Beijing Opera Rock －《京劇搖滾》– Lan Tung (2010) － Chinese ensemble: dizi, erhu, zheng, pipa, yangqin, daruan, percussion (2010, 2011) － quartet: flute or clarinet, cello, piano, and erhu or violin or viola (2012) In the process of transformation, a new sound is created. Exploring the transformation between different musical genres, the original inspiration for Beijing Opera Rock came from the seemingly incompatible musical forms of Beijing Opera and Jazz. It is built on a short phrase used as bridge (過門) in Beijing Opera music; however, set in a cycle of 7 beats similar to a lehara in Indian classical music. The middle section draws influences from Indonesian gamelan. As each influence presented itself, the contracting, complimenting, and sometimes contradicting natures are explored. The duality of yin and yang exists within each musical genre individually, and also in its relationships to other genres.
Yin and Yang are the two principals in the universal process of transformation. Their relationship is that of mutual constraint and fulfillment. Two poles, equal and opposite, they influence and represent the human character in all aspects of life. Just like how the duality of yin and yang is expressed in all aspects of life, it is present in all forms of music. The piece is named after its rocking feel in the constant motion. It is built on a short phrase used as bridge (過門) in Beijing Opera music; however, set in a cycle of 7 beats similar to a lehara in Indian classical music. At the same time, it layers together different modes and scales on top of each other, combining chromatic and pentatonic systems. This gives birth to the opening melody and serves as the motive to bring back in different variations throughout the piece. The slower middle section in a 8-beat rhythmic cycle have triplets playing against a duple time, punctuated with short melodic and unmelodic interjections, creating a dreamy atmosphere. The gongs mark the beginning of each cycle as in Indonesian gamelan music. Also as in Indonesian and Indian music, the rhythmic cycle is then subdivided, shortening the melodic phrases and increasing the pulse. Taking the form of jazz, the final conclusion of the piece restates the main melody from the top. Beijing Opera Rock won the forth place of “Yin & Yang – Chai Found Music Workshop 2010 Sizhu Music Composition Contest”. It was premiered by Chai Found Music Workshop on Oct 30, 2010 in Taiwan.
《京劇搖滾》(Beijing Opera Rock，2010)樂器：二胡、古箏、琵琶、笛子、阮、揚琴、打擊，融合京劇過門、爵士樂風格及印尼甘美朗音樂，獲采風樂坊與國際現代音樂協會台灣總會合辦2010年「陰陽‧國際絲竹樂作曲比賽」第四名，並由采風樂坊於臺灣首演。
陰、陽是宇宙萬物蛻變與轉化的基本原則，彼此相輔相成。看似相反的兩極，卻密不可分，共同影響著我們生活中的每一個細節。 這樣的特性，在今日多元的音樂文化裡，也同樣的無所不在。 《京劇搖滾》展現 的，是不同樂種間的融合與轉機。傳統京劇與爵士樂， 甚至印尼甘美朗音樂，這些原本不相干，甚至不相容的音樂體系，在偶然的機會下相逢，彼此由矛盾、對比、到互補的發展過程，激盪出新的火花，並衍生出新的聲 音。 陰、陽的二元性，存在於每個獨立樂種中，也表現於不同樂種間的交流。 這首曲子名為《京 劇搖滾》，並非搖滾流行樂，而是指樂曲貫穿到底的律動。整首樂曲源自於京劇中常用的一句過門，但架構於印度音樂「節奏週期」的概念，以七拍為單位反覆循環 。此外，不同的音階層疊在一起，五聲音階與半音階同時演奏， 增添既詭異又荒謬的色彩。中段部分，以較緩慢的八拍為週期，二連音對三連音，由節奏層面來探索陰、陽的二元性，並營造出夢境般的主體，和首尾兩段的節奏分 明相對應。