This thesis aims to offer a practitioner’s perspective of composition for the Chinese instrumental ensemble of the twenty-first century. Chinese instrumental music composition has appeared in the concert hall in China since the beginning of the twentieth century. Modeled on western classical music, modern Chinese instrumental music has undergone a series of development and reformation that aimed to merge the Chinese and western musical ideas and techniques. The very role of the composer and the notion of concert-hall practice were being emphasized, whereas various ingrained characters of traditional instruments, such as music-making conventions, instrumentation preferences, and certain ideology behind timbre, were overshadowed. Also attributed to such nature of Chinese instrumental music is that composers and performers are often in a quandary when juggling Chinese instrumental music conventions with a mindset framed by western classical music. Furthermore, in the current globalized/globalizing culture, Chinese instrumental composition is propelled by manifold musical influences. I intend to share the insight and to document the first-hand information acquired through the composition processes from a composer’s perspective. My sharing and documentation focus on the issues of incorporating idiomatic music materials from various Chinese instruments into original compositions, as well as on several matters concerning rehearsals and performances. Including six chapters, this thesis anthologizes six original works and discusses the composition strategies relevant to the distinctive instrumental combination of each. Chapter 1 presents an adaptation of a western symphonic poem for modern Chinese orchestra. Chapters 2 and 3 illustrate respectively a composition for a large Chinese wind and percussion ensemble and a composition for a large plucked-string ensemble. Chapters 4 and 5 cover two pieces of contrasting instrumentation, namely a mixed ensemble of fourteen instruments and a huqin sextet. Chapter 6 is about a multimedia composition with electronic soundtrack and installation art for seven players. / published_or_final_version / Music / Doctoral / Doctor of Philosophy

abstract / Music / Master / Master of Philosophy

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Thesis (D.M.A.)--University of Missouri, Kansas City, 2007. / Adviser: Yi Chen. Includes bibliographical references.

Thesis (Ed.D.)--Teachers College, Columbia University, 1975. / Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Ronald Herron. Includes bibliographical references (leaves 189-150).

Thesis (D.M.A.)--University of Oklahoma, 2002. / Includes bibliographical references.

Dissertation (M.M.)--The University of North Carolina at Greensboro, 2009. / Directed by Alejandro Rutty; submitted to the School of Music. Title from PDF t.p. (viewed May 7, 2010). Includes bibliographical references (p. 37-39).

Inaug.-Diss.--Köln. / Vita. Description based on print version record. Bibliography: p. 207-215.

Thesis (M.M.)--Duquesne University, 2009. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p.) and index.

Thesis (M.A.)--York University, 2005. Graduate Programme in Music. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11820