Wang A-Mao

Ms. Wang A-Mao was born into a musical family in Beijing, China. From 1996-2004, She studied piano and composition in the Primary and Middle School of the Central Conservatory of Music. From 2004-2009, she studied composition under Professor Tang Jianping at the Central Conservatory of Music, where she received her Bachelor of Arts in Composition.

Ms. Wang has received the second prize of the Palatino Composition Competition (2007) with her piano solo work – Sheng Dan Jing Mo Chou. In 2013, she has awarded the 2014 Missouri Music Teachers Association Composition Commission. In 2011, she was selected as a winner of the Young Composer Project, which was held by the Beijing Modern Music Festival with her chamber music work, The Vox of Swallow and Nightingale. Her East-West instrumentation chamber work The Feeble Breeze, The Sullen Spring was premiered by Music From China at Symphony Space in New York City (2013). Her Chinese chamber music work, The Battle Between Zhong Kui and Ghosts, was performed at the eighth Music Festival of the Central Conservatory of Music (2008). Her orchestral work Plantains in the Rain was read by Kansas City Symphony in 2012.

Ms. Wang has performed her own piano work, Mountains on The Other Side of The River, in the Crossroads concert at New York City’s Le Poisson Rouge and the Conservatory Connections concert at The Nelson-Atkins Museum of Art in Kansas City. Sheng Dan Jing Mo Chou, in the National Association of Schools of Music (NASM) concert at UMKC Conservatory (2011).

Currently, Ms. Wang A Mao is a second-year D.M.A. composition student at the UMKC Conservatory of Music and Dance, studying composition with Professors Chen Yi, Zhou Long, James Mobberley, and Paul Rudy.

Characters in Theatre:
Beijing Opera is a form of traditional Chinese theater which combines singing, reciting, performing, acrobatics acting, and instrumental accompanying, along with rich face make-up, costume, and stage setting. I applied the pitch material drawn from the fixed instrumental accompanying pattern, the rhythmic material and tone color from percussion ensemble performance, to compose the theme and its development. By contrasting the legato phrases and staccato phrases, altering the rhythm, and employing various dynamics, I attempted to depict the contrast between majestic male roles and delicate female roles.