ABSTRACT

More than five thousand years of rich cultural history have made Chinese music an immensely sophisticated, multi-faceted artistic phenomenon that consists of diverse regional and transregional traditions.
The present volumes bring together ten articles written mainly by native scholars, with the general aim of introducing a dialogue about Chinese music from the viewpoint of the insider.

chapter |1 pages

Erhu

chapter |9 pages

Jinghu

chapter |4 pages

Pre-Qin Dynasty ( -221 B.C.)

chapter |10 pages

Music Played by the Literati

chapter |1 pages

bianzhong bell chime bili a double-reed cylindrical instrument bo cymbals Chaozhou Xianshi String music in Chaozhou chiba vertical bamboo flute chui blowing, a category of folk classification for music instruments, meaning wind instruments Chuige Hui Society of wind songs da beating, a category of folk classification for music instruments, meaning percussion instruments Dadiao Qüzi a local singing narrative genre in Henan Province daqü large suite di bamboo flute erhu two-string bowed lute Erquan Yingyue Moonlight reflected on the water of Erquan Spring, an erhu piece played by Abing Fanglü Pasture donkey, a wind and percussion ensemble piece played in Chuige Hui in Hebei Province fengshou konghou arched harp Ge hide, a category of ancient classification for musical instruments gonche Chinese system of notation gu drum guan a double-reed cylindrical instrument, basically the same as the ancient bili Guangdong Yinyue Cantonese music, a genre of instrumental ensemble in Guangdong Province Guangling San Tune of Guangling, a qin piece Guchui yue drum and blowing music gudi bone flute haidi small suona (small conical oboe) hua painting, one category of the literati’s self-cultivation and entertainment hujiao horn Ji Kong Yuewu Worshiping music and dance to Confucius Jiangnan Sizhu String and wind ensemble in the south area of the Yangtze River Valley jianzi pu simplified character notation Jin metal, a category of ancient classification for musical instruments jinghu two-string bowed lute, like a small erhu but with its soundbox made of bamboo

chapter |1 pages

la drawing, a category of folk classification for music instruments, meaning bowed instruments Liushui The Running Waters, a qin piece luo gong lülü Chinese system of notation using the names of the 12 pitches Luxinan Minyue Diaoyan Folk music performing meeting in the Southwest area of Shandong Province Mu wood, a category of ancient classification for musical instruments Nanbeipai Shisantao Daqü The new pipa collection of thirteen long pieces of the Pipa Xinpu southern and northern performing schools, a pipa collection edited by Li Fangyan in 1895 paiban clappers paixiao pan pipe Pao gourd, a category of ancient classification for musical instruments Paolü Donkey running, a folk singing and dancing program pipa short neck plucked lute with pear-shaped soundbox qi chess, one category of the literati’s self-cultivation and entertainment qin seven-string plucked zither, also one category of the literati’s self-cultivation and entertainment, which includes playing qing L-shaped sonorous stone Qingke Chuan Free guests’ ensemble, a kind of group in Jiangnan Sizhu Qingyin Hui Qing’s music society Qincjü Jicheng A comprehensive collection of qin pieces Qüjiaying Yinyuehui Music society at Qüjiaying village Renmin Yinyue Chubanshe People’s Music Press in Beijing ruan long neck plucked lute with round soundbox sanxian three-string long neck plucked lute sanxü prelude in free rhythm, a part of daqü se large half tube plucked zither Shanghai Yinyue Shanghai Music Press in Shanghai Chubanshe sheng mouth organ Shenqi Mipu Fantastic scores, a collection of qin pieces Shi stone, a category of ancient classification for musical instruments

chapter |1 pages

Shimian Maifu Ambush on All Sides, a pipa piece shu calligraphy, one category of the literati’s self-cultivation and entertainment shu konghou angular harp Si silk, a category of ancient classification for musical instruments Sichuan Yangqin a local singing narrative genre in Sichuan Province sihu four-string bowed lute suona conical oboe tan plucking, a category of folk classification for musical instruments, meaning plucked instruments taoxun pottery ocarina taozhong pottery bell Tianjin Minjian Yinyue The great meeting of folk music in Tianjin City Shenghui tongbo brass cymbals Tu earth, a category of ancient classification for musical instruments Wenban Shi’er Qü Twelve civil short pieces, a collection of pipa pieces edited by Yang Yinliu and Cao Anhe in 1943 wenqü civil pieces wenzi pu character notation wo konghou half-tube plucked zither with frets on the soundboard wuqü martial pieces xiao vertical bamboo flute, similar to ancient chiba xianghege song, accompanied by instruments xiqin bowed lute xun egg or ball shaped wind instrument, comparable to ocarina yangqin dulcimer yanyue banquet music in the court Yayin Ji Collection of elegant music edited by Yang Yinliu in 1923–1929 yayue ceremonial court music yazheng zither yü a type of ancient sheng, mouth organ yü (different Chinese scraped wooden block character) yunluo small gong chime zheng bridged zither

chapter |1 pages

Temple Fairs

chapter |5 pages

Music

chapter |1 pages

Glossary Bailian Jiao White Lotus teachings baimiao paying homage at the temples ban band caijie street procession cha, ban small cymbals chi hui hold a feast for all the households chuige songs for winds chuigu shou drumers and wind players dangzi gong in frame daqu large pieces dizi transverse flute with kazoo membrane fang dengke releasing the lanterns fangshe or shishi pardon and distribution of food fang hedeng releasing the river lanterns gongche traditional notation gu large barrel drum guanshi, zan guan helper guanzi double-reed pipe guyueban, chuida ban wind-and-percussion band huahui assembly of performing troupes hui association huishou association head nanyue the southern music nao, bo large cymbals pai prelude paizi percussion pieces, cf. the melodic qupai qu pieces qupai labelled melodies shang miao going to the temple shan hui charitable associations she society she hui altar assembly shen body sheng free-reed mouth organ sheng-guan yue type of wind-and-percussion music shenghui outstanding association shifu masters tao suites wei tail xiangshou incense head xiaoqu small pieces xueshi learning the [ritual] business xuyuan make vows to the gods

chapter |12 pages

References

chapter |1 pages

Glossary Bo idiophone, cymbal Dang idiophone, small brass gong suspended in a wooden frame Dao the transcendent eternal Cosmic Way Daozang Taoist canon Di aerophone, horizontal flute Difang yun regional chants Dujiang chief cantor Fangshi man of magical techniques Faqi ritual instruments Fujiang assistant cantor Gaogong fashi chief Taoist or master of exalted merit Gongchi notational system Gu membranophone, drum Guan aerophone, reeded pipe He process of uniting the yin and yang Huoju daoshi non-celibate Taoist priests Jinian fashi rituals celebrating the birthdays of various gods, deities, and past Taoist masters Luo idiophone, gong Moyu idiophone shaped like a fish, made of wood Qi the primordial energy Qing idiophone in the shape of a large bowl, usually made of brass Quanzhen Perfect Realization Quanzhen zhenyun Orthodox Quanzhen chants Sandong three-part classification of historical documents used in the Taoist canon Sanjiao heyi Three religions (Taoism, Buddhism, Confucianism) into one Sanqing The Three Pure Ones, highest of the Taoist gods Shougu membranophone, hand-held drum Suona aerophore, oboe Taiping Dao The Way of Great Peace Tan Taoist altar Tian ren he yi human in/as universe Tianshi Dao The Way of the Heavenly Masters Wushi shaman and spirit-medium Wuwei Taoist philosophical idea of non-interference Xiudao fashi daily morning and evening offices Yangyun chants praising the virtues and power of the gods Yanyue court banquet music

chapter |1 pages

Department, Guizhou Normal University. He is a member of the Chinese Musicians’ Association and Director of the Society for Nuo-drama of China. Tsao Penyeh is Senior Lecturer in Ethnomusicology at the Chinese University of Hong Kong. His research interest in Chinese music includes singing-narratives, puppet theatre, and ritual music. Tsao heads the Ritual Music in China Research Programme at the Music Department of the Chinese University of Hong Kong, aiming to systematically investigate Taoist and Buddhist ritual music as well as ritual music of other ethnic nationalities in China. With a team of twenty scholars, the Research Programme is presently conducting a three-year project ‘Comparative Study of Regional and Transregional Taoist Ritual Music Traditions of Major Temples in China, Hong Kong and Taiwan’. Tian Lian-tao is an ethnomusicologist and composer, and professor of the Central Conservatory of Music, Beijing, China. He has conducted extensive research into the traditional music of China’s minority nationalities for more than forty years. Xiu Hailin was born in Shanghai in 1952 and graduated from the department of Musicology at the Central Conservatory of Music in 1983. He is currently the Assistant Professor and Assistant Director of the Institute of Music, Central Conservatory of Music. Tsui Ying is currently an ethnomusicology Ph.D. student in the University of Pittsburgh (Pennsylvania, USA). He received his B.A. in 1987 and his M.Phil. (Chinese music), in 1990 from the Chinese University of Hong Kong. His major field of interest in Chinese instrumental music. In Hong Kong, he has been active as a Chinese flute player as well as a conductor in the modernized Chinese folk orchestras, as well as a Western flute player, for over a decade. His master thesis studied amateur Chinese orchestras in Hong Kong in the seventies with reference to the musical characteristics of the kind of repertoire performed and the social context in which the orchestras emerged. Tsui’s doctoral dissertation is on the issues concerning the traditional Cantonese music ensemble. Ruth Wingyu Yee , a founder of the Shatin Cantonese Opera Troupe, Hong Kong, has for the past ten years been serving on its management committee and performing as a principal actress. She was a solo folksong singer

chapter |13 pages

of the Chinese Folk Dance Association in San Francisco and a solo dancer of the East/West Dance Company in Boston. She has also helped these groups to organize demonstration workshops for local communities. Ruth Yee’s research interest is in Chinese music in gender context. In 1994 she published a two-part review article on the definitions of Chinese folk songs in the Journal of Wuhan Music Conservatory and in 1995 presented a paper at the 33rd World Conference of the International Council of Traditional Music entitled The Lao Ma Ma Hui of Bai Ethnic Nationality in Yunnan, China. Wang Yaohua was born in Changting county of Fujian province in 1942. He graduated in the music department of the Fujian Teachers University in 1961. Currently Professor of Music and Vice-president of the University. He has been engaged for many years in the study and teaching of Chinese Traditional Music.

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