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Po-wei Weng’s residency on March 31-April 1, 2016 

7:30-8:30pm March 31 – Lecture Demon at Richmond Public Library – FREE

7-8:30pm April 1 – Peking Opera Percussion Music Workshop at David Lam Centre, SFU – FREE (limited capacity, reservation preferred)

翁柏偉的京劇音樂藝術講座 -三月31日晚上7:30列治文公共圖書館,免費

京劇鑼鼓音樂工作坊 -四月1日晚上7:00-8:30,林思齊國際交流中心,SFU,免費

旅美民族音樂學家翁柏偉的京劇音樂藝術講座將於三月31日晚上七點半到八點半,於列治文公共圖書館舉行,免費入場。透過影音的介紹與現場的示範,翁柏偉將與大家分享京劇表演的基本元素。例如,演員如何使用簡單的道具及手勢,抽象的表達時間、空間的轉換;京劇音樂的發展源頭,及在戲劇表演中的功能。傳統戲曲有許多相通之處,所以除京劇外,對歌仔戲、布袋戲、廣東戲有興趣的朋友都可以來參加,學習傳統戲曲藝術基本的語言。

四月1日晚上七點到八點半的免費工作坊,翁柏偉將帶領大家進一步體驗京劇鑼鼓音樂。他將講解京劇鑼鼓音樂的形成與戲曲演出中的功能,並且教大家念誦及演奏鑼鼓經。作曲家與音樂家可以透過這個難得的機會學習另一種音樂的語言及表達,對於劇場及舞蹈有興趣的人可以感受音樂節奏與肢體律動的互動,也歡迎任何對東方傳統文化有興趣的民眾一同參與

Po-wei Weng 

Po-wei Weng is a researcher, musician, conductor, and teacher. He holds a M.A. in musicology from National Taiwan University and a M.A. in ethnomusicology from Wesleyan. He is currently ABD in ethnomusicology at Wesleyan University. He has a number of publications on Chinese traditional and operatic music, ritual music, Chinese martial arts film music and music semiotics. His research interests include traditional instrumental and theatrical music in contemporary society, East Asian popular culture in post-colonial and transnational contexts, music and technology, and music in film and television. As a musician, he plays Chinese flute since 12, and he also plays various wind and percussive instruments in Peking opera ensemble and Chinese orchestra. He also directed Wesleyan Chinese ensemble for years. As a scholar, he taught various courses and was frequently invited to give lectures, especially on the topic of Peking opera music, at many U.S. and Taiwan’s colleges, such as Wesleyan University, Mount Holyoke College, Skidmore College, DePauw University, Central Connecticut State University, and National Taiwan University.

7:30-8:30pm, Thursday March 31, 2016 at Richmond Public Library – FREE,

Registration Closed

 
Brighouse (Main) Branch, Main Floor, Kwok-Chu Lee Living Room (7700 Minoru Gate, Richmond)

Music and Performance Aesthetics in Peking Opera

Through various video examples and live demonstration, this presentation introduces the essence of music and performance in Peking opera, delineating fundamental concepts and aesthetics that Peking opera artists apply to form plays, such as symbolism, conventionalization, and special concepts of time and space. It will also introduce the formation, use, and function of Peking opera music, with a focus on the instrumental music section. Through this presentation, audience explore the basic artistic “language” of Peking opera music and performance for future appreciation of this performing arts form.
Visit www.yourlibrary.ca/events or call 604-231-6413 for details.

7:00-8:30pm, Friday April 1, 2016 at David Lam Centre, SFU – FREE, Registration Closed
SFU Vancouver, 515 West Hastings Street, Harbour Centre Room 1520

Speaking Percussion, Performing Language: Exploring Peking Opera Percussion Music and Its Oral Notation (Peking Opera percussion music hands-on workshop)

see info at David Lam Centre SFU website

Ethnomusicologist and musician Po-wei Weng will lead the participants to explore the formation and fundamental concepts of Peking Opera percussion music. Learn how to recite the rhythmic patterns in Peking Opera tradition and play them on Chinese percussion instruments. It will provide an enjoyable, inspiring, and hands-on experience, and bring the participants different perspectives of organizing musical sounds and expressing music ideas. Great opportunity for composers, musicians, and music lovers. Also a good aspect for people interested in theatre and dance to learn about the interaction between music and movements.

Jingju Luogu 京劇鑼鼓, also known as Peking opera (Beijing Opera) percussion music, is a small percussion ensemble consisting of five core percussive instruments, danpigu (單皮鼓single-skinned drum), ban (clapper), xiaoluo (small gong), naobo (a pair of cymbals), and daluo (big gong), played by four musicians. Jingju Luogu is a pattern-based music, which means the musicians need to learn and memorize a number of percussion patterns (about 200 patterns commonly used in Peking opera) and play their basic, combinational, and variation forms following the direction of the drummer. When learning the patterns, Peking opera musicians practice a special type of “oral notation” named luogujing 鑼鼓經, an onomatopoeic system that uses verbal syllables to represent different percussion sounds, playing techniques, and musical expressions. This system has been developed by the Peking opera artists (both musicians and actors) not only as a performance aid to substitute real percussion for rehearsal and informal performance, but also as a special kind of “language” that can be used for daily conversation.

This presentation is part of the 2016 Sound of Dragon Music Festival (April 21 at Western Front, April 22-24 at Roundhouse). Featuring ground-breaking collaboration between Vancouver and Taiwanese musicians and ensembles, the festival presents music in diverse styles with roots in/influences of Chinese traditions. The 13 concerts offer “something for every year”: classical, folk, jazz, world, fusion, contemporary, and improvisation. For more information, please visit 2016 Festival

 

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