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Title:Music for Two Pianos by Taiwanese Composers Mao-Shuen Chen, Gordon Shi-Wen Chin, Pey-Wen Yen, Ching-Wen Chao
Author(s):Huang, Ling-Ti
Director of Research:Browning, Zack D.
Doctoral Committee Chair(s):Hobson, Ian
Doctoral Committee Member(s):Browning, Zack D.; Alexander, Reid; Magee, Gayle S.
Department / Program:Music
Discipline:Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D.
Genre:Dissertation
Subject(s):two pianos
Taiwanese composers
Mao-Shuen Chen
Gordon Shi-Wen Chin
Pey-Wen Yen
Ching-Wen Chao
Abstract:This is the first study to focus exclusively on two-piano compositions by Taiwanese composers. The four compositions for two pianos included in this study are Ballade (2003) by Mao-Shuen Chen (b. 1936), Quiet Joy (1999) by Gordon Shi-Wen Chin (b. 1957), Piano Duet (2005) by Pey-Wen Yen (b. 1966) and Studies No.1-3 (1999) by Ching-Wen Chao (b. 1973). The two male and two female composers have been and continue to be prominent figures in the development of contemporary music in Taiwan. The objective of this study is to familiarize performers and audiences with the four compositions for two pianos. Each composition represents a significant personal statement by the composer, exemplified by a unique compositional style. Mao-Shuen Chen’s Ballade and Gordon Shi-Wen Chin’s Quiet Joy are inspired by the society and the landscape scenery in Taiwan, which convey their deep personal affection for the island. The Piano Duet by Pey-Wen Yen reflects a time when she was in search of mental freedom, a state that is related to Nirvana in the religion Buddhism. Studies No.1-3 by Ching-Wen Chao was written during a time when she was preoccupied with the works of the American composer Conlon Nancarrow. The third piece of Studies is the first of a series of compositions in memory of Chao’s father. The selection and synthesis of musical materials - pitch, rhythm, harmony, texture, formal structure - create a satisfying, self-assured expression of emotions by the composers and a fulfilling musical experience for the audience. This study provides an in-depth analysis and performance suggestions for the four compositions for two pianos. Diverse approaches to the use of Western techniques to express personal values derived from Asian culture is an important concept shared by the four compositions. These works represent a successful model and an inspiration for Taiwanese composers that desire to combine Eastern and Western compositional techniques.
Issue Date:2010-01-06
URI:http://hdl.handle.net/2142/14564
Rights Information:Copyright 2009 Ling-Ti Huang
Date Available in IDEALS:2010-01-06
Date Deposited:December 2


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