During the past fifty years, many Chinese and other Asian composers
have combined Western compositional techniques with their own
musical heritages in their works. The prevalence of non-Western
elements in contemporary music complicates the idea of any one
musical canon, since the meaning of such compositions now lies not
only in one particular performance tradition but in diverse musical
practices. This book begins to examine the above by investigating
three solo piano works that synthesize various Chinese traditional
practices and certain aspects of Western art music. Chapter 1
provides a brief overview of how this cultural-fusion phenomenon
came about and questions the extent of existing methodologies. The
next three chapters present theoretical analyses of specific
compositions and are complemented by the author's interviews with
their composers. The final chapter offers insights on the East-West
musical interaction and beyond. This book is directed towards
composers, performers, scholars, and other musicians who are
interested in understanding compositions with an innovative blend
of cultural forces.
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