User:Shuang Wen/Chinese musicology/Bibliography

Bibliography

• 乔建中[Qiaojian Zhong], “论中国音乐学百年来之三大阶段”[“On the Three Stages of Chinese Musicology in the Last Hundred Years”], 音乐研究[musical research], 2019, pp. 35-39
  • This is a peer-reviewed scientific journal, so it should be a reliable source. It discusses the development of Chinese musicology during the past 100 years, during which time China was impacted by contemporary Western musicology, hence establishing notability.
• 王次炤[Cizhao Wang], “音乐学的历史地位和中国音乐学的未来发展”[“The historical status of musicology and the Future development of Chinese musicology”], 音乐研究[musical research], 2019, pp. 7-13
  • This is a peer-reviewed scientific journal, so it should be a reliable source. It includes discussion of how, since the reform and opening up, globalized music study has influenced Chinese music research, which is helpful in developing notability.
• Michael, Saffle, Hon-Lun, Yang (2017-03-01). China and the West: Music, Representation, and Reception.
  • This is a book published by a university press, so it should be a reliable source. It also covers the topic in some depth and contains plentiful examples, so it's helpful in establishing notability.
• Lau, Frederick, Music in China: Experiencing Music, Expressing Culture, Oxford University Press, 2008
  • This is a book published by university press and should be a reliable source. It wrote chinese music’s responses to modernization and change as European music began to take root in Chinese music at the turn of the twentieth century, and can be used to demonstrate notoriety.
• 陈应时 [Chen Yingshi], "一种体系 两个系统” [“Yi zhong ti-xi, liang ge xi-tong"],中国音乐学[Musicology in China], 2002 (4): 109–116.
  • This is a peer-reviewed scientific journal, so it should be a reliable source for a specific fact.Yet, because it primarily explores the Gong-mode(宫调) of classical Chinese music theory, it cannot be used to demonstrate notoriety.
• 冯长春[Changchun Feng], “20世纪上半叶中国音乐思潮研究”[“A Study of Chinese Musical Thought in the First Half of the 20th Century”], 北京:中国艺术研究院[Beijing: Chinese National Academy of Arts], 2005.
  • This is a doctoral thesis, so it might be a reliable source. It explores how Chinese musicology changed when music migrated from the west to the east in the early 20th century (西乐东渐), which can be used to create notoriety.

• 谭盾[Dun Tan], “Pipa Concerto”
  • This is a concert orchestral album, released in March 2008, with composers including Dun Tan and others. It includes Tan's works, and the primary genre of its performance is pipa, a traditional Chinese instrument played by plucking. The 4-6 minute long Andante molto, Allegro, Adagio, and Allegro vivace are among the compositions on the discography. These interpretations combine elements of Chinese and Western musicology.
• Markus Unterfinger, “Muhai Tang in the Ocean of Music”
  • This is a film about the composer Muhai Tang. The movie is straightforward and reliable because it contains interview snippets. Muhai Tang's life and work serve as models for how China is developing and how an artist from the East and West can enrich the globe. This movie has to do with Chinese musicology, particularly how it interacts with Western music theory.

• 谭盾[Dun Tan], “Crouching Tiger, Hidden Dragon”
  • They are an album of music that Tan Dun created and performed. We use disc 5's “Crouching Tiger, Hidden Dragon” segment in particular. The music for "Crouching Tiger, Hidden Dragon," which received the Academy Award for best picture score in 2000, is included in this section. Given that the movie is a Chinese Wuxia (武侠) action movie and makes extensive use of western instruments and western musical techniques, the music is a great fusion of western and eastern musical genres.