# Asian classical musicians, talks and stereotype



## jurianbai (Nov 23, 2008)

Naaah, I have a question, is such a thing Asian classical musicians "category" existed? I mean do they have different styles, compared to their whiteguy colleagues?

I always read comments in youtube or anywhere, the stereotype that Asian musicians always in "without-emotion" mode or.. "playing too fast", or.. "killing the original interpretation" etc.

Like many knows (ehem) I have very narrow repertoire, only listen to chamber and violin concerto. In these two areas, I never able to know if there is different between Anne Sophie Mutter or Kyung Hwa Chung playing BECAUSE of their violin playing sources (their school of violin). And as I know many Asian attend western school, so ... less different I think. So I disagree with above question and think there is less different on international level.

Btw, the term Asians here mostly referred to Japanese, S.Korean, now emerging Chinese and maybe in the future Singapore nationality. And also there is a large portion of Indian but I just not knowing them as well as those nationality above. And a small number of Phillipino, THai and even Malaysian reaching international level.

I also read some excerpt books about Asian "invasion" to classical music, that these Asian took mostly concerto instrument, eg Piano, Violin , Cello, that's maybe true ...... And also in my collection of string quartet, it seems the group now have at least one Asian face.

So... what do you think on the topic.
:tiphat:


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## Sid James (Feb 7, 2009)

jurianbai said:


> Naaah, I have a question, is such a thing Asian classical musicians "category" existed? I mean do they have different styles, compared to their whiteguy colleagues?


I don't know about that, I really can't say.



> I always read comments in youtube or anywhere, the stereotype that Asian musicians always in "without-emotion" mode or.. "playing too fast", or.. "killing the original interpretation" etc.


Well, maybe they're just being kind of racist?

I went to a chamber recital here of a local piano trio group, and Japanese-born violinist Natsuko Yoshimoto was playing in it as a guest (she is based here, she's concertmaster of the Adelaide Symphony Orch.). I didn't "hear" that her playing as any (majorly) different from the person she was replacing. Maybe she used less vibrato or something, but so did Isaac Stern, & he wasn't Asian. I also saw a Hong Kong based pianist, studying postgrad here, do Beethoven's _Emperor Concerto _last year. His name is Jacky Wong. I liked his subtle playing, he used this kind of "flicking" wrist action which I'd not seen before.

A friend of mine also has a couple of cd's on the Japanese Denon label, with Japanese orchestras & conductors. I didn't hear any difference between them & those from other countries, nothing distinct to my ear anyway (although they played very well). & I have on disc the Australian premiere of Messiaen's _Turangalila-Symphonie_, with a Japanese pianist & another playing odnes martenot (electronic instrument) with Maestro Hiroyuki Iwaki conducting. He also conducts Stravinsky & Bartok on that set, with the Melbourne Symphony Orch. (he was their cheif conductor for about 25 years, but he's now passed away). If anything, Maestro Iwaki was more passionate and fiery than others I've heard. He takes the Messiaen work at fast pace, it's over in about 68 minutes (Rattle does it in about 80 or so). So, if anything, Iwaki had this drive & flair that I like more than the "Westerners." But other guys like Solti and Bernstein can be said to have been like that as well.

So based on this, I just think Asian musicians are unique like others, I'm not sure if it depends on where they come from, but my knowledge of this area is not very wide...


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## science (Oct 14, 2010)

You take away the visual and people will not be able to tell whether a world-class musician is Asian or not.


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## jurianbai (Nov 23, 2008)

thanks Sid James and that's what I agree to Science.

But for now I haven't see many Asian conductor except those symphony based in Asia. Also I think the piano listener will have more to say since I less know about that. Something like Lang Lang and Yundi Li playing is usually "benefit" from their Asian appearance in Asian market, but beside that I don't know anything unussual, as in any other musicians.

But then there is issue that our Asian _prodigy_ are more a product of their parent's wish (to be classical musicians) rather than their own passion. But then maybe this can applied to every other kid else.


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## Delicious Manager (Jul 16, 2008)

Distressing to see the 'racist' card being waved yet again (*yawn*)! It is interesting to note that in some 'oriental' cultures (Japanese definitely for one), music is processed on the opposite side of the brain to Europeans (and European expats in the Americas and Oceania). This is because of the considerably different social function of music in their cultures hundreds of years ago (eg Japanese Noh dramas). I am not so sure about Korea and China (although I suspect they would show similar results). It is for this reason that, when Sony first started producing hi-fis for the 'Western' market, many people found the sound lacking (because Japanese people 'hear' music in a slightly different way) and had to adapt their products for European ears.

This might also affect the way 'classical' musicians from these cultures approach and perform music. I have also heard it said that some people find some Korean and Japanese soloists lacking in warmth and passion; I have even thought this myself occasionally (Kyung-Wha Chung springs immediately to mind). Perhaps it is this different perception to music that contributes to this?

Having said this, there was nothing cold or dispassionate about Midori's performance of the Walton Violin Concerto at the BBC Proms a couple of weeks ago!


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## itywltmt (May 29, 2011)

Careful to paint all asian musicians with the same brush...

What I do find, however, is that there is so much hyope about them. For every Yo-Yo Ma, there is a Midori, meaning for every clearly "superior" artist, there is the hyped-up wunderkind that's all sizzle and no steak.


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## regressivetransphobe (May 16, 2011)

> Distressing to see the 'racist' card being waved yet again (*yawn*)!


I don't think when there's obvious racism (it doesn't always have to be egregious or mean-spirited), and people call it out like the BS it is, that necessarily means they're waving the "race card". Sometimes they're just calling it like they see it. There's no "PC brigade" out to get anyone.


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## Curiosity (Jul 10, 2011)

regressivetransphobe said:


> There's no "PC brigade" out to get anyone.


Incorrect, actually.


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## itywltmt (May 29, 2011)

PC aside, I think we can collegially refer to "asian" artists as being musicians who received their early music training in the Far East, and (the vast majority of which) moved West for their "finish", at places like the RCM and Julliard. I think we can all agree there is such a group of musicians, and it need not be viewed as having to do with race.

Maybe it's more a clash between the Suzuki method and the Orff method, or the Kodaly method...


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## HarpsichordConcerto (Jan 1, 2010)

I think any perceived playing styles/interpretations of a particular Asian performer or school of Asian performers can sometimes be attributed to the training in that particular country. I write this based on a recent article (2011) that I read about eminent musicologist and conductor Christopher Hogwood, who spent time introducing young Chinese music students to HIP practice in mainland China. He noted that students in mainland China were practically unware of Baroque music, instead being rigorously trained to peerlessly perform Romantic repertoire to the highest technical calibre, with a strong focus on technique. He also noted that a key weakness to this approach was that students lacked the spontaniety to be _intrepretative musicians_ when given a broader range of repertoire, as opposed to being a first class technique performer on one particular piece of music or one spectrum of a Romantic composer's oeuvre. Indeed, in the whole of mainland China and Hong Kong, there are only 4 or 5 harpsichords! The point was rather clear to me: while China for example may well produce performers of the highest technical calibre to play Rachmaninoff's piano concertos, the range of repertoire coming out is understandably somewhat narrower. I just thought I brought this interesting point out, which I'm almost sure not many of us here would realise as far as HIP practice in China is concerned.

Nonetheless, the performances I have listened to played by Asian performers of whatever nationality on CD are as good as any other. I certainly do not think race has any contributive factors. It has all to do with training, practise, experience etc. that you might expect from performers of any nationality. The article was merely suggesting that some aspects of Chinese training in China were understandably restrictive.


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## science (Oct 14, 2010)

Delicious Manager said:


> It is interesting to note that in some 'oriental' cultures (Japanese definitely for one), music is processed on the opposite side of the brain to Europeans (and European expats in the Americas and Oceania). This is because of the considerably different social function of music in their cultures hundreds of years ago (eg Japanese Noh dramas).


I've never heard this before. Where did you learn this?


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## jurianbai (Nov 23, 2008)

well, it's a bit touchy subject, but since I myself the one who bringing up... I think the picture is different.

I do agree, the Asians tend to look for technical aspect of music more, at least in amateur level. If I am correct, most of Chinese instrument tend to be a virtuoso instrument, the zither Guzheng, Pipa, Erhu etc. Therefore, we like to climb for technical mastery. But then maybe one of main keyword is _competition_, the education system overhere is over-competitive, in many aspect. There is a widely joke in youtube now, the level of music skill is like:

1. Beginner
2. Very Easy
3. Easy
4. Medium
5. Hard
6. Very Hard
.
.
.
7. Asian lol

In something similar, I like to believe that non-Chinese musician, without proper understanding of Chinese culture and Erhu itself, will never really play the real "soul" of Erhu. Maybe the Erhu is something similar to period instrument in western tradition.


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## beethovenian (May 2, 2011)

I think the numerous youtube videos of young asian kids playing the piano contributed to that joke...

Just do any search on youtube for amateur piano performance and i reckon more than half of them are by asians.


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## Ravellian (Aug 17, 2009)

Perhaps part of their reputation stems from the fact that there aren't very many classical asian composers? As far as Japan, China, Korea, and the Philippines, I only know of three notable composers: Toru Takemitsu, Tan Dun, and Bright Sheng. And yet there are so many technically gifted asian classical musicians (I should know, they keep beating me in piano competitions!)


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## violadude (May 2, 2011)

Ravellian said:


> Perhaps part of their reputation stems from the fact that there aren't very many classical asian composers? As far as Japan, China, Korea, and the Philippines, I only know of three notable composers: Toru Takemitsu, Tan Dun, and Bright Sheng. And yet there are so many technically gifted asian classical musicians (I should know, they keep beating me in piano competitions!)


You should invest in hearing something by Yoshimatsu. Very beautiful compositions.


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## Delicious Manager (Jul 16, 2008)

science said:


> I've never heard this before. Where did you learn this?


I was trying to remember as I was typing my original response. I heard it many years ago, but the original source has faded into the mists of time. I think it's a fascinating concept, though.


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## Head_case (Feb 5, 2010)

jurianbai said:


> Naaah, I have a question, is such a thing Asian classical musicians "category" existed? I mean do they have different styles, compared to their whiteguy colleagues?
> 
> I always read comments in youtube or anywhere, the stereotype that Asian musicians always in "without-emotion" mode or.. "playing too fast", or.. "killing the original interpretation" etc.


I'm not sure ... although recently I've started falling in love with authentic chinese instruments and chamber music.

The thing about youtube is... the average literacy age is about 12-16, so when you read those comments, you will probably find that they reflect comments from a) thick b) illiterate c) opinionated d) narrow-minded little 15 year olds trying to big themselves up and picking condescendingly on any and every little difference about the performer's appearance; looks; fingernails, posture.

I'm a bit sceptical huh? 

I would find it rather weird ... for example....to find that as a rule, Americans played Russian/Soviet String Quartets better than the Soviet string players, who had direct contact and instruction from the composers. In general terms when I look at my music collection, I do find that ... Soviet string quartets (Myaskovsky; Borodin; Taneyev; Shostakovich; Nasidze) are better fathomed by Soviet groups than by non-Soviet groups (e.g. Renoir Quartet; Allegri Quartet). French Quartets - e.g. Debussy, Ravel - are better fathomed by Europeans than they are by Eskimos.

But then this is a stereotype which breaks down too. Chinese string quartet music, is covered just as well by the Shanghai String Quartet, as it is by the Stamic Quartet (Czech); the fabulous Tokyo String Quartet covered mostly European repertoire as well as some of Takemitsu's rather uninteresting works.

We see a lot of 'provincialism' in thought - as we do 'protectionism' - from those who defensively claim that western music must be better when played by western musicians, because it originated from the west. We would never however, suggest this rule, for English cricket or tennis or football, since England has a long track history of anti-successes in these areas.

Personally, I can't stand the piano, so I can't stand Lang Lang any more than I can stand, Argerich or Hammelin. I can't stand them equally  When it comes to violinists ... Vanessa Mae makes me want to hit every violinist who moves on stage - she is almost as annoying as Nigel Kennedy for their pop fusion cross-over styles and irritating stage antics - not their nationalities.

On the otherhand - Asian instruments are absolutely compelling for me. I prefer the sound of the guzheng zither by miles - to the boring plonk plonk piano. I've yet to see a western person play the guzheng anything like the virtuoso brilliance of a young girl like Yuan Sha - most of us in the west won't have a clue as to what a guzheng is, let alone who Yuan Sha is.



> Btw, the term Asians here mostly referred to Japanese, S.Korean, now emerging Chinese and maybe in the future Singapore nationality. And also there is a large portion of Indian but I just not knowing them as well as those nationality above. And a small number of Phillipino, THai and even Malaysian reaching international level.


Since the European Enlightenment, the notion of 'Asian' has always moved around the globe...now that the globe is a smaller place, and perhaps, too small a place to use the term with any meaning. I find that a lot of Asian cities, are more 'westernised' than many of the quaint little English villages where I live. Even traditional western values, are more likely to be found, in Singaporean colonialist architecture, than perhaps, in England except wherein they are retained in a museum as a relic. I'm not sure the term 'western' has much use either .... western for San Franciscans should technically be 'China'; USSR, right? It may just be a relative term, although I think we all know what the general broadstroke between 'western' and 'eastern' implies.

Like football and cricket, it wouldn't surprise me if other 'eastern' countries take up the baton where the west left off (that is ... at the point of contemporary music' departure from musicality, towards the extremities of sonorities, and theory driven textures of sonic dissonance, rather than an experience of coherence and 'music' for the listener). I like the dialogue between the cultural extremes ... except insofar, as the 'East' seeks to 'emulate' the culture of the west. I tend to like cultural preservation in localities - rather than a homogeneity of cultures - I would be really rather annoyed, to travel to the deepest and most remote village in North Korea, to discover authentic Korean music, only to discover all the local musicians playing Bach. ...


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## Argus (Oct 16, 2009)

Ravellian said:


> Perhaps part of their reputation stems from the fact that there aren't very many classical asian composers? As far as Japan, China, Korea, and the Philippines, I only know of three notable composers: Toru Takemitsu, Tan Dun, and Bright Sheng. And yet there are so many technically gifted asian classical musicians (I should know, they keep beating me in piano competitions!)


Have a gander at this thread:Japanese Composers



itywltmt said:


> What I do find, however, is that there is so much hyope about them. For every Yo-Yo Ma, there is a Midori, meaning for every clearly "superior" artist, there is the hyped-up wunderkind that's all sizzle and no steak.


Which is which?


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## Sid James (Feb 7, 2009)

Interesting discussion. I particularly found* member HC's *post interesting. I think people know this, but in China under the rule of Chairman Mao (1949-1976) Western classical music was banned. So it has only gotten off it's feet there since then. This kind of explains what HC was saying/reading about, they are starting from scratch, their experience in a number of areas in the repertoire/canon is limited at this point. A good thing that pianist Lang Lang is doing, is (modelled on what Yehudi Menuhin did with his schools in the UK), setting up music schools of excellence across China. So he's putting his money where his mouth is, so to speak, he wants to build up classical from the ground, so to speak.

As for what *Delicious Manager *says, re the differences between processing of music in the brains of Asians & Westerners, I'm not sure how to take that, really. I'm not sure if what you're saying is based on current research, or is it old, or does it hold any water in terms of peer review or being generally accepted by people in this area of research/theory?

& *Head Case *& others reminded me of other Asian artists I have on disc, I have the Chung trio playing Beethoven's piano trios & they're superb. I have also got a Hovhaness string quartet played by the Shanghai Quartet, who seem a bit dry & kind of "no frills," but so are other groups like the Alban Berg Quartet. It's just a style of playing, that's all, not necessarily "Asian" or anything else, imo.

& yes *science*, there are a number of musicians with Asian backgrounds who've studied in the top schools in the West, one was cellist Yo-yo Ma, who I believe completed his studies at Julliard in NYC in the 1970's...


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## science (Oct 14, 2010)

Delicious Manager said:


> I was trying to remember as I was typing my original response. I heard it many years ago, but the original source has faded into the mists of time. I think it's a fascinating concept, though.


I'm not sure it's correct. I think there may have been a mistake somewhere along the line.

I like this subject though. Wikipedia has a pretty good article on it: http://en.wikipedia.org/wiki/Music_and_the_brain


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## Curiosity (Jul 10, 2011)

Call me a racist or whatever but I for whatever reason I prefer to hear the traditional music of any given racial group played by people of that racial group. It makes things feel more authentic. I listen to Chinese traditional music as well and I'm not sure how seriously I'd be able to take it if I knew it was a white guy plucking away at the Guqin. :lol:


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## science (Oct 14, 2010)

Sid James said:


> & yes *science*, there are a number of musicians with Asian backgrounds who've studied in the top schools in the West, one was cellist Yo-yo Ma, who I believe completed his studies at Julliard in NYC in the 1970's...


I actually know several Asian professional musicians (though not Mr. Ma) from top music schools.

I think there's beginning to be a backlash against their success, actually. I've read comments here and there on the internet, where people benefit from anonymity, about the entire violin section of some orchestra or other being entirely Asian, about "some Asian" always being better than you are, and so on...


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## Head_case (Feb 5, 2010)

> & Head Case & others reminded me of other Asian artists I have on disc, I have the Chung trio playing Beethoven's piano trios & they're superb. I have also got a Hovhaness string quartet played by the Shanghai Quartet, who seem a bit dry & kind of "no frills," but so are other groups like the Alban Berg Quartet. It's just a style of playing, that's all, not necessarily "Asian" or anything else, imo.


I think so.

The Alban Berg are technically brilliant and uniformly bland across their string quartet oeuvre.

Now the Shanghai Quartet - have you heard 'Chinasong'? It is a lovely folk album with an authenticity which you wouldn't find from Axel Rose pretending to do oriental music.

The other thing ...oops. Here it is ...

http://www.shanghaiquartet.com/biographies/

Nationality breaks down. I think of other string quartet groups - like the Dante Quartet - whose members are not of the same ethnic group as the group's origins. There are of course, classic exceptions - like the Italian Quartet (wouldn't happen to have Italian passports would they? Ho hum) or the St Lawrence String Quartet (Canadian origin - mouth of the St Lawrence River) or the Quarteto Latinoamericano (speaks for itself) or the Danish Quartet...or the Leipziger Quartett ... or the Polish Quartet....or the Georgian State Quartet, or the Russian State Quartet.


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## jurianbai (Nov 23, 2008)

And don't forget the Tokyo string quartet, but they also have western member. I last check Julliard SQ now with Joseph Lin as 1st violin, Taiwan origin. Most of new string quartet now 1/4 are with ********* face.  Since classical music tradition included _competition_, it's maybe also the factor.


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## opus55 (Nov 9, 2010)

I'm Asian too. I do think Asian performers focus too much on technical aspect of performance. It's probably due to the educational environment in their home countries. As far as 'lacking emotions', I find this to be true even among new Western performers. Where is classical music going?


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## Head_case (Feb 5, 2010)

Gagggh. 

Why do my posts keep on disappearing! 

It's not that my posts lack emotions lol. 

Maybe it's something to do with the technical performance of this site


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## jurianbai (Nov 23, 2008)

maybe you like to read this http://www.talkclassical.com/14482-my-posts-keep-disappearing.html


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## sabrina (Apr 26, 2011)

I have never thought about the culture difference in classic music. I was struck with my discovery that all my classic music/opera composers are European, or of European descent. I know China, Japan and other Asian, African countries have their own music, but neither of their composers are even slightly popular in Europe or America. As I have only visited/lived in Europe and N America, I have no idea how "our" classic music is perceived in other different cultures/continents. Even the Russian composers are from European Russia.
About the interpretation, I am not too picky, though again, most of my bought music is composed and interpreted by Europeans/Americans/Australia (all colors).
Geez, are we so different? Please note that different does not mean better or worse.
I think that that the difference is between cultures, not between races.


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## Sid James (Feb 7, 2009)

Well, Sabrina, Toru Takemitsu's music does get played live here in Australia, and I think Tan Dun's as well. But Asia is on our doorstep, so perhaps we're more exposed to this music here in the live format than in say the USA or Europe/UK?...


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## jurianbai (Nov 23, 2008)

my first thinking when creating the thread is about the asian musician "hype" (if such thing existed). but talks about Asian composers is more than welcome here.

Tan Dun is very much on the map I think. I heard his Violin Concerto premiere in Asia last year. A blend within traditional and quirkiness I must say (there was rock drum in use).

I try to dig in composer name Isang Yun, I read that he is more "western". I try to find sample of his string quartet because I am afraid he will be another "fringe" / avant garde composer, Asian avant garde precisely.


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## sabrina (Apr 26, 2011)

Sid James said:


> Well, Sabrina, Toru Takemitsu's music does get played live here in Australia, and I think Tan Dun's as well. But Asia is on our doorstep, so perhaps we're more exposed to this music here in the live format than in say the USA or Europe/UK?...


Thanks!
I am angry about my ignorance, but I have never heard about them. That does not mean they are not played in Europe, but they are definitely not popular.

After gathering information from internet/youtube I realized both Takemitsu and Dun are modern music composers. I would not call them classic, although I liked them, especially Dun.
I guess Asia and all other continents except Europe didn't have Mozart/Beethoven like composers in the XVIII-XIX centuries. Starting with the late XIX- XXth century, classic music spread to other continents.


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## Sid James (Feb 7, 2009)

Well, depends what you mean by "popular." As member jurianbai said, Tan Dun's music is pretty much "on the map," it's pretty mainstream in terms of modern/contemporary music. Tan Dun & Takemitsu, as well as many other composers of the Asian region, have worked on a lot of film scores. Eg. Tan Dun's score for the film _Crouching Tiger, Hidden Dragon _garnered an Oscar for best film score. People who've seen that film all over the world know Tan Dun's music, probably without being able to necessarily recognise his name. But it's a similar thing with many composers, esp. of film music.

But yes, generally they aren't as popular as some other European or American composers, & it's only a handful of Asian composers that have gotten more attention, but they're still out there in the public eye, more so than was the case say 20 years ago or so...


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## Head_case (Feb 5, 2010)

sabrina said:


> That does not mean they are not played in Europe, but they are definitely not popular.


And thank goodness for that! 

X Factor popularity is detestable when it comes to an appreciation of a musical aesthetic.

Thinking about the evolution of classical music in Russia - Borodin and Taneyev weren't exactly famous outside of their own countries during their lifetimes.  Chinese composers of the European classical music tradition, has a way more nascent history.

Take for instance - the evolution of the classical string quartet in Canada - can you trace its development? Do you know Murray Schafer's works, and the St Lawrence String Quartet? I love this work, but no one in the UK (I know of), has ever heard of them or him. Popularity sucks..>! Popularity ... is for pop music.

Ge Gan Ru, one of the post-cultural revolution composers of China made an impression on me with his string quartets 'The fall of Baghdad' - 




Yes - Sid's spot on about Tan Dun and Takemitsu. Although I find it interesting, I can't say I can detect much in the way of folkloric themes or devices in the music. Ge Gan Ru - case in point. Nothing about his music would indicate that his provenance is from the Far East for me.

Have a listen - what do you think?


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## sabrina (Apr 26, 2011)

Head_case said:


> And thank goodness for that!
> 
> Thinking about the evolution of classical music in Russia - Borodin and Taneyev weren't exactly famous outside of their own countries during their lifetimes. Chinese composers of the European classical music tradition, has a way more nascent history.
> 
> ...


I was a little frightened by Ge Gan Ru - Fall of Baghdad, but I liked it, though I doubt I'd like to listen to it again soon. The music really reflects the tragedy that happened in Baghdad.
By popular, I was thinking of big names, like Mozart et comp. The comp is limited to just a few other names. In most part of Europe, many people, not necessarily classic music lovers, heard about Mozart, Beethoven, maybe Bach, or Tchaikovsky, Vivaldi. We learned about all these at school, in the primary grades.
I've been living in Canada for a few years. About Canada I only heard about Mathieux (composer) and Gould (pianist). Neither is as popular as the big names I talked before.


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## chrish (Aug 21, 2016)

I am new to classical music and I just happen to notice how so many of the performers are Asians. Of course it's a good thing; I am just curious how come European music has found its root over there? Is there any history behind it?


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## Aloevera (Oct 1, 2017)

I think there is quite a lot of prejudice involved. I think when a white person puts hours into the instrument we say that they're passionate while when an asian does it its considered manufactured. I think there are just enough manufactured musicians on both parts. I think a lot of it comes down to a complete standardization of the musical system which forces players only to think in terms of levels. Uchida is still one of the best piano players


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## Pugg (Aug 8, 2014)

chrish said:


> I am new to classical music and I just happen to notice how so many of the performers are Asians. Of course it's a good thing; I am just curious how come European music has found its root over there? Is there any history behind it?


Just like sports man/ woman, they want to be the best, in anything.


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## Gaspard de la Nuit (Oct 20, 2014)

chrish said:


> I am new to classical music and I just happen to notice how so many of the performers are Asians. Of course it's a good thing; I am just curious how come European music has found its root over there? Is there any history behind it?


This is just speculation, but Western Classical music has come to represent the "height" of achievement and culture throughout most of the world.......East Asians, who often make high achievement in socially respected domains a foremost priority, probably took to Western Classical Music more than say, people in much of latin america who don't have a piano or a violin and are fortunate just to have clean water or live somewhere that isn't controlled by gangs and are happy to come to work as a dishwasher in the US. In that respect I think the East Asians are in the same boat as Jewish people, they make up a lot of musicians because their culture and social situation are conducive to it.


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