Born in 1932, Elaine Barkin completed her doctoral degree in composition and theory at Brandeis University (1971), where she studied with Irving Fine, Harold Shapero, Arthur Berger, and Seymour Shifrin. In 1956-57, she further established herself in the contemporary music world by working at the Berlin Hochschule für Musik on a Fulbright Fellowship. Her main distinction as a composition and theory professor comes from her long career at the University of California in Los Angeles (1974-97), where she had the opportunity to collaborate with well- established intercultural composers such as Roy Travis and the school’s world- famous ethnomusicology faculty. In the 1980s, Barkin’s progressive compositional style was revitalized through her new interest in Indonesian gamelan music. In addition to participating in UCLA’s world-renowned Javanese and Balinese gamelan ensembles, she used a University of California Pacific Rim Research Grant as the opportunity to make five trips to Indonesia for the purpose of studying new music for gamelan. The ultimate products of her new interest include Indonesian-influenced compositions for Western instruments, music combining Indonesian with Western instruments, and works written exclusively for mixed gamelan instruments. Some of Barkin’s most impressive works in this realm are Lagu Kapal Kuning (originally for four- tone gamelan anklung and revised for five-tone gamelan anklung), Touching All Bases/Di Mana Mana for Balinese gamelan, double bass, and electronic percussion, and Legong Dreams for solo oboe, which freely utilizes figurations taken from Balinese legong dance melodies. Particular emphasis is placed on Gamélange for harp and mixed Balinese and Javanese gamelan (1993), an impressive composition that effectively combines the slendro/pelog scales and various Balinese/Javanese instruments (including kantilan, calung, ceng-ceng, bonang, saron) with fascinating writing for the solo harp.
아시아에서 벌어지는 모든 음악활동을 연구합니다.
특히 아시아에서 일어나고 있는 유럽 음악 편중의 음악상황을 아시아음악 중심으로 전환하기 위한 연구와 운동을 합니다. 아시아음악은 아시아인이 가장 잘 연구할 수 있다는 점에서 아시아음악학 연구는 아시아 학자에 의하여 주도되어야 한다고 생각하는 사람들의 모임입니다.
이러한 목적 달성을 위하여 아시아음악의 역사 이론 연주를 연구합니다. 이 연구 성과는 Asian Musicology라는 영문 저널을 발행하고 있습니다.