Analyzing Electronic Music

Battier, Marc

doi:10.4324/9780367815349-5

Cited by 2 publications

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“…3 She then worked as a music journalist and editor at Henan Radio Station where she wrote, 3 In 1987 the Wuhan Conservatory was one of the first institutions in China to establish an electronic music studio, founded by Liu Jian (1954-2012 and Wu Yuebei (b. 1957), and soon after opened the first Bachelor's programme in electronic music (Battier and Liao 2018).…”

Section: Fu Xiao (付晓)mentioning

confidence: 99%

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‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today

Ritis

2022

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Current trends in the works of Chinese composers and their electroacoustic music today embrace increased abstraction and individual self-expression, while others celebrate the importance of clear communication and a unified ‘Chinese model’. How is one to derive the current state of a Western art form imported by China, in the context of unparalleled sharing and convergence of ideas made possible by the internet and extensive intercultural exchange in today’s globalised world? And how important is it to identify and measure the level of Chineseness in the artistic output of today’s electroacoustic music composers that embrace Chinese elements – whether born inside or outside of China? This article seeks to unpack some of the current thinking shared by institutional leaders, such as Yu Feng, president of the Central Conservatory of Music; scholars of Chinese electroacoustic music, such as Marc Battier, Ken Fields, Leigh Landy, Yang Yinuo and Annie Yen-Ling Liu; and several composers and thought leaders in the most recent generations of Chinese electroacoustic music.

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Section: Fu Xiao (付晓)mentioning

confidence: 99%

“…Chen Yi and Zhou Long are two Chinese music pioneers, present at the 'beginning of electronic music experiments' at the Central Conservatory of Music in 1984(Battier and Liao 2018). 'Mixed Blood' and Aesthetic Evolution in China's Electroacoustic Music Today…”

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‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today

Ritis

2022

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“…In the analysis of electroacoustic music, I insisted elsewhere on the necessity to take into account the conditions of production (Battier 2022). In the case of the Teng movie, because it must be considered as the earliest audio witness of what was available to produce electroacoustic music in 1984, at a moment when MIDI equipment was barely starting, assessing the instruments and technologies available in Beijing at that time can bring precious help for the musicological approach to the soundtrack.…”

Section: Music and Interculturalismmentioning

confidence: 99%

Crossing Lines: Stylistic gradients in Chinese electroacoustic music

Battier

2022

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In this article, I discuss the case of Chinese electroacoustic music with a focus on contemporary music, Asian instruments and mixed music. I pay particular attention to mixed music, without however limiting myself to it, also dealing with contemporary Western-style instrumental music. Several authors have discussed the question of the relationship between contemporary creation and certain stylistic factors of Asian cultures. They questioned what might constitute identifiable traits unique to Asia that could be observed in contemporary creations and they sought to determine whether systems of relationships can be established. Some, such as Chou Wen-Chung (周文中 Zhou Wenzhong), emphasised syncretism, thus establishing a link with the works of anthropology and cultural studies. In his 1971 article, ‘Asian Concepts and Twentieth-Century Western Composers’, Chou cites many examples that tend to emphasise notions of integration and syncretism across various stylistic gradients found in many composers, mostly Western. More recently, musicologist Yayoi Uno Everett described distinct categories in these relationships, on the part of both Asian and Western composers. This article attempts to find which cultural gradients can be observed in the electroacoustic music production of Chinese composers. For instance, the specific case of mixed music creates an unprecedented situation of contact between instrument and sound material in the context of renewed intercultural relations.

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Analyzing Electronic Music

Cited by 2 publications

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‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today

‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today

Crossing Lines: Stylistic gradients in Chinese electroacoustic music

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