Podcasts about music theory spectrum

Se asocia su nombre a timbres heterodoxos, a técnicas instrumentales y vocales extendidas, a formas de notación particulares y a su monumental “Black Angels”. Para él la música es “un sistema de proporciones al servicio del impulso espiritual”._____Has escuchadoBlack Angels. I. Departure (1970). Kronos Quartet. Nonesuch (1990)Madrigals. Book I (1965). Anne-Marie Mühle, mezzosoprano; Musica Varia. BIS (1985)Mecánica celeste (Makrokosmos IV). Danzas cósmicas para piano amplificado a cuatro manos. GrauSchumacher Piano Duo. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 22 de febrero de 2020. Archivo de Conciertos de la Fundación Juan MarchVox Balaenae (Voice of the Whale). Vocalise (… For the Beginning of Time): For Electric Flute, Electric Cello and Amplified Piano (1971). Hans Peter Frehner, flauta; Ensemble für Neue Musik Zürich; Jürg Henneberger, director. hat[now]ART (2006)_____Selección bibliográficaADAMENKO, Victoria, “George Crumb's Channels of Mythification”. American Music, vol. 23, n.º 3 (2005), pp. 324-354*BASS, Richard, “Sets, Scales, and Symmetries: The Pitch-Structural Basis of George Crumb's Makrokosmos I and II”. Music Theory Spectrum, vol. 13, n.º 1 (1991), pp. 1-20*BELLMAN, Jonathan D., “Musical Voyages and Their Baggage: Orientalism in Music and Critical Musicology”. The Musical Quarterly, vol. 94, n.º 3 (2011), pp. 417-438*BRUNS, Steven M., “In stile Mahleriano: Quotation and Allusion in the Music of George Crumb”. American Music Research Center Journal, vol. 3 (1993), pp. 9-39BRUNS, Steven y Ofer Ben-Amots, George Crumb: The Alchemy of Sound. The Colorado College Music Press, 2005CARBON, John, “Astrological Symbolic Order in George Crumb's Makrokosmos”. Sonus, vol. 10 (1990), pp. 65-80CHATMAN, Stephen, “George Crumb's Madrigals Book III: a linear analysis”. In Theory Only, vol. 1 (1976-1977), pp. 55-79COHEN, David, George Crumb: A Bio-Bibliography. Greenwood Publishing Group, 2002DOBAY, Thomas R. de, “The Evolution of Harmonic Style in the Lorca Works of Crumb”. Journal of Music Theory, vol. 28, n.º 1 (1984), pp. 89-111*FRANK, Andrew, “George Crumb: Songs, Drones, and Refrains of Death”. Notes, vol. 33 (1976-1977), pp. 694-696LABUSSIÈRE, Annie, “Ancient Voices of Children”. Traducido por Carles Guinovart. Quodlibet: revista de especialización musical, n.º 12 (1998), pp. 3-36*LAJOINIE, Vincent, “Makrokosmos de George Crumb: 24 pièces en quête d'auteur”. Revue Contrechamps: Musiques nord-américaines, n.º 6 (1986), pp. 88-101: [Web]LEWIS, Robert Hall, “George Crumb. Night Music I”. Perspectives in New Music, n.° 3-2 (1964-1965), pp. 143-151*PARDO, Carmen, “Voices in Nature: Vox Balaenae by George Crumb”. International Review of the Aesthetics and Sociology of Music, vol. 54, n.º 1 (2023), pp. 147-170*REBULLIDA, Víctor, “Ancient Voices of Children” de George Crumb”. Nassarre: Revista Aragonesa de Musicología, vol. 16, n.º 1 (2000), pp. 127-168*SHUFFETT, Robert V., "Interviews with George Crumb". Composer Magazine, vol. 10-11 (1980), pp. 29-42SHUPE, Abigail, War and death in the music of George Crumb: a crisis of collective memory. Routledge, 2022 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Uno de los grandes pioneros del minimalismo, escucha a Bach y se forma en el jazz antes del descubrir el gamelán y la música africana. Experto en la exploración del ritmo y la métrica a través de una instrumentación mínima, se sirve de la cinta magnética para convertir el loop en recurso narrativo._____Has escuchadoDifferent Trains. 2. Europe: During the War (1988). Kronos Quartet. Elektra Nonesuch (1989)Drumming. Part I (1971). Steve Reich and Musicians. Elektra Nonesuch (1987)Four Organs (1970). Bang on a Can. Elektra Nonesuch (2000)Music for 18 Musicians (1976). Steve Reich and Musicians. Elektra Nonesuch (1978)Proverb (1995). Theatre of Voices; The Steve Reich Ensemble. Nonesuch (1996)_____Selección bibliográficaBODON-CLAIR, Jérôme, Le langage de Steve Reich. L'exemple de “Music for 18 musicians” (1976). Harmattan, 2008COHN, Richard, “Transpositional Combination of Beat-Class Sets in Steve Reich's Phase-Shifting Music”. Perspectives of New Music, vol. 30, n.º 2 (1992), pp. 146-177*CUMMING, Naomi, “The Horrors of Identification: Reich's Different Trains”. Perspectives of New Music, vol. 35, n.º 1 (1997), pp. 129-152*FOX, Christopher, “Steve Reich's Different Trains”. Tempo, n.º 172 (1990), pp. 2-8*GOPINATH, Sumanth y Pwyll ap Siôn (eds.), Rethinking Reich. Oxford University Press, 2019HARTENBERGER, Russell, Performance Practice in the Music of Steve Reich. Cambridge University Press, 2016*HOEK, D. J., Steve Reich: A Bio-Bibliography. Greenwood, 2001JOHNSON, Timothy A., “Minimalism: Aesthetic, Style, or Technique?”. The Musical Quarterly, vol. 78, n.º 4 (1994), pp. 742-773*NYMAN, Michael, “Steve Reich”. The Musical Times, vol. 112, n.º 1537 (1971), pp. 229-231*PASTRE, Guillaume, Un art de la cohérence: “Different trains”, Steve Reich. L'Harmattan, 2018POTTER, Keith, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge University Press, 2002*REICH, Steve, Writings on Music 1965-2000. Editado por Paul Hillier. Oxford University Press, 2002*—, Conversations. Hanover Square Press, 2022ROEDER, John, “Beat-Class Modulation in Steve Reich's Music”. Music Theory Spectrum, vol. 25, n.º 2 (2003), pp. 275-304*SCHWARZ, David, “Listening Subjects: Semiotics, Psychoanalysis, and the Music of John Adams and Steve Reich”. Perspectives of New Music, vol. 31, n.º 2 (1993), pp. 24-56*SCHWARZ, K. Robert, “Steve Reich: Music as a Gradual Process: Part I”. Perspectives of New Music, vol. 19, n.º 1-2 (1980), pp. 373-392*—, “Steve Reich: Music as a Gradual Process Part II”. Perspectives of New Music, vol. 20, n.º 1-2 (1981), pp. 225-286*   *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

In this episode, I chat about landing my first lead role with a professional touring opera company (!!), singing in the Laffont Metropolitan Opera competition (!!!), my first publication in Music Theory Spectrum (!!!!), and completing my dissertation proposal (!!!!!!). I also discuss my yearly theme for 2024 and set a new theme for 2025. Join us in the new year for our next book club meeting on Sunday, January 26 at 3:00 pm EST! My article in Music Theory Spectrum Opera For The Young CGP Grey video on yearly themes Cortex episode on yearly themes Get in touch with me at: hermusicacademia@gmail.com

Su mundo interior—inquietante, tenebroso, apocalíptico, espejo de los horrores de la guerra que ha vivido—queda plenamente patente en su obra. Amplia es su paleta de intereses y técnicas, que va del serialismo al collage, del cine a la electrónica, del jazz a la radio._____Has escuchadoConcerto for Trumpet and Orchestra: Nobody Knows the Trouble I See (1954). Hakan Hardenberger, trompeta; SWF Sinfonieorchester Baden-Baden; Michael Gielen, director. Philips (1993)Concerto pour violoncelle et orchestre en forme de “pas de trois” (1965). Siegfried Palm, violonchelo; Rundfunk-Sinfonieorchester Saarbrücken; Hans Zender, director. CPO (1997)Die Soldaten. Primer acto, primera escena: Strofe (1991). Milagro Vargas, mezzo-soprano; Nancy Shade, soprano [et al.]; Chor des Staatstheaters Stuttgart; Staatsorchester Stuttgart; Bernhard Kontarsky, director. Teldec (1991)Requiem für einen jungen Dichter. Prolog a Ricercar (1967-1969). SWF-Sinfonieorchester Baden-Baden; Michael Gielen, director. Sony (1995)_____Selección bibliográficaBERGÉ, Pieter et al., “Bernd Alois Zimmermann: Requiem für einen jungen Dichter”. En: Dies Irae: Kroniek van Het Requiem. Leuven University Press, 2021*EBBEKE, Klaus, Sprachfindung. Studien zum Spätwerk Bernd Alois Zimmermanns. Schott, 1986GRUHN, Wilfried, “Integrale Komposition. Zu Bernd Alois Zimmermanns Pluralismus-Begriff”. Archiv für Musikwissenschaft, vol. 40 (1983), pp. 287-302HELLEU, Laurence, “Les Soldats de Bernd Alois Zimmermann”; une approche scénique. Éditions mf, 2011HIEKEL, Jörn Peter, Bernd Alois Zimmermanns “Requiem für einen jungen Dichter”. Franz Steiner, 1995KONOLD, Wulf, Bernd Alois Zimmermann (1986). Michel de Maule, 1998KORTE, Oliver, “Zu Bernd Alois Zimmermanns später Reihentechnik”. Musiktheorie, vol. 15 (2001), pp. 19-39LOSADA, C. Catherine, “Between Modernism and Postmodernism: Strands of Continuity in Collage Compositions by Rochberg, Berio, and Zimmermann”. Music Theory Spectrum, vol. 31, n.º 1 (2009), pp. 57-100WENZEL, Silke, Text als Struktur. Der Kohelet im Werk Bernd Alois Zimmermanns. Weidler, 2001ZIMMERMANN, Bernd Alois, Écrits. Editado por Philippe Albèra. Contrechamps, 2010 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Compositor y director de orquesta polaco, debuta con 26años mostrando tres composiciones que resultan premiadas a la vez. Trabaja con arriesgadas e innovadoras mezclas instrumentales y modificaciones a la formación orquestal, que evolucionan a lo largo de una carrera prolífica y comprometida._____Has escuchadoThrenody to the Victims of Hiroshima (1960). ORF Radio-Symphonieorchester Wien; Michael Gielen, director. ORFEO (2022)St. Luke Passion: No. 24. Stabat Mater (1963-1966). Warsaw Philharmonic Choir; K. Penderecki, director. WARNER (2017)Partita: For Harpsichord and Orchestra (1971). E. Stefanska, clave; Warsaw Philharmonic Orchestra; Antoni Wit, director. NAXOS (2012)_____Selección bibliográficaBERGÉ, Pieter, et al. “Krzysztof Penderecki: Pools Requiem”. En: Dies Irae: Kroniek van Het Requiem. Leuven University Press, 2021DICKINSON, Peter, “Polish Music Today”. The Musical Times, vol. 108, n.º 1493 (1967), pp. 596-598*KOZAK, Mariusz, “Experiencing Structure in Penderecki's Threnody: Analysis, Ear-Training, and Musical Understanding”. Music Theory Spectrum, vol. 38, n.º 2 (2016), pp. 200-217*MALECKA-CONTAMIN, Barbara, Krzysztof Penderecki. Style et matériaux. Kimé, 1997 MIRKA, Danuta, “To Cut the Gordian Knot: The Timbre System of Krzysztof Penderecki”. Journal of Music Theory, vol. 45, n.º 2 (2001), pp. 435-456*MURPHY, Scott, “A Model of Melodic Expectation for Some Neo-Romantic Music of Penderecki”. Perspectives of New Music, vol. 45, n.º 1 (2007), pp. 184-222*PENDERECKI, Krzysztof, Le labyrinthe du temps: cinq leçons pour une fin de siècle. Les Editions Noir sur Blanc, 1999SCHWINGER, Wolfram, Krzysztof Penderecki. His life and work. Schott, 1979 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Compositor y director de orquesta veneciano. Personaje clave en la escuela de Darmstadt, donde conoce a Varèse y Stockhausen. Su praxis compositiva se centra en la ópera y la música electrónica, génerosa los que impregna con su personalidad política y poética._____Has escuchadoContrappunto dialettico alla mente: for magnetic tape (1968). Coro de camera della RAI, Roma; Nino Antonellini, director. Deutsche Grammophon (1988)No hay caminos, hay que caminar… Andrei Tarkovskij: pour sept groupes instrumentaux (1987). Sinfonieorchester des Südwestfunks; Michael Gielen, director. Montaigne (2000)Prometeo. Tragedia dell'ascolto (1985). Solistenchor Freiburg; Ensembles of the Freiburg Philharmonic; Ensemble Recherche; Experimentalstudio des SWR; SWR Sinfonieorchester Baden-Baden und Freiburg; Peter Hirsch y Kwamé Ryan, directores. Col Legno (2007)Quando stanno morendo. Diario polacco n. 2 (1982). Neue Vocalsolisten Stuttgart. Col Legno (2004)… sofferte onde serene… (1976): para piano y cinta. Marino Formenti, piano. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 6 de abril de 2019_____ Selección bibliográficaBORIO, Gianmario, Nono, Luigi. Oxford University Press, 2001CACCIARI, Massimo (ed.), Verso Prometeo. Ricordi, 1984CARRIZO, Victor Paulo, “Luigi Nono, El caminante dialéctico”. Neuma, año 5, n.º 2 (2012), pp. 32-50DRIESEN, Pauline, “Destare l'infranto, rinnovare silenzi. Open Form in Luigi Nono's Prometeo” (1984-85)”. Revue Belge de Musicologie / Belgisch Tijdschrift Voor Muziekwetenschap, vol. 65 (2011), pp. 203-222EDWARDS, Peter Ivan, “Object, Space, and Fragility in Luigi Nono's Das Atmende Klarsein”. Perspectives of New Music, vol. 46, n.º 1 (2008), pp. 225-243*FENEYROU, Laurent, “Il canto sospeso” de Luigi Nono. Michel de Maule, 2002GUERRERO, Jeannie Ma., “Non-Conventional Planar Designs in the Works of Nono and Tintoretto”. Music Theory Spectrum, vol. 32, n.º 1 (2010), pp. 26-43*IGES, José, Luigi Nono. Círculo de Bellas Artes, 1988JIMÉNEZ CARMONA, Susana, Luigi Nono. Ediciones Akal, 2023*LEBLANC, Jimmie, Luigi Nono et les chemins de l'écoute: entre espace qui sonne et espace du son. Une analyse de “No hay caminos, hay que caminar… Tarkovskij (1987)”. L'Harmattan, 2010NIELINGER-VAKIL, Carola, “Fragmente-Stille, an Diotima: World of Greater Compositional Secrets”. Acta Musicológica, vol. 82, n.º 1 (2010), pp. 105-147*—, Luigi Nono: A Composer in Context. Cambridge University Press, 2015NONO, Luigi, Écrits. Editado por Laurent Feneyrou. Contrechamps, 2007*SOTELO, Mauricio, “Luigi Nono o el dominio de los infiniti possibili”. Quodlibet: Revista de Especialización Musical, n.º 7 (1997), pp. 22-31*TAGLIAFERRI, Francesco, “Musica-Manifesto n. 1 di Luigi Nono: Origini e sviluppi di un dittico”. Rivista Italiana di Musicologia, n.º 52 (2017), pp. 233-264VILA, Cirilo y Andreas Bodenhofer, “Entrevista a Luigi Nono”. Revista Musical Chilena, año 25, n.º 115-116 (1971), pp. 3-9* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Compositor austriaco de origen húngaro, toma contacto con las vanguardias a través de Stockhausen. Crea un estilo propio basado en la búsqueda de nuevos modelos rítmicos y la exploración de texturas y densidades sonoras. Apparitions, Atmosphères y Lux aeterna son algunas de sus obras maestras._____Has escuchadoChamber Concerto: movimento preciso e meccanico (1970). London Sinfonietta. David Atherton, director. DECCA (1990)Continuum: para clave (1968). Olga Pashchenko, clave. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 2 de noviembre de 2022Lontano: For Large Orchestra (1967). Wiener Philharmoniker; Claudio Abbado, director. Deutsche Grammophon (1990)Lux Aeterna (1966). Schola Cantorum Stuttgart; Clytus Gottwald, director. WERGO (1988)String Quartet No. 1 “Métamorphoses Nocturnes” (1954). Arditti Quartet. Sony Classics (1997) _____Selección bibliográficaBEFFA, Karol, György Ligeti. Fayard, 2016BERÁ, Camille, “De Platon à Dodecahedron: les apports des textures ligétiennes et de la musique électronique chez un groupe de Metal extrême”. Itamar. Revista de Investigación Musical: Territorios para el Arte, n.º 5 (2019), pp. 143-161*BOUKOBZA, Jean-François, György Ligeti: Études pour piano. Contrechamps, 2019BULUT, Zeynep, “Theorizing Voice in Performance: György Ligeti's Aventures”. Perspectives of New Music, vol. 48, n.º 1 (2010), pp. 44-64*CLENDINNING, Jane Piper, “The Pattern-Meccanico Compositions of György Ligeti”. Perspectives of New Music, vol. 31, n.º 1 (1993), pp. 192-234*DROTT, Eric, “Ligeti in Fluxus”. The Journal of Musicology, vol. 21, n.º 2 (2004), pp. 201-240*—, “Lines, Masses, Micropolyphony: Ligeti's Kyrie and the Crisis of the Figure”. Perspectives of New Music, vol. 49, n.º 1 (2011), pp. 4-46*DUCHESNEAU, Louise y Wolfgang Marx (eds.), Györgi Ligeti: Of Foreign Lands and Strange Sounds. Boydell Press, 2011*GALLOT, Simon, György Ligeti et la musique populaire. Éditions Symétrie, 2010HICKS, Michael, “Interval and Form in Ligeti's Continuum and Coulée”. Perspectives of New Music, vol. 31, n.º 1 (1993), pp. 172-190*KERÉKFY, Márton. “‘A ‘New Music' from Nothing': György Ligeti's Musica Ricercata”. Studia Musicologica, vol. 49, n.º 3-4 (2008), pp. 203-230*LEVY, Benjamin R., “Shades of the Studio: Electronic Influences on Ligeti's Apparitions”. Perspectives of New Music, vol. 47, n.º 2 (2009), pp. 59-87*—, Metamorphosis in Music: The Compositions of György Ligeti in the 1950s and 1960s. Oxford University Press, 2017LIGETI, György, Écrits sur la musique et les musiciens. Contrechamps, 2014PABLO, Luis de, “Conversaciones con Ligeti: sobre ‘Ligeti in Conversation' de Péter Várnai, Josef Häusler, Claude Samuel y György Ligeti”. Saber Leer, n.º 2 (1987): [PDF]*RICHART, Robert W., György Ligeti, A Bio-Bibliography. Greenwood Press, 1990ROIG-FRANCOLÍ, Miguel A., “Harmonic and Formal Processes in Ligeti's Net-Structure Compositions”. Music Theory Spectrum, vol. 17, n.º 2 (1995), pp. 242-267*SEARBY, Mike, “Ligeti's Chamber Concerto - Summation or Turning Point?”. Tempo, n.º 168 (1989), pp. 30-34*—, “Ligeti the Postmodernist?”. Tempo, n.º 199 (1997), pp. 9-14*STEINITZ, Richard, György Ligeti: Music of the Imagination. Northeastern University Press, 2003TAYLOR, Stephen Andrew, “Ligeti, Africa and Polyrhythm”. The World of Music, vol. 45, n.º 2 (2003), pp. 83-94*TOOP, Richard, György Ligeti. Phaidon, 1999 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

In this bonus episode, we catch up about our new semesters and discuss Joseph Straus' article in Music Theory Spectrum, "Music Theory's Therapeutic Imperative and the Tyranny of the Normal," centered around disability in music. Get in touch with us at: thetheoryclubpodcast@gmail.com

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices