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Deng Qiulin [email protected] L ANGUAGE is the basic unit of cultural transmission. Many linguists have made great achievements in the research and teaching of languages. For example, U.S. linguist Noam Chomsky made a pioneering contribution to theoretical linguistics. Zhao Yuanren (1892-1982), the father of Chinese linguistics, is credited for laying the foundation of international Chinese teaching. In the opinion of Dr. Zhao, it is neces- sary to make pronunciation training the top priority in the teaching of interna- tional Chinese, and the accuracy of pro- nunciation is the prerequisite of fluency. Along the trail blazed by Dr. Zhao, many researchers have continued to explore and produce many new insights. “The Chinese Phonetics Acquisition in a Multicultural Context,” published by China Social Sciences Press in July 2017, is a very important resource that fills many gaps in the study of foreign adult Chinese teaching. The publication of the book has attracted considerable attention from the field of interna- tional Chinese education, and has also triggered extensive discussion in the research circles of teaching Chinese as a foreign language. Dr. He Lifang, who teaches Chinese language, film and culture at Huron University College of Western Univer- sity, Canada, is a specialist in Chinese phonetics and has published many significant works on Chinese linguistics and literature. In this monograph, Dr. He focuses on those learning during their “critical periods,” and she is able to prove that “overaged” learners can also master standard Chinese pronunciation. It is a breakthrough for the “critical period theory” of language learning. In her research, she finds that major chal- lenges in teaching Chinese as a second language are those of “native language transfer” and “cultural conflict.” Dr. He proves that learning multiple languages is not a distraction but a posi- tive influence on continuing to learn new languages. By employing various effec- tive learning strategies, one can achieve positive transition. Dr. He studied two successful cases involving two students who were a fresh- men and a sophomore. Their native lan- guage is English; their second languages are respectively Spanish and French, and Chinese is the third language they want to learn. By the time they gradu- ated from the university, they could speak standard Chinese. These are two students who have exceeded the “criti- cal period” and the reason they have succeeded is because they both had a keen interest in language learning and have employed effective learning strate- gies. They both also appreciate Chinese culture and are good at creating an environment that facilitates their use of Chinese. To promote the Belt and Road Initia- tive, we need to advance the teaching of Chinese internationally. Dr. He’s research findings are of great sig- nificance for the internationalization of Chinese teaching. We look forward to more research findings in this area from Dr. He. The musical elements absorbed by the Arabs from the Persian Empire, on the other hand, also affected Persian music after the Sasanian Empire was conquered by the Arabs. Of course this is just a speculation and it’s difficult for us to prove it. There are 12 kinds of basic melodies in Iranian traditional music, and they can develop into over 300 melodic types, but Iranian traditional music is known as single-melody music. Between the 10th and 14th centuries, Persian classical rhymed verses, folk songs and lyrical poetry became the main components of Persian musical culture. This indicates that secular music is an important part of Iranian traditional music. Eight songs will be performed by Eshitagh at the concert March 26, including “Creation,” “Lovely Love,” “Chant,” “Tasnif,” “The Bow of the Wisdom,” “Rainbow,” “Servant of the Moon” and “Parizad.” Most of these songs are about secular themes. A common Iranian singing style featuring trills and the interchange of the singer’s natural voice and falsetto is often used in Iranian traditional vocal music. “Tasnif” is the name of a popular Iranian traditional musical genre. Most Tasnif songs were written in the early 20th century, with lyrics reflecting the constitutional movement in Iran. When chanting a Tasnif song, singers can change the song’s tempo based on their mood and emotion as well as add notes or extend syllables. Arabic songs are usually fast-tem- poed and have ups and downs. On the contrary, Persian songs are mild, melo- dious and similar to folk songs heard in the northern shore of the Mediter- ranean Sea. Maybe this is because the Persians have similar feelings when they look out over a prairie as the Mediterranean people do when they look at the sea. The concert to be presented by Eshi- tagh will be a window into a deeper understanding of the culture and his- tory of Iran’s ancient civilization for Shenzhen residents. culture ❘ 15 CONTACT US AT: 8351-9409, [email protected] Thursday March 22, 2018 Guan Wanwei [email protected] T HE Iranian orchestra Eshitagh will present a concert featuring Iranian traditional music for audience members who grab a ticket to the March 26 show at Shenzhen Huaxia Art Center. Iran is one of the destinations along the Silk Road, making this performance by Iranian Eshitagh a very meaningful one at the 2018 Belt & Road Shenzhen International Music Festival. During the Tang Dynasty (618-907), Iran and the Arab region were known as “Dashi” by Chinese people, and at the time Dashi had developed close cultural and business relations with ancient China, leading to exchanges of culture. Traditional Iranian music can be traced back to the Sasanian Empire, which coincided with the Wei (220- 265), Jin (265-420), and Southern and Northern (386-589) dynasties in China. The Sasanian Empire was conquered by the Arabs in 651, and the Persian Empire soon became Arabic, leading to the influence of Arabic sounds on Iranian music. If you listen to traditional Iranian music nowadays, you can still glean traces of Arabic influences from it. The musical instruments used in it are similar to those historical music from Central Asia, West Asia and the north- west region of China. For instance, the Iranian musical instrument tar is similar to the rewap, an instrument created by Uyghur people in China. The Iranian percussion instru- ment santur is similar to the dulcimer in China. And the Iranian two-stringed instrument setar and Uyghur instru- ment dutar are also very alike. Although Iranian music has been influenced by Arabic culture, the music genres and theories belonging to Iranian music are quite different from those in Arabic music, which is perhaps due to the rich cultural deposits accumulated by the successors of the ancient Persian Empire. The Persians have played a variety of plucked instruments since the Achae- menid Empire. Therefore, one can make the bold speculation that Persian music influenced West Asia and even affected the Arabs following the time after the Persian Empire made remarkable cul- tural achievements. Love from Persia, destination of the Silk Road An important achievement in intl. Chinese teaching research Concert Info: Orchestra: Iranian Eshitagh Time: 8 p.m., Monday, March 26 Tickets: 100, 180, 280, 380 yuan Venue: Shenzhen Huaxia Art Center, 1 Guangq- iao Street, Overseas Chinese Town, Nanshan (南山区华侨城广侨街1号华夏艺术中心) Metro: Line 1 to Overseas Chinese Town Station (华侨城站), Exit B Love From Persia: Concert of Iranian National Traditional Music Alireza Ghorbani, Alireza Ghorbani, head of Iranian head of Iranian orchestra Eshitagh. orchestra Eshitagh. File photo File photo
Transcript of CONTACT US AT: Guan Wanwei [email protected] T …szdaily.sznews.com/attachment/pdf/201803/22/... ·...
Deng [email protected]
LANGUAGE is the basic unit of cultural transmission. Many linguists have made great achievements in the research
and teaching of languages. For example, U.S. linguist Noam Chomsky made a pioneering contribution to theoretical linguistics. Zhao Yuanren (1892-1982), the father of Chinese linguistics, is credited for laying the foundation of international Chinese teaching.
In the opinion of Dr. Zhao, it is neces-sary to make pronunciation training the top priority in the teaching of interna-tional Chinese, and the accuracy of pro-nunciation is the prerequisite of fl uency. Along the trail blazed by Dr. Zhao, many researchers have continued to explore
and produce many new insights. “The Chinese Phonetics Acquisition
in a Multicultural Context,” published by China Social Sciences Press in July 2017, is a very important resource that fi lls many gaps in the study of foreign adult Chinese teaching. The publication of the book has attracted considerable attention from the fi eld of interna-tional Chinese education, and has also triggered extensive discussion in the research circles of teaching Chinese as a foreign language.
Dr. He Lifang, who teaches Chinese language, fi lm and culture at Huron University College of Western Univer-sity, Canada, is a specialist in Chinese phonetics and has published many signifi cant works on Chinese linguistics and literature.
In this monograph, Dr. He focuses
on those learning during their “critical periods,” and she is able to prove that “overaged” learners can also master standard Chinese pronunciation.
It is a breakthrough for the “critical period theory” of language learning. In her research, she fi nds that major chal-lenges in teaching Chinese as a second language are those of “native language transfer” and “cultural confl ict.”
Dr. He proves that learning multiple languages is not a distraction but a posi-tive infl uence on continuing to learn new languages. By employing various effec-tive learning strategies, one can achieve positive transition.
Dr. He studied two successful cases involving two students who were a fresh-men and a sophomore. Their native lan-guage is English; their second languages are respectively Spanish and French,
and Chinese is the third language they want to learn. By the time they gradu-ated from the university, they could speak standard Chinese. These are two students who have exceeded the “criti-cal period” and the reason they have succeeded is because they both had a keen interest in language learning and have employed effective learning strate-gies. They both also appreciate Chinese culture and are good at creating an environment that facilitates their use of Chinese.
To promote the Belt and Road Initia-tive, we need to advance the teaching of Chinese internationally. Dr. He’s research fi ndings are of great sig-nifi cance for the internationalization of Chinese teaching. We look forward to more research fi ndings in this area from Dr. He.
The musical elements absorbed by the Arabs from the Persian Empire, on the other hand, also affected Persian music after the Sasanian Empire was conquered by the Arabs. Of course this is just a speculation and it’s diffi cult for us to prove it.
There are 12 kinds of basic melodies in Iranian traditional music, and they can develop into over 300 melodic types, but Iranian traditional music is known as single-melody music. Between the 10th and 14th centuries, Persian classical rhymed verses, folk songs and lyrical poetry became the main components of Persian musical culture. This indicates that secular music is an important part of Iranian traditional music.
Eight songs will be performed by Eshitagh at the concert March 26, including “Creation,” “Lovely Love,” “Chant,” “Tasnif,” “The Bow of the Wisdom,” “Rainbow,” “Servant of the Moon” and “Parizad.” Most of these songs are about secular themes.
A common Iranian singing style featuring trills and the interchange of the singer’s natural voice and falsetto is often used in Iranian traditional vocal music.
“Tasnif” is the name of a popular Iranian traditional musical genre. Most Tasnif songs were written in the early 20th century, with lyrics refl ecting the constitutional movement in Iran. When chanting a Tasnif song, singers can change the song’s tempo based on their mood and emotion as well as add notes or extend syllables.
Arabic songs are usually fast-tem-poed and have ups and downs. On the contrary, Persian songs are mild, melo-dious and similar to folk songs heard in the northern shore of the Mediter-ranean Sea. Maybe this is because the Persians have similar feelings when they look out over a prairie as the Mediterranean people do when they look at the sea.
The concert to be presented by Eshi-tagh will be a window into a deeper understanding of the culture and his-tory of Iran’s ancient civilization for Shenzhen residents.
culture x 15CONTACT US AT: 8351-9409, [email protected]
Thursday March 22, 2018
Guan [email protected]
THE Iranian orchestra Eshitagh will present a concert featuring Iranian traditional music for audience members who grab a
ticket to the March 26 show at Shenzhen Huaxia Art Center.
Iran is one of the destinations along the Silk Road, making this performance by Iranian Eshitagh a very meaningful one at the 2018 Belt & Road Shenzhen International Music Festival.
During the Tang Dynasty (618-907), Iran and the Arab region were known as “Dashi” by Chinese people, and at the time Dashi had developed close cultural and business relations with ancient China, leading to exchanges of culture.
Traditional Iranian music can be traced back to the Sasanian Empire, which coincided with the Wei (220-265), Jin (265-420), and Southern and Northern (386-589) dynasties in China. The Sasanian Empire was conquered by the Arabs in 651, and the Persian Empire soon became Arabic, leading to the infl uence of Arabic sounds on Iranian music.
If you listen to traditional Iranian music nowadays, you can still glean traces of Arabic infl uences from it. The musical instruments used in it are similar to those historical music from Central Asia, West Asia and the north-west region of China.
For instance, the Iranian musical instrument tar is similar to the rewap, an instrument created by Uyghur people in China. The Iranian percussion instru-ment santur is similar to the dulcimer in China. And the Iranian two-stringed instrument setar and Uyghur instru-ment dutar are also very alike.
Although Iranian music has been infl uenced by Arabic culture, the music genres and theories belonging to Iranian music are quite different from those in Arabic music, which is perhaps due to the rich cultural deposits accumulated by the successors of the ancient Persian Empire.
The Persians have played a variety of plucked instruments since the Achae-menid Empire. Therefore, one can make the bold speculation that Persian music infl uenced West Asia and even affected the Arabs following the time after the Persian Empire made remarkable cul-tural achievements.
Love from Persia,
destination of the Silk Road
An important achievement in intl. Chinese teaching research
Concert Info:Orchestra: Iranian Eshitagh
Time: 8 p.m., Monday, March 26Tickets: 100, 180, 280, 380 yuan
Venue: Shenzhen Huaxia Art Center, 1 Guangq-iao Street, Overseas Chinese Town, Nanshan (南山区华侨城广侨街1号华夏艺术中心)Metro: Line 1 to Overseas Chinese Town Station (华侨城站), Exit B
Love From Persia: Concert of Iranian National Traditional Music
Alireza Ghorbani, Alireza Ghorbani, head of Iranian head of Iranian orchestra Eshitagh.orchestra Eshitagh.
File photo File photo
