MUSICAL IDENTITY IN TAIWANESE INSTRUMENTAL THEATER: TEN-SIDE AMBUSH AND THE JOURNEY OF MONKEY KING BY HUANG CHEN MING By CHIA JUI CHIANG A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2012 1 © 2012 Chia Jui Chiang 2 To all who helped me travel this road 3 ACKNOWLEDGMENTS This thesis would not have been done without the following people who supported and encouraged me to go through this journey. I want to thank my advisor Dr. Welson Tremura. He always encouraged me with his past experiences. Moreover, he and Dr. Larry Crook both gave me a lot of ideas that helped and inspired me to think differently. I‟m very appreciative of their instruction. In addition, other University of Florida faculty really broadened my horizon of researching music. I also want to thank my peers including, classmates and friends here in America who encouraged, helped, and accompanied me go through any tough time within my two years graduate life. I am grateful to my parents who supported me in many ways to finish this degree. Without them, I would not have the chance to pursue my dream. Without them, I would not have the opportunity to study in American. I also want to thank many friends and relatives in Taiwan whose encouragement and support. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF TABLES ............................................................................................................ 7 LIST OF FIGURES .......................................................................................................... 8 LIST OF EXAMPLES ...................................................................................................... 9 LIST OF TERMS ........................................................................................................... 10 ABSTRACT ................................................................................................................... 12 CHAPTER 1 INTRODUCTION .................................................................................................... 14 Theoretical Framework ........................................................................................... 17 Semiotic Framework ......................................................................................... 17 Musical Nationalism ......................................................................................... 20 Methodology ........................................................................................................... 21 Literature Review .................................................................................................... 24 Aboriginal Music, Nanguan, Beiguan, Taiwanese Opera Music and Chinese Music ................................................................................................................... 26 2 THE BACKGROUND OF TAIWANESE MUSIC ..................................................... 30 The Taiwanese Musical History .............................................................................. 31 Japanese Colonization (1895-1945) ................................................................. 31 Republic of China under Two Chiang Presidencies: World War II (1937- 1986) ............................................................................................................. 38 The Recent Period of Multi-Party Democracy (1980-present) .......................... 42 “Taiwanese Music” and “Chinese Music” ................................................................ 46 The Understanding of Taiwanese Music .......................................................... 46 Applying the definition of “Taiwanese Citizen” to “Taiwanese Music” ............... 48 3 THE CHAI-FOUND WORKSHOP AND ITS MUSICIANS ....................................... 53 Chai-Found Workshop ............................................................................................ 53 The Musicians and Their Connection to Taiwanese Music ..................................... 62 Chai-Found Workshop: Creating and Presenting Taiwanese Music ....................... 64 The Chai-Found Workshop – Rediscovering Taiwanese Music .............................. 68 4 THE CASES STUDIES OF SEMIOTIC PRESENTATION AND NATIONAL IDENTITY ............................................................................................................... 70 5 The Idea of Creating Ten-side Ambush and The Journey of Monkey King ............. 70 The Storylines and their Settings ............................................................................ 74 The Words in the Program Notes ........................................................................... 76 The Stage Set Up Showing the Taiwanese Musical Identity ................................... 80 Musical Characteristics ........................................................................................... 89 5 CONCLUSION ...................................................................................................... 101 APPENDIX A THE INTERVIEW QUESTIONS FOR THE DIRECTOR OF CHAI-FOUND WORKSHOP HUANG CHEN MING ..................................................................... 107 B THE INTERVIEW QUESTIONS FOR THE MUSICAL DIRECTOR OF CHAI- FOUND WORKSHOP WU TSUNG HSIEN .......................................................... 108 WORK CITED ............................................................................................................ 109 BIOGRAPHICAL SKETCH .......................................................................................... 114 6 LIST OF TABLES Table page 2-1 The Funding Survey from National Cultural and Arts Foundation ....................... 52 4-1 The Comparison of Traditional Chinese and Simple Chinese .......................... 100 7 LIST OF FIGURES Figure page 4-1 Act 2 “Endurance” of The Journey of Monkey King ........................................... 82 4-2 From The Journey of Monkey King .................................................................... 86 4-3 Ten-side Ambush, The Rehearsal. .................................................................... 86 4-4 Auditorium Building, Chicago. Auditorium interior from balcony. ....................... 87 4-5 Bungon Nanguan Musical Group ....................................................................... 87 4-6 Beiguan ............................................................................................................. 88 4-7 Act I “Overture: Desolation” of Ten-side Ambush .............................................. 96 4-8 Act 7 “Xiang Yu‟s Anger: Fire and Thunder” of Ten-side Ambush ................... 100 8 LIST OF EXAMPLES Examples page 4-1 “Overture: Desolation” of Ten-side Ambush, measure 106 ............................... 90 4-2 The Xinjiang Musical Scale from the Article of Li Li Sa.. .................................... 91 4-3 Act 2 ”Edurance” of The Journey of Monkey King. ............................................ 91 4-4 Erhu ................................................................................................................... 92 4-5 Pipa ................................................................................................................... 92 4-6 Act 1 “Brooding” of The Journey of Monkey King .............................................. 93 4-7 Overture: Ten-side Ambush............................................................................... 94 4-8 Act 4 “Havoc” of The Journey of Monkey King .................................................. 94 4-9 “Sunlight over Tashkurgan” ............................................................................... 94 4-10 Pipa tuning......................................................................................................... 96 4-11 Sheng, Performing style. ................................................................................... 96 9 LIST OF TERMS ABORIGIANL MUSIC The music of the local Taiwanese aboriginal tribes, dividing into two major groups, one group is from mountains, and the other one is from the plains region. BEIGUAN The music from northern Mainland China and has developed in Taiwan since 17th century. Mostly the music serves for religious function. CHINESE BROADCAST ORCHESTRA (COB) This orchestra was originally founded in Nanjing, China in 1935 but came to Taiwan in 1949 with the R.O.C. government. Their musical performances are primarily Chinese music from Mainland China. CHINESE MUSIC This term means the music from the Mainland China. DEMOCRATIC PROGRASSIVE PARTY (DPP) The second political party in Taiwan founded in 1986. DI A Chinese wind instrument similar like Western flutes. The sizes and pitches are different in diversity of theatrical productions. ERHU It is a two-stringed bowed instrument commonly found in Mainland China and in Taiwan. GUZHENG It is Chinese plucked zither instrument from Mainland China and it is seldom used in Taiwanese music, such as nanguan and beiguan. INSTRUMENTAL THEATER A genre of musical expression for which musicians are trained to become performers in multiple expression fields: music, drama, and dance movement, created by Huang Cheng Ming in 2005. KUOMINTANG (KMT) The first political party founded in 1894 in Mainland China and re- established in Taiwan in 1949. MATERIAL LAW ORDER A law announced by R.O.C. government in 1949. This law repressed democracy