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The family resided in Yu Prefecture, Chenliu Commandery, in what is now eastern Henan Province. Cai Wenji was born shortly before 178 CE and was married at the age of sixteen, according to the East Asian age reckoning (age fifteen in the Western reckoning), to Wei Zhongdao in 192 CE. Zhongdao died soon after the wedding, without any offspring.
Chinese Musical Instruments (Chinese Music Monograph Series). 1999. Chinese Music Society of North America Press. ISBN 1-880464-03-9; Shen, Sinyan. Chinese Music in the 20th Century (Chinese Music Monograph Series). 2001. Chinese Music Society of North America Press. ISBN 1-880464-04-7; Yuan, Bingchang, and Jizeng Mao (1986).
Chinese folk flute music are folk songs written to tell the traditions and tales of various tribes in China, around the 12th century. They were played mostly on wooden flutes , and thus the pieces that have survived till today are written in D, which is the key these early flutes were made in.
See also: Category:Songs in Chinese. Subcategories. This category has the following 10 subcategories, out of 10 total. C. Chinese children's songs (1 P) Chinese folk ...
This type of music typically employs Chinese national vocal (minzu) vocals, with content focused on reflecting national history and culture or promoting the "main melody" — praising the Chinese Communist Party, the minzu, and the People's Liberation Army. Representative singers include Song Zuying, Peng Liyuan, Wang Hongwei. [1] [2]
Most dizi are made of bamboo, which explains why dizi are sometimes known by simple names such as Chinese bamboo flute. However, "bamboo" is perhaps more of a Chinese instrument classification like "woodwind" in the West. Northern Chinese dizi are made from purple or violet bamboo, while dizi made in Suzhou and Hangzhou are made from white bamboo.
Pages in category "Chinese folk songs" The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes. !
According to the book Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It therefore uses the most finger techniques of any instrument in Chinese, or even Western, music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.