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In this richly imaginative novel, Mingmei Yip--author of Peach Blossom Pavilion and Petals From the Sky--follows one woman's daunting journey along China's fabled Silk Road. As a girl growing up in Hong Kong, Lily Lin was captivated by photographs of the desert--its long, lonely vistas and shifting sand dunes. Now living in New York, Lily is struggling to finish her graduate degree when she receives an astonishing offer. An aunt she never knew existed will pay Lily a huge sum to travel across China's desolate Taklamakan Desert--and carry out a series of tasks along the way. Intrigued, Lily accepts. Her assignments range from the dangerous to the bizarre. Lily must seduce a monk. She must scrape a piece of clay from the famous Terracotta Warriors, and climb the Mountains of Heaven to gather a rare herb. At Xian, her first stop, Lily meets Alex, a young American with whom she forms a powerful connection. And soon, she faces revelations that will redefine her past, her destiny, and the shocking truth behind her aunt's motivations. . . Powerful and eloquent, Song of the Silk Road is a captivating story of self-discovery, resonant with the mysteries of its haunting, exotic landscape.
The companion volume to an exhibit of the same name at the Museum of Fine Arts in Boston from July 2005 to January 2006 illustrates and describes the Museum's collection of instruments from Korea south to Java and west to Turkey, along with some loaned by local organizations. Clark, a researcher at the Museum's Department of Musical Instruments, includes notes on the pieces, a map, a glossary of musical terms, and lists of further reading and suggested listening. Annotation 2005 Book News, Inc., Portland, OR (booknews.com).
Song Blue and White Porcelain on the Silk Road disproves received opinion that pre-Ming blue and white dates to the Yuan (1279-1368 A.D.) and establishes the proper foundation for 21st century study of ancient Chinese porcelain.
In 9th century China, a little girl sends a small jade pebble to travel with her father along the Silk Road. The pebble passes from his hand all the way to the Republic of Venice, the end of the Silk Road, where a boy cherishes it and sees the value of this gift from a girl at the end of the road. A Neal Porter Book
The musical bow is usually considered one of the earliest instruments in the history of instrumental development; yet, the validity of this view has not been proven. In all likelihood, it was one among many other early instruments created to produce sound. The same can be said in general for all the simple chordophones called zithers, of which the musical bow is one type. The papers collected in this volume have been initially presented at the International Council for Traditional Music Colloquium (ICTM) held in Shanghai in December 2022. They try to challenge some previous depictions of instrumental development and one-sided explanations of musical histories. They specifically focus on exploring the interrelationship between instrumental development and the availability of natural resources in particular geographical regions. While the papers at the colloquium focused on sound production, they also explored the role of ethnomusicology as a discipline in guiding local decision making and interregional research co-operation.
The Silk Road was the most traveled trade route for over 1,000 years until it was eclipsed by maritime trade. Whitfield presents composite stories of merchants, soldiers, artists, and princesses who traveled the route, and presents its history through their personal experiences.
Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. As China and the West demonstrates, the emergence of “Westernized” music from China—concurrent with the technological advances that have made global culture widely accessible—has not established a prominent presence in the West. China and the West brings together essays on centuries of Sino-Western musical exchange by musicologists, ethnomusicologists, and music theorists from around the world. It opens with a look at theoretical approaches of prior studies of musical encounters and a comprehensive survey of the intercultural and cross-cultural theoretical frameworks—exoticism, orientalism, globalization, transculturation, and hybridization—that inform these essays. Part I focuses on the actual encounters between Chinese and European musicians, their instruments and institutions, and the compositions inspired by these encounters, while Part II examines theatricalized and mediated East-West cultural exchanges, which often drew on stereotypical tropes, resulting in performances more inventive than accurate. Part III looks at the musical language, sonority, and subject matters of “intercultural” compositions by Eastern and Western composers. Essays in Part IV address reception studies and consider the ways in which differences are articulated in musical discourse by actors serving different purposes, whether self-promotion, commercial marketing, or modes of nationalistic—even propagandistic—expression. The volume’s extensive bibliography of secondary sources will be invaluable to scholars of music, contemporary Chinese culture, and the globalization of culture.
During the thirteenth and fourteenth centuries, Chinggis Khan and his heirs established the largest contiguous empire in the history of the world, extending from Korea to Hungary and from Iraq, Tibet, and Burma to Siberia. Ruling over roughly two thirds of the Old World, the Mongol Empire enabled people, ideas, and objects to traverse immense geographical and cultural boundaries. Along the Silk Roads in Mongol Eurasia reveals the individual stories of three key groups of people—military commanders, merchants, and intellectuals—from across Eurasia. These annotated biographies bring to the fore a compelling picture of the Mongol Empire from a wide range of historical sources in multiple languages, providing important insights into a period unique for its rapid and far-reaching transformations. Read together or separately, they offer the perfect starting point for any discussion of the Mongol Empire’s impact on China, the Muslim world, and the West and illustrate the scale, diversity, and creativity of the cross-cultural exchange along the continental and maritime Silk Roads. Features and Benefits: Synthesizes historical information from Chinese, Arabic, Persian, and Latin sources that are otherwise inaccessible to English-speaking audiences. Presents in an accessible manner individual life stories that serve as a springboard for discussing themes such as military expansion, cross-cultural contacts, migration, conversion, gender, diplomacy, transregional commercial networks, and more. Each chapter includes a bibliography to assist students and instructors seeking to further explore the individuals and topics discussed. Informative maps, images, and tables throughout the volume supplement each biography.
The ancient trade routes that made up the Silk Road were some of the great conduits of cultural and material exchange in world history. In this intriguing book, Xinru Liu reveals both why and how this long-distance trade in luxury goods emerged in the late third century BCE, following its story through to the Mongol conquest. Liu starts with China's desperate need for what the Chinese called "the heavenly horses" of Central Asia, and describes how the traders who brought these horses also brought other exotic products, some all the way from the Mediterranean. Likewise, the Roman Empire, as a result of its imperial ambition as well as the desire of its citizens for Chinese silk, responded with easterly explorations for trade. The book shows how the middle men, the Kushan Empire, spread Buddhism to China. Missionaries and pilgrims facilitated cave temples along the mountainous routes and monasteries in various oases and urban centers, forming the backbone of the Silk Road. The author also explains how Islamic and Mongol conquerors in turn controlled the various routes until the rise of sea travel diminished their importance.
This is a study of one of China's most influential regional musical traditions, the Jiangnan sizhu - string and wind music - of Shanghai. The in-depth approach adopted reveals much about Chinese musical culture.