Bartók's influence on Chinese new music in the post-cultural revolution era
Refereed conference paper presented and published in conference proceedings


香港中文大学研究人员 ( 现职)

黄海茵博士 (音乐系)

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数位物件识别号 (DOI) http://dx.doi.org/10.1556/SMus.48.2007.1-2.16

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Scopushttp://aims.cuhk.edu.hk/converis/portal/Publication/1Scopus source URL

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摘要In the wake of the Cultural Revolution (http://aims.cuhk.edu.hk/converis/portal/Publication/196676) and with Chinas new Open Door policy towards Western culture and Western new music, we have witnessed the exuberant growth of a new generation of Chinese composers. Tan Dun, Chen Yi and Bright Sheng have expressed in various ways their indebtedness to the heritage of Béla Bartóks music. Chen Yi, a fellow student of Tan Dun during her time at Central Conservatory of Music and Columbia University, recalled studying all of Bartóks six string quartets in the composition classes. Bright Sheng also openly admits that his use of the primitiveness and savageness of folk elements is directly modelled on the music of Bartók. The dissemination of Bartóks music in China is signified by the extent to which the journals published by Chinas top two music conservatories the Central Conservatory of Music and the Shanghai Conservatory of Music focus on discussion of this repertoire. Frank Kouwenhovens studies of contemporary Chinese composers also point out that Bartóks influence overshadows most other major composers from the West. In this paper the reception of Bartóks music by Chinese composers in the post-Cultural Revolution era will be explored with reference to the musical as well as socio-cultural factors that fostered the influence. ? 2007 Akadémiai Kiadó.

着者Wong H.-Y.
出版年份2007
月份3
日期http://aims.cuhk.edu.hk/converis/portal/Publication/1
卷号48
期次http://aims.cuhk.edu.hk/converis/portal/Publication/1-2
出版社Akademiai Kiado
出版地Hungary
页次237 - 243
国际标準期刊号0039-3266
语言英式英语

关键词Bright Sheng, Béla Bartók, Tan Dun, Twentieth-century Chinese Music