Thoughts on the Complementation of Chinese and Western Musical Instruments and the Localization of Piano Music

At the beginning of the 20th century, Western music gradually integrated into Chinese music education institutions and various music social activities. The timbre, range and comprehensive expression of Western musical instruments have played an important role in promoting the performance of Chinese national musical instruments. At the same time, Chinese traditional music culture has also had an important impact on the localization of Western music in China, especially for the piano music.

Inheritance and Development of Guangxi Minority Musical Instruments and Their Integration With Operas

The traditional musical instrument of minorities converges the evolution of ethnic group culture and history,and ethnic musical instruments are a core component of minority culture.The traditional instruments of Guangxi minorities are rich and varied,and an all-round cultural inheritance and protection mechanism should be used for ethnic musical instruments,so that the performance form of classical musical instruments of minorities can be more widely understood and mastered.Therefore,in this paper,we discuss the specific practice idea of the inheritance and development of classical musical instruments of Guangxi minorities,and facilitate the innovation of development path of ethnic musical instruments by taking the inheritance form of integrating musical instruments with operas.

Construction of Three-in-one Industry and Cultural Inheritance of Musical Instruments of Li People in Hainan from the Perspective of Rural Revitalization

From the perspective of industrial integration,how the musical instruments of Li people in Hainan can solve the current development problems such as lack of endogenous power and market enthusiasm under the strategy of rural revitalization to walk out a unique road of three-in-one industry construction was studied.

Application of Timbres of National Musical Instruments in the Performance of Chinese Piano Works

Piano and national musical instruments symbolize the understanding and interpretation of different cultures, races and regions for music. However, music is the art of sound. Both piano and national music instruments reflect sound art. Similarly, both of them blend with and affect each other. For instance, some excellent piano works in China inherit national culture and fuse western music techniques. Timbres of national musical instruments present the music characteristics of combining Chinese elements with western elements and integrating with each other in piano performance.

Exploration on the Foundations of Contemporary Education and Ethnic Music Education from the Perspective of Traditional Chinese Musical Instruments

With the rapid development of multicultural arts,music education has become an important component of the educational research system.However,the teaching of traditional Chinese folk musical instruments,as an essential branch of music education teaching,has been neglected.This paper discusses the significance of Chinese folk musical instrument education from three aspects:the history of Chinese folk musical instruments,the development of folk musical instrument teaching,and the integration of modern musical instrument education with folk musical instrument education.

Development and applications of the quasi‐dynamic triaxial apparatus for deep rocks

The mechanical behaviors of deep rocks have always posed a challenge for the implementation and safe operation of major underground engineering projects.To this end,this study modified the existing mainstream rock mechanics instruments equipped with a dynamic disturbance loading system and developed a second‐generation TFD‐2000/D triaxial instrument.The first‐generation device is equipped with an independent disturbance system and an advanced EDC‐580 all‐digital servo controller,which can apply disturbing load independently,implement the function of cyclic disturbance,and combine dynamic and static disturbances.The instrument was found to be reliable for use in analyzing the damage process of rocks in the disturbance test of marbles.The second‐generation instrument tackles three limitations of the first‐generation instrument:(i)it upgrades the strain measurement system and uses extensometers with linear variable differential transformers to accurately measure deformation;(ii)it uses the self‐balanced chamber to replace the Hoek–Franklin triaxial cell and auto‐balancing triaxial pressure chamber;and(iii)the loading rod is independently equipped with an EDC‐580 all‐digital servo controller,which measures precise loads.The experimental findings confirmed that the second‐generation instrument can be used for rock mechanics testing under cyclic disturbance loading,the disturbance–stress relaxation cycle,and the creep–fatigue cycle.In this sense,the second‐generation instrument can be a useful addition to deep rock mechanical instruments and provide a valuable reference.

The Language of An Ancient Instrument

If you thought learning Chinese was hard,then pop over to the musical instrument vocabulary list for a break.All you have to remember is the suffix琴(qín),and you’ll have the names of most instruments half memorized D violin is小提琴(xiǎotíqín),keyboard is电子琴(diànzǐqín)and the harmonica is口琴(kǒuqín).You can even use琴as a shortened way of saying these instruments(我在练琴,I’m practicing qin),which works out great until you realize that people have no idea whether you’re playing a piano,a guitar or an erhu.

The Unique Chinese National Musical Instruments

The Chinese-made musical instruments, qin, zheng, bamboo flute and xiao, enjoy an irreplaceable position in the international instrument market, for their time-honored history, unique musical effect and delicate craftsmanship. Ancient zheng, named after its sound, is one of the oldest musical instruments of China. According to ancient records, zheng was popular in the Qin region (Shaanxi today) in 400 B.C. At that time, a zheng had 10 swings and was made of wood. In 900 B.C., the

Sounds Synthesis with Slime Mould of Physarum Polycephalum

This paper introduces a novel application of bionic engineering： a bionic musical instrument using Physarum polycephalum. Physarum polycephalum is a huge single cell with thousands of nuclei, which behaves like a giant amoeba. During its foraging behavior this plasmodium produces electrical activity corresponding to different physiological states. We developed a method to render sounds from such electrical activity and thus represent spatio-temporal behavior of slime mould in a form apprehended auditorily. The electrical activity is captured by various electrodes placed on a Petri dish containing the cultured slime mold. Sounds are synthesized by a bank of parallel sinusoidal oscillators connected to the electrodes. Each electrode is responsible for one partial of the spectrum of the resulting sound. The behavior of the slime mould can be controlled to produce different timbres.

True Artists at Current Era——Alan Liu, CEO of AXL Musical Instruments Co., Ltd.

Links Alan Liu graduated from Shanghai Conservatory of Music.During his college years,he specialized in flute playing and also studied composition theory.In 1986,he went to the U.S.and studied at the School of Music at Dominican University to study musical composition.As graduate student of musical theory,Alan Liu developed strong interests in Blues,Country,Folk,Bluegrass and Jazz music.From 1986 to 1990,he spent a lot of time

Portrayal of＂Oud＂ Musical Instrument in Creative Work of Alisher Navoi

The Oud is a pear-shaped stringed instrument with 11 ＇or 13 strings grouped in 5 or 6 courses, commonly used in Persian, Arabic, Greek, Turkish, Jewish, Byzantine, Azerbaijani, Armenian, North African and Middle Eastern music. Oud had been widely popular before 17th century among society, and it provided moral and spiritual nourishment. This musical instrument was created by singer Borbad who lived in the period of Khisrav Parviz who was Sosoniy King and it was in the novel of ＂Khisrav and Shirin＂ （Nizami Ganjavi）. Oud was also described in Kitab al-Musiqa al-Kabir （The Book of Music） by Farabi. Moreover, Alishir Navoi showed the connection of the science of music with spiritual world in verses of his priceless heritage. The poet assessed the sound features of the musical instruments in his book Mahbub ul-Qulub. Additionally he has written, ＂While the sound of Chang （struck zither） is torturing, sound of Oud is more touching.＂ Sometimes Navoi used the Oud in musician＇s hands as an artistic image in order to illustrate his torture to reader. He described his condition very vividly and skillfully. This is probably because Oud has unique wail, which cannot be heard in any other instruments.

Research on Aesthetic Education in Instrumental Music Teaching

Aesthetic education is an important part of instrumental music teaching content.The study of aesthetic education in instrumental music teaching can not only cultivate sentiment and improve artistic accomplishment,but also promote the healthy and all-round development of students.Through the emotional experience,the students can feel the emotion contained in the music,creating and transmitting the beauty in the performance.This paper starts from the importance of aesthetic education in instrumental music teaching,and analyzes the current situation of aesthetic education in instrumental music teaching,and puts forward corresponding implementation strategies,in order to truly realize the value of talent cultivation and art in instrumental music teaching.

From the History of Formation Uzbek Oral-Professional Music

First features of formation of oral-professional genres in the territory of Uzbekistan were known from ancient time. Examples of preserving wall painting, small statues with musicians images evidence that professionalism was taken place in the early of 1 st millennium. Dastan, Katta Ashula, Makom are the main oral-professional genres of the Uzbeks. History facts are in the paper.

Correlation Between Playing an Instrument and Grades in Middle and High School Students in the U.S.

The purpose of this study is to determine if there is a correlation between grades and playing an instrument.Furthermore,it will be determined if the number of hours one spends practicing their instrument and how long one has played their instrument affects one’s grade in a class.The data for this study were obtained through a Google Form and were targeted towards middle and high school students in the United States.Results of this study concluded that there is a correlation between playing an instrument and one’s grades in certain subjects.It was also determined that the amount of time spent practicing or how long one has played an instrument also had an impact on one’s grades in certain subjects.

The Worldwide Success of Chiming Bells Music and Dance

SINCE August 1983 a showcalled Chiming Bells Music andDance has had a straight runof successes all over the world.Prod-uced and performed by the HubeiSong and Dance Ensemble,thislarge-scale performance of Chineseclassical songs and dances has re-ceived favorable reviews in Japan,Hongkong,USA,Canada,theUkraine and Romania.Foreign di-plomats in China,the former primeminister of Japan,Germany’s Hel-mut Kohl-all have praised ithighly.

The Recompositions of Buus＇（1547）RicercariFrom His Libro primo.., in Manuscript P-Cug MM 242 and the Didactic Processes of the Friars of the Santa Cruz Monastery in Coimbra.

The purpose of this articleis to address the presence of seven recomposed ricercari by Jacques Buus in the Music Manuscript 242 from the Library of the University of Coimbra in Portugal （P-Cug MM 242）. These recompositions, probably copied in the third quarter of the 16th century, were made after the previously copied Buus＇s ricercari in Music Manuscript 48 （P-Cug MM 48） of the same library, which were based on the Libro primo de ricercari a quattrovoci, published in Venice in 1547 by Antonio Gardane. In this paper, the author intend to focus in two main aspects of the research done on this subject. The first topic concerns the score-format of both manuscripts 48 ＆ 242, which testify the instrumental activity in mid-sixteenth century Portugal. The author will demonstrate that this format served once, in the Santa Cruz Monastery in Coimbra, as a didactic tool in the teaching of counterpoint through the music of a northern European master such as Jacques Buus. The copies in the manuscripts were never intended to be used as a performing support--they contain many errors of vertical coordination between the voices that make the performance impossible. The second topic focuses on Buus＇ recomposed ricercari, which were the object of many cuts, brief recomposed bridges, newly inserted sections, and written glosa figurations. Through these recompositions, the author will describe the theoretic assimilation of formal processes, of style, mode, counterpoint and performing practice. The achievement of this paper is to offer historic musicology researchers a new perspective about the enormous influence that Buus＇ ricercari from his Libro primo.., had in the learning processes of music composition and in the development of didactic and performing practices in the Santa Cruz Monastery in Coimbra, during the mid-sixteenth century.

Analysis on that the training objectives of College music majors should change to ＂PTMI＂ complex talent

Music Education professional goal is to train music teachers, so that the full breadth of knowledge, a solid foundation is solid and basic requirement for music education majors. The impact of Music education for college students is also reflected as follow： to enable students to cultivate the art of perceptual knowledge, this ability is an art feeling, to help students better understand the artistic charm, to strengthen their own requirements and strive for a more noble art. It is necessary for college music major to have Performance capacity, Teaching ability, Management quality and Innovation capacity, referred to as ＂PTMI＂ complex talent. This article makes an analysis on that training goal of college music majors should be shifted toward ＂PTMI＂ complex talent.

The Lateral Occipital Complex is Activated by Melody with Accompaniment: Foreground and Background Segregation in Auditory Processing

Objective: Most of the western music consists of a melody and an accompaniment. The melody is referred to as the foreground, with the accompaniment the background. In visual processing, the lateral occipital complex (LOC) is known to participate in foreground and background segregation. We investigated the role of LOC in music processing with use of positron emission tomography (PET). Method: Musically na?ve subjects listened to unfamiliar novel melodies with (accompaniment condition) and without the accompaniment (melodic condition). Using a PET subtraction technique, we studied changes in regional cerebral blood flow (rCBF) during the accompaniment condition compared to the melodic condition. Results: The accompanyment condition was associated with bilateral increase of rCBF at the lateral and medial surfaces of both occipital lobes, medial parts of fusiform gyri, cingulate gyri, precentral gyri, insular cortices, and cerebellum. During the melodic condition, the activation at the anterior and posterior portions of the temporal lobes, medial surface of the frontal lobes, inferior frontal gyri, orbitofrontal cortices, inferior parietal lobules, and cerebellum was observed. Conclusions: The LOC participates in recognition of melody with accompaniment, a phenomenon that can be regarded as foreground and background segregation in auditory processing. The fusiform cortex which was known to participate in the color recognition might be activated by the recognition of flourish sounds by the accompaniment, compared to melodic condition. It is supposed that the LOC and fusiform cortex play similar functions beyond the difference of sensory modalities.