A Study of Three Contemporary Zheng Works Written in Heptatonic Scale: The Greening, Upon Her Expressive Gaze and Visions Fugetives

• Main Authors: Peng, Chih-Ying, 彭之櫻
• Other Authors: Fan, Wei-Tsu
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/66075104022798299058

碩士 === 中國文化大學 === 音樂學系碩士班中國音樂組 === 101 === The tuning of a Zheng is of significant importance to Chinese zither music, as it is the framework that supports the distinguishing characteristics of a melody. With the growing development of Zheng music, the typical pentatonic scale no longer fulfills the vision of contemporary Zheng composers and performers. Towards the end of the 1970s, the Japanese composer Minoru Miki’s use of heptatonic scale created a major impact on the development of Zheng music in China. In addition, beginning in the 1980s, composers on both sides of the Taiwan Strait, influenced by Western music, began using tuning systems outside the traditional pentatonic system. By the early 21st century, Li Meng proposed a new tuning concept to the Shanghai Ftrst National Musical Instruments Factory, which opened up new possibilities and options for modern Zheng composition and performance practices. This paper seeks to discuss the above-mentioned developments in Zheng music, in an attempt to explore in-depth the various styles and features of heptatonic Zheng music. This paper is divided into six chapters: Chapter One contains the introduction, research motive, objective, scope, methodology, procedure, and includes a section on literature review. Chapter Two summarizes the development of heptatonic Zheng music, tracing the various changes in tuning systems, the influence of Japanese composer Minoru Miki on contemporary Zheng music, the influence of Chinese Zheng musician Li Meng on the heptatonic tuning system, and the creative efforts of Taiwanese Zheng musician Fan Wei-Tsu in this field. Chapters Three, Four and Five examine the heptatonic Zheng works Greening(1976), Upon Her Expressive Gazes(2009), and Visions Fugitives(2012) respectively, in an attempt to discuss the circumstances under which they were composed, to analyze their musical structures and performance practices, and to suggest specific interpretations most suited to individual works. Chapter Six is the conclusion, which summarizes the unique features and recent developments of modern heptatonic Zheng music, and provides a general categorization of the various tuning systems and styles, with the aim to offer future prospects for innovation and reform in Zheng music. The historical trajectory of the Zheng originated as a singular instrument branching out to contain numerous structural variations and different schools and styles of playing. It reflects a continual progress in the realm of culture. However, certain inadequacies and omissions are bound to exist in the study of the instrument and its music. It is hoped that by examining Zheng compositions that use the heptatonic scale, exploring the various changes made to the instrument, reviewing relevant literatures, and providing considerations and suggestions, this study can help foster the promotion and development of Zheng music.