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    Chime Abstracts in English ACCEPTED list 2019

    • 作者:音樂學研究所  
    • 來源:中央音樂學院
    • 發布日期:2019-04-19 11:23:00

      Bi Yixin, PhD candidate of Department of Musicology, Central Conservatory of Music, Beijing, China

      Music, Diplomacy and Mentality - A Research on the British Macartney Mission Visited China during the Period of Qianlong Emperor

       

      Xavier Bouvier, Haute Ecole de la Musique, Geneva, Switzerland

      Suite Chinoise: a rediscovered piece for violin and piano from the Republican period

       

      Stewart Carter, Dept. of Music, Wake Forest University, Winston- Salem, USA

      From Tang to Former Shu to Later Shu: Emulation and Contrast in Court Music Ensembles of Tenth-Century China

       

      Lenka Chaloupková, PhD candidate, Department of East Asian Studies, Charles University, Prague, Czech Republic

      Back to the Eastern roots? Impressionist Music and Its Path to China

       

      Stella Chan, University of California, Riverside, USA

      Rethinking “Chinese”: The Cantonese Opera in Cuba

      

      Anna Cvr?ková, Mgr. student, Dept of Theatre Studies, Charles University, Prague, Czech Republic

      Dana Kalvodova and Her Research of Sichuan Opera

      

      Du Yongfei, Martin-Luther-University Halle-Wittenberg, Germany

      Serious Versus Popular: New Choral Music and Mandopop in Contemporary China

       

      Johannes Grosz, Berlin, Germany

      The Written Word, Taboo and the Inevitability of Music

       

      Huang, Yu-Han, Taipei National University of the Arts, Taipei, China

      Exploring Oceans, Expressing Emotions: A Case Study on Relationships Between Music and Emotions

      

      Kim Hunter Gordon, Assistant Professor of Chinese and Performance Studies, Duke Kunshan University, China

       Rules made to be broken; articulating tones in kunqu

       

      Catherine Ingram, Lecturer in Ethnomusicology, Sydney Conservatorium of Music, The University of Sydney, Australia

      Songs of home: A musical meeting of Kam (Dong) and Indigenous Australian singers in Sydney, Australia

       

      Henry Jacobs, PhD cand., Oxford-Ko Cheuk Hung Scholar at The University of Oxford, England UK

      'Music Has Neither Sorrow nor Joy': Musical Ontologies and Political Meaning in the Writings of Ji Kang 嵇康

       

      Marianne L?kke Jakobsen, Director, Music Confucius Institute, Royal Danish Academy of Music, Copenhagen, Denmark

      Artistic Cooperation in Bridging two Continents and jointly bring it into the future music world

       

      Stephen Jones, School of Music, Brigham Young University, Provo UT, USA

      “Today we will perform some experimental works”: The December 1947 Concert of Folk Songs and Compositions given by Tan Xiaolin and His Students in the Context of Shanghai’s Pre- liberation Musical Culture

       

      Gwendoline Cho-ning Kam, Independent Scholar

      Sounding Ancient China: Kunqu Luogu as Cultural Negotiator

       

      Joseph S. Kaminski, Ph.D. The College of Staten Island of the City University of New York, USA

      The Beijing Sunshine Concert Band and its Traditional to Modern Repertoires for Retirees

       

      Adam Kielman, Department of Music, The Chinese University of Hong Kong, China

      Dubbing Cultures: Articulations of Yuanshengtai (“Original Ecology”), Indigeneity, and Blackness in Yunnan Reggae Dub

      

      Bernard Kleikamp, PAN Records, leiden, The Netherlands

      The lineage and innovations of the Zhou Family of suona players

       

      Ming-yen Lee, Graduate School of Arts and Humanities Instruction, National Taiwan University of Arts, China

      Music Making in the Chinese Periphery:Hong Kong Chinese Orchestra during the British Colonial Era, 1977-1997

       

      Jeffrey Levenberg, Assistant Professor of Music, Chinese University of Hong Kong, China

      Re-Envisioning Yilan and Youlan: Modern Scientific Discovery and the Interpretation of Two Guqin Classics

       

      Liu Lu, Sydney Conservatory of Music, Australia

      A discussion of the processes involved in creating a new cross- cultural pipa composition: “Hectic Peppermint”

       

      Luo Mengyu, University of Shanghai for Science and Technology, China

      Conflicts and Convergences of China’s Rainbow Chamber Singers

       

      Fran?ois Picard, Université Paris-Sorbonne, Paris, France  

      From 17 to 37: The Number of Sheng Tubes as a Contrasting Factor

       

      Edwin Porras, Ethnomusicology Dept, UCLA, Los Angeles, USA

      Cantonese Opera and the Lion Dance in Cuba: Different Social Spheres and Distinct Ways of Life in Diaspora

      

      Nancy Yunhwa Rao, Dept of Music, Rutgers University, New Brunswick, USA

      Contemporary Chinese Composers in New York City: the New York Times Perspective

       

      Helen Rees, Ethnomusicology Department, University of California Los Angeles, USA

      Sounds of Late Qing Yunnan through European Eyes and Ears

      

      Jeff Roberts, Assistant Professor of East Asian Music and Culture, Department of East Asian Studies, University of Alberta, USA

      Representing Nature in Guqin Composition and Improvisation: Sensor-controlled Guqin Resonance and New Techniques in Nature Mimicry

       

      John O. Robison, Professor of Musicology, University of South Florida, USA

      Wang Xilin, the Sino-Japanese War, and Symphony no. 9

       

      Avital H. Rom, Faculty of Asian and Middle Eastern Studies, University of Cambridge, England UK

      To the Edge of Sound: Contrasts in Early Chinese Musical Thought

       

      Kevin Conrad Schoenberger, Dept Chinese Culture, Hong Kong Polytechnic University, China

      Singing Writing and Singing Speech: The Influence of Literary and Vernacular Diction on Late Imperial Chinese Music

       

      Schr?der, L. Odila, Phd cand., Nottingham University, England UK

      Treasonous Repertoires: Private and State-Sanctioned Concert Life in Wartime Beijing (1937-1945)

       

      Francesco Serratore, Postdoctoral research fellow, Shanghai Conservatory of Music, Shanghai, China

      The absence of Wenzhou guci within the musical practices of the Chinese community in Milan: Generational gap or “transnational identity”?

       

      Enio de Souza, Instituto de Etnomusicologia, Centro de Estudos em Música e Dan?a/Universidade Nova de Lisboa | Centro Científico e Cultural de Macau, Lisboa, Portugal

      Chinese Music in Portugal 1980-2019: a striking increase

       

      Anna Stecher, LMU Munich, Institute of Sinology, Germany

      [POSTER] Mapping Lu-Xun-Plays from 20th to 21st Century China

      

      Andreas Steen, Institute of China Studies, School of Culture and Society, Aarhus University, Aarhus, Denmark

      Recording China, Chinese Records: Motivation, Business and the Limits of Cultural Exchange (1902-1914)

       

      Alan R. Thrasher, University of British Columbia, Canada

      Ruyue 儒樂: Northern and Southern Symbology

       

      Alison Tokita (Monash University / Kyoto City University of Arts) et al, Japan

      Panel: Folk Song and the Development of Chinese Art Song in the early twentieth century

      [involves presentations by Alison Tokita, Lin-Yu Liou and Diau- Long Shen]

       

      Tsai Tsan-Huang, College of Music and Dance, Quanzhou Normal University, China, with

      LAU, Sze-wing Joyce, Vienna Boys Choir Music Academy Hong Kong, China

      Sounding Treasures: The Reconstruction of the Sound of 1960s/ 70s Cantonese Music

       

      Tse Chun Yan, Music Department, The Chinese University of Hong Kong, China, Wong Chun Fung Independent scholar

      Music of the Qin: Freedom in Metrical Structure and Freedom in the Literati's Mind

       

      Efrat Urbach, Bar Ilan University, Israel

      Noam Urbach, Haifa University, Israel

      Chinese Church Chimes: The Case of Amiot’s Ave Maria as Exemplar of Jesuit Musical Missionary Efforts

       

      Rachel C. Walker, Tsinghua University, Beijing, China

      Contrasts and Recursion in New Music for Nanyin Instruments

       

      Wang Ling, Yunnan University, Kunming, China

      A Comparative Study of the Possible Creators of the Images of Dance in Cangyuan Cliff Paintings in China

      

      Marnix Wells, PhD (SOAS), London, England UK

      Long and Short in Rhythms of Classic Chinese Music

       

      John Winzenburg, Hong Kong Baptist University, Hong Kong, China

      Mandarin and Cantonese Bel Canto: Regional, National, and International Performance Practices in Chinese Choral Music

       

      Wu Zeyuan, PhD candidate, Department of East Asian Languages and Literatures, Ohio State University, USA

      Revisiting the Literati-versus-Professionals Framework in Late Imperial Qin Culture

       

      Xia Jing, Memorial University of Newfoundland, Canada

      Traversing Cultures: Zheng Music in China and North America

       

      Yuan Xiaorong (Heidi Yuan), Ethnomusicology Ph.D. student at UCLA, Los Angeles, USA

      Music of the Chinese Communities in Bangkok, Thailand

       

      Zhang Jingyi, PhD student in musicology, Harvard University, Cambridge, Mass., USA

      Bright Sheng's Dream of the Red Chamber (2016): A Chinese Musical Commentary in the Twenty-First Century

       

      Zheng Yan (Linda Zheng), School of Music, East China Normal University, China

      Between Reason and Sensibility: A Study of Process and Gesture in JIA Guoping’s Whispers of a gentle wind

       

      ZHOU Jing, PhD in musicology at The University of Hong Kong, China

      Hearing Music Politically in the Tang Dynasty: The Contrasts in the Reception of Three Central Asian Performances

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    專題目錄

    Chime Abstracts in English ACCEPTED list 2019

    作者:音樂學研究所來源:中央音樂學院更新日期:2019-07-06 09:04:32發布日期:2019-04-19 11:23:00本欄目內容由院長辦公室負責維護

      Bi Yixin, PhD candidate of Department of Musicology, Central Conservatory of Music, Beijing, China

      Music, Diplomacy and Mentality - A Research on the British Macartney Mission Visited China during the Period of Qianlong Emperor

       

      Xavier Bouvier, Haute Ecole de la Musique, Geneva, Switzerland

      Suite Chinoise: a rediscovered piece for violin and piano from the Republican period

       

      Stewart Carter, Dept. of Music, Wake Forest University, Winston- Salem, USA

      From Tang to Former Shu to Later Shu: Emulation and Contrast in Court Music Ensembles of Tenth-Century China

       

      Lenka Chaloupková, PhD candidate, Department of East Asian Studies, Charles University, Prague, Czech Republic

      Back to the Eastern roots? Impressionist Music and Its Path to China

       

      Stella Chan, University of California, Riverside, USA

      Rethinking “Chinese”: The Cantonese Opera in Cuba

      

      Anna Cvr?ková, Mgr. student, Dept of Theatre Studies, Charles University, Prague, Czech Republic

      Dana Kalvodova and Her Research of Sichuan Opera

      

      Du Yongfei, Martin-Luther-University Halle-Wittenberg, Germany

      Serious Versus Popular: New Choral Music and Mandopop in Contemporary China

       

      Johannes Grosz, Berlin, Germany

      The Written Word, Taboo and the Inevitability of Music

       

      Huang, Yu-Han, Taipei National University of the Arts, Taipei, China

      Exploring Oceans, Expressing Emotions: A Case Study on Relationships Between Music and Emotions

      

      Kim Hunter Gordon, Assistant Professor of Chinese and Performance Studies, Duke Kunshan University, China

       Rules made to be broken; articulating tones in kunqu

       

      Catherine Ingram, Lecturer in Ethnomusicology, Sydney Conservatorium of Music, The University of Sydney, Australia

      Songs of home: A musical meeting of Kam (Dong) and Indigenous Australian singers in Sydney, Australia

       

      Henry Jacobs, PhD cand., Oxford-Ko Cheuk Hung Scholar at The University of Oxford, England UK

      'Music Has Neither Sorrow nor Joy': Musical Ontologies and Political Meaning in the Writings of Ji Kang 嵇康

       

      Marianne L?kke Jakobsen, Director, Music Confucius Institute, Royal Danish Academy of Music, Copenhagen, Denmark

      Artistic Cooperation in Bridging two Continents and jointly bring it into the future music world

       

      Stephen Jones, School of Music, Brigham Young University, Provo UT, USA

      “Today we will perform some experimental works”: The December 1947 Concert of Folk Songs and Compositions given by Tan Xiaolin and His Students in the Context of Shanghai’s Pre- liberation Musical Culture

       

      Gwendoline Cho-ning Kam, Independent Scholar

      Sounding Ancient China: Kunqu Luogu as Cultural Negotiator

       

      Joseph S. Kaminski, Ph.D. The College of Staten Island of the City University of New York, USA

      The Beijing Sunshine Concert Band and its Traditional to Modern Repertoires for Retirees

       

      Adam Kielman, Department of Music, The Chinese University of Hong Kong, China

      Dubbing Cultures: Articulations of Yuanshengtai (“Original Ecology”), Indigeneity, and Blackness in Yunnan Reggae Dub

      

      Bernard Kleikamp, PAN Records, leiden, The Netherlands

      The lineage and innovations of the Zhou Family of suona players

       

      Ming-yen Lee, Graduate School of Arts and Humanities Instruction, National Taiwan University of Arts, China

      Music Making in the Chinese Periphery:Hong Kong Chinese Orchestra during the British Colonial Era, 1977-1997

       

      Jeffrey Levenberg, Assistant Professor of Music, Chinese University of Hong Kong, China

      Re-Envisioning Yilan and Youlan: Modern Scientific Discovery and the Interpretation of Two Guqin Classics

       

      Liu Lu, Sydney Conservatory of Music, Australia

      A discussion of the processes involved in creating a new cross- cultural pipa composition: “Hectic Peppermint”

       

      Luo Mengyu, University of Shanghai for Science and Technology, China

      Conflicts and Convergences of China’s Rainbow Chamber Singers

       

      Fran?ois Picard, Université Paris-Sorbonne, Paris, France  

      From 17 to 37: The Number of Sheng Tubes as a Contrasting Factor

       

      Edwin Porras, Ethnomusicology Dept, UCLA, Los Angeles, USA

      Cantonese Opera and the Lion Dance in Cuba: Different Social Spheres and Distinct Ways of Life in Diaspora

      

      Nancy Yunhwa Rao, Dept of Music, Rutgers University, New Brunswick, USA

      Contemporary Chinese Composers in New York City: the New York Times Perspective

       

      Helen Rees, Ethnomusicology Department, University of California Los Angeles, USA

      Sounds of Late Qing Yunnan through European Eyes and Ears

      

      Jeff Roberts, Assistant Professor of East Asian Music and Culture, Department of East Asian Studies, University of Alberta, USA

      Representing Nature in Guqin Composition and Improvisation: Sensor-controlled Guqin Resonance and New Techniques in Nature Mimicry

       

      John O. Robison, Professor of Musicology, University of South Florida, USA

      Wang Xilin, the Sino-Japanese War, and Symphony no. 9

       

      Avital H. Rom, Faculty of Asian and Middle Eastern Studies, University of Cambridge, England UK

      To the Edge of Sound: Contrasts in Early Chinese Musical Thought

       

      Kevin Conrad Schoenberger, Dept Chinese Culture, Hong Kong Polytechnic University, China

      Singing Writing and Singing Speech: The Influence of Literary and Vernacular Diction on Late Imperial Chinese Music

       

      Schr?der, L. Odila, Phd cand., Nottingham University, England UK

      Treasonous Repertoires: Private and State-Sanctioned Concert Life in Wartime Beijing (1937-1945)

       

      Francesco Serratore, Postdoctoral research fellow, Shanghai Conservatory of Music, Shanghai, China

      The absence of Wenzhou guci within the musical practices of the Chinese community in Milan: Generational gap or “transnational identity”?

       

      Enio de Souza, Instituto de Etnomusicologia, Centro de Estudos em Música e Dan?a/Universidade Nova de Lisboa | Centro Científico e Cultural de Macau, Lisboa, Portugal

      Chinese Music in Portugal 1980-2019: a striking increase

       

      Anna Stecher, LMU Munich, Institute of Sinology, Germany

      [POSTER] Mapping Lu-Xun-Plays from 20th to 21st Century China

      

      Andreas Steen, Institute of China Studies, School of Culture and Society, Aarhus University, Aarhus, Denmark

      Recording China, Chinese Records: Motivation, Business and the Limits of Cultural Exchange (1902-1914)

       

      Alan R. Thrasher, University of British Columbia, Canada

      Ruyue 儒樂: Northern and Southern Symbology

       

      Alison Tokita (Monash University / Kyoto City University of Arts) et al, Japan

      Panel: Folk Song and the Development of Chinese Art Song in the early twentieth century

      [involves presentations by Alison Tokita, Lin-Yu Liou and Diau- Long Shen]

       

      Tsai Tsan-Huang, College of Music and Dance, Quanzhou Normal University, China, with

      LAU, Sze-wing Joyce, Vienna Boys Choir Music Academy Hong Kong, China

      Sounding Treasures: The Reconstruction of the Sound of 1960s/ 70s Cantonese Music

       

      Tse Chun Yan, Music Department, The Chinese University of Hong Kong, China, Wong Chun Fung Independent scholar

      Music of the Qin: Freedom in Metrical Structure and Freedom in the Literati's Mind

       

      Efrat Urbach, Bar Ilan University, Israel

      Noam Urbach, Haifa University, Israel

      Chinese Church Chimes: The Case of Amiot’s Ave Maria as Exemplar of Jesuit Musical Missionary Efforts

       

      Rachel C. Walker, Tsinghua University, Beijing, China

      Contrasts and Recursion in New Music for Nanyin Instruments

       

      Wang Ling, Yunnan University, Kunming, China

      A Comparative Study of the Possible Creators of the Images of Dance in Cangyuan Cliff Paintings in China

      

      Marnix Wells, PhD (SOAS), London, England UK

      Long and Short in Rhythms of Classic Chinese Music

       

      John Winzenburg, Hong Kong Baptist University, Hong Kong, China

      Mandarin and Cantonese Bel Canto: Regional, National, and International Performance Practices in Chinese Choral Music

       

      Wu Zeyuan, PhD candidate, Department of East Asian Languages and Literatures, Ohio State University, USA

      Revisiting the Literati-versus-Professionals Framework in Late Imperial Qin Culture

       

      Xia Jing, Memorial University of Newfoundland, Canada

      Traversing Cultures: Zheng Music in China and North America

       

      Yuan Xiaorong (Heidi Yuan), Ethnomusicology Ph.D. student at UCLA, Los Angeles, USA

      Music of the Chinese Communities in Bangkok, Thailand

       

      Zhang Jingyi, PhD student in musicology, Harvard University, Cambridge, Mass., USA

      Bright Sheng's Dream of the Red Chamber (2016): A Chinese Musical Commentary in the Twenty-First Century

       

      Zheng Yan (Linda Zheng), School of Music, East China Normal University, China

      Between Reason and Sensibility: A Study of Process and Gesture in JIA Guoping’s Whispers of a gentle wind

       

      ZHOU Jing, PhD in musicology at The University of Hong Kong, China

      Hearing Music Politically in the Tang Dynasty: The Contrasts in the Reception of Three Central Asian Performances

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