Alan R Thrasher

• Archaeology of instruments

  Robert Anderson, Robert H Anderson et al.•CHAPTER•The new Grove dictionary of music…•2016

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• Qupai in Chinese Music

  Alan R Thrasher•BOOK•Qupai in Chinese Music•2016

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• Xiyaogu

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2015

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• Bangu

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2015

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• Erxian

  Alan R Thrasher, Jonathan P J Stock•CHAPTER•The new Grove dictionary of music…•2015

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• Gu

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2015

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• Bofu

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2015

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• Jiangu

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2015

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• Bajiao gu

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2014

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• Ban

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2014

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• Sizhu instrumental music of South China ethos, theory and practice

  Alan R Thrasher, Alan Thrasher•BOOK•Sizhu Instrumental Music of South…•2008•Citada por: 3

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  According to a reader's report, this is "one of the finest studies on (any kind of) Chinese music to emerge in recent years." Based on extensive fieldwork and a thorough knowledge of the scholarly literature, the author examines the theoretical underpinnings of the 'silk and bamboo' instrumental ensemble traditions of the Chaozhou, Hakka and Cantonese peoples of South China. Stepping back far into history, the book opens with a penetrating examin…

• Chinese Musical Instruments

  Yu Siu Wah, Alan R Thrasher•ARTICLE•Yearbook for Traditional Music•2002

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• Lusheng

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Xun

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Gong

  James Blades, James Holland et al.•CHAPTER•The new Grove dictionary of music…•2001

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• Sheng

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Zither

  Mark Lindley, Andreas Michel et al.•CHAPTER•The new Grove dictionary of music…•2001

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• Qing

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• China, People’s Republic of

  Alan R Thrasher, Joseph S C Lam et al.•CHAPTER•The new Grove dictionary of music…•2001

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• Bronze drum

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• China, Introduction

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Bronze drum

  Mantle Hood, Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Huqin

  Alan R Thrasher, Jonathan P J Stock•CHAPTER•The new Grove dictionary of music…•2001

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• Suona

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Baban

  Alan R Thrasher

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• A Discussion on Chinese National Musical Traditions

  Fang Kun, Keith Pratt et al.•ARTICLE•Asian Music•1981•Citada por: 4

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  By all accounts, the second Durham (England) Oriental Music Festival (4-17 August 1979) was a great success. Ensembles from eight Asian countries gave a total of eighteen performances, ten scholars delivered fifteen lectures, and, perhaps most important, participants in the Festival (performers, scholars, and residents) spent much of the two weeks communing informally over meals, tea, and warm English ale. Although the concerts were perhaps its m…

• Sizhu instrumental music of South China ethos, theory and practice

  Alan R Thrasher, Alan Thrasher•BOOK•Sizhu Instrumental Music of South…•2008•Citada por: 3

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  According to a reader's report, this is "one of the finest studies on (any kind of) Chinese music to emerge in recent years." Based on extensive fieldwork and a thorough knowledge of the scholarly literature, the author examines the theoretical underpinnings of the 'silk and bamboo' instrumental ensemble traditions of the Chaozhou, Hakka and Cantonese peoples of South China. Stepping back far into history, the book opens with a penetrating examin…

• Hakka-Chaozhou Instrumental Repertoire

  Alan R Thrasher•ARTICLE•Asian Music•1988•Citada por: 1

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  In both the Hakka and Chaozhou instrumental repertoires, as in most regional repertoires of China, the outside listener is struck not only by the continuity in style among pieces, but also by the similarity in melody. At the root of this perceived melodic similarity lies the historic use of melodic models as bases for new compositions. The 68-beat model examined in this study, which survives under numerous names and variant, is easily the most pe…

• The Melodic Structure of Jiangnan Sizhu

  Alan R Thrasher•ARTICLE•Ethnomusicology•1985•Citada por: 1

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  T he structure of Chinese melody is one of the most imperfectly understood aspects of world music theory. Traditional Chinese music theorists, whose writings were actually more a rationalization of Confucian ideology than an explanation of practice, have for the last two thousand years ignored the musical traditions outside of the court. Their writings dealt largely with temperament theory, associations of music with cosmology, and the ethical im…

• "Concerning the Variants of "Lao Lioban

  Huang Jinpei, Jinpei Huang et al.•ARTICLE•Asian Music•1982•Citada por: 1

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• The Sociology of Chinese Music

  Alan R Thrasher•ARTICLE•Asian Music•1981•Citada por: 1

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• The Transverse Flute in Traditional Chinese Music

  Alan R Thrasher, Alan Thrasher•ARTICLE•Asian Music•1978•Citada por: 1

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  known by the name di-dze_ i 4 . Chinese musicologists frequently begin discussion of its early development with the imported heng-chui i r~' , of the Han dynasty (206 B.C.220 A.D.) or the eearlier indigenous chih flute. Some writers, in following the time-honored Chinese tradition, as cri4be the origin to the 2698 B.C. culture hero Huang ti , who ordered Ling lun f~4) , as the story goes, to cut some bamboo and make a flute imitating the sound of…

• The Transverse Flute in Traditional Chinese Music

  Alan R Thrasher, Alan Thrasher•ARTICLE•Asian Music•1978•Citada por: 1

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  known by the name di-dze_ i 4 . Chinese musicologists frequently begin discussion of its early development with the imported heng-chui i r~' , of the Han dynasty (206 B.C.220 A.D.) or the eearlier indigenous chih flute. Some writers, in following the time-honored Chinese tradition, as cri4be the origin to the 2698 B.C. culture hero Huang ti , who ordered Ling lun f~4) , as the story goes, to cut some bamboo and make a flute imitating the sound of…

• A Discussion on Chinese National Musical Traditions

  Fang Kun, Keith Pratt et al.•ARTICLE•Asian Music•1981•Citada por: 4

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  By all accounts, the second Durham (England) Oriental Music Festival (4-17 August 1979) was a great success. Ensembles from eight Asian countries gave a total of eighteen performances, ten scholars delivered fifteen lectures, and, perhaps most important, participants in the Festival (performers, scholars, and residents) spent much of the two weeks communing informally over meals, tea, and warm English ale. Although the concerts were perhaps its m…

• The Sociology of Chinese Music

  Alan R Thrasher•ARTICLE•Asian Music•1981•Citada por: 1

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• "Concerning the Variants of "Lao Lioban

  Huang Jinpei, Jinpei Huang et al.•ARTICLE•Asian Music•1982•Citada por: 1

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• The Melodic Structure of Jiangnan Sizhu

  Alan R Thrasher•ARTICLE•Ethnomusicology•1985•Citada por: 1

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  T he structure of Chinese melody is one of the most imperfectly understood aspects of world music theory. Traditional Chinese music theorists, whose writings were actually more a rationalization of Confucian ideology than an explanation of practice, have for the last two thousand years ignored the musical traditions outside of the court. Their writings dealt largely with temperament theory, associations of music with cosmology, and the ethical im…

• Flying Dragons, Flowing Streams

  Open Access•Alan R Thrasher•ARTICLE•American Ethnologist•1985

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• Music of the Billion

  Alan R Thrasher, Liang Mingyue et al.•ARTICLE•Ethnomusicology•1987

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• Hakka-Chaozhou Instrumental Repertoire

  Alan R Thrasher•ARTICLE•Asian Music•1988•Citada por: 1

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  In both the Hakka and Chaozhou instrumental repertoires, as in most regional repertoires of China, the outside listener is struck not only by the continuity in style among pieces, but also by the similarity in melody. At the root of this perceived melodic similarity lies the historic use of melodic models as bases for new compositions. The 68-beat model examined in this study, which survives under numerous names and variant, is easily the most pe…

• Structural Continuity in Chinese Sizhu

  Alan R Thrasher•ARTICLE•Asian Music•1989

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  The focus of this paper is upon the Chinese concept of musical structure as a force of continuity in their instrumental ensemble repertoires. The repertoires examined are generally known as sizhu ('silk-bamboo'), of which there are many regional variants and related solo traditions along the eastern seaboard of China. These genres function in all areas as a variety of chamber music, a tradition to be enjoyed by performers and listeners in the int…

• Cantonese Opera

  Alan R Thrasher, Bell Yung•ARTICLE•Asian Music•1993

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• The Melodic Model as a Structural Device

  Alan R Thrasher•ARTICLE•Asian Music•1995

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  Alan R. Thrasher, The Melodic Model as a Structural Device: Chinese "Zheng" and Japanese "Koto" Repertories Compared, Asian Music, Vol. 26, No. 2, Musical Narrative Traditions of Asia (Spring - Summer, 1995), pp. 97-118

• Lusheng

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Xun

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Gong

  James Blades, James Holland et al.•CHAPTER•The new Grove dictionary of music…•2001

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• Sheng

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Zither

  Mark Lindley, Andreas Michel et al.•CHAPTER•The new Grove dictionary of music…•2001

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• Qing

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• China, People’s Republic of

  Alan R Thrasher, Joseph S C Lam et al.•CHAPTER•The new Grove dictionary of music…•2001

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• Bronze drum

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• China, Introduction

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Bronze drum

  Mantle Hood, Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Huqin

  Alan R Thrasher, Jonathan P J Stock•CHAPTER•The new Grove dictionary of music…•2001

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• Suona

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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• Panpipes

  James W Mckinnon, Robert Anderson et al.•CHAPTER•The new Grove dictionary of music…•2001

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• China, Musical instruments

  Alan R Thrasher•CHAPTER•The new Grove dictionary of music…•2001

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