The Study of Tsai-Ping Liang's Zheng Music

• Main Authors: YANG, CHIN-HUI, 楊清惠
• Other Authors: 鄭德淵
• Format: Others
• Language: zh-TW
• Published: 2014
• Online Access: http://ndltd.ncl.edu.tw/handle/46783920818181332277

碩士 === 國立臺南藝術大學 === 民族音樂學研究所 === 102 === Abstract Tsai- Ping Liang (1910 – 2000 A.D.) is one of the most important figures of Taiwan Zheng music in the Twentieth Century. He was profoundly affected by Confucianism and started his Zheng music training very early. At the age of fourteen he was recognized as a Zheng music child prodigy. In China, Liang was published his first book Ni-Zheng-Pu擬箏譜in 1938. It was a the finger technique on Zheng music annotation.Liang went to study in the United Sates in 1945 and moved to Taiwan in 1949, where he began teaching Zheng music and started composing Zheng music. His numerous Zheng music concerts were presented throughout Taiwan and all over the world. Professor Liang passed away in 2000. His contribution to Zheng music has inspired students not only in Zheng music education, but it has also taught them to focus on service to our society, originating all the way back to Confucius. Professor Liang was the chairman of the Chung-Hwa Chinese Music Association for twenty-five years and has been honored as the “Leader of Zheng Music” in Taiwan ever since. Zheng music in modern times has lost its direction, due to the influence of western music. This phenomenon of Zheng's self-identity fading away brought me to a state of concern even worry about Zheng music. This is the reason behind the origin of my study. I intend to follow Professor Liang's footsteps starting from the 1950's when he settled in Taiwan. His two influential Zheng music research books, Zheng music Pilgrim Collection and Sixteen Stringed Zheng Solo Music, are my major references for this research. I also use the method of Field Work of Ethnomusicology to collect Professor Liang's unpublished literature and to analyze his recording history. Through my research I hope to sum up Professor Liang's Zheng music wisdom and take advantage of his teaching concepts, thus facilitating a new development of Zheng music in modern times. This research will contain three main analyses: Liang's Zheng music history, features of Zheng music work, and the characteristics of Zheng music. It is my fervent hope it will help open the door of discovery to Professor Liang's philosophy in Zheng music.