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Viewed the Dutch Rule of Taiwan with Increasing Annoyance UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Struggle for Recognition: Wen-Ye Jiang, Chih-Yuen Kuo, and Their Piano Music A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirement for the degree of DOCTOR OF MUSICAL ARTS In the Keyboard Division of the College-Conservatory of Music by Shuan-Chen Yang August 2008 B.M., Tunghai University, 1999 M.M., Peabody Institute of the Johns Hopkins University, 2001 Project Advisor: Professor Frank Weinstock, M.M. Abstract Before the twentieth century, Taiwan kept its native music to itself, passing traditions of folk song and Taiwanese opera from generation to generation within the island. Beginning in the 1930s, however, Taiwan attempted to join the growing international stage of art music, sending some of its most talented young musicians to study in Japan. The choice to study in Japan was not only due to the imperial power’s occupation; at the time, Japan was the only country in Asia where Western music was played and taught. Out of this came Taiwan’s two most significant composers of the twentieth century—Wen-Ye Jiang (1910-1983) and Chih-Yuen Kuo (b. 1921). Upon completing their studies in Japan, Jiang and Kuo had developed methods that freely mixed Western and Eastern influences, and they wrote in a largely audience- friendly modernist idiom. Yet beyond Japan, their paths could not be more different. Tragically, their music has not reached as many Western ears as they should have, often falling victim to the cruel political circumstances of their time. Because many musicians in the West are not familiar with Jiang and Kuo, they are also unaware of the importance of the historical events which affected their lives, careers, and even artistic influences. Although Jiang is eleven years older than Kuo, both composers matured in a period where Eastern and Western music began to exchange a great deal of ideas. Both, too, deserve recognition as composers from Taiwan. This paper will trace the different compositional directions of Jiang and Kuo, discuss how extra-musical events affected their lives, and shed more light on their music. It will then finish with the examination of four major piano works—two of each composer—that are representative of their styles and their times. 1 Copyright 2008 by Shuan-Chen Yang All Rights Reserved 2 Table of Contents List of Musical Examples 5 I. Introduction and Survey Taiwan: Search for Identity 7 Two Composers 12 Two Careers 17 The Present Day 19 The Music 23 II. Wen-Ye Jiang: Standing Alone Early Success 27 Inspiration and Persecution 33 Death and Rediscovery 36 III. The Piano Music of Wen-Ye Jiang Three Dances, Opus 7 (1935) 39 Sonatina for Piano, Opus 31 (1940) 47 IV. Chih-Yuen Kuo: Taiwan’s Rose Family and Childhood 51 Study in Japan 56 Postwar Taiwan 60 Retirement and Recognition 66 V. The Piano Music of Chih-Yuen Kuo Piano Sonata in C (1961) 70 Children’s Piano Pieces (1974) 78 VI. Final Thoughts 87 Bibliography 88 3 Acknowledgements Dean Frank Weinstock, my piano professor and mentor, for his advice on this document, and his inspirational teaching that shaped my growth as both a pianist and a musician. Professors Adawagin Pratt and Michael Chertock, for their generous time in serving as my readers on this document. Dr. Jeongwon Joe, for her vital pointers that led to the passage of my document proposal. Patrick Hanudel and Harmony Yang, for their assistance in expressing myself as clearly and as eloquently as possible in the English language. Cincinnati Taiwanese Presbyterian Church, for their prayers and encouragement, as well as the many beautiful memories which they left me. My parents, for their support of my chosen field, their understanding of my need to study abroad, and their financial generosity that has allowed me to pursue my dream. 4 List of Musical Examples Example 1. Jiang: Piano Sonata No. 3, Op. 39, Mvt. I, mm.1-2. 42 Example 2. Jiang: Three Dances, Op. 7, Mvt. I, mm. 3-5. 43 Example 3. Jiang: Three Dances, Op. 7, Mvt. II, mm.1-9. 44 Example 4. Jiang: Three Dances, Op.7, Mvt. II, mm.14-27. 45 Example 5. Jiang: Three Dances, Op.7, Mvt. III, mm.1-4. 46 Example 6. Jiang: Three Dances, Op.7, Mvt. III, mm.25-29. 46 Example 7. Jiang: Sonatina for Piano, Op. 31, Mvt. I, mm.14-19. 48 Example 8. Jiang: Sonatina for Piano, Op. 31, Mvt. I, mm.1-5. 48 Example 9. Jiang: Sonatina for Piano, Op. 31, Mvt. II, mm.1-12. 49 Example 10. Jiang: Sonatina for Piano, Op. 31, Mvt. I, mm.37-41. 49 Example 11. Jiang: Sonatina for Piano, Op. 31, Mvt. II, mm.1-6. 50 Example 12. A seven-word tune. 71 Example 13. Kuo: Piano Sonata in C, Mvt. I, mm. 1-8. 72 Example 14. Kuo: Piano Sonata in C, Mvt. I, Second Theme, mm.27-38. 72 Example 15. Kuo: Piano Sonata in C, Mvt. II, mm.1-12. 73 Example 16. Kuo: Piano sonata in C, Mvt. I, mm.159-164. 74 Example 17. Kuo: Piano Sonata in C, Mvt. III, mm.1-10. 75 Example 18. Kuo: Piano Sonata in C, Mvt. IV, mm.25-28. 76 Example 19. Kuo: Piano Sonata in C, Mvt. IV, mm.43-54. 77 Example 20. Kuo: Piano Sonata in C, Mvt. IV, mm.169-174. 77 5 List of Musical Examples (continued) Example 21. Kuo: Children’s Piano Pieces, “Jiang Shoei,” mm.1-14. 82 Example 22. Kuo: Children’s Piano Pieces, “Row Row the Boat,” mm.17-30. 83 Example 23. Kuo: Children’s Piano Pieces, “Lament,” mm.1-11. 84 Example 24. Kuo: Children’s Piano Pieces, “Elegie,” mm.1-4. 84 Example 25. Kuo: Children’s Piano Pieces, “Be on My Way,” mm.1-8. 85 Example 26. Kuo: Children’s Piano Pieces, “Joke,” mm.23-34. 86 6 I. Introduction and Survey Taiwan: Search for Identity History will remember the twentieth century as a time of great upheaval in almost every corner of the world. Rapid technological development made the planet a smaller place, and political ideas and artistic movements crossed borders. Still, many countries saw the twentieth century as an opportunity to promote their cherished cultures and to proclaim themselves unique as they joined the world stage. Sadly, many of the artists in these countries fought against oppression and censorship in their quest for a national identity, and a great deal of artists either made names for themselves in other countries, or tended to their work in secret. Some of these artists and their countries, such as Dmitri Shostakovich and the Soviet Union, have always been on the international radar screen, or at least understood more fully in recent years. But not all artists and their countries have received attention—especially those outside of Europe. One such country whose artists are long overdue for the spotlight is Taiwan. In the West, Taiwan is sometimes overlooked when it comes to matters of history and international significance. Much of this is due to occupation by outside powers not associated with the Taiwanese people. Japan, for example, set her eyes on Korea and Taiwan as part of imperial plans as early as the seventeenth century, and approached both regions with aggression. The native Formosans, however, were a tenacious people who did not look kindly on Japanese rule, and in 1616, soundly defeated a Japanese invading force. In 1624, the Dutch East Indies Company took a different tactic; they came in peace and established a friendly working relationship with the Formosans. As a result, the Formosans allowed the Dutch to build a commercial and military post on the island, and welcomed Dutch efforts to build a Western-style political and educational system and spread Christianity; in fact, the brief period of Dutch rule 7 continues to be influential in Taiwan to this day. In the seventeenth century, though, the Ching dynasty of China viewed the Dutch rule of Taiwan with increasing annoyance. The Dutch often hired laborers from mainland China and brought them to Taiwan; moreover, many Chinese fled to Taiwan to escape criminal prosecution. In 1662, Chinese naval forces defeated the Dutch in battle, threw the Dutch off the island, and ruled Taiwan for themselves. The Formosans, however, proved resistant to complete Chinese rule, and the Ching dynasty, for the sake of convenience, pursued a largely hands-off policy with the island.1 In the nineteenth century, outside powers began to threaten the island again. Due to the failure of their imperial policy two hundred years earlier, Japan had gone into an isolationist sleep, refusing open trade with Western countries. In 1853, United States Navy Commodore Matthew C. Perry and a squadron of heavily armed ships docked near modern-day Tokyo and forced the Japanese government to sign a trade treaty. Awakened from over two hundred years of isolationist principles, Japan began to adopt Western-style industrialization and flex her imperial muscle once more with regard to Korea and Taiwan.2 In 1871, long exasperated by foreign ships landing on their coast, especially Japanese ships, the aboriginal Paiwan tribe of southern Taiwan brutally murdered fifty-four shipwrecked Japanese fishermen.3 Enraged by this incident, Japan resolved to take control of Taiwan, and in 1894, friction between Imperial Japan and the Ching dynasty of China provoked the First Sino-Japanese War.
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