Pleasant Earworms

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It\nis a place that has witnessed many meaningful events: the first performance of\nthe National Taiwan Symphony Orchestra (NTSO), the first performance of&nbsp; national music (<i>guoyue</i>), the first public recital of Hsu Tsang-Houei’s modern\nwestern music, Lu Chuan-Sheng’s first recital of Taiwanese art song <i>If We Open the Doors of Our Hearts</i>, the\nfirst complete performance of <i>The Song of\nEverlasting Sorrow </i>in the form of a cantata, the first permanent residence\nproject for a Chinese Orchestra, and the first “Campus Folk Song” concert…all\nthese were memorable for people from all walks of life. Up to now, the\nZhongshan Hall is still a&nbsp; popular place\nfor members of different music clubs.<br></span>　　In Zhongshan Hall, there are various kinds of musical\nperformances, including traditional theatrical art, folk music, western\nclassical music, art songs, and contemporary pop music. The Zhongshan Hall had\nlong been the main concert hall in Taipei, hosting classical music concerts\nmost of the time. Apart from classical music, jazz bands such as Kupa\nOrchestra, and the multi-talented Taiwanese composer Hsu Shih, who was known\nfor his country pop songs, also performed here. For a long period of time the\nZhongshan Hall was the best music hall in Taipei; its position was replaced by\nthe Sun Yat-Sen Memorial Hall after its completion in May, 1975, but for many\nmusic lovers it is still a memorable place for great music.<br>", "musicText": "", "musicURL": "", "title": "Pleasant Earworms" }, "theme-zoqblidryo": { "id": "theme-zoqblidryo", "type": "theme", "sortable": true, "primaryObj": { "oid": "0100e27a54931915679cae68baee34a1", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/50c4f78bde28ff5c34f13276a19e3bcf.jpg?itok=yrtfUUzd", "level": "primary", "title": "《島民歌謠》第一輯，來自南方之島", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/50c4f78bde28ff5c34f13276a19e3bcf.jpg?itok=fRNdVNVh", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/50c4f78bde28ff5c34f13276a19e3bcf.jpg?itok=PUDC-hoJ", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/50c4f78bde28ff5c34f13276a19e3bcf.jpg?itok=JCpyrPGr", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/50c4f78bde28ff5c34f13276a19e3bcf.jpg?itok=drZUB6E8", "mfid": "50c4f78bde28ff5c34f13276a19e3bcf", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "國立臺灣圖書館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "Music During Colonial Rule", "desc": "請輸入頁面說明", "musicName": "無", "weight": 2, "musicText": "", "musicURL": "" }, "basic-m2yte12ao8": { "id": "basic-m2yte12ao8", "type": "basic", "sortable": true, "primaryObj": { "oid": "54de27f2cc9f7d74cb55eddecab8d073", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/ffe3354e9c376bacda56930fe9cdb290.jpg?itok=2g5pFdNX", "level": "primary", "title": "公會堂落成典禮新聞報導", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/ffe3354e9c376bacda56930fe9cdb290.jpg?itok=9cIUv2IJ", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/ffe3354e9c376bacda56930fe9cdb290.jpg?itok=AcLtXxZD", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/ffe3354e9c376bacda56930fe9cdb290.jpg?itok=fd2-KXcN", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/ffe3354e9c376bacda56930fe9cdb290.jpg?itok=7y8_e6lr", "mfid": "ffe3354e9c376bacda56930fe9cdb290", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "臺灣日日新報", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "著作權利所有-僅能瀏覽", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<span>　　After the Taihoku City\nPublic Auditorium was completed in 1936, a series of events were launched from\nDecember 26th to 27th, including a solo concert of the famous vocalist Nagai\nIkuko and traditional Japanese dance performances of Wakayagi-ryu and\nNishikawa-ryu style. During the performance of “<i>Song of Plovers / A Song for Plover</i>” in the evening of December\n26th, performers created an amazing scene by displaying/showing 53 Japanese\nzither on the stage. According to a news article, it was the first ensemble of\nJapanese zithers and flutes in Taiwan.</span><br>", "musicName": "無", "weight": 3, "musicText": "", "musicURL": "" }, "basic-0tx0lvv6a2": { "id": "basic-0tx0lvv6a2", "type": "basic", "sortable": true, "primaryObj": { "oid": "d1403ef1f40d1f7862dedad921d471c4", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/dc10ad2a5b6ec3f505e14ff7a9753855.jpg?itok=62qyjm_N", "level": "primary", "title": "關屋敏子訪臺", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/dc10ad2a5b6ec3f505e14ff7a9753855.jpg?itok=K_2Sudkn", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/dc10ad2a5b6ec3f505e14ff7a9753855.jpg?itok=ae5svLMX", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/dc10ad2a5b6ec3f505e14ff7a9753855.jpg?itok=6LiFpjaK", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/dc10ad2a5b6ec3f505e14ff7a9753855.jpg?itok=js5tAguQ", "mfid": "dc10ad2a5b6ec3f505e14ff7a9753855", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "臺灣日日新報", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<span><br>　　When the Public Auditorium\nwas completed, it was already very close to the outbreak of the Sino-Japanese\nWar. Taiwan was in the shadow of a coming war. The music activities in the\nPublic Auditorium also showed the change of political atmosphere over the years\nwhen the colonial government went from mild assimilation to powerful\n“Japanization”. In earlier years, Japanese musicians were invited to perform in\nmost of the major concerts, showing a strong sense of purpose of the colonial\ngovernment to provide art education to Taiwanese people. The performances of\nchoreographer Ishii Baku, singer Sekiya Toshiko and Nagai Ikuko were held based\non the same idea.<br></span><span>　　Sekiya Toshiko was a\ncoloratura soprano who came from a famous family. She graduated from the Tokyo\nMusic School and studied in Italy. Her vocal accomplishments were highly\nrespected&nbsp; and were called a “diva”. She\nwas active on the international stage and was a symbol of Japan’'s pursuit of\nmodernization since the Meiji Restoration. During a time when colonial control\nwas less strict in Taiwan, her performance not only brought art, but also free\nspirits to the island.<br></span>　　Lin Shihao, the Taiwanese\nsoprano, was her apprentice. On August 16th and 17th, 1939, she held a concert\nin the Public Auditorium. The repertoire included “Wild Rose”, “Serenade”, and\nselections from the operas “Madame Butterfly” and “La Traviata”.<br>", "musicName": "無", "weight": 4, "musicText": "", "musicURL": "" }, "basic-d95e2077yo": { "id": "basic-d95e2077yo", "type": "basic", "sortable": true, "primaryObj": { "oid": "db1fcaf31269e17a8bd0391c3ed55286", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/a499076d96d1555ba4289c0495cc2847.jpg?itok=lHD9Nc5s", "level": "primary", "title": "《島民歌謠發表會》現場照片＆報章報導", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/a499076d96d1555ba4289c0495cc2847.jpg?itok=UEsUIvxs", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/a499076d96d1555ba4289c0495cc2847.jpg?itok=hs0BoZxB", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/a499076d96d1555ba4289c0495cc2847.jpg?itok=R88WiD1B", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/a499076d96d1555ba4289c0495cc2847.jpg?itok=b9hWzZx3", "mfid": "a499076d96d1555ba4289c0495cc2847", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "臺灣日日新報", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<div><span><br>　　As the war intensified, the\ncolonial government’s policy changed from mild assimilation to strong\n“Japanization,” enforced with more and more propaganda.<br>　　</span>The&nbsp; performance to celebrate the launch of\n“Islanders’ Songs” in the Public Auditorium in 1940 is an example of cultural\npropaganda.<br></div><div>　　The so-called “Islanders’\nSongs” were not traditional folk songs in Taiwanese culture, but rather new\nsongs made to promote the war. After the outbreak of the war, many Taiwanese\npopular songs were adapted into Japanese war songs. For example, “Rainy Night Flower” was adapted into “Honorary\n Military Man” (誉れの軍夫), and “Longing for the Spring Breeze”\nwas changed into “The Mother Earth is Calling on You” (大地は招く). In order to meet the authorities' needs, the Taiwan\nBroadcasting Corporation (Taiwan Hōsō Kyōkai, THK) worked with the Culture and\nEducation Bureau of the colonial government to put out a call for people to\nsubmit their songs. It received more than 1,000 lyric submissions and selected\nfour of them, and invited composers to produce songs. On February 3rd, 1940, a\nbig concert was held for these songs: “The Sprouting Land” (芽ぐむ大地), “Song of Cutting Sugar Canes” (甘蔗刈りの歌), “Ode to Taiwan” (讃へんかな臺湾), and “From\nthe Southern Island” (南の島から).<br></div><div>　　According to news reports\nat the time, there were 3,000 people in the audience. The first half of the\nconcert was a performance of the four new songs by a choir accompanied by the\nTHK Orchestra. The second half was a sing-along session in which the conductor\nled the choir and the audience to sing together.<br></div><div>　　In the report of <i>Taiwan Daily News</i> (Taiwan nichi nichi\nshimpō, 臺灣日日新報)\nthere were two photos taken at the concert. The upper one shows the women’s\nchoir accompanied by the THK orchestra. The lower one shows the mass audience\nat the auditorium. What is striking to the eye is that most performers were\ndressed in kimonos and only very few wore western style outfits. The concert\nhad a Japanese patriotic atmosphere with very little Taiwanese characteristics,\nshowing how Taiwanese people were asked to comply with the war-time policies.\nThe teaching and sing-along session is also worth noting, for it shows an\nadditional purpose of the concert. It was not just an event of entertainment\nbut a cultural activity for propaganda purposes.<br></div>", "musicName": "無", "weight": 5, "musicText": "", "musicURL": "" }, "imgs-f230jxpgru": { "id": "imgs-f230jxpgru", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "0100e27a54931915679cae68baee34a1", "title": "《島民歌謠》第一輯，來自南方之島", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/50c4f78bde28ff5c34f13276a19e3bcf.jpg?itok=fRNdVNVh", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/50c4f78bde28ff5c34f13276a19e3bcf.jpg?itok=PUDC-hoJ", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/50c4f78bde28ff5c34f13276a19e3bcf.jpg?itok=JCpyrPGr", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/50c4f78bde28ff5c34f13276a19e3bcf.jpg?itok=drZUB6E8", "mfid": "50c4f78bde28ff5c34f13276a19e3bcf", "musicURL": "", "musicName": "", 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The songs became known to\nthe people thanks to THK’s live broadcast to the whole island. In order to\nextend the influence, a series of sheet music was launched soon after the\nconcert.<br></span><span>　　The first volume of the <i>Islanders’ Songs</i> is the sheet music\nof&nbsp; “From the Southern Island”. The\nlyricist was Arita Kougyuu, and the composer was Teng Yu-hsien, who was hailed\nas “Father of Taiwanese folk songs” at the time. It can be seen that the\nauthorities were consciously getting celebrities involved in the propaganda.<br></span>　　Based on the existing music\nscore, it is a tender and melodious song in triple meter, whereas the lyric is\nfull of fighting spirits, such as: “I hail, and pray, for great success on the\nbattleground,” “I will wait for your triumphant return”. 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"rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false, "level": "primary" }, "musicText": "", "musicURL": "", "desc": "<span><br>　　The “Aspiring Taiwanese\nYoung Artists” concert was another notable event of the Public Auditorium\nduring Japanese rule.<br></span><span>　　In November 1940, the first\n“Aspiring Taiwanese Young Artists” concert was launched by YMCA and assisted by\nthe Bureau of Culture and Education of the Government-General of Taiwan. It was\nmainly a Western/Classical music concert. All performers went through a\nrigorous selection process, among them there were Taiwanese young talents who\nhad studied in Japan as well as Japanese musicians based in Taiwan. The concert\nwas a demonstration of music education under colonial rule, and a stage for\nprominent Taiwanese musicians. Many of them became the backbone of musical\ncircles in Taiwan.<br></span>　　The authorities held a\nsecond and third concert in 1941 and 1942 the success of the first concert,. On\nthe surface, it was a series of concerts to encourage young musicians, but the\ninvolvement of Kominhokokai (Public Service Association of Imperial Subjects)\nhad changed the tone of it. Lu Chuan-Sheng once mentioned that “All performers\nhad to bow to the national flag when they came to and leave the stage.”\nMoreover, according to the existing program list, the finale of the third\nconcert is a sing-along of “Patriot March,” showing the combination of Japanization\npropaganda and cultural activities.&nbsp;<br>" }, "imgs-jjtsqyqe0a": { "id": "imgs-jjtsqyqe0a", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "2f9c86d563083be2e2c6568657447777", "title": "第三屆「全臺灣新人介紹音樂會」節目單", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/f70f24948171a6c3ed2597299d68c7c8.jpg?itok=ICS4gle9", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/f70f24948171a6c3ed2597299d68c7c8.jpg?itok=FBfoQfnk", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/f70f24948171a6c3ed2597299d68c7c8.jpg?itok=TMyfOPfC", "background": 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"fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false, "level": "primary" }, "musicText": "", "musicURL": "", "desc": "<br>　　Judging from the program\nlist of the third “Aspiring Taiwanese Young Artists” concert on November 4th,\n1942, the program included piano, violin, cello, organ, solo singing, ensemble,\nand choir performances. Among the performers, Taiwanese musicians include Chen\nSu-Ti, Weng Rongmao, Zhang Dengzhao,&nbsp; Li\nChunzhong, Chen Nuanyu, Zhou Xunkuan etc. All these musicians became\ninfluential figures in the development of music circles in Taiwan. Most\nimportantly, among the nine members of the composer committee, there was only\none Taiwanese composer: Li Jin-Tu. Shinzaburo Ichijo, who was Teng Yu-Hsien’s\nteacher, was also in the committee." }, "basic-cbwsf7wj24": { "id": "basic-cbwsf7wj24", "type": "basic", "sortable": true, "primaryObj": { "oid": "6465a25bbaa607df12095f84180de541", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/c155511951f0d8dbdf792811f40965a8.jpg?itok=SXZuNNfq", "level": "primary", "title": "西洋音樂鑑賞之夜新聞報導", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/c155511951f0d8dbdf792811f40965a8.jpg?itok=kCx2ILw8", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/c155511951f0d8dbdf792811f40965a8.jpg?itok=nQTayFxl", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/c155511951f0d8dbdf792811f40965a8.jpg?itok=6M27HBVR", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/c155511951f0d8dbdf792811f40965a8.jpg?itok=mELJBJQk", "mfid": "c155511951f0d8dbdf792811f40965a8", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "臺灣日日新報", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<br>　　Phonograph concerts were a\npopular activity during the Japanese colonial period. In this kind of “concert”\npeople come and listen to music played from a phonograph. The activity provides\nan opportunity for common people who want to know more about classical music.\nAs a result, such concerts have appeared more and more since the 1920s. On\nMarch 3rd 1937, there was a “Classical Music Appreciation Night” at the Public\nAuditorium. The music played that night included recordings of renowned\norchestras like Orchestre de Paris and Orchestra Sinfonica di Milano. Although\nphonograph concerts can not provide the visual effect that an orchestra can\nbring to the audience, they certainly open a channel for music appreciation and\neducation.", "musicName": "無", "weight": 9, "musicText": "", "musicURL": "" }, "basic-5q6f14busy": { "id": "basic-5q6f14busy", "type": "basic", "sortable": true, "primaryObj": { "oid": "1ed58266730426e6da0e7772b63e0a2d", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/dc28b7f4c210da8b57549f3e736607da.jpg?itok=QuNHm8pS", "level": "primary", "title": "柴田睦陸離臺演唱會新聞報導", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/dc28b7f4c210da8b57549f3e736607da.jpg?itok=cjcljUoI", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/dc28b7f4c210da8b57549f3e736607da.jpg?itok=2G0jpCWa", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/dc28b7f4c210da8b57549f3e736607da.jpg?itok=srdU_0Lj", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/dc28b7f4c210da8b57549f3e736607da.jpg?itok=PRDtfaMN", "mfid": "dc28b7f4c210da8b57549f3e736607da", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "民報", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<div><br>　　The coldness of war and politics only serves to highlight the warmth\nof culture and art. On August 15, 1945, when World War II ended, there were\nstill a large number of Japanese military and civilians who remained in Taiwan.\nIt wasn't until February 1946 that the Japanese government initiated a\nlarge-scale repatriation. During this period, cultural figures made a lot of\neffort to express their aspirations through art, and persisted in spreading\nbeautiful melodies amidst the chaos of post-war times.\n<br>　　Chibata Mutsumu was a successful musician who received education at\nthe Tokyo Music School in Japan. During World War II, he was stationed in\nTaiwan and personally experienced the impact of Japan's defeat, going from\nbeing a guest to a prisoner.\n\n<br>　　On January 21, 1946, Chibata resumed his professional\nidentity as a tenor and held a \"Farewell to Taiwan\" concert at\n“Zhongshan Hall\", which is the new name for the Public Auditorium. Apart\nfrom a small advertisement in the newspaper, we have little additional information\nabout this concert. It is imaginable that both the performers and the audience\nwere filled with a mixture of sorrow and joy, deeply moved by the changing\ntimes. The newspaper specifically labeled the venue as \"Zhongshan\nHall\" but also noted the distinct mark of political transition by\nincluding \"formerly known as the Taipei City Public Auditorium.\"<br></div>", "musicName": "無", "weight": 10, "musicText": "", "musicURL": "" }, "theme-szk0sinso0": { "id": "theme-szk0sinso0", "type": "theme", "sortable": true, "primaryObj": { "level": "primary", "oid": "27bf66e901da39e7e94ec95a8235ed62", "title": "樊曼儂與法國長笛名家朗帕爾合奏會節目單", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/ad17c21f985b8c444e2ed4043dae81f6.jpg?itok=qhyp1Kna", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/ad17c21f985b8c444e2ed4043dae81f6.jpg?itok=uGVDa1qI", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/ad17c21f985b8c444e2ed4043dae81f6.jpg?itok=govStyt7", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/ad17c21f985b8c444e2ed4043dae81f6.jpg?itok=neCTqbPc", "mfid": "ad17c21f985b8c444e2ed4043dae81f6", "musicURL": "", "musicName": "", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/ad17c21f985b8c444e2ed4043dae81f6.jpg?itok=cgMkn2nV", "fileType": "image", "fileCreator": "", "rights": "財團法人國際新象文教基金會", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "Classical Elegance", "desc": "請輸入頁面說明", "musicName": "無", "weight": 11, "musicText": "", "musicURL": "" }, "basic-uz8aewoz6y": { "id": "basic-uz8aewoz6y", "type": "basic", "sortable": true, "primaryObj": { "oid": "756ef4c425723eff200b99e3eac70ce6", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/350f451556fdc32289031d84ba9a17cd.jpg?itok=tlyJK8zb", "level": "primary", "title": "省交的第一場音樂會", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/350f451556fdc32289031d84ba9a17cd.jpg?itok=l5S8aiRV", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/350f451556fdc32289031d84ba9a17cd.jpg?itok=qnEWj7k9", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/350f451556fdc32289031d84ba9a17cd.jpg?itok=Up4ag6xs", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/350f451556fdc32289031d84ba9a17cd.jpg?itok=DsM9CZuX", "mfid": "350f451556fdc32289031d84ba9a17cd", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "國立傳統藝術中心（臺灣音樂館藏）", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<div><span><br>　　In August 1945, after the\nend of World War II, Cai Jikun, originally from Lukang, Taiwan, came to Taiwan\nfrom mainland China and was tasked with organizing the first public symphony\norchestra in Taiwan. On December 1st, the \"Taiwan Provincial Garrison Command\nSymphony Orchestra\" was established, which was the predecessor of the\nNational Taiwan Symphony Orchestra (NTSO). On December 15 and 16, the orchestra\nheld its first concert at the Taipei City Public Auditorium, conducted by Cai\nJikun. This was a significant milestone in the history of Taiwanese music.<br>　　</span>This public orchestra had a\nsize of nearly 200 members and was hailed as the largest symphony orchestra in\nEast Asia. Cai Jikun successfully organized it in just three months. One of the\nreasons for his success was his swift acquisition of support from local\nmusicians such as Li Jin-Tu and Lu Chuan-Sheng, allowing him to smoothly\nincorporate important music groups in Taiwan. 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The Chinese music\nsegment was performed by the renowned Chinese Orchestra of the Broadcasting\nCompany China (BCC), while the Western music was presented by the Taiwan\nProvincial Department of Education Symphony Orchestra (a new name of the Taiwan\nProvincial Garrison Command Symphony Orchestra after governmental\nreorganization). At this concert, Lu Chuan-sheng conducted the Taiwan Culture\nAssociation Choir. In addition, there were solo performances by vocalists Shen\nHsueh-yung, Liu Sai-Yun, and violinist Situ Hsing-cheng, all of whom were\nhighly acclaimed at the time.<br></span>　　Based on the repertoire,\nthere were more works by Chinese composers from the 1930s and 1940s, such as\nYuen Ren Chao's \"Going Up the Mountain\" and Huang Tzu's \"Family\nHarmony Song.\" There were also new compositions that expressed nostalgia\nfor the homeland and opposition to communism, such as Hwang Yau-tai's\n\"Love for the Motherland\" and Lee Chung-Ho's \"Love for the\nMountains and Rivers.\" Furthermore, Lu Chuan-Sheng presented his musical\nadaptation of the Tang poem \"Qingming.\" The concert's program was\nfilled with a strong Chinese cultural atmosphere, reflecting the\ncharacteristics of a transformative era in culture.<br>", "musicText": "", "musicURL": "" }, "imgs-32j76f5vy9": { "id": "imgs-32j76f5vy9", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": 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He issued an order for the National Assembly to adjourn for three days, which was a rare instance of politics making way for arts and culture.<br></div><div>　　The visit of the Boston Symphony Orchestra was astonishing. The entire orchestra consisted of 115 members, bringing 80 large boxes of instruments. The conductor for the concerts was the prominent Charles Munch. 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The newspapers provided detailed coverage for consecutive days, and the BCC broadcasted the event live. After the first performance, the applause from the audience was continuous, and the conductor took eleven bows during the curtain call. They performed three encore pieces. Jer-shung Lin, the founder of \"New Tide Library,\" recalled that he traveled for seven hours to Taipei on the train and bought scalped tickets at more than triple the original price. However, he was completely satisfied, describing it as \"buying two hours of heavenly life\" and feeling that his \"soul had soared to the heavens.\"</div><div>　　The Ministry of Education and Ministry of Foreign Affairs of the Republic of China hosted a banquet to welcome this far-traveled orchestra. Twelve tables were set at the Taipei Guest House, and the documents from that year are still preserved. Among the documents is a list of the main members of the orchestra, including conductor Charles Munch and eight others. One guest conductor named \"Aeron Copland\" is mentioned, who is none other than Aaron Copland, recognized as one of America's most important classical music composers. It turns out he had also visited Taiwan, indicating the high caliber of this event.<br></div><div>　　With such a renowned orchestra, the cost of an international tour must be astronomical. Even if Zhongshan Hall had sold out for two days, it would still not be enough to cover the expenses. So, who footed the bill for this concert? It was actually the United States' \"Presidential International Cultural Exchange Program.\" During the Cold War era, the US State Department dispatched various cultural and artistic groups to perform in friendly countries as part of its public diplomacy efforts. The tickets for the Boston Symphony Orchestra concert clearly stated that they were commissioned by the \"US Information Service entrusted to Far Eastern Artists Management.\" It shows that the event was organized by the United States as a way to expand its cultural influence in the world. 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This all-boys choir captivates the world with their angelic voices. In 1961, the Vienna Boys' Choir was invited by the Far Eastern Artists Management and made their first visit to Taiwan with a group of twenty-six members. From December 3rd, they held concerts at Zhongshan Hall for four consecutive days. Since then, the choir has made multiple visits to Taiwan, always performing at Zhongshan Hall, leaving many music lovers with beautiful memories.</div><div>　　The Vienna Boys' Choir is not only a choir but also a national treasure of Austria. It represents the essence of European classical music culture spanning hundreds of years. Notable musicians such as Mozart, Haydn, and Schubert were once members of this choir. When the choir first visited Taiwan, the young singers dressed in sailor uniforms, with blonde hair and blue eyes, their heavenly voices amazed Taiwanese music fans. After the concert the film “When the Bells Sound Clearly” was quickly introduced and released because it features singing scenes of the Vienna Boys’ Choir. The advertisements emphasized that “those who couldn't attend the concert in person would be able to compensate themselves by watching this movie.”<br></div><div>　　During the Vienna Boys' Choir's first visit, an unexpected incident occurred. After the performance, the organizer was taking attendance (or making a roll call) backstage and realized that one member was missing! These members were only eleven or twelve years old, and the consequences of their disappearance would be unimaginable. As everyone anxiously searched for the missing member, a member of the audience suddenly came in, carrying the child. It turned out to be a spectator who found the \"blonde doll (or Barbie doll)\" fascinating and took the child back home to show their mother! The organizer was furious, but fortunately, no harm came to the child. From then on, Zhongshan Hall implemented strict backstage regulations.<br></div><div>　　The image provided shows the program booklet of the Vienna Boys' Choir's performance in Taiwan in March 1964. The program was divided into three sections. The first part consisted of religious songs, the second part featured a one-act opera composed by Offenbach, and the third part included more familiar art songs such as Schubert's \"Serenade\" and \"Nightingale.\" During the encore, they also performed Austrian folk songs and the well-known \"The Blue Danube,\" showcasing a program that catered to both refined and popular tastes.<br></div>", "musicText": "", "musicURL": "" }, "imgs-yizpsje9uz": { "id": "imgs-yizpsje9uz", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "0b4121a57f8bd606658a37b0613cb893", "title": "張繼高", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/39a6fd7405562f3b305e98778340e394.jpg?itok=hW36hqaS", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/39a6fd7405562f3b305e98778340e394.jpg?itok=ybIikmHD", "thumbBigURI": 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"rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false, "level": "primary" }, "desc": "<div><br>　　On February 23, 1961, Japanese pianist Azusa Fujita came to Taiwan to hold a \"pre-wedding piano solo concert\" at Zhongshan Hall. How could a Japanese pianist have a pre-wedding concert in Taiwan? There is a romantic story behind it.</div><div>　　Azusa Fujita was a talented and beautiful pianist. After graduating from the Osaka College of Music, she went to Munich, Germany, for further studies. She performed in numerous concerts in Europe and garnered great acclaim, earning the title of \"Japanese musical treasure of the piano.\" In 1960, she came to Taiwan for her first performance, focusing on Chopin's repertoire, which was greatly loved by music enthusiasts. Renowned Taiwanese musician Deng Chang-guo wrote a music review for her, expressing his admiration.<br></div><div>　　Deng Chang-guo specialized in the violin and was an outstanding talent recruited by the government from Europe. At that time, he served as the director of the National Institute of Music and the director of the National Center of Arts. Despite his high position, he was a man who was not thirty yet, who was very handsome and gentle. When Azusa Fujita came to Taiwan, he took special care of her upon the request of a friend, and the two fell in love at first sight, thus beginning their own love story. In an era without online social networks, they had to communicate through letters as they lived apart in Taiwan and Japan. Nearly 200 letters exchanged over the course of a year witnessed their maturing love. They decided to get married on February 26, 1961, and thus the pre-wedding concert at Zhongshan Hall on February 23rd came to be.<br></div><div>　　This was an extraordinary concert, with Azusa Fujita's photo featured on the cover of the program, exuding the charm of a modest and elegant bride. The repertoire was more substantial compared to the previous year's concert, including works by classical composers such as Mozart and Beethoven, Romantic composers like Chopin and Liszt, Nationalist composer such as Bartók, and modern American composers like Gershwin, who fused jazz, blues, and classical elements. Just as a newlywed bride strives to make an impression in her husband's family, this exceptional pianist showcased her extraordinary talent to the audience in Taiwan on the eve of her marriage.<br></div><div>　　After her marriage, Azusa Fujita settled in Taiwan and worked together with Deng Chang-guo to promote music education in Taiwan. This is not only a beautiful love story of music but also a tale of their fruitful collaboration, nurturing numerous talented individuals and contributing to a memorable chapter in Taiwan's music history.<br></div>", "musicText": "", "musicURL": "" }, "basic-gpys7ei4ox": { "id": "basic-gpys7ei4ox", "type": "basic", "sortable": true, "primaryObj": { "oid": "a93b377dfe639ce4a572ed7a958b0c11", "fileType": "video", "fileURI": "https://openmuseum.tw/muse_download/38bcc5cd12203b2ef5e886d668c507c1", "level": "primary", "title": "音樂家馬思聰教授返國演奏影片", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/externals/fa4524ee8b2e2ae1de89be68aa66c278.jpg?itok=2cc4Vxba", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/styles/thumbnail_medium/public/externals/fa4524ee8b2e2ae1de89be68aa66c278.jpg?itok=eN_4ITzH", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/styles/thumbnail_big/public/externals/fa4524ee8b2e2ae1de89be68aa66c278.jpg?itok=hCQkm4Cm", "background": "https://openmuseum.tw/files/muse_portal/styles/w1920/public/externals/fa4524ee8b2e2ae1de89be68aa66c278.jpg?itok=L2k8JuW0", "mfid": "38bcc5cd12203b2ef5e886d668c507c1", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "國家電影及視聽文化中心", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "著作權利所有-僅能瀏覽", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<div><br>　　Ma Sicong (1912-1987) was a renowned violinist and composer who had studied in France. His composition \"Song of Longing for Home\" (composed in 1937) became widely popular. During the Cultural Revolution, he was persecuted and fled to the United States. In April 1968, Ma Sicong came to Taiwan with the status of an \"anti-communist musician\" and \"anti-communist hero.\" On April 8th and 9th, he performed at Zhongshan Hall for two consecutive days, receiving a grand welcome from various sectors. The media went crazy reporting on his activities, with news headlines like \"Ma Sicong's Daily Activities\" documenting his daily life in great detail. Due to the high media coverage, a lot of news footage of his performances at Zhongshan Hall was captured, and we can still watch clips of Ma Sicong's performances to this day.</div><div>　　In fact, Ma Sicong was invited to Taiwan before in 1946. On the evening of October 10th, 1946, during the Double Tenth National Day celebration, he conducted the Executive Yuan Symphony Orchestra at the Zhongshan Hall in Taipei. Twenty-two years later, once again at Zhongshan Hall, Ma Sicong found himself in exile far away from his homeland. Newspapers described his experiences as \"having endured many vicissitudes.\" Among the repertoire, the \"Song of Longing for Home\" was undoubtedly the piece that evoked the most profound emotions in him.<br></div>", "musicName": "無", "weight": 21, "musicText": "", "musicURL": "" }, "imgs-16et59peju": { "id": "imgs-16et59peju", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "610797690fd79b3b580370cecbb24976", "title": "《馬思聰小提琴獨奏集》CD封面與封底", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/3271baa9c357b8d40cce838569e6c39f.jpg?itok=_yr3hqWL", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/3271baa9c357b8d40cce838569e6c39f.jpg?itok=VB8WqLI1", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/3271baa9c357b8d40cce838569e6c39f.jpg?itok=68wGUBr9", "background": 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"fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false, "level": "primary" }, "desc": "<br>　　Despite a packed schedule,\nMa Sicong managed to find time to record an album in the recording studio. This\nalbum, titled \"Ma Sicong Violin Solo Collection,\" was released in May\n1968 by Four Seas Records. The repertoire consists of compositions by Ma\nSicong, including \"Tibetan Musical Poems\" (composed in 1941),\n\"Inner Mongolia Suite,\" and \"Pastoral\" (composed in 1944).\nThe second movement of the \"Inner Mongolia Suite\" is none other than\nthe famous \"Song of Longing for Home.\"", "musicText": "", "musicURL": "" }, "basic-d3gikgz651": { "id": "basic-d3gikgz651", "type": "basic", "sortable": true, "primaryObj": { "oid": "082021f1a47e8ab2d33f9809c0985ca0", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/65585bfce4b45d698a05e60b22b7addd.jpg?itok=x6MWogvh", "level": "primary", "title": "胡適題詞", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/65585bfce4b45d698a05e60b22b7addd.jpg?itok=pFS_HxlC", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/65585bfce4b45d698a05e60b22b7addd.jpg?itok=fBqc7yJc", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/65585bfce4b45d698a05e60b22b7addd.jpg?itok=NOnttFkc", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/65585bfce4b45d698a05e60b22b7addd.jpg?itok=6viFbt0E", "mfid": "65585bfce4b45d698a05e60b22b7addd", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "沈冬", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<div><br>　　Bao-Chen Lee&nbsp; (1907-1979) came from a missionary family in China. He graduated from Yenching University and studied at Oberlin College in the United States. He was a renowned music educator who had a special affinity for choral music. In May 1935, he organized the first outdoor mass chorus in China, with over 600 participants performing in front of the Hall of Supreme Harmony in the Forbidden City. In 1941, he planned the \"Thousand-Person Chorus\" in Chongqing. He later settled in the United States but returned to Taiwan periodically to guide choral performances.</div><div>　　On January 31, 1959, Bao-Chen Lee conducted five choirs in a joint performance at Zhongshan Hall. The most notable pieces in the repertoire were \"Going Up the Mountain\" composed by Yuen Ren Chao with lyrics by Hu Shih, and \"Sea Rhyme\" composed by Yuen Ren Chao with lyrics by Xu Zhimo. At that time, Yuen Ren Chao had returned to China for academic lectures, and Hu Shih was the president of Academia Sinica. Both of them were present to personally listen to the performance, and these two songs naturally became the highlights of the evening.<br></div><div>　　\"Going Up the Mountain'' and \"Sea Rhyme\" were originally written as forms of vernacular poetry. Yuen Ren Chao adapted them into art songs, representing the fusion of the new literary genre (vernacular poetry) and the new musical form (art songs). Bao-Chen Lee further arranged them into a mixed four-part chorus, enhancing their artistic expressiveness. Hu Shih, after listening to the concert, was delighted and wrote an inscription for Bao-Chen Lee, \"Tomorrow morning, run up to the highest peak to witness the sunrise,\" which is a line from \"Going Up the Mountain.\" He also praised the performance of the five choirs that evening under Bao-Chen's conducting, saying, \"In Bao-Chen's conducting and in the chorus of 300 young people, there is a very moving power.\" Minister of Education Mei Yi-chi also inscribed, expressing a similar sentiment. 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matter, later recalled that they went through more than ten\ndiscussions, attempting to design a performance that would integrate different\nart forms such as poetry, music, painting, and dance. They were a group of the\nmost outstanding young people in the art scene at that time. They were vibrant,\nfilled with dreams, and when they gathered together, inspiration sparked and\nexcitement filled the air. That radiance and joy were a precious moment in the\nhistory of Taiwan's artistic and cultural development.<br></span>　　This excerpt from the\nconcert programme shows the creative ideas of six artists, allowing us to sense\ntheir irresistible desire for innovation and breakthroughs.<br></div><div>　　The eminent musician Hsu\nTsang-Houei wrote a foreword stating, \"Their attempts pave the way for\nfuture music, provide new materials, and become the driving force behind\nartistic evolution.\"<br></div><div>　　Although we can no longer\nsee or hear this performance, from a program booklet, we can still discern that\nthe performance format and orchestra configuration were extremely complex. In\naddition to poetry, dance, and music, there was also lighting, stage sets, and\nrecordings. Considering the production capabilities of that era's concerts, one\ncan imagine that the work of the producers and stage directors must have been\narduous and demanding. It was a performance that required tremendous effort and\na united spirit.<br></div><div><span>　　Hsu Po-yun said that this\nperformance received enthusiastic acclaim and garnered extensive media\ncoverage. Wai-lim Yip sent the composition “Release (<i>fang</i>),” co-composed by Li Tai-hsiang and Hsu Po-yun, to the\nDepartment of Music at the University of California, San Diego. Surprisingly,\nthe university immediately offered a one-year research scholarship. 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The majority of the opera performances at\nZhongshan Hall were Peking opera, with occasional performances of Taiwanese\nOpera or other regional opera styles. On December 23, 1949, Zhongshan Hall\nscreened a film titled \"Songs of Ancient China\" featuring renowned\nPeking opera performer Gu Zhengqiu, presenting a theatrical performance in a\ncinematic format.<br></span><span>　　Zhongshan Hall did not have\nregular opera performances. The well-known \"Gu Opera Troupe,\" led by\nKu Cheng-chiu, primarily performed at the Yongle Theater for commercial shows.\nThey would only appear at Zhongshan Hall for special occasions and charity\nperformances, such as the \"One <i>Yuan </i>Fundraising\nCampaign\" in 1951. 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The event\nwas organized by the Sino-American Cultural and Economic Association and was\nattended by diplomats and their families from various countries, as well as\ngovernment officials from Taiwan. 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Influenced by Western music, Chinese music adopted an orchestral\narrangement similar to that of a Western symphony orchestra. It incorporated\ncomposition techniques such as harmony and counterpoint, giving rise to a new\nform of ensemble music and introducing a new style of music and aesthetics.\nChinese music was introduced to Taiwan after World War II, and has since become\none of the main genres of music in Taiwan.<br></div><div>　　On December 12, 1946, Cheng\nZengyou and Cheng Hui, who were siblings, performed the <i>pipa</i>, <i>erhu</i>, and <i>guqin </i>(all traditional Chinese\ninstruments) at the Zhongshan Hall, which was the beginning of Chinese music in\nTaiwan. Their father Zheng Yingsun had a highly renowned student named Liang\nTsai-Ping, known as the \"Father of Guzheng in Taiwan.\" This indicates\nthe rich musical heritage and mastery of various instruments by the Zheng\nsiblings. 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The Taiwan Provincial Exposition Handbook records\nthe report of this concert, showing that the purpose of this orchestra's long\njourney was to introduce the modern Chinese Orchestra to the people of Taiwan.\nMedia reports stated that the audience was crowded, and the event was\nunprecedented, indicating that it had a successful outcome.<br></span>　　According to recently\ndiscovered program notes, performances over the three days included popular\nChinese music pieces such as \"Spiritual Mountain and Sanskrit Chants\"\nand \"Spring Flowers on Moonlit River.\" There were also newly composed\nensemble pieces like the \"Taiwan Suite\" and the \"Overture of New\nChina.\" Solo performances featured the <i>pipa\n</i>piece \"Ambush on All Sides\" and the <i>erhu </i>solo \"Flickering Candle Shadows.\" This was the first\ncomplete showcase of Chinese music in Taiwan, and since then, it has flourished\nand developed. Tracing back to this performance in 1948, we can see the origins\nand the thriving development of Chinese music in Taiwan.<br></div>", "musicText": "", "musicURL": "" }, "basic-5xcynbza8h": { "id": "basic-5xcynbza8h", "type": "basic", "sortable": true, "primaryObj": { "oid": "6c185d28b5c9a291d7c550492c375855", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/94c125e2ece9db21490edabf0e5f2f81.jpg?itok=gBFgzz4C", "level": "primary", "title": "韓國國樂院訪華公演", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/94c125e2ece9db21490edabf0e5f2f81.jpg?itok=B8tuzSEk", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/94c125e2ece9db21490edabf0e5f2f81.jpg?itok=yfMKmczp", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/94c125e2ece9db21490edabf0e5f2f81.jpg?itok=Zk5_m9GZ", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/94c125e2ece9db21490edabf0e5f2f81.jpg?itok=8JIeV8YZ", "mfid": "94c125e2ece9db21490edabf0e5f2f81", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "國家電影及視聽文化中心", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<br>　　The traditional music that\nappeared in Zhongshan Hall was not limited to Chinese music. On September 22,\n1967, the first performance by the Korean National Gugak Center took place in\nTaiwan. All male and female members of the ensemble were dressed in traditional\nKorean attire, performing ancient Korean music with traditional instruments.\nThey sang elegant ancient melodies and folk songs, and also showcased\ntraditional Korean ethnic dances, leaving a beautiful impression reminiscent of\nthe ancient times.", "musicName": "無", "weight": 35, "musicText": "", "musicURL": "" }, "basic-g6b37k5hw9": { "id": "basic-g6b37k5hw9", "type": "basic", "sortable": true, "primaryObj": { "oid": "371023d5e58e9cfe61e3f5eb3fef164d", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/3f5f1c152f97926df335c314cf8b78a7.jpg?itok=6yoIr9Wb", "level": "primary", "title": "臺北市立國樂團於中山堂表演照片", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/3f5f1c152f97926df335c314cf8b78a7.jpg?itok=CzTQKU7j", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/3f5f1c152f97926df335c314cf8b78a7.jpg?itok=zd_K7JUC", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/3f5f1c152f97926df335c314cf8b78a7.jpg?itok=aKWGUvVz", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/3f5f1c152f97926df335c314cf8b78a7.jpg?itok=-qNsTnyi", "mfid": "3f5f1c152f97926df335c314cf8b78a7", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "臺北市立國樂團", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<br>　　In December 2001, after\nundergoing renovations, Zhongshan Hall reopened, and the Taipei Chinese\nOrchestra officially moved in. The Taipei Chinese Orchestra is the first public\nChinese orchestra in Taiwan. In addition to the main orchestra, it also has\naffiliated groups such as the Academy Orchestra, Civic Orchestra, Youth\nOrchestra, and Teacher's Orchestra. Every year, they organize the \"Taipei\nTraditional Arts Festival,\" which not only transforms Zhongshan Hall into\na traditional arts performance center filled with ceaseless melodious music,\nbut also becomes an important base for enthusiasts and learners of Chinese\nmusic. Up until the Taipei Chinese Orchestra moved out of Zhongshan Hall,\nwithin a span of ten years, they held thousands of concerts there.", "musicName": "無", "weight": 36, "musicText": "", "musicURL": "" }, "imgs-s5pwl48b6s": { "id": "imgs-s5pwl48b6s", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "371023d5e58e9cfe61e3f5eb3fef164d", "title": "臺北市立國樂團於中山堂表演照片", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/3faf4f8987a38c0004a432b10c0c891c.jpg?itok=PK-WLLu4", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/3faf4f8987a38c0004a432b10c0c891c.jpg?itok=TCFHsKiz", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/3faf4f8987a38c0004a432b10c0c891c.jpg?itok=JKstCSmj", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/3faf4f8987a38c0004a432b10c0c891c.jpg?itok=sOz8JsR5", "mfid": "3faf4f8987a38c0004a432b10c0c891c", 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This set of bells consists\nof three layers in an L-shaped configuration, totaling sixty-four bells, with\nan additional clapper. The pitch range spans five octaves, and each bell can\nproduce a major or minor third interval when struck. This musical instrument\npossesses a high degree of musicality and intricate casting craftsmanship,\nearning admiration from people around the world. The Council for Cultural\nAffairs purchased a replica set from mainland China and entrusted it to the\nTaipei Chinese Orchestra for performance and management, using it in actual\nperformances instead of merely preserving it. The Taipei Chinese Orchestra made\na slight modification by straightening the L-shaped bell stand and displaying\nit on the stage of Zhongshan Hall, becoming the background for all\nperformances. At that time, Wong Cheng-Ping, the conductor of the Taipei\nChinese Orchestra, proudly said, \"Pipe organs can be found on stages all\nover the world, but only Zhongshan Hall has Chinese chime bells.\"", "musicText": "", "musicURL": "" }, "basic-cfztuobmdl": { "id": "basic-cfztuobmdl", "type": "basic", "sortable": true, "primaryObj": { "oid": "16c5ec333e8c6a50520175e47bc39f8e", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/64e4f78d56ad96536a0118af00e79fc3.jpg?itok=Bgr349It", "level": "primary", "title": "臺北市立國樂團所藏編鐘照片", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/64e4f78d56ad96536a0118af00e79fc3.jpg?itok=9Kxo7DXG", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/64e4f78d56ad96536a0118af00e79fc3.jpg?itok=bD4PdaAI", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/64e4f78d56ad96536a0118af00e79fc3.jpg?itok=5-PiNPCJ", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/64e4f78d56ad96536a0118af00e79fc3.jpg?itok=FzGnuwTA", "mfid": "64e4f78d56ad96536a0118af00e79fc3", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "臺北市立國樂團", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<br>　　In May 2015, as this set of\nchime bells was retiring after a successful career, Zhongshan Hall specially\ninvited a musician from the Taipei Chinese Orchestra to teach volunteers\npercussion techniques for striking the bells. 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"title": "鼓霸大樂隊表演照片", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/8e356864de2318b072c45d705f47957c.jpg?itok=Vc3m-pKp", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/8e356864de2318b072c45d705f47957c.jpg?itok=3gQ3FxdD", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/8e356864de2318b072c45d705f47957c.jpg?itok=gZ3hKQYE", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/8e356864de2318b072c45d705f47957c.jpg?itok=LcPIO6rU", "mfid": "8e356864de2318b072c45d705f47957c", "musicURL": "", "musicName": "", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/8e356864de2318b072c45d705f47957c.jpg?itok=0vfijR2s", "fileType": "image", "fileCreator": "", "rights": "國賓鼓霸樂隊", "rightsLogo": 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There is no shortage of variety,\nranging from social club gatherings to professional group performances.<br></span>　　The Kupa Orchestra is\nTaiwan's first standard 18-member jazz band, established in 1954 and still\nactive to this day. Since its establishment, the Kupa Orchestra has frequently\nheld concerts at Chung Shan Hall.<br></div>", "musicText": "", "musicURL": "" }, "basic-3sgfe35fp3": { "id": "basic-3sgfe35fp3", "type": "basic", "sortable": true, "primaryObj": { "oid": "29c5ab107f26fc55cf85fdcca1bcbdab", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/2d93cf9616a30e20f969e0232a216af6.jpg?itok=k3AgKlra", "level": "primary", "title": "鼓霸樂隊與紀露霞", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/2d93cf9616a30e20f969e0232a216af6.jpg?itok=zO3MbvVF", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/2d93cf9616a30e20f969e0232a216af6.jpg?itok=N4Rxesr1", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/2d93cf9616a30e20f969e0232a216af6.jpg?itok=6eVp56Te", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/2d93cf9616a30e20f969e0232a216af6.jpg?itok=O1JUmVuX", "mfid": "2d93cf9616a30e20f969e0232a216af6", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "國賓鼓霸樂隊", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<br>　　On May 9, 1958, the Taipei\nCity Government organized the first \"Taiwan Song Singing Contest\" at\nZhongshan Hall, in order to \"promote legitimate entertainment and\ncelebrate Mother's Day.\" This event garnered significant attention. Lü Su-shang\neven wrote a special article titled \"A National Voice that Still Requires\nEffort - Thoughts on the Taiwan Song Singing Contest\" in the newspaper,\ndescribing and commenting on the content of the concert. The first part of the\nconcert featured the Kupa Orchestra, and the photo shows Chi Lu-Hsia performing\nwith accompaniment from the Kupa Orchestra. This photo preserves a precious\nimage from the concert.", "musicName": "無", "weight": 41, "musicText": "", "musicURL": "" }, "basic-6hw9g2flmm": { "id": "basic-6hw9g2flmm", "type": "basic", "sortable": true, "primaryObj": { "oid": "ab3bb67d3e89c4ed146b323979fb8a2e", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/6b24741b61148d35c06d8d417d3ba201.jpg?itok=VjRyhLji", "level": "primary", "title": "許石照", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/6b24741b61148d35c06d8d417d3ba201.jpg?itok=DfVIjyIE", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/6b24741b61148d35c06d8d417d3ba201.jpg?itok=cs-YNVcS", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/6b24741b61148d35c06d8d417d3ba201.jpg?itok=LMKwbXZY", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/6b24741b61148d35c06d8d417d3ba201.jpg?itok=R5tvDwmD", "mfid": "6b24741b61148d35c06d8d417d3ba201", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "許朝欽", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<div><br>　　In the popular songs performed at Zhongshan Hall, Hsu Shi's concerts are worth mentioning. Hsu Shi (1919-1980) studied in Japan, majoring in music. After returning to Taiwan in 1946, he composed \"Night at the Capital in the South,\" which was known as \"the first and most popular song after the liberation of Taiwan.\" In 1951, he composed \"Anping Reminisce\" and in 1955, \"When the Gong Sounds,\" both of which became his famous works.</div><div>　　Hsu Shi had a strong sense of mission towards Taiwanese folk songs. In addition to creating and performing popular songs, he actively collected folk songs from various regions, organized and promoted them, and dedicated his efforts to compose the \"Taiwan Folk Symphony\" which premiered in 1964. He also explored indigenous music and participated in indigenous song and dance performances in Wulai.<br></div><div>　　Furthermore, he established \"King Records,\" organized a music band, recorded Taiwanese folk songs composed and arranged by him, and formed the \"Hsu Family Chinese Folk Choir\" with his five daughters to perform tours domestically and internationally. Undoubtedly, Hsu Shi was a musician with ideals, creativity, and a deep love for folk songs. He operated his music career with versatile commercial methods, including composition, arrangement, teaching, performance, organizing orchestras, collecting folk songs, recording albums, and managing a record company. 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Hsu Shi\nwas dressed in a sleek white suit, standing in front of a microphone, singing\nand keeping the beat. His signature can be seen on the white suit, designed\nwith musical staffs and treble clefs, demonstrating his passion for music.</div></div>", "musicName": "無", "weight": 43, "musicText": "", "musicURL": "" }, "imgs-723zr8ewcq": { "id": "imgs-723zr8ewcq", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "8377c338f9b1a119f900d79e843a19d1", "title": "許石作曲20週年紀念特刊臺灣鄉土民謠作曲發表會歌曲集", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/02adc41a9f3ce18ed3ddc437a1de1ef2.jpg?itok=nSCTKZ3t", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/02adc41a9f3ce18ed3ddc437a1de1ef2.jpg?itok=ij0cehsg", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/02adc41a9f3ce18ed3ddc437a1de1ef2.jpg?itok=lDuHkyXy", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/02adc41a9f3ce18ed3ddc437a1de1ef2.jpg?itok=ez2F6y9y", "mfid": 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traditional instruments, they are actually\nequivalent to Western electric bass and electric guitar. These two instruments\ndemonstrate Hsu Shi's boundless creativity in musical expression.</span>", "musicText": "", "musicURL": "" }, "theme-62vi2ib941": { "id": "theme-62vi2ib941", "type": "theme", "sortable": true, "primaryObj": { "oid": "d63cea0a93d3cd128a1021c3646e2d2b", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/13d889e10c88f9f3e9f83a3d0b5e1301.jpg?itok=z9oJgoFJ", "level": "primary", "title": "蕃社姑娘曲譜", "desc": "蕃社姑娘曲譜，原稿目前由鄧氏家屬保存收藏中，作品發表會在1938年發表於臺北公會堂（今臺北中山堂）。(含照片)", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/13d889e10c88f9f3e9f83a3d0b5e1301.jpg?itok=loHNUhob", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/13d889e10c88f9f3e9f83a3d0b5e1301.jpg?itok=CZpirzkp", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/13d889e10c88f9f3e9f83a3d0b5e1301.jpg?itok=EgN-DNVd", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/13d889e10c88f9f3e9f83a3d0b5e1301.jpg?itok=GfBnf6X2", "mfid": "13d889e10c88f9f3e9f83a3d0b5e1301", "musicURL": "", "musicName": "", "fileCreator": "唐崎夜雨", "rights": "鄧泰超", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false }, "title": "The Six Songs of Zhongshan Hall", "desc": "Over the past decades,\nthere have been countless songs performed at Zhongshan Hall. Upon closer\nexamination of the songs that premiered at Zhongshan Hall, there are six\nremarkable songs that not only represent significant musical works but also\nappeared at crucial moments in history, effectively reflecting the changes of\nthe era in Taiwan. 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"https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/dc10ad2a5b6ec3f505e14ff7a9753855.jpg?itok=js5tAguQ", "mfid": "dc10ad2a5b6ec3f505e14ff7a9753855", "musicURL": "", "musicName": "", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/dc10ad2a5b6ec3f505e14ff7a9753855.jpg?itok=62qyjm_N", "fileType": "image", "fileCreator": "", "rights": "臺灣日日新報", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false, "level": "primary" }, "desc": "<div><br>　　\"Girl from the Indigenous Village\" is the first song that premiered at Zhongshan Hall and carries significant historical significance.</div><div>　　On July 26, 1939, Japanese singer Satsuka Sawa held a concert at the Taipei City Public Auditorium. In newspaper reports it was stated she \"returned to her homeland in brocade attire\" because this singer, who had a Japanese name, was actually from Puli Township in Nantou County, Taiwan: Her father was a Japanese police officer, and her mother was the daughter of a Tayal tribal chief. Because her father died in the Wushe Incident, she received widespread attention from society and was known as the \"Wushe Incident Orphan.\"<br></div><div>　　Satsuka Sawa later became a singer for Columbia Records. Her vocal abilities were recognized by composer Teng Yu-hsien, who re-adapted the song originally titled \"Sadness at Nightfall\" into \"Girl from the Indigenous Village\" specifically for her. The song was released on a record by Columbia Records in 1939, with lyrics by Kurihara Hakuya and composed by Karasakino Yau, which is Teng Yu-hsien's Japanese name.<br></div><div>　　On July 25 and 26, 1939, \"Girl from the Indigenous Village\" premiered at the Taipei City Public Auditorium, with composer Teng Yu-hsien and his family in the audience. The song became popular immediately upon its release, and Satsuko was also known as the \"Fateful Songstress.\"<br></div><div>　　The lyricist of \"Girl from the Indigenous Village,\" Kurihara Hakuya, drew inspiration from Satsuko's mother's indigenous background. He described the indigenous girl as follows: \"The sincere heart of the tribal girl is like the red agate on her headdress. The love song that ignites in her heart sets the rhythm for her dancing feet. Even a girl who grows up deep in the mountains will experience the troubles of love.\" The lyrics are pure and romantic. However, behind the beautiful and passionate indigenous girl lies the hidden resentment and entanglement accumulated over the course of history.<br></div><div>　　The Wushe Incident that led to the death of Satsuka Sawa’s father occurred in 1930 when indigenous people, unable to tolerate the colonial government's assimilation policies, rose up in rebellion. The leader, Mona Rudo, committed suicide, and the Japanese brutally suppressed the indigenous people, particularly the Seediq. It was a confrontation of two cultures and the clash of the world where Satuska Sawa was in, resulting in the severed heads of Seediq people and the bloodshed of the Japanese. The innocence and romance of \"Girl from the Indigenous Village\" are only superficial, concealing the contradictions and unrest within Taiwanese society during Japanese colonial rule. The beautiful singing in the Taipei City Public Auditorium reflects the immense contradictions and pain of the era.<br></div><div>　　\"Girl from the Indigenous Village\" was later adapted by Chou Lan-Ping into two songs: \"An 18-Year-Old Flower\" and \"I Am a Mountain Girl\". \"An 18-Year-Old Flower” was performed by Liu Yun and became popular throughout the Chinese-speaking world. The underlying historical tragedy of the original song can no longer be heard.<br><br></div>", "musicText": "", "musicURL": "" }, "embed_html-11tzgxwst8": { "id": "embed_html-11tzgxwst8", "type": "embed_html", "sortable": true, "weight": 50, "embed_html": "<!DOCTYPE html>\n<html lang=\"zh-TW\">\n<head>\n <meta charset=\"UTF-8\">\n <meta name=\"viewport\" content=\"width=device-width, initial-scale=1.0\">\n <style>\n img {\n width: 120%;\n }\n </style>\n</head>\n<body>\n <img src=\"https://images.plurk.com/487yoXc1Yh6VQlE20mzgYe.png\">\n</body>\n</html>" }, "text-vtapt3y00g": { "id": "text-vtapt3y00g", "type": "text", "sortable": true, "musicName": "無", "weight": 51, "desc": "<div><br></div><div>　　“Maiden of Ali Shan\" is the second song that premiered at Zhongshan Hall and carries significant historical significance.</div><div>　　This song is a theme song from the film \"Happenings in Ali Shan.\" The lyrics were written by Deng Yuping, composed by Chang Cheh, and arranged and harmonized by Chou Lan-Ping. The appearance of \"“Maiden of Ali Shan\" was actually accidental. According to the director of \"Happenings in Ali Shan,\" Chang Ying, when the film was almost completed, the female lead Wu Ching-Hung complained that she didn't have a song in the film. As a result, the producer Hsu Hsin-Fu asked the director to add a song. \"Chang Cheh, Shen Chiang, and I went to a forest in Beitou and found a place with a waterfall to film a singing scene...Chang Cheh hummed a bit and said it was done.\"</div>" }, "highlight_basic-19mzdgt2i0": { "id": "highlight_basic-19mzdgt2i0", "type": "highlight_basic", "sortable": true, "primaryObj": { "oid": "06e89be8a8373d1ae073cbf1e6068968", "fileType": "video", "fileURI": "https://openmuseum.tw/muse_download/9c332663b3687edb749bbc5ce39c08f6", "level": "primary", "title": "電影《阿里山風雲》剪輯片段", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/externals/c0addc290d49e66d4905fab2533ca5cf.jpg?itok=wGbrzyPa", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/styles/thumbnail_medium/public/externals/c0addc290d49e66d4905fab2533ca5cf.jpg?itok=ALHQ-KLi", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/styles/thumbnail_big/public/externals/c0addc290d49e66d4905fab2533ca5cf.jpg?itok=6Fi0bLM0", "background": "https://openmuseum.tw/files/muse_portal/styles/w1920/public/externals/c0addc290d49e66d4905fab2533ca5cf.jpg?itok=CMj3Hvq9", "mfid": "9c332663b3687edb749bbc5ce39c08f6", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "國家電影及視聽文化中心", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "著作權利所有-僅能瀏覽", "fileDisableLink": "0", "sourceID": "", "creator": "", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<div><br></div><div>\"Happenings in Ali Shan\" premiered at Zhongshan Hall on February 16, 1950. It was the first Mandarin-language feature film in post-war Taiwan that was independently produced from shooting to post-production. The film had four theme songs, three of which have been lost, but \"Maiden of Ali Shan,\" which was not featured in the advertisements, became extremely popular and has become part of the collective memory in the Chinese-speaking world for the past seventy years.</div><div><br></div><div>\"Maiden of Ali Shan\" is the first Mandarin popular song that incorporates elements of Taiwan’s indigenous culture. It appeared during the chaos of the Chinese Civil War, but the song is lively and melodious, with simple and natural lyrics. It represents the initial impression that the post-war immigrants from mainland China had of Taiwan’s indigenous population. \"Green mountains, blue streams'' seems to depict the picturesque scenery of Taiwan, while \"The girls of Alishan are as beautiful as water, the young men of Alishan are as strong as the mountains\" conveys the happiness of a harmonious and prosperous life between men and women. From the perspective of these Han Chinese \"others,\" it portrays a real utopia that exists in contrast to the war-torn era.</div><div><br></div><div>In order to present the audiovisual effects of \"Happenings in Ali Shan\" more effectively, Zhongshan Hall specially modified its audiovisual lighting equipment and published notices in the newspapers, hoping that it would lead to the \"extra satisfaction\" of the audience.</div>", "musicName": "無", "weight": 52 }, "imgs-inwjv21fgk": { "id": "imgs-inwjv21fgk", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "abb37696bc7071950689fd56c847c595", "title": "黃友棣獨照", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/cb087c89cb6373424c11cc057e031df3.jpg?itok=qK_QDnYe", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/cb087c89cb6373424c11cc057e031df3.jpg?itok=xcp-7N7N", "thumbBigURI": 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by Zhong Meiying. It premiered at Zhongshan Hall in January 1957.</div><div>　　In 1950s Taiwan, there was a strong anti-communist sentiment. \"When the Sunset Fills the Sky\" is a lyrical poem by the renowned female writer Chung Mei-yin. It breaks away from the traditional Chinese love songs that express longing and admiration, and instead portrays a couple separated by war against the backdrop of a sunset-filled sky. The woman praises her boyfriend, saying, \"In the military uniform, you went vehemently to fulfill your commitment to the country\" and \"Love is dear, but dearer still is truth.\" The man vows, \"For the freedom of our motherland, I must go to the battlefield and fight,\" while he hopes that his girlfriend “don’t suffer for love and don’t sigh for me.” Hwang Yau-tai's composition also complements the dialogic and dramatic lyrics. The opening line, \"When the sunset fills the sky,\" originally depicts a tranquil and beautiful scene, but with strong four-part harmony and a series of descending octaves on the piano, it suggests a heavy emotional weight. Towards the end of the song, the woman repeatedly sings, \"I love, I love, let me bless you, bless you, bless you,\" while the man sings, \"I love, I love, let me remember you, remember you, remember you.\" The melody gradually descends and concludes amidst the intertwining of the tender phrases \"bless you\" and \"remember you.\"<br></div><div>　　This is an artistically crafted anti-communist song, a youthful love song that conceals the weighty fate of the era. Hwang Yau-tai completed it around October 1956, and once it was released, it immediately became popular, becoming one of the favorite pieces among Taiwanese choirs in the early years.<br></div><div>　　Hwang Yau-tai (1912-2010) was born in Guangdong. Due to his family's poverty, he taught himself piano, violin and composition. In September 1952, he returned to Taiwan for the first time and held a concert at Zhongshan Hall. Chang Tao-fan (center) introduced Hwang Yau-tai (left) and Li Shao (right, lyricist), with conductor Lu Chuan-Sheng (rear left).<br></div><div>　　In the 1950s, Taiwan was a symbol of anti-communist Free China. Hwang Yau-tai (right), Harold H.T. Wei (middle), and Lin Sheng-shih (left) were the three Chinese musicians who settled in Hong Kong and were known as the \"Three Friends of the Cold Years\". 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Zhongshan Hall and carries significant historical significance is\n\"If We Open the Doors of Our Hearts.” The music was composed by Lu\nChuan-Sheng, with lyrics by Wang Chang-hsiung. It premiered at Zhongshan Hall\non July 25, 1957, with Lu Chuan-Sheng personally conducting the performance.<br></span><span>　　Lu Chuan-Sheng (1916-2008)\nwas from Taichung and studied music in Japan. He devoted himself to choral\nmusic and founded the renowned Rong Shing Chorus, earning him the title of\n\"Father of Taiwanese Choral Music.\" He also composed numerous folk\nsongs filled with local flavors, such as \"Taiwanese Lullaby\",\n\"Flipping Coin Song\", \"A Bird Cries for Help\", which have\nbeen beloved by many over the years.<br></span>　　Zhongshan Hall was a stage\nwhere Lu Chuan-Sheng frequently performed. On July 25, 1957, he conducted the\nTaiwan Symphony Orchestra in a concert at Zhongshan Hall, where they premiered\n\"If We Open the Doors of Our Hearts.\" The lyrics expressed,\n\"When we open the doors and windows of our hearts, we will see the\ncolorful spring scenery. Even though spring is not everlasting, it will\ntemporarily alleviate our sorrows.\" This song encouraged people to embrace\nhope and anticipate a colorful future amidst challenging realities. In the\n1950s, many people became \"voiceless\" as they did not speak Mandarin\n(the new national language), the politically oppressed atmosphere dampened\npeople's spirits. Also, with the government's promotion of the \"Land to\nthe Tiller\" policy, surplus rural populations flowed into cities, but the\neconomy had yet to take off, making people's lives difficult. This song, with\nits gentle tone, consoled and urged people to open their hearts and cherish the\nbeauty of life. Lu Chuan-Sheng's composition was also melodious and touching,\nleading to its enduring popularity.<br><span>　　Another famous piece by Lu\nChuan-Sheng, \"The Goldfish Cannot Be Kept at the Bottom of a Cup,\"\nalso premiered at Zhongshan Hall. It was performed on April 18, 1949, during\nthe second music concert organized by the \"Taiwan Provincial Music and\nCulture Association.\" At that time, the Nationalist government had just\nretreated to Taiwan, and there were many barriers and suspicions between the\nlocal population and the mainland Chinese immigrants. Sensing this situation,\nLu Chuan-Sheng composed a drinking song called \"The Goldfish Cannot Be\nKept at the Bottom of a Cup,\" which he personally conducted during the\npremiere. This song has a recitative-like style similar to opera, with vivid\nlyrics and a lively melody, hoping for people to meet each other openly and\nsincerely. When sung, it exudes a bold and spirited atmosphere.<br></span><div>　　Lu\nChuan-Sheng was a socially conscious musician. Through these two songs, he not\nonly reflected the people's grievances in a poignant manner but also encouraged\nthem to embrace hope. One song expressed boldness, while the other conveyed\ngentleness, demonstrating the composer's skill and versatility.</div>", "musicText": "", "musicURL": "" }, "imgs-xdt4vhhj2z": { "id": "imgs-xdt4vhhj2z", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "e91ef7971cc1c1885d737e05d7f05e32", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/0d530938f16aa15a5d9bbc93a3417a01.jpg?itok=1OGHgXaR", "level": "primary", "title": "《長恨歌》專輯封面與介紹頁", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/0d530938f16aa15a5d9bbc93a3417a01.jpg?itok=yRWUDA1s", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/0d530938f16aa15a5d9bbc93a3417a01.jpg?itok=klyzjAv_", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/0d530938f16aa15a5d9bbc93a3417a01.jpg?itok=Zs-NBeqO", "background": 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Zhongshan Hall and carried significant historical significance is “The Song of Everlasting Sorrow\". It is not a standalone song but a \"cantata\" composed of ten songs. The lyrics were written by Harold H.T. Wei, and the music was composed by Huang Zi and Lin Sheng-shih. The complete version of the cantata premiered at Zhongshan Hall on May 9, 1972.</div><div>　　“The Song of Everlasting Sorrow\" was composed in 1932 and is considered China's first cantata. It consists of ten chapters that depict the story of Emperor Tang Minghuang, Consort Yang Guifei, and the An Lushan Rebellion during the Tang Dynasty. Huang Zi only completed seven chapters, leaving three chapters without music, which became a regretful omission. In 1972, under the planning of Zhao Qin, the host of the Central Broadcasting Corporation, the original lyricist Harold H.T. Wei revised the lyrics, and Huang Zi's student, Lin Sheng-shih, continued in his teacher's style of composition. They composed the missing fourth chapter, \"The Shocking Break of the Song Feathered Robe and Rainbow Skirt”, the seventh chapter, \"The Heart-wrenching Sound of Rainy Night Bells,\" and the ninth chapter, \"Autumn Grass in the Western Palace.\" The complete \"The Song of Everlasting Sorrow\" premiered at Zhongshan Hall on May 9, 1972, which also marked the 34th anniversary of Huang Zi's passing.<br></div><div>　　The completion of \"The Song of Everlasting Sorrow\" was considered a significant accomplishment by Harold H.T. Wei, as it represented a \"compensation for regret\" after forty years of vicissitudes. At that time, the Cultural Revolution was rampant in mainland China, while Taiwan vigorously promoted the \"Chinese Cultural Renaissance Movement.\" The full presentation of \"The Song of Everlasting Sorrow\" symbolized the continuous rejuvenation of Chinese culture in Taiwan, evoking profound emotions from the audience, with some even moved to tears. The concert recording was published by Four Seas Records, leaving behind an eternal record of this transcendent musical convergence across time and space.<br></div>", "musicText": "", "musicURL": "" }, "imgs-hrapq0fhdt": { "id": "imgs-hrapq0fhdt", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "4d5331b5c93ce2ff4680eb611151151f", "title": "現代民謠創作演唱會新聞報導", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/7f3c1210f6cd8d5b57c6730f58aae1e9.jpg?itok=YVh1ekR6", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/7f3c1210f6cd8d5b57c6730f58aae1e9.jpg?itok=A2_-wAXL", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/7f3c1210f6cd8d5b57c6730f58aae1e9.jpg?itok=5D-ASg3T", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/7f3c1210f6cd8d5b57c6730f58aae1e9.jpg?itok=nKuOd5f6", "mfid": "7f3c1210f6cd8d5b57c6730f58aae1e9", "musicURL": 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"fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 2 } }, "musicName": "無", "weight": 56, "displayMode": "fixed-width-loop-off", "primaryObj": { "oid": "4d5331b5c93ce2ff4680eb611151151f", "title": "現代民謠創作演唱會新聞報導", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/7f3c1210f6cd8d5b57c6730f58aae1e9.jpg?itok=YVh1ekR6", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/7f3c1210f6cd8d5b57c6730f58aae1e9.jpg?itok=A2_-wAXL", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/7f3c1210f6cd8d5b57c6730f58aae1e9.jpg?itok=5D-ASg3T", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/7f3c1210f6cd8d5b57c6730f58aae1e9.jpg?itok=nKuOd5f6", "mfid": "7f3c1210f6cd8d5b57c6730f58aae1e9", "musicURL": "", "musicName": "", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/7f3c1210f6cd8d5b57c6730f58aae1e9.jpg?itok=eWXI9TM5", "fileType": "image", "fileCreator": "", "rights": "中央日報", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": 0, "sourceID": "", "creator": "", "fileOversize": false, "level": "primary" }, "desc": "<div><br>　　The sixth piece that premiered at Zhongshan\nHall and carried significant historical significance is \"Four Rhymes of\nNostalgia.\" It features lyrics by Yu Kwang-chung and music by Yang Hsien.\nThe performance took place at Zhongshan Hall on June 6, 1975, and Yang Xian was\none of the performers.\n\n\"Four Rhymes of Nostalgia\" is a\nclassic work from the genre known as \"campus folk songs.\" In 1974,\nYang Hsien, who was still a student at National Taiwan University, was invited\nas a guest performer at a concert by Ara Kimbo (Hu Defu). He performed his own\ncomposition of \"Four Rhymes of Nostalgia\" with his own accompaniment,\nreceiving considerable acclaim. The following year, Yang Hsien held the\n\"Contemporary Folk Song Concert\" at Zhongshan Hall, where \"Four\nRhymes of Nostalgia\" was rearranged and officially released. This concert\nwas regarded as the first formal performance of “campus folk songs” and created\na fervent response.\n\n\"Four Rhymes of Nostalgia\" is taken from the poetry\ncollection \"White Jade Bitter Gourd\" by poet Yu Kwang-chung,\npublished in 1973. The poem depicts the poet's impression of China through four\nimages: \"the Yangtze River water,\" \"the begonia blossoms in\nred,\" \"the snowflakes in white,\" and \"the fragrance of\nwinter plum blossoms.\" The poem conveys profound nostalgia. Yang Hsien's\nsong features a duet, with a melody that is free-spirited and romantic, and the\nvocals are pure and clear, leaving a profound impact on listeners.\n\n&nbsp;\n\nIn the 1970s, as the Republic of China (Taiwan) government faced\nsetbacks in the international arena and public discontent grew, Taiwanese\nconsciousness began to rise. The popular Mandarin songs in Taiwan at that time\nwere widely criticized as \"decadent music,\" while the younger\ngeneration was enthralled by popular Western songs. In a concert, the young composer\nLi Shuangze held a can of Coca-Cola and questioned, \"Everyone is drinking\nCoca-Cola and singing English songs, but where are our own songs?\" The\ncall to \"sing our own songs\" gradually became the common voice of the\nyouth, and \"Four Rhymes of Nostalgia\" became a representative work of\ncampus folk songs.\n\n\"Four Rhymes of Nostalgia\"\nexpresses a sense of longing for China. These songs were sung by a group of\nyoung people who had never set foot on Chinese soil, representing Taiwan's last\nwave of imagining a greater China. Meanwhile, most of the campus folk songs\nportrayed the local culture of Taiwan. The song \"Four Rhymes of\nNostalgia\" and this concert at Zhongshan Hall not only marked the rise of\ncampus folk songs, but also signified a shift in the concerns of young creators.\nIt is an important moment in Taiwan's music history.\n\nThe works from this concert were\npublished and compiled into the album \"Collection of Modern Chinese Folk\nSongs,\" with support from the Hong Foundation, receiving great acclaim.</div>", "musicText": "", "musicURL": "" }, "thanks": { "id": "thanks", "type": "thanks", "sortable": false, "thanksList": { "數位文化中心": { "rights": "數位文化中心", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "obj": [ "934bebb7270292469a7cf8e4126248ee" ], "objNum": 1 }, "國立臺灣圖書館": { "rights": "國立臺灣圖書館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "obj": [ "0100e27a54931915679cae68baee34a1" ], 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