Music score are the carrier of musical works,and Chinese Opera is an important part of traditional Chinese folk music.The enduring transmission method of music is an oral tradition,and only a few operatic scores(such ...Music score are the carrier of musical works,and Chinese Opera is an important part of traditional Chinese folk music.The enduring transmission method of music is an oral tradition,and only a few operatic scores(such as Kunqu Opera,Peking Opera,etc.)have been published before 1949.It was only in the 1950s where the surge of music specialists in the workforce has initiated an effort to record operatic works,resulting in the publication of Chinese Opera and vocal music.After the 1980s,various operatic texts were found stacked on top of each other.In particular,during the Seventh Five-Year Plan key scientific research project of the National Philosophy and Social Sciences,the“Chinese Opera Music Integration”series was founded to compile a comprehensive collection of vocal scores from various operas.By creating a database,a large number of rich resources on opera music can be accessed when all of its information and classification are compiled into the database.By providing the function of searching and browsing some of the vocal scores and images online,its significance is not only limited to providing complete access to operatic works but also promotes the development of academic research in opera music.展开更多
When the umbrellas were held up against the tear gas attack in the protest on September 28, 2014, the hot issue raised by the marathon-like Yellow Umbrella Movement was not only the matter of politics but also a coinc...When the umbrellas were held up against the tear gas attack in the protest on September 28, 2014, the hot issue raised by the marathon-like Yellow Umbrella Movement was not only the matter of politics but also a coincidence created for the Hong Kong locals to face, or to be faced with an already moot cliche： How the Hongkongese can redef＇me and redeem their almost lost socio-cultural identity, particularly under the increasingly hegemonic influences and the socio-cultural invasion of the mainland after the 1997 Handover. My present paper is not intended to discuss the topic of identity on the platform of politics, or the postcolonial studies such as transculturation or cultural hybridty. But instead, I am far more interested in locating such issue on the aesthetic dimension of collective memory, which is revealed in two local contemporary Hong Kong compositions. In the process of shaping and reshaping a form of＂HongKongeseness＂ in which the composers tend to create and the local listeners tend to experience, albeit transient, can appear in every nuance of the sonic metaphor embedded in the pre-existing indigenous tunes of a self-contained compositional work.展开更多
文摘Music score are the carrier of musical works,and Chinese Opera is an important part of traditional Chinese folk music.The enduring transmission method of music is an oral tradition,and only a few operatic scores(such as Kunqu Opera,Peking Opera,etc.)have been published before 1949.It was only in the 1950s where the surge of music specialists in the workforce has initiated an effort to record operatic works,resulting in the publication of Chinese Opera and vocal music.After the 1980s,various operatic texts were found stacked on top of each other.In particular,during the Seventh Five-Year Plan key scientific research project of the National Philosophy and Social Sciences,the“Chinese Opera Music Integration”series was founded to compile a comprehensive collection of vocal scores from various operas.By creating a database,a large number of rich resources on opera music can be accessed when all of its information and classification are compiled into the database.By providing the function of searching and browsing some of the vocal scores and images online,its significance is not only limited to providing complete access to operatic works but also promotes the development of academic research in opera music.
文摘When the umbrellas were held up against the tear gas attack in the protest on September 28, 2014, the hot issue raised by the marathon-like Yellow Umbrella Movement was not only the matter of politics but also a coincidence created for the Hong Kong locals to face, or to be faced with an already moot cliche： How the Hongkongese can redef＇me and redeem their almost lost socio-cultural identity, particularly under the increasingly hegemonic influences and the socio-cultural invasion of the mainland after the 1997 Handover. My present paper is not intended to discuss the topic of identity on the platform of politics, or the postcolonial studies such as transculturation or cultural hybridty. But instead, I am far more interested in locating such issue on the aesthetic dimension of collective memory, which is revealed in two local contemporary Hong Kong compositions. In the process of shaping and reshaping a form of＂HongKongeseness＂ in which the composers tend to create and the local listeners tend to experience, albeit transient, can appear in every nuance of the sonic metaphor embedded in the pre-existing indigenous tunes of a self-contained compositional work.
