|
Since the development of modern Chinese national music, the trend towards symphonization has become evident. To supplement the bass section of national orchestras, many improved instruments have emerged. In the case of the suona, the design has drawn inspiration from Western woodwind instruments, leading to the creation of keyed suonas, including the keyed low suona. This research is based on the author's extensive experience in performing on the keyed low suona, and it emphasizes that its application should not be limited to ensemble playing but can also be developed for solo performances. This study begins by understanding the reform process and specific design of the instrument, while also commissioning Chiang Chun to compose a piece for the keyed low suona titled " My Distance from Ci Sing Tan ."
Through literature collection and interviews with Niu Jiandang, who produces the keyed low suona, and performers Sun Peiyuan and Wang Fengshan, this study explores the historical process of the keyed low suona's reform, its current usage in Taiwan, and perspectives on its application in national orchestras. Utilizing interview methodologies, insights into composers' creative philosophies, backgrounds, and techniques are gathered. The author also learns to produce the instrument's reed and compiles key points for low suona performance, including reed adjustment, breath control, and fingerings. Through musical analysis and interpretive analysis, issues regarding instrument design and performance are examined.
By clarifying the process of instrument reform and interpreting "My Distance from Ci Sing Tan," the study reveals that reform and composition respond to each other. This piece transcends the limitations of the instrument and successfully transforms them into characteristics of the music. This research aims to broadly share reed-making techniques with suona scholars and hopes that composers will gain a deeper understanding of this instrument, enabling them to appropriately utilize its characteristics in their compositions, thereby enriching the future landscape of musical works.
|