Pub Date : 2022-12-01DOI: 10.1017/S1355771822000504
Zhao Xiaoyu, Sun Zhenwei
The importance that Chinese composers attach to their nation’s cultural traditions in their electronic music compositions has become a dominant trend in Chinese electronic music. This has generally led to a ‘Chinese imagery’ in Chinese electronic music compositions. Among China-inspired electroacoustic music, the interactive multimedia work A Reflection in the Brook (小青, 2013) shows a unique expression. The author explores how the composer recreated a controversial female figure in Chinese history through a completely real-time audiovisual language: Feng Xiaoqing, thereby presenting Chinese imagery in electroacoustic music through an alternative approach. The audiovisual relationship in A Reflection in the Brook will be analysed through the lens of Michel Chion’s audiovisual theory and the perspective of musical composition techniques, further presenting the audiovisual aesthetics of multimedia electronic music.
{"title":"Alternative Approaches to Chinese Imagery: Audiovisual aesthetics in A Reflection in the Brook","authors":"Zhao Xiaoyu, Sun Zhenwei","doi":"10.1017/S1355771822000504","DOIUrl":"https://doi.org/10.1017/S1355771822000504","url":null,"abstract":"The importance that Chinese composers attach to their nation’s cultural traditions in their electronic music compositions has become a dominant trend in Chinese electronic music. This has generally led to a ‘Chinese imagery’ in Chinese electronic music compositions. Among China-inspired electroacoustic music, the interactive multimedia work A Reflection in the Brook (小青, 2013) shows a unique expression. The author explores how the composer recreated a controversial female figure in Chinese history through a completely real-time audiovisual language: Feng Xiaoqing, thereby presenting Chinese imagery in electroacoustic music through an alternative approach. The audiovisual relationship in A Reflection in the Brook will be analysed through the lens of Michel Chion’s audiovisual theory and the perspective of musical composition techniques, further presenting the audiovisual aesthetics of multimedia electronic music.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48551289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1017/S1355771822000528
L. Qiuxiao
Traditional Chinese music highlights the linear beauty, or the melody. In addition to the presentation of melody, traditional Chinese music tends to create rhythmic beauty with a broad sound language of different attributes, which is realised by controlling the sound variation with its rich playing fingerings and techniques. Instead of evading noises, traditional Chinese music even applies noises intentionally to meet certain demands, as is very commonly found in plucked string instruments. Many typical noise languages used in plucked string instruments, while in the context of electroacoustic music, demonstrate their features in multiple dimensions of sound, such as the basic form, colour, dynamics and longitudinal gradation structure, which are gained by changes in parameters such as sound pitch, frequency, time and space information. Therefore, they imply both the basic timbre characteristics of the musical instrument and the technical characteristics of the electroacoustic music.
{"title":"Presentation of Noise Elements of Chinese Plucked String Instruments in Electronic Music","authors":"L. Qiuxiao","doi":"10.1017/S1355771822000528","DOIUrl":"https://doi.org/10.1017/S1355771822000528","url":null,"abstract":"Traditional Chinese music highlights the linear beauty, or the melody. In addition to the presentation of melody, traditional Chinese music tends to create rhythmic beauty with a broad sound language of different attributes, which is realised by controlling the sound variation with its rich playing fingerings and techniques. Instead of evading noises, traditional Chinese music even applies noises intentionally to meet certain demands, as is very commonly found in plucked string instruments. Many typical noise languages used in plucked string instruments, while in the context of electroacoustic music, demonstrate their features in multiple dimensions of sound, such as the basic form, colour, dynamics and longitudinal gradation structure, which are gained by changes in parameters such as sound pitch, frequency, time and space information. Therefore, they imply both the basic timbre characteristics of the musical instrument and the technical characteristics of the electroacoustic music.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43300884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1017/S1355771822000280
Wang Jing
Drawing from the ancient Chinese text The Zhuangzi, the sinologist François Jullien suggests that to nourish one’s life is to nourish life’s vital potential by keeping it open to renewal. Inspired by the anthropocosmic vision of environment improvisation developed by the Chinese musician Li Jianhong, this article begins to explore the philosophical and aesthetic principles that connect electroacoustic improvisation to life nourishment through discussions of electroacoustic improvising practices from China but not limited to China. This article proposes that an understanding of electroacoustic improvisation on the spiritual and existential level offers a refreshed conceptualisation of creativity, environment and improvisation at large.
{"title":"Electroacoustic Improvisation and Life Nourishment","authors":"Wang Jing","doi":"10.1017/S1355771822000280","DOIUrl":"https://doi.org/10.1017/S1355771822000280","url":null,"abstract":"Drawing from the ancient Chinese text The Zhuangzi, the sinologist François Jullien suggests that to nourish one’s life is to nourish life’s vital potential by keeping it open to renewal. Inspired by the anthropocosmic vision of environment improvisation developed by the Chinese musician Li Jianhong, this article begins to explore the philosophical and aesthetic principles that connect electroacoustic improvisation to life nourishment through discussions of electroacoustic improvising practices from China but not limited to China. This article proposes that an understanding of electroacoustic improvisation on the spiritual and existential level offers a refreshed conceptualisation of creativity, environment and improvisation at large.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45189587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1017/S1355771822000486
Y. Mengchun, Xu Zhixin
Liubai (留白, literally ‘leaving blankness’) is a unique method of expression in Chinese classical paintings. The core spirit of the technique is inextricably linked to ancient Chinese Taoism and traditional aesthetics, which are prominently featured by simplicity and nationality. This article, taking the real-time interactive electroacoustic Chinese art song ‘Lang Tao Sha’ (浪淘沙), explores the use of the artistic technique of liubai from the perspective of a soprano singer by focusing on the three aspects of lyrics, vocal music and electroacoustic music creation, and singing performance.
{"title":"Liubai Technique in the Real-time Electroacoustic Chinese Art Song ‘Lang Tao Sha’ (浪淘沙)","authors":"Y. Mengchun, Xu Zhixin","doi":"10.1017/S1355771822000486","DOIUrl":"https://doi.org/10.1017/S1355771822000486","url":null,"abstract":"Liubai (留白, literally ‘leaving blankness’) is a unique method of expression in Chinese classical paintings. The core spirit of the technique is inextricably linked to ancient Chinese Taoism and traditional aesthetics, which are prominently featured by simplicity and nationality. This article, taking the real-time interactive electroacoustic Chinese art song ‘Lang Tao Sha’ (浪淘沙), explores the use of the artistic technique of liubai from the perspective of a soprano singer by focusing on the three aspects of lyrics, vocal music and electroacoustic music creation, and singing performance.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47276857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1017/S1355771822000553
S. Gillies
This article documents the circumstances surrounding the composition of the soundtrack to the theatrical production of Bridget Boland’s The Prisoner in 1954. Roberto Gerhard’s soundtrack to The Prisoner is likely the first piece to utilise ensemble and magnetic tape, and as such potentially the first live performance of musique concrète in England, taking place a year before Gerhard’s significantly more infamous electronic score to King Lear, produced by the Royal Shakespeare Company, and four years prior to the establishment of the BBC Radiophonic Workshop. No master recording or score has been located and details relating to the soundtrack are sparse. This paper attempts to collect available documentation relating to this production, as well as provide new insights relating to potential draft materials stored in the Roberto Gerhard Tape Archive and a previously unknown connection between the production and Pierre Henry and the Groupe de Reserches de Musique Concrète.
{"title":"The Prisoner: A missing link in England’s history of electronic music","authors":"S. Gillies","doi":"10.1017/S1355771822000553","DOIUrl":"https://doi.org/10.1017/S1355771822000553","url":null,"abstract":"This article documents the circumstances surrounding the composition of the soundtrack to the theatrical production of Bridget Boland’s The Prisoner in 1954. Roberto Gerhard’s soundtrack to The Prisoner is likely the first piece to utilise ensemble and magnetic tape, and as such potentially the first live performance of musique concrète in England, taking place a year before Gerhard’s significantly more infamous electronic score to King Lear, produced by the Royal Shakespeare Company, and four years prior to the establishment of the BBC Radiophonic Workshop. No master recording or score has been located and details relating to the soundtrack are sparse. This paper attempts to collect available documentation relating to this production, as well as provide new insights relating to potential draft materials stored in the Roberto Gerhard Tape Archive and a previously unknown connection between the production and Pierre Henry and the Groupe de Reserches de Musique Concrète.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45207699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1017/S1355771822000279
A. D. De Ritis
Current trends in the works of Chinese composers and their electroacoustic music today embrace increased abstraction and individual self-expression, while others celebrate the importance of clear communication and a unified ‘Chinese model’. How is one to derive the current state of a Western art form imported by China, in the context of unparalleled sharing and convergence of ideas made possible by the internet and extensive intercultural exchange in today’s globalised world? And how important is it to identify and measure the level of Chineseness in the artistic output of today’s electroacoustic music composers that embrace Chinese elements – whether born inside or outside of China? This article seeks to unpack some of the current thinking shared by institutional leaders, such as Yu Feng, president of the Central Conservatory of Music; scholars of Chinese electroacoustic music, such as Marc Battier, Ken Fields, Leigh Landy, Yang Yinuo and Annie Yen-Ling Liu; and several composers and thought leaders in the most recent generations of Chinese electroacoustic music.
{"title":"‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today","authors":"A. D. De Ritis","doi":"10.1017/S1355771822000279","DOIUrl":"https://doi.org/10.1017/S1355771822000279","url":null,"abstract":"Current trends in the works of Chinese composers and their electroacoustic music today embrace increased abstraction and individual self-expression, while others celebrate the importance of clear communication and a unified ‘Chinese model’. How is one to derive the current state of a Western art form imported by China, in the context of unparalleled sharing and convergence of ideas made possible by the internet and extensive intercultural exchange in today’s globalised world? And how important is it to identify and measure the level of Chineseness in the artistic output of today’s electroacoustic music composers that embrace Chinese elements – whether born inside or outside of China? This article seeks to unpack some of the current thinking shared by institutional leaders, such as Yu Feng, president of the Central Conservatory of Music; scholars of Chinese electroacoustic music, such as Marc Battier, Ken Fields, Leigh Landy, Yang Yinuo and Annie Yen-Ling Liu; and several composers and thought leaders in the most recent generations of Chinese electroacoustic music.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43561861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1017/S1355771822000474
Wang Xinyu, Hu Ting
Yarlung Zangbo is a multimedia symphony combining orchestra, visual images and electroacoustic music by one of China’s most internationally influential electroacoustic music composers, Zhang Xiaofu. This article focuses on the spatial aspects of Yarlung Zangbo. First, we discuss two different spatial composition preferences in electroacoustic music: image delivery and creation. We then divide the development of electroacoustic orchestral music into three different periods and examine the general spatial intention of the works in these periods. Finally, we analyse and identify four spatial composition strategies of Yarlung Zangbo: equity, virtuosity, diversity and unity. The successful utilisation of these strategies has not only made the piece a milestone in Chinese electroacoustic music, but also a unique and meaningful contribution to the electroacoustic music repertoire worldwide. We believe this article will provide valuable knowledge and insight for future research and practice of spatial composition.
{"title":"A Symphony of Sound Images: Spatial composition strategies in Zhang Xiaofu’s Yarlung Zangbo","authors":"Wang Xinyu, Hu Ting","doi":"10.1017/S1355771822000474","DOIUrl":"https://doi.org/10.1017/S1355771822000474","url":null,"abstract":"Yarlung Zangbo is a multimedia symphony combining orchestra, visual images and electroacoustic music by one of China’s most internationally influential electroacoustic music composers, Zhang Xiaofu. This article focuses on the spatial aspects of Yarlung Zangbo. First, we discuss two different spatial composition preferences in electroacoustic music: image delivery and creation. We then divide the development of electroacoustic orchestral music into three different periods and examine the general spatial intention of the works in these periods. Finally, we analyse and identify four spatial composition strategies of Yarlung Zangbo: equity, virtuosity, diversity and unity. The successful utilisation of these strategies has not only made the piece a milestone in Chinese electroacoustic music, but also a unique and meaningful contribution to the electroacoustic music repertoire worldwide. We believe this article will provide valuable knowledge and insight for future research and practice of spatial composition.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48098286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1017/S1355771822000577
{"title":"Sound and Video Examples – Issue 27(3)","authors":"","doi":"10.1017/S1355771822000577","DOIUrl":"https://doi.org/10.1017/S1355771822000577","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46879179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1017/S135577182200053X
Marc Battier, Kenneth Fields, A. Liu
The editors of the issue have, for many years, studied the vertiginous development of electroacoustic music in China. By residing in the country, organising conferences and symposia and creating personal connections, deep relations were established with the musical community. This led not only to the publications of articles, but also to the book Electroacoustic Music in East Asia (Battier and Fields 2020), which had the originality of gathering only contributions by local composers and scholars from East Asia. Much of this was realised as an outcome of the Electroacoustic Music Studies Asia Network (EMSAN), as does this present issue, on the theme of electroacoustic music in China today. Difficulties of translation were expected and encountered for our issue. Another hurdle was that the conception of a scholarly article in electroacoustic musicological research in China follows quite different habits. This led to a substantial amount of discussion between authors and editors. It was of course our premise that the issue would present a portrait of current views on electroacoustic music in China today, mostly from the prism of local composers and scholars who, in the end, have been responsible for the majority of articles. The others came from Western authors who have had a sustained relation with China. Otherwise, the local authors affirm here a Chineseness that is sometimes difficult to grasp for outsiders, no matter how familiar they may be with the culture. The issue opens with two articles by co-editors. Annie Yen-Ling Liu, a scholar who has previously published on Chinese electroacoustic music, investigates the ubiquitous postulation in much of the early literature of a unique compositional language that can be referred to as a ‘Chinese model’. She retraces the concept from the earliest works in the 1980s, up to today. In so doing, she provides a solid conceptual foundation, and the reader will find a superb list of bibliographical references. The second article by coeditor Marc Battier delves into the question of finding stylistic gradients in Chinese electroacoustic music, as he observes that, in China, many composers have crossed boundaries in a fashion rarely observed in other cultures. That consideration resonates deeply with several contributions from Chinese authors in the issue, although Battier discusses the categorisations provided by interculturalism studies. The following contribution written by Zhou Qian, a Shanghai composer and teacher, studies the work of several composers from the perspective of compositional techniques, including sound spatialisation. What is of importance is that the selected composers have studied abroad (Zhou herself having studied at CNMAT, UC Berkeley, and CCRMA, Stanford University). With a foreign advanced education, how these composers address the notion of Chineseness in their work is a theme that emerges in the article. Discussing the state of electroacoustic music in China involved the perspective
多年来，本刊编辑对中国电声音乐的飞速发展进行了研究。通过居住在该国，组织会议和专题讨论会以及建立个人联系，与音乐界建立了深厚的关系。这不仅导致了文章的出版，而且还出版了《东亚电声音乐》(Battier and Fields 2020)一书，该书具有独创性，只收集了东亚当地作曲家和学者的贡献。这大部分都是亚洲电声音乐研究网络(EMSAN)的成果，本期也是如此，主题是当今中国的电声音乐。对于我们的问题，翻译上的困难是预料到的，也是遇到的。另一个障碍是，中国的电声音乐学研究学术文章的概念遵循着截然不同的习惯。这导致了作者和编辑之间的大量讨论。当然，我们的前提是，这期杂志将呈现当今中国对电声音乐的看法，主要是从本地作曲家和学者的角度出发，他们最终负责了大多数文章。其他的则来自与中国有长期联系的西方作家。否则，本地作者在这里肯定了一种中国特色，这种特色有时对外地人来说很难理解，不管他们对中国文化有多熟悉。这期杂志以两篇共同编辑的文章开篇。刘艳玲(Annie Yen-Ling Liu)是一位学者，曾发表过关于中国电声音乐的文章，她研究了在许多早期文献中普遍存在的一种独特的作曲语言，这种语言可以被称为“中国模式”。她追溯了从20世纪80年代最早的作品到今天的概念。这样做，她提供了一个坚实的概念基础，读者会发现一个极好的参考书目列表。Marc Battier的第二篇文章深入探讨了在中国电声音乐中寻找风格渐变的问题，因为他观察到，在中国，许多作曲家以一种在其他文化中很少观察到的方式跨越了边界。尽管巴蒂尔讨论了跨文化主义研究提供的分类，但这一考虑与中国作家在这一问题上的几篇文章产生了深刻的共鸣。上海作曲家、教师周茜从作曲技巧(包括声音空间化)的角度研究了几位作曲家的作品。重要的是，入选的作曲家都有海外留学经历(周本人曾在加州大学伯克利分校CNMAT和斯坦福大学CCRMA学习)。在国外接受高等教育的背景下，这些作曲家如何在他们的作品中表达“中国性”的概念是本文的一个主题。讨论中国电声音乐的现状涉及到与中国传统乐器演奏家合作所吸引的外国作曲家的观点。美国作曲家安东尼·德·里斯(Anthony De Ritis)在自己的作品中长期使用这种方法。他还通过一些中外作曲家的作品暗示了电声音乐的中国性问题。然后从不同的角度来看待这个主题。李秋晓对三位作曲家如何处理中国拨弦乐器特别感兴趣。其中两人使用古琴，一种七弦的古琴，经常伴随诗歌朗诵，还有一人为琵琶，一种四弦乐器写作。在她的文章中，李研究了拨弦中固有的噪音是如何融入电声材料的。这使笔者开始思考西方和中国作曲家是如何在他们的作品中处理噪音的。来自深圳大学的杨婷和周然也谈到了中国乐器和电声的并立。然而，在他们的贡献中，他们分析了一段由法国作曲家为一位北京表演者创作的琵琶和电声磁带的作品《山上的雾》。在这样做的过程中，作者带来了一个新鲜而原始的框架，灵感来自中国的音乐分析方法，这在西方传统中是最意想不到的。以下是一些中国作家的文章，他们讨论了中国作曲的具体方面。每一个都生动地描述了在边缘工作中遇到的问题和解决方案
{"title":"Editorial: Chinese Electroacoustic Music Today","authors":"Marc Battier, Kenneth Fields, A. Liu","doi":"10.1017/S135577182200053X","DOIUrl":"https://doi.org/10.1017/S135577182200053X","url":null,"abstract":"The editors of the issue have, for many years, studied the vertiginous development of electroacoustic music in China. By residing in the country, organising conferences and symposia and creating personal connections, deep relations were established with the musical community. This led not only to the publications of articles, but also to the book Electroacoustic Music in East Asia (Battier and Fields 2020), which had the originality of gathering only contributions by local composers and scholars from East Asia. Much of this was realised as an outcome of the Electroacoustic Music Studies Asia Network (EMSAN), as does this present issue, on the theme of electroacoustic music in China today. Difficulties of translation were expected and encountered for our issue. Another hurdle was that the conception of a scholarly article in electroacoustic musicological research in China follows quite different habits. This led to a substantial amount of discussion between authors and editors. It was of course our premise that the issue would present a portrait of current views on electroacoustic music in China today, mostly from the prism of local composers and scholars who, in the end, have been responsible for the majority of articles. The others came from Western authors who have had a sustained relation with China. Otherwise, the local authors affirm here a Chineseness that is sometimes difficult to grasp for outsiders, no matter how familiar they may be with the culture. The issue opens with two articles by co-editors. Annie Yen-Ling Liu, a scholar who has previously published on Chinese electroacoustic music, investigates the ubiquitous postulation in much of the early literature of a unique compositional language that can be referred to as a ‘Chinese model’. She retraces the concept from the earliest works in the 1980s, up to today. In so doing, she provides a solid conceptual foundation, and the reader will find a superb list of bibliographical references. The second article by coeditor Marc Battier delves into the question of finding stylistic gradients in Chinese electroacoustic music, as he observes that, in China, many composers have crossed boundaries in a fashion rarely observed in other cultures. That consideration resonates deeply with several contributions from Chinese authors in the issue, although Battier discusses the categorisations provided by interculturalism studies. The following contribution written by Zhou Qian, a Shanghai composer and teacher, studies the work of several composers from the perspective of compositional techniques, including sound spatialisation. What is of importance is that the selected composers have studied abroad (Zhou herself having studied at CNMAT, UC Berkeley, and CCRMA, Stanford University). With a foreign advanced education, how these composers address the notion of Chineseness in their work is a theme that emerges in the article. Discussing the state of electroacoustic music in China involved the perspective","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43669243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：