Research on the Application of Fuzzy Philosophy Theory in Chinese

Contemporary National Chamber Music Creation: The erhu

Ensemble “Opera Mask” as an Example

Fan Jia

, Lee Chie Tsang Isaiah

FKSW, University Malaysia Sabah, Jalan UMS, Kota Kinabalu, Malaysia

Keywords: Fuzzy Philosophy, National mode, Modulation

Abstract: Human beings grapple with a wide range of uncertainties and ambiguities in the process of cognition. Fuzzy

Philosophy theorizes that there are major changes in the way humans think. Fuzzy Philosophy is also widely

used in theorizing about art, such as the fuzzy aesthetics in artistic aesthetics, the fuzzy beauty in music

appreciation, and the hazy beauty that all embody Fuzzy Philosophy. This article is inspired by the theory of

Fuzzy Philosophy and uses Xiong Xiao’s erhu ensemble’s work called “Opera Mask” as the entry point into

analyzing the work’s timbre and sound layout, pitch organization and tonality, unconventional performance

and other aspects, revealing elements of fuzzy aesthetic philosophical theory contained in the work. Analysis

of this work can provide a useful reference for the creation of contemporary national chamber music and can

provide a new way of thinking about the innovation and development of contemporary national chamber

music. At present, the creation of contemporary national chamber music no longer occurs in a single,

invariable and unified state, but through a multi-innovational, multi-form and multi-level process. In this new

and changing situation, Chinese contemporary national chamber music should no longer be limited to a single

positioning but should cover multiple aspects of fuzziness. These multiple aspects that characterize a fuzzy

creation method are useful for obtaining a larger and wider creative space that will also represent an expansion

of creative ideas and methods.

1 INTRODUCTION

There are many different experiences in human

development. Art is an indispensable phenomenon

that validates the existence of mankind. Fuzzy art is

one expression of an ever-changing emotional

experience that cannot be seen and that is an

emotional state of aesthetics. Fuzzy aesthetics is a

subject that researches the uncertain state of beauty in

nature, society and art. Aestheticians throughout the

ages have spent their lives exploring the mysteries of

beauty. There are also philosophical theories of fuzzy

aesthetics in contemporary national chamber music.

The characteristics of fuzzy aesthetics philosophy

theory are various and embodied in uncertainty,

integrity, mutual penetration, transition and change.

“Crazy for innovation” is the general trend of

contemporary music creation by which it is the

responsibility of Chinese composers to explore new

techniques and the new vocabulary of Chinese

contemporary national chamber music works. For

example, “Opera Mask” created by an erhu quartet, is

a work by the composer Xiong Xiao combining

traditional cultural and contemporary connotations.

The work depicts the various styles of Peking Opera

on the stage with occasional and unique sound effects.

This article considers pitch organization and mode,

tone sound, techniques and other aspects of in-depth

analysis. The analysis of “Opera Mask” helps to

further understand the work’s characteristics using

the Fuzzy Philosophy theory. It is the authors’ hope

that the analysis will provide a reference for the

creation of contemporary national chamber music

work.

388

Jia, F. and Isaiah, L.

Research on the Application of Fuzzy Philosophy Theory in Chinese Contemporary National Chamber Music Creation: The erhu Ensemble “Opera Mask” as an Example.

DOI: 10.5220/0008765303880393

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 388-393

ISBN: 978-989-758-450-3

2 TIMBRE AND SOUND LAYOUT

The work “Opera Mask” uses the contemporary

composition method in the layout of timbre and

sound. It uses the ♭B, C, D, three core sound of

various arrangements of modulation, transposition

and is constantly repeated, showing the theme of the

motive. In contemporary national chamber music

works, the pursuit and performance of distinctive and

personalized timbre and sound have always been one

of the key development objects of composition

techniques. “Opera Mask” highlights the rich timbre

and flavor of erhu. It not only designs the unity of

timbre, on the whole, embodying the timbre

characteristics of erhu, but also designs the prominent

combination of new timbre sounds and arrangements

from the expressive needs of each paragraph content.

Furthermore, the work also explores feasible ways of

composition from the unique and creative artistic

perspective of the work.

2.1 Overall Layout

In terms of the overall layout, “Opera Mask” presents

the timbre characteristics of the erhu in different

timbre layouts. According to the needs of the work,

the unique timbre and range of the Erhu quartet are

presented through different contents.

2.1.1 Introduction

The introduction starts with the bow hitting the

canister, showing the timbre of the percussion

instrument, which forms a sharp contrast with the

quick playing of the semiquaver. At the same time, a

strong dynamic tone appears with the free speed and

the appearance of overtones combined with a sliding

tone.

2.1.2 The Other Parts

In part one and part two, the theme motivation

combines the flatness of play with transposition to

show the lasting appeal of opera style. In the third part,

a transitional free phrase is added which is set off by

a single glide tone and accented dense tone pattern to

increase the concentration and density of the timbre

and natural transition into the strong dense timbre of

the fourth part.

2.1.3 The embodiment of the Characteristics

of the Fuzzy Philosophy

The appearance of this transition exhibits transitional

features in fuzzy aesthetic philosophy theory such

that features gradually develop from one stage to

another stage, which can also be called the

intermediate state. Transition is indispensable in

musical works and is becoming an important means

to enrich the timbre. After the intermediate state of

the transition to the more intense fifth part of the work

results in a strong ending. Thus, what is created is the

sense of paragraph level on the overall sound,

highlighting different timbres in different paragraphs,

progressive layers and ending at the climax. The

paragraph level is contained in its entirety explainable

by the wholeness of fuzzy philosophical theory. The

work focuses on the overall grasp rather than parts

whereby each part in the blend and penetration

constantly makes its outline so that impression

disappears in a mutual connection. This

interconnection reassembles a unified whole to

outline an impression. It is hazy, demonstrating a kind

of vague aesthetic feeling.

2.2 Presentation of Parts

In addition to the overall timbre layout, “Opera

Mask” also highlights and explores the relationship

between different timbres and configurations through

the presentation of paragraph contents.

2.2.1 Part One (6-12 Bars)

In part one (bars 6-12), the four voices are

interspersed and the theme motivation is mainly

played in flatness, accompanied by Pizz, slide tone

and increasing the richness of the theme melody. At

the same time, the combination of 3/4 and 4/4 in

rhythm seemingly irregular and uncertain, actually

increases the melodic drama and presents the rich

timbre of the erhu. Bars 6-9 intersperses different

timbre combinations such as hitting the canister, Pizz

and slide tones to show the theme motivation around

the C core (see Figure 1).

Figure 1:

(Bars 6-9)

Research on the Application of Fuzzy Philosophy Theory in Chinese Contemporary National Chamber Music Creation: The erhu Ensemble

“Opera Mask” as an Example

389

2.2.2. The Other Parts

Part two (bars 13-23), highlights the timbre change in

transposition and at the same time adopts a rich

rhythm decoration and explores the new timbre.

In part three (bars 24-44), the melody in

transposition is combined with the transitional

phrase, and the tone colour of the monophonic part

and the four-part part section is contrasted to

highlight the lucidity of the theme melody performed

with uncommon fragments.

Part four (bars 45-87), presents the image of the

Beijing Opera with intense gongs and drums

gradually pounding away and reveals the sharp

contrast in timbre. Entering the fifth part (bars 88-

123), the fast jump and slide tone form the sound

effect, highlighting the contemporary playing color of

national musical instruments.

2.2.3 The Embodiment of Characteristics of

the Fuzzy Philosophy

The combination of different timbres embodies the

characteristics of mutual permeability found in the

theoretical framework of Fuzzy Philosophy. There

are differences between the timbres of Pizz, slide

tone, percussion and long tone, constantly realizing

mutual infiltration, mutual transformation and mutual

transition presenting a variety of crossover states.

This crossover shows the rich character of the music

and provides a reference for the creation of

contemporary national chamber music works.

3 PITCH ORGANIZATION AND

TONALITY

In terms of designing pitch and pitch sequence, the

work mainly follows the Chinese national mode and

the seven tones YU mode combined with mode

variation required by contemporary performance. ♭B,

C, D comprise the core of pitch organization form and

that is Beijing Opera XiPi cavity characteristics. The

three main tones throughout the entire music piece,

combine modulation and transposition in contrast and

development.

3.1 The Overall Tonal Layout

The overall tonal layout is as follows:

Table 1: The overall tonal layout

Parts Bars Mode Explain

Introduc

tion

1-5 e YU

Bars9、12、13

transposition.

Ⅰ 6-8 c YU

10-11 e YU

Ⅱ 14-16 g YU

Bars 17、22-23

transposition、r

hythm

decoration.

18-21 e YU

Ⅲ 24-28 a YU

Bars29、39-44

transposition.

30-38 ♯f YU

Ⅳ 45-50 e YU

Bars 51-52、57-

59 transposition.

Bars 60-84

modulation.

Bars 85-87

repeat.

53-56 d YU

Ⅴ 88-101 e Gong Bars 102-115

variation.

116-123 d YU

3.1.1 The First Part

The work of the first part theme development of ♭B,

C, D, ends with C. The whole phrase contains only

four ♭B, C, D, G, as a type of Chinese national

pentatonic mode. C is the scale-step that should be

emphasized in the Chinese national mode and is the

backbone of the national chord. ♭B and D are near the

tonic C and are repeatedly used. It should be stressed

that this highlights the intense, dramatic acoustics

(see Figure 2).

Figure 2: Bars 6-7 main themes.

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390

3.1.2 The Second Part

To increase the tension of music, the second part

centers on G as the tonic and is transferred to the

national G mode. In bar 17, the transposition is #d-e,

#g-a (with the minor second), and the music color is

very prominent (there are also #G, #A: 23), which

promotes the development of music. Although the

use of these tones is only a transition, the music soon

moves into the E national YU mode. At the end of the

second part, it contributes to the development of

tonality by repeating in a single tone.

3.1.3 The Third Part

At the beginning of the third part, with A as the main

tone and E as the treble, it forms a harmonious five-

degree relationship, a type of the Chinese national

mode. In this process, the sound color is constantly

changing along with the notes as it flows around A.

In the Bars 39-44 have # G, F, ♭ B, moves things a

semitone down from transposition, the musical colour

is richer during the change of the mode.

Changeability is also one of the important

characteristics of the Fuzzy Philosophy theory.

Fuzziness leads to the mystery in things, thus forming

the artistic effect of “unpredictability”.

3.1.4 The Fourth Part

The fourth part starts with an E tone, a repeat of the

figure at the same time as gradually transferring to the

transposition, forming a transition in the bars 51-

52. This centers around ♭G, A, and ♭B, #F and

promote musical transition. This kind of intermediate

state transition is consistent with the characteristics of

the Fuzzy Philosophy theory performance, forming a

natural music character (see Figure 3).

Figure 3: Bars 6-7.

Music by #E, F, G, A, ♮B, #C of scales, centered

around the D tone repeated development, pitch

change, into bars 60-84 of transposing, which of two

unessential notes (#D, #E) in bar 71. The three-bars

repetition then enters the fifth part.

3.1.5 The Fifth Part

The fifth part is the climax of the work, centering on

the national Gong mode of E tone. In bars 102-115

transposition and variation are performed, and the

tone row shift is repeated, using the method of tone

row imitation. The final ending echoes the theme note

in D (see Figure 4).

Figure 4: T

one row.

3.2 Summary

Overall, the work has gone through numerous

transpositions、modulations and transitions. At the

same time, based on the Chinese national seven tones

YU mode, the pitch of the work and its organizational

form are developed. On this basis, the interval

relations commonly used in national modes such as

the octave, fifth degree and second degree are widely

used so that the overall sound effect expresses the

mutability of artistic conception. To show an unstable

mood, the work also directs attention to the use of

small second degree and other dissonant sounds

showing the changes and hazy beauty in fuzzy artistic

conception.

4 INNOVATIVE erhu ENSEMBLE

PERFORMANCE

In the performances of today’s erhu ensemble works,

in addition to traditional performing methods,

contemporary sounds are used in other ways.

4.1 The Performance Techniques

To express the content, the following work has been

designed for unique performance methods such as

hitting the canister with the bow, hand clapping the

canister, using the slide and bow shaking. These

methods vividly imitate the percussive effect of drum

music in opera and the instability and discontinuity of

the singing style in Peking Opera. It also gives the

audience a three-dimensional, rich and thick music

artistic atmosphere.

The work immediately below imitates the colour

of Peking Opera and the exaggerated slide based on

traditional performing methods (see Figure 5).

Research on the Application of Fuzzy Philosophy Theory in Chinese Contemporary National Chamber Music Creation: The erhu Ensemble

“Opera Mask” as an Example

391

Figure 5: Bar 17.

Innovative performing techniques for new timbres

such as crescendo, saw playing, improvisation, etc.,

can be seen in the overtones in bars 4-5, (see Figure

6).

Figure 6: Bars

4-5.

The strength change of Pizz is seen in Figure7.

Figure 7: Bars

85-87

The performance of these compositional designs

produced new timbres and sounds. Thus, it can be

said that the expansion of the new erhu performance

is one of the important means by which the concept

of timbre and sound can be formed. In the entire

music piece, the combining of modulation and

transposition to set contrast and development is

evident.

4.2 Summary

New performing methods are fuzzy within the music

score, lacking clear markings for the intensity,

strength and duration of playing. A certain degree of

freedom helps to create differences between the real

sound and the virtual sound in the timbre. Moreover,

the work makes use of different performing methods

to produce the change in timbre when the

homophones repeat the timbre. These changes reflect

the uncertainty of fuzzy philosophical theory. The

term “uncertainty” refers to the unstable

characteristics of things. Certainty is temporary so

that a stable shape is here and now, not there and then.

However, unstable factors lurk in the time of stability.

This kind of unsteady factor increases ceaselessly

until a saturated level is reached that can break

through a stable limit and appear as an unsteady

phenomenon. Due to the constant changes of time and

space, there are many uncertain intermediate links

and mutual transitions thus exemplifying a unique

fuzzy state. Therefore, certainty is temporary and

relative while uncertainty is permanent and absolute.

Because of the aformentioned instabilities, the

work “Opera Mask” creates practical contemporary

erhu performance skills. Thus, the modernization of

the erhu quartet is demonstrated and provides a way

of thinking about the development of contemporary

national chamber music by breaking the fetters of

traditional performing methods and designing new

performing skills in line with the works.

5 CONCLUSION

The work “Opera Mask” is based on the Chinese

national seven tones YU mode and is combined with

a new tone series such as modulation and

transposition. Taking the structure of decorative

variations as the principle for developing a new and

contemporary work, “Opera Mask” is created by

changing and unifying paragraph levels. The creation

technique, paragraph layout and new playing

acoustics of the work reflect the transitional and

uncertain characteristics attributable to changing,

integral and permeable characteristics of the Fuzzy

Philosophy theory. The work also shows the

unpredictability of facial makeup characters in the

Peking Opera stage. Opera Mask combines the appeal

of traditional erhu with modern timbre making it

possible to foment timbre development and explore

the unique artistic expressive modes of Chinese

contemporary national chamber music. Employing

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the philosophy of fuzzy aesthetics theory to explore

the characteristics of the techniques used in the

creation and research of the contemporary national

chamber music is the first step of interdisciplinary

research exploring the relationship between artistic

creation and philosophical logic. This encompasses

the work’s layout using logic theory and the

foundations of aesthetic psychology. This

interdisciplinary study expands the philosophical-

theoretical basis of contemporary national chamber

music creation.

ACKNOWLEDGEMENTS

I would like to extend my gratitude to my professor,

Dr. Lee Chie Tsang Isaiah, for his selfless help and

patience, for his encouragement and advice. My deep

appreciation also goes to the University Malaysia

Sabah for its institutional support that made it

possible me to work toward a Ph.D. unimpeded.

Thank you also to my employer, the Jiangxi Science

and Technology Normal University for its support.

Finally, a special thanks to my family and friends for

their warmth and support.

REFERENCES

Wang Jianbao. , J., 2012. In CHINESE MUSIC, Traditional

exploration and contemporary exploration of national

instrumental music -- research on "zhuyun" of national

chamber music. Beijing: China Conservatory of Music.

Pp.99-104.

Yao Henglu. , M., 2009. The comprehensive analysis

course of music technology, Higher education press.

Beijing.

Research on the Application of Fuzzy Philosophy Theory in Chinese Contemporary National Chamber Music Creation: The erhu Ensemble

“Opera Mask” as an Example

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