FROM ADAPTATION TO PLURALISM: THE TRANSCULTURAL EVOLUTION OF CHINESE NATIONAL OBOE COMPOSITION (1946–2024)
Issued Date
2025-01-01
Resource Type
ISSN
24080071
eISSN
24079529
Scopus ID
2-s2.0-105029112954
Journal Title
Scientific Culture
Volume
11
Issue
2
Start Page
357
End Page
372
Rights Holder(s)
SCOPUS
Bibliographic Citation
Scientific Culture Vol.11 No.2 (2025) , 357-372
Suggested Citation
Xu X., Bowman J. FROM ADAPTATION TO PLURALISM: THE TRANSCULTURAL EVOLUTION OF CHINESE NATIONAL OBOE COMPOSITION (1946–2024). Scientific Culture Vol.11 No.2 (2025) , 357-372. 372. doi:10.5281/zenodo.18207099 Retrieved from: https://repository.li.mahidol.ac.th/handle/123456789/114919
Title
FROM ADAPTATION TO PLURALISM: THE TRANSCULTURAL EVOLUTION OF CHINESE NATIONAL OBOE COMPOSITION (1946–2024)
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Corresponding Author(s)
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Abstract
In the evolving landscape of post-war cultural identity, the oboe traditionally rooted in Western classical music has undergone a profound transformation within China’s national music system. While Chinese composers have localized Western string and keyboard instruments extensively, woodwinds such as the oboe remain critically understudied. This study addresses this gap by investigating how the oboe has been nationalized, hybridized, and re-contextualized in Chinese musical composition between 1946 and 2024. Employing grounded theory methodology, this study analyzes 49 oboe compositions across three historical phases Adaptation (1946–1976), Innovation (1977–1990), and Pluralism (1991–2024). Data was collected through archival analysis and semi-structured interviews with 12 composers, performers, and scholars. Beyond initial qualitative coding using NVivo, the study further integrated quantitative analyses, including descriptive statistics, Pearson correlation, and a Multi-Layer Perceptron Neural Network (MLPNN), to assess patterns of stylistic evolution. Findings reveal a marked progression from politically driven folk adaptations to highly pluralistic, transcultural aesthetics. Thematic abstraction, structural freedom, and use of extended techniques (e.g., glissando, multiphonics) increased significantly over time. Correlational and MLPNN analyses confirmed that extended technique usage and atonality were strong predictors of compositional hybridity. This study contributes to transcultural musicology by modeling how institutional policy, pedagogy, and creative agency collectively shape instrumental identity. The Chinese oboe, once a foreign orchestral tool, has become a dynamic symbol of national and post-national expression, offering a compelling case study in musical hybridity and cultural adaptation.