Zhao Xiaosheng's Tai Chi
Re-visiting the Meaning and Accretion of I Ching in the Contemporaneity of Chinese Music Semantics
Bibliographic Data
| ID | 5906402 |
|---|---|
| Authors | Ke Xue (0000-0001-7443-2736, Nanjing Xiaozhuang University), Fung Ying Loo (0000-0002-2776-6626, Universiti Putra Malaysia), Fung Chiat Loo (0000-0002-0387-1173, Universiti Putra Malaysia), Xiaohang Wang (0000-0002-8050-5695, Nanjing University of Industry Technology) |
| Year | 2023 |
| Volume | 23 |
| Publication date | 2023-10-13 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Música Hodie (JOURNAL) |
| Journal identifiers | ISSN: 1676-3939 • E-ISSN: 2317-6776 |
| Publisher | Universidade Federal de Goias (PUBLISHER • BR) |
| DOI | 10.5216/mh.v23.75844 |
| OpenAlex | W4391953633 |
| Language | EN |
| References cited | 5 |
The implementation of China Reform and Opening-up policy in 1978 gave birth to the Chinese new wave music, with an idiosyncratic manner of rebelliousness, individuality and innovation that brought a break-through in Chinese new music of the past. In this paper, we focused on a representative piano solo work Tai Chi (1987) by composer Zhao Xiaosheng who explored the ancient Chinese philosophy I Ching and the Tang Dynasty musical form Tang Daqu using Allen Forte's pitch class set theory. We analyzed how Zhao employed the Western sonata and Chinese Tang Daqu to reflect the yin-yang dualism, based on the composer's statement in the interview, researchers' analyses, and authors' suggestion. By decoding the pitch-class permutations that correspond to the 64 hexagrams of I Ching, the mathematical logic becomes the main way to combine the I Ching with serial music. Nevertheless, the compatibility between musical expression and commentaries of hexagrams is not reflected in the piano solo Tai Chi. Therefore, we discussed the entanglement of a compositional identity formation based on contradicting elements from that of the traditional Chinese musical culture and Western art music, with questions about the accretion and authenticity in the contemporaneity and musicalization of the ancient I Ching
Art · Art history · China · Dualism · Epistemology · Literature · Musical · Piano · History · Music Technology and Sound Studies · Musicology and Musical Analysis · Neuroscience and Music Perception · Philosophy
Zhong and Zhongyong in Confucian Classics
Cultural Revolution and Political Ambivalence in Zhao Xiaosheng’s Two Ballades for Piano Solo
"Leibniz' Binary System and Shao Yong's "Yijing
Confucius, Heidegger, and the Philosophy of the I Ching
Transcoding the I Ching as Composition Techniques in Chou Wen Chung, Zhao Xiaosheng and Chung Yiu Kwong
| Citation velocity | historical |
|---|---|
| Highly cited | No |