33,743 research outputs found
Wu Fei, guzheng y voz (China)
No full textEl guzheng es un instrumento virtuoso con una historia de más de 2500 años. La larga historia de su reinado comenzó durante la Dinastía Qin (221 – 206 a.C.); y en la Dinastía Tang (618 – 907) ya era el instrumento más tocado en la China, y hoy en día continúa siendo el instrumento tradicional más popular en la música china. Hoy en día el continúa siendo el instrumento tradicional más popular en la música china. Tiene veintiun cuerdas que antiguamente solían ser de seda, pero ahora son de nylon y metal, lo que incrementa su volumen frente a su confección antigua. Existen muchas formas en las que se puede tocar el instrumento que, además de servir como herramientas técnicas, se utilizan para evocar paisajes o imágenes como la caída de una cascada, los truenos, el galope de los caballos o algunas escenas bucólicas, que eran elementos predilectos para las metáforas que los antiguos poetas chinos crearon para transmitir la sabiduría que milenios después, sigue transitando de voz a voz. Parece ser que cada país del Este y Sureste asiático ha tenido algún tipo de interacción con instrumentos tipo cítara como el guzheng. Desde el tatga en Mongolaia, el dan trahn en Vietnam, el gayageum en Corea y el koto en Japón, hasta el chadagan en Tuva, el kacapi en Indonesia y el jetigen de Kazakh. Diferentes pobladores y culturas alrededor de toda Asia, han creado variopintas técnicas de las que se han apropiado para formar una relación íntima con la música. En su papel de compositora, Wu Fei une la música clásica occidental y la tradición musical china, con sonidos contemporáneos. Compone para coro, cuartetos de cuerda, ensambles de cámara, gamelán balinés y para orquesta. Su programa Moon Hunter es una suite para voz y guzheng solo que se inspira en la forma en que se cantaba la antigua poesía china. La música original de Wu Fei se verá fusionada con el repertorio tradicional del guzheng, con canciones folclóricas y con la ópera china, evidenciando así su inspiración en lo antiguo, para crear algo nuevo
Effects of Ce Addition on the Microstructure and Mechanical Properties of Sn-58Bi Solder Joints
No full textSelective formation of intermetallic compounds in Sn-20In-0.8Cu ball grid array solder joints with Au/Ni surface finishes
No full textL’OPÉRA CHINOIS CONTEMPORAIN ET LE THÉÂTRE OCCIDENTAL, Entretiens avec Wu Hsing-Kuo. Françoise Quillet
No full textFrançoise QUILLET, L’OPÉRA CHINOIS CONTEMPORAIN ET LE THÉÂTRE OCCIDENTAL, Entretiens avec Wu Hsing-Kuo Si l’on cherche des renseignements sur Internet, Wu Hsing-Kuo est mentionné comme un célèbre acteur de cinéma qui a joué aux cotés de Jacky Chan et de Gong Li. Mais cet ouvrage s’intéresse non à l’acteur mais à l’homme de théâtre qui dit préférer le théâtre au cinéma même s’il lui faut gagner moins et travailler davantage. Les entretiens rapportés ici sont le témoignage vivant d’une aventure..
Exhibition Pamphlet: (of TENG Fei)
Full text linkThis exhibition document (undetermined exhibition) features: 1) a review essay on Teng Fei by Mei MoSheng (in Chinese and German), 2) images of Teng\u27s selected works with caption (in Chinese and German), and 3) bibliography of Teng (also in Chinese and German). The exhibition accounted for this pamphlet is unknown despite knowing that Steffen Barth was one of the show\u27s main curators. (Jerry Wu\u2723).https://digital.kenyon.edu/zhoudocs/1265/thumbnail.jp
Wu que shuang fei: gu zhuang li shi ai qing xin ju.
No full text吳硏因編.Songs with staff notation.本電子書乃根據《香港版權條例(第528章)》而複製, 並只可在大學圖書館系統內的獨立電子書系統上使用.Wu Yanyin bian.Ben dian zi shu nai gen ju "Xianggang ban quan tiao li (Di 528 zhang)" er fu zhi, bing zhi ke zai da xue tu shu guan xi tong nei de du li dian zi shu xi tong shang shi yong
Studies on Optimum Harvest Date of 'Chung Hsing NO. 3' and 'Chung Hsing NO. 4' Kiwifruit (Actinidia deliciosa)
No full text探討'中興三號'與中興四號'獼猴桃果實之生理變化及後熟特性。在花後21到28週期間採收，採收時的果肉硬度隨著採收時間愈晚有愈下降的趨勢．全可溶性固形物含量則有愈上升的趨勢;後熟之後則無明顯趨勢。'中興三號'後熟之後果實品質在花後22到24週期間較佳，以花後第24週最佳且貯藏潛力僅次於最早採收的果實;'中興四號'則以花後24到26週期間最佳，其中以花後第25週貯藏潛力最佳。The intention of this study were to establish the data of optimum harvest maturity and the best storage condition of newly breeding ‘Chung Hsing No. 4' and ‘Chung Hsing No. 3' kiwifruit to benefit popularization afterward.
‘Chung Hsing No.4' and ‘Chung Hsing 3 ' kiwifruit were harversted from 21 weeks after anthesis, their total soluble solid content have approached 6.5~6.6oBrix, which reaches harvesting standard of the imported kiwifruit. Average fresh weight of ‘Chung Hsing No.4' reaches 82.2±7.6g and average fresh weight of ‘Chung Hsing No.3' reaches 69.4±5.7g respectively. To compete with imported kiwifruit, the domestic kiwifruit were harvested as late as possible to obtain higher quality with higher soluble solid content.
As long as Taiwan farmers culture ‘Chung Hsing No.4' and ‘Chung Hsing No.3' kiwifruit on mountain region to product fruit with high quality, they will not only reduce dependence on the imported kiwifruit but also find a wat of mountain horticulture in Taiwan
The Effect of IFRS Adoption on Earnings Informativeness about Future Earnings: Emerging Capital Market Perspective
No full textThe Effect of IFRS Adoption on Balance Sheet Measurement and Value Relevance of Accounting Information
No full textFei-yen wai-zhuan the true era of its birth and investigation of its author
No full textFei-yen wai-zhuan 飛燕外傳 (The Unofficial Biography of [Zhao] Fei-yen) is one of the classical-language fictions in traditional China, describing the famous romance between Emperor Cheng-di 成帝 and Zhao Fei-yen 趙飛燕 sisters in the Former Han Dynasty. The author is attributed with Ling Xüan 伶玄, who definitely had confessed that he was living with the Former Han Dynasty in his brief autobiography. However, it was too suspicious to believe, from the beginning of its appearance in the Southern Song Dynasty, scholars have been puzzled to determine the true era of its birth. Through their discussions, now it is widely accepted that Fei-yen wai-zhuan was born during the Six Dynasties, not in the Tang Dynasty, though it is still lacking in conclusive evidence. But some insist that it could be compared with the great masterpieces of Tang-tales, like Ying-ying zhuan 鶯鶯傳, Li Wa zhuan 李娃傳, Huo Xiao-yü zhuan 霍小玉傳, which belonged to the Tang Dynasty. Then should we say that Fei-yen wai-zhuan was a premature masterpiece? It still remains a great mystery to all, including its author Ling Xüan himself. This study, paying attention to the text itself, proves this tale should belong to the Tang Dynasty. Its main keywords are two, Zhen-la 眞臘 and Qi-chu Ling-hua jing 七出菱花鏡 (Water-chestnut flower shaped bronze mirror, circled by seven petals). The former, used first in the historical records in China was in the Sui Dynasty Da-ye 大業 12years(616), and the latter one likely appeared after reign of Empress Wu(690--705). These facts simply tell us Fei-yen wai-zhuan was born in the Tang Dynasty. The true author of this tale is Niu Seng-ru 牛僧孺, a famous prime minister of late Tang and was also a well-known writer of Tang-tales, who authored Xüan-guai lu 玄怪錄. We could know the close affinities between Fei-yen wai-zhuan and Xüan-guai lu. As a drafted scholar-official, all of Niu's life had been under the strife in bureaucracy with the factional parties at that time. Once the opposition party blamed Niu for violating his majesty, to write the tale Zhou Qin xing-ji 周秦行記 named Niu Seng-ru. Though its writer was anonymous, Niu was nearly accused of injury to the majesy (Lèse majesté). I contend Niu decided to write Fei-yen wai-zhuan under a pseudonym to make counterattack against a recreant writer in the same manner and to regain true pride for himself
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