Tradition, Evolution, and Regeneration: The Study of East Asian Contemporary Zheng Compositions from the Perspective of Acculturation

• Main Authors: Yeh, Jiuan-Reng, 葉娟礽
• Other Authors: Hsu, Jui-Kun
• Format: Others
• Language: zh-TW
• Published: 2015
• Online Access: http://ndltd.ncl.edu.tw/handle/757vrs

博士 === 國立臺灣師範大學 === 音樂學系 === 103 === The research subject of this thesis is “East Asian Contemporary Zheng Compositions”. The scope of the study covers zheng compositions of five professional composers: Xiao-Ling Xu (1943-) and Jian-Min Wang (1956- ) of China; Hwang-Long Pan (1945- ) and Chihchun Chi-sun Lee (1970- ) of Taiwan; and Minoru Miki (1930-2011) of Japan. From different regions and periods, they upheld creative faith and established personal, unique composing language. They initiated new features for zheng music, and their music styles distinguished from the earlier era. This study proceeded from the perspective of acculturation to discuss three vertical developments successively: tradition, evolution and regeneration. In Chapter Ⅱ “East Asian traditional characters”, the study introduces the traditional zheng music style before it acculturated with western music, covering factions of zheng art still alive and structures of instrumentation and notations to compare and contrast with results of acculturation. The study then proceeds to interpret the development of modern compositions and to distinguish the historical position of this research subject. Chapter Ⅲ ”Acculturation process of contemporary zheng compositions ” discusses the five composers’ social backgrounds and educational processes, summarizes their personal composing ideas and techniques, and analyzes their zheng compositions. Chapter Ⅳ “Expanding syntax of contemporary zheng compositions” further explains the variation and discusses the horizontal integration between zheng tradition and different cultures. Chapter Ⅴ “Construction of contemporary zheng music notation” places zheng performing techniques into western instrumental notation concepts, and gives composition examples of the five composers. This construction and reintegration of contemporary zheng music notation is trusted to be useful for future zheng composers, musicians, and researchers.