Songs by Hsiao Tyzen: the Interaction Between His Music and Taiwan

UNLV Theses, Dissertations, Professional Papers, and Capstones 12-1-2014 Songs By Hsiao Tyzen: The Interaction Between His Music And Taiwan Pei-Ning Ku University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Ethnomusicology Commons, and the Music Theory Commons Repository Citation Ku, Pei-Ning, "Songs By Hsiao Tyzen: The Interaction Between His Music And Taiwan" (2014). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2279. http://dx.doi.org/10.34917/7048598 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. 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SONGS BY HSIAO TYZEN: THE INTERACTION BETWEEN HIS MUSIC AND TAIWAN By Pei-Ning Ku Bachelor of Arts in Vocal Performance Soochow University in Taipei 1987 Master of Music in Vocal Performance Manhattan School of Music 1990 A document submitted in partial fulfillment of the requirements for the Doctor of Musical Arts Department of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2014 Copyright by Pei-Ning Ku All Rights Reserved We recommend the dissertation prepared under our supervision by Pei-Ning Ku entitled Songs By Hsiao Tyzen: The Interaction Between His Music and Taiwan is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Department of Music Tod Fitzpatrick, D.M.A., Committee Chair Alfonse Anderson, D.M.A., Committee Member Kenneth Hanlon, D.M.A., Committee Member Stephen Caplan, D.M.A., Committee Member Catherine Angel, M.F.A., Graduate College Representative Kathryn Hausbeck Korgan, Ph.D., Interim Dean of the Graduate College December 2014 ii ABSTRACT Songs By Hsiao Tyzen: The Interaction Between His Music And Taiwan by Pei-Ning Ku Dr. Tod Fitzpatrick, Advisory Committee Chair Associate Professor of Music University of Nevada, Las Vegas The purpose of this document is to understand Taiwanese composer Hsiao Tyzen’s artistic persona through analysis of the textual and musical characteristics of his songs. This document is comprised of: 1) an historical overview of Taiwan, 2) a history of Taiwanese vocal music, 3) a description of Hsiao Tyzen’s life and career, 4) an introduction to Taiwanese diction, 5) an examination and analysis of musical components (melody, rhythm, accompaniment and form) of four of Tyzen’s songs, and 6) a conclusion based upon sociological factors, historical influences and musical devices to define what constitutes the stylistic characteristics of the songs of Hsiao Tyzen. In 1949, the Chinese National Party lost the civil war to the Communist Party and subsequently retreated from China to Taiwan. Because of this mass exodus, Chinese culture was imposed onto the Taiwanese people. The government prevented composers from composing any songs in Taiwanese. However, Hsiao Tyzen resided in America and was able to continue to compose Taiwanese songs without restriction. His rich harmonic language reflects the influence of Western Neo-Romantic compositional style. His musical aesthetics are strongly associated with Taiwanese tradition. Therefore, many iii people have considered him a strong proponent of the Taiwanisation Movement. He has even been referred to as “Taiwan’s Rachmaninoff.” Hsiao Tyzen is an important figure in the history of the music of Taiwan. His songs present beauty through the elegance of the Taiwanese language. As a Taiwanese person, it is incumbent upon me to promote songs in our mother tongue and appreciate our distinguished native musician, Hsiao Tyzen. iv ACKNOWLEDGEMENTS I would like to acknowledge everyone who provided me with the possibilities to complete this document. First, I would like to acknowledge my advisor, Dr. Tod Fitzpatrick, for serving as my advisor, as well as for his guidance and support during my doctoral studies at UNLV. I would also like to thank Dr. Alfonse Anderson, Dr. Stephen Caplan, Dr. Kenneth Hanlon, and Professor Catherine Angel for agreeing to serve as my doctoral committee members. I appreciate all of their time and assistance for completing this process and this document. I would like to give a very special thanks to the UNLV writing center consultant, Carol Turner, who revised my English writing and style. Also I give my thanks to my dear friend, Suzanne Stone for her help on formatting and editing. This document would not have been possible without their assistance. I owe my deepest gratitude to Mr. Hsiao Tyzen for allowing me to use his songs as my topic to introduce and expose them to those who have never heard of Mr. Hsiao and his music, as well as giving me the opportunity to pay him a visit despite his illness. He has gone through strokes, chemotherapies, and a life-threatening heart surgery. Due to these experiences, he has difficulties in speaking and writing. Speaking in a slow pace, he told me, “I am incompetent in expressing my thoughts, however I express them through my music.” He signed my copyright permission form, letter by letter, with trembling hands. Before leaving, he held my hand firmly. Even with no communication, I could sense a connection between us because we both have a deep love for Taiwan. I sincerely appreciate you, Mr. Hsiao. v Finally, and most importantly, I wish to thank my husband, Ike, for his financial and moral support to allow me to accomplish my goals. I also thank my children, Lesley and Edward, for being so understanding and independent on their own. Above all, thank you for your patience and support through my journey. vi DEDICATION To my country, Taiwan, my husband Ike, daughter Lesley, and son Edward. I love you forever. vii TABLE OF CONTENTS ABSTRACT………………………………………………………………………….. iii ACKNOWLEDGEMENTS………………………………………………………….. v DEDICATION……………………………………………………………………….. vii LIST OF TABLES…………………………………………………………………… x LIST OF FIGURES…………………………………………………………………… xi CHAPTER 1 Historical Overview of Taiwan……………….............................. 1 Native Taiwanese Aboriginal…………………………………….............................. 1 Dutch Rule in the Early Seventeenth Century…………………………………......... 1 Chinese Occupation from the 1660s to 1880s…………………………………..…… 2 Japanese Rule from 1894 to 1945………………………………..............….............. 2 Authoritarian Rule under the Chinese Nationalist Party (Kuomintang; KMT)........... 3 “Common Sorrow”………………………………………………………………….. 4 Chinese Civil War…………………………………………………………………… 5 Democratic Transition…………………………………………………………......... 5 CHAPTER 2 An Overview of Taiwanese Vocal Music………………………… 8 Ethnic Groups and Languages…………………………………………………......... 8 Aboriginal Vocal Music…………………………………………………………….. 9 Han Chinese Traditional Vocal Music……………………………………………… 10 Taiwanese Creative Folk Song（台灣創作歌謠）………………………………… 11 Taiwanese Art Song……………………………………………………………......... 12 CHAPTER 3 Hsiao Tyzen: The Man and His Music…………........................... 16 Childhood－Early Period: First Compositional Period: 1967 to 1977……………… 16 Away from Homeland－Middle Compositional Period in America: 1977 to 1985…………………………………………................................................ 19 Towards Maturity－Late Period: 1985 to Present…………………………………... 21 Compositional Characteristics……………...………………………………………... 25 viii CHAPTER 4 Singing in the Taiwanese Language……………………………. 32 Introduction……………………………………………………………………........ 32 Taiwanese Diction………………………………………………………………….. 33 Seven Tones……………………………………………………………………........ 36 Hyphens and the Sandhi Rule…………………………………………………......... 37 CHAPTER 5 Four Taiwanese Art Song by Hsiao Tyzen………………………. 39 The Vagabond………………………………………………………………….......... 39 The Fairest Flower………………………………………………………………….. 47 Mother’s Hair……………………………………………………………………….. 58 Love and Hope………………………………………………………………………. 67 CHAPTER 6 Conclusion……………………………………………………….. 78 APPENDIX A Reprint Permission Letter by Hsiao Tyzen……………………. 81 BIBLIOGRAPHY ……………………………………………………………………. 82 CURRICULUM VITAE……………………………………………………………….. 85 ix LIST OF TABLES Table 4.1 Taiwanese Consonants…………………………………………….. 35 Table 4.2 Taiwanese Vowels…………………………………………………. 36 Table 4.3 Taiwanese Compound Vowels………………………….................. 36 Table 4.4 Taiwanese Tones…………………………………………………... 37 Table 5.1 The Musical Form of The Vagabond……………………................ 42 Table 5.2 The Musical Form of The Fairest Flower………………………… 50 Table 5.3 The Musical Form of Mother’s Hair……………………………… 62 Table 5.4 The Musical Form of Love and Hope……………………………... 71 x LIST OF FIGURES Figure 2.1 Song of the opening dance for old people from the Ami tribe…….. 10 Figure 3.1 Hsiao Tyzen “The Fairest Flower” measures 7-9…………………. 27 Figure 3.2 Hsiao Tyzen “Love and Hope” measures 67-79…………………... 28 Figure 4.1 The Sandhi Rule…………………………………………………… 38 Figure 5.1 Hsiao Tyzen “The Vagabond,” measures 1-11……………………. 43 Figure 5.2 Hsiao Tyzen “The Vagabond,” measures 10-12…………………... 44 Figure 5.3 Hsiao Tyzen “The Vagabond,” measures 13-15…………………... 45 Figure 5.4 Hsiao Tyzen

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