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Frederick Lau. Oxford University Press, 2008 - Music - 182 pages. Music in China is one of many case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the ...
Lau tries to answer these questions by examining various dimensions of Chinese music, especially the close relationship between musical practice and China’s changing social environment. He has explained throughout all the chapters that “Chinese music is context-specific rather than based on essentialized notions of Chinese sound” (141).
music? Lau tries to answer these questions by examining various dimensions of Chinese music, especially the close relationship between musical practice and China's changing social environment. He has explained throughout all the chapters that "Chinese music is context-specific rather than based on es sentialized notions of Chinese sound" (141).
Jan 1, 2014 · Lau tries to answer these questions by examining various dimensions of Chinese music, especially the close relationship between musical practice and China’s changing social environment.
Nov 14, 2007 · Music in China offers a unique exploration of the rich, dynamic, and multifaceted Chinese musical landscape. In contrast with previous scholarship--which focused almost exclusively on the role of music in elite culture--this volume takes a balanced look at a variety of traditional and modern genres, including those performed among local and regional folk musicians, in academia, in the media ...
Music in China : experiencing music, expressing culture. Frederick Lau. Published 2008. Art, History. 1. MUSIC OF THE PEOPLE First Encounter: Teahouse Music in the Jiangnan Area Second Encounter: Xianshi in Chaozhou Region Amateur Music-Making in the People's Republic of China Music Regionalism and the Meaning of Regional Music 2.
Lau tries to answer these questions by examining various dimensions of Chinese music, especially the close relationship between musical practice and China’s changing social environment. He has explained throughout all the chapters that “Chinese music is context-specific rather than based on essentialized notions of Chinese sound” (141).
