1,025 research outputs found
A Smart Healthcare Kit for Home Healthcare
No full textAuthor Contributions: Writing—original draft preparation, Chun-Yang Chou, and Chun-Hung Chou; writing—review and editing, Chun-Yang Chou, Ding-Yang Hsu and Chun-Hung Chou All authors have read and agreed to the published version of the manuscript.</p
Chou Wen -Chung\u27s “Cursiveâ€.
No full textAs the first contemporary Chinese composer recognized by the Western musical world, Chou Wen-Chung is widely acknowledged for his innovations and contributions to the profession. His music is a successful fusion of Eastern and Western musical language, and it has continued to receive critical acclaim. Cursive (1963), a duet for flute and piano, is one of Chou\u27s most important compositions. In this work, the composer tries to express the aesthetic principles of Chinese calligraphy musically. This thesis provides a thorough analysis of the musical materials and compositional techniques employed in Cursive, and based on this analysis, the author attempts to illustrate the compatible elements of Western and Chinese musics contained in the work. The author also highlights how certain musical features of the work are related to Chinese calligraphy. Although Chou has enjoyed success as a composer for about a half century, serious scholarly studies of his music were not done till the last decade. It is hoped that this study will contribute to a more comprehensive understanding of Chou\u27s musical creation
Author Correction: Ultra-thin enzymatic liquid membrane for CO2 separation and capture
No full textThe original version of this Article contained an error in the spelling of the author Stanley S. Chou, which was incorrectly given as Stan Chou. This has now been corrected in both the PDF and HTML versions of the Article.</jats:p
When Chinese Sounds Meet Western Instruments, Yü Ko: Ensemble for Violin, Winds, Piano and Percussion by Chou Wen-Chung
No full textabstract: ABSTRACT
As a composer, Chou Wen-Chung (1923-2019) was a learner and inheritor of Chinese traditional music culture and was committed to carrying it forward. As a native of China who had his primary musical training in the West, Chou Wen-Chung was one of the first Chinese composers to make his mark on Western music. He successfully combined Western elements and Chinese tradition in his music. Chou Wen-Chung was one of the few prominent East Asian composers known in the Western musical world, and his music therefore has had a strong influence on other Chinese composers.
In order to understand more clearly his music, I analyzed his chamber work: Yü Ko. This piece was composed in 1965 for 9 instruments: Violin, Alto Flute, English Horn, Bass Clarinet, 2 Trombones, 2 Percussion and Piano. Inspired by the ancient Chinese musical instrument the Qin (also called guqin, or “ancient qin”), which is a plucked seven-string instrument, Chou Wen-Chung composed Yü Ko. Literally meaning “fisherman’s song,” this work was composed originally for the Qin, based on a melody composed by Mao Min-Zhong who was a very noted scholar and Qin player of the late Southern Song dynasty (C.E.1127-1276).
This paper provides Chou Wen-Chung’s biography, compositional styles and developments. It lists and explains the most common Chinese traditional cultural elements which he used in his compositions. In particular, it introduces the Qin in detail from the external structure, performance techniques, sound characteristics, the tablature notation, and compositional methods.
This document also includes a detailed analysis of Yü Ko in terms of the orchestration, pitch, tonal material, structure and tempo, dynamic and musical materials, and explains Chou Wen-Chung’s imitation of the Qin as well as the influence of Western music shown in this piece.Dissertation/ThesisDoctoral Dissertation Music 202
[[alternative]]The Study of Rewards Written on The Western Chou Bronze Inscription: Explanation of Utensils And Person's Social Status
No full text[[abstract]]The content of this study is focus on the explanation of the rewards , utensils and person’s social status written in Western Chou Bronze inscription.
In this study, rewards in Western Chou(11th century B C ~771 B C ) can be divided into two categories: receiving the rewards by adoption and receiving the rewards without adoption. By the comparison of utensils and person’s social status, the difference between these two categories can be identified. Receiving the rewards by adoption will be the main concerns in this study because there are complete regulations to explain the way to receive rewards by adoption.
The relationship of ruler-subject, feudalism and adaptation、honored with nobility and serviced as officers was all constructed by the regulation of investiture. Therefore, person's social status can be identified by way of investiture. This also can be mentioned as the main base of political execution in Western Chou.
The two essential elements in the system of adoption are utensils and person’s social status. These two factors are the key elements to identify the relationships between an object and person and also the assistant to build up the political system of Western Chou. Therefore, there are more following discussion about stratum of officers, dress, carriages and horses, and the flag for identification of noble in detail.
There are five chapters in this study. Introduction is in chapter one. The theoretical reviews of bequeathed ancient works and excavated bronze inscription are in chapter two. The clarification of rewards and the period and grade of these rewards are is chapter three. The identification of person’s social status and the explanation of the arrangement between person’s social status and rewards are in chapter four. The final conclusion is in chapter five.
The Houses of Duke Chou and Duke Shao : Some Questions Concerning the Origin of the Book of Shao Kao
No full textNot enough has been clarified about the origin of the early part of the Shu Ching. In this respect, what needs be determined first may be the relationship between Duke Chou 周公 and Duke Shao 召公, the two principal characters in those books. The two dukes, who used to be considered brothers or kinsmen, have been established by recent researches as the representatives of two tribes that had earlier been subject to the Yin but cooperated with the Chou at the time of the latter’s overthrow of the Yin at the end of the eleventh century B. C. The Shao, in particular, joined the Chou camp out of fear that a part of its territory might be confiscated by the Yin.The earliest part of the Shu Ching seems to be based upon the theme of the antagonism between Duke Chou and Duke Shao. Firstly, after the death of King Wu 武王, his younger brother Duke Chou succeeded to the throne as the former’s son King Ch’eng 成王 was still a minor, thus incurring ill feeling of the Chou Clansmen and the tribal chieftains who had supported the Chou. Secondly, the city of Lo i 洛邑, that was built for governing the East after the suppression of the Easterners which had taken place after the death of King Wu, was situated within the sphere of influence of Duke Shao. We learn from the Shu Ching and the bronze inscriptions that Duke Shao, who was younger than Duke Chou by more than thirty years, could never contend with the latter on an equal footing as long as the latter was alive. Duke Chou abdicated after seven years in favor of King Ch’eng and died after a little over three years thereafter. This changed the situation for Duke Shao. The earlier books of the Shu Ching, the Lo Kao 洛誥 and the likes, seldom refer to Duke Shao and ascribe the establishment and government of Lo i to Duke Chou, while such books as the Shao Kao 召誥 and the Chün Shih 君奭 say that the same city was built by nobody but Duke Shao and that his government was entrusted by King Ch’eng. The present order of the books in the Shu Ching, which predates the Shao Kao to the Lo Kao, is due to still later editing.The present author reconstructs, from the bronze inscriptions, the process in which Duke Shao, after the death of Duke Chou, deported the latter’s descendants to faraway places and took over the control of Lo i. He concludes that the two books, Shao Kao and Chün Shih, were written to justify Duke Shao’s sway over that city.journal articl
The reach of a long-arm stapler: calling in microaggressions in the LIS field through zine work
No full textPreprint of article published as:
Arroyo-Ramirez, Elvia & Chou, Rose L. & Freedman, Jenna & Fujita, Simone & Orozco, Cynthia Mari. "The Reach of a Long-Arm Stapler: Calling in Microaggressions in the LIS Field through Zine Work." Library Trends, vol. 67 no. 1, 2018, pp. 107-130. Project MUSE, doi:10.1353/lib.2018.0028Since its inception in March 2014, the LIS Microaggressions project (www.lismicroaggressions.com) has grown as an online source and zine publication for library and information science (LIS) workers from marginalized communities to share their experiences with microaggressions in the workplace. This article will examine the project’s efforts to move conversations on diversity, race, racism, and antiracism in the LIS field to transgressive and actionable steps. Through conference presentations, zine-making workshops, and distribution of zines at LIS conferences, the LIS Microaggressions collective wishes to “call in” or otherwise actively engage the LIS profession for critical reflection and analysis about microaggressions in the workplace with the ultimate goal of fostering support and a participatory community for library workers dealing with microaggressions
Chou (Sadness) in Chinese and English Writings: an experimental study
No full textThis paper is aimed at testing the contemporary theory of conceptual metaphor and the Embodiment Hypothesis in an empirical study. The Embodiment Hypothesis has been verified in a paper on CHOU in Chinese classical ci-poetry. This paper adopts a different way of data collection.By asking native speakers of Chinese and English native speakers to write about the emotions of CHOU in Chinese and SADNESS in English, the author wants to find out whether there exist metaphorical patterns in these writings, and, if any, whether these metaphors are experientially based; moreover, the paper attempts to investigate the similarities and differences of CHOU in Chinese and SADNESS in English in these writings in terms of metaphorical patterns and their experiential bases. Key words: CHOU/SADNESS, emotion metaphors, the contemporary metaphor theory, the Embodiment Hypothesis Résumé: Le présent article vise à tester la théorie contemporaine de la métaphore conceptuelle et de l’hypothèse de personnification dans une étude empirique. L’hypothèse de personnification a été vérifiée dans un article sur Chou dans la poésie-Ci classique chinoise. Le présent article adopte une façon différente de collection des données. En demandant aux Chinois natifs et Anglais natifs d’exprimer l’émotion de Chou en chinois et de tristesse en anglais, l’auteur voudrait trouver s’il existe des modèles métaphoriques dans ces écrits, et si ces métaphores sont basées sur l’expérience ; d’ailleurs, l’article cherche à étudier les similitudes et les différences entre Chou en chinois et la tristesse en anglais dans ces écrits sur le plan des modèles métaphoriques et de leurs bases empiriques. Mots-Clés: Chou/tristesse, métaphores d’émotion, théorie de métaphore contemporaine hypothèse de personnification 摘 要：本文的目標是在一次實證研究裏檢驗當代概念隱喻理論和“體驗性假說”. “體驗性假說”已經在一篇關於中國經典詩詞的文章中得到驗證.本文採取了不同的方法收集資料.本文作者讓以漢語為母語的人和以英語為母語的人分別就中文中“愁”的感情和英文中“悲傷”的感情進行寫作,通過這種方法,本文作者想發現在這些文章中是否存在某些隱喻模式;如果有的話,這些模式是否有其體驗性基礎.再者,本文試圖找出,就隱喻模式和體驗性基礎而言,這些文章中出現的中文中的“愁”和英文中的“悲傷”有哪些異同. 關鍵詞：愁/悲傷；情感隱喻；當代概念隱喻理論；體驗性假
[[alternative]]Research on Wang Bao Can's Chiang Chou Chinese Drums Composition
No full text[[abstract]] 本篇論文主要是探討「絳州鼓王」－王寶燦之音樂研究，筆者將重心放在王寶燦這個“人”，包括他對於鼓樂創作的思維與見解，並探討多年演奏民族鼓的過程中，如何發展出一套屬於自己的鼓樂教學系統以及演奏方法，同時整理了王寶燦多年來的創作作品及出版之書籍還有被收錄的專輯或音樂作品，希望可以從不同的視角來審視發掘這位民族打擊樂演奏藝術家所帶給世人的影響。 本論文研究共分為六個章節，有五大主題分別為下：第二章王寶燦之生命歷史與音樂造詣共四節，第一節-前期 40-60年代，從二胡、琵琶到擊鼓。第二節-中期 60-80年代，遇見生命中的貴人–李民雄、王秦安。第三節-後期 80-90年代，締造「絳州鼓樂」走進歐亞世界。第四節-當今 90年代以後，絳州大鼓在台灣。第三章音樂演奏的技藝與教學特性共三節，第一節-如何將認知的鼓樂技巧運用至絳州鼓樂中。第二節-屬於王寶燦的演奏美學與教學系統。第三節-如何發展出十大門類六十法的擊鼓技巧。第四章音樂創作理念與文化發展的關係共五節，第一節-「音響」對於個人創作音樂的影響。第二節-來台前與來台後的創作質量與教量。第三節-音樂創作的基本要素。第四節-文化變遷對於音樂創作的思維有何改變。第五節-王寶燦與他的音樂作品。第五章是成就與感恩共三節，第一節-60一甲子，王寶燦的地位與成就。第二節-王寶燦的音樂作品對於世人及社會的影響及貢獻。第三節-成功的王寶燦來自於默默奉獻的他們。最後第六章-結論。 王寶燦對於鼓樂藝術的奉獻是全中國大陸有目共睹的，雖然他已退休餘年，如今在各個大小的中國民族打擊樂的會議及比賽場合仍可見他的身影，他憑著自己一點一滴的知識累積以及不斷的學習使自己的經驗茁壯，這都是值得我們學習的地方。[[abstract]] This study is to investigate Wang Baocan who is the king of Chiang Chou Drum Music and his musical creations. The author focuses on the personality of Wang Baocan, including his viewpoint about the creations of drum music and the process to organize his own teaching system and performing skills within the performance in several years. Besides, the author generalizes Wang Baocan’s musical creations, books, and albums which are his lifelong efforts. This study includes six chapters and five themes. The second chapter is for Wang Baocan’s life and musical attainments and divides into four sections. The first section from 40s to 60s ,the fore period, represents Wang Baocan’s experience from Erhu, Pipa, to drums. The second section from 60s to 80s, the middle period, expands on how Wang Bao can met his benefactor- Li MinXong and Wang Qian. The third section from 80s to 90s, the later period, expands on how Wang Baocan made Chiang Chou Drum Music famous in Asia and Europe. The fourth section after 90s, nowadays, represents Chiang Chou drums in Taiwan. The third chapter is for performing skills and teaching characteristics and divides into three sections. The first section covers how to utilize the skills of drums to Chiang Chou drums. The second section covers the aesthetics of Wang Baocan’s performance and teaching system. The third section covers how to develop the ten categories and sixty methods on the skills of drums. The fourth chapter is for the idea of musical creations and the relations of cultural development and divides into five sections. The first section concerns the effects of sounds during the creations. The second section concerns the quantity and quality of Wang Baocan’s creations between pre-Taiwan period and in-Taiwan period. The third section concerns the basic elements in musical creations. The fourth section concerns how the cultural transition makes the idea of musical creations different. The fifth section concerns Wang Baocan and his creations. The fifth chapter is for contribution and appreciation and divides into three sections. The first section includes Wang Baocan’s standing and contribution in a cycle of six years. The second section includes the influence from Wang Baocan’s musical creations and contribution. The third section includes those who inspire Wang Baocan and make hum successful. Finally, the sixth chapter is the conclusion. Wang Baocan’s contribution to drum performance is obvious to all in China. He attends several Chinese ethnic percussion conferences and competitions though he has retired for years. We should learn from his knowledge which accumulates step by step and follow the example of his attitude which keeps learning and strengthening the experience
The Elegant Brush: Chinese Painting under the Qianlong Emperor 1735-1795
No full texttableOfContents: Forward
Lenders to the Exhibition
Chinese Painting under the Qianlong Emperor, 1735-1795 by Ju-hsi Chou Page 1
A Matter of Taste: The Monumental and Exotic in the Qianlong Reigh by Harold L. Kahn Page 288
Court Painting under the Qianlong Emperor by Howard Rogers Page 303
The Painting Academy of the Qianlong Period: A Study in Relation to the Taipei National Palace Museum Collection by She Ch'eng Page 318
Court Painting in the Yongzheng and Qianlong Periods of the Qian Dynasty with Reference to the Collection of the Palace Museum, Peking by Yang Xin Page 343
Selected Bibliography Page 358
Glossary of Chinese Characters Page 360
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