Dialogues in Music - Africa Meets Asia: Proceedings of the 2005 and 2007 International Symposia on African and Chinese Music (English and Chinese Edition)

Dr. Kimasi Browne s Traditional China and African Diasporic Culture: Erhu, Apu, and the Gospel of Intercultural Exchange gives bibliographical information about the music exchange between Chinese Erhu and the Gospel music, and between the mission and objectives at CCOM and Azusa Pacific University (APU). Professor. Eric Charry s Cultural Revolution and African Music: Guinea and its Legacy discusses how the music is influenced by the country s leadership. Some of the points elucidate analysis on Chinese contemporary music. Dr. Cynthia Tse Kimberlin s The Eubanks Conservatory of Music and Arts illustrates how a music conservatory with a diverse international student body operates within a predominately African American middle class community in Los Angeles. It touches the methodology and the meaning of the multicultural music education. Dr. Timothy Njoora s Music and Meaning: Some Reflections Through Personal Compositions uses his own compositions to share his personal reflections on the construction of the personal and collective meaning-making throughout the composing process, and also relates the situation of professional composers in Africa. Professor. John Robison presents his paper From the Slums of Calcutta to the Concert Halls of London: The Life and Music of Indian Composer John Mayer (1930-2004) showing that similar approaches are also reflected in the personae and musical lives of both Chinese and African musicians. Professor Li Xin s paper My Understanding of African Pianism presents the author s own understanding of the piano works by Professor Akin Euba from Nigeria as well as by African-American composers. It reflects the methodologies used in researching music by Chinese scholars about their own music traditions as well as about researching traditions outside China. Professor Ming Yan s article Symphony of the Century-- The Cry after 100 Years of Chinese New Music deals with the concerns of the music situation in contemporary China. Professor Wang Jianxin s article Discipline Analysis of Qin Melodies says that it is important to analyze the process of Qin music making in order to understand Qin music. Professor Xiang Yang s article Kinship and the Inheritance of Music Customs focuses on the social and human relations in current rural communities formed by certain regional and blood ties within a relatively stable historical and continuous farming culture and society. Professor Xiao Mei presented her article Yue (music) Gathered in Shen (Body): An Incorporated Practice Perspective on Chinese Traditional Music . Apart from the composition-centered type of musicology, the development of Chinese traditional music has led to a holistic approach of the performer as the center, as well as the process, movement and function of the music. Professor Zhang Boyu's paper on Four Ways of Transformation in the Development of Chinese Traditional Music illustrates four situations of Chinese traditional music change: continuous traditional music, traditional music transforming from a lifestyle to an artistic form, traditional music transforming from a lifestyle to a cultural symbol, and completely professional traditional music. Professor Zhang Zhentao' paper An Historical Retrospective on Folk Arts Festivals - A Policy for the Preservation of Folk Music During the 20th Century looks at the staged festivals organized by the Chinese government as the agency to make Chinese folk art professional, modernized and urbanized. And finally Professor Zhou Qingqing article Variations of Shi Diao (fashionable tunes) in Han Folk Songs analyzes these tunes to illustrate the connections between the variations of each type of tune popular in different regions of China. (Description from "Note from the Editor", Zhang Boyu, Sept. 2010, B