Examination And Critique Of The Notation System In Contemporary Chinese Zheng Music

Since 1982,more and more modern compositions of guzheng music have appeared Because performance techniques and some unique sounds can be notated more accurately with Western notation,composers have increasingly used staff notation in place of traditional numbered notation.The use of Western notation,however,raises a set of challenges,including the diverse and detailed explanations of new sounds from individual composers and the difficulty of distinguishing between traditional notational practices and the self-created symbols of composers.At present there is very little systematic information regarding guzheng notation.Accordingly,composers and performers urgently need a detailed analysis and presentation of modern guzheng notationThis thesis examines guzheng notational practices based on Western notation drawing upon selected solo compositions and chamber music after 1982.It surveys and classifies commonly used performance notation as well as unique performance indications in order to establish a recommended notation.Cases of unique performance notation are compared with existing notation for Western instruments in terms of the principle of sound to assess whether the notation for particular sounds is appropriate for future guzheng composition This thesis aims to assist guzheng performers and composers in understanding the meaning of modern notational practices and to suggest paths of further developing the representation of guzheng sounds in a precise and consistent manner.