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Professor Cho Jianzhong, president of the Chinese Traditional Music Society of Shenyang Conservatory of Music, gave a wonderful lecture to our college students
Professor Cho Jianzhong, president of the Chinese Traditional Music Society of Shenyang Conservatory of Music, gave a wonderful lecture to our college students Time: May 22, 2018 Source: Music Home April 26, Professor Cho Jianzhong, president of the Chinese Traditional Music society, gave a special lecture on "Xi ' an drum research 60 years" for our faculty and students at the Academy chamber Music Recital Hall. This lecture is one of the seventh session of the Chinese and Foreign Music cultural exchange exhibition in the "Shenyang Spring", and it is also the first lecture in the 15th issue of the series activities of the music department's Art practice "Amber Lecture hall". The lecture was chaired by Professor Dong Hong, deputy director of the Department of Music. Cho Jianzhong is a famous musician, the president of the Chinese Academy of Traditional Music, the former director of the Institute of Music of the Chinese Academy of Art, a researcher, a doctoral tutor, the Chinese Conservatory of Music, the Xian Conservatory of Music, adjunct professor of music research, "People's Music" "Music Art" editorial board, Hong Kong China Orchestra, Singapore Chinese Orchestra There are "land and song--Traditional music culture and its historical geography research" "Hundred Years of Chant" "Music This said" and other works of literary theory. In the lecture, Cho Jianzhong first gave a brief introduction to Xi ' an drums: Xi ' an drum is divided into monks, Taoism, and vulgar three factions, including 18 genres, 2009 was awarded as the UN Intangible Cultural heritage, with multiple historical, humanistic value. After that, he takes the 8 representative works of Xi ' an drum research and the process of its writing, such as Yang Yin Liu's "Drum Music Society and the Bronze Society", as an example. From the angle of academic history, this paper combs the history of the research of Xi ' an drum in the past 60 years, and explains in detail the characteristics and achievements of the three historical stages of Xi ' an drum research. He said that Xi ' an drum data collection and finishing and academic research results are outstanding, the relevant researchers should continue to pay attention to its methodological system and achievements. In the lecture question, teachers and students on how to effectively inherit and protect the traditional music questions, Cho Jianzhong and guest Professor Chamme Detailed analysis of the current traditional music protection of the existing problems, and the field survey on the traditional music culture research impact and role of the in-depth analysis. The lecture fully demonstrated the broad academic vision of predecessors, profound academic thinking and rigorous scholarship spirit, in making our college teachers and students more comprehensive understanding of Xi ' an drum research process, but also further recognized the local music institutions to the region's traditional music culture research and protection responsibility and mission. (2014 Grade MAO-Ding Photography/peng) in Wen/Musicology department
Release date: Aug 04, 2018 Page view : 112
Carry forward the traditional culture "erhu music talent Training" in Southwest University of Nationalities officially opened
Carry forward the traditional culture "erhu music talent Training" in Southwest University of Nationalities officially opened Date: March 19, 2018 Source: Chengdu Business Daily 19th morning, the National Arts Fund 2017 annual funding project "Erhu Music talent Training", the Southwest University of Nationalities officially opened. Professor Zeng Ming, president of the Tang Dynasty poet Cen of the famous "Snow song sent Wu judge to Beijing," for the students to describe the image of the cultural history of the erhu. Qin began in the Tang Dynasty, including the well-known erhu, such as more than 60 kinds of styles, is a big family of musical instruments, "Erhu music talent Training" for the first time the minority music in the erhu art into the discipline system level, focus on Tibetan, Yi, Dong, Zhuang Ethnic multiple forms of erhu music, from teaching, performance, creation, It is of great significance for the development of Chinese national music culture to cultivate students in four aspects of theory, "this project is an important breakthrough in the art history of Erhu, and also a significant measure to change the art history of Erhu." Cho Jianzhong, a researcher and famous musician at the Institute of Music Studies of the Chinese Academy of Art, said excitedly at the opening ceremony. Carry forward the traditional culture China's vast land has more than 60 kinds of erhu style, in the long history of Chinese music, mutual integration, but and different. Cho Jianzhong has been working on traditional music for many years and has achieved remarkable achievements. He said, Erhu, the great family of musical instruments, Banhu active in the arena, known to the world, but there are a lot of members in the civil, not very good excavation and utilization, "erhu music talent Training" This project gave him a great surprise. "Fei Xiaotong said," The United States and their beauty, beauty, and the United States, the world Datong, "This project let me see the excellent culture of each nation and mutual tolerance, learn from each other, show a colorful world, multicultural culture. We hope that this project will continue, accumulate experience, and carry forward our beautiful cultural tradition. ” "Erhu Music talent Training" to traditional culture inheritance and promotion, Southwest University of Nationalities, President Zeng Ming deep feelings, he used to lonely for nearly 300 years of the little poem "Moss" because CCTV set of the Spring Festival broadcast "classic chant" One night to brush screen example, "The teacher Liang Jun with a group of Guizhou mountain children sing Yuan Mei's poem, ' Day not everywhere , youth just. The moss flower is as small as rice, also learns peony to open. ' Let me have a profound resonance, this poem exquisite and dexterous, such as Rice Moss, for the dream of blooming, this is Yuan Mei to the Ancients, is also written to you, I his every ordinary life, like the moss, brave to realize their own value. This is the traditional culture penetrating the age of the times and the deep appeal force. ” Famous experts gathered Mulan, dean of Art College of Southwest University of Nationalities, introduced the characteristics of folk music to the training of musical talents, which is a big comb for the inheritance and development of the Western minority's string instruments. The project focuses on the Tibetan chord hu, Yi string hu, Dong New, Zhuang horse bone Hu and other forms of erhu music, from teaching, performance, creation, theory four aspects of the students to cultivate. The curriculum combines theoretical system, the characteristics of nationality, folklore, artistic practicality, trans-boundary innovation and timeliness, with the results of high-quality works creation and performance, focusing on the interpretation and understanding of the multiple visual angles of the art and culture of erhu, have changed the one-way nature of talent cultivation and stress technique, and the artistic development of erhu has a landmark meaning. "Erhu Music Talent Training" project academic and technical leaders, Southwest University of Nationalities Professor Mr. Tan to reporters, "Erhu music talent Training" Teachers are abundant, gathered 42 famous experts, they have long been engaged in national music education Research, teaching, theory, research and performance creation has a rich accumulation. The reporter learned that the team of experts both the Chinese National Orchestral Association president Liu Xizin, the honorary president of the Chinese National Orchestral Society Rouges, Professor Cho Jianzhong, Professor Zeng Ming, and so on, there are Mr. Tan professor, renowned erhu musician Cairu and other artistic accomplishment comprehensive, innovative spirit of the performer, as well as the Dong New inheritors Shang, Yi Hu provoked the inheritance of people such as Ji-Da. Pay equal attention to students ' theory and practice Professor Mr. Tan, the project team started enrollment this January, causing widespread concern inside and outside the industry, after the enrollment of students on the erhu playing, creative, theoretical aspects such as strict selection, and finally determined from the National arts colleges and universities erhu professional teachers, engaged in Tibetan, Yi, Dong, Zhuang erhu performance, creative, Musical instrument Improvement Professionals 20 people for project trainees. "Through two months of study, and strive to enhance their professional skills, broaden the horizons of art, cultivate innovative ability to rescue, protect, organize, promote and popularize the Western form of the many forms of erhu art." More importantly, the project is sustainable. China has more than 60 kinds of erhu style, the project team to the Tibetan, Yi, Dong, Zhuang nationality on the basis of the national erhu, and constantly tap the types and forms of minority folk erhu, in order to establish a minority erhu art research Center for the Minority Erhu Special research. ” Chengdu Business News reporter noted that the project's curriculum is fully enriched, "historical acoustics and the cultural construction of erhu art in the 20th century", "the development of the erhu of Shu School", "Southwest National Music Research", "Tibetan string and Tibetan folk music material Collection", "erhu students creative works analysis and improve training", theory and practice. It is reported that the project will be the concert form and paper, music integration and other content as a result of the knot. The concert shows a total of 16 pieces, including the students innovative repertoire, very Tibetan, Yi, Dong, Zhuang and other ethnic minority style, and strive to showcase the "Southern Silk Road" a long history of music and cultural spirit, showing the Chinese erhu pluralistic one of the beautiful pattern.
Release date: Aug 04, 2018 Page view : 108
" flying song of the earth - appreciation of Chinese folk songs" report to be held
" flying song of the earth - appreciation of Chinese folk songs" report to be held Time: September 30, 2017 source: northwest agricultural and forestry university [ youth league Committee ] On the evening of September 25, professor Qiao Jianzhong, research fellow and director of the Chinese academy of art and president of the Chinese traditional music society, brought a report on " flying songs of the earth - appreciation of Chinese folk songs" to teachers and students at the Xiushan activity center in the north campus. " Chinese culture is extensive and profound, while traditional folk song culture is one of the most colorful ones. " Qiao Jianzhong raised a question about the nature of folk songs before the opening of the report -" what is a folk song? ", and with this as a guide, from shallow to deep for everyone to popularize folk song culture theory. In the report, Qiao Jianzhong mainly gave lectures on the origin of Chinese folk songs, the collection and preservation methods of Chinese folk songs, the singing style of Chinese folk songs, the classification of folk songs and other theoretical knowledge. he cited vivid examples and documentary records of folk songs and their cultural activities from the Pre-Qin period to the modern society. he personally taught and sang the melodious " elder sister's songs" to show the historical details of folk songs and their strong artistic charm to the fullest extent. Folk songs, long tones and minor tones, Qiao Jianzhong introduced these distinctive singing methods of folk songs in detail in the form of audio and video, bringing abstract and unfamiliar folk song art to the eyes of the audience. The beautiful song of the twelve great kings, the white mane horse with profound artistic conception, the chuanjiang boatman's song with heroic atmosphere, the well-known jasmine flower and so on are from south to north and from west to east. " a folk song is a wonderful artwork. " Qiao Jianzhong pointed out in his summary that folk songs should not be lost or despised at any time. Wang xing, a classmate from the innovation experiment institute, said: " I like this way of explaining by teacher Joe, which can make our students fully feel the charm of folk songs and also make us feel the profoundness of Chinese traditional culture. "
Release date: Aug 04, 2018 Page view : 104
Cho Jianzhong's magnificent masterpiece--"Chinese music geography, Shanxi-Shaanxi loess Plateau" 丨 Shi
Cho Jianzhong's magnificent masterpiece--"Chinese music geography, Shanxi-Shaanxi loess Plateau" 丨 Shi Time: August 11, 2017 Source: personal library "Blind to live this generation" from the Chinese folk music magazine Album Audition: Flowering Tune "Blind to Live This generation" ("Peach blossom red apricot White" tune)/Liu Hongquan "Chinese music geography, Shanxi-Shaanxi Loess Plateau" in April 2014 by the Jiangsu Literature and Art publishing house and the Oriental Audio-visual publishing house jointly published. This project takes the famous scholar of Chinese traditional music research, Cho Jianzhong, a long-time expert on Chinese music geography research, is the latest achievement of the research on Chinese music geography, which divides all folk music of China into 15 music cultural areas according to different landforms, which is one of the " The first project to be completed in China's music geography. Professor Cho Jianzhong/Chief Academic Officer/master plan, composer, Huanghu, recording division, Liu Xing as music director, China Conservatory of Music, deputy dean of the author/Master planning, in Shanghai Zhangjiang Digital publishing funds and Societe Generale Global Fund, united a group of different regional music culture has in-depth study of scholars, Combined with Shanghai half degree culture and Art Co., Ltd. Mature original music recording, production and distribution experience, comprising the academic group, audio recording and photographic group of investigation, recording, production team, more than 6,000 kilometers along the Yellow River, collections researches more than 30, involving more than 300 folk artists, lasted more than three years to complete. The specific contents are as follows: "Chinese music geography, Shanxi-Shaanxi Loess Plateau area" by the audio and video collection and anthology two volumes of plastic packaging, the audio set contains 3 CDs and 2 DVDs, the text set for 200,000 characters and 240 copies of the actual photos and documents, details are as follows: (a) A total of 31 tracks 205 minutes of three Fever level CD. This is a 1200-minute audio profile from the field collections researches, the most representative of the music culture style characteristics of the Jin-shan Loess Plateau, the most "listening" significance, the best recording quality of the 31 fever-level sound, is also currently seen more systematic, comprehensive reflection of the Shanxi-Shaanxi Loess Plateau music Culture area of the current music form of the complete set of recordings. (b) A total of 36 tracks 213 minutes of two high-definition teaching DVDs. This is from the field record more than 1500 minutes video material, the selected most can represent the Shanxi and Shaanxi Loess Plateau music cultural style characteristic, most has "the ornamental" significance, the best audio and video quality, the most complete subtitle information 36 first DVD video, is also at present more systematic, It comprehensively reflects the complete video of the present live state performance in the music culture area of Shanxi-Shaanxi Loess Plateau. (iii) 200,000-word copy and more than 240 photographs of the actual photo and literature. The "set" through the current reading map of the mainstream mode of the Times-graphics and text, divided into two, on the Shanxi-Shaanxi Loess Plateau music and culture of the natural humanities and music culture, on-site investigation process and the selection of 28 music varieties of the basic conditions of the overall description and picture Show. Team: Author/Huanghu Editor-in-Chief/Cho Jianzhong editor/Kenny former academic director/Cho Jianzhong Music Director/Liu Xing Master plan/Cho Jianzhong Huanghu Executive Director/grass project coordinator/Yang Wenliang recording, editing/Liu Xing Photography/songtao Hu Yu video clips, subtitles/Songtao Huanghu Photography/Tiver copywriting/Huanghu cover design/Han Jie typesetting design/Huang Jin translation/Liu Yinyi Cho Jianzhong: What are our academic pursuits? If used in one sentence, we are to use audio and video as the main, text, pictures as a supplement (can be summed up as "a main two auxiliary") expression, intuitive display of Chinese traditional music in different natural, geographical factors under the constraints of the formation of regional personality, style and cultural charm. The distribution of folk songs is extended to the whole folk music category, and the topic is extended to the theory construction of the interdisciplinary subject, all of which is to introduce some concepts and methods of historical geography and cultural geography into the traditional music field, in order to grasp more deeply Explore the Chinese traditional music composing system to open up a new research field, find a new academic path. In the past hundred years, through the field visits of several generations of musicians, we have dug out all kinds of traditional music which are very vivid, rich, exquisite and have the charm of regional culture. They are the embodiment of the diversity of Chinese traditional music and also the starting point and basis for us to put forward the theory of "Chinese music geography" and seek to reveal its cultural charm. In short, the "China Music Geography" project, both humanities and modern science and technology, both academic and artistic, in order to preserve the traditional cultural treasures of the Chinese nation, in order to modern heritage education, but also for a new discipline of construction, we will do our utmost, in the relevant community support, attention, Be sure to finish it, do it well, do it fine! Also for the real revival of Chinese traditional culture, do our little bit of thin power! Liu Xing: half-degree lucky No matter what nationality, no matter what the situation of this nation, there are always some people in the quiet work for the nation. The ability to participate in the production of the magnificent masterpiece of Joe's old nausea is half the battle. Huanghu: The origin of originality In China, the record and collation of music culture has a long tradition, known as "chant 300, String poetry 300, Psalm 300, dance poem 300" ("Mexi Gang Meng") "Book of Songs", although the song, the music can not be, it is still the Zhou and Qin State "hunger song its food, the workers song its" rich and colorful text records. The time is different, the record means is different, however, the tradition of record, collation should still be in. Taking into account the following: In the context of economic integration and cultural globalization, the regional and local expression of culture will become more and more important; tradition is a river, the contemporary development of Chinese traditional music culture must be closely combined with capital and high technology, so, the system, high-quality holographic (sound, image, picture, text) video recording and audio data, will become an important basis for the inheritance and dissemination of Chinese traditional music culture; In the academic Practice of music geography research of Chinese music academia for more than more than 30 years, there is still a lack of high-quality audiovisual materials with regional units; The Chinese Traditional music teaching in the National High School of Music lacks the holographic high quality audiovisual teaching resources. Therefore, the "Chinese Music geography" creative projects should be wind up, Shun and then born.
Release date: Aug 04, 2018 Page view : 108
Music talk to 丨 Cho Jianzhong: Only endless inheritance, can demonstrate the spirit of Chinese music!
Music talk to 丨 Cho Jianzhong: Only endless inheritance, can demonstrate the spirit of Chinese music! Time: July 17, 2017 Source: National Music Art The ultimate goal of the "music" scheme is that we should bear the responsibility of the Chinese cultural heritage. Any culture of a nation, is through the generations of the nation's achievements, but the endless succession of activities, can support the Chinese culture of the building, can highlight the Chinese music spirit! ” --Cho Jianzhong Music Talk to It is a folk music old man to discuss his decades engaged in the artistic creation of national instrumental music, education, performance of a collection of essays, and later by the "Chinese folk music," the person in charge of the award, and decided to extend it to a number of elderly folk music artists to participate in large-scale interviews and cultural activities, after more than a year of brewing, planning, This creative plan, designed to comprehensively summarize the Chinese folk music's own heritage and practical experience, was finally released to the whole society on June 30, 2017 and began to be implemented. I personally understand that, in the choice of ideas, and the current national instrumental art "A forward" of the ecological opposite, the plan more emphasis on "look back" and pay attention to "individual experience" in the historical tide of the significance. As we know, the modern journey of Chinese national instrumental art has started from the beginning of the last century to the middle of this century, with the change of system and economic culture of Chinese society, the Art of national instrumental music has stepped into a continuous prosperous period (except the "Cultural Revolution"), and in the long history of over half a century, The practice of a large number of folk music artists is synchronized with this history, they not only witnessed the prosperous times of this folk music, but also integrate their musical life into them, for example, "Music Talk to" the first quarter of the four folk music invited to the elderly, there are more than 60 years of participation and practice, their folk music life, has become the second half of the 20th century to the new century, the epitome of Chinese folk music art. Their experiences and experiences, has long been a great wealth of Chinese national instrumental art, the interview, not only let the contemporary audience understand their personal "past", can also comb out the Chinese national instrumental Art "Past", this is the plan so to "look back" the root cause. Ancient cloud: Think of the past, chasing newcomers, not serious "think to", "Come" Can not "chasing"! Finally, I would like to say that the ultimate objective of the "music" scheme is that we should bear the responsibility of the Chinese cultural heritage. Any culture of a nation, is through the generations of the nation's achievements, but the endless succession of activities, can support the Chinese culture of the building, can highlight the Chinese music spirit! ” Wish "Music Talk to" plan to open "talk" auspicious, steadily smooth, complete success! "Music Talk" General Advisor of Large music cultural interview and exchange activities --Mr. Cho Jianzhong Born in 1941, Zeng, Director of Music Institute of China Academy of Art (1988-2001), researcher, doctoral tutor, has served as Fujian Normal University, Shanghai Conservatory of Music, Hangzhou Normal University, China Conservatory of Music, Xi ' an conservatory, Taiwan Tainan Art University, president of the Chinese Traditional Music Society (2006-); "Music Research" deputy editor, "People's Music" "Music art" editorial board; Hong Kong Chinese Orchestra, Singapore Chinese Orchestra consultant; 1992 by the State Council has outstanding contribution expert title. "On the division of the approximate color area of the Han folk song" (with Miaojing) "Folk Song of Yao" (with He Yin, Wu Guodong "land and song--the study of traditional music culture and its Historical Geography" (1998, first edition; 2009, revised edition), "Sigh Wing Hundred Years", "Chinese classic Folk Song Appreciation Guide", "Chinese Music", "Music", "Joy Wen Xin", "Wang-an old peasant 28 years to protect a folk music society's oral History" "The Water of the Yellow River-Yellow river basin folk music Parade" and so on, edited, edited "Chinese Music Yearbook" (1990-1992) "China Music Collection Department" (CD total of six sets of 12), "Chinese gongs and drums "Chinese Music" "Introduction to Musicology" "Chinese Music Classics Reading guide--Traditional Music volume" "Hua Le ceremony · erhu volume" and so on six kinds, "Chinese music geography-Shanxi-Shaanxi Loess Plateau area", "Chinese Traditional Music Society 30 on the selected works", "the first National Advocacy Music Symposium" and other Dictionaries, academic anthology, such as more than 20 kinds. The main social honors are: Hong Kong University Huang Lectures 1998, 2009, 2012 China Federation literary Criticism Second Prize; Shanghai Conservatory of Music, the first lecture of the Qian Renkang Lectures (2004), the Chinese National Orchestral Society "Lifelong Achievement Award" (2010), China Conservatory of Music "Special Award" (2014) and so on. About "Music" The "music" activities of the Chinese folk Music Hall of Dunhuang Cultural Forum by the Chinese Folk Orchestra Society musical Instrument Reform Production Professional Committee, the Tian Bo and the sound International Culture dissemination Organization, the Shanghai National Musical Instrument factory jointly launches, is a document in line with music culture inheritance "selves" the Faith, Focusing on the contributions and experiences of many contemporary music predecessors and the music historical development and academic achievements, the objective of the interview is to locate the music cultural Exchange Heritage Project launched by the senior music of the 80-year-old for the interview, with a unique humanistic perspective and heavy academic atmosphere, aiming to promote Chinese traditional culture, Bearing in mind the outstanding contributions made by our predecessors to the cause of national music, we give further enlightenment. The project is a quarterly, 4 each season, 4-6 lectures per person, is an important measure of the protection and transmission of folk music and rescue operations. "Music," the first quarter of the four music masters were 81-year-old pipa artists, educator Mr. Liu Dehai, 82-year-old guqin performing artist, Guqin National Heritage Person Mr. Wu Yu, 85-year-old erhu performance artist, educator Rouges, 85-year-old guzheng performance artist, Shandong Zheng Faction Representative Zhao Denshan Mr. These old artists have made great contributions to Chinese folk music in their years of artistic life. Four music masters in September will be in the Koep National Library Venjinja set official lecture, they will be different instrumental categories, unique artistic experience and insights, bring us more life thinking. China folk music Dunhuang Cultural Forum interview Exchange Project "Music Talk to" people-oriented, with the way of conversation, integrated half a century since the development of music, pay attention to ideological, academic and interactive. As a communication activity with dictation as the content, its primary guarantee is readability and academic value. In order to accurately record the ideas of each interviewer, in addition to the rigorous and pragmatic preparation of the desk, a strong planning team is also the fundamental guarantee of the successful implementation of the project. Mr. Liu Xizin, President of the Chinese Folk Orchestra Society, the famous music historian Mr. Liu Geosheng and CEO of the International Communication organization of Tian Bo and Yin Culture, general advisor for the famous national musician Cho Jianzhong, Mr. Feng Yuankei, President of the Chinese National Orchestral Music Society, the musical Instrument reform Production Professional Committee, Director of the Shanghai National Musical Instrument Factory Director Mr. Wang, as the mastermind of the People's Music magazine deputy editor Zhang Meng, music and cultural scholar Baixiaowei, "Central Conservatory recital Journal," deputy editor of High Dawn, Dr. Si Lin, associate professor of music School of Capital Normal University.
Release date: Aug 04, 2018 Page view : 103
The folk music department invites the old party members of german arts and crafts shuangxin to hold a series of lectures on the theme of " two learning and one doing"
The folk music department invites the old party members of german arts and crafts shuangxin to hold a series of lectures on the theme of " two learning and one doing" Time: June 6, 2016 source: Xi' an conservatory of music On June 2, 2015, the general party branch of the department of folk music held a symposium on the theme of " two learning and one doing" learning and education around the discipline construction of the department of folk music in accordance with the arrangement and arrangement of " two learning and one doing" learning and education of the school party Committee. The meeting invited 75 - year - old party member and professor Qiao Jianzhong to attend and give a keynote speech. Zhang jinbo, secretary of the party branch, presided over the meeting. Zhang jinbo explained the significance of carrying out in-depth study and education of " two learning and one doing" for the folk music department to promote its own construction in an all-round way relying on the national " two first - class" construction, Shaanxi " four first-class" construction and the 13th five-year development plan of our hospital. And called on all members of the people's music department to strictly observe political discipline and rules and effectively enhance the " four consciousnesses". Firmly grasp the new opportunities, actively deal with the new challenges, be brave to take on, be good at taking the lead, and strive to be the vanguard in promoting the development of the folk music department. Qiao Jianzhong talked about his learning experience of " two learning and one doing" and based on the development of the folk music department of our institute, he gave a " special party lesson" for all of you in combination with the thematic report entitled " playing erhu" and " Shanghai school of music" by Shanghai conservatory of music. Taking erhu as the main context, the lecture introduced the development course and achievements of Shanghai conservatory of music and the relationship between " Shanghai school culture" and the development of Shanghai conservatory of music. As an academic scholar who came out of the folk music department of our institute, Qiao Jianzhong also reviewed with deep feeling the hardship and glory of the development of the folk music department of our institute. Qiao Jianzhong also put forward his own suggestions on the subject development of the folk music department from two aspects. first, he vigorously strengthened his association with composers and promoted the further development of the folk music department through the creation of new works. The second is to make full use of the geographical advantages of sanqin culture and silk road culture construction to seize the academic heights. The participants exchanged their own learning experience of " two learning and one doing". combined with their learning and education experience, they carried out in-depth and extensive discussions on many issues such as improving the teaching system, exploring the regional music culture and the regional category of the concept of " Qin school" so as to lay down the truth and offer good strategies for the overall development of the folk music department. It is reported that the folk music department will also invite the old party members of the department, who are both virtuous and talented, to hold a series of lectures on the theme of " two learning and one doing" learning and education. The aim is to combine " learning" and " doing" closely with promoting practical work and to guide young party members to make contributions based on their posts. Combine " morality" and " art" closely with the spirit of inheriting the western accent, and guide the teachers and students to be dedicated and fully talented.
Release date: Aug 04, 2018 Page view : 109
Professor Qiao Jianzhong's lecture report - academic month activity of music department
Professor Qiao Jianzhong's lecture report - academic month activity of music department Qiao Jianzhong of our hospital holds academic lectures in distinguished professor Time: December 17, 2015 source: department of music, Xi' an conservatory of music On November 18, 2015, at 3: 00 p.m. in the chamber music hall of the art center of Xi' an conservatory of music, professor Qiao Jianzhong, distinguished professor, doctoral supervisor, musicologist and former director of the music research institute of the Chinese academy of art, of the northwest national music research center of our college, was invited to give an academic lecture entitled " inheritance - experience and experience in the research of Chinese traditional music" to teachers and students of the conservatory of music. In this lecture, professor Qiao Jianzhong talked about some of his experiences in Chinese music research based on his own life experience, learning experience and academic research background. Born in Yulin city, Shaanxi province, professor Qiao Jianzhong lived in a closed traditional social environment in his early years and unconsciously accepted some local knowledge of music folklore, thus cultivating his interest in music. From 1959 to 1969, he successively studied music theory in Xi' an conservatory of music and China conservatory of music. from then on, he entered the stage of rational understanding of music and worked in Beijing and Shandong respectively. Professor Qiao Jianzhong has come into contact with three regional cultures from childhood till the age of no doubt. special opportunities and experiences have established such a high achievement in music research today. At the same time, professor Qiao Jianzhong reviewed and summarized his academic career in the study of Chinese traditional music in this lecture. his whole life's academic research covered three fields of " folk songs", " music geography" and " academic history of the 20th century". Professor Qiao Jianzhong believes that his life experience and academic research are inseparable. he overlaps self - study, administrative management and music education with academic research. he makes an academic self-view and summary of traditional Chinese music research and emphasizes the importance of research concepts such as " eyes down" and " going to the folk". In this lecture, professor Qiao Jianzhong not only brought spiritual food to the students, but also benefited the sitting teachers and students by explaining their own experiences in different stages of study, work and academic research. ( author: national musicology direction, 2015 master's degree mei Qian ) " to conduct in-depth research. Presenting " art" under the guidance of " culture" and improving " skill" in the development direction of " art".
Release date: Aug 04, 2018 Page view : 99
A lecture on the "Historical acoustics and the cultural construction of the 20th century Erhu art" held by Cho Jianzhong, a string teaching department
A lecture on the "Historical acoustics and the cultural construction of the 20th century Erhu art" held by Cho Jianzhong, a string teaching department Time: December 19, 2014 Source: Xi ' an Conservatory of music On the evening of December 17, 2014, Professor Cho Jianzhong, who was hosted by the Bow Teaching section of the folk music department, held a lecture on "The history sound and the cultural construction of the 20th century erhu art" in classroom Building 417, No. 5th. Xi ' An Conservatory of music discipline secretary Wang Ping, folk music Department party secretary Zhang Jinbo, Deputy Dean Huyan Melvin (presiding), deputy Dean Fang, etc. attended the event, Xi ' an Conservatory of music professor Rouges was invited to come to the lecture site. Professor Cho Jianzhong is a famous national musician, director of the Institute of Music of the Chinese Academy of Art, and president of the Chinese Traditional Music society. The topic of this lecture was strongly echoed by the "second Beijing Erhu Art Festival" held by the Central Conservatory of Music on November 21. Since many students did not have the opportunity to listen to teacher Joe's first lecture, Professor Jinwei, director of the Bow section, specially invited Cho Jianzhong to do another lecture with the original question. This topic has a very novel angle of choice. In recent years, erhu art and cultural exchanges, often talk about "erhu technology" more than talk about "erhu art", talk about "erhu art" more than talk about "erhu culture." Perhaps, not everyone is unwilling to talk, but really "talk bad", can not talk about depth. And this topic by Professor Cho Jianzhong, it seems very appropriate. Teacher Joe is also a professional erhu, division from the Rouges professor, which makes him a more profound understanding and understanding of the erhu. And his deep knowledge of national music, and enable him to "erhu art and culture construction" of this proposition is detailed and in-depth. Teacher Joe will be the art of the culture of the construction of a detailed nine systems, this formulation has a strong theoretical guidance. In the previous "Erhu circle", always with "So-and-so faction" to name different styles of the erhu art, mainly perceptual understanding, lack of rational induction and summary. In the lecture, Professor Cho Jianzhong the appearance of "erhu art" and the essence of "erhu culture", and carefully pointed out its intrinsic relationship. This has made the forward-looking guidance and the revelation to the posterity from the theory aspect reorganization erhu art and the erhu culture. In the lecture, we heard a lot of 20th century masters of the original audio data, very intuitive experience of different erhu art of their unique charm. This kind of feeling is original, it is the source of root-tracing. Teacher Joe also more than once prompted everyone to "look back." I understand, "look backwards" is to the "root" look, to the "root" of the national music culture to draw nourishment; "Look backwards" is to the history, in the process of development to clarify the context of erhu culture; "Look Back" is "forward-looking", only the continuous summary can better growth. "Ask the canal to be clear so?" For a fountainhead to come. " In order to make "The art of Erhu" become "the source of water" and "The Wood of roots", we must make a thorough study of "erhu culture". In the "culture" under the guidance of "art", in the "art" of the development direction to improve the "skills."
Release date: Aug 04, 2018 Page view : 104
" shenzhou feige - appreciation of Chinese folk song art" oriental forum - classic art lecture series
" shenzhou feige - appreciation of Chinese folk song art" oriental forum - classic art lecture series Time: may 11, 2012 source: Shanghai oriental publicity and education service center Folk songs are one of the earliest artistic varieties created by human beings. Its origin is almost as long as the history of music. Chinese national music culture is a wonderful treasure rooted in China's traditional culture soil with a long history and ancient civilization. unique Chinese traditional culture has created unique Chinese national music. On may 19, Qiao Jianzhong, research fellow, doctoral supervisor and president of the Chinese traditional music association, was invited to give a special lecture on " shenzhou feige - appreciation of Chinese folk song art" at the oriental forum classic art lecture series sponsored by the municipal party Committee propaganda department, the municipal Council of social affairs and the municipal Federation of literature and art and hosted by the oriental publicity and education service center. the keynote speaker expressed the main classification and artistic features of Chinese folk songs, leading the audience to approach Chinese folk music and to feel the bottom of their hearts ... In the long-term inheritance and accumulation, in various singing practices, Chinese folk songs have formed its extremely rich subject matter. from ancient times till now, it has long been the object of its expression, including labor, current politics, common sense of life, love between men and women, sacrificial rites, historical stories, amusement and play, joys and sorrows, joys and sorrows, and astronomical geography. At the same time, under the premise of adapting to the requirements of different subjects and contents and under the influence of different living environment, production methods and folk customs, folk songs have formed its diversified genre forms. These genres not only cover the generality of the music culture of the whole nation, but also embody the individuality of the environment and region with their various structural forms in form and tone. Chinese national music is a dream and belief from the Chinese nation for thousands of years. it sings hope, praises labor and love, and tells of life. Savoring carefully, I am deeply moved and stirred up our emotional sky and washed our spiritual world from the bottom of my heart. Those beautiful Chinese national music elements have crossed the boundaries of time and space, interweaving and combining fresh and vivid notes one by one and passing them down. they have become an important part of the traditional Chinese culture. it not only reflects the great creative spirit of the Chinese nation, but also embodies the pure emotion, strong will, unyielding strength, romantic fantasy and pursuit of the Chinese nation. On the scene of the lecture, a simple, indirect and classic national song brought the audience to a music world full of rich national customs, intoxicated in a world of music and a sea of songs. familiar melodies reverberated in each audience's mind and heart. " heaven and earth have great beauty but not words", which is just the best summary of the artistic features of Chinese folk songs.
Release date: Aug 04, 2018 Page view : 105
Qiao Jianzhong and Zhang Junren visit " Yuefu forum"
Qiao Jianzhong and Zhang Junren visit " Yuefu forum" Time: may 4, 2012 source: Xi' an conservatory of music On April 25 and 26, 2012, professor Qiao Jianzhong, researcher of the music research institute of the Chinese academy of art, president of the Chinese traditional music institute, doctoral tutor, friend of our college, and professor Zhang Junren, Ph.D. of ethnomusicology, vice-president of the Chinese traditional music institute, vice-chairman of Gansu musicians association and dean of the music institute of northwest normal university, both visited the Yuefu forum of our college and held two wonderful academic lectures for teachers and students of our college. In the lecture entitled " China's national instrumental music art in the 20th century", Qiao Jianzhong mainly carried out the following aspects: " retrospection of Chinese traditional instrumental music art", " existing types of instrumental music art", " instrumental music performance since the 20th century", " causes of instrumental music art as an independent performance category", " cultural choices faced by composers" and " some brief opinions on the current creation of national instrumental music". He first pointed out that in China's thousands of years of civilization, the 20th century has a special status and significance. On the one hand, since the 20th century, we have started to comprehensively and systematically record and sort out the rich and colorful heritage of traditional music that has survived in various regions of various nationalities and published it publicly, making it a treasure book of Chinese national culture. On the other hand, based on the traditional Chinese music resources, and extensively absorbing and learning from the western professional music concepts and techniques, a brand-new music is created that is different from the traditional music genre and style, so as to realize " the overall transformation of the Chinese music structure in the 20th century". Qiao Jianzhong first listed various kinds of instrumental music performing arts existing in the folk, such as " palace ritual music type", " folk custom type", " theater type" and " elegant collection type". After that, I made a theoretical summary of the main factors that led to the appearance of many national instrumental music art forms since the 20th century. He pointed out that the incorporation of national instrumental music into the professional ranks of music colleges is the first sign to turn Chinese instrumental music art into an independent performing category. The " change of performance occasion and performance function" has become an important factor for the independence of instrumental music. Furthermore, along with folk artists entering music schools, they played a crucial role in the inheritance of national instrumental music. At the same time, the reform of various musical instruments over the past few decades is the guarantee for the smooth development of national instrumental music. In addition, the adaptation, arrangement and creation of traditional folk music works, as well as the establishment of large-scale folk orchestras, have jointly promoted the brilliant and splendid artistic chapters of folk instrumental music since the 20th century. Another climax of the whole lecture focused on the speech on the key point of " composer's cultural choice". He analyzed and summarized from three aspects: tradition and modernity, creation technology and concept, inheritance and innovation. In the lecture, Qiao Jianzhong, with profound theoretical accumulation and vivid examples of works, provided a full audience with a panoramic understanding of the Chinese national instrumental music art in the past century, which is thought - provoking. On the morning of the 26th, Zhang Junren brought another lecture under the topic " the morphology of traditional music in northwest China is distributed in tone characteristics". First, he presented a map of the geographical distribution of various representative folk music varieties in northwest China to teachers and students present. then, he focused on the issues of " Hua' er popular area" and " Xiao qu' popular belt" in northwest China. based on the distribution of different types of music forms, he described and summarized the characteristics of northwest folk music. the types of folk music involved folk songs, operas, instrumental music and other aspects. In the second part of the lecture, Zhang Junren carried out an analysis of the tone characteristics of traditional music in northwest China. He selected an early folk music literature and published the " shaanxi-gansu-ningxia folk song anthology" in 1954. he analyzed the music form of 572 folk songs in the collection one by one, so as to summarize the music form characteristics. the novelty of the research materials, the meticulous research methods and the uniqueness of the research perspective are all commendable. Throughout the lecture, Zhang Junren went deep and shallow, presenting careful and rich data analysis at times and lively singing at other times to provide examples for teachers and students. The presenters of the two lectures were professor Luo Yifeng, executive deputy director of the northwest national music research center, and director of the scientific research office Li baojie. Before the end of each session, the teachers and students present had a warm exchange and interaction with the two scholars on the issues involved in the lectures and their usual learning and thinking.
Release date: Aug 04, 2018 Page view : 105
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