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The Dizi concerto, “Mountain”, was composed by Shin-Tsai Huang, commissioned by the National Experimental Chinese Orchestra in 1996. As of today, it has been twenty years since the work was completed. “Mountain” is a rare musical piece in the 1990s of Taiwan owing to its fresh adoption of Taiwanese indigenous musical elements and its large orchestral writing. Thus, it is valuable to retrospect the piece comparing to today’s context, for it is an epochal breakthrough that has, to a large extent, influenced many Taiwanese Dizi concerto compositions.
Nevertheless, there are only limited academic data with regards to this Dizi concerto, “Mountain”. To compensate for this absence, the author aims to document its musical analysis and interpretation by looking into the articulation of the Dizi solo, orchestration writing, etc. Besides, by absorbing and inspecting different performers’ renditions across time and places, the author digested and constructed a comprehensive interpretation catering to contemporary music aesthetics.
Additionally, the thesis concentrates on the utilization of Taiwanese indigenous musical materials in the “Mountain” and discusses its artistic value along with the developmental context of Dizi in Taiwan. It embarks on analyzing Huang’s composing inception and motivation on Taiwanese indigenous music. Also, it dissects how the composer translated the images of indigenous peoples’ singing and dancing enthusiasm and the impressions of abundant Taiwanese mountains into the musical languages and developed the translation throughout the entire piece.
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