ABSTRACT
The music of Chou Wen-chung has typically been studied in light of his compositional aesthetic or compositional system, as represented by the concept of re-merger and the variable modes, respectively; however, one cannot fully comprehend the aesthetic orientation and structural intricacy of his music without examining other aspects. This chapter explores his treatment of musical texture showing how Chou’s views on Chinese calligraphy have had varying consequences on his musical scores at different junctures in his career. The analysis of musical texture will cover parameters including register, timbre, linear-vertical relationships, counterpoint, and other compositional elements.
