The pulling scratches of the bow back and forth as you change from note to note adds to the uniqueness of this instrument.👏very well done. 🙂
@dbadagna7 күн бұрын
Thank you for sharing this observation. I listened again and now notice the sound you're referring to. Some yehu players prefer black horsehair (which is coarser than white horsehair), and in the old days players used to cleverly melt a blob of rosin onto the coconut shell at the exact spot where the bow hair contacts the shell, causing the bow to be rosined with each stroke of the bow; both of these things would probably serve to augment that characteristic "chuff" of the attacks of notes.
@dbadagna7 күн бұрын
After the inadvertent squeak at 01:05 the player blames it on the rosin (though I can't tell if he says that it's because of too much or too little)!
@elmore3187 күн бұрын
@@dbadagna thank you for sharing the history. A privilege🎼
@lumweelang17149 күн бұрын
第一次知道并听到有吉林省海龙鼓吹乐这种民间吹奏音乐,相当悦耳动听,盼將之发揚光大。🙏👍👍
@dbadagna9 күн бұрын
I'm glad you enjoyed it. I do my best to find and share videos of little-known regional Chinese musical traditions, and, thankfully, many of them are documented in China's intangible cultural heritage lists at the national, provincial, and municipal levels. docs.google.com/document/d/1wTivlzxD8V2I-0NSw6ELSixpndnVagobWWPG_mbUnnQ
@ShenZhang-CS12 күн бұрын
What lyrics were being sung to 西江月?
@dbadagna12 күн бұрын
It's an anonymous poem of the same title that was found in Cave 17 (the "Library Cave") of the Mogao Grottoes near Dunhuang in Gansu province, northwest China in 1900. It was found among around 50,000 manuscripts that had been stored in the cave since it was walled off for unknown reasons early in the 11th century. Because the poem was found in the same cave as the pipa scores (meaning it also dated roughly to the 10th century or possibly somewhat earlier, i.e., the late Tang Dynasty or the subsequent Five Dynasties period), and had the same title, it seemed a logical choice to treat the poem as a set of lyrics for the melody of the same title. The poem reads as follows (note that, in the recording, some of the lines are switched around or repeated): ====== 《西江月 其一 女伴秋江三首》 Three Poems About [Traveling With] a Female Companion on the Autumn River No. 1: "Moon Over the Western River" 作者:敦煌曲子词无名氏(唐) Author: Anonymous song lyrics from Dunhuang (Tang Dynasty) 女伴同寻烟水。今宵江月分明。 My female companion explores the misty waters with me; On this night, the river moon is clear and distinct. 舵头无力一船横。波面微风暗起。 The rudder is powerless, and the entire boat drifts sideways, As a gentle breeze subtly stirs the water's surface. 拨棹乘船无定止。楚词处处闻声。 Paddling the boat without a fixed destination, The songs of Chu can be heard everywhere. 连天江浪浸秋星。误入蓼花丛里。 Merging with the sky, the river's waves soak up the autumn stars, As if accidentally entering a field of flowering wormwood.
@ShenZhang-CS12 күн бұрын
@@dbadagna I can't believe you are still replying to comments. You're awesome
@dbadagna12 күн бұрын
@@ShenZhang-CS It's *social* media, so of course it's important for us to reply to good-faith comments. I intend this channel as an educational resource.
@Viennalute14 күн бұрын
Thank you!
@SethArmand-ft3zy14 күн бұрын
The more I listen to Tang Dynasty court music the more I realize that it kinda sounds like Southeast Asian music, Indonesian Gamelan comes to mind.
@dbadagna14 күн бұрын
02:57 It's interesting that Mr. Wang says that, in the genre of Yulin xiaoqu, the zheng (筝, bridge zither) is known as Qin zheng (秦筝) or hupo zheng (琥珀筝, literally "amber zheng"). 05:00 The zheng in this historic photograph seems to have a bent tail (which is being supported by a wooden chair), an archaic design element that may show affinity with the Mongolian yatga.
@dbadagna15 күн бұрын
Are they speaking and singing in the Suzhou dialect of the Wu language?
@maychan556214 күн бұрын
Yes
@dbadagna14 күн бұрын
@@maychan5562 Thank you
@ProfesserLuigi15 күн бұрын
Delightful.
@gibrilmarongkinteh16 күн бұрын
2:11
@sammo701716 күн бұрын
Hi, I really really want to thank you for sharing this video with us, it is so precious, I felt so many beautiful feelings watching and listening to rituals and traditions that were closer to how humans lived before everything became about markets and industries, I'm so sad that many of these traditions are deemed superstitious, and that they are vanishing, Shamans were and still are keepers of those customs, traditions, religions and spiritualities, and I hope we preserve what remained of these cultures 🙏🏻
@dbadagna16 күн бұрын
As of 2024 this tradition still exists among the Qiang, but has been heavily commercialized and used as a way to draw tourists to this area. You can find some more recent videos on KZfaq showing Qiang shaman rituals being performed in a town square as a show for tourists, something that seems rather contrived, in the same manner visitors to predominantly Uyghur regions of Xinjiang are shown a highly artificial, stage-managed facsimile of actual Uyghur culture.
@gibrilmarongkinteh16 күн бұрын
3:58
@gibrilmarongkinteh17 күн бұрын
1:40
@ajmaeenmahtab845618 күн бұрын
I hope Chinese authorities protect these Chinese Sufism from Wahabi agression.
@kimfab197318 күн бұрын
Is this Manchu?
@dbadagna18 күн бұрын
The Daur people speak a southern Mongolic language (Mongolian being central Mongolic), while the Manchu language is in the Tungusic language family. The Daur people are descendants of the Khitans, the rulers of the Liao Dynasty (916-1125), which was sacked in 1125 by the Jurchens (who were renamed Manchus in the 17th century).
@kimfab197318 күн бұрын
I am amazed it still exists ! The costumes are beautiful 😍
@dbadagna18 күн бұрын
According to the end credits, the studio dressed them; the costumer is listed as Ms. Wu Yuli (武玉丽).
@dbadagna18 күн бұрын
There are wonderful (though often little-known) traditions like this surviving in almost every corner of China. I've done my best over the past few years to use this channel to document them and share them with the world.
@deoclicianookssipinvieira585818 күн бұрын
Lovely!
@robinzhang817621 күн бұрын
Those guchui bands were used to be common in China, but now we can only see them in rural areas, and the members of the bands are aging.
@dbadagna21 күн бұрын
Chuida groups are the most widespread and common form of traditional ensemble in China.
Can anyone help to summarize some of Mr. Tao Guishui's comments in this video, so I can improve the video description?
@dbadagna27 күн бұрын
Two similar documentaries: kzfaq.info/get/bejne/r9JjbNh10N26h4k.html kzfaq.info/get/bejne/bJqpg8yHt9DGo2w.html
@dbadagna27 күн бұрын
Two similar documentaries: kzfaq.info/get/bejne/h9CZm7uEzr_HeIU.html kzfaq.info/get/bejne/bJqpg8yHt9DGo2w.html
@gaohyinna81927 күн бұрын
This is a wonderful video!! Thank you for sharing this!! I admire the people trying so hard to preserve the cultural heritage and your effort to promote their work!!
@dbadagna27 күн бұрын
The real credit goes to the artists themselves, and the filmmakers who have so lovingly documented their artistry and life's work over the past few years. It's my pleasure and honor to do my best to make their work better known around the world. You may also enjoy this video about narrative singing performers from the Miyun District of Beijing: kzfaq.info/get/bejne/r9JjbNh10N26h4k.html
@dbadagna27 күн бұрын
Here's one more similar documentary that you may like: kzfaq.info/get/bejne/h9CZm7uEzr_HeIU.html
My friend Brendan Fairbanks invited Bill Crouse out to teach the smoke dance when we were at BYU. Bill was cool and hung out with us the whole weekend and even went with us to do some local exhibitions we would do as a native student group for the community(scouts, elementary schools, etc). I remember Dusty Jansen, me, Kelly Rainer, and Brendan ate with Bill at Denny’s after one of the exhibitions. Those elementary school kids never understood how genuine an experience they were about to have.
@dbadagna28 күн бұрын
Thank you for sharing this reminiscence. Wow, you flew him all the way out to Utah? Do you remember when that was? I also invited him to perform for a world music series in Kent, Ohio (in 2017), and was most impressed by his oration (in fluent Seneca) of an extensive multi-part creation epic. He also involved his young daughter in the performance. I hope he is doing well.
@dbadagna28 күн бұрын
I just found a cool article about Brendan Fairbanks's Ojibwe language immersion class at the University of Minnesota: ictnews.org/archive/heart-ojibwe-language
@user-kj8gn1zb2t29 күн бұрын
👍
@erictao839629 күн бұрын
Thank you so much for posting this!
@dbadagna29 күн бұрын
I'm glad you enjoyed it. I'll post a few more videos about this tradition in the coming days.
@dbadagna29 күн бұрын
Do any Chinese-speaking viewers have any insight into the narration in this video, which I could use to help improve the video description?
@李天龙Ай бұрын
度地列米
@gokurakujoudoАй бұрын
南無阿彌陀佛
@ccpage19143Ай бұрын
(This dance sequence may be a variant of "Another Flirty Attempt" by Marian Hebpurn.)
@MysticMountainNebulaАй бұрын
Thank you for this very informative video. I need to branch out and learn more about China’s history and philosophy
@dbadagnaАй бұрын
You're welcome, and I'm glad you found it interesting. You can read the "Shijing" in English translation here: ctext.org/book-of-poetry/ens And I've collected the lyrics of the "Shijing" songs that refer to music here: earlychinesemusic.blogspot.com/2018/09/poems-about-music-zhou.html
@MysticMountainNebulaАй бұрын
@@dbadagna Thank you again❤️
@user-gn6ft6vx3rАй бұрын
БАҚСЫЛАРМА ҚАЙ ЖАҚТЫҢКІ ,ҚАЗАҚ ТІЛІНДЕ АУДАРМА ЖОҚПА.
@dbadagnaАй бұрын
Қытайдың Сычуань қаласынан шыққан Цян этникалық тобы. Олар туралы толығырақ қазақтілді Уикипедиядан оқи аласыздар.
@yanchenzhang4672Ай бұрын
The beginning of modern distortions of qupai.
@dbadagnaАй бұрын
"Distortion" would seem to involve an alteration of the original melody, but Li Shutong has reproduced the "Lao Liu Ban" melody faithfully in this piece. Also, this version, although it uses piano accompaniment and triadic (Western) harmony, adds lyrics, bringing this melody back to its roots in "Xi Diao"《西调》singing of Shaanxi and Shanxi, which enjoyed great popularity in China in the 18th century.
@dbadagnaАй бұрын
See also: kzfaq.info/get/bejne/ismCl7mKur3IgYE.html
@dbadagnaАй бұрын
See also: kzfaq.info/get/bejne/gNRkqKaCm7LbfHk.html
@rhknagАй бұрын
I just realized I have a cassette by her
@HeRa06RamАй бұрын
I dance to this every morning
@Rosa-kf6yy2 ай бұрын
I heard this bird while hiking in the early evening one time in Northern Wi. It was so clear and hauntingly beautiful. One of those special moments in time.
@dr.gaosclassroom2 ай бұрын
Thank you for sharing this. It is very important to preserve such cultural heritage
@dbadagna2 ай бұрын
You're welcome. You may also find these resources useful: 1) Article about Chinese chanting by Mr. Xu Jianshun (徐健顺, b. Qingdao, 1969): chinakongzi.org/zt/ys/kecheng/201706/t20170609_136993.htm 2) yinsong8_com KZfaq channel (focusing on chanted Confucian texts): www.youtube.com/@yinsong8/videos 3) Historic recording of Yuen Ren Chao (赵元任 1892-1982) chanting an ancient Chinese poem: kzfaq.info/get/bejne/jrdylKyd1NTKkmQ.html
@dbadagna2 ай бұрын
Chinese poetry chanting (yin 吟 and yong 咏) KZfaq playlist: kzfaq.info/sun/PLm8mLM41EccBRuvKebCEfdz0h5DacRyvv
@josephzaarour66492 ай бұрын
The woman in the middle seems to move her stick like a modern western director would do in a 4/4 tempo ordinario, is it a coincidence that the Chinese do the same as westerners? Or did she get a westernized music education? Is this kind of westernized music education common among musicians that dedicate themselves to Chinese music? Her accent is really hard to understand for me who just know a HSK3 level mandarin, so I thought she could be quite far away from any westernisation. From I come from, Lebanon, the weirder the accent the less westernised. And in my city people who teach middle eastern music use the do-ré-mi scale, which is weird because there are arabic musical terms to describe everything we need in this music. I wondered if it also was the case in China
@user-iq9pe4ls2j2 ай бұрын
Suzhou is a developed city on the east coast of China. I would think that it is just western style conducting. The reason why the ‘accent’ is hard to understand at all is that they are not singing in Mandarin.
@dbadagna2 ай бұрын
As @user-iq9pe4ls2j said, they're singing in the Suzhou dialect of the Wu language, which is similar to Shanghainese. If the singer in the middle had a Western-style musical training, her vocal style doesn't reflect it.
@josephzaarour66492 ай бұрын
@@dbadagna Is there any documentation on the 4/4 beating in China? She moves exactly like a modern Western conductor. This could be a coincidence, or a kind of convergent evolution, or a consequence of Western influences in China, or a consequence of the Chinese influences in the West. The last case would be very interesting if there is evidence for it. Especially since this kind of beating the tempo ordinario didn't exist (or wasn't popular at all) in the Rennaissance before the Jesuit missions
@dbadagna2 ай бұрын
@@josephzaarour6649 I haven't paid close attention to it before. In Chinese narrative singing, the beat is usually kept by some type of clapper (sometimes along with a drum), and sometimes a folded-up fan is used. All you can do is examine many videos of traditional Chinese narrative singing and see if you see anything similar. It's hard to know why this particular performer chose to move her hand in this way without asking her directly. It seems that she's simply marking the three beats of rest between her downbeat strokes, since the pengling plays on beats 3 and 4.
@dbadagna2 ай бұрын
Do any viewers who are native speakers of Suzhou dialect have any thoughts about these lyrics? Aside from the subject matter, are they artistically composed, and do they rhyme well?
@deoclicianookssipinvieira58582 ай бұрын
This is beautiful. 谢谢你!
@dbadagna2 ай бұрын
See also: kzfaq.info/get/bejne/g8qlfteHvdLFmIE.html kzfaq.info/get/bejne/hM6egq-D1828gGw.html
@user-ud6gc4qv1r2 ай бұрын
请问坐在前排最旁边,拿着一把像吉他又不是吉他的乐器叫什么名字?谢谢。
@dbadagna2 ай бұрын
On the left? It's a sanxian (三弦), an instrument that was formerly essential in a great many traditional Chinese musical genres, though fewer young musicians have been taking it up in recent decades.