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Despite possessing a vast cultural repository of folk music and folk instruments, it was not until the early 20th century that China began to embrace piano repertoire. Although Chinese piano music is a relatively new tradition, it has developed rapidly, and Chinese composers have prioritized a unique presentation of "Chinese sound" by incorporating traditional elements of folk music and melodies from ancient Chinese instruments into the repertoire. This document explores this unique fusion of new and old by analyzing the influences of traditional folk song and instrumental melodies in four 20th century Chinese piano pieces: Selling Sundry Goods (1952) by Chen Peixun (1922-2007), Variations on a Theme of Folk Songs from Shaanxi (1972) by Zhou Guangren (1928-2022), Colorful Clouds Chasing the Moon (1975) by Wang Jianzhong (1933-2016), and Flute and Drum at Sunset (1975) by Li Yinghai (1927-2007).These pieces were chosen for this study for two reasons. First, they are representative works of a developing Chinese style of piano music; and second, they distinctly demonstrate the cultural prioritization of Chinese folk song and instrumental elements in a new and modern genre of musical expression. Selling Sundry Goods and Variations on a Theme of Folk Songs from Shaanxi bear the imprints of Chinese folk tunes from the Guangdong province and the Shaanxi provinces, respectively. Colorful Clouds Chasing the Moon and Flute and Drum at Sunset are based on works written for traditional Chinese instruments. These four works blend the Chinese folk elements seamlessly with the Western piano to achieve a unique aesthetic, resulting in an innovative style of Chinese piano music.
(Educational Piano Solo). 24 songs in the Chinese tradition: Crescent Moon * Darkening Sky * Girl's Lament * Hand Drum Song * Jasmine Flower Song * Mountaintop View * Sad, Rainy Day * The Sun Came up Happy * Wedding Veil * and more. Features notes on each piece, exquisite illustrations, and a map of China.
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
During the past fifty years, many Chinese and other Asian composers have combined Western compositional techniques with their own musical heri-tages in their works. The prevalence of non-Western elements in con-temporary music complicates the idea of any one musical canon, since the meaning of such compositions now lies not only in one particular perfor-mance tradition but in diverse musical practices. This book begins to examine the above by investigating three solo piano works that synthesize various Chinese traditional practices and certain aspects of Western art music. Chapter 1 provides a brief overview of how this cultural-fusion phenomenon came about and questions the extent of existing methodologies. The next three chapters present theoretical analyses of specific compositions and are complemented by the author's interviews with their composers. The final chapter offers insights on the East-West musical interaction and beyond. This book is directed towards composers, performers, scholars, and other musicians who are interested in understanding compositions with an innovative blend of cultural forces.
After decades of isolation from the world and the end of China's Cultural Revolution in 1976, many Chinese composers have come to the United States to study and since then established themselves as some of the most distinguished and promising composers in the world. Despite of their different educational and social backgrounds, they all strive to express their cultural identities and to search for compositional inspirations from Chinese traditional cultures. In this document, I will focus on such prominent Chinese composers who came to the United States after the 1980s as Bright Sheng and Chen Yi from the older generation, and Huang Ruo, Lei Liang and Gao Ping from the latest generation. Through studying their backgrounds and musical styles, along with analyzing their representative compositions, I will demonstrate the strong Chinese traditional cultural influences on their music, and how they infuse the various Chinese cultural elements with modern western compositional techniques, such as serialism and cyclicism, in their compositions. I hope this document will help musicians and audiences to better understand and appreciate this beautiful Chinese piano music. Also, I hope there will be more composers like these pioneers, so that the traditional Chinese culture and music will be kept and carried forward for generations.
Presenting the latest research in the area, this volume explores the fundamental concept of qupai 曲牌, melodic models upon which most traditional Chinese instrumental music (and some vocal music) is based. The greater part of the traditional instrumental repertoire has emerged from qupai models by way of well-established 'variation' techniques. These melodies and techniques are alive today and still performed in 'silk-bamboo' types of ensemble music, zheng 箏, pipa 琵琶 and other solo traditions, all opera types, narrative songs, and Buddhist and Daoist ritual music. With a view toward explaining qupai as a musical system, contributors explore the concept from multiple directions, notably its historic development, patterns of structural organization, compositional usage in Kunqu classical opera, influence on the growth of traditional ensemble and solo repertoires, and indeed on 19th-century European music as well. Related essays examine the use of shan'ge 山歌 folksongs as qupai models in one local opera tradition and the controversial relationship between qupai forms and the metrically-organized banqiang 板腔 forms of organization in Beijing opera. The final three essays are focused upon traditional suite forms in which qupai and non-qupai tunes are mixed, examples drawn from the Minnan nanguan 南管 repertoire, Jiangnan 'silk-bamboo' tradition and the ritual music of North China.This is the first Western-language study on the nature and background of the qupai tradition, and the methods by which model melodies have been varied in creation of repertoire. The volume is essential reading for East Asian music specialists and contributes to the fields of ethnomusicology, musicology, music theory, music composition, and Chinese music and performing arts.
The anthology series Chinese Festival, edited by Dr. Alton Chan, is a ground-breaking event for the musical community in North America, allowing pianists to study one of the richest and most unexplored musical heritages in the world. The first book in the series is the first-ever album published in the United States that contains Chinese piano music by a Chinese composer using Chinese thematic material and musical idioms. Students all over the world can now be exposed to music using different tonal and modal systems, structural principles, and aesthetic perceptions that underpin Chinese traditional and folk music elements. All performance notes, contents, and titles are given in both English and Chinese.
According to a reader's report, this is "one of the finest studies on (any kind of) Chinese music to emerge in recent years." Based on extensive fieldwork and a thorough knowledge of the scholarly literature, the author examines the theoretical underpinnings of the 'silk and bamboo' instrumental ensemble traditions of the Chaozhou, Hakka and Cantonese peoples of South China. Stepping back far into history, the book opens with a penetrating examination of Confucian theory, the ancient corpus of behavioral doctrine which promoted music as a means of achieving social harmony and which, together with Daoist belief, exercised unusually strong influence over common-practice music and aesthetics. This is followed by a rigorous analysis of the music itself, focusing upon linear and modal structures and performance styles which reflect a fascinating mix of ancient ideologies and more recent influences.
This book advances the study of Chinese folk songs through theoretical innovation in literature-based folk songs and methodological innovation in multidisciplinary cross-interaction. It describes the historical development of folk songs, makes an in-depth study of the intersection and integration of folk songs with other literature and art, as well as the relationship with merchants, folk customs and regional culture, and analyses the literature of folk songs in previous dynasties. It is not only significant for the preservation of cultural heritage, but also to the promotion of folk song research and related fields. This book is applicable to scholars and researchers who have in-depth research on Chinese folk songs.