Quiz 4

into to zheng

zheng is a chinese board zither chordophone. a series of strings laid lengthwise across a wooden frame(the board) that is attached to its own resonating chamber. related to several other asian board zither chordophones, including the Japanese koto, the korean kaygum, the monoglian jatag, and the Vietnamese dan tranah.

the modal system

The modal system of arab music is called a maqam, developed in egypt and throughout the arab-islamic world from the era of islamic dynsaties forward has fundamentally shaped the musical landscape of the region for many centuries and continues to do so even today.

Fallahi

"peasant" an upbeat rhythm that is traditionally used in accompaniment of songs and dances of celebration performed during arigcultural rituals of nile delta farmers. It is lively and played at a quick tempo in simple two beat(duple meter) the pattern of fahili is identical to that of standard masquoum. yet its played much faster. CD 4-17 is an illustration of the fallahi rhythm played by a full arab percussion section. the recordings Hossam Ramzy.

Instruments of Takht

'ud- is the most popular traditional instrument in the middle east and the lead instrument of the takht ensemble. It has a body in the shape of half a pear and a short neck with no frets, along which runs five course(pairs) of strings made from gut or nylon. played with a quill plectrum, (a plucking or strumming implement, an eagle feather plectrum is the most traditional type. progenitor of european lute. The qanum is a plucked zither with a trapezoid shape. number of strings vary but most common has 24 courses of three strings.(72 total). each course tuned to the same pitch. special metal pairs may be inserted to alter tunings. held across the lap, or on a wooden stand. plucked with tortious shell or plastic pleatra that are attached to rings on the players index fingers. violin- held under the chin, and played in conventional western way. although in morocco they balance it on left knee. and bowing it like a cello. used on the joza as well has four strings. that sometimes replace the violin. Nay- end-blown flute. made out of bamboo or can tube and has seven fingers holes, six on the front and one on the underside. produce sound by blowing agnist the edge of the open end at the top of the tube and may cover a melodic range of three or more octaves.

World events- Music Events

16th century Bce:Earliest chinese dynasties; emergence of ancient chinese civilization. 5th century BCE:Lifetime of Confucius(551-479BCE)- Earliest known progenitors of the modern zheng(archaeological evidence) 3rd century BCE:unification and imperial expansion of China under the Qin dynasty. (MUSIC)Zheng spreads and becomes a popular instrument in many regions of china 237 BCE(music)- earliest known written reference to the zheng(qin era manuscript) 202 BCE-220CE-Han dynasty era:Chinese imperial expansion.Confuciasm established as a foundation of Chinese social order- Music:zheng gains popularity, qin becomes instrument of noble and educated classes 618-907:tang dynasty, vast imperial expansion; silk road. MUSIC:huge government music ministry(over 30,000 musicians and dancers from throughout the empire and beyond employed, apogee of zheng, pipa introduced into chinese music, becomes closely associated with zheng 1368-1644; ming dynasty, emergence of large chinese middle class, ego period japan(1615-1868)Music:Regional chinese opera forms flourish, zheng favored among middle classes(especially young femaleS) important regional ensemble instrument. 1644-1911: qing dynasty, final period of chinese dynamic era, meiji restoration, japan (1868); music peaking opera from 18th century, westernization(musically, culturally, politically). regional solo zheng styles (19th century) 1912-1949: republican era- major cultural reform, including musical reform, western music as a model 1936- return of the fishing boats by lou Shuna ,defines new idom of solo zheng music 1949-1965: initial communist period 1949- Chinese communism, under mao zeodong. peoples republic of china declared. 1950- beginning of chinese occupation of Tibet.

Part 2 of world and music events

1952(music)- Zheng programs at most conservatories, including bejing, shanghai 1955(music)- celebrating the harvest(important zheng piece) 1956- Persecution of Tibet. 1958-Piano influenced zheng compositions and performance styles(Shanghai) "Spring on snowy mountains" by fan change representative. 1959- dalia lama flees tibet under threat of chinese persecution 1961- International council accuses China of genocide against Tibets. 1964- The red lantern(revolutionary Chinese opera) 1966-1976- Cultural révolution era, period of serve oppression and repression, ethnic minorites( tibetans, uighurs persecuted, Music: Censorship of music and most other forms of artistic expression. stagnation of zheng artist. 1976- death of Mao Zedong, followed by period of political insantablity, period of openness. Zheng renaissance(especially in conservatory style) new compositional styles, organizations, international attention for Zheng artists. 1979- deng xioaping comes to power introduces new, open policy on the arts 1980-music; new wave movement in china, compasation, increasing modernization, westernization, interest in reviving ancient chinese musical traditions Bejing zheng symposim establisehd music from the mucquam composed Cui Jian, nothin to my name 1989- tianmem square uprising and masquer. 1995- deng wins national zheng completion of china, 2002- dang releases CD ning. 2004-Japanesse pop band run releases song 2010- release of into the wind by bei bei he and shawn lee, with hot thursdya.

Four main types of sweeps

First the short gua-zou, consisting of a sweep of a few notes that lands on the main melody note Second, long gua-zou, described as falling water third, strong gua-zou: heavily accented and almost attack-like fourth-gua-zou: played on the left hand side of the strings, left of the movable bridges, which creates this very disnticitve effect.

Three Principal periods of the Republic of China

Initial communist era of Mao, 1949-1965:profound reformation of Chinese society and culture under Communist rule Cultural revolution era, 1966-1976: unprecendted levels of intolerance for deviation from state ideology and a concomitant movement toward extreme restrictions on cultural and artistic expression, both for Han and minority populations Period of Openess: took place in late 70s after Maos death in 1976 and fully crystallized in the 1980s under rule of Deng Xioping. Deng brought about major economic reforms with the introduction of free enterprise, increased the involvement of China in global economics, and cultural markets, and loosened existing constraints in a variety of civil, cultural, social, artistic and religious spheres, though not without any problems or cost.

Lanuage of China

Mandarin Chinese is the official lanuage of China, many other languages and dialects are also spoken. reflected in cultural diversity(whether through music, belief systems, or culinary practices. China is dominated by practices of Han Chinese population, who account for 92% of the populace.the 8% (100 million people) account for ethnic minority groups(Uighur people & Tibetan people) they regard themselves as occupied people & have engaged in long struggles for independence from China.

Reda troupe

Nasser actively promoted this and showcased them on major state occasions that aimed to emphasize to the integrity, validity, and artistic worth of indiengous Egyptian culture, free in Egyptian eyes from Western themes and ideals. Irony because western themes were prevalent in Reda troupe approach. and performers were quite removed from Egyptian culture. yet there was a large appeal.

Cultural Révolution Era

Peking Opera & other chinese opera and theater forms were placed in a virtual stranglehold. Most peking operas were banned outright, and those that were allowed were so profoundly saturated with cultural revolution lution- inspired politicization that they barely resembled the operas of earlier periods. Religion or supersition- already subject to serve repression prior to the cultural revolution, was now squelched to unprecendted degrees. Oppression of minority groups also escalated, devastating peoples such as the Uighurs and the Tibetans in their chinese-occupied homelands.

Three Domains of interrelated Middle Eastern derived dances.

Raqs Baladi- folk dance, implying associations with rural culture or orgins. Associated with traditional dances with women social gatherings, and rituals as well with certain types of folk rituals and ceremonial performances not limited to women. Not exclusive to egyptians. its preemintely egypt. Raqs sharqui- "oriental dance" Professional entertainment.(weddings, nightclub's, and carbert performances-usually for male), films and other mass medias. combines a root identity of raqs baladi with various imported elements, most notably adopted or adapted features of european ballet and hollywood music dance numbers. more cosmopolitan and modern. dancing privileges showmanship, and entertainment over communal rituals and celebration. mainly urban phenomen. identified with city of Cario. Belly dance- refers to all middle eastern and middle eastern derived forms of women dance.usually inference to western/international derativies and offshoots of egyptian and other middle eastern raqs baladi and raqs sharqui. draw upon many different traditional-egyptians, turkish, moccroran, lebannse, to create their own forms of dance expression. tho some specialize in one style or another. given rise to new idioms, such as american tribal(emphasize improvised group dancing, and the women community) and cabaret(seductive side of dance) draw upon ballet, hip hop, modern dance, music videos. traditional raq b and s always present in dance music and vocabulary. emphasis on circular and undulating movement generated from the hips and pelvic region, and by maintenance of low gravity in the body. social practice that is often criticized.

Egyptian women dance in healing ritual

Zara:inspired fascination among foreign visitors to egypt. an ancient healing ritual rooted in ages old shamanistic practices and involving spirit practices and involving spirit possession and trance. extends from Egypt south into Sudan. mainly a domain of women(though men can participate, especially as musicians). prohibited from Egyptian muslims, but its practiced nonetheless. embraced as a integral element of egyptian baladi, or folk cultural heritage. produced in egypt. and elements of the zaar ceremony, including the dances powerful symbol of egyptian folk roots and cultural authencity.

Jinn

a delicate matter and needs to the utmost care to be dealt with. afflicting the jinn is referred to as asyad or master. spirit and devil are considered degortary. negotiation with the asyad is the job of the woman she leads the ceremony. she is often elderly and belied to have powers of clairvoyance, known by old mistress, and the one who knows. she strikes her duff( a large frame drum) and beats it against her body to put herself in a state of trance. in that state the asyad reveals the conditions it wants in order for it to leave. music is very crucial

Government in 1958

a government intitvate to increase the official stature of Chinese music led several talented pianist at the shanghai conservatory to switch to the zheng as their main instrument. Among these was the Fan Shang'e who was also significant as a reprenseative of a new generation of a female zheng players who soon came to replace the older, male regional masters as the most reownwed.

The Han Dynasty era

a grand epoch of Chinese civilization during while Confucianism was established as the foundation of the Chinese social order,the zheng continued to develop and gain popularity as an instrument of entermaiment and public ritual. Played weddings, banquets and funerals and sometimes even on horseback. the music played on the zheng and other instruments was used to accompany elaborate enterimentats and rituals that involved singing, acrobatics and dance, the elaborate enteriments of Han court life were likely of a spirit and character. the zheng during han times was played by professional courts musicians, women slaves and common folk and favored by members of diverse social classes- courtesans, poets, soldiers and servants. could be cast as vulgar, it was hailed by others,as embodying high moral character befitting of gentleman and heroes.

Traditional Solo Zheng

a number of distinct regional styles of solo zheng music and performance practice crystalized in different parts of China. developed out of existing regional traditions of folk, opera, sung poetry, musically accompanied storytelling, and instrumental ensemble music involving the zheng. reflected a long history of mixing between folk, popular and court music traditions. by mid 19th century they were recognized in areas including shandong, henan, shaanxi, chazohouo, haka, zheijang- still exist today, but they have been eclipsed by national style of conservatories.

Cultural Nationalism

abd al Nassers cultural nationalism agenda placed emphasis on the support and promotion of Egyptian balidi or folk culture. Ambitious initiatives aimed at preserving and cultivating "authentic folk culture" were undertaken. Baldi became an important symbol of both the new nationalist Egyptian identity and the roots of that identity in the Egyptian past. applied to dance, music, and folk rituals and ceremonies of all kinds. the raqs shari world of professional female dance enterinament suffered under abd a nassers. Growing anti-women sentiment and instulization of Arab-Islamic mores in the new Egyptian nationalist ideology contributed to the closing or destruction of many Cario major casinos, nightclub, cinemas and places of western entrainment. Casino Bandiaa shut down and Badiaa Masabini herself left Egypt and returned to her native lebannon. abd nassers postrevoultionary arab natioanlism and isalmic socialism promoted a reappraisal of Arabic culture. Folk art, folk music, and folk dance, all of which gloried traditional arab culture, were revived. belly dancers were seen as bad advertisement for arab womanhood.

tahtib,

an Egyptian martial art that has existed for several thousand years and is represented on tomb paintings from Ancient Egypt. Opponents wield a long, thick bamboo or wood stave called an asaya. its about 45 inches in length and three to four inches around. It is grasped firmly in one or both fists and is a formidable and dangerous weapons in the hands of a skilled practitioner when used in actual fighting. However tahtib is practiced as a pastime rather than as a form of true combat. Strict rules are enforced in the recreational version to ensure avoidance of serious injury or death on the part of tahtib players. it might be compared to fencing in the west, in that both derive from potentially fatal forms of fighting but have been transformed into relatively benign forms of sporting combat.

Tabla Solo Dance

an important neo-traditional innovation of modern era of raqs shariri and belly dance has been the genre of solo dance dance was invented and first popularized by the Egyptian dancer Nagwa Fu'ad and her long-time tabla accompaniment Ahmed Hammouda in the 1970s. Mahmoud Hammouda was hossam Ramzys Egyptian drumming mentor.

Saaidi

another very popular folk dance, connotes the traditional baladi culture of other rural areas of Egypt. rhythm is closely linked to tahtib became a staple rhythm of raqs baladi, raqs shariri and belly dance the traditional baladi form of the women cane dance, which orgnianted long ago.

Attitude toward western music.

attitudes toward western music relative to chinese music also underwent a transformation. works of experimental western composers of the 20th century, formerly censored or at least frowned upon in official Chinese cultural circles, now came to be appreciated and to exert a significant influence on the Chinese conservatory culture. numerous gifted, young Chinese composers were sent abroad to study at major university music schools and conservatories, where they learned the techniques and methods of western music. yielded a new wave movement in modern chinese music. Tan Dun, the academy award winning composer of the musical score for the film crouching tiger, hidden dragon, best known new wave composers to come out of china. Desert Capricco- a lovely work from that film the soloist is the american cellist of chinese descent. YO-YO- MA. accompanied by the ensemble of chinese instruments including the pipa, the erhu two stringed fiddle, and fasctincting ancient instrument that was mentioned earlier, the sheng, which is a mouth organ with 17 bamboo pipes arranged in an incomplete circle formation.

Egyptian nationlism

began in the 19th century. characterized by three major currents Localism: pride in egyptiness as the antithesis of foreignesss. Pan-Arabism: identification with other arab-speaking people and with aran-islamic history and culture Islamism: principal identification with the muslim region, and more specifically that of the Arab world. feverent current modernism. led to a large scale appropriation of western cultural influences and resources in many areas, including music and dance. thus foreignness was simultaneously embraced and frowned upon in the modern construction of egyptian national identity French-egyptian encounter that first fueled the western fascinations with egypitan exoticism and antiquity on the one hand and egyptian interests in western style modernity on the other hand. would have raminfations in the later periods on cinema and folk culture to extocia in hollywood films and international belly dance craze.

Muhammad 'ABD al-wahhab(Childhood/midlife)

born into a religious family in a working class area of Cario in 1910. his father was a religious leader(iman) of the neighbord mosque.educated in a religious school studied complex qur'anic recitation. participated in sufi religious rituals where he was lauded for having the voice of an angel. influence his music throughout his career. many songs reflect influence of sufi and qur'anic music. disgraced his family by running away and joining the circus- moved onto theater troupe, dressed up in drag and impersonated a girl singer in between acts. landed in theater or troupe of sayyid darwish and and this decision proved decisive in his future course. Darkish died at 32 of a cocaine overdose, he left an impressionable influence of the musican and it was an enduring one. credited him as a mentor.

during the Preceding the republican era

both western and chinese music were taught at the conservatories. western music and instruments(especially the violin and the piano) continued to have the highest prestige, but chinese music and instruments including the zheng made gradual advances in prominence and stature. the first full-fledged conservatory curriculum in zheng was established at the Shenyang conservatory in 1950. in 1951 a prestigious shanghai conservatory instituted a major in zheng performance and in the years that followed full-time zheng instructors were appointed at these conservators.

Folk dance rhythms in raqs sharqi and belly dancers:Fallahi and Saaidi

came strongly under the influence of the Reda troupe and other folkloric groups that issued in its wake. Raqs dancers in Egypt and elsewhere in the Arab world, as well as belly dancers worldwide, now incorporate folkloric dances of different kinds into their nightclub acts and stage routines Majroie Franklin "what began as an elevation of the folk dance of Egypt by a Westernized elite in the nationalism of the postrevoultioanry period has ended in the spread and adoption of dance into various popular enterianments. popular interest has resulted in the adoption and adaption of certain rhythms identified with Egyptian folk culture.

Dynastic Era

came to an end with the Qing dynasty(1644-1911). followed by declaration of the republic of china (1/1/1912, which eventually came under the rule of former leader Jiang Jieshi) known in the west as Chang Kai-Shek. and his chinese nationalist party regime. agenda centered on modernizing China and developing a new chinese nationalism rooted in economic, social, and cultural reform. Music was key to reform effort. his ruling was unstable, invaded by Japan, which occupied large parts of China throughout much of the first half of the 20th century. confronted by the challenges of Western imperialism and the emergence and ascent the Chinese Communist Party Under mao zengdong.

Beijing and Shanghai

capital of the peoples republic of china. it was here that Mao Zedong( chinas communist founding father), declared the peoples republic in 1949, since that china has been governed as a single-party communist republic. population of 14million one of the largest metropolises. Shanaghai- 17 millón people both are vibrant cosmopolitation economic and cultural centers that host active musical scenes encompassing everything from symphony orchestras and traditional chinese ensembles to hip hop dance clubs, karaoke bars and thrash metal bands. at least 35 cities in china have millions for a population

Zaar ritual

centers on the power of jinn, a form of magically empowered spirit being. Jinn(english form of genie) are believed to have the power to cause evil among humans by entering their souls. women are viewed as easily succespitble, if affected she will get illness, suffer form physical ailments, as well as from neurotic conditions, pshytoic episodes, or psychosymontic stypoms. a zaar might be performed in order to neutralize the jinn power.

a key to the reform

collecting, transcribing, and publishing traditional folk music from different regions of china. Folk music was able to provide the base upon which a new chinese national music would be created to aid of more advanced musical resources. This was to be a music that would ideally evolve to be the equal of western music in the aspirations of its most ambiguous advocates Outgrowth of this reform was that regional masters of instruments like the zheng, and pipa were hired as part time music instructors at some urban conservatives, insinuations that had initially been devoted almost exclusively to western music.

Baban

common to the various regional zheng styles is a shared basis in pieces that are in this form

Oldest form of zheng

consisted of five silk strings mounted on a bamboo frame. later development yielded a wooden-framed zheng with 12 or 13 strings that was similar in another ancient Chinese board zither, the 25-string se. evolved into various forms: a wooden frame and either 16(three octave range) or 21 strings(four-octave range). 21 is most commonly used today. zheng strings, which are now usually made of metal-wound nylon(silk, cooper, and steel strings were used in earlier times) and steel strings are used for more traditional styles. laid horiztonaly across a rounded wooden soundboard that is mounted directly over the instruments frame/resonator and attached to pegs at both ends. strings supported by movable bridges. (wood, ivory, plastic, or other matierlas). positioning of bridges is placed for adjustment for tuning. frame sits on a wooden stand with four legs, behind which the performer plays from a seated position.

Farida Fahmy

daughter of a university professor, graduate of elite English school and Cario university, whose mother was english and paternal grandfather, an estate manger for King Farqui. Married to a film director. Danced in the dress of a Delta peasant girl, covered her head with traditional veils, wore her hair in long plaits that whirled as she danced like any village girl. Was a spectacle indeed and egyptians of all ranks were drawn by curiosity, wonder, admiration, and above all a sense of affinity. to see Farida and reda dancers.

what is maqam defined by

defined by a roles of modulation, that is, how to change from that maqam to one or more other ones during the course of a performance or composition. may be defined by a host of extramusical features, such as specific emotions, geographical locations, organs of the body, psychological states, or even healing properties. draws from a palette of pitches that is much larger than that used to western standard music. as many as 24 distinct pitches, separated by mictronoal intervals of a quarter tone, are commonly identified with the octave in arab music. actual musical practice many additional microtonal pitches are used.

Foundations of egyptian dance

defined by the domestic women gathering. from time immemorial family-based communities of arab women have gathered, out of sight from men and in the privacy of their own homes, to socialize, eat together, share stories, sing songs, provide mutual support to one another, and teach their daughters and granddaughters important lessons about life and womanhood. dancing has always been central to occasions and the forms of dance performed at arab women gatherings today may derive from dances originated in antiquity. share much in terms of style and substance with their more professionalized counterparts, raqs shari, and belly dance despite different context and social function.

Badiaa Masnbi

during the constitutional monarchy era under king farqu that began in 1922, lavish casino-theaters or salas, brought in huge profits and fostered creative developments that gave arise to burgeoning popular entertainment industry with egyptian dance and music at its center. was a great syncreitzter and modernizer. her innovations were primarily display in Casino Badiaa productions. her choreographers explain barbra lushner, "came form abroad and her stage shows and dance theater had heavy forgein and especially western influences. the arms and torso were more prominent than before with the arms swaying in flowing, serptaine patterns of movement dancer covered large spots of dance floor. dancers became more hollywood glam. had the greatest influence and its fantasy of oreintal dance filtered through and was taken up and unconsciously paraded by arab dancers in their desire to elumante western behavior and modes of fashion. sequined bra, bare midriff, and a low-slung gazy skirt.

Yun

each regional styles has its own yun, regional character. Yun of Henan zheng, is known for its liveness, short descending melodic phrases. wide rather than narrower vibrato. vocal rises and falls of henan spoken dialect(opera) are mirrored by similarly dramatic up and down glide ornaments.

Zheng

earliest written document containing a reference to the zheng is from Qin era manuscript of 237 BCE., which describes a group of musicians who beat together clay drums and earthen jars, play zheng and slap their thighs to accompany songs zheng made a favorable impression on Qin imperialists. it was quite loud and portable and could be adapted to different musical situations a favored Qin instrument and as the dynasty expanded so too did the zheng geopgrahical and musical diffusion. Incorporated into ensembles and became a popular instrument, employed for entreatment and rituals. (From banquets to ceremonies, sacrificial rites)

Abd al Nasser-UMM Kulthum and connection

especially close. cultivated a charastimic public persona emphasizing humble roots in the rural countryside and an abiding commitment to the common Egyptian people Especially central in both cases were identified with the peasant classes, such as Fallahin, who were romantically idealized as authentic(Asil) Egyptian of uncommon viture and held up as models to be emulated by Egyptians of all classes. Umm Kulthum promoted herself and was promoted by others as an icon of "peasant virtues". Regarding her work ethic, a long time collorbration fondly recalled how during recording sessions, she was the first to arrive and the last to leave. she had the tirelessness of a peasant

Autumn Moon over the Han Place

extends to a depper appreciation of baban tradition to which it belongs, "they are so perfect and they are simple" you cannot imagine a single note being added or taken away. consist of a melody with eight phrases, basic unit for each phrase is called a ban. each ban is essentially a measure of two beats, with a strong beat(ban) followed by a weak beat(yan) seven of the 8 melodic phrases have a length of eight ban while a single phrase (the fifth) has an extended 12ban. One baban cycle, has a total length of 68 ban. played twice in succession in the performance of a Baban composition serves as a framework for many different melodies. varied approaches to melodic oranmention and embellishment may be applied to any one of these. how melody is treated is determined by both the music regional character (yun) and the unique style and interpretation of the indivudla performer.

Communist agenda.

extensive collection, research and development of folk, minority and historical traditions constituted a major component of the communist agenda for chinese music. Government sponsored music research institutes sent scholars, composers, and music workers out to towns, villages, and rural areas throughout China to collect data on traditional music genres so that they could be preserved, studied, reformed, and modernized to serve the state and the people.

Dance and film industry

from the 1930s onward, virtually all profilic and highly respected performing artists in egypt- Muhammad Abd al-wah hab, farid al-atrash, and Umm kuthlam; the dancers Samia Gamal and Tahia Caroica- were stars of both the stage and the silver screen. conventional distinctions between high art and popular entertainment, cultures, distinctions that carried considerable weight in many high societies had less overall significant in egypt

Haiqioung- autumn

guided in her playing by the desire to capture the culturally designated emotional quality or yiijing, of the composition. identified with sadness, hai is quick to emphasize that this is a different brand of emotion that is generally implied by that word in an english lnauage.

Music in Emergence and Development of the Conversvatory Solo Zheng style in mainland China

had been used for political purposes became a major focus of reform efforts during the post-dynastic republican era. Chinese traditional music were cast as backwards and regressive, while western music(european classical & Romantic era composers of 18th and 19th century) was prized as an adopted icon of Chinese modernity and progressiveness. some believed that wholesale replacement of chinese music by western music was the proper path for modern chinese musical nationalism. fueld by the notion that western music was superior to chinese music, a notion that still persists even today according to stephen jones. conservatory "Students of traditional chinese instruments are plainly considered inferior to students of western music. for many urban chinese, their traditional music is backwards, less scientific than western music.

Taiwan

histories of taiwan, an island located off of the eastern coast of china and hong kong, a tiny island located just to the south of the chinese mainland are also entwined with chinas own. modern histories of taiwan and hong kong are marked by tensions of the peoples republic of china, though it is much shared culturally.

Takht

important type of ensemble. consist of five instruments('ud, the qunun, the nay, the violin, and the riqqq, or arab tambourine. for dance accompaniment the drum is included.

Foreign rule, nationlalism

in 1517, egypt was conquered by the turkish empire. the ottomans were muslim, but they were not arab they spoke turkish rather than arabic. ruled egypt until 1914, though the country was briefly invaded and controlled by the french from 1798-1801. after defeating them the british established themselves as the domaint power in the region of the early 19th century through the establishment of egypt as fully independent nation in 1952. anger toward the ottomans was strong in many sectors of society.

Zheng in tang.

instruments included qin, were of ancient chinese origin. others also gained popularity in regional folk music traditions, outside of the court, had to come to china from foreign lands the imperial Chinese had encountered through trade and conquest. Important to the silk road, which connected china to peoples and land as distant as central asia. the pipa, a pear-shaped plucked chordophone with four strings, was introduced into chinese musical culture. very important instrument. Pipa and zheng were closely associated with each other, accompanying sung poetry, performing instrumental duets, and playing together in different types of ensembles.

Maqam

is built from a specific sequence of ascending and descending pitches, but it encompasses much more as well. Specific melodic patterns and ornaments, procedures for moving from one pitch to another, microtonal nuances and other features define maqam and distunigh it from other.

The nation-state of modern China

its the most populous nation on earth with a population of 1.3 billion. worlds largest-nation in geographical size. only landmass of russia and canada are larger. Meets with east asia, north asia, central asia, south and mainland southeast asia. (Russia, Mongolia, Kazakhstan, vietman, india, nepal, korea, Japan, united kingdom, france,US, cANDA, intertwine with Chinas own at mutiple levels. reflected in histories of politics, religions, arts and cultures and trade. traditions that disappeared in china lived on in Japan and Korea. court orchestra traditions gagaku(Japan), and aak(Korea). and the region zen Buddhism.

Farida Fahmy and Reda troupe

late 1950s and early 1960s transcended the conventional erotic and disdained image of the female dancer in Egypt to become a national symbol and a heroic figure of Egyptian virtue almost on par with the legendary Umm Kulthum herself. Farida was the leader dancer of reda troupe, a pioneering folkloric popular group formed by her father, Mahoummoud Reda, in 1959. built from the root of peasants(fallahin) and other folk dances of Egypt. combined in formally stage performances with modern elements, western influences and a strong current of Egypt nationalist pride. Two films made by reda troupe-Igazat nuss-al sana(Mid-Year Holiday) of 1961 and Gharam fi al-Karnack(Love in Karnak) of 1964, were influential

The zheng during Han times

mainly an ensemble instrument used in entrainment contexts in Han china, it is a possible that a solo tradition of zheng playing also dates back this far. developed in association with confucion practices of using music for purposes of self-cultivation, practices that have been more extensively documented in the history of another chinese board zither chordophone, the qin. disciplined self-cultivation and self-reinfment at the individual level were seen to key the development and maintenance of a morally virtrous social order on the larger scale of society. which was the hallmark of Confucion scale and political philosophy

Music during a zaar performance

many percussive rhythms that are performed represent a variant forms of a single rhythm known as ayyoub or altneratively simply as zaar. straightforward rhythm with a duple meter that may be played at many different tempos and different levels of intensity, from slow-subdued to rapid and frenizdad. the tempo and energy of zaar music follow the pace and intensity of the dancing or singing it accompanies and tend to reflect the overall mood. Defined by a skeletal ostinato rhythmic pattern built upon two fundamental kinds of drum strokes. the low pitched dum and the high pitched tek. dum strokes mark the two main beats of the pattern, while tek strokes fill in syncopation.

music reform

members of this school, led by Liu Tianhu, argued that traditional chinese musics and instruments should not be discarded, but rather should be reformed in accordance with modern nationalist ideals to become the basis of a new, national chinese music. Many leading representatives of this camp, like their counterparts on the other side of the musical debate had studied western music abroad. they sought to improve the quality of traditional chinese music by modernizing it, which largely equated with incorporating western elements; standardized tunings, western-style harmonies, and textures and modifications to traditional chinese instruments inspired by modern technogliges of western music.

Cultural Revolution Era the positive

musical life, though restrained, continued. People sang revolutionary songs. they were allowed to learn and play instruments(though only approved pieceS) there was considerable activity in the domains of both amateur and children music making. In rural areas far from the centers of bueratic power, cultural life in some cases went on much as it always had, existing largely beyond the scrutiny of the centralized political authorities. Te-yuan Cheng, an authority on the instrument and its history, claims that the Cultural Revolution "chocked off new composition" and that actives related to the zheng essentially came to a halt. Evolution of zheng was impeded. a small number of zheng compositions were composed. and the titles and programs linked to these pieces, suprisngling, were defined especially intense political character. these included Molten Iron Pouring in a stream and little sister hero of the plains. depicts a monoglian child protecting her commune sheep in the midst of a blizzard while singing songs in praise of the cultural revolution.

Musicans in post-revioultionary

musicals, at least the media star ones fared much better than the raq shari dancers. both muhammad, Nasser and Kulthum benefited from Nasser patronage. Wahhab had become an icon of egyptian musical modernity done right(still faced controversy) Kulthum was canonized as the embodiment of traditional egyptian virtues and contemporary pan Arab ideals.

how do people usually define belly dancing

my performances by the professional or unprofessional dancers in nightclubs, films, videos, public shows, concerts, and demonstrations.

The Koto and Japanese Music in ancient times

numerous theories and legends concerning when and under what circumstances the koto became an integral part of Japanese musical culture, but it is a least well-estbalsiehd that the original instrument that gave rise to it was brought to japan from china millemum years ago. Occurred during the nara period (710-784). when the court orchestra traditions of China and Korea formed the basis of Japanese gaguku were brought to Japan. kotos legacy as a gaguku instrument dates back to this time.

Chinese Opera

opera was a format in which a dramatic story was enacted by costumed performers wearing makeup who combine heightened speech, song, dance, and mime acting and aerobatics in presentation. stage props were minimal. male(sheng) female(dan) painted-face(jing) and clown(chou) parts of females were played by boys or adult female impersonators. peaking opera, orgins in capital of the late 18th century but did not crystalize until the 19th century. highly stylized. 26 ways to laugh, 20 dif kinds of beards, 39 ways of manupliating the beards. a small two-string fiddle with a piercing timbre. as well as pipa. chordophones and aerophones were included. percussion section, leader performs on a drum(danpi, gu) has unique clicking sound. golden age during early decades of the 20th century. spanning the decline of the qing dynasty and early years of the republic. served as powerful vehcial for social and political change. communist era they were discredited, or transformed in accordance with political priorities and agendas of chinese socialism, themes, plots were as realistic, modernize and socialism propaganda. replaced heightened speech with mandarin speech. four types were removed, altnerated with revolutionary.

Tang Emperor

played an important role in cultivating the zheng as a woman instrument and in promoting women's performance on other instruments, such as the pipa as well. hundreds of women were given training on the zheng leading (male) court musicians ensembles of women entrained guests at royal banquets, and in other contexts.

Ramzy

produced a large number of recordings of Egyptian dance music and related ARC music productions international LTD. used by belly dancers, some are educationally oriented. Recorded with Robert plant and Jimmy page.

'ABD al-wahhab Career

rose to fame first as a singer and later as a film actor, composer, producer, famous songs were composed for umm kuthlam. though the two great stars and rivals avoided colorbriation for decades until finally joining forces for a legendary concert in 1964. the greatest arab modernist of the 20th century. in the area of music. "his compositions form the backbone of the modern egyptian musical reporitore. was an intervater innovator. probed the possibilities of all music that came his way. borrowing from the 19th century european symphonic literatures, spanish, latin american, north american, and local middle eastern dance rhythms and instruments from everywhere even the hawiann guitar. legacy is inestimable. grasp of international music styles is unparalleled. songs are cherished part of peoples memories of home and childhood for arabs everywhere".- Umm Kuthlam and Virginia danielson.

Tabla Solo in raqs sharqi dance routine

tabla solo is usually the second to last item on the program. the show normally begins with a quick-tempered introductory set to music featuring a lively, two beat rhythm called malfuf. as she comes onto the stage, the dancer wears some versions of a hollywood type raq shairi costume-sequined bra, low-slung skirt, bare midriff, she may be hold in both hands a diaphournous veil, which trails behind her in the air as she enters. this feature of the dance is one of many that first intoruced Samia Gamal. Walking and spinning as she swirls the veil around her, she dances for about a minute before discarding it. malfuf generally segues into a different rhythm, such as masqum or masmoudi. dance becomes highly virtuosic and the music complex, with abundant changes in rhythm, breaks and stops that show off dancers expertise.

Emergence and Development of the Conversvatory Solo Zheng style in mainland China

the conservatory tradition of solo zheng playing of which Deng Haiqoung is representative has its direct roots in the Republican era of Chinese history(1912-1949). Covers the years following the collapse of the Qing dynasty at the end of 1911 through to the establishment of the peoples republic as a communist state under the leadership Mao Zeodong in 1949 china had great political instability and massive and cultural reform. Modernization was seen as a key to reform efforts on all levels, and modernizing china equated largely with appropriating western technological, economic and cultural systems, and resources for purpose of Chinese nationalism and economic growth.

Rise of Deng Xiaping and the period of Openess.

the death of Mao Zedong in 1976 and the fall of the gang of four, a group of ultratradtional CCP leaders(including Maos wife Jiang Qing, who had been a catalyst in the effort to place extreme constraints on artistic expression during the preceding decade. brought to an cultural revolution. in its wake came a period of social upheaval and instability. Rampant persecution, widespread poverty and disease, and a large scale societal frustration with Chinas increased international isolation and resultant economic, and social reforms. he was a CCP Senior official who had been demoted during the Cultural revolution, reemerged to become the new leader of China and ushered the trouble nation into the so called period of openness era that crystalized into effect in the 1980s.

dance, music and film industry

the egyptian film industry emerged in Cario in the late 1920s and quickly became the lynchpin of the city huge and vibrant mass media enterimament industry(which, by the time, also hosted large radio and music recording industries). heavily influenced by hollywood cinema. built romantic plot lines and featured glamorous characters, exotic settings from Arab history, clearly drawn from good and evil, and resolutions in favor of goodness and justice. reflective of arab-egyptians social values of the time; grand and dramatic dances spectacles featuring beautiful dancers accompanied by lively, thickly, orchasertated music were a highlight in many egypitan films.

Mao ruling

the government gradually became the sole official patron and controller of the arts, artistic activities, and arts-related institutions in Communist china. organizations including the Chinese musicians association, centered in Bejing were established to "develop a body of music for the masses(peasants, workers and soldiers) that would reflect national aspirations and and its achievements under communism. Regional and national music conservatories and research insitutues played a major role in cultivating and promoting the new, official musical culture of the chinese communist state. by 1952, conservatories were being established throughout the mainland, with the flagships insituions in beijing and shanajghi

Muhammad 'ABD al-wahhab and Samia gamal

the main pioneering figure of their modern Egyptian music. The main pioneering figure of modern egypitan women dance(raqs shari) achieved a level of fame and notoriety of Egypt and beyond that was unparrelled by the lumanireis of prior generations. quintessential progressive modernist of Egyptian arts and enterinament, each in their own way representing a particular vision of what constituted as Egyptianess in the minds and hearts of egypt people. their personalities, public personae, the modes of artistic expression came to encompass the aspirations and ideals, as well as the contradictions and ambiguities of egyptian society during a defining period in history.

Instruments in zaar rhythm

the mazhar, a large deep-toned tambourine with large jingles(cymbals) the duff- a mazhar without jingles. the riqq, a medium-sized, higher pitched tambourine with jingles(head of which is traditionally made from a fish skin) the tabla( darabukkah, dumbek) which functions as the lead drum of the ensemble. the dohalla. a larger bass version of the tabla. the sagat or finger cymbals.

Film Industry

the modern star, the nationalist symbol, and the icon of egyptian cultural heritage were all rolled together into one in the figure of the Egyptian media star. in an emerging nation heir to a great ancient civilization but subject for many centuries to forgein subjugation, the new "Traditions" that emerged with Egyptian mass media entertainment effectively moved to the core of what egypitan people conceived of as their own cultural heritage.

Return of the fishing boats

the most important and influential of these neo-traditonal compositions. By lou shuhua. First solo zheng to break away from reliance on the baban form. introduced a variety of new techniques and stylistic elements to zheng playing, such as approach to melodic ornamentation that was clearly inspired by the western piano and harp music. literal use of progammaniticism, employment of instrumental music to tell a story, illustrate an idea, evoke visual images or scenes. in the last part accerlation of the tempo, melodic repetition, and ornamentation of the melody with sweeping glissandos were used to paint a vivid sonic portirot of fishermen rowing their boots toward home at the end of a work day. this type of literal programmaticism was something entirely new, and here again the presence of western influence, especially of those 19th century european composers of programmatic music such as franz liszt and hector berlioz- were unmistakable.

Spring on Snowy mountains

the music is developed two hand playing techniques, which reflects the composers back- ground as a pianist Especially striking in this regard are passages in which the right hands plays the melody in notes sustained by tremoles( yao zhi) overtop arpeggiated left-hand chords in the accompaniment part. (0-44) begins with an example of this type of texture, its embellished by abundant glissandos(gua-zou) followed by a short passage featuring harp like, descending arpeggios (0:45-1:01). final portion is in a lively dance rhythm meant to evoke images of "happy tibetans" performing their traditional folk dances.

Period of Openess

the new policies of openness and combined with the release of the pressure value of controls on artistic freedom that had held Chinese musicians in its grip during the preceding era, yielded a chinese musical renaissance. International mass media entermiament- popular music, music videos, commercial films, and television shows- flooded into mainland China from hong kong, Tawian the west and elsewhere. a booming local Chinese popular music culture and industry emerged as well, producing superstar figures such as the rock musican Cui Jain, Traditional, pre-Revolutionary opera and other styles of regional drama were revived and flourished. formerly suppressed folk, ritual, religious, and minority music traditions, as well as court music traditions of the dynastic period that had been roundly condemned under earlier communist regimes, allowed to reemerge and were embraced as integral dime sons of China multicultural society Extensive research on living rural traditions and music and dance of chinese ethnic minorities was conducted at state music institutions. Consevatory-traiend virtuoso performers at both western instruments(piano, violin) and chinese instruments(zheng, pipa) apperard on concert stages worldwide and were featured on internationally distributed records.

Zheng on the spring on snowy mountains

the novel zheng represented by spring on snowy mountains and other works of his, including the famous solo zheng composition "fighting the typhoon" were considered extremely difficult to master in terms of its technical demands when it was introduced in the late 1950s and early 1960s. However mastery pieces of this level of difficulty has become just a basis requirement of performance competence on the instrument.

The zheng in imperial china

the origin of the name is not known. one theory that is onomtopeic, reflecting the timbre of the instrument when its strings are plucked. another theory is relationship of instrument name to a different translation of the word zheng, which is dispute. legends has it that two sisters got into a heated argument and broke the 25 string instrument in half .this yield two instruments, one with 12 strings and one with 13. emperor gave these new instruments half instruments "zheng" in acknowledgment of dispute. the 13 instrument was a gift by the Qin emperor to the imperial house of Japan, giving rise to the 13 string Koto. 12 string ended up in Korea, where i became the 12 string kayagum. historian record suggests a different interpretation namely that the koto arrived in japan in the 8 century ce as part of the gaguku orchestra

Zaar

the professional dance routine of raqs shari and belly dance performers and musical compositions originating in egyptian commercial film and the global sphere of contemporary, international belly dance.

Dap

the rhythmic accompiament is provided by a frame drum. the head of it is donkey hide or snake skin.

Percussion set

the same type of mizmar-plus-percussion texture set to Saaidi rhythm is also used to accompany ceremonies and entertainments in some parts of Egypt that feature "dancing" of Arabian stallions. Arabian knights- offer an illustration of Saaidi rhythm, which is performed here on the standard Arab Percussion instruments in accompaniments of a mizmar melody.

Spring on Snowy mountains background

the virtusioic piano-inspired approach to solo zheng composition that emerged out of Shanghai and other conservatories in the post 1958 era is well represented by this piece. a tibetan folksong is cited as the source of the pieces melody, but aside from the possible connection of the Spring on Snowy mountains main melody to the traditional tibetan folk music. Socliast program linked to this piece, describes a scene of tibetans happily singing and dancing in their beautiful, mountainous land in a spirit of welcome toward chinese communist rule, has even less bearing on tibetans realities. tibetans were severely oppressed under Chinese Occupation Through music like this and progpanda songs such as On the golden hill in bejing, the government via its music-based initivates, endeavored to invent and promote an image of national harmony and inclusiveness that was starkly at odds with political realities.

the ghawazi tradition

tradition of professional women dancing is associated with hereditary families of dancers called ghawazi. trace back many generations. various theories concerning the origins of ghawazi and their art in eygpt. Edward lane in his classical 19th century book an account of the manners and and customs of modern egyptians. claims that in the tombs we find representations of females dancing in private entermianemtns, at the sound of various instruments. similar to the modern ghawazi. probable that this tradition has continued without interpreution. and possibly that modern is descended from class of female dancers who assumed the egyptians in times of the early pharaohs.

Dance with stick

usually performed prior to or following a tahtib match. allowers a player to demonstrate skill, inventiveness, and musicality in the manupliation of his weapon, alone or in an ensemble(including other stick players) a large number of movements and maneuvers are used as the player issues a sequence of blocks(stick strikes) and parries(deflections of strikes) variety of leaps, hoping motions, and stances and poses intended to protect different parts of the body from attack. delivered in quasi-choreographed, quasi-improvised manner to the accompaniment of music grounded in energizing, medium-templed groove of the Saaidi rhythm. rhythm is performed on a drum called a tabl baladi, which is struck with a stick. the 2 dum strokes in the middle of the pattern give Saiidi rhythm its signitautre sound. Melodies played on one or more aerophones called mimzar are often performed overtop of a Saadi rhythm accompaniment. it has a strident, wailing tone that is a characteristic of Egyptian folk music of certain regions.

East central and southern western parts of China

very densely populated and heavily urbanized and industrialized, though agriculture remains the principle source of livelihood for the majority of Chinese people even today the great Yangtze River(Chang Jiang), account for a large portion of Chinas total population, despite covering a relatively small geographical area within its vast land. the mountainous southwest(Himalya mountains) is sparsely populated, as are the steppe (high plateau) and mountain regions of the northwest, where majority of China 55 recognized "ethnic minority" populations reside.

Melodic ornamentation

very highly developed in zheng performance and there are many different kinds of ornaments. especially striking in large variety of gua-zou or glissandos. these are rapid, ascending or descending sweeps across the strings

Nagwa Fu'ad

was a famous, albeit notorious, dancer. Like Samia Gamal and Tahia Carioca, she was one of the star dancers and actresses of Egyptian film The persona she cultivated onscreen was especially a licentious one, however. She often was cast as a prositute who used the allure of her dancing to seduce another women husband. made the explicit contrast between acceptable female social dance and danergous, seductive, illicit dance, that has long been articulated in public perceptions of female dancers in Egypt.

Samia gamal

was a true innovator the first egyptian dancer to dance with a veil(though it should be noted that veil dancing is not as prominent in egyptian raqs shari as in international belly dancing) first to dance in high heels rather than barefoot most influential figures involved in the syncrenitzation of middle eastern and western dance elements in raqs shari. influenced generations of students, and continues to do so today. her vivid and fluent veil work, her gracious arm movements and her elegant attitude combined with a real hollywood smile made her one of the most glamoruious dancers of the so-called golden age of egyptian dance history

Hossam Ramzy/Tabla

was born and raised in Egypt and now lives in London, England. leading international proponent of egyptian music and a master of Arab percussion. He plays many different percussion instruments, including the european tabla( this is a gold-shaped, single-headed drum that is known by several other names,(darabukkah, dumbek, dumbec). held under one arm, usually the left and played with both hands. It is the lead instrument of Egyptian dance music.

Rise of Deng Xiaping

was in high effect a high-wire act of radical political experimentation. goal was to maintain the communist political order amid an environment of free enterprise and engagement with global markets of which china had not previously been apart of. His experiment achieved success, its continuing legacy still evident in Chinas remarkable ascent as an international economic power in recent decades. In other respects it failed miserably, the most notorious example being the Tinemtean square massacre of 1989, where the old dracion tactics of authroitavite rule that lurked beneath the public facade of a more liberal and tolerant gov were brutally exposed. The shockwaves of changes initiated by deng resonate still today, as chinas balancing act between capitalist enterprise and communist ideology grows ever more complex.

Geuinue folk instrument.

what the zheng was promoted as. New pieces of solo zheng were based on traditional folk music. the influence of technical and stylistic elements were even more pronounced than in return of fishing boats, however and the progaamantic elements were now explicitly political. musical works were equipped with titles and programs informed by the dominant themes of socialist ideology: celebration of the poletrait, glorification of the revolution, and communism, homage to mao zeodong and the CCp. compositions of the period was "celebrating the harvest" (1955), which made extensive use of piano-inspired, two-hand technique that would become a standard feature of much later zheng music.

Women and zheng

women began playing the zheng in greater numbers during the Tang period, yielding a cultural association of gender to instrument that continues in modern times. whereas female zheng players of earlier ages typically been of low status(prositutes) girls and women of upper classes now started playing the zheng too-often solo for both enterinemant and self-cultivation. identification of the instrument with romantic subjects: the beauty of nature, the beauty of women, sentimental feelings of love, and memories of sadness and longing.

Ming and Qing dynasty eres

zheng became very popular again here. witness a large rise in Chinese middle class and a zheng was standard to have in a home. almost every household had a painted drum and a silver zheng could be found everywhere. girls and young women were encouraged to study the instrument and play it important in opera, distinctive zheng playing techniques and styles of melodic orainmentaion were developed in each region to capture the nuances of regional languages and dialects, especially in connection with local forms of opera and song and their related instrumental style. important to the emergence of solo zheng playing, which in turn would be helpful shape the conservatory style of solo zheng performance in modern era.

The tang dynasty era

zheng reached its apogee in imperial china during the tang era. the tang government music ministry employed 30,000 musicians and dancers from throughout the Chinese empire and beyond the popular and adaptable zheng thrived in this era of musical experimentation and cosmopoliation. incorporated into many different kind of ensembles and used in a wide rang of context. New strings were added, novel playing techniques also. zheng increase stature in this era of opulence were symbolized in features of decoration and design, from silver-engraved wooden frames to jaded bridges. earliest examples of zheng music date back to this time.