Toronto, among the most diverse cities in the world, is home to a massive Chinese diaspora and hosts no fewer than five Chinese orchestras. Varying in size from 20 to 60 members, and in status from professional to amateur, these orchestras have been providing a home for Chinese instrumentalists and exposing Torontonians to Chinese music since 1993. In this article, I analyze the repertoire choices of three of these orchestras since 1993 to consider how their repertoire relates to their members’ identities and the organizations’ goals. In particular, I argue that the repertoire represents complex negotiations of diasporic communities, both with their audiences and among the orchestra members themselves; for instance, these orchestras’ directors seek the balance between new repertoire and old repertoire without losing audiences. Moreover, these negotiations demonstrate the impact of transnationalism (Zheng Su, 2010) and hybridity (Ang Ien, 2003) on diasporic Chinese communities in Toronto. The city’s multicultural environment enables these Chinese orchestras to collaborate with musicians and music groups from different cultural backgrounds. This article provides insights into how the history of Chinese orchestras in Toronto contributes to our understanding of how Chinese diaspora music history is actually Canadian music history.
{"title":"Patterns of Repertoire amongst Toronto Chinese Orchestras","authors":"Cui Yao","doi":"10.30819/aemr.10-6","DOIUrl":"https://doi.org/10.30819/aemr.10-6","url":null,"abstract":"\u0000 Toronto, among the most diverse cities in the world, is home to a massive Chinese diaspora and hosts no fewer\u0000than five Chinese orchestras. Varying in size from 20 to 60 members, and in status from professional to amateur,\u0000these orchestras have been providing a home for Chinese instrumentalists and exposing Torontonians to Chinese\u0000music since 1993. In this article, I analyze the repertoire choices of three of these orchestras since 1993 to\u0000consider how their repertoire relates to their members’ identities and the organizations’ goals. In particular, I\u0000argue that the repertoire represents complex negotiations of diasporic communities, both with their audiences\u0000and among the orchestra members themselves; for instance, these orchestras’ directors seek the balance between\u0000new repertoire and old repertoire without losing audiences. Moreover, these negotiations demonstrate the impact\u0000of transnationalism (Zheng Su, 2010) and hybridity (Ang Ien, 2003) on diasporic Chinese communities in\u0000Toronto. The city’s multicultural environment enables these Chinese orchestras to collaborate with musicians\u0000and music groups from different cultural backgrounds. This article provides insights into how the history of\u0000Chinese orchestras in Toronto contributes to our understanding of how Chinese diaspora music history is\u0000actually Canadian music history.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"51 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76051798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Modal musics in the Mediterranean have a resilient past and an enduring present for many people. If “the global” is defined as a set of contingent relations across multiple places, then the scalar structure, microtonal variation, and taxonomies of these modes constitute a global coherency for the region. But the performance practices of these modes are unique and challenge that coherency. How do musicians hedge interconnectedness by these practices? What does such nuanced musical interaction say about the makings of a “global history”? The Tunisian modes, called the ṭubū‘, provide a relevant case study to examine both global coherency and expressions of difference. Understood to derive from Muslim Spain in the 9th century, the ṭubū’ are sedimented structures of sound that network histories of Arab-Andalusi migration, the enslavement of Black sub-Saharan peoples, art music legacies of the Ottoman court, and expressive cultures of modern Arab identity. Today, Tunisian musicians in formal music schools qualify in not one but two modal systems: the ṭubū’ and the Eastern Mediterranean ‘maqāmāt’. As they bifurcate, fuse, juxtapose, and overlap the ṭubū’ and maqāmāt systems on stage and in classrooms, these musicians and pedagogues both promote and circumvent globalism. Based on ethnography in Tunisia (2018-2019) and also Tunisian scholarship, this paper describes and analyzes such nuanced discourses to demonstrate a variety of globalism that is non-Western, proportioned, and richly historical.
{"title":"Globalism and Mediterranean Modal Musics: The Case of the Tunisian Ṭubū’","authors":"Jared Holton","doi":"10.30819/aemr.10-8","DOIUrl":"https://doi.org/10.30819/aemr.10-8","url":null,"abstract":"\u0000 Modal musics in the Mediterranean have a resilient past and an enduring present for many people. If “the global”\u0000is defined as a set of contingent relations across multiple places, then the scalar structure, microtonal variation,\u0000and taxonomies of these modes constitute a global coherency for the region. But the performance practices of these\u0000modes are unique and challenge that coherency. How do musicians hedge interconnectedness by these practices?\u0000What does such nuanced musical interaction say about the makings of a “global history”? The Tunisian modes,\u0000called the ṭubū‘, provide a relevant case study to examine both global coherency and expressions of difference.\u0000Understood to derive from Muslim Spain in the 9th century, the ṭubū’ are sedimented structures of sound that\u0000network histories of Arab-Andalusi migration, the enslavement of Black sub-Saharan peoples, art music legacies\u0000of the Ottoman court, and expressive cultures of modern Arab identity. Today, Tunisian musicians in formal music\u0000schools qualify in not one but two modal systems: the ṭubū’ and the Eastern Mediterranean ‘maqāmāt’. As they\u0000bifurcate, fuse, juxtapose, and overlap the ṭubū’ and maqāmāt systems on stage and in classrooms, these musicians\u0000and pedagogues both promote and circumvent globalism. Based on ethnography in Tunisia (2018-2019) and also\u0000Tunisian scholarship, this paper describes and analyzes such nuanced discourses to demonstrate a variety of\u0000globalism that is non-Western, proportioned, and richly historical.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76322796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is a spontaneous review discussion about the ethnographic film ‘Indus Blues’, produced by Jawad Sharif in 2018 and it has won many awards on several occasions. Nine reviewing persons were asked to write some lines about their first impressions, which were then discussed and summarized. The review discussion mainly contains the data provided.
{"title":"Indus Blues: A Short Collection of Impressions on an Ethnographic Documentary","authors":"Chaudhuri","doi":"10.30819/aemr.9-9","DOIUrl":"https://doi.org/10.30819/aemr.9-9","url":null,"abstract":"\u0000 This is a spontaneous review discussion about the ethnographic film ‘Indus Blues’, produced by Jawad Sharif in 2018 and it has won many awards on several occasions. Nine reviewing persons were asked to write some lines about their first impressions, which were then discussed and summarized. The review discussion mainly contains the data provided. \u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85848711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of ‘Jim Sykes (2018). The Musical Gift: Sonic Generosity in Post-War Sri Lanka","authors":"Chinthaka Prageeth Meddegoda","doi":"10.30819/aemr.9-11","DOIUrl":"https://doi.org/10.30819/aemr.9-11","url":null,"abstract":"","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86654212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is devoted to the analysis of the history and the current state of the study of World Music Cultures in the Russian higher musical education. The article mainly took into account the experience of St. Petersburg and Moscow as the most indicative. The process of introducing World music in training courses in Moscow and St. Petersburg included four stages. Within the framework of the first stage, ethnomusicology, the history of music was coordinated. Some problems of World music were highlighted by Russian scientists MI Ivanov–Boretsky and B Asafiev. In the second stage, RI Gruber's multilateral activities stand out, whose course, History of World Musical Culture included extensive material on musical cultures of Ancient East, including Iran, India, China, as well as medieval Chinese and Arab cultures. The third stage is characterized by the separation of World Music Cultures into a separate area of research and training courses. This process is demonstrated with the example of the creative activity of the composer and scientist JK Mikhailov. He based his approach on the positions of musical cultural studies and combined with a training course with several scientific directions: the history of music, music Oriental studies, and ethnomusicology. The modern stage parameters of the course, of nonEuropean musical cultures, are indicated. The spread of the course in Russia and neighboring countries, the republics of the USSR, is shown. The author gives examples of the programs and the manuals for this course, and indicates the position of training in the field of postgraduate and doctoral studies. This direction is developing in four modern schools of Russian musical Oriental Studies: Moscow, St. Petersburg, Novosibirsk, and Far Eastern.
{"title":"World Music Cultures in Russian Musical Education","authors":"Violetta Yunusova","doi":"10.30819/aemr.9-8","DOIUrl":"https://doi.org/10.30819/aemr.9-8","url":null,"abstract":"\u0000 The article is devoted to the analysis of the history and the current state of the study of World Music Cultures in the Russian higher musical education. The article mainly took into account the experience of St. Petersburg and Moscow as the most indicative. The process of introducing World music in training courses in Moscow and St. Petersburg included four stages.\u0000 Within the framework of the first stage, ethnomusicology, the history of music was coordinated. Some problems of World music were highlighted by Russian scientists MI Ivanov–Boretsky and B Asafiev.\u0000In the second stage, RI Gruber's multilateral activities stand out, whose course, History of World Musical Culture included extensive material on musical cultures of Ancient East, including Iran, India, China, as well as medieval Chinese and Arab cultures.\u0000The third stage is characterized by the separation of World Music Cultures into a separate area of research and training courses. This process is demonstrated with the example of the creative activity of the composer and scientist JK Mikhailov. He based his approach on the positions of musical cultural studies and combined with a training course with several scientific directions: the history of music, music Oriental studies, and ethnomusicology. \u0000The modern stage parameters of the course, of nonEuropean musical cultures, are indicated. The spread of the course in Russia and neighboring countries, the republics of the USSR, is shown. The author gives examples of the programs and the manuals for this course, and indicates the position of training in the field of postgraduate and doctoral studies. This direction is developing in four modern schools of Russian musical Oriental Studies: Moscow, St. Petersburg, Novosibirsk, and Far Eastern.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74150815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The COVID-19 pandemic, still present in our lives as I carve these lines, dictates not only daily routines but also scholarly concerns. Thus, global musical networks, the subject of this essay, should be a pertinent concern for musicologists today more than ever before. If we needed a tangible proof of human interdependence at a global level, then this boundless health crisis showed the full extent to which human civilization is hyper-connected. However, one should not turn the idea of connectivity into an exclusively modern phenomenon. Humans interacted with each other from the dawn of evolution. What changed in our times is simply the intensity of such interdependence generated by new transportation and information flow technologies. Music is not immune to such transformative processes. Therefore, human connectivity is also an essential ingredient of a global vision of history and of music history in particular. Music studies are relatively latecomers to the idea of global history as a conceptual framework of research but not in practice, as I shall comment on a moment. The establishment of a Study Group at ICTM dedicated to a global history of music is a response to a new paradigm in the ‘economy of historical knowledge’, namely, how we speak and write about music history.1 Yet, many members of ICTM have been addressing music history from global perspectives ever since its establishment in 1947 without profiling what they did by this name. Therefore, before addressing the concept at the center of this paper, diaspora and its pertinence to global music history, some brief remarks on global history in general are called for.
{"title":"Diasporas and Global Musical Networks: Jewish Perspectives","authors":"E. Seroussi","doi":"10.30819/aemr.9-1","DOIUrl":"https://doi.org/10.30819/aemr.9-1","url":null,"abstract":"\u0000 The COVID-19 pandemic, still present in our lives as I carve these lines, dictates not only daily routines but also scholarly concerns. Thus, global musical networks, the subject of this essay, should be a pertinent concern for musicologists today more than ever before. If we needed a tangible proof of human interdependence at a global level, then this boundless health crisis showed the full extent to which human civilization is hyper-connected. However, one should not turn the idea of connectivity into an exclusively modern phenomenon. Humans interacted with each other from the dawn of evolution. What changed in our times is simply the intensity of such interdependence generated by new transportation and information flow technologies.\u0000Music is not immune to such transformative processes. Therefore, human connectivity is also an essential ingredient of a global vision of history and of music history in particular. Music studies are relatively latecomers to the idea of global history as a conceptual framework of research but not in practice, as I shall comment on a moment. The establishment of a Study Group at ICTM dedicated to a global history of music is a response to a new paradigm in the ‘economy of historical knowledge’, namely, how we speak and write about music history.1 Yet, many members of ICTM have been addressing music history from global perspectives ever since its establishment in 1947 without profiling what they did by this name. Therefore, before addressing the concept at the center of this paper, diaspora and its pertinence to global music history, some brief remarks on global history in general are called for. \u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88441244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Prof. Dr. Jocelyn Clark is an assistant professor at Pai Chai University in South Korea. She has published in academic journals such as The World of Music, Asian Musicology, and Perspectives on Korean Music. Her research interests include orality, music of place, and contemporary “national music” performance practices in Korea, China, and Japan. She is engaged in long-term field research on sanjo and byeongchang, Korean traditional genres of which she is also a practitioner. She commissioned and/or premiered over 30 new works for Korean gayageum.
{"title":"‘A Tiger’s Coming Down’: Gugak in the Metaverse","authors":"Jocelyn Clark","doi":"10.30819/aemr.9-3","DOIUrl":"https://doi.org/10.30819/aemr.9-3","url":null,"abstract":"\u0000 Prof. Dr. Jocelyn Clark is an assistant professor at Pai Chai University in South Korea. She has published in academic journals such as The World of Music, Asian Musicology, and Perspectives on Korean Music. Her research interests include orality, music of place, and contemporary “national music” performance practices in Korea, China, and Japan. She is engaged in long-term field research on sanjo and byeongchang, Korean traditional genres of which she is also a practitioner. She commissioned and/or premiered over 30 new works for Korean gayageum. \u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80906317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the establishment of the Singapore Chinese Orchestra (Xinjiapo huayue tuan 新加坡華樂團) in 1997, it has attempted to develop its approach to Chinese music differently from other international counterparts. Gradually, the Singapore Chinese Orchestra developed and performed Chinese music, reflecting Singapore’s diverse cultures and identities by incorporating non-Chinese music elements from Singapore and Southeast Asia. This article examines the “Nanyang-style music” (Nanyang feng huayue 南洋風華樂) of the Singapore Chinese Orchestra. It draws on Tu Wei-Ming’s (1991) concept of ‘Cultural China’ and builds on Brian Bernards’ (2015) work on the ‘Nanyang’ in Chinese and Southeast Asian literature to consider the creation and performance of new forms of modern Chinese orchestral music. I argue that the Singapore Chinese Orchestra’s Nanyang-style music, which has its roots in modern Chinese orchestral music, is created and performed to present the cultural hybridity of the Chinese in Singapore society. This article shows that the Nanyang-style music is performed in two ways, namely, Chinese music combining Nanyang elements and Chinese music presenting a Singaporean identity.
{"title":"Performing the South Seas: Singapore Chinese Orchestra and the Making of Nanyang-Style Music","authors":"Lee Ming-yen [李明晏]","doi":"10.30819/aemr.9-2","DOIUrl":"https://doi.org/10.30819/aemr.9-2","url":null,"abstract":"\u0000 Since the establishment of the Singapore Chinese Orchestra (Xinjiapo huayue tuan 新加坡華樂團) in 1997, it has attempted to develop its approach to Chinese music differently from other international counterparts. Gradually, the Singapore Chinese Orchestra developed and performed Chinese music, reflecting Singapore’s diverse cultures and identities by incorporating non-Chinese music elements from Singapore and Southeast Asia. This article examines the “Nanyang-style music” (Nanyang feng huayue 南洋風華樂) of the Singapore Chinese Orchestra. It draws on Tu Wei-Ming’s (1991) concept of ‘Cultural China’ and builds on Brian Bernards’ (2015) work on the ‘Nanyang’ in Chinese and Southeast Asian literature to consider the creation and performance of new forms of modern Chinese orchestral music. I argue that the Singapore Chinese Orchestra’s Nanyang-style music, which has its roots in modern Chinese orchestral music, is created and performed to present the cultural hybridity of the Chinese in Singapore society. This article shows that the Nanyang-style music is performed in two ways, namely, Chinese music combining Nanyang elements and Chinese music presenting a Singaporean identity.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88459712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This short descriptive paper shows the early development of the Chinese National Anthem as presented abroad. The paper was extracted and improved from a self-published book by the author who had spent a lot of time in compiling facts and data about the musical legacy of a foreigner who had lived for many years in Shanghai. The paper starts off with a neglected part of an Exhibition Catalogue in 1884, which included music pieces played at a Health Exhibition held in the United Kingdom. Robert Hart, the named foreigner, as well as other foreigners were involved in this undertaking and a detailed review conducted of his correspondence and material collected by the author revealed a number of interesting facts.
{"title":"Notes on an Early Chinese National Anthem","authors":"Keith Robinson","doi":"10.30819/aemr.9-4","DOIUrl":"https://doi.org/10.30819/aemr.9-4","url":null,"abstract":"\u0000 This short descriptive paper shows the early development of the Chinese National Anthem as presented abroad. The paper was extracted and improved from a self-published book by the author who had spent a lot of time in compiling facts and data about the musical legacy of a foreigner who had lived for many years in Shanghai. The paper starts off with a neglected part of an Exhibition Catalogue in 1884, which included music pieces played at a Health Exhibition held in the United Kingdom. Robert Hart, the named foreigner, as well as other foreigners were involved in this undertaking and a detailed review conducted of his correspondence and material collected by the author revealed a number of interesting facts.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89925608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper addresses the modernisation of musical traditions in Soviet and Post-Soviet states, by assessing the development of particular conservatoires as proxies for the dominant discursive and political paradigms of the era. While a prominent historical purpose for the establishment of these musical institutions was for the successful introduction of the Western style of education to the Soviet Union, the situation has seen a marked change since the fall of the USSR. Much of this transition is closely tied to concepts of social and legal sovereignty, with many conservatories struggling with the political and economic transformation in the post-Soviet era, due to cultural, religious and social policy. Three particular conservatoires are used to illustrate this hypothesis: the Moscow State Conservatoire (founded in 1866), Kazan Conservatoire (founded in 1945) and State conservatoire of Uzbekistan (founded in 1936).
{"title":"The Quality and Stature of Soviet and Post-Soviet Musical Education: An Analysis of Music Conserva-toires","authors":"R. Sultanova","doi":"10.30819/aemr.9-7","DOIUrl":"https://doi.org/10.30819/aemr.9-7","url":null,"abstract":"\u0000 This paper addresses the modernisation of musical traditions in Soviet and Post-Soviet states, by assessing the development of particular conservatoires as proxies for the dominant discursive and political paradigms of the era. While a prominent historical purpose for the establishment of these musical institutions was for the successful introduction of the Western style of education to the Soviet Union, the situation has seen a marked change since the fall of the USSR. Much of this transition is closely tied to concepts of social and legal sovereignty, with many conservatories struggling with the political and economic transformation in the post-Soviet era, due to cultural, religious and social policy. Three particular conservatoires are used to illustrate this hypothesis: the Moscow State Conservatoire (founded in 1866), Kazan Conservatoire (founded in 1945) and State conservatoire of Uzbekistan (founded in 1936).\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82441797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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