My Musical Language--The Formation and Development of My Evolutionary Transcultural Creative Approach

Abstract

This study, the author's self-reflection when reviewing the ideological and material evolution during the writing of her portfolio pieces, aims to facilitate a crosscultural understanding of her musical contributions as a Western, "cultured" Chinese composer. It includes her extensive ethnomusicological study of Chinese Sanxian music, Tianjin folk music, and Tianjin narrative arts. This culminates in her intercultural compositional practice, primarily based on these musical genres, contextualised in Contemporary Chinese music aesthetics. The research is presented in two parts. Part I: Chapter 2, My View of Styles and My Musical Nature is the author's statement of her current musical nature through self-reflection on the historical and cultural influences on her professional training to date, supported on one hand by the musical aesthetics embraced by representative contemporary Chinese composers and, on the other, by Chinese indigenous music traditions. Part II: Chapter 3, My Compositional Methodologies summarises that author's analysis of her composition as research practice. It starts with Chapter 3.1 The Link Between Music Dialects and Contemporary Compositional Language, in which she explores her contemporary reinterpretation of Sanxian—a Chinese instrument that accompanies all narrative arts yet is unfamiliar to contemporary musicology; and it continues with Chapter 3.2 Integrating Programmes, in which she reviews the employment of non-musical implications of her writing process that are dually influenced by Chinese narrative traditions and Western programme music. The thesis culminates with Chapter 3.3 Structure, Deconstruction and Reconstruction, which contains the author's technical analysis of each portfolio composition. Concluding with the realisation, gained through the course of the degree, of the congruities between Chinese musical dialects and western contemporary sensibilities, and summarising the advantages and deficiencies in these working methods, a future of further research and development beckons.

Metadata

Supervisors:	Simaku, Thomas
Keywords:	Music Composition, Style, Transcultural, Contemporary Music, Chineseness, Indigenous, Westernisation, Music Dialects, Humanism, Programme Music, Narrative Arts, Sanxian, Improvisation, Tianjin, Chinese Dance, Music Motif
Awarding institution:	University of York
Academic Units:	The University of York > School of Arts and Creative Technologies (York)
Academic unit:	Music
Identification Number/EthosID:	uk.bl.ethos.888242
Depositing User:	Dr Yue Ming
Date Deposited:	28 Jul 2023 10:36
Last Modified:	22 Mar 2024 12:38
Open Archives Initiative ID (OAI ID):	oai:etheses.whiterose.ac.uk:33230

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Filename: Yue Ming_202044062_Scores_7 (2) Experimental Sketches for Voice in Folkloric Tradition - A Pure Serene Music - pdf.pdf

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Filename: Yue Ming_202044062_Scores_7 (3) Experimental Sketches for Voice in Folkloric Tradition - Buddhist Song of Bairenjing - pdf.pdf

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Filename: Videofile_1 - The Eternal Circle (Concert video).mp4

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My Musical Language--The Formation and Development of My Evolutionary Transcultural Creative Approach

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