Chinese Musical Instruments Research Articles

Audio recognition of Chinese traditional instruments based on machine learning

This paper is part of a special issue on Music Technology. We study the type recognition of traditional Chinese musical instrument audio in the common way. Using MEL spectrum characteristics as input, we train an 8-layer convolutional neural network, and finally achieve 99.3% accuracy. After that, this paper mainly studies the performance skill recognition of Chinese traditional musical instruments. Firstly, for a single instrument, the features were extracted by using the pre-trained ResNet model, and then the SVM algorithm was used to classify all the instruments with an accuracy of 99%. Then, in order to improve the generalization of the model, the paper proposes the performance skill recognition of the same kind of instruments. In this way, the regularity of the same playing technique of different instruments can be utilized. Finally, the recognition accuracy of the four kinds of instruments is as follows: 95.7% for blowing instruments, 82.2% for plucked-string instruments, 88.3% for strings instruments, and 97.5% for percussion instruments. We open source the audio database of traditional Chinese musical instruments and the Python source code of the whole experiment for further research.

Design and app development of a virtual fretless Chinese musical instrument

The article presents the design and development of a virtual fretless Chinese stringed instrument App with the Duxianqin as an example, whose performance is expected to be no different from a real instrument. The digital simulation of fretless musical instruments is mainly divided into two parts: the simulation of the continuous pitch processing of the strings, and the simulation of the sound produced by plucking strings. The article returns to the theory of mechanics and wave theory and obtains the quantitative relationship between string frequency and its deformation and elongation. The Duxianqin selected in this article is a fretless instrument, which cannot be completely simulated by relying solely on sound source data. Playing and vocalization require real-time synthesis through pitch processing, which has certain reference significance for the realization of other fretless instruments.

Differentiated Treatment of Cultural Items in Lexicographical Products: A Necessary Adaptation to the Digital Environment

The paper focuses on the lexicographical treatment of cultural objects. It argues that second-language learning requires second-culture learning and that digital technologies call for new solutions to both old and new challenges. As an example, it takes traditional Chinese musical instruments and starts with a critical analysis of their treatment in five Chinese–English dictionaries for both foreign learners and native speakers. It continues with some reflections on media convergence and its consequences for lexicography and reaches the conclusion that the one-size-fits-all dictionary must be replaced with a variety of lexicographical products on different platforms. Lexicographers' focus must therefore move from the dictionary to the database that supports these products. This leads to a discussion of equivalent and explanation types and the need to prepare four different database fields for equivalents and two for explanations. To exemplify this, the paper presents a lexicographical database with equivalents, explanations, and other types of culturally relevant items. It then uses a few examples to show how these lexicographical items stored in the database can be selectively employed on different platforms and adapted to specific user needs. The paper links directly to sound files and video clips with some of the discussed instruments. Finally, the paper provides some conclusions and perspectives for further improving the cultural dimension of learners' lexicography.

Exploration on the Application of Internet Online Courses in Modern Teaching of Guzheng

As a traditional Chinese musical instrument, Guzheng wins favor from people since ancient times. In performance of Guzheng, its touching timbre and extensive everlasting rhyme create a strong sense of presence. Nowadays, since internet technologies have become the infrastructure in modern society, the paper studies how to achieve in-depth fusion of teaching of Guzheng (a representative of traditional culture) and the emerging internet technologies. In this paper, the advantages of introducing internet online courses into modern teaching of Guzheng are summarized, followed by a tentative analysis of application of internet online courses in modern teaching of Guzheng.

The use of AR to preserve and popularize traditional Chinese musical instruments as part of the formation of the tourist attractiveness of the national art of Guizhou province

Abstract This article explores augmented reality (AR) possibilities for the preservation of national cultural art, popularization of Chinese musical instruments among the youth, and meeting the tourist interest in the cultural heritage of China in a fascinating interactive form. Using the generated database containing information on traditional musical instruments of the Guizhou province, the authors have developed an AR application adapted for educational and tourist purposes. Its central aim was to acquaint people with traditional Chinese musical instruments in the context of familiarization with the national culture of China. Testing of the developed application was carried out by hundred students from Guizhou Minzu University (College of Tourism and Steward, the College of Media, the College of Music and Dance, and the College of Data Science and Information Engineering) as part of the National Culture and Art study course. As a result, the created AR app was proved to expand the understanding of the culture and traditions of the Chinese people, intensify the perception of national musical identity, increase interactivity-caused inspiration and involvement (89%), and enhance interest in new knowledge (93%). Based on the obtained research outcomes, a model for the popularization of traditional Chinese musical instruments in the structure of the integrated national tourism product of Guizhou province was developed. The article is believed to be useful for individuals studying the national cultural heritage of China and educators seeking innovative solutions that improve the educational practice.

Research on Vibration Characteristics of Zither Based on Modal Analysis

Chinese Zither is one of the traditional Chinese national musical instruments. It has a clear tone and a wide range of plucked strings, which is comparable to Western instruments. In recent years, with the increasing number of zither students, the method of making zither has gradually changed from manual production to machine production. In the background of the mass production of musical instruments, it has become the consensus of the manufacturers to establish a more complete and scientific zither-making specification. Among them, the problem of zither noise and vibration is an urgent problem to be solved. This paper constructs a three-dimensional finite element model of Chinese Zither based on the principle of vibration and noise, and analyzes its vibration characteristics. [1] The finite element model of the zither is established by combining computer simulation technology with traditional Chinese musical instrument manufacturing. It is obtained the zither dynamic characteristics through analyzing and provided data and theoretical support for the structure research and optimization of the zither.

중국 음악 문화와 고금(古琴) 기보법에서 살펴본 『東國正韻』 한자음 ‘ㅭ’·‘ㅱ’의 결합 원리 小考

중국 음악 문화와 고금(古琴) 기보법에서 살펴본 『東國正韻』 한자음 ‘ㅭ’·‘ㅱ’의 결합 원리 小考

Sound Power Characteristics of Chinese Traditional Wind Instrument Qudi

The standards for design and evaluation of Chinese concert halls have followed that of western music and western concert halls all the time. In recent years, studies on the sound characteristics of Chinese traditional musical instruments have been conducted. Wind instrument is an important type of traditional national musical instruments of China. The Chinese flute (Di) is the most representative one among them, the oldest type with a history almost 9000 years, and it is still one of the most widely used instruments now. So the study of Qudi (a main kind of Di) can be seen as a representative research work of traditional national wind instruments of China. The measurement presents the sound power level, dynamic range and frequency characteristics of Qudi when single notes, a music scale and a typical melody are performed at various dynamics. This is the first time a research measures the sound power of Qudi by multi-channel real-time analysis method in a reverberation room according to ISO and Chinese national standards. It shows that, Qudi has higher sound power level and a limited dynamic range when compared with Chinese traditional stringed and plucked instruments. The main energy radiation of Qudi is in the alto (middle) range and soprano (high) range. Here, we use sound power level of the music scale performed at forte dynamic as the representative value of Qudi’s SWL, and it is 96.2dB.

The Development of ‘Chinese Style’ Piano Music Influenced by Chinese Traditional Musical Instrument

The Development of ‘Chinese Style’ Piano Music Influenced by Chinese Traditional Musical Instrument

ІНТЕГРОВАНИЙ ПІДХІД ДО ЕСТЕТИЧНОГО ВИХОВАННЯ ШКОЛЯРІВ У КНР

The article is dedicated to revelation of the peculiarities of integrated approach in the process of schoolchildren's aesthetic education in the People's Republic of China. The possibilities of using art while teaching different subjects (Mathematics, different languages, Literature, History etc.) have been outlined. The Chinese pedagogues underline the close connection of Mathematics and Music. It provides opportunities to learn fractional nature of the notes, feel the rhythm of the music, relate harmony, intervals, melody and notes to whole numbers, proportions, arithmetic operations, logarithms, Geometry and Trigonometry. The authors have pointed out that aesthetic subjects (music, art, theatre) are also closely connected in educational process of schools. The characteristic feature of schoolchildren's aesthetic education in the People's Republic of China is taking into account the regionality (differences in development of art depending on the region of the country). It is due to different historical, socio-economic and cultural factors of development of different regions in China. The regionality strengthens the connection of arts with History, Economics and Geography and helps schoolchildren to understand the significance and differences of regional music in China, to learn various Chinese musical instruments, folk lullabies and to investigate the important characteristic features of the Chinese music. So, schoolchildren's aesthetic education in China has a strong national basis: art is connected with national expression, development of musical traditions, nature and mental aesthetic ideas.

An Investigation and Research on Guzheng Education in Extracurricular Music Training Institutions

Guzheng (or Chinese Zither), as one of the traditional Chinese musical instruments, has a history of over two thousand years since its emergence during the Pre-Qin period and it has been well loved by the audience. Recently, there witnesses an upsurge of millions of guzheng learners the majority of which are children and teenagers. This boom prompts the urge to improve teachers’ professionalism and teaching resources in various extracurricular music training establishments. It is believed that only a well-developed teaching management system can produce quality guzheng talents and carry on the inheritance and development of the art of guzheng.

A classification method for wood vibration signals of Chinese musical instruments based on GMM and SVM

A classification method for wood vibration signals of Chinese musical instruments based on GMM and SVM

CHINESE VISITORS TO 18TH CENTURY BRITAIN AND THEIR CONTRIBUTION TO ITS CULTURAL AND INTELLECTUAL LIFE

This essay introduces three 18th century Chinese visitors to Britain, analysing the important role they played in cross‐cultural intellectual and artistic contact between the two countries. Loum Kiqua, a merchant, arrived in London in 1756. He gave the first known performance on a Chinese musical instrument in the West. Chitqua, a portrait modeller who arrived in 1769, exhibited at the newly‐established Royal Academy (becoming the first named Chinese artist to have a work shown in an overseas exhibit). Whang at Tong (Whang Atong, Huang Yadong), was only in his early 20s at the time of his arrival in England in August 1774, but he played a significant role in the transfer of botanical knowledge from China to the West through his connections with John Bradby Blake in Canton and his father John Blake in London.

Acoustical characteristics of Chinese musical instrument bamboo flute

There are few reports on acoustical study about Chinese music instruments, which is an area worthy of researching. Nowadays there are more and more new and comprehensive ways that can be used to analyze acoustical characteristics and quality of musical instruments, such as experimental modal analysis, finite element software. It is said that music is a kind of a world language. However, the music is an expression of a culture, which is expressed by the musical instrument with its specific acoustical property and character. Therefore, it is necessary to research the acoustical characteristics that can express Chinese culture in the acoustical music instrument study. Bamboo flute is one of the most important musical instruments in any Chinese music ensemble or Chines orchestra. Acoustical structure and characteristics of bamboo flute tone are researched. Meanwhile, acoustical characteristic features for some main playing technique of bamboo flute are also researched. Then, the identified characteristics of bamboo flute tone related with Chinese music and culture are analyzed.

Understanding curriculum based on the study of Chinese “Gu Qin”

This article initiates a dialogue between Chinese “ Gu Qin” art and curriculum theory. “ Gu Qin” is the ancient Chinese musical instrument which best embodies Chinese aesthetic notions. The ancient Chinese never regarded Gu Qin as only an instrument; they thought that performing on it was a process of experiencing life and self-cultivation. Therefore, the value of pursuing Gu Qin study is not only the skill that is mastered, but also the growth of the spirit. This orientation makes the teaching of Gu Qin a fight against instrumental rationalism and materialism. It highlights lived experience based on the unity of the subjective and the objective, and breaks the closed, predetermined teaching process to create openness and possibilities. All of these characteristics have much in common with the new perspectives on curriculum and can help us better understand what a curriculum and a music curriculum are.

Make Textual Criticisms and Explanations of the Traditional Chinese Musical Instrument Name in Zilei zhushi (《字類註釋》)

Make Textual Criticisms and Explanations of the Traditional Chinese Musical Instrument Name in Zilei zhushi (《字類註釋》)

The AncientQin琴, Musical Instrument of Cultured Chinese Gentlemen

What does music convey to people living within a culture? How is it understood? How should we approach the study of music when we want to attain a synthetic and comprehensive view of musical activities in human culture? This article explores the cultural interface of the traditional Chinese musical instrument, the guqin . It brings to light the interconnections of ideas and images of this instrument with the expressive resources of Chinese culture, and it studies the symbolism of this music in terms of its orientations toward cosmological views of life, human comportment, poetic values, and spiritual attainment. By tracing the networks of symbolic meaning throughout the cultural fields of Chinese life, one can arrive at a deeper understanding of the thoroughgoing resonance of musical performances in this part of the world.

“琴道”何在？———高羅佩與文人想像

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 荷蘭漢學家高羅佩（Robert Hans van Gulik, 1910—1967）是一位對中國文化深造有得的學者，著作涵蓋小説、宗教、書法、繪畫、音樂等不同領域。《琴道》（The Lore of the Chinese Lute: An Essay in the Ideology of the Ch’in）成書於1938年，在中國音樂研究史上具有重要意義，本文因以此書爲研究對象。首先爬梳高羅佩習琴愛琴、撰寫《琴道》的過程；其次論《琴道》一書的内容，及問世七十餘年來國内外各方評價；第三部分則由《琴道》研探高羅佩的重要琴學觀點；最後一部分則回歸於撰作的時代環境，討論《琴道》的書寫策略及高羅佩如何透過此書達成他對於傳統文人（學者型官員）的想像。高羅佩採用了“出今入古”的書寫策略，“君子不器”的通才視角，以傳統文人的治學方法，徵引大量的經史文集，旁及園林、書法等其他藝文，立足於雅俗對立的傳統音樂史框架，以“三教論衡”形式辯證儒、釋、道的琴曲，體現了一位西方學者對於中國傳統知識分子、文人雅士的認同與想像。
 Dutch Sinologist Robert Hans van Gulik (1910-1967) was a scholar well versed in oriental culture and fascinated with the Chinese guqin (the Seven-stringed zither which Gulik translated into the Chinese lute), thus he was the author of one book titled The Lore of the Chinese Lute: An Essay in the Ideology of the Ch’in. This paper takes this book as the subject of examination, and analyzes issues such as the book’s connotations, van Gulik’s concept of guqin studies, and his writing strategy.
 The Lore of the Chinese Lute is the earliest English writing that focuses on the study of a single Chinese musical instrument in early Twentieth Century. Although there are polarized views on its evaluation, it is still historically meaningful and important in the discourse of Chinese music research. This paper will be presented in four sections. First, I will discuss van Gulik’s contact and study of guqin, second, the contents of The Lore of the Chinese Lute and its assessment in China and abroad. Third, I will analyze van Gulik’s concept of guqin studies through his work. Finally, I will examine van Gulik’s writing strategy in the context of the book’s creation, how van Gulik fulfilled his imagination of the traditional Chinese literati, and furthermore, how van Gulik understood and studied Chinese guqin music and culture through the life of a diplomat in foreign lands.

TRADITIONAL CULTURE ELEMENTS MERGING INTO MOSAICULTURE

The mosaiculture’s works in Beijing are analyzed and summarized, in order to look for the influence of china traditional culture to the originality of mosaiculture design. The composition of traditional Chinese cultural elements and its impacts on the development of mosaiculture are discussed and 2 reasons that mosaiculture’s design preferring traditional culture elements are put forward. Special requirement of festival celebration, especially for the National Day, is pointed out firstly. And the public psychology of “praying for welfare and luck” is another important reason. The various traditional culture elements merging into mosaiculuture are discussed on the similarity of graphics and moral in works. Taking examples of some masaiculture works in Beijing during 2008 Olympic Games and 2009 Sixtieth National Anniversary, different traditional culture elements, using in mosaiculture’s design, are introduced, such as classical building, mascot, decorative pattern, ancient science and technology, folk-custom, handwriting, traditional Chinese painting, classical garden, musical instrument, ceramics, jadeware, dress and accessories, etc. And, the basic principles merging traditional culture elements into mosaiculture are summarized to 3 facets. Additionally, it is discussed how to obtain the time spirits and modern characters in the design of mosaiculture with traditional elements. Some viewpoints on reducing the complexity of meaning, paying attention to the spatial characters of setting, and advocating abstract expression are suggested.

Subjective Preference Study on <i>IACC</i> for National Music Hall

IACC is an important objective acoustics parameter for evaluating hall acoustics. In order to find out subjective preference value or range of IACC for Chinese national music, under Ando’s hall acoustics theory, by keeping other acoustics parameters unchanged, subjective preference test on IACC was completed by paired-comparison method using headphone reproduction. Firstly, depending on measured binaural impulse responses with very low IACC, by adjusting correlation coefficient, five pairs of binaural impulse responses with different and equal-spaced IACC were derived and then convolved with CD musics including solo and tutti played by Chinese national musical instruments, thus auralization binaural signals were produced. The test’s results indicate that when IACC is between 0.15 and 0.41,acoustics for Chinese national music hall is preferable subjectively，accordingly, subjective preference range for IACCE3 is between 0.19 and 0.46.