Pulse (2014) by Ching-chu Hu: An Approach, Analysis, and Performance Study
2017
Hochschulschrift
Zugriff:
Tonal music has been employed in many remarkable compositions, based on rules guiding harmonic structure, form, and rhythmic patterns through a systematical arrangement. Beyond tonal music, twentieth-century composers created atonal theory and twelve-tone methods in their outputs. These contemporary pieces not only focus on musical gesture, time space, and sound effect, but also provide a new principle of music theory for musical language and system. The world-renowned leading Chinese-American composer, Ching-chu Hu (b. 1969), has developed a concept of musical thread by combining unique characteristics of western and eastern musical materials through a transformation of aesthetic appreciation. The lyricism in his compositional methods is associated with a variety of contemporary elements representing the Post-tonal, Neo-Romantic, and Impressionist styles. Being an active composer, pianist, and conductor, Hu’s compositions represent a high demand of performance and commissions at worldwide festivals. One of Hu’s outstanding piano solo pieces, Pulse, was composed in 2014. The movement titles of Pulse demonstrate four types of emotional state: “Anxious,” “Anticipation,” “Dream,” and “Adrenaline.” These movements, a contrast in mood, rhythm, texture, and meter display an understanding of a variety of compositional methods. Hu’s keyboard writing exhibits an orchestral texture while remaining pianistic. The design of musical gesture particularly represents visual concepts rather than the detailed material of musical construction. Overall, the piece’s difficulty challenges performers with its quick changes in emotional expression and the complexity of its performance interpretation. A remarkable work, Pulse, makes a significant contribution to a pianist’s experience by exploring the interpretation of narrative expression towards techniques. This research describes and analyzes Hu’s Pulse in six chapters: an introduction and overview of the research (Chapter 1), biographical information on Ching-chu Hu (Chapter 2), an research and exploration of Hu’s writing style (Chapter 3), a theory methodology of Pulse (Chapter 4), performance guidelines and Hu’s interpretative suggestions for Pulse (Chapter 5), and an interview with the composer, Ching-chu Hu (Chapter 6). The purpose of this research is to provide a guideline for pianists, so they can better understand the score, and the composer’s initial thoughts and intentions.
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Pulse (2014) by Ching-chu Hu: An Approach, Analysis, and Performance Study
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Autor/in / Beteiligte Person: | Chen, Pei-Sin |
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Veröffentlichung: | 2017 |
Medientyp: | Hochschulschrift |
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