{"id":{"repo_id":"alabama","oai_identifier":"oai:ir.ua.edu:123456789/12759"},"canonical_url":"https://search.dev.ndltd.org/etd/alabama/oai:ir.ua.edu:123456789/12759","repository":{"repo_id":"alabama","name":"University of Alabama","base_url":"https://ir-api.ua.edu/oai/request"},"display":{"title":"The Presentation and Adaptation of Xinjiang Musical Elements in Chinese Piano Composition: an Analysis of Three Xinjiang Style Piano Works","abstract":"The art of Chinese piano music has flourished since the early twentieth century, experiencing rapid development under the influence of Western music and the cultural heritage of Chinese music. Among these influences, the traditional music of ethnic minorities in Xinjiang is a crucial element that cannot be overlooked. Xinjiang is a province located in the northwest of China. Due to its unique geographical location and historical factors, Xinjiang's ethnic music exhibits distinct characteristics that are completely different from other regions in China. Many Chinese musicians have tried to incorporate Xinjiang traditional music elements into piano music and have composed numerous piano works that showcase the ethnic style and spirit of the times. This document explores the influence of Xinjiang ethnic music on Chinese piano music, as well as how Chinese composers have incorporated Xinjiang musical elements into their piano compositions. It examines the development of Chinese piano music and the unique characteristics of Xinjiang's ethnic music, highlighting the role of Xinjiang music in promoting the development of the Chinese piano art. Three Xinjiang-style piano works from different composers, periods, and compositional ideas are introduced and analyzed to explore the role of Xinjiang music in the development of Chinese piano music: Xinjiang Dance No.1 (1950) by Shande Ding, Xinjiang Capriccio (1978) by Wanghua Chu, as well as an original work that draws on Xinjiang's ethnic instruments and tonal characteristics, Spring Dance (1980) by Yiqiang Sun. The first two compositions are adaptations based on Xinjiang folk song melodies, while the last is an original composition that incorporates musical elements from Xinjiang. All three pieces display a fusion of Xinjiang music with Western classical music to varying degrees. Through an examination of their compositional backgrounds, techniques, and musical characteristics, it becomes clear that Xinjiang music has inspired Chinese piano works, and the development of Chinese piano music has facilitated the wider dissemination of Xinjiang music.","abstract_html":"The art of Chinese piano music has flourished since the early twentieth century, experiencing rapid development under the influence of Western music and the cultural heritage of Chinese music. Among these influences, the traditional music of ethnic minorities in Xinjiang is a crucial element that cannot be overlooked. Xinjiang is a province located in the northwest of China. Due to its unique geographical location and historical factors, Xinjiang's ethnic music exhibits distinct characteristics that are completely different from other regions in China. Many Chinese musicians have tried to incorporate Xinjiang traditional music elements into piano music and have composed numerous piano works that showcase the ethnic style and spirit of the times. This document explores the influence of Xinjiang ethnic music on Chinese piano music, as well as how Chinese composers have incorporated Xinjiang musical elements into their piano compositions. It examines the development of Chinese piano music and the unique characteristics of Xinjiang's ethnic music, highlighting the role of Xinjiang music in promoting the development of the Chinese piano art. Three Xinjiang-style piano works from different composers, periods, and compositional ideas are introduced and analyzed to explore the role of Xinjiang music in the development of Chinese piano music: Xinjiang Dance No.1 (1950) by Shande Ding, Xinjiang Capriccio (1978) by Wanghua Chu, as well as an original work that draws on Xinjiang's ethnic instruments and tonal characteristics, Spring Dance (1980) by Yiqiang Sun. The first two compositions are adaptations based on Xinjiang folk song melodies, while the last is an original composition that incorporates musical elements from Xinjiang. All three pieces display a fusion of Xinjiang music with Western classical music to varying degrees. Through an examination of their compositional backgrounds, techniques, and musical characteristics, it becomes clear that Xinjiang music has inspired Chinese piano works, and the development of Chinese piano music has facilitated the wider dissemination of Xinjiang music.","abstract_has_math":false,"creators":["Ma, Zijie"],"institution":"University of Alabama Libraries","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Savitski, Edisher","Walker, Tyler","Sargent, Joseph","Crawford, Jeremy","Sung, Doris"],"advisors":["Chance, Kevin T"],"committee_chairs":[],"committee_members":[],"year":2023,"date_issued":"2023","date_published":"2023","updated_at":"2026-07-27T18:44:23Z","subjects":["Chinese","Piano"],"languages":["en_US","English"],"rights":["All rights reserved by the author unless otherwise indicated."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier.other","label":"Dc Identifier Other","values":["http://purl.lib.ua.edu/188253","u0015_0000001_0004772","Ma_alatus_0004D_15277"],"render_values":[{"text":"http://purl.lib.ua.edu/188253","href":"http://purl.lib.ua.edu/188253","code":true},{"text":"u0015_0000001_0004772","href":null,"code":true},{"text":"Ma_alatus_0004D_15277","href":null,"code":true}]}]},"links":{"outbound_url":"https://ir.ua.edu/handle/123456789/12759","outbound_label":"Repository record","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Savitski, Edisher","Walker, Tyler","Sargent, Joseph","Crawford, Jeremy","Sung, Doris"]},{"key":"dc:contributor.advisor","label":"Advisor","values":["Chance, Kevin T"]},{"key":"dc:creator","label":"Author","values":["Ma, Zijie"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2023-11-30T15:21:26Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2023-11-30T15:21:26Z"]},{"key":"dc:date.issued","label":"Date","values":["2023"]},{"key":"dc:publisher","label":"Institution","values":["University of Alabama Libraries"]},{"key":"dc:type","label":"Dc Type","values":["thesis","text"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Chinese","Piano"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]},{"key":"dc:language.iso","label":"Language (ISO)","values":["en_US"]},{"key":"dc:rights","label":"Dc Rights","values":["All rights reserved by the author unless otherwise indicated."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.other","label":"Dc Identifier Other","values":["http://purl.lib.ua.edu/188253","u0015_0000001_0004772","Ma_alatus_0004D_15277"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://ir.ua.edu/handle/123456789/12759"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Electronic Thesis or Dissertation"]},{"key":"dc:description.abstract","label":"Abstract","values":["The art of Chinese piano music has flourished since the early twentieth century, experiencing rapid development under the influence of Western music and the cultural heritage of Chinese music. Among these influences, the traditional music of ethnic minorities in Xinjiang is a crucial element that cannot be overlooked. Xinjiang is a province located in the northwest of China. Due to its unique geographical location and historical factors, Xinjiang's ethnic music exhibits distinct characteristics that are completely different from other regions in China. Many Chinese musicians have tried to incorporate Xinjiang traditional music elements into piano music and have composed numerous piano works that showcase the ethnic style and spirit of the times. This document explores the influence of Xinjiang ethnic music on Chinese piano music, as well as how Chinese composers have incorporated Xinjiang musical elements into their piano compositions. It examines the development of Chinese piano music and the unique characteristics of Xinjiang's ethnic music, highlighting the role of Xinjiang music in promoting the development of the Chinese piano art. Three Xinjiang-style piano works from different composers, periods, and compositional ideas are introduced and analyzed to explore the role of Xinjiang music in the development of Chinese piano music: Xinjiang Dance No.1 (1950) by Shande Ding, Xinjiang Capriccio (1978) by Wanghua Chu, as well as an original work that draws on Xinjiang's ethnic instruments and tonal characteristics, Spring Dance (1980) by Yiqiang Sun. The first two compositions are adaptations based on Xinjiang folk song melodies, while the last is an original composition that incorporates musical elements from Xinjiang. All three pieces display a fusion of Xinjiang music with Western classical music to varying degrees. Through an examination of their compositional backgrounds, techniques, and musical characteristics, it becomes clear that Xinjiang music has inspired Chinese piano works, and the development of Chinese piano music has facilitated the wider dissemination of Xinjiang music."]},{"key":"dc:format.medium","label":"Dc Format Medium","values":["electronic"]},{"key":"dc:format.mimetype","label":"Dc Format Mimetype","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["The Presentation and Adaptation of Xinjiang Musical Elements in Chinese Piano Composition: an Analysis of Three Xinjiang Style Piano Works"]}]}],"canonical_facts":{"dc:contributor":["Savitski, Edisher","Walker, Tyler","Sargent, Joseph","Crawford, Jeremy","Sung, Doris"],"dc:contributor.advisor":["Chance, Kevin T"],"dc:creator":["Ma, Zijie"],"dc:date.accessioned":["2023-11-30T15:21:26Z"],"dc:date.available":["2023-11-30T15:21:26Z"],"dc:date.issued":["2023"],"dc:description":["Electronic Thesis or Dissertation"],"dc:description.abstract":["The art of Chinese piano music has flourished since the early twentieth century, experiencing rapid development under the influence of Western music and the cultural heritage of Chinese music. Among these influences, the traditional music of ethnic minorities in Xinjiang is a crucial element that cannot be overlooked. Xinjiang is a province located in the northwest of China. Due to its unique geographical location and historical factors, Xinjiang's ethnic music exhibits distinct characteristics that are completely different from other regions in China. Many Chinese musicians have tried to incorporate Xinjiang traditional music elements into piano music and have composed numerous piano works that showcase the ethnic style and spirit of the times. This document explores the influence of Xinjiang ethnic music on Chinese piano music, as well as how Chinese composers have incorporated Xinjiang musical elements into their piano compositions. It examines the development of Chinese piano music and the unique characteristics of Xinjiang's ethnic music, highlighting the role of Xinjiang music in promoting the development of the Chinese piano art. Three Xinjiang-style piano works from different composers, periods, and compositional ideas are introduced and analyzed to explore the role of Xinjiang music in the development of Chinese piano music: Xinjiang Dance No.1 (1950) by Shande Ding, Xinjiang Capriccio (1978) by Wanghua Chu, as well as an original work that draws on Xinjiang's ethnic instruments and tonal characteristics, Spring Dance (1980) by Yiqiang Sun. The first two compositions are adaptations based on Xinjiang folk song melodies, while the last is an original composition that incorporates musical elements from Xinjiang. All three pieces display a fusion of Xinjiang music with Western classical music to varying degrees. Through an examination of their compositional backgrounds, techniques, and musical characteristics, it becomes clear that Xinjiang music has inspired Chinese piano works, and the development of Chinese piano music has facilitated the wider dissemination of Xinjiang music."],"dc:format.medium":["electronic"],"dc:format.mimetype":["application/pdf"],"dc:identifier.other":["http://purl.lib.ua.edu/188253","u0015_0000001_0004772","Ma_alatus_0004D_15277"],"dc:identifier.uri":["https://ir.ua.edu/handle/123456789/12759"],"dc:language":["English"],"dc:language.iso":["en_US"],"dc:publisher":["University of Alabama Libraries"],"dc:rights":["All rights reserved by the author unless otherwise indicated."],"dc:subject":["Chinese","Piano"],"dc:title":["The Presentation and Adaptation of Xinjiang Musical Elements in Chinese Piano Composition: an Analysis of Three Xinjiang Style Piano Works"],"dc:type":["thesis","text"]},"updated_at":"2026-07-27T18:44:23Z"}