paiban
Illustration — Painting of a musician playing a paiban. Mogao Caves, cave 159, paiban • Illustration — A paiban used in Chaozhou music The is a clapper made from several flat pieces of hardwood or bamboo (or, formerly, sometimes also ivory or metal), which is used in many different forms of Chinese music. There are many different types of, and the instrument is also referred to as, or.
Also recorded as kuaban
paiban
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Illustration — Painting of a musician playing a paiban. Mogao Caves, cave 159, paiban • Illustration — A paiban used in Chaozhou music The is a clapper made from several flat pieces of hardwood or bamboo (or, formerly, sometimes also ivory or metal), which is used in many different forms of Chinese music. There are many different types of, and the instrument is also referred to as, or.
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In this article
Overview
Typical materials used for the include, or, or bamboo, with the slats tied together loosely on one end with cord. It is held vertically by one hand and clapped together, producing a sharp clacking sound. When used together with a small drum (both played together by a single player, the held in one hand and the drum played with a stick held in the other) the two instruments are referred to collectively as. Somewhat confusingly, the clapper is sometimes also referred to, without the drum, as. When used as part of a, the is used in several genres of (Chinese story-singing), as well as in Beijing opera, and Yue opera. It is also used in instrumental music, such as,.
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Cited by Wikipedia
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These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.Curt Sachs: Geist und Werden der Musikinstrumente. (Berlin 1928) Nachdruck: Frits A. M. Knuf, Hilversum 1965, S. 15
- 2.Hans Hickmann: Ägypten. (Hrsg. Heinrich Besseler, Max Schneider: Musikgeschichte in Bildern. Band 2: Musik des Altertums. Lieferung 1) Deutscher Verlag für Musik, Leipzig 1961, S. 78
- 3.Sachs, 1965, S. 16
- 4.Martin Gimm: China. I. Vor- und Frühgeschichte (bis 21. Jahrhundert v.Chr.) 2. Anfänge und frühe Stücke der Musik. In: MGG Online, 9. Juli 2018
- 5.Hans Oesch: Außereuropäische Musik (Teil 1). (Carl Dahlhaus (Hrsg.): Neues Handbuch der Musikwissenschaft, Band 8) Laaber-Verlag, Laaber 1984, Kapitel I. Der chinesische Kulturbereich, S. 20, 28
- 6.Martin Gimm: China. V. Qin- und Han-Dynastie (249 v.Chr – 220 n.Chr.). 1. Staats- und Sakralmusik. In: MGG Online, 9. Juli 2018
- 7.Walter Kaufmann, 1976, S. 112
- 8.Stefan Möller: Zu Darstellungen von Gauklern und anderen fahrenden Spielleuten in einem Album des Huang Shen. In: Monumenta Serica, Band 49, 2001, S. 367–389
- 9.Vgl. Curt Sachs: Handbuch der Musikinstrumentenkunde (Leipzig 1930) Georg Olms, Hildesheim 1967, S. 5f
- 10.Arthur Christopher Moule, 1908, S. 18
- 11.J. A. van Aalst: Chinese Music. (China. Imperial Maritime Customs, II., Nr. 6) The Inspector General of Customs, Schanghai 1884, S. 74
- 12.Joseph S. C. Lam: China, People’s Republic of. II. History and theory. 4. Song to Yuan dynasties (960–1368). In: Grove Music Online, 2001
- 13.Han Kuo-Huang, Judith Gray: The Modern Chinese Orchestra. In: Asian Music, Band 11, Nr. 1, 1979, S. 1–43, hier S. 4
- 14.Jeehee Hong: Exorcism from the Streets to the Tomb: An Image of the Judge and Minions in the Xuanhua Liao Tomb No. 7. In: Archives of Asian Art, Band 63, Nr. 1, 2013, S. 1–25, hier S. 4f
- 15.Arthur Christopher Moule, 1908, S. 19
- 16.Die Tafel ist als Coromandel screen bekannt, weil die für den Export nach Europa bestimmte chinesische Lackware mit Schiffen entlang der indischen Koromandelküste transportiert wurde.
- 17.Gretel Schwörer-Kohl: Was the Gong Chime, Yun Luo, Played in the Court Music of Sukhothai in Thailand During the 13th or 14th Century? In: Noel Hidalgo Tan (Hrsg.): Advancing Southeast Asian Archaeology 2016: Selected Papers from the Second International Conference on Southeast Asian Archaeology, Bangkok, 2016. SEAMEO SPAFA, Bangkok 2018, S. 109–112, hier S. 111
- 18.Helen E. Fernald: Ancient Chinese Musical Instruments. As Depicted On Some Of The Early Monuments In The Museum. In: The Museum Journal, Band 17, Nr. 4, Philadelphia 1926, S. 325–371, hier S. 367
- 19.Carl Engel: Musical Instruments. Board of Education, South Kensington, Victoria and Albert Museum, London 1908, S. 40
- 20.Walter Kaufmann, 1976, S. 112, Arthur Christopher Moule, 1908, S. 12f
- 21.Alan R. Trasher: China, People’s Republic of. I. Introduction: historical, regional and study perspectives. 1. Han Chinese regions and genres. (v) The south-east coast. In: Grove Music Online, 31. Januar 2014
- 22.Siong Leng’s young artists and principal performers. journeyhometosingapore.wordpress.com (Foto der Siong Leng Musical Association, einem Nanyin-Ensemble in Singapur mit den fünf Musikern in der Position des Basisensembles)
- 23.Nora Yeh: Nanguan Music Repertoire: Categories, Notation, and Performance Practice. In: Asian Music, Band 19, Nr. 2 (East and Southeast Asia) Frühjahr–Sommer 1988, S. 31–70, hier S. 33
- 24.Gao Houyong, Zhou Li: On Qupai. In: Asian Music, Band 20, Nr. 2 (Chinese Music Theory), Frühjahr–Sommer 1989, S. 4–20, hier S. 11
- 25.Gerald Groemer: Binzasara: Music and Dance at Sensōji in Edo/Tōkyō. In: Yearbook for Traditional Music, Band 43, 2011, S. 37–61, hier S. 40
- 26.David W. Hughes: Sasara. In: Grove Music Online, 11. Februar 2013
- 27.View of Chinese wayang (opera) musician playing the guban (drum and clapper) at the back stage during an opera performance. National Archives of Singapore; Demonstration of Chinese guban 鼓板 (drum and clapper) featuring biqigu 荸荠鼓 (small handheld drum). Youtube-Video
- 28.Alan R. Trasher: Bangu. In: Grove Music Online, 13. Januar 2015
- 29.Eric Hung, Nancy Yunhwa Rao, Susan M Asai, You Young Kang, Alison Arnold, Amy R. Catlin, Christi-Anne Castro: Asian American music. 2. East Asian American music. i) Chinese American music. (a) Traditional instrumental ensembles. In: Grove Music Online, 25. März 2024
- 30.Arthur Christopher Moule, 1908, S. 20
- 31.Kumau Zilong Niu: On the evolution of percussion instruments in China. In: Ministry of Education and Science of Ukraine, Rivne State Humanitarian University, Department of wind and percussion instruments of RSHU (Hrsg.): The history of formation and development prospects of wind music in the context of national culture of Ukraine and abroad countries. Band 16, Rivne 2024, S. 30-–7, hier S. 33
- 32.Martin Gimm: China. X. Ming- und Qing-Dynastien (1368–1912). 3. Singspiele. In: MGG Online, 9. Juli 2018
- 33.Martin Gimm: China. X. Ming- und Qing-Dynastien (1368–1912). 4. Musikinstrumente und Instrumentalmusik. In: MGG Online, 9. Juli 2018
- 34.Mengjiao Wang: Laiwu Bangzi Opera in Laiwu, Shandong, China. (Masterarbeit) Mahasarakham University, Amphoe Kantharawichai 2023, S. 11
- 35.Shao Changyuan: On the Musical Characteristics of the Local Opera Liushan Bangzi. In: Pacific International Journal, Band 6, Nr. 2, 2023, S. 140–145, hier S. 140, 144
- 36.Paul R. Katz: Images of the immortal: The cult of Lü Dongbin at the Palace of Eternal Joy. University of Hawai’i Press, Honolulu 1999, S. 33
- 37.Sichuan Opera. chinaculture.org
- 38.Ma Ming-Hui: From Henan Opera to Taiwan Bangzi. Localisation and Identity of Taiwan Bangzi. In: Asian Musicology, Band 23, 2014, S. 5–36
- 39.Boyu Zhang: Chinese Music and Ethnomusicology. In: Etnomusikologian vuosikirja, Band 9, 1997, S. 227–257, hier S. 229
- 40.Ma Qiang, Ma Xinguo: Making Adhān or Knocking Bangzi: Sonic Expressions of Jahriyyah Group in Contemporary China. In: Journal of Islam in Asia, Band 16, Nr. 1, 2019. S. 186–203, hier S. 198–200
- 41.Huang Jinpei: Xipi and Erhuang of Beijing and Guangdong Operas. In: Asian Music, Band 20, Nr. 2 (Chinese Music Theory) Frühjahr–Sommer 1989, S. 152–195, hier S. 153f
- 42.Alan R. Trasher: Muyu. In: Grove Music Online, 28. Mai 2015
- 43.Arthur Christopher Moule, 1908, S. 23
- 44.Alan R: Trasher: China, People’s Republic of. III. Musical instruments. 3. Common-practice instruments. (iv) Clappers and woodblocks. In: Grove Music Online, 2001
- 45.Arthur Christopher Moule, 1908, S. 14
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