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An analytical study of Wang Jian Min's erhu rhapsody nos. 1 and 4
Author
Yick, Jue Ru
Supervisor
Chong, Eddy Kwong Mei
Abstract
The syncretic fusion of Western and non-Western musical elements along with their underlying aesthetics have been one significant compositional process since the twentieth century, adopted not only by certain Western composers, but also by the group of China-born “New-Wave” composers. This study examines aspects of this East-West fusion as found in two contrasting erhu rhapsodies (Erhu Rhapsody Nos. 1 and 4) by one such New-Wave composer, Wang Jian Min (b. 1956). His set of four erhu rhapsodies composed across a timespan of more than two decades, occupies pivotal positions in contemporary erhu repertoire and has been credited for its high artistic value and wide popularity within the Chinese music circle. In view of the unique social, political and cultural landscape of twentieth-century China, which has greatly impacted and shaped the compositional philosophies and sense of identity of these New- Wave composers including Wang, chapter one provides an overview of China’s twentieth-century concepts of ‘aesthetics’ (as distinct from those exhibited by ancient philosophical schools), and main musical influences arising from the period of the communist revolution (1949-1976). This overview then serves as a backdrop for the illustration of Wang’s compositional philosophy, and explication of his syncretic approach towards the conception and construction of his erhu rhapsodies.
Chapters two and three focus on Wang’s first and fourth erhu rhapsodies respectively, investigating the paradoxical dialectic between individual creativity and the (re)presentation of Chinese folk and traditional musical idioms in his work. In explicating this interaction of disparate traditions (folk, traditional and contemporary idioms), this thesis adopts an eclectic approach involving both Western analytical lenses and traditional Chinese music-theoretic perspectives. In particular, it examines Wang’s choice and treatment of pitch materials through various compositional devices, as well as compare the different manners in which these folk-inspired materials are being rendered in the two rhapsodies. Interpretation of the rhapsodies’ structural design will be informed by the Western notion of ‘rhapsody’ and the Chinese ban-shi (板式) layout. In this connection, the structural significance and ‘problems’ of the four ad lib. passages (inspired by the Chinese san-ban element) in both rhapsodies will be addressed. Additionally, this study proposes and illustrates through chapters two and three the possibilities of using set-theoretic labels as well as neo-Schenkerian tools to better explicate the cohabitation of both tonal and non-tonal elements (in part inspired by the folk materials) in Wang’s harmonic style, which in turn shed light on Wang’s large-scale structural layout.
Chapter four synthesizes analytical insights from previous chapters to highlight the pertinent distinctions in Wang’s approaches towards realizing the folk-derived materials in the first and fourth erhu rhapsodies. This study then sums up how Wang manages to assimilate and combine the two disparate musical thinking from the Chinese and Western traditions, putting into perspective Wang’s evolving compositional voice, as well as demonstrating how Wang still manages to maintain the balance between Western contemporary techniques (which could potentially alienate listeners) and certain traditional aesthetics.
Chapters two and three focus on Wang’s first and fourth erhu rhapsodies respectively, investigating the paradoxical dialectic between individual creativity and the (re)presentation of Chinese folk and traditional musical idioms in his work. In explicating this interaction of disparate traditions (folk, traditional and contemporary idioms), this thesis adopts an eclectic approach involving both Western analytical lenses and traditional Chinese music-theoretic perspectives. In particular, it examines Wang’s choice and treatment of pitch materials through various compositional devices, as well as compare the different manners in which these folk-inspired materials are being rendered in the two rhapsodies. Interpretation of the rhapsodies’ structural design will be informed by the Western notion of ‘rhapsody’ and the Chinese ban-shi (板式) layout. In this connection, the structural significance and ‘problems’ of the four ad lib. passages (inspired by the Chinese san-ban element) in both rhapsodies will be addressed. Additionally, this study proposes and illustrates through chapters two and three the possibilities of using set-theoretic labels as well as neo-Schenkerian tools to better explicate the cohabitation of both tonal and non-tonal elements (in part inspired by the folk materials) in Wang’s harmonic style, which in turn shed light on Wang’s large-scale structural layout.
Chapter four synthesizes analytical insights from previous chapters to highlight the pertinent distinctions in Wang’s approaches towards realizing the folk-derived materials in the first and fourth erhu rhapsodies. This study then sums up how Wang manages to assimilate and combine the two disparate musical thinking from the Chinese and Western traditions, putting into perspective Wang’s evolving compositional voice, as well as demonstrating how Wang still manages to maintain the balance between Western contemporary techniques (which could potentially alienate listeners) and certain traditional aesthetics.
Date Issued
2013
Call Number
M59.E7 Yic
Date Submitted
2013