A Study of Symphonic Suite ŠÅSTÅ DEVAMANUSYÅNÅM by Kuo Chih Yuan

碩士 === 國立臺北藝術大學 === 音樂系碩士在職專班音樂學組 === 102 === Kuo Chih Yuan’s symphonic suite ŠĀSTĀ DEVAMANUSYĀNĀM was created in 1988, which is the greatest one among the thirteen orchestral works in his life. The duration is around fifty-five minutes, separated into two parts and eleven movements. The content de...

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Bibliographic Details
Main Authors: Yi-Tzu Wu, 吳怡姿
Other Authors: Lu-Fen Yen
Format: Others
Language:zh-TW
Published: 2014
Online Access:http://ndltd.ncl.edu.tw/handle/xg3r45
Description
Summary:碩士 === 國立臺北藝術大學 === 音樂系碩士在職專班音樂學組 === 102 === Kuo Chih Yuan’s symphonic suite ŠĀSTĀ DEVAMANUSYĀNĀM was created in 1988, which is the greatest one among the thirteen orchestral works in his life. The duration is around fifty-five minutes, separated into two parts and eleven movements. The content described the process from Sakyamuni’s birth, his religious practice, the lecture on the doctrines, to the ultimate state of nirvana. This work was initially commissioned and inspired by forty-four poems from 「The Light That Enlightens Your Wisdom」 published by Poem Culture Corp. In April, 1989, Kuo Chih Yuan and his team came to Beijing to work with China Central Philharmonic Orchestra, conducted by the China expatriate conductor Chen Zuo Huang. The work was primarily audio recorded. As a result, were not able to arrange immediate performance. Until May 26th, 1995, Chen Cheng xiong, as the conductor, led TPSO for its premier in Kaohsiung Cultural Centre. After eighteen years since then, Taipei premier was performed on Kuo Chih Yuan Tribute Concert in December 25th, 2013. The thesis firstly aims at the general introduction of Kuo Chih Yuan’s artistic creation, his contribution to the Taiwanese music field, as well as his thirteen orchestral works. Next, I would like to elaborate upon the birth of this masterpiece, inclusive of the process of recording, publication and live performance. Most important of all, I would analyze the symphonic suite ŠĀSTĀ DEVAMANUSYĀNĀM. Owing to the immensity of the work, I would discuss the two parts in two chapters, and analyze the movements respectively. In addition, I would employ the methodology as the Western Analyse to expatiate the work from the aspects of mode, tonality, scale, harmony, rhythm and motive. Via the discussion and my perspective, I hope that we can better understand how Kuo Chih Yuan converted the poetry describing the saint into the grand work, and to glorify this masterpiece.