| Summary: | 碩士 === 中國文化大學 === 音樂學系碩士班中國音樂組 === 98 === Looking at the development of zheng music (Chinese zither) since the 1950s, this paper explores the various shapes of zheng and the subsequent changes that have occurred in performance techniques. Since many of the “new well-tempered zheng” are better able to modulate, this paper compares the “S-shaped 21-stringed zheng” and the “new well-tempered zheng”, emphasizing differences in shapes and performance techniques. In discussing the various shapes of zheng, we mostly look at improvements to the original shapes, the features of the zheng and the circumstances of development. For techniques we will look at four different compositions to explore the similarities and differences in how techniques are put into practice through performance: “Searching”; “Springs in the Forest”; “The Southeast Flight of the Peacocks” and “Storm Petrel”. Through comparative analysis we will hopefully gain a deeper understanding of these two different shapes of zheng and raise awareness from composers, performers and people working in the field of Chinese music about the “new well-tempered zheng.”
This research discovered that the “S-shaped 21-stringed zheng” has provided suitable conditions for the modern development of zheng music. Among all the improvements made to the zheng it is the one most accepted by people; however, it should not be regarded as the only objective in the development of zheng music. Whether considering the shape of the instruments, performance techniques or even aesthetic characteristics, the “new well-tempered zheng” differs significantly from the “S-shaped 21-stringed zheng”. Instead of comparing its tone and timbre to the “S-shaped 21-stringed zheng”, one should consider it an independent type of zheng which evolved from the development of the instrument. This is because its unique structure gives the “new well-tempered zheng” an advantage over the “S-shaped 21-stringed zither” when it comes to rapid modulations and the performance of well-tempered compositions.
Any type of instrument has its own restrictions and drawbacks, but performers as practitioners of their instrumental art have a deep understanding of the advantages and disadvantages of their instrument. If they can continuously ponder what is put into practice and provide the instrument makers with methods of improvement, they can make the instruments better so that different styles of zheng music can be played. From another perspective, with so many shapes of zheng for us to choose from, besides improving performance techniques, it also displays the diversity of zheng music as an art form.
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