時規皮帶輪－環保袋

Jul 27 Fri 2012 20:18
英文版中國音樂和台灣音樂

英文版中國音樂和台灣音樂一、台灣音樂Chinese ethnic music was created by the common Chinese people and passing from generation to generation, accumulated with the ages. It therefore represents the emotion and thought of all the people, surpassing narrow periods, and has formed our long tradition of ethnic arts.Ethnic music has a profound relationship with people’s religious beliefs, customs and folkways, legends and proverbs, songs and stories, concept of life, and social structure. It is inseparable from vernacular literature, chantefables, folk theater and dancing, various rites, etc.； and their performances often combine several elements.The transmission of ethnic music is mainly through oral rendition. Therefore, the same piece may undergo some modification depending upon the time, place, person or troupe; but we can trace it back to its roots, and its evolution shows us how much music is a living tradition.In the history of Chinese music, folk music, court music, and Tartar music appeared as three separate but not mutually exclusive systems of music. Folk music very often played the role of a bridge between Tartar music and court music by understanding, absorbing and transfusing alien music into the mainstream. It thus innovated and enriched our musical tradition.On the other hand, three different levels of music can be found in Chinese music of the past： court music, intellectuals’ music, and folk music, responding to different levels of society. Folk musicians of various specialties and backgrounds were sometimes summoned to the musical institution of the court to serve there, and brought folk music to the court. Conversely, when they went back, they brought at least some of the court music to the masses. As for the music the intellectuals appreciated, such as ch’in （seven-string zither） music and poetry music, they were usually rather sophisticated and profound, but sometimes had to borrow from folk songs and folk music to sustain their vitality . Thus, there were frequent interchanges among these layers.In Taiwan, ethnic music is most colorful and full of variety. The aborigines of Taiwan still retain unique songs, dances and ritual music. Their folk music manifests such richness and sophistication that it is a marvel to the international circle of ethnomusicologists logists.The Fulao theater music in Taiwan includes the 〝pei-kuan〞（northern school）theater music derived from the 〝luan-t’an〞of Northern China, and the 〝nan- kuan〞（southern school）theater music, which descended from the 〝li-yuan〞theater of Chuanchow in South China；and these are without doubt the most precious and oldest existing forms of traditional Chinese theater music on the island. There are also Hakka〝shan-ko〞folk songs and 〝pa-yin〞instrument music, nan- kuan 〝chih-p’u-ch’u〞music, and 〝chen-t’ou〞dance music, etc.Lastly, after 1949, folk music of each province of the Mainland was brought to Taiwan, making Taiwan the confluence point of all Chinese ethnic music. 二、中國音樂The word for 〝music〞 in Chinese is yue, which is represented by the ideograph 樂, This same ideograph, however, can also be pronounced le, meaning happiness or enjoyment, thereby symbolizing an etymological relationship between music and enjoyment. The archaic form of the ideograph yue/ le has both extrinsic and intrinsic references. Extrinsically it pertains to sensuality while intrinsically it embodies all the arts： the performing arts of music and dance, literature, the fine arts, architecture and even the culinary arts as well. It is these inclusive meaning of yue that characterize the entire artistic evolution and manifestation, and which are of vital importance for understanding the underlying purposeness of Chinese music. Music in Chinese culture is not an isolated phenomenon, but rather a contextual phenomenon broadly related to all aspects of living. As will become evident in the ensuing chapters, music in historical China was integrally related to banquets, archery events, dance, etc. These sensuous associations of yue, 〝music〞, were well-established as early as the first millennium B. C. during the Zhou dynasty.Yue in its inclusive meaning, that is, referring to the 〝arts〞 and music, was traditionally considered to be one of the four fundamental societal functions together with morals（li）, law（xing）and politics（zheng）. Primarily because of this emphasis, every feudal state, dynasty and republic throughout history had established an official music organization or bureau of music. There have been, for example, the Office of the Grand Music Master （dashiyue）in the Zhou dynasty, the 〝Music Bureau〞（Yuefu） in the Han dynasty, and so forth until the present Minister of Culture in the People’s Republic of China. The traditional establishment of governmental music organizations is unique to China and indicates the import of music within the society. Re-compositional Craftsmanship 再創作的藝術家From what is known through historical documentation-written literature and music manuscripts-and through oral documentation, the majority of Chinese music compositions are re-composed from existing folk and popular oral and written musical sources. A personified musical creation, that is, a statement evolving from the maker’s individual emotions and ideas as found in the 18th and 19th century European tradition, seems foreign to Chinese musical culture before Westernization . Musical composition, therefore, is most often a re-arrangement, an assemblage or a new version of a previous composition.（This practice is largely responsible for the continuity of musical ideas.） Authorship of a Musical Work and the Cyclic Phenomenon一個音樂工作和循環現象的作曲者來源Authorship in Chinese music is mostly anonymous as evidenced by the folk derivation of musical sources. Even the official court music of a given dynasty was also a re-creation from anonymous folk material. Folk music was adopted by the courting the form of ritual or banquet music, which was them disseminated by way of the various court music institutions for the pleasure of the aristocracy and gentry class. The diffusion of court music to the folk lever, however, occurred when the dynasty was overthrown or fell into decline and the hundreds of court musicians were released to find new stations among the commoners. Thus for millennia this cyclic pattern multiplied as new rulers initiated the musical practices for their kingdoms. 話說這是我的寒假作業令人難以理解的英文版中國音樂和台灣音樂...偏偏我得作翻譯、寫內容摘要和評論... 說真的，我學習中國音樂也不少時間，英文也不差結果，看了英文版，再著手翻譯為中文還是「霧煞煞」！= =+難道是我退化了！〈驚〉嘛，無論如何，還是加油吧！難產還是得生下來的...夥伴們，咱們一同努力吧！ ps.這是寫作業寫到怨念叢生的產物... .msgcontent .wsharing ul li { text-indent: 0; } 分享 Facebook Plurk YAHOO! .

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