by Xiao Xu and Joseph Bowman
ABSTRACT
n the evolving landscape of post-war cultural identity, the oboe traditionally rooted in Western classical music has undergone a profound transformation within China’s national music system. WhileChinese composers have localized Western string and keyboardinstruments extensively, woodwinds such as the oboe remain critically understudied. This study addresses this gap by investigating how the oboe has been nationalized, hybridized, and re-contextualized in Chinese musical composition between 1946 and 2024. Employing grounded theory methodology, this study analyzes 49 oboe compositions across three historical phases Adaptation (1946–1976), Innovation (1977–1990), and Pluralism (1991–2024). Data was collected through archival analysis and semi-structured interviews with 12 composers, performers, and scholars. Beyond initial qualitative coding using NVivo, the study further integrated quantitative analyses, including descriptive statistics, Pearson correlation, and a Multi-Layer Perceptron Neural Network (MLPNN), to assess patterns of stylistic evolution. Findings reveal a marked progression from politically driven folk adaptations to highly pluralistic, transcultural aesthetics. Thematic abstraction, structural freedom, and use of extended techniques (e.g., glissando, multiphonics) increased significantly over time. Correlational and MLPNN analyses confirmed that extended technique usage and atonality were strong predictors of compositional hybridity. This study contributes to transcultural musicology by modeling how institutional policy, pedagogy, and creative agency collectively shape instrumental identity. The Chinese oboe, once a foreign orchestral tool, has become a dynamic symbol of national and post-national expression, offering a compelling case study in musical hybridity and cultural adaptation.
