Polycultural Synthesis in the Music of Chou Wen-chung

Mary I. Arlin, a music theorist and performer, is Professor Emerita of Music Theory at Ithaca College. She has published articles on the history of music theory and transcribed and edited Giacomo Zucchi’s Three Serenades, op. 3 for viola and piano (New York: International Music, 1988). Mark A. Radice, a musicologist, composer, and performer, is professor at Ithaca College. His most recent books are: Karel Husa: A Composer’s Life in Essays and Documents (2002), Concert Music of the Twentieth Century: Its Personalities, Institutions, and Techniques (2003), and Chamber Music: An Essential History (2012).

1. Chou Wen-chung: Voice of Authenticity in the Age of Change. Frederick Lau 2. Chou Wen-chung: A Biographical Essay. Mark A. Radice 3. Musical Brushstrokes: Calligraphy and Texture in the Music of Chou Wen-chung. Eric Lai 4. Snapshot: Chou Wen-chung and Developments in Contemporary Music. Don Palma 5. Chou Wen-chung’s Echoes from the Gorge. Kenneth Kwan 6. Snapshot: Chou Wen-Chung’s Responsibility to the World. Richard Pittman 7. The Cultural Origins of the Compositional Structures in Windswept Peaks for Violin, ‘Cello, Clarinet, and Piano. Mary I. Arlin 8. Snapshot: Chou as Composer and Collaborator. Mark Steinberg 9. Symmetry as a Cultural Determinant in the Music of Chou Wen-chung. Shyhji Pan-Chew 10. Chen Yi, Zhou Long, and Mark A. Radice in Conversation about Chou Wen-chung 11. An Inventory of the Chou Wen-chung Archive at the Paul-Sacher Stiftung, Basel, Switzerland. Heidy Zimmermann 12. Chou Wen-chung: Works List and Bibliography. Kristina L. Shanton