133,254 research outputs found
Replication Data for: Writing for Local Government Schools: Authors and Themes in Song-dynasty School Inscriptions
No full textDescription: This repository includes all the scripts and input and output data concerning my study of Song dynasty local government school inscriptions. The findings are reported in Song Chen (陳松), “Writing for Local Government Schools: Authors and Themes in Song-dynasty School Inscriptions.” Journal of Chinese History 4.2 (2020): 1–42 (DOI: https://doi.org/10.1017/jch.2020.11), and the article is translated into Chinese, with some non-substantial revisions, and published in Shuzi renwei 數字人文, forthcoming, under the title of "為學作記——從網絡分析和文本分析視角看宋代地方官學碑記的作者與主題.
Programmatic and performance observations for Two Chamber Works by Chen Yi
Full text linkAs a Chinese-American composer who was born and reared in China, then studied and settled in the United States, Chen Yi’s success is widely recognized around the world. However, this success is not coincidental and is closely related to her fusion of the Chinese and Western cultures in her works. At the time of this writing, Chen Yi has composed more than forty chamber works, from which the author researched two with the same instrumentation—flute, clarinet, violin, cello, and piano. By understanding Chen Yi’s life experiences and analyzing the theoretical aspects of these compositions, the author gives suggestions for ensemble, timbre, rhythm, pedaling, and performance techniques in these two chamber works by Chen Yi—Happy Rain on a Spring Night and … as like a raging fire
Bai yi lu jin shi cong shu [10 zhong]
No full textv. 1-2. Xiao tang ji gu lu 2 juan, Wang Qiu (Song) bian--3. Zhong ding kuan shi 1 juan, Wang Houzhi (Song) ji--4. Jiaoshan ding ming kao 1 juan, Weng Fanggang (Qing) bian--5 Huan hua bai shi xuan jing ming ji lu 2 juan, Qian Dian (Qing) ji--6. Ji gu hu fu yu fu kao 1 juan, Qu Zhongrong (Qing) bian--7. Han Xiping shi jing can zi 1 juan, Chen Zongyi (Qing) ji--8. Shu shi jing can zi 1 juan, Chen Zongyi (Qing) ji--9. Yi he ming kao 1 juan, Wang Shihong (Qing) bian--9. Kongzi miao tang bei Tang ben cun zi 1 juan, Weng Fanggang (Qing) ji--10. Cangyu dong Song ren ti ming 1 juan, Liu Xihai (Qing) ji.Mode of access: Internet
Experiencing Chen Yi’s Music: Local and Cosmopolitan Reciprocities in Ning for Pipa, Violin and Cello (2002)
No full textChen Yi’s music, particularly her Ning for Pipa, Violin and Cello (2002), constructs reciprocities in compositional and aesthetic practice, and in the social-relational dynamics of musical contrast, performative and commemorative impulses. One aim of my paper is to suggest how Chen’s music offers multiple affiliations for music listeners, such that the local emerges in the cosmopolitan and vice versa. Events and textures emerge from, and become emblematic in emotional (affective) characters, in multiple orientations and receptions. Chen counterpoints and integrates the durational patterning suggestive of irregular Chinese “Ba Ban” tunes and more regular melodic models extending from popular song (e.g., the “Mo Li Hua” tune in Ning). Moving between, displacing and traversing—these emerging associations, narratives, encounters and migrations, entangle listening experiences of self and community, borderland and nation, and trauma and place
Chen Yi's Song Set As in a Dream: The Merging of Chinese and Western Musical Idioms
Full text linkabstract: In an interview with the author, composer Chen Yi shared thoughts regarding her inspiration to compose the piece As in a Dream. She composed the first version in 1988 for soprano, violin, and cello. Left unpublished, this work was re-done in 1994 with the Chinese instruments zheng and pipa in place of the violin and cello. As in a Dream is a setting of two linked poems of six lines each by Qingzhao Li, one of the earliest female poets in China. Chen Yi kept the voice part the same in the two versions, but adapted the accompaniment to suit the Chinese instruments.
This study of As in a Dream focuses on the 1994 version, and especially on the first song, with a view to introducing the singer to its Chinese elements. To help performers to understand better the text of the set, a translation and transliteration of the two poems by Qingzhao Li are offered with line-by-line interpretation. An introduction to the history and characteristics of the zheng and the pipa is supported by examples of the uses of these instruments in the songs. Drawing upon information provided by Chen Yi in the interview with the author, a discussion follows of Mandarin speech tones and their effect on the melodic design of As in a Dream, with music examples. An examination of traditional Beijing Opera styles of singing, with insights provided by Rao Lan, the soprano for whom the work was written, leads to a description of the fusion vocal technique required for performance of As in a Dream and some of the rules for diction in Mandarin Chinese.
Intended as an introductory guide for the soprano contemplating performance of Chen Yi’s As in a Dream, this study also reveals the combination of Eastern and Western musical characteristics in these songs and gives examples of how the music interprets the veiled meaning of the poetry.Dissertation/ThesisDoctoral Dissertation Music 201
Qu yi
No full textV. 1. 烏夜啼 = Birds singing at night -- 2. 華胥引 = Beautiful butterfly -- 3. 屈原问渡 = Chu Yuan crossing the river -- 4. 小放牛 = Cowherd song -- VI. 5. 单弦 = The melody song -- 6. 京韻大鼓 = Peking drum song -- 7. 奉调大鼓 = Feng Diaw drum song.Detailed contents in vernacular field only.姚炳炎. 曲艺 = Narrative songs.Live recording."1st copy from original"--Label.Electronic reproduction from Rulan Chao Pian VHS collection.Performers, unknown.Sung in Chinese.Yao Bingyan. Qu yi = Narrative songs
Utivarachna gui Zhu, Song & Kim 1998
No full textUtivarachna gui (Zhu, Song & Kim, 1998) Fig. 10 Trachelas g. Zhu, Song & Kim, 1998: 426, figs. 8–15; Song, Zhu & Chen, 1999: 429, figs. 14 B, 255 Q–R, 258 G–H. U. g. Deeleman-Reinhold, 2001: 370, 397. Diagnosis. This species is similar to U. arcuata sp. nov. by the male palpal tibial apophysis with membranous area, embolus transversely coiled, subtegulum visible in prolateral view, female atrium posteriorly located, copulatory ducts long, and spermathecae located posteriorly, but differs by having: (1) genital bulb as long as wide (Song, Zhu & Chen, 1999: fig. 258 G); (2) the length of the basal portion of embolus about one fourth the width of bulb (Song, Zhu & Chen, 1999: fig. 258 G); (3) in retrolateral view the tibial apophysis is abruptly swelled at distal third (Song, Zhu & Chen, 1999: fig. 258 H); (4) copulatory openings located posteriorly (Song, Zhu & Chen, 1999: fig. 255 Q); (5) atrium wider than long in U. gui (Song, Zhu & Chen, 1999: fig. 255 Q); (6) bursae indistinct (Song, Zhu & Chen, 1999: fig. 255 R). Distribution. China (Hainan Province).Published as part of Zhao, Yi & Peng, Xian-Jin, 2014, Spiders of the genus Utivarachna from China (Araneae: Corinnidae), pp. 578-588 in Zootaxa 3774 (6) on page 585, DOI: 10.11646/zootaxa.3774.6.6, http://zenodo.org/record/22893
An Infusion of Eastern and Western Music Styles into Art Song: Introducing Two Sets of Art Song for Mezzo-Soprano by Chen Yi
No full textChinese-American composer Chen Yi has been praised as the most internationally renowned female Asian composer of contemporary music today, and she has in particular become a prominent figure in music circles in the United States and China. Besides her successes in writing orchestral and chamber music, Chen Yi has also written numerous vocal compositions including some art songs. This document aims to introduce two sets of Chen\u27s art songs written for mezzo-soprano voice, Meditation and Bright Moonlight, and study the features of these compositions that represent the unique style of her music, which is influenced by Chinese folk music idioms and Western modern music elements.
Chen Yi grew up in both the traditional China before the mid-1960s and the reformed China after the mid-1970s. She took her journey of music study a long way from the Central Conservatory of Music in Beijing to Columbia University in New York City. She is a Western-trained musician and has launched a successful career of teaching Western music in higher education in America. This document reveals Chen\u27s bicultural background, strengthens the link between her cultural uniqueness and her musical creativity, and elaborates on how her bicultural background has influenced her compositional style.
Ancient Chinese poetry and Peking Opera singing style have inspired Chen\u27s art songwriting tremendously. By reviewing the poetic literature of Tang Shi and Song Ci and the performing practice of Peking Opera, this document will give comprehensive interpretations of Chen\u27s musical approaches for her Meditation and Bright Moonlight that use the two sources effectively.
The scope of this document covers a wide collection of Chen\u27s biographical and educational information, as well as her published vocal compositions and the reviews of her works. Some relevant references are gathered from research articles to support the thesis of this document. The theoretical approaches to analyzing Chen\u27s art songs emphasize her music expressions that mirror her poetic choices and compositional methods, paying attention to her creative ways of combining Chinese music practices with Western compositional devices.
The purpose of this research is to promote Chen\u27s solo vocal works and spark contemporary women composers\u27 musical creativities. It is hoped that professional singers and voice teachers will consider including Chen\u27s art songs in their contemporary repertoires, making substantial contributions to the tradition of art song within their teaching and performing practices
[[alternative]]The Fine Artist's Self-Marketing---A Case of Chen Yi-Fei
No full text[[abstract]]Abstract:
Must become artist this line of business, in the former idea should be one kind “Devotee” profession, but in the real life, as if majority people didn’t dare to the “Artist” profession, the reason that an artist most basic is facing many “Survival” the question, because also in the middle of this has too many “Contradictions”. “Economy” and “Artist” between if can a closer union, whether the artist can survive in the nowadays practical life? As the enterprise body management profession has the condition which survives in the society.
This research that one is good at the self-marketing take Chen Yi-Fei as an example. How discusses with fine artist to light, in the fit space position, own art idea in the suitable time makes the pinpointing, only then can develop the biggest benefit .Have left behind business and art will a “very perfect” fuse in together life way.
“Chen Yi-Fei Phenomenon” may inquire into an artist can develop by own limited condition belongs to its individual brand of infinite commercial art, and carries forward incisively the self-marketing idea.
Chen Yi-Fei make art business dealing and the creativity self-marketing for its goal and the strategy principle, own management and design and establishment “Yi-Fei” group, to show the self-marketing hope and the pursue, unfolds an artist's business ambition and the intense social sense of responsibility.
Generally specifically, this research Chen Yi-Fei succeeds the conclusion to have the following three essentials:.
(1)Grasps the artist own superiority condition effectively.Manipulation variation superiority strategy.
(2)Effective grasping trend of the times and market demand.Manipulation approval、demand strategy、sponsor strategy、platform strategy.
(3)Effectively grasps an artist self-marketing essence. Manipulation modernized tool、celebrity effect strategy、social person strategy.
Chen Yi-Fei's entire wrap artist self-marketing process, enables him to become widely known, nobody did not know and is known to everybody the flagship artist, his value has led art into general common populace, his fervor advanced boldly a development art business zealously with the process, he satisfied an artist also to satisfy an artist to the beautiful request for the wealth pursuance； He became the artist's paragon and raised the general populations to the happy thing fervor, and also relying on individual strength, let the artistic industry start out a living way, he is neither non-artist not entrepreneur, motion activist …and so on can describe that, In fact he attempts to unfold an artist “Hero” special characteristic and “Superhuman” the style.
Apanteles bannaensis Song & Chen 2001
No full textApanteles bannaensis Song & Chen, 2001 (Figures 14, 98) Apanteles bannaensis Song & Chen, 2001: 535. Holotype♀ — Fujian, China [FAFU]. Song & Chen, 2004: 29. Diagnosis. Body length 2.7 mm, fore wing length 3.5 mm. Body black, hind femur bright yellowish. Ocelli large, posterior tangent to anterior ocellus transecting posterior ocelli, distance between fore and hind ocellus slightly shorter than diameter of hind ocellus. Antenna distinctly longer than body length, penultimate flagellomere 1.8× longer than wide. Interspaces between punctures on disc of mesonotum larger than its diameter. Areola on propodeum closed with strong costulae, posterio-lateral parts unsculptured. Pterostigma 2.8× as long as its widest part, vein 1-R1 1.4× longer than pterostigma, vein r 1.6× longer than vein 2-SR, weakly angled at junction. T1 parallelsided at anterior 2/3, distinctly narrowed at apical third, 2.7× longer than hind width, turned-over part slightly shiny, weakly rugose laterally, longitudinal channel indistinct, smooth inside; T2 shiny and nearly polished, except a few weak punctures, 3.5× wider than long in the middle; T3 1.8× longer than T2. Ovipositor sheath 0.6 length of hind tibia. Material examined. 1♀, Nanjing, Fujian, 1991.VI.6, Pan Shen, No. 969553; 1♀, Mt. Longxi, Jiangle, Fujian, 1991.VII.8, Liu Changming, No. 969752; 3♀♀, Letu, Nanjing, Fujian, 1991.V.23, ditto, Nos. 20006146, 20006029, 20005988; 1♀, Yunxi, Hangzhou, Zhejiang, 2003.VII.15, Shi Min, No. 20056517. Distribution. China (Fujian, Yunnan, Zhejiang).Published as part of Liu, Zhen, He, Jun-Hua, Chen, Xue-Xin & Gupta, Ankita, 2020, The ater-group of the genus Apanteles Foerster (Hymenoptera, Braconidae, Microgastrinae) from China with the descriptions of forty-eight new species, pp. 1-205 in Zootaxa 4807 (1) on page 38, DOI: 10.11646/zootaxa.4807.1.1, http://zenodo.org/record/392763
- …
