3mt first round - James Alexander - Syncretism in Vietnamese-American art music — Transcript

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1. 0:11current research on Vietnamese music
2. 0:13focuses on traditional music using
3. 0:15indigenous instruments and Customs
4. 0:17rather than Vietnamese Western Art music
5. 0:19created by fusing traditional Vietnamese
6. 0:21music with Western
7. 0:23practices musicology today favors
8. 0:25similar phenomena in Chinese Indonesian
9. 0:27and Japanese music I examine works by
10. 0:30Vietnamese born composers Living in
11. 0:31America and inspired by both Western
12. 0:34classical art music and traditional
13. 0:35Vietnamese folk music I interview van
14. 0:37Eno Pon and yatwin and analyze their
15. 0:41compositions showing how they enrich
16. 0:42Western compositional practice by
17. 0:44bringing the traditional sound of
18. 0:45Vietnam to the
19. 0:47Forefront studying Vietnamese
20. 0:49traditional music is essential to
21. 0:50develop classical music traditions in
22. 0:52America and Vietnam few Conservatory
23. 0:55trained musicians seek to create a
24. 0:57classical style of Vietnamese music
25. 0:59derived from the local folklore these
26. 1:01composers Express American and
27. 1:03Vietnamese musical languages through
28. 1:04modernism and
29. 1:06hybridity World music textbooks in
30. 1:08American schools and programming at
31. 1:10American music venues depict Vietnamese
32. 1:12music as Folk Music or World music
33. 1:15rather than art music or canonic music I
34. 1:18challenge the idea of Vietnamese music
35. 1:20as mere folk music and show how Musical
36. 1:22and sty musical Styles inspired by
37. 1:24Western Art music and Vietnamese
38. 1:26traditional music represent Vietnam
39. 1:28effectively
40. 1:30I support Vietnamese art music entering
41. 1:32the Western Art music repertoire and
42. 1:34consider the former as significant as
43. 1:35the latter my dma document aims at
44. 1:38creating performing additions and
45. 1:40recordings of works by these individuals
46. 1:42increasing access to these works for
47. 1:44students and professionals is a critical
48. 1:46step towards a more inclusive musical
49. 1:47Cannon and understanding Vietnamese
50. 1:50American Musical
51. 1:52culture banv uses indigenous Vietnamese
52. 1:55instruments such as the Don ba scor with
53. 1:58Western instruments and combin
54. 2:00Vietnamese scales with Western musical
55. 2:01notation she integrates her style with
56. 2:04other Global musicians to create musical
57. 2:06understanding and
58. 2:07conversation Pon maximizes the tone
59. 2:10colors spirituality social function and
60. 2:13playing techniques of Vietnamese
61. 2:15Aesthetics in a western
62. 2:17syntax y win claims he is inspired
63. 2:21inevitably by globalization he explores
64. 2:23new genres while borrowing from older
65. 2:25Traditions such as the ancient
66. 2:26Vietnamese genre of gachu
67. 2:30will be writing a new piece for cello
68. 2:31and electronics troping the Aesthetics
69. 2:33of gotu for this lecture
70. 2:35recital these three individuals expand
71. 2:37on the traditions of art music and show
72. 2:39how different musical languages mutually
73. 2:41benefit each other shaping Western
74. 2:43compositional practice to include the
75. 2:45traditional music of Vietnam and
76. 2:47Southeast Asia allows our world to
77. 2:48flourish I hope this dissertation honors
78. 2:51and strengthens our understanding of
79. 2:52global history culture and music thank
80. 2:54you