| Summary: | 碩士 === 南華大學 === 民族音樂學系 === 107 === In the long history of mankind, human civilization at different stages also shows different aesthetic tastes for music. Different aesthetic tastes will affect contemporary art creations and design concepts. This study conducts an in-depth fieldwork on the personal notes of the violin-maker (Chien-Hua Lu) and attempts to understand Taiwan's contemporary perceptions and aesthetic tastes for the Erhu Music.
Through long-term participatory observations and in-depth interviews, the author understands Master Chien-Hua Lu's spirit of enthusiasm for violin-making and the continuous reform of the musical instruments. Through the distribution of survey questionnaires, it is known that the general public and the erhu performers are still mostly bewildered about their musical instruments and their pursuits for the music styles and tones. Most still take advice from their teachers and masters when it comes to buying their own musical instruments.
Through the fieldwork, professors working for the Department of Music in different universities and colleges in Taiwan and principal performers in professional orchestras can now know more about their instruments, and they have a clear understanding of what tones they want. They need to set different hand positions on the erhu, and they need larger volumes and sweet thick tones. The instruments must have a higher reaction sensitivity. Those requirements for the tones of musical instruments and music aesthetics made them choose the erhu made by Master Chien-Hua Lu.
However, as Lu's erhu is a violin from the Northern China, for Taiwan performers that are used to the violin from the Southern China over the long term, though Lu's erhu exhibits many powerful advantages, there are still some deficiencies in the tones. So, many performers have adjusted and replaced various parts and accessories of erhu, such as bridges for musical instruments, lifting jacks, cloth liners and strings, to retain original advantages of Lu's erhu and conform to their aesthetic requirements for the tones. In response to such circumstances, Master Chien-Hua Lu also continued to work with Taiwan performers on improvement to north-style erhu by trying the sound boxes in different forms/shapes and skinning techniques. The benign dialogue between the performer and the violin maker will continue on the road to musical instrument reform.
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