专题目录

Chime Abstracts in English ACCEPTED list 2019

  • 作者:音乐学研究所  
  • 来源:太阳亚洲是如何开户的
  • 发布日期: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 Cvrčková, 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 Løkke 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

   

  François 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

   

  Schröder, 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 Dança/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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专题目录

Chime Abstracts in English ACCEPTED list 2019

作者:音乐学研究所来源:太阳亚洲是如何开户的更新日期:2019-07-06 09:04:32发布日期:2019-04-19 11:23:00本栏目内容由院长办公室负责维护

  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 Cvrčková, 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 Løkke 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

   

  François 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

   

  Schröder, 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 Dança/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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