UC Irvine

The Atayal language of Taiwan, which is segmented into the Squliq and C’uli dialects, represents the island’s third-largest Indigenous group and both expresses and is shaped by the rich cultural tapestry of the island. This dissertation, consisting of original music compositions and related theoretical and analytical writings, aims to create a dialogue between Atayal culture and Western contemporary classical music. The phonetics, grammar, and metaphors prominent in the Atayal language are used as a basis for the compositional methodology, informing purely instrumental compositions and other works that feature spoken text. This dissertation seeks to bridge the gap between Atayal values and contemporary compositional techniques.Chapter One gives a historical and cultural overview of the Atayal, focusing on their linguistic resilience and the effects of colonialism. It establishes a theoretical framework for the dissertation by drawing from the writings of Dylan Robinson, Édouard Glissant, and Nina Sun Eidsheim, and traces their influence on the author’s work. Chapter Two analyzes Indigenous composers such as Raven Chacon and De-Fu Hu, as well as those who use language in their own work, such as Mauricio Kagel and Peter Ablinger. These examples inform the dissertation’s exploration of how Atayal linguistic elements can shape compositional methods. Chapter Three presents the author’s original compositions through phonetics, pitch, rhythm, and metaphor. The creative works include six compositions: two for solo percussion and electronics, one for duo featuring percussion and flute, one for MalletKat, flowerpots, and electronic sounds, one for a trio consisting of flute, vibraphone, and violin (or flexible instrumentation), and a larger ensemble piece with open instrumentation. Using tools like Python programming, Max/MSP, motion sensors, and spatialization, the creative corpus shows how Atayal language and heritage can be transformed into soundscapes for acoustic and electronic music.Chapter Four situates the creative corpus within broader academic contexts, addressing themes of authenticity, relationality, and resilience. It also highlights significant gaps in the scholarship. There is no prior research exploring the conceptual and theoretical aspects of Atayal in comparison to Western contemporary classical music in English. Working to address this gap, this chapter contributes to and seeks to understand the Atayal perspective in relation to their music and contemporary classical soundscapes.The dissertation concludes with a discussion of the essential role these compositions play in Indigenous cultural resilience. Ultimately, it provides a nuanced understanding of authenticity, adaptability, and Indigeneity as a whole.