Transcription of scores for selected repertoire of Chinese operatic songs

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Studies on Teaching and Learning, Vol: 1, Page: 47-50

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Li, Min; Zhao, Zhong Zhen; Liu, Liang; Bian, Zhao Xiang; Wai, Ming; Wong, Wendy Y. C.; Ng, Tsun Hao
Hong Kong Baptist University
Business English; authentic and localized instructional material; Chinese medicine; phytochemistry; chemical structures; Online resource centre; modern Chinese society; Peer observation; initial teacher development; student teachers; Classroom management; teacher education; Mobile phone based response system; interactive teaching; class polling system; Electronic 'eurolingua' study paths; European studies; Chinese operatic songs; transcription of Chinese operatic scores; western staff notation; Teacher development; guided reflection; student-teachers’ learning; Thematic approach; child and literature; use of internet in literary studies; Use of multi-media in the music classroom; interactive teaching and learning; Internal Chinese medicine (ICM); ICM students; On-line resource centre; geography; natural resources in China; Problem-based learning; physical education; recreation management; Language teaching; language learning; interactive mode; Animated teaching materials; neurobiology-related courses; professional communication skills in medical interviews; Education; Linguistics; Social and Behavioral Sciences; Chemistry; Physical Sciences and Mathematics; Sociology; Arts and Humanities; English Language and Literature; Physics; Medical Sciences; Medicine and Health Sciences; Pharmacy and Pharmaceutical Sciences; Geography; International and Area Studies; Political Science; Music; Biology; Life Sciences
book description
Chinese music, like other forms of national music based on aural tradition, has its intrinsic difficulties in transmission (Jiang, 2001, p.1). Urbanization has adverse effects on the preservation of indigenous musical culture in China, as folk music, traditionally played or sung in rural areas, is rapidly replaced by music that has a higher commercial value. Chinese opera faces the same problem, as live performances are readily replaced by broadcast (in Hong Kong by DVDs and VCDs): few students will have the opportunity to acquire the essence of the art form through direct contact with actors and singing teachers. Transcription of Chinese operatic scores into Western staff notation will clear a major barrier for students to acquire a solid foundation on Chinese music (Chan, 1999, p.4).