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New Chinese Music in New York City: from Revival to Musical Transnationalism

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New Chinese Music in New York City: from Revival to Musical Transnationalism City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2-2021 New Chinese Music in New York City: From Revival to Musical Transnationalism Serena Yiai Wang The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4206 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NEW CHINESE MUSIC IN NEW YORK CITY: FROM REVIVAL TO MUSICAL TRANSNATIONALISM by SERENA YIAI WANG A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. The City University of New York 2021 ii ©2021 SERENA YIAI WANG All Rights Reserved iii New Chinese Music in New York City: From Revival to Musical Transnationalism by Serena Yiai Wang This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Date Jeffrey Taylor Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Anne Stone Nancy Rao Joseph Straus THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT New Chinese Music in New York City: From Revival to Musical Transnationalism by Serena Yiai Wang Advisor: Anne Stone The Pulitzer Prize (2011, Zhou Long’s Madame White Snake), a Metropolitan opera commission (Tan Dun’s The First Emperor, premiered 2006), and the Ives Living Award (Chen Yi, 2001) are just some of the high-profile awards and commission bestowed upon Chinese émigré composers who have studied and built their professional reputation in New York City. The works of Chinese composers constitute what I call “new Chinese music,” which I argue has played a defining role in New York City’s cultural landscape and in the development of Western art music in general. The influence of Chinese composers and their works is twofold: Chinese composers have participated in the various musico-stylistic movements in New York City in the latter twentieth century and have contributed to the City as a site for musical transnationalism. Furthermore, new Chinese music has led to the change in public perception of Chinese musicians and composers from voiceless exotics to agents of innovation. This dissertation frames the phenomenon of the rise of the first two generations of Chinese composers in New York City as a revival movement. The first chapter examines Chou Wen-Chung’s (1923–2019) execution of literary governance (a concept borrowed from Jing Tsu). As the patriarch of the “New York School” of new Chinese music, Chou devoted himself to the revival of the Chinese scholarly (wenren) tradition. The second chapter discusses the revival of Tang-Dynasty cosmopolitanism in the works of Zhou Long, a student of Chou’s. The revival of v Chinese nationalism in musical memorials by Bright Sheng and Chen Yi is the topic of the third chapter, while the fourth chapter delves into the revival of shamanic ritual theatre in Tan Dun’s musical activities in New York City. Ultimately, the various revival movements form the foundation of musical transnationalism, which I define as a mode of musical production informed by transnational consciousness, and an aesthetics characterized by flexible accumulation and combination of musical resources. vi ACKNOWLEDGMENTS This dissertation represents a beginning, an end, and the middle of a long journey, made possible by the generous spirits I have encountered along the way. My thanks go to CUNY Graduate Center for granting me the opportunity to study, work, and live in New York City. My work was made possible by the generous funding through the Baisley Powell Elebash Dissertation Grant and the Martin E. Segal Dissertation Fellowship. The seed of the dissertation was planted early on when I came across Prof. Chou Wen- Chung’s writings, which showed me how to engage with distinct musical traditions with equal depth and eloquence. I thank Prof. Allan Atlas for introducing me to the director of Music From China, Susan Cheng, who generously agreed to meet with me and supplied a collection of the ensemble’s newsletters. It was at one of the group’s dress rehearsals at the public library that I met composers Chen Yi and Zhou Long, whose exuberance and generosity are forever etched in my mind. I thank River Guerguerian for sharing with me his experience working with Tan Dun. I also thank Prof. Chou’s assistant Belinda Quan for corresponding with me and answering my questions. I am most fortunate to have Prof. Anne Stone as my advisor. I began exploring the literature on music revival through her course, The Multimedia Machaut. During the dissertation writing process, Anne periodically checked in with me, met with me regularly (at one point weekly), and went over my numerous drafts. She guided me toward a clear thesis, proper contextualization of my subjects, and comprehensive research and argument. It has been an honor for me to be able to work with her. I met Prof. Nancy Rao at an AMS conference, after which she generously kept in touch, presented at a conference panel I organized, and agreed to be my first reader. Throughout our vii many meetings and email exchanges, Nancy kept me abreast of the latest developments in our field, shared with me important events and opportunities, and provided invaluable guidance based on her expertise in Chinese music and analysis. She remains my academic role model. One of my favorite courses at the Graduate Center was Prof. Jane Sugarman’s Music and Diaspora. Jane introduced me to the world of diaspora and transnationalism by guiding some of the most memorable discussions during her seminar. I thank Jane for being on my proposal defense committee and her detailed, careful comments. I thank Prof. Joseph Strauss and Prof. Jeffrey Taylor for being on my dissertation defense committee. Joe generously demonstrated for me approaches to musical writing and analysis from the perspective of a master theorist, scholar, and pedagogue. I also thank Jeff, my committee chair, for his expertise in and dedication to American music and the musical cultures of New York City. Many outside of the Graduate Center gave me the faith and courage necessary to engage with my dissertation. Sophia Mavrogiannis, Director of Academic Support at Empire State College, entrusted me with the task of writing coach, and I love every minute that I spend working with students and exchanging ideas with my brilliant colleagues. I am grateful to Dr. Verna Green and Prof. Moses Phillips at Medgar Evers College for bringing me on board as a faculty member and being wonderful colleagues and mentors. I thank my students past and present for their continued stimulation. I thank my dear friend and fellow musicologist Jung-Min Lee from my Northwestern years, who became my writing partner and continues to share with me her scholarly journey. I thank Meiko Reigelman, my friend from NYU who played piano duo with me and provided me viii steady support. I thank David Pearson from The Graduate Center for his talent and inspiration as a musician and scholar. It is during and through the dissertation process that I began my mindfulness and meditation practice. Writing during the 2020 Covid-19 pandemic, I relied on the wisdom from my teachers at The Interdependence Project and my study group colleagues Seanan and Caroline. I came to realize that this dissertation is in fact my ode to New York City, where I learned the meaning of freedom and sacrifice. It is here that I met my partner Sto, who has accompanied me all the way through my doctoral studies and everything else beside. He inspires me with his incredible artistic and musical talent, his vast knowledge of all things secular and sacred, and showed me the world outside of myself. It is here that my cat Chomba chose me to be his human and demonstrated for me unconditional love. I am grateful for the companionship of my brother, who also established himself in the East Village. Finally, I owe everything to my parents, whose selfless love and support continue today. ix CONTENTS LIST OF EXAMPLES ................................................................................................................... xi LIST OF FIGURES ..................................................................................................................... xiii INTRODUCTION .......................................................................................................................... 1 New Chinese music in New York City ....................................................................................... 2 Musical transnationalism............................................................................................................. 7 New Chinese music as a revival movement .............................................................................. 11 The legacy of Orientalism ......................................................................................................... 13 From new wave to Chinese diaspora......................................................................................... 16 From revival to transnationalism .............................................................................................. 21 CHAPTER 1 Uptown: Chou Wen-Chung and the Revival of Wenren Culture ........................... 24 The revival of wenren
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