The Study of Taiwan Liuqin Solo Works From“The Garden After Rain”to Current Works (since 1998 to 2011)

• Main Authors: Liu, Wanju, 劉宛儒
• Other Authors: 林昱廷
• Format: Others
• Language: zh-TW
• Published: 2012
• Online Access: http://ndltd.ncl.edu.tw/handle/84137997401806483224

碩士 === 國立臺灣藝術大學 === 中國音樂學系碩士班 === 100 === In year 1988, the Creative Chinese Traditional Orchestra authorized Su We-Chin and Chen Tsui-Pin jointly editing Chinese Mandolin Liuqin musical composition dubbed “The Garden After Rain” that has won significant popularity in both two sides across the strait, mainland China and Taiwan. That has thus created the author’s curiosity and motive for exploring how the musical compositions of the Taiwan traditional Mandolin Liuqin (a four-string instrument) would develop. The major research period is set between year 1998 and 2011. Hopefully, the conclusion and discovery of this research could analyze the how the Liuqin musical compositions could be performed in music concerts in both the two sides across the strait, and collect the musical compositions of the Taiwan Liuqin Mandolin in that period, summarize and also record the origination, composition structure, writing style and creativity of the Liuqin mandolin. The Data Collection Methodology has been applied in this research for analyzing the musical compositions created by authorized organizations, authorized individuals and individual creativities. Then In-Depth Interview has also been conducted for exploring how Taiwan traditional Liuqin mandolin performers, educators assume and expect about the development of this musical instrument. Finally, the Content Analysis and Induction Methodologies have been integrating the musical composers, meaning and themes of the musical compositions, the music composition structures, musical composition backgrounds and creativity styles. By means of in-depth analysis for the Liuqin musical compositions, there have thus achieved in understanding and making conclusions of the tradition Taiwan Liuqin mandolin in that period. The conclusion and analysis of this research validate that the aspiration for enjoying music should be the major impetus for various musical composition creativities and enhancing the musical performance skills. While the mutual reactions with the musical composers have been increasingly prevalent and been emphasized, the Taiwan local musical composers are thus the most preferential for being invited to make musical compositions. With the efforts and creativities of both the sponsors and musical composers, the musical compositions have demonstrated the diversification, integration and abundant creativity of this local Taiwan music genre and expressed the innovative and unique musical composition styles of the music composers in that period. The author aspires for increasing the collection and publication of this local Taiwan music composition sheets and tries to unify the musical composition notes and aggressively promote the public popularity and awareness for this traditional Liuqin and the ever-perpetual development of the Liuqin in Taiwan.