Composing for the intercultural orchestra [other]

This commentary examines a collection of my orchestral works written for combinations of instruments from a variety of cultural origins and identities. The artistic aim of this endeavour is to create meaningful transcultural and cross-traditional work that reflects the fluidity of cultural-national identities stemming from 21st century realities of globalization, human migration, immigration, travel, and electronic communication. A new perspective will be explored by postulating a transnational musical identity that evolves without the loss of each component member’s cultural origins (including those of the West). The intention of this commentary is to reflect upon the creative process of composing a series of works that engage with large-scale intercultural performing forces. Chapter 1 provides a contextual rationale for this research by tracing the emergence of the intercultural orchestra from the turn of the current century, first in Vancouver, Canada, then around the world. Chapter 2 outlines my current compositional approach by surveying the structural choices in as the first spring blossoms awaken through the snow for intercultural ensemble. Chapter 3 is a comparative analysis of two works: Il Viaggio di Dante (for any Chinese instrument and Western chamber orchestra) and Fly Away Phoenix, Into the Sky (for any Chinese instrument and intercultural strings). Chapter 4 explores the emergence of the Chinese orchestra as an intercultural ensemble by studying the compositional choices in Hummingbird in Winter. Chapter 5 explores the application of the compositional strategies developed in the first three chapters by examining two concerti for intercultural instruments and symphony orchestra: Birds Calling… from the Canada in You (for sheng/suona, shō, and orchestra), and Bloom (for koto/bass koto/voice and orchestra). Chapter 6 concludes by contextualising the above works and projecting upon the future of the intercultural orchestra.