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Abstract and Keywords
Erhu, the string instrument, is an essential element of the traditional music; people who play and compose for it are all over the Chinese world. The development of the compositions for erhu in Taiwan has been influenced by the musical materials from the mainland China, and the phenomenon has gradually increased after the much frequent cross-strait Chinese music exchange started since 1989. Following the party alternation in 2000, the sense of nativeness sprang. Take the native materials as the theme for creation formed a trend in the field of arts in Taiwan. In 2003, contributed to the 2nd Traditional Music Composition Contest, held by the Council for Cultural Affairs, many significant erfu pieces embodying elements of Taiwanese music were composed. However, until the end of 2010, the number of compositions for erhu by Taiwanese composers has decreased gradually on the contrary, and the phenomenon encouraged the author to investigate the changing composition environment of erhu in Taiwan, looking forward to see through the thread of the development of erhu works in Taiwan during the recent ten years by the research, and further provides future composers with an aspect.
The research methods include case study, narrative inquiry, literature review and form analysis. The case study is based on an in-depth investigation of the target composers and their composition environments, the narrative inquiry is focus on the interviews with the composers for acquiring the first-hand information about their lives as well as compositions, and further make a comparison between the results of the mentioned methods to help clarify the real situation.
Literature review is based on a further discussion over the history study, and form analysis relates to the structure of the discussed compositions.
After the Traditional Music Composition Contest was withdrawn in 2007, the concerti for contest were rarely commissioned by the official orchestras. Taiwanese composers chose to work in individual studios and compose mostly for a small orchestration. To sum up, 38 pieces were composed during 2001-2010, among which 21pieces were composed before 2007. Gradually, the form and style of pieces became diverse. In addition to the traditional composing format, materials from Jazz, rock music and incidental music are further applied. Many composers even try to cross over to find a new road. Nevertheless, among these compositions, representatives of erhu works in Taiwan with a formal orchestration are still a lack. In the viewpoints of the author, the government should keep encouraging talented people to compose and provide them with a reasonable incentive to maintain the sustainable development of erhu works in Taiwan.
Key words：Erhu、Erhu works、Erhu works in Taiwan、Taiwanese works for erhu
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