RECORDING PROJECT PROPOSAL

 

Musical Syncretism

Since the beginning of the 20th century, Chinese composers at home and abroad often found the need to rediscover their cultural roots as a source of inspiration for their creative works. Syncretizing Chinese and Western sonic attributes became one of the major solutions to these composers. This recording project includes works composed in the past 20 years that illustrate five living composers’ techniques and strategies of blending musical resources from two cultures and intend to commission a new work in response to this practice. Sample recordings are listed below:

Chen Yi: Ba Ban (1999)
Ba Ban (1999) demonstrates how Chen Yi synthesize pentatonic folk materials with chromaticism and serialism, and take reference from the compositional structure of Ba Ban, a pentatonic melodic template, or “mother tune”, for hundreds of traditional Chinese melodies.
 
Live recording from recital "Chinese Contemporary Composers"
2017 Oct 23, 12:30 pm
Monday Oasis Concert Series, Chung Chi Chapel, The Chinese University of Hong Kong
Chen Yi: Ji-Dong-Nuo (2005)
Ji-Dong-Nuo (2005) was inspired by a folk ballad of Yao ethic people, drawing some pitch material from the folk tune while keeping the characteristics of the girl and the style of Chinese traditional instrumental performance. It demonstrates how Chen Yi evoke Chinese folk style without explicit musical borrowing.
 
Rehearsal recording for lecture-recital "A New Voice of Chinese-Western Syncretism: The Solo Piano Works of Chen Yi"
2013 August 3, 1:00 pm
International Conference of Feminist Theory and Music: New Voices in New Millennium, Wellin Hall, Hamilton College, USA
Zhou Long: Pianogongs (2007) for piano and two Chinese Opera gongs
Pianogongs (2007) illustrates how Zhou Long create a new texture by putting two seemingly incompatible instruments together. He carefully transplants Beijing Opera percussion playing technique onto the piano to match with various sound effects of the gongs.
 
Live recording from Piano Extravanganza Concert
2018 October 5, 7:30 pm
Memphis International Piano Festival and Competition
Harris Concert Hall, University of Memphis, USA
Liang Lei: The moon is following us (2015)

The moon is following us (2015) reinterprets a Qinghai folksong by quoting it in an Avant-grade fashion and using pitch materials extracted from a recording through technology. It creates a counterpoint between different time-spaces and different cultures.
 
Live recording from lecture-recital "Musical Syncretism in Contemporary Chinese Piano Works"
2018 April 5, 8:00 pm
Hughes Fine Arts Center, University of North Dakota, USA
Lee Wan-Ki Wendy: Kirie (2009)
 
Kirie (2009) integrates Chinese resources in a subtler way. Drawing the mirroring concept from paper cutting art, Wendy Lee made use of wide-spaced pentatonic sonorities and nd the perfect 4th and 5th intervals throughout the entire work.
Live recording from lecture-recital "Musical Syncretism in Contemporary Chinese Piano Works"
2018 April 5, 8:00 pm
Hughes Fine Arts Center, University of North Dakota, USA
Chan Kai-Young Brian: Les Marées de la nuit (2011/2017) for tam-tam and piano
 
Les Marées de la nuit (2011/2017) explores the soundscape between the low register region of the piano and the overtones of tam-tam, an instrument of Chinese origin that was adopted to the Western orchestra from the 19th century.
 
Live recording from recital "Chinese Contemporary Composers"
2017 Oct 23, 12:30 pm
Monday Oasis Concert Series, Chung Chi Chapel, The Chinese University of Hong Kong