Award Date

5-1-2025

Degree Type

Doctoral Project

Degree Name

Doctor of Musical Arts (DMA)

Department

Music

First Committee Member

Ambroise Aubrun

Second Committee Member

Weiwei Le

Third Committee Member

Richard Miller

Fourth Committee Member

Timothy Hoft

Fifth Committee Member

Katrina Liu

Number of Pages

77

Abstract

The Violin, often regarded as one of the most expressive and versatile instruments in the world, holds a central place in both Western and non-Western musical traditions. Its wide dynamic range, tonal flexibility, and unmatched capacity for nuanced expression have allowed it to transcend cultural boundaries and play a key role in the development of diverse musical genres. From classical symphonies and chamber music to folk, jazz, and even popular music, the violin's distinctive voice can be heard shaping the sonic identity of cultures across the globe. In the context of Chinese music, the violin's influence has grown significantly since its introduction to China in 1673, when it was introduced to China. Initially, Chinese composers and musicians primarily focused on replicating Western works, as the instrument was largely viewed through a Western classical lens. However, over time, with the dedication and innovation of numerous Chinese composers and performers, such as Li Zili (b.1938), Xiao Youmei (1884-1940), Ma Sicong (1912-1987) and Yang Baozhi (b. 1935), the violin has become deeply embedded in China's own musical evolution. These pioneers began to create original violin works that reflected the distinctive elements of Chinese folk music, tonal systems, and performance practices, leading to the emergence of a uniquely Chinese violin repertoire. The development of this repertoire marked an important step in the violin's localization, contributing greatly to the nationalization of violin artistry in China.As a core instrument in the Western classical tradition, the violin has evolved not only as a vehicle for virtuosic display but also as a conduit for artistic and cultural exchange. Its adaptability has facilitated the integration of various musical elements from around the world, particularly in the 20th and 21st centuries, with the development of violin artistry, an increasing number of Western composers have begun to infuse their compositions with non-Western musical elements. As the number of Chinese violin compositions grew, so did the interest of Western composers in the distinctive characteristics of Chinese musical idioms. Many Western composers began to incorporate elements of Chinese music into their violin works, such as pentatonic scales, Chinese melodic ornamentation, and unique timbral effects. Prominent examples include Gustav Mahler's Das Lied von der Erde, where Mahler incorporates Chinese poetry and utilizes pentatonic scales to evoke Eastern aesthetics, and Fritz Kreisler's Tambourin Chinois, which employs Chinese-inspired melodic motifs and rhythms to create an exotic soundscape. Furthermore, Chinese-American composers such as Chou Wenchung (1923-2019) and Tan Dun (b.1957) have been at the forefront of integrating Eastern musical elements into Western music. Chou Wen-chung, one of the earliest composers to introduce Eastern melodies and rhythms into contemporary Western music, is known for his works such as "Landscapes" (1949) and "Eternal Pine" (1948), which seamlessly blend Chinese musical concepts with Western compositional techniques. Similarly, Tan Dun, a prolific composer, has gained international recognition for his works that bridge Eastern and Western musical traditions. His "Ghost Opera" (1994) and "Crouching Tiger, Hidden Dragon" (2000) are prime examples of his unique approach to merging traditional Chinese instruments and musical elements with Western orchestral music. This exchange of ideas between Chinese and Western traditions has enriched the global violin repertoire, creating a new, hybrid musical language that is representative of deeper cross-cultural dialogue. The integration of Chinese musical elements in Western violin music not only highlights the versatility of the instrument but also fosters a greater appreciation for the cultural synthesis that can be achieved through music. Given this background, this paper will explore the utilization, integration, and performance techniques of Chinese musical elements in violin repertoire, examining how these elements have been adopted and adapted within both Chinese and Western musical contexts. A central focus will be on Fritz Kreisler's Tambourin Chinois, a seminal work that exemplifies the incorporation of Chinese musical motifs into Western violin literature. By analyzing this piece, the study illustrates the ways in which Western composers have engaged with Chinese musical aesthetics, integrating pentatonic scales, modal harmonies, and characteristic rhythms into their compositions. The research highlights how the violin serves as a bridge, not only between musical traditions but also between cultures, fostering a deeper appreciation for the rich diversity of global music.

Keywords

Fritz Kreisler; Fritz Kreisler's Tambourin Chinois; Tambourin Chinois; The Development of Violin Art in China; the Exchange of Eastern and Western Elements; Violin art

Disciplines

History of Art, Architecture, and Archaeology | Music | Other Music

File Format

pdf

File Size

1786 KB

Degree Grantor

University of Nevada, Las Vegas

Language

English

Rights

IN COPYRIGHT. For more information about this rights statement, please visit http://rightsstatements.org/vocab/InC/1.0/

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