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         Dun Tan:     more books (31)
  1. Dun huang xue mu lu chu tan by Huawen Bai, 1989
  2. Hun dun chu kai: Zi zu zhi li lun di zhe xue tan suo (Mandarin Chinese Edition) by Xiaofeng Shen, 1993

41. Dun Tan - Ghost Opera (1997)
Genre String Quartet Label Nonesuch Cat. Number 79445 Orchestra Kronos Quartet Index 2343 Collection Status In Collection
http://puckette.com/details/62129.html
First Previous Up Next ... Last Dun Tan - Ghost Opera Genre String Quartet Label Nonesuch Cat. Number Orchestra Kronos Quartet Index Collection Status In Collection Track List Act I: Bach, Monks, and Shakespeare Meet in Water Play Act II: Earth Dance Play Act III: Dialogue with "Little Cabbage" Play Act IV: Metal and Stone Play Act V: Song of Paper Play Musicians Pipa Wu Man Personal Details Purchase Date Price Location upstairs Other Files Ghost Opera Details Spars DDD Sound Stereo

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43. The Ultimate Dun Tan Knowledge Bank | Passionato
Learn more about Dun Tan before listening to and downloading CDquality recordings. Press and user reviews for albums and works
http://www.passionato.com/conductor/dun-tan-7263/
"Classical music downloads done right" - CNET Please select ... Album Title Work Title Composer Performer Ensemble Conductor Label Barcode Catalogue Number My Passionato Help Login Home ... Instruments
Tan Dun
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Tan Dun
Tan Dun is a leading Chinese-born composer and one of the most prominent in the genre of "world classical" music. He was raised by his grandmother in central Hunan, a region with distinct linguistic and folk identity, including a shamanistic culture. Tan Dun was conscripted to "re-education" (i.e., forced labor) to the exhausting toil of rice planting as part of Mao's disastrous "Cultural Revolution" policy. To keep his mind occupied, he listened to and wrote down local folk music.
Tan made arrangements of the tunes using whatever folk instruments and other noisemakers were available (including things such as woks and agricultural implements) creating often fantastic effects. Tan played the erhu, the one-string traditional Chinese fiddle. By the time he was 17, he was the musical leader of the village, playing celebrations, weddings, and funerals. Then a riverboat carrying a Peking-style Chinese Opera troupe capsized, killing many musicians. Tan was immediately sent to join the company as a replacement.
When the Central Conservatory reopened in 1978, Tan won one of thirty slots for composition students over thousands of applicants. He was taught by Li Yinghai and Zhao Xingdao, and visiting lecturers Alexander George, Hans Werner Henze, Chou Wen-Chung, Isang Yun, George Crumb, and Toru Takemitsu. Tan became a leader in a developing "New Wave" of art when he wrote, at age 22, a symphony (Li Sao), based on a fourth century B.C.E. Hunan lament. The work, for western symphony orchestra, won a special "incentive" prize at the first National Symphonic Competition.

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