Graduate Studies, UNL

 

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

First Advisor

Paul Barnes

Degree Name

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

Committee Members

Brenda Wristen, James Garza, Karen Becker

Department

Music

Date of this Version

12-2025

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 Paul Barnes

Lincoln, Nebraska, December 2025

Comments

Copyright 2025, Yingqi Wang. Used by permission

Abstract

This document explores the method by which Jianzhong Wang (王建中) (1933–2016), a celebrated Chinese composer and pianist, integrates traditional Chinese folk melodies with Western compositional techniques in his solo piano works, including Western harmonic techniques and tonal language, contrapuntal and polyphonic textures, formal structure and thematic development, and the imitation of instruments and sounds. Introduced to Wang’s music during high school through the piece, “Embroidering the Golden Plaque” from Four Northern Shaanxi Folk Songs, the author reflects on the artistic challenges posed by Wang. Over years of study, an appreciation for Wang’s innovative fusion of Chinese folk elements and Western compositional techniques has grown, leading to this comprehensive analysis.

Jianzhong Wang, born in 1933, played an essential role in shaping Chinese piano music, especially during the Cultural Revolution, when composers were required to craft pieces centered on folk or revolutionary themes. His works, heavily based on Chinese folk tunes, combine Western compositional techniques with traditional Chinese melodies to create a unique fusion in his musical language. Compared to other Chinese composers, such as Dun Tan (谭盾) and Yi Chen (陈怡), Wang remains more closely aligned with the original melodic contours of Chinese folk music. This document analyzes several of Wang’s notable solo piano compositions, including Five Yunnan Folk Songs, Four Northern Shaanxi Folk Songs, A Hundred Birds Paying Respect to the Phoenix, and Scene, which span his early, middle, and late periods.

Each chapter of the document explores the regional characteristics of the folk tunes Wang adapted, their geographic and cultural influences, and his compositional choices in form, texture, and harmony. The analysis considers the contrapuntal techniques he used to showcase these folk melodies and how his works compare with Western classical music styles. The goal of this document is to broaden the understanding and appreciation of Wang’s piano music, inspiring pianists worldwide to engage with and perform Chinese piano composition.

Advisor: Paul Barnes

Download

Share

COinS