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Interkulturalitat ist seit den 1990er Jahren in der neuen Musik verstarkt zum Thema geworden. Diese Studie analysiert detailliert interkulturelle Konzepte ostasiatischer und westlicher Komponisten und stellt diese in einen historischen Kontext. Gesellschaftliche und politische Einflusse werden dabei ebenso hervorgehoben wie die Nachwirkungen bzw. die Kontinuitat der Stereotypen und Machtverhaltnisse von Exotismus und Kolonialismus. Nach Abschnitten uber fuhrende Komponisten beider kultureller Bereiche seit 1950 wird der chinesisch-amerikanische Komponist Tan Dun ins Zentrum geruckt, bei dem das groae Potenzial musikalischer Interkulturalitat sehr plastisch sichtbar wird. Dabei wird zugleich die erste umfassende werkanalytische Darstellung von Tan Duns Musik vorgelegt. "aein auaerordentlich kenntnisreiches Buch mit viel Quellenmaterial, das auch fruchtbar als Handbuch fur ostasiatische Musik herangezogen werden kann." neue musikzeitung "anicht nur auaerlich eine egewichtigeae Arbeit. Substanziell ist sie vor allem darin, das grassierende Modesujet "musikalische Interkulturalitat" kritisch zu hinterfragen und von gangigen Klischees zu befreien, die zweifellos wichtige Substanz des Themas vor popularisierender Verflachung zu retten." Osterreichische Musikzeitschrift "aeine hochwillkommene Dokumentationa Es ist dieser eigentlichen Pionierarbeit zu wunschen, dass sie dazu beitragt, den interkulturellen Dialog im Umfeld der Neuen Musik zu vertiefen und dass sie zum Ausgangspunkt einer breiten Auseinandersetzung mit dem Thema wird. [a] Insbesondere die Auseinandersetzung mit Cage, mit einem nahezu vollstandigen Uberblick uber den Stand der Diskussion und einer kritischen Gesamtwurdigung, stellt einen brillanten Essay in sich selbst dar." Dissonanz. (Franz Steiner 2002) ... Read more

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This eight-movement suite was written by composer Tan Dun when he was a student in 1978-1979, about the time he left his home in Hunan to study at the conservatory in Beijing. He was homesick, and wrote this suite as a diary of his longing, while also being immersed in studying Western classical and modern music. Twenty years after its composition, pianist Lang Lang premiered the suite at the Kennedy Center in 2003, and he also played it at Carnegie Hall, in a performance recorded by Deutsche Grammophon. ... Read more

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This latest entry in Schirmer's Collection of Opera Librettos features the extraordinary new opera by the eminent Chinese-American composer Tan Dun that explores the mysterious relationship between East and West. Libretto by Paul Griffiths. ... Read more

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Kapitel: Cui Jian, Tan Dun, Chen Xiaoyong, Chan Wing-Wah, Liu Tianhua, Hwang Yau-Tai, Stephen Yip, Zhao Jiping, Xiaogang Ye, Liu Sola, Muhai Tang, Clarence Mak, Chen Ning-Chi, Hui Cheung-Wai, Xian Xinghai, Ada Lai Nga-Ting, Law Wing-Fai, Sitson Ma, Chen Yi, Liste Chinesischer Komponisten Klassischer Musik. Aus Wikipedia. Nicht dargestellt. Auszug: Xian Xinghai (June 13, 1905 - October 30, 1945) (Chinese: 冼星海; pinyin: Xiǎn Xīnghăi) was a Chinese composer. Although he composed in all the major musical forms (two symphonies, a violin concerto, four large scale choral works, nearly 300 songs and an opera), he is best known for his Yellow River Cantata upon which the Yellow River Concerto for piano and orchestra is based. Born in Macau with ancestry from Panyu into a poor Tanka sailor family, Xian Xinghai started learning the clarinet in 1918 at the YMCA charity school attached to the Lingnan University in Guangzhou (Canton). In 1926 he joined the National Music Institute at Peking University to study music and in 1928 he entered Shanghai National Music Conservatory to study violin and piano. The same year he published his well-known essay The Universal Music. In 1929 he went to Paris (where he met Ma Sicong who introduced him to many artists there) under government sponsorship and two years later he was admitted to the Paris Conservatory to study composition with both Vincent D'Indy and Paul Dukas. During this period he composed Wind, Song of a Wanderer, Violin Sonata in D Minor, and other works. Xian returned to China in 1935. During the Sino-Japanese War (1937-1945) he wrote vocal works that encouraged the people to fight the Japanese invaders, including Saving the Nation, Non-Resistance the Only Fear, Song of Guerrillas, The Roads Are Opened by Us, The Vast Siberia, Children of the Motherland, Go to the Homefront of the Enemy, and On the Taihang Mountains, among others. In 1938 he became dean of the Music Department at Lu Xun ...http://booksllc.net/?l=de ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Mao Zedong, Peng Shuai, Li Fang, Zhu Rongji, Shen Congwen, Peng Dehuai, Tan Dun. Non illustré. Mises à jour gratuites en ligne. Extrait : Mao Zedong, également orthographié Mao Tsé-toung, ou Mao Tsé-Tung, ou Mao Tsö-Tong (en sinogrammes traditionnels ; en sinogrammes simplifiés ; en pinyin ) était un homme politique et chef militaire chinois, fondateur et dirigeant de la République populaire de Chine. Fils de paysans aisés, il est né à Shaoshan (韶山 sháoshān) dans la province du Hunan (湖南 húnán) le 26 décembre 1893, et décédé à Pékin le 9 septembre 1976 des suites de la maladie de Parkinson. Un des cofondateurs du Parti communiste chinois (Shanghai, 1921), Mao Zedong parvint progressivement à s'en faire reconnaître comme le dirigeant suprême, notamment lors de l'épisode de la Longue Marche (1934-1935). Après de longues années de guérilla contre les nationalistes du Kuomintang dirigés par Tchang Kaï-Chek, ainsi que contre l'envahisseur japonais pendant la guerre sino-japonaise (1937-1945), Mao sortit vainqueur de l'ultime phase de la guerre civile chinoise, avec la victoire de l'Armée populaire de libération (1949). Il proclame la République populaire de Chine, le 1er octobre 1949 à Pékin ; il en sera le président de 1954 à 1959. Ses principaux postes, qu'il occupa jusqu'à sa mort en 1976 et qui faisaient de lui le numéro un du régime, étaient ceux de Président du parti communiste et de Président de la Commission militaire centrale, le premier lui garantissant la maîtrise du Parti, et le second celle des forces armées. Mao Zedong imposa à la population le collectivisme communiste et la dictature du parti unique, en suivant d'abord de très près le modèle soviétique. Au nom de la définition d'une « voie chinoise vers le soc...http://booksllc.net/?l=fr ... Read more

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Chapters: The First Emperor, Marco Polo, Piano Concerto, Internet Symphony No. 1. Source: Wikipedia. Pages: 20. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: The First Emperor is an opera in two acts with a libretto written in English by Tan Dun and Ha Jin, and music by Tan Dun. The opera received its premiere at the Metropolitan Opera at the Lincoln Center in New York City on 21 December 2006, conducted by the composer and with Plácido Domingo in the title role. It was broadcast live to hundreds of cinemas around the world on 13 January 2007 as part of the Met live at the opera season. The opera is a co-production between the Metropolitan Opera and the Los Angeles Opera, and was described to be the most elaborate Metropolitan opera since War and Peace. The protagonist is the real-life emperor Qin Shi Huang, who unified China with force, erected part of the Great Wall, and was buried with his terracotta army. The story of the opera is based on the Records of the Grand Historian by Sima Qian (c.145 90 BCE) and the screenplay of The Emperors Shadow by Wei Lu. Tan Dun was first approached by the Met in 1996 to write an opera. After seeing the film The Emperor's Shadow, he settled on the theme of the First Emperor. Zhang Yimou, the production's stage director, had worked with Tan Dun on the movie Hero that also deals with emperor Qin, albeit at an earlier time. The world premiere production was estimated to cost in excess of US$2 million. In preparation, Met staff was instructed in Chinese, and workshops in the development of the opera were held in Shanghai, in part as a cost-saving measure. Eagerly anticipated, the opera has been described as "a high-stakes, cross-cultural gamble". Tan Dun noted in regard to working in the operatic form: Opera will no longer be a Western form, as it is no ...More: http://booksllc.net/?id=8287326 ... Read more

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This digital document is an article from The Register-Guard (Eugene, OR), published by The Register Guard on June 23, 2002. The length of the article is 1145 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

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Title: The festival sandwiches Tan Dun's innovations with familiar favorites.(Entertainment)
Publication: The Register-Guard (Eugene, OR) (Newspaper)
Date: June 23, 2002
Publisher: The Register Guard
Page: L1

Distributed by Thomson Gale ... Read more

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Death and Fire ... Read more

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This digital document is an article from The Register-Guard (Eugene, OR), published by The Register Guard on June 23, 2002. The length of the article is 1669 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

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Title: `Water Passion'.(Entertainment)(Tan Dun's version of the St. Matthew Passion is one highlight of the 33rd annual Oregon Bach Festival)
Publication: The Register-Guard (Eugene, OR) (Newspaper)
Date: June 23, 2002
Publisher: The Register Guard
Page: L1

Distributed by Thomson Gale ... Read more

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Exciting piece by Tan Dun who is a prize winning composer from Hunan China.This piece tries to draw on Chinese colors and techniques of the Peking Opera. ... Read more

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For piccolo, harp and bass drum. ... Read more

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This work is a set of free variations drawn from a 13th-century Chinese drama by Kuan Han-Chimg. The complex cello and percussion writing focuses on the timbres, textures and fiddling techniques of Chinese ritual music and Ghost opera. ... Read more