Christian Utz

ORCID:0000-0002-5528-8780

Christian Utz is Professor of Music Theory and Analysis at the University of Music and Performing Arts Graz and an associate professor at the University of Vienna. He directed the FWF-funded research projects »A Context-Sensitive Theory of Post-tonal Sound Organization« (2012-2014) and »Performing, Experiencing and Theorizing Augmented Listening« (2017-2020).

transcript-Publications in the Research Fields: Musicology, Musicology and Sound Studies

Publications in the Series: Music and Sound Culture

Web: Academia.edu

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Musical Composition in the Context of Globalization
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Musical Composition in the Context of Globalization

New Perspectives on Music History in the 20th and 21st Century

This book provides a deeper understanding of how processes of globalization, cultural exchange, and transformation are reflected in new musical structures, sounds, and communication.

Book Chapter


  1. Musical Composition in the Context of Globalization

    Frontmatter

    Seiten 1 - 4
  2. Table of Contents

    Seiten 5 - 8
  3. Preface

    Seiten 9 - 10
  4. Preface to the Revised and Expanded English Edition

    Seiten 11 - 14
  5. Acknowledgements

    Seiten 15 - 16
  6. List of Examples, Figures, and Tables

    Seiten 17 - 24
  7. 1. Art Music in a Global Context

    Seiten 25 - 28
  8. 2. Identity Criticism and Reflexive Globalization

    Seiten 29 - 38
  9. 3. Discourses of Intercultural Composition

    Seiten 38 - 46
  10. 1. Preliminaries of an Intercultural Music Historiography

    Seiten 47 - 63
  11. 2. Internationalism and Universalism: Repercussions of Political and Cultural History

    Seiten 63 - 75
  12. 3. The Ambivalence of the Local in Twentieth-Century Music

    Seiten 75 - 82
  13. 4. Modernist Reception of Japanese and Indian Traditional Music between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka

    Seiten 82 - 113
  14. 5. Re-Reading the Impact of the "Cultural Cold War" on Music History: Cowell, Mayuzumi, Berio

    Seiten 114 - 135
  15. 6. Categories of Intercultural Reception in Western Composition

    Seiten 135 - 154
  16. 1. The Reception of Western Modernism in the Music of China and Japan Since the Late Nineteenth Century

    Seiten 155 - 167
  17. 2. Triggering Musical Modernism in China: The Work of Wolfgang Fraenkel in Shanghai Exile

    Seiten 167 - 194
  18. 3. The Travels of a Jasmine Flower: A Chinese Folk Song, Its Prehistory, and Tan Dun's Symphony 1997

    Seiten 194 - 205
  19. 4. Probing the Compositional Relevance of Cultural Difference: Key Tendencies of East Asian New Music Since the 1950s

    Seiten 206 - 235
  20. 5. Intercultural Narrativity in East Asian Art Music since the 1990s

    Seiten 235 - 263
  21. 6. The Impact of Traditional Music on Composition in Taiwan since the Postwar Period

    Seiten 263 - 288
  22. 1. Transformation and Myth Criticism in Works for the Japanese Mouth Organ

    Seiten 289 - 308
  23. 2. The shō as a Medium of Alterity and Self-Referentiality in Helmut Lachenmann's Music

    Seiten 308 - 336
  24. 1. The Rediscovery of Presence: Intercultural Passages Through Vocal Spaces Between Speech and Song

    Seiten 337 - 362
  25. 2. Space-Time Movements in György Ligeti's Piano Concerto: Polymeter and Conflicting Meter in Historical and Intercultural Perspective

    Seiten 363 - 384
  26. 3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning

    Seiten 385 - 392
  27. 1. Layered Fabric, Intertextuality, and Cultural Context: From Striated to Open Space

    Seiten 393 - 402
  28. 2. Stratification and Analysis

    Seiten 402 - 411
  29. 3. Intercultural and Multilingual Trajectories of the Human Voice

    Seiten 411 - 428
  30. 4. Composition as Polyphony: Creating, Performing, and Perceiving Music Non-Hierarchically

    Seiten 428 - 440
  31. Bibliography

    Seiten 441 - 490
  32. Appendix

    Seiten 491 - 496
  33. Index

    Seiten 497 - 530

  34. Decentering Musical Modernity

    Nonsimultaneity of the Simultaneous: Internationalism and Universalism in Postwar Art Music until the 1970s

    Seiten 207 - 246

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