| Summary: | 碩士 === 中國文化大學 === 音樂學系碩士班中國音樂組 === 100 === The fascinating characteristic of the concerto is its inherent duality because contrast often plays an important role in delineating musical and artistic aesthetics, a characteristic that is present at the very core of concertos: cooperation—competition, tutti—solo. Through the observation of the developmental history of concertos, it is possible to discover embodiments of these four elements in different ratios of permutations and combinations in the works of various composers.
The aim of this paper is to examine the first two Guzheng Concertos by Wang Jianmin, “Night Ferry at Maple Bridge” and “Diaochan’s Song” as well as the first guzheng concerto by guzheng artist and composer Fan Wei-Tsu, “Deng Li-jun”. Firstly, the musical creative process and concepts of the two composers are analyzed, and the distinctive traits in the musical creative dimensions of each are discovered to be a result of different life experiences and backgrounds. Second, the original scores and relevant information of each of the three pieces, “Night Ferry at Maple Bridge” , “Diaochan’s Song” and “Deng Li-jun” are placed under discussion, and information regarding creative background, music form, special techniques and notations, orchestra arrangement, musical texture, musical features and styles of guzheng concertos are summarized and analyzed in a systematic manner and presented to the reader.
Questions regarding whether changes in the spirit of interpretation occur with changes in the forms of instrumental performance, whether new techniques are created over time, are all issues closely linked to the innovations and propagations in instrument use and the fluidity of new elements in musical form. For the performer, the concerto is an intricate piece of music that is highly challenging to both the soloist and the entire orchestra, while at the same time, alluring performers to undertake these challenges in actuality. Whenever superior pieces are created, performers will always aspire to bring the musical pieces to life with their own hands. All of the three pieces discussed in this thesis are the composers’ first attempts at composing guzheng concertos. Therefore, it is hoped that this analysis will provide further insight into the musical textual form of their works, as well as the musical spirit that must be constantly referred to in performers’ interpretations.
Furthermore, it is also the aim of this thesis to bring to notice to composers the lack of fine new guzheng concertos, and to thereby inspire them to put forth more works to this genre. Lastly, the author wishes to initiate responses regarding the art of guzheng from within the academia, to call for further research and studies conducted by either performing artists or scholars, and to ultimately succeed in advocating the art of guzheng music.
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