關於 western musical instruments ，我們在網路上蒐集到這些相關的討論、資訊與評價

‘A Note to Harmonica Folks’

What’s next?

Since the day I was born, I have known the most prestigious harmonica competition in the world, The World Harmonica Festival (WHF). Every harmonicist around me see this as the olympics of harmonica, especially when they are both held once every four years.

My father’s ensemble King’s Harmonica Quintet was one of the very first few Asians harmonicist that appeared in the competition in Germany after the format of the competition turned from taped recording to live performance. In 1997, 3 years after I was born, they won their ‘World Championship’ in the WHF. I witnessed it.

It was a historical moment not only because was it a massive honour to be crowned in such reputable competition, it was the period when Asian harmonicists were approved by the Western.

Since then, the global harmonica community started to merge and interact. While harmonicists from the West continue to develop their artistry and career under a relatively strong cultural foundation for instrumental music, harmonica music to be exact, by virtue of the legends such as Tommy Reilly, Larry Adler, Toots Thielemans, Asians harmonicists struggle to further their artistry without the corresponding cultural foundation. A market for harmonica music in Asia simply do not exist.

Nevertheless, Asian culture values diligence and discipline. With the competition as the highest possible way to be rewarded as we develop our artistry, countless players began working day and night towards this very, if not only, visible goal.

Up till this day, you’d be surprised if there aren’t any Asian standing on the prizing podium in the international harmonica festivals. According to a Facebook post of the renowned Taiwanese Harmonicist in 2013, Lee Hsiao-ming, ‘If you show up at a harmonica festival, you can easily be surrounded by a group of ‘World Champion’s all queuing up for that plate at the buffet.’ Be him a chord harmonica player from an ensemble, a soloist at the open category or a 10 year old kid from the youth category… all claiming to be the ‘World Champion’.

Now the question is, Is the ‘World Champion’ in 1997 still the same ‘World Champion’ now? Or are we unconsciously abusing the only system we can count on to gain qualification to ourselves?

As Gerhard, the president of the World Harmonica Festival, has also repeatedly emphasized before, champion of any event of the WHF competition should NOT claim himself / herself as the World Champion. It should properly be addressed as Champion of the " XXX event" of the World Harmonica Festival.

While varies important figures in the global harmonica community started participating in this fierce debate, I was curious about the root of this controversy.

Would anyone accused Usian Bolt of abusing his Olympic gold medals to pursue further in his career? Would anyone question Danill Trifonov’s artistry if he claim himself the winner of Chopin Piano Competition? Could Michael Jordon ever obtain a ‘fake’ NBA championship?

Obviously, there is nothing wrong about winning and taking pride off an award. The real issue instead lies in the opposite side of the question. Is the existing harmonica competition rigorous enough to qualify the winner a ‘World Champion’? Or, should a ‘World Champion’ even exist in a musical setting?

In order to understand what a truly rigorous musical competition is, we began digging into the competitions of all instruments at the highest calibre. For instance, when studying the difference of the format of the International Tchaikovsky Competition with the World Harmonica Festival, we have realised how far behind the harmonica competition is constructed. I won the Solo Championship in the World Harmonica Festival 2013 only by playing a total of 10 minute of music. While a contestant at the qualifying round at the Tchaikovsky Competition would already have to prepare up to 30 minute of music. Meanwhile, not a single competition in the classical world would claim themselves the competition of the best. It seems like the title ‘World Champion’ could only be justified when it’s within sports, where the result can be calculated and compared. We can’t calculate art.

We have came a long way since the harmonica was invented 150 years ago. And I’m extremely excited to see new generation of player arising from all around the world. Nevertheless, while festivals are taking a pause during covid, we should make the best use of this period of time and rethink about how we could contribute to the culture and further bring our instrument to the next level.

So, what’s next? 🤔

【走下去】- NAMEWEE黄明志(ACOUSTIC COVER)

Amore Music Entertainment & Lollipop Productions联合本地音乐人呈现了这首来自大马鬼才——黄明志为慈善之旅而写的公益单曲【走下去】。
此次的翻唱结合了不同的音乐元素，其中有包括来自婆罗洲的传统乐器Sapeh，中华民族乐器古筝及排箫等等。
【走下去-Cover】没有华丽的编曲，也没有太多的炫技，借着存粹干净的乐器演奏，透过大合唱的方式把最真实的情感透过这首歌让人们重拾对明天的期望！
Namewee’s cover songs (Keep Going) presented by Amore Music Entertainment & Lollipop Productions.
This cover song combines different musical elements such as our very local Borneo tradisional instruments Sapeh, Chinese Tradisional musical instruments Pan Pipes and Gu Zheng as well as western musical instruments.
This is a song that expresses love. We believe that the future is worth living for, we deserve to get better. THE HOPE FOR A BETTER TOMORROW KEEP US GOING!

走下去 (Keep Going)

如果这个世界 没有花 没有雨
没有人造的浪漫 就没有脆弱的关系
因为这个世界 太多虚伪的感情
太多你爱我我爱你 不爱就荒废丢弃
不能改变什么绝望过 泪流过 那就是生活

陪你撑过去 熬过去 不要放弃亲爱的姊妹兄弟
痛苦的 难过的 总会过去还有我会一直陪着你
一起撑过去 熬过去 不要忘记窗外有美好风景
每个生命都有他的际遇只要我们勇敢走下去

如果这个世界 没有名 没有利
没有无尽的欲望 就没有贪婪的顾忌
如果这个世界 没有许愿的流星
没有情人节感恩节 就没有期待和唏嘘
不能改变什么绝望过 泪流过 那就是生活

Bersama kita semua berusaha
Ini negara kita bersama
Tidak kira mana mana bangsa
Agar semangat berkerja sama
一起撑过去 熬过去 不要忘记窗外有美好风景
每个生命都有他的际遇只要我们勇敢走下去

Vocalist: Adelynna Yang ; Elva Chiu ; Edmond Wong ; Richard Lee ; Patrick Nge ; Nikko ; Alif
Guitarist: Richard Lee
Cajonist: Patrick Nge
Keyboardist: Jeffrey Sim ; Phoebe Nishi
Pan-pipes: Foo Yong
Gu Zheng: Jackqueline Cheong
Sapeh: Anak Borneo 婆罗洲之子
Lyrics & Composed by: Namewee 黃明志
Malay lyrics: Richard Lee
Music Arrangement: Bong Foo Yong / Richard Lee
Recording / Mixing / Mastering: Bong Foo Yong
Videographer (Band Scene): Chai Teck Hua & MeShell Chai
Photographer: John Leong ; John Chai
Makeup & Hairdo: Linda Hiew
MV Editing: Newky Jeff & Eric Lee
Presented by: Amore Music Entertainment
Produced by: Lollipop Productions
In collaboration with: Anak Borneo 婆罗洲之子 ; Patrick Nge ; Lovebugs Wedding ; LINDA MAKEOVER
Special thanks to: Sumiran Eco-Camp

🎹鋼琴的大千世界/名家名言：「為何稱我為大師？主人在這裡（指著鋼琴），我只是他的奴才。」

— 李斯特著名的弟子，德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)

Why, there is the master (pointing to the piano), I am only the slave.”

— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.

📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾，演奏李斯特的第十號匈牙利狂想曲：
https://youtu.be/e12YwuHiQtY

📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/

———————————————————————1905-1906 鋼琴名家萊森奧爾（Alfred Reisenauer）在美國進行數月的巡迴演出，並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版，隔年他在德國巡迴演出期間於下榻的飯店房間內過世。

📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.

▪️With Liszt

“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.

▪️Liszt’s Pedagogical Methods

“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”

Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:（見譜例圖四）

Chopin’s next thought was, no doubt:（見譜例圖五）

But with his unerring good taste and sense of symmetry he writes it so:（見譜例圖六）

Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:（見譜例圖七）

The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.

“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”

▪️A Unique Attitude.

Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”

▪️The Future of Pianoforte Music.

An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.

Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”

As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.

▪️American Musical Taste.

Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.

▪️Concert Conditions in America.

“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”

Rentak Selangor 2019 aims to educating, promoting & sharing the "Dendang Hati ?, Lagu Jiwa?, Irama Kita ?" to the public

Beats of Selangor ? ~ Chinese
A great ?? efforts of Catholic High School (CHS) to preserve the Chinese heritage, art & cultures to ? generation ?????????? of all Malaysians ????? Sharing some of the details which all credited to her media friend, Ms Lily ??‍♀️;

Chinese Orchestra
It's based on the structure & principles of a Western symphony orchestra using Chinese instruments. The orchestra is divided into 4️⃣ sections ~ wind, plucked strings, bow strings & percussion. It's usually performs modernized traditional music. Some of the instruments used are;

1️⃣ Erhu 二胡
✅ It's 1 of the most important Chinese instruments, with a
history of over 4K years
✅ It's a 2️⃣-stringed bowed Chinese musical instrument,
AKA the Chinese violin / Chinese 2️⃣-stringed fiddle
✅ It can be used in both traditional & contemporary music
arrangements; pop, rock & jazz
✅ It's played vertically, resting on the musician's lap. It has ❌
fingerboard, hence the player's fingers must hold & vibrate the
strings by pressing only against the strings themselves

2️⃣ Pipa 琵琶
✅ It's a 4️⃣-stringed Chinese musical instrument, AKA Chinese lute
✅ It has been played for almost 2K years in China & existed
as early as the Han dynasty
✅ It was once reigned as the “king” of Chinese folk instruments
✅ The instrument has a pear-shaped wooden body & the string
was once made of silk, however today, it is made of nylon-wrapped
steel. Silk strings were played either with a plectrum / with bare
fingers, but steel strings are played with finger picks

3️⃣ Dulcimer 扬琴
✅ AKA yangqin (扬琴) is believed to have originated in Central
Asia & was brought to China by sea-faring European traders at the end of the Ming Dynasty (around AD 1600).
✅ Classified as a plucked string instrument, the Chinese yangqin is also a
hammered dulcimer that is played with rubber-tipped sticks.
✅ The modern dulcimer has been rationalized & has become an essential
instrument in the Chinese orchestra
✅ It's used both as a solo instrument & in ensembles

4️⃣ Bamboo flute 笛子
✅ It's a Chinese transverse flute / Chinese bamboo flute
✅ Traditionally & most of the dizi is made by using (a single piece of) bamboo
✅ It's played using circular breathing "advanced" techniques
✅ It's a key Chinese musical instrument & is used in Chinese folk
music, opera & modern Chinese orchestra

Wushu (武术)
It was developed in 1949 in an effort to standardize the practice of traditional Chinese martial arts. The modern concepts of wushu were fully developed by the Ming & Qing dynasties

Type of performances are Wushu Weapons, Doubles Weapons, Flag, Doubles Taiji Sword, Trio Taiji Broadsword & Trio Taijiquan

The basic wushu movements are;
✅ Ma bu : 马步 - Horse stance
✅ Gong Bu : 弓步 - Bow stance
✅ Pu bu : 仆步 - Flat Stance or Crouch stance
✅ Chong Quan : 冲拳- Fist Punching
✅ Teng Kong Fei Jiao : 腾空飞脚 - Jumping front kick
✅ Bai Lian : 摆莲 - Lotus kick
✅ Xuan Zi : 旋子 - Butterfly kick

Basic wushu sword & boardsword movements are;
✅ Chan tou : 缠头 - Twining around the head with broadsword
✅ Guo nao : 裹脑 - Wrapping around the head with broadsword
✅ Wan Hua : 腕花 - Rotate the wrist, move the sword in forward-downward vertical circles on both sides close to your body, force reaching tip of the sword
✅ Guajian : 挂剑 - Hold the sword straight & move it in upward-backward / downward-backward vertical circles close to your body, with force reaching the front part of the blade
✅ Liao jian : 撩剑 - Move the sword in a forward-upward vertical circle, force reaching the foible

Diabolo 扯铃/ 抖空竹
It's a juggling / circus prop consists of an axle & 2 cups AKA Chinese yo-yo. It's spun using a string attached to 2️⃣ hand sticks. Multiple cups can be spun on a same string too. A large variety of tricks are possible with the diabolo, including tosses & various types of interaction with the sticks, string & various parts of the user's body

24 Season Drum (Ershisi Jieling Gu : 节令鼓)
It's a Malaysian art that was invented in 1988 by a music teacher, Tan Hooi Song & a poet Tan Chai Puan, at Foon Yew High School in Johor. It consists of 24 large drum is called Shigu (獅鼓) that represents the agricultural seasons in the Chinese calendar. The original performance styles depict movements of farmers & activities on a farm. The name of each season is usually written in
Chinese calligraphy on the drum.
The drum is played using 2️⃣ wooden sticks, striking its surface, sides or hitting the 2️⃣ sticks together

Each colour on the drum has a special meaning;
❤️ red symbolizes auspiciousness & passion
? black represents perseverance
? yellow signifies the Chinese culture & tradition

More details soon via ? siennylovesdrawing.wordpress.com

#RS4 #RentakSelangor #DiscoverSelangor #VM2020 #VisitMalaysia2020 #TakeMeAnywhere #GayaTravel #Malaysia

Follow Jessie Chung on:
Facebook: https://www.facebook.com/jessiechung.official
Instagram: https://www.instagram.com/jessiechung.offical
www.jessiechung.com

Jessie Chung is an international recording artist and actress based in Australia, currently under the management of Future Entertainment & Music Group. She is the only Malaysian artist who has stormed foreign charts, including the prestigious Taiwan 5 Music International Chart, and the I Radio Top Hits Chart. True to her multitalented status, she is also a doctor of medicine in oncology, naturopathic doctor (US), certified nutritional consultant (US), homeopathic doctor, certified iridologist, biotech researcher, accomplished entrepreneur, author, martial arts coach, and philanthropist from Malaysia. Besides holding a doctor of medicine degree (M.D.) in Clinical Chinese and Western Integrative Medicine—Oncology from Guangzhou University of TCM, China, she also possesses a MBA from The University of South Australia and a BSc. in Acupuncture and Oriental Medicine from Oriental Medical Institute, Hawaii, USA. In recent years, she was the only naturopathic oncologist selected as one of the Hummingbird Cancer Centre leading members to head their natural therapy department.
Her passion for music was evident at a young age as she racked up numerous singing competition awards. In junior high school, Jessie was the only youth representative in the entire district selected to sing at the National Day Celebration. She then proceeded to perform on many TV programmes in subsequent years. Her high school years in Canada was highlighted by her participation in an international talent contest held by TVB, and she successfully entered into the finals at the ripe age of sixteen. Besides singing, Jessie also has a gift for musical instruments, passing grade 8 organ at a young age with distinction, under the examination of Japanese auditors.
After her studies, she devoted herself into the entertainment industry and charity; so far, she has released eight albums and starred in three feature films. In 2013, she took on lead actress in the Chinese film Faces and Malaysian film Unchanging Love. She also appeared in the 2014 film Kungfu Taboo.
She is known for her ebullient and enigmatic concert performances in countries all around the world, including the United States, Canada, China, Taiwan, and Malaysia. With experience in dozens of concerts in five different languages, Jessie yielded huge responses from fans around the world during her 2015 Love Unity Concert, leaving barely any space in the arena. Building on her success from the previous year, she proceeded to perform in the Jessie Chung Exquisite Chinese Orchestra Concert in 2016, selling out all ten performances. Besides touring and performing in concerts, she has also starred in several stage plays, tackling lead roles in Malaysia, Singapore and Canada. Her recent stage production Moonlight was also well received by the visual arts community, and the organizer has brought Moonlight to numerous locations around the country.
By now, she has released six Chinese albums and two English albums. Her single Love in You was selected as the theme song for the Korean TV series My Secret Garden in Taiwan, whereas her album of the same name topped Malaysia’s aiFM Top Hits Chart, staying at number 1 for many consecutive weeks. In China, her album Loving You charted among the top 10. Her recent album Tearless Sky rose to 4th place on the I Radio Top Hits Chart and 6th place on the Pop Radio Top Ten Music Chart just within two weeks of initial release in Taiwan. The album was well received by the public and has received appraisal from music journalists. She has appeared on numerous TV shows in Taiwan, and her album was strongly recommended by the TV hosts of the programmes, one of them being Kevin Tsai (Cai Kang Yong), in his legendary TV show Kangsi Coming. Exhibiting a strong presence on TV shows, Jessie has recently been invited to host TV shows in both China and Australia.
Besides, she authored Stay Away from Cancer, Stay Away from Diseases, and the Jessie Diary series, informing the world with her medical experiences while also giving them a peek into her soul. She has authored more than ten literary and medical works to date, most of them in English and Chinese, with translations in Malay.
As an accomplished martial arts practitioner, Jessie has successfully achieved the 5th Duan of Chinese Wushu Duanwei; she is also a certified Wushu coach, referee, and instructor. She has won a total of 12 gold medals and 5 silver medals in various international Wushu competitions.
Jessie has been honoured with countless awards received from various ministers of Malaysia for her achievements, particularly two awards from the prime ministers of Malaysia.

C.C. MUSIC STUDIO X MASA BAND
❮WHEN EAST MEETS WEST LIVE CONCERT AT BELLAVITA TAIPEI❯
FEB. 25th., 2017 Live Concert at Bellavita Department Store in Taipei.
Let's see how Chinese traditional musical instruments bring out the spark with western musical instruments!!!
If you like this video, please "Subscribe", "Like" and "Share" !!!

C.C. 音樂工作室 X MASA樂團
❮2017/02/25 BELLAVITA中庭 愛的音樂絮語之中西合璧音樂會❯
來看中國樂器如何與西洋樂器激盪出新的火花！
如果你喜歡這支影片不要忘記"訂閱"，"按讚"，"分享" 喔！！

Facebook: https://www.facebook.com/CCMusicStudio/

Youtube: https://www.youtube.com/channel/UCZqCFzi1tfDuqGN7P53YDfQ