U.S.-China Arts Exchange Volume 10 Spring 1992
Transcript of U.S.-China Arts Exchange Volume 10 Spring 1992
U.S.-ChinaArts ExchangeNewsletter of tfie Center for U.S.-Cfilna Arts Excfiange at Columbia University Program Year 1989-1990Volume 10 Spring 1992
During the course of a busy conference schedule, composers He Xuntian, Qu Xiao-song,
Chou Wen-chung, and Franki Raden (left to right) find time for informal discussion.
The Pacific Composers Conference
"We are not students here,"expressed Chou Wen-chung as he
welcomed composers ranging in age
from 23 to 74 and representing
locations throughout the Pacific
region from Australia to Korea and
the Philippines to Peru. The occasion
was the opening session of the first
comprehensive conference for
composers of Pacific heritage to be
he ld in As ia . Chou con t inues , "we
a r e a l l a r t i s t s a n d w e ' r e h e r e t o
exchange viewpoints." The tone was
e s t a b l i s h e d f o r w h a t w a s a b o u t t o
become a ten-day sharing of artistic
concerns, ideas, and experiences for
forty-six composers.
After a year of planning, the
Center for U.S.-China Arts Exchange
held the Pacific Composers
Conference (PCC) from June 30 to
July 10, 1990, in coordination with
the Pacific Music Festival (PMF) in
Sapporo, Japan. When Chou Wen-
chung began to evaluate which
composers would be most appropriate
for performance at a Pacific festival,
a unique set of criteria evolved and
t h e i d e a t o c r e a t e a c o n f e r e n c e
exclusively for composers began to
m a t e r i a l i z e . T h e P C C b e c a m e a n
event that would be open to both
seasoned and amateur composers
committed to writing works that
r e fl e c t t h e m u s i c a l i n fl u e n c e s o f t h e i r
native heritage. Qualified participants
would inc lude those who had l ived,
taught, or become established in the
West as well as those who had never,
in their musical career, lived outside
of their native country.
continued on paf^e 10
T h e P a c i fi c
M u s i c F e s t i v a l
The first annual Pacific MusicFestival (PMF) took place in the
summer of 1990 in Art Park, in
Sapporo, Japan, under the direction of
Leonard Berns te in , M ichae l Ti l son
Thomas, and the London Symphony
O r c h e s t r a . T h e P M F w a s m a d e
possible through the efforts of Harry
J . Krau t , Execut ive D i rec to r o f Video
Music Productions; Japan's New Art
Service Agency (NASA); and the
Center for U.S.-China Arts Exchange.
The Festival brought together young
instrumentalists and composers, ages
18-29, from regions bordering the
Pacific Ocean including Australia,
New Zealand, Japan, Korea,
Singapore, Costa Rica, Guatemala,
Mexico, and the West coast of the
U n i t e d S t a t e s . F e s t i v a l a c t i v i t i e s
included a rigorous schedule of
continued on page 4
Members of the PMF Orchestra's wind
section—just four of the 123 musicians
who played in the festival orchestra—
concentrated intently on their music at
r e h e a r s a l .
Working With Tradition
Sharing the opportunity to address composers' questions in depth, Chinary Ung, Isang Yun, Chou Wen-chung, Joji Yuasa, andPeter Sculthorpe (left to right) lead the opening session of the PCC.
Wh,rhile looking over the score of
a young composer from Peru, Jose
Maceda, Filipino composer and
ethnomusicologist, exclaims; "I'm
amazed at what's going on in South
America, particularly because this
music represents what we're doing
here [in Asia]! There's a certain
universality...a unidirection in
musical composition and I don't
known whether it's a good idea or
not." In his thought-provoking
discussion entitled "Musicology,
Research, and Real Trad i t ion, "
Maceda encouraged composers to
look at music from different angles—
at fundamentals specific to one's
native region—so that composers are
not led into unilinear thinking, as they
were by Beethoven, or are today by
e l e c t r o n i c s .
Maceda articulated the importance
of being aware of tradition and
presented detailed comparisons of
m u s i c a l r o o t s a n d i n fl u e n c e s
throughout Asia—all evidence of his
o w n e x t e n s i v e m u s i c a l r e s e a r c h . " I
d o n ' t k n o w t h a t w e a r e c o n s c i o u s o f
how much of our traditions are part of
o u r s e l v e s o r h o w m u c h t r a d i t i o n w e
use while composing," he suggests.
Maceda simultaneously emphasized
the importance of musical
information worldwide. For a large
number of young, up-and-coming
composers at the conference, such
discussion proved challenging.
Composers exchanged conflicting
opinions as they evaluated what kind
of emphasis should be placed on
t r a d i t i o n . A t t h e s t a r t o f t h e
conference, Hiroyuki Itoh, a young
composer from Japan, questioned the
usefulness of evaluating one's
musical traditions so extensively. Yet
at the conference, upon comparing his
m u s i c t o n e w m u s i c o f t h e W e s t e r n
Uni ted States, I toh d iscovered
consistent parallels and similarities,
and quickly saw the necessity for
such in-depth analysis. Australian
composer, Ian Shanahan, observes of
Asian composers, "...this tradition,
these thousands of years that you
have in your past...make you feel as
though you have to refer to that
somehow in order to express yourself
as a composer. But...it's the past and
you are now in the 20th century, and
you are flooded with every kind of
i n fl u e n c e . H a s t h i s c r e a t e d s o m e s o r t
of identity crisis?"
For many young Asian/Pacific
composers, this is a dilemma. During
the PCC, the composers' limited
understanding of local musical
tradition was a crucial point of
concern mentioned throughout the
d i s c u s s i o n s e s s i o n s . A f e w s e n i o r
composers even described this
realization as "shocking."
M u s i c a l i n s t r u m e n t s a n d t h e
question of how they should be
properly recognized and incorporated
was also considered. Can a composer
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experiment with new approaches to
t h e u s e o f t r a d i t i o n a l i n s t r u m e n t s o r
should older instruments be respected
"traditionally" by acknowledging
only their historical or "built-in"
characteristics? Composers
understood that this question could
not be approached in an overly-
simplistic manner, as it involves
much more complex ideological
questions that remain yet unanswered
for many.
Guest Composer, Francisco
Feliciano of the Philippines, pointed
out the benefits of identifying one's
tradition simply for one's own
personal growth: "The Asian
composer has an advantage because
w e c a n l o o k i n t o t h e o l d t r a d i t i o n i n
trying to search for what we really are
a n d h o w w e c o n n e c t t o o u r
country...." Composer-in-residence
Chou Wen-chung describes his
support for Feliciano's point: because
t r a d i t i o n a l C h i n e s e m u s i c i s
historically related to other areas of
the arts and philosophy, Chou draws
o n t h e r i c h r e s o u r c e s o f fi e l d s o t h e r
than music while composing.
Chinese calligraphy and the
pronunciation of Chinese words, for
example, are vital in his musical
composition and have been a source
of inspiration for Chou Wen-chung.
Chou offered insight to those less
convinced of a composer's
responsibility to tradition:
are a living tradition, a
part of tradition, hut this is not
enough. The artist has to he
conscious of how tradition can
further grow through his or her
own efforts. Tradition has
meaning only because of the
contribution of individual artistsl
That is why this conference is
significant for the tradition of
AsianlPacific music. / trust that
our living composers will
contribute to the future of
m u s i c . "
During the conference, the
complexity of diverse traditions—
Ch inese , Ch inese -Amer i can , Ko rean ,
Japanese, Australian, Southeast Asian,
a n d N o r t h a n d S o u t h A m e r i c a n —
became a catalyst for much
i n t e l l e c t u a l r e fl e c t i o n . T h e o u t c o m e
of such reflect ion, however, ev ident in
two of the many letters written to the
Center following the conference, was
positive: Melissa Hui, a Hong Kong-
born Canadian, describes composing
after the conference: "Although I had
obviously pondered the Asian heritage
questions before, I think the exposure
to more 'Asian thinking' and Japanese
music/culture had an effect on me
while I was composing my new
w o r k . "
American composer Catherine Nez
writes, "...indeed the resources of the
v a r i o u s o l d a n d t r e a s u r e d t r a d i t i o n s
remain yet to be realized more
consciously."
Canadian composer James Harley
d e s c r i b e s h i s d i s c o v e r i e s : " T h e
conference has helped me both to see
t h e c o n n e c t i o n s t h a t e x i s t b e t w e e n
my identity and the identities of the
other composers from around the
Pacific, as well as to be more aware
of my own distinctiveness."
...//oh > can one pick up andw o r k w i t h t r a d i t i o n ?
This question was debated and
explored during the PCC, yet as
compositions by Pacific composers
gain more exposure in Europe and
the United States, and artists become
m o r e i n t o u c h w i t h t h e e f f e c t s o f
cultural influence. Pacific composers
will undoubtedly begin to discover
t he i r own so lu t i ons . □
Young composers Gee-Bum Kim, Franki Raden, and Ye Xiaogang (right to left), eager to
learn and attentive to the experiences of Composer-in-Residence Chou Wen-chung (far left).
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The Pacific Music Festival
continued from page 1
Pacific Music Festival Orchestra violinist entertains his section members. The Festival orchestra consisted of young musicians from
throughout the Pacific region.
classes, rehearsals, instrumental
demonst ra t ions , and mus ic
performances.
Over the period of three weeks
from June 26-July 13, through the
charismatic leadership and
extraordinary energy of Maestro
L e o n a r d B e r n s t e i n a n d t h e L o n d o n
Symphony Orchestra's principal
c o n d u c t o r, M i c h a e l Ti l s o n T h o m a s ,
the young international
representatives came together to form
t h e P a c i fi c M u s i c F e s t i v a l O r c h e s t r a
(PMFO). The Center played a
significant role not only in the design
and organization of the PMF 1990,
b u t a l s o i n t h e r e c r u i t m e n t a n d
selection of the 123-member youth
orchestra from 500 applicants.
Needless to say, a multitude of
languages could be heard at each
activity and rehearsal, but conductors
and participants relied mostly upon
English...and the language of music.
The PMFO prepared to perform
t h r e e c o n c e r t s f o r l o c a l a u d i e n c e s i n
Sapporo, and two additional
concerts—one in Tokyo and one in
Yokohama. Three young conductors
a s s i s t e d i n t h e e f f o r t s o f B e r n s t e i n
and Tilson Thomas to train and shape
the orchestra—Leif Bjaland, Resident
C o n d u c t o r o f t h e N e w W o r l d
Symphony in Miami; Yutaka Sado, a
Japanese conductor who in June of
1990 was residing as a freelance
conduc to r i n Vienna ; and Mar in
Alsop, then the Music Director of the
Eugene Symphony and the Long
Island Philharmonic. The generous
assistance of conductor Eiji Oue, who
i n 1 9 9 0 w a s t h e A s s o c i a t e C o n d u c t o r
o f t h e B u f f a l o P h i l h a r m o n i c a n d t h e
s e l e c t e d R e s i d e n t C o n d u c t o r o f t h e
PMFO, was also vital to the success
o f t h e f e s t i v a l .
Enhancing the experience for
young orchestra members as well as
local audiences, several groups from
the Pacific region were invited to
offer traditional music performances
at the fest ival . Korean drummers,
Japanese Gagaku court musicians,
Maori dancers, and an Indonesian
G a m e l a n o r c h e s t r a a r t i c u l a t e d t h e
f e s t i v a l ' s i n t e r n a t i o n a l fl a v o r .
All expenses, including room and
board , tu i t ion , and in te rna t iona l
a i r f a r e f o r t h e P M F O m u s i c i a n s w e r e
covered by the chief sponsors,
Nomura Securities, as well as the co-
sponsors—Sony, Toyota, Japan Air
Lines, and many individual donors.
Setting the Stage for the PMF
The plans for the Festival had
t h e i r a n t e c e d e n t s i n a n i n v i t a t i o n
issued during the winter of 1978 by
Chou Wen-chung to Maestro Leonard
Bernstein, one of the Center 's
original Advisory Council members,
to join the first Center delegation to
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China. Although the Maestro was
unable to schedule a trip then,
Bernstein's concert tour of Japan,
planned for the summer of 1990 with
the LSO, offered the perfect
opportunity to take advantage of
China's open invitation and the
C e n t e r ' s e x t e n s i v e n e t w o r k t h e r e . I n
1987 the Center began planning for
B e r n s t e i n ' s 1 9 9 0 v i s i t a n d f o r t h e
organization of an all-China youth
o r c h e s t r a .
The Center prepared by traveling
to China to meet with representatives
from Beijing's Central Philharmonic,
the Shanghai Conservatory, and other
key individuals, and conducting
extensive correspondence with
organizers there. Yet despite the
time and effort invested by both the
Amer icans and Chinese involved, the
political events in China in June of
1989 necessitated a change of project
plans. Through a joint decision
among Maestro Bernstein,
Bernstein's management, the London
Symphony Orchestra, funders of the
project, the Center, and other
principal parties, this musical event
was moved to Sapporo, Japan.
After the change in location, the
e v e n t w a s n a m e d t h e P a c i fi c M u s i c
Festival and the project's entire
scope was broadened. The original
plan to organize and arrange for an
all-China youth orchestra that would
have a three-day residency in Beijing
e v o l v e d i n t o t h e c r e a t i o n o f a P a c i fi c
youth orchestra, which would
incorporate young musicians from all
countries in the Pacific region. As
t h e s o l e r e c r u i t e r f o r t h e P a c i fi c
youth orchestra, the Center used its
twelve years of experience and Chou
Wen-chung's personal contacts to
identify and consult with an
extens ive network o f conserva tor ies ,
youth orchestras, individuals, and
other musical organizations in the
Pacific region. As a result, the
P a c i fi c M u s i c F e s t i v a l O r c h e s t r a
would include the most highly
qualified young musicians whose
roots, work, study, or homes were
located in Pacific areas, including
Pac ific As ia , the South Pac ific ,
L e o n a r d B e r n s t e i n
Frorom 1981 on, three years after
the Center's inception, we were
honored by Leonard Bernstein's
dedicated service as a member of our
Advisory Council.
We are grateful to have had the
opportunity to work with Maestro
Bernstein toward the realization of
his goal, the Pacific Music Festival
in Sapporo, Japan, his last major
musical project. It was an invaluable
experience to witness the effect of his
energy, compassion, and love for
music on young international
o r c h e s t r a m e m b e r s a s w e l l a s o n
guest conductors and others who
assisted in festival activities.
Because of our own long-term
relationship with Maestro Bernstein,
a n d o u r r e c e n t c o l l a b o r a t i o n o n t h e
festival, we wish to express, as have
c o u n t l e s s o t h e r s s i n c e h i s d e a t h i n
October of 1991, our deep respect for
this friend, inspiration, and musical
l e a d e r . □
Austra l ia and New Zealand, the
P a c i fi c b o r d e r c o u n t r i e s o f L a t i n
America, the West coast of the
United States, and even the East
coast of the Soviet Union. Despite
the change in location and political
conditions, through the Center's
efforts, three young musicians from
the Xi'an Conservatory in China, Xie
Min, Guo Hongdou, and Meng
Xiaoxi, were also able to participate.
As a result of the changes of
PMF's s ize and character, other
aspects of the festival evolved as
w e l l . W i t h t h e C e n t e r ' s
encouragement, during the
restructuring process a conference
strictly for composers—the Pacific
Composers Conference (PCC)—was
incorporated into the festival agenda.
The PCC added a component of
philosophical development and
artistic creativity to the Pacific Music
Fest iva l . As ide f rom the PCC, w i th
t h e C e n t e r ' s a s s i s t a n c e o t h e r
educa t iona l ac t i v i t i es , mode led
loosely after activities of the
Tanglewood Music Festival in
Massachusetts, were also designed
and incorporated into the festival
s c h e d u l e . □
5
Musical Dichotomy
Composer Qu Xiaosong (second from left) and conductor Yutaka Sado (far left) work
together with a small ensemble to prepare Qu Xiaosong's "Mong Dong" for
performance at one of the three PCC concerts.
A.rtistic liberation"—escapingthe dominant influence o f Western
music and naturally incorporating
o n e ' s o w n P a c i fi c r o o t s w h i l e
composing—was discussed in great
detail by both experienced and novice
composers who participated in the
PCC. Knowledge of Western music
was a bond among the composers,
since, aside from sharing a Pacific
heritage, a great number of PCC
participants have another experience
in common: a Western educat ion.
The con ference 's in te l lec tua l and
artistic climate was enhanced by the
diverse backgrounds of participating
composers. Of the forty-six
composers involved in the PCC,
thirty-one, in pursuit of an education
or an a l ternat ive envi ronment, had
spent a significant period in the West.
Furthermore, a large number of these
composers remained in the West,
therefore about fifty percent of the
PCC participants were artists living
wi th in a cu l tu re much d i f fe ren t f rom
their own culture of origin. With this
in mind, it is not surprising that the
works of many composers reflect the
influence of the i r Western teachers
and the countries where they were
educated. In cont rast , however, there
are a few composers who, despite a
d e c i s i o n t o r e m a i n i n t h e i r n a t i v e
countries, create music atypical of
their region: an advisor to the
conference. Torn Takemitsu, for
example, received his entire
education in his home country of
Japan, yet is widely recognized in the
West as well as in Asia, and
represents a style compared to that of
great composers of France.
Japanese composer, Minako
Tokuyama, pointed out one of the
consequences of dual influences: "We
as Asian composers know less about
each other 's countr ies , t rad i t ions,
s i t u a t i o n s t h a n w e k n o w a b o u t
Europe. That is shocking for me; we
m u s t k n o w e a c h o t h e r m o r e . "
Composer Franki Raden of Indonesia
reiterates this point: "...the young
generations in Asia need to hear what
[we] have said during our conference,
so they can save their precious time
for something more valuable than
working under the 'voice' of Western
m a s t e r s . . . . "
According to Guest Composer Joji
Yuasa, it would be the "biggest
happiness" for the experienced
composers and educators if young
composers would develop their
individuality and compose worksunlike anything typically Western or
commercial ly 'Asian'."
How to develop this unique form,
however, was a question worth
deliberating, particularly for the
composers with more experience in
balancing two contrasting musicaltraditions. Guest Composer Chinary
Ung stressed the importance of
cultivating one's potential: "I realizeand understand more and more the
term 'education'...and not necessarily
that of a classroom setting. I believe
more and more that education is the
only medium that can induce the
realization of our music making.
Composing is not really the questionof intelligence and talent—everyone
here has both—I think it has to go
beyond that...."
Composer-in-residence JoseMaceda of the Philippines—known
both for his knowledge of traditional
Asian music, incorporating
indigenous, non-Western instruments
and for the tremendous influence he
has had upon his students—also
supports the idea of education as well
a s a n a w a r e n e s s o f m o v e m e n t s i n t h e
West: "Whether we'd like to depart
[from Western music] or continue
with it, either way we still have to
k n o w i t . "
"My view is that if you have an
Asian background and want to be a
composer, you have no choice; you
have to be at least bi-lingual—not just
technically, but culturally," adds
Chou Wen-chung. "My prediction is
that within a decade or two. Western
composers will also have no choice
but to be 'bilingual.'"
Participants examined some of the
t e c h n i c a l d i f f e r e n c e s b e t w e e n
W e s t e r n a n d E a s t e r n m u s i c : t h e
different approach to the
incorporation of the pentatonic scale;
the unique aspects of original Asian
continued on page 11
6
insight with composers Satoshi Minami, Hiroyuki Itoh, Suguru Goto, and Brenton Broadstock (left to right). Inset: Australian composer
Peter Sculthorpe (far right) offers Chinese composers Chen Yi (front), Chen Yuanlin, Zhu Shirui, and He Xuntian (left to right) his
perception of what it means to be a Pacific composer with Western roots.
The Role of the Pacific Composer"Now it is time for us to find our own way—be the new Boulez, Stockhausen,
the new Nono from Asia...." —Ismg Yun, Composer-in-ResIdence
A provocative area wasinvestigated in the course of debating
t h e e f f e c t s o f W e s t e r n i n fl u e n c e o n
"the voice" of a Pacific composer:
what role does the Pacific composer
play in modern society? What are his
or her responsibilities? Responses
contrasted greatly, a testimony to the
diverse history of each Pacific region
and the varying experiences of each
Pacific composer.
Composer-in-Residence Isang
Yun, native of Korea now residing in
Germany, explains:
"...now all of us, in Europe and
Asia, have much experience
b e h i n d u s . I d o n ' t t h i n k t h a t i n
the future very significant
techniques will be discovered.
Tonality, atonality, sound,
composition, minimal music—we
have all that we need to compose.
But I think many of you here
don't know what you can find,
and this is your task: you must
sincerely find your own styles,
using old techniques, but not by
imitating. The twenty-first
century will then be absolutely
different from the twentieth.
What kind of music does mankind
need from us? More than
Moza r t , Bee thoven , B rahms . . . . "
But how can a composer find his
own style, choose his own unique
v o i c e w h e n h e d o e s n ' t e v e n h a v e h i s
own musical language or culture?
T h e r e i s n o a b s o l u t e a n s w e r t o t h i s
question, asserts Chou Wen-chung,
but experienced composers,
continued on page 8
1
T h e R o l e O f T h e P a c i fi c
Composercontinued from page 7
nevertheless, have made their own
personal resolutions:
"It's a subjective choice,"
observes Japanese-born, University
of California music professor, Joji
Yuasa, as he touches on the
a s s o r t m e n t o f i n fl u e n c e s o n h i s o w n
musical background, "we should
choose whatever aspect we like and
intend to develop...."
Australia
Canada
China
Hong KongIndonesia
JapanKorea
MalaysiaNew Zealand
Peru
The Philippines
Taiwan
United States
lxxvIAIALsk-H :l
11'=- \ V ^
4- R4^- \y \) t i :
Xagna/or violin quartet (1990) by Hiroyuki Itoh of
Japan
Composer-in-Residence Isang
Yun continues: "Originally I would
have said I compose for myself. Now
it's changed. Now I write for myself
and for the world—for people—
because the world has changed. We
have many social, political, and
ecological problems, so we
composers cannot write only for our
o w n a e s t h e t i c s . . . . "
- 3 —
o
r - S -
L o c a t i o n s
Represented
at the PCC
One of the discussion sessions,
lead by Guest Composer Peter
Sculthorpe, was devoted specifically
to defining a "Pacific composer."
Sculthorpe's own position on writing
w o r k s t h a t r e fl e c t t h e a r t i s t i c
experience of an Australian,
illustrates the Australian composer's
s e a r c h f o r a m u s i c w i t h i t s o w n l o c a l
identity: "I choose to write music for
me...music that belongs here. I'm
happy when people enjoy my music,
therefore there are no compromises,"
h e a s s e r t s .
B e c a u s e o f t h e n u m e r o u s a n d
complex musical influences in Asia,
the question was raised as to whether
a Pacific composer should be
expected to understand the theories
b e h i n d t h e t r a d i t i o n a l m u s i c o f
P a c i fi c c o u n t r i e s . I n h i s d i s c u s s i o n
of music theory, Eugene Lee from
Korea asks, "To what extent should a
composer be involved in musical
r e s e a r c h o f n o n - W e s t e r n m u s i c a n d
ethnomusicology?" Composer Jose
Maceda believes a Pacific composer
should be fully involved. "Field-
work and Cihnomusicology uncover
musical concepts...so far removed
f j f ^ i f * . / / a
Darangun/br solo violin (1985) by Conrado Del Rosario of the Philippines
from modern technology that
they become fresh attributes,"
h e a s s e r t s . Ye t s o m e
composers, although they
support this view, don't feel
their own responsibilities
i n c l u d e e x t e n s i v e r e s e a r c h .
F r a n c i s c o F e l i c i a n o o f t h e
Philippines, for example, admits
"I've been influenced by
Maceda's being an
ethnomusicologist;...but for me I love
to compose more than do research!"
What is the degree of obligation
t o k n o w a n d u n d e r s t a n d l o c a l
culture? Upon discovering what
young participants didn't know about
local music, senior composers
unanimously stressed the importance
of doing more listening—identifying
o n e ' s r o o t s — i n o r d e r f o r o n e ' s m u s i c
t o b e c o m e u n i v e r s a l o r a s c e n d
beyond a simple 'local' identity.
T
m
mm f .
i
iW-
U)
Mbe Nenangpe (Water People)
for small ensemble (1989) by
Brent Davids of the United States
I n o r d e r t o fi n d o n e ' s i n d i v i d u a l
voice and simultaneously fulfill a
cultural responsibility, each
composer was encouraged to
contemplate his or her own situation.
Taiwanese composer Shyh-ji Chew, a
graduate of Columbia University's
musical composition program.
8
explains why: "Asian composers don't
really get into how music evolved, and
that is the danger;...under the shadow of
capitalism, if you don't want to pick upthe most advanced technology or
techniques, you feel behind...a lot of the
music I 've heard is a reflection of that
mentality. We don't really question the
individual, originality, what we want to
be, why we pick up this style, technique,
whatever. We live in the present tense."
t,»nl QCf pcij.ble
r
'pi'^ v I r
Melismas for solo guitar (1988) by
Jose' Sosaya of Peru
Although composers each evaluated
their own responsibilities differently,
most agreed they felt some sense of
obligation. A mutual perception of the
Pacific composer's role in the future is
expressed clearly by Isang Yun: "The
twenty-first century will be the age of
the Asian composer. This is our
obligation, to provide leadership,
especially in the arts." □
> t W
Telepathy/ur orchestra (1988) by
He Xuntian of China
P A C I F I C C O M P O S E R S C O N F E R E N C E C O N C E R T S
y a l J ' y U
P R O G R A M
1990^71110 (0) 11:00
Sunday, July 1. 1990 at 11:00 a.m. / Hokkaido Seishonen Kaikan Hall
- ■ 7 >
Chinary Ung
Joji Yuasa
Suguru Goto
V > - + • A A
Sung-Ki Kim■ r - \ > ■ • > 7 1 3 >
Chen Xiaoyong
A - t • V - I f A
Jose Sosaya
y ) l
SpiralJ' - A X' • 17* • r > -it 7 A •
r - i T - y ' ) > y
Terms of Tempora l Deta i l ing
Ryu-Ei
' frS Intermission ■
C r y n t z i f r n M n y > t
1 2 C o n t e s f o r P i a n o
S t r e i c h t r i o
y y ' r - X y 9 y y
I n t e r m i t t e n c e s
1990T7J17B (±) 18:30 fLfJISIPlWJlT- t-.-Jr-A
Saturday, July 7, 1990 at 6:30 p.m. / Sapporo Art Park Art Hall
E - y - • X 7; tP 7 - 7"
Peter Sculthorpe■>' 3 -b 7 -f 7 • f P K
J o s e fi n o T o l e d o
3 7 • n >
Zhou Long
r f y • 7 > X X
Sun Songsh U 7 f-' -f A ■
Trenodya . . .T ' - f T - d -
Dhyana
■ l-k,® (1053") Intermission (10 Minutes ) •
fflil lHSJi;
T o s h i o H o s o k a w a
X-— 7 y ■ ') —
Eugene Lee
p o A C t
U t s u r o h i
2 S ; l i c W 7 y y t - y y 3 >
Composition in TwoM o v e m e n t s
• • ■ • 11:,® (153)-) Intermission (15 Minutes) - • • •
T - j . - - f - + T 7 > A > - K >
Q u X i a o s o n g M o n g D o n g
1 9 9 0 T 7 J 1 8 H ( 0 ) 1 2 : 0 0 J i j i l A - A
Sunday, July 8, 1990 at 12:00 Noon / Kyosai Hall
- f T > • j c y - y ' y 7 y 9 y -
l a n S h a n a h a n E c h o e s / F a n t a s i e s
- p f m n A > X
I s a n g Y u n L o y a n g
■ • • • ■f'k®, (105f) Intermission (10 Minutes) • ■ • •
7 0 7 - 0 - • 7 - ( A > ^ 3 - K • X 7 X
M e l i s s a H u i T e m p e r e d G l a s s
• • • • if:,S! (1553-) Intermission (15 Minutes ) • • ■ ■
— • 7 n A • 7 ' ; P X '
C h o u W e n - c h u n g E c h o e s f r o m t h e G o r g e
T o r u T a k e m i t s u R a i n S p e l l
The Pacific Composers Conference scheduled three contemporary music concerts
(program above) for the performance of compositions written by participating composers.
9
The Pacific Composers Conference
continued from page I
In the process of examining over
two hundred applicants from more
than twenty-five countries, musical
competence did not take exclusive
precedence. With the generous
assistance of a final selection panel
consisting of composers George
Crumb, Mario Davidovsky, and
Chinary Ung, applicants and those
who were recommended by guest and
senior composers were judged
according to their ability to contributein Sapporo to what would become a
rich, multi-faceted representation of
composers. Professor Chou Wen-
chung, serving as artistic director,
designed the conference to provide an
opportunity for composers of Pacific
heritage and varying musical styles,
philosophies, and careers to interact,
explore, and compare views in an
atmosphere that would reflect their
own cultural background.
Several artistic questions were
raised during individual composer
presentations and discussion sessions
led by Guest Composers and
Composers-in-Residence. Preselected
topics included musicology and
research, music theory, imagery, and
the definition of a Pacific composer.
One-on-one dialogues between senior
and fellow composers were also a
popular part of the conference
curriculum, as well as music listening
sessions, contemporary music
concerts, a special session on the
future of Chinese music, and two
panel discussions—one an historical
overview of regional developments in
music, and the other a summation of
t h e P C C i t s e l f .
One composer participant,
F r a n c i s c o F e l i c i a n o o f t h e
Philippines, articulates the Center's
subtle but significant goals in the
planning of an exclusively "Pacific"
c o n f e r e n c e : " I l o o k a t t h e c o n f e r e n c e
as a stage in the development of
music composition in the region...a
liberating process."
T h e P C C ' s A r t i s t i c D i r e c t o r C h o u
Wen-chung and the Center for U.S.
China Arts Exchange extend sincere
appreciation to composers George
Crumb, Mario Davidovsky, and
Chinary Ung for their time and
dedication to selecting PCC
participants; Composers-in-
Residence, Jose Maceda and Isang
Yu n , w h o o f f e r e d c o u n t l e s s
suggestions and recommendations;
To r n Ta k e m i t s u , w h o o f f e r e d
thoughtful and valuable advice
(although because of prior
commitments, was unable to a t tend) ;
Guest Composers Eugene Lee, Peter
Sculthorpe, Chinary Ung, and Joji
Yuasa, whose recommendat ions and
research made it possible for a
number of talented Fellow Composers
from a wide range of countries to
participate; Guest Composers
F r a n c i s c o F e l i c i a n o , To s h i o
Hosokawa, and Qu Xiaosong for their
generous contribution of knowledge
and experience; Senior Fellows
Tetsuo Amemiya, Chen Yi, Shyh-Ji
Chew, A lex ina Lou ie , F rank ie Raden ,
and David Tsang, whose assistance in
Sapporo made each event possible;
Betsy Glans, who coordinated
activities for the PCC; and finally, all
the participating composers
themselves, for volunteering their
valuable insight and energy during
our short time together. □
Participating Composers
Composers- in-residenceChou Wen-chung
C h i n a l U S A
J o s e M a c e d a
The Philippines
Isang YunKorea/Germany
Senior Guest Composers
Eugene LeeK o r e a / U S A
Peter Sculthorpe
A u s t r a l i a
Chinary UngC a m h o c l i a / U S A
Joji Yuasa
Japan! USA
Guest Composers
F r a n c i s c o F e l i c i a n o
The Philippines
T o s h i o H o s o k a w a
Japan
Qu XiaosongC h i n a
F e l l o w s
Tetsuo Amemiya, Brenton
Broads tock , Vic to r Chan , Chen
Xiaoyong, Chen Yi, Chen Yuanlin,
Shyh-ji Chew, Bruce Crossman, Brent
Davids, Conrado Del Rosario, Suguru
Goto, James Harley, He Xuntian,
Melissa Hui, Hung Yu-Chien,
Hiroyuki Itoh, Gee-Bum Kim, Sung-
K i K i m , K u i - I m L e e , A l e x i n a L o u i e ,
L u P e i , * S a t o s h i M i n a m i , C a t h e r i n e
Nez, Kilsung Oak, Robert Priest,
Franki Raden, Valer ie Ross, Ian
Shanahan, Bright Sheng,* Jose
Sosaya, Minako Tokuyama, Josefino
Toledo, David Tsang, Tzeng Shing-
Kwei, Sinta Wullur, Ye Xiaogang,
Zhou Long, Zhu Shirui
* u n a h l e t o a t t e n d .
Yiitaka Sado, assistant conductor for the
Pacific Music Festival, enjoys a moment of
mus ica l b l i s s .
10
Pacific Composers Conference Agenda
larticipating composers were sent
a list of questions to explore prior to
their arrival in Sapporo. The
questions were designed to enhance
the PCC symposiums by stimulating
the composers' thoughts in advance,
and preparing composers for more
provocative questions and a lively
exchange of ideas at the conference.
Below are a few of the prepared
questions.
What direction do you feel
contemporary music in the Pacific
region will take as we move into anew century?
Do you feel the development of
Western music has been influenced by
n o n - W e s t e r n i d e a s ?
How do you consider your musical
language: is it Western or anadmixture of influences from different
c u l t u r e s ?
Is the reflection of cultural valuesa concern in your music? If not, what
is important in your music?
Conference Agenda
F C C D i s c u s s i o n S e s s i o n s
Chou Wen-chung I n t r o d u c t i o n
Eugene Lee "What does music theory mean to the composer?"
J o s e M a c e d a " R e s e a r c h a n d R u r a l T r a d i t i o n "
Peter Sculthorpe "The Pacific Composer or should there be a
Pacific Composer?"
M i c h a e l T i l s o n T h o m a s "Personal Notes on Conducting, Composing, and
the Future of Contemporary Music"
PCC Composer Talks
Chou Wen-chung "Aesthetics and Musical Composition"
T o s h i o H o s o k a w a "Composing for Traditional Instruments—Possibilities and Dangers"
J o s e M a c e d a "Ambiguity and Precision in Eastern andW e s t e r n M u s i c "
Peter Sculthorpe "The Australian Character aitd Landscape as a
Source for Musical Composition"
Chinary Ung "Imagery in Composition"
Joji Yuasa "Traditional Thoughts on Advanced Technology:
Computer Music"
Musical Dichotomy
continued from page 6
court music; the contrasts in color,
unity, and harmony; and fundamental
elements of music, such as pitch and
pitch order. Large and small group
discussions explored philosophical
diversities as well, including
examples of Chinese thought and how
music can be expressed through
Taoist concepts; "There is music you
can listen to with your ears, but there
is music you can listen to with your
mind or your heart. That's what'Tao'
is, the kind of internal ization that is
needed," explains Chou Wen-chung.
Composers from all locations
identified specific musical and
c u l t u r a l i n fl u e n c e s i n t h e i r o w n
region. Composer Tzeng Shing-Kwei
f r o m T a i w a n r e f e r r e d t o T a i w a n ' s
political and economic history and
h o w t h e a r t s i n Ta i w a n h a v e b e e n
shaped by historical evolution. In the
Philippines, explained Jose Maceda,
ninety percent of the people have led
lifestyles similar to the Spanish or
S o u t h A m e r i c a n s . T h e i r c u l t u r e i s
influenced by Christianity, and the
products of these influences on
present-day Philippines is considered
a "dilemma" for Filipino composers.
Other Filipinos felt less burdened
by the effects of outside influences on
their own composing. In a country
continually absorbing American,
Chinese, Southeast Asian, as well as
Christian influences, the following
viewpoint may become commonplace:" . . . w h a t e x c i t e s m e a t t h e m o m e n t i s
that everything that is happening (in
music)—this globalism—is what's
happening in the Philippines; there
are so many different influences at
the same time, and I use all of it now
a n d w i l l d o s o i n t h e f u t u r e . "
Composers together defined the
strength and presence of the Western
voice, and were active in deliberating
its impact on their music. Although
some composers in the Pacific have
made impressive progress in relating
t h e i r o w n m u s i c a l t r a d i t i o n s t o t h o s e
of modern Western culture, many
have the tendency to compose music
that reflects a mere collage of
Western and Eastern sound, and a
few composers still struggle with the
dominance of Western styles.
The dichotomy of Western and
Eastern music remained a significant
and most thought-provoking theme
throughout much of the discussions
during the PCC. □
11
o
QJ
Oh
ou
a ;
Th e positive responses we have received at theCenter from PCC participants have been a source of
encouragement and inspiration for us. Here, in theirown words, are some of the participants' reactions.
"One could have thought at first thata PCC would limit one's thinking into
a narrow, regional way. But the PCC
has opened our minds to new and
limitless possibilities that will now
enhance our creative thinking."
— C o n r a d o d e l R o s a r i o
PhilippineslWest Germany
t ( r j i
1 oo few conferences and festivals
are held in the Pacific area and we
need them, without having to travel to
places where minds and ideas havebeen closed for decades....Such a
conference as the PCC can create new
ideas, new challenges and
possibilities—a new environment free
from the ideological fetters of Europeand parts of the USA."
— B r e n t o n B r o a d s t o c k
A u s t r a l i a
The PCC was unlike any othermusic festival or conference in that it
w a s t a i l o r e d t o t h e n e e d s a n d
aspirations of the region, and
specifically for the young composer.It was a conference that looked to the
future, and there was a sense thatthere is a new beginning...."
—David Tsang
Hong KonglUnited States
"How talented the young composersare!...How different the Pacific
composer is from the European
composer!...How powerful the Chinese
composers are!...How interesting for
me, a woman in the Pacific, to
compose!...I met many people I didn't
know, but at the same time, I met
M Y S E L F t o o . "
—Minako Tokuyama
Japan
" ...The results and effects of such
an undertaking simply cannot be
quantified except to say that this willhave tremendous impact in the years
t o c o m e . "
— F r a n c i s c o F e l i c i a n o
The Philippines
" [The PCC] was indeed a very
important experience for all of us,
especially as Asian composers.
Hopefully we all can learn and
develop some important ideas in the
future from what we shared anddiscussed during the conference."
— F r a n k i R a d e n
I n d o n e s i a
"For me, the PCC served as an eye-opener to all the beautiful musicaltraditions that surround me, my
culture, my heritage. I am in every
s e n s e a W e s t e r n e d u c a t e d m u s i c i a n
having studied in Britain, and
always felt I had no roots in myhomeland. Perhaps it's too early to
say, but I have found some answersto my musical search."
—Valerie Seo Bing Ross
Malaysia
"This conference reaffirms thenecessity of a profound investigation
of the diverse types of music in my
country ...an investigation that
lamentably, until now,has been incipient."
—Jose So say a
P e r u
"Thank you very much, andC O N G R A T U L A T I O N S ! "
—Tetsuo Amemiya
JapanlUnited States
12
Advisory Council Changes
"/ am firmly convinced that PCChas brought a fecund result to all the
participants not only to hopeful
young composers but also to senior
composers like us."
—Joji Yuasa
JapanlUnited States
" ...I started writing a new work for
orchestra right after the conference,
when all the things we discussed and
t h e m u s i c t h a t w e l i s t e n e d t o w e r e
still very fresh in my mind. The work
was finished last October and
premiered by the PhilippineP h i l h a r m o n i c O r c h e s t r a l a s t
N o v e m b e r . "
—Josefino ToledoThe Philippines
The composers at the PCC werevery refreshing—thank you for
inviting me! It was, for me, very
important as now I feel the need tomove into a new dimension with my
m u s i c . . . . "
— T o s h i o H o s o k a w a
Japan
"[The PCCs] effects on me are stillbeing felt. In thinking about
composition I have pondered andmeditated on some of the many issues
so heatedly debated. I feel very
fortunate to have been part of it...."
—Ketty NezU n i t e d S t a t e s
'I was grateful to be a part of thePCC because Peru doesn't offer
possibilities for composers to
improve their music. What a
beautiful experience it was in
Sapporo-I will never forget it."—Jose' Sosaya
P e r u
"I can honestly say that my time inSapporo was one of the most
stimulating and gratifying
experiences in my life!"— R o b e r t P r i e s t
U n i t e d S t a t e s
"I can't help feeling the sense ofhistorical significance and the
dimension of the importance of
this conference...."
—Kilsung OakK o r e a / U n i t e d S t a t e s
After reviewing theconcepts discussed at thePCC, I recognized that it is very
important for me to make a
composition of my own, standingon the ground of the present-day,
1990, in Hokkaido where I am
n o w . "
— S a t o s h i M i n a m i
Japan
]Vithout thinking deeply whilecomposing, the composer will
often imitate others blindly. Themost important thing, to me, is to
learn the essentials in music of
v a r i o u s c u l t u r e s a n d t h e n u s e t h e
most natural language possible to
express my own musical
imaginat ion."— C h e n Y i
C h i n a
"The informal sharing ofcomposers as individuals andhuman beings was a mutual
encouragement to all. That is,
knowing that I am not alone in theartistic struggle for expressions
means that I feel other people are
persisting, thus, so can I."— W a l l a c e B r u c e C r o s s m a n
N e w Z e a l a n d
"How do you look for your ownmusical language? Searching for
novelty or seeking out a shortcutis not the answer. The only way to
establish yourself is by using a
combination of your own cultural
traditions and the best of outside
c u l t u r e s . "
—Zhou Long
C h i n a
The Center officially welcomes threenew Advisory Council Members:
M i c h a e l M o r r i s , P r e s i d e n t , A s i a / P a c i fi c ,
Burson-Mars te l le r, comes to the Center
after three years in Hong Kong and
extensive travel and work experience in
the Asia/Pacific region. His experience
a n d a d v i c e w i l l b e i n v a l u a b l e t o t h e
Center in this period of sensitive relations
b e t w e e n t h e U n i t e d S t a t e s a n d C h i n a .
Dr. Douglas P. Murray, President of the
Lingnan Foundation, and Dr. David
Michael Lampton, President of the
N a t i o n a l C o m m i t t e e o n U . S . - C h i n a
Relations have also agreed to serve on the
Center's Advisory Committee. We are
grateful for this opportunity to be
represented and supported by such
e s t e e m e d m e m b e r s o f t h e C h i n a fi e l d .
The Center would like to express our
best wishes and sincere appreciation to
Richa rd Ho lb rooke , Robe r t M . Ho rma ts ,
I. M. Pel, Cynthia Polsky, and Larry
Snoddon for their generous contributions
and dedicated service during their terms
on the Advisory Council. □
Staff Changes
The Center welcomes two new full-time members of the staff. Molly Kinney
joined us as the Program Assistant in
November 1990, after spending two years
in Tainan, Taiwan, where she studied
Chinese at Cheng Kung University,
volunteered at the YMCA as an English
teacher, and later served as the YMCA's
English department coordinator. Molly
received her B.A. in English from Santa
Clara University in California.
In September of 1991, William
C o s s o l i a s w a s h i r e d f o r t h e C e n t e r ' s n e w
position of Office Assistant. A native of
San Diego, William received his B.A. in
Religion from New York University.
Since the summer of 1989, student
interns and part-time assistants have
included Yu Jian, Sharon Huang, David
Tsang, Deborah Isser, and Erhyu Yuan.
Cathy Hong, a junior at Columbia
College, is the Center's most current
s t u d e n t i n t e r n . M i t c h e l l M e n s c h i s t h e
C e n t e r ' s f i n a n c i a l c o n s u l t a n t . □
13
I n S h o r t
P a c i fi c M u s i c
Festival/Pacific ComposersC o n f e r e n c e
The Center for U.S.-China Arts
Exchange devoted much of its energyfrom June 1989 through June 1990
preparing for the Pacific Music
Festival and Pacific Composers
Conference 1990, after postponing all
China exchanges following the tragic
e v e n t s o f T i a n a n m e n i n J u n e o f 1 9 8 9 .
Our efforts involved recruiting
applicants for a youth orchestra and a
composers conference, processing
applications, traveling back and forth
to Japan, and providing coordination
a n d a d m i n i s t r a t i o n f o r b o t h t h e
P a c i fi c M u s i c F e s t i v a l O r c h e s t r a a n d
the Pacific Composers Conference. □
Policy Update
In December of 1990, Chou Wen-
chung took his first post-Tiananmenvisit to China. The trip was made to
evaluate a potential project to
preserve and reinvigorate minority
arts and living traditions in Yunnan
Province (a preliminary study funded
by The Ford Foundation) and also to
t o u c h b a s e w i t h f r i e n d s a n d c o n t a c t s
in Beijing, Chengdu, Shanghai, and
Xi'an. Chou Wen-chung reports that
while culture is in suspension and
today's artistic and intellectual
c l i m a t e i n C h i n a i s f a r f r o m t h e
openness of 1987-1989, cultural
exchange must continue between the
Uni ted S ta tes and Ch ina . There fo re
the Center's current policy is to
reinstate select past programs and
i n s t i t u t e c e r t a i n n e w o n e s . □
Nationality Arts in YunnanP r o v i n c e
The Center's future plans include
designing and coordinating a multi-
year, multi-faceted project in China's
Y u n n a n P r o v i n c e f o r t h e c o n t i n u a t i o n
and development of the arts of
minority nationalities. With funding
from The Ford Foundation's Beijing
Office, the Center's director traveled
to Kunming and Luxi County in
D e c e m b e r 1 9 9 0 a n d J u n e 1 9 9 1 t o
determine the feasibility of this
project. With the enthusiastic
cooperation of the cultural leadership
in Yunnan, the project has been
scheduled to begin in January 1992.
T h e C e n t e r w i l l w o r k w i t h t h e
major arts and nationality institutes in
Kunming, various rural districts, and
t h e l o c a l c u l t u r a l a n d e d u c a t i o n a l
bureaus and departments on projects
that will promote cultural research,
preservation, curriculum
development, teacher education, and
community outreach.
The Center will provide
professional, experienced
consultation by sending a series of
American and Asian specialists to
Y u n n a n a s a d v i s o r s . S e l e c t C h i n e s e
specialists will also study and
explore, on a short-term basis,
relevant projects in the United States
a n d i n t h o s e A s i a n c o m m u n i t i e s t h a t
provide useful examples for the
Chinese setting. The ultimate goal
w i l l b e t o a s s i s t l o c a l C h i n e s e
organizations foster an understanding
of and appreciation for regional arts
among both minority and Han
populations, to develop ways to
prevent the erosion of regional artistic
traditions, and to creatively meet the
challenge posed by a great increase of
tourism to the area. We anticipate
that this project will be broad enough
and accessible enough to serve as a
model for other Chinese provinces. □
Pacific Composers Project
Because of our positive
experience with many friends and
contacts at the PCC, and the
significance of the musical goals
art iculated there, the Center has
decided to undertake a program for
the active promotion of young Pacific
composers. The selected composers,
including those who have been
exposed to Western education and
Western cu l tu ra l influences , a re
dedicated to identifying and
preserving the musical influences of
t h e i r o w n n a t i v e c o u n t r i e s . T h e
Project tasks include gathering
complete resources (scores,
biographies, program notes) of
Pacific composers whose exposure in
the West has been somewhat l imited,
and making scores, recordings, and
i n f o r m a t i o n a v a i l a b l e t o W e s t e r n
performance groups. In the future,
we hope to create a more complete
r e f e r e n c e C e n t e r f o r m o d e r n P a c i fi c
music by including information on
established Pacific composers as well.
Ultimately, through recordings,
concerts, and other events, this
project will help make Pacific music
known to Western audiences as wel l
as performers. □
C o r r e c t i o n
The Center would like to correct a
mistaken photo caption on the back
cover of our last newslet ter. The
caption, describing a conference held
in August 1988 on "Tradition and the
Future of Chinese Music," should
read "ten composers from the
Mainland and ten composers from
Taiwan meet with Mayor Edward I.
Koch at City Hall." □
1 4
Acknowledgments Purpose and OrganizationThe Center for United States-China Arts Exchange is a not-for-profit national
organization affiliated with Columbia University. The Center was founded to
promote mutual interest and understanding in the arts of the United States andChina and to promote creativity in both countries. The Center's geographic reach
has since expanded to include the entire Pacific region.
Established on October 1, 1978, with support grants from the Eord Foundation
and the Rockefeller Brothers Fund and a research grant from the Henry Luce
Foundation, the Center receives contributions of office space and university
services from Columbia, where it is headquartered. The Center is not a funding
organization; it relies on contributions of money, materials, and services from
foundations, corporations, and individuals to carry out its programs
The Board of Managers and the Advisory Council, both created in the spring
of 1981, oversee the Center's programs and policies.
The Center is grateful to the following
organizations and individuals for general
support, program grants, and
contributions received from summer 1989
through April 1991:
Support Grants and Contributions
J. Aron Charitable Foundation, Inc.
A s i a n C u l t u r a l C o u n c i l
L i n d a a n d E d w i n F a b e r
T h e F o r d F o u n d a t i o n
T h e H a r r i s F o u n d a t i o n
W a l t e r a n d E s t h e r H e w l e t t
T h e W i l l i a m a n d F l o r a H e w l e t t
F o u n d a t i o n
Hewlett-Packard Company
B a r b a r a S t e w a r t J o h n s o n
The Albert Kunstadter Family
F o u n d a t i o n
The Henry Luce Foundation
Mr. and Mrs. George D. O'Neill
Philip Morris International, Inc.R o c k e f e l l e r B r o t h e r s F u n d
N o r m a n A . R o s s
T h e S t a r r F o u n d a t i o n
T h e U n i t e d B o a r d f o r C h r i s t i a n
Higher Education in AsiaVideo Music Productions, Inc.
The Center thanks the following
organizations and individuals forcontributions of materials, services, and
hospitality that enriched its 1989-1991
p r o g r a m s :
Tetsuo Amemiya
Apple Computer International, Ltd.The Asia Society
A u s t r a l i a n M u s i c C e n t e r
Jack Body
Boosey & Hawkes, Inc.
B e r n a d e t t e B u t l e r
CBS Records, Inc.
Kuan Chang
Y i - a n C h o u
Composers Recordings Incorporated
Crystal Records
T h e C u l t u r a l C e n t e r o f t h e
Philippines
Gannett Foundation Fellowship
Program
B e a t e G o r d o n
D a n G u s t i n
T h e H a r r i s F o u n d a t i o n
The Hopewell Foundation
T h e D o n a l d K e e n e C e n t e r f o r
Japanese CultureF a r l K i m
Harry J. KrautP a u l a L a w r e n c e
Board of Managers
Michael I. Sovern, Honorary
C h a i r m a n
J o n a t h a n R . C o l e
P e t e r S m i t h
Chou Wen-chung
Advisory Council*Robert F. Armstrong
J o a n W . H a r r i s
E s t h e r B . H e w l e t t
G e r a l d i n e S . K u n s t a d t e r
David M. Lampton
Ming Cho LeeR o b e r t A . L e v i n s o n
Cho-Liang LinY o - Y o M a
P o r t e r M c K e e v e r
A r t h u r M i l l e r
M i c h a e l M o r r i s
Douglas P. Murray
W a l d e m a r A . N i e l s e n
Russell A. Phillips, Jr.
Joseph W. PolisiA r t h u r H . R o s e n
Eugene LeeM a r i o L i m
A l e x i n a L o u i e
Ma Shui-Long
M i t c h e l l M e n s c h
N e w W o r l d R e c o r d s
R i c h a r d O r t n e r
F r a n c i n e A . O v i o s
C. F. Peters Corporation
Theodore Pressor Company
F r a n k i R a d e n
M i k e R o s s
N o r m a n A . R o s s
Ralph Samuelson
Nancy Shin
Richard Tsang
Chinary Ung
U.S. Office of Policy Developments
& R e s e a r c h I n t e r n a t i o n a l
N o r m a n R o s s
Harrison F. Salisbury
I s a a c S t e r n
Audrey Topping
*as of January 1992
O f fi c e r s a n d S t a f f
Chou Wen-chung, Director
Susan L. Rhodes, Associate Director
William Cossolias, Office Assistant
Ken Hao, Assistant to the Director
Molly C. Kinney, Program AssistantEl izabeth Mintz , Admin is t ra t ive
A s s o c i a t e
S t u d e n t I n t e r n s
Cathy HongD e b o r a h I s s e r
Frhyu Yuan
Newsletter/Special IssueStaff Writer: Molly C. Kinney
Editors: Susan L. Rhodes,
Henry Hoffman
Design/Layout: Office of University
Publications, Columbia University
Michelle Vosper
W a i t e a t a P r e s s M u s i c
K u e i P i n Y e o
Joji Yuasa
A special thank-you to the following
ind iv iduals for thei r
time and assistance in the Pacific
Composers Conference:
C h e n Y i
C h e w S e o k - K w e e
Chew Shyh-J i
George CrumbMar io Dav idovsky
Jean Long
Melanie Thompson
David Tsang
Zhou Long
'We are not students
h e r e . . . w e a r e a l l a r t i s t s
a n d w e ' r e h e r e t o
exchange viewpoints."
—Chou Wen-chung,
A r t i s t i c D i r e c t o r,
Pacific Composers Conference
The Pacific Composers Conference allowed composers the chance to learn much about
each other's music, style, and personality. Sharing a laugh. Ye Xiaogang and Chou Wen-
chung (left to right) show how dinner breaks became a valuable time for composers to
relax together.
Columbia University
T h e C e n t e r f o r N o n p r o fi t O r g
U . S . - C h i n a A r t s E x c h a n g e U . S . P o s t a g eN e w s l e t t e r P A I D
423 West 118th Street, IE
New York, N.Y. 10027
New York, N.Y.
P e r m i t N o . 3 5 9 3
Address correction requested