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|Other Titles:||The Use of Zheng in the Beiguan Music|
College of Music, NTNU
Beiguan music has four different sub-categories, including Paizi (牌子), Hien-pho (絃譜), Operatic music (戲曲) and Yiu-kgie (細曲). Among them, Hien-pho and Yiu-kgie, which use sizhu (絲竹) ensemble, are also called “Xi-yue” (exquisite music, 細樂) because the music sounds more elegant and tranquil than Paizi and Operatic music, which are also known as “Cu-yue” (coarse music, 粗樂). There are records in some Beiguan music clubs which show that the use of zheng is not uncommon but the subject is rarely discussed. In this study, the author investigates the use of zheng in Beiguan music history through literature review and related historic documents chronologically. With an analysis on the occasions where zheng was used in Beiguan ensembles, the author has the following tentative conclusions. There are different degrees of commonality in the use of zheng in the archives found in different Beiguan music clubs. Most of these communities have experiences performing in the memorial ceremony honoring Confucius and the Kunqiang Troop (崑腔陣). On the other hand, within the community of Beiguan clubs, zheng is mostly applied in the Xi-yue ensemble. Generally speaking, the use of zheng is relatively rare in Beiguan ensembles in Taiwan, but the fact it is used on certain occasions proves that in additional to the modern classical Chinese music, zheng also plays a role in the traditional music in Taiwan. These findings show the diversity in the application of zheng within the music culture.
|Appears in Collections:||音樂研究|
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