Since 1920th , ethnic Chinese musicians have been dedicating themselves in trying out more diverse changes on the basis of the preservation of the features of ethnic Chinese music; and the “symphonization” of ethnic Chinese music is one of the most important revolutions. However, when the change is put in the grand ensembles, which are different from traditional ‘silk-bamboo ensembles’, many problems emerge. For example, the timbre among each instrument does not mix harmoniously, and the percentage of each part is hard to meet the balance. Therefore, through this essay, the author will discuss the ideal and method of the “symphonization” of ethnic Chinese instruments with the experience of hundreds-of-year developed Western symphony orchestra.

This essay will start from the development of Western symphony orchestra and the background of the ensemble form of ethnic Chinese instruments, and the musical culture background differences between the two will be discussed in order to understand the effects brought by the different concepts Chinese and Westerners hold on music. Furthermore, the problems and the possible solutions of the non-original situations when ethnic Chinese orchestra performs Western-style music, and when Western orchestra performs Chinese-style music will also be discussed. Last but not least, the author will analyze the “symphonized” traditional works in order to illustrate the possible and potential problems in the process of symphonizing ethnic Chinese music, including the unity of musical syntax, balance, and aesthetical request.

Nevertheless, being syncretic and symphonized does not mean being assimilated, and Chinese music should not and must not abandon its tradition. In the process of symphonizing Chinese music can still represent Chinese’ distinctive national features instead of pure Western symphony. As a result, the issue of symphonizing Chinese music cannot be faced with single view but with diverse thinking and board sight, so that the issue of solving the complexity of “the symphonization of traditional Chinese instruments” will lead to constructive and developmental contribution.

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Melody of South Wind

Time: Jun 8th 2004 19：30

Place: National Tainan University of Art

Concert Hall

Presented By: Director D. W. Zeng

Performed By: National Tainan University of Art

Traditional Chinese Orchestra

Conducted By: Mr. Fong-Yu Ku

I. Ensemble

1. The Spirit of the Sword --------------------- W. K. Liu

2. Festival Celebration ----------------------- L. H. Lu

II. Concerto

1. Frontier Song ----------- Pipa: Y. L. Shue ---------------

-------- Traditional Music Rearranged by: D. S. Chang

2. Joyful with the Glad Tidings----- Flutes: Y. S. Liu &

M. N. Shu ------------------S. F. Yu Arr. S. L. Ma

3. The Moon Reflected on Two Lakes ------ Er Hu: Z. W. Wang---

-------Y. C. Hua Arr. S. W. Pong

∞∞∞∞∞∞∞∞∞∞∞∞ Take a Break ∞∞∞∞∞∞∞∞∞∞∞∞

III. Grouped Ensemble

1. Three Six------------Plucked- Stringed Ensenble -------

Southern Silk Bamboo Music Arr. G. J. Gu

2. Rain Drops on a Plaintain ----- Kao Hu: S. Y. Lin----------

-------- Cantonese Music

3. Deep, Deep Night ---------- Jin Hu: Y. S. Don -----------

-- Chinese Opera Music Arr. H. Wu

IV. Ensemble

1. Flowers- Filled Spring River on a Moonlight Night ------

Pipa: L. C. Shieh

Traditional P. C. Chin & C. J. Lo

2. The Paean of Fishermen ------------------ Pei Gu: D. J. Tsai

----------------------- W. K. Liu