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Serenity Caressed by May-Chamber Music by Li Tai-Hsiang (安靜在五月的懷柔裡-李泰祥)

Audio

I.    About this Song

Exposition of the music:
Oriental music shares a common characteristic, which is, besides using melody to express special musical scale, it also likes to use different aura and ornaments to present all sorts of “sound’s” phenomenon. And the music also uses many musical scales that are similar to Indian music. Structure of the melody is really simple, and the music style is tranquil. Basically it has A, B, C, A, four periods, and each period has its own development. Period B is contrast to period A, and period C is the emotional response to period A. In the developmental syntax of period A, techniques of gradual expansion from motives and improvisation are used to be variations of the theme. The most significant feature of this music is that it has mysterious Oriental color and shows the aspiration for Oriental girls’ tenderness. By using May to be the background, those sentimental features will allow for more beautiful associations.

II.    Manuscript

Copied clarinet quintet manuscript (page 1) of “Serenity Caressed by
May” for violin I (1988)  
Copied clarinet quintet manuscript (page 2) of “Serenity Caressed by May” for violin I (1988)    Copied clarinet quintet manuscript (page 3) of “Serenity Caressed by
May” for violin I (1988)  
Copied clarinet quintet manuscript (page 4) of “Serenity Caressed by
May” for violin I (1988)

               


To view the story of Li Tai-Hsiang, please go to Li Tai-Hsiang, the Native Musician of Taiwan.
Text and images are provided by The Native Musician of Taiwan-Tai-Hsiang Li Digital Archive, National Chiao Tung University, Taiwan