Musical Composition in the Context of Globalization
New Perspectives on Music History in the 20th and 21st Century
Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally – a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic.
Overview Chapters
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Frontmatter
Seiten 1 - 4 -
Table of Contents
Seiten 5 - 8 -
Preface
Seiten 9 - 10 -
Preface to the Revised and Expanded English Edition
Seiten 11 - 14 -
Acknowledgements
Seiten 15 - 16 -
List of Examples, Figures, and Tables
Seiten 17 - 24 -
I. Introduction: Art Music, Identity, and Reflexive Globalization
1. Art Music in a Global Context
Seiten 25 - 28 -
2. Identity Criticism and Reflexive Globalization
Seiten 29 - 38 -
3. Discourses of Intercultural Composition
Seiten 38 - 46 -
II. Toward an Entangled History of Twentieth-Century Music in a Global Context
1. Preliminaries of an Intercultural Music Historiography
Seiten 47 - 63 -
2. Internationalism and Universalism: Repercussions of Political and Cultural History
Seiten 63 - 75 -
3. The Ambivalence of the Local in Twentieth-Century Music
Seiten 75 - 82 -
4. Modernist Reception of Japanese and Indian Traditional Music between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka
Seiten 82 - 113 -
5. Re-Reading the Impact of the "Cultural Cold War" on Music History: Cowell, Mayuzumi, Berio
Seiten 114 - 135 -
6. Categories of Intercultural Reception in Western Composition
Seiten 135 - 154 -
III. Studies on the History and Analysis of New East Asian Music
1. The Reception of Western Modernism in the Music of China and Japan Since the Late Nineteenth Century
Seiten 155 - 167 -
2. Triggering Musical Modernism in China: The Work of Wolfgang Fraenkel in Shanghai Exile
Seiten 167 - 194 -
3. The Travels of a Jasmine Flower: A Chinese Folk Song, Its Prehistory, and Tan Dun's Symphony 1997
Seiten 194 - 205 -
4. Probing the Compositional Relevance of Cultural Difference: Key Tendencies of East Asian New Music Since the 1950s
Seiten 206 - 235 -
5. Intercultural Narrativity in East Asian Art Music since the 1990s
Seiten 235 - 263 -
6. The Impact of Traditional Music on Composition in Taiwan since the Postwar Period
Seiten 263 - 288 -
IV. The shō Context
1. Transformation and Myth Criticism in Works for the Japanese Mouth Organ
Seiten 289 - 308 -
2. The shō as a Medium of Alterity and Self-Referentiality in Helmut Lachenmann's Music
Seiten 308 - 336 -
V. New Music and Beyond: Music-Historical and Cultural Entanglements
1. The Rediscovery of Presence: Intercultural Passages Through Vocal Spaces Between Speech and Song
Seiten 337 - 362 -
2. Space-Time Movements in György Ligeti's Piano Concerto: Polymeter and Conflicting Meter in Historical and Intercultural Perspective
Seiten 363 - 384 -
3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning
Seiten 385 - 392 -
VI. Reflections on My Own Composing as a Search for Traces in the In-Between
1. Layered Fabric, Intertextuality, and Cultural Context: From Striated to Open Space
Seiten 393 - 402 -
2. Stratification and Analysis
Seiten 402 - 411 -
3. Intercultural and Multilingual Trajectories of the Human Voice
Seiten 411 - 428 -
4. Composition as Polyphony: Creating, Performing, and Perceiving Music Non-Hierarchically
Seiten 428 - 440 -
Bibliography
Seiten 441 - 490 -
Appendix
Seiten 491 - 496 -
Index
Seiten 497 - 530
31 March 2021, 528 pages
ISBN: 978-3-8376-5095-2
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