THREE PORTRAITS OF PIPA A DISSERTATION IN · 2018. 7. 10. · viii STANDARD PIPA NOTATION Tan...

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THREE PORTRAITS OF PIPA

FOR PIPA AND ORCHESTRA

A DISSERTATION IN

Music Composition

Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of

the requirements for the degree

DOCTOR OF MUSICAL ARTS

by HONG HONG GIANAKON

B.A. in Music, Hong Kong Baptist University, 2010 M.M. in Composition, Northern Illinois University, 2014

Kansas City, Missouri 2018

HONG HONG GIANAKON

THREE PORTRAITS OF PIPA

FOR PIPA AND ORCHESTRA

Hong Hong Gianakon, Candidate for the Doctor of Musical Arts Degree

University of Missouri-Kansas City, 2018

ABSTRACT

Three Portraits of Pipa is a three movement concerto for pipa, a traditional

Chinese plucked-string instrument that has a history of more than 2000 years in China.

The large variety of timbres of the pipa gives the instrument unlimited musical

possibilities. Each movement of the work demonstrates one of the many timbral

characteristics of the pipa. The first movement, “Sparkling Crystal,” features the crystal-

like timbre of natural harmonics on the instrument. Together with multiple string

plucking techniques, the movement gives listeners a composite picture of sparkling

crystals.

The second movement, “Continuous Stream,” showcases various right-hand tremolo

techniques on the pipa, such as two-finger tremolo (gun), and five-finger tremolo (lun).

These techniques generate lyrical and expressive melodic lines, decorated by traditional

Chinese musical gestures such as pitch bending and pitch sliding.

The third movement, “Rattling Metal,” demonstrates the metallic, percussive sound

of the pipa. Traditional percussive techniques such as multiple string-strumming (sao

xian), string twisting (jiao xian), and sound board snapping (tan mian ban) are featured.

This movement also incorporates timbral and rhythmic elements from the Beijing

Operatic tradition.

The modified, non-standard tuning of the open strings (A-sharp, D-sharp, E, A) of

the pipa gives the work a unifying melodic motive that consists of the intervals of perfect

fourth (perfect fifth with inversion), minor second (major seventh with inversion), and

tritone. The motive is heard, with variations, throughout the entire work.

APPROVAL PAGE

The faculty listed below, appointed by the Dean of the Conservatory of Music and

Dance, have examined a dissertation titled “Three Portraits of Pipa – for pipa and

orchestra,” presented by Hong Hong Gianakon, candidate for the Doctor of Musical Arts

degree, and certify that in their opinion it is worthy of acceptance.

Supervisory Committee

Chen Yi, D.M.A., Committee Chair Conservatory of Music and Dance

Paul Rudy, Ph.D.

Conservatory of Music and Dance

Zhou Long, D.M.A. Conservatory of Music and Dance

James Mobberley, D.M.A.

Conservatory of Music and Dance

Hali Fieldman, Ph.D. Conservatory of Music and Dance

CONTENTS

ABSTRACT ...................................................................................................................... iii

INSTRUMENTATION .................................................................................................... vii

STANDARD PIPA NOTATION .................................................................................... viii

MOVEMENT

I. SPARKLING CRYSTAL ........................................................................................... 1

II. CONTINUOUS STREAM ....................................................................................... 53

III. RATTLING METAL ............................................................................................... 75

VITA .............................................................................................................................. 101

INSTRUMENTATION

2 Flutes (2nd flute doubling piccolo) 2 Oboes (2nd oboe doubling English horn) 2 Clarinets in B-flat (2nd clarinet doubling bass clarinet) 2 Bassoons (2nd bassoon doubling contrabassoon) 2 French Horns in F 2 Trumpets in C 2 Tenor Trombones 1 Tuba Timpani Percussion 1: Suspended cymbals, vibraslap, wood blocks, tambourine, tam-tam. Percussion 2: Marimba, small Chinese cymbals, bass drum. Solo Pipa (tuned in A-sharp, D-sharp, E, A) Violin I Violin II Viola Cello Double Bass Duration: ca. 22 minutes

STANDARD PIPA NOTATION

Tan (Chinese: 彈, symbol: ) – plucking the string outward with the index finger of right hand.

Tiao (Chinese: 挑, symbol: ) – plucking the string inward with the thumb of right hand.

Gun (Chinese: 滾, symbol: ) – tremolo produced by continuous and rapid alternation between tan and tiao.

Lun (Chinese: 輪) – tremolo produced by continuous outward plucking of all fingers on right hand, in the order of

index finger, middle finger, ring finger, pinky, and thumb.

ban lun (Chinese: 半輪, symbol: ) – one cycle of lun.

chang lun (Chinese: 長輪, symbol: ) – multiple cycles of lun.

Xu an (Chinese: 虛按, symbol: or ) – the non-solid pressing of string, accompanied by regular string plucking

techniques on the right hand.

Yin (Chinese: 吟, symbol: ) – raise the tension of the string by over-pressing the string downward on a fret.

Tui (Chinese: 推, symbol: ) – any finger on the left hand presses down the string on a fret, then pushes the

string inward along the same fret to raise the original pitch after the initial plucking of the pitch.

La (Chinese: 拉, symbol: ) – any finger on the left hand presses down the string on a fret, then pulls the

string outward along the same fret to raise the original pitch after the initial plucking of the pitch.

Zhuang (Chinese: 撞, symbol: ) – raise a pitch by using either tui or la before plucking the string, then pluck

the string and release the tension of the string back to normal to get the lower note.

Chuo (Chinese: 綽, symbol: ) – the process of a left hand finger sliding vertically from the original pitch to a

higher pitch on the string after the initial pluck by the right hand.

Shuang tan (Chinese: 雙彈, symbol: ) – plucking 2 adjacent strings simultaneously using the index finger on

right hand.

Fen (Chinese: 分, symbol: ) – plucking any 2 strings, usually non-adjacent, simultaneously with both the thumb

and the index finger on right hand.

Xiao sao (Chinese: 小掃, symbol: ) – strumming three strings outward from right to left simultaneously as one,

fast gesture.

Xiao fu (Chinese: 小拂, symbol: ) - strumming three strings inward from left to right simultaneously as one,

fast gesture.

Sao (Chinese: 掃, symbol: ) – strumming four strings outward from right to left simultaneously as one, fast

gesture with the index finger on the right hand.

Fu (Chinese: 拂, symbol: ) – strumming four strings inward from left to right simultaneously as one, fast

gesture with the thumb on the right hand.

Jiao xian (Chinese: 絞弦) – twisting two (symbol: ), three (symbol: ), or four (symbol: ) strings together by

pushing the outer string under the inner one(s) using the left hand finger while pulling the inner one(s) outward. Together with one of the right hand plucking techniques, it creates a rattling, metallic sound.

Tan mian ban (Chinese: 彈面板, symbol: ) – snap the right hand middle finger on the surface of the sound board

in order to create a loud, “pop” sound.

Zhai (Chinese: 摘, symbol: ) – A high-pitched, woodblock-like sound produced by plucking of the string near

the tailpiece with the index finger of the right hand while the thumb presses the string just above the index finger.

Flute 1

Flute 2

Oboe 1

Oboe 2

Clarinet in B 1

Clarinet in B 2

Bassoon 1

Bassoon 2

Horn in F 1, 2

Trumpet in C 1

Trumpet in C 2

Trombone 1,2

Timpani

Percussion 1

Percussion 2

Violin I

Violin II

Double Bass

Solo Pipa

Sparkling

(Pipa tuning A#, D#, E, A)

Sparkling

To piccolo

To English horn

Three Portraits of PipaHong Hong Gianakon

Transposed Score

for pipa and orchestra I. Sparkling Crystal

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

English horn

Marimba (hard mallets)

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

Vivace

Suspended cymbals(soft mallets)

non-div.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

Tempo free

accel.

a tempo

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

Pluck near the tailpiece

Normal

medium mallets

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

non-div.

12th fret

19th fret

28th fret

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

Random pitches within the approximate register notated

unis. arco

L.H. randomly presses the stringbetween the 30th fret and the tailpiece

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

To tambourine

pluck near the tailpiece

III II IIV

pizz.div.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

3 3 3 3

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

I IVIII II I

I II III IV

I IV III II I I II III IV

I IV III II I

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

I II III IV

IV III II I

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

Tambourine

To bass clarinet

To contrabassoon

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

III II I

II III

To suspended cymbals

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

I & II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

II & III

Suspended cymbals (soft mallets)

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

3 3 3 3

To wood blocks

3 3 3 3

Wood blocks(hard mallets)

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

To tambourine

IV III II I I II III IV simile

To clarinet

To bassoon

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

I & II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

6 6 66

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

66 6 6

6 6 6 6 6

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

Tambourine

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

clarinet

bassoon

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

simile

II & III

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

cresc.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

Andante

Wide vib.

Andante dim.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

a tempo

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

accel.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

accel.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

III II I

Vivace

19th fret

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

28th fret

unis. arco

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

L.H. randomly presses the stringbetween the 30th fret and the tailpiece

To tambourine

pluck near the tailpiece

III II IIV

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

pizz.div.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

3 3 3 3

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

I IVIII II I

I II III IV

I IV III II I I II III IV

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

I IV III II I

I II III IV

IV III II I

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

Tambourine

To bass clarinet

To contrabassoon

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

clarinet

bassoon

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

simile

II & III

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

cresc.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

Suspended cymbals (soft mallets)

Slow dim.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1,2

Perc. 1

Perc. 2

Vln. I

Vln. II

Vivace

Flute 1

Flute 2

Oboe 1

Oboe 2

Clarinet in B 1

Clarinet in B 2

Bassoon 1

Bassoon 2

Horn in F 1, 2

Trumpet in C 1

Trumpet in C 2

Trombone 1, 2

Timpani

Percussion 1

Percussion 2

Violin I

Violin II

Double Bass

Mysteriously

To bass clarinet

To oboe

To piccolo

medium mallets

Contrabassoon

II. Continuous Stream

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Bass clarinet

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

3 3 3 3

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

To clarinet

To bassoon

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Elegant

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Bassoon

Clarinet

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

To bass clarinet

To contrabassoon

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Contrabassoon

Bass clarinet

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Bass drum

tam-tam

Anxious

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

3 3 3 3

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Bass drum

tam-tam

poco più mosso

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Slower

attacca

Flute 1

Flute 2

Oboe 1

Oboe 2

Clarinet in B 1

Clarinet in B 2

Bassoon 1

Bassoon 2

Horn in F 1, 2

Trumpet in C 1

Trumpet in C 2

Trombone 1, 2

Timpani

Percussion 1

Percussion 2

Violin I

Violin II

Double Bass

Vivace

medium mallets

To piccolo

Wood blocks

Bassoon

Clarinet

III. Rattling Metal

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

To vibraslap

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Vibraslap

To small Chinese cymbals

To wood blocks

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

cresc.

Small Chinese cymbals

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

cresc.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Recitation

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Vivace

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Recitation

accel.

3 3 3 3 3 3 3 3

Vivace

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Recitation

accel.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

a tempo

Vivace

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

cresc.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

cresc.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

cresc.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

To marimba

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

To vibraslap

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Vibraslap

To small Chinese cymbals

To wood blocks

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

cresc.

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

To marimba

B Cl. 1

B Cl. 2

Bsn. 1

Bsn. 2

Hn. 1, 2

C Tpt. 1

C Tpt. 2

Tbn. 1, 2

Perc. 1

Perc. 2

Vln. I

Vln. II

Marimba(hard mallets)

Hong Hong (Hui) Gianakon was born on June 3, 1987, in Hong Kong. She started her piano lessons

with her mother, Mrs. Fung Mui Hui Hong, when she was 3. She also learned to play the violin and pipa at a

very young age. In 2004-2012, she worked part-time as an instructor in music theory, violin, and pipa at C.J.

Music & Arts Institute, Hong Kong. She earned her Bachelor of Arts in Music with first class honor from

Hong Kong Baptist University in 2010, majoring in traditional Chinese music study. Upon graduation, she

worked full-time as a project assistant for both the Department of Music and the Communication and Public

Relations Office at Hong Kong Baptist University for one year.

In 2012, Ms. Gianakon moved to the United States and began her master’s degree in Music

Composition at Northern Illinois University (NIU) in DeKalb, Illinois. During her two years at NIU, she

worked part-time as a graduate assistant in music theory and aural skills. She also worked part-time as a

violinist in Kishwaukee Symphony Orchestra. She served as a violinist and pipa player in the worship team

at Evangelical Free Church of Sycamore-DeKalb, Illinois.

Ms. Gianakon moved to Kansas City, Missouri in 2014, began working toward her Doctor of Musical

Arts degree in Music Composition and Master of Music degree in Music Theory at the University of

Missouri-Kansas City (UMKC). Since she moved to the U.S. in 2012, Ms. Gianakon has been actively

introducing traditional Chinese music and culture to Americans. She was one of the presenters at

TEDxWyandotte in 2015. In 2015-2016, she served as an International Student Ambassador at UMKC. In

March 2018, she was invited to host an educational seminar on ancient Chinese music at the Nelson-Atkins

Museum of Art in Kansas City, Missouri. As a composer and pipa performer, Ms. Gianakon has been

actively collaborating with professional music organizations including the Kansas City Electronic Music and

Arts Alliance, Electronic Music Midwest Festival, newEar Contemporary Chamber Ensemble, and Society

for Electro-Acoustic Music in the United States.

Upon completion of her degree requirements, Ms. Gianakon plans to pursue teaching positions in the

fields of music theory, composition, and world music at the college level.

THREE PORTRAITS OF PIPA A DISSERTATION IN · 2018. 7. 10. · viii STANDARD PIPA NOTATION Tan...

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