On Piano Music XI Yang Xiao Gu and Chinese Culture/DE LA MUSIQUE DE PIANO XI YANG XIAO GU ET LA CULTURE CHINOISE
Bibliographic record
Abstract
Abstract: As the representative work of Chinese piano music, Yang has aroused a lot of research in musical world. This paper tries to study the relationship between this work and the traditional Chinese culture, so as to understand this work better. Key words: Yang , Chinese piano music, Chinese traditional culture Resume: En tant qu'oeuvre representative de la musique de piano chinoise, Xi Yang Gu a incite beaucoup de recherches dans le monde musical. Cet essai tente d'etudier les relations entre cette oeuvre et la culture traditionnelle chinoise pour permettre de mieux le comprendre. Mots-Cles: Xi Yang musique de piano chinoise, culture traditionnelle chinoise Among the free-expressioned Chinese piano works, those that are transformed and updated on basic of fine Chinese traditional music are miracles that carry the traditional style and national temperament. Therefore a great number of excellent adapted music emerged, such as Yang Gu, Bai Niao Chao and Mei San Nong. Their distinct national features and high piano taste made them classical among Chinese piano music. As the representative, Yang has aroused a lot of research in musical world. Yang Gu, or named Xun Yang or Xun Yang Yue, is originally a Chinese lute sole that expressed emotions. Its firstly appeared in a hand-written copy Ju Shi Lute Music Score during Qing Dynasty (about 1736 to 1820). It totally had seven paragraphs without title. However, in Chen Zijing's copy there are seven titles: Feng, Yue, Lin Shui, Deng Shan, Xiao Rang, Tiao and Zhou. In 1895, inThirteen Lute Music of Both North and South (Li Fangyuan Lute Music), which wrote by lute player Li Fangyuan of Ping Hu School, the original seven paragraphs has been extended to ten in the name of Nan Shi in Tang Dynasty. They are Yang Gu, Hua Rui San Hui Feng, Guan Shan Que Yue, Lin Xie Yang, Feng Di Qiu Sheng, Xia Qian Xun, Xiao Sheng Hong Shu Li, Lin Wan Tiao, Yu Wan and Yang Ying Li Yi Gui Zhou. According to his edition, Wang Yuting reformed changed it to Xun Yang or Xun Yang Song, and those small titles are the same as Li Fangyuan's. Then it was published by Li Yansong. In 1920s, Zhen Jinwen and Liu Raozhang who were members of Shanghai famous amateur music group Da Tong Association adapted it to an instrument ensemble named Ye lead by lute. And there were also ten small titles: Lou Zhong Gu, Yue Shang Dong Shan, Feng Hui Qu Shui, Hua Ying Ceng Tai, Shui Yun Shen Ji, Yu Ge Wan Chang, Lan Pai An, Rao Ming Yuan Lai, Ai Nai Gui Zhou and End. Since then, this music, no matter played by lute alone, or in ensemble, all used the name Ye. Though its name was given by Zhen Jinwen and Liu Raozhang, its lyric was written by Emperor Chen Shu-pao, and its music was composed by the Tai Chang musical officials. Jiang has a long history that it is the short form of Chun Shen River. In Warring States Period, a Sir Chun Shen named Huang Xie has changed Huang Pu River to Chun Shen River or Chun River. Zhen Jinwen and Liu Raozhang all used to live beside the river, so they used Ye since they had deep feelings toward it. The reason they named it was explained in A General Introduction to National Music, Perhaps its name was given according to their imagination. It can't help reminding us poet Zhang Xuruo's Chun Ye, which was praised by Wen Yiduo as 'Poem of the poems, top above the top. ' Ye was the name of Classical Chinese Poems in Qing and Shang Dynasty, Music of Wu Ge, which was said to be created by Emperor Chen Shu-pao for his maids and ministers to sing, or by Emperor Sui Yang. It was a very florid palace poem. …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.002 | 0.002 |
| Scholarly communication | 0.002 | 0.001 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.006 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".