Abstract
This study focuses on China’s Silk Road-themed music since the Reform and Opening-Up, employing interdisciplinary methodologies such as ethnomusicology, musical anthropology, and music analysis to systematically explore the creative characteristics, performance styles, and cultural connotations of this musical genre. The findings reveal that Silk Road-themed musical creations exhibit distinct exotic themes, prominent cross-border integration, and melodically rich thematic expressions. In terms of performance styles, a fusion of tradition and modernity is achieved across three dimensions: concept, practice, and sound. Its cultural connotations embody multiple layers of value, including the inheritance of the Silk Road spirit, the construction of a national cultural image, and the dissemination of the concept of a Community with a Shared Future for Mankind. This research addresses the gap in scholarly studies on newly composed Silk Road-themed music, provides theoretical support for contemporary Chinese music creation, performance, and dissemination, and facilitates international exchanges of Silk Road culture.
Keywords: Silk Road-themed music; creative characteristics; performance style; cultural connotation; Reform and Opening-Up
1. Introduction
1.1 Research Background
The launch of the Belt and Road Initiative in 2013 and the proposal of the concept of a Community with a Shared Future for Mankind in 2017 have injected contemporary momentum into the study of Silk Road culture. As a vital channel for cultural exchange between the East and the West, Silk Road music culture has long been a focal point of academic inquiry. Since China’s Reform and Opening-Up, the creation of Silk Road-themed music has accumulated a considerable scale; in recent years, guided by national strategies, a wealth of outstanding works has emerged, establishing this genre as a significant component of contemporary Chinese music (Du, 2017).
Existing research predominantly centers on the historical development of traditional Silk Road music, while systematic studies on newly composed Silk Road-themed works since the Reform and Opening-Up remain limited. These contemporary compositions differ substantially from traditional music in terms of creative concepts, performance forms, and cultural connotations. Their distinctive creative traits, unique performance styles, and contemporary cultural significance urgently call for in-depth exploration and systematic analysis.
1.2 Research Questions
What are the commonalities and individual characteristics of China’s Silk Road-themed music creation since the Reform and Opening-Up?
What are the unique manifestations of the performance style of Silk Road-themed music across the dimensions of concept, practice, and sound?
What cultural connotations does Silk Road-themed music embody, and how does it reflect the spirit of the times and the country’s cultural needs?
1.3 Research Purpose and Significance
1.3.1 Research Objectives
This study systematically examines the current status and developmental trajectory of Silk Road-themed music since China’s Reform and Opening-Up. It conducts an in-depth analysis of the genre’s creative characteristics and performance styles, uncovering its patterns of artistic expression. Furthermore, the research explores the cultural significance of Silk Road-themed music, clarifying its contemporary value and implications for cultural communication.
1.3.2 Research Significance
Theoretical Significance: It addresses the gap in research on the new system of Silk Road-themed music, enriches the body of scholarship on contemporary Chinese music, and enhances the theoretical framework for studies of Silk Road music culture.
Practical Significance: It provides references for contemporary music creation, offers ideas for innovation in performing arts, and outlines practical pathways for the international dissemination of Silk Road culture.
1.4 Literature Review
1.4.1 State of Domestic Research
Based on existing literature, domestic scholars’ research on Silk Road music primarily focuses on traditional music domains. Zhou (1987) and Du (1997) systematically analyzed the historical development and cultural forms of traditional Silk Road music. Jin (2002) and Chen (2005) concentrated on the history of cultural exchange in Silk Road music and dance. In recent years, Wang Cizhao and Zhang Boyu have led research teams in conducting field investigations and creative studies on Silk Road music; however, they have not systematically analyzed newly composed works. Current studies lack comprehensive research on the creation, performance, and cultural connotations of contemporary Silk Road-themed music.
1.4.2 State of International Research
International scholars mostly approach Silk Road music from the perspective of regional music studies in East Asia and Central Asia. British scholar Lawrence Picken conducted pioneering research on music of the Western Regions during the Tang Dynasty; Japanese scholar Kishio Kishikawa’s Music of the Ancient Silk Road provides important references for the study of traditional Silk Road music; Rachel Harris (2008) and Theodore Levine (2016) focused their research on Central Asian music. International studies pay limited attention to contemporary Chinese compositions on Silk Road themes, resulting in a lack of targeted investigations.
1.4.3 Logical Framework and Innovations of This Study
Expanded Research Scope: The scope is extended from "traditional music" and "case studies of individual works" to encompass all types of contemporary works from 1978 to 2025, with a systematic organization of their creative contexts.
New Research Dimensions: A new dimension of "performance style" is introduced, utilizing the three-dimensional model of "concept-practice-sound" in musical anthropology. This addresses gaps in existing research and forms a comprehensive research framework of "creation-performance-culture."
Integrated Research Methods: Field investigation is incorporated alongside technical analysis and literature review, realizing the combination of desk research and practical inquiry to ensure research conclusions possess both theoretical depth and practical relevance.
1.5 Research Methods and Innovations
1.5.1 Research Methodology
Literature Research Method: Organizing literature related to Silk Road music culture and contemporary music creation to lay a theoretical foundation.
Music Analysis: Conducting detailed analysis of elements such as melody, harmony, instrumentation, and structure.
Field Investigation Method: Investigating the current state of music along the Silk Road, interviewing composers and performers, and collecting first-hand data.
Three-Dimensional Analysis: Employing the "concept-practice-sound" three-dimensional model in musical anthropology to systematically analyze performance styles.
Case Study Method: Selecting representative works for in-depth analysis and extracting general principles of creation and performance.
1.5.2 Innovation Points
Innovation in Research Objects: Focusing on newly composed Silk Road-themed music since the Reform and Opening-Up, breaking free from the historical limitations of traditional Silk Road music research.
Innovative Research Perspective: Conducting holistic research across the three dimensions of creation, performance, and cultural connotation, and constructing a comprehensive research framework.
Innovation in Analytical Methods: Combining music analysis with the anthropological three-dimensional model to deepen the understanding of performance styles.
Innovation in Contemporary Value: Exploring the cultural functions of Silk Road-themed music in the context of the "Belt and Road Initiative" and the Community with a Shared Future for Mankind, highlighting the timeliness of the research.
1.6 Research Limitations and Prospects
1.6.1 Limitations of the study
Although this study covers the main types of silk Road themed music works, there is still room for expansion in the number of samples; some minority style works are not paid enough attention; and empirical research on the dissemination effect of works needs to be strengthened.
1.6.2 Future Outlook
Expand the research sample scope to include more diverse genres and styles of Silk Road-themed music. Conduct empirical studies on the dissemination effects of these works, analyzing audience reception and feedback. Strengthen international comparative research to examine differences in creation and dissemination between Chinese and foreign Silk Road-themed music. Explore integration pathways between Silk Road-themed music and other art forms, promoting multidimensional dissemination of Silk Road culture.
2. The creation context and context of Chinas Silk Road-themed music since the reform and opening up
2.1 Creative Framework
2.1.1 Initial exploration period (1978-2000)
In the early stage of reform and opening up, the music creation on the theme of the Silk Road was in its infancy, and the number of works was small. The creative style was mainly based on the traditional music elements and the Silk Road style, and the form was relatively simple, with the national orchestral works as the core.
2.1.2 Steady Development Period (2001-2012)
With the enhancement of Chinas cultural confidence and strengthened international exchanges, the number of Silk Road-themed music compositions has increased, with more diverse forms emerging. Western orchestral and chamber music works have gradually appeared, and the creative concept has begun to emphasize cross-cultural integration.
2.1.3 Prosperity Period (2013-present)
After the proposal of the "Belt and Road" initiative, Silk Road-themed music creation entered a prosperous stage. The number of works increased significantly, with more diverse themes and a notable trend of cross-border integration. A large number of excellent works combining ideological and artistic qualities emerged, becoming a hot topic in contemporary music creation.
2.2 Creative Context Analysis
2.2.1 Cultural Context
The profound heritage of Silk Road culture provides rich material for creation, and the revival of traditional culture inspires composers to explore and inherit the Silk Road culture. In the context of globalization, the strengthening of cross-cultural communication injects international vision into the creation of Silk Road themed music.
2.2.2 Social context
Since the reform and opening up, the rapid development of Chinese society has provided a material foundation and impetus for music creation; national cultural strategies, such as the Belt and Road Initiative and the construction of a culturally strong country, have provided policy support and development opportunities for Silk Road-themed music creation.
2.2.3 Artistic Terms
The increasing diversification of contemporary music creation concepts has promoted the innovation of silk Road theme music in creative techniques and forms of expression; the diversified aesthetic needs of audiences have prompted composers to pay attention to the audibility and communication of works while maintaining artistic quality.
3. Creative characteristics of Silk Road theme music
3.1 Subject matter and thematic features
3.1.1 Foreign themes with distinctive characteristics
The works are mostly based on the geographical landscape, historical stories and ethnic customs along the Silk Road, showing the diversity and uniqueness of the Silk Road culture.
Geographical Landscape Themes: Zhao Jipings "Fantasy Suite of the Silk Road" draws inspiration from iconic Silk Road landscapes like deserts, oases, and Gobi plains. Through the undulating melodies of its movements, it paints a grand vision of "the vast desert where solitary smoke rises straight." Ye Xiaogangs "Dunhuang" focuses on the artistic treasures of Dunhuangs Mogao Caves, using music to depict celestial beings and donors from the murals, conveying the mystery and depth of Silk Road culture.
Historical narratives: Jiang Yings *Xuanzangs Journey to the West* follows the legendary monks quest for Buddhist scriptures, chronicling his cultural explorations along the Silk Road through chapters of "Departure", "Adversity", and "Enlightenment". Jia Guopings *Wind Across the Vastness* draws from the historical mission of Zhang Qian to the Western Regions, using musical storytelling to recreate the arduous yet grandeur-filled journey of establishing the Silk Road.
Ethnic customs theme: Cui Bingyuans "Silk Road Reflections" integrates the life scenes of ethnic groups along the Silk Road, such as grassland grazing and market trade, and presents the multi-ethnic customs through the changes of rhythm and melody.
3.1.2 Rich and diverse thematic connotation
Historical Memory Theme: In Du Yaxiongs "Music Culture of the Maritime Silk Road", the work traces the enduring legacy of Silk Road culture by referencing ancient folk melodies from its coastal regions, allowing listeners to experience the weight of history through its rhythms. Meanwhile, Xiang Mins "Silk Melody" draws inspiration from ancient Silk Road music to recreate the vibrant scenes of cultural exchanges between East and West in antiquity.
Cultural Exchange Theme: Xu Shuyas "Maritime Silk Road" integrates the folk music of Chinas southeastern coast with the musical styles of Southeast Asia and South Asia, expressing the mutual learning and appreciation of different cultures along the Silk Road through the collision and fusion of melodies; Zhou Xianglins "Silk Road Dream Chasing" uses polyphonic textures to simulate the dialogue between different civilizations, highlighting the theme of cultural inclusiveness.
The theme of the spirit of the times: Tan Duns "Ode to Compassion" combines the spirit of the Belt and Road Initiative, with "love and peace" as its core, conveying the Silk Road spirit of peace, cooperation, and mutual benefit through symphonic choral forms; Xiao Laiti Krimus "Silk Road Overture" incorporates elements of Xinjiang ethnic music, showcasing the vitality of contemporary development along the Silk Road.
The theme of a shared future for humanity is explored through two works: Chang Pings "Tower Bell in the Wind" uses religious cultural symbols along the Silk Road to convey universal spiritual aspirations through ethereal melodies, embodying the concept of shared destiny. Wang Danhongs "Desert Realm" expresses the vastness of the desert and the resilience of life through music, metaphorically representing humanitys collective perseverance in the context of globalization.
3.2 Characteristics of music material application
3.2.1 Transplantation of a single folk music theme
Directly quote the folk music themes of various ethnic groups along the Silk Road, retain the core characteristics of folk music, and enhance the national characteristics and regional identity of the work.
Uyghur Folk Music: Han Lan-kuis "Silk Road Reflections" reimagines the core melodies of Uyghur Muqam, preserving its distinctive microtones and rhythmic patterns. Through symphonic treatment, this work breathes new life into traditional folk music in a contemporary context. The third movement of "Silk Road Fantasy Suite" directly incorporates melodic fragments from the Uyghur folk song "Mudan Khan," enhanced by ethnic orchestral arrangements that amplify regional cultural identity.
Kazakh folk music: "Silk Road Thoughts" quotes the theme melody of the Kazakh folk song "Black Eyes", and shows the boldness and enthusiasm of the grassland people through the echo of the violin solo and the accompaniment of the orchestra;
Tibetan folk music: Some chamber music works transplant the rhythm and melody elements of Tibetan Nangma and Dui Xie, such as the use of Tibetan folk music syncopated rhythm in "Silk Road Traveling Sound" to enhance the national flavor of the work.
3.2.2 Collage of diverse composite music styles
The integration of music styles from different ethnic groups and regions forms a diverse and composite music expression, reflecting the inclusiveness of Silk Road culture.
The fusion of China tradition and Central Asian style: Jia Daquns "Mo Mo Tu" collages the bleakness of Chinas northwest folk music with the lively rhythm of Central Asian music, creating a musical scene of cross-border Silk Road exchanges through the alternating rapid rhythms of guzheng finger techniques and plucked instruments.
The fusion of Eastern tradition and Western classical music: "Ode to Compassion" collages the ethereal melody of Chinas Buddhist music, the majestic momentum of Western symphonic chorus, and the lively rhythm of Southeast Asian folk music, forming a cross-cultural musical dialogue;
Multicultural Musical Collage: "New Melodies of Silk and Bamboo" masterfully blends the delicate nuances of Han Chinese silk and bamboo music, the timeless charm of Mongolian long-form melodies, and the soaring spirit of Hui folk songs. Through dynamic stylistic transitions across distinct sections, it vividly portrays the harmonious coexistence of diverse ethnic cultures along the Silk Road.
3.2.3 Original based on folk music vocabulary
Based on the folk music vocabulary of the Silk Road, it is artistically processed and original to realize the organic unity of tradition and modernity.
Based on the vocabulary of Muqam: "The Wind Goes Beyond the Vastness" is based on the modal scale of Uygur Muqam, with original theme melody, retaining the characteristics of Muqams rotation, and integrating the harmony and instrumentation of modern composition techniques, which has both traditional flavor and modern texture;
Drawing from folk rhythmic vocabulary: Yang Chunlins "New Melodies of Silk and Bamboo" captures signature rhythms from ethnic music along the Silk Road (such as the Uyghur "Sainam" rhythm and Tibetan "Zhuo" rhythm), creating original melodies that blend local authenticity with innovative flair.
Based on the folk melody vocabulary: "Shahai Jingyi" draws on the "Xintianyou" rotation method of northwest folk songs, expands the melody based on the "upper and lower sentence" structure, and gives the traditional folk vocabulary a new artistic expression through modern chamber music orchestration.
3.2.4 Reference to distinctive sound symbols
By integrating the distinctive audio elements of the Silk Road and applying musical processing, it creates an immersive Silk Road ambiance.
Natural landscape sound effects: In *Mo Mo Tu*, the gentle strikes of percussion instruments recreate the desert wind, while sustained vibrato from strings portrays the swirling sandstorm. *Dunhuang* employs the double basss deep register to evoke the Gobi Deserts boundless silence.
Audio design for cultural settings: The film *Xuanzangs Journey to the West* recreates the Silk Roads bustling commerce through the jingling of horse bells and the rhythmic clapping of wooden fish. Market scenes are vividly portrayed by the rapid plucking of string instruments.
Religious Ritual Sound: The Song of Compassion incorporates Buddhist ritual instruments (such as Dharma bells and wooden fish) to create a solemn and sacred atmosphere through symphonic treatment. Tower Bell in the Wind uses the harps overtones to mimic the ethereal sound of a bell, conveying the tranquility and depth of religious culture.
3.3 Form and structural features
3.3.1 Cross-border integration of musical forms
Break the boundary between national orchestra, Western orchestra and chamber music, and realize the cross-border integration of different music forms.
Ethnic and Western Orchestral Fusion: The "Silk Road Fantasy Suite" employs a traditional Chinese orchestral arrangement while incorporating Western orchestral techniques. For instance, brass instruments are used to amplify the majestic atmosphere, while woodwinds mimic the timbre of folk instruments, achieving an organic blend of both orchestral forms. "Dunhuang" builds upon Western orchestral foundations with solo performances of traditional Chinese instruments like the pipa and guzheng, creating a cross-genre fusion where "Western music forms the backbone while folk music serves as the foundation."
The fusion of traditional and modern music forms: "Shahai Jingyi" combines traditional chamber music forms with modern electronic music elements. Through electronic sound effects to simulate the desert environment, combined with the melody of traditional instruments, the expressive power of music is expanded;
The fusion of instrumental music and vocal music: "The Song of Compassion" combines symphonic chorus, folk vocal music and instrumental solo, and the interweaving of the chanting of the vocal part and the symphonic performance of the instrumental music form a multi-fusion music form.
3.3.2 Clear title screen orientation
The titles of the works are mostly vivid and guide the audience to associate the scenes of the Silk Road through the music.
Scene-based Titles: "Desert Ink Painting" employs the imagery of "sandstone ink painting," directly evoking the visual landscape of the Silk Road desert. The music uses tonal variations to depict sunrise and sunset in the desert. "Wind Chimes" conjures the scene of ancient Silk Road temple bells resonating in the breeze, where the ethereal melody and swaying rhythm echo the titles imagery.
Narrative titles: Titles such as "Xuanzangs Journey to the West" and "Silk Road Dreams" directly reveal the narrative theme. The music structure unfolds according to the narrative logic. For example, "Xuanzangs Journey to the West" constructs the music through the plot line of "setting out, suffering, arriving", allowing the audience to follow the narrative clues through the music to feel the Silk Road journey.
The titles of the artistic conception category, such as "Shahai Artistic Conception" and "Silk Rhythm", focus on conveying the overall artistic conception of the Silk Road. Through the comprehensive use of melody, harmony and instrumentation, the music creates different artistic conceptions such as vastness, remoteness and vitality.
3.3.3 The color scheme is rich and colorful
The arranger pays attention to color expression, and creates rich and diverse sound effects through the combination of different instruments and timbre matching.
The chromatic expression of ethnic instruments: In *Silk Melody*, pipas rolling technique captures the silk roads delicate texture, guzhengs scraping imitates sandstorm currents, while dizis tonguing artistry conveys bird songs and wind whispers. Through these signature techniques, a vibrant palette of oriental timbres is woven.
The use of color in Western musical instruments: In Dunhuang, the high position of the violin is used to imitate the lightness of the flying sky, the middle and low range of the horn is used to express the depth of the cave, and the overtones of the harp create a mysterious atmosphere. The color changes of western musical instruments enrich the expressiveness of the Silk Road scene;
Colorful fusion in mixed instrumentation: Silk Road Reverie intertwines the timbres of pipa and violin to mirror cultural dialogue between East and West. Tower Chimes in the Wind builds layered soundscapes through the ethereal harp, complemented by the crisp rhythm of wooden fish and sustained vibrato of string instruments, evoking the mystique and timeless allure of the Silk Road.
3.3.4 Flexible and diverse structural layout
There are both traditional forms and free and flexible innovative structures, which serve the expression of themes and the creation of artistic conception.
Traditional form: "Silk Road Overture" adopts sonata form. The exposition presents the grand momentum of the Silk Road theme, the development section simulates the twists and turns of the Silk Road journey through the deformation of the theme and the change of tonality, and the recapitulation section returns to the theme and sublimates. The structure is rigorous and close to the narrative.
Suite form: "Fantasy Suite of the Silk Road" adopts the structure of suite, composed of "Chang an", "Hexi Corridor", "Western Regions" and other movements. Each movement focuses on a scene of the Silk Road, and the panoramic picture of the Silk Road is displayed through the connection between the movements;
Free form: "Mo Mo Tu" adopts free form without fixed structural framework. It creates the fluidity and uncertainty of desert scene by the progressive of timbre and artistic conception and the free connection of different musical paragraphs;
Narrative structure: "Xuanzangs Journey to the West" takes the development of the plot as the core of the structure, and divides the paragraphs according to the narrative logic of "setting out, encountering obstacles, enlightenment and arrival". The rhythm, intensity and instrumentation of the music change with the plot to enhance the appeal of the narrative.
4. Performance style of Silk Road theme music
4.1 Conceptual dimension: the integration of tradition and modernity
4.1.1 Inheriting traditional performance concepts
Respect the performance norms and artistic characteristics of the traditional music of the Silk Road, pay attention to the flavor and emotional expression of the music, and inherit the humanistic spirit of the traditional music.
4.1.2 Integrating modern performance concepts
Absorb the innovative ideas of modern music performance, pay attention to the individualization and artistic tension of performance, emphasize the interpretation of the contemporary connotation of the work, and realize the organic integration of traditional performance ideas and modern performance concepts.
4.2 Behavioral dimension: the unity of technology and emotion
4.2.1 Technical Excellence
The performer should have solid performance skills and be proficient in the performance techniques of different instruments, especially the performance techniques of silk Road characteristic instruments, such as the wheel finger of pipa and the shake finger of guzheng, so as to accurately present the musical connotation of the work.
4.2.2 Sincere emotional expression
Emotional investment is emphasized in the performance, and the history of the Silk Road, the yearning for cultural exchange and the praise for the spirit of the times are conveyed through music, so as to realize the unity of technical expression and emotional expression.
4.2.3 Diverse Collaborative Interactions
In the performance of ensemble works, the interaction and cooperation between performers are emphasized. Different instrument parts echo and complement each other to form a harmonious and unified sound effect, showing the inclusiveness and coordination of Silk Road culture.
4.3 Sound dimension: the balance between flavor and tension
4.3.1 Preservation of traditional charm
We should pay attention to the sound flavor of the traditional music of the Silk Road, such as the unique timbre of the national musical instruments and the characteristics of the ornamentation of the folk music, so as to convey the cultural genes of the traditional music.
4.3.2 Creating Modern Tension
Through the changes of timbre, contrast of intensity, changes of rhythm and other techniques, the artistic tension of modern music is created, the expressiveness and appeal of the work are enhanced, and the aesthetic needs of contemporary audiences are satisfied.
4.3.3 Cross-border sound blending
In cross-border fusion works, the organic integration of different instrument timbres is realized, such as the complementary timbre of national and Western instruments, and the combination of traditional timbre and modern electronic timbre, to create unique sound effects.
5. Cultural connotation of Silk Road theme music
5.1 Inheriting and carrying forward the Silk Road spirit
The Silk Road-themed music embodies the Silk Road spirit of peace, cooperation, openness, mutual learning, and win-win cooperation. Through musical language, the works showcase cultural exchanges and civilizational interactions along the Silk Road, convey aspirations for peaceful development, and promote the contemporary value of the Silk Road spirit.
5.2 Construction and dissemination of national cultural image
Silk Road-themed music showcases Chinas historical and cultural heritage, contemporary development achievements, and cultural confidence in artistic forms, shaping an open, inclusive, civilized, and progressive national cultural image. Through international performances and cultural exchanges, it promotes Chinese culture to the world and enhances the countrys cultural soft power.
5.3 Artistic expression of the concept of a community with a shared future for mankind
The work focuses on themes such as cultural exchanges between the East and the West and common development of the world, reflecting the concept of a shared future for mankind. Through the cross-cultural communication characteristics of music, it promotes cultural understanding and emotional resonance between different countries and nations, providing artistic support for building a community with a shared future for mankind.
5.4 Creative transformation and innovative development of traditional culture
The Silk Road theme music excavates the traditional cultural resources of the Silk Road, realizes the creative transformation and innovative development of traditional culture through modern music creation techniques and performance forms, makes the traditional Silk Road culture revitalize and vitality in the contemporary times, and enhances the contemporary communication power and influence of traditional culture.
6. Research conclusions and implications
6.1 Research Conclusions
1. Since the reform and opening up, Chinas Silk Road-themed music has experienced three stages of preliminary exploration, steady development and prosperity, and its creative context is influenced by cultural, social and artistic factors;
2. The creative works are characterized by distinct exotic themes, rich thematic connotations, diversified musical materials, and flexible structural forms. Cross-border integration is the core trend, specifically manifested in focusing on the Silk Road landscape, history and ethnic customs in terms of themes, covering transplantation, collage and original materials, and combining traditional and innovative forms and structures;
3. The performance style integrates tradition and modernity, technology and emotion, and balance between flavor and tension in the three dimensions of concept, behavior and sound;
4. Cultural connotation carries multiple values such as the inheritance of the Silk Road spirit, the construction of national cultural image, the dissemination of the concept of a community with a shared future for mankind, and the innovation and development of traditional culture, which is of great significance in the current era.
6.2 Practical Implications
6.2.1 Inspiration for music creation
We should continue to explore the cultural resources of the Silk Road, innovate creative techniques, and focus on the integration of tradition and modernity, local and international, so as to enhance the ideological and artistic quality of the works. We can further expand the dimensions of the Silk Road theme, strengthen the use of folk music materials of minority ethnic groups, and innovate the forms and paths of cross-border integration.
6.2.2 Implications for musical performance
Performers are encouraged to deeply understand the cultural essence of the works, integrate modern performance concepts while preserving traditional techniques, and enhance the appeal and reach of performances. Given the multicultural nature of Silk Road-themed music, performers should deepen their understanding and technical mastery of diverse ethnic musical styles.
6.2.3 Implications for Cultural Communication
Strengthen the international dissemination of Silk Road-themed music by showcasing the charm of Chinas contemporary music to the world through international performances, digital media, and other channels, promoting the international exchange of Silk Road culture. Targeted interpretation content can be produced by incorporating cultural elements from the works to help international audiences understand the cultural connotations of the pieces.
6.2.4 Implications for cultural policy
We should further enhance support for Silk Road-themed music creation and dissemination, improve cultural exchange platforms, and promote the development of Silk Road cultural industries. A special fund could be established to support Silk Road-themed music creation, while building international performance platforms to promote outstanding works globally.
References
Du Yaxiong. (2017). The Musical Culture of the Maritime Silk Road. Shanghai Music Publishing House.
Zhou Jingbao. (1987). The Musical Culture of the Silk Road. Xinjiang Peoples Publishing House.
Du Yaxiong, Zhou Ji. (1997). The Musical Culture of the Silk Road. Peoples Music Publishing House.
Jin Qiu. (2002). History of Cultural Exchange of Music and Dance along the Ancient Silk Road. Cultural Relics Publishing House.
Chen Ling, Chen Yiling. (2005). New Voices of Hu: Music Along the Silk Road. Shanghai Music Publishing House.
Song Bonian, Li Qiang. (2009). Research on Silk Road Music. Xinjiang Peoples Publishing House.
Harris, R. (2008). The Formation of Musical Classics in Central Asia, China (Translated by Zhang Yanfeng). Shanghai Conservatory of Music Press.
Levin, T. (2016). Music of Central Asia (translated by Mao Yuang). Shanghai Music Publishing House.
Cheng Xiong on the Shore. (1988). Music of the Ancient Silk Road (translated by Lang Ying). Shanghai Literature and Art Publishing House.
Wang Cizhao. (2018). A Study and Review of Silk Road Music: Research and Composition. Music Research, (3),512.
Appendix A. In-depth Interview Outline
I. For composers
1. What inspired you to create Silk Road-themed music? How did your ideas evolve through different creative phases?
2. How to balance "traditional Silk Road elements" and "modern music language" in the creation? What specific Silk Road cultural materials are selected and what are the considerations?
3. Does the Belt and Road Initiative have an impact on your creation? In what aspects?
4. What do you think is the core and difficulty of creating music on the theme of the Silk Road? How to convey the spirit of the Silk Road through the language of music?
II. For performers
1. How do you understand the cultural connotation and artistic characteristics of silk Road themed works when performing them?
2. What are the differences in the choice of techniques between ethnic orchestral music, Western orchestral music and chamber music performance of Silk Road themed works?
3. How to express the imagery of the Silk Road (such as desert, camel caravan, oasis) through performance techniques (such as bowing, fingering, breathing)?
4. How to balance traditional flavor and modern tension in performance? What are the techniques for interacting with other performers?
III. CULTURAL SCHOLARSHIP
1. What is the inheritance and innovation of contemporary Silk Road music and ancient Silk Road music in cultural connotation?
2. What kind of "Silk Road spirit" and contemporary values do you think the contemporary Silk Road theme music conveys?
3. What role does Silk Road-themed music play in the construction of national cultural image and international communication?
4. In what direction can the creation and dissemination of Silk Road themed music be expanded in the future?
Appendix B Musical Technical Analysis Code Table
Coding dimension
Encoding category
Specific code item
instance
Theme
geographical landscape
Desert, oasis, Dunhuang, Chang an and so on
Dunhuang takes the scenes of Dunhuang murals as its inspiration
Historical Narrative
Xuanzangs westward journey, Silk Road trade, ethnic exchanges and so on
The Journey to the West of Xuanzang recreates the journey of Xuanzang
Spiritual connotation
Peaceful cooperation, openness and inclusiveness, and a shared future
The Song of Compassion conveys the idea of peace and goodness
Music
Folk music elements
Ethnic folk songs, mukam modes, traditional instrumental themes
Uyghur Muqam Melody
Cross-border fusion elements
A combination of Chinese and Western instruments, a combination of ancient and modern music forms
A pipa and violin ensemble, blending traditional melodies with modern harmonies
Special sound symbols
Bell sounds, wind and sand sounds, religious ritual sounds
Trombone simulates camel bells
Form Structure
Form Type
Sonata form, suite form, fantasia form, free form
The Silk Road Fantasy Suite is in the form of a suite
Adapter Features
Folk instruments, Western instruments, or a combination of both
The orchestral arrangement of ethnic music shows the flavor of the East
Title Features
Scenes, Stories, Mental
The Wind Chimes is a scene title
Appendix C Field observation record form
viewing time View scene object of observation Observation content record
Date: ______ Time: ______
Type: □ Ethnic orchestral performance Performance concept:
1.Performers cultural interpretation of the work (pre-performance commentary/interview);
2. Integration of traditional and modern performance concepts
Western orchestral performance
Indoor music performance
Performing behavior:
1. Core performance techniques (bowing, fingering, breath control);
2. Interaction and coordination between performers; 3. Emotional expression methods
Performance sound:
1. Musical timbre characteristics (preservation of traditional charm);
2. Dynamic and rhythmic variations (modern tension-building);
3. Cross-genre timbre fusion effects
supplementary specification :(Record emergencies, special artistic treatments, etc.)
preliminary analysis: (Explain the relationship between performance style and cultural connotation based on the observation)
Acknowledgements
The completion of this paper is inseparable from the strong support and help of teachers, interviewees, relatives and friends. Here, I would like to express my sincere thanks!
First of all, I would like to express my heartfelt thanks to my supervisor for his meticulous guidance during the thesis writing process. From topic selection and framework construction to content deepening and language polishing, my supervisor gave me professional and meticulous suggestions. His rigorous academic attitude and profound academic accomplishment benefited me a lot.
We extend our gratitude to the composers, performers, cultural scholars, and practitioners who participated in this interview. Their sincere contributions provided invaluable firsthand materials for the paper, enabling the research to proceed smoothly. We also thank the senior scholars in the field of Silk Road music culture, whose research achievements have laid a solid theoretical foundation for this paper.
I would like to thank my classmates and friends for their companionship and communication during the writing of the paper. We encouraged and inspired each other and jointly overcome the difficulties in the research. I would like to thank my family for their understanding and support all the time. Their tolerance and care are the motivation for me to move forward.
Finally, I would like to thank myself for my continuous efforts in the study, as well as all the individuals and institutions who helped me with this research. Due to my limited knowledge, there may be some omissions and deficiencies in the paper. I sincerely appreciate your criticism and correction.
