Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-gvvz8 Total loading time: 0 Render date: 2024-12-22T14:58:29.507Z Has data issue: false hasContentIssue false
Series:   Elements in Music since 1945

Chinese Émigré Composers and Divergent Modernisms

Chen Yi and Zhou Long

Published online by Cambridge University Press:  16 April 2024

Mia Chung
Mia Chung
Affiliation:
Curtis Institute of Music

Summary

This Element examines the factors that drove the stylistic heterogeneity of Chen Yi and Zhou Long after the Cultural Revolution. Known as 'New Wave' composers, they entered the Central Conservatory of Music once the Cultural Revolution ended and attained international recognition for their modernisms after their early careers in America. Scholars have often treated their early music as contingent outcomes of that cultural and political moment. This Element proposes instead that unique personal factors shaped their modernisms despite their shared experiences of the Cultural Revolution and educations at the Central Conservatory and Columbia University. Through interviews on six stages of their development, the Element examines and explains the reasons for their stylistic divergence.
Get access

Keywords

Cultural Revolutionmusical modernismZhou LongChen YiNew Wave composers
Type
Element
Information
Series: Elements in Music since 1945
Online ISBN: 9781009158817
Publisher: Cambridge University Press
Print publication: 30 May 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Bibliography

Arlin, M. I., & Radice, M. A. (2018). Polycultural Synthesis in the Music of Chou Wen-Chung, New York: Routledge.CrossRefGoogle Scholar
Bonnin, M. (2013). The Lost Generation: The Rustication of China’s Educated Youth (1968–1980), Hong Kong: The Chinese University of Hong Kong Press.CrossRefGoogle Scholar
Borger, I., ed. (1999). The Force of Curiosity, Santa Monica: Calarts.Google Scholar
Cai, J., & Melvin, S. (2004). Rhapsody in Red: How Western Classical Music Became Chinese, New York: Algora Publishing.Google Scholar
Chang, P. (2001). Chou Wen-Chung’s Cross-Cultural Experience and His Musical Synthesis: The Concept of Syncretism Revisited. Asian Music, 32 (2), 93–118, DOI: https://doi.org/10.2307/834250.CrossRefGoogle Scholar
Chang, P. (2006). Chou Wen-Chung: The Life and Work of a Contemporary Chinese-Born American Composer, Lanham, MD: Scarecrow Press, Inc.Google Scholar
Chen, Y. (1986). Program notes for Symphony No. 1.Google Scholar
Chen, Y. (1993). Piano Concerto, unpublished DMA diss., Columbia University.Google Scholar
Chen, Y. (1993). Program notes for Symphony No. 2.Google Scholar
Chen, Y. (2002). Tradition and Creation. Current Musicology, 67/68, 59–72.Google Scholar
Chen, Y., Fan, Z., Gu, X., & Zhou, L. A. (2020). Arrival of Young Talent: The Send-Down Movement and Rural Education in China. American Economic Review, 110 (11), 3393–3430, DOI: https://doi:10.1257/aer.20191414.CrossRefGoogle Scholar
Chou, W. C. (1966). Open Rather Than Bounded. Perspectives of New Music, 5 (1), 1–6.Google Scholar
Chou, W. C. (1968–9). East and West, Old and New. Asian Music, 1 (1), 19–22.Google Scholar
Chou, W. C. (1978). A Visit to Modern China. The World of Music, 20 (2), 40–44.Google Scholar
Chou, W. C. (2007). Whither Chinese Composers? Contemporary Music Review, 26 (5/6), 501–510, DOI: https://doi.org/10.1080/07494460701652939.Google Scholar
Clark, P., Pang, L., & Tsai, T. H., eds. (2016). Listening to China’s Cultural Revolution: Music, Politics, and Cultural Continuities, London: Palgrave Macmillan.Google Scholar
Da Fonseca-Wollheim, C. (Oct. 29, 2019). Chou Wen-chung, Composer and Calligrapher in Sound, Dies at 96. New York Times.Google Scholar
Dai, J. (2016). A Diachronic Study of Jingju Yangbanxi Model Peking Opera Music. In Clark, P., Pang, L., and Tsai, T. H., eds., Listening to China’s Cultural Revolution: Music, Politics, and Cultural Continuities, London: Palgrave Macmillan, pp. 11–36.Google Scholar
De Bary, T., & Lufrano, R. (2000). Sources of Chinese Tradition: From 1600 Through the Twentieth Century, vol. 2, 2nd ed., New York: Columbia University Press.Google Scholar
Edwards, J. M., & Miller, L. (2020). Chen Yi, Champaign: University of Illinois Press.Google Scholar
Everett, W. A., & Tibbetts, J. C. (2018). Chen Yi and Zhou Long: “We Strive to Combine the Culture of East and West.” In Everett, W. A., Saffle, M., and Tibbetts, J. C., eds., Musical Multiplicities in the Twentieth and Twenty-First Centuries, Performing Music History, London: Palgrave Macmillan, pp. 283–288, DOI: https://doi.org/10.1007/978-3-319-92471-7_9.Google Scholar
Green, E. (2007). The Impact of Buddhist Thought on the Music of Zhou Long: A Consideration of Dhyana. Contemporary Music Review, 26 (5/6), 547–567, DOI: https://doi.org:10.1080/07494460701652970.CrossRefGoogle Scholar
Griffiths, P. (1985). New Sounds, New Perspectives: British Composers of the 1980s in Conversation with Paul Griffiths, London: Faber & Faber.Google Scholar
Jiao, W. (2014). Chinese and Western Elements in Contemporary Chinese Composer Zhou Long’s Works for Solo Piano Mongolian Folk-Tune Variations, Wu Kui, and Pianogongs, unpublished DMA diss., University of North Carolina at Greensboro.Google Scholar
Joseph, W. A., Wong, C. P. W., & Zweig, D., eds. (1991). New Perspectives on the Cultural Revolution, Cambridge, MA: Harvard University Council on East Asian Studies.CrossRefGoogle Scholar
Kouwenhoven, F. (1992). Developments in Mainland China’s New Music, Part 1: From China to the United States. China Information, 7 (1), 17–39.CrossRefGoogle Scholar
Kouwenhoven, F., & Schimmelpenninck, A. (1993). History & Foreign Students’ Experiences: The Shanghai Conservatory of Music. CHIME, No. 6, Spring, pp. 56–91.Google Scholar
Kraus, R. C. (2004). The Party and the Arty in China: The New Politics of Culture, Lanham, MD: Rowman & Littlefield Publishers, Inc.Google Scholar
Li, J. (2004). Chinese Musical Structure: An Outline Analysis, Beijing: Central Conservatory of Music Publishing Company.Google Scholar
Liu, C. (2010). A Critical History of New Music in China, Hong Kong: The Chinese University of Hong Kong Press.CrossRefGoogle Scholar
Ludden, Y. (2013). China’s Musical Revolution: From Beijing Opera to Yangbanxi, PhD diss., University of Kentucky. https://uknowledge.uky.edu/music_etds/19/Google Scholar
McDougall, B. (1980). Talks at the Yan’an Conference on Literature and Art: A Translation of the 1943 Text with Commentary, Ann Arbor: University of Michigan Center for Chinese Studies.Google Scholar
Mittler, B. (1997). Dangerous Tunes: The Politics of Chinese Music in Hong Kong, Taiwan, and the People’s Republic of China Since 1949, Wiesbaden: Harrossowitz.Google Scholar
Mittler, B. (2012). A Continuous Revolution: Making Sense of Cultural Revolution Culture, Cambridge, MA: Harvard University Asia Center.Google Scholar
Ouyang, L. X. (2022). Music as Mao’s Weapon: Remembering the Cultural Revolution, Champaign: University of Illinois Press.Google Scholar
Rao, N. (2007). The Tradition of Luogu Dianzi (Percussion Classics) and Its Signification in Contemporary Music. Contemporary Music Review, 26 (5/6), 511–527, DOI: https://doi.org/10.1080/07494460701652947.CrossRefGoogle Scholar
Commissions, Roche. (2005). Chen Yi, Lucerne: Roche Pharmaceuticals.Google Scholar
Roeder, J. (2020). Interactions of Folk Melody and Transformational (Dis)continuities in Chen Yi’s Ba Ban (1999). Music Theory Online, 26 (3), 1–9, www.mtosmt.org/issues/mto.20.26.3/mto.20.26.3.roeder.php.CrossRefGoogle Scholar
Saffle, M., & Yang, H. L., eds. (2017). China and the West: Music, Representation, and Reception, Ann Arbor: University of Michigan Press.CrossRefGoogle Scholar
Sakakibara, A. (2014). A Longitudinal Study of the Process of Acquiring Absolute Pitch: A Practical Report of Training with the “Chord Identification Method.” Psychology of Music, 42 (1), 86–111, DOI: https://doi.org/10.1177/0305735612463948.CrossRefGoogle Scholar
Saywell, W. G. (1980). Education in China Since Mao. The Canadian Journal of Higher Education, Vol. X-1, 1–27, DOI: https://doi.org/10.47678/cjhe.v10i1.182805.CrossRefGoogle Scholar
Schonberg, H. (1997). The Lives of the Great Composers, 3rd ed., New York: W. W. Norton & Co.Google Scholar
The Economist Explains. (June 23, 2021). How Did Confucianism Win Back the Communist Party? The Economist. www.economist.com/the-economist-explains/2021/06/23/how-did-confucianism-win-back-the-chinese-communist-party.Google Scholar
Wong, H. Y. (2007). Bartók’s Influence on Chinese New Music in the Post-Cultural Revolution Era. Studia Musicologica, 48 (1/2), 237–243, DOI: https://doi.org/10.1556/smus.48.2007.1-2.16.CrossRefGoogle Scholar
Zheng, S. (2010). Claiming Diaspora: Music, Transnationalism, and Cultural Politics in Asian/Chinese America, New York: Oxford University Press.Google Scholar
Zhou, L. (1993). Daqu for percussion and orchestra, unpublished DMA diss., Columbia University.Google Scholar
Zhou, L. (2002). Wu Kui for piano, Oxford: Oxford University Press.Google Scholar
Zhou, L. (2005). Ding for clarinet, percussion, and double bass, Oxford: Oxford University Press.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Chinese Émigré Composers and Divergent Modernisms
  • Mia Chung, Curtis Institute of Music
  • Online ISBN: 9781009158817
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Chinese Émigré Composers and Divergent Modernisms
  • Mia Chung, Curtis Institute of Music
  • Online ISBN: 9781009158817
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Chinese Émigré Composers and Divergent Modernisms
  • Mia Chung, Curtis Institute of Music
  • Online ISBN: 9781009158817
Available formats
×