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Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. Order Number 8726582 Chiang Wen-Yeh: The style of his selected piano works and a study of music modernization in Japan and China Kuo, Tzong-Kai, D.M.A. The Ohio State University, 1987 Copyright ©1987 by Kuo, Tzong-Kai. All rights reserved. UMI 300 N. ZeebRd. Ann Arbor, MI 48106 CHIANG WEN-YEH: THE STYLE OF HIS SELECTED PIANO WORKS AND A STUDY OF MUSIC MODERNIZATION IN JAPAN AND CHINA DMA. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University by Tzong-Kai Kuo, B5., MA. ***** The Ohio State University 1987 DMA. Document Committee: Approved by Gordon Wilson, DMA., Adviser Jerry Lowder, D.M.A., Co-Adviser Donald Gren, D.MA. Gordon Wilson, Adviser School of Music Copyright by Tzong-Kai Kuo 1987 ACKNOWLEDGEMENTS I would like to express my deep gratitude to Dr. Jerry E. Lowder for giving generously of liis time, effective advice, and patient encour­ agement in the preparation of this document I am sincerely grateful to Mme. Ming Tcherepnin for providing invaluable sources, information, manuscripts, and permission to quote from the copyrighted works of Tcherepnin and Chiang Wen-Yeh. Gratitude is also expressed to Dr. Kuo-Huang Han, Dr. Chi-Jen Chang, Mr. Hsing-Chang Liau, and Mrs. Su Pan for providing the music man­ uscripts, tapes, records, and source materials for this study. Special gratitude is also expressed to Professor Earl Wild, my present piano teacher, for his inspiring and witty teaching and invaluable insights of music, in the preparation of my doctoral recital. Deep grati­ tude is also expressed to Professor Tetley-Kardos, my former piano teacher and adviser, for his subtlety of teaching and expertise of tone production in the preparation of my doctoral recitals. I wish to thank Dr. Gordon Wilson, my present adviser, and other Faculty members. Dr. Rosemary Platt, and Dr. Donald Gren, for their helpful suggestions for this document I should also like to thank Dr. Ann K. Blombach for her analysis courses and for providing the computer devices for the preparation of this document - ii - Very deep thanks are expressed to my parents who helped to trans­ late the Japanese sources and set type for the Chinese characters, and to Chia-Huei, my wife, who helped to collect the sources. I am indebted to them for their endless love, support, and encouragement m - VITA May 2, 1950 Born: Hua-Lien, Taiwan June, 1974 B.S. in Psychology, Chung-Yuan Umversity, Chung-Li, Taiwan 1974 - 1976 First violinist in Demonstration Orchestra of Ministry of Defence, Taipei, Taiwan 1976 - 1977 Teaching Assistant in Tunghai University, Taichung, Taiwan Autumn 1977 Music Therapy and Education, Kansas University, Lawrence, Kansas 1978 - 1980 M.A. in Piano Performance, Eastern Illinois University, Charleston, Illinois 1980 - 1983 Full-Time Piano Faculty, Department of Music, Tunghai University, Taichung, Taiwan 1983 - 1987 Doctoral Study in Piano Performance, Teaching Associate, The Ohio State University, Columbus, Ohio - IV - FIELDS OF STUDY Major Field: Piano Performance Studies in Piano Performance Professor Earl Wild Professor Tetlev-Kardos Studies in Piano Literature Dr. Rosemary Platt Studies in Piano Pedagogy Dr. Jerry E. Lowder Studies in Music Theory Dr. Ann K. Blombach Studies in Music History Dr. Burdette Green Recital dates: February 28, 1985 Solo recital April 29, 1985 Chamber recital November 10, 1985 Concerto recital April 12, 1987 Solo recital V - TABLE OF CONTENTS PAGE ACKNOWLEDGEMENTS............................ ü VITA .......................................................................................................................iv LIST OF TABLES.............................................................................................v ü LIST OF FIGURES .........................................................................................viü CHAPTER I. INTRODUCTION ...............................................................................1 RATIONALE................................................................................... 1 PROBLEM ........................................ 3 PURPOSE.........................................................................................6 LITERATURE AND RESOURCES .................... 6 ORGANIZATION OF THE STUDY .......................................... 9 LINGUISTIC PROBLEM...............................................................9 n. CHIANG VTN-YEH'S LIFE AND IMPORTANT WORKS .................................................................................11 HIS CHILDHOOD.........................................................................11 EDUCATION IN JA P A N ..........................................................13 SINO-JAPANESE W A R .............................................................19 BACK TO C H IN A ..................................................................... 21 THE ANTI RIGHTIST MOVEM ENT......................................25 THE GREAT CULTURAL REVOLUTION .......................... 27 LIFE AFTER THE GREAT CULTURAL REVOLUTION ................................................................30 - VI - III. THE MUSIC ENVIRONMENT OF CHIANG VŒN-YEH . 32 THE MUSIC ENVIRONMENT IN JA P A N ............................ 33 Historical B ackground ..........................................................33 Early Experiences ................................................................35 Chiang Wen-Yeh's Musical Environment in Japan ........................................................................ 35 THE MUSIC ENVIRONMENT IN C H IN A .......................... 49 The Historical Background Before 1938 .................... 49 The Contact Stage (1600-1876) ............................. 49 The Acceptance Stage (1877-1926) ......................... 52 Assimilation and Professional stage (1927- ) ............................................................................57 Chiang Wen-Yeh's Contemporary Composers ...............58 Li Su-Tong (1879-1942) ............................................. 58 Shiao Yiu-Mei (1884-1940) ....................................... 59 Zao Yuan-Ren (1891-1982) ....................................... 59 Huang Zi (1904-1938) ................................................ 60 Liu She-An (1905- ) ............................................. 61 He Luding (1903- ) ............................................. 62 The Musical Problems between East and West . 65 ALEXANDER TCHEREPNIN AND CHIANG WEH-YEH ......................................................................67 The Musical Thought of Tcherepnin’s Nationalism .............................................................69 IV. STYLISTIC ELEMENTS OF THE PIANO WORKS OF CHIANG WEN-YEH ..........................................................83 MELODY .......................................................................................83 SOUND .......................................................................................... 93 T e x tu re .................................................................................... 93 R a n g e ....................................................................................... 98 Dynamics ........................................................................... 102 RHYTHM, TEMPO, METER ................................................ 104 M e te r................................................................................. 104 Rhythm .............................................................................. 105 Tempo ................................................................................ 112 HARMONY AND TONALITY............................................. 113 Tonality .............................................................................. 113 Chord Structure ............................................................. 120 FORM ......................................................................................... 131 THE DISCUSSION OF STYLE ........................................... 139 V. SUT4MARY AND CONCLUSIONS......................................... 148 RECOMMENDATIONS FOR FURTHER STUDY .... 151 - vii - BIBLIOGRAPHY ............................................................................................