Performing Intercultural Music of the Chinese Diaspora
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AbstractThe idea of returning to the composer’s cultural roots as sources of musical inspiration, as clichéd as it may sound, has been embraced as an effective metaphor for musical creativity in much of the twentieth century and beyond by Chinese musicians at home and abroad. This presentation will look at two piano works by Chinese composers Chen Yi (b.1953) and Liang Lei (b.1972) to examine the sonic attributes that have been framed as “Chinese” and “Western,” as well as the language and strategies of musical syncretism that have been featured so prominently in these compositions. In her much performed Ba Ban, Chen juxtaposed what was essentially a pentatonic melodic template, or “mother tune,” for hundreds of traditional Chinese melodies with chromaticism and serialism. Liang, in his The Moon is Following Us, reinterpreted a Qinghai folksong in aid of audio signal processing and set the pitch materials in an avant-garde fashion. This presentation will shed light on the interpretative choices of the composers and the purported integration of distinctive musical languages with explicit reference to folk, authentic compositional elements. I will also attempt to suggest performing approaches in the discourse of musical syncretism.
Acceptance Date15/06/2018
All Author(s) ListPoon Kiu Tung
Name of ConferenceNew Asia Research Summit, Nief-Norf Summer Festival 2018
Start Date of Conference15/06/2018
End Date of Conference17/06/2018
Place of ConferenceKnoxville, TN
Country/Region of ConferenceUnited States of America
Year2018
Month6
LanguagesEnglish-United States

Last updated on 2018-25-10 at 16:30