The considerable developments in Chinese music composition and an extended period of instrumental reform have led to greater innovation and variety in the forms of performance that feature the Zhongruan. A recent emergence of Chinese plucked ensembles has led to an increasing number of composers creating music for Chinese plucked ensembles with a Zhongruan that highlights the coordination and clarity of the timbre and acoustics embodied in the interpretation by the ensemble. “Introspect” by Liu Chi-Hsuan and “Zhongruan and Ensemble” by Ho Li-Ren, both of which were commissioned by the Taipei Liuqin Ensemble, feature distinct timbres and textures and multilayered acoustics. Through the difference in the alignment between of Zhongruan and Chinese plucked ensemble, both composition presents a distinct arrangement.

The present study employed the interview method to explore the aforementioned composers’ instrumentation methods and composition approaches. The structures, textures, and performance skills and timbre effects required for the compositions were analyzed through musical analysis. The coordination and interaction between the Zhongruan and the Chinese plucked ensemble were analyzed, and the acoustic effects produced through the textures and timbres were discussed in detail.

This study revealed that in “Introspect,” Liu Chi-Hsuan conveys a picturesqueness through acoustics. Liu frequently employs flageolet tones and decorative acoustics produced by percussion instruments to add acoustic richness to the piece. In “Zhongruan and Ensemble,” Ho Li-Ren arranges the piece with a focus on sound distribution established on the basis of the range and timbre of the plucked instruments. In “Introspect,” a chiaroscuro effect is produced through timbre variations being incorporated into the melody. In “Zhongruan and Ensemble,” performance skills must be employed to enhance the visual and audio expressiveness of the Zhongruan. The present study’s investigation of the texture achieved by the acoustic effects of the two analyzed compositions revealed that both compositions achieve rich timbre variations and layered acoustic effects through applying a similar texturing approach and incorporating different forms of instrumentation and musical materials. Because of this, the two compositions equally represent the variety available for musical arrangements for the Zhongruan and Chinese plucked ensembles.