The Reciprocity of Virtuality and Reality in Pipa Music ―Take Pipa & String Quartet and Buddha’s Delights as Examples

• Main Authors: Chen Jia-Rong, 陳加容
• Other Authors: Shyu Mei-Ling
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/53037125954937881146

碩士 === 輔仁大學 === 音樂研究所 === 98 === The idea of “the Reciprocity of Virtuality and Reality”, which is used in various fields of art, has existed from Qin-dynasty. With the literature review, the purpose of this study aims to present the concept of the Reciprocity of Virtuality and Reality in music. The concept shows in four dimensions, which are among the relationships of each element in music, between music score and its interpretation, between the subjects and music, and among the correlations of music and Tao. This study aims to support the concept of the Reciprocity of Virtuality and Reality in music with two compositions, Pipa & String Quartet and Buddha’s Delights. First of all, this study introduces the composers’ background, the concept and analysis of their creations. Next, to take their works as examples, the study presents different dimensions with the concept of the Reciprocity of Virtuality and Reality, which are as follows. The concept among the relationships of each element in music refers to the interdependent and interaction of contrast elements, which includes volumes’ strength, the distribution of sound and silence, the timbre, the density of the texture, and its speed. The concept between music score and its interpretation is about the combination of the composer and the performer's creative activities. The concept between the subjects and music refers to the conversion of virtuality and reality in music. The concept among the correlations of music and Tao indicate that the subjects search for the metaphysical principles instead of physical signifier in music This study establishes the concept of the Reciprocity of Virtuality and Reality in music and provides new perspectives to traditional music. Moreover, it proves that the modern composition of Pipa still can preserve traditional aesthetic under the effects of western music.