Article Index
Newsletter Vol. 4, No. 1
Spring/Summer 1995
English Version

  • Premiere Works IV Composers on Their Works
  • The Pipa: Its Past, Present and Potential
  • Composition Prize: Call for 1995 Entries
  • Festival of New Chinese Music Scheduled for Fall

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    Premiere Works IV

           Music From China's fourth annual concert devoted to new works for Chinese instruments, "Premiere Works IV," was presented at the Merkin Concert Hall on October 9, 1994. Among the six new works - all world premieres - were the four winners of the 1994 Music From China International Composition Competition, which displayed a range of innovative styles and instrumentation: "Two Songs for Soprano and Zheng" by Zhou Qinru (First Prize); “T"The Moon Over Fortified Pass" by Huang Qiuyuan and "Time Passed and Remembered" by Ho Neng-hsien (Second Prize co-winners); and "Circle of Fate" by Gong Xiaoting (Third Prize). Two other works were Chen Yi's "As in a Dream" for soprano (transcribed for Chinese plucked strings) and Xu Xiaolin's zheng solo "Swordplay" (commissioned by Music From China).
           The following are descriptions of the works by their composers, and brief biographies. [Translation by Susan Cheng unless otherwise noted.]

    Two Songs for Soprano and Zheng: I Beg You, Zhongzi; Crying Ospreys by Zhou Qinru
           In 1985, Professor Li Xi'sn of the China Conservatory in Beijing came up with the idea of compiling an album of new settings for selections from the two- to three-thousand-year-old classic, The Book of Songs (Shijing), by various composers. At his invitation, I wrote two pieces, one of which was "IBeg You, Zhongzi" (Qiang Zhongzi) for soprano and zheng. But Professor Li's plan was left unfinished and my works lay idle for nearly ten years. Last April, my close friend Chen Yi came to Los Angeles for the West Coast premiere of her chamber work, "Shuo." We talked about future plans and performance opportunities. With her encouragement, I decided to write a setting for another poem, "Crying Ospreys," (Guanju) to be presented with "I Beg You, Zhongzi" as a suite.
           The Book of Songs consists of 305 songs grouped into three categories: feng (folk songs), ya (ceremonial and festive songs) and song (songs of praise or hymns used during sacrifices). Both "I Beg You, Zhongzi" and "Crying Ospreys" belong to feng. The songs are also divided into three poetic styles: fu (expressing directly), bi (expressing by analogy) and xing (expressing emotion aroused by a scene). "I Beg You, Zhongji" is in fu style. In this song we hear the lonely sighing of a young girl, yearning for romance forbidden by feudal codes of conduct, and indulging silently in dreams of escape from the confines of her boudoir. "Crying Ospreys" is in xing style. The crying of ospreys drifts from faraway islets into a young girl's chamber, arousing romantic images of a courtship, the excitement of a wedding, and the harmony of married life. These two complementary songs are ideal for a suite.
           My music-its melodic contours, rhythmic patterns, forms and musical characteristics-is based on careful analysis of the tones, rhythms, forms, and contents of the lyrics. Although the music is my invention, I've tried to fit its spirit and style to the ancient lyrics as much as possible. I believe that the musical style of a people is rooted in its language. The melody of a Chinese song is often an exaggeration of the narrative tones of the words; to a certain degree, it is possible to trace the lost music of an old song by studying its lyrics. .
           With this in mind, I took the following steps. First, I "Discovered" the basic melodic contours and rhythmic patterns of each song by reciting them in their regional dialects. Second, to achieve fuller expression and musical richness, I inserted a number of additional flourishes into the framework. This is actually a traditional technique used in Chinese operas and other song genres. I borrowed this method especially from Jingju (Beijing opera), Qinqiang (one of the oldest operatic forms in northwestern China) and daoqing (an old narrative song style of northern Shaanxi province). For "I Beg You, Zhongzi," I added two flourishes in recitative style; and, for "Crying Ospreys", I inserted not only flourishes into the melody, but also additional onomatopoetic words in imitation of sounds such as the cry of the ospreys and the gongs and drums of a wedding. In the second song, I also used multiple repetition to emphasize certain phrases such as "youzai youzai, zhanzhuan fanze" ("filled with sorrowful thoughts, he tosses and turns, unable to sleep"). This is also derived from daoqing.
           The forms of the two songs are also designed to fit the lyrics. In "i Beg You, Zhongzi", I used free meter at the beginning and ending of each section, and arranged all three sections to share the same ending, the so-called hewei (sharing the same tail) of traditional Chinese music, in order to emphasize the line "gossip is a fearful thing." For "Guanju", I used a typical Chinese opera form. The song begins with a slow and free introduction, followed by rhythmic sections which develop the music gradually toward a climatic ending. The music stops suddenly at the highest point and ends with a short and free final phrase. In composing these two songs, I called upon all the imaginative and creative faculties I possess. But upon completion, I found that I have merely uncovered and documented the essence of the music already within these songs.
           The reason for choosing the zheng (which already existed in the era of The Book of Songs) for accompaniment is that the combination of zheng and voice produces an image of a personal expression with self-accompaniment. In addition, the zheng’s brilliant tone colors, flexible tuning possibilities, the resonance of its open strings, and the richness of the plucking and pressing techniques of both hands are all personal favorites. Many of the effects in these two songs, in fact, are based on the zheng's performing techniques. In the creation of musical characters, the zheng and voice share equally important roles.
    [Translation by Zhou Qinru]
    Zhou Qinru is currently a Ph.D. candidate in composition and theory at the University of California, Los Angeles. He was a conductor of the Beijing Jingju Company from 1969 to 1978 and lecturer in music analysis at the Central Conservatory of Music, Beijing, from 1983 to 1986.

    Time Passed and Remembered by Ho Neng-hsien
           When I first listened to Mei Lanfang's recording of "Peony Pavilion" in 1988, I was entranced by its sensitive story and beautiful Kunqu tunes. Years later, I read a book on Zen by the American scholar Paul Reps. Its ineffable philosophy and a Song dynasty painting by Ma Lin reproduced in the book inspired me to thoughts of the sensory and ethereal realms.
           There is no motival development in this duet for erhu and yangqin. Elements of speech and song woven into the texture convey the suppressed feminine spirit of feudal times. It is an abstract exercise in self-meditation and reflection of the relationship between time and space.
    Ho Neng-hsien graduated from the music department of the School of Political Warfare in Taiwan in 1988 studying composition with Professors Rung-sen Tung and Hsing-kui Tseng. He is also a graduate of the Language Center of the University of the Armed Forces in Taiwan.

    The Moon Over Fortified Pass by Huang Qiuyuan
           Since the Han dynasty there existed a type of military music known as Gujiao Hengchui (Music of Drums, Horns and Transverse Flutes). These tunes, numbering fifteen in all, were sung and played by soldiers on horseback patrolling the frontiers. Noted Tang dynasty poet Li Bai wrote lyrics for some of this music, the most famous being "The Moon Over Fortified Pass." This ensemble work for erhu, di, pipa and percussion reflects the mood of the poem with its descriptions of lonely outposts and soldiers longing for home.
    Huang Qiuyuan is a student of compo-sition at the Central Conservatory and has studied with Professors Su Xia and Liu Lin.

    Circle of Fate by Gong Xiaoting
           "Circle of Fate" is scored for an ensemble of xiao, qudi, liuqin, zhongruan, zheng and Chinese percussion instruments. My goal was to seek alternative ways to instill new spirit into music for traditional instruments. The interjection of multitonal effects into a traditional tonal framework helped to enrich the melodic language. To this end, I used movable "do" tuning on the zheng, juxtaposing major and minor 7th's in the melodic structure, and concurrence of different keys. The layering of horizontal, linear movements is made more compelling by the vivid timbral colors of Chinese instruments. Staggered 4th and 5th intervals in the high register are also important in harmonic construction. Furthermore, I borrowed Western techniques of changing meters and rhythmic patterns.
           The methods I have relied upon are the establishment of tonal configurations, making fuller use of instrumental colors, range and dynamics, and the union of a linear musical concept with new acoustical effects.
    Gong Xiaoting, born in 1970 in Shanghai, is a graduate student in composition at the Central Conservatory. Her works range from symphonic and chamber music to solo instrumental and vocal music.

    As in a Dream by Chen Yi
           This 1994 work for soprano, pipa and zheng is transcribed from an earlier work of the same title. Lyrics of the two songs come from a poem by Li Qingzhao of the Song dynasty (960-1279). The verses are filled with treasured memories of a happy past and vivid imagery that lingers long after the poem has ended. A recitative style borrowed from Jingju and rich tone colors of the Chinese plucked strings convey the sentimental feelings expressed in the poem.
    Chen Yi received a DMA degree in composition from Columbia University and is composer-in-residence for The Women's Philharmonic, and the male vocal ensemble, Chanticleer, in California.

    Swordplay by Xu Xiaolin
           The art of swordplay and sword dance are time-honored traditions in Chinese culture. Using them as creative models, the composer has translated their shapes and forms into musical language. This work explores the zheng's rich timbral colors and expressiveness. The life force within the sword is a metaphor for the soul of Chinese culture. [This work was composed for Music From China's zheng soloist Yang Yi.]
    Xu Xiaolin graduated from Sichuan Conservatory in 1966 with a major in composi-tion. She is presently associate professor in composition at the China Conservatory in Beijing.

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    The Pipa: Its Past, Present and Potential

    by Wu Man

           In one form or another, the pipa has had a long history in Chinese music. The name itself was described as early as the Han dynasty (206 B.C.-220 A.D.); an etymological dictionary edited by Liu Xi noted that "the forward stroke is pi, backward stroke is pa" (equivalent modern terms are tan and tiao). Since all ancient plucked strings used these techniques, they were all called "pipa."
           Between the Han and Tang dynasties, plucked strings proliferated as song and dance suites that featured them became popular. To distinguish among the many types, instruments were labeled "Qin pipa," "Ruanxian pipa," "crooked-neck pipa," and so forth. By the 4th and 5th centuries, the crooked-neck, pear-shaped lute originating in Central Asia gained predominance; "pipa" henceforth referred exclusively to this type.
           The long history of the pipa has nurtured a multitude of performance techniques, solo repertory and performance schools, which often began as gatherings of local practitioners. Every school possesses a unique collection of scores and repertory. But even for shared tunes, differing interpretive approaches are adopted: where one school may espouse a dynamic, exuberant quality, another would prefer more refined elegance and subtle detail.
           Principal pipa techniques consist of left hand pushing and pulling of the strings with various vibratos, and the right hand's five-finger lun and two-finger tantiao plucking. Other techniques associated with these two major categories include pizzicato, harmonics, slides, string twisting, strumming, and sustained lun and tantiao tremolo. These techniques make possible the instrument's unique sounds.
           Pipa music is differentiated into three categories: wenqu (lyric), wuqu (martial) and daqu (grand opus). The first two categories form the bulk of the repertory. Wuqu works are generally narrative. They are often divided into sections and exhibit dramatic changes of dynamics and tempo executed by the right hand. Examples of this type are "Ambush on Ten Sides" and "The Warlord Doffs His Armor" which use various bravura techniques to suggest the sounds of cannons, battle cries and the beating of drums. In contrast, wenqu pieces express emotions and evoke poetic imagery. They emphasize the combination of pulling and pushing strings, vibratos, solid and ephemeral tones, and subtle manipulations of tone colors and dynamics. Most wenqu pieces explore inner feelings and have slow rhythms. In "Chen Sui" and "Tunes from the Inner Chamber," finely controlled shadings of soft and hard, powerful and subdued tones create a pathos that tugs at one's heartstrings.
           Modern pipa compositions often make use of the daqu category, which is broad and unrestrictive, combining both wen and wu characteristics.
           During the Cultural Revolution, Chinese music often borrowed the form, structure, and harmony of l9th century European classical music. Most of the pipa solos written at this time utilized folk songs (mainly revolutionary songs) and theatrical music (mainly revolutionary yangbanxi) as source material in arrangements using the 19th-century ABA form (slow-fast-slow or fast-slow-fast) with diatonic harmony. While these solo pieces enriched pipa's performing techniques and enlarged the repertory, they were basically Revolutionary rearrangements of existing works.
           Two kinds of pipa music appeared in the 1980s. One was ancient melodies that had been newly edited. These included professor Lin Shicheng's editions of Pudong school pipa pieces, later published as Yang Zhengxuan Collection of Pipa Music and Ju Shilin Collection of Pipa Music. Pinghu Pipa Music also belonged to this category. The second kind of pipa music combined folk tunes, traditional composition styles, and guitar techniques. Examples include Liu Dehai's "Swan," Zhu Yi's "Spring Rain" and Ren Hongxiang's "Song of the Wei River." The most significant solo pipa music of the '80s fell into these two categories; other works remained within the confines of 19th-century European musical forms.
           As we come to the end of the 20th century, we are witnessing a new way of thinking that emphasizes individualism and personal achievement. This search for individual character finds powerful expression in the arts. Composers, especially, can create in a wide spectrum of genres: avant-garde music, musical theater, electronic music, academic and popular styles. Regardless of style or content, music is a universal expression of contemporary thinking, concepts, spirit, and sentiments.
           Pipa music in recent years has also found many new expressions. I'll briefly describe three different approaches.
    1. Instilling new spirit into music rich with native taste. Chen Yi's "The Points" (1991), for example, uses kuyin (melancholy music) of Shaanxi Qin opera as thematic material and is structured on the eight standard brush strokes of zhengkai calligraphy. The work has a deep folk flavor, yet is strikingly innovative. (See the Winter 1991 issue of this newsletter for a lengthier analysis.)
    2. Using modern Western composition methods and creating new performance techniques to achieve a breakthrough in pipa music. Bun-Ching Lam's 1993 pipa solo "Run" emphasizes the use of tone colors. The adagio section juxtaposes left hand execution of evocative tones of the wenqu style with the rarely used poyin (striking the string with force to create a harsh sound) to create a contrast between coarse and polished tones. Dramatic changes in rhythms and dynamics in the allegro section and coda further demonstrate pipa's versatility of techniques and varieties of timbral colors. This work is powerful in expression, but loses none of the pipa's essential character. By expanding existing techniques the composer has unreservedly built a new musical vocabulary for the pipa.
    3) New orchestration which mixes pipa with other Chinese and Western instruments, paying special attention to orchestral colors. The great appeal of the pipa, aside from a comprehensive set of techniques, is pitch alteration (intervals of thirds and fourths) by pushing and pulling the strings along the frets with the left hand. This is a perception of pitch serving creative needs rather than confined to a fixed mold. Zhou Long's 1992 work "Tian Ling" ("Soul," for pipa and 14 players) uses many of pipa's left hand techniques to alter pitch, such as pushing, pulling, slides, vibratos, etc. Its treatment of the pipa as a soprano voice, played against an ensemble of Western instruments, achieves a striking, three-dimensional effect that indeed reflects the "Soul."
           Among the world's plucked strings, I consider pipa to be one of the few all-around instruments. Although lacking the characteristic local colors of instruments such as the gaohu, banhu, and suona, it's versatile enough to express the delicate elegance of southern China and the brash vitality of the north. In traditional music, personal style is always defined by individual taste or interpretive approach. Some may prefer the refinement and lyricism of wenqu or the forcefulness of wuqu, and others may specialize in some genre of folk music native to them. If one could combine wen-wu characteristics into a single entity, call upon all the traditional techniques at will, and apply them freely in musical interpretation, then one has met the requirements for today's pipa music. "Technique" and "style" would take on new dimensions.
           Today, pipa music is crucial to the understanding and study of Chinese music. In addition to being an important component of the traditional music of China, it has the potential to play a part in contemporary music. The musical forms and creative techniques mentioned above have been widespread in the West for many years now. For Chinese musicians, though, they represent a whole new frontier. Fortunately, pipa performers are recipients of a rich heritage which can be used to explore today's new musical idioms. We have a duty to preserve and perpetuate our traditional music; how to fulfill its potential is a task of great interest. And, amid the rapid advances in science and art, it is essential that the pipa-in carving out its place in contemporary music-exploit its unique capabilities to the utmost.

    [Translation by Susan Cheng]

    A graduate of the Central Conservatory in Beijing majoring in pipa performance, Wu Man currently resides in the U.S.

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    Composition Prize: Call for 1995 Entries

           Entry forms are now available for the 1995 International Composition Prize sponsored by Music From China. Designed to spur the creation of new works for traditional Chinese instruments, the competition is open to all composers. The winning contestants will be awarded cash prizes (1st place, $300; 2nd place, $200).
           This year's winning works will be performed by Music From China in the “Premiere Works V" concert at Merkin Concert Hall, October 28 at 8 pm, as part of the 1995 Festival of New Chinese Music. Deadline for entries is August 1, 1995. Terms and conditions of the competition are as follows:

    1. The competition is open to composers of all nationalities without age limit.
    2. Eligible works may be for chamber ensemble, or vocal and ensemble, of up to eight performers, lasting from six to ten minutes. Instrumentation must be based on the following: one dizi, one erhu (doubling gaohu or banhu) or zhonghu, pipa, zheng, sanxian, liuqin, yangqin, ruan and percussion.
    3. All works submitted must not have been the subject of any previous award, nor have been previously published, performed in public, nor have been used commercially in whole or in part or in any other version prior to the announcement of the prize in October, 1995.
    4. Composers have the copyrights for their compositions.
    5. All applicants must submit the official entry form available from Music From China, and which can be duplicated by the applicants.
    6. Scores will not be returned, so that all applicants should keep the original copies of their works.
    7. The decision of the judges will be final. The judges reserve the right to divide the award money or to decline to make an award.

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    Festival of New Chinese Music Scheduled for Fall

           To pay tribute to composers who create new music for traditional Chinese instruments and Music From China's performance of these works, the group is organizing a series of musical events this fall in New York City. The "Festival of New Chinese Music" will bring together Chinese and Western musicians, composers, ethnomusicologists and other scholars for performances, workshops, and discussions directed at the present and future trends for Chinese music.
           Highlighting the Festival are the "Premiere Works V" concert at Merkin Hall (October 28) and a concert retro-spective of past "Premiere works." One of the concerts will include the participation of the New Music Consort. Watch out for details of the "Festival of New Chinese Music" in future flyers and upcoming issues of this newsletter.

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    Article Index
    Newsletter Vol. 4, No. 1
    Spring/Summer 1995
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           ºq µü ¿ï ¦Û §º ¥N (9601279) µÛ ¦W ¤k ¸Ö ¤H §õ ²M ·Ó ¤§ < ¦p ¹Ú ¥O ¤G ­º >¡C ±a ¦³ §u »w ­· ®æ ªº Án ¼Ö ¦± ½Õ ªñ ¦ü ©ó ¤¤ °ê ¨Ê ½Õ Ãý ¥Õ ªº µÄ ½Õ , °t ¥H ´I ÂA ©ú ­µ ¦â ¯S ÂI ªº ¨â ºØ ¤¤ °ê ¼u ¼· ¼Ö ¾¹¡C ­µ ¼Ö µÛ ·N ªí ²{ µü ¤¤ ³q ¹L ¥Õ ´y ¤â ªk ©Ò ªí ¹F ªº ¹ï  ¤é ¬ü ¦n ®É ¥ú ªº ¦^ ¾Ð ©M ¹ï ®ü ´Å ªá ¥R º¡ ¼¦ ·R ªº ¤ß ±¡ »P ·N ¹Ò¡C
    ³¯ ©É 1986 ¦~ Àò ¤¤¥¡ ­µ ¼Ö ¾Ç °| §@ ¦± ±M ·~ ºÓ ¤h ,1993 ¦~ Àò ¬ü °ê ­ô ­Û ¤ñ ¨È ¤j ¾Ç ­µ ¼Ö ÃÀ ³N ³Õ ¤h , ²{ ¥ô ¬ü °ê °ü ¤k ·R ¼Ö ¥æ ÅT ¼Ö ¹Î ¤Î ¬ü °ê ¿ú ¸¦ §J §Q º¸ ¨k Án ¦X °Û ¹Î ¾n ¹Î §@ ¦± ®a¡C

    ¡§¼C ¥O¡¨ - ®} ¾å µY §@ ¦±
           ¼Ö ¦± ³q ¹L ¹ï ¤¤ °ê ¤å ¤Æ ¨ã ¦³ ¥N ªí ©Ê ªº ¼C ³N¡B ¼C »R ªº §Î ¶H ¨è ¹º , ¤Ï ¬M ¤F ¼C ªº ®ð ¾z , §ó ÃÙ ¬ü ¤F ¤¤ °ê ¤å ¤Æ ªº ½è ¦µ »P ¯« ¯µ¡C ®} ¾å µY 1966 ¦~ ²¦ ·~ ©ó ¥| ¤t ­µ ¼Ö ¾Ç °| §@ ¦± ¨t , ¦h ¦~ ¨Ó ­P ¤O ©ó ¥Á ±Ú ­µ ¼Ö ¬ã ¨s ©M ³Ð §@ , ²{ ¥ô ¤¤ °ê ­µ ¼Ö ¾Ç °| §@ ¦± ¨t °Æ ±Ð ±Â¡C

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    µ\ µ] ªº ªí ²{ ¤O

    §d ÆZ

           ±q ¾ú ¥v °O ¸ü ¬Ý , ¬ù ¤G ¤d ¦~ «e , ¤¤ °ê ¤w ¦³ ¤F µ\ µ]¡C º~ ¥N ( «e 206- ¤½ ¤¸ 220) ¼B º³ ªº¡mÄÀ ¦W¡n ¤@ ®Ñ ¤¤ »¡¡§¡C¡C¡C ±À ¤â «e ¤ê ªJ , ¤Þ ¤â «o ¤ê ªI¡¨¡C¡§ªJ¡¨¡§ªI¡¨ ­ì ¬O ¥k ¤â ªº ¨â ºØ ºt «µ ªk , ¬Û ·í ©ó ²{ ¦b µ\ µ] ªº¡§¼u¡¨¡§¬D¡¨ «ü ªk¡C ¥Ñ ©ó ¥j ¥N ¦b ºt «µ ¶ê §Î »P ±ù §Î ­µ ½c ªº ¼u ¼· ¼Ö ¾¹ ®É ³£ ¥Î ¡§ªJ¡¨¡B¡§ªI¡¨ ªº «ü ªk , ¬G ·í ®É ´N §â ³o ¤@ Ãþ ªº ¼u ¼· ¼Ö ¾¹ ºÙ ¬° µ\ µ]¡C
           ¦Û º~ ¦Ü ­ð , ºq »R ­µ ¼Ö ²± ¦æ , ¼u ¼· ¼Ö ¾¹ ºØ Ãþ ¼W ¥[¡C ¬° ¤F «K ©ó ¤À ¿ë , ¤H ­Ì ¦b ¨C ºØ µ\ µ] ¤W ¥[ ­Ó ¦W ¦r ¥H °Ï §O , ¦p ¡§¯³ µ\ µ]¡¨¡B¡§¨¿ «w µ\ µ]¡¨¡B¡§¦± ¶µ µ\ µ]¡¨ µ¥¡C ¬ù ¥|¡B ¤­ ¥@ ¬ö ±q ¤¤ ¨È ¶Ç ¤J ¤¤ °ê ªº ¦± ¶µ µ\ µ] ­· Ãû ¤@ ®É , ¦a ¦ì ³v º¥ ©~ ©ó ¼Ö ¾Â ¤§ ­º¡C ±q ¦Ó¡§ µ\ µ]¡¨ ¦¨ ¬° ¦± ¶µ ±ù §Î µ\ µ] ªº ©T ©w ¦W ºÙ , §Y ²{ ¦b µ\ µ] ªº ±M ¥Î ¦W ºÙ¡C
           ¥Ñ ©ó µ\ µ] ¾ú ¥v ±y ¤[ , ¬G §Î ¦¨ Â× ´I ¦h ¼Ë ªº ºt «µ §Þ ªk¡B ¿W «µ ¦± ¥Ø ©M ºt «µ ¬y ¬£¡C ¬y ¬£ ªº ²£ ¥Í ±` ¥Ñ ¦P ¤@ ¦a °Ï ³ß ¦n ­µ ¼Ö ªº ¤H ¤¬ ¬Û ¾Ç ²ß ¥æ ¬y , ¤@ ¯ë ±a ¦³ ©ú Åã ªº ¦a °ì ©Ê , ¥[ ¤§ ¾Ç µ^ ¤H ¦³ ·N ÃÑ ¦a ¿ï ¾Ü »P ¦Û ¤v ÃÀ ³N Æ[ ¬Û ¦P ªº ®v ³Å ¾Ç ²ß ¶Ç ©Ó , ©Ò ¥H , §Î ¦¨ ¤F ¦U ºØ ¬y ¬£ ªº ¯S ¦â¡C
           µ\ µ] ªº ºt «µ §Þ ³N , ¥H ¥ª ¤â ªº ±À¡B ©Ô¡B §u¡B ´| ©M ¥k ¤â ªº ½ü ( ¤­ ­Ó ¤â «ü )¡B ¼u ¬D ( ¨â ­Ó ¤â «ü ) ¨â ¤j Ãþ ºc ¦¨¡C ³o ¨â ¤j Ãþ ¤S ¤ä ¤À ¥X ³\ ¦h ²Ó ¸` ªº ºt «µ ¤â ªk , ¦p : ¥´ ­µ¡B ªx ­µ¡B ·Æ¡B µ± ©¶¡B ±½ ©Ø¡B ªø ½ü¡B ¬D ½ü µ¥ µ¥ ´X ¤Q ºØ ¤§ ¦h¡C ¥¿ ¬O ³o ¨Ç Âù ¤â §Þ ³N ºc ¦¨ ¤F µ\ µ] ºt «µ °ò ¦ ©M ¿W ¯S ªº Án ­µ¡C
           ¶Ç ²Î µ\ µ] ­µ ¼Ö ¦³¡§¤å ¦±¡¨¡B¡§ªZ ¦±¡¨ ©M¡§¤j ¦±¡¨ ¤§ ¤À , ¥H¡§¤å¡¨¡§ªZ¡¨ ¦± ¬° ¥D¡C ±q ÃÀ ³N ¯S ÂI ¤W ¨Ó »¡ , ªZ ¦± ¬O ±Ô ¨Æ ªº ¼g ¹ê Åé , ±` ±` ³q ¹L ¤À ¬q , ¥Î ¦U ºØ ºt «µ §Þ ³N ø Án ø ¦â ¦a ´y ­z ¬G ¨Æ ¦U ­Ó ±¡ ¸` , ª` ­« ¥k ¤â ªº ¤O «×¡B ³t «× ÅÜ ¤Æ¡C Á` Åé ­µ ¼Ö ·¥ ´I ¦³ À¸ ¼@ ©Ê¡C ¦p <¤Q ­± ®I ¥ñ >¡B<ÅQ ¤ý ¨ø ¥Ò > ¹B ¥Î µ± ©¶¡B ´£ ©¶¡B ±À ©Ô ©¶¡B ·Ù ­µ µ¥ ºt «µ ¤â ªk ¨Ó ªí ²{¡§©ñ ¬¶¡B §o ³Û¡B À» ¹ª¡¨ µ¥ ¬G ¨Æ ±¡ ¸`¡C ¤å ¦± «h ¥¿ ¬Û ¤Ï , ¬O ¨¥ ±¡ Åé , ­« ¦b ¼g ±¡¡B ¼g ·N , ¥H §ç ±¡ ªº ¤â ªk §â ­µ ¼Ö ¤º ®e §@ ²` ¨è ²Ó ­P ªº ´y ¼g ; Á¿ ¨s ¥ª ¤â ±À¡B ©Ô¡B §u¡B ´|¡B µê ­µ¡B ¹ê ­µ ªº ÅÜ ¤Æ Âà ´« , ­µ ¦â¡B ¤O «× ªº ±± »s¡C ¼Ö ¦± ¤j ³£ ªí ²{ ¤º ¤ß ªº ·P ±¡ , ±Û «ß ªº ¸` «µ ½w ºC¡C ¦p <³¯ ¶¦ >¡B<¶ë ¤W ¦± > ¤¤ , ³\ ¦h ¼Ö ¥y ¡B ¼Ö ¬q ¹B ¥Î Âù ¤â ªº ±± »s ¹F ¨ì Án ­µ ªº ¬X¡B µw¡B ±j¡B ®z ¦U ºØ ÅÜ ¤Æ , ¦p ª_ ¦p ¶D , ¨Ï ­µ ¼Ö ¦© ¤H ¤ß ©¶¡C
           ¦b ¤µ ¤Ñ , ­n ¤F ¸Ñ¡B ¬ã ¨s ¤¤ °ê ­µ ¼Ö , Â÷ ¤£ ¶} µ\ µ] ­µ ¼Ö¡C µ\ µ] ¤w ¦¨ ¬° ¤¤ °ê ¶Ç ²Î ­µ ¼Ö ªº ¥N ªí ¤§ ¤@ , ¥B ¦b ¤G ¤Q ¥@ ¬ö ­µ ¼Ö ¤¤ ¥ç ¦³ ¥¦ ªº ªÅ ¶¡ ©M µo ´§ ªº ¼ç ¤O¡C ¤W ¬q ´£ ¨ì ¶Ç ²Î µ\ µ] ­µ ¼Ö ¦³¡§ ¤å ¦±¡¨¡B¡§ªZ ¦±¡¨ ©M¡§ ¤j ¦±¡¨ ¤§ ¤À¡C¡§ ¤j ¦±¡¨ ªº ¾Z ³ò ¼s ªx¡B ¦Û ¥Ñ , ¬J ¤å ¤S ªZ , ±` ±N¡§¤å¡B ªZ¡¨ ¿Ä ©ó ¤@ Åé¡C ²{ ¥N ªº µ\ µ] §@ «~ ©¹ ©¹ ·» ¦X ¨Ï ¥Î¡§ ¤å¡B ªZ¡¨ ¦± ªº ¤â ªk , Ý´ ¥Î¡§¤j ¦±¡¨ §Î¦¡( ¬J ¤å ¤S ªZ )¡C ¤» ¤Q ¨ì ¤C ¤Q ¦~ ¥N ( ¤å ­² ®É ´Á ), ¤¤ °ê ­µ ¼Ö §l ¦¬ ¤F ¼Ú ¬w ¤Q ¤E ¥@ ¬ö ¥j ¨å ­µ ¼Ö ªº ¦±¦¡ ¼Ò¦¡ ¤Î ©M Án ¨t ²Î¡C ¨º ®É ¥X ²{ ¤F ¤@ §å µ\ µ] ¿W «µ ¦± , ¤j ³£ ¥H ¥Á ºq ( ¥D ­n ¬° ­² ©R ºq ¦± )¡B À¸ ¦± ( ¥D ­n ¬° ¼Ë ªO À¸ ) ªº ¦± ½Õ ¬° ¯À §÷ , °t ¤W ¤Q ¤E ¥@ ¬ö ¼Ú ¬w ¦±¦¡ABA( ºC §Ö ºC ©Î §Ö ºC §Ö ) ®æ ¦¡ ¤Î ¤T ©M ©¶ Åé ¨t ©M Án ¥[ ¥H §ï ½s ¦Ó ¦¨¡C ¿n ·¥ ¦a Á¿ , ³o ­Ó ®É ´Á ªº ¼Ö ¦± «P ¶i ¤F µ\ µ] ºt «µ §Þ ³N ªº Â× ´I ¤Æ¡B ÂX ¤j ¤F µ\ µ] ªº ¦± ¥Ø , ¦ý ¬O , §Ú ºÙ ³o ­Ó ¯S ®í ®É ¥N ªº §@ «~ ¬° ¤å ­² ¦± ©Î §ï ½s ¦±¡C
           ¤K ¤Q ¦~ ¥N , µ\ µ] ­µ ¼Ö ¥X ²{ ¤F ¨â ºØ Ãþ «¬¡C ¨ä ¤@ , ¸g ¾ã ²z ªº ¥j ¦±¡C¡m¾i ¥¿ °a µ\ µ] ÃСn¡B¡mÁù ¤h ªL µ\ µ] ¦±¡n µ¥ ¥Ñ ªL ¥Û «° ¥ý ¥Í ©ó ¤K ¤Q ¦~ ¥N ¤¤ ¥ý «á ¾ã ²z ¥X ª© ªº ®ú ªF ¬£ ¶Ç ÃÐ , ¨ä ¤¤ ÁÙ ¦³¡m¥­ ´ò ¬£ µ\ µ] ¦±¡n µ¥¡C ¥t ¤@ Ãþ ¬O Ý´ ¥Î ¥Á ¶¡ ­µ ½Õ ¯À §÷ , ¥Î ¶Ç ²Î ¼g §@ ¤â ªk ³ð ­É ų ¦N ¥¦ ºt «µ ¤â ªk , ¸û ¦³ ¥N ªí ªº ¦³ < ¤Ñ ÃZ >( ¼B ¼w ®ü ¦± )¡B<¬K «B >(¦¶ ¼Ý ¦± )¡B<´ô ¤ô ±¡ >( ¥ô ÂE µ¾ ¦± ) µ¥¡C ³o ¨â Ãþ ªº §@ «~ ¦¨ ¬° ¤K ¤Q ¦~ ¥N ¥D ­n ªº µ\ µ] ¿W «µ ­µ ¼Ö¡C ¦ý ¦³ ¨Ç §@ «~ ¤´ ¨ü ¼Ú ¬w ¤Q ¤E ¥@ ¬ö ­µ ¼Ö µ² ºc ¼Ò¦¡ ªº ¬ù §ô¡C
           ¤G ¤Q ¥@ ¬ö «á ´Á ( ¤E ¤Q ¦~ ¥N ), ªÀ ·| ¬ì ¾Ç¡B ¤å ¤Æ ÃÀ ³N ªº µo ®i ¤£ Â_ ¦a §¹ µ½¡C ¤H ­Ì ªº ­õ ¾Ç Æ[ ¦³ §O ©ó ¤»¡B ¤C ¤Q ¦~ ¥N , ¬O ±j ½Õ ­Ó ©Ê¡B µo ´§ ­Ó ¤H ¯à ¤O ªº ®É ¥N¡C ³o ºØ °l ¨D¡§ ¦Û ¤v ¯S ¦â¡¨ ªº ·§ ©À ¦b ÃÀ ³N §@ «~ ¤¤ Åé ²{ ±o §ó ¬° ©ú Åã¡C ¤× ¨ä ¬O ­µ ¼Ö §@ «~ , §@ ¦± ®a ¥i ¥H ¿ï ¾Ü ¦U¦¡ ¦U ¼Ë ªº ¤â ªk ³Ð §@ : «e ½Ã ­µ ¼Ö¡B ¹ê Åç ­· ®æ¡B ­µ ¼Ö ¼@ ³õ¡B ¹q ¤l ­µ ¼Ö µ¥ ©Î ¾Ç °| ¬£ ­· ®æ ¥H ¤Î ¥¬ ¾| ´µ ½Õ¡B Àï ¤h¡B ·n ºu µ¥ ¤â ªk¡C ­µ ¼Ö ªY ½à ¬O ¤@ ºØ ¦h ¤¸ ©Ê ªº ·P ¨ü , ¥ô ¦ó ¤@ ºØ ­µ ¼Ö ¯À §÷¡B ­µ ¼Ö §Î¦¡§¡ ¯à ªí ²{ ²{ ¥N ¤H ªº «ä ·Q¡B ²z ©À¡B ºë ¯« ©M ·P ±¡¡C
           µ\ µ] ­µ ¼Ö ¦b ªñ ´X ¦~ ¥ç ÁÍ ©ó ¦h ­· ®æ ¤Æ , ¥] ¬A :
           1) ¦b ¨ã ¦³ ¥Á ±Ú ¯S ¦â ªº ­µ ¼Ö ¤¤ ´M §ä ÆF ·P , ½á ©ó ­µ ¼Ö ·s ªº ¥Í ©R ; ³¯ ©É 1991 ³Ð §@ ªº < ÂI > «K ¬O ­Ó «Ü ¦n ªº ¨Ò ¤l¡C ¥H °¢ ¦è ¯³ µÄ ­W ­µ ­µ ½Õ ¬° ¯À §÷ , µ² ºc ¤W Ý´ ¥Î ¤¤ °ê ®Ñ ªk ¥¿ ·¢ ¡§ ¥Ã¡¨ ¦r ¤K µe ªº °Ê ¶Õ ¬° °ò ¦ , ¨Ï ¼Ö ¦± ¨ã ¦³ ¿@ ­§ ªº ¥Á ±Ú ­· ®æ , «o ¤S ·s ¿o ¿ô ¥Ø ( §Ú ¦b ¥» ¥Z 1991 ¦~ Vol¡D1, No¡D4 ¤¤ ¸Ô ²Ó ¦a ¤¶ ²Ð ¦¹ ¦± , ¥» ¤å ¤£ ¦A ¶i ¤@ ¨B ÄÄ ­z )¡C
           2) ¹B ¥Î ¦è ¤è ²{ ¥N §@ ¦± ¤â ªk , ³Ð ³y ¦U ºØ ºt «µ §Þ ³N¡B ¬ð ¯} ºD ¥Î ºt «µ ¤â ªk ªº ®Ø ®Ø¡C ªL «~ ´¹ ©ó 1993 ¦~ ¬° §Ú ¦Ó §@ ªº ¿W «µ ¦± < ½ü > °¼ ­« µ\ µ] ªº ­µ ¦â ÅÜ ¤Æ¡C ºC ªO ¬q ¬J ¦³ ¶Ç ²Î ¤å ¦± ¤§ Á¿ ¨s ¥ª ¤â ­µ Ãý ( ­µ ¦â »P Ãý ¨ý ), ¤S Ý´ ¥Î ¶Ç ²Î ¤¤ ·¥ ¤Ö ¥X ²{ ªº¡§ ¯} ­µ¡¨( ¼u IJ ©¶ «Ü ¥Î ¤O , ¥X ¾¸ ­µ ), ¥Î¡§ ¯} ­µ¡¨ »P¡§ ¬ü ­µ¡¨ §@ ¹ï ¤ñ¡C ²Ä ¤G ¤j ¬q ¬O ¸` «µ »P ¤O «× ÅÜ ¤Æ ªº §Ö ªO ¬q ¸¨¡C ³s Äò ¤£ Â_¡B µu «P ¦³ ¤O ªº ¸` «µ «¬ ¥H ¤Î ´I ¦³ À¸ ¼@ ©Ê ¤O «× °_ ¥ñ ªº µ² §À ( ¥k ¤â º¡ ªø ½ü µ² §ô ), ¥¿ ¬O ¦b ¶Ç ²Î ªº °ò ¦ ¤W ¤£ ¨ü ¬ù §ô ¦a µo ´§ µ\ µ] ©Ò ¯à ªí ¹F ªº ­µ ¼Ö »y ¨¥ , Åã ¥Ü µ\ µ] ­µ ¦â »P §Þ ³N ¦h ÅÜ ªº ¼ç ¤O¡C ¼Ö ¦± ¥H ²{ ¥N ³Ð §@ ¤â ªk µo ´§ ¤F µ\ µ] ªº ©Ê ¯à¡C ­µ ¼Ö »a «l ¦³ ¤O ¤S ¤£ ¥F µ\ µ] ¯S ®í ªº Ãý ¨ý¡C
           3) ½s »s ²Õ ¦X ªº §ï ­² , ±N µ\ µ] »P ¤¤¡B ¦è ¦U ºØ ¼Ö ¾¹ ²Õ ¦X ·f °t , ª` ­« ¨ä ¦b ¼Ö ¶¤ ¤¤ ªº ¦â ±m ®Ä ªG¡C µ\ µ] °£ ¤F ¦³ ¸û ¥þ ­± ªº ºt «µ §Þ ³N ¥~ , ³Ì §l ¤Þ ¤H ªº ¯S ÂI ²ö ¹L ©ó ¦b ¦p ¦¹ ¤j ªº ­µ µ{ ¤W ( ¤T «× ©Î ¥| «× ), ¥Î ¥ª ¤â ±À¡B ©Ô ©¶ ¨Ó ¨Ï ­µ °ª §ï ÅÜ , ³o ¤@ ÂI »¡ ©ú ¤F ­µ °ª ¦³ ¨ä ¥i ¶ì ©Ê , ³ð ¤£ ¬O ¤@ ¦¨ ¤£ ÅÜ ªº ©T ©w ¦b ¬Y ¤@ ¼Ò¦¡ ±[ ªº ªF ¦è¡C1992 ¦~ §@ ¦± ®a ©P Às À³ ¤Ç ¯÷ ³ù ²{ ¥N ¼Ö ¹Î ©e ¬ù ¦Ó §@ ªº < ¤Ñ ÆF >( µ\ µ] »P 14 ¦ì ºt «µ ®a ) ¤¤ , ´N ¤j ¶q Ý´ ¥Î µ\ µ] ¥ª ¤â ªº §Þ ³N ; ±À¡B ©Ô¡B ·Æ¡B §u µ¥ ¨Ó §ï ÅÜ ­µ °ª , ¨Ï µ\ µ] ²£ ¥Í ¤k °ª ­µ ªº ®Ä ªG¡C ¨ä ­µ ¼Ö ¦b ¦è ¼Ö ¸s ªº Ũ ¦« ¤U Åã ±o «D ±` ¯S ®í , ¦³ ¥ß Åé ·P , §¹ ¥þ °_ ¨ì ¤F ªí ²{¡§ ÆF »î¡¨ ªº §@ ¥Î¡C
           §Ú »{ ¬° ¦b ¥@ ¬É ¼u ¼· ¼Ö ¾¹ ºØ Ãþ ¤¤ , µ\ µ] ¬O ¥ó Ãø ±o ¥þ ­± ªº ¼Ö ¾¹¡C ¥¦ Áö µM ¨S ¦³ °ª ­J¡B ªO ­J¡B ÜÔ §o µ¥ ¼Ö ¾¹ ¨ã ¦³ ¿@ ­§ ªº ¦a ¤è ¦â ±m , ¦ý µ\ µ] ¬J ¥i ªí ²{ «n ¤è ¤H ²Ó ¿° ¬X ¬ü ªº »y ¨¥ ¯S ÂI ¤S ¥i µo ´§ ¥_ ¤è ¤H ¼ö ±¡ ²Ê Âx ªº ©Ê ®æ¡C ¦b ¶Ç ²Î ªº ºt «µ »â °ì ¤¤ , ©¹ ©¹ ¬O ºt «µ ®a ¿ï ¾Ü ¦Û ¤v °¾ ­« ³ß ·R ªº ­· ®æ ©Î ®Ú ¾Ú ¦Û ¤v ©Ê ®æ ¨Ó ¸Ñ ÄÀ ¼Ö ¦± , ©Î ¾Õ ªø ²Ó ¿° §ç ±¡ ªº ¤å ¦± , ©Î °¾ ©ó ²Ê Âx ¦³ ¤O ªº ªZ ¦± , ¬Æ ¦Ü ±M ªø ©ó ¬Y ºØ ¦³ ¯S ¦â ªº ¥Á ¶¡ ¼Ö ¦± , ±q ¦Ó §Î ¦¨ ¦Û ¤v ªº ºt «µ ­· ®æ¡C ¦p ªG ±N ³o ¨Ç¡§¤å ªZ¡¨ ­· ®æ »E ©ó ¤@ Åé , ¦Ó ºt «µ §Þ ³N ¬J ¦b ¶Ç ²Î ªº °ò ¦ ¤W ¤£ ¨ü ¬ù §ô ¦a ¹B ¥Î , ¤S ¯à °÷ ¨S ¦³ ¥ô ¦ó §½ ­­ ¦a µo ´§ ¥¦ ©Ò ¯à ªí ¹F ªº ­µ ¼Ö ¤º ®e , ³o ´N ¬O ·í ¤µ ­µ ¼Ö ©Ò ­n ¨D ªº ¦h ¼Ë ­· ®æ¡C¡§ §Þ ³N¡¨ ©M¡§ ­· ®æ¡¨ ªº ·§ ©À §ó ¦³ ¼s ·N¡C
           §Ú ¦b ¤W ¤å ¤¤ ´£ ¤Î ªº ¦U ºØ ­µ ¼Ö §Î¦¡ ©M ³Ð §@ ¤â ªk , ¦b ¦è ¤è ³ð ¤£ µ} ©_ , ¦­ ¦b ¦h ¦~ «e ´N «D ±` ²± ¦æ¡C ¦Ó ¹ï ©ó ¤¤ °ê ¤j ³° ¶Ç ²Î ¼Ö ¾¹ ºt «µ ®a «o ¬O ­Ó ¥þ ·s ªº »â °ì¡C ¼y ©¯ ªº ¬O , µ\ µ] ³o ¥ó ¼Ö ¾¹ ¥» ¨­ ¯d µ¹ §Ú ­Ì ·¥ Ä_ ¶Q ªº °] ´I , ¨Ï §Ú ­Ì ³o ¤@ ¥N ºt «µ ®a ¯à °÷ ¥R ¤À §Q ¥Î ³o ¨Ç °] ´I ¨Ó ªí ¹F ¤µ ¤Ñ ªº ­µ ¼Ö »y ¨¥¡C ¶Ç ²Î ­µ ¼Ö , ºë Åè ªº «O ¦s ©µ Äò ¬O §Ú ­Ì ªº ³d ¥ô , ¦ý «ç ¼Ë µo ´§ ¥¦ ªº ¼ç ¤O ¥ç ¬O §Ú ¥Ø «e ·P ¿³ ½ì ªº ¤u §@¡C §Ú ı ±o , ºÉ ºÞ ¬ì ¾Ç¡B ÃÀ ³N ­¸ ³t ¦a µo ®i , ¦Ó µ\ µ] Á` ¯à §ä ¨ì ¦X ¾A ¥¦ ¦Û ¤v ªº ¦ì ¸m , ­« ­n ªº ¬O ¥¦ ¨ã ³Æ ¤F ³Ð §@ ²{ ¥N ­µ ¼Ö ©Ò »Ý ­n ªº ¥i ¶ì ©Ê¡C

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    ¡§ªø ­· ¼ú¡¨

    °ê »Ú ¤¤ °ê ¥Á ±Ú ¾¹ ¼Ö §@ ¦± ÁÉ

           ¬° ¤F ¦b ¥@ ¬É ­S ³ò ¤º ¹ª Ày ¤Î ±À ®i ¤¤ °ê ¥Á ±Ú ¼Ö ¾¹ ·s ­µ ¼Ö ªº ³Ð §@ , ¯Ã ¬ù ªø ­· ¤¤ ¼Ö ¹Î ±N Á| ¿ì ²Ä ¥| ©¡¡§ ªø ­· ¼ú ¡¨ °ê »Ú ¤¤ °ê ¥Á ±Ú ¾¹ ¼Ö §@ ¦± ÁÉ¡C ¤ñ ÁÉ ÀÀ ³] ­º ¼ú ( ¤T ¨Õ ¬ü ¤¸ ) »P ¤G ¼ú ( ¤G ¨Õ ¬ü ¤¸ )¡C Àò ¼ú §@ «~ ±N ©ó ¦b ¤@ ¤E ¤E ¤­ ¦~ ¥Ñ ªø ­· ¤¤ ¼Ö ¹Î ±N Á| ¿ì ªº¡§ ¤¤ °ê ·s ­µ ¼Ö ÃÀ ³N ¸`¡¨ ­º ºt¡C ¤ñ ÁÉ ºI ½Z ¤é ´Á ¬° ¤@ ¤E ¤E ¤­ ¦~ ¤K ¤ë ¤@ ¤é¡C ¥H ¤U ¬O µû ¼ú ¿ì ªk:

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    (4) §@ ¦± ®a ¾Ö ¦³ °Ñ ÁÉ §@ «~ ªº ª© Åv¡C
    (5) °Ñ ÁÉ §@ ¦± ®a »Ý ¦P ®É §e ¥æ ¼Ö ¦± Á` ÃÐ ¤Î ¶ñ ¼g ¦n ªº °Ñ ÁÉ ¥Ó ½Ð ªí¡C ¦¹ ªí ¥i ¦V ªø ­· ¤¤ ¼Ö ¹Î ¶l ¯Á , ¥ç ¥i ¦Û ¦æ ½Æ »s ¨Ï ¥Î¡C
    (6) °Ñ ÁÉ ¼Ö ÃÐ ¤@ «ß ¤£ ±H °h¡C §@ ¦± ®a »Ý ¦Û ¦æ «O ¦s °Ñ ÁÉ §@ «~ ­ì ½Z¡C
    (7) ±N ¥þ Åv ¥Ñ ¸ê ²` §@ ¦± ®a ©M ¤¤ ¼Ö ºt «µ ®a ²Õ ¦¨ ªº µû ©e ·| ¿ï ¥X Àò ¼ú §@ «~¡C µû ©e ·| ¦³ Åv §@ ¥X ½Õ ¾ã ¼ú ª÷ ¤À °t ªº ¨M ©w¡C

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    Newsletter Vol. 4, No. 1
    Spring/Summer 1995
    GB Version

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