Hainu Tan

Main website: www.tanhainu.com

» Biography Chinese Life Early Life (pre-1998) Tan Hainu was born in Sichuan Province, growing up in Guangdong Province, China. Her father is a versatile, professional musician and university music professor, and her mother is a professional dancer and university dance teacher. To her parent’s joy, Tan Hainu could already recite many ancient Chinese poems by the time she was 2 years old. At the age of 4, she began to receive strict musical training from her parents, and a short time later, began appearing on stage playing the piano and violin. At the age of 8, she succeeded in creating her first piano work - a piano capriccio. Moreover, at this young age, Tan Hainu had mastered many of the traditional Chinese instruments such as: Erhu, Pipa, Guzheng. In 1994, as a junior in the middle and high school attached to Xing Hai Conservatory of Music, Tan Hainu ranked first place in the entrance examinations becoming approved for higher music education two years ahead of schedule. Tan Hainu ultimately earned her six-year equivalent music composition high school diploma under the highly regarded composers, Yan Dong and Cao Guangping, this, the beginning of her composing career. Beijing Life (1998 - 2004) In 1998, Tan Hainu was accepted into the Central Conservatory of Music in Beijing where she continued her studies in music composition under one of China's most famous composers, Professor Guo Wenjing. The Conservatory performed her first string quartet, a sextet of woodwinds, and several large ensemble pieces. In July of 2003, she obtained her Bachelor of Arts degree earning the highest mark in music composition for her first orchestra piece, Echoes and Sparks of the Sacred Space. After graduating, she continued to study music composition as an assistant composer and manuscript proofreader under Guo Wenjing, who felt she was a very talented and promising young composer. Ultimately, though, Tan Hainu finally realized her long-time yearning to continue learning in the United States, bringing along 5000 years of Chinese music culture to share with the world. United States Life (2004 - present) On June 12, 2004, Tan Hainu immigrated to the California United States with her family. In the August of 2004, she began her Master's Degree in Music Composition at the University of Missouri-Kansas City. In December 2004, Tan Hainu’s first piece was performed in the United States receiving wide acclaim. At the July 2005 California Summer Music Festival she received the highest scholarship from The American Society of Composers, Authors and Publichers for her Opera of String Quartet No. 3 Sanskrit. Tan Hainu’s fascinating Music of India music and paper presentation in November 2005 at the University of Missouri-Kansas City included Hindi musician monks performing on traditional Indian instruments. Tan Hainu has studied with Doctor Samuel Adler at the Bowdoin International Music Festival in July 2006 where she also received Bowdoin's high scholarship, her being the only Asian composer selected that year. In January 2007, Tan Hainu entered into the last year of her master's program studying under Doctor John M. Kennedy at California State University, Los Angeles. At the June 2007 Bowdoin International Music Festival, Tan Hainu studied under Doctor Roberto Sierra and Professor Simone Fontanelli. Tan Hainu auditions at The Juilliard School and Manhattan School of Music for her Doctoral degree in March 2008. In addition to her music classes, Tan Hainu also studies folklore, magical phenomena, painting, and writing poetry, and has produced several music videos. She loves to research music from different folk cultures and religions. Tan Hainu is also a devoted member of American Composers Forum and the Society of Composers, Inc.. She intends to become a music composition professor at a professional American university with the intention of benefiting the music industry through her socio-cultural experiences. As such, she also looks forward to traveling to lecture at universities worldwide as a globally enriched representative of the United States. Tan Hainu is especially hopeful to return to lecture in China where students are screaming for Western music composition technique. » Character Aesthetic philosophy If someday Tan Hainu lost everything in her world, inspiration and technique of music composition will remain rich in her mind. She believes genuinely innovative music composers mean to create their own style musical language and strive toward the conception of a new technique of music system and a new aesthetic philosophy; it is in the striving that one's pride and inspiration takes form. Her focus as a composer includes incorporating the natural tones and expressive nuances of Eastern languages into and through Western contemporary classical music and instrumentation, ultimately globalizing civilizations through the universal language that is music. Eastern philosophy believes everything (wind, flower, snow and moon) has life, whether animate or inanimate. Thus, a composer of Eastern aesthetic philosophy has the imaginative ability to reflect life functions within the arts. Flowing water expresses her feelings about her own life which Tan Hainu relate to the tender and harmonious manner of water in motion. This reflects her philosophy of art which, like music, demands purity, free-flowing thought, for never-ending inspiration. Tan Hainu sees beauty in flowing water, not only with her eyes, but in her heart and mind, and in her music. Beauty is the result of the spirit. Musical influence Arabic Music Asian Regional Music Buddhist Music Chinese Ancient Music Chinese Contemporary Music Cantonese Opera Chinese Folk Music Chinese Instrumental Music Chinese Opera Music Music of China Music of India Music of the Middle East Peking Opera Taoist Music Western Classical Music World Music » Innovation Tan Hainu received the highest scholarship at the 2005 California Summer Music Festival where her dramatic blending of, Opera of String Quartet Sanskrit, introduced singing string players, assisted by Tan Hainu's soprano folk vocals in both Hindi and Chinese. This ultimately became the festival's best received performance marking the appearance of Tan Hainu's special style reflecting the conflict and fusion of Eastern and contemporary classical Western musical and cultural backgrounds. Her trio piece, Lunar Rainbow for Flute, Cello and Piano, won the 2005 UMKC composition competition. In the second movement of her String Quartet Pyramid, her composition style is well demonstrated using the first violin cadenza to imitate the natural tone of Chinese Mandarin language. Also, in her Woodwind Sextet, Illusion third movement, there is a new design for Western composition structure with its dreamland section derived from Eastern composition tradition and philosophy, which allows a more natural, freer form. The form of her Four-Voice Fugue for Clarinet, Marimba, Vibraphone, Xylophone, Glockenspiel, Piano and Violin, incorporates an Eastern theme where Western Fugue form brings counterpoint to Eastern tradition. The B section of her Orchestra piece No. 3 Echoing Colorful Clouds and Mystic Footprints of India, brings in the traditional barbaric dance rhythm of India thickening the Indian beat through the orchestration technique. Tan Hainu's Two-Bird Fugue for Solo Piano is based on Bach’s philosophy, and also incorporates Chinese “just intonation” and Arabian 24 equal temperaments. Two-Bird Fugue introducing the vertical minor second chord into the horizontal 12 equal traditional temperaments, and in doing so, it destroys the 12 equal temperaments. Tan Hainu’s Cello Solo piece, Flowing Water, reflects Eastern aesthetic philosophy of art which demands purity, free-flowing thought, for never-ending inspiration. » Life Values Interview with contemporary classical music composer Tan Hainu at California State University, Los Angeles with Los Angeles writer and interviewer Kerry West on May 11, 2008. Interest has been sparked by Tan’s recent appearance in International Talent Magazine, China’s prestigious publication concerning exceptional world involvement in foreign affairs. » Tributes Tan Hainu's composition teachers in China include: Guo Wenjing, Yan Dong, Fan Naixin, Cao Guangping, Chen Shuliu and Tan Lue. Tan Hainu's composition teachers in the United States include: Samuel Adler, John M. Kennedy, Chen Yi, Roberto Sierra, Simone Fontanelli, David Tcimpidis, James Mobberley and Paul Rudy. Music Festivals Attended 2008 Freie Universität Berlin International Summer (under Professor Samuel Adler). 2007 Bowdoin International Music Festival (under Professors Roberto Sierra and Simone Fontanelli). 2006 Bowdoin International Music Festival (under Professor Samuel Adler). 2005 California Summer Music Festival (under Professor David Tcimpidis). Courses Qualified to Teach: Western Music Music Composition ¨ Harmony ¨ Counterpoint ¨ Orchestration ¨ Style Analysis ¨ Music Theory ¨ Perfect Pitch Ear Training Lessons ¨ Introduction to Western Contemporary Music Composers ¨ Piano Eastern Music Ancient Asian Music History ¨ Introduction to Traditional Instruments of Asia ¨ Introduction to World Traditional Folk Music ¨ Introduction to Chinese Opera ¨ Analytical Cantonese and Peking Opera with Vocal Training ¨ Music of India: Rhythms and Modes with Vocal Training ¨ Traditional Asian Musical Temperament ¨ Chinese Instruments Performance ¨ Introduction to Eastern Contemporary Music Composers

Memberships: • American Composers Forum • American Music Center • Society of Composers, Inc. • The National Association of Composers/USA --- If someday I lost everything in my world, inspiration and technique of music composition will remain rich in my mind. I believe genuinely innovative music composers mean to create their own style musical language and strive toward the conception of a new technique of music system; it is in the striving that one’s pride and inspiration takes form. My focus as a composer includes incorporating the natural tones and expressive nuances of Eastern languages into and through Western contemporary classical music and instrumentation, ultimately globalizing civilizations through the universal language that is music.--- Main Works include 2008 Flowing Water for solo cello - adapted from a melody of Chinese traditional Guqin. (Performed at California State University, Los Angeles on February 5, 2008). 2008 Two-Bird Fugue for solo piano - dedicated to J.S. Bach. (Performed at California State University, Los Angeles on February 5, 2008). 2007 String quartet No. 4 Pyramid I From the Young, II The Labor of Living, III The Peak. 2007 Nine Little Pieces for Solo Clarinet. (Performed at California State University, Los Angeles on October 30, 2007). 2007 Sextet for Woodwind Instruments I Flying Sounds, II Echo of Pastoral, III Rampant Flock. Composed for the Flute, Oboe, Clarinet, French Horn, Bassoon, Bass, Clarinet, and Marimba. 2007 Two Pieces for Solo Cello. (Performed at Bowdoin International Music Festival in July 2007). 2007 Four-Voice Fugue for Clarinet, Marimba, Vibraphone, Xylophone, Glockenspiel, Piano and Violin. (Performed at California State University, Los Angeles on May 17, 2007). 2006 Fantasia for Solo Cello and Voice. (Performed at California State University, Los Angeles on February 2, 2007). 2006 Lunar Rainbow for flute, cello and piano. (Performed at Bowdoin International Music Festival in July 2006). 2006 Orchestra piece No. 3 Echoing Colorful Clouds and Mystic Footprints of India. 2006 Sound of Camel for erhu, violin and cello. 2006 Fantasia for Large Ensemble. Composed for Flute, Clarinet, Bassoon, Percussion, Harp, Violin, Viola, Cello, and Double Bass. (Performed in China). 2005 Meteoric for flute, cello and piano. (Public performance planned at the University of Missouri-Kansas City on February 8, 2006 Musica Nova concert and this piece has also won the 2005 UMKC composition competition). 2005 Orchestra piece No.2. 2005 Opera of String Quartet No. 3 Sanskrit. (Performed at Pebble Beach, California Summer Music Festival on July 30, 2005). 2004 Violin concerto No.1. 2004 String quartet No. 2 The Way Beset with Brambles, but You Have to Go. Why? Nobody Knows. There is a Voice Ahead Calling You: “Go, go, go!” (Performed at the University of Missouri-Kansas City in December 2004). 2003 Orchestra piece No. 1 Echoes and Sparks of the Sacred Space - Dedicated to those who are courageously. (Piece sent to participate for 2003 Toru Takemitsu Composition Award). 2002 Sextet for woodwind instruments Sound of Nature. (Performed at Central Conservatory of Music, Beijing, China in June 2002. Piece sent to participate for 12 th International Competition for Female Composers). 2002 Remembrance of Things Past - Dedicated to our charming dead memories. Composed for Flute, Clarinet, Bassoon, Percussion, Harp, Violin, Viola, Cello, and Double Bass. (Performed at Central Conservatory of Music, Beijing, China in December 2002). 2001 String quartet No. 1. (Performed at Central Conservatory of Music, Beijing, China in October 2001). 1999 The Embarrassment World for Soprano, Clarinet, Violin, Cello, Marimba, Timpani, and Bamboo Flute. Consisting of three movements: Embarrassment, Struggle and Glimmers of Hope. (Performed at Central Conservatory of Music, Beijing, China in June 1999). 1997 The Valley at Night for flute and piano. (Performed at Xinhai conservatory of Music, Guangzhou, China in 1998). 1997 An artistic song The Fragrance of Cassia Twig. (Performed at Xinhai conservatory of Music, Guangzhou, China in 1998). 1996 Three little melodies for solo piano: Ghost Dance, Lone Shadow and The Strange Steps. (Performed at Xinhai conservatory of Music, Guangzhou, China in 1998). Commissions 2001 A Piece for My Motherland for violin and piano - adapted from a Japanese folk melody. Awards 2008 The German Academic Exchange Service (DAAD) scholarship for Freie Universität Berlin, Germany. 2008 Friend of Music Scholarship from California State University, Los Angeles. 2007 Friend of Music Scholarship (top fund) from California State University, Los Angeles. 2006 Bowdoin International Music Festival scholarship. 2006 University of Missouri-Kansas City, Conservatory of Music and Dance, Composition, Theory & Musicology Department scholarship. 2006 Chancellor's Non-Resident Award from the University of Missouri-Kansas City. 2005 University of Missouri-Kansas City, Conservatory of Music Composition Department Composition Competition. 2005 The American Society of Composers, Authors and Publichers scholarship for the California Summer Music festival. 2005 The Women's Council Graduate Assistance Fund Scholarship from the University of Missouri-Kansas City. 2005 University of Missouri-Kansas City, Conservatory of Music and Dance, Composition, Theory & Musicology Department scholarship. 2005 Chancellor's Non-Resident Award from the University of Missouri-Kansas City. 2004 University of Missouri-Kansas City, Conservatory of Music and Dance, Composition, Theory & Musicology Department Scholarship. 2004 Chancellor's Non-Resident Award from the University of Missouri Kansas City. 2003 Outstanding Composer Scholarship from Central Conservatory of Music, Beijing, China. 2002 National Scholarship (highest mention) from Central Conservatory of Music, Beijing, China. 2002 Viacom Sumner Redstone Scholarship from Central Conservatory of Music, Beijing, China. 2001 National Scholarship from Central Conservatory of Music, Beijing, China. 2001 Diligence Student Scholarship from Central Conservatory of Music, Beijing, China. Music Festivals Attended 2008 Freie Universität Berlin International Summer (under Professor Samuel Adler). 2007 Bowdoin International Music Festival (under Professors Roberto Sierra and Simone Fontanelli). 2006 Bowdoin International Music Festival (under Professor Samuel Adler). 2005 California Summer Music Festival (under Professor David Tcimpidis). Music and Paper Presentations In progress Annotated Bibliography of Traditional Folk Music of India. In progress Annotated Bibliography of Chinese Peking Opera. March 2007 The Conflict and Fusion of Japanese and Arabian Music Culture at California State University, Los Angeles. November 2005 Music of India with Hindi musician monks performing on traditional Indian instruments at the University of Missouri-Kansas City. January 2005 The Conflict and Fusion of Oriental national Music Culture at the University of Missouri-Kansas City. December 2004 Music of Middle East at the University of Missouri-Kansas City. Purpose in Life K. W.: Tan Hainu. Let me ask you: What precisely attracted you to become a music composer? T. H.: You know, a friend asked me one day, “Why do you compose music?” A stunning question as my friend could not see there might be a beneficial function of music such as there is in its answers to some of the largest questions that have forever plagued the human condition. What my friend was really asking was, “How useful is music to us?” K.W.: Could you perhaps elaborate on this a little further? How does this work to achieve such a ……………. T. H.: Of first importance, there is a clear and hugely adaptive cultural contribution underlying every aspect of every culture that has ever existed. This is, of course, an aesthetic contribution, yet, beyond that, there is a universally acknowledged level of communication that music calls into being that functions quite automatically. In this consensus, the contribution itself also becomes automatic effective. K. W.: Could you give us an example to help us clarify in what kind of conditions we might find esthetical music functioning? T. H.: Put to the test, music functions reliably at events like music festivals or the Olympics as a social glue binding friendships between countries. If more countries held more international music festivals than those that now exist, then productive international relationships would increase. At the same time, for the international community, music festivals increase the peaceful spaces in the world, thus, decreasing the space left for things like wars. K.W.: So, in this sense you are saying music is a powerful communicative mechanism. How, exactly, does this effect people? T. H.: When people from different countries gather with purpose in a manner they can mutually comprehend – and often enough we have heard that music fits this category – they can learn from each other and begin to understand their cultural differences, absorbing the natural characteristics of the “other’s” culture. K. W.: Simple enough I’d say. And, what is your part when pursuing this cultural exchange? T. H.: Well! At the moment, I am getting ready to leave for Germany to attend lectures in music composition by a world class master which includes a final concert to exhibit the cultural values inherent in attendees’ music. I am bringing US based Western composition technique and also 5000 years of Chinese music history to share with the world. Yet, I will also be learning from the German knowledge base and will be bringing the attached cultural enrichment back. And it is not attached just with German aesthetics as this is an international event. I sometimes like to pretend I am a sort of cultural emissary specializing in music communication through a policy of cultural transnationalism. This is my way of pulling ever-tighter together the world community. Economics K.W.: Switching to another subject – and forgive my using a term others sometimes try to berate you with – but, I know many are interested in the impact economics have on cultural production. Could you give us your take on the impact for music composers? T. H.: Around the world all music cultures are highly influenced by economics. This is unavoidable of course. Precisely, though, the lower a country’s economic power, the more natural it is for oral compositions, for folk music, that is. Written tradition is rarely an option under third world conditions. Oral tradition occurs as poorer countries really only have their own feelings to work into their music. They are purer in the sense of simplicity and uniqueness, and they wind up producing their own musical languages representing their specific real life situations. Even further, the numerous small towns we see in poorer lands have more special characteristics attached to their particular music aesthetical arrangements. The benefit rich countries enjoy is the larger financial cache that allows the continued refinement of existing music and, thus, the music becomes more uniform through the introduction of controlling standards. Rich countries even systemize music educational, creating academic disciplines that work to set the standards into stone, also dictating to the populace exactly what is proper. Racism K. W.: Our discussion, your philosophy, seems inevitably hard bent towards the larger, global perspective. This should signal an examination of the accompanying racial issues that we do have the tendency to avoid. T. H.: When I look at faces I can describe the variety of music that would emanate from them, that is, if this were possible. All faces are different having characteristics that radiate specific effects relatable to music. Any of these facial features or characteristics can describe the feeling gathered from an instrument or a theoretical descriptive musical component. When I see eyes that are deeply inset and appear dependent upon the bone structure surrounding them, I see them flare with the sound of brass instruments such as trumpets. Very dark eyebrows, on another hand, radiate hard timpani strikes as opposed to lighter blond brows that tend to be more in harmony with facial skin. Racially, for me, everyone is the same as they can be musically described. At the same time, all people are unique, they are different, in that their color or their sound can be defined as if each were one of a kind, each a new musical piece. Religion K. W.: Tan. I understand you have a somewhat keen interest in world religions which I assume are somehow related to the production of your music. Would you mind elaborating a bit about this relationship? T. H.: Certainly, but saying “keen” is perhaps an overstatement. But, yes, there is that relationship that inexorably binds music and religion. Different religions, of course, are associated with different music and we can recognize the religion by hearing its music. The function is extremely strong. Harmony & pitch & scale are the characteristic differences at play. I feel religions work to influence, and to occasionally inspire even my own compositions, and I can not help but to be interested in all religions. This, by the way, has led me to wonder how it would work to interconnect the variety of religious philosophies by recomposing and combining their individual music styles. I feel that, then, a musical combination could be produced to spotlight, or rather to incite awareness, of the common connections. What I am driving at is that manipulating the music in a way that promotes greater tolerance, should also reduce unnecessary religious conflict worldwide. Perseverance K.W.: The big question I have been waiting to ask you is: “How do you do it? What kind of person is the music composer? Tan, what does it take to drive you?” T.H.: Well, looking at all I have already said, I can tell you none of it can ever be realized without purposeful and ceaseless, bold-hearted volition. Another word for this is perseverance which clearly incorporates three maxims: you must maintain diligence, you must entirely dedicate your heart, and you must employ uninterruptible concentration on the task at hand. For example, any time we start a new piece, we should always consider ourselves as a beginner, for then, we will already expect to encounter difficulty. But, this must not be viewed negatively as a problem; rather it should be accepted as a necessary step and part of the process. K.W.: Again, I would like to bring up the question of financial motivation and how it might affect perseverance. T. H: To tell the truth, once we choose to become a composer, our minds are not going to think of what we will gain. It’s really about how adamantly focused we are about how we want to spend our lives. Music composition is such an exceedingly complicated project, that it is quite difficult to consider creating a work with intentions of profit. Such a connection ultimately should not exist, at least not directly, as composing itself is already so involved that it does not even leave room to completely deal with all it already entails. K.W.: Tan. Please, if you would, give us a word on risk. How would you describe some of the problems that music composers might face? T.H.: This is actually too large a request to fulfill at this time, but, since we were talking about perseverance I shall at least relate back to this. The number of steps as well as the number of permeations of these steps in the process for composing music is incredible; yet, a successful composer does have to conquer them all. This is a big reason why without perseverance the chances to falter are too great and can only lead to an artist’s fall and loss of direction. This is about very strict dedication. The benefit, though, falls into the spirit of the process. Bottom line is we know why we exist here. As composers, we know precisely who we are. Flying to the Moon K.W.: Tan. It is time to close our interview, but I am compelled to finally ask you one last thing, and that would be to offer a word, any word, about what the larger, higher level meaning of all we have discussed means. I am practically asking you in the sense of, if you will, the meaning of life. Oh! I see you are grinning. T. H.: Yes. Such a dilemma this question so often creates. But I do have a quick answer for you. Supposing, for instance, we used music to communicate with beings on other planets. I am referring to the idea of presenting ourselves, the human species, to the universe. This is actually a quest for the yet unknown, for exploration. I believe the system and style of music composition technique can still be explored and the open spaces for exploration are unlimited. The more we explore the more values we find within ourselves.