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Gavin S. K. Lee edited the blog post Tonality, Modernity and Scalar Thinking in Otaka Hisatada’s Sonatine (1940) in the group
Global Musical Modernisms: on Humanities Commons 5 months agoKelvin H. F. Lee
The idea of being modern is often intertwined with the tenet of progress, whether understood through a Hegelian conception of history or a Darwinist view of sociocultural evolution. In a […]
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Gavin S. K. Lee edited the blog post Chen Yi and Musical Modernism in China in the group
Global Musical Modernisms: on Humanities Commons 5 months agoBy Chieh Huang
Introduction and Background on Chen Yi
Musical modernism in Asia is a complex and varied phenomenon. As Frederick Lau points out in his article, “Musical Modernism in Asia,” there are no uni […]
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Gavin S. K. Lee edited the blog post “When Will You Return?” The Politics of Chinese Jazz in Post-WWII East Asia in the group
Global Musical Modernisms: on Humanities Commons 8 months, 3 weeks agoBy Xinyi Ye
One of the most politically controversial songs of twentieth-century East Asia is When Will You Return (何日君再來). In the semi-colonial space of early twentieth-century Shanghai, a new urban culture f […]
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Gavin S. K. Lee edited the blog post Otomo Yoshihide and Ground Zero, Peking Revolutionary Opera, Ver. 1.28 (1996) in the group
Global Musical Modernisms: on Humanities Commons 8 months, 3 weeks agoBy Maurice Windleburn
Japanese guitarist, turntablist, and composer Otomo Yoshihide (b. 1959) has had a particularly prolific and varied career. Born in Yokohama and raised in Fukushima, he moved to Tokyo […]
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lingkang min edited the post 17.Luo Zhongrong (1924.12.12-2021.9.2), “Crossing the River to Pick Lotus Flowers” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 16. Sang Tong (1923–2011), “Seven Piano Pieces on Inner Mongolian Folk Song Themes” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 15. Chou Wen-chung (1923.7.28–2019.10.25), “The Willows Are New” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 14. Zhu Jianer (1922.10.18—2017.8.15), “Symphony No. 10” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 13. Yuen Ren Chao (November 3, 1892 – February 24, 1982), “Haiyun” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 12. Li Huanzhi (January 12, 1919 – March 19, 2000), “Spring Festival Overture” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 11. Ma Ke (1918–1976), “Shaanbei Suite” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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Johann-Mattis List deposited First Steps Towards the Integration of Resources on Historical Glossing Traditions in the History of Chinese: A Collection of Standardized Fǎnqiè Spellings from the Guǎngyùn in the group
Digital Humanities East Asia on Humanities Commons 1 year, 6 months agoDue to the peculiar nature of the Chinese writing system, it is difficult to assess the pronunciation of historical varieties of Chinese. In order to reconstruct ancient pronunciations, historical glossing practices play a crucial role. However, although studied thoroughly by numerous scholars, most research has been carried out in a qualitative…[Read more]
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lingkang min edited the post 10. Jiang Dingxian (1912–2000), “Lullaby,” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 9. Jiang Wenye (June 11, 1910 – October 24, 1983), “Taiwanese Dance,” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 8. Qu Wei (May 9, 1917 – May 20, 2002), “Flower Drum” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 7. Ding Shande (November 12, 1911 – December 8, 1995) , “First Xinjiang Dance Op.6,” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 6. Tan Xiaolin (1912–1948), “Duet for Violin and Viola” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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lingkang min edited the post 5. Ma Sicong (May 7, 1912 – May 20, 1987) “Nostalgia” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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Steve McCarty deposited Discovering Japanese Fusion of Religions on the Pilgrimage Island of Shikoku in the group
Digital Humanities East Asia on Humanities Commons 1 year, 6 months agoThis chapter traces the eventful biography of Steve McCarty vis-à-vis Japan. The story spans decades from graduate school specializing in Japan to discovering an astonishing syncretism of Asian religions. Along the way, the author gained a Japanese family and became a rare foreign full professor in 1993. Anecdotes vividly portray daily life,…[Read more]
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lingkang min edited the post 4. He Lüting (1903.7.20 – 1999.4.27), “The Cowherd’s Flute” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]
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