Born October1st, 1953, in Kinshasa, Democratic Republic of Congo.
“I studied at Institut National des Arts, where I lectured in Music Theory. I undertook Musical Research at CEDAR & served as Head of the Experimental Ensemble Maisha of INA,National University of Zaire. In 1991, I obtained Master Degree of Arts, in Art of Music, Composition from Shanghai Conservatory of Music. Later, I attended Seminars at EPHE, Sorbonne in Paris 1991-92. And I got recognition from the International Music Council of UNESCO, Paris. Also, I have attended Festivals in Vienna-1979, Quebec-1980 & Composers’Workshops in Amsterdam- 1990, Johannesburg -1996 & International Music Symposium at Churchill College, University of Cambridge, 2001, UK.
Prelude: ln this article, I will focus on of the big challenges concerning Music education in general & Music Composition in particular and especially for authors & musicians belonging to the non- western music background or tradition. Given my own experience, I have noticed the fact that Music Composition implies more about aesthetics & technique. In that matter, the chronological sense is absolutely crucial in terms of period of creation. In the meantime, let me stress the fact that the personality, the environment and geographic area have an undoubted influence on the Composer’s oeuvre. Also, I will emphasise the fact that a Composer’s philosophy must deal with the purpose of any music in terms of audience; for example when creating pieces which can improve a certain cognitive capacity inside the society, or creating epic music such as “Eroica Symphony “completed in 1804, or a ‘glamorous’ piano piece such as “Letter for Elise” both composed by L.V. Beethoven” (1). Therefore, both a Composer’s and a Writer’s chefs – d’oeuvre are akin to great admiration.
In Music education sphere: I have chosen to stress the changes in terms of creativity relating to new perspectives enhanced fundamentally by Igor Stravinsky（2）, Claude Debussy（3） & Charles Ives（4）. Indeed, I would like to mention the fact that those Composers brought up some innovative patterns. By the way, a very typical and historical music fact occurred through them(e.g.)”The Rite of Spring”, in which the rhythm is a kind of connecting thread for the harmony holds a second position in the music structure while during the previous century the melody was playing contrarily, a preeminent role. Indeed, in view of circumstances, their achievements became fairly remarkable.
A) Russian born Composer, Igor Stravinsky: The main characteristics of his early music were the Russian features . But after his voluntary exile from Russia, he was obliged to change his aesthetic stance. Instead, he paved the way for Neo-classical works of the next thirty years. As you know, once in France,Stravinsky was influenced by a certain European mold instead of Russian idioms. Next, during his second & final exile in the United States of America, he has accumulated some unorthodox recipe in terms of orchestration.
B)Debussy, a so called “impressionist” French Composer. In fact, he was very typical at that time. Basically, his music has the tendency to explore new aggregate sounds where harmonic linkages are only picturesque.About his subjects, there are more flexible even evasive.In substance,Debussy’s sphere of action remains the exploration of French poetry and utilisation of pentatonic scale（e.g.）”La fille aux cheveux de lin”and a pure sense of mythology (e.g.) “Syrinx”. In doing so, he built up his modal harmony in the French spirit and manner.
C)Charles Ives. Now, let’s talk about one of the greatest American Composers. His music reflects a very American culture.His field contains popular tunes, revival hymns and dances of his ‘’New England‘’. Obviously, he borrowed some techniques from the European Music especially tone clusters, microtonal intervals. Also, polytonal harmonies and polymetric entities. Concerning his personality,I would like to say probably, he has four global areas which are as follows: a. Nationalism, b. Nature, c. Religion & d.Local aspects. One of his famous compositions, Piano Sonata No.2, the“Concord Sonata”; written (around 1910-1915), contains four parts hymn in Beethoven’s way but with contemporary assorted and complex sounds. These four movements consists of impressionist pictures of four authors namely Emerson, Hawthorne, The Alcotts and Thoreau. In addition, a very typical American music’s popular style was inserted, the Ragtime（5）.
Some pedagogic indications related to my academic map.Who taught me?
a. First,I would like to share my own story concisely.In 1985, when I entered the Shanghai Conservatory of Music, my first Professor of Composition was a women Composer, like Germaine Tailleferre（6）.Her name is Madam Wang Qiang. Indeed, she is very serious and strict in terms of artistic appreciation.In that matter, in my humble opinion, a woman is so instinctive and sensitive especially when choosing colors, clothes, shoes and so on.By the way, the choice of instruments, dynamics, tempo including forms in music area could be very colourful .She pays more a meticulous attention to those parameters.Professor Wang Qiang really appreciates all the Composers who have a patriotic love and vision as Nationalists.To go straight to the point about her favourites Composers, it seems that she belongs to the music partisans of Russian School.She is a brave woman and very talkative and has composed many superb works.
b.As Professor Wang Qiang moved to Hong Kong, my second one was Professor Zhao Xiao Sheng; graduated from Columbia University,USA.This time, was the starting point of my emancipation in terms of Contemporary Music.Professor Zhao Xiao Sheng is a very enthusiastic and opened mind.He belongs to a new generation of Chinese Composers and Music Educators.What I know from his teaching method’s secret is the fact that he is hostile to those who try to dictate their choices and views towards their students.That means, he is against this saying:”Like the Teacher, the student”.So I could only listen to his works after my graduation.Also,I realised that without the practice of polyphony,I mean Fugue & Counterpoint, it could be impossible to accomplish my goal.By the way, let me mention both Professors Chen Ming Zhi (1925-2009) & Lin Hua.The first one was an excellent Master of Fugue & CounterpointCounterpoint in western Art Music.By the way, he asked me to exploit my ‘own African music’ accordingly.And the second one belongs to the young generation.In that matter, he has encouraged me to create my fugues with Congolese music’s savour. So I have no transparent influence in terms of emotion from my Academic mentors.
Broadly, speaking what I have learned from my Tutors is relating to the concept of form and their evolution, the domain of coherence, the need of balance between the woodwinds, brass and strings including the role of pitched & unpitched percussions. In addition, I’m so thankful to my Tutors for their pedagogical experience and artistically speaking for their pragmatic approach in music culture.
My philosophy of teaching.
Before explaining my method or didactic frame, it is necessary to describe the compartments relating to music creation. And personally, I have selected at least four categories:
Creation of academic essence in terms of technical feats (e.g) Paganini（7）.
Creation which inspiration is based on esprit de corps of a hometown or rustic landscape(e.g.) Be’la Barto’k（8）, Koda’ly（9）.
Creation which is intrinsic to religious obedience (e.g.) J.S.Bach in‘’Vingt regards sur l’Enfant JESUS”（10）,G.F Handel(e.g.)”Hallelujah”（11a）,W.A Mozart (e.g.)Mass No.18”Great”（11b）.
Creation characterised by the Composer’s own introversive condition or by experimentalism such as Music & Ornithology by Olivier Messiaen（12）.
To give you an insight about the process, firstly I will ask my student to make sure the theme’s contour. Secondly, to choose the materials. Tertiary, to choose the instrument or the instrumentation.
In closing, for me, the main point remains the three key points namely the coherence, the contrast and the climax. Also, determining and having a clear picture concerning any specific audience is a must because Music depicts some mental imagery. Hence, the music punctuation or cadences and the dynamics must be precised and the tempo has a pivotal role.
Most achievements
a. My orchestral works which inspirational sources are the Congolese traditional music and Congo’s Patrimony; were performed by the Shanghai Philharmonic Orchestra under the baton of Cao Peng, in the Shanghai Auditorium, in 1990.
b. My Lullaby for piano was selected by Dr Nyaho Chapman & published by Oxford University Press in 2007.
c. My piano piece“Homage to Philip Glass” was selected & performed by Nicolas Paul Horvath at Carnegie Hall,N.Y(USA)in 2015
d. My “Piano Music “was selected & published by Da Vinci Publishing, in Osaka, Japan in 2017
e. My Orchestral piece “Rhapsody No.2” which depicts the Creation of the Universe, was performed by Harmonia Classica; conducted by Alexander Blechinger, in Vienna,Austria in 2018.
About my favourites performers
At this time of hardships due to the pandemic,I would like to mention the fact that music could play a very helpful role as many people are confined to their houses. So, they can enjoy more music to relax.In this matter,I will mention some of my preferred performers: Daniel Barenboim, Emanuele Arciuli, Martha Argerich, Nicolas P.Horvath, Lang Lang,Sophia Agranovich(Piano)，Rachel Barton Pine,Hilary Hahn, Pablo Ferrandez, Ray Chen(Violin),YO Yo Ma,Pierre Fournicet, Misha Maisky (Cello). Of course, my list is not exhaustive. Lastly, let me conclude with this quote:”Try not to become a man of success, but rather try to become a man of value”(Albert Einstein).
Humanitarian project I would like to sustain
Indeed, I keep very clear in my mind that we have to take care of orphans. Thus, in the future,I will get involved in such a project.
Futurology & dream
If I could find a deserted island, I would bring with me three CDs which would contain: A.Church Music. B.Music by J.S.Bach to represent Western serious Music. C.Jazz.”