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This study is inspired by Li Bai’s poem Hearing A Bamboo Flute On A Spring Night In Luoyang. It focuses on the Chinese bamboo flute dizi’s compositions that are related to spring. I examine three compositions from the main four dizi schools—the southern school of Lu Chunling’s Spring in Jiangnan Region, northern school of Feng Zicun’s Blossom in Spring, and Taiwanese composer Bai Taisheng’s East Wind, Sway Willow Leaf and Jiangnan Story—to discuss each of their differences and uniqueness. These three composers are also dizi players. This study will analyze the regional music characteristics and playing techniques of these three compositions based on the idea of “spring” in the composition.
Blossom in Spring is a heroic and cheerful piece. It contains techniques such as tonguing, portamento, flutter tonguing, and popped sound from the northern dizi school. Spring in Jiangnan Region is a graceful and subtle piece. It includes techniques such as trills, upper acciaccatura, ornamented notes, and lower acciaccatura. Finally, East Wind, Sway Willow Leaf and Jiangnan Story is a Jiangnan enlightened scholar refined style piece. It uses the technique from silk and bamboo music ensemble.
The style of dizi music in Taiwan has received a great deal of influence from China. However, it is different from China and maintains its distinctive cultural background. This gives rise to the unique Taiwanese style of dizi music.
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