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

2

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).

3

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

4

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 •

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Terms of Tempora l Deta i l ing

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' frS Intermission ■

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1 2 C o n t e s f o r P i a n o

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y y ' r - X y 9 y y

I n t e r m i t t e n c e s

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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

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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 >

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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