Musicology in China 2014 Issue 1 zhong guo yi shu yan jiu yuan yin le yan jiu suo xue zhe jie shao

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Musicology in China
1003-0042
2014 Issue 1

zhong guo yi shu yan jiu yuan yin le yan jiu suo xue zhe jie shao

..............page:2-3

yin le yan jiu suo jian suo liu shi zhou nian xun li ( yi )

..............page:4

Some Misunderstandings on the Recognition of Chinese Rites and Music
XIANG Yang;

..............page:5-9

An Initial Discussion of the "Average Deviation" Thoughts of Temperament by Zhu Zaiyu and Jiang Yong
GUO Shuqun;

..............page:10-24

Exclusion and Integration: A Discuss of "The Art of Qin Playing Shouldn’t Be Taught Improperly" And San Jiao Tong Sheng
SI Binglin;

..............page:25-30

Wondering Performance: An Important Means of the Lives of Qin Players in the Qing Dynasty
WU Anyu;

..............page:31-37

A Research of the Origin And Development of "Wu Tou"
CHEN Wenge;

..............page:38-42

On the Transformation of "Bai Xi"(Performing Arts of All Kinds) from Prosperity to Decline During the Sui Dynasty
CHEN Jingya;

..............page:43-48+30

A Study of the Contents of Qin Cao Appearing in Scattered Materials of Da Zhou Zheng Yue
YANG Chao;

..............page:49-53+76

Influences of Several Significant Figures on Jin Xiang
WEN Huiming;

..............page:54-57+113

Consider the Artistic Expression And Future Development of Chinese Opera from the Symbol Theory
ZHOU Ziming;

..............page:58-61

A Discuss on the Implication of "Education" in the "Professional" Music Education: A DiachronicInvestigationand Reflection on the Educational Point of View in China
LI Fangyuan;XIE Fang;

..............page:62-68+127

An Analysis of the Musical form of Fengcheng Flower Hairpin Gongs and Drums
FU Limin;HE Shunqing;

..............page:69-76

Practice of Qin Study in the Context of Oral History: Take The Oral History of Qin Musicians in Mid-Shu Area as Example
YANG Xiao;

..............page:77-82+24

An Exploration of Inheritance Systems of Religious Music: Take the Ritual Music of Yoga Flaming Mouth at the Arhat Temple in Chongqing
HU Xiaodong;

..............page:83-90

A research on interrelation of Liuzi Opera and The Grand Canal:Take the Keqiang Tune Types as Example
HE Lili;

..............page:91-98

Analysis and Interpretation of the Attitude- action Relation of Performers at "Wandering Gods Gathering of Games" in the Musically Folk Activities in Chaozhou
ZHANG Xi;

..............page:99-106

"Performing the Modern China" and "Perform for the Modern China" : A Record of the Establishment of National Light Industry Standards of National Musical Instruments since 1949
GAO Shu;

..............page:107-113

A Method of Division of Soprano Ranges and Confirmation of Their Voice Transformation Points Based on Acoustical Analysis
QU Ge;

..............page:114-120

The Historical Observation Point of Musical Analysis
QIAN Yiping;

..............page:121-127

The Art of Music as A Repetitive Telling: The Rhetorical Connotation of Variation Technique
WANG Dandan;

..............page:128-132

Formal Issues on Musical Prose
YAN Yicheng;

..............page:133-137+143

On "Tonal" Elements of the Twelve-tone Serial in Writing Fugues
SUN Xiaoye;

..............page:138-143

ji nian li ling xian sheng bai nian dan chen xi lie huo dong zai jing ju xing
ying dong ;

..............page:144-145

zhong guo yi shu yan jiu yuan yin le yan jiu suo cheng li liu shi zhou nian zheng wen qi shi

..............page:146