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This is an introduction to basic music technology, including acoustics for sound production and analysis, Fourier, frequency modulation, wavelets, and physical modeling and a classification of musical instruments and sound spaces for tuning and counterpoint. The acoustical theory is applied to its implementation in analogue and digital technology, including a detailed discussion of Fast Fourier Transform and MP3 compression. Beyond acoustics, the book discusses important symbolic sound event representation and software as typically realized by MIDI and denotator formalisms. The concluding chapters deal with globalization of music on the Internet, referring to iTunes, Spotify and similar environments. The book will be valuable for students of music, music informatics, and sound engineering.
Chinese art has experienced its most profound metamorphosis since the early 1950s, transforming from humble realism to socialist realism, from revolutionary art to critical realism, then avant-garde movement, and globalized Chinese art. With a hybrid mix of Chinese philosophy, imported but revised Marxist ideology, and western humanities, Chinese artists have created an alternative approach – after a great ideological and aesthetic transition in the 1980s – toward its own contemporaneity though interacting and intertwining with the art of rest of the world. This book will investigate, from the perspective of an activist, critic, and historian who grew up prior to and participated in the great transition, and then researched and taught the subject, the evolution of Chinese art in modern and contemporary times. The volume will be a comprehensive and insightful history of the one of the most sophisticated and unparalleled artistic and cultural phenomena in the modern world.
China—Art—Modernity provides a critical introduction to modern and contemporary Chinese art as a whole. It illuminates what is distinctive and significant about the rich range of art created during the tumultuous period of Chinese history from the end of Imperial rule to the present day. The story of Chinese art in the twentieth and twenty-first centuries is shown to be deeply intertwined with that of the country’s broader socio-political development, with art serving both as a tool for the creation of a new national culture and as a means for critiquing the forms that culture has taken. The book’s approach is inclusive. In addition to treating art within the Chinese Mainland itself ...
In this book, Yan Geng examines Mao’s image from the perspective of its producers, focusing on four artists, chosen for both the diverse media they worked in and their diverse backgrounds. The book suggests an alternative perspective on the making of propaganda not only as a politically themed representation but also as an expression of artists’ subjectivities and their roles as pivotal agents in the transition of modern Chinese art history. Mao’s Image: Artists and China’s 1949 Transition demonstrates how artists portrayed Mao as the nation’s leader during the early People’s Republic and what such images reveal about Chinese artists’ experience during the Communist takeover of the country.
This book decodes the rhetoric of Chinas turbulent decade, a time of both brutal iconoclasm and radical experimentation in the arts, to offer new insights into works that have transcended their times.
A Divine level expert in the Hidden Dragon City, on the first day he went to work at the Ice Mountain Fiancée Company, he had actually been arranged to clean the toilet! Just do it, but why is it a ladies' room?
There was a fake eunuch who was exceptionally intelligent and called the foolish Emperor brother to him. He possessed both civil and martial skills, and he had actually managed to accomplish such a great feat. To defend the frontier, to fight for power, to fight for power, to fight for power, to fight against corruption, to fight against the King, to rule over the troubled times, to open the territory, to fight against the pirates and to punish the wicked
China and Maritime Europe, 1500–1800 looks at early modern China in some of its most complicated and intriguing relations with a world of increasing global interconnection. New World silver, Chinese tea, Jesuit astronomers at the Chinese court, and merchants and marauders of all kinds play important roles here. Although pieces of these stories have been told before, these chapters provide the fullest and clearest available summaries, based on sources in Chinese and in European languages, making this information accessible to students and scholars interested in the growing connections among continents and civilizations in the early modern period.
The ancient Chinese were profoundly influenced by the Sun, Moon and stars, making persistent efforts to mirror astral phenomena in shaping their civilization. In this pioneering text, David W. Pankenier introduces readers to a seriously understudied field, illustrating how astronomy shaped the culture of China from the very beginning and how it influenced areas as disparate as art, architecture, calendrical science, myth, technology, and political and military decision-making. As elsewhere in the ancient world, there was no positive distinction between astronomy and astrology in ancient China, and so astrology, or more precisely, astral omenology, is a principal focus of the book. Drawing on a broad range of sources, including archaeological discoveries, classical texts, inscriptions and paleography, this thought-provoking book documents the role of astronomical phenomena in the development of the 'Celestial Empire' from the late Neolithic through the late imperial period.
Invaluable resource for anyone who wants to understand contemporary Chinese art, one of the most fascinating art scenes of the late 20th and early 21st centuries.