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Even though the church introduced western music to the Taiwanese people, professional musicians did not appear until the following colonial years of Japan, known as the Japanese colonial period (1895-1945). During those fifty years, any Taiwanese who aspired to be a professional musician had to go to Japan for his or her education. After WWII, Taiwan was returned to China and subsequently entered the period of fifty-year Nationalist's ruling. Like many developing countries in Asia, Taiwan enjoyed a fast-growing economy. It resulted in drastic changes in many aspects, both politically and socially. The value of traditional art was also challenged by the westernization of its society. As one of the most prominent Taiwanese composers, Shui-long Ma strongly promotes the traditional spirit of Taiwan in contemporary musical composition. The musical works Shui-long Ma has written for piano span his entire career. The solo pieces he has written for western instruments are also mostly for keyboard instruments. Through an examination of his piano works, this study shows: 1) how Ma incorporated and transformed elements of traditional art and folk music into his works; and 2) how mainstream piano composition in Taiwan developed during the decades in the second half of the 20th century. All discussions then lead to the conclusion of the significance of Shui-long Ma's compositions in the evolution of Taiwanese piano music.
A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music.
Includes bibliographical references.
Leonard Mastrogiacomo, Professor Directing Treatise; Alice-Ann Darrow, Outside Committee Member; James Nalley, Committee Member; Thomas Wright, Committee Member; Karyl Louwenaar, Committee Member.
Florida State University
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