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
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
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Decentering Musical Modernity
Nonsimultaneity of the Simultaneous: Internationalism and Universalism in Postwar Art Music until the 1970s
Seiten 207 - 246 -
Musical Composition in the Context of Globalization
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 -
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 -
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 -
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 -
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 -
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 -
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