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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.