Keelung, the rainy port on Taiwan's north coast is the childhood home of the renowned composer Ma Shui-lung. A rich kaleidoscope of sounds--the crashing surf, the falling rain, the lyrical cries of the hawkers and vendors who set up shop outside the major temple and the blaring horns of the many ships which call at port--this is the world in which the composer grew up. So profound were these early sound influences that later on he celebrated these childhood recollections in his own composition, "Sketches of the Rainy Port."

Born in 1939. Ma Shui-lung grew up in rather simple surroundings. Unlike most musicians who usually came from affluent backgrounds, the industrious Ma had to take his musical sensitivities into the real world and nurture them himself. One of his favorite pastimes was attending performances of the outdoor local operas often staged in the city. While most spectators crowded in front of the stage to watch the colorful performers, Ma would scamper backstage and listen intently to the intricate, whining sounds produced by the orchestration of such traditional musical instruments as the So Na, Tan P'i Ku, T'ung Ku, Lo and Hsiao Pa.

Primary school brought this love for music to the attention of concerned teachers. One teacher, discovering the young boy's ardent interest in music arranged special times for him to practice on the school's organ. Studying by himself, the young prodigy advanced to the point where he began to write short scores, which as he so aptly phrased it, represented the sounds in his heart.

He entered a technical marine high school in order to secure a career that would allow him the opportunity to see the world. Unfortunately his father passed away during his second year and the young boy had to take on the responsibility of caring for the family. After withdrawing from school he took a job in the Taiwan Fertilizer Company. He did not abandon his love for music and composing, utilizing his free time to continue writing. During this period he made the decision to take the entrance test for the National Academy of Arts which was in the town of Panchiao.

In preparing for the rigorous test, Ma enlisted the tutorial services of a teacher, Ch'en Mao-liang who was living in Taipei. The two corresponded by mail, Ma sending his compositions to Ch'en who then corrected them. His tenacity was rewarded with acceptance into the school.

During his five years of study at the academy Ma displayed incredible perseverance and devotion to his studies. Unknown to any of his instructors and fellow classmates, Ma Shui-lung not only attended classes during the day. He continued to hold his full-time position at the fertilizer plant during the evening. Incredibly, during his five years he never once was absent from classes and managed to compile an outstanding record. While his classmates could enjoy such extracurricular activities as movies, dances and concerts, Ma had to stay after class, religiously practicing the piano and cello. Homework assignments were done on the train commute to his job in Keelung. After graduation Ma taught for seven and one half years in the high school system, then applied for and received a full scholarship to the prestigious Regensburg Music Academy in West Germany. Under the guidance of assistant academy director, Dr. Oskar Sigmund, Ma was swept away by the rich heritage of western opera and orchestration. Each week he spent at least four days in the opera house admiring the props, costumes, orchestra and designs that accentuated this western music form. After half a year he began to feel an inner struggle emerge which challenged his musical perspectives. As early as his days at the National Academy when he was studying western musical theory he made tentative steps into exploring the musical dimensions of traditional Chinese pieces such as in the regional operas. Now as a Chinese studying in the heady musical environment of the West he realized that there should be a concerted effort made by Chinese composers to research the musical traditions of Chinese culture. Simultaneously, he came to the important realization that one shouldn't reject western music but rather instead use its theories, musical frameworks and special skills as modes of reference in creating a "Chinese music". Prior to graduation in 1975, the school sponsored a performance of Ma's composition which took the classic, lyric beauty of T'ang dynasty poetry and set them to his own musical score. Praising his work, the critics and school instructors felt this rich folk-flavored music brought forth the power and beauty of Chinese poetry.

Since his return from West Germany in 1975, Ma has composed over 40 pieces reflecting the master's diversity. His scores include arrangements for dance, instrumental solos, orchestrations and choral groups. His most renowned work, "K'ung Ch'ueh Tung Nan Fei" (the Peacock Flies to the Southeast) was awarded the nation's prestigious Chungshan Art Prize.

Today, Ma Shui-lung is the director of the music department at the National Institute of the Arts. In his pursuit of developing a Chinese musical tradition he has made mastery of one traditional instrument a mandatory entrance requirement. He stresses Chinese must look at music from a new perspective, and cites an interesting case. The piano is considered a western instrument while the P'i P'a (a stringed instrument) is supposedly traditionally Chinese. In fact it was an instrument used by the nomadic border tribes of the northwest which through time and continuous composition became "Sinified." Therefore, these supposed western instruments, if used as a medium for the composition of Chinese pieces, could also lose their foreign stigma. The key, he stresses, is continuous composition, and the development of local composers.

(Gerald Hatherly)

[Picture Caption]

The National Institute of the Arts is one of Ma Shui-lung's "sweet" tasks. Pictured is a classroom situation.

1. One of Ma Shui-lung's new compositions. Most of his pieces are tested out on the piano by his wife, Hsu Tzu-chen. 2. Enjoining others to wade in the cool waters of the sea, Ma Shui-lung enjoys picking seaweed.

The National Institute of the Arts is one of Ma Shui-lung's "sweet" tasks. Pictured is a classroom situation.

1. One of Ma Shui-lung's new compositions. Most of his pieces are tested out on the piano by his wife, Hsu Tzu-chen.

2. Enjoining others to wade in the cool waters of the sea, Ma Shui-lung enjoys picking seaweed.