Graduate Studies, UNL

 

Dissertations and Doctoral Documents from University of Nebraska-Lincoln, 2023–

First Advisor

Mark Clinton

Degree Name

Doctor of Musical Arts (D.M.A.)

Committee Members

Brenda Wristen, Daniel Ciobanu, Karen Becker

Department

Music

Date of this Version

2025

Document Type

Dissertation

Citation

A dissertation presented to the faculty of the Graduate College of the University of Nebraska in partial fulfillment of requirements for the degree Doctor of Musical Arts (D.M.A.)

Major: Music

Under the supervision of Professor

Lincoln, Nebraska, December 2025

Comments

Copyright 2025, the author. Used by permission

Abstract

This document focuses on Jiang Zuxin’s two piano suites, Temple Fair and Mountain Flower Collection, examining how traditional Chinese musical materials interact with Western compositional techniques. Through close analytical readings of selected excerpts, combined with considerations of performance practice and modal context, the research demonstrates that Jiang systematically employs pentatonic collections and their modal configurations (gong, shang, jue/zhi/yu), along with certain altered tones (such as biangong and qingjue), as foundational pitch material. He also draws on folk songs, dances, and theatrical elements from traditional Chinese culture. At the same time, he simulates the timbres and idiomatic playing techniques of Chinese traditional instruments — including pipa, dizi, sheng/lusheng, guqin, and guzheng — through pianistic textures and techniques. This approach preserves local sonic characteristics while fully exploiting the expressive potential of the piano.

Jiang treats Western compositional methods — such as mixed meter, sanban (free rhythm), polyrhythm, tertian and extended harmony, quartal and quintal constructions, whole-tone scales, non-functional dissonance, and polyphonic techniques — not as rigid formulas but as flexible tools. These techniques are carefully intertwined with modal and textural elements, generating a localized, contemporary piano vocabulary. Within this framework, he maintains voice independence, achieves ensemble-like sonority, and allows expressive flexibility.

The document provides empirical evidence of cross-cultural musical practice, showing how pitch, rhythm, timbre, and texture operate collaboratively. It also offers an analytical framework for understanding the localization of twentieth-century Chinese piano music. Although the research is limited to two suites and relies primarily on score-based analysis, the findings contribute to a broader academic understanding of modern Chinese piano composition. Furthermore, they serve as a reference for cross-cultural compositional strategies.

Advisor: Mark Clinton

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