The author interests in the development history of Zheng which is an instrument having various juntas from the same origin. Especially from 1980s, since some professional composers attend in this field, the creations about Zheng have run to a certain degree. In addition, the modern Koto composition composed by certain Japanese professional composers even “regurgitate” to China, and cause a tide of Koto music style. In a chance of the commune between Chinese and Japanese, the possible developing tendencies of Zheng music are discussed in the present thesis via the Zheng music creations composed by the two typical composers each form China and Japan and the analysis of their creation ideas.

From 1980s, Chinese professional composers start to compose the creations of Zheng music, and one of them Wang Chien-Min who is extremely serious in his works emphasizes that the melodies of music must be canorous and accepted by majority audiences. Since his consideration of the skill should be difficult and defiant and his deeper and wider music logic, the music structures of his composition are well-connected and comprise value for academic research. Therefore, the author chooses Wang as a studied object uppermost. On the other hand, the Japanese composer Minoru Miki organized a series of performance groups up and down. As the composer and the Art Director of numerous performance groups, he had won a lot rewards including “The Purple Braid Gong” in 1994 and “The Rising Sun Medalet” in 2000, and the most important one of his contributions is to build up good co-operation relationship between Japanese and Asian instrumental music world. His composition “Splendor” caused a trend of transplanting and performing Koto music in China, and his composition are well know in Zheng music world, so the author chooses him as another studied object.

Those two composers are not corresponding to each other in age and creating era. Miki is 76 years old, and his compositions crossing 1970s and 1980s. Wang is 50 years old, and his compositions are in 1990s. They connected the cruces of the development of Chinese and Japanese Zheng music creation. According to analyzing Wang’s and Miki’s compositions and observing the Zheng music created by the two ethnologic composers, the possible developing tendencies of Zheng music are discussed in the present thesis.