Analysing the modern repertoire for Erhu through a comparison of two works: Capriccio No. 2 – Mongolian Fantasy, and Wailing Waters

This study examines how music from different cultures influenced the Mongolian imagination and Wailing Waters and contributed to the modernisation of the erhu repertoire. The study shows that the trend of learning and incorporating music from different cultures has positive effects, but also that the Erhu may be losing its identity and becoming too westernised. My methodology involves the analysis of two Erhu pieces, Mongolian Fantasy, and Wailing Water, composed by George Gao, and arranged by Haihui Huang respectively. The analysis shows the possibilities of combining traditional and new styles and techniques in the contemporary erhu repertoire. In conclusion, globalisation and multiculturalism are increasingly important aspects of Erhu composition, and the organisation and categorisation of Chinese music is essential for its education, preservation, and transmission.