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Chinese language track is a multi-faceted inventive phenomenon that comprises varied neighborhood and transregional traditions. the 10 essays during this textual content were written by means of local students, with the purpose of introducing a discussion approximately chinese language song from the perspective of an insider.

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Additional resources for Tradition and Change in the Performance of Chinese Music, Part I: A special issue of the journal Musical Performance

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1993) “Lun Shengyueqü dui Zhongguo Chuantong ji Jinxindai Qiyue Chuangzuo de Yingxiang” (The influence of vocal music on the traditional and modern composed Chinese instrumental music). Zhongguo Yinyuexue (Musicology in China), 1993/4, 55–66. Yang Yinliu. (1963) Gongche Pu Qianshuo (A primary study on gongche notation). Beijing: Yinyue Chubanshe. ——. (1981) Zhongguo Gudai Yinyue Shigao (A historical study of ancient Chinese music). Beijing: Renmin Yinyue Chubanshe. ——. (1982) “San Lü Kao” (Study on three systems of tone and temperament).

Members come from the village or town, entering the association voluntarily. The traditional attitude of the association towards a new recruit is to reject no-one as long as they behave properly and abide by the association’s rules. We may identify core and external components. Members of the external group are called zaihuide (in the association); they might be called helpers. The basic unit is the family. Any family which helps the association in practical ways, such as formally taking a son to enter the association and learn the music, or donating money or 40 XUE YIBING AND STEPHEN JONES goods to the association, may be considered ‘in the association’.

Gu Zongzhi, a teacher at the Guizhou Higher Arts Institute. I wish to express my gratitude for his assistance. ) who held the leading position in Nuo rites. 58 DENG GUANGHUA carrying dagger-axes and shields led the masses to perform the Nuo rites. D. 220), twelve ‘divine animals’3 and one hundred and twenty ‘Zhenzies’ 4 were added to the Nuo rite. There was also a chorus, solo singing and dancing, and there were musical instruments, such as bronze dagger-axes, big tao5 and so on. D. 960–1279), secularized mythical figures such as Zhongkui,6 Panguan,7 Menshen,8 and others appeared in Nuo— replacing the fangxiang, divine animals and zhenzies.

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