In performing chamber music, the key point lies in developing the performers’ tacit agreement. They need to be able to communicate and adjust mutually in their musical
thinking and interpretation. On the stage, performers are individuals of a whole. They are not independent, so when rehearsing chamber music, besides improving their skills, the performers also enhance their carefulness in music listening, analytical abilities of music notation, and abilities of communication and flexibilities.
“Ombre” is the percussion duet of our national composer Tsai Wen Chi created in 2008. The special feature of his work is that it uses metal and leather instruments which
express the feeling of light and shadow chasing. The music also uses dialogues in which two performers become the image of one person having an inner conversation. While studying in France, Tsai Wen Chi and other artists aggressively tried daily utensils looking for sounds in
daily life, and discovered many originally unnoticed sounds become quite interesting with new meaning. Therefore, to play this music he uses plastic knives, iron brushes, and fingers, etc. It can truly express people’s daily life of love and thoughts. This thesis will go deeper to
understand the created methods and background of this music; also, it will take into discussion and interpretation of performers’ interacting relations.
In this thesis, I divided five chapters to go on my study and analysis. The first chapter is introduction, explaining the motives and methods of my study. The second chapter is about the composer’s background and all his related works; summarize his background and experience; also list all his works’ summaries, creative methods, and specialties. The fourth chapter is about the music’s structures and analysis; going deeper to understand the musical structures, creative methods, musical notations, signs, and instrument usage before the rehearsal. The fourth chapter is the music’s interpretation; through musical conception, dialogue moods, and design of musical expansion to investigate the performers’ conversational and cooperative relations. The fifth chapter is the conclusion, stating the inspiration and impressions I have learned while writing this thesis.