Chinese songs arranged for guitar by Fernando Pérez; with an introduction, notes on Chinese traditional music, and information on pipa and guqin-style guitar techniques.
This Book Provides An Array Of Vegetarian, Non-Vegetarian Recipes From Bengal, Maharashtra, Gujarat, The North Of India, The Southern States, Which Come With That Special Touch Of The Master Chef. It Introduces A Variety Of Mouthwatering Dishes Perfected By Our Ancestors.
This accessible, illustrated introduction explores the history of Chinese music, an ancient, diverse and fascinating part of China's cultural heritage.
"Playing Erhu: Bridging the Gap" was written for English readers who are interested in learning how to play the erhu, but could not find any erhu instruction books in English. The book covers: Assembly of the erhu; Reading staff and jianpu notation; Fingering charts for all common keys; Music symbols, terms, ornamentation; Exercises in staff and jianpu notation for each key; Annotated regional folksongs in staff and jianpu notation for each key; Internet access to recordings of all music found in this book as performed by the author.
(Guitar Educational). This book/CD pack provides lessons on existing guitar traditions, plus new guitar arrangements of non-guitar music from Asia and the Middle East. Learn guitar techniques and tunes from the traditions of Afro-pop and African acoustic styles, Middle Eastern oud and saz, Indian veena and sitar, Chinese pipa, Japanese koto, Spanish guitar, Celtic folk, Andean folk, Brazilian jazz, Mexican Mariachi, and Hawaiian slack-key guitar. The CD includes demos of all the exercises, including slowed-down versions for practice.
Anton Sie, twice successful in achieving his aspirations in music and physics, demonstrates that focus and diligent hard work can achieve great goals. But his story also shows the inter-connectedness of humanity: Anton received his musical training in Indonesia from a virtually illiterate Muslim peasant guitarist and a Jewish refugee violinist, and his knowledge of physics and acoustics from Chinese Communist scientists. He has demonstrated a critical factor in the superior construction of Stradivarius violins, his work authenticated by Western musicians for whom he is very grateful.
Live at the forbidden City offers a singular look at the rapidly evolving Chinese popular music scene, as seen through the eyes of one of the first progressive Western musicians to perform extensively in both China and Taiwan. In the 1980s and 90s, American author and musician Dennis Rea played concerts in venues ranging from sports arenas to underground nightclubs to TV broadcasts - frequently under bizarre circumstances and the constant threat of harassment by Communist Party authorities. Spiced with informative reflections on Chinese music and culture, Rea interweaves depictions of his musical adventures with an insider's look at China's emergent rock music phenomenon and an eyewitness account of the violent civil uprising in Chengdu at the same time as the events at Tiananmen Square.
By the end of the nineteenth century, Chinese culture had fallen into a stasis, and intellectuals began to go abroad for new ideas. What emerged was an exciting musical genre that C. C. Liu terms "new music." With no direct ties to traditional Chinese music, "new music" reflects the compositional techniques and musical idioms of eighteenth- and nineteenth-century European styles. Liu traces the genesis and development of "new music" throughout the twentieth century, deftly examining the social and political forces that shaped "new music" and its uses by political activists and the government.
Recording the Classical Guitar charts the evolution of classical guitar recording practice from the early twentieth century to the present day, encompassing the careers of many of the instrument’s most influential practitioners from acoustic era to the advent of the CD. A key focus is on the ways in which guitarists’ recorded repertoire programmes have shaped the identity of the instrument, particularly where national allegiances and musical aesthetics are concerned. The book also considers the ways in which changing approaches to recording practice have conditioned guitarists’ conceptions of the instrument’s ideal representation in recorded form and situates these in relation to the development of classical music recording aesthetics more generally. An important addition to the growing body of literature in the field of phonomusicology, the book will be of interest to guitarists and producers as well as students of record production and historians of classical music recording.