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This study aims to analyze the three Zheng pieces, which were composed by composer Liu Le, and takes Tonight, Childhood’s Shadow, and Fisher boat’s Song ( new dream version ) as examples. Through the retrospect to the music, musical analysis and performing interpretation, it probes into the concept and technique of the composer, and the mingle between traditional and the modern perspectives, as well as concrete practice.
During the research process, the author perceived that the three pieces respectively applied different materials, including the pont of Chinese Opera, Hunan folk music, traditional Zheng pieces, etc. The music structures are different, and the form of the music is diverse. According to the results of analysis, we can summarize the idea behind Liu Le’s composition process – referencing from tradition and leading to his own way of creation- by balancing the classical harmony and the composing angle of personal expression. Based on the core of tradition, the composer focused on the harmonical structure and the development in performing technique.
The study, based on musical analysis, sorting up the background material of the three pieces the composer wrote, summarized that he added and blended a new technique on the original one, keeping traditional local style, tune of drama, and also applied pop music-alike statement, put into practice with a numerous amount dexterity, high speed finger-practice technique, and it fully presents the art of Zheng performance. It was not only the sentiment and express of technique but the solid understanding of tradition and modernity for Zheng performers. It made positive promotion and influence on the contemporary Zheng works.
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