China part II

China part II - The Zheng and its Histories Chapter 13 Part...

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The Zheng and its Histories Chapter 13 Part II: A Musicultural History of the Chinese Zheng
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The Zheng and the Qing Dynasty (1644- 1911) Distinct regional styles of zheng playing have crystallized: Shandong, Henan, Shaanxi, Chaozhou, Hakka, and Zhejiang.
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Common to the various regional styles is the baban: Traditional Chinese melodic form with 8 main melodic phrases. Each regional style has its own distinctive yun or regional character. For example: The yun of the Henan zheng is known for its liveliness and short descending melodic phrases. Each regional style (including the bulk of Regional Styles: Traditional Solo Zheng Music
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“Autumn Moon Over the Han Palace” Performer: Deng Haiqiong CD #3-23 Representative of Shandong regional zheng style Played on a 16 string zheng with steel strings. Smaller zheng is preferred for traditional pieces. Yijing: “Sadness.”
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Guided Listening 0.00 Gua-zou – glissando 0.02 Shang hua-yin – up-glide 0.03 Hui hua-yin – down-up round glide 0.05 Xia hua-yin – down-glide
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Beijing (Peking) Opera Combines singing, acrobatics, miming, dance 19th c. (near end of Qing dynasty) Many regional styles/languages Widely known type: Beijing Opera Repertoire includes nearly
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Traditional Beijing Opera Highly stylized/suggestive, not realistic/imitative Speech, song, dance, combat movements used in symbolic rather than realistic ways Stylistic conventions help audiences navigate plot Literal aspects of scenes are removed or stylized to better represent intangible emotions and characters
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Emergence of Conservatory Solo Zheng Style Republic Era (1912-1949) Political instability and massive cultural reform Appropriating Western technological, economic, and cultural systems Chinese traditional musics seen as regressive. Western music was prized as an adopted icon of Chinese
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China part II - The Zheng and its Histories Chapter 13 Part...

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