| It is not possible to mechanically and thoroughly separate content from form of any music composition. When it came to the20th Century, more composers started to attach importance to the novelty of perception, which was characterized by the growing fitness of technology and cative concept in modern music composition. When analyzing works of this kind, our attention should be put not only on perception and composing technique, but also on finding connection between perception and form during the process. Therefore, Professor Jia Daqun put forward an analyzing method called Correspondence Between Perception and Formalized Process according to post20th century music, which is a sub-project of his Theory of Structure Analyze.Tan Dun, with his rich innovation, has been a key figure of Pioneer Music in China. His works are characterized by diversification-blending of the East and the West, combining of the National and the International, and corresponding between cultures. His artistic expression, integration of Organic Music and Traditional Music are generated from the corresponding between flexibility and novelty of his creative perception and music composition. Such unique style can be found in many of his early works, and the author picked four to analyze and explore the forming of his style.This dissertation consists of two parts and an introduction-briefing of professor Jia Daqun’s theory of Correspondence Between Perception and Formalized Process. Part One analyzes Tan Dun’s early works:On Taoism, Orchestral Theatre Ⅱ:Re, Circle with Four Trios, Conductor and Audience, and Death and Fire:Dialogue with Paul Klee. Part Two disscuses the humanity ideal and progressiveness of Tan Dun’s works.This dissertation intends to analyze the formalization of Tan Dun’s style through his early works by adopting perception and formalized process correspondence method, in view of providing new clues and thoughts for music creation and theoretical construction since the20th century. |
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