Application of the Aesthetic of Guqin (古琴) for Contemporary Music Composition

Visualizações: 217

Autores/as

  • Barry Yuk Bun Wan Jan Evangelista Purkyne University in Ustí­ nad Labem | Czech Republic

DOI:

https://doi.org/10.33871/23179937.2021.9.3.2

Palabras clave:

Chinese Music, Guqin, Contemporary Music, Compositional Techniques, Music Composition, Aesthetic, Chinese Art

Resumen

The purpose of this research is to discover the application of aesthetic approach, performing technique and playing style of Guqin for contemporary music composition. Mentioned in documents dating from two millennia, Guqin is one of the oldest Chinese solo instruments. Moreover, Guqin music often is based on senza misurato (散板, without tempo) and it focuses on changing the colours of several notes, occasionally even a single note. This is accomplished by using an open string note (散音), stopped string note (按音), harmonic note (泛音) as well as four main ornaments (綽注吟猱) to achieve the poetic mood. This aesthetic is in direct contrast to western homophonic structure. These characteristic effects offer an attractive potential for their application to new compositional techniques and approach to contemporary music writing. This research will provide valuable information regarding employment of the Guqin's philosophy for music composition.

Descargas

Los datos de descargas todavía no están disponibles.

Biografía del autor/a

Barry Yuk Bun Wan, Jan Evangelista Purkyne University in Ustí­ nad Labem | Czech Republic

A diverse musician, Czech-based composer, sonic artist and guitarist Barry Y.B. Wan's music has been performed in USA, Mexico, Brazil, Sweden, Italy, Czech Republic, Slovakia, Spain, Austria, Germany, Belgium, Japan and Hong Kong. Mr. Wan is also active as a performer and interpreter of contemporary music. He was invited perform in different music festivals around europe, such as Orfeus 2015 new music festival in Slovakia and Festival Aktuelle Musik 016-open space in Nuremberg. He also studied mastercalss with Andrew York, Scott Tennant, Jorge Caballero and Maria Linnemann. In the year 2003 started his musical studies in Hong Kong. He is a graduate of Digital Media Major in Animation at the Hong Kong Institute of Vocational Education (Kwun Tong Campus) and Major in Photographic at the Hong Kong Christian Service Kwun Tong Vocational Training Center. From the year 2010-2015 he studied at the Janacek Academy of Music and Performing Arts in Brno - Czech Republic, with specialization in Music Composition, multimedia composition and Guitar Performance. He earned the LLCM title (bachelor equivalent) of music composition in the year 2014 from London Collage of Music. In 2017, he received the master degree of composition at the Academy of Performing Arts in Prague with specialization in Electroacoustic Music Composition. Currently he is completing the PhD degree at Jan Evangelista Purkyne University in Ústí­ nad Labem, Czech Republic.

Email: barrypwan@yahoo.com.hk

Citas

CHUN YAN, Tse; LAM, Shui Fong. Translation of The Xishan Treatise on the Aesthetics of Qin Music by Xu Shangying. Renditions, no.83 Hong Kong: Hong Kong Chinese University press, 2015.

CHUN YAN, Tse. The Inconspicuous Acceleration in Qin Music: An Insider’s View with Validation by a Perceptive Study, Asian Musciligy 11:29-41, 2007.

CHUN YAN, Tse. Exploring the Secluded: A Collection of Academic Papers, Compositions and Reconstructions on the Qin by Tse Chun Yan. Chongqing Publishing Group, 2016.

CLAYTON, Martin R. L. Free Rhythm: Ethnomusicology and the Study of Music without Metre. Cambridge University Press, 1996.

HAYASHI, Kenzō. Dūnhuáng Pípápǔ De Jiědú Yánjiū 敦煌琵琶谱的解读研究 (The research of Tun-huang Musical Scores of pipa). Pān Huáisù (trans). Shanghai: Shanghai Yinyue Chubanshe, 1957.

KOSTKA, Stefan. (2006) Materials and Techniques of Twenty Century Music. New Jersey: Upper Saddle River

LOUDOVÁ, Ivana. Moderní Notace a Její Interpretace. Prague: Akademie Múzických umění v Praze, Hudební Fakulta, 1998.

MESSIAEN, Olivier. The Technique of My Musical Language. John Satterf ield Translation (1956). Paris: A. Leduc

TSCHAIKOV, Basil; PENYEH, Tsao. (1998) Music Performance vol. 2. Singapore: The Harwood Academic Publisher Imprint

VAN GULIK, Robert. The Lore of the Chinese Lute. Tokyo: Sophia University, 1940.

WIKIPEDIA. Guqin. Available at: https://en.wikipedia.org/wiki/Guqin. Access on: 25 jan. 2019

WIKIPEDIA. Guzheng. Available at: https://en.wikipedia.org/wiki/Guzheng. Access on: 25 jan. 2019

WONG, Chuen-Fung. Listening to Chinese Music. Hong Kong: Commercial Press, 2010.

YU SIU WAH. Appreciation of Chinese Music, 26 talks. Hong Kong: Radio 5, RTHK, 2006.

Descargas

Publicado

2021-12-15

Cómo citar

Wan, B. Y. B. (2021). Application of the Aesthetic of Guqin (古琴) for Contemporary Music Composition. Revista Vórtex, 9(3), 2. https://doi.org/10.33871/23179937.2021.9.3.2

Número

Vol. 9 Núm. 3 (2021): Revista Vórtex

Sección

Dossier "SiMN 2021"

Licencia

Derechos de autor 2022 Barry Yuk Bun Wan

Creative Commons License

Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.

Los autores conservan los derechos de autor y conceden a la revista el derecho de primera publicación, con el trabajo simultáneamente bajo la licencia Creative Commons Attribution Licence que permite compartir el trabajo con reconocimiento de autoría y publicación inicial en esta revista.

Métrica