Formosa caprices [sound recording] : new piano music from Taiwan. by Hu, Chih-Long, instrumentalist.
Call Number: CD 217-6264 (Library Service Center)
Publication Date: Blue Griffin Recording, [2007]
Shei zai shan shang chang ge / Who's singing on mountain / Hualien Taiping Elementary Chorus 誰在山上唱歌 / 太平國小布農兒童合唱團 = Who's singing on mountain / Hualien Taiping Elementary Chorus. by Tai ping guo xiao (Hua-lien, Taiwan). Bunong er tong he chang tuan, performer.
Call Number: CD 309-5070
Publication Date: TCD-1522 Wind Records 2004.
Qian Ina de shou [sound recording] : Amei zu Taibalang bu luo ge yao = Holding Ina's hand : songs and dances in the Tabalong tribe of Amis 牽 Ina 的手 [sound recording] : 阿美族太巴塱部落歌謠 = Holding Ina's hand : songs and dances in the Tabalong tribe of Amis / Form by Yuan wu zhe, performer.
Call Number: CD 309-5078
Publication Date: TCD-1524 (1524-1--1524-2) Wind Records 2005.
Yuan wei yin yue lai ban zhuo = Experiencing traditional music in Taiwan 原味音樂來辦桌 = Experiencing traditional music in Taiwan / 霧鹿村布農族人等表演.
Beyond 'Innocence': Amis aboriginal song in Taiwan as an ecosystem. by Shzr Ee TanTaiwan aboriginal song has received extensive media coverage since the launch and settlement of a copyright lawsuit following pop group Enigma's allegedly unauthorized use of Amis voices in the 1996 Olympics hit, Return To Innocence. Taking as her starting point the ripple effects of this case, Shzr Ee Tan explores the relationship of this song culture to contemporary Amis society. She presents Amis song in its multiple manifestations as an ecosystem, symbiotic components of which interact and feed back upon one another in cross-cutting platforms of village life, festival celebration, cultural performance, popular song, art music and Christian hymnody. Tan's investigation hinges upon drawing a conceptual line between ladhiw, the Amis term for 'song' - a word vested with connotations of life-force, tradition, ritual and taboo - and the foreign term of yinyue ('music' - borrowed from Mandarin). This difference forms the basis of how Amis song is (re)constructed through processes of modernization, Christianization and politico-economic change. A single Amis melody, for example, can exist in several guises that are contextually exclusive but functionally mutually-supportive. Thus, a weeding song (ladhiw), which may have lost its traditional context of existence following advancements in farming technology, becomes sustained within a larger ecosystem, finding new life on the interacting platforms of Amis Catholic hymnody, karaoke and tourist shows. The latter genres (collectively, yinyue) may not rely on traditional livelihoods for survival, but thrive on a traditional melody's deeper associations to local memory and idealized Amis identities. While these new and old genres are stylistically separate, they feed into each other and back into themselves - through transforming contexts and cross-referenced memes - in organic and developing cycles of song activity. Drawing from fieldwork conducted from 2000-2010 as well as a background in ethnomusicology and journalism, Tan paints a vivid picture of song culture as an ecosystem in the lives of Amis people.
Call Number: ML3747 .T36 2012
ISBN: 9781409424369
Publication Date: 2012
Music in Taiwan. by Li, Jiaji, 1932-
Call Number: ML337 .M87 2010
ISBN: 9789860221770
Publication Date: National Chang Kai-Shek Cultural Center, Performing Arts Review, 2010.
Voices of eternal spring : a study of the Hêng-chhun tiāu song family and other folk songs of the Hêng-chhun area, Taiwan. by Jian, Shangren.
Call Number: ML3747.7 .H46 J53 2010
ISBN: 9789860253726
Publication Date: 2010.
Identity and Diversity by Wang Yunyu (Editor); Stephanie Burridge (Editor)Reflecting the breadth and diversity of dance in the Asia-Pacific region, this volume provides an in-depth and comprehensive study of Taiwan's dance history. Taiwan is home to several indigenous tribes with unique rituals and folk dance traditions, with an array of eclectic influences including martial arts and Peking Opera from China, and dance forms such as contemporary, neo-classical, post-modern, jazz, ballroom, and hip-hop from the West. Dance in Taiwan, led by pioneers such as choreographers Liu Feng-shueh and Lin Hwai-min, continues to have a strong presence in both performance and educational arenas. In 1973, Lin Hwai-min created Cloud Gate Dance Theatre, the country's internationally acclaimed modern dance company, and simultaneously produced a generation of dancers not only trained in modern dance and ballet, but also in Chinese aesthetics and history, tai-chi and meditation. Including the voices of dance professionals, scholars and critics, this collection of articles highlights the emerging trends and challenges faced by dance in Taiwan. It examines the history, creative development, education, training, and above all, the hybrid practices that give Taiwanese dance a unique identity, making it central to the renaissance of Asian contemporary dance. In describing how the intersections of dance cultures are marked by exchanges, research and pedagogy, it shows the way choreographers, performers, associated artists and companies of the region choose to imaginatively invent, blend, fuse, select and morph the multiple influences, revitalising and preserving cultural heritage while oscillating between tradition and change.