Chou Wen-chung
Chou Wen-chung (Chinese: 周文中; pinyin: Zhōu Wénzhōng; July 28, 1923 – October 25, 2019)[1] was a Chinese American composer of contemporary classical music. He emigrated in 1946 to the United States and received his music training at the New England Conservatory and Columbia University. Chou is credited by Nicolas Slonimsky as one of the first Chinese composers who attempted to translate authentic East Asian melo-rhythms into the terms of modern Western music.[2]
For the Chinese diplomat, see Zhou Wenzhong.
Chou Wen-chung
25 October 2019 (aged 96)
United States (from 1958)
Zhōu Wénzhōng
Zhōu Wénzhōng
Life[edit]
Early years in China[edit]
Chou was born in Yantai (Chefoo), Shandong. He grew up in China and developed an early love for music. ("Sights and Sounds" is an essay by Chou on early influences on his music.) Qin music, in particular, has proved fertile ground for his future exploration. Chou described his early explorations of musical instruments:
Academic career[edit]
In 1954, he became the first technical assistant at Columbia's Electronic Music Laboratory and was concurrently appointed director of a research project on Chinese music and drama. This research reinforced his own aesthetic convictions and led him to synthesize theories of calligraphy, qin, single tones and I Ching, all of which represented new ground in his compositional thinking. As chairman of the Music Division at Columbia University, he was instrumental in providing its composition program with a clear sense of artistic vision. Chou also distinguished himself as vice-dean of the School of the Arts and director of the Fritz Reiner Center for Contemporary Music at Columbia University. His notable students include Zhou Long, Chen Yi, Tan Dun, Chinary Ung, David Froom, Ge Gan-ru, Bright Sheng, James Tenney, Talib Rasul Hakim, Jing Jing Luo, Michael Rosenzweig, Faye-Ellen Silverman, Jacques-Louis Monod, and Hsiung-Zee Wong. See: List of music students by teacher: C to F#Wen-chung Chou.
Career as cultural ambassador[edit]
In 1978, Chou Wen-chung established the Center for US-China Arts Exchange at Columbia University to promote mutual understanding between the two countries through the channel of culture. It was the first organization to address the need to re-connect leaders in the arts in China and the United States after diplomatic ties had been severed for thirty years. The Center organized exchanges in both directions. Distinguished artists including violinist Isaac Stern, playwright Arthur Miller, writer Susan Sontag and choreographer Alwin Nikolais visited China while prominent cultural figures from China such as playwright Cao Yu and actor Ying Ruocheng visited the U.S. Among the many projects was a six-year ongoing program in arts education led by Howard Gardner of Project Zero at Harvard University. In the 1990s the Center's purview expanded to include programs focused on the arts of ethnic nationalities in Yunnan province and relevant issues of environmental preservation.
Music career[edit]
As a protégé of the composer Edgard Varèse. Chou chose not to simply to propagate Varèsian concepts in his music, but to move beyond his teacher's shadow. From Varèse's purely Western perspectives, Chou's music represented cross-cultural pollination, by integrating the East and the West with a requisite understanding of both cultures. He can be regarded as the founder of the contemporary Chinese musical idiom, one whose music sets the standard and an example for succeeding generations to emulate.
Chou's revolutionary insights brought about a broader and more integrated perception of Chinese music by scholars and laymen from East and West. He recognized the intrinsic contribution of qin music and the single tone concept to Chinese music, and more importantly, he recognized their value to composers. ("The Twain Meet" by Leighton Kerner.) Also important to his music was a focus on refining individual pitches. He believed the West has mastered formal structures, whereas the East has focused on controlling subtle inflections of tones. By emulating Western achievement in formal design, he employed these nuances not as mere decoration, but as a clear structural element. The art of calligraphy, in its various levels of meaning, serves constantly as the music's philosophical underpinning. A controlled spontaneity and quiet intensity derived from an intimate knowledge of his art and his culture, together with a growth process as organic and inevitable as that of nature, remain requisite stylistic elements. Ultimately, he sought not so much to amalgamate the divergent Eastern and Western traditions as to internalize and transcend contemporary idioms and techniques to create an intimately personal style that reflects a genuine, modern sensibility. ("Chou Wen-chung" by Nicolas Slonimsky)
Chou wrote for a variety of media. His works have been performed by the orchestras of Chicago, Philadelphia, New York, San Francisco, Berlin, Paris, and Tokyo. He received grants from the Rockefeller, Guggenheim and Koussevitsky Foundations, from the National Institute of the Arts and Letters, the National Endowment for the Arts, and the New York State Council on the Arts. He was the Fritz Reiner Professor Emeritus of Musical Composition at Columbia University (where he was also Director of the Center for US-China Arts Exchange), and a member of the American Academy and Institute of Arts and Letters.
Chou was composer-in-residence at Tanglewood, Bennington and the University of Illinois. His posts in music organizations included the presidency of Composers Recordings, Inc. (CRI) and the chair of the Editorial Board of Asian Music. He was also an honorary life member of the Asian Composers League. Other contemporary music organizations with which he was affiliated included League ISCM, the Yaddo Corporation, the American Composers Alliance, the American Music Center, and the American Society of University Composers.[8]
Chou Wen-chung was a member of the American Academy of Arts and Letters and in 2001, he was named Officier des Ordre des Arts et des Lettres by the French Ministry of Culture. In 2018, the Xinghai Conservatory of Music in Guangzhou opened the Chou Wen-chung Music Research Center to carry on the composer's legacy and initiate projects in support of contemporary music. He was awarded an honorary doctorate from the New England Conservatory in 2019.[9]
Composition styles and developments[edit]
Early period[edit]
Chou's early works share common characteristics such as the use of Chinese poetry as inspiration and the direct quotation of Chinese melodies. Representative compositions from this period are Landscapes (1949), All in the Spring Wind (1952–1953), And the Fallen Petals (1954), and Willow Are New (1957).
Chou quoted a traditional folk song Fengyang Flower Drum in Landscapes and this orchestral piece is inspired by poems that evoke the scenery and atmosphere of a Chinese landscape painting. These poems “Under the Cliff, in the Bay,” “The Sorrow of Parting” and “One Streak of Dying Light” are used as subtitles to indicate the moods of different sections in Landscape.
Chinese scholars traditionally inscribe poetry in a painting and many of Chou's early compositions have inscriptions from ancient Chinese poems.[10] Chinese poetry served as inspiration for And the Fallen Petals, and All in the Spring Wind. Both works are based on a Southern Tang dynasty poem titled “Yi Jiangnan – Reminiscence of Southern Territories” by Li Yu.
Peter Chang commented that through these early works, Chou developed a mode of musical thinking in terms of Chinese visual and literary artistic principles such as the emphasis on the control of ink flow in calligraphy, brevity in landscape paintings, poetry in musical form, and pictorial depiction of the qin playing gestures.
Mature period[edit]
In this period, Chou's inspirational source came from the philosophical book, the I Ching (Book of Changes), the contents of which he said represent “the germinal elements of all that happens in the universe, including natural phenomena, human affairs, and ideas.”[11] Based on the yin and yang concepts presented in I Ching, Chou created variable modes – a system of interval contents and pitch contents that correspond to the trigrams and hexagrams in I Ching. Chou applied and experimented with the principles of the I-Ching in harmonic, thematic, textural, and rhythmic structures.[12]
Beginning in the late 1950s, Chou began to experiment with variable modes in his compositions. Jianjun He classified Chou's works into two categories: “pentatonic-related” or “variable modes-based” composition.[13] Most of Chou's early works are pentatonic-related and Chou drew his inspirations from traditional Chinese pentatonic melodies. The piece metaphor (1960) marks the beginning of Chou's middle period when Chou utilized the variable modes as a compositional method to pitch organization. Later, Chou applied the modes to other works such as Cursive (1963), Pien (1966), and Yun (1969).[14] Chou stated that the structure of Pien is based on the concept of balance between the positive and the negative forces as stated in I-Ching.[15]
Ideogram is another evolutionary concept Chou experimented with while attempting to synthesize western and eastern elements and render Chinese sounds through western instruments. Chou is an accomplished calligrapher and after years of practicing the various styles and scripts of Chinese calligraphic writings, Chou began to see the parallels in the art of calligraphy and music. Chou wrote, “The cursive script represents the essence in the art of Chinese calligraphy as its expressiveness depends solely upon the spontaneous but controlled flow of ink which, through the brush – strokes, projects not only fluid lines in interaction but also density, texture and poise.... These qualities, translated into musical terms are often found in the music for wind and string instruments of the east.[16] Chou compares the ink flow to the density of the music and experimented with the ideograms of cursive style writing in the piece Cursive in 1963.
Chou's later works moved toward abstraction and he further developed the variable mode to make it more flexible.[17] Some notable compositions are Beijing in the Mist (1986), Echoes from the Gorge (1996), Windswept Peaks (1994), Concerto for Violoncello and Orchestra (1991), and Clouds (1998).
Chou wrote his second string quartet, Streams (2003) in response to Bach's Art of Fugue, which was commissioned by the Brentano String Quartet. In 2007, the gayageum master, Yi Ji-young, commissioned him to write a work for gayageum and an ensemble of traditional Korean instruments. Her group, Contemporary Music Ensemble of Korea (CMEK) premiered Eternal Pine in 2008. Chou wrote a version for western instruments, Ode to Eternal Pine (2009), for the New York New Music Ensemble (NYNME) and a version for traditional Chinese instruments, Sizhu Eternal Pine (2012; his first and only work for a full ensemble of Chinese instruments), for the Taipei Chinese Orchestra.
Personal life[edit]
Chou Wen-chung was born into a literati family with ancestral roots in the ancient cultural center of Changzhou in Jiangsu province. His older brother, Wen Tsing Chow pioneered the use of digital computers in missile, satellite and spacecraft guidance systems for the United States Air Force and NASA.
Chou Wen-chung married Chang Yi-an (born Shanghai in 1927, died April 12, 2016) in 1962. They had two sons.[18]