Set of bells (bianzhong) from the tomb of the Marquis Yi of Zeng, 433 BCE
Set of bells (bianzhong) from the tomb of the Marquis Yi of Zeng, 433 BCE
Chinese and Western pitch names and notation systems
Chinese and Western pitch names and notation systems
Ensemble accompanying a dance performance, from the Liangzhou area on the Silk Road, with (left to right) hourglass drum, end-blown flute, plucked lute and plucked zither; from a mural in Jiuquan, Gansu province, c400 CE
Ensemble accompanying a dance performance, from the Liangzhou area on the Silk Road, with (left to right) hourglass drum, end-blown flute, plucked lute and plucked zither; from a mural in Jiuquan, Gansu province, c400 CE
Daoist ensemble with di transverse flute, yunluo frame of gongs, sheng mouth organ, paiban clappers and yaogu hourglass drum, from a mural in the Yongle gong temple, Shanxi province, 1358 CE
Daoist ensemble with di transverse flute, yunluo frame of gongs, sheng mouth organ, paiban clappers and yaogu hourglass drum, from a mural in the Yongle gong temple, Shanxi province, 1358 CE
Early Qing dynasty (c1700) painting illustrating chapter 63 of the novel Jinping mei. A dramatic performance for a wealthy household is accompanied by an ensemble of tiqin bowed fiddle, sanxian lute, sheng mouth organ, di transverse flute and yunluo frame
Early Qing dynasty (c1700) painting illustrating chapter 63 of the novel Jinping mei. A dramatic performance for a wealthy household is accompanied by an ensemble of tiqin bowed fiddle, sanxian lute, sheng mouth organ, di transverse flute and yunluo frame of gongs
‘The Pilgrimage to Miaofengshan’ (Miaofengshan jinxiang tu) Qing dynasty, showing folk narrative singing for the temple fair on the mountain, with singer accompanying himself on drum and clappers, with sanxian lute player (midway down on the left)
‘The Pilgrimage to Miaofengshan’ (Miaofengshan jinxiang tu) Qing dynasty, showing folk narrative singing for the temple fair on the mountain, with singer accompanying himself on drum and clappers, with sanxian lute player (midway down on the left)
Vocal and instrumental gongche notations: (a) from Jiugong dacheng nanbeici gongpu (1746), a vast manual containing lyrics and gongche notation for 4466 arias; the text occupies the main vertical columns (read top to bottom, from left to right), with gong
Vocal and instrumental gongche notations: (a) from Jiugong dacheng nanbeici gongpu (1746), a vast manual containing lyrics and gongche notation for 4466 arias; the text occupies the main vertical columns (read top to bottom, from left to right), with gongche notation in smaller characters to the right; (b) pieces from the Shifan gu instrumental ensemble repertory, from the Juntian miaoyue score of 1781; circles to right of main columns denote beats
‘Brother and Sister Clear Wasteland’, a new yangge drama performed for a mass audience by the Luyi Propaganda Troupe in Yan′an, 1943
‘Brother and Sister Clear Wasteland’, a new yangge drama performed for a mass audience by the Luyi Propaganda Troupe in Yan′an, 1943
China, People’s Republic of II. History and theory 6. Since 1911.: Ex.1 A passage from Liu Tianhua’s solo for erhu, Bing zhong yin (‘Groaning in Sickness‘), in parallel cipher and staff notations
Ex.1 A passage from Liu Tianhua’s solo for erhu, Bing zhong yin (‘Groaning in Sickness‘), in parallel cipher and staff notations
China, People’s Republic of II. History and theory 6. Since 1911.: Ex.2 An excerpt from the revolutionary model opera Hongdeng ji (‘The Red Lantern’) here with piano accompaniment
Ex.2 An excerpt from the revolutionary model opera Hongdeng ji (‘The Red Lantern’) here with piano accompaniment
A scene in The Story of the White Snake (Baishe zhuan) in the Hubei Opera (Hanju) style, Wuhan, 1998
A scene in The Story of the White Snake (Baishe zhuan) in the Hubei Opera (Hanju) style, Wuhan, 1998
Traditional characters in Chinese opera: (left to right) old man (secondary character), old woman, young heroine and scholar lover: drawings from Zhuibaiqiu, i (1908)
Traditional characters in Chinese opera: (left to right) old man (secondary character), old woman, young heroine and scholar lover: drawings from Zhuibaiqiu, i (1908)
Qinqiang opera, Baozixiang, Minxian, Gansu province, June 1997
Qinqiang opera, Baozixiang, Minxian, Gansu province, June 1997
A performance of a traditional regional nuo drama on an old stage in a former mansion in Fenghuang, western Hunan, 1992
A performance of a traditional regional nuo drama on an old stage in a former mansion in Fenghuang, western Hunan, 1992
Lianyungang paiziqu, a form of narrative singing found in northern Jiangsu province
Lianyungang paiziqu, a form of narrative singing found in northern Jiangsu province
Shawm band outside gate of funeral home, Yanggao, Shanxi, 1991
Shawm band outside gate of funeral home, Yanggao, Shanxi, 1991
Procession for goddess Mazu showing large and small bowed fiddles and plucked lutes, Quanzhou, Fujian, 1990
Procession for goddess Mazu showing large and small bowed fiddles and plucked lutes, Quanzhou, Fujian, 1990
China, People’s Republic of IV. Living traditions 4. Instrumental music. (i) Ensemble traditions. (f) Musical principles.: Ex.5 Jiangnan silk-and-bamboo, from Sanliu, two excerpts
Ex.5 Jiangnan silk-and-bamboo, from Sanliu, two excerpts
China, People’s Republic of IV. Living traditions 4. Instrumental music. (i) Ensemble traditions. (f) Musical principles.: Ex.6 From ‘tassel’ section of Bai huatang, Shandong shawm piece, played by Wei Yongtang, c1980
Ex.6 From ‘tassel’ section of Bai huatang, Shandong shawm piece, played by Wei Yongtang, c1980
China, People’s Republic of IV. Living traditions 5. Minority traditions. (i) South China. (a) Traditional musics and their context.: Ex.9 Opening of vocal section of transplanting seedlings song, Baina branch of the Hani, Azhahe Township, Honghe county, Yunnan province; transcr. Zhang Xingrong (Ynnan Art Institute), 1995. The upper five lines are performed by female singers (Chen Chen′gey, Chen Gule, Ma Bushou, Nong Yuegou, Li Yanban′er), the next three by male singers (Zhang Zebo, Che Liyue, Che Xiyang) and the bottom two by the end-blown flute labi (Chen Woduo) and two three-string plucked lutes lahe (Zhang Xangde and Zhang Zebo)
Ex.9 Opening of vocal section of transplanting seedlings song, Baina branch of the Hani, Azhahe Township, Honghe county, Yunnan province; transcr. Zhang Xingrong (Ynnan Art Institute), 1995. The upper five lines are performed by female singers (Chen Chen′gey, Chen Gule, Ma Bushou, Nong Yuegou, Li Yanban′er), the next three by male singers (Zhang Zebo, Che Liyue, Che Xiyang) and the bottom two by the end-blown flute labi (Chen Woduo) and two three-string plucked lutes lahe (Zhang Xangde and Zhang Zebo)
China, People’s Republic of IV. Living traditions 5. Minority traditions. (i) South China. (a) Traditional musics and their context.: Ex.10 Part of ‘Sani tune’, Sani branch of the Yi, Lunan county, Yunnan province; transcr. Zhang Xingrong (Yunnan Art Institute), 1990; performed by Gao Yangfeng (three-string plucked lute sanxian) and Zhang Renhua (three-string fiddle lehu)
Ex.10 Part of ‘Sani tune’, Sani branch of the Yi, Lunan county, Yunnan province; transcr. Zhang Xingrong (Yunnan Art Institute), 1990; performed by Gao Yangfeng (three-string plucked lute sanxian) and Zhang Renhua (three-string fiddle lehu)
China, People’s Republic of IV. Living traditions 5. Minority traditions. (i) South China. (a) Traditional musics and their context.: Ex.11 Dance-tune played on Naxi fipple-flute leizi bili by Wang Chaoxin, Lijiang county, Yunnan province; transcr. H. Reese, 1994; the tune is repeated many times with minor variants and usually accelerates
Ex.11 Dance-tune played on Naxi fipple-flute leizi bili by Wang Chaoxin, Lijiang county, Yunnan province; transcr. H. Reese, 1994; the tune is repeated many times with minor variants and usually accelerates
China, People’s Republic of IV. Living traditions 6. Western-influenced styles. (i) Mass song and conservatory style.: Ex.12 ‘Graduation Song’ by Nie Er (1934) bars 1-16
Ex.12 ‘Graduation Song’ by Nie Er (1934) bars 1-16
China, People’s Republic of IV. Living traditions 6. Western-influenced styles. (i) Mass song and conservatory style.: Ex.13 ‘The Candle’s Shadow Flickers Red’ for erhu by Liu Tianhua (1932), bars 10-13
Ex.13 ‘The Candle’s Shadow Flickers Red’ for erhu by Liu Tianhua (1932), bars 10-13
China, People’s Republic of IV. Living traditions 6. Western-influenced styles. (i) Mass song and conservatory style.: Ex.14 He Luting’s ‘The Cowherd’s Flute’, section 3, bars 1-6
Ex.14 He Luting’s ‘The Cowherd’s Flute’, section 3, bars 1-6
China, People’s Republic of IV. Living traditions 6. Western-influenced styles. (i) Mass song and conservatory style.: Ex.15 ‘Butterfly Lovers Violin Concerto’ by He Zhanhao and Chen Gang (1959), bars 12-15
Ex.15 ‘Butterfly Lovers Violin Concerto’ by He Zhanhao and Chen Gang (1959), bars 12-15
China, People’s Republic of IV. Living traditions 6. Western-influenced styles. (i) Mass song and conservatory style.: Ex.16 ‘Five Pieces for Piano’, No.1, ‘Pastorale’ by Wang Jianzhong
Ex.16 ‘Five Pieces for Piano’, No.1, ‘Pastorale’ by Wang Jianzhong
China, People’s Republic of IV. Living traditions 6. Western-influenced styles. (i) Mass song and conservatory style.: Ex.17 Qu Xiaosong, Mong Dong, (1984), bars 85–92
Ex.17 Qu Xiaosong, Mong Dong, (1984), bars 85–92
