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By Liu Ching-chih; translated by Caroline Mason. Liu Ching-chih also known as C. Liu first wrote about Chinese New Music in the s, when the first generation of composers after the Cultural Revolution drew international attention at the First Chinese Composers Festival in Hong Kong. Throughout the s and s, Liu organized a series of conferences on New Music in China at the Centre of Asian Studies, The University of Hong Kong, which brought mainland Chinese musicians and scholars into contact with the international scene. Liu's own research culminated into a two-volume Chinese monograph entitled Zhongguo Xinyinyue Shilun and The Critical History is arranged chronologically and consists of ten chapters. The first is an "Introduction", which lays out the scope and the theoretical foundations of New Music. Chapters two to seven detail the developments in New Music which occurred in the hundred years from to , and cover the Westernization of military music, school song, the vocal music of the May Fourth period, the patriotic song movement of the War of Resistance against Japan, New Music education, and composition at the time of the civil war between the Nationalists and the Communists and in "the seventeen years following the founding of the PRC [People's Republic of China]," the model operas and the music of the Cultural Revolution, and the New Wave music of the late s and early s. Author: Yang Yuanzheng. Date: October-December
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Music of China refers to the music of the Chinese people , which may be the music of the Han Chinese as well as other ethnic minorities within mainland China. It also includes music produced by people of Chinese origin in some territories outside mainland China using traditional Chinese instruments or in the Chinese language. It covers a highly diverse range of music from the traditional to the modern. Different types of music have been recorded in historical Chinese documents from the early periods of Chinese civilization which, together with archaeological artifacts discovered, provided evidence of a well-developed musical culture as early as the Zhou dynasty BC — BC. These further developed into various forms of music through succeeding dynasties, producing the rich heritage of music that is part of the Chinese cultural landscape today. Chinese music continues to evolve in the modern times, and more contemporary forms of music have also emerged. According to legends, the founder of music in Chinese mythology was Ling Lun who, at the request of the Yellow Emperor to create a system of music, made bamboo pipes tuned to the sounds of birds including the phoenix.
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