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3. Chanting, with mostly neumatic and some melismatic passages, accompanied by melodic and percussion instruments (e.g., see Example 2).
The instrumental ensemble is made up of a pair of large and small suo-na as melodic instruments, and of shou-ling 手鈴, ting-tong 叮噹, bu-yu 卜魚, small and large luo 鑼, qing, mu-yu, po, and small and large gu as percussion instruments.* Qing, mu-yu, and shou-ling are played by the dao-shi themselves during Jiao-shi. Instrumental ensemble in Jiao-shi serves the following functions:
1. To provide instrumental preludes (pai-chang) at the beginning of the various sessions of Jiao-shi, prior to the recitation or chanting of the canonical texts.
2. As instrumental interludes in between the recitation and chanting of the canonical texts. They appear either as entirely percussion passages or passages played by both melodic and percussion instruments.
3. As instrumental postludes near the end of each session of Jiao-shi.
4. To provide accompaniment to the chanting of canonical texts.
The formal structure of the Jiao-shi music is based on the repetition and variation of unit-pattern(s). The length of a unit-pattern varies from the shorter motivic type to the longer sectional type; the latter itself is made up of several motifs strung together. It is the skeletal pitches of the unit-pattern that remain relatively stable in the process of variation. Techniques of variation on the unit-pattern can be separated into the pitch-variant (Pv) and the rhythm-variant (Rv):
Pitch-variant.
1. Pitch alteration (Pv1). Alteration of non-skeletal pitches of the unit-pattern, achieved by replacement by pitches different from the original version, octave displacement, and/or change of original order of pitches.
174
3. Chanting, with mostly neumatic and some melismatic passages, accompanied by melodic and percussion instruments (e.g., see Example 2).
The instrumental ensemble is made up of a pair of large and small suo-na as melodic instruments, and of shou-ling 手鈴,ting-tong叮噹,bu-yu卜魚, small and large luo 鑼,qing, mu-yu, po, and small and large gu as percussion instruments.* Qing, mu-yu, and shou-ling are played by the dao-shi themselves during Jiao-shi. Instrumental ensemble in Jiao-shi serves the following functions:
1.
i
2.
3.
4.
To provide instrumental preludes (pai-chang ) at the beginning of the various sessions of Jiao-shi, prior to the recitation or chanting of the canonical texts.
As instrumental interludes in between the recitation and chanting of the canonical texts. They appear either as entirely percussion passages or passages played by both melodic and percussion instruments.
As instrumental postludes near the end of each session of Jiao-shi.
To provide accompaniment to the chanting of canonical
texts.
The formal structure of the Jiao-shi music is based on the repetition and variation of unit-pattern(s). The length of a unit- pattern varies from the shorter motivic type to the longer sectional type; the latter itself is made up of several motifs strung together. It is the skeletal pitches of the unit-pattern that remain relatively stable in the process of variation. Techniques of variation on the unit-pattern can be separated into the pitch-variant (Pv) and the rhythm-variant (Rv):
Pitch-variant.
1.
Pitch alteration (Pv1). Alteration of non-skeletal pitches of the unit-pattern, achieved by replacement by pitches different from the original version, octave displacement, and/or change of original order of pitches.
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