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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI NOTE TO USERS This reproduction is the best copy available. UMT “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...............................................................................................................................
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