Practice Of Cross-East-West Music Cultur

This paper takes Chou Wen-chung’s music as the object of study,and selects eight works based on the composer’s self-created variable modulation as the main subject of study,in addition to the rest of the works.The paper adopts an interdisciplinary approach,drawing on philosophy,aesthetics,cultural anthropology,linguistics,art,and other disciplines,with"cross-Eastern and Western musical cultures" as the main theme,"The spirit of life in Chinese art ",and "variation" as the main line.The main line of research is "change",and the analysis of"variable modulation" and "with distinctive features sound organization,rhythmic development,timbral exploration,structure formation" in Chou Wen-chung’s musical form,focusing on "process" and "The paper also explains the dynamics of his works and the composer’s cultural perspective,and explores the representational characteristics of the"cross-Eastern and Western musical cultures" in the production of musical works.The text consists of an introduction,five chapters,and seven concluding remarks.The introductory section is devoted to the theory of the topic,the current state of research,the research methodology,and the initial historical context of Chou’s musical compositions,so as to clarify the context of the compositions.The first chapter discusses the characteristics of pitch organization and process expression,including the construction form of variable tonal "order",i.e.,the "change" characteristics of pitch organization,and the "mental order" dominated by imaginative thinking."The second chapter discusses rhythmic expression and organic diffusion,including the formation process and gradual change of variable rhythms,as well as the rhythmic expression and process diffusion characteristics of ambiguous temporal positions in musical works.The third chapter discusses the transmutation of timbre-acoustic concepts and development processes,and analyzes the timbre-acoustic concepts and specific practices in musical works,including the exploration of monophonic offset,timbre melody,and linear-based sound gestures based on timbre change and fallibility thinking.The fourth chapter mainly explores the process by which Chou Wen-chung stood above the East and the West and the ancient and the modern,and sought the process by which the structures of East and West music fit together in expression,as well as the new understanding of a multidimensional structural logic presented by the musical works.The fifth chapter focuses on the deeper meaning of Chou’s musical works and the spirit of Chinese art embedded in them,as well as the "constructive" postmodern outlook in Chou’s music and the "new humanism" revealed by Chou’s musical thought.The concluding section outlines the connotations and structural considerations of the title of the study on Chou Wen-chung,and summarizes the value of Chou’s music for the times.