MUS 11 Lecture Notes - Lecture 6: Shanghai Conservatory Of Music, Mao Zedong, Peking Opera
1. Pipa
a. A pear-shaped 4 string plucked chordophone
b. Result of Silk Road exchange
c. Pipa and zheng closely associated accompanying sung poetry, various ensemble based
music
2. The zheng
a. Zheg as a oe’s istruet
b. Proliferation of zheng
c. Developed out of regional traditions
i. Folk opera, sung poetry, musically accompanied storytelling, and instrumental
ensemble music
3. Chinese Opera
a. Various regional styles
b. Dramatic story performed by actors
c. Elaborate costumes, make-up
d. Dance, mime acting, acrobatics
e. Beijing Opera
i. Most popular form
ii. Instrumental ensemble: jinghu (two string fiddle), pipa, percussion (gongs,
cymbals), drums
iii. Vehicle for state propaganda
1. Modernizing tradition
2. reolutioary sogs
f. Zheng and Chinese Opera
i. Accompany instrument
1. New playing techniques
ii. Regional traditions of solo zheng
1. Yun (regional characteristics)
g. Deng Haiqiong
i. A renown zheng player from China
ii. Graduate of Shanghai Conservatory of Music
iii. Baban form
iv. Autu Moo Oer the Ha Palae
4. Emergence of Conservatory Zheng Style
a. Conservatory tradition, early 20th century
b. Music for political purposes
c. Traditional musics = backward, regressive
d. Western music
i. Moderity ad progressieess
e. Chinese music
i. Less sietifi ad akards
f. Chinese musics reformed, reconfigured to fit modern, nationalistic ideals
i. The basis of a new, national Chinese music
g. iproig Chiese usi
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