A Study on Hakka Musical Compositions of SHEN Ching-Tan—The Composer's Spirit and Feeling Originating from Hakka Hometown

碩士 === 國立臺灣師範大學 === 民族音樂研究所 === 104 === SHEN Ching-Tan (SHEN Jin-Tang) was born in Hsinchu County’s Guanhsi Township in 1940. SHEN loves singing and learning diverse categories of instruments. When he was 23, he was admitted to National Taiwan University of Arts, and majored in composition. Since th...

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Bibliographic Details
Main Authors: Li, Pei-Ning, 李珮寧
Other Authors: Hsu, Jui-Kun
Format: Others
Language:zh-TW
Published: 2016
Online Access:http://ndltd.ncl.edu.tw/handle/294b6z
Description
Summary:碩士 === 國立臺灣師範大學 === 民族音樂研究所 === 104 === SHEN Ching-Tan (SHEN Jin-Tang) was born in Hsinchu County’s Guanhsi Township in 1940. SHEN loves singing and learning diverse categories of instruments. When he was 23, he was admitted to National Taiwan University of Arts, and majored in composition. Since then, he entered the professional domain of music, and started his musical compositions career. From 1966 to the present, SHEN Ching-Tan’s musical works contain chamber music, orchestral music, and Chinese orchestral music, etc. Vocal works account for half of his list of compositions, such as solo vocal works, chorus music, opera, sacred songs included. From the above we can see that SHEN is a composer writing many different types of pieces. The object of this study is Taiwan contemporary Hakka musician—SHEN Ching-Tan, and the focus is on the application of Hakka folk songs elements to his vocal and instrumental works, including Hakka art songs: Dew and Feeling of Autumn (2008), chorus transcriptions: Old Mountain Song and Lullaby (1977), a piece for orchestra: Rondo of Mountain Songs (1987), and symphonic poem: Hakkas’ Feeling (2012), so as to explore SHEN’s creative approaches and musical styles. There are four key points in the content of this study: First, narrating SHEN’s background, and the process of learning music. Second, introducing SHEN’s musical compositions, and his participation in various musical exhibitions. Third, analyzing the application of Hakka folk songs elements to SHEN’s “vocal” works. Last, analyzing the application of Hakka folk songs elements to SHEN’s “instrumental” works. The study is accomplished through on-the-spot investigation, records of interviews with the composer, and analysis of musical works. All his contribution and achievement in the field of music are recorded by means of analysis, induction, and integration. The writer hopes that this study will offer hakka music-related research for future reference, and the public will have a deeper understanding of SHEN Ching-Tan, the sincere and unique composer, and his musical compositions.