A Survey of the Evolution of the Violin Repertories by Composers from China, Taiwan, Hong Kong, and Macau in the Twentieth Century

Abstract

In comparison with the vast canon of repertoire written for solo violin in the western classical tradition, relatively few works by Chinese composers are regularly studied, programmed, or performed. The purpose of this dissertation is to highlight violin repertoire, both as a solo instrument and in chamber music setting, by twentieth century composers from the Greater China region. The violin was introduced to the general Chinese public in the nineteenth century, but it was not until the twentieth century that Chinese musicians began writing music for the violin, after learning western classical compositional techniques while studying abroad. Despite a century of political turmoil and rapid globalization, Chinese folk elements have remained a major component in violin works. Folk materials from a wide region were used by various composers: from the south in Canton to the north in Inner Mongolia, and from the east in Taiwan to the west in Tibet and Sinkiang.Though more than a century has passed since the first violin composition was written by a Chinese composer, this repertoire has yet to become standardized within the western musical canon. While traditional Chinese music is relatively well-documented and studied, there is limited research and few publications focusing on contemporary Chinese violin literature. This survey will spread awareness of previously under-represented works and highlight the historical context of music from this region. Chinese composers who have written the most representative music for the violin and have had great influence on their homeland and internationally are discussed in the dissertation.