User:Tang Xinyan - Revision history

Tang Xinyan: /* 期末论文 (中文版) */

2024-12-31T08:07:54Z

期末论文 (中文版)

Tang Xinyan at 08:07, 31 December 2024

2024-12-31T08:07:11Z

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Tang Xinyan: /* 期末论文 (中文版) */

2024-12-31T07:52:33Z

期末论文 (中文版)

Tang Xinyan: /* Final Paper (English Version) */

2024-12-31T07:50:21Z

Final Paper (English Version)

Tang Xinyan: /* Final Paper (English Version) */

2024-12-31T07:48:11Z

Final Paper (English Version)

Tang Xinyan: /* Final Paper (English Version) */

2024-12-31T07:43:07Z

Final Paper (English Version)

Tang Xinyan at 07:36, 31 December 2024

2024-12-31T07:36:44Z

Tang Xinyan: /* Final Paper (English Version) */

2024-12-31T07:33:38Z

Final Paper (English Version)

Tang Xinyan at 07:32, 31 December 2024

2024-12-31T07:32:43Z

Tang Xinyan at 07:09, 31 December 2024

2024-12-31T07:09:31Z

← Older revision		Revision as of 08:07, 31 December 2024
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	5. 弘扬扬琴文化可以从以下方面着手：第一，加强宣传教育，通过举办音乐会、展览等活动，利用新媒体等渠道扩大其文化传播范围，让更多人了解扬琴文化的独特魅力和深厚内涵；第二，培养人才，加强扬琴教育，通过设立奖学金、举办比赛等方式，激励年轻人投身扬琴艺术的传承与发展，培养更多优秀的扬琴演奏家和教育家；第三，推动创新发展，鼓励音乐家和艺术家在传承扬琴文化基础上进行创新探索，通过跨界合作、融合创新等方式，推动扬琴文化与现代社会的融合与发展。		5. 弘扬扬琴文化可以从以下方面着手：第一，加强宣传教育，通过举办音乐会、展览等活动，利用新媒体等渠道扩大其文化传播范围，让更多人了解扬琴文化的独特魅力和深厚内涵；第二，培养人才，加强扬琴教育，通过设立奖学金、举办比赛等方式，激励年轻人投身扬琴艺术的传承与发展，培养更多优秀的扬琴演奏家和教育家；第三，推动创新发展，鼓励音乐家和艺术家在传承扬琴文化基础上进行创新探索，通过跨界合作、融合创新等方式，推动扬琴文化与现代社会的融合与发展。
		+

	'''参考文献：'''		'''参考文献：'''

@@ Line 298: / Line 298: @@
-问题：
+'''问题：'''
 . 扬琴起源于哪里？何时传入中国？
@@ Line 311: / Line 311: @@
-答案：
+'''答案：'''
 . 扬琴起源于古代中东国家（如亚述、波斯等）的桑图尔琴，于明朝万历八年（1580 年）从波斯经海路传入中国。

← Older revision		Revision as of 07:50, 31 December 2024
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	The Joyous Torch Festival 《欢乐的火把节》		The Joyous Torch Festival 《欢乐的火把节》
		+

	'''Questions:'''		'''Questions:'''

← Older revision		Revision as of 07:48, 31 December 2024
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	''The Joyous Torch Festival'' composed by Liu Xisheng. The annual Torch Festival is one of the significant traditional festivals for the Yi people. On that night, people light torches and dance with abandon, turning the villages into a sea of torches and joy. Young men and women also take this opportunity to express their feelings to each other. The music depicts this touching ethnic custom. The theme with the flavor of the Yi people is full of vitality. The melody of the music ranges from lively to passionate and unrestrained, showing the scene where people dance and sing with torches in their hands. The tunes, sometimes gentle and nimble, sometimes graceful and bright, are like the affectionate whispers of the young people. The strong rhythm at the end vividly portrays the carnival atmosphere, immersing the listener in the festive celebration.		''The Joyous Torch Festival'' composed by Liu Xisheng. The annual Torch Festival is one of the significant traditional festivals for the Yi people. On that night, people light torches and dance with abandon, turning the villages into a sea of torches and joy. Young men and women also take this opportunity to express their feelings to each other. The music depicts this touching ethnic custom. The theme with the flavor of the Yi people is full of vitality. The melody of the music ranges from lively to passionate and unrestrained, showing the scene where people dance and sing with torches in their hands. The tunes, sometimes gentle and nimble, sometimes graceful and bright, are like the affectionate whispers of the young people. The strong rhythm at the end vividly portrays the carnival atmosphere, immersing the listener in the festive celebration.
		+
		+	[https://www.huain.com/music/yangqin/hldhbj/259.html link title]

	'''6. Current Situation'''		'''6. Current Situation'''

← Older revision		Revision as of 07:43, 31 December 2024
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	[[File:Estrella 1.jpg]]		[[File:Estrella 1.jpg]]
		+
		+	structural components of Yangqin
		+
		+	[[File:Example4 .jpg]]
		+
		+	the bamboo mallets
		+

	'''3. Range of Yangqin'''		'''3. Range of Yangqin'''

← Older revision		Revision as of 07:36, 31 December 2024
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	[[File:Estrella 3.jpg]]		[[File:Estrella 3.jpg]]

−	The Heshun Troupe's Yangqin in the sixth year of the Guangxu period of the Qing Dynasty (1880),	+	The Heshun Troupe's Yangqin in the sixth year of the Guangxu period of the Qing Dynasty (1880)

@@ Line 148: / Line 148: @@
 According to historical records, '''before the Middle Ages''', an instrument called the Santur (the ancestor of the clavichord) was popular in ancient Middle Eastern countries such as Assyria and Persia. '''During the Ming Dynasty (1368-1644)''', with the increasingly close friendly exchanges between China and West Asia as well as Southeast Asia, the Santur was introduced to China by sea from Persia '''in the eighth year of the Wanli period of the Ming Dynasty (1580)'''. Initially, it gained popularity along the coastal areas of Guangdong and later gradually spread throughout China. After being modified by Chinese folk artists, the Santur gradually evolved into what is now known as the Chinese Yangqin. '''In the late Qing Dynasty''', courtly music was on the wane, while folk instruments gained in popularity, with Yangqin finding its place in the rich tapestry of local folk music performances. With the emergence and growth of rap music and local operas, the yangqin was widely used as an accompaniment for rap and operas.
 [[File:Estrella 2.jpg]]
 Santur
 [[File:Estrella 3.jpg]]
 The Heshun Troupe's Yangqin in the sixth year of the Guangxu period of the Qing Dynasty (1880),
@@ Line 162: / Line 166: @@
 '''The strings''' are made of steel wires (originally, they were made of copper wires). The high-pitched part uses bare strings made of steel wires numbered from 27 to 31, while the low-pitched part employs wrapped strings which are formed by winding fine steel wires around the bare strings.
 '''The bamboo mallets''' are two small elastic hammers made of bamboo, which are used to strike the strings to produce sounds.
 [[File:Estrella 1.jpg]]
@@ Line 230: / Line 235: @@
 '''AI Statement:''' I hereby guarantee that I have not used the help of AI to write my final paper in this course.
 == 期末论文 (中文版) ==

← Older revision		Revision as of 07:32, 31 December 2024
Line 148:		Line 148:

	According to historical records, '''before the Middle Ages''', an instrument called the Santur (the ancestor of the clavichord) was popular in ancient Middle Eastern countries such as Assyria and Persia. '''During the Ming Dynasty (1368-1644)''', with the increasingly close friendly exchanges between China and West Asia as well as Southeast Asia, the Santur was introduced to China by sea from Persia '''in the eighth year of the Wanli period of the Ming Dynasty (1580)'''. Initially, it gained popularity along the coastal areas of Guangdong and later gradually spread throughout China. After being modified by Chinese folk artists, the Santur gradually evolved into what is now known as the Chinese Yangqin. '''In the late Qing Dynasty''', courtly music was on the wane, while folk instruments gained in popularity, with Yangqin finding its place in the rich tapestry of local folk music performances. With the emergence and growth of rap music and local operas, the yangqin was widely used as an accompaniment for rap and operas.		According to historical records, '''before the Middle Ages''', an instrument called the Santur (the ancestor of the clavichord) was popular in ancient Middle Eastern countries such as Assyria and Persia. '''During the Ming Dynasty (1368-1644)''', with the increasingly close friendly exchanges between China and West Asia as well as Southeast Asia, the Santur was introduced to China by sea from Persia '''in the eighth year of the Wanli period of the Ming Dynasty (1580)'''. Initially, it gained popularity along the coastal areas of Guangdong and later gradually spread throughout China. After being modified by Chinese folk artists, the Santur gradually evolved into what is now known as the Chinese Yangqin. '''In the late Qing Dynasty''', courtly music was on the wane, while folk instruments gained in popularity, with Yangqin finding its place in the rich tapestry of local folk music performances. With the emergence and growth of rap music and local operas, the yangqin was widely used as an accompaniment for rap and operas.
		+	[[File:Estrella 2.jpg]]
		+	Santur
		+	[[File:Estrella 3.jpg]]
		+	The Heshun Troupe's Yangqin in the sixth year of the Guangxu period of the Qing Dynasty (1880),
		+

	'''2. Structural Components'''		'''2. Structural Components'''

@@ Line 140: / Line 140: @@
 '''Student Name:''' 汤欣妍 Estrella
-'''Abstract:''' This article centers on the Chinese Yangqin. Initially, it delves into its origin, which can be traced back to its introduction from Persia during the Ming Dynasty and subsequent evolution under the influence of Chinese folk artisans. Subsequently, it meticulously elaborates on its structural constituents, such as the resonator, nuts, bridges, and others. The article also encompasses aspects like the range variations among different types, performance methodologies with diverse techniques, and recommends the musical piece "The Joyous Torch Festival." In terms of its current status, it notes the professionalization of Yangqin education in China since the 1950s along with related advancements, while highlighting the limitations in theoretical research. Finally, it explores strategies for promoting Yangqin culture, including augmenting publicity, fostering talent cultivation, and propelling innovative development.
+'''Abstract:''' This article centers on the Chinese Yangqin. Initially, it delves into its origin, which can be traced back to its introduction from Persia during the Ming Dynasty and subsequent evolution under the influence of Chinese folk artisans. Subsequently, it meticulously elaborates on its structural constituents, such as the resonator, nuts, bridges, and others. The article also encompasses aspects like the range variations among different types, performance methodologies with diverse techniques, and recommends the musical piece ''The Joyous Torch Festival''. In terms of its current status, it notes the professionalization of Yangqin education in China since the 1950s along with related advancements, while highlighting the limitations in theoretical research. Finally, it explores strategies for promoting Yangqin culture, including augmenting publicity, fostering talent cultivation, and propelling innovative development.
@@ Line 183: / Line 183: @@
 '''Lastly''', we must champion innovative growth. It's essential to inspire musicians and artists to innovate and explore new frontiers while honoring the rich traditions of dulcimer culture. Collaborative efforts across different disciplines and the integration of novel ideas will be crucial in fostering the seamless integration and growth of dulcimer culture within the context of contemporary society.
 I hereby guarantee that I have not used the help of AI to write my final paper in this course.
@@ Line 193: / Line 234: @@
 学生姓名：汤欣妍 Estrella
-'''摘要：'''本文围绕中国扬琴展开深入研究。首先，文章深入探讨了扬琴的起源，其历史可追溯至明朝时期从波斯传入，并在中国民间工匠的影响下经历了演变。接着，文章详细阐述了扬琴的结构组成，如共鸣箱、山口、马子等。文章还涉及了不同类型扬琴的音域差异、多样化的演奏方法，并推荐了音乐作品《欢乐的火把节》。在现状方面，文章指出自20世纪50年代以来中国扬琴教育的专业化进程及其相关发展，同时强调了理论研究的不足。最后，文章探讨了推广扬琴文化的策略，包括加强宣传、培养人才和推动创新发展。
+'''摘要：'''本文围绕中国扬琴展开深入研究。首先，文章深入探讨了扬琴的起源，其历史可追溯至明朝时期从波斯传入，并在中国民间工匠的影响下经历了演变。接着，文章详细阐述了扬琴的结构组成，如共鸣箱、山口、马子等。文章还涉及了不同类型扬琴的音域差异、多样化的演奏方法，并介绍了《欢乐的火把节》等音乐作品。在现状方面，文章指出自20世纪50年代以来中国扬琴教育的专业化进程及其相关发展，同时强调了理论研究的不足。最后，文章探讨了推广扬琴文化的策略，包括加强宣传、培养人才和推动创新发展。
@@ Line 237: / Line 278: @@
 那么应该如何弘扬扬琴文化呢？第一，加强宣传教育。通过举办音乐会、展览等活动，让更多人了解扬琴文化的独特魅力和深厚内涵。同时，可以利用新媒体等渠道，扩大扬琴文化的传播范围。第二，培养人才。加强扬琴教育，培养更多优秀的扬琴演奏家和教育家。通过设立奖学金、举办比赛等方式，激励更多的年轻人投身到扬琴艺术的传承与发展中来。第三，推动创新发展。鼓励音乐家和艺术家在传承扬琴文化的基础上，进行创新和探索。通过跨界合作、融合创新等方式，推动扬琴文化与现代社会的融合与发展。