davidanugraha/M4-RAG huggingface dataset:
Biserica de lemn din Apahida

Biserica de lemn din Apahida, comuna Apahida, județul Cluj, datează din anul 1806.
Biserica are hramul „Sfinții Arhangheli Mihail și Gavriil” și este monument istoric.
Edificiul, deși se află într-o localitate în care începe Câmpia Transilvaniei, este din punct de vedere tipologic unul „de munte”, inclusiv prin esența lemnoasă folosită de meșterul constructor.
Biserica de lemn Sfinții Arhangheli Mihail și Gavril din Apahida a fost construită târziu, la începutul secolului al XIX-lea, în 1806, în satul preponderent românesc din apropierea Clujului, sat atestat documentar încă din 1263. La acea dată, 1806, probabil în urma deteriorării bisericii mai vechi din lemn, intermediară sau poate chiar cea pe care o menționează recensământul ecleziastic efectuat de episcopul Inocențiu Micu-Klein în 1733, o nouă biserică devenise necesară, întrucât comunitatea avea aproape 700 de enoriași.
Biserica de lemn din Apahida a fost construită de meșterul Ioan Ghiran din Nadăș și este clădită cu bârne de brad, îmbinată atât în cheotori drepte, cât și în cheotori nemțești. Ea are un plan dreptunghiular unitar pentru pronaos și naos, la corpul central al construcției adăugându-se altarul poligonal, bine proporționat și simetric situat, cu unghi în axă.
Pronaosul este tăvănit, cu grinzile bine îmbinate, peste care se ridică stâlpii de susținere ai sveltului și elegantului turn clopotniță, specific zonei Călatelor, chiar dacă între comunitatea comanditară și meșterii lui Ghiran vor fi intervenit multe solicitări de compromisuri. Turnul este prevăzut cu o galerie deschisă, cu arcade semicirculare, de toate părțile, peste care se ridică spre cer coiful octogonal al turlei, încununate de o cruce mare, fără turnulețele caracteristice zonei de proveniență.
Naosul are pereții supraînălțați prin bolta sau cerimea semicirculară, împodobită la mijloc de un arc dublou, decorat prin încrestături asemănătoare cu ale celor întâlnite în Nadășu sau Aghireșu.
Iconostasul se înalță până sub cerime, separând bolta altarului, de aceeași înălțime pe porțiunea pereților paraleli, dar continuată apoi prin obișnuitele triunghiuri sferice.
Descrisă prima dată de harnicul cercetător Atanasie Popa, în 1931, biserica adăpostea vechi icoane datând din secolul al XVIII-lea, preluate din mai multe biserici de lemn din zonele Călatei, Gilăului, Hășdatelor și Clujului.
Biserica a fost pictată în anul 1808 de Ioan Pop din Unguraș, azi Românași, județul Sălaj, pictură în ulei pe pânză. Din păcate pictura prezintă un grad avansat de degradare și se mai distinge doar într-o mică parte a bisericii.
În anul 1917, în decursul primului război mondial, administrația austro-ungară a confiscat [din biserică] cele 2 clopote mari, lăsând-o cu clopotul cel mic și cu toaca. După unire, în anul 1924, credincioșii au reușit să cumpere un clopot cu suma de 10.196 lei.
Biserica de lemn din Dealu Mare, Maramureș

Biserica de lemn din Dealu Mare, comuna Coroieni, județul Maramureș a fost ridicată în secolul al XIX-lea (1875). Are hramul „Sfinții Arhangheli Mihail și Gavriil”. Lăcașul nu figurează pe lista nouă a monumentelor istorice.
Localitatea Dealu Mare este atestată documentar din anul 1571, atunci când purta denumirea maghiară de „Uyffalu". De-a lungul timpului, această localitate a purtat mai multe denumiri (Dilleofalva, Dalmare, Dalmar, Dalmareu, Dombhat) până la denumirea actuală de Dealu Mare.
Biserica a fost ridicată în anul 1875 și are hramul Sfinților Arhangheli Mihail și Gavriil. Pentru construcția acestui lăcaș au fost folosite lemne de stejar așezate pe o fundație de piatră. Lemnele au fost tăiate și aduse de săteni de pe dealurile care împrejmuiesc localitatea.
Pereții sunt tencuiți atât în interior, cât și în exterior (cu terasit alb). La sfârșitul anilor ’80, s-au făcut reparații capitale ale bisericii, care au inclus, printre altele, și „tencuieli exterioare cu praf de piatră și ciment alb". Aceste modificări sunt trecute ca necesare într-un memoriu justificativ, trimis Arhiepiscopiei Ortodoxe din Cluj, și care specifică faptul că biserica cu pricina nu este declarată monument istoric și de arhitectură. Lucrările de reparație au costat, la vremea respectivă, 98.400 lei.
Lucrările de izolare prin tencuială, menite să îmbunătățească confortul termic ar fi afectat iremediabil multe porțiuni din lemn, din cauza umezelii și sufocării la care a fost supus sub acea tencuială.
„Ca să afli multe lucruri interesante despre această biserică, ar trebui dată jos toată tencuiala care i-a fost aplicată. Însă mă tem că multe porțiuni din lemnul care compune pereții se află într-o stare avansată de degradare, ținând cont de mediul umed și lipsit de oxigen la care a fost supus".
Acoperișul a suferit și el modificări. Dacă inițial biserica a fost acoperită cu șindrilă, între anii 1960 și 1961, lăcașul a fost acoperit cu tablă zincată. Și în interior s-au făcut modificări. Patru mari icoane vechi, pictate pe pereții bisericii, au fost acoperite de niște panouri din placaj, pe care s-a pictat, încercând să se imite, într-o manieră grosolană, imaginile regăsite sub acestea.
Din patrimoniul mobil al bisericii fac parte câteva icoane pictate pe lemn, un potir din lemn și câteva cărți de cult, printre care se remarcă „Noul Testament" al lui Simion Ștefan (din anul 1648) și „Octoihul Mic" (din anul 1898).
Friza lui Beethoven

Friza lui Beethoven (în germană: Beethovenfries) este o pictură realizată de Gustav Klimt pe pereții unei camere din Clădirea Secesiunii din Viena, Austria.
În 1901 Klimt a pictat Friza lui Beethoven pentru a XIV-a expoziție a secesiunii vieneze din anul 1902, care l-au omagiat pe compozitorul Ludwig van Beethoven. Toate lucrările expuse au fost consacrate compozitorului care reprezintă geniul absolut pentru artiștii participanți. Expoziția formează o entitate unică, desfășurată în jurul sculpturii monumentale a lui Beethoven, realizată de Max Klinger, iar deschiderea expoziției se face se face pe muzica lui Beethoven, sub bagheta lui Gustav Mahler. Contribuția lui Klimt este o friză lungă de peste 34 de metri, întinsă pe 3 pereți și cântărind în total 4 tone. Aici domină pentru prima oară un mijloc stilistic distinctiv al lui Gustav Klimt: utilizarea mai multor tipuri de ornamente. Inserția de aur prevestește deja „Perioada de Aur”, în care Klimt a devenit unul din cei mai cunoscuți artiști ai Jugendstil, versiunea germană și austro-ungară a curentului Art Nouveau.
Datorită popularități frizei, aceasta a apărut pe o monedă: cea de 100 de euro, din 10 noiembrie 2004.
Eclectism

Eclectismul (din greacă = ἐκλεκτός, eklektos, "selectat") este un sistem de gândire neunitar, care alege din diverse sisteme de gândire, stiluri artistice etc. ceea ce i se pare mai bun.
Eclectismul este tipic pentru stilurile de artă europeană de la începutul clasicismului, dar mai ales în istorism. În ceea ce privește calitatea artistică trebuie făcuta distincție între imitație și evoluție artistică. Termenul eclectism poate avea o conotatie negativă, în cazul în care artistul, în locul creației proprii, selectează elemente din alte lucrări și le combină într-una nouă.
Termenul era cunoscut deja în Antichitate și a marcat începutul erei noastre. La acea vreme existau diferite școli de filozofie în paralel, iar gânditorii și politicienii erau numiți eclectici, deoarece acestia combinau, între ele, elemente și poziții diferite. Cel mai faimos reprezentant al acestui curent a fost Cicero. El a preluat, în special în etica sa, o mare parte din gândirea stoicistă, dar a inclus și valori susținute de Academia platonică și de școala peripatetică.
Termenul este folosit pentru a descrie combinația de elemente într-o singură lucrare din diverse stiluri istorice, mai ales în arhitectură și implicit, în artele plastice și decorative. Termenul mai este uneori folosit pentru a descrie la varietatea stilistică a arhitecturii secolului 19, după perioada Neoclasicismului (aprox. 1820), deși revirimentul stilurilor din această perioadă, începând cu anii 1870, au fost numit, în general, istorism.
Numeroși arhitecți, formați în spiritul eclectismului au realizat în România un număr mare de construcții în acest stil. Exemple de arhitectură eclectică pot fi: Palatul Băncii Naționale (1885) de Cassien Bernard și Albert Galleron, Atheneul Român (1888) de Albert Galleron, Casa de Economii și Consemnațiuni (1900) de Paul Gottereau.
În științele umaniste, termenul caracterizează metoda de a forma, din diferite sisteme, teorii sau ideologii, o unitate nouă. Și în acest caz, termenul este folosit preponderent în sens peiorativ.
În cazul religiilor nu se vorbeste despre ecletism, ci mai degrabă despre sincretism.
Casa Memorială „Eusebiu Camilar”

Casa Memorială „Eusebiu Camilar” din Udești este un muzeu memorial înființat în casa în care a trăit prozatorul Eusebiu Camilar (1910-1965) în satul Udești din județul Suceava. Casa a fost construită din lemn la sfârșitul secolului al XIX-lea.
Casa Memorială „Eusebiu Camilar” se află pe Lista monumentelor istorice din județul Suceava din anul 2015, având codul de clasificare SV-III-m-B-05687.
Casa în care a copilărit scriitorul Eusebiu Camilar este o locuință țărănească care a fost construită de părinții săi la sfârșitul secolului al XIX-lea și se află lângă școala veche din satul Udești. Locuința este modestă ca dimensiuni și aspect, fiind construită din lemn de stejar și acoperită cu șindrilă. Casa era înconjurată de un gard de stejar și dispunea de circa 800 de metri pătrați de teren pe care era amenajată și o mică grădină de flori.
În această casă s-a născut la 4 octombrie 1910 în familia lui Ion și Natalia Camilar viitorul prozator Eusebiu Camilar (1910-1965). El a urmat școala primară în satul natal, după care a studiat la Liceul "Ștefan cel Mare" din Suceava. A început să scrie la vârsta de 14-15 ani, apoi a lucrat ca ziarist la Iași.
Camilar s-a căsătorit la 31 martie 1938 cu poeta Magda Isanos. Ei s-au mutat la București în anul 1945, unde au trăit până la moarte. Eusebiu Camilar a moștenit casa de la părinții săi, a restaurat-o și a completat-o cu încă o încăpere și o verandă. Scriitorul a murit la 27 august 1965 de o boală de ficat.
În anul 1980, fiica scriitorului, Elisabeta Goian, a donat casa statului român pentru organizarea aici a unui muzeu memorial. Imobilul valora la acel moment 9.000 de lei, la care se adăugau bunurile mobile evaluate la 6.000 de lei. Muzeul Județean Suceava a înlocuit gardul, a restaurat casa și a inaugurat-o ca muzeu în 1984. Începând din anul 1995, aici este organizat anual Festivalul național de literatură “Eusebiu Camilar – Magda Isanos”.
Casa memorială are trei camere spațioase, două holuri, verandă și prispă. În cele trei încăperi ale locuinței au fost organizate o expoziție de bază și spații memorialistice, care conțin un important fond de exponate (mobilier, obiecte personale etc.) cu o impresionantă forță evocatoare, sugestive pentru universul dur al operei de un realism crud, pe care Eusebiu Camilar a lăsat-o posterității în pagini de proză, de poezie și dramaturgie . Aici se află expuse mobilier vechi, inventar gospodăresc țărănesc, fotografii, tablouri, documente familiale, manuscrise, cărți, reviste, ziare etc.
Casa Memorială „Eusebiu Camilar” din Udești poate fi vizitată de marți până duminică între orele 10:00 - 18:00.
Materiale media legate de Casa memorială Eusebiu Camilar la Wikimedia Commons
Hypochaeris radicata

Hypochaeris radicata (sometimes spelled Hypochoeris radicata) – also known as catsear, flatweed, cat's-ear, hairy cat's ear, or false dandelion – is a perennial, low-lying edible herb often found in lawns. The plant is native to Europe, but has also been introduced to the Americas, Japan, Australia, and New Zealand, where it can be an invasive weed. It is listed as a noxious weed in the northwestern U.S. state of Washington.
The leaves, which may grow up to eight inches (20 cm) long, are lobed and covered in coarse hairs, forming a low-lying rosette around a central taproot. Forked stems carry bright yellow flower heads, and when mature these form seeds attached to windborne "parachutes". All parts of the plant exude a milky sap when cut.
Hypochaeris species are used as food plants by the larvae of some Lepidoptera species including the shark moth.
Its name is derived from Greek ὑπό 'under' and χοῖρος 'young pig'. Thus the name "should" be spelled Hypochoeris. The adjective radicata means 'with conspicuous roots' in Latin (derived from radix 'root').
In English, catsear is derived from the words cat's ear, and refers to the shape and fine hair on the leaves resembling that of the ear of a cat.
Catsear is also known as false dandelion because it is commonly mistaken for true dandelions. The plants carry similar flowers which form windborne seeds. However, catsear flowering stems are forked and solid, whereas dandelions possess unforked stems that are hollow. Both plants have a rosette of leaves and a central taproot. The leaves of dandelions are jagged in appearance, whereas those of catsear are more lobe-shaped and hairy. The plants have similar uses.
All parts of the catsear plant are edible; however, the leaves and roots are those most often harvested. The leaves are bland in taste but can be eaten raw in salads, steamed, or used in stir-fries. Some recommend mixing them with other vegetables. Older leaves can become tough and fibrous, but younger leaves are suitable for consumption. In contrast to the edible leaves of dandelion, catsear leaves only rarely have some bitterness. In Crete, Greece, the leaves of a variety called παχιές (pachiés) or αγριοράδικα (agriorádika) are eaten boiled or steamed.
The root can be roasted and ground to form a coffee substitute.
This species is suspected of causing stringhalt in horses if consumed in excess.
Dandelion Energy

Dandelion is an American geothermal heating supplier in the Northeastern United States. Prior to 2017, the company was part of Google X, before turning into an independent company. Dandelion targets providing geothermal heating and cooling (HVAC).
The system consists of a heat pump that pipes energy to or from a house. In February 2019, Dandelion raised 16 million in a series A fundraising round.
Dandelion's CEO, Kathy Hannun, was named one of Fast Company's most creative people in 2018.
In June 2018, Dandelion began the installation of the first sub-$20,000 geothermal heat pump, Dandelion Air. The product was designed in-house by the company, which is installed in the backyard of a residential property and is currently financed over a 20-year term.
In September 2020, Dandelion announced its expansion to Connecticut.
Clover mite

The clover mite (Bryobia praetiosa) is a species of mite. Clover mites are most often sparsely located worldwide across every continent except Antarctica. Clover mites usually reside in vegetation, rocks, or other common surfaces in which they typically feed on nearby foliage including, but not limited to clovers, dandelions, and other available plants.
Clover mites are oval-shaped arachnids, 0.75–0.85 mm (0.030–0.033 in) long, with a pair of long legs pointing forward often mistaken for antennae. They are reddish brown; the younger ones and the eggs are a bright red. They are extremely common in late spring in North America.
Clover mites are polyphagous, feeding on a wide range of plants, including "lawn grasses, ornamental flowers, clover, dandelion, shepherd's purse, strawberry, daffodil, Salvia, Alyssum, and primrose". They are especially numerous in lawns with a heavy growth of succulent, well-fertilized grass. They do not cause any apparent harm to turf grass, but their feeding activity can turn the grass a silvery color and may stipple plants when heavy populations are present.
Clover mites reproduce partheno­genetically — their eggs do not need to be fertilized and are entirely female. Females lay about 70 eggs each.
They generally enter houses close to thick vegetation and can infiltrate houses in very large numbers through cracks and small openings around windows and doors. Whether indoors or outside, clover mites are found more commonly in sunny areas than in darker areas. If squashed, they leave a characteristic red stain caused by their pigmentation.
Clover mites are not harmful to humans, pets, or furniture.
The Picture of the Last Man to Die

The Picture of the Last Man to Die is a black and white photograph taken by Robert Capa during the battle for Leipzig, depicting an American soldier, Raymond J. Bowman, aged 21 years old, after being killed by a German sniper, on 18 April 1945, shortly before the end of World War II in Europe. Germany would surrender two weeks later following the Battle of Berlin.
Raymond J. Bowman was an American soldier born in Rochester, New York, who had arrived in Great Britain in January 1944 in preparation for Operation Overlord. After his landing, he served and was wounded in France on 3 August 1944. He also served in Belgium and Germany; he reached the rank of private first class during this time. He was a member of a platoon of machine gunners who entered a building in Leipzig and set positions to cover foot soldiers of the U.S. 2nd Infantry Division who were arriving to the Zeppelin Bridge. Soldiers Bowman and Lehman Riggs of Cookeville, Tennessee, took positions in an open balcony with a clear view of the bridge. One fired the gun, while the other soldier fed it. Riggs came inside, leaving Bowman alone firing the gun. When he was reloading the gun, he was shot in the cheek by a sniper's bullet which came from the street below. He crumpled to the floor, already dead.
War photographer Robert Capa climbed through the balcony window to the flat and he took a picture of the dead soldier, who lay in the open door with the Luftwaffe sheepskin helmet he had looted still on his head. He took other pictures showing how the blood spread on the floor, while other soldiers attended to Bowman and to his fellow gunner.
The photographs were published in Life magazine on 14 May 1945, shortly after Germany surrendered, with the caption The Picture of the Last Man to Die, which became the official title. They became some of the most iconic images of World War II. Two years later, Capa said in an interview that "It was a very clean, somehow very beautiful death and I think that's what I remember most from the war".
On 17 April 2016, Leipzig renamed a section of the Jahnallee (Jahn Avenue), the street in front of the apartment where Bowman was killed as Bowmanstraße (Bowman Street) and another section as Capastraße (Capa Street). The apartment was saved from demolition and renamed Capa House and now holds a memorial with Robert Capa pictures and information on Private Bowman. Lehman Riggs returned to Leipzig in 2012 and again in 2016 at age 96 to attend the dedication ceremony. Riggs died August 19, 2020, in Cookeville, Tennessee, at the age of 101.
There are prints of this photograph at the International Center of Photography, in New York, the Raclin Murphy Museum of Art, and the National Gallery of Victoria, in Melbourne.
Peasants' houses in Podlachia

In the 16th and 17th centuries, two basic types of residential buildings developed in the Podlachia region. In the south and west of the Podlachia region, the dominant type was the one with a layout of rooms arranged around a centrally located stove with a chamber chimney. The residential building was separate from the other buildings on the farmstead. The second type, prevalent in the east and north, had a single- or one-and-a-half-bay layout of rooms, and the residential and utility parts were under a common roof.
In the 16th century, as a result of the introduction of the Volok Reform, villages with a terrace layout appeared, in which all the farmsteads had the same layout, and the cottages were facing the street with their gables.
The appearance of the house depended on the wealth of the owner. The smallest and poorest were the cottages of serfs. The houses were built on a rectangular plan, and composed of alternating beams arranged and interlocking in the corners. The lowest beam of the cottage, called the foundation, rested on stones set under the corners. These cottages had no chimneys and were entirely covered with thatch. Thatched roofs were characteristic of almost all rural buildings, regardless of the wealth of the owner. Even during the interwar period, roofs covered with tiles were rare.
A serf's cottage usually consisted of only one room, a chamber and a hall. The interior of the room was whitewashed with lime. The chamber was a kind of warehouse, where food was kept. Cottages of moderately wealthy and wealthy farmers were also made of wood, but they had more living rooms. There could be three (trojak), less often – four (czworak), very rarely – five. Trojaks consisted of a large room, an alcove, a chamber and a hall. According to Marian Pokropek, this type of building was known at least since the 16th-17th century. In addition, there was a double house, which had a double layout of rooms compared to the triple house. The double house had a porch, considered a characteristic feature of the construction of the minor nobility. In the 19th century, all houses were covered with a hipped roof. At the beginning of the 20th century, it was replaced with a gable roof.
After the abolition of serfdom in Poland in 1861, there was an increase in wealth, and with it the size and appearance of the house changed.
After World War I, a fashion for decorating houses appeared.
板胡

板胡，中国弓弦乐器，琴筒由木或椰子壳制成，蒙面板而得名。音色清脆而响亮，适用于表现热情奔放的曲子。北方的戏曲如河北梆子、评剧、豫剧、秦腔等的主要伴奏乐器，也作為独奏樂器。
板胡的别名甚多，不同戏曲所用的板胡有不同的别名，按音域可以分为以下几类。
丁魯峰

丁魯峰，（1943年3月26日—2008年4月10日），祖籍江蘇宜興，出生於河南，中央音樂學院胡琴教授丁璫之子。胡琴演奏家、作曲家、音樂教師、樂器工藝家，前高雄市國樂團樂團首席、國立台南藝術大學中國音樂學系專任副教授。能演奏墜胡、評劇板胡、豫劇板胡、河北梆子板胡、秦腔板胡、婺劇板胡、低音板胡、徽胡、軟弓京胡、殼子弦、大廣弦，並發明雙千斤板胡。
自幼隨父學習二胡，1955年考進北京中央音樂學院少年班，在劉明源教授指導下系統學習板胡、高胡、中胡。在中央音樂學院期間從蔣風之、藍玉崧主修二胡專業，師從李宜平學京胡，師從敖特根學馬頭琴，師從李炎成學墜琴，並曾在內蒙古藝術學校學習蒙古四胡。
中央音樂學院畢業後到中央樂團民族管弦樂隊工作，1980年參加中央民族樂團獨奏家小組到日本訪問演出。
1987年移民美國，1991年應邀到高雄市實驗國樂團客座，1992年出任高雄市實驗國樂團樂團首席，1998年轉國立台南藝術學院中國音樂學系專任教職而離開樂團。
譜曲作品有雙千斤板胡曲《美麗的塔什庫爾干》（塔吉克曲改編）、《櫻花》（日本民謠改編）、《搖籃曲》（朝鮮民謠改編）、《碗碗腔暢想曲》（與劉文金合作）、《迎親》（與劉文金合作）、《繡金匾》、《勝利中的懷念》（與劉文金合作，1977年）；馬頭琴協奏曲《憶》（與黃曉飛合作）、《草原風情》（與黃曉飛合作）等。
他擔任樂團首席期間錄製的音樂專輯有《管弦絲竹知多少》、《鼓舞·亞非拉舞曲》、《路漫漫》（並擔任《第一二胡協奏曲》的二胡）、《花木蘭》（以上關迺忠指揮）、《月兒高》（關迺忠監製，易有伍指揮）、《龜茲古韻》、《女媧》、《國語老歌金曲集》（以上閻惠昌指揮）、《鄉土頌歌五十年》（閻惠昌、郭哲誠分任指揮）、《樂韻悠揚台灣情》（閻惠昌監製，郭哲誠指揮）等。
2004年，他出版第1張胡琴獨奏個人專輯《胡琴傳奇》，閻惠昌指揮高雄市國樂團（2002年8月1日在高雄市音樂館錄製）。
1998年，黃曉飛指揮高雄市國樂團在台中市、台南市等地巡迴公演丁、黃2人共同創作的馬頭琴協奏曲《草原風情》，丁魯峰擔任馬頭琴獨奏員。
1999年，他與台灣省立交響樂團合作，在台南市等地巡迴公演他創作的雙千斤板胡獨奏曲《美麗的塔什庫爾干》和馬頭琴協奏曲《憶》（與黃曉飛共同創作），由陳樹熙指揮。
2003年，與妻子彭苙榳擔任二胡演奏員，在高雄市、屏東縣等地巡迴公演閻惠昌創作的《鵲橋仙雙二胡協奏曲》，陳澄雄指揮高雄市國樂團。
2008年4月10日因淋巴癌在高雄市去世。
丁魯峰於1977年研發出「雙千斤板胡」，有2個千斤，比較容易轉調，音域拓寬，並將塔吉克曲《[[美麗的塔什庫爾干]]》等改編成雙千斤板胡曲，此曲得到1980年中華人民共和國文化部全國音樂創作演出評比的演奏獎和創作獎。同年中央民族樂團訪日東京音樂會上的演奏版本被收入在日本出版的黑膠唱片和音樂光盤，他曾隨團到坦桑尼亞、津巴布韋、美國、新加坡、香港表演此曲。
關迺忠創作雙千斤板胡協奏曲《山地印象》，並指揮高雄市國樂團1991年在台中市世界首演，同年關迺忠和丁魯峰應邀隨團到美國達拉斯演奏此曲，這首作品1992年在台南市立文化中心演藝廳的音樂會實況錄音已收入音樂光盤出版。
在台南縣官田鄉的國立台南藝術大學任教期間，於學生實習樂團的《樣板戲音樂選粹》音樂會中世界首演《白毛女敘事曲》這首黃曉飛創作的雙千斤高音板胡協奏曲（2002年5月3日在台南市國立成功大學），擔任獨奏員，黃曉飛指揮，2002年5月9日，2人和學生樂團在台北市國家音樂廳表演1場，2002年5月13日在高雄市表演1場。
劉明源

劉明源（1931年7月13日—1996年2月21日），出生於天津，中國胡琴演奏家、作曲家、民族音樂教育工作者。
劉明源6歲時跟父親學習板胡和京胡，7歲登台，15歲從事於音樂­工作，在戲班做主弦（領奏琴師），同時參加民樂團和從事鋼琴伴奏，擔任評劇板胡（主弦）、京劇胡琴（京胡）、廣東高胡、鋼琴、墜胡、蒙古四胡、馬頭琴、爵士鼓等多種樂器。
板胡、二胡、中胡、高胡、京胡等多種胡琴類樂器都有很高藝術成就，在國內外錄製許多音樂專輯和合輯。1957年以中國青年藝術家代表身份參加第六屆世界青年聯歡節民間樂器演奏比賽­，榮獲金質獎章。1982年起擔任中央音樂學院器樂系教授。1989年以《大起板》專輯獲得第一屆中國金唱片獎。1996年去世。
刘明源之子刘志（笔名士心）为军旅作曲家，代表作有《小白杨》、《说句心里话》等。士心之弟刘湘则子承父业，担任板胡演奏家。
姜克美

姜克美（？—），中国胡琴演奏家。善奏板胡、京胡、高胡、中胡、二胡等。在中央音樂學院附中和本科學習胡琴專業。國家一級演員，在中國廣播民族樂團工作。曾隨團到奧地利、美國、加拿大、澳大利亞等國家演出。2018年1月，当选第十三届全国政协委员。
其夫為揚琴演奏家張高翔。
中國廣播民族樂團首席、中央音樂學院客座教授，胡琴音樂的聲譽遍及國內，亞、歐、北美洲等數十個國家；連續三年隨團赴維也納金色大廳演奏，又應邀於日內瓦聯合國大會堂，日本NHK演播大廳演出；個人於胡琴的造藝深受矚目，姜克美被業界人士視為當代傑出與最受歡迎的胡琴全才。
殼仔弦

殼仔弦，又作殼子弦，亦簡稱殼子或殼仔，歌仔（演唱和演奏）音樂及歌仔戲、布袋戲（掌中戲）等戲曲音樂使用的特性（特色）胡琴類樂器，純5度定弦。
形制（形狀）類似民樂板胡，但琴筒和整體通常比板胡小，琴筒用的椰子殼較薄。
早期曾用蠶絲弦，現在都用鋼弦。
殼仔弦名稱的來源是台語，意思是小殼胡琴或椰子殼胡琴，台語稱胡琴為弦仔（臺羅：hiân-á）。
它是亂彈戲（北管戲）古路（舊路；福路；福祿）流派的領奏胡琴（主弦）樂器。
歌仔戲樂隊旋律部（文場）的領奏樂器也是它，與大廣弦、台灣月琴、台灣品仔（台灣笛）合稱「四大件」。
客語稱二弦，在台灣客家音樂中，二弦是領奏胡琴，與客語稱冇弦，書面常寫胖胡的客家大椰胡搭配。
在台灣，殼仔弦有時也被意譯為椰胡或小椰胡，然而，較常使用椰胡名稱的還是廣東（及潮汕）音樂的冇弦（廣東大椰胡、潮州大椰胡，椰胡名稱只用於書面，口語稱冇弦）。
演奏殼仔弦的名家有洪堯進、陳冠華、陳冠華的學生林水泉等。
在使用殼仔弦為領奏胡琴（主弦）的樂隊中，演奏殼子弦的琴師被稱為「頭手」、「頭手弦仔」、「頭手弦」、「主弦」。
賴達逵，《台灣歌仔戲胡琴音樂研究》，南華大學美學與藝術管理研究所碩士論文，2003年，嘉義縣大林鎮。
高胡

高胡，高音二胡的簡稱，又叫粵胡，是一種弓弦樂器，於1920年代由司徒夢巖及其學生呂文成創制，取代了二弦的位置，成為廣東音樂和粵劇的主要伴奏樂器。
高胡的琴筒比二胡小，皮膜和音窗通常是圓形，定弦是G4到D5，比二胡高四度。高胡是坐著演奏，大腿夾住皮膜和音窗以控制音色、音量，並能減少狼音。演奏時皮膜向右，弓毛置於兩弦之間，弓桿置於外側。高胡的音色比二胡清澈明麗，因此常用於演奏歡快明媚的曲。
高胡原用於廣東音樂，為滿足模仿管弦樂團的民樂團對高音域弓弦樂器的需求，與二胡、中胡、板胡、大提琴（或革胡）和低音提琴（或低音革胡）組成弓弦樂器組。
民間音樂

民間音樂，又稱民俗音樂、民間歌謠，簡稱民歌、民謠、民樂，國際傳統音樂協會（英语：International Council for Traditional Music）之解釋定義為「經過口傳過程發展起來的普羅大眾音樂」，也就是該音樂散布過程，純粹是由演奏者或音樂接收者記錄教習，並親自相傳所得。其範圍包含歌曲、簡單樂器演奏，甚至舞曲曲調與步伐。
中国少数民族音乐

在中国，除汉族以外的其他民族统称为少数民族。中国大陆境内共有55个少数民族。其中大部分少数民族都有属于自己的文化艺术。音乐具有地域性，在大部分少数民族的生活音乐中起到非常大的作用，如交流、祭祀、娶妻生子等。
少数民族的民间歌曲是各少数民族用来表达思想、感情、意志和愿望的一种艺术表达形式。
在各少数民族中都有一定数量的独特的民间乐器和乐曲。据不完全统计，各种形制的乐器达五百多种。
民间歌舞是少数民族音乐与舞蹈有机结合的艺术形式。最富特色的有鼓舞、跳乐、踏歌三种类型。
民间戏曲音乐是少数民族的综合民歌、歌舞、器乐及说唱的一种艺术形式。
时代曲

时代曲是中国民间音乐与欧洲爵士音乐的融合，起源于20世纪20年代的中国上海。上海时代曲是用國語演唱的，它被看作是时尚和先进文化的标志。听众中有相当大的一部分人并不会说很流利的國語。20世纪30年代，上海占据中国电影事业的主导地位。《渔光曲》是那个年代非常著名的一部影片，标志着歌舞片的开端。一些著名的流行歌手，比如，周璇，白光和龚秋霞也参演了其他一些影片。她们美丽的嗓音保证了唱片的畅销。后来，随着粤语，华语和闽南语流行音乐的盛行，时代曲的听众数目逐渐减少。
同时，一些左派歌曲也显示了城市老百姓的贫穷生活。一些时代曲歌曲与特定的历史事件有关，比如，抗日战争。歌词非常优美而且意味深长。这与作曲家渊博的文学知识紧密相关。中国古代小说中表达爱情的委婉方式，保留在了时代曲中，这使得时代曲非常具有艺术性。
以科学的重要性而言，时代曲歌曲的记录方式，是记录在78转数的留声机黑膠唱片上，这标志着中国音乐历史的一个新时期。通常情况下，由于只能记录在一个唱片上，因此，音响工程师必须要格外小心地进行记录。钢针唱片是一种非常重要的记录媒体，然而由于数字记录的发展，现在已经被遗弃了。同时伴随消失的，还有这种宝贵的录音技术。
术语“时代曲”的字面含义是“时代的歌曲”。当在广东演唱时，被称为“粤语时代曲”，当在厦门演唱时，被称为“闽南语时代曲”。术语“时代曲”被认为是由香港人创造的，用来描述首次出现在上海的華語流行音樂。
另外，《時代曲》是著名流行歌手陳奕迅的首支派台歌。
在中国上海，时代曲被认为是始于20世纪20年代的中国流行音乐。20世纪40年代，时代曲到了全盛时期，到了1952年中国共产党开始禁止夜总会和流行音乐的生产，时代曲开始灭绝。然而时代曲的传统移到了香港，从20世纪50年代到60年代后期在香港达到顶峰，后来被闽南语流行音乐和粤语流行音乐取代。
塔克西姆广场

塔克西姆广场（土耳其語：Taksim Meydanı）位于土耳其伊斯坦布尔的欧洲部分，是一个大型购物旅游休闲区，以餐厅、商店和饭店闻名。它被认为是现代伊斯坦布尔的心脏，广场上的共和国纪念碑（Cumhuriyet Aniti）建于1928年，以纪念土耳其共和国成立。
塔克西姆一词来自阿拉伯语 taqṣīm，意思是“分配”。来自伊斯坦布尔北部的主要供水管道原来在此分支到全市各处（因此得名，是由苏丹马哈茂德一世创立。这个广场得名于位于该地区的石头水库。此外，塔克西姆也可以指土耳其古典音乐的一种即兴音乐形式。此处原本还有一个19世纪建造的军事用地，在1940年代初拆除。
塔克西姆广场是一个主要的交通枢纽，一条长长的步行购物街独立大街结束于这个广场，怀旧电车从广场沿大街行驶，结束于杜乃尔（1875年，世界上历史第二悠久的地铁线，仅次于伦敦地铁）附近。塔克西姆广场周围有许多旅行社，酒店，餐馆，酒馆，和国际快餐连锁店，如必胜客，麦当劳和汉堡王。塔克西姆广场集中了伊斯坦布尔的一些豪华酒店，包括洲际，丽思卡尔顿和马尔马拉酒店。
塔克西姆广场也是举行如游行、新年庆祝活动或其他社会公众活动的集会地点。
阿塔图尔克文化中心（土耳其語：Atatürk Kültür Merkezi）是一个多功能的文化中心和歌剧院，也位于塔克西姆广场。
塔克西姆广场是伊斯坦布尔公共交通的重要枢纽。除了作为公共汽车系统的主要换乘站之外，塔克西姆广场也是Levent -塔克西姆地铁线的终点站。独立大街-杜乃尔怀旧电车线也开始于塔克西姆。
2006年6月29日，连接塔克西姆地铁站与Kabataş电车站和海港的缆车线路开通，在短短110秒可上升到塔克西姆。
塔克西姆广场曾是政治抗议的重要场所。来自土耳其各方的政治团体以及许多非政府组织活跃于这个广场。1969年2月16日，大约150名左派示威者在与右翼团体的冲突中受伤，称为“血腥星期日”。1977年5月1日劳动节，发生塔克西姆广场屠杀事件，36名左翼示威者被来历不明的枪手打死。经过许多其他暴力事件，禁止在广场举行一切形式的群体抗议，全天24小时警察守卫，以防止任何事故。塔克西姆广场也是发生2000年足球骚乱的地点，欧洲杯半决赛前夜，两名利兹联队球迷在与加拉塔萨雷队球迷冲突中死亡。
41°02′13″N 28°59′09″E﻿ / ﻿41.03694°N 28.98583°E﻿ / 41.03694; 28.98583
圣马可广场

聖馬可廣場（義大利語：Piazza San Marco）是位於意大利威尼斯的主要公共廣場。在威尼斯，聖馬可廣場是唯一被稱為「Piazza」的廣場，其他的廣場無論大小皆被稱為「Campi」。
聖馬可廣場的空間共同構成了威尼斯的社會、宗教和政治中心，作為威尼斯的地標，聖馬可廣場至今是該地區最受遊客歡迎的旅遊景點，更以廣場周遭的文艺复兴建築群、如行政官邸大楼、聖馬可鐘樓、聖馬可和聖托達洛柱及总督宫等建築，周遭的咖啡店及店家和廣場上的鴿子們最為注目。19世紀初期，法國皇帝拿破崙曾稱讚其為「歐洲最美的客廳」。
圣马可广场是由总督宫、圣马可教堂、圣马可钟楼、新、旧行政官邸大楼、连接两大楼的拿破仑翼大楼、圣马可教堂的钟楼和圣马可图书馆等建筑和威尼斯大运河所围成的长方形广场，长约170米，东边宽约80米，西侧宽约55米。广场四周的建筑都是文艺复兴时期的精美建筑。
圣马可广场周围开设有许多咖啡店，桌椅露天摆放在广场上的新、旧行政官邸大楼前，是游人用餐、喝咖啡和听音乐好场所。
圣马可广场的南侧有一座附属的小广场，小广场南临威尼斯大运河敞口的潟湖，河边有两根威尼斯著名的白色石柱，一根柱子上雕刻的是威尼斯的守护者圣狄奥多，另一根柱子上雕刻有威尼斯另一位守护者圣马可的飞狮，这两根石柱是威尼斯官方城门，威尼斯的贵宾都从石柱中间进入城市。这里也曾经是威尼斯执行死刑的地方。
圣马可广场初建于9世纪，当时只是圣马可教堂前的一座小广场。马可是圣经中《马可福音》的作者，威尼斯人将他奉为主保圣人。相传828年两个威尼斯商人从埃及亚历山大将耶稣圣徒马可的遗骨偷运到威尼斯，并在同一年为圣马可兴建教堂，教堂内有圣马可的陵墓，大教堂以圣马可的名字命名，大教堂前的广场也因此得名“圣马可广场”。
1177年为了教宗亚历山大三世和神圣罗马帝国皇帝腓特烈一世的会面才将圣马可广场扩建成如今的规模。
1797年拿破仑进占威尼斯后，赞叹圣马可广场是“欧洲最美的客厅”和“世界上最美的广场”，并下令把广场边的行政官邸大楼改成了他自己的行宫，还建造了连接两栋大楼的翼楼作为他的舞厅，命名为“拿破仑翼大楼”。
圣马可广场在历史上一直是威尼斯的政治、宗教和节庆中心，是威尼斯所有重要政府机构的所在地，自从19世纪以来是大主教的驻地，它同时也是许多威尼斯节庆选择的举办地。
聖馬可廣場是威尼斯的地勢最低點，因此在漲潮時和下大雨時，它是威尼斯首先被水淹的地方。下大雨時，雨水從廣場的排水溝直接流入威尼斯大運河。這是下雨時的理想排水渠道，但是在漲潮時卻帶來了麻煩。每天亞得里亞海潮漲時分，威尼斯大運河的河水同樣通過排水溝從聖馬可廣場的地下湧出，形成一潭潭的積水，每年還會出現幾次潮水鋪滿廣場甚至水淹廣場的情景。
Template:威尼斯地标
人民广场 (上海市)

31°13′46″N 121°28′28″E﻿ / ﻿31.229564°N 121.47438°E﻿ / 31.229564; 121.47438
人民广场位于上海市黄浦区，是上海的政治、经济、文化、旅游中心和交通枢纽，也是上海最为重要的地标之一。
广义上的“人民广场”主要是由一个开放式的广场、人民公园以及周边一些文化、旅游、商业建筑等组成。
人民广场在上海开埠前是一片水田。道光二十八年（1848年）英租界扩张至此，修护城河，筑泥城，被称为“泥城浜”。小刀会起义期间，咸丰四年（1854年4月3日），小刀会和英軍、美軍在此打击过清军，史称泥城之戰。同治二年（1863年）“跑马总会”在英领事馆的支持下强征泥城浜以西地段，这里成了“上海跑马厅”，后来又叫跑马厅，是当时举行赛马等活动的场所。开始“华人不得入内”，宣统元年（1909年）中国人才可以进入。
1941年太平洋战争爆发后，跑马厅成为日本侵略军的兵营。抗日战争后，跑马厅又成为美军军营和仓库。1946年，上海市政府与跑马厅总会进行了数次商洽，欲收回跑马厅。跑马总会于第二年4月9日，向香港政府按公司登记法登记成3个公司。上海跑马总会有限公司（会所与看台）；上海跑马总会马厩有限公司（马厩和宿舍）；上海跑马总会场地有限公司（草地跑道）。此外，中间的430亩公共体育场，仍用万国体育会的名义向外联系。以上4个单位，实质是跑马总会一家。当时，上海市政府迫于民意，没有同意跑马厅再开赛马，为此，跑马总会只得同意将跑马厅部分土地出让给政府，但要市政府在郊区以10倍的土地建成赛马场与之交换，后因共军接近上海，未成事实。
1951年8月28日，上海军管会宣布收回跑马厅。9月，上海市人民政府将跑马厅改建成上海人民公园和上海人民广场。1954年5月31日，跑马总会所有建筑物由人民政府接管，跑马总会大楼改为上海图书馆。1957年在黄陂北路190号兴建上海体育宫。以后又修建了上海市人大办公楼（后重建为上海市府办公楼─人民大厦）、上海博物馆、上海城市规划展示馆等建筑，1970年4月25日，上海人民广场举行万民公审基督徒张愚之、陆道雄反革命案，并由电视实况转播。当场宣布他们死刑立即执行，在游街示众之后被处决。
1992年9月14日，人民广场综合改造工程开工。1994年，人民廣場區域內建成喷泉广场。1997年，上海体育宫动迁至大渡河路1860号，原址被建为上海大剧院。上海图书馆迁至淮海中路新馆，上海美术馆进驻原跑马总会大楼。2018年11月，人民广场周邊的演藝場所定名为“演艺大世界”。2019年，噴泉廣場進行升級改造。
人民广场站（1号线、2号线、8号线）。
泉城广场

泉城广场是位于中国山东省济南市市中心的大型公共广场。现已成为济南市的标志性建筑之一，广场中的大型雕塑「泉标」对泉城进行了抽象的诠释。
广场自1998年7月开工建设，1999年9月竣工，共投资人民币13亿元。
广场呈长方形，东西长约780米，南北宽约230米，占地16.7公顷。
自西向东主要由趵突泉广场、济南名士林、泉标广场、下沉广场、颐天园与童乐园、滨河广场、四季花园、荷花音乐喷泉、文化长廊、科教文化中心、银座购物广场等部分组成。
广场西部就是有天下第一泉之称的趵突泉公园。北面是南护城河和环城公园，黑虎泉泉群也位于这里。南面是繁华的泺源大街，东面是济南科技展览馆。
大型钢制异形曲杆主体雕塑《泉》高38米，重170吨，位于广场主轴上接近中心的位置上。它取篆书“泉”字形象，三股形似清泉的造型辗转上升，顶端三股泉水托起一颗巨大的珠子，代表泉水是济南的形象，是济南的生命，这与济南市市标的创意相和。
地面铺装图案源自史籍对城池的描述，并配置七十二股涌泉及四组泉群，代表济南是一座以泉水而文明的城市。泉标塑像和底下的城池寓意构成了“泉”“城”的整体印象。
凝固的“泉”与喷涌的泉自“城”中磅礴而起，表示全城济南有活力而又有文化底蕴。
历史人物长廊中树立着代表齐鲁文化和黄河流域文化的12座人物铜像，记载着悠远深厚的齐鲁文化渊源流长、博大精深。
长廊内设立12尊齐鲁大地上的历史文化名人雕塑，按照历史顺序分别是
这12位先圣是几十位齐鲁名人中经专家投票综合各种意见而精心挑选出来的，其中包括了思想家、政治家、教育家、军事家、文学家、书法家、农学家，都是对中华历史文化起到重要作用和影响的人物。
长廊南北两端和西立柱基上还镶嵌着14幅浮雕，名为“圣贤史迹图”。内容分别是东方曙光、舜耕历山、伯禽治鲁、太公封齐、管仲霸齐、晏婴谏君、孔子讲学、子贡货殖、孙子兵法、稷下争鸣、孟子游说、鲁班学艺、扁鹊行医、邹衍辩论，讲述的都是发生在齐鲁大地上的一段段脍炙人口的历史故事。
山葉 (企業)

雅马哈（日语：ヤマハ，台湾称作山葉）是日本位於靜岡縣濱松市的公司，生產發售包括樂器、半導體、音響、體育用品、汽車零件及電腦網路等產品。旗下子公司另外經營家居設備和以摩托車為主的事業。於2004年開發電子音樂製作語音合成軟體核心引擎VOCALOID。
山葉於1969年在鋼琴生產數量上成為世界第一，銷售額為基準也是世界首位。樂器種類從鋼琴、電子琴、管樂器、弦樂器、打擊樂器及電子樂器等100多種樂器，是世界最大的綜合樂器及音響製造商。
雅马哈株式会社因在俄罗斯持续开展业务而受到批评。批评者认为，雅马哈的业务活动可能削弱国际社会对俄罗斯的经济孤立，并在战争期间间接支持俄罗斯经济。尽管存在这些质疑，该公司仍继续在俄罗斯进口和销售产品，但其2023年的收入相比2022年大幅下降。
筝

箏族樂器是東亞地區一類半筒状箱型齊特琴類（box zither）撥弦樂器，上有可移動的弦柱（或稱雁柱），移動雁柱即可調校音高，包括有中國的古箏（中國箏）、日本的和箏、朝鮮的伽倻琴、越南的彈箏、琉球的琉球箏、蒙古的雅托噶（英语：Ятга）和哈萨克的Zhetigen哈萨克箏（英语：Jetigen） 。而中國的古箏是東亞各類箏類樂器的始祖。
古箏本稱箏，因流傳歷史悠久，故稱古箏，又稱秦箏、漢箏，最早的演奏记载于《史记》：“擊甕叩缶，弹筝搏髀，而歌呜呼呼，此谓真秦之声。”歷代一直有發展，至今仍是中國音樂常用的樂器之一。
和箏是日本傳統音樂中一項重要的樂器，源自於中國的古箏。長度大約180cm，有十三條弦、十七弦、二十弦、二十五弦和八十弦等种类。
伽倻琴是朝鮮半島傳統撥弦樂器，從中國古代的箏演變過來的。從新羅時代流傳，已有1500多年歷史，有十二弦、十五弦、十七弦、十八弦、二十一弦和二十五弦等种类。
彈箏是越南的傳統撥弦樂器，有十六弦、十七弦、十九弦、二十一弦、二十二弦和二十四弦、二十六弦等种类。相传是仿照宋筝制成。
琉球箏是琉球的傳統撥弦樂器，有十三弦、与日本雅楽筝相同。
雅托噶（传统蒙古文:ᠶᠠᠲᠤᠭ᠎ᠠ yatug-a, 西里尔字母:Ятга yatga），也称蒙古箏， 是一种蒙古族弹拨弦鸣乐器，流行于内蒙各地、辽宁、吉林等蒙古族聚居区和蒙古国。
Zhetigen 是一種哈薩克語多弦彈撥樂器，形狀類似古瑟。最古老的 zhetigen 是一個長方形的盒子，從一塊木頭上挖空。這樣的zhetigen沒有頂級音板，但有asyk釘。琴弦（由馬毛製成）是從樂器外部用手拉出的。後來，zhetigen 的上部覆蓋著一個木甲板。Asyks 被替換在兩側的每根弦下，用作釘子。通過移動它們，您可以調整弦樂。如果 Asyks 將他們拉得更近，則編隊會增加，分開 - 它會減少。
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Chinese folk flute music

Chinese folk flute music are folk songs written to tell the traditions and tales of various tribes in China, around the 12th century. They were played mostly on wooden flutes, and thus the pieces that have survived till today are written in D, which is the key these early flutes were made in. This is also why, unlike most Chinese music, these pieces are not written in a pentatonic scale, but in a more middle eastern style. We can tell this because the ornamentation of these pieces is very similar to that of the bagpipes, which were invented in India, and also the penny whistle and other Celtic instruments.
These pieces were highly ornamented. Grace notes are used instead of tonguing, a technique used by the bagpipes. Unlike in most western music, any two notes were used as grace notes, rather than a tone gap. These pieces were written by taking a short theme and developing it in three sections, each section adding more complex ornaments and rhythms as it progresses. Unlike the European folk structure which normally goes ABABAB etc., as in modern pop music, Chinese folk songs have a structure of AAA, or if you count the development as a change then: ABC.
Yehu

The yehu (Chinese: 椰胡; pinyin: yēhú) is a bowed string instrument in the huqin family of Chinese musical instruments. Ye means coconut and hu is short for huqin. It is used particularly in the southern coastal provinces of China and in Taiwan. The instrument's soundbox is made from a coconut shell, which is cut on the playing end and covered with a piece of coconut wood instead of the snakeskin commonly used on other huqin instruments such as the erhu or gaohu. As with most huqin the bow hair passes in between the two strings. Many players prefer to use silk strings rather than the more modern steel strings generally used for the erhu, giving the instrument a distinctly hollow, throaty timbre. The instrument comes in various sizes. In Chaozhou music (where it is called pahi, 冇弦) it is a leading instrument, and is tuned quite high. In Cantonese music it can be quite large and is often tuned to a relatively low pitch, lower than the erhu (usually one octave below the gaohu). It is used as an accompaniment instrument in the local musics and operas of various areas, including Guangdong, Fujian, and Taiwan. It is an important instrument in the music of the Chaozhou and Hakka peoples. In Taiwan, a variety of yehu used in Taiwan opera is called kezaixian.
Related instruments include the Vietnamese đàn gáo, the Thai saw ou, and the Cambodian tro u. The banhu, used primarily in northern China, also has a coconut resonator and wooden face but is tuned quite high and has a much brighter timbre.
People's Park (Chengdu)

People's Park (Chinese: 人民公园; pinyin: Rénmín Gōngyuán) is an urban public park in central Chengdu, capital of Sichuan province, China. Built in 1911 as Shaocheng Park (少城公园), it is the first public park in the city. The Railway Protection Movement Monument in the park is designated a Major Historical and Cultural Site of China.
People's Park is located on Shaocheng Road in central Chengdu, near Tianfu Square. Covering an area of 112,639 square metres (1,212,440 sq ft), it is the largest green area in downtown Chengdu. The park features an artificial lake, several gardens, the Railway Protection Movement Monument, and the century-old Heming Teahouse (鹤鸣茶馆), a local landmark.
The park is located in the former Shaocheng ("small city"), which was built by the Qing dynasty as the garrison for the Manchu and Mongol soldiers from the Eight Banners. In 1911, Yu Kun (玉昆), the last Qing general in Chengdu, converted part of Shaocheng into the city's first public park, known as Shaocheng Park.
In 1911, the Railway Protection Movement erupted in Sichuan, which led to the Xinhai Revolution that overthrew the Qing dynasty and replaced it with the Republic of China. From 1913–14, the new republican government built the Monument to the Martyrs of the Railway Protection Movement (辛亥秋保路死事纪念碑) in the park, which is now a Major Historical and Cultural Site of China.
The park was enlarged in 1914. In 1924, Governor Yang Sen appointed prominent businessman Lu Zuofu (卢作孚) to be the education minister of Sichuan. Lu made many improvements to the park, building museums, a library, a zoo, and sports facilities.
During the Second Sino-Japanese War, a bronze statue of General Wang Mingzhang of the Sichuan Army was erected in the park, after Wang was killed in the Battle of Xuzhou. On 27 September 1940 and 27 July 1941, Shaocheng Park was twice bombed by Japanese warplanes, which destroyed many facilities and caused thousands of casualties, although the Railway Protection Monument survived.
After the establishment of the People's Republic of China in 1949, the new Communist government renamed the park as People's Park in 1950. The park was enlarged, refurbished, and reopened in October 1952, but the Wang Mingzhang statue was demolished.
The park has its own station, People's Park station, on Line 2 of the Chengdu Metro. It is also served by bus lines 5, 13, and 37.
People's Park (Tianjin)

People's Park (Chinese: 人民公园; pinyin: Rénmín Gōngyuán) is an urban public park and Qing-era Chinese garden in Hexi District in central Tianjin, China. Originally built in 1863 as the private Rong Garden (荣园), it was donated to the state and opened to the public in 1951.
People's Park is in the northeast of Hexi District, bounded by Xiamen Road in the east, Guangdong Road in the west, Qiongzhou Road in the south, and Huizhou Road in the north. It covers an area of 14.21 hectares (35.1 acres), including 3.3 hectares (8.2 acres) of water.
Built in 1863 during the Qing dynasty, the park was originally the private garden of the wealthy salt merchant Li Chuncheng (李春城). Its formal name was Rong Garden, but it was commonly called the Li Shanren (Philanthropist Li) Garden.
After the establishment of the People's Republic of China in 1949, the Li family donated the garden to the state, and it was opened to the public on 1 July 1951 as People's Park. In 1954, Chairman Mao Zedong presented the park with his calligraphy of its name. It is the only work of calligraphy Mao wrote for a park.
After major renovation work, the park was reopened in 2009. Entrance is free.
People's Park (Ürümqi)

People's Park (Chinese: 人民公园; pinyin: Rénmín Gōngyuán) is an urban public park in the center of Ürümqi, the capital of Xinjiang Uyghur Autonomous Region in northwestern China. People's Park and the nearby Hong Shan are very popular recreation areas for local residents. The Xinjiang Uyghur Museum was formerly located in the park.
After the Qing dynasty conquest of the Dzungar Khanate in 1755, the Qianlong Emperor established the city of Dihua (Ürümqi) in Dzungaria. Outside the city walls, a lake on the former course of the Ürümqi River was made into a recreational area for Qing officials. Several years later, the Mongol official Wumi Tai (伍彌泰) built the Xiuye Pavilion (秀野亭), the first structure in the area, which became a major attraction in Dihua. The lake was later called Guan Lake (关湖).
After Tajik adventurer Yakub Beg's brief rule in Dzungaria, Qing general Zuo Zongtang successfully reconquered the area in 1878, and the Qing court established the new province of Xinjiang in 1884. To demonstrate its goodwill, the provincial government built a Dragon King Temple on the lake. Liu Jintang (刘锦棠), the first governor of Xinjiang, made improvements to the lake area, and renamed the lake Jian Hu (鉴湖, Mirror Lake). In 1898, minister Zhang Yinhuan (張蔭桓) was exiled to Xinjiang for supporting the failed Hundred Days' Reform movement. Zhang donated funds to build a pavilion in the middle of Jian Hu, which still stands today.
In 1912, Yang Zengxin was appointed governor of Xinjiang by the newly established Republic of China. Yang converted Jian Hu into a public park, which was variously called Jianhu Park, West Lake Park, or West Park. It was later renamed Dihua Park and then Zhongshan Park, in honour of President Sun Yat-sen (Zhongshan).
After the founding of the People's Republic of China in 1949, the Communist government closed the Dragon King Temple and converted it to a cultural palace. The temple buildings have been preserved, including an elaborate front gate that commemorates Zhang Jingchou, a Qing-era scholar and poet. The park was renamed as People's Park.
In 1953, the Xinjiang Uyghur Museum was established in People's Park. The museum was later moved to Xibei Road.
In 1956, the Monument for the People's Martyrs of Xinjiang was erected in the park, which also features children's playgrounds, public sports facilities, gardens, and flower beds.
Gaohu

The gaohu (高胡; pinyin: gāohú, pronounced [kɑ́ʊ̯xǔ]; Cantonese: gou1 wu4; also called yuehu 粤胡) is a Chinese bowed string instrument developed from the erhu in the 1920s by the musician and composer Lü Wencheng (1898–1981) and used in Cantonese music and Cantonese opera. It belongs to the huqin family of instruments, together with the zhonghu, erhu, banhu, jinghu, and sihu; its name means "high-pitched huqin". It is the leading instrument of Cantonese music and opera ensembles. Well known pieces for the gaohu include Bu Bu Gao (步步高, Higher Step By Step) and Ping Hu Qiu Yue (平湖秋月, Autumn Moon on Calm Lake).
The gaohu is similar in construction to the erhu but has a slightly smaller soundbox, commonly circular, and is tuned a fourth higher, to G4 and D5. Whereas most huqin are placed on top of the left thigh, the traditional gaohu is played with the soundbox held in between the knees. It has a brighter and lighter tone as compared to the erhu. It has two strings and its soundbox is covered on the front (playing) end with snakeskin (from a python). Since the soundbox is so small, the overall sound of the "gaohu" is quiet
Although originally a regional instrument used only in Cantonese music, the gaohu (in different forms and played placed on the leg, as the erhu) is used in the modern large Chinese orchestra, as part of the string family, along with the erhu, zhonghu, banhu, cello, and double bass.
Notable gaohu players include:
Bānhūs

Bānhūs is the third studio album by the Australian post-hardcore band Eleventh He Reaches London. The name "Bānhūs" comes from the Old English word meaning ‘body’, literally translating as ‘bone-house’. It was released by Hobbledehoy Records in October 2013 with pre-orders being sent out in late September of the same year. The album is notably different from the band's other work as it takes a much darker, somber form.
An outtake from the album, dubbed "Scorpion Entertainment Owes Us $1,000", was released in November 2016 as part of the Hobbledehoy Records compilation album, "Ten Years (Thank You)".
All music written by Eleventh He Reaches London, lyrics by Ian Lenton.
Родина-мать

Ро́дина-мать — один из широко распространённых образов, использовавшихся в мировой культуре. Особенно популярным образ стал в СССР времён Великой Отечественной войны.
Само выражение «Родина-мать» бытовало в русском языке ещё в XIX веке, например оно встречается в поэме Некрасова «Саша».
Своим происхождением советский образ Родины-матери обязан плакату Ираклия Тоидзе «Родина-мать зовёт!». Образ присутствует также на плакате того же художника «За Родину-мать!» а также, возможно, на плакатах В. Б. Корецкого «Новыми победами прославим наши боевые знамёна!» и Д. А. Шмаринова «Воин, ответь Родине победой!». Образ Родины-матери использовался в патриотических постановках: в частности, эту роль в таких постановках исполняла Римма Маркова.
Известнейшими и крупнейшими монументальными воплощениями образа стали: статуя «Родина-мать зовёт!» на Мамаевом Кургане в Волгограде, статуя «Родина-мать» на берегу Днепра в Киеве. Также небольшая статуя «Родина-мать» установлена на Пискарёвском мемориальном кладбище в Санкт-Петербурге.
В честь победы в Великой Отечественной войне в Армении и Грузии воздвигнуты статуи местным аналогам Родины-Матери. В Армении это статуя Майр Айастан — «Мать-Армения» в Ереване, в Грузии — «Мать Картли» (Картвлис Деда) в Тбилиси.
Сталинград (значения)

Сталингра́д — многозначный термин, происходящий от названия города Сталинграда, который стал всемирно известен во время Сталинградской битвы. Образовано от Сталин (бывший руководитель СССР) и град — город, присвоение топонима в 1925 году связано с участием Иосифа Сталина в обороне Царицына. Термин стал символизировать собой готовность стоять до конца, защищая последние рубежи, а также разрушения, понесённые в ходе боевых действий.
Сталинград и Ковентри в 1943 году стали первыми городами-побратимами, зародив это международное движение. Одним из элементов связки городов-побратимов является название улиц с именем города, поэтому во многих городах побратимах Волгограда есть улица Сталинградская (некоторые из них в рамках десталинизации переименованы в Волгоградскую).
Были позднее переименованы:
В память о Сталинградской битве название «Сталинград» получили многочисленные объекты во многих странах мира:
Сталинградская битва как перелом во Второй мировой войне оказала большое влияние на мировую историю. В кинематографе, литературе, музыке происходит неоднократное возвращение в дни битвы, поэтому название «Сталинград» носят фильмы, песни, компьютерные игры.
Сталинградская битва (фильм)

«Сталингра́дская би́тва» — двухсерийный художественный фильм Владимира Петрова. Киноэпопея, повествующая о решающем сражении Великой Отечественной войны.
Премьера 1 серии состоялась 9 мая 1949 года, 2 серии — 18 декабря 1949 года. В 1960 году фильм был подвергнут редакции: из 1 серии были вырезаны несколько сцен с участием Л. П. Берии.
Лето 1942 года. Немецкие войска рвутся к Волге, но Сталин даёт указания генералу Василевскому приложить все усилия к тому, чтобы отстоять Сталинград. Сюда отправляется представитель Ставки Маленков, который призывает трудящихся встать на защиту родного города. Ополчение задерживает наступление немцев до подхода свежих сил. На помощь осаждённому городу через Волгу переправляются силы генерала Родимцева. Сержант Павлов совершает свой знаменитый подвиг. По указанию Сталина с севера по наступающим немцам бьют силы соседнего фронта, отвлекая противника от натиска на Сталинград. И наконец принимается решение о направлении сюда генерала Рокоссовского для организации контрнаступления, срок которого назначает Сталин.
Тем временем в Вашингтоне президент Франклин Рузвельт высказывает своё сочувствие «этим борющимся русским» и отправляет на переговоры своего спецпредставителя Гарримана. Однако Уинстон Черчилль продолжает саботировать открытие «Второго фронта». А тем временем недовольный медлительностью Паулюса Гитлер приказывает бросать на Сталинград всё новые и новые силы, в том числе союзников-румын.
Верховный главнокомандующий предлагает провести операцию по захвату в кольцо группировки немецких войск в районе Сталинграда. В ноябре 1942 года операция успешно завершается и армия Паулюса оказывается в котле. Беснующийся Гитлер из своей ставки отдаёт приказы окружённым войскам продолжать бессмысленное сопротивление. Генералы Рокоссовский и Воронов разрабатывают план окончания операции, связанный с полным уничтожением войск Паулюса. Немцы отказываются сдаться и терпят полный разгром. В концовке солдаты 64-й армии Шумилова берут в плен фельдмаршала Паулюса.
Этот фильм является рекордсменом советского кино по участию действующих и будущих народных артистов СССР. В фильме их 21: Дикий, Штраух, Хохряков, Толубеев, Рыжов, Шумский, Меркурьев, Ливанов, Симонов, Орлов, Плотников, Смирнов, Крючков, Черкасов, Станицын, Массальский, Астангов, Плятт, Блинников, Пилявская и Юрий Левитан (закадровый текст). Ни в одной другой картине советского кино такого больше не было.
В фильме в качестве фоновой музыки, а также в финальных кадрах звучит мелодия «Гимна Советского Союза», принятого в качестве гимна уже после событий, изображённых в фильме. Во времена событий фильма использовался Гимн партии большевиков (на мелодии которого был основан позднейший гимн), аранжировка которого отличалась в ряде моментов. Позднее эта же неточность была повторена в другом фильме о Сталинградской битве, «Враг у ворот».
Режиссёр: Владимир Петров
Съёмочную группу консультировал фельдмаршал Паулюс, командовавший немецкими войсками в ходе этой битвы .
Сталинградская битва в культуре

В настоящий список включаются произведения культуры и искусства, которые посвящены Сталинградской битве.
Документальная литература представлена в разделе Сталинградская битва Литература
Советские произведения
Российские произведения
Зарубежные произведения
Советские фильмы, созданные во время Великой Отечественной войны
Советские фильмы, созданные после войны
Современный российский кинематограф
Советские фильмы
Российские фильмы
Зарубежные фильмы
Варгейм
Стратегия в реальном времени
3D шутер от первого лица
Памятники Сталинградской битвы