Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-26T09:29:16.263Z Has data issue: false hasContentIssue false
  • English
  • Français

Compositional Techniques and Sound Spatialisation in Shanghai-Based Electronic Music since 2000

Published online by Cambridge University Press:  15 December 2022

Zhou Qian
Zhou Qian*
Affiliation:
Shanghai Conservatory of Music, China
*
Email: zhouqian77@hotmail.com
Get access Rights & Permissions [Opens in a new window]

Abstract

To create a bridge between young students and senior scholars, the Shanghai Conservatory invited musicians who studied abroad to teach at the Conservatory beginning in the early 2000s. The result was the return to Shanghai of prominent composers. This article examines the impact of this project on electronic music composition and teaching and suggests how these developments relate to the broader historical context of Chinese electronic music. Through an analysis of representative works, it surveys compositional techniques and approaches to sound diffusion and spatialisation among composers associated with the Shanghai Conservatory. It demonstrates how these techniques, which reflect the international training of these composers, are used to express a range of subjects from abstract and philosophical concepts to concrete aspects of nature and human action.

Type
Article
Information
Organised Sound , Volume 27 , Issue 3: Chinese Electroacoustic Music Today , December 2022 , pp. 294 - 306
Check for updates
Copyright
© The Author(s), 2022. Published by Cambridge University Press

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.)

References

REFERENCES

Battier, M. 2020. Nuo Ri Lang by Zhang Xiaofu. In Puckette, M. and Hagan, K. (eds.) Between the Tracks: Musicians on Selected Electronic Music. Cambridge, MA: MIT Press, 173–93.CrossRefGoogle Scholar
Battier, M. and Liao, L.-N. 2018. Electronic Music in East Asia. In Emmerson, S. (ed.) The Routledge Research Companion to Electronic Music: Reaching Out with Technology. London: Routledge, 49–76.Google Scholar
BBC. 2017. Manchester International Festival 2017– Music For a Busy City: Huang Ruo [interview]. www.bbc.co.uk/events/e42fbp/live/c6cdgw (accessed 10 January 2022)Google Scholar
Beller, G. and Aperghis, G. 2011. Gestural Control of Real-Time Concatenative Synthesis in Luna Park. http://articles.ircam.fr/textes/Beller11b/index.pdf (accessed 6 February 2022).Google Scholar
Chadabe, J. 1997. Electronic Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice Hall.Google Scholar
Du, Y. 2006. Air Glow. Program note printed on score. Copyright of Du.Google Scholar
Du, Y. 2022. Long Bio. https://channelduyun.com/bio/ (accessed 10 January 2022).Google Scholar
Esonic3 concert. 2015. 3D Sound Spatialisation (声立方——超感官空间). Hosted by Shanghai Conservatory of Music. www.shcmusic.edu.cn/2015/0917/c1686a36844/page.htm (in Chinese) (accessed 19 March 2022).Google Scholar
Factory International. n.d. Music For a Busy City [Introduction about commission of Inscribed] https://mif.co.uk/whats-on/music-for-a-busy-city/ (accessed 10 January 2022).Google Scholar
Ge, W. 2017. A History of Programming and Music. In Collins, N. and d’ Escriván, J. (eds.) The Cambridge Companion to Electronic Music. Cambridge: Cambridge University Press, 58–74.Google Scholar
Guan, P.-H. 1993. Flowing Water. Guqin score. In Guqin Music Collection (古琴曲集). Beijing: People’s Music Publishing House (人民音乐出版社), 38–44.Google Scholar
Huang, R. 2022. Composer. https://huangruo.com (accessed 10 January 2022).Google Scholar
Landy, L. 2018. The Three Paths: Cultural Retention in Contemporary Chinese Electroacoustic Music . In Emmerson, S. (ed.) The Routledge Research Companion to Electronic Music: Reaching out with Technology. London: Routledge, 77–95.Google Scholar
Liu, [A.] Y.-L. and Yang, Y. 2022. Technological Meditation and Traditional Culture in Chinese Electroacoustic Music . In Stevens, B. (ed.) Teaching Electronic Music: Cultural, Creative, and Analytical Perspectives. New York: Routledge, 193–207.Google Scholar
Norris, L. 2016. MATA Festival 2016: The Music Speaks for Itself. I Care If You Listen. 5 May. https://icareifyoulisten.com/2016/05/mata-festival-2016-music-speaks/ (accessed 10 January 2022).Google Scholar
Puckette, M. and Hagan, K. 2020. Hand Gesture to Timbre Converter. Proceedings, ICMC 2020. http://msp.ucsd.edu/Publications/icmc2020-reprint.pdf (accessed 10 February 2022).Google Scholar
Puckette, M. and Lippe, A. C. 1992. Score Following in Practice. Proceedings, International Computer Music Conference. San Francisco: International Computer Music Association, 182–5.Google Scholar
Roads, C. 2001. Microsound. Cambridge, MA: MIT Press.Google Scholar
Shen, Y. 2010. Sword. Programme note in ‘Sounding D 2010‘ New Music festival, 27 August, Hamburg.Google Scholar
Shen, Y. 2019. Prologue. www.tcschoir.org.tw/news/single?view=single&year=2019&id=44 (accessed 19 March 2022)Google Scholar
Shen, Y. 2022. Biography. http://shenyemusic.com/biography/ (accessed 10 January 2022).Google Scholar
Wang, Y. 2012. Tun•Tu. Text from booklet WERGO CD TUNTU/ Ying WANG – WER 7347 2.Google Scholar
Wang, Y. 2017. ROBOTICtack. Programme note printed on score. Copyright of Wang.Google Scholar
Wang, Y. 2019. About. www.yingwang.de/about-ying/ (in Chinese) (accessed 10 January 2022).Google Scholar
Xenakis, I. 1992. Formalized Music: Thought and Mathematics in Music, rev.edn. New York: Pendragon Press.Google Scholar
Zhou, Q. 2011. Qu Shui Ming Yun. Programme notes in Feel Music, Touch Sound programme book for 2011 Shanghai Conservatory od Music International Electronic music week (3rd), 41–3.Google Scholar
Zhou, Q. 2017. Ripples. Program notes in Hearing the Self programme book. 2017 ICMC/EMW Shanghai, 23.Google Scholar
Zhou, Q. 2019. Varying II (3D version). Program notes in Program Book with Cover. ICMC/NYCEMF 2019, 47–9.Google Scholar
Zhou, Q. 2021. website. www.shcmusic.edu.cn/2019/0531/c1611a22376/page.htm (in Chinese) (accessed 10 January 2022)Google Scholar

DISCOGRAPHY

Du, Y. 2014. An Empty Garlic. G Schirmer Inc. https://www.wisemusicclassical.com/work/60594/An-Empty-Garlic--Du-Yun/ (accessed 19 March 2022).Google Scholar

VIDEOGRAPHY

Shen, Y. 2014. Ondulation – Night Music. https://medias.ircam.fr/x9fbefa (accessed 19 March 2022).Google Scholar