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.

Dunhuang Music and Suite Dances

Ancient Dunhuang Music Makes a Comeback"Ancient Dunhuang Music" is a large-scale music and dance performance,based on ancient Dunhuang music translated by Xi Zhenguan,the president of the Gansu Dunhuang Art Theatre.Combining Chinese traditional poems,music and dances,it tries to reproduce the performance art of the Tang Dynasty stage.The main forms of the music includes women’s instru-

Tibetan Folk Songs and Dances in Diebu-The Musical Characteristics of Gerba(Gar Pa)

Folk songs and dances originated from people's sacrificial activities in the struggle against nature in the primitive society.Their origins are related to the ideology and living environment of the people at that period of time.These activities were expressed in the form of primitive songs and dances,and gradually evolved into folk songs and dances.The gar pa song and dance from Diebu,in Gannan region,is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau.Its content and form are unique.It still retains the original trinity feature which includes poem,music,and dance.The production of songs and dances contains rich cultural connotations and unique local characteristics.This article elaborates the characteristics of Diebu's gar pa song and dance in terms of its music and performance form.

Gilman Salakhov’s Role and Importance in Azerbaijani Music Culture

Azerbaijani music has been created and polished by the people for centuries,and reflects the people’s spiritual strength,desire for freedom,ideas,and hopes.Azerbaijani music has been passed down from generation to generation,lived in oral traditions,and Numerous types of percussion,wind and stringed instruments,which date back to long before our era,have developed and improved throughout history and formed the basis of our national musical treasury.Pearls of this treasure have served the cultural development and creative activity of our people for centuries,adorned its life and traditions(Alasgarov&Abdullayeva,1996,p.47).The role of the genius composer,publicist and public figure Uzeyir Hajibayli in the development of musical instruments,which has a prominent place in the history of the 20th century Azerbaijani national music,is unparalleled.He characterized the national musical instruments,gave their classification and sound sequence,and determined the prospects for future development.has always been distinguished by its antiquity and rich culture.Many concepts have emerged in the musical-aesthetic-concepts of antiquity and the Middle Ages,and categories of aesthetic analysis of music have been formed.Music and musical aesthetics have historically been widespread,and have shaped various socio-cultural forms in a forward-looking way.The rich musical heritage created in different periods since ancient times are undoubtedly a proof of the genetic talent inherent in every generation of the Azerbaijani people.Our national musical instruments,adapted to the emotional color,rhythm,tempo and art of Azerbaijani folk music,have passed a long historical development and brought many aspects of traditional music performance and creativity to the present day.They are one of the elements that connect the future of our musical culture with the past.Traditional music and musical instruments,which are still played today,reflect the main features of Azerbaijan’s national musical thinking and artistic creativity.Information on komuz and kilkomuz,the ancestors of stringed and plectrum musical instruments in the origin and development of Azerbaijani folk musical instruments,is also found in examples of oral folk art,in the all-Turkic monument“Kitabi-Dada Gorgud”.According to written sources,88 musical instruments,including 32 string and 23 wind instruments,were widely used in Azerbaijani performing arts.Information about this is found in the chronicles of ancient historians,in the works of medieval thinkers Safiaddin Urmavi,Abdulgadir Maragayi,Dervish Ali Changi,Qatran Tabrizi,and others on musicology.

Chinese Mosuo “Playing Dance” Music Analysis

Being the only extant matriarchal society in China,the Mosuo people are now living in the border of Yunnan and Sichuan.Under the combined influence of its unique form of society and the coexistence of diversified ethnic groups,the Mosuo people have thus developed a unique kind of music with compatible features.In this paper,through the introduction of the“playing dance”music of Mosuo people in Yunnan,I tried to further discuss the phenomenon of compatibility in their music,so as to enhance people’s understanding of the characteristics,as well as the values of Mosuo music.

Music＇s Impact on the Comprehensive Quality of Students in Sports Dance Teaching

Music is the soul of sports dance. Sports dance can be carried out smoothly by the accompaniment of music. Therefore the two should be in harmony and unity to perform the essence of sports dance totally. This article tries analyzing the impact of music in sports dance teaching for students in physiological, psychological, creativity, imagination, aesthetic and so on to explore the important role of music in the development of students＇ comprehensive quality, in order to help sports dance teaching.

品名人故事 悟人生真谛——Unit 9 I like music that I can dance to.Section B 2a-2d 案例分析与解读

1.学生分析本节课授课对象为九年级六班学生,该班从七年级开始一直由我带上来,学生们大部分英语基础较好,对英语很感兴趣。大部分学生思维活跃、表现欲望及合作精神在平时的课堂上都是很好的。根据这些特点,我采用活动式的教学方法和任务型教学方法相结合的方式,充分利用小组合作活动,调动全班学生积极参与课堂活动,在师生互动、生生互动中完成教学任务和目标。2.教材分析本节课授课内容为人教版第九单元Section B 2a-

Twentieth Century Chinese Music

THE Society for the Promo-tion of Chinese Cult-ure re-cently listed a number of20th century Chinese musical com-positions it considers to be master-pieces.These consist of 124 piecescreated over a span of 87 years,fromthe song“Yellow River,”written in1905,to Flute Concerto in 1991.Theyinclude vocal music in the form ofsolo,chorus and opera,and instru-mental music in the form of solos,ensembles,concertos,symphoniesand dance.The oldest musician wasShen Xingong,born in 1870;andthe youngest is Tan Dun,born in1957.The difference between theirages is,again,87 years.The worksrepresenting five generations in Chi-na’s modern and contempoary mus-ical history mark different stages inChina’s musical creation in this cen-tury.

Everlasting Love for Chinese Vocal Music

On August 15,2015,at the invitation of the Association for AustriaChina Cultural Exchange and the International Association for Music and Dance Promotion,asa council member of the Chinese Association for International Understanding,with heartily enthusiasm and love for music and strong responsibility for the cause of the Chinese

A hypothesis on the biological origins and social evolution of music and dance

With the indirect support of the National Natural Science Foundation of China,Prof.Wang Tianyan at the School of Life Sciences,Tsinghua University,proposed a hypothesis on the origins and evolution of music,dance,and speech from a biological and sociological perspective,which was published in Frontiers in Neuroscience(2015,9:30).

A Sense of Community for the Chinese Nation Embodied in the Musical Dance Art of Early Dunhuang Grottoes

The musical dance art recorded in early Dunhuang Grottoes,though supposed to be created by ancient northern ethnic groups such as the Hun and Xianbei,gives expression to a strong thought of"Chinafication"and a sense of community for the Chinese nation.By analyzing the essence and content of the musical dance art in the Dunhuang Grottoes created during the Northern Liang(A.D.397-460),Northern Wei(A.D.386-534),Western Wei(A.D.535-556)and Northern Zhou(A.D.557-581)Dynasties,and by exploring the contribution of ancient ethnic groups such as the Hun and Xianbei in the formation and development of Chinese nation,this study reveals that the musical dance art in early Dunhuang Grottoes faithfully reflects the community pattern of the Chinese nation featured by"unity in diversity"developed since ancient times,and hopes that the future research and creation may expand their horizon by incorporating the musical dance art of early Dunhuang Grottoes into the system of contemporary Dunhuang dance.

Beyond the Playboy and the Hero: The (Re)constructions of Roberto Carlos’s work in “The Songs You Danced for Me”

The aim is to examine how the musical work of Roberto Carlos was mobilized in the danceshow“The songs you danced for me”.The contact between the songs and the contemporary dance defined different meanings.The results indicate that such contact reaffirms romantic love and the heroism of the protagonist,but also opens possibilities for relationships that escape from the heteronormative romantic ideal.

Tibetan Song and Dance Ensemble

THE chief members of the TibetanSong and Dance Ensemble areTibetan,but also include Hui,Lhoba and Monba artists.This ensemble mainly performs Tibetan traditional music,dance and Tibetan opera.Programs can be divided into three categories,folk,traditional palace and monastery styles.The program of this ensemble includes the Tibetan symphony instrumental the Tibetan symphony instrumental suite "Ceremony in the Snowy Region."the palace dance "Karer"passages of the traditional

Unit 9 I like music that I can dance to

My parents took me to Japan when I was little. I lived there for five years. When I came back, my Japanese was very good. “Can I do something 1 with my Japanese?” I asked myself. I stayed at home with nothing to do. My father brought me a Japanese 2 . “Why don’t you translate it into Chinese? It will be better than playing computer games all day.” I promised to do 2,000 words each day, 3 soon I found it was hard to 4 the promise. One day in May, it was fine. But I couldn’t go out. Those 2,000 words were still 5 for me. After translating only three pages, I already lost interest in the book. How I 6 I could just go outside and play football with my friends! I counted the words again and again. I just wanted to 7 . I felt as if two people were fighting 8 my mind. One said, “Don’t give up! Keep working hard, and you’ll do well!” But then the other one said, “Go and play! It will be more 9 than translating. Do your work tomorrow.” I stood up and would 10 the computer. But then I remembered what my parents had told me: Whatever you do, don’t stop halfway. So I sat down and went on with it.

国外舞蹈人类学研究综述——基于对期刊Dance Research Journal和Ethnomusicology(2015—2020年)的分析

本文对美国期刊《舞蹈研究杂志》(Dance Research Journal)和《民族音乐学杂志》(Ethnomusicology)2015—2020年发表的舞蹈人类学相关研究的论文进行搜集、分析与讨论。基于对文献的研究,本文认为,美国舞蹈人类学的研究呈现以下四个方面:一、全球化语境下舞蹈文化的跨国流动与迁移;二、后殖民语境中舞蹈与政治的互动关系及身份认同;三、民俗舞蹈与民族志深描;四、舞蹈人类学与民族音乐学“舞乐一体”的互动研究。