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“XIANSm ,” THE VIOLA CONCERTO BY YI CHEN: GENERAL ANALYSIS AND ISSUES OF PERFORMANCE INTERPRETATION
DISSERTATION
Presented in Partial Fulfillment of the Requirements for
the Degree Doctor of Musical Arts in the Graduate
School of The Ohio State University
By
Chi-Chuan Teng, M.M.
*****
The Ohio State University 2001
Dissertation Committee; Approved by Professor Edward Adelson, Adviser Adviser Professor Burdette Green Professor Marshall Haddock School of Music UMI Number 3022428
Copyright 2001 by Teng, Chi-Chuan
All rights reserved.
UMI
UMI Microform 3022428 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code.
Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright
Chi-Chuan Teng
2001 ABSTRACT
The continuance of culture is perpetuated through “artistic creation,” defined as the blend of elements fi'om the old tradition and new concepts. Because cultures often intercross each other, artists face the challenge of harmonizing different ideas into creative works. The Chinese culture has experienced numerous fusions throughout the history. According to Hayman (1992), after the huge culture shock following the political collision in the begirming of 20th century, Chinese artists, with or without awareness, have been handed the task of finding a new way for Chinese cultural expression. Based on this observation, the author wished to find a viola piece written by a Chinese contemporary composer for a twofold reason—to examine a type of piece that synthesizes Eastern and Western cultures and that is composed for the viola.
Yi Chen, a well-known female composer bom as a Chinese native and also well trained in Western musical composing, wrote a concerto for viola. “Xianshi” is an excellent synthesis of both cultures—Chinese content in a Western form. The materials are drawn from traditional music xianshi and shifan luogu. The spirit and style of these two have a major influence on this piece; however, the music notation, form, instrumentation, and compositional techniques are all Westernized.
11 This document is a musical study of this viola concerto. The musical influence from the traditional Chinese local music and the special use of the solo viola are the focus in this document. The analysis of the orchestration, form, and the use of harmony support the understanding of this piece. To conclude, “Xianshi” is a successful combination of two cultures and a splendid work for the viola.
Ill Dedication
To my parents
and
Professor Edward Adelson
IV ACKNOWLEDGMENTS
This dissertation would not have been possible without much help in many ways
from many individuals. But the first “thank you” is to my Lord, Jesus Christ. I would
have given up through the process of writing this document if not for His grace. He
raised the environment and people to help me during these years, enabling me to
complete my degree. I wish to thank my parents, Mr. & Mrs. Chuan-Shu Teng, Hsue-
Chin Chang, for their dedication to my education. Their love and devotion for me had
sustained me to pursue my doctoral degree. To my parents-in-law, Mr. & Mrs. Wen-
Ray Chen, Hsiu-Er Lee, their encouragement and assistance in taking care of my
children allowed me both time and energy to work on my document. And to my
husband, Shih-Yin Chen, his confidence in me sustained and upheld me through my
depression in writing this document.
I want to thank my advisor and mentor, Professor Edward Adelson. Through
the five years I studied at The Ohio State University, he has been a wonderful support
to me. I have benefited tremendously both from his teaching and personal style, and under his instruction I am able to be a professional violist and a better teacher. I wish to thank my Committee member. Dr. Burdette Green, for his invaluable guidance in the analysis chapter and the structure of this document, which has led me through my obstacles in the process of writing. Also, I want to give thanks to another Committee member. Dr. Marshall Haddock, for his enthusiasm of instruction on my performance over the past years. I believe that his education of ensemble playing is marvelous profit to many students.
I am indebted to the composer Yi Chen for her generosity of using her orchestral and piano scores and teaching materials in this document.
My sincerest appreciation for invaluable assistance provided by the following people ... Dr. Robert Taylor provided computer research that was inestimable in the early stages of my manuscript. My colleague, Linda Chang, edited the early drafts of this manuscript, offering clarity and assistance with English. Isaac Liu prepared the scans and graphics. Sharon Bierman edited and readied the final manuscript and served as project manager after I returned home to Taiwan. Being far from Ohio, I also depended on a very good friend, Patrick Foley, to ferry a variety of documents between campus departments. His enthusiasm and friendship are remembered deeply.
A very special thank you is for my host family, Paul and Isabel Wu. Their warm hospitality and devotion to my study and my elder son in winter 1999 made the first manuscript of this document possible. They indeed carry out the love in Christ.
Throughout this document, the reader should note that “Xianshi” in quotation marks refers to Yi Chen’s concerto, and xianshi when underlined refers to the traditional musical form. The excerpts of “Xianshi” are copyrighted and are used by permission from the Theodore Presser Company.
VI VITA
July 26, 1969 ...... Bom - Kaohsiung city, Taiwan, Republic of China
1991...... B.M., Performance Fu-Jen University, Taipei, Taiwan, R.O.C.
1992-1995...... Graduate Teaching Assistant The Ohio State University, Columbus, Ohio
1994...... M.M., Performance The Ohio State University, Columbus, Ohio
1995-1996...... Fellowship Student Tanglewood Music Festival
1998 - present ...... Section and Acting Principal Violist Taiwan National Symphony Orchestra
Lecturer, Kuan-Tu Christ College Taipei, Taiwan, R.O.C.
FIELDS OF STUDY
Major Field: Music
V ll TABLE OF CONTENTS
Page
Abstract...... ii
Dedication ...... iv
Acknowledgments ...... v
V ita...... vii
List of Tables ...... x
List of Figures ...... xi
Chapters
1. INTRODUCTION...... l
2. MUSICAL ANALYSIS...... 5 Orchestration...... 5 Formai Analysis ...... 14 Harmony ...... 25
3. INFLUENCES OF CHINESE TRADITIONAL MUSIC: XIANSHI AND SHIFAN LUOGU...... 27 Xianshi...... 27 Influence of Themes ...... 28 Influence of Style ...... 31 Influence of Rhythm ...... 32 Shifan Luogu ...... 35 The Percussion Score of “The Sum Is Always Eight” (Yuheba 37 The Percussion Score of “The Golden Olives” (Jinganlan 39
4. PERFORMANCE TECHNIQUE AND ISSUES OF INTERPRETATION...... 43
5. CONCLUSION...... 48
V lll Appendices
A. Permission to Reprint Excerpts of “Xianshi” ...... 50
References ...... 52
IX LIST OF TABLES
Table Page
1. Musical Analysis Chart of “Xianslii,” the Viola Concerto ...... 16
2. First Half of the Percussion Score, “The Sum Is Always Eight” (Yuheba) ...... 37
3. Full Percussion Score of “The Sum Is Always Eight” (Yuheba) ...... 38
4. Full Percussion Score of “The Golden Olives” (Jinganlan) ...... 40 LIST OF FIGURES
Figure Page
1. Positions of Solo Viola, Piano, and Percussion - Piano Reduction Version of “Xianshi”...... 6
2. mm.320-324, range drums ...... 7
3. The Colorful Tutti after Cadenza in the Orchestral Version is Replaced by Different Texture in Percussions of the Piano Version ...... 9
4. In the Piano Version, the Strings are Replaced by Different Textures in the Percussion ...... 11
5. The Strings are Omitted in the Piano Version — Example 1 ...... 12
6. The Strings are Omitted in the Piano Version - Example 2 ...... 13
7. mm.326-335, the Extra 9-measured Bridge Between the Cadenza and Coda in the Piano Version ...... 14
8. First Theme, Theme A, mm.4-12, vivo spirito, solo viola ...... 17
9. Second Theme, Theme B, mm. 148-154, solo viola...... 17
10. More Complete Presentation of “The Lions Play The Ball,” Theme C, mm.296-, brass...... 17
11. Transitional Theme in the first Exposition, Theme D, mm.81-86, brass ...... 18
12. Introductory Theme in the Second Exposition, Theme E, mm. 138-148, andante, oboe solo ...... 18
13. “The Lions Play The Ball”...... 19
14. Motif X, the First Four Notes in “The Lions Play The Ball” ...... 19
15. Motif X4, mm.33-38, solo viola ...... 20
16. Motif V, mm.92-94, clarinet in B flat ...... 20 xi 17. Motif VI, mm.97-98, bassoon ...... 21
18. Motif V2, m. 109, flutes ...... 21
19. Motif Y, mm. 1-3, timpani ...... 21
20. Motif Y, mm. 188-191, timpani ...... 22
21. Motif Z, mm. 14-16, solo viola ...... 22
22. Use of Motif Z in Cadenza ...... 23
23. Motif W, Beginning of Theme E, mm. 138, oboe solo ...... 23
24. Variation of Motif W, mm.206-207, solo viola ...... 24
25. Variation of Motif W, mm.216-217, solo viola ...... 24
26. Motif W, mm.294-295, trumpets & trombones ...... 24
27. Motif W, Bridge to Coda - Piano Version ...... 24
28. Linear Structure, mm. 103-106, flutes & clarinets ...... 25
29. Parallelism, mm. 112-115, clarinets & bassoons ...... 26
30. m.26...... 26
31. m.69, violins ...... 26
32. The Famous Tune of Chaozhou Xianshi Music, “The Lions Play The Ball” ...... 29
33. First Theme, mm.4-12, solo viola ...... 29
34. Second Theme, mm. 148-154 ...... 30
35. Theme C, mm.296-312, brass...... 30
36. Theme E, mm. 138, oboe ...... 31
37. Cadenza, the Influence of Theatrical Style in the Concerto ...... 32
38. mm.228-235, Kaopai (# % ) Rhythm, solo viola ...... 33
39. Kaopai Rhythm, mm.222-224, piccolo & flute ...... 34
40. Shwangtzui Rhythm, mm.206-213, solo viola ...... 34
xii 41. Liangdian (M f 4&) Rhythm, mm.216-222, solo viola ...... 34
42. Liangdianban Rhythm in the Coda, solo viola ...... 35
43. The Application of Yuheba...... 39
44. The Application of Yuheba in the Cadenza, solo viola ...... 39
45. Diagram of “The Shape of an Olive” ...... 40
46. Application of “The Golden Olives” in the Concerto, percussion & flutes ...... 41
47. Cadenza, Application of “The Golden Olives” ...... 42
48. Special Interaction Between the Soloist and the Orchestra ...... 44
X lll CHAPTER 1
INTRODUCTION
Yi Chen, a Chinese contemporary composer residing in America at the time of
this dissertation, composed the viola concerto, “Xianshi” (hereafter written in quotation
marks, denoting the concerto). Written in Beijing in 1983, while the composer was a
student of the Central Conservatory of Music, Beijing, the concerto is an artistic
synthesis of eastern and Western cultures. Chen successfully conveys Chinese idioms
through Western compositional means and Western instruments. She clearly
demonstrates that elements of cultures can be combined to create an artistic work that
successfully blends diverse musical influences.
The materials of the concerto are drawn from the traditional music forms of the
composer’s native motherland in the southern part of China, in particular the xianshi
(^2#) (hereafter underlined, denoting the musical form) and shifan luogu (-f-##g^).
These two instrumental ensemble forms are each very distinct. A brief description of each of these forms follows.
Xianshi originated from the region of Chaozhou (# # f) of Kuangdong Province
(j#^#"); thus, it is often called Chaozhou xianshi. It is most often performed on festive occasions, such as weddings, festivals, and birthdays. A famous tune that is heard often in Chaozhou xianshi. “The Lions Play The Ball” inspired the composer in this concerto. This tune reflects the happy atmosphere of Chinese festivals, and the themes in the concerto are derived from it. Other influences of
Chaozhou xianshi include the imitation of Chinese instruments on the solo viola, such as yehu, pipa, and yangqin that are used in the traditional Chaozhou xianshi. The adoption of kaopai one of the rhythm characteristics to xianshi (for example, duplet writing in the beginning of the solo voice, m.228; accompaniment at m.222), is also used in this work.
The shifan luogu style, on the other hand, is characterized in its formulated rhythm patterns Among several rhythmic patterns of the music of shifan luogu, Chen chose yuheba (“The Sum Is Always Eight,” A) and jinganlan (“The
Golden Olives,” to feature in the concerto. These two rhythmic patterns play important roles in the concerto, creating the most exciting and colorful passages in the concerto. These two rhythmic patterns of the shifan luogu style, yuheba and jinganlan, carry out strong festival-like feeling because the music of shifan luogu is mainly performed on festive occasions. The examples of yuheba and jinganlan can be found in the beginning of the piece and are more fully discussed in Chapter 3.
The viola plays a prominent role in this piece. While the viola plays, the composer cleverly keeps the orchestration very transparent. Thick chords are rarely utilized—the accompaniment often functions mainly as a rhythmic pulse. Contrapuntal lines are used with discretion, taking care that the orchestra does not detract from the soloist. The brass usually is used only when the viola does not play, allowing the solo
2 viola to speak freely and clearly, without undue competition. The viola writing is highly developed and requires much artistry from the soloist. Fast and running-note passages are woven throughout the piece, often covering both low and high registers.
Much time is spent on the A string, and high positions frequently are demanded. It requires good skills in both hands and some appreciation and finesse of Chinese art.
For example, in the beginning of the cadenza, the viola imitates the pipa and yangqin. Forceful pizzicato chords that start slowly and then speed up invoke the pipa.
Bartok pizzicato is used to imitate the yangqin's distinctive mallet-produced sound.
The understanding of the cadenza would not be complete without a study of Chinese painting. For instance, the long drawn-out formatas imitate the tranquility and sense of space typically found in Chinese art.
Chen is one of the most prominent contemporary Chinese composers, establishing her reputation as a composer of note while still in China. She received her
Doctoral of Musical Arts degree in 1993 from Columbia University (New York) under the instruction of Wen-Chong Chou and Mario Davidovsky, among others. Her numerous awards and positions include the 1996 Elizabeth and Michel Sorel Medal for
Excellence in Music from the Center for Women in Music (New York University) and
New Music Advisor with the Women’s Philharmonic. She has been commissioned to compose for outstanding artists and groups today, such as James Galway and the
Kronos String Quartet.
The viola concerto, “Xianshi,” premiered in June 1983 by Li-Zhou Liu, soloist, with the China Film Orchestra (Beijing), under the baton of Guan-Rong Yao. It was recorded and released in 1986 by the China Records Corporation with the same soloist
and the Central Philharmonic Orchestra (China), under the baton of En Shao. This
work was awarded the Teaching Material Award, Beijing, in 1984 (Yi Chen, personal
communication, March 1997). Since 1998, Chen has been a faculty member at the
conservatory of music at the University of Missouri.
I chose “Xianshi,” Chen’s viola concerto, as my dissertation subject for several reasons. As an example of significant modem music by a Chinese composer, this composition has the most prominent solo part of any such work I was able to find. The reader should note, however, that a subsequent search did yield a Chinese Music
Composer Center at SUNY Buffalo, complete with contemporary Chinese composers, their biographies, and their works. Chen explores the viola’s technical possibilities in a new way in the beginning of the cadenza where the viola imitates several Chinese plucking instruments. Overall, the techniques are challenging but approachable, and the
Chinese music materials are not difficult to understand.
This document is a study of performance technique and musical analysis.
Chapter 2 provides an overall musical analysis. Chapter 3 presents the use of Chinese music in this concerto, namely shifan luogu and Chaozhou xianshi. Chapter 4 presents a discussion of the performance techniques and interpretive issues. Chapter 5 presents the conclusion. CHAPTER 2
MUSICAL ANALYSIS
The concerto, “Xianshi” by Yi Chen, is a work in which Chinese music has a great deal of influence. These influences include two types of formulated rhythms—
"The Sum is Always Eight” (yuheba) and “The Golden Olives” (jinganlan), as well as main themes derived from the folk tune, “The Lions Play The Ball.” However, Western musical “tools” carry out all these materials. For instance, they are played by a viola and accompanied by an orchestra (or piano), written in a hybrid sectional form, and accessible to Western audiences. In addition, it is noteworthy that the cadenza of this concerto is composed with contemporary compositional techniques that create a distinct sound from the rest of the piece. The purpose of this chapter is to provide descriptions and analyses of the orchestration, form, and use of harmony as a supplement to understanding this piece from the Western theoretical viewpoint.
Orchestration
There are two versions for performing this piece: the orchestral version and the piano reduction version. To depict the tone color of the original xianshi and shifan luogu, both versions apply large section of Chinese percussion instruments, such as the temple blocks, gong, and range drums. The instrumentation for the orchestra version is 5 as follows: 2 FI. (I-Fl.-Picc.), 2 Ob., 2 Cl., 2 Fg., 4 Cor., 3 Tp., 3 Trb., 4 Timp., 2 percussion (temple block, wood block, range drums, campanelli, range bells, xylophone, triangle, piatti, tambourine, gong), 10 1st Vln., 8 2nd Vln., 6 Via., 6 Vc., and 6 C.B. The orchestra version requires three percussionists. The piano version requires only one percussionist with a variety of instruments: 4 temple blocks, 5 range drums, campanelli, bells ( ), xylophone, piatti, gong, and 4 timpani. The piano version omits three percussion parts—woodblock, triangle, and tambourine. In the orchestral version, these instruments are used more in the tutti section instead of in the solo passages. In one of my personal correspondences with the composer, Chen explained that, among these instruments, only the range drums are
Chinese drums, and they could be replaced with tom-toms if the Chinese drums were not available. For the performance of the piano reduction version, the composer provides a diagram indicating the placement of each instrument (Figure 1):
o o piano o o oooo
viola
Figure 1. Positions of Solo Viola, Piano, and Percussion - Piano Reduction Version of “Xianshi” (Chen, 1983b). The orchestra and piano versions are very similar in most places, except the
cadenza. For example, in mm.320-324 in the orchestral version, the range drums create
significant excitement and propel the action to the cadenza area. This includes the
bridge section after Section V—transfiguration of yuheba (Figure 2). This is omitted in
the piano reduction version, resulting in a decreased sense of richness.
Figure 2. mm.320-324, range drums.
In the piano reduction version, the cadenza instrumentation is simplified the most in those areas where the orchestral version utilizes the string section. Sometimes, the percussion in the piano version replaces the orchestral material from the orchestral version with an entirely new texture (Figures 3 & 4). w
Figure 3 continues Figure 3 continued
SeU
Figure 3. The Colorful Tutti after Cadenza in the Orchestral Version is Replaced by Different Texture in Percussions of the Piano Version. 0 1
saninjuoo p ajnSij
W
W
tn rr
1.0 r* Figure 4 continued
slow /T\ acccl.-
Viola Solo
ten.
Violin I w
Figure 4. In the Piano Version, the Strings are Replaced by Different Textures in the Percussion.
At other times, the string voices are simply omitted in the piano version (Figures
5&6).
11 Figure 5. The Strings are Omitted in the Piano Version — Example 1.
1 2 $0to
es [
Figure 6. The Strings are Omitted in the Piano Version - Example 2.
Thus, the accompaniment writing in the piano reduction lacks some of the colorful texture found in the orchestral version. I believe that Chen elected not to try to replicate the sound of the strings in the above examples (Figures 3-6) but decided to use a completely new texture. This might be because she didn’t believe it was possible to recreate this string texture in a piano version.
Last, there is a big difference between the two versions in respect to the placement of the coda. The coda comes right after the cadenza in m.326 in the orchestral version, while a 9-measured bridge played by piano is inserted between the cadenza and the coda in the piano version, placing the coda at m.335.
13 (32^
Piano <
Figure 7. mm.326-335, the Extra 9-measured Bridge Between the Cadenza and Coda in the Piano Version.
In summary, the texture of the orchestration in both versions of the entire
concerto is kept very thin, and the solo viola penetrates well. The unisons and linear
directions in the accompaniment part are transparent, so the solo viola can be heard
clearly. For example, when multiple instruments are playing (Figure 4), the contour of
the solo viola distinguishes itself from the glissandi of the soft and gentle strings.
Formal Analysis
According to Yao (1985), this concerto is a modified sonata form. In his view,
the composer divides the exposition into halves, each half with its own theme and development. Meanwhile, the placement of the recapitulation and the coda remains at the end. However, from my point of view, I prefer to consider this concerto a hybrid sectional form with elements of sonata form. From the piano reduction score, the
14 composer’s indications of the first and second themes indeed direct one to a hypothesis of a sonata form. However, I found that only part of the first theme comes back at the end (m.326 in the orchestra version, m.335 in the piano version), so I debate whether to consider this concerto a sonata form. Therefore, with this partial return in mind, 1 view this piece as a hybrid sectional form that includes the elements of sonata form. In other words, I think that this piece is structured as follows: first exposition (mm. 1-91), development (mm.92-137), second exposition (mm. 138-192), development
(mm. 193-324), cadenza (m.325-), and coda (mm.326-361). The reader should note that the above measure numbers are for the orchestra version; refer to Table 1 of the
Musical Analysis Chart for the measure numbers in the coda section for the piano score.
The piece starts with a fast tempo (vivo spirito) and undergoes several tempo changes within the piece. Chen clearly indicates the second theme in Chinese writing in the andante section. At the end, the first tempo resumes immediately in the beginning of the coda; therefore, one can say that the basic arrangement of the piece is in a manner of fast-slow-fast. A chart of analysis (Table 1) and excerpts of important themes
(Figures 8-12) will help the reader understand the structure of the concerto:
15 First ExDOsition mm.1-91 Cadenza m.325- a) Introduction mm. 1-3 a) Section 1 motif Y/timpani solo pizz imitation of Chinese instruments b) First Theme: A mm.4-12 b) Section 11 motif XI/ solo viola motif X2 c) Varied FT: mm. 13-22 c) Section III clarinets, cello, bass motif Y d) Varied FT: mm.23-29 d) Section IV solo viola/yuheba* motif Z e) Coda mm.30-38 e) Section V motif X4/percussions, jinganlan* transfiguration of yuheba* f) Closing section mm.39-44 f) Bridge g) Transition mm.45-80 colorful tutti passage h) Transitional theme mm.81-91 Coda mm.326-361 TTieme D, X3 a) Section I mm.326-342 First Develonment mm.92-137 motif Y timpani/solo viola/tutti a) Names of varied motifs: b) Section 11 mm.343-358 Motif V (mm.92-94), VI (97-97), V2 = 160 (m. 109), XI (107) c) Section 111 mm.359-36I b) Transitions nun. 116-137 molto vivace Second Exoosition mm.138-192 a) Introductory Theme mm. 138-148 (Piano Reduction Version] Theme E (motif W) ob., lst.vln. solo Bridge mm.326-334 b) Second Theme: B mm.148-159 Partial theme C motif X2, solo viola Coda mm.335-370 c) STx2 mm. 159-180 a) Section I mm.335-351 ob., fl., 2nd. Vln. solo, w.w. & strings tutti motif Y d) Transition mm. 180-192 b) Section II mm.352-367 Second Development mm.193-324 = 160 a) Introductory passage mm. 193-205 c) Section III mm.368-370 b) Variations of motif W mm.206-222 molto vivace c) Variations of motif X4 mm.222-254 d) Transition mm.255-261 e) Back to var. o f X4 mm.262-275 * FT = First Theme f) Back to var. o f W mm.276-295 ST = Second Theme g) Theme C mm.296-312 yuheba = “The Sum Is Always Eight” Tutti/more completed presentation of LPB* JinGanlan = “The Golden Olives” h) Transition mm.313-325 LPB = “The Lions Play The Ball” Table 1. Musical Analysis Chart of “Xianshi,” the Viola Concerto.
16 via. -ndmT],ini
Figure 8. First Theme, Theme A, mm.4-12, vivo spirito. solo viola.
U-w) »io
Figure 9. Second Theme, Theme B, mm.148-154, solo viola.
Brass iirriii ^rnj y r— r -=?— r r j r r ^ r
Figure 10. More Complete Presentation of “The Lions Play The Ball,” Theme C, mm.296-, brass.
17 X 3
Brass I f - L 1? • V * w T r ^ S '
Figure 11. Transitional Theme in the first Exposition, Theme D, mm.81-86, brass.
Pno.
m p
Figure 12. Introductory Theme in the Second Exposition, Theme E, mm.138-148, andante, oboe solo.
As Chen says in the front page to the piano reduction score, “This concerto has drawn its material from the traditional forms of some Chinese national instrumental ensemble which were bom of the south of her motherland” (Chen, 1983b, p. 1). In this work, she has used and developed the mode and rhythm of the folk music. The “mode
... of the folk music” that Chen mentions here is the standard folk tune, “The Lions
Play The Ball” (Figure 13), from the music of Chaozhou xianshi. Xianshi is a type of local musical form for instrumental ensemble, popular in Chaozhou, Kuangdong province, in the southern part of China.
1 8
Figure 13. “The Lions Play The Ball”
The four 16th-notes in the very beginning of the tune are taken out as a cell,
labeled as motif X (Figure 14):
Figure 14. Motif X, the First Four Notes in “The Lions Play The Ball”
Motif X is found as part of longer motifs in theme A (motif XI, Figure 8), B
(motif X2, Figure 9), and D (m otif X3, Figure 11).
Chen further develops motif X in a series of running 16th-note couplets, labeled
X4. Motif X4 contains the identical motif x, plus two sets of repeated major seconds.
19 This motifîc activity is first seen in the coda section of the first exposition (Figure 15,
mm.34-38) and later in the second development. When it follows on the heels of the
“Golden Olives” technique, as it does in mm.34-38, it takes on an especially exciting,
almost heroic character (Figure 15).
SJ^.. © via. P
>
Figure 15. Motif X4, mm.33-38, solo viola.
Throughout the piece, some of these motifs grow to larger motifs. For example,
in the first development, XI becomes larger motifs V, VI, V2 (Figures 16-18).
Clarinet in Bb
Figure 16. Motif V, mm.92-94, clarinet in B flat.
2 0 uQ Bassoon m
Figure 17. Motif VI, mm.97-98, bassoon.
Flutes -i
Figure 18. Motif V2, m .l09, flutes.
The introductory passage (mm. 1-3) played by timpani in the very beginning of
the piece is actually taken out from the second half of the first theme (mm. 10-12). This
motif is labeled motif Y. Its active characteristic corresponds to Chen’s tempo marking
in the very beginning. The vivacious characteristic of this motif allows it to carry out
the initiative spirit that Chen wishes to depict in this piece (Figure 19).
Timp.
Figure 19. Motif Y, mm. 1-3, timpani.
2 1 Chen tries to raise the viola’s expression to play the music with Chinese national style and represent the people’s initiative spirit (Chen, 1983a). This motif always appears when the music is energetic again. For example, at the end of the second exposition and second development, the music is reactivated by motif Y (Figure 20) after the slow theme B and moves into the introductory passage to the second development in a much faster tempo.
Timp.
Figure 20. Motif Y, mm.188-191, timpani.
The fourth motif in my analysis is motif Z. It is a motif composed of at least two successive double-stops in the interval of fifth (Figure 21).
via.
Figure 21. Motif Z, mm. 14-16, solo viola.
It is the author’s presumption that motif Z is made from motif Y because they have the subtle connection of the interval of fifth. Motif Z is used often—mostly in
2 2 fifths, sometimes in fourths, and sometimes in an added slide between two double- stops.
*
m nni III
Figure 22. Use of M otif Z in Cadenza.
The last motif in my analysis is motif W. Motif W consists of the intervals of a fourth and a second, first appearing in the beginning of Theme E (Figure 23), which is the introductory theme of the second exposition (mm.138-192). Later, in the second development (mm.193-324), motif W becomes important material in the variation section (Figures 24-25), as well as in the beginning of theme C (Figure 26) and in the bridge section to the coda in the piano reduction version (Figure 27).
Oboe
Figure 23. Motif W, Beginning of Theme Ë, mm.l38, oboe solo.
23 Viola m p
Figure 24. Variation of Motif W, mm.206-207, solo viola.
Viola
Figure 25. Variation of Motif W, mm.216-217, solo viola.
Tmmpet(Bb) 1,2 1
Trombone
Figure 26. Motif W, mm.294-295, trumpets & trombones.
^ =f -5=---- L_ Piano /
J ■- ^T ------J
Figure 27. Motif W, Bridge to Coda - Piano Version. 24 Harmony
The sound of the pentatonic scale is easily apparent throughout the piece. The
intervals of the fifths and octaves are used very frequently, and the harmonic progression of diatonic chords is absent. Much more than in traditional Western music, the melody—rather than any harmonic progression—drives the motion of the piece forward. The accompaniment parts frequently are written in parallel octaves or a simple counter melody. Based on this observation, I think that the harmony functions in a linear direction rather than in a vertical harmonic progression, as is typical in traditional Western music. To illustrate the observation mentioned above, here are some examples from the concerto, “Xianshi” (Figures 28-29):
103,
Piano
Figure 28. Linear Structure, mm.103-106, flutes & clarinets.
25 f f dim __ Clarinet 1,2 * A#T] j... zj i w TT
Figure 29. Parallelism, mm.112-115, clarinets & bassoons.
Also, in contrast to traditional Western music, the chords usually consist of the intervals of thirds, fourths, sixths, and sevenths. This creates a cluster kind of soimd.
When the music modulates, it usually does so by respelling the chords enharmonically, then plunging abruptly into that new tonal center.
Figure 30. m.26.
Figure 31. m.69, violins.
26 CHAPTERS
INFLUENCES OF CHINESE TRADITIONAL MUSIC: XIANSHI AND SHIFAN LUOGU
On the first page of the viola concerto, “Xianshi,” Yi Chen noted (1983b), “This viola concerto has drawn its materials from the traditional forms of some Chinese national instrumental ensemble, which were bom of the south of my motherland” (p. I).
In this work, she has used and developed the mode and rhythm of the folk music. In another way, she has probed how to give play to the viola’s unique timbre and artistry.
She tries to raise the viola’s expression to play the music with Chinese national style and represent the people’s initiative spirit.
Xianshi
According to The Stvle and Form of the Traditional Instrumental Ensemble
(Yie, 1983), xianshi is the name of string and wind ensemble music from the region of
Chaozhou in the province of Kuangdong. Names for this type of ensemble vary according to the regional location in China, but they all include the character “xian”
(string). Xianshi originated in Chaozhou as a music/poetry (art song) playing style. It later became the given name for the string and wind ensemble. The instrumentation for xianshi includes two stringed instruments (Chinese violin, yehu); plucking instruments.
27 such as the pipa (Chinese guitar) and zheng (21- to 31-stringed zither); wind
instruments, such as the so-na (shawm) and dizi (transverse flute); and a small
percussion group, such as drum, clapper, muyu (temple block), etc. Among the variety
of different families of instruments, hu, dizi, and sona are the leading instruments.
Plucking instruments are more of tutti/ensemble instruments, although they can be solo
instruments. The percussion instruments are eliminated when the plucking instruments
are playing solos or ensemble. Except for adopting instruments such as the temple
blocks in the orchestration, Chen also uses the solo viola to imitate the pipa, yangqin,
yehu, and qin.
Influence of Themes
The famous melody in the original music of “Xianshi,” “The Lions Play The
Ball,” is used as important material in the concerto. There are four themes in the concerto that are derived from “The Lions Play The Ball”; first and second themes
(theme A, B), a more complete form of the original melody (theme C), and the introductory theme (theme E) of the second exposition (Figure 32).
2 8
Figure 32. The Famous Tune of Chaozhou Xianshi Music, “The Lions Play The BaU” (Chen, 1996).
The four notes in the beginning, which are used as a motif and developed in
both theme areas, are labeled as motif X. In terms of thematic development, motif X is
generated in both of the first and second themes (see previous discussion in Figures
11-17 for motific development of motif X) (Figures 33-34):
XI via. I
Figure 33. First Theme, mm.4-12, solo viola.
29 Vh.
Figure 34. Second Theme, mm.148-154.
The original melody of “The Lions Play The Ball” is reprised in a more complete form before the cadenza (Figure 35).
r “ T I I— r—^ ^ r
Figure 35. Theme C, mm.296-312, brass.
The introductory theme (Theme E) in the second exposition area is indirectly influenced by the original melody. In “The Lions Play The Ball,” the interval of fourth is often used (m.2, 6...etc.), and this interval is laid out at the beginning of theme E
(Figure 36).
30 1138.
Oboe
Figure 36. Theme E, mm.l38, oboe.
In addition to the themes, the general musical style and some patterns of rhythm
of the original music of xianshi are apparent in this concerto.
Influence of Style
The music of xianshi has a very strong connection with Chaozhou shiqu
(theatrical music) and shuochang (musical story-telling) (Yie, 1983). They all use
variable tempos in building up to a climax. The tempo follows a pattern from slow to
fast, e.g., from 4/4 in slow tempo to a moderate 2/4, then to a fast 1/4. The progression
intensifies, creating a special musical effect. In other words, as the tempo changes from slow to fast, tension builds. This approach is applied in the concerto. Chen draws attention to this effect by noting in the manuscript (in Chinese) her use of this “Golden
Olive” technique, in which the meter and the tempo get increasingly shorter and faster.
This unique feature of xianshi can be heard in the solo viola part near the end of the cadenza (Figure 37).
31 slow /T\ accclr- >-J yr I Viola Solo ^ —L"
Violin i
Violin 2
N^ola
f Cello gj'^rrfrrr^rrfrfrrr r f r r - l^ i-rVr fr
ContraBass
Figure 37. Cadenza, the Influence of Theatrical Style in the Concerto.
As one can see from the preceding example, the string section plays along with the solo viola in unison. The powerful feeling from the complete string section in unison with the solo and the effect of the “Golden Olives” (described in the above example) accentuate the effect of tension. This builds the viola’s splendid musical material into a powerful conclusion.
Influence of Rhvthm
In the music of the original xianshi. there are many types of rhythmic variations that are used to embellish the tune during its repetition. There are four rhythmic patterns (kaopai, shwangtzui, liangdian, and liangdianban) found in the concerto that
32 originate in the music of xianshi. Most of them are found in the solo part (Figures
38-42).
Fagott C'
Temple Block
,P p
T « f V iola Solo ------^ 4J g t ± f [k S i ^ u r g L J ' ntp ■* 3 3 J 3 3 div. Violin 4 = 1 4 = 1 > 4 - q é ------—' 1 ^ - r ......
Viola - f - > ------rr- ■ r P
Fg. ^ —
Temple Block
^ p
■\ _____#" solo - p —c ----- i - . f - i • — r
M- unis. unk. ““ — Vn. 4 - ^ - 1 = 4 — — H
Va. r — 1 F - --
Figure 38. mm.228-235, Kaopai Rhythm, solo viola (Chen, 1996).
33 Piccolo Flute
Figure 39. Kaopai (#% ) Rhythm, mm.222-224, piccolo & flute (Chen, 1996).
Shwangtzui (^f#) is a kind of rhythm composed of consecutive 16th-notes
(Yie, 1983):
Figure 40. Shwangtzui (#Ef#) Rhythm, mm.206-213, solo viola.
Figure 41. Liangdian (M ^) Rhythm, mm.216-222, solo viola.
34 y w~9—rrr r w~ w— rr=rrrw— VlMLlll r r w~ V io la S o lo
Figure 42. Liangdianban Rhythm in the Coda, solo viola.
Shifan Luogu
According to both Chen (1996) and Yie (1983), shifan luogu is the name for the
Chinese wind and percussion ensemble in the southern area of Jiansu province. The
major percussion instruments are gongs, drums, cymbals, bangu (hard drums), and the muyu (temple block). The changjian (Chinese trumpet), sheng (mouth organ), xiao, gudi (Chinese flutes), and pipa (Chinese guitar) represent the applied wind and plucking instruments. There are large variations in the construction of the individual Chinese percussion instruments. Each instrument is made from different materials in various shapes, and each has a distinctive timbre. In the original music of shifan luogu, the lead instruments are gongs and drums. There is widespread agreement that the percussion instruments are of prime importance in the music of shifan luogu. In comparison, the wind and plucking instruments are much less significant and thus are often omitted.
The main characteristics of the music of shifan luogu are the rhythmic structure and the variety of timbre from the different combinations of percussion instruments in each repetition. The composition of shifan luogu is very extensive. It is complex, consisting of several individual passages of percussion music. According to the Instrumental Folk
35 Music Types and Forms (Yie, 1983), there are 28 sectional tunes in “Ten Eight Six
Four Two,” the standard work of the music of shifan luogu. These tunes are composed
of four parts: Opening Statement; Main Subject (Big-Four-Section); “The Sum Is
Always Eight” (yuheba); and Ending, “The Golden Olives” (jinganlan). Between these
sections, plucking and wind instrumental music is inserted. In “Xianshi,” Chen is
clearly influenced by this traditional form of Chinese music and employs elements of it
throughout the piece, notably the yuheba and jinganlan.
Yuheba, jinganlan, and the Big-Four-Section are different types of rhythmic
patterns, referred to by the composer as “percussion scores,” that are used in this
concerto. “Percussion score” is a kind of musical notation that uses Chinese characters
imitating the sound of various percussion instruments to record the formulas of rhythms. Being able to recite the “percussion score” is a prerequisite to play in the ensemble. These types of percussion ensemble music are all treated with their own variations on the theme. When they are brought together in an intricate combination of variations, the rich texture and timbre clearly reveal the sophistication of shifan luogu.
Nevertheless, there is still individual distinction between yuheba and jinganlan.
One should first understand how the rhythms are formulated in the original music of yuheba and jinganlan before appreciating the manifestation in the concerto.
Let us choose the following Chinese instruments and chart (Chen, 1996) to show how they are used in Chen’s score: ba (cymbal), xiao luo (small gong), drum, and da luo
(large gong). Each of these instruments takes its turn as the lead instrument.
36 The following system of symbols will be used to plot the course of the different
rhythmic patterns. Q (pronounced “Qi”) represents bo, D (“dei”) represents small gong,
T (“tong”) represents drum, W (“wang”) represents the big gong. At the tutti
performance, K (“guan”) stands for loud, big gong, Y (“yi”) stands for soft striking
bangu, Z (“za”) stands for gongs, and E (“er”) represents drum.
The Percussion Score of “The Sum Is Always Eight” (Yuheba A)
There are two parts in the score—the main section (for the solo instruments) and
the fixed ending section (for the tutti instruments). The complete performance of “The
Sum Is Always Eight” requires four variations on the theme. The variation comes from
both the rhythm and the timbre of different solo instruments in each time. Each of the
four solo instruments listed above—bo (Q), small gong (D), drum (T), the soft striking
big gong (W)— takes its turn leading a section of the composition.
The first half score of the “The Sum Is Always Eight” is as follows:
First Phrase 7+1 QQ YQ YQ Q Z Second Phrase 5+3 DDD YDD D ZZ Z Third Phrase 3+5 TT T ZZZ YZZ Z Fourth Phrase______K 7 ______W______ZZ______ZZZZ______YZZ______Z Table 2. First Half of the Percussion Score, “The Sum Is Always Eight” (Yuheba) (Chen, 1996).
The rhythms are formulated differently each time. After each main section, there is a fixed ending, or a standard coda. In each ending, the use of the
37 instrumentation is all the same, as is their rhythms. Therefore, the complete percussion score is as follows (Table 3):
Main Section Ending First Phrase 7+1 QQ.YQ. YQ Q Z YEYZ K K Second Phrase 5+3 DDD YDD D ZZ Z YE YZ FC K Third Phrase 3+5 n T ZZZ YZZ Z YEYZ K K Fourth Phrase 1+7 w ZZ ZZZZ YZZ z YE YZ FC K Table 3. Full Percussion Score of “The Sum Is Always Eight” (Yuheba) (Chen, 1996).
Again, there are four phrases in “The Sum Is Always Eight” (yuheba) percussion score, and each performance cycle is based on these four phrases. The cycle is repeated four times in total, which is considered a complete set of the performance.
As stated earlier, each cycle is led by different solo instrument: the first cycle is
QDTW, the second is DTWQ, and the third is TWQD.
For the application of yuheba in “Xianshi,” Chen employs the main section only in the percussion score (Figures 43-44):
38 1 3 5 ©
Ruts •> f
Oboe «> f
..... 1 ' ~ — C b 4 — %» W T 1 T '- ■ ■■ -
4 Rigott
f 7 s 3
Dniin*
y - ...... j
R-C. /— * t H i : = ------
1 f ------
n , . — © r n - f —1------• ? *
Figure 43. The Application of Yuheba (Chen, 1996).
0*4 1 + 6 2 * S
Figure 44. The Application of Yuheba in the Cadenza, solo viola (Chen, 1996).
The Percussion Score of “The Golden Olives” (Jinganlan ^#M *)
The name of this pattern of rhythm is a depiction of the shape of an olive (Yie,
1983). Similar in structure to “The Sum Is Always Eight,” the “Golden Olives” consists of two parts—the main section and the fixed ending. There are seven phrases
39 in one complete perfonnance of this pattern. The solo instruments are bo (Q), small gong (D), soft striking big gong (W), and drum (T); the tutti instruments are gongs (Z) and soft striking bangu (Y) (Table 4):
Main Section Ending First Phrase IQ IZ IZ lY 7Z 7Y Second Phrase 3D 3Z 3Z 3Y 7Z 7Y Third Phrase 5T 5Z 5Z 5Y 7Z 7Y Fourth Phrase 7W 7Z 7Z 7Y 7Z 7Y Fifth Phrase 5T 5Z 5Z 5Y 7Z 7Y Sixth Phrase 3D 3Z 3Z 3Y 7Z 7Y Seventh Phrase IQ IZ IZ lY 7Z 7Y Table 4. Full Percussion Score of “The Golden Olives” (Jinganlan) (Chen, 1996).
The number of beats increases and decreases, creating a contour that can be charted as the shape of an olive.
Figure 45. Diagram of “The Shape of an Olive” (Chen, 1996).
The application of jinganlan is found in the percussion section and flutes (Figure 46):
40 © M ài
Figure 46. Application of “The Golden Olives” in the Concerto, percussion & flutes (Chen, 1996).
The number of beats in the next example decreases in a way that displays just the second half of the shape of an olive (Figure 47):
41 Viola So!o
Violin I
Violin 2
Viola
Cello
ConiniBass
Figure 47. Cadenza, Application of “The Golden Olives” (Chen, 1996).
42 CHAPTER 4
PERFORMANCE TECHNIQUE AND ISSUES OF INTERPRETATION
The solo viola has a brilliant role in the piece. There are many passages
requiring a good sense of position shifting in the left hand and quick movement in both
hands. The composer well understands the demands of string playing, and thus the solo
writing is both challenging and accessible. The range of the solo part is wide, covering
all ranges of the viola. The treble clef is used quite often. Usually the lower-voice
passages are more lyrical and the higher-voice passages are more technical. Double-
stops are mostly sixths, fourths, and fifths. Most of the time, double-stops of fifths
involve playing open strings. The ricochet and jete bowings are the most difficult
techniques for the right (bow) hand.
With regard to the interpretation issues, there are some challenges. As
mentioned in Chapter 1, a sensitive rendition of this piece will not be possible without
some familiarity with Chinese folk music and even Chinese painting. To properly
evoke the festival-like atmosphere portrayed in parts of this concerto, an acquaintance
with the colorful customs of China during its festive occasions would be useful. In
addition to the cultural aspects of this concerto, the composer utilizes some other techniques that call for heightened awareness in the performer. For example, in the
43 cadenza there are several places that call for special interaction between the soloist and
the orchestra, i.e., in Section III of the cadenza (Figure 48), the soloist makes a lively
statement that rushes forward and is answered by the flute and oboe. After the gentle
comment by the woodwinds, the viola continues.
MoU
Oboe
Cor. I a
TT
Figure 48. Special Interaction Between the Soloist and the Orchestra.
In the cadenza, where one expects the technique to be rigorous, the soloist is
further challenged to imitate various Chinese instruments on the viola. These Chinese
instruments—pipa, yangqin, and qin—are the plucking instruments used in the original xianshi music. The difficulty lies in the technique of imitating these Chinese
Instruments, by playing in a style that reflects their origin.
44 The pipa is a four-stringed plucking instrument. The shape of a pipa is like that of a pear, and its back is shaped like a barrel. The normal playing position of the pipa requires the instrument to be placed on the left lap, with the left leg crossed over the other. Sometimes it is held similar to a guitar. The pipa is an old instrument, and it has its own system of fingering. In the beginning of the “Xianshi” cadenza, two original fingerings of the pipa are used. The first is used for four-stringed chords and requires the chords to sound loudly from upper string to lower string. Also, the plucking motion should start slower and then go faster. In other words, the lower strings may ring continuously, but the upper ones sound separately. To produce such a sound, it is suggested that the performer pluck by using the thumb of the right hand, and the arm should make a circle motion before the finger is placed on the string for the next chord.
The second marking contains two directions. The performer is asked to pluck the strings from lower string to upper string, as well as the other way around. These instructions are meant to suggest producing the sound by a fast motion. This motion should be completed by the first finger instead of the thumb, because the performer can use a quicker motion that way. The pizzicato technique, which is needed here, can also be found in Western music (i.e., “Bolero” by Ravel and some excerpts from “La Mer” by Debussy). To make the chords continue to sound as though played together as the music goes faster, the first finger should not be bent. At the same time, the elbow and the wrist should stay in one line as the music goes faster. This enables the chords to sound with all the powerfulness called for by the music. This technique, which is also
45 very characteristic to the music of the pipa, creates a vivid, dramatic, almost visual effect. An old technique, it carries connotations of ancient Chinese music.
The yangqin is a type of hammered stringed instrument, popular during the 14th to 17th centuries. The shape of the yangqin is similar to a butterfly, and it is played with two thin bamboo strips. The yangqin has historically been a leading or solo instrument in the local music of China. The marking in the concerto for the imitation of this instrument is the same as the marking for a Bartok pizzicato; however, this should be performed like a Bartok pizzicato in piano because the sound of the yangqin is generally soft.
Thousands of years ago, the qin was performed only by the intellectuals in
Chinese society. The qin contains 13 bridges inlaid on its surface, which are used to fix the pitches of the strings. The number of the strings vary; however, the most commonly used qin comes equipped with seven strings and thus is called the 7-stringed qin. The sound of the qin is very light and calm, and it can be used either for solo or ensemble playing.
Yi Chen imitates the sound of the qin by using first the Bartok pizzicato, followed by the glissandi in the left hand. The gesture of the glissando is typical in the music of the qin. The glissando should be emphasized by pressing hard on the string in the left hand and at the same time using a slower motion in the glissando. Also, the wrist instead of the arm should move the left hand. Finally, vibrating the double-stops after the glissando in each gesture is important, because, in the music of the qin, each single note is substantial and is given wider vibrato. However, it is somewhat difficult
46 for the viola to produce such effect because the size of the viola is much smaller than that of the qin. Also, the strings are also much shorter than those on the qin. The gestures should be played with ease and peacefulness.
Finally, the first theme (mm.4-9) in the beginning played by the solo viola imitates the lead string instrument in Chaozhou xianshi music, the yehu. The yehu belongs to the Chinese string instrument family, hu. The body (sounding box) of the yehu is made from the coconut shell, and its sound has a nasal quality that is similar to the viola. It is interesting that Chen chose for the viola’s opening statement to pay tribute to this string instrument, which takes prominence in Chaozhou xianshi music.
The combination in these measures of glissando-like grace notes and sustained pitches in the upper register of the viola are meant to evoke the qualities of the yehu.
47 CHAPTER 5
CONCLUSION
After examining the concerto, this author believes that “Xianshi” is a successful work, both as an example of contemporary viola literature and in the realm of Chinese contemporary music. This work offers an example of an artistic combination of two cultures. The materials from the xianshi and shifan luogu are woven elaborately into the piece, and the resulting music is very accessible to audiences. As a Chinese native,
I found that the Western elements of this piece are not obstacles in listening; instead, they help to establish an understanding of the work. On the other hand, as a violist, I appreciate that the composer explores the brilliant quality of the viola and gives the viola opportunities to show its full energy. I especially admire the design of imitation of Chinese traditional instruments in the beginning of the cadenza. It is a creative idea, and the result is effective. The two formulated rhythms carry out a strong flavor of festival-like atmosphere in the concerto as a whole, while the different orchestration timbre in the cadenza depicts closely the profound tranquility of Chinese painting. The strong theatrical essence influenced by the nature of the original music of xianshi is another characteristic of this piece. It creates dramatic moments, such as in the coda section, and leads the piece to conclusion in high spirit.
48 This is the first viola concerto written by a Chinese-bom contemporary
composer. With a strong understanding of the traditional Chinese music as her basis,
Yi Chen is able to maintain her cultural identity in this piece. “Xianshi” is in my
opinion a magnificent work that deserves more attention from audiences and performers.
49 Appendix A
Permission to Reprint Excerpts of “Xianshi”
50 -\iUSJC FUBUSHERS SLNCE ! 7*5
PERMISSION TO R e p r in t i n a D issertation
Licensor; Theodore Presser Company Date Issued: May 29, 2001
Licensee: Chi-Chuan Teng Address: Ilf. No. 68, Sec. 3. Chi-Nan Kd-(116) Taipei, TAIWAN Via facsimile to: 514-859*7721 fee: Gratis (515.00 service charge)
Dear Chi-Chuan:
This k ill serve as your permission to include from XLAN-SHI (S416-41211) by Chen Vi. 48 excerpts, l-ll measures in length, in your doctoral dissertation, as detailed in your e- onails of April 17.2001. Our only requirement for this permission is the inclusion of the following credit line with the excerpts:
FROM: XIAN-SHI © Theodore Presser Company LTsed 3y Permission
This permission is granted with the understanding dtat no commercial use whatsoever shall be made of your dissertahon. Commercial use would require additional clearance and the payment of the appropriate fees. We do. however, grant permission to University Microfilms to make single copies of your dissertation on a demand basis.
If these terms are agreeable, please sign and return one copy of this license along with a check in the appropriate amount mode payable to the Theodore Presser Company.
Chi-Chuan Teng
Authorized Signature
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51 REFERENCES
Chen, Y. (1983a). Xianshi. the viola concerto, unpublished score arrangement for orchestra, obtained in 1997 from the composer, Beijing. Later published in 1998 by Theodore Presser, King of Prussia PA.
Chen, Y. (1983b). Xianshi. the viola concerto, unpublished score arrangement for viola and piano, obtained in 1997 from the composer, Beijing. Later published in 1998 by Theodore Presser, King of Prussia PA.
Chen, Y. (1996). Unpublished teaching materials, obtained from the composer, Beijing.
Chen, Y. (1997). Unpublished teaching materials, obtained from the composer, Beijing.
Hayman, R.I.P. (1992). Reader’s forum Chinese music internationally. Music from China. 4. 34-35.
Yao, G-R. (1985). The new blossom of orchestral music Xianshi, People’s Music. 1. 24-25.
Yie, D. (1983). Mine tsu chi vue de ti tzai vu hsin shi (pp. 34-39). Shanghai: Shanghai Wen Yi Chu Ban Shi.
52