UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE XIQU LIANGZHE BY WENJING GUO: AN ANALYTICAL STUDY AND PERFORMER’S GUIDE A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By SHAOHONG YUAN Norman, Oklahoma 2018 XIQU LIANGZHE BY WENJING GUO: AN ANALYTICAL STUDY AND PERFORMER’S GUIDE A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Anthony Stoops, Chair ______________________________ Dr. Mark Neumann, Co-Chair ______________________________ Dr. Xun Ge ______________________________ Dr. Eugene Enrico ______________________________ Dr. Frank Riddick © Copyright by SHAOHONG YUAN 2018 All Rights Reserved. This document is dedicated to my parents Cunyi Yuan (袁存意) and Zhongli Sun (孙忠莉). Their love, support, kindness and encouragement carried me through this process for many years. No words can be beyond this. With all my love, this is for you... Acknowledgements I would like to acknowledge and thank the following people for all of their input and guidance during the formation of this document. Without your gracious time and guidance, this document would not be possible. Committee members: Dr. Mark Neumann Dr. Anthony Stoops Dr. Xun Ge Dr. Eugene Enrico Dr. Frank Riddick Interviewees: Wenjing Guo – Composer Changhai Wang Dr. Dan Schwartz Dr. Gregory Lee Wenting Kang iv Contents ACKNOWLEDGEMENTS ................................................................................ iv LIST OF CHARTS ............................................................................................ viii LIST OF FIGURES ............................................................................................. ix ABSTRACT......................................................................................................... xii CHAPTER I: INTRODUCTION TO THE STUDY .......................................... 1 PURPOSE OF THE STUDY ........................................................................................ 1 NEED FOR THE STUDY ........................................................................................... 2 METHODOLOGY .................................................................................................... 3 OVERVIEW OF THE DOCUMENT ............................................................................. 5 LITERATURE REVIEW ............................................................................................ 7 CHAPTER II: ORIGINS OF XIQU LIANGZHE ............................................. 13 BACKGROUND AND ORIGINS OF THE WORK ........................................................ 13 TRANSLATION AND EXPLANATION OF THE TITLES .............................................. 14 COMPOSITIONS AND ARRANGEMENTS BY CHINESE MUSICIANS .......................... 16 WENJING GUO’S PERCEPTIONS OF HIS COMPOSITIONAL PROCESS ...................... 18 CHAPTER III: HISTORICAL AND CULTURAL BACKGROUND OF CHINESE OPERA .............................................................................................. 20 BRIEF HISTORY OF PEKING OPERA ...................................................................... 22 BRIEF HISTORY OF SICHUAN OPERA ................................................................... 25 CHAPTER IV: STYLISTIC ELEMENTS IN THE MUSIC DERIVED FROM CHINESE OPERA ................................................................................. 28 A BRIEF HISTORY OF TRADITIONAL CHINESE MUSIC MANUSCRIPT NOTATION .. 29 EVIDENCE OF STYLISTIC ELEMENTS IN THE MUSIC DERIVED FROM CHINESE OPERA ................................................................................................................. 39 v CHAPTER V: ANALYSIS OF THE WORK ................................................... 44 STRUCTURE AND CONTENT OF THE FIRST PIECE CHUANJU QINGYI ...................... 44 Form ............................................................................................................... 44 Content in Form of Melody, Rhythm and Harmony ....................................... 45 STRUCTURE AND CONTENT OF THE SECOND PIECE JINGJU WUSHENG ................. 51 Form ............................................................................................................... 51 Content in Form of Melody, Rhythm and Harmony ....................................... 52 CHAPTER VI: TRANSLATION OF THE PLAYING TECHNIQUES FROM TRADITIONAL CHINESE INSTRUMENTS TO THE VIOLA ...... 60 INTRODUCTION.................................................................................................... 60 TRADITIONAL CHINESE INSTRUMENTS IMITATED IN CHUANJU QINGYI ................ 61 TRADITIONAL CHINESE INSTRUMENTS IMITATED IN JINGJU WUSHENG ............... 63 TRANSLATION OF PLAYING TECHNIQUES FROM THE RELEVANT TRADITIONAL CHINESE INSTRUMENTS TO THE VIOLA ............................................................... 68 CHAPTER VII: A DISCUSSION OF ISSUES CONCERNING TECHNICAL EXECUTION AND STYLISTICALLY INFORMED INTERPRETATION ........................................................................................... 75 INTRODUCTION.................................................................................................... 75 CHUANJU QINGYI ................................................................................................. 75 JINGJU WUSHENG ................................................................................................ 90 CONCLUSION .................................................................................................. 113 BIBLIOGRAPHY .............................................................................................. 116 BOOKS .............................................................................................................. 116 JOURNALS/ARTICLES ........................................................................................ 119 DISSERTATIONS /THESES ................................................................................... 121 INTERVIEWS ...................................................................................................... 121 ELECTRONIC CITATIONS ................................................................................... 121 vi AUDIO RECORDINGS ......................................................................................... 122 SCORES ............................................................................................................. 122 APPENDIX A ..................................................................................................... 123 SCORE OF CHUANJU QINGYI............................................................................... 123 APPENDIX B ..................................................................................................... 125 SCORE OF JINGJU WUSHENG .............................................................................. 125 APPENDIX C ..................................................................................................... 131 INTERVIEW QUESTIONS FOR COMPOSER (ENGLISH) .......................................... 131 APPENDIX D ..................................................................................................... 133 INTERVIEW QUESTIONS FOR COMPOSER (SIMPLIFIED CHINESE) ....................... 133 APPENDIX E ..................................................................................................... 134 INTERVIEW QUESTIONS FOR VIOLISTS WHO HAVE PERFORMED XIQU LIANGZHE (ENGLISH) ......................................................................................................... 134 APPENDIX F ..................................................................................................... 136 INTERVIEW QUESTIONS FOR VIOLISTS WHO HAVE PERFORMED XIQU LIANGZHE (SIMPLIFIED CHINESE) ...................................................................................... 136 APPENDIX G ..................................................................................................... 137 INTERVIEW QUESTIONS FOR MUSICIANS WHO ARE NOT VIOLISTS (ENGLISH) ... 137 APPENDIX H ..................................................................................................... 138 INTERVIEW QUESTIONS FOR MUSICIANS WHO ARE NOT VIOLISTS ..................... 138 (SIMPLIFIED CHINESE) ...................................................................................... 138 vii List of Charts CHART 4. 1: GONGCHE PU. ..................................................................................... 33 CHART 4. 2: JIAN PU. ............................................................................................... 34 CHART 4. 3: CHINESE PENTATONIC STRUCTURE. .................................................... 36 CHART 4. 4: CHINESE PENTATONIC SCALES. .......................................................... 36 CHART 6. 1: BOWING DIRECTIONS FOR VIOLA AND ERHU. ....................................... 71 CHART 6. 2: BOWING AND FINGERING FOR ERHU. ................................................... 71 CHART 6. 3: NOTATIONAL SYMBOLS IN MUSIC FOR ERHU. ...................................... 72 viii List of Figures FIGURE 4.1: JIAHU GUDI (贾湖骨笛). ..................................................................... 29 FIGURE 4.2: GU PU FROM CHINESE TRADITIONAL MANUSCRIPT STUDY. ................... 30 FIGURE 4.3: ZI PI FROM CHINESE TRADITIONAL MUSICOLOGY. ................................. 31 FIGURE 4.4. GUQIN. ................................................................................................ 31 FIGURE