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|Other Titles:||New Cantonese Sound in Shanghai during the Minguo Era: Musical Exchanges between Cantonese Musicians and Jiangnan Musicians|
College of Music, NTNU
During the Minguo period and more prominently after the New Cultural Movement, Cantonese instrumental music became one of the traditional genres which has changed the most under the influence of music development and vigorous exchanges. This paper contextualizes the interrelations between Cantonese musicians and their counterparts in Jiangnan area to explicate how the new Cantonese sound created during the Minguo period was inspired by Jiangnan music in Shanghai. By tracing the Cantonese adaptations of Jiangnan music back to the 19th century, the author characterizes the types of music popular in Shanghai, the scenario of musical activities and the presence of music in the daily life, which allow the Cantonese musicians to internalize and then appropriate the styles of Jiangnan music in their own compositions. The author also investigates the music and social relationships between Cantonese musicians with Jiangnan musicians, with special focuses on the works by Ren Hui-Chu, Shen Zhao-Zhou and Zhu Xiang-Shi and the music theory of Zheng Jin-Wen, and examines how this intricate network transforms the sound elements, including instrumentation, melody and rhythm. Through these exposures, Cantonese musicians are willing to try new music vocabularies in their works. The article ends by demonstrating how Cantonese musicians apply the techniques of Jiangnan musicians with a close analysis on San Liu Ban (Three-six Beats) and Ping Hu Qiu Yue (Autumn Moon Reflected on a Plain Lake).
|Appears in Collections:||音樂研究|
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