Global New Music Interest Group

Mission statement

To create a platform for scholars to research underrepresented and neglected new music from around the world, considering the dynamics of musical canonicity and marginality, as well as insider/outsider perspectives and postcolonial issues.

Online presence and discussion

The group maintains a mailing list at!aboutgroup/smt-global-new-music-interest-group.

How to join

There are no requirements for membership; simply attend our meetings at annual SMT meetings to participate.


Co-chairs:  Tomoko Deguchi and Gavin Lee

2019 (Columbus, OH)


  • Barry Wiener (New York City), Dialectical Polarities in Per Nørgård’s Nuit des Hommes (1996)
  • Yahui Cheng (University of South Florida), Who’s Authorship? Authenticity in Chinese Popular Music under Global Modernism (case study in Li Jinhui's Drizzle, 1927)
  • Tomoko Deguchi (Winthrop University), The Appeal of the Foreign in Toshio Hosokawa’s Opera Matsukaze (2010)
  • Gavin Lee (Soochow University), The Promise of Global Musical Modernism

Online workshop: We held a "Global Musical Modernism" workshop to create a framework for decentering the West and expanding the spatial and temporal boundaries of Western modernism, based on Hayot et. al. eds., A New Vocabulary for Global Modernism (Columbia University Press, 2016). Participants: Gavin Lee, Tomoko Deguchi, Yahui Cheng.

2018 (San Antonio, TX)


  • Navid Bargrizan (University of Florida), Polymodality, Polyphony, and Microtonality inHamidreza Dibazar's Persian Quartet 
  • Miki Kaneda (Boston University), Hong-Kai Wang’s Southern Clairaudience and Listening as Decolonial Feminist Work 
  • Penny Brandt (Institute for Composer Diversity), The human equation: fractal form and activism in the music of Niloufar Nourbakhsh 
  • Joshua Banks Mailman (Columbia University), Trans-cultural-stylistic Solutions of Toshi Ichiyanagi’s Transfiguration of the Moon (1988), for Shô and Violin
  • Antares Boyle (University of Northern Colorado), Flexible Grooves and Formal Processes in Craig Taborn's Avenging Angel (2011)
  • Xie Zhangmin, Tan Dun's Ode to Nanxiang
  • Ji Yeon Lee (University of Houston), Decoding the Riddle: Unsuk Chin’s Alice in Wonderland Tea-Party
  • Oksana Nesterenko (Stony Brook University), Algorithmic Method and Delicate Patterns in Leonid Hrabovsky’s Concerto Misterioso 
  • Craig B. Parker (Kansas State University), The Sori of Young Jo Lee, with an emphasis on Sori No. 13 for unaccompanied trumpet

2017 (Arlington, VA)


  • Tomoko Deguchi (Winthrop University): Toru Takemitsu (Japan), Far Calls. Coming, far! (1980)
  • Anton Vishio (William Paterson University): Jo Kondo (Japan), Paregmenon (2011)
  • Barry Wiener (NYC): Akemi Naito (Japan/NY), The Woman in the Dunes for Solo Percussionist (2012, NY)
  • Jungmin Lee (Montclair State University): Unsuk Chin (South Korea/Germany), Cello Concerto, 2008 (rev. 2013, premiered in London 2009)
  • Gavin Lee (Soochow University, China): John Sharpley (USA/Singapore), Emptiness (2002, Singapore)
  • Amy Baur (UC Irvine): Helena Tulve (Estonia), L'Équinoxe de l'âme (The Equinox of the Soul) (2008)
  • Ya-Hui Cheng (University of South Florida): Cui Jian (PRC), A Piece of Red Cloth (1991)