(b Taibei, 29 July 1957). Taiwanese composer and teacher. She studied composition with Hsu Tsang-houei and took piano lessons before her family emigrated to Canada in 1974. Pan pursued further composition studies with Robert Turner at the University of Manitoba (197680) and with Chou Wen-chung at Columbia University, New York (198088). Her interest and expertise in traditional Asian music, stemming from her contact with Chou's music and her work at the Columbia Center for Ethnomusicology, distinguishes her from her contemporaries in Taiwan, where training in ethnomusicology is rare. After her return to Taiwan in 1988, Pan became a professor of composition at the National Academy of the Arts. Asian influence is evident in many of her compositions, for example in her use of Chinese instruments in the series Configuration Transformation Shape or of Asian poetry in Paiju sanshou (1991) and Three Songs (1996). Repetitive patterns and restraint in the use of musical material, typical features of Asian music, combine in Dubai de nigu (1990). Pan has developed an Asian variety of serialism based on linear cells, which she employs in her series of quartets for violin, viola, cello and guitar. The subject of her impressionistic sound painting In the Dark (1998) is the massacre in 1947 of Taiwanese indigenous people by Nationalists from mainland China.
(selective list)
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Orch: Dream World, 1979; Music for Orch, 1980; 3 Pieces, 1982; Raining Night, 19979 |
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Vocal: The Lodge Amid the Bamboos, S, chbr ens, 1980; Paiju sanshou [3 Haiku], Mez, pf, 1991; 3 Songs (Pan), 1996; In the Dark (Pan), S, pf, 1998; Qiu Lu, chorus, 1998 |
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Chbr and solo inst: Music for Hn and Pf, 1979; Music for Pf, 1979; Wind Qnt, 1979; Brass Qnt, 1980; Str Qt in 1 Movt, 1980; Ensemble, brass, perc, 1981; Hudson River Caprice, fl, cl, hn, va, vc, perc, 1981; Str Qt, 1981; Piece, hn, pf, 1984; Str Qt no.1, vn, va, vc, gui, 1985; Str Qt no.2, vn, va, vc, gui, 1986; Str Qt no.3, vn, va, vc, gui, 1988; Dubai de nigu [The Soliloquy of Pandora], 2 vn, 2 va, 2 vc, db, 1990; Configuration Transformation Shape, (qin, cptr)/(xiao, erhu, qin, pipa, zheng); Shapes, cl, 1996; Si, wind qnt, tpt, pf, str trio, db, 1997; Str Qt no.4, vn, va, vc, gui, 1998 |
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MSS in C.C. Liu Collection, Institute of Chinese Studies, U. of Heidelberg |
Wei'erdi de geju yu guojia yishi [Nationalism in Verdi's operas], Lishi yuekan, xiii/2 (1989)
Genji monogatari de yinyue shenghuo: shitan yazhou yinyue wenhua jiaoliu [Musical life in the Tale of Genji: a study in Asian musical exchange], Yishu pinglun (1990), no.10
Anuo Xunbaike xunzhao shi'eryin zuopin hesheng ji qushi de tongyixing [Schoenberg in search of harmonic and formal unity], Yishu pinglun (1993), no.10; (1995), no.10
Ershi shiji yinyue xin shengsi [New ideas on 20th-century music] Biaoyan yishu zazhi (1994), no.9
B. Mittler: Mirrors and Double Mirrors: the Politics of Identity in New Music from Hong Kong and Taiwan, CHIME, no.9 (1996), 444, esp. 24
B. Mittler: Dangerous Tunes: the Politics of Chinese Music in Hong Kong, Taiwan and the People's Republic of China since 1949 (Wiesbaden, 1997), 2218
BARBARA MITTLER