Hostname: page-component-848d4c4894-75dct Total loading time: 0 Render date: 2024-05-14T14:18:25.929Z Has data issue: false hasContentIssue false
  • English
  • Français

Fusion and Application of Chinese Ethnic Elements in Electroacoustic Music in Mist on a Hill

Published online by Cambridge University Press:  19 December 2022

Yang Ting  and
Zhou Ran
Yang Ting*
Affiliation:
School of Music and Dance, Shenzhen University, China
Zhou Ran*
Affiliation:
School of Music and Dance, Shenzhen University, China
*
Emails: yting@szu.edu.cn; zhouran2021@email.szu.edu.cn
Emails: yting@szu.edu.cn; zhouran2021@email.szu.edu.cn
Get access Rights & Permissions [Opens in a new window]

Abstract

The development of computers and technology has made electroacoustic music an important part of modern music. In an effort to broaden the musical dimension and to offer more possibilities for timbral combinations, composers have used various techniques to combine electroacoustic music with acoustic instruments, giving traditional instrumental music a richer timbre, a wider range of pitches and greater sonic expressiveness. The pipa, a typical representative of Chinese music culture, has a long history and its unique timbre is widely loved by electroacoustic music composers. This article uses Marc Battier’s mixed music Mist on a Hill (for pipa and electroacoustic sounds) as an example to explore the integration and practical use of Chinese folk elements in electroacoustic music.

Type
Article
Information
Organised Sound , Volume 27 , Issue 3: Chinese Electroacoustic Music Today , December 2022 , pp. 325 - 337
Check for updates
Copyright
© The Author(s), 2022. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Battier, M. Mist on a Hill (2020). Paris: Babelscores, www.babelscores.com/catalogs/instruments-electronics/5582-mist-on-a-hill (accessed 12 December 2021).Google Scholar
Bonds, M. E. 2014. Absolute Music: The History of an Idea. Oxford: Oxford University Press.CrossRefGoogle Scholar
Chang, P. 2001. Chou Wen-Chung’s Cross-Cultural Experience and His Musical Synthesis: The Concept of Syncretism Revisited. Asian Music 32(2): 93–118.CrossRefGoogle Scholar
Chin, H.-D. 2017. The Music of Marc Battier, Kee Yong Chong and Gene Coleman: Compositions for Traditional Asian Instruments and Electronics in the Twenty-First Century. Doctor of Musical Arts (DMA) thesis, Bowling Green State University.Google Scholar
Chou, W. C. 1968. East and West, Old and New. Asian Music 1(1): 19–22.Google Scholar
Dai, B. 代百生. 2013. Zhongguo Gangqin Yinyue de ‘Wenxuexing Biaoti Xianxiang’ (中国钢琴音乐的’文学性标题现象’) (The Phenomenon of ‘Literary Titles’ in Chinese Piano Music). Journal of Zhejiang Vocational Academy of Art 11(2): 11–16, and 31.Google Scholar
Everett, Y. U. 2004. Intercultural Synthesis in Postwar Western Art Music: Historical Contexts, Perspectives and Taxonomy. In Everett, Y. U. and Lau, F. (eds.) Locating East Asia in Western Art Music. Middletown, CT: Wesleyan University Press, 1–21.Google Scholar
Li, J. 李吉提. 2003. Qushi yu Zuopin Fenxi (曲式与作品分析) (Analysis of Song Forms and Works). Beijing: Central University for Nationalities Press.Google Scholar
Li, J. 李吉提. 2004. Zhongguo Yinyue Jiegou Fenxi Gaishu (中国音乐结构分析概述) (Overview of Chinese Music Structure Analysis). Beijing: Central Conservatory of Music Press.Google Scholar
Mao, L. 毛丽伟. 2001.Yinyue yu Huihua (音乐与绘画) (Music and Painting). Journal of Zhengzhou University of Aeronautics (Social Science Edition) 3: 64–5.Google Scholar
Shi, Y. 施咏. 2018. Sannban Jiepai de Wenhua Neihan (散板节拍的文化内涵) (The Cultural Connotations of the Scattered Tempo). Fujian Arts 1: 27.Google Scholar
Wang, L. 王林. 2010. Zhang Xiaofu,Liujian Dianzi Yinyue Zuopin zai Zhongguo Yinyue Chuantong Shoufa Bijiao (张小夫、刘健电子音乐作品中国音乐传统手法比较) (A Comparison of Traditional Chinese Musical Techniques in Electronic Music Works by Zhang Xiaofu and Liu Jian). Master’s thesis, Shanxi Normal University.Google Scholar
Wu, C. 吴春福. 2020. Jianbianshi Sudu Buju Zai Zhongguo Dangdai Yinyue Chuangzuozhong de Yinyong – Yi CaoGuangpin <Dijiu Jiaoxiangqu>he ZhuJianer <Yu>Weili. (渐变式速度布局在中国当代音乐创作中的应用 – 以曹光平⟪第九交响曲⟫和朱践耳⟪玉⟫为例) (The Application of Progressive Tempo Layout in Contemporary Chinese Music Composition – An Example of Cao Guangping’s Symphony No. 9 and Zhu Jianer’s Jade). Chinese Musicology 1: 42.he+ZhuJianer+Weili.+(渐变式速度布局在中国当代音乐创作中的应用+–+以曹光平⟪第九交响曲⟫和朱践耳⟪玉⟫为例)+(The+Application+of+Progressive+Tempo+Layout+in+Contemporary+Chinese+Music+Composition+–+An+Example+of+Cao+Guangping’s+Symphony+No.+9+and+Zhu+Jianer’s+Jade).+Chinese+Musicology+1:+42.>Google Scholar
Wu, Y. 吴岩. 2007. Zhongguo Minzu Minjian Yinyue de Gangqin Chuangzuo yu Zuopin Yanjiu (中国民族民间音乐的钢琴创作与作品研究) (Studies on the Piano Composition and Works of Chinese Folk Music). Heilongjiang: Heilongjiang People’s Publishing House.Google Scholar

DISCOGRAPHY

Mist on a Hill. 2021. On Collection of Music Works at Shenzhen University School of Music and Dance, PCD-8312.Google Scholar

Ting and Ran supplementary material

Ting and Ran supplementary material

Download Ting and Ran supplementary material(Audio)
Audio 15.3 MB