ABSTRACT
The lack of a standard modal system for non-pitch/non-rhythm components in no way suggests their inferiority in Chou’s music. On the contrary, Chou has remarked on the importance of timbre in his works. In fact, for the ancient Chinese, pitch and timbre are two musical elements that have equal significance, a belief that Chou has held true to his heart throughout his career.4 Yet, unlike the pitch modes or
de juti shijian-yi zuopin ‘Bian’ wei fenxi biaode” [The manifestation of yi principles in Chou Wen-chung’s music: An analysis of Pien] (MA thesis, National Taiwan University, 2003); and Seok-Kwee Chew, “Analysis of the Selected Music of Chou Wen-chung in Relation to Chinese Aesthetics” (PhD dissertation, New York University, 1990), pp. 155-201.
