Beiguan luogu (percussion ensemble) is mainly used for accompanying hi-khek (opera), pai-tsi (percussion and wind ensemble music), and phoo (silk and bamboo ensemble music) played by a sip-yim ensemble. In a beiguan opera, the percussion ensemble accompanies actors/actresses’ singing and stage movements, punctuates their dialogues, and emphasizes dramatic expression. The pai-tsi is played by an instrumental group consisting of a percussion ensemble and a sona (a double-reed instrument) which produces a loud and passionate sound. It is often presented in pai-tiun (non-theatrical performances) and also played for the prelude and interludes in beiguan opera. Sip-yim is basically a silk and bamboo ensemble but adds percussion instruments and tat-a (small sona) to its ensemble. However, the percussion ensemble can be used independently to play percussion suites.

The main focus of this paper is a discussion of the beiguan percussion suite wuguan. The first section of the paper describes the production of my graduation recital. After this is an introduction of beiguan percussion instruments including their basic techniques and notation. The main part of this paper is the analysis and interpretation of wuguan according to the version taught by beiguan master Zhan, Wen-zan. This part includes both a discussion of its structure and also an explanation of the techniques of the small drum which is the leading instrument of the percussion ensemble. Following this is a comparison of wuguan with sanguan. Sanguan is another percussion suite and the version used was taught by beiguan master Zhang, Tian-pei. The ending part of the paper introduces an arrangement of rhythmic patterns composed by the author and is connected to a beiguan percussion piece, lianhuanzhan. The purpose of this is to create an innovative example of beiguan percussion music to share with learners of beiguan percussion music.