On Chinese Scales and National Modes
Bibliographic Data
| ID | 4881730 |
|---|---|
| Authors | Ho Lu-Ting, Han Kuo-Huang |
| Year | 1982 |
| Volume | 14 |
| Issue | 1 |
| Pages | 132 |
| Publication date | 1982-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Asian Music (JOURNAL) |
| Journal identifiers | ISSN: 0044-9202 • E-ISSN: 1553-5630 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/834047 |
| OpenAlex | W2319575419 |
| Language | EN |
| Citations received | 5 |
| References cited | 1 |
For years Chinese and Western studies on Chinese music theory have concentrated on the ancient mathematical systems. This is due to the availability of numerous historical documents and attitudes favoring the classical or refined culture. Since the 1950s, with the exception of the Cultural Revolution period (1966-76), a strong emphasis on the folk culture, along with a continuation of the study of the classical one, has been promoted in China. Among the many products of this new trend is the increased research of all aspects of Chinese folk music. But Western scholars have not yet paid much attention to this later emphasis
Asian Culture and Media Studies · Diverse Musicological Studies · History · Musicology and Musical Analysis
Symmetry in Motion
From Difference to Ambiguity
Translating the Lampung Oral Literature into Music for Educational Purpose
Common and distinct quantitative characteristics of Chinese and Western music in terms of modes, scales, degrees and melody variations
Evolution of tonal organization in music mirrors symbolic representation of perceptual reality. Part-1
| Unique citing works | 5 |
|---|---|
| Citations per year | 0,45 |
| Citation span | 2015 - 2026 (12) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 5 |