The purpose of this study was to investigate the curricular content of elementary music in China between 1912 and 1982. The questions addressed were: (1) What changes in elementary music resulted from China's becoming a republic in 1912? (2) What changes in elementary music resulted from China's becoming a socialist country in 1949? (3) What changes in elementary music in the People's Republic of China resulted from the Anti—Rightist Struggle Movement in 1957? (4) What changes in elementary music in the People's Republic of China resulted from the Cultural Revolution (1966-1976)? (5) Have changes occurred in elementary music in the People's Republic of China since the beginning of the reform movement in 1978? (6) Did any of the changes affect curricular goals, contents, methods, required materials, and instruction time allotted in a like manner, or did some of these components remain the same while others changed? (7) Were the changes important enough to attribute them to a changed political ideology? After translating all pertinent documents, the goals, contents, methods, materials, and time allotted for the elementary music curricula between 1912 and 1982 were listed and identified. Subsequently, the areas of focus within those categories as well as changes in focus …

This study first narrates on the importance of theory of lü-lü (theory of tone generation) in the history of Chinese music from the Chou Dynasty (ca. 400 B.C.) to the Chin Dynasty (ca. end of 19th century), its symbolism and ramification. The main body of this study is devoted to critical translation of Huang Ti-Pei's Perspectives of Chinese Music, particularly those sections which give chronological narratives and comparative critiques of major theories of lü-lü, in order to provide the western scholarship with documents toward understanding the evolution of tone system of Chinese music. The study concludes with a comparison of Chinese tone systems from ancient time to present, and offers comments on comparison of tone systems between the eastern and western musics.

Recital presented in China in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the Liang Peng Music Studio, in Shanghai, China in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

This documents aims at the identification of the sources of influence upon the styles of selected 20th century Chinese composers. Personal influences are reflected as well as those general influences specific to the different stylistic periods discussed. Most important, however, is the description of the methods by which these composers employ contemporary compositional devices to project musical gestures that are uniquely Chinese: elements of culture which are fundamentally programmatic and intimately related to the lives of the Chinese people. The introduction of Western music and musical instruments to China in the early 17th century and cultural exchanges with Japan served to gradually westernize the musical environment and training. The establishment of decidedly Western schools was accomplished at the beginning of this century, with the founding of Peking University and Shanghai National Conservatory. Music theory was taught, as well as history and composition, but with an emphasis on the practices of the 18th and 19th centuries. Compositions from this period reflect Western techniques from these eras, with some use of the pentatonic scale. In the 1930's, nationalism arose, a mirroring of the 19th-century European nationalistic trends. This philosophical conception has remained essentially unchanged to the present, as composers have aimed to …

Se Enkhbayar (b. 1956) is one of the most important contemporary Mongolian composers in China. His choral tone poem, Önchin Botog, integrates the traditional Mongolian musical elements Urtiin Duu (long song) and Khöömii (throat singing) with modern choral music and is one of the most representative works in the genre of modern Mongolian choral music. The purpose of this study is to provide a performance guidance for non-Mongolian musicians on Se Enkhbayar's work, Önchin Botog, by presenting his biographical and cultural backgrounds, discussing the use of traditional Mongolian singing styles, special rhythmic patterns (horse-step rhythm) and Chinese pentatonic scales. For conductors, this guide can shorten preparation time by providing musical analysis for artistic interpretation and practical points for sound effect creation. For solo singers, this guide will enable a Bel Canto singer to sing Urtiin Duu in Mongolian singing style. For Khöömii singers, this guide provides supplementary practical suggestions.

Recital presented at the Parsons Music Hall in Shanghai, China in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

While China possesses one of the world's richest musical heritages, it remained unaffected by Western music until early in this century. Subsequently, there was a movement of nationalism in music approximately three decades after the introduction of Western music. This movement, aimed at utilizing Western compositional techniques to create musical works that still would be uniquely Chinese, continues even today. Huang's piano concerto was written in 1982, just a few years after the Cultural Revolution. At the time, most Chinese composers were "handicapped" by their lack of knowledge of Western contemporary music and by their limited study of both Western and Chinese traditional forms. Huang Anlun, a composer-in-residence at the Central Opera House in Beijing, traveled to North America to study at the University of Toronto and Yale University. Subsequently his music is widely performed and well received around the world. After presenting background information on Western music in China and an introduction to basic Chinese music theory, this study has analyzed Huang's piano concerto, with a particular focus on identifying, comparing, and analyzing elements of Western and Chinese music. After a survey of the formal structure of the concerto, this study has discussed Chinese modality and Western harmony--the two …

The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai's nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China's musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.

Recital presented at the Shenzhen Concert Hall, Shenzhen, China in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Continued from Tape 91. end Lǜ-chūm word list, int. lɛ́-djỳ, Kunming 25-26/8-1982; Àbɔ́qɔ: hɔ̀ sjỳq ə dɔ̀ ŋɛ̀ ɣɛ ə djí tshe ə́ 14/10-82

This study demonstrated that the piano, a typical Western instrument, became the Chinese composer's tool for expressing the sound ideals and tone qualities that are intrinsic to Chinese music. A new musical idiom was created in these piano compositions, an idiom that combined Western compositional techniques and traditionally-based Chinese ideals.

Akha songs and narratives. 0-27 Hani, Mòjiang xiàn, Akha word list. gloss 421-450; 27-[end] Àbɔ́qɔ: mì dàq sjhí ŋɛ tshɔ́ ŋö́ ŋö́ ə. Mɛ-bý 12/10-82

Personal statements of Jill, Janet, and Pete Warnke regarding the adoption of Jill Warnke from Jiangxi Province, China. Jill discusses her audition and performance in the musical, "Annie." Janet and Pete describe the decision to adopt from China and the application process to adopt Jill. There is a photo of Janet, Pete, and a baby Jill Warnke on the second page of the document.

This extremely valuable collection of texts in the Lahu language represents the language and culture in the 1960’s, a time when the heritage language and culture were still vibrant and not yet globalized, hence the title Window on a Vanished World. It is also one of the largest collections of texts in any Tibeto-Burman language. The texts are available as a book and online with the audio (originally from 1960’s magnetic tape). This is a massive achievement for all involved in the recording, conversion, and editing.

B-roll video footage from the KXAS-TV/NBC station in Fort Worth, Texas, to accompany a news story.

Script from the WBAP-TV/NBC station in Fort Worth, Texas, relating a news story of sound and spirit of Christmas is in the Republic of China in Taiwan but is not reflected in the Communist mainland China.

Recital presented at the Music Hall, Hubei, China in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the Music Hall, Hubei, China in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the Video Studio, Shanghai, China in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at 101 Studio, Guangzhou, China in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented in Shenzhen, China in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Transcript of an interview with Masanobu and Tomoko Ikemiya. In the first part of the interview, Ikemiya Masanobu discusses his early life in China and Japan, and his education in the United States. He talks about religion and Zen, and sustainable lifestyles. In the second part of the interview, his wife Ikemiya Tomoko talks about her early life, and their lives together.