter 5 is the “Conclusions,” which summarizes the important findings of this study that may serve as the guidelines for future compositions.
Nan Song Shuzhou gong du yi jian zheng li yu yan jiu Zheng li yu yan jiu
No full textBen shu shi dui wo she yu 1990 nian chu ban de ying yin ben "Song ren yi jian" de zheng li yu yan jiu. Gai shu shi liao feng fu, she ji zheng zhi, jing ji, jun shi yi ji Song dai gong wen ge shi he shu yi, shi zhen gui de shi wu wen xian. "Song ren yi jian" fan ying le bu shao nan Song shi qi di fang guan fu ji gou she zhi he xing zheng guan li zhi du, bu chong le xu duo Song dai cai zheng, shui shou zheng ce de xin cai liao, bao liu le nan Song chu nian Jiang Huai di qu zhan bei zhuang kuang de xi jie cai liao, hai shi Song dai wen shu zhi du de zhong yao cai liao, you zhu yu Song shi yan jiu de shen ru. Zheng li ben yan jin gui fan, ge shi ming xi, ji ben huan yuan le Song jian tu ban de ben lai mian mao, ju you jiao qiang de can kao jia zh
A translation comparison of stray birds between Zheng Zhenduo’s version and Feng Tang’s version : from the perspective of manipulation theory
No full textThis paper employed Lefevere’s Manipulation Theory to explain respectively how
three main factors of Manipulation Theory, namely patronage, ideology and poetics
controlled Zheng Zhenduo’s and Feng Tang’s translation activity of Tagore’s Stray
Birds. And then the paper will analyze their translation strategies by comparing
certain poems in Stray Birds. However, author of this paper did not aim to reconfirm
Lefevere’s Manipulation Theory, but under his theoretical framework, tried to
interpret translation phenomenon from an extra-linguistic perspective.
Through analysis and comparison, the importance of three core elements was
different in those two versions. For Zheng Zhenduo, three main elements shared equal
impacts on his translation. His individual ideology and poetics conformed to
prevailing ideology and poetics in those days, and his patronage also exerted a
positive influence, therefore his Stray Birds received favorable reviews.
In Feng Tang’s case, individual poetics played the most important role. Although his
poetics reflected literary trends to some extent, but that is still not the mainstream in
today’s literary market. The translator’s subjectivity in Feng’s version was clearly
stronger than Zheng’s. For the purpose of literary innovation and commercial interests,
patronage did not manipulate Feng’s translation too much. As a result, Feng Tang’s
Stray Birds was forced to stop sales.
Key words: Zheng Zhenduo; Feng Tang; Stray Birds; Manipulation TheoryMaster of Art
A Brief Discussion on Zheng He's Nautical Charts - And the Presentation of the Ancient-Present Contrast of Zheng He's Nautical Charts
No full textOriginally, Zheng He’s Nautical Charts were published in Wu Bei Zhi (a collection of military books, 1621), Vol. 240, compiled by Mao Yuanyi of the Ming Dynasty. The charts are thought to have been drawn in the early 15th century. For more than one hundred years, scholars worldwide have been doing research on Zheng He’s Nautical Charts and have published many books and theses. On the basis of these previous works, the author has continued to investigate the charts from the angle of marine cartography, written several papers, and compiled the Ancient-Present Contrast of Zheng He’s Nautical Charts (which were exhibited at the XIHth International Hydrographic Conference) as a chief editor. This paper describes the features of Zheng He’s Nautical Charts briefly and introduces the newly-compiled Ancient-Present Contrast of Zheng He’s Nautical Charts
The emergence of the Chinese zheng : traditional context, contemporary evolution, and cultural identity
No full textThe zheng is a Chinese long zither that was developed from a five-string folk instrument over two thousand years ago to become a concert instrument with approximately twenty million practitioners around the world today. The opposing forces of metamorphosis and continuation have dominated the evolution of the instrument with the most rapid and drastic changes to its conception and practice witnessed in the twentieth century.
This dissertation is a musical and cultural study of the zheng’s living tradition from traditional practice to contemporary evolution, with an emphasis on the transformation of its musical and cultural identity. The studied areas include composition, dissemination, performance technique, and aesthetics. These discussions reveal an underlying ancient Chinese aesthetic principle drawn from both Confucian and Taoist philosophies that applies to all developmental periods of the zheng––the relationship between sheng (generated sound) and yin (cultivated sound).
In addition to being a researcher, the author combines her four-decade long experience of performing and studying the instrument with the voices of four generations of zheng performers and those of Chinese and non-Chinese zheng composers and scholars to reveal the core musical and aesthetic elements of traditional zheng practice. Crucially this includes analyzing contemporary changes in Mainland China and North America since the twentieth century in the context of political influences, Westernization, and globalization. The author argues that the fundamental values of traditional zheng practice are still pertinent to the contemporary development of the instrument.Arts, Faculty ofMusic, School ofGraduat
Zheng Chouyu - the life and works of the classic author of Taiwanese
No full textMým úmyslem bylo v této práci postihnout charakteristické rysy básnické tvorby, kterou se Zheng Chouyu natrvalo zapsal do dějin moderní taiwanské poezie. Snažila jsem se poskytnout co nejširší úhel pohledu na Zheng Chouyuho rané dílo a všímala si jak témat a motivů, tak i formálních a jazykových prostředků. Součástí charakteristiky stylu bylo také zamyšlení nad vztahem Zheng Chouyuho díla k tradiční čínské poezii. Soustředila jsem se na estetickou hodnotu básní a posuzovala je jako samostatné entity, i když nebylo vždy možné zcela přehlédnout společenské vlivy, které měly podíl na jejich vzniku. Centrem mého zájmu bylo čtení básní a následná analýza jazyka, techniky zpracování, témat, stylu a obraznosti. V textu jsem uvedla příklady vybraných básní typických pro dané téma nebo pro námět zpracovaný v jisté kapitole. Soustředila jsem se na interpretaci jednotlivých básní a na jejich rozbor
Zheng xuan "Shang shu zhu" ji kao
No full text鄭玄博通經今、古文，遍注群經，著述百萬言，為後人尊為漢代經學集大成者，世有「鄭氏家法」、「鄭學」之稱。其經學史地位至為顯要，故黃侃有「治經先讀鄭君書」之說。鄭玄著述繁多，以經注影響最巨，《尚書注》為其一。然學者於鄭玄《書注》之研究尚有諸多不足之處。鄭玄《尚書》學於經學史中，「文本性質」與「鄭王之爭」為兩個爭議焦點。兩漢古文《尚書》之流傳疑點頗多，一般尊信《後漢書．儒林傳》所言，以為賈逵、馬融、鄭玄注本為杜林漆書本。然循名責實，鄭本當是中祕所藏之「孔壁本」。自西漢末年，章句簡化之風漸盛，鄭玄「質於辭訓」，為後來之荊州學派所譏。王肅或受荊州學派影響，其學雖出於鄭氏，卻不好之，另注群經，與之相抗，然時至今日，其經學史意義已大過經注是非本身。鄭玄《尚書注》約亡於北宋。世傳王應麟有輯本，此說非也。是本或為惠棟祖、父仿行之作，待其家傳本流出後，世人遂誤為王氏原輯。清代學者推尊「鄭學」，為之輯佚者十餘家，適為今日研究之資糧。然清人所輯，真偽不辨，魯魚亥豕，以最具代表性之袁鈞本為例，其於校勘、考證諸方面，皆有疏失。段玉裁云：「必先定其底本之是非，而後可斷其立說之是非。」分辨佚文之真偽後，方可考論鄭玄解經之法，評判其是非得失。「曰若稽古」為《尚書》首句，漢唐宋清諸家說之中，鄭注尤為特別，可見其解經特色：一、不重常訓，二、徵引緯書，三、隨文求義。而「光被四表」一句，主要關涉清代學術，以戴震新解反觀鄭注，則「鄭學」理念在於「念述先聖之元意，思整百家之不齊」，其解經以「經義」為第一義，「字義」退居其後。關鍵詞：鄭玄，《尚書注》，清代學術，解經方法，經學，文獻學An expert in the studies of both jinwen ‘New Text’ and guwen ‘Old Text’ classics, Zheng Xuan has provided annotations of over a million Chinese characters on a variety of classics. Later generations revered him for his integration of the classical studies of the Han Dynasty and his studies later turned into an area of study in its own right. His prominent status in the classical studies is best illustrated when Huang Kan stated that “those who pursue the classical studies should begin with Zheng’s works”. Among his voluminous works, his annotations on the classical canons had the greatest influence on later scholars. Shangshuzhu ‘Annotation of Shangshu’ is one of these works. It is, however, noted that there are still a number of shortcomings in the studies of Zheng’s Shangshuzhu undertaken by the scholars of our time.In the history of classical studies, the discussions of Zheng’s work on Shangshu have revolved around two foci, namely the nature of the texts and the controversy between Zheng Xuan and Wang Su. Doubt has often been cast on the origin and circulation of the old-text version of Shangshu of the Western and Eastern Han Dynasties. A common argument based on the chapter of Rulin ‘Scholars’ of Houhanshu ‘The Book of the Later Han Dynasty’ claims that Jia Kui, Ma Rong and Zheng Xuan all based their work on Du Lin’s “lacquer” version. However, according to the ontological argument, the copy used by Zheng Xuan is in fact the version that was found inside the wall of the Confucius Mansion and later kept as part of the imperial collection. Since the last days of the Western Han Dynasty, simplicity has become more and more valued in the practice of annotating the classics. Zheng Xuan’s already unadorned style in diction and commentary has nonetheless been made a subject of ridicule by the Jingzhou school. Wang Su, possibly under the influence of the Jingzhou school, expressed contempt for Zheng’s work, even though his knowledge owes its origin to Zheng Xuan. He went so far into annotating the classics on his own to contend against Zheng. Nowadays, the controversy between Zheng Xuan and Wang Su is noteworthy more from the historical perspective of the classical studies than it is associated with the judgment of whose annotation it is that outperforms the other.Zheng Xuan’s Shangshuzhu was lost around the Northern Song Dynasty. Legends have it that Wang Yinglin had the recovered texts of this work – a claim more apparent than real. This recovered edition was a product arisen from remodelling on Wang’s texts by Hui Dong’s grandfather and father. When Hui’s version has become in circulation, people came to mistakenly believe that it was Wang’s recovered work. Later in the Qing Dynasty, the studies of his works were held in high regard; therefore, about a dozen individuals were involved in the recovery of this book and their contributions serve as the base of the research as we see nowadays. However, the recovered texts exhibit varying degrees of verity and lots of errors. For example, Yuan Jun’s recovered edition, arguably the most representative of all, still abounds with errors and oversights in such areas as collation and textual analysis.As said by Duan Yucai, one must confirm the verity of the master copy before judging the verity of the statements within. In this regard, it is necessary to study the annotation methods adopted by Zheng Xuan after the recovered lost works attributed to him are first placed under scrutiny for their authenticity – only after this can we go on to judge his rights and wrongs. In Shangshu, the first line reads “Yue ruo ji gu”. Different interpretations exist throughout a prolonged period covering the Han, Tang, Song and Qing Dynasties. Zheng’s interpretation distinguishes itself among others in having the following features: 1) less emphasis on the commonplace interpretation for the original, borrowed or extended meanings; 2) use of Confucian apocryphal texts; and 3) interpretation highly dependent on the context. As for the line “Guang pi sibiao”, it is related to the scholarship of the Qing Dynasty when Dai Zhen’s new interpretation, in comparison with Zheng’s version, reveals the ideology of Zheng’s studies, which is said to “reiterate the original intended meaning of the sages of the past and iron out the discrepancies between statements by various scholars”. His primary principle of annotation was for the “meaning in the canons” to be captured, whereas the “lexical meaning” was relegated to a secondary position.Keywords: Zheng Xuan, Shangshuzhu, scholarship in the Qing Dynasty, annotation methods, Chinese classical studies, documentation studies王利.Thesis Ph.D. Chinese University of Hong Kong 2016.Includes bibliographical references (leaves ).Abstracts in English and Chinese.Title from PDF title page (viewed on …).Wang li.Detailed summary in vernacular field only.Detailed summary in vernacular field only.Detailed summary in vernacular field only.Detailed summary in vernacular field only.Detailed summary in vernacular field only
Ju he wu tai yang neng dian chi de jie mian gong cheng yan jiu
No full textZheng, Shizhao = 聚合物太阳能电池的界面工程研究 / 鄭世昭.Thesis Ph.D. Chinese University of Hong Kong 2014.Includes bibliographical references.Abstracts also in Chinese.Title from PDF title page (viewed on 10, November, 2016).Zheng, Shizhao = Ju he wu tai yang neng dian chi de jie mian gong cheng yan jiu / Zheng Shizhao
C++ code for Bundle Adjustment
No full textThe data contain a VS2013 project (with all the source code files ) for the bundle adjustment program.
Contact the author ([email protected]) for decompression key
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