laohu
11-20-2013, 11:16 PM
VA - Chinese Traditional Music - (2001-2005, FLAC)
(http://imageshack.us/photo/my-images/841/gsvb.jpg/) 
(http://imageshack.us/photo/my-images/837/0ew8.jpg/)
Tracks
2001 - China Radio International - Chinese Traditional Music
01.Spring moon on a moonlit night (Orchestra)
02.Evening song of the fishing boat (Orchestra)
03.Moon mirroed in the second spring (Erhu Solo)
04.Dance tune of the Yao people (Pipa Solo)
05.Hundred birds worshipping the phoenix (Suona Solo)
06.Colorfull clouds chasing the moon (Orchestra)
07.High mountains and flowing streams (Guzheng Solo)
08.Autumn moon and placid lake (Cantonese Music)
09.Purple bamboo tune (Orchestra)
10.Dialogue between the fisherman and the woodman (Guqin Solo)
2005 - China Radio International - Chinese Traditional Music
01.Three, Five, Seven
02.Walking While Playing Music
03.Spring Dawn at the Green Lake
04.Peking Opera Tune
05.Tea of Wuyi Mountain
06.Fengyang Flower-Drum Song
07.Higher with Every Step
08.Ode to Nishang
09.Playing on a Swing
10.Come Good Fortune
11.Dragon-Boat Race to Win
12.Dance of Southern Xinjiang
13.Camel Bell Song
14.Dance of the Golden Snake
2001 - https://mega.co.nz/#!f8hwmKzK!Oat-9EM7yJgTxruFjO5OEA6OwXQfSaXxeJ9sAuzJAoM
2005 - https://mega.co.nz/#!7l5C1KSQ!dPOgKiIB8Mf5f64DWzOjR1nsrI1bFJmR2BS52Wf DPHY
---------- Post added at 10:16 PM ---------- Previous post was at 10:16 PM ----------
Oxford Grove Music Encyclopedia: Chinese music
Mainland China covers a vast area inhabited by many culturally distinct ethnic groups which have interacted to varying degrees for more than 4000 years; Chinese musical genres are thus numerous and their styles varied. But throughout Chinese musical history a number of central themes dominate a belief in the power of music, necessitating its control by the state; the juxtaposition of ‘native’ and ‘foreign’ (especially central Asian) idioms; and a fascination with theory, acoustics and metaphysical relation of music to the natural world, ideas which are enshrined in hundreds of treatises from the ancient to modern period.
Little is known about the sound of ancient Chinese music, but written documents provide information about music theory and music in society. Chinese musical history has been inextricably bound to politics. The bureau of music of each new administration established pitch standards and oversaw ceremonial and court music. Absolute pitch was regarded as an integral part of the system of weights and measures and new measurements were introduced with each new dynasty. Chinese philosophers (including Confucius) were early to recognize the power of music over the mind and emotions and its importance in education. Like the ancient Greeks, they recommended state control in view of its power over the morality of the masses. Although ancient music theory has little bearing on modern Chinese music these fundamental views have persisted and can be witnessed in such movements as the Cultural Revolution.
From the time Confucianism became the state religion of China in the Han dynasty until the 1911 revolution, yayue (‘elegant music’, associated with Confucian ritual) was the state music; every dynasty tried to retain its ancient style. Court Confucianists were disturbed when huyue (‘foreign music’, particularly from the north and west) became fashionable ( ad 386-589), and the predominance of yayue was restored in subsequent dynasties. After the disappearance of the imperial courts in China, however, yayue has been performed only in Confucian temples.
There are over 300 forms of regional theatre in China, the most famous of which is Beijing (Peking) opera. This developed in the late 18th century. Early companies performed in teahouses in an atmosphere of casual conversation and social mingling. The characters are categorized not by vocal range but by the type of person represented. There are four basic types: the main male characters, including bearded old men, court officials and generals (all usually in the baritone range); unbearded scholar-lovers, who sing in falsetto; the virtuous daughter or faithful wife, sung in high falsetto; and the flirtatious woman. The standard repertory consists of c 30 aria melodies, each expressing a different mood. Accompanying instruments included bowed and plucked strings, drums, clappers, gongs, cymbals, bamboo flutes and oboes. After the establishment of the Chinese People's Republic (1949), Beijing opera was reformed according to the ideology of Mao Zedong and from 1964 traditional opera virtually disappeared. New texts and conventions emphasized patriotism and eliminated kowtowing and other gestures of humiliation; a new repertory was composed celebrating the triumphs of Marxist socialism.
Among the earliest instruments found in China are bronze bells, stone-chimes and ocarinas from the 2nd millennium bc. Stone reliefs from the beginning of the Christian era show panpipes, drums, bells, stonechimes and zithers, being played in groups to accompany dances. Most famous of the classical Chinese instruments is the qin, a long zither with a history of 3000 years. The standard instrument has seven silk strings; the length is 3 ‘feet’ 6.5 Chinese ‘inches’ (c 120 cm) to symbolize the 365 days of the year; the ‘dragon pond’ sound opening in the bottom board measures 8 ‘inches’ to symbolize the eight directions of the winds; the soundboard is convex to symbolize Heaven and the bottom board flat to symbolize Earth. Other classical string instruments include the zheng, a plucked half-tube zither used for personal and popular entertainment, and the pipa, a four-string plucked lute with frets, which probably originated in central Asia. The Chinese traditionally classify instruments according to the material from which they are made. The eight main categories include wood (for example, the muyu, wooden fish clappers); skin (gu, drums), silk (qin, pipa), clay (vessel flutes and whistles), bamboo (oboes, panpipes, transverse and end-blown flutes) and gourd (sheng, free-reed mouth organ).
(http://imageshack.us/photo/my-images/841/gsvb.jpg/) 
(http://imageshack.us/photo/my-images/837/0ew8.jpg/)
Tracks
2001 - China Radio International - Chinese Traditional Music
01.Spring moon on a moonlit night (Orchestra)
02.Evening song of the fishing boat (Orchestra)
03.Moon mirroed in the second spring (Erhu Solo)
04.Dance tune of the Yao people (Pipa Solo)
05.Hundred birds worshipping the phoenix (Suona Solo)
06.Colorfull clouds chasing the moon (Orchestra)
07.High mountains and flowing streams (Guzheng Solo)
08.Autumn moon and placid lake (Cantonese Music)
09.Purple bamboo tune (Orchestra)
10.Dialogue between the fisherman and the woodman (Guqin Solo)
2005 - China Radio International - Chinese Traditional Music
01.Three, Five, Seven
02.Walking While Playing Music
03.Spring Dawn at the Green Lake
04.Peking Opera Tune
05.Tea of Wuyi Mountain
06.Fengyang Flower-Drum Song
07.Higher with Every Step
08.Ode to Nishang
09.Playing on a Swing
10.Come Good Fortune
11.Dragon-Boat Race to Win
12.Dance of Southern Xinjiang
13.Camel Bell Song
14.Dance of the Golden Snake
2001 - https://mega.co.nz/#!f8hwmKzK!Oat-9EM7yJgTxruFjO5OEA6OwXQfSaXxeJ9sAuzJAoM
2005 - https://mega.co.nz/#!7l5C1KSQ!dPOgKiIB8Mf5f64DWzOjR1nsrI1bFJmR2BS52Wf DPHY
---------- Post added at 10:16 PM ---------- Previous post was at 10:16 PM ----------
Oxford Grove Music Encyclopedia: Chinese music
Mainland China covers a vast area inhabited by many culturally distinct ethnic groups which have interacted to varying degrees for more than 4000 years; Chinese musical genres are thus numerous and their styles varied. But throughout Chinese musical history a number of central themes dominate a belief in the power of music, necessitating its control by the state; the juxtaposition of ‘native’ and ‘foreign’ (especially central Asian) idioms; and a fascination with theory, acoustics and metaphysical relation of music to the natural world, ideas which are enshrined in hundreds of treatises from the ancient to modern period.
Little is known about the sound of ancient Chinese music, but written documents provide information about music theory and music in society. Chinese musical history has been inextricably bound to politics. The bureau of music of each new administration established pitch standards and oversaw ceremonial and court music. Absolute pitch was regarded as an integral part of the system of weights and measures and new measurements were introduced with each new dynasty. Chinese philosophers (including Confucius) were early to recognize the power of music over the mind and emotions and its importance in education. Like the ancient Greeks, they recommended state control in view of its power over the morality of the masses. Although ancient music theory has little bearing on modern Chinese music these fundamental views have persisted and can be witnessed in such movements as the Cultural Revolution.
From the time Confucianism became the state religion of China in the Han dynasty until the 1911 revolution, yayue (‘elegant music’, associated with Confucian ritual) was the state music; every dynasty tried to retain its ancient style. Court Confucianists were disturbed when huyue (‘foreign music’, particularly from the north and west) became fashionable ( ad 386-589), and the predominance of yayue was restored in subsequent dynasties. After the disappearance of the imperial courts in China, however, yayue has been performed only in Confucian temples.
There are over 300 forms of regional theatre in China, the most famous of which is Beijing (Peking) opera. This developed in the late 18th century. Early companies performed in teahouses in an atmosphere of casual conversation and social mingling. The characters are categorized not by vocal range but by the type of person represented. There are four basic types: the main male characters, including bearded old men, court officials and generals (all usually in the baritone range); unbearded scholar-lovers, who sing in falsetto; the virtuous daughter or faithful wife, sung in high falsetto; and the flirtatious woman. The standard repertory consists of c 30 aria melodies, each expressing a different mood. Accompanying instruments included bowed and plucked strings, drums, clappers, gongs, cymbals, bamboo flutes and oboes. After the establishment of the Chinese People's Republic (1949), Beijing opera was reformed according to the ideology of Mao Zedong and from 1964 traditional opera virtually disappeared. New texts and conventions emphasized patriotism and eliminated kowtowing and other gestures of humiliation; a new repertory was composed celebrating the triumphs of Marxist socialism.
Among the earliest instruments found in China are bronze bells, stone-chimes and ocarinas from the 2nd millennium bc. Stone reliefs from the beginning of the Christian era show panpipes, drums, bells, stonechimes and zithers, being played in groups to accompany dances. Most famous of the classical Chinese instruments is the qin, a long zither with a history of 3000 years. The standard instrument has seven silk strings; the length is 3 ‘feet’ 6.5 Chinese ‘inches’ (c 120 cm) to symbolize the 365 days of the year; the ‘dragon pond’ sound opening in the bottom board measures 8 ‘inches’ to symbolize the eight directions of the winds; the soundboard is convex to symbolize Heaven and the bottom board flat to symbolize Earth. Other classical string instruments include the zheng, a plucked half-tube zither used for personal and popular entertainment, and the pipa, a four-string plucked lute with frets, which probably originated in central Asia. The Chinese traditionally classify instruments according to the material from which they are made. The eight main categories include wood (for example, the muyu, wooden fish clappers); skin (gu, drums), silk (qin, pipa), clay (vessel flutes and whistles), bamboo (oboes, panpipes, transverse and end-blown flutes) and gourd (sheng, free-reed mouth organ).