Featuring posts on music of the following composers from Indonesia, Japan, China, Brazil, Denmark, and the US:
César Guerra-Peixe (Brazil), Trio (1960) (author: Frederico Barros, Federal University of Rio de Janeiro) Guerra-Peixe’s Academic Trio
Hale Smith (US), Three Brevities for Solo Flute (1969) (author: Megan Lyons, University of Connecticut) Hale to the King: “Three Brevities for Solo Flute” by Hale Smith
Per Nørgård (Denmark), Wie Ein Kind (1979-80) (author: Paul David Flood, University of California, Irvine) Per Nørgård’s Two-Tone Infinity Series in “Wie Ein Kind” (1979-80)
Rahayu Supanggah, Paragraph (1991) (author: Jay M. Arms, University of Pittsburgh) Rahayu Supanggah’s “Paragraph” and the Problems of Intercultural Collaborations
Cui Jian (China), Nothing to My Name (released in 1989) & Li Jinhui, Drizzle (1927) (author: Ya-Hui Cheng, University of South Florida) Whose Authorship? Authenticity in Chinese Popular Music under Global Modernism
Jōji Yuasa (Japan), Cosmos Haptic (1957) (author: Ron Squibbs, University of Connecticut, Storrs) Jōji Yuasa – Cosmos Haptic for piano (1957)
Toshio Hosokawa, Matsukaze (2010) (author: Tomoko Deguchi, Winthrop University) The Appeal of the Foreign in Toshio Hosokawa’s Opera Matsukaze
Global Musical Modernisms is a forum for all forms of music received and appropriated as “modern” in any location around the globe, crossing the boundaries of post/tonality. The focus is primarily but not exclusively on art, avant-garde, experimental, and modernist music, by global (African, Middle Eastern, Central/ South/ Southeast/ East Asian, Latin American, Australasian etc.) composers, minority composers from the West, and composers from the peripheries of Europe and North America.
Authors in each volume serve as peer editors for each other, shaping each post into an accessible piece of writing (with analytical graphs where appropriate) that is a scholarly guide to global musical modernisms and a multi-media teaching resource.