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 ensemble Happy 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 of shi , 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.
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Nancy Yunhwa Rao (2020) studied this question.
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