Table of contents for Chou Wen-Chung : the life and work of a contemporary Chinese-born American composer / Peter M. Chang.

Bibliographic record and links to related information available from the Library of Congress catalog.

Note: Contents data are machine generated based on pre-publication provided by the publisher. Contents may have variations from the printed book or be incomplete or contain other coding.


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CONTENTS
LIST OF FIGURES 
LIST OF ILLUSTRATIONS 
Chapter 1. PROLOGUE 		 
Chou Wen-Chung's Position in Contemporary American Music 		
Elements in Chou's Compositional Style
The Essence of Chinese Aesthetics in the 
Process of Cultivating Ya
Influences of Varèse and Webern
Chou's Stylistic Development 
External Factors Contributing to Chou's Success in the West
"Theoretical Composition"
Explorations in Using Non-Western Material for 
Contemporary Works
Connections with Influential Persons and Organizations				
Notes
 
Chapter 2. A BIOGRAPHIC SKETCH OF CHOU WEN-CHUNG
The Chou Family (1890s-1927)
Domestic Turmoil and Travel (1927-1937)
Escalation of the War and Journey to the Southwest (1941-1945)
Boston and the Road to Music (1946-1954)
New York and Varèse (1949-1954)
Relearning and Interpreting One's Own Tradition (1954-1959)
Compositional Maturity and Recognitions (the 1960s)
An Active Promoter of Cultural Exchange (1970s-90s)
Notes
3. CHOU'S WORKS OF THE 1940S AND 1950S 
Landscapes (1949) 
All in the Spring Wind (1952-53)
And the Fallen Petals (1954)
In the Mode of Shang (1956)
Two Miniatures from Tang Dynasty (1957)
Soliloquy of A Bhiksuni (1958)
Willows Are New (1957) and To A Wayfarer (1958)
Comments on the Music and the Text
Structure
Tonal Material
Rhythm and Meters
Texture
Timbre
Melody
Chou's Vocal Works:
Seven Poems of T'ang Dynasty (1951-52)
Poems of White Stone (1958-59)
Notes
 	
Chapter 4. CHOU'S WORKS OF THE 1960S
Metaphors (1960-61) 
Form and Timbre
Cursive (1963):
-Counterpoint
-Form
The Dark and the Light (1964) 
Riding the Wind (1964) 
Yu Ko (1965)
Pien (1966) 
Yun (1969) 
Notes 
Chapter 5. CHOU'S WORKS OF THE 1980s AND 1990s
Beijing in the Mist (1986)
Echoes from the Gorge (1989):
-General Observations
-Structure
-Structural Principles
-Counterpoint
-Timbre
-Compatible Elements between Chinese and Western Traditions
Windswept Peaks (1989-90):
-Pitch Organization
-Counterpoint
-Rhythm
-Formal Structure
Concerto for Violoncello and Orchestra (1990):
-Formal Structure
-Thematic Material
-Harmonic Organization
String Quartet "Clouds" (1996)
Notes
 	 
Chapter 6. THE PRECEPTION OF CHOU'S WORKS 
The Stokowski-Varèse Circle 
Background of Western Interest in the Chinese Arts
The American Listening Public
Background of the Chinese Audience
The Reception of Chou's Works in Taiwan
The Reception of Chou's Works in Hong Kong
The Reception of Chou's Works in Chinese 
Communities in the U.S.
The Reception of the Landscapes in the U.S.		 
Performances of And the Fallen Petals in the U.S. Europe, and Japan
Western Reviews of And the Fallen Petals
Comparing Western and Chinese Views of 
And the Fallen Petals
Notes
 
Chapter 7. BACKGROUND OF THE CHINESE APPROACHES TO MUSICAL SYNTHESIS
Western Techniques as the Backbone for the Musical Synthesis 
Chinese Material as the Backbone for the synthesis		
A New Synthesis During the Cultural Revolution 1966-1976 
Chou's Influence on Composers of the Post-Mao Generation
Chou's Individualistic Approach to Musical Synthesis
Notes 
EPILOGUE
	
BIBLIOGRAPHY 
APPENDIX I LIST OF CHOU WEN-CHUNG'S WORKS
APPENDIX II DISCOGRAPHY OF CHOU WEN-CHUNG'S WORKS 
APPENDIX III CHRONOLOGY OF PERFORMANCES OF AND THE FALLEN PETALS
INDEX

Library of Congress Subject Headings for this publication:

Chou, Wen-Chung, 1923- -- Criticism and interpretation.