Juliane Jones
Why did you decide to pursue a graduate degree?
In college, I developed interests in Chinese studies and musicology, which I then explored in a thesis on Musical Chinoiserie. After college, I moved to Shanghai where I took fundamental courses on Guqin, ancient Chinese music history, and Chinese opera studies. I decided to pursue a research degree at UBC in order to develop, teach, and publish musical research.
Why did you decide to study at UBC?
I chose to study at UBC because of the strengths of the East Asian Studies and Ethnomusicology programs. Moreover, I decided to pursue graduate studies in the UBC ethnomusicology program because of its interdisciplinary approach to music studies.
What was the best surprise about UBC or life in Vancouver?
During my first year as a graduate student at UBC, I've enjoyed participating in the graduate student community at St. John's College, a residential college on campus. The college organizes hikes, classes to learn to sail, and many other activities.
What advice do you have for new graduate students?
I would encourage new graduate students to attend the many performances of the talented music ensembles at UBC.
Learn more about Juliane's research
How do cultural practices and ways of knowing influence how one composes music? On today's international stage, how does composing music establish new modes of knowledge and being? My research uses ethnography as a lens to understand the aesthetics of contemporary Kun opera composition. Kun opera is a Chinese operatic style that features vocal art in its standard tone-tunes, accompanied by the transverse flute and small instrumental ensemble. Kun opera developed in the town of Kunshan near Suzhou in the Yuan dynasty and was most widespread in the “Qianjia” era (1736-1820). Through interviews with composers in and around Shanghai, composition lessons, and documentation of performances, my research analyzes the historical roots and transmission of Kun opera composition. My research analyzes Kun compositional techniques beginning with explanations of mode, the relationship between notation and composition, standard tone-tune analysis, and finally the notion of a complex composer.
