Musical composition in the context of globalization: new perspectives on music history in the 20th and 21st century
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| Sprache: | English |
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transcript
2021
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| Ausgabe: | Revised and expanded edition |
| Schriftenreihe: | Music and sound culture
volume 43 |
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| Beschreibung: | Erscheint auch als Open Access bei De Gruyter |
| Beschreibung: | 527 Seiten Notenbeispiele |
| ISBN: | 9783837650952 |
| DOI: | 10.14361/9783839450956 |
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| 240 | 1 | 0 | |a Komponieren im Kontext der Globalisierung |
| 245 | 1 | 0 | |a Musical composition in the context of globalization |b new perspectives on music history in the 20th and 21st century |c Christian Utz ; translated by Laurence Sinclair Willis |
| 246 | 1 | 3 | |a Musical composition in the context of globalization: new perspectives on music history in the 20th and 21st century |
| 250 | |a Revised and expanded edition | ||
| 264 | 1 | |a Bielefeld |b transcript |c 2021 | |
| 300 | |a 527 Seiten |b Notenbeispiele | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 1 | |a Music and sound culture |v volume 43 | |
| 500 | |a Erscheint auch als Open Access bei De Gruyter | ||
| 648 | 7 | |a Geschichte 1900-2014 |2 gnd |9 rswk-swf | |
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TABLE
OF
CONTENTS
PREFACE
PREFACE
TO
THE
REVISED
AND
EXPANDED
ENGLISH
EDITION
11
ACKNOWLEDGEMENTS
15
LIST
OF
EXAMPLES,
FIGURES,
AND
TABLES
17
I.
INTRODUCTION:
ART
MUSIC,
IDENTITY,
AND
REFLEXIVE
GLOBALIZATION
25
1.
ART
MUSIC
IN
A
GLOBAL
CONTEXT
25
2.
IDENTITY
CRITICISM
AND
REFLEXIVE
GLOBALIZATION
29
PROBLEMS
OF
IDENTITY
31
REFLEXIVE
GLOBALIZATION
33
3.
DISCOURSES
OF
INTERCULTURAL
COMPOSITION
38
MYTH
AND
MIGRATION
40
DIALOGUE
AND
HYPOLEPSIS
41
ALTERITY,
HYBRIDIZATION,
AND
INCOMMENSURABILITY
42
II.
TOWARD
AN
ENTANGLED
HISTORY
OF
TWENTIETH-CENTURY
MUSIC
IN
A
GLOBAL
CONTEXT
47
1.
PRELIMINARIES
OF
AN
INTERCULTURAL
MUSIC
HISTORIOGRAPHY
47
MODELS
OF
MUSIC
HISTORIOGRAPHY
AND
THE
CRITIGUE
OF
UNIVERSAL
HISTORY
50
OPENING
UP
THE
NOTION
OF
COMPOSITION
53
DE-NATIONALIZING
MUSIC
HISTORIOGRAPHY
57
TRANSNATIONAL
AVANT-GARDES?
61
2.
INTERNATIONALISM
AND
UNIVERSALISM:
REPERCUSSIONS
OF
POLITICAL
AND
CULTURAL
HISTORY
63
INTERNATIONALISM
63
UNIVERSALISM
66
RELIGIOUS
AND
SPIRITUAL
UNIVERSALISM
68
TECHNOLOGICAL
UNIVERSALISM
69
STRUCTURALIST
UNIVERSALISM
71
TRANSETHNIC
UNIVERSALISM
74
3.
THE
AMBIVALENCE
OF
THE
LOCAL
IN
TWENTIETH-CENTURY
MUSIC
.
75
STRAVINSKY
AND
BARTOK:
CONSTRUCTION
AND
CRITICISM
OF
NATIONAL
MUSIC
IN
THE
TENSION
FIELDS
BETWEEN
COMPOSITION
AND
ETHNOGRAPHY
.
75
LOCALISM
IN
CHINESE
NEW
MUSIC
SINCE
THE
1980S
.
78
TOWARD
A
CRITIQUE
OF
AUTHENTICITY-BASED
THINKING
.
81
4.
MODERNIST
RECEPTION
OF
JAPANESE
AND
INDIAN
TRADITIONAL
MUSIC
BETWEEN
1910
AND
1945:
DELAGE,
COWELL,
MITSUKURI,
AND
HAYASAKA
.82
MAURICE
DELAGE:
CLOSE
LISTENING
TO
ASIAN
TRADITIONS
AND
THE
EMANCIPATION
FROM
EXOTICISM
.
83
HENRY
COWELL:
TOWARD
CULTURAL
HYBRIDITY
.
93
SHUKICHI
MITSUKURI
AND
FUMIO
HAYASAKA:
BETWEEN
MODERNITY
AND
NATIONALISM
.
101
5.
RE-READING
THE
IMPACT
OF
THE
"CULTURAL
COLD
WAR"
ON
MUSIC
HISTORY:
COWELL,
MAYUZUMI,
BERIO
.
114
POSTWAR
MUSIC
HISTORY
AND
THE
"CULTURAL
COLD
WAR"
.
114
HENRY
COWELL,
TOSHIRO
MAYUZUMI,
LUCIANO
BERIO
AND
THE
TOKYO
1961
EAST-WEST
MUSIC
ENCOUNTER
.
117
HENRY
COWELL
AND
THE
PROJECT
OF
HYBRIDIZATION
.
122
TOSHIRO
MAYUZUMI:
RECEPTION
OF
MODERNISM
AND
NEO-NATIONALISM
.
126
LUCIANO
BERIO:
COLLAGE
TECHNIQUE
WITH
"SUPPRESSED
POLITICAL
OVERTONES"?
.
129
6.
CATEGORIES
OF
INTERCULTURAL
RECEPTION
IN
WESTERN
COMPOSITION
.
135
WORKING
ON
MYTH
.
136
PRAGMATISM,
INTERPENETRATION,
DIFFERENCE
.
137
CASE
STUDY:
HANS
ZENDER'S
FURIN
NO
KYD
(1989)
.
140
COOPERATION
AND
DIALOGUE
.
143
APPROACHING
THE
CHINESE
MOUTH
ORGAN
SHENG
.
147
III.
STUDIES
ON
THE
HISTORY
AND
ANALYSIS
OF
NEW
EAST
ASIAN
MUSIC
.
155
1.
THE
RECEPTION
OF
WESTERN
MODERNISM
IN
THE
MUSIC
OF
CHINA
AND
JAPAN
SINCE
THE
LATE
NINETEENTH
CENTURY
.
155
2.
TRIGGERING
MUSICAL
MODERNISM
IN
CHINA:
THE
WORK
OF
WOLFGANG
FRAENKEL
IN
SHANGHAI
EXILE
.
167
WOLFGANG
FRAENKEL'S
DEVELOPMENT
AS
A
COMPOSER
AND
PATH
TO
EXILE
.
168
FRAENKEL'S
ACTIVITIES
AS
MUSICIAN,
PEDAGOGUE,
AND
COMPOSER
IN
SHANGHAI
.
172
FRAENKEL
AS
A
MUSICIAN
AND
CONDUCTOR
.
172
FRAENKEL
AS
A
PEDAGOGUE,
PUBLICIST,
AND
THEORIST
.
179
FRAENKEL
AS
A
COMPOSER
.
189
PERSPECTIVES
.
194
3.
THE
TRAVELS
OF
A
JASMINE
FLOWER:
A
CHINESE
FOLK
SONG,
ITS
PREHISTORY
AND
TAN
DUN'S
SYMPHONY
1997
.
194
4.
PROBING
THE
COMPOSITIONAL
RELEVANCE
OF
CULTURAL
DIFFERENCE:
KEY
TENDENCIES
OF
EAST
ASIAN
NEW
MUSIC
SINCE
THE
1950S
.
206
CULTURALIST
POLARIZATION
IN
ISANG
YUN'S
MUSIC
.
207
NOVEMBER
STEPS
(1967),
DISTANCE
(1972),
AND
TBRU
TAKEMITSU'S
ENACTMENT
OF
ALTERITY
.
212
JOSE
MACEDA'S
SOUND
MASSES
AND
THE
SEARCH
FOR
AN
ANTI-CAUSAL
LOGIC
.
215
GE
GANRU'S
YI
FENG
(1983)
AND
THE
LIBERATION
FROM
CULTURALIST
CATEGORIES
.
223
YUJI
TAKAHASHI:
ATTENTIVE
LISTENING
AND
SOCIAL
INTERACTION
.
225
DISCUSSION
.
233
5.
INTERCULTURAL
NARRATIVITY
IN
EAST
ASIAN
ART
MUSIC
SINCE
THE
1990S
.
235
NEW
CHINESE
MUSIC
BETWEEN
ESSENTIALISM
AND
CULTURAL
CONFLICT
.
236
POLARIZING
ESSENTIALISM:
TAN
DUN
.
237
PLURALISTIC
ESSENTIALISM:
QIN
WENCHEN
AND
GUO
WENJING
.
238
INTERACTION:
CHEN
XIAOYONG
.
241
STRATIFICATION
AND
CONFLICT:
ZHU
JIAN'ER
.
243
NEW
KOREAN
MUSIC:
NEW
EXEMPTIONS
.
249
SUBLATION
OF
TRADITIONAL
PRACTICE:
EUN-HYE
KIM,
JIN-HI
KIM
.
251
LIBERATION
FROM
CULTURALISM:
BONU
KOO,
KUNSU
SHIM
.
254
TENDENCIES
IN
JAPANESE
MUSIC
AROUND
THE
MILLENIUM:
AFFIRMATION
AND
CRITIQUE
OF
THE
ESSENTIALIST
HERITAGE
.
259
CONCLUSION:
THE
LIMITATIONS
OF
MUSICAL
NARRATIVE
IN
AN
INTERCULTURAL
CONTEXT
.
262
6.
THE
IMPACT
OF
TRADITIONAL
MUSIC
ON
COMPOSITION
IN
TAIWAN
SINCE
THE
POSTWAR
PERIOD
.
263
THE
GENERAL
CONDITIONS
OF
CONTEMPORARY
MUSIC
IN
TAIWAN
AND
THE
IMPLICATIONS
OF
ITS
HISTORICAL
DEVELOPMENT
SINCE
1950
.
263
PROBLEMS
OF
TAIWANESE
CULTURAL
IDENTITY
AND
THE
TWO-PRONGED
DISCOURSE
OF
TRADITIONAL
AND
CONTEMPORARY
MUSIC
.
268
TAIWAN'S
SMALL
AVANT-GARDE
DURING
THE
1970S
AND
AFTER
-
THE
WORKS
OF
LEE
TAI-HSIANG,
HSU
PO-YUN,
AND
PAN
HWANG-LONG
.
269
CONSERVATISM
AND
REINVENTION
OF
TRADITIONS
SINCE
THE
1980S
.
281
OUTLOOK
.
286
IV.
THE
SHO
CONTEXT
.
289
1.
TRANSFORMATION
AND
MYTH
CRITICISM
IN
WORKS
FOR
THE
JAPANESE
MOUTH
ORGAN
.
289
THE
JAPANESE
MOUTH
ORGAN
IN
THE
TRADITIONAL
CONTEXT
.
289
THE
RECEPTION
OF
THE
SHO
IN
CONTEMPORARY
MUSIC
.
293
MYTH
AND
AURA
.
294
FROM
MYTH
TO
MYTH
CRITICISM
.
298
2.
THE
SHO
AS
A
MEDIUM
OF
ALTERITY
AND
SELF-REFERENTIALITY
IN
HELMUT
LACHENMANN'S
MUSIC
.
308
AURA
AND
ALTERITY
.
308
SOUND
ORGANIZATION
.
310
SPLIT
SOUND
AND
STRUCTURAL
SOUND
.
324
TEMPORAL
SECTIONS
.
328
NARRATIVITY
.
331
INTERCULTURALITY
.
333
V.
NEW
MUSIC
AND
BEYOND:
MUSIC-HISTORICAL
AND
CULTURAL
ENTANGLEMENTS
.
337
1.
THE
REDISCOVERY
OF
PRESENCE:
INTERCULTURAL
PASSAGES
THROUGH
VOCAL
SPACES
BETWEEN
SPEECH
AND
SONG
.
337
THE
VOICE
IN
TWENTIETH
AND
TWENTY-FIRST
CENTURY
MUSIC
.
337
ARTICULATION
AND
CODIFICATION
OF
THE
VOICE:
THRESHOLDS
AND
INTERACTIONS
BETWEEN
SPEECH
AND
SONG
.
342
FRAGMENTATION
AND
MONTAGE
(GIDOYU-BUSHI,
TAN
DUN,
SCHOENBERG)
.
346
INCANTATION,
PROSODY,
RITUAL
(SHIMOYAMA,
TAKAHASHI,
PERI,
SCIARRINO)
.
353
ARTICULATION
-
CODIFICATION
-
PRESENCE
-
PASSAGE
.
360
2.
SPACE-TIME
MOVEMENTS
IN
GYBRGY
LIGETI'S
PIANO
CONCERTO:
POLYMETER
AND
CONFLICTING
METER
IN
HISTORICAL
AND
INTERCULTURAL
PERSPECTIVE
.
363
GYBRGY
LIGETI'S
"SPACE-TIME"
AND
THE
"GENERALIZED
HEMIOLA"
.
363
SUMMATION
METER
AND
METRIC
DISSONANCE
.
375
TOWARD
AN
INTERCULTURAL
THEORY
OF
MUSICAL
TIME
AND
ITS
HISTORIOGRAPHIC
IMPLICATIONS
.
382
3.
INTERCULTURAL
TENSION
IN
MUSIC
BY
CHAYA
CZERNOWIN
AND
ISABEL
MUNDRY:
VARIATIONS
ON
IDENTITY
AND
MUSICAL
MEANING
.
385
CHAYA
CZERNOWIN'S
EXCAVATED
DIALOGUES
-
FRAGMENTS:
IS
CULTURAL
HYBRIDITY
MUSICALLY
REPRESENTABLE?
.
385
ISABEL
MUNDRY'S
ICH
AND
DU:
IDENTITY
RIDDLE
.
388
THE
LIMITS
OF
MUSICAL
SIGNIFICATION
.
392
VI.
REFLECTIONS
ON
MY
OWN
COMPOSING
AS
A
SEARCH
FOR
TRACES
IN
THE
IN-BETWEEN
.
393
1.
LAYERED
FABRIC,
INTERTEXTUALITY,
AND
CULTURAL
CONTEXT:
FROM
STRIATED
TO
OPEN
SPACE
.
393
INTERFERENCE:
CONTRADICTORY
SELF-IDENTITY
.
397
THE
WASTELAND
OF
MINDS:
SOUND
LAYER
RELIEF
AND
DISINTEGRATION
.
399
2.
STRATIFICATION
AND
ANALYSIS
.
402
SYMBOLISM
AND
IMPLOSION
IN
GLASAKKORD
.
404
TOGETHER/ZAPART:
RECONSTRUCTION,
RECOMPOSITION,
AND
IRRITATION
.
408
3.
INTERCULTURAL
AND
MULTILINGUAL
TRAJECTORIES
OF
THE
HUMAN
VOICE
.
411
ZERSPLITTERUNG
-
SPLINTERING
OF
VOICES
.
412
EXPLORATION
OF
TONE
SPACES
AND
POLITICAL
NARRATIVITY
IN
TELINGA
-
MULCT
.
417
TOWARD
A
POLYPHONY
OF
MEANINGS
.
423
4.
COMPOSITION
AS
POLYPHONY:
CREATING,
PERFORMING,
AND
PERCEIVING
MUSIC
NON-HIERARCHICALLY
.
428
A
MAP
OF
MUSICAL
SIMULTANEITIES
.
432
WALLS:
ONGOING
PROCESSES
OF
DE
AND
RESTABILIZATION
.
435
BIBLIOGRAPHY
.
441
APPENDIX
.
491
INDEX
.
497 |
| adam_txt |
TABLE
OF
CONTENTS
PREFACE
PREFACE
TO
THE
REVISED
AND
EXPANDED
ENGLISH
EDITION
11
ACKNOWLEDGEMENTS
15
LIST
OF
EXAMPLES,
FIGURES,
AND
TABLES
17
I.
INTRODUCTION:
ART
MUSIC,
IDENTITY,
AND
REFLEXIVE
GLOBALIZATION
25
1.
ART
MUSIC
IN
A
GLOBAL
CONTEXT
25
2.
IDENTITY
CRITICISM
AND
REFLEXIVE
GLOBALIZATION
29
PROBLEMS
OF
IDENTITY
31
REFLEXIVE
GLOBALIZATION
33
3.
DISCOURSES
OF
INTERCULTURAL
COMPOSITION
38
MYTH
AND
MIGRATION
40
DIALOGUE
AND
HYPOLEPSIS
41
ALTERITY,
HYBRIDIZATION,
AND
INCOMMENSURABILITY
42
II.
TOWARD
AN
ENTANGLED
HISTORY
OF
TWENTIETH-CENTURY
MUSIC
IN
A
GLOBAL
CONTEXT
47
1.
PRELIMINARIES
OF
AN
INTERCULTURAL
MUSIC
HISTORIOGRAPHY
47
MODELS
OF
MUSIC
HISTORIOGRAPHY
AND
THE
CRITIGUE
OF
UNIVERSAL
HISTORY
50
OPENING
UP
THE
NOTION
OF
COMPOSITION
53
DE-NATIONALIZING
MUSIC
HISTORIOGRAPHY
57
TRANSNATIONAL
AVANT-GARDES?
61
2.
INTERNATIONALISM
AND
UNIVERSALISM:
REPERCUSSIONS
OF
POLITICAL
AND
CULTURAL
HISTORY
63
INTERNATIONALISM
63
UNIVERSALISM
66
RELIGIOUS
AND
SPIRITUAL
UNIVERSALISM
68
TECHNOLOGICAL
UNIVERSALISM
69
STRUCTURALIST
UNIVERSALISM
71
TRANSETHNIC
UNIVERSALISM
74
3.
THE
AMBIVALENCE
OF
THE
LOCAL
IN
TWENTIETH-CENTURY
MUSIC
.
75
STRAVINSKY
AND
BARTOK:
CONSTRUCTION
AND
CRITICISM
OF
NATIONAL
MUSIC
IN
THE
TENSION
FIELDS
BETWEEN
COMPOSITION
AND
ETHNOGRAPHY
.
75
LOCALISM
IN
CHINESE
NEW
MUSIC
SINCE
THE
1980S
.
78
TOWARD
A
CRITIQUE
OF
AUTHENTICITY-BASED
THINKING
.
81
4.
MODERNIST
RECEPTION
OF
JAPANESE
AND
INDIAN
TRADITIONAL
MUSIC
BETWEEN
1910
AND
1945:
DELAGE,
COWELL,
MITSUKURI,
AND
HAYASAKA
.82
MAURICE
DELAGE:
CLOSE
LISTENING
TO
ASIAN
TRADITIONS
AND
THE
EMANCIPATION
FROM
EXOTICISM
.
83
HENRY
COWELL:
TOWARD
CULTURAL
HYBRIDITY
.
93
SHUKICHI
MITSUKURI
AND
FUMIO
HAYASAKA:
BETWEEN
MODERNITY
AND
NATIONALISM
.
101
5.
RE-READING
THE
IMPACT
OF
THE
"CULTURAL
COLD
WAR"
ON
MUSIC
HISTORY:
COWELL,
MAYUZUMI,
BERIO
.
114
POSTWAR
MUSIC
HISTORY
AND
THE
"CULTURAL
COLD
WAR"
.
114
HENRY
COWELL,
TOSHIRO
MAYUZUMI,
LUCIANO
BERIO
AND
THE
TOKYO
1961
EAST-WEST
MUSIC
ENCOUNTER
.
117
HENRY
COWELL
AND
THE
PROJECT
OF
HYBRIDIZATION
.
122
TOSHIRO
MAYUZUMI:
RECEPTION
OF
MODERNISM
AND
NEO-NATIONALISM
.
126
LUCIANO
BERIO:
COLLAGE
TECHNIQUE
WITH
"SUPPRESSED
POLITICAL
OVERTONES"?
.
129
6.
CATEGORIES
OF
INTERCULTURAL
RECEPTION
IN
WESTERN
COMPOSITION
.
135
WORKING
ON
MYTH
.
136
PRAGMATISM,
INTERPENETRATION,
DIFFERENCE
.
137
CASE
STUDY:
HANS
ZENDER'S
FURIN
NO
KYD
(1989)
.
140
COOPERATION
AND
DIALOGUE
.
143
APPROACHING
THE
CHINESE
MOUTH
ORGAN
SHENG
.
147
III.
STUDIES
ON
THE
HISTORY
AND
ANALYSIS
OF
NEW
EAST
ASIAN
MUSIC
.
155
1.
THE
RECEPTION
OF
WESTERN
MODERNISM
IN
THE
MUSIC
OF
CHINA
AND
JAPAN
SINCE
THE
LATE
NINETEENTH
CENTURY
.
155
2.
TRIGGERING
MUSICAL
MODERNISM
IN
CHINA:
THE
WORK
OF
WOLFGANG
FRAENKEL
IN
SHANGHAI
EXILE
.
167
WOLFGANG
FRAENKEL'S
DEVELOPMENT
AS
A
COMPOSER
AND
PATH
TO
EXILE
.
168
FRAENKEL'S
ACTIVITIES
AS
MUSICIAN,
PEDAGOGUE,
AND
COMPOSER
IN
SHANGHAI
.
172
FRAENKEL
AS
A
MUSICIAN
AND
CONDUCTOR
.
172
FRAENKEL
AS
A
PEDAGOGUE,
PUBLICIST,
AND
THEORIST
.
179
FRAENKEL
AS
A
COMPOSER
.
189
PERSPECTIVES
.
194
3.
THE
TRAVELS
OF
A
JASMINE
FLOWER:
A
CHINESE
FOLK
SONG,
ITS
PREHISTORY
AND
TAN
DUN'S
SYMPHONY
1997
.
194
4.
PROBING
THE
COMPOSITIONAL
RELEVANCE
OF
CULTURAL
DIFFERENCE:
KEY
TENDENCIES
OF
EAST
ASIAN
NEW
MUSIC
SINCE
THE
1950S
.
206
CULTURALIST
POLARIZATION
IN
ISANG
YUN'S
MUSIC
.
207
NOVEMBER
STEPS
(1967),
DISTANCE
(1972),
AND
TBRU
TAKEMITSU'S
ENACTMENT
OF
ALTERITY
.
212
JOSE
MACEDA'S
SOUND
MASSES
AND
THE
SEARCH
FOR
AN
ANTI-CAUSAL
LOGIC
.
215
GE
GANRU'S
YI
FENG
(1983)
AND
THE
LIBERATION
FROM
CULTURALIST
CATEGORIES
.
223
YUJI
TAKAHASHI:
ATTENTIVE
LISTENING
AND
SOCIAL
INTERACTION
.
225
DISCUSSION
.
233
5.
INTERCULTURAL
NARRATIVITY
IN
EAST
ASIAN
ART
MUSIC
SINCE
THE
1990S
.
235
NEW
CHINESE
MUSIC
BETWEEN
ESSENTIALISM
AND
CULTURAL
CONFLICT
.
236
POLARIZING
ESSENTIALISM:
TAN
DUN
.
237
PLURALISTIC
ESSENTIALISM:
QIN
WENCHEN
AND
GUO
WENJING
.
238
INTERACTION:
CHEN
XIAOYONG
.
241
STRATIFICATION
AND
CONFLICT:
ZHU
JIAN'ER
.
243
NEW
KOREAN
MUSIC:
NEW
EXEMPTIONS
.
249
SUBLATION
OF
TRADITIONAL
PRACTICE:
EUN-HYE
KIM,
JIN-HI
KIM
.
251
LIBERATION
FROM
CULTURALISM:
BONU
KOO,
KUNSU
SHIM
.
254
TENDENCIES
IN
JAPANESE
MUSIC
AROUND
THE
MILLENIUM:
AFFIRMATION
AND
CRITIQUE
OF
THE
ESSENTIALIST
HERITAGE
.
259
CONCLUSION:
THE
LIMITATIONS
OF
MUSICAL
NARRATIVE
IN
AN
INTERCULTURAL
CONTEXT
.
262
6.
THE
IMPACT
OF
TRADITIONAL
MUSIC
ON
COMPOSITION
IN
TAIWAN
SINCE
THE
POSTWAR
PERIOD
.
263
THE
GENERAL
CONDITIONS
OF
CONTEMPORARY
MUSIC
IN
TAIWAN
AND
THE
IMPLICATIONS
OF
ITS
HISTORICAL
DEVELOPMENT
SINCE
1950
.
263
PROBLEMS
OF
TAIWANESE
CULTURAL
IDENTITY
AND
THE
TWO-PRONGED
DISCOURSE
OF
TRADITIONAL
AND
CONTEMPORARY
MUSIC
.
268
TAIWAN'S
SMALL
AVANT-GARDE
DURING
THE
1970S
AND
AFTER
-
THE
WORKS
OF
LEE
TAI-HSIANG,
HSU
PO-YUN,
AND
PAN
HWANG-LONG
.
269
CONSERVATISM
AND
REINVENTION
OF
TRADITIONS
SINCE
THE
1980S
.
281
OUTLOOK
.
286
IV.
THE
SHO
CONTEXT
.
289
1.
TRANSFORMATION
AND
MYTH
CRITICISM
IN
WORKS
FOR
THE
JAPANESE
MOUTH
ORGAN
.
289
THE
JAPANESE
MOUTH
ORGAN
IN
THE
TRADITIONAL
CONTEXT
.
289
THE
RECEPTION
OF
THE
SHO
IN
CONTEMPORARY
MUSIC
.
293
MYTH
AND
AURA
.
294
FROM
MYTH
TO
MYTH
CRITICISM
.
298
2.
THE
SHO
AS
A
MEDIUM
OF
ALTERITY
AND
SELF-REFERENTIALITY
IN
HELMUT
LACHENMANN'S
MUSIC
.
308
AURA
AND
ALTERITY
.
308
SOUND
ORGANIZATION
.
310
SPLIT
SOUND
AND
STRUCTURAL
SOUND
.
324
TEMPORAL
SECTIONS
.
328
NARRATIVITY
.
331
INTERCULTURALITY
.
333
V.
NEW
MUSIC
AND
BEYOND:
MUSIC-HISTORICAL
AND
CULTURAL
ENTANGLEMENTS
.
337
1.
THE
REDISCOVERY
OF
PRESENCE:
INTERCULTURAL
PASSAGES
THROUGH
VOCAL
SPACES
BETWEEN
SPEECH
AND
SONG
.
337
THE
VOICE
IN
TWENTIETH
AND
TWENTY-FIRST
CENTURY
MUSIC
.
337
ARTICULATION
AND
CODIFICATION
OF
THE
VOICE:
THRESHOLDS
AND
INTERACTIONS
BETWEEN
SPEECH
AND
SONG
.
342
FRAGMENTATION
AND
MONTAGE
(GIDOYU-BUSHI,
TAN
DUN,
SCHOENBERG)
.
346
INCANTATION,
PROSODY,
RITUAL
(SHIMOYAMA,
TAKAHASHI,
PERI,
SCIARRINO)
.
353
ARTICULATION
-
CODIFICATION
-
PRESENCE
-
PASSAGE
.
360
2.
SPACE-TIME
MOVEMENTS
IN
GYBRGY
LIGETI'S
PIANO
CONCERTO:
POLYMETER
AND
CONFLICTING
METER
IN
HISTORICAL
AND
INTERCULTURAL
PERSPECTIVE
.
363
GYBRGY
LIGETI'S
"SPACE-TIME"
AND
THE
"GENERALIZED
HEMIOLA"
.
363
SUMMATION
METER
AND
METRIC
DISSONANCE
.
375
TOWARD
AN
INTERCULTURAL
THEORY
OF
MUSICAL
TIME
AND
ITS
HISTORIOGRAPHIC
IMPLICATIONS
.
382
3.
INTERCULTURAL
TENSION
IN
MUSIC
BY
CHAYA
CZERNOWIN
AND
ISABEL
MUNDRY:
VARIATIONS
ON
IDENTITY
AND
MUSICAL
MEANING
.
385
CHAYA
CZERNOWIN'S
EXCAVATED
DIALOGUES
-
FRAGMENTS:
IS
CULTURAL
HYBRIDITY
MUSICALLY
REPRESENTABLE?
.
385
ISABEL
MUNDRY'S
ICH
AND
DU:
IDENTITY
RIDDLE
.
388
THE
LIMITS
OF
MUSICAL
SIGNIFICATION
.
392
VI.
REFLECTIONS
ON
MY
OWN
COMPOSING
AS
A
SEARCH
FOR
TRACES
IN
THE
IN-BETWEEN
.
393
1.
LAYERED
FABRIC,
INTERTEXTUALITY,
AND
CULTURAL
CONTEXT:
FROM
STRIATED
TO
OPEN
SPACE
.
393
INTERFERENCE:
CONTRADICTORY
SELF-IDENTITY
.
397
THE
WASTELAND
OF
MINDS:
SOUND
LAYER
RELIEF
AND
DISINTEGRATION
.
399
2.
STRATIFICATION
AND
ANALYSIS
.
402
SYMBOLISM
AND
IMPLOSION
IN
GLASAKKORD
.
404
TOGETHER/ZAPART:
RECONSTRUCTION,
RECOMPOSITION,
AND
IRRITATION
.
408
3.
INTERCULTURAL
AND
MULTILINGUAL
TRAJECTORIES
OF
THE
HUMAN
VOICE
.
411
ZERSPLITTERUNG
-
SPLINTERING
OF
VOICES
.
412
EXPLORATION
OF
TONE
SPACES
AND
POLITICAL
NARRATIVITY
IN
TELINGA
-
MULCT
.
417
TOWARD
A
POLYPHONY
OF
MEANINGS
.
423
4.
COMPOSITION
AS
POLYPHONY:
CREATING,
PERFORMING,
AND
PERCEIVING
MUSIC
NON-HIERARCHICALLY
.
428
A
MAP
OF
MUSICAL
SIMULTANEITIES
.
432
WALLS:
ONGOING
PROCESSES
OF
DE
AND
RESTABILIZATION
.
435
BIBLIOGRAPHY
.
441
APPENDIX
.
491
INDEX
.
497 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Utz, Christian 1969- |
| author2 | Willis, Laurence Sinclair |
| author2_role | trl |
| author2_variant | l s w ls lsw |
| author_GND | (DE-588)123658608 |
| author_facet | Utz, Christian 1969- Willis, Laurence Sinclair |
| author_role | aut |
| author_sort | Utz, Christian 1969- |
| author_variant | c u cu |
| building | Verbundindex |
| bvnumber | BV046721975 |
| classification_rvk | LP 19508 LP 19507 |
| collection | ZDB-23-DGG ZDB-23-GOA ZDB-94-OAB |
| ctrlnum | (OCoLC)1250469993 (DE-599)DNB1205992901 |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| doi_str_mv | 10.14361/9783839450956 10.1515/9783839450956 |
| edition | Revised and expanded edition |
| era | Geschichte 1900-2014 gnd |
| era_facet | Geschichte 1900-2014 |
| format | Book |
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| geographic | Westliche Welt (DE-588)4079237-7 gnd Ostasien (DE-588)4075727-4 gnd |
| geographic_facet | Westliche Welt Ostasien |
| id | DE-604.BV046721975 |
| illustrated | Illustrated |
| index_date | 2024-07-03T14:33:56Z |
| indexdate | 2024-10-19T04:02:34Z |
| institution | BVB |
| isbn | 9783837650952 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032132178 |
| oclc_num | 1250469993 |
| open_access_boolean | 1 |
| owner | DE-B1533 DE-M100 DE-12 DE-634 DE-210 DE-1052 DE-521 DE-1102 DE-1046 DE-1047 DE-1028 DE-Aug4 DE-1050 DE-573 DE-M347 DE-92 DE-1051 DE-898 DE-BY-UBR DE-859 DE-860 DE-1049 DE-863 DE-BY-FWS DE-862 DE-BY-FWS DE-523 DE-Re13 DE-BY-UBR DE-Y3 DE-255 DE-Y7 DE-Y2 DE-70 DE-2174 DE-127 DE-22 DE-BY-UBG DE-155 DE-BY-UBR DE-150 DE-154 DE-91 DE-BY-TUM DE-384 DE-473 DE-BY-UBG DE-19 DE-BY-UBM DE-355 DE-BY-UBR DE-703 DE-20 DE-706 DE-B170 DE-824 DE-29 DE-739 |
| owner_facet | DE-B1533 DE-M100 DE-12 DE-634 DE-210 DE-1052 DE-521 DE-1102 DE-1046 DE-1047 DE-1028 DE-Aug4 DE-1050 DE-573 DE-M347 DE-92 DE-1051 DE-898 DE-BY-UBR DE-859 DE-860 DE-1049 DE-863 DE-BY-FWS DE-862 DE-BY-FWS DE-523 DE-Re13 DE-BY-UBR DE-Y3 DE-255 DE-Y7 DE-Y2 DE-70 DE-2174 DE-127 DE-22 DE-BY-UBG DE-155 DE-BY-UBR DE-150 DE-154 DE-91 DE-BY-TUM DE-384 DE-473 DE-BY-UBG DE-19 DE-BY-UBM DE-355 DE-BY-UBR DE-703 DE-20 DE-706 DE-B170 DE-824 DE-29 DE-739 |
| physical | 527 Seiten Notenbeispiele |
| psigel | ZDB-23-DGG ZDB-23-GOA ZDB-94-OAB BSB_NED_20210928 |
| publishDate | 2021 |
| publishDateSearch | 2021 |
| publishDateSort | 2021 |
| publisher | transcript |
| record_format | marc |
| series | Music and sound culture |
| series2 | Music and sound culture |
| spellingShingle | Utz, Christian 1969- Musical composition in the context of globalization new perspectives on music history in the 20th and 21st century Music and sound culture Musikgeschichtsschreibung (DE-588)4139339-9 gnd Komposition Musik (DE-588)4133320-2 gnd Kunstmusik (DE-588)4385558-1 gnd Globalisierung (DE-588)4557997-0 gnd |
| subject_GND | (DE-588)4139339-9 (DE-588)4133320-2 (DE-588)4385558-1 (DE-588)4557997-0 (DE-588)4079237-7 (DE-588)4075727-4 |
| title | Musical composition in the context of globalization new perspectives on music history in the 20th and 21st century |
| title_alt | Komponieren im Kontext der Globalisierung Musical composition in the context of globalization: new perspectives on music history in the 20th and 21st century |
| title_auth | Musical composition in the context of globalization new perspectives on music history in the 20th and 21st century |
| title_exact_search | Musical composition in the context of globalization new perspectives on music history in the 20th and 21st century |
| title_exact_search_txtP | Musical composition in the context of globalization new perspectives on music history in the 20th and 21st century |
| title_full | Musical composition in the context of globalization new perspectives on music history in the 20th and 21st century Christian Utz ; translated by Laurence Sinclair Willis |
| title_fullStr | Musical composition in the context of globalization new perspectives on music history in the 20th and 21st century Christian Utz ; translated by Laurence Sinclair Willis |
| title_full_unstemmed | Musical composition in the context of globalization new perspectives on music history in the 20th and 21st century Christian Utz ; translated by Laurence Sinclair Willis |
| title_short | Musical composition in the context of globalization |
| title_sort | musical composition in the context of globalization new perspectives on music history in the 20th and 21st century |
| title_sub | new perspectives on music history in the 20th and 21st century |
| topic | Musikgeschichtsschreibung (DE-588)4139339-9 gnd Komposition Musik (DE-588)4133320-2 gnd Kunstmusik (DE-588)4385558-1 gnd Globalisierung (DE-588)4557997-0 gnd |
| topic_facet | Musikgeschichtsschreibung Komposition Musik Kunstmusik Globalisierung Westliche Welt Ostasien |
| url | https://directory.doabooks.org/handle/20.500.12854/68054 https://doi.org/10.14361/9783839450956 https://doi.org/10.1515/9783839450956 https://directory.doabooks.org/handle/20.500.12854/72693 http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032132178&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV041550120 |
| work_keys_str_mv | AT utzchristian komponierenimkontextderglobalisierung AT willislaurencesinclair komponierenimkontextderglobalisierung AT utzchristian musicalcompositioninthecontextofglobalizationnewperspectivesonmusichistoryinthe20thand21stcentury AT willislaurencesinclair musicalcompositioninthecontextofglobalizationnewperspectivesonmusichistoryinthe20thand21stcentury |