{"id":224,"date":"2025-05-09T15:28:07","date_gmt":"2025-05-09T15:28:07","guid":{"rendered":"https:\/\/conferences.iftawm.org\/conferences\/?p=224"},"modified":"2025-05-19T14:55:58","modified_gmt":"2025-05-19T14:55:58","slug":"east-asian-concert-music","status":"publish","type":"post","link":"https:\/\/conferences.iftawm.org\/conferences\/2025\/05\/09\/east-asian-concert-music\/","title":{"rendered":"East Asian Concert Music and Global Modernism"},"content":{"rendered":"\n

In Musical Composition in the Context of Globalization<\/em> (2021), Christian Utz acknowledges the necessity to adopt a \u201chybrid, permeable and transformative constitution of all present cultures\u201d in analyzing works by postwar East Asian composers and to examine the transculturality of individuals based on multiple attachments and identities. In this special session, our presenters provide analytical case studies, which redefine modernism as a critical framework that is firmly embedded in the global interstices of culture. How do East Asian composers respond to the multiple cultural allegiances and find distinctive musical expressions in composing concert music in the global age? In turn, what do listeners and analysts take away from the composers\u2019 efforts to transform or distance themselves from the modernist canon? In shedding light on these questions, the presenters draw on a wealth of analytic methodologies that decenter<\/em> epistemologies associated with canonical modernism of North America and Europe. To this end, the presentations focus on issues of cultural memory and nostalgia (Anqi Wang on Ye Xiaogang), synthesis of Chinese pentatonicism and atonality in articulating temporal symbolism (Tengrue Zhang on Chen Qigang), temporality of stillness (Benjamin Schweitzer on Takemitsu), gamelan and cultural hybridity in Unsuk Chin\u2019s music (Jared Redmond), Buddhist philosophy in reading Chin\u2019s Alice in Wonderland<\/em> (Ji Yeon Lee), and bricolage and anti-representation in Chin\u2019s Cantatrix<\/em> (Gui Hwan Lee).<\/p>\n\n\n\n

(Click on the titles to read the abstracts)<\/p>\n\n\n\n

Anqi Wang (Rutgers University), “Scent and Sound in Ye Xiaogang\u2019s Scent of the Green Mango (1998)”<\/summary>\n

This paper investigates the multisensory intersection of olfaction and audition, positioning scent as a compelling yet underexplored dimension of musical expression and perception. It develops a framework for sonic\u2013olfactory translation through shared parameters: volume (scent concentration\/dynamic intensity), quality (aromatic character\/sonority), temporal duration (scent persistence\/sound decay), and trigeminal effects (sensorial impact). Beyond perceptual analogies, this paper engages Constance Classen\u2019s concept of osmologies<\/em>, which refers to culturally specific systems that organize time, space, and identity through scent (Classen, Howes, and Synnott, 1994), and Steven Feld\u2019s acoustemology<\/em>, which theorizes sound as a mode of knowing and a means of emplacement (Feld and Basso 2015). Together, these frameworks illuminate how scent and sound encode emotional and experiential meanings embedded in cultural memory. The analysis focuses on Ye Xiaogang\u2019s Scent of the Green Mango<\/em>, where the scent is evoked through shared parameters between olfaction and sound, such as fluctuating meters, soft dynamics, and shifting tonal centers. Nonetheless, this sonic portrayal functions primarily as a prelude. The work\u2019s expressive core emerges through the interplay between a vibrant outer section, characterized by rich and varied pentatonic materials, folk dance rhythms, and timbral evocations of the bamboo-tube zither, and a contrasting nonlinear middle section, marked by transparent textures, scattered pitch placements across registers, and quasi-symmetrical vertical motions. Together, these sections convey a sense of nostalgia and a profound emotional connection to the landscapes of southern China. Drawing on the Chinese aesthetic of \u548f\u7269\u2f94\u5fd7 (Yongwu Yanzhi<\/em>, \u201cexpressing sentiments through objects\u201d), Ye transforms scent into a poetic and affective medium, embedding ecological, cultural, and personal resonance within his sonic landscape.<\/p>\n<\/details>\n\n\n\n

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Supeena Adler (UCLA), \u201cFamily Heirlooms as Social Objects: The Thai Musical Instruments at UCLA\u201d<\/summary>\n

In her compelling study, Supeena Insee Adler, a highly skilled performer of Thai classical music and an accomplished instrument technician from Thailand, shares her profound insights into a remarkable collection of Thai musical instruments housed at UCLA. This investigation is anchored in a pivotal project she undertook from 2014 to 2015, where she painstakingly restored a historically significant collection of instruments that had long been the responsibility of UCLA. Thanks to her expert care, these instruments are not only restored to their former glory but are also actively used in her Thai ensemble course and performances, enriching the university\u2019s cultural landscape. Adler provides a unique artisan’s perspective on the intricate repair process, emphasizing the deep cultural practices intertwined with these instruments. She vividly recounts the rituals involved in tuning a reluctant gong, showcasing the connection between craftsmanship and cultural heritage. Furthermore, she explores the rich histories of these instruments prior to their arrival at UCLA in the 1960s, highlighting that many were once owned by the legendary Luang Pradit Phairoh, a revered Thai court musician of the early twentieth century, which significantly elevates their importance. In her conclusion, Adler delves into the dynamic social networks that these instruments have traversed throughout their histories. She illustrates how they have fostered connections within Thailand, nurtured collaborations between the musical and scholarly communities in Bangkok and UCLA, and are now bridging a cultural gap with the burgeoning Thai diaspora in the United States \u2013 a community that was scarcely present when these instruments first arrived. Through this exploration, Adler not only honors the legacy of these musical treasures but also illuminates their ongoing role in connecting people and cultures across time and space.<\/p>\n<\/details>\n\n\n\n

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Tengrue Zhang (CUNY Graduate Center), “Temporal Symbolism Through Pentatonic-Chromatic Synthesis in Chen Qigang\u2019s Reflet d\u2019un temps disparu (1995-96)”<\/summary>\n

Contemporary Chinese music often suggests a conflict between the evocation of tradition and the present. In many instances, this results from innovative compositional approaches that synthesize apparent opposite musical epistemologies: the deeply-rooted pentatonic traditions inherited from Chinese music theory, and the compositional techniques that characterize contemporary Western art music (Everett 2007 and 2015). This strategy is exemplified in Chinese composer Chen Qigang\u2019s cello concerto Reflet d\u2019un temps disparu<\/em> (\u201cReflections of a Vanished Time,\u201d 1995\u201396). Building upon the framework proposed in Rao 2002, I propose a way to analyze the symbolic meaning in this work that results from the synthesis of pentatonic and atonal elements in a manner that is emblematic of trends in contemporary Chinese music in general (Rao 2000 and 2007). In Reflet<\/em>, Chen employs Chinese pentatonic elements, including ancient melodies and anhemitonic pentatonic collections, which I argue could be understood as symbols of the past, held in memory. In contrast, atonal elements, such as semitones and chromatic collections, seem to suggest the present, experienced in the current moment. The pentatonic and atonal elements first appear as distinct in texture, timbre, and rhythm. In the course of the work, however, these elements undergo progressive synthesis, which can be understood as an attempt to bridge temporal distances, bringing the remembered past into the present and projecting the present back into the past. More specifically, the work\u2019s chromatic collections (inherently atonal) emerge from combinations of pentatonic collections. The first chromatic collection arises through two pairs of semitone-juxtaposed pentatonic collections\u2014E\/F and G\u266d\/G\u2014distributed between solo cello and high winds. After developing through seven successive bian<\/em>\u53d8-directed transformations, this passage ends on the G pentatonic collection, which is one semitone from the starting collection G\u266d (Lam 2024). The semitone relationship between the F and G\u266d pentatonic collections appears prominently in both examples and defines the relationship between the piece\u2019s opening (G\u266d PENT) and closing (F PENT) sections. As the synthesis of pentatonic and chromatic collections develops, the persistent semitone tension emerges, resulting from \u201cminimally intersected\u201d pentatonic collections\u2013\u2013for example, F PENT and G\u266d PENT share zero common pitches (Rao 2002). This semitonal tension, manifesting itself at both local and structural levels, becomes increasingly pronounced throughout the piece and ultimately stronger in the synthesis, suggesting an impossibility of superimposing different temporal spaces and an inability to recapture the past, with memory serving only as an echo of lived experience. The work\u2019s title, \u201cReflections of a Vanished Time,\u201d reinforces this temporal symbolism; despite the many attempts to reflect on and reconnect with the past, it remains irreconcilable with the present.<\/p>\n<\/details>\n\n\n\n

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Benjamin Schweitzer (CUNY the Graduate Center), “Exploring Takemitsu\u2019s Landscape: Harmony, Timbre, and Silence as Cultural Markers”<\/summary>\n

T\u014dru Takemitsu described his Landscape<\/em> (1960) for string quartet as a \u201csimple\u201d piece inspired by the Japanese mouth organ sh\u014d<\/em>, its harmonic material based on two pentatonic collections. Authors on Takemitsu\u2019s life and works such as Peter Burt and Mitsuko Ono have only touched on Landscape<\/em> briefly, and it is hardly one of Takemitsu\u2019s most commonly performed or recorded pieces. In actuality, Landscape<\/em> is emblematic of a turning point in Takemitsu\u2019s aesthetics, moving towards the metaphor of a \u201criver of sounds\u201d through which the composer would define the temporality of his later music. Landscape<\/em>\u2019s subtle formal ambiguity and its wealth of timbral detail also look forward to the masterworks of the 1960s to come. Takemitsu\u2019s Landscape<\/em> draws upon the timbral technique and the overall stillness of John Cage\u2019s String Quartet in Four Parts <\/em>(1950), but its form and materials are distinct. While applying Takemitsu\u2019s conception of two combined pentatonic collections proves fruitful, this still leaves many questions about the work\u2019s harmonic language unanswered. Thus, I will look at the importance of two particular chord types, both derived from a single ten-note collection comprised of two pentatonic collections. This common source is not fully revealed until the final chord, which, when combined with the opening chord, completes the original collection. We can hear the work\u2019s connection to the sh\u014d<\/em> in its use of timbre (non-vibrato playing, harmonics) and its swelling chords, arising out of silence and returning thereto. These aspects bring us back to Cage\u2019s Quartet<\/em>, which was never intended to sound \u201cJapanese\u201d and lacks the imitative aspect, and forward to The Dorian Horizon <\/em>(1966), which takes up some of the same issues of timbre and scalar derivation on a larger scale.<\/p>\n\n\n\n

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Jared Redmond (Independent scholar), “‘Keine geographische Grenze’: Unsuk Chin and the Gamelan”<\/summary>\n

Commentators and Unsuk Chin herself identify Balinese gamelan as an important formative influence on her music. Yet we still lack deeper analytic study of this material\u2019s effect and function in her oeuvre. How widespread is gamelan-referential material in Chin\u2019s work? Which specific techniques evoke the gamelan sonically? I argue that for Chin, gamelan material unites influences including her teacher Ligeti, midcentury modernism (Cage, Partch), Western canon (Debussy), and reference to the non-European which still relies on the alluring \u201cexotic\u201d (broadly construed by Locke), in a \u201cglobalized\u201d musical hybrid. Like all great composers\u2019 claims, Chin\u2019s \u201cI have not imitated any stylistic traits of the gamelan\u201d (Chin 2017) demands critical scrutiny. Touching especially on Akrostichon-Wortspiel<\/em> (1991\/3), Violin Concerto<\/em> (2001), Double Concerto<\/em> (2002), and Graffiti<\/em> (2013), this exploratory study traces gamelan-evocative material through decades of Chin\u2019s career. These works exhibit techniques including: wholetone-derived and \u201cgapped\u201d (tone\/semitone and leap) collections hinting at Indonesian slendro<\/em> and pelog<\/em> modes; rhythmically layered heterophonic textures; and microtonal beatings suggesting Balinese ombak<\/em> \u201cwaves\u201d between discrepant instrumental tunings. Some see in Chin\u2019s work tendencies of pastiche and collage into which cross-cultural elements fall weightlessly. Others imbue such elements with intentional weight, effecting cultural \u201chomogeneity\u201d (Son 2021) or a utopian \u201ctranscultural imagination\u201d (Lee 2005). I problematize both these polar interpretations. For the above-mentioned elements are already present in Chin\u2019s teacher Ligeti, who advocated (after Bart\u00f3k) \u201cdreamed\u201d or \u201cinvented\u201d folk music over quotation or \u201cauthenticity\u201d \u2013 a binary reappearing in Chin\u2019s Gougalon<\/em> (2011). And save microtonality, these same elements are already present in \u201cexoticist\u201d music of Debussy. Between Yayoi U. Everett\u2019s syncretism<\/em> and synthesis<\/em> (Everett 2004), we rightly view Chin, a self-described \u201cBerlin composer,\u201d as musical estuary: for her, \u201cthere are no geographical boundaries (keine geographische Grenze<\/em>) in culture\u201d (Chin 2024). Yet this very position locates Chin within a storied tradition of Western musical modernism fascinated by musical possibilities of the Other. Gamelan elements are audible, obvious, and important in Chin\u2019s work. They also reflect cultural hybridity\u2019s complexity: as historian Peter Burke writes, \u201csome kind of mix, a process of hybridization that assists economic globalization [and is] assisted by it\u201d (Burke 2009).<\/p>\n<\/details>\n\n\n\n

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Ji Yeon Lee (University of Houston), “The Cheshire Cat in Unsuk Chin\u2019s Alice in Wonderland: Music, Text, and Buddhist Philosophy”<\/summary>\n

Unsuk Chin\u2019s Alice in Wonderland<\/em> (2007), an operatic adaptation of Lewis Carroll\u2019s eponymous novel, incorporates the composer\u2019s creative reading of certain characters beyond their original guise. The Cheshire Cat is one such character. Although still serving as a guide and commentator on Alice\u2019s journey, Chin (with librettist David Henry Hwang) elevates the Cat\u2019s presence and significance to a new level. The present paper analyzes the Cheshire Cat\u2019s text and music and illuminates the figure\u2019s dramatic meaning in light of Buddhist philosophy. Chin scores the Cheshire Cat with portamento singing and inexact pitches against an elusive and ethereal sonic background of spectral music, corresponding to the character\u2019s constantly appearing and disappearing body. Yet more notable is Chin and Hwang\u2019s scene changes and added text which allows for reading this enigmatic, quirky, and esoteric character as a learned guru who not only penetrates the operational system of Wonderland, but delivers the core message of Buddhist teaching that nothing is fixed or permanent in this physical world (from the Buddhist Four Noble Truths). For instance, when Alice witnesses a baby (the cute) turn into a pig (the ugly), the Cat points out in an added conversation with Alice that the two extremes are neither opposites nor exclusive, suggesting that they can instead be perceived as one entity or continuity. With this observation, the Cat encourages Alice to continue her adventures without pausing for wonder or questions. Even the significance of the Cat\u2019s flexible physicality and fleeting presence is given much more emphasis in an alteration of the scene on the Queen\u2019s croquet grounds. Chin does not explicate a Buddhist understanding of the Cat, but the musical and textual development of its character brings up questions about the ultimate goal and meaning of Alice\u2019s adventure. A Buddhist reading is one possible lens that illuminate such questions.<\/p>\n<\/details>\n\n\n\n

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Gui Hwan Lee (James Madison University), “Borrowing, Bricolage, and Anti-Representation: Unsuk Chin\u2019s Cantatrix sopranica for Two Sopranos, Countertenor and Ensemble (2004\u20135)”<\/summary>\n

I propose an original interpretation of Unsuk Chin\u2019s Cantatrix sopranica<\/em> (2004\u20135), focusing on the subtext underlying its borrowing techniques. I argue that Chin\u2019s borrowing is leaning towards bricolage more than collage, Cantatrix<\/em> being an exemplary case. When composing with collage, representation may not necessarily be undesirable, as seen Sinfonia<\/em> by Berio (Berio therein represents himself as an individual dis\/connected from canonic symphonists before him). By contrast, composing with bricolage results in a music that looks representational but turns out to be an intentional deception, as theorized by French philosopher Michel Serres (1980). Whereas, in its idiomatic meaning in French, bricolage refers to what its practitioners (\u201cbricoleurs\u201d) casually attempt\u2014i.e., combining readily available items to create something new, Serres observes that bricoleurs can use bricolage to deceive any observer\/oppressors who try to fix them in certain positions or identities. Though such bricolage initially seems to meet the observer\/oppressors\u2019 expectations, it gradually turns out to be something else. When this translated into a musical model, bricolage means that a composition borrows styles and materials but grants them only chaotic and episodic emergences\u2014without clear representational goals by themselves. As a result, such a composition is inclined to deceive biased listeners and their anticipation that borrowing must represent the composer\u2019s cultural background and her learnedness about the music of the past. Examining selective movements, I illustrate how Cantatrix<\/em> practices this anti-representation through its borrowing techniques. At first the piece may sound like a kaleidoscopic exploration of borrowed materials and styles, which involves vocalists historically identified as feminine or neutral (i.e., \u201ccantatrix\u201d as \u201ccanto+-trix\u201d). However, the entire piece turns out to be an unspecific whole within which borrowed items emerge sans clear representational goals: though these items recall European (e.g., stile concitato<\/em>) or East-Asian cultures (e.g., pansori<\/em>), they remain ambiguous and fractured. Followed eventually by a hazy sound mass, the borrowed items highlight Chin\u2019s evasion of representing her own cultural background and the vocal music preceding Cantatrix<\/em>. To conclude, I stress that Chin\u2019s borrowing techniques demand further investigations as they can enrich our understanding of borrowing and anti-representation in contemporary East Asian music.<\/p>\n<\/details>\n\n\n\n

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Cited literature<\/summary>\n

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\u2014\u2014\u2014. 2017. \u201cChapter 6: Unsuk Chin (b. 1961), South Korean Composer.\u201d In The Courage of<\/em> Composers and the Tyranny of Taste: Reflections on New Music. Edited by B.lint Andr.s<\/em> Varga, 52\u20138. Rochester, NY: University of Rochester Press.<\/em><\/p>\n\n\n\n

______. 2024. \u201cKomponistin Unsuk Chin: Musik muss einen sch.nen Fluss haben\u201c, interview<\/em> with Volker Blech. Berliner Morgenpost, May 3, 2024.<\/em><\/p>\n\n\n\n

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______. 2007. \u201cCalligraphy and Musical Gestures in the Late Works of Chou Wen-chung.\u201d<\/em> Contemporary Music Review 26\/5-6: 569-84.<\/em><\/p>\n\n\n\n

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______. 2021. \u201cFrom Exoticism to Interculturalism: Counterframing the East\u2013West Binary.\u201d<\/em> Music Theory Spectrum 43, No. 2: 330\u2013338.<\/em><\/p>\n\n\n\n

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Lee, Ji Yeon. \u201cDecoding the Riddle: Unsuk Chin\u2019s Alice in Wonderland Tea-Party.\u201d In The<\/em> Routledge Handbook on Women\u2019s Work in Music, ed. Rhiannon Mathias (Routledge,<\/em> 2021), 219\u2013227.<\/em><\/p>\n\n\n\n

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\u2013\u2013\u2013\u2013\u2013\u2013. 2002. \u201cHearing Pentatonicism Through Serialism: Integrating Different Traditions in<\/em> Chinese Contemporary Music.\u201d Perspectives of New Music, vol. 40, no. 2: 190\u2013231.<\/em><\/p>\n\n\n\n

\u2013\u2013\u2013\u2013\u2013\u2013. 2007. The Tradition of Luogu Dianzi (Percussion Classics) and Its Signification in<\/em> Contemporary Music. Contemporary Music Review 26 5\/6 (Oct\/Dec): 511-27.<\/em><\/p>\n\n\n\n

\u2013\u2013\u2013\u2013\u2013\u2013. 2011. \u201c\u6d77\u5916\u534e\u4eba\u4f5c\u66f2\u5bb6\u97f3\u4e50\u521b\u4f5c\u3001\u6f14\u51fa\u53ca\u51fa\u7248\u8ff0\u8bc4\u201d [\u201cChronicle of Chinese New<\/em> Music\u201d]. In \u4e2d\u56fd\u65b0\u97f3\u4e50\u5e74\u92742009 [New Music in China 2009], edited by Qian Renping.<\/em> Shanghai: Shanghai Conservatory of Music Press.<\/em><\/p>\n\n\n\n

______. 2023. \u201cMateriality of Sonic Imagery: On Analysis of Contemporary Chinese<\/em> Compositions.\u201d Music Theory Spectrum 45 (1): 151\u2013<\/em> 55. https:\/\/doi.org\/10.1093\/mts\/mtac025.<\/em><\/p>\n\n\n\n

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<\/div>\n\n\n\n

Presenters’ bios<\/h2>\n\n\n\n

TBC<\/p>\n","protected":false},"excerpt":{"rendered":"

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