Composing with Ancient Sound Technology in the Twenty-First Century
Bibliographic Data
| ID | 14809604 |
|---|---|
| Authors | Michael Askill (corresponding author) |
| Year | 2017 |
| Volume | 36 |
| Issue | 1-2 |
| Pages | 86-101 |
| Publication date | 2017-03-04 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494467.2017.1368174 |
| OpenAlex | W2752657458 |
| Language | EN |
| References cited | 5 |
The ancient Chinese flat gong, the chao gong or tam-tam has been used by twentieth-century composers including Messiaen, Stockhausen, Tenney, and Luther Adams. What is it about this instrument that has attracted Western composers? I have always been drawn to the gongs and singing bowls that are still hand made in small factories and workshops in China, Nepal, and throughout South East Asia using centuries old formulas and techniques. I present here my research into the unique resonant and harmonic characteristics of these instruments and discuss their central role in many of my recent compositions, while exploring Ton de Leeuw’s notion that ‘genuine innovation in music can no longer be based primarily on aesthetic and/or technical principles, but must be of a spiritual nature in the broad sense of the word, as the only possible counterpart to our materialistically oriented society’ ([2005]. Music of the twentieth century: A study of its elements and structure. Amsterdam: Amsterdam University Press, p. 204)
Acoustics · Archaeology · Art · China · Literature · Singing · Visual arts · Diverse Musicological Studies · History · Music Technology and Sound Studies · Musicology and Musical Analysis
| Highly cited | No |
|---|