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Recurrence and (Dis)Continuity as Identity in Chen Yi's Trans-Cultural Musical Style.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Recurrence and (Dis)Continuity as Identity in Chen Yi's Trans-Cultural Musical Style./
作者:	Luyin, Shao.
面頁冊數:	1 online resource (299 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-03, Section: A.
Contained By:	Dissertations Abstracts International84-03A.
標題:	Music theory. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29326225click for full text (PQDT)
ISBN:	9798351444307

Recurrence and (Dis)Continuity as Identity in Chen Yi's Trans-Cultural Musical Style.
Luyin, Shao.

Recurrence and (Dis)Continuity as Identity in Chen Yi's Trans-Cultural Musical Style. - 1 online resource (299 pages)

Source: Dissertations Abstracts International, Volume: 84-03, Section: A.

Thesis (Ph.D.)--State University of New York at Buffalo, 2022.

Includes bibliographical references

Over the past decades, Chen Yi's music has been researched by scholars across the globe. The existing literature on Chen's music is primarily focused on the identification of distinct musical styles from both Chinese and Western music traditions. Many analysts inevitably view different musical styles as insular segments regardless of their contextual interactions in Chen's compositions. These analyses may result in a misconception that reads Chen Yi's compositions as a "jigsaw puzzle," which is composed of distinct parts to be artificially combined. Such a reading results in a lack of analytical attention to associations among materials, and therefore fails to present Chen Yi's "natural hybrid" compositional style.In response to this problem, this dissertation focuses on the musical associations and interactions among three recurring musical objects in Chen Yi's three compositions-Sparkle (1992), ...As Like a Raging Fire... (2000), and The Golden Flute (1998). The three recurring musical objects are the Ba Ban tune and its rhythmic structure, twelve-tone materials, and scale themes. These objects are constantly used by Chen Yi in her works, and each is characterized by distinct musical features. Furthermore, despite having dissimilarities in musical content, the three musical objects can be related through recurring properties, such as intervallic relations and cyclic transformations.By focusing on recurring musical objects as a feature of musical (dis)continuity, I construe Chen's compositions in an idiomatic style that naturally hybridizes various musical sources in a trans-cultural musical space. I show that Chen Yi's embracing of various musical traditions and techniques in her compositional style is reflected in her compositional process, in which musical elements, techniques, and aesthetics from Chinese and Western historical and contemporary cultures are adapted and associated organically in her works.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798351444307Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

DiscontinuityIndex Terms--Genre/Form:

542853
Electronic books.

Recurrence and (Dis)Continuity as Identity in Chen Yi's Trans-Cultural Musical Style.
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