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@dbadagna 7 күн бұрын
Very well done. What does the flag the army man is holding say?
@jts1702a 7 күн бұрын
The figure is known as Lady Liberty Hong Kong. It is a continuation of the 1989 "Goddess of Democracy", except in full chemical hazard gear and blackbloc, with an umbrella to resist. The black flag has the words "光復香港，時代革命 // Liberate Hong Kong, Revolution of the Times", to which the Pride rainbow version is laid on the table. en.wikipedia.org/wiki/Lady_Liberty_Hong_Kong
@taylordiclemente5163 Ай бұрын
I'm so happy to have found your channel and this lecture series! I am a western lutenist and student of western music theory. It is fascinating to see the history of the Chinese theorists wrestling with the same comma that Pythagoras and the Europeans did. Of course, it is a grail quest with no solution. But we must make music somehow, and our fixed-pitch instruments can only produce so many pitches. This subject fascinates me too, as I shift the gut frets on my lute. Thank you for the education!
@khalilal-bukhari7042 2 ай бұрын
I am still watching, thank you for this content!
@ShiceSquad 2 ай бұрын
Came here for the guqin, got a pleasant detour here. This touches on all sorts of things I had been wondering about vis-a-vis the attempted erasure of classical Chinese tradition.
@ShiceSquad 2 ай бұрын
The 9-string guitar craze has made it to the guqin!
@jts1702a 2 ай бұрын
Actually, the 9-string guqin made its highlight way back in the year 976...
@ShiceSquad 2 ай бұрын
@@jts1702a 976, seems relatively late considering how far back Chinese tradition goes, but that's good to know! Anyway I was just goofing around with that silly joke. I've just been getting into this instrument recently, but I understood it has many variations with different numbers of strings. And with the guqin, having extra strings seems like a much more positive development than these newfangled 8- and 9-string guitars, which seem to be intended predominately for various subgenres of extreme metal. Anyway, I love the guqin!
@ShiceSquad 2 ай бұрын
Awesome, you just unwittingly helped me in me in my madcap plan to imitate guqin on electric guitar.
@jts1702a 2 ай бұрын
If you really want to get to the nitty-gritty, please watch my talk video taken in Goldsmiths about the 9-stringed qin.
@ShiceSquad 2 ай бұрын
@@jts1702a SWEET that's just the kind of thing I'm looking for. Already set about retuning my 8-string guitar in something approximating guqin format - my first baby step towards the guqin guitar goal!
@RickNBacker 2 ай бұрын
Did I hear you right? Tuning the instrument at A440 on the 5th string is too high tension? I just got my guqin and don't want to mess anything up. I actually have it turned to A432 but should the entire instrument be tuned down one whole tone, i.e. the 5th string tuned to G instead of A?
@jts1702a 2 ай бұрын
Depends on your strings. If you have silk strings, it wouldn't make sense to force a A440. Most would go down one or two semitones - but if you've got a modern setup with modern strings, go nuts. Ultimately, it's all relative until you have to play in an ensemble...
@faithite 3 ай бұрын
The key is to read the simplified notation (jianzi notation), where you break down each chinese character and practice the meaning of each character. Learn the right hand empty strings, then combine with left hand techniques. True, it is not explained in the video, sorry I can't help you more. Cheers. Hope you can find other videos that help. There are indeed rules on how to slide the note and which finger of left hand to use. Mostly from the notation.
@Isxiros100 3 ай бұрын
This is an amazing video! I love your intro and your explanation of different music substrates and culture understand of sounds and music. Wish you could tell my friends who despise my chinese an middle eastern music playlists!
@jihad1251 4 ай бұрын
Is this a DIY?
@elvenadohostil8607 4 ай бұрын
I LOVE ,the layout of your city !
@jts1702a 4 ай бұрын
Thank you, that section actually got CUT OUT of the original recording! I might do a second video about it. Hint: I divided the thing into three concentric rings, and modelled 8 slices and arranged it according to the Xiantian Bagua, with different purposes to each division.
@TacticatGaming 4 ай бұрын
Thank you that makes a lot of sense minute 11-13 were really helpful
@fouellet1701 4 ай бұрын
For us Westerners it's a pentatonic scale :-) What we hear at the end of the video is A1 B1 C#2 E2 F#2 A2 B2
@Sonnungrs_Ward 6 ай бұрын
Any chance of more episodes? This series was fascinating.
@mandys1505 6 ай бұрын
it sounds great 🎉 congradulations on manifesting the 9- stringed qin ; thinking of it and then persevering into making it into an actual reality! / way cool
@panikrull 6 ай бұрын
Величезна подяка за виконану роботу.
@henrikljungstrand2036 6 ай бұрын
665 tone equal division of the octave (666 steps inclusive) is so perfect an approximation of 3-limit Just Intonation, that you will never need anything better - as long as you stay in the 3-limit of course! Because even the accumulated error of 665 absolutely just 3/2 fifths (modulo absolutely just 2/1 octaves) is such a small number that it is smaller than a 1/23 of the 665edo step size. In the 5-limit, 7-limit, 11-limit or 13-limit there are of course notably better equal temperaments, which usually can be taken to be equal divisions of the octaves. 118edo, 171edo and 612edo are pretty good in the 5-limit e.g.
@dbadagna 6 ай бұрын
I'm not sure if these poems are relevant: ====== 《追昔游》 (Zhui Xi You) 作者：元稹（中唐） by Yuan Zhen (mid-Tang Dynasty, 779-831) 谢傅堂前音乐和，狗儿吹笛胆娘歌。 花园欲盛千场饮，水阁初成百度过。 醉摘樱桃投小玉，懒梳丛鬓舞曹婆。 再来门馆唯相吊，风落秋池红叶多。 Notes: This poem was written in Luoyang in the year 809. Located about 350 km east of Chang'an, Luoyang (洛阳), in Henan province, flourished as the second city and eastern capital of the Tang Dynasty, and at its height it had a population of around one million, second only to Chang'an, which, at the time, was the largest city in the world. ******************************** 《阿曹婆辞 镇陇西三首 其一 第一》（敦煌曲子）, anonymous Tang-era poetic lyrics from Dunhuang 昨夜春风入户来。 动人怀。 祗见庭前花欲发。 半含咍。 直为思君容貌改。 征夫镇在陇西坏。 正见庭前双鹊喜。 君在塞外远征回。 梦先来。 ******************************** 《阿曹婆辞 镇陇西三首 其二 第二》（敦煌曲子）, anonymous Tang-era poetic lyrics from Dunhuang 独坐幽闺思转多。 意如何。 秋夜更长难可度。 慢怜他。 每恨狂夫薄行迹。 一从征出镇蹉跎。 直为思君容貌改。 疆场还道□□□。 □□□。 ******************************** 《阿曹婆辞 镇陇西三首 其三 第三》（敦煌曲子）, anonymous Tang-era poetic lyrics from Dunhuang 当本祗言三载归。 灼灼期。 朝暮啼多淹损眼。 信音稀。 妾守空闺恒独寝。 君在塞北亦应知。 懊恼无辞呈肝胆。 留心会合待明时。 □□□。
@dbadagna 6 ай бұрын
The ethnomusicologist Stephen Jones (who was a pupil of Laurence Picken) points out that there was a musician named Cao Poluomen (曹婆罗门; "Poluomen" being Chinese for "Brahman") , who was originally from Kabudhan (called Caoguo 曹国 in Chinese) northeast of Samarkand, and served as a court musician during the Northern Wei Dynasty (386-534). Many of his descendants went on to become prominent musicians. Jones believes that the piece's title might be an abbreviation of "Cao Poluomen," but Picken states that "it seems somewhat improbable that 'Brahman Cao' should be associated with so slight a piece." Rembrandt Wolpert, a former member of Laurence Picken's Tang Music Project, believes the surname Cao (曹) to derive from the Hindi Jhā, from Sanskrit Upādhyāya (उपाध्याय, literally "teacher, preceptor, advisor, counselor"), a surname used by some Brahmin people in India. References ● Laurence Picken, ed., with Rembrandt F. Wolpert, Allan J. Marett, Jonathan Condit, and Elizabeth J. Markham, and with Yōko Mitani and Noël J. Nickson. _Music from the Tang Court,_ vol. 4. Cambridge: Cambridge University Press, 1987, pp. 113-114. ● Laurence Picken and Noël J. Nickson, eds., with Rembrandt F. Wolpert, Allan J. Marett, Elizabeth J. Markham, Yōko Mitani, and Stephen Jones. _Music from the Tang Court,_ vol. 5. Cambridge: Cambridge University Press, 1990.
@dbadagna 6 ай бұрын
If this piece appears in Sino-Japanese score collections in the Mixolydian mode, why did you also play it in the Lydian mode?
@jts1702a 6 ай бұрын
According to Keith Wong's note: The Shinsen Gakufu indicates the piece is written in Shatuo Diao/Sadacho. Instead of treating as an erroneous identification, a variant recording was made on his part. Here, I am using this record of discrepancy to highlight the ease of how a heptatonic tuning can easily account for modal changes and thereby showcase how the instrument changes keys -- a distinctly different approach from the traditional practice!
@dbadagna 6 ай бұрын
@@jts1702a How interesting. I thought it sounded okay in both modes.
@fotgjengeren 7 ай бұрын
What a wealth of knowledge! Thanks so much
@greensnail_in 8 ай бұрын
Thanks a lot. It's really interesting. But from another sources it's explained what music was used to harmonize surrounds. And it was used like measurement and also connection between macro and microcosmos. So astronomy and TCM (traditional chinese medicine) is also here. Isn't it ? May be you can share some more information about this connection.
@ColocasiaCorm 8 ай бұрын
Third string from the bottom is sharp?
@jts1702a 8 ай бұрын
Good catch, but intentional! Ionian modes (major scales) are Zhi modes to us, and is not used in medieval Chinese music! That tone is #4 and making it a Lydian (Gong) scale counting from String III.
@jts1702a 8 ай бұрын
Actually, I stand corrected what I just said. There is no #4 in there, that's a 3. 3 (mi) is the last tone to be generated on a pentatonic series (do-so-re-la-mi), and naturally it was one of the last strings to be tuned in the cycle, so it inherits that natural sharp from all the sanfen sunyi jumps. That's on me.
@dbadagna 8 ай бұрын
Will you eventually share the story of how such an instrument came to be built in the modern day? Also, are you checking the purity of all the fourths and fifths?
@ColocasiaCorm 8 ай бұрын
Thank god for you. I desperately wanted to learn. Ore about chinese music as a discipline and philosophy. What orchestration techniques? Forms?
@idonnow2 9 ай бұрын
13:28 Glad to see ancient Chinese scales giving us good trans representation
@Taporeee 10 ай бұрын
Could you compare synergy, influences and differences between chinese, japanese, south asian (Indian Raag etc) and Middle Eastern (Maqqam based) classical theories with this wonderful Chinese explanation. Maybe collab witj similiar youtube creators?
@jts1702a 10 ай бұрын
Thank you for the suggestion. Prof. LI Mei's PhD dissertation, to which this whole video series is based on, does also cover Arabic, Hindu, and Western temperaments as well, but they are simply presented for what they are without trying to discuss the mutual effects on each other. That is another whole field of VERY dedicated music history that is way beyond my knowledge or capabilities. Nonetheless, there'll be some mention and review at the end of this about this very subject.
@Taporeee 10 ай бұрын
@@jts1702a Thank you. I think bringing musicians together to talk and play and ask questions together kike the Darbaar videos (comparing violin and Dilruba or guitar and sitar) are good alternative ideas for future videos
@Taporeee 6 ай бұрын
@@jts1702aThank you very much. It's very important work you have done
@mandys1505 10 ай бұрын
💖😺🎉
@stevenzheng5459 11 ай бұрын
Wow, your presentation is very clean and concise!
@jts1702a 11 ай бұрын
Music mentioned in this talk: Music in alternate tunings: Brian BLUGERMAN. "Tripitaka Entering India." kzbin.info/www/bejne/apzNmJSmq9yZptE ZHOU Long. "Su (Tracing Back)." kzbin.info/www/bejne/mWXPh3V8ZsR-n7M HAN Wenhe. "Xin Lai (Music of the Heart)." kzbin.info/www/bejne/l5OTp5iirNV3j7ssi=N1tGLdsr6qU0eQke&t=4100 (English presented in erratum as LU Xiaozhi) Guqin Adaptations: O Canada: kzbin.info/www/bejne/f6HIYXmCn9OinMUsi=mRlGK06JyddJhjzJ&t=726 San Min Chu 'I: kzbin.info/www/bejne/fIfRh3d_br-SsKs
@monkaeyes3417 11 ай бұрын
Thank you for that juni. I love anything around the idea of trying new things (or old just recovered). Personally i would love a guqin with a broader lower pitch range.
@vagabond_OW Жыл бұрын
👋👋💯💯💯💯🔥
@user-ti2wz9fp7e Жыл бұрын
不倫不類
@freshofftheufo Жыл бұрын
Listening to the theory, I'm curious if any of the instruments being played in the background are demonstrating some of these temperaments, or are they mostly showing off more modern tunings? Were these old systems ever popular during their day or was this stuff mostly academic back then?
@jts1702a Жыл бұрын
Glad you asked. I can't say for certain especially for the older era stuff, especially since Chinese conservatories and factories (a part of the whole nationally-directed complex) are particularly notorious for making historical replicas in 12-tET (sacrilege, if you ask us!), not to mention there's a VERY ugly practice of attributing poorly researched, mostly imagined new tunes with historical melodies. What I've been selecting for these videos are already as historically-informed as available out there (only selecting real, HIP pieces without the funky recreation), and in the next episode focus particularly hard on actual examples as we get to the era where surviving instruments in such temperaments are in active use, but it gets...complicated. And yes, there are some temperaments that were strictly on-paper, namely the failed ones. The others, they defined an era. But then, the guqin is always tuned in its own unique temperament system (that does a lot of reverse jumps/nisheng), and that Tangyue group sources custom instruments, many from Japan. It's as good as it gets.
@freshofftheufo Жыл бұрын
@@jts1702a fwiw the examples so far in the series have all sounded great, and I got none of that modern 12 tone flatulence 😂 looking forward to the next one.
@electriclly Жыл бұрын
你很好 👋 i just got the I Ching to read in English, do these 6 tones relate to the hexagram that is talked about in the I Ching? 我想知到如果是不是明白！？😅
@alpenqin Жыл бұрын
Thanks for getting me started on my journey!
@Juinor Жыл бұрын
wow this is very very very deep eastern asian musical knowledges...
@KaneyoriHK Жыл бұрын
Man, I've been wanting something like this series for a long time, I appreciate the hell out of this.
@alandexter7674 Жыл бұрын
𝙥𝙧𝙤𝙢𝙤𝙨𝙢
@josephzaarour6649 Жыл бұрын
Thank you very much! Great work! I have to say something, I am not an expert in chinese music, and I do not know Chinese, but I have read the books of Joseph Marie Amiot a missionary in Qing China in the 18th century, he spoke about a "Ché" or a kind of "kin" as he calls it, with 50 strings originally conceived by Fou-hi and then reduced to 25 strings by Chen-noung, these 25 strings encompassed all the notes in the range of 2 octaves Very interesting book, I am working on a translation in english now But maybe you just wanted talk about the normal kin rather than the ché, I guess
@jts1702a Жыл бұрын
Ahh, French people romanizing early modern Chinese... The instrument you speak of is a Se 瑟, which is indeed only used in temple music only today. It's pretty much a zheng of 25 strings (the original zheng is 13-stringed, then gradually made it back to 21 today) and two sets of movable bridges on each string. Because this is a bridged string instrument, harmonics work significantly differently from a qin, while the theory from this video would still apply, it'd be much less used/apparent because bridged zither people don't really rely on harmonic tuning -- and pressed string tuning like we do is nonexistent there.
@zacharybelford8819 Жыл бұрын
1080p 720p 480p 360p 240p 144p this video
@mattyregelmaessig8654 Жыл бұрын
Really great set of videos. I use these as recommended viewing with my Musical Acoustics class when we get onto world tunings and temperaments.
@Jorge-xf9gs Жыл бұрын
Germanic (and Italian) music didn't stop developing during the middle ages either. That's a tiresome cliché.
@empathematics8928 2 жыл бұрын
Brilliant! Thank you.
@ds7788 2 жыл бұрын
its just like tuning the guitar with harmonics. I usually compared the tuning in harmonics, in open strings and strike a note with an open string. its about listening to ensure the note played in unision produce stronger sound. if the two notes played in different octave is not in same frequency, both notes will have a dampening effect on each other. If all these various method of tuning doeant complement each other, it denotes the quality of the instrument made.
@liviamillin9333 2 жыл бұрын
p̶r̶o̶m̶o̶s̶m̶
@yanchenzhang4672 2 жыл бұрын
Wow, 7 years have passed.... 7 years ago I watched a qin concert by Dai Wei (戴微) and otheres in Shanghai Concert Hall on May 2, 2015. I don't remember very much about it; I only remember that there was a program using the flute (instead of xiao) to play with the qin.
@mandys1505 2 жыл бұрын
Yeah- I was just thinking about that this morning; I'm glad that the Qin IS Pentatonic... and i was surprised that both the modern Pipa and Erhu aren't Pentatonic! I really am trying to understand the interior logic of the qin... :D what about the 5th string? something is special about it... Anyway I am relived that it is in its current 7- stringed state. Also interesting to hear about the ancient Yin-Yang system and how the Qin is oriented now on the metallic... i thought of the prhase, "the metallic moment"... like as in, the Reishi Mushroom and the lore of its being an actual metallic seepage from the sides of mountains...total alchemist knowledge > ;) - - but yes i was reading this am that the Pipa has been Fully Chromatic since 1948....ka- pow. All those new frets.
@yanchenzhang4672 2 жыл бұрын
The pipa (in regions around Shanghai) started becoming fully chromatic since around 1930s; some variants of pipa in southwestern Shandong province are redefined as an independent instrument Liuqin (柳琴) in People's Republic of China rule.
@mandys1505 2 жыл бұрын
@@yanchenzhang4672 do you have an opinion on it... do you think it is a good development or has the feel of the instrument been lost?
@kontorabasukurarinetto2556 2 жыл бұрын
Thank you so much for this series. Not only has this given me knowledge of the musical history of China but it has also given me a new way of viewing Western music history and theory as well. I will definitely be integrating some of these histories and pedagogies into my own teaching