Yellow River Piano Concerto: A Synthesis of Western and Chinese Characteristics

The Yellow River Piano Concerto is a valuable addition to the piano concerto repertoire for both historical and theoretical reasons. It has been performed frequently by Chinese pianists on many important occasions, such as National Day Concerts, New Year Concerts, and Spring Festival Galas. The Concerto is not only standard repertoire on Chinese stages, but it is also performed and recorded by leading international orchestras, such as the Slovak Radio Symphony Orchestra, Philadelphia Orchestra, and New Zealand Symphony Orchestra. One of the possible reasons that made this Concerto successful is that it combines characteristics of Chinese and Western cultures. The primary purpose of this study is to address its Western cultural influences, its Chinese nationalistic traits, and how traditional Chinese aesthetics shaped the work

Folk music: from local to national to global

This chapter traces the shifting situation and nature of Japanese folk music from ‘traditional’ times to the present day. Topics covered include: importation of the European concept of ‘the folk’; distinction between folk song (min’yō) and folk performing arts (minzoku geinō); folk music in the traditional community; music and local identity, past and present (e.g. local vs national identity; folk music’s role in ‘community building’ in modern Japan); professionalization, commodification, folklorization, secularization and the emergence of stage performances; musical change and the Western impact (e.g. fusion); the rise in popularity of wadaiko, Tsugaru-jamisen and Okinawan music; research history and trends

Mari Folk Music Influences on Andrei Eshpai\u27s Viola Concerto, Vengerskie Napevy (Hungarian Tunes), and a Transcription of Hungarian Tunes for Viola in the Viola Repertoire

Andrei Eshpai was one of the most renown composers who drew on the Mari folk music traditions, within the confines of Western classical music. One of the main purposes of the research is to show how the Mari folk music was applied in Eshpai’s compositions for the viola. In the current research, I will explain the similarity between folk music of Mari and Hungary because the researched composition Hungarian Tunes by Eshpai is based on Mari tunes, however is called Hungarian Tunes. Another purpose of this research is to provide musical analysis and a performance guide for the compositions, where I will write about some aspects of learning process like technical difficulties and how to solve them, while searching for timbre, interpretation and meaning. Also, as an addition to the viola repertoire, I have made a transcription of the Hungarian Tunes for the viola and piano, which can make the repertoire of every violist expanded

An investigation of the General Music class of the secondary school with suggestions for a general course of study.

Thesis (M.M.)--Boston University Bibliography: p. 201-209. N.B. Pages missing 211-213

The Interrelations of Genre in Traditional Cambodian Music and Theatre

This article examines the interrelation and adaptation of musical and extramusical song features among the Cambodian genres of phleng kar (wedding music), phleng arak (music for arak spirits), lkhaon yiikee and lkhaon bassac (sung-danced theatre genres). It aims to discuss the concept of genre classification from the emic perspective of the Cambodian practitioners showing how they talk and think about their music; and to explore the kinds of culture-specific markers employed by Khmer musicians to distinguish their genres. Through selected case studies I show the interrelation of songs sharing the same title with different tunes; songs with same title and similar tunes; and songs with a different title but similar tunes. To these case studies I then applied music transcriptions and analysed musical and extramusical parameters to consider the exchange of musical features and performance analysis to consider the ritual context. This study shows how classification and categorization of genres, even when genres overlap, reflect sociocultural aspects and are attached to a set of musical and extramusical components.        This article examines the interrelation and adaptation of musical and extramusical song features among the Cambodian genres of phleng kar (wedding music), phleng arak (music for arak spirits), lkhaon yiikee and lkhaon bassac (sung-danced theatre genres). It aims to discuss the concept of genre classification from the emic perspective of the Cambodian practitioners showing how they talk and think about their music; and to explore the kinds of culture-specific markers employed by Khmer musicians to distinguish their genres. Through selected case studies I show the interrelation of songs sharing the same title with different tunes; songs with same title and similar tunes; and songs with a different title but similar tunes. To these case studies I then applied music transcriptions and analysed musical and extramusical parameters to consider the exchange of musical features and performance analysis to consider the ritual context. This study shows how classification and categorization of genres, even when genres overlap, reflect sociocultural aspects and are attached to a set of musical and extramusical components.  

The development of the rhythmic aspects of music in the Junior High School

Thesis (M.M.)--Boston Universit

Cash Box, March 29, 1969

The international music record weeklyPublication ceased with Nov. 199