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A STUDY OF THE RELATIONSHIP BETWEEN TRADITIONAL PEKING OPERA AND CONTEMPORARY WESTERN PERCUSSION MUSIC IN MU KUEI-YIN IN PERCUSSION BY CHIEN-HUI HUNG Isabelle Huang Streng A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2012 Committee: Roger Schupp, Advisor Fleming Fallon Graduate Faculty Representative Marilyn Shrude Kenneth Thompson © 2012 Isabelle Huang Streng All Rights Reserved iii ABSTRACT Roger Schupp, Advisor The art of traditional music has diminished in significance in educational and cultural institutions in Taiwan and has been gradually replaced by Western music in schools and concerts. Some artists in Taiwan have observed the potential impact of the loss of this vibrant art form and have tried new ways to regain the public’s attention. Taiwanese composer Chien-Hui Hung and the Ju Percussion Group have done numerous cross-cultural productions incorporating traditional arts with Western concert music as an effort to preserve and regain attention for Taiwanese culture. The aim of this study is to examine one of these endeavors to combine traditional arts and modern Western percussion music in Chien-Hui Hung’s Mu Kuei-Yin In Percussion. This doctoral document is the first to discuss Chien-Hui Hung’s music and her working relationship with Ju Percussion Group. Chapter One of this document consists of the author’s interview with the composer discussing her musical background, education, relationship with Ju Percussion Group, and her view of the current development of music in Taiwan – both Western and traditional. Chapter Two is a brief introduction to Peking Opera. Chapter Three is a study of the traditional Peking Opera play, Mu Kuei-Yin Takes Command, from which the composer draw inspirations for her work Mu Kuei-Yin In Percussion. Chapter Four is an analysis of Mu Kuei-Yin In Percussion, both individually and in relation to Mu Kuei-Yin Takes Command. iv To my beloved parents and husband for their endless love, support, and patience. v ACKNOWLEDGMENTS This dissertation would not have been possible without the guidance of my committee members and the help and support of my family. First, I would like to express my deepest appreciation to my advisor Dr. Roger Schupp for his patience, encouragement, guidance, and support throughout the years of this degree. I would also like to extend my appreciation to Dr. Marilyn Shrude, Dr. Kenneth Thompson, and Dr. Fleming Fallon for their guidance while serving on my doctoral committee. I would like to thank Miss Chien-Hui Hung for her kindness to share her composition with me, her willingness to meet for the interview, and her correspondence via email and phone for my follow-up questions. My sincere thanks also goes to Mr. Tzong-Ching Ju, members of Ju Percussion Group, and the Ju Foundation for making the process of this research as smooth as possible. I would like to express my deepest gratitude to my parents who have given me unconditional support and helped me collect resources in Taiwan for this research. Last, but not least, I would like to thank my dearest husband Bobby Streng for his patience, support, and hard work to take care of our family while I worked on this dissertation. vi TABLE OF CONTENTS Page PREFACE ............................................................................................................................. 1 INTRODUCTION ................................................................................................................ 2 CHAPTER I. THE INTERVIEW.......................................................................................... 5 1.1: The Interview...................................................................................................... 5 CHAPTER II. THE TRADITIONAL PEKING OPERA...................................................... 50 2.1: The Origin of Peking Opera ............................................................................... 50 2.2: Role Type Categories ......................................................................................... 52 2.3: Acting, Combat, and Somersaulting................................................................... 54 2.4: Costumes, Headgear, and Adorning the Face..................................................... 56 2.5: The Stage ........................................................................................................... 58 2.6: Peking Opera Music ........................................................................................... 60 2.7: The Dialogue, the Text, and the Types of Peking Opera Plays.......................... 72 CHAPTER III. MU KUEI-YIN TAKES COMMAND............................................................ 75 3.1: The Story of Mu Kuei-Yin ................................................................................. 75 3.2: The Plot ........................................................................................................... 77 3.3: The Music........................................................................................................... 82 3.4: Passages Adapted by Chien-Hui Hung in Mu Kuei-Yin In Percussion.............. 82 CHAPTER IV. MU KUEI-YIN IN PERCUSSION................................................................ 85 4.1: Instrumentation................................................................................................... 85 4.2: The Form ........................................................................................................... 86 4.3: Part One—Measures 1-113 ................................................................................ 89 vii 4.4: Part Two—Measures 114-250............................................................................ 100 4.5: Part Three—Measures 251-340 (END).............................................................. 107 4.6: Summary ........................................................................................................... 113 BIBLIOGRAPHY ................................................................................................................. 116 APPENDIX A. GLOSSARY................................................................................................ 121 APPENDIX B. LIST OF WORKS BY CHIEN-HUI HUNG .............................................. 126 APPENDIX C. LIST OF CROSS-CULTURAL PRODUCTIONS BY JU PERCUSSION GROUP ........................................................................ 130 APPENDIX D. CONSENT LETTER .................................................................................. 131 viii LIST OF FIGURES/EXAMPLES Figure/Example Page 2.1 Timeline of the development of Peking Opera .................................................. 51 2.2 The traditional Peking Opera Stage in the Summer Palace in Beijing. Photo taken by Isabelle Streng in December 2008.................................................... 59 2.3 Danpigu, ban, and various sizes of jingbo. Photo taken by Isabelle Streng at the Capital Museum in Beijing in December 2008................................................ 62 2.4 Daluo, xiaoluo, ban, and beaters for danpigu and gongs. Photo taken by Isabelle Streng at the Capital Museum in Beijing in December 2008....................... 63 2.5 Meter, tempo, and dramatic association of xipi aria types adapted from Nancy A. Guy’s Ph.D. dissertation............................................................................ 68 2.6 Meter, tempo, and dramatic association of erhuang aria types adapted from Nancy A. Guy’s Ph.D. dissertation............................................................................ 70 4.1 Measures 1-7 with edits............................................................................................. 90 4.2 Melody of the passages in measures 10-35 ............................................................... 91 4.3 Jiuzhuiban.................................................................................................................. 93 4.4 Measures 36-42 with Jiuzhuiban continuing into chuanzi ........................................ 93 4.5 Yinluo......................................................................................................................... 94 4.6 Measures 43-49 with yinluo....................................................................................... 94 4.7 Chuanzi...................................................................................................................... 95 4.8 Shouchang.................................................................................................................. 95 4.9 Matui.......................................................................................................................... 95 4.10 Measures 50-63 with chuanzi, shouchang, and matui............................................... 96 ix 4.11 Melody of the passage in measures 67-78........................................................... 97 4.12 Canon effect in measures 64-70 ................................................................................ 98 4.13 Melody of passages in measures 86-110 ................................................................... 99 4.14 Measures 114-123, Theme that begins Part Two ...................................................... 102 4.15 Measures 127-133, the ‘mirror image’ effect and ‘call and response’...................... 103 4.16 Measures 148-161, ‘call and response’ in vocal form (shouting)
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