Abstract
The article brings a conceptual framework of Chinese aesthetics, music analysis, and theory developed in North America to bear on the analysis of Chen Yi’s chamber ensembleHappy Rain on a Spring Night(2004). As a framework to analyze the work (both the poem by Du Fu and the music composition), it proposes the concept ofshi, which can be described as “dynamic configuration” or “the probability and propensity that drive the process.” The end of the article discusses issues related to culturally situated analysis.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
