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| Author | : Jonathan P. J. Stock |
| Publisher | : |
| Total Pages | : 209 |
| Release | : 1996 |
| Genre | : Music |
| ISBN | : 9781878822765 |
A study of the life and music of the blind Chinese folk musician Abing (1893-1950), with accompanying CD.
| Author | : Liu Chingchih |
| Publisher | : The Chinese University of Hong Kong Press |
| Total Pages | : 960 |
| Release | : 2010-07-20 |
| Genre | : History |
| ISBN | : 962996970X |
By the end of the nineteenth century, after a long period during which the weakness of China became ever more obvious, intellectuals began to go abroad for new ideas. What emerged was a musical genre that Liu Chingchih terms "New Music." With no direct ties to traditional Chinese music, New Music reflects the compositional techniques and musical idioms of eighteenth, nineteenth and early twentieth–century European styles. Liu traces the genesis and development of New Music throughout the twentieth century, deftly examining the cultural, social, and political forces that shaped New Music and its uses by politicians and the government.
| Author | : Marian Buck-Lew |
| Publisher | : |
| Total Pages | : 190 |
| Release | : 1968 |
| Genre | : Music |
| ISBN | : |
| Author | : Yukiko Tsubonou |
| Publisher | : Springer |
| Total Pages | : 279 |
| Release | : 2018-12-17 |
| Genre | : Education |
| ISBN | : 9811327491 |
This book creates a platform for music educators to share their experience and expertise in creative music teaching and learning with the international community. It presents research studies and practices that are original and representative of music education in the Japanese, Asian and international communities. It also collects substantial literature on music education research in Japan and other Asian societies, enabling English-speaking readers to access excellent research and practical experiences in non-English societies.
| Author | : Jingzhi Liu |
| Publisher | : Chinese University Press |
| Total Pages | : 962 |
| Release | : 2010 |
| Genre | : History |
| ISBN | : 9629963604 |
By the end of the nineteenth century, Chinese culture had fallen into a stasis, and intellectuals began to go abroad for new ideas. What emerged was an exciting musical genre that C. C. Liu terms "new music." With no direct ties to traditional Chinese music, "new music" reflects the compositional techniques and musical idioms of eighteenth- and nineteenth-century European styles. Liu traces the genesis and development of "new music" throughout the twentieth century, deftly examining the social and political forces that shaped "new music" and its uses by political activists and the government.
| Author | : Sin-yan Shen |
| Publisher | : |
| Total Pages | : 238 |
| Release | : 2001 |
| Genre | : Music |
| ISBN | : |
| Author | : Nicholas Cook |
| Publisher | : Cambridge University Press |
| Total Pages | : 848 |
| Release | : 2004-08-05 |
| Genre | : Music |
| ISBN | : 9780521662567 |
Publisher Description
| Author | : Wai-Chung Ho |
| Publisher | : Taylor & Francis |
| Total Pages | : 266 |
| Release | : 2023-04-07 |
| Genre | : Education |
| ISBN | : 1000863697 |
Ho's book explores music education in China, and how creativity, education reforms, and social transformation can be enabled through music. The essential elements of music discussed include perception and creativity, sources and stimulation, and the integration of musical creativity in diverse cultures and participation. It focuses on three Chinese cities; Changsha and Hong Kong Special Administrative Region of China, which have creative industries, and Shijiazhuang, which has cultural industries. Readers will gain insights into the introduction of creativity into the Chinese education system through music, particularly during the pandemic. The author analyses official documents, selected music textbooks adopted by schools, questionnaire surveys, and in-depth interviews with both students and teachers. These interviews reveal the underbelly of the dilemmas of introducing creativity into schools through music education. The volume will be of interest to those keen to increase creativity in teaching through music, and researchers in the fields of creativity and music education. It will also interest students undertaking Chinese, teacher education, or music.
| Author | : Nicholas Cook |
| Publisher | : Oxford University Press |
| Total Pages | : 208 |
| Release | : 2018-02-01 |
| Genre | : Music |
| ISBN | : 0199347824 |
Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought of in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesize both perspectives. It begins by developing the idea that creativity arises out of social interaction-of which making music together is perhaps the clearest possible illustration-and then shows how the same thinking can be applied to the ostensively solitary practices of composition. The book also emphasizes the contextual dimensions of musical creativity, ranging from the prodigy phenomenon, long-term collaborative relationships within and beyond the family, and creative learning to the copyright system that is supposed to incentivize creativity but is widely seen as inhibiting it. Music as Creative Practice encompasses the classical tradition, jazz and popular music, and music emerges as an arena in which changing concepts of creativity-from the old myths about genius to present-day sociocultural theory-can be traced with particular clarity. The perspective of creativity tells us much about music, but the reverse is also true, and this fifth and last instalment of the Studies in Musical Performance as Creative Practice series offers an approach to musical creativity that is attuned to the practices of both music and everyday life.
| Author | : Jonathan P. J. Stock |
| Publisher | : Oxford University Press |
| Total Pages | : 300 |
| Release | : 2003-04-10 |
| Genre | : Music |
| ISBN | : 9780197262733 |
China has over three hundred distinct styles of music drama, from exorcism theatre to farce, historical romance, and shadow puppetry. This study considers one of the newer operatic forms. Established just two centuries ago, huju (Shanghai opera), is renowned for its portrayal of ordinary people, not the emperors, courtesans, and heroes of older forms. Acting and make-up aim for realism rather than symbolism, and stories deal with contemporaneous themes: the struggles of lovers to marry, women's rights after the Communist revolution (1949), and life under the new social order established by Deng Xiaoping's reforms in the 1980s. Music ranges from local folksong to syncretic adoptions of Western popular music. Jonathan Stock is an authority on Chinese music, with previous books on Chinese flute and violin solos and Abing, a twentieth-century composer. Adding to his extensive research on Chinese music, Stock's eighteen months of fieldwork in Shanghai allows him to interweave material from historical reports, sound recordings, live performance, and the first-hand accounts of three generations of singers into a study of a unique Chinese opera form seen equally as historical tradition, venue for social action, and forum for musical creativity. Assessing first the roots of huju in local folksong and ballad, he looks at the enduring role of emotional expressivity. He next focuses on the rise of actresses, laying out a specially 'musical' reading of gendered performance. Further chapters reverse conventional ethnomusicological arguments that music constructs place by looking at how Shanghai's institutions before 1949 shaped the environment within which troupes developed new dramatic materials and competed for work. In considering reforms post-1949, the author shows how the infusion of explicit political content actually weakened the expressive impact of these dramas. Finally, developments since 1980 are reviewed. The book includes songs and illustrations of performance styles. An innovative combination of urban and historical ethnomusicology, the book's findings will engage the historian of China and general scholar of music alike.
