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Results: 10

(searched for: mongolian folk song)
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Hu Axu, Su Min, Gergentana
2015 Fifth International Conference on Instrumentation & Measurement, Computer, Communication and Control (IMCCC) pp 1693-1696; doi:10.1109/imccc.2015.359

The publisher has not yet granted permission to display this abstract.
Yasheng Jin, Wenmin Liu
2013 6th International Symposium on Computational Intelligence and Design (ISCID); doi:10.1109/iscid.2013.139

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Yasheng Jin, Wenmin Liu
2013 International Conference on Asian Language Processing pp 43-46; doi:10.1109/ialp.2013.15

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Guangming, Yuhua Qi, Guoqiang Chen
Power Electronic Converters Modeling and Control pp 168-175; doi:10.1007/978-981-13-0893-2_18

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Hongzhi Yu, Xuan Liu, Yanhua Duan
2013 International Workshop on Computer Science in Sports; doi:10.2991/iwcss-13.2013.9

Ya Sun, Herzen State Pedagogical University of Russia
Published: 1 February 2019
Manuscript pp 126-130; doi:10.30853/manuscript.2019.2.24

Lei Peng
Published: 1 May 2010
by HAL
Abstract: In this lecture I compare two contemporary musical groups in the independent music scene of urban China, the
Mongolian
-based
folk
group Hang Gai (杭盖), who are at the forefront of a musical movement in China that is finding inspiration in native
folk
traditions, drawing on a repertoire of magical
songs
that have all but disappeared during China's recent turbulent past. The Yunnan/Guangzhou-based group 3STEP (三跺脚), whose members come from very different backgrounds and places from all over the world, combine the traditional music of minority cultures in Yunnan with the reggae rhythms of Caribbean artists, as well as the performance styles of African artists. I’ll analyze the negotiation of minority identities and representation in their musics from two distinct yet interrelated perspectives. The performance of the group Hang Gai represents the resurgence of regional differences and expresses a nostalgic longing, which are liked to to the renewed exposure to Western culture and to modern capitalism since late 1970s in China, but also to the revival of pre-Revolutionary native practices and realities. The dialogical music of group 3STEP creates a truly global sound inspired by the atmosphere of dynamic change in China today. Genre transgressions invests the politics of genre and cultural boundaries, primarily of rock and
folk
, regional and global. The multiple meanings and associations of this musical expression are explored within the wider Chinese polity. In a changing China, music provides a site of creative negotiation where new identities can be forged.
Yinjie Li, Jikai Xu, Pu Xu, Shijie
Song
, Peng Liu, Tianyan Chi, Xuefei Ji, Ge Jin, Shimeng Qiu, Yapeng Hou, et al.
Published: 1 August 2016
Neuroscience Letters, Volume 629, pp 208-214; doi:10.1016/j.neulet.2016.07.011

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Sunmin Yoon
Published: 8 January 2019
Asian Music, Volume 50, pp 47-77; doi:10.1353/amu.2019.0003

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Chuen-Fung Wong
Published: 1 January 2011
China Review International, Volume 18, pp 389-392; doi:10.1353/cri.2011.0086

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