The Evolution Of Yangqin Solo Music In The Form Of Alteration And Reproduction

Since Qing and Ming Dynasties, Yangqin have blended into a whole variety of artistic literatures, such as in the form of accompaniments or ensembles. Since the early20th century, solo emerges as a form of music. All the way up to the nation’s foundation, Yangqin solo music has been so called "created" via alterations and reproductions. In the mid-20th century, New China was founded. With the institution of some new literature and art policies, professional conservatories of music set up folk music majors to constitute the development of Yangqin in a more professional way. Yangqin were deemed to be professions ever since. Although various musical works were created at that time, the alterations and reproductions were still the main stream and played an important role. Performers, the major part of the Yangqin music creation team, explored special and unique techniques via alterations and reproductions. This thesis focuses on the research objects of several transcribed music that bear significant meanings. It is tasked to give a detailed summary and contrast of those different characteristics of Yangqin music alterations on a theoretical hierarchy from an analytical standpoint ever since the nation was founded, hence to complement the topics that have been overlooked in the study of Yangqin solo music. In the first chapter, it states as a brief introduction of the appearance of Yangqin in the folk music and the ensembles. In the second and third chapters, it emphasizes on the analysis of music as a body and dissects several music works that were reproduced by Yangqin. These chapters were also intended to probe the logics, vocabulary and musical trends back in time around the nation’s foundation.