Type of Document Treatise Author SHEN, CHIA-CHING Author's Email Address firstname.lastname@example.org URN etd-04152011-005011 Title The Asian Inspiration: Chinese Influences in the Solo Piano Music of Chen Yi Degree Doctor of Musical Arts Department Music, College of Advisory Committee
Advisor Name Title Heidi Louise Williams Committee Chair Leonard Mastrogiacomo Committee Member Seth Beckman Committee Member Michael Buchler University Representative Keywords
- Late 20th Century Piano Music
- Chen Yi
- Chinese Folk Influences
- Solo Piano Works
Date of Defense 2011-04-01 Availability unrestricted AbstractThis Treatise is a study of Chen Yi's compositional style, as shaped by her distinctive educational and cultural background. The Treatise covers her most significant solo piano compositions to date, which include Singing in the Mountain, Guessing, Ji-Dong-Nuo, Duo Ye and Ba Ban. Her compositions achieve an impressive fusion of Chinese and Western musical idioms, displaying excellent craftsmanship that is original and brilliantly effective.
This Treatise comprises five chapters. Chapter One explains the background and significance of this project, as well as its purpose. Chen Yi's own personal and professional background is also introduced in this chapter through references, documented interviews, and personal correspondence. Her musical training, heritage, and cultural influences to her musicianship are vividly explored.
Chapter Two is divided into two sections: 1) the musical and historical background of each of Chen Yi's solo piano works chosen for this study, and 2) the background of ancient Chinese musical aesthetics. A brief introduction to each solo piano work highlights its significant compositional background. The survey of essential ancient Chinese musical concepts brings to light the distinct Chinese inspiration in Chen Yi's music. The material covered in these two sections will provide sufficient background knowledge necessary to recognize and appreciate Chen Yi's compositional style, which is studied in detail in Chapter Three. This chapter surveys her most frequently used musical devices and unique compositional idioms, as examined through specific musical examples from her solo piano works.
Chapter Four is an in-depth, vivid theoretical analysis of Chen Yi's largest solo piano works, Duo Ye and Ba Ban. These two pieces demonstrate a wide variety of compositional influences and approaches which relate to the two surveys in Chapter Two. Her thorough compositional design is presented and examined, with special emphasis on the ways in which she merges her Chinese inspiration with Western compositional techniques.
Chapter Five is a conclusion, which leads to additional research of ancient Chinese traditions and philosophies reflecting the beliefs which lie at the heart of Chen Yi's musical language. In form and spirit, her compositional style ultimately highlights these ancient Chinese philosophies and traditions, which extends her music beyond technique into humanity.
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