Taoist Reflections in the Performance of the Modern Concerto for Double Bass

Abstract

This paper explores the influence of Daoist thought on the composition and performance of modern double bass concertos. In a cross-cultural context, the double bass has deeply integrated with traditional Chinese philosophy, particularly Daoist thought, giving rise to a series of outstanding works embodying Daoist principles such as “Dao follows nature”, “Wu Wei” (non-action), and “Xu Jing” (emptiness and tranquility). These works either employ new media and techniques to evoke an ethereal and flowing Eastern aesthetic, internalize Daoist thinking in their generative logic to imbue the music with a unique rhythmic vitality, or highlight the contemporary dynamism of traditional culture through the fusion of Eastern and Western elements, thereby opening up broader expressive dimensions for double bass music. This trend suggests that Chinese double bass performers, while drawing upon the rich nourishment of indigenous philosophical thoughts like Daoism, should also embrace diverse artistic elements from around the world. Only through the dual interaction of inheritance and innovation, local and global perspectives, can a contemporary double bass musical lexicon be distilled—one that possesses both national characteristics and global expressiveness.