The idea of being modern is often intertwined with the tenet of progress, whether understood through a Hegelian conception of history or a Darwinist view of sociocultural evolution. In a […]

Introduction and Background on Chen Yi

Musical modernism in Asia is a complex and varied phenomenon. As Frederick Lau points out in his article, “Musical Modernism in Asia,” there are no uni […]

One of the most politically controversial songs of twentieth-century East Asia is When Will You Return (何日君再來). In the semi-colonial space of early twentieth-century Shanghai, a new urban culture f […]

Japanese guitarist, turntablist, and composer Otomo Yoshihide (b. 1959) has had a particularly prolific and varied career. Born in Yokohama and raised in Fukushima, he moved to Tokyo […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western […]

David Conte is a […]

Perceptual principles and orchestration

Opening his paper about the psychological constraints on form-bearing dimensions in music, McAdams observes that, from a listener’s p […]

We normally think of operas as being either serious or comical. But a number of operas—some familiar, others forgotten—are neither of these. Instead, they are fantastical, dealing with suc […]

Composers in many lands in the twentieth century have tried to combine various modernist techniques with elements derived from the folk traditions and religious practices of their own land or […]

Dinuk Wijeratne (b. 1978) is a Canadian composer of South Asian birth and ancestry. While his compositional vocabulary draws upon a wide range of musical concepts and genres, he claims a […]

By Sophie A. Brady

While there has been significant study of European and North American […]

“Global musical modernisms” is a term I proposed to the US Society for Music Theory’s Global Interculturalism and Musical Peripheries interest group (formerly the Global New Music group), co-fo […]

The Nigerian composer Akin Euba (28 April 1935 – 14 April 2020) described his mission as the creation of an ‘African Art Music’. This, he explained, would be ‘a form of music [that is] universa […]

by Gavin Lee

In Nice Racism, Robin DiAngelo details how white liberals end up being racist. By rushing to prove one’s anti-racism, e.g. by c […]