Xinjiang Yangqin's composition "Dance Style" and " The Love of Eagle Di ", was composed by Wu Jun and two composers. They use the musical materials based on historical context of both Xinjiang Uygur and Tajik as their motives. This study analyses the whole structure of the works and explores content of all subjects used in two pieces. Moreover, the interpretation of artistic conception and skills used in the performance are discussed in the study. With all these efforts, it hopes to present the core imagery of two artworks.
In chapter two, it not only discusses about the music development and history background of Xinjiang, but also sorts out the reformation of Xinjiang yangqin “Chang”. After that, it compares with 402 yangqin and hammer.
In chapter three, it separately discusses about music characteristic of Uyghur and Tajik. First, it looks at the background of people and culture, and then further into music form. In chapter four and five, both analyze and interpret these two pieces. By interviewing the composer, the writer got a further understanding of creative motivation from him and effects hoped to present. Based on these information, it begins the analysis of the pieces. In addition, this paper presents personal aspect by combing the composers’ opinion and personal performing experiences.
The result of research shows that, the composer Wu Jun, who focuses on the using of rhythm and the phrases present, adds more sense of dancing to the song. Wu Jun knows how to display the characteristic of yangqin by changing rhythm and melody logically many times. He changes the position of accent, bravely using vibrato, fanju,pressure skills, and other creative ways, which not only varies the song but also increases difficulty.In artistic conception, “Dance Style” uses musical way to present its style, which leads the audience deeply into strong atmosphere and enthusiastic dancing culture of Xinjiang. “The Love of Eagle Di” develops with the legend of Tajik. It musically, smoothly and passionately elaborates the imagination to mythology in Tajik. Both two songs not only presents the features of yangqin, but also hides a great amounts of national music components. The composers delicately describe the atmosphere in music by combining yangqin skills and Xingjiang music. By this way, it presents the beauty of yangqin in Xingjiang style with a brand new way we’ve never seen.