The contemporary Lusheng in Guangxi Zhuang Autonomous Region, China

Abstract

The dissertation aims to study the contemporary Lusheng in Guangxi Zhuang Autonomous Region, China. The objectives are as follows: 1) To study contemporary Lusheng in Guangxi Zhuang Autonomous Region, China. 2) To analyze the music characteristics of contemporary Lusheng in Guangxi Zhuang Autonomous Region, China. 3) To study the playing techniques of contemporary Lusheng in Guangxi Zhuang Autonomous Region, China. Drawn from the theoretical methods of ethnomusicology, musicology, orchestration, and organology, the data gathered using the interview form and observation form as research tools whereby subsequentially being analyzed to corroborate with an existing literature review. There are research results in this study show that:

There are three different types of contemporary Lusheng in the Guangxi Zhuang Autonomous Region. Type 1 has 24 pipes with auxiliary metal keys, using China-Berry wood for the windchest and a flattened blow hole. Type 2 has 21 pipes with a plastic resonance and additional square plastics in finger holes. Finally, Type 3 has 15 pipes with a pine wood windchest and a round blow hole. The making of its reed is seen in either a rectangle or slanted tower.

The scale system was adopted from 12-tone equal temperament. It concludes that: the A4 frequency of Type 1 was 442 Hz, while for the other two types, the A4 frequency was 440 Hz. Second, played by solo or concertos, contemporary Lusheng music generally consists of four parts, with some compositions having an additional cadenza section. The compositions commonly use alternating melodic contours, and traditional intervals such as fourths, fifths, octaves, and semitones.

The playing techniques of the contemporary Lusheng are achieved through the coordination of breathing, oral movements, and finger actions. Basic legato and staccato techniques produce linear melodies and highly articulated melodic lines. Additionally, performers extensively use special techniques such as flutter-tonguing, tremolo, overblowing techniques, and appoggiatura notes to promote musical expressivity.

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