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The Erhu and Its Role As a Vehicle for Syncretic Music Performance in Singapore

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The Erhu and Its Role As a Vehicle for Syncretic Music Performance in Singapore Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. THE ERHU AND ITS ROLE AS A VEHICLE FOR SYNCRETIC MUSIC PERFORMANCE IN SINGAPORE A thesis subm itted in fulfil lment of the requirements fo r the degree of Master of Philosophy in Music at Wellington Conservatorium of M usic Massey University, Wellington. New Zealand L-=ok Lay Hong May 2004 ABSTRACT This thesis examines the erhu, a bowed lute from China and its development as a vehicle for syncretic music-making in Singapore. Chapter One considers the erhu 's status in Chinese culture and focuses on the differences between how the erhu was perceived by the "proletariat" of the early twentieth century contrasted with the imperialists of that time. A central assumption in this study is that erhu music-making in Singapore is inextricably bound with the traditions of both Western and Chinese culture. This concept is introduced in Chapter Two, with a discussion on musical syncretism. The erhu is a member of the huqin string family and is one instrument in the new ensemble idiom of the Singapore Huqin Quartet. This ensemble is the first to have huqin set up together in the manner of a Western string quartet. This ensemble has been influential on and contributes to a broad range of musical happenings in Singapore. It also represents one development of erhu as "world music". Phoon Yew Tien, who writes for the Singapore Huqin Quartet, is introduced. Chapter Three encompasses the different instruments that make up the huqin family, as played by the Singapore Huqin Quartet (which will be referred to as the SHQ in abbreviation). It also looks at the development of the modern Chinese orchestra. Chapter Four provides the descriptions and characteristics of the erhu and its performance techniques. In Chapter Five, eminent musical fi gures such as Liu Tian Hua and Hua Yan Jun (also known as Abing) will be discussed. Their music composed for the erhu has become an important part of the repertoire of the SHQ. The concluding chapter outlines differences between Western and Chinese music and looks at the merging of the two. A product of this merger is the compositions of distinguished Singapore composer, Phoon Yew Tien. His works are a fine example of the erhu 's musical qualities and demonstrate the compositional potential of the SHQ's syncretic idiom with the merging of the Chinese and Western art-music forces. A musical composition by Phoon viewed in a compositional perspective summarizes the possibilities of further development of this style. ACKNOWLEDGEMENTS In the preparation of this thesis, grateful thanks are due to my husband Yah Keong and daughter Quin-Vie for their support, understanding and encouragement. To Professor Donald Maurice for his kind assistance with the structure and providing some invaluable insight; and also to Dr Megan Collins for her guidance. My appreciation goes also to Gregor Cameron and Anne White for proofreading and providing insightful comments on the writing. Many thanks are due also to Associate Professor Matthew Marshall, Phoon Yew Tien and family as well as Terence Ho and members of the Singapore Huqin Quartet who generously shared their time during my interviews with them in Singapore. Last, but not least, my appreciation to my lecturing staff and students, Shaun Bradley and those whom I had befriended whilst in Wellington and who assisted me in one way or other by inspiring me to complete this thesis. II In ever loving memory of my mother, Ong Chai Hoi CONTENTS Introduction .............................................................................................................. I Chapter One I. I Historical background of the erhu .............................................................. 8 1.2 Socio-political background ......................................................................... 11 1.3 Physical description and musical characteristics of the erhu 1.3.1 Organology and tuning ................................................................. .... 15 1.3.2 Influences on current erhu aesthetics ................................................ 17 1.3.3 Erhu masterpieces by various composers ............. .. ......... ................. 18 Chapter Two 2.1 Introduction of the Singapore Huqin Quartet and the members' profiles ... 20 2.1.1 History and Profile .. .......................................................................... 21 2.1.2 Singapore' s Musical Heritage in context ......................................... 21 2.1 .3 Profile of the Singapore Huqin Quat1et members ............................. 23 2.2 Interview with the Singapore Huqin Quartet's manager, Terence Ho ........ .26 2.3 Interviews with members of the Singapore Huqin Quartet .... .. ......... .. ........ 30 2.4 Dialogue with collaborative musician Matthew Marshall ........................... 33 2.5 Composer Phoon Yew Tien 's profile ...................... .. .. ............. .... ............... 35 2.6 Interview with Phoon Yew Tien ................................................................. .38 Chapter Three 3.1 Family of the Huqin 3. 1.1 Jinghu ............................................................................................... 44 3.1.2 Banhu ............................................ ....................... .... 45 3.1.3 Da gehu ............................................................................................ 46 3.1 .4 Gaohu ........................................................................ 47 3.1.5 Zhonghu .......................... ........................................... 48 3.1.6 Gehu ...... .. .. ....... ....... .................. ........................ ....... 48 3.2 The modern Chinese orchestra ....................... ............................................ .49 Chapter Four 4.1 Performance techniques 4.1. l Tuning of erhu for left hand while seated ........................................ 56 4.1.2 Fingerings for the Erhu in Different Keys ....................................... 57 4.1.3 First fingering positions ................................................................... 58 4.1.4 Second fingering positions ............................................................... 58 4.1.5 Functions of third, fourth and fifth fingering positions ................... 58 4.1.6 Techniques of playing the erhu ........................................................ 59 4.1.7 Performance signs and symbols ....................................................... 61 4.1.8 Notation Systems (Pu) ..................................................................... 63 4.2 Teaching and Learning ............................................................................... 63 Chapter Five 5.1 Eminent figures in erhu music: .................................................................. 65 5.1.1 Liu Tian Hua(l895-1932) ............................................................... 65 5. I .2 Liu Tian Hua's music ........................................................................ 68 5.1.3 Abing or Hua Yan Jun (1893-1950) ................................................. 69 Chapter Six 6.1 Some Characteristic Differences between Western and Chinese Music Aesthetics ..................................................................................................... 74 6.2 Composition by Phoon Yew Tien for the Singapore Huqin Quartet.. ......... 76 6.3 Conclusion ................................................................................................... 80 Appendices: Appendix A ........................................................................................... 83 Sampling for analysis of work Concord Appendix B ........................................................................................... 95 List for dynasties, tables for key changes and harmonics Appendix C ......................................................................................... I 00 List of pictures Appendix D .................................................................... 105 List of examples Bibliography ............................................................................................................ 119 Discography ............................................................................................................. 127 Glossary ................................................................................................................... 129 INTRODUCTION The erhu as a musical instrument has fascinated me since I was introduced to it at primary school in Malaysia. The hauntingly beautiful and soulful music of the erhu and other traditional Chinese instruments encouraged me to learn the guzheng (bridged zither) as well. However, my early music training began primarily on Western instruments such as the piano, violin, flute and later the electronic organ, mainly because of my parents' interest and encouragement. This mix of Chinese and Western musical learning is usual for Malaysian and Singaporean people of Chinese descent. After completing secondary school, I pursued a three-year programme for a Diploma in Music at the Malaysian Institute of Art in Kuala Lumpur, located in the heart of the cosmopolitan capital of Malaysia. My exposure to Western elements of music began with an in-depth study of Western music theory and composition as well as piano performance which became my principal subject. Operatic
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