Jun Wang
Programme:
Creative Music Practice - PhD
Start date:
01/01/24
Mode of study:
Full time
Research title:
Polyphonic Emotion: Chinese Pentatonic–Western Modal Fusion as a Compositional Strategy for Complex Emotional Scenes in Film — A Portfolio Study
Biography
Music, for me, has been a long journey from a personal passion to an academic pursuit. From touching the piano keys for the first time at the age of five to traveling to the UK for advanced studies at the Royal Welsh College of Music & Drama, the piano was once my entire world. In 2018, persistent muscle tension in my arms caused by over-practice forced me to adjust my academic direction. This pivotal moment prompted me to reevaluate my relationship with music and unexpectedly opened the door to my creative path. While studying at Bangor University under the guidance of Professor Andrew Lewis and Dr. Guto Puw, I systematically explored composition, orchestration, and acoustics, gradually transitioning from a performer to a creator.
As I delved deeper into music creation, I discovered that film scoring possesses the unique ability to seamlessly intertwine visual storytelling with auditory emotion. In 2024, I was honored to continue my postgraduate studies at the University of Edinburgh under the supervision of Dr. Chris Letcher and Dr. Martin Parker.
Currently, my research is dedicated to exploring the fusion of Chinese pentatonic modes with Western modes, with a particular focus on their expressive power in navigating complex emotional scenes in cinema. Through this research, I hope to not only provide new creative perspectives for indigenous Chinese film scoring but also explore a musical language that transcends cultural boundaries. To me, the ultimate value of scoring lies in intuitive resonance: no matter how complex the underlying theory may be, the goal is to allow audiences to be profoundly moved by the musical narrative without needing to deconstruct the music theory.
This study focuses on the internal dynamics of the Chinese pentatonic mode, as well as its integration with Western modes and diverse musical elements. Centering on Chinese films and films rich in Chinese cultural elements, supplemented by Western film case studies, this research aims to explore the unique efficacy of such modal fusion in film scoring—particularly in handling complex emotional scenes.
The research emphasizes the functional expression of music within complex narrative contexts:
- First, in non-verbal scenes, it examines whether a fused musical language can precisely differentiate and externalize individual character emotions through refined textural design when multiple characters' feelings are juxtaposed or in conflict, thereby deepening the narrative layers.
- Second, in dialogue scenes, it analyzes how music intervenes unobtrusively, utilizing implicit harmonic colors and modal tension to reinforce narrative subtext.
- Third, regarding the contrast between characters and backgrounds, it explores how this fused musical language metaphorically highlights the subtle tonal contrasts between characters and environmental settings.
Grounded in a profound observation of the current state of Chinese film scoring and a direct confrontation with its challenges, this study seeks to provide systematic analysis that not only broadens creative approaches for Chinese film scoring but also offers valuable insights for global film music in the realm of emotional expression. Ultimately, the study reaffirms that regardless of innovations in modal fusion and musical elements, the core mission of film scoring must always return to the audience's intuitive experience. Allowing viewers to resonate deeply with the emotional core of the film through musical narrative—without relying on professional music theory—represents the ultimate realization of film scoring's artistic value.