1 20 6 https://wesomeka.wesleyan.edu/vim2/files/original/99061a7ecc16121813aa26029339de95.JPG 381846a89ea723c89ea98e927cdc148c https://wesomeka.wesleyan.edu/vim2/files/original/5cdd23ccf49735c526c8d1b2c258f03f.JPG 0e247e9998241148b367b5d47983b727 https://wesomeka.wesleyan.edu/vim2/files/original/55965237a7d25b7634093dae01ee2851.JPG 49985c0032df8a32904274f75a0c1ef7 https://wesomeka.wesleyan.edu/vim2/files/original/a5de9b3b2a33b254e7ef5b5b1d40a6d7.JPG c47894efdade0b5dd95ed6ead04eaf5a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/B05GEJsNdGs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zhongruan chordophone https://wesomeka.wesleyan.edu/vim2/files/original/24529f97d0a8cf9007bf051c34fdff1e.JPG fc9ab3eecb98ab5388fb4c3f5cff61a3 https://wesomeka.wesleyan.edu/vim2/files/original/73534a2aad71da2984acbf438be27de9.JPG 0bb7523f4983f37ad6386d5ed226bd4c https://wesomeka.wesleyan.edu/vim2/files/original/99b1347f76b478fd009bf5dfffbff3da.JPG 5e67ef0709bb141f45ea6d927f78b60e https://wesomeka.wesleyan.edu/vim2/files/original/606600c4e4addca06cb6ea8ff3f5e7b2.JPG 1352805cb2317b62bf0bcf23f622d36d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/k2VPtpW7W7Q" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Alternative title any additional names or spellings for the instrument Guzheng Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zheng chordophone https://wesomeka.wesleyan.edu/vim2/files/original/a01feb8f40fd6e49f08cfe86fece488c.JPG 5f1b33dc4e32de96866064b406842b36 https://wesomeka.wesleyan.edu/vim2/files/original/a4a874dc47094bdb98243905fafb64ce.JPG 95aaa171e2afcfea3820b8b35258f7d7 https://wesomeka.wesleyan.edu/vim2/files/original/7bce21a583c6e9c53a903e5b09106777.JPG fe72cbf230a644f83732fcb21b90cae6 https://wesomeka.wesleyan.edu/vim2/files/original/d71a3326e2dcdb171519b660aad5e6ce.JPG abe548991b10f0c05d0db23ae233a628 https://wesomeka.wesleyan.edu/vim2/files/original/d5fc020d45c462006fd3fc1ab2956d70.JPG 6cdfe42267ab9b2b8e1e96f2e4301ba3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/JR-oYh1W624" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Alternative title any additional names or spellings for the instrument Ruan Geography The continent, region, nation where this instrument originates from China Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Daruan China chordophone plucked string Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions Gaohu is a high-pitched Chinese two-stringed fiddle, a member of the huqin family (see erhu). Its structure is very similar to the erhu, except the gaohu’s body is slightly smaller and has no back close piece (yin chuang). In the second half of the twentieth century, some musicians have added a small bamboo tube inside the gaohu’s body, making the sound in the high position even brighter. The gaohu pictured here is one such instrument. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) Closely related to the Guangdong province, the gaohu, with its distinct timbre, is associated with a distinct regional identity. It is used mostly in Cantonese music ensemble, Chaozhou music ensemble, as well as in accompanying Cantonese opera and Chao opera. In addition, it is also used as a solo instrument and as “first violin” in the modern Chinese instrumental orchestra. Historical background information about the origins, history, and development of the instrument The gaohu is a rather recent invention derived from erhu. It was created in the 1920s by Lu Wencheng (1898-1981), a well-known Cantonese music musician and composer. Lu changed the original silk strings to steel strings, and also adopted the playing position of holding the gaohu’s body in between the knees.  Playing technique methods of playing the instrument, performance practices (how is the instrument played?) In playing, the gaohu is held in between the knees to reduce the unwanted noise. The Gaohu’s tembre, high and focused, makes it suitable for lyrical, quick or ornamented melodies. For its bowing and left hand techniques, see erhu. Notation The style of written music that the player reads see erhu Tuning Information about the tuning system It’s tuning, a1-e2 or g1-d2, is a fifth or a fourth higher than that of erhu. The gaohu has a range of three octaves as well (a1 to e4 or g1 to d4). Geography The continent, region, nation where this instrument originates from China Classification Hornbostel-Sachs, revised by MIMO 321.313 (chordophone) Spike tube lute: the handle passes diametrically through the walls of a tube Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Materials Wood, snakeskin, reed, horsehair or nylon, silk, steel Bibliography a list of sources referenced Jonathan Stock, 1996. Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings. Rochester, NY: University of Rochester Press. Terrence Liu, 2002. "Erhu." In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, ed. by Robert  Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 175-8. Su Zheng, 2002. "Musical Instruments." In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, ed. by Robert  Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 79-83. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gaohu bowed string China chordophone https://wesomeka.wesleyan.edu/vim2/files/original/e0f7acd3ee95af607d3881f9b8ff1f17.JPG 6e4416544bbe457e7a795ab0b6073fdc https://wesomeka.wesleyan.edu/vim2/files/original/b46af790676d2bd486f2c0b376a95a5e.JPG f460bab64087197f8cb5b04faeddc918 https://wesomeka.wesleyan.edu/vim2/files/original/2d3ca1d534f79fc1014a51918cc9a841.JPG 9c30b10af899802d8d76ab068e262183 https://wesomeka.wesleyan.edu/vim2/files/original/bd8773529c5afdc1ab7cacfb8b7f36b3.jpg a715e54bf616583a27a24e5f28c8fa30 https://wesomeka.wesleyan.edu/vim2/files/original/96b0540453bb90242d778c1cf33b0504.jpg ba81d1dec30286d362096a72e850e86c https://wesomeka.wesleyan.edu/vim2/files/original/da525d72d84f4d1859396d23b0a7701b.jpg b80ec24ec9227e12082973cd782604f5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions Erhu is a medium-high ranged Chinese two-stringed fiddle. The structure of the modern erhu was regularized in the 1920s by Liu Tianhua (1895-1932), the pioneering musician and composer in modern Chinese erhu and pipa music. Erhu consists of a body (qin tong), a shaft (qin gan), two tuning pegs (xuan zhou), a tight loop of string (qian jin), and a tiny bridge (xuan ma). Erhu’s body (13 cm long) can be made of padouk wood (hong mu), red sandalwood (zi tan), or ebony wood (wu mu). Its shape is usually hexagonal, with round or octagonal regional variations. Its front (8.8 cm in diameter) is covered with snakeskin, while the back is closed with a piece of pierced wood or bone (yin chuang). The shaft (78 cm long) is made of the same wood as the body. Its top is called the head of the instrument (qin tou), and is either carved in the form of a dragon’s head or a half moon. Two tuning pegs are set in the upper section of the shaft, while the lower end of the shaft is fixed onto the body. Qian jin is made of a tight loop of soft silk string which encircles the shaft and strings. Together with the bridge, qian jin sets the appropriate vibrating length of the strings (38 or 39 to 41 cm). Erhu’s bow is made of reed (jiang wei zhu, 76 cm) strung with horsehair or nylon. The bow hairs are inserted between the two strings that are made of silk (in the past), steel, or steel wrapped with nylon.  Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) Erhu was not a court instrument, since it did not appear until the Song and Yuan dynasties when large court entertainment ensembles were in decline. Until the first part of the twentieth century, erhu had been used widely in accompanying singing and opera performances as an important instrument. It was also an instrument used by street musicians and beggars. Therefore, erhu was always a folk instrument, closely related to people’s everyday musical lives. In addition, in the late Qing dynasty, erhu gradually became a major instrument in urban folk ensembles in southern China, which added its connection to members of the literati circle, who participated in these urban folk ensembles. In the course of the twentieth century, erhu was gradually elevated as a solo instrument and as “China’s violin” by conservatory trained musicians and composers in concert music compositions, while it was still used as an important accompanying instrument in opera performances. In the past twenty years, rock musicians, pop bands, and avant-garde music composers have all used erhu in their music as an emblem of Chinese-ness and folk roots. Gaohu is a high-pitched two-stringed fiddle. A newer invention, used mostly in Cantonese music ensembles. It has a very similar structure as the erhu, but its body is slightly smaller and it has no back close piece. Historical background information about the origins, history, and development of the instrument Today’s erhu probably evolved from several different kinds of stringed instruments. Erhu was historically known as huqin (lit. “barbarian’s stringed instrument”), indicating its northern association. Hu was a derogatory word for northern ethnic tribes. The term huqin was first mentioned in the Song dynasty (960-1279). Earlier on, the reference to ji qin first appeared in the Tang dynasty (618-907). Ji Kang (223-263), a famous literati musician, was attributed as its creator. Later, the reference to xi qin, named after a northern nomadic tribe Xi, first appeared in Song dynasty (960-1279). These two instruments were both first described as plucked string instruments, and later as having two strings and being played by pressuring the strings with a strip of bamboo, suggesting that the earliest Chinese bowed instruments were derived from plucked stringed instruments. These various instruments were perhaps assimilated over a long historical period. Eventually in the Yuan dynasty (1279-1368), under the Mongolian’s rule, both the description of huqin in writing and the portrayal of huqin in painting came to resemble today’s erhu. In the Ming dynasty (1368-1644), qian jin appeared and in the Qing dynasty (1644-1911), a number of variants of huqin came into use, such as jing hu (Peking opera two-stringed fiddle). Huqin, therefore became a generic term for a very large number of bowed instruments. It is not known for sure when and how the term erhu appeared. It most possibly originated in the early twentieth century when Liu Tianhua composed 10 erhu solo pieces, using some Western classical music compositional techniques. Liu Tianhua’s effort left a significant impact on modern Chinese music history, and especially on erhu. In the twentieth century, equated to violin, erhu became a primary instrument for solo, duo, or concerto forms, and the leading instrument in both small regional ensembles and the modern Chinese instrumental orchestra. Playing technique methods of playing the instrument, performance practices (how is the instrument played?) In playing, erhu is held upright by the left hand, its body sits on the player’s left thigh. The fingers of the left hand stop the strings, while the right hand and arm operate the bow. By pushing the wood of the bow outward or pulling the bow hair inward with right hand fingers, the player produces sound from one of the two strings. Bowing techniques include long bow (chang gong), short bow (duan gong), tremolo (chan gong), and others. In modern erhu performance, the left hand moves to several positions. Left hand techniques, which often distinguish the special sound characteristics of erhu, include vibrato (rou yin), glissando (hua yin), appoggiatura (da yin), and others. Notation The style of written music that the player reads Erhu does not have its own notational system. When accompanying singing and opera performance before the mid twentieth century, erhu musicians played from memory, with some degrees of improvisation on melodic ornamentations. In a few cases, gong che pu (note name notation) was used for small folk ensemble repertory, whose instruments included erhu. Today, almost all erhu performers use cipher notation, which has been widely adopted by Chinese traditional instrumentalists since the mid twentieth century. Conservatory trained musicians sometimes use staff notation as well, especially when performing contemporary avant-garde pieces. Tuning Information about the tuning system The two strings of erhu are tuned in a fifth, most often with d1 and a1 or c1 and g1, sometimes g and d1 or a and e1, with a range of three octaves (d1 to d4). Geography The continent, region, nation where this instrument originates from China Classification Hornbostel-Sachs, revised by MIMO 321.313 (chordophone) Spike tube lute: the handle passes diametrically through the walls of a tube Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Materials Wood, snakeskin, reed, horsehair or nylon, silk, steel Bibliography a list of sources referenced Jonathan Stock, 1996. Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings. Rochester, NY: University of Rochester Press.  Terrence Liu, 2002. "Erhu." In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, ed. by Robert  Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 175-8.  Su Zheng, 2002. "Musical Instruments." In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, ed. by Robert  Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 79-83. Video Embed YouTube video <iframe width="560" height="315" src="https://www.youtube.com/embed/7MThMPSaBs0" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Erhu bowed string China chordophone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Music Ensemble Relation A related resource <iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaXuTQ8zGQrB_FmTX-XEC-Jw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe> Musical Instrument A sound-making object used for musical performance or in a musical context Alternative title any additional names or spellings for the instrument Dizi Physical description Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions The di, a transverse bamboo flute of the Han Chinese, is one of the most popular wind instruments used in various Chinese music genres such as folk, traditional theater (xiqu), and modern orchestral music. Through different periods and among various musical genres and regional dialects the di is also commonly known as the dizi, hengdi, zhudi, hengchui, and the chui. The di is made from bamboo and has twelve open holes. Along the upper surface, there is an embouchure hole, a membrane hole, six finger holes (three for each hand) and two auxiliary tone holes. On the underside there are two tuning holes which may be decorated with a string or tassel. The membrane hole is covered by a piece of dimo, a thin membrane usually taken from the inner side of a reed. With a well-adjusted membrane the di can produce a specific buzzing or nasal timbre, a distinct characteristic which cannot be found in other types of flutes. Since the 1930s, some new types of di have been designed for special purposes. For instance, the xingzhudi (“new bamboo flute,” a flute with eleven finger holes without a membrane hole) and the giajiandi (a keyed flute with a membrane) were created for playing accurate equal-tempered scale pitches in modern Chinese orchestras, since the addition of holes or keys can help the flutist play semitones more easily. Musical, Cultural, and Social Contexts information about the contexts in which the instrument is and its role in culture and society performed (Who plays the instrument? What music do they play? Where, when, why is this instrument played?) The di is one of the most widely used instruments in Chinese culture. It has been used in court and military music, and continues to be used in folk music and opera music ensembles as an important leading instrument since ancient times. The di has also been used for many different occasions such as celebrations, wedding ceremonies, funerals, festivals, private or public banquets, and accompanying singing or dancing. Di music was a very popular entertainment not only for ordinary people but for many ancient scholars. One can find numerous examples from Tan and Sun poetry and other literature mentioning the performance or aesthetics of di music. In the course of the twentieth century, the di was gradually elevated as a solo instrument in concert music compositions and began to play an important role in modern Chinese orchestras. In the past two or three decades, the di started to be involved in various music genres such as popular music, rock, jazz, TV dramas, and avant garde music. Meanwhile, the di has been used by some contemporary composers to represent “Chinese-ness” or a kind of Chinese folk identity. Historical background information about the origins, history, and development of the instrument There are many suggestions regarding the origin of the di. Some scholars assert that the di was imported from Xiyu (which now encompasses the Xingjiang province and part of Central Asia) during the Han dynasty (206 BC–220 AD). Others endeavor to trace its history back to an earlier period by historical documents and archaeological evidence. According to archaeologists’ recent discoveries, the oldest transverse bone flutes found in Wuyang County of the Henan province date back approximately 8,000 years. Archaeologists also found some forty bone flutes from 7,000 years ago during the Hemudu discovery, which was a site of Hemudu culture (formed in early Chinese Neolithic Age) discovered in Hemudu Village of Yuyao County, Zhejiang Province in 1973. (See Hemudu Site Museum’s website: http://www.hemudusite.com/index.html) Some writers claim that, according to the ancient history book Shiji, the origin of the di can be traced back to 2698 BC. However, the first reliable documented Chinese transverse flute is the chi, which was used in the court music of the Zhou dynasty (1122-221 BC). As noted above, during the Han dynasty, the hengchui was imported from Xiyu and played in outdoor military ensembles. From the sixth century, transverse flutes became more commonly known as hengdi and later were employed in Tang (618–907) court entertainment ensembles. The first membraned transverse flute, qixingguan (lit. “seven stars tube”), was mentioned in the early twelfth-century treatise Yueshu. During the Ming dynasty (1368–1644) and Qin dynasty (1644–1911), the di, now known as the qudi and the bangdi, became a popular and leading instrument in kunqu and bangzi operas, as well as other traditional ensemble genres. Since the late 1920s, the modern di has experienced dramatic changes because of “the movement of national music improvement” advocated by Liu Tianhua (1895-1932). The roughly equidistant finger holes on the di were repositioned to adopt the equal-tempered scale and new techniques have been further developed to adjust to westernized musical ideas and modern compositions. Furthermore, the performance context of the di has been expanded from the core member of an ensemble to one of the most popular solo instruments today. (For detailed history, see also Thrasher 2005, 1978) Playing technique methods of playing the instrument, performance practices (how is the instrument played?) The techniques of the di can be categorized into three kinds: blowing, fingering and tonguing. Blowing is the fundamental technique—long and even breathing is the first step for di performers. Circular breathing, timbre changing and a variety of vibrato types are other frequently used blowing techniques. Fingering techniques include rapid-and-clear finger movement, trills, glissandi, tremoli, portamenti, and half-holing, among others. The basic tonguing techniques are flutter-tonguing and different kinds of staccati such as single-, double-, and triple-tonguing. (See also Lau 1991) The use and combination of these techniques are based on the styles (ex. Folk, Silk and Bamboo or Operatic), schools (ex. Southern or Northern) and regions (ex. Shangshi province or Hebei province) of the di repertoire. However, contemporary conservatory-trained performers are generally required to integrate all techniques to achieve certain musical goals so that modern composers can freely apply these techniques according to their specific needs.  Tuning Information about the tuning system The contemporary di is tuned to the equal-tempered scale and produced in varied keys, lengths, and sizes. The most common di, which is usually the first di for beginners, is the qudi (key of D), or the bangdi (key of G). Based on the six-hole construction, performers can easily play a heptatonic scale by using basic fingering skills; however, professional performers and experienced amateurs can also play all twelve semitones within an octave by using a half-holing technique. The average range of the di is about two octaves, but it can be over two and a half octaves when played by skilled performers. Geography The continent, region, nation where this instrument originates from China, Han people Classification Hornbostel-Sachs, revised by MIMO 421.121.12 Open side-blown flutes with fingerholes Ensemble The musical group in which an instrument can be found Chinese Music Ensemble Materials Bamboo, reed Bibliography a list of sources referenced Thrasher, Alan R. ‘Di’, Grove Music Online ed. L. Macy (Accessed August 13 2005), <a href="http://www.grovemusic.com">http://www.grovemusic.com</a> -------  1978 “The Transverse Flute in Traditional Chinese Music.” Asian Music 10(1): 92-114. Lau, Frederick. 2002. "Instruments: Dizi and Xiao." In The Garland Encyclopedia of World Music, Vol. 7. East Asia: China, Japan, and Korea, ed. by Robert Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, New York: Routledge, 183-86. ------- 1991 Music and Musicians of the Traditional Chinese ‘Dizi’ in the People’s Republic of China. DMA Diss.: University of Illinois at Urbana-Champaign. Contributors Entry authors Po-Wei Weng (2005) Notation The style of written music that the player reads In the ensembles of traditional folk music and xiqu, the gongchepu (Chinese character notation) was the dominant notation system used by di performers, as well as other traditional instruments. Nevertheless, di music was mostly taught orally by teachers’ demonstration and personalized melodic improvisation is very much encouraged. Today, most di performers use cipher notation and professional musicians can use staff notation as well, especially when performing in modern Chinese orchestras and playing contemporary compositions Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Di aerophone China