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Gavin S. K. Lee edited the blog post Tonality, Modernity and Scalar Thinking in Otaka Hisatada’s Sonatine (1940) in the group
Global Musical Modernisms: on Humanities Commons 5 months agoKelvin H. F. Lee
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 […]
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Gavin S. K. Lee edited the blog post Chen Yi and Musical Modernism in China in the group
Global Musical Modernisms: on Humanities Commons 5 months agoBy Chieh Huang
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 […]
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Gavin S. K. Lee edited the blog post “When Will You Return?” The Politics of Chinese Jazz in Post-WWII East Asia in the group
Global Musical Modernisms: on Humanities Commons 8 months, 3 weeks agoBy Xinyi Ye
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 […]
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Gavin S. K. Lee edited the blog post Otomo Yoshihide and Ground Zero, Peking Revolutionary Opera, Ver. 1.28 (1996) in the group
Global Musical Modernisms: on Humanities Commons 8 months, 3 weeks agoBy Maurice Windleburn
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 […]
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lingkang min edited the post 17.Luo Zhongrong (1924.12.12-2021.9.2), “Crossing the River to Pick Lotus Flowers” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 16. Sang Tong (1923–2011), “Seven Piano Pieces on Inner Mongolian Folk Song Themes” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 15. Chou Wen-chung (1923.7.28–2019.10.25), “The Willows Are New” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 14. Zhu Jianer (1922.10.18—2017.8.15), “Symphony No. 10” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 13. Yuen Ren Chao (November 3, 1892 – February 24, 1982), “Haiyun” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 12. Li Huanzhi (January 12, 1919 – March 19, 2000), “Spring Festival Overture” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 11. Ma Ke (1918–1976), “Shaanbei Suite” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 5 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 10. Jiang Dingxian (1912–2000), “Lullaby,” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 9. Jiang Wenye (June 11, 1910 – October 24, 1983), “Taiwanese Dance,” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 8. Qu Wei (May 9, 1917 – May 20, 2002), “Flower Drum” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 7. Ding Shande (November 12, 1911 – December 8, 1995) , “First Xinjiang Dance Op.6,” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 6. Tan Xiaolin (1912–1948), “Duet for Violin and Viola” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 5. Ma Sicong (May 7, 1912 – May 20, 1987) “Nostalgia” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 4. He Lüting (1903.7.20 – 1999.4.27), “The Cowherd’s Flute” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 3. Xian Xinghai (June 13, 1905 – October 30, 1945), “Yellow River Cantata” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
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 […]
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lingkang min edited the post 2. Huang Zi (1904.3.23—1938.5.9), “Nostalgia” in the group
Global Musical Modernisms: on Humanities Commons 1 year, 6 months agoBy Mao Mengdan and Min Lingkang
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 […]
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