2021 collection

Featuring posts on music of the following Indonesian, Japanese, Chinese, Brazilian, US bipoc, and Danish composers:

Rahayu Supanggah (Indonesia), Paragraph (1991) (author: Jay M. Arms, University of Pittsburgh) Rahayu Supanggah’s “Paragraph” and the Problems of Intercultural Collaborations

Hale Smith (black US composer), Three Brevities for Solo Flute (1969) (author: Megan Lyons, University of Connecticut) Hale to the King: “Three Brevities for Solo Flute” by Hale Smith

Toshio Hosokawa (Japan), Matsukaze (2010) (author: Tomoko Deguchi, Winthrop University) The Appeal of the Foreign in Toshio Hosokawa’s Opera Matsukaze

Jōji Yuasa (Japan), Cosmos Haptic (1957) (author: Ron Squibbs, University of Connecticut, Storrs) Jōji Yuasa – Cosmos Haptic for piano (1957)

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 

César Guerra-Peixe (Brazil), Trio (1960) (author: Frederico Barros, Federal University of Rio de Janeiro) Guerra-Peixe’s Academic Trio

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)