Award Date

May 2025

Degree Type

Dissertation

Degree Name

Doctor of Musical Arts (DMA)

Department

Music

First Committee Member

Thomas Leslie

Second Committee Member

Anthony Labounty

Third Committee Member

Richard Miller

Fourth Committee Member

Andrew Smith

Fifth Committee Member

Joseph Svendsen

Sixth Committee Member

Nancy Uscher

Number of Pages

80

Abstract

This doctoral document explores the intersection of Chinese musical traditions and Western orchestral influences, focusing specifically on how Chinese composers have navigated this blend to create distinctive orchestral works. Grounded in my background as a doctoral student in orchestral conducting and enriched by my ethnomusicological expertise, this document examines how these composers have integrated both traditions into their music.CHAPTER 1, “Introduction”, introduces the document’s structure, central argument, and the selection of orchestral works for analysis. It also defines the document's purpose and scope. CHAPTER 2, “A Brief History of the Orchestra in China”, examines the origins, evolution, and development of orchestras in China, which includes two primary forms: the Chinese orchestra, built around traditional instruments, and the Western orchestra that was introduced into China. This chapter provides essential historical context to understand the role Western influences have played in shaping modern Chinese orchestral music. CHAPTER 3, “Case Studies”, presents detailed analyses of several iconic Chinese orchestral works, including the Butterfly Lovers' Violin Concerto, Yellow River Piano Concerto, Landscapes, and Concerto for String Orchestra and Pipa. These case studies demonstrate how composers have blended traditional Chinese elements with Western orchestration, creating music that resonates with both national pride and global appeal. The chapter concludes with a reflection on the role of the conductor in interpreting these repertoires. CHAPTER 4, “Balancing Western Musical Influence and Chinese Nationalism: Integration and Evolution”, examines the ongoing fusion process between Eastern and Western musical practices. This chapter explores how composers have embraced both traditions while maintaining a distinct Chinese musical identity, reflecting the evolution of Chinese orchestral music in a globalized context. Finally, CHAPTER 5, “Conclusion”, synthesizes insights from the previous chapters, emphasizing the cultural and artistic significance of the fusion between Chinese and Western musical influences. The conclusion highlights the continued relevance of these works within both Chinese music and global orchestral practices, underscoring the importance of cross-cultural dialogue in contemporary music.

Keywords

Chinese instruments; Chinese music history; conducting; ethnomusicology; world music

Disciplines

Composition | Music | Music Performance

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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