{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/20711"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/20711","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Chou Wen-chung and his music: A musical and biographical profile of cultural synthesis","abstract":"The main point of Richard Waterman's theory of syncretism is that, when musical elements in two cultures are compatible, a synthesis would most likely occur. According to this, the seemingly incompatible nature of Chinese and Western musical elements could have prevented a fusion. Since Chou Wen-Chung's musical fusion is successful and is representative of the prevalent practice among contemporary composers, this study has especially been motivated to shed new light on this issue by seeking an explanation with an ethnomusicological perspective for Chou's success and its implications in contemporary music both in the East and the West.","abstract_html":"The main point of Richard Waterman's theory of syncretism is that, when musical elements in two cultures are compatible, a synthesis would most likely occur. According to this, the seemingly incompatible nature of Chinese and Western musical elements could have prevented a fusion. Since Chou Wen-Chung's musical fusion is successful and is representative of the prevalent practice among contemporary composers, this study has especially been motivated to shed new light on this issue by seeking an explanation with an ethnomusicological perspective for Chou's success and its implications in contemporary music both in the East and the West.","abstract_has_math":false,"creators":["Chang, Peter M."],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Nettl, Bruno"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-05-07T12:47:06Z","date_published":"2011-05-07T12:47:06Z","updated_at":"2026-07-22T22:25:16Z","subjects":["Biography","Music"],"languages":["eng"],"rights":["Copyright 1995 Chang, Peter M."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9624307","(UMI)AAI9624307"],"render_values":[{"text":"AAI9624307","href":null,"code":true},{"text":"(UMI)AAI9624307","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/20711","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Nettl, Bruno"]},{"key":"dc:creator","label":"Author","values":["Chang, Peter M."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2011-05-07T12:47:06Z","10000-01-01","1995"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Biography","Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 1995 Chang, Peter M."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9624307","(UMI)AAI9624307","http://hdl.handle.net/2142/20711"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The main point of Richard Waterman's theory of syncretism is that, when musical elements in two cultures are compatible, a synthesis would most likely occur. According to this, the seemingly incompatible nature of Chinese and Western musical elements could have prevented a fusion. Since Chou Wen-Chung's musical fusion is successful and is representative of the prevalent practice among contemporary composers, this study has especially been motivated to shed new light on this issue by seeking an explanation with an ethnomusicological perspective for Chou's success and its implications in contemporary music both in the East and the West.","The analytical and biographical data show that Chou's musical development in fusing Chinese and Western elements progresses from the impressionistic use of Chinese melodies, modes, rhythmic figures and percussion sound in his early works to abstract portrayal of Chinese subjects, aesthetic ideals and principles realized through structural manipulation in his later works, and the compositions of musical concepts.","This study has concluded that, in addition to Waterman's and Merriam's observations that shared specific musical features are necessary for musical fusion, the process in such a fusion involves the cultural insiders' reinterpretation, in terms of their own tradition, of those similar traits from the donor culture. Those similar traits are not limited to concrete musical material; they could also include aesthetic values, which govern all branches of the fine arts such as poetry, painting, calligraphy, and music. Thus, in his later works, Chou has avoided all together the use of pentatonic modes, the superficial link between Mahler, Debussy, Ravel, and Chinese music.","Made available in DSpace on 2011-05-07T12:47:06Z (GMT). No. of bitstreams: 2 license.txt: 4922 bytes, checksum: 910b249b4beec47e7ab768910c8f966f (MD5) 9624307.pdf: 14311313 bytes, checksum: 33c1da5e8a37ad7a2f6b35c075e5a79a (MD5) Previous issue date: 1995","Item marked as restricted to the 'UIUC Users [automated]' Group (id=2) by Howard Ding (hding2@illinois.edu) on 2011-05-07T14:45:45Z Item is restricted indefinitely.","Restriction data tranferred 2014-07-01T11:20:20-05:00 Original Data Group with Access UIUC Users [automated] Release Date: none Reason: ETDs are only available to UIUC Users without author permission","ETDs are only available to UIUC Users without author permission","U of I Only"]},{"key":"dc:title","label":"Title","values":["Chou Wen-chung and his music: A musical and biographical profile of cultural synthesis"]}]}],"canonical_facts":{"dc:contributor":["Nettl, Bruno"],"dc:creator":["Chang, Peter M."],"dc:date":["2011-05-07T12:47:06Z","10000-01-01","1995"],"dc:description":["The main point of Richard Waterman's theory of syncretism is that, when musical elements in two cultures are compatible, a synthesis would most likely occur. According to this, the seemingly incompatible nature of Chinese and Western musical elements could have prevented a fusion. Since Chou Wen-Chung's musical fusion is successful and is representative of the prevalent practice among contemporary composers, this study has especially been motivated to shed new light on this issue by seeking an explanation with an ethnomusicological perspective for Chou's success and its implications in contemporary music both in the East and the West.","The analytical and biographical data show that Chou's musical development in fusing Chinese and Western elements progresses from the impressionistic use of Chinese melodies, modes, rhythmic figures and percussion sound in his early works to abstract portrayal of Chinese subjects, aesthetic ideals and principles realized through structural manipulation in his later works, and the compositions of musical concepts.","This study has concluded that, in addition to Waterman's and Merriam's observations that shared specific musical features are necessary for musical fusion, the process in such a fusion involves the cultural insiders' reinterpretation, in terms of their own tradition, of those similar traits from the donor culture. Those similar traits are not limited to concrete musical material; they could also include aesthetic values, which govern all branches of the fine arts such as poetry, painting, calligraphy, and music. Thus, in his later works, Chou has avoided all together the use of pentatonic modes, the superficial link between Mahler, Debussy, Ravel, and Chinese music.","Made available in DSpace on 2011-05-07T12:47:06Z (GMT). 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