Edward Green

Composer, Music Educator


Manhattan School of Music

About World Music

Ethnomusicology—Or, Meeting the New

What 21st-century music educators can learn from the earliest ethnomusicologists about the appreciation of music. (Published in Journal of Historical Research in Music Education.)

Zhou Long and Budddhism in Music

"From 1987 to 1994, Zhou Long composed in a manner he declared 'Buddhist'. A work that exemplifies this period—and its aesthetic preoccupations—is the quintet Dhyana. This article investigates that work in close technical detail, exploring how key concepts inherent in the term 'dhyana' are reflected in the music. Most centrally, 'dhyana' implies the oneness of concentration of thought and expansion of consciousness—and con- centration and expansion prove to be primary opposites in Zhou Long's compositional technique." (Published in Contemporary Music Review.)

Review of Gamelan Gong Kebyar: the Art of Twentieth-Century Balinese Music, by Michael Tenzer.

"In this innovative, carefully reasoned book, Michael Tenzer provides a comprehensive, technical account of modern Balinese music. Surprisingly, he approaches the task in a boldly syncretic manner, making coordinated use of indigenous Balinese musical concepts as well as Western analytic tools....The central fact about this book is that it is thrilling, ear-opening, mind-enhancing: a magisterial work."

The Cambodian Aesthetics of a “Spiral Composer”—an Introduction to the Music of Chinary Ung

"Born in Cambodia in 1942, Ung came to the Unites States in 1964 to study clarinet at Manhattan School of Music. Ten years later, he received a doctorate in musical composition from Columbia University, where his principal teacher was Chou Wen-chung. In this initial stage of his career, Ung’s music was largely Western and abstractly modernist in orientation. But then a more unique style arose—a more personal and a more profound style. It emerged out of an intense engagement by Ung with the reality of the Cambodian Holocaust. As Ung has said, his purpose changed; it was now to 'employ music as an agent of spiritual healing.'...”

Rousseau, Burney, Hawkins—A Study in the Ethics of Musicology

"The importance of ethics to the writing of music history has not been examined enough. What is an author’s fundamental purpose? Is it the desire to respect humanity, or the hope of maintaining a notion of one’s own superiority? Is there a hope to see where people different from oneself have thoughts and emotions as deep and as valuable as one’s own, or a desire to hold other people up to ridicule?"

Aesthetic Realism: A New Foundation for Interdisciplinary Musicology (with Arnold Perey)

Published in: R. Parncutt, A. Kessler & F. Zimmer (Eds.) Proceedings of the Conference on Interdisciplinary Musicology (CIM04) Graz/Austria, 15-18 April, 2004

Music From China and the Universal Criterion for Beauty

"I learned from Eli Siegel, the great American poet and critic who founded the philosophy of Aesthetic Realism in 1941, that there is a criterion for beauty completely free of cultural bias, true for every culture, for every century."

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