Mingyue Li | University of Oxford (original) (raw)
Papers by Mingyue Li
Programmbuch Ernst von Siemens Musikpreis 2024, 2024
Article originally in English ("Persistent Volatility: Essay on Zhu Yiqing"), commissioned by the... more Article originally in English ("Persistent Volatility: Essay on Zhu Yiqing"), commissioned by the Ernst von Siemens Music Foundation for the Ernst von Siemens Composer Prize 2024
German translation courtesy of the Ernst von Siemens Musikstiftung
Ernst von Siemens Musikstiftung, 2023
Article commissioned by the Ernst von Siemens Music Foundation for the Ernst von Siemens Composer... more Article commissioned by the Ernst von Siemens Music Foundation for the Ernst von Siemens Composer Prize 2024
German version available in the programme of the Prize Ceremony Concert for the 2024 Ernst von Siemens Music Prize, the Composer and Ensemble Prizes, held on May 18, 2024, in the Herkulessaal, Munich, Germany, pp. 21–27
Music Theory Online: A Journal of the Society for Music Theory, 2023
Does it make sense to refer to musical sounds as “animated beings”? What does it mean to treat mu... more Does it make sense to refer to musical sounds as “animated beings”? What does it mean to treat music as an essential part of our sonic reality? How do Sciarrino’s music and his general aesthetic, both of which he describes as organic or ecological, respond to theories of organicism, ecological approaches to musical perception, and ties between the human and non-human worlds? In this article, I attempt to weave together a framework that facilitates fruitful answers to these questions. The starting points for this theorization of Sciarrino’s organicism are Holly Watkins’s (2017, 2018) biotic aesthetics of music and Eric Clarke’s (2005) ecological approach to the perception of musical meaning, which emphasize the role of the listener and question the stance that separates meaning from form, culture from nature, and the human from the non-human. Through analyses of examples from works including Lohengrin, Azione invisibile (1982–84), Il cerchio tagliato dei suoni (1997), and Studi per l’intonazione del mare (2000), I argue that Sciarrino’s music and thinking venture into a holistic reinvention of organicism. A key aspect of this organicism is its formal affinity with behaviors characteristic of systems of chaos, including self-similarity, circularity, and turbulence. In addition, I illustrate how the wide-ranging analogies that Sciarrino’s music draws to the world of animate and inanimate beings involve both formal issues and the bodily, performative, and societal dimensions of music-making.
《音樂愛好者》(上海音樂出版社)（Music Lover by Shanghai Music Publishing House）, 2023
「西方音樂作品中的中國」系列文論 | Article from the "Chinese Culture in Western Music" Series
Thesis for MPhil in Music Studies
Programmbuch Ernst von Siemens Musikpreis 2024, 2024
Article originally in English ("Persistent Volatility: Essay on Zhu Yiqing"), commissioned by the... more Article originally in English ("Persistent Volatility: Essay on Zhu Yiqing"), commissioned by the Ernst von Siemens Music Foundation for the Ernst von Siemens Composer Prize 2024
German translation courtesy of the Ernst von Siemens Musikstiftung
Ernst von Siemens Musikstiftung, 2023
Article commissioned by the Ernst von Siemens Music Foundation for the Ernst von Siemens Composer... more Article commissioned by the Ernst von Siemens Music Foundation for the Ernst von Siemens Composer Prize 2024
German version available in the programme of the Prize Ceremony Concert for the 2024 Ernst von Siemens Music Prize, the Composer and Ensemble Prizes, held on May 18, 2024, in the Herkulessaal, Munich, Germany, pp. 21–27
Music Theory Online: A Journal of the Society for Music Theory, 2023
Does it make sense to refer to musical sounds as “animated beings”? What does it mean to treat mu... more Does it make sense to refer to musical sounds as “animated beings”? What does it mean to treat music as an essential part of our sonic reality? How do Sciarrino’s music and his general aesthetic, both of which he describes as organic or ecological, respond to theories of organicism, ecological approaches to musical perception, and ties between the human and non-human worlds? In this article, I attempt to weave together a framework that facilitates fruitful answers to these questions. The starting points for this theorization of Sciarrino’s organicism are Holly Watkins’s (2017, 2018) biotic aesthetics of music and Eric Clarke’s (2005) ecological approach to the perception of musical meaning, which emphasize the role of the listener and question the stance that separates meaning from form, culture from nature, and the human from the non-human. Through analyses of examples from works including Lohengrin, Azione invisibile (1982–84), Il cerchio tagliato dei suoni (1997), and Studi per l’intonazione del mare (2000), I argue that Sciarrino’s music and thinking venture into a holistic reinvention of organicism. A key aspect of this organicism is its formal affinity with behaviors characteristic of systems of chaos, including self-similarity, circularity, and turbulence. In addition, I illustrate how the wide-ranging analogies that Sciarrino’s music draws to the world of animate and inanimate beings involve both formal issues and the bodily, performative, and societal dimensions of music-making.
《音樂愛好者》(上海音樂出版社)（Music Lover by Shanghai Music Publishing House）, 2023
「西方音樂作品中的中國」系列文論 | Article from the "Chinese Culture in Western Music" Series
Thesis for MPhil in Music Studies