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Conclusion
This paper has illustrated how techniques of variation are used as the fundamental means of achieving balance of unity and variety in the formal structure of the music of Jiao-shi in Hong Kong. Variation is particularly important in the instrumental prelude, interlude, and postlude because it provides flexibility in the duration of playing which is very much dependent on the readiness of the Taoists and the spectators to begin or continue sessions of Jiao-shi. The structural basis of Jiao-shi music is that of the unit-pattern, which, as shown in the four excerpts, can be composed either with a single motif or by stringing together several motifs. Techniques of variation applied to those motifs through the use of alteration, addition, and reduction of pitches as well as alteration and diminution of rhythmic details have been discussed. In addition, re-arrangement of the order of appearance of motifs is yet another variation technique. Finally, aspects which are beyond the scope of this paper but of primary importance need to be mentioned. Stylistic differences are evident in the music of Jiao-shi practiced in various localities with varying degrees of complexity in their structure. The music of Taoist Jiao-shi is regionally oriented and reveals close mutual influence with other musical forms of that region. Furthermore, linguistic characteristics of the dialect used during Jiao-shi is another important factor in creating this regionalism.
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