The tradition ofluogu dianzi(percussion classics) and Its signification in contemporary music

From the decades around the beginning of the twenty-first century, contemporary Chinese composers' music performed in various concert halls has exhibited a great debt to the expressive power of music gestures from Beijing opera, including the opera tradition's percussion classics (luogu dianzi). In these modern compositions, luogu dianzi are often used as rhythmic topoi, where they are transformed in a variety of ways. This article traces several significant music gestures in Chen Yi and Chen Qigang's works to specific luogu dianzi; briefly describes the music, dramatic and psychological characteristics of these classics in their original context; and observes the different modes of signification in the ways that these percussion classics are put to use. I would also like to thank the American Council of Learned Societies and National Endowment of the Humanities for affording me time in autumn 2004 to undertake this research. Notes [1] According to one of the most comprehensive texts on luogu dianzi, there are about 100 different patterns, but the number would be larger if many variations are taken into consideration (see Zhang et al., 1958 He, Wei. 1958. "Jingju dajiyue chubu yanjiu". In Jingju dajiyue huibien, Edited by: Zhang, Y. 307–353. Beijing: Renmin yinyue chubanshe. [Google Scholar]). [2] In Beijing opera, the percussion orchestra is separated from the orchestra of melodic instruments. The percussion orchestra is called 'wuchang', meaning literally 'domain of action or martial movement'. For more discussion on the role of percussion in Beijing opera, see Weng (2006 Weng, Powei. 2006. Dynamic interaction: Significance and communication in Peking opera percussion music, Wesleyan University. Master's thesis [Google Scholar]). [3] The significance of this phenomenon is noted in an earlier study, from a composer's perspective (see Lai, 1982 Lai, Dehe. 1982. Pingju luogu yinxiang xiandai yuequ chuangzuo zhi yanjiu, Taibei: Quanyin chubanshe. [Google Scholar]). [4] For more information on the rise of new-wave Chinese modern composers, see Mittler (1997 Mittler, Barbara. 1997. Dangerous tunes: The politics of Chinese music in Hong Kong, Taiwan and the People's Republic of China since 1949, Wiesbaden: Harrassowitz. [Google Scholar]); Liu (1998 Liu, Chin-Chih (Jing-zhi). 1998. Zhongguo xin yinyue shilun, Taibei: Yaowen shiye youxian gongzi. [Google Scholar]); Melvin & Cai (2004 Melvin, Sheila and Cai, Jingdon. 2004. Rhapsody in red: How classical music became Chinese, New York: Algora. [Google Scholar]). [5] Personal interview with Guo Wenjing, 24 November 2004, Beijing. [6] Klein (2005 Klein, Michael. 2005. Intertextuality in Western art music, Bloomington, IN: Indiana University Press. [Google Scholar], p. 76). In another discussion, I called for the examination of the temporal simultaneity of multiple traditions in the work of contemporary Chinese composers (Rao, 2000 Rao, Nancy Y. 2000. The role of language in music integration in Chen Qigang's Poème Lyrique II. Journal of Music in China, 2: 270–291. [Google Scholar], 2002 Rao, Nancy Y. 2002. Hearing pentatonicism through serialism: Integrating different traditions in contemporary Chinese music. Perspectives of New Music, 40: 190–232. [Google Scholar]). See also Lien (2000). [7] Nevertheless, in many percussion books, ji-ji-feng is notated as duple throughout, perhaps for the convenience of notation. Wang Xieyuan's important contribution is an exception (see Wang, 1988 Wang, Xieyuan. 1988. Jingju luogu yanzoufa, Shanghai: Shanghai Wenyi Chubanshe. [Google Scholar]). This simple beat characteristic of ji-ji-feng is also confirmed by a senior luogu performer of Beijing opera, Liu Yue, with whom I consulted. [8] Clearly Chen Qigang's use of mandolin here references a common expression of the Chinese instrument pipa, and the rhythm here can be read as reflecting that instrument as well. Most likely there are multiple meanings embedded with this gesture, and current analysis will focus on its relation to luogu dianzi. [9] Su (1076 Su, Shui. (1076). Shui diao ge tou. A. Ayling & D. Mackintosh (Trans.). Available online at: http://www.chinapage.com/poet-e/sushi2e.html (accessed 19 February 2007) [Google Scholar]). According to its subtitle, the poem was written on the occasion of the moon festival in the year of bingchen (the 53rd year of the sexagenary cycle). [10] This discussion is inspired by Michael Klein's analysis of a similar situation in a different context (see Klein, 2005 Klein, Michael. 2005. Intertextuality in Western art music, Bloomington, IN: Indiana University Press. [Google Scholar], p. 57). [11] An analysis of Symphony No. 2 from a rather different angle can be found in Guo (2002 Guo, Xin. 2002. Chinese musical language interpreted by Western idioms: Fusion process in the instrumental work by Chen Yi, Florida State University. Doctoral dissertation [Google Scholar]). In addition Shi Fan Luogu also has a role in this symphony

Acoustics · Art · Contemporary classical music · Linguistics · Literature · Musical · Percussion · Visual arts · Diverse Musicological Studies · Musicology and Musical Analysis · Philosophy

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