Considering the work by Unsuk Chin (1961-Present) Xi (1998) and in order to address the questions presented, I feel the texture from b. 228 is more spaced and less thick than the one in b. 180-200 therefore providing contrast to the composition. From b. 228 The sounds are mechanical and electronic, matching the sounds of computing and robotics. In b. 389 the composer appears to use a bowed tam-tam to imitate the sound of the Tonband. Further in the score, the tam-tam is perceived as contrasting with the Tonband in pitch. On a personal level, it is thought that due to the work’s experimental nature, Unsuk Chin has some issues with acceptance within traditional music. However, as the work is published by a reputable publisher this does not seem to cause a real issue. On the other hand, the real issue can arise from the interpretation and performance of the work. Performers and conductors might face challenges when interpreting and performing xi due to its complexity. This could lead to discussions of whether the performer’s interpretation of experimental music has an important role and impact on the outcome. Due to the nature of the work, there could be a potential issue over the artist’s intent, what could be the meaning of the work or what emotions the listeners might draw from the composition. However, these issues appear to be addressed with the inclusion of clear instructions on performance at the beginning of the score. A concise explanation or programme of the purpose of the work can also be a resolution for the meaning of the composition. However, I feel that the most crucial issue can be the appeal to audiences and the long period of time that the musicians might need to arrange a perfect performance of the work due to its complexity. Only professional musicians and orchestras would be able to complete the preparation in the shortest of time.
Orchestration and Arrangement 