Interpreting Music Sonority and Performance Techniques from the Staccato Notations in Wang Jianzhong’s ‘Three Variations of the Plum Blossom Melody’

Abstract

In Western music compositions, staccato notations exhibit distinct variations in its symbolic representations, stylistic interpretations, and practical executions that reflect the conventions of their different historical periods and musical styles. These variations lead to different interpretations and controversies, as well as diverse sound effects in performance practice. A similar issue arises in Chinese piano works, especially in transcriptions, where staccato notations reflect the sonority and style of different instruments. Wang Jianzhong’s transcriptions hold a significant place in Chinese piano history. The use of Western compositional techniques to transform different Chinese traditional music elements demonstrates the unique tonal colors and musical imagery of various Chinese ethnic instruments through the piano and embodies a rich Oriental aesthetic. This article analyzes Wang Jianzhong’s piano transcription “Three Variations of The Plum Blossom Melody,” which was transcribed in 1973 from Guqin composition, focusing on how staccato notations in this work reflect musical expression and music sonority in structure and performance techniques.