Performing and Screen Arts Other Research
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Item Te Wao Nui o Toi: Screen Sector Capability and Development Plan(Toi Mai Workforce Development Council (N.Z.), 2023) Toi Mai Workforce Development Council; Unitec, Te PūkengaTE KANO KI TE RAU Executive summary This report was commissioned by the Toi Mai Workforce Development Council (WDC) and prepared by Assurity Consulting. Its purpose is to convey the unfiltered views of industry to inform alignment between Toi Pāho and vocational training provision for the below-the-line workforce. Aotearoa New Zealand’s film, television and interactive media industries provide creatively fulfilling and highly skilled roles, boundless opportunities, variety, well-paid careers and successful businesses. There is increasing demand for the sector’s products and services; however, its ability to meet that demand is being stifled by difficulties sourcing the skilled below-the-line production workers who make up the majority of screen roles. CONTRIBUTOR NOTE: Vanessa Brynes was an industry reference group member for the project. This was a national appointment by invitation.Item 贝多芬在上海（1861-1880) = Beginnings of Beethoven in Shanghai, 1861-1880(2015-12) Gong, Hong-Yu; Unitec Institute of Technology早在1906年李叔同在《音乐小杂志》上介绍贝多芬之前，贝多芬的各类作品（包括交响乐）已在上海租界的音乐会上和沙龙中多次出现。本文以贝多芬音乐在开埠后上海西人音乐生活中的呈现为焦点，以编年的方式追溯贝多芬在中国的演奏史，兼及十九世纪下半叶寓沪西侨乐人乐事。本文的主要资料为1850年创刊的英文《北华捷报》，主要关注的时段为1860至1880的二十年。Item More than a bridge builder(Steele Roberts Aotearoa, 2015) Gong, Hong-Yu; Unitec Institute of TechnologyFor around thirty years, from the early 1980s to the present day, Jack Body has been the single most powerful force in the introduction of China's multi-faceted musical culture to New Zealand. As far as I can now reconstruct the sequence, Jack came to 'discover' Chinese music through Chinese composers; he came to Chinese composers through a preoccupation with sounds. Jack's acquaintance with Chinese music started in the early 1980s, if not earlier, when, as a co-organiser of the Asia Pacific Festival and Composers' Conference, he invited Chinese composers from Taiwan (Hsu Tsang Houei), the United States of America (Chou Wenchung) and the People's Republic of China (Qu Wei and Ye Xiaogang) to Wellington. A most original composer, Jack'sapproach to Chinese music is intuitive rather than cerebral. He looked at China from three different perspectives: first, his fascination with Asian traditional music and the contemporary compositional scene, which led him to conduct extended fieldwork in China's south and north-west and to have frequent contact with Chinese composers of different generations and diaspora; second, his interest in ethnomusicology, which enabled him to accumulate the data that would engender creative outputs; and third, his love of documenting, which would add an archival dimension to his efforts.