Controversies are a regular feature on the international classical music competition circuit, and some of these explode into scandals that are remembered long afterward. This essay draws from the sociology of scandal to identify the conditions that predispose classical music competitions to moral disruption and to examine the cultural process through which a scandal attains legendary status. The case considered in depth is the International Fryderyk Chopin Piano Competition and the controversy surrounding Ivo Pogorelich’s elimination from the 10th Competition in 1980. Through an analysis of media coverage in Polish and English, I show how the scandal was discursively constructed through two interpretive frameworks: the collective memory of previous controversies at the Chopin Competition, and a generational divide. I also trace the legacy of the scandal over the decades that followed. Following Durkheim, I argue that controversies at classical music competitions should not be taken as an indication of their decline. Rather, scandals – especially legendary ones – can have positive effects for competition organisations and the wider social world of classical music, as long as they do not become chronic.
{"title":"Pogorelich at the Chopin: Towards a sociology of competition scandals","authors":"Lisa McCormick","doi":"10.56693/cr.103","DOIUrl":"https://doi.org/10.56693/cr.103","url":null,"abstract":"Controversies are a regular feature on the international classical music competition circuit, and some of these explode into scandals that are remembered long afterward. This essay draws from the sociology of scandal to identify the conditions that predispose classical music competitions to moral disruption and to examine the cultural process through which a scandal attains legendary status. The case considered in depth is the International Fryderyk Chopin Piano Competition and the controversy surrounding Ivo Pogorelich’s elimination from the 10th Competition in 1980. Through an analysis of media coverage in Polish and English, I show how the scandal was discursively constructed through two interpretive frameworks: the collective memory of previous controversies at the Chopin Competition, and a generational divide. I also trace the legacy of the scandal over the decades that followed. Following Durkheim, I argue that controversies at classical music competitions should not be taken as an indication of their decline. Rather, scandals – especially legendary ones – can have positive effects for competition organisations and the wider social world of classical music, as long as they do not become chronic.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123144720","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}
Fryderyk Chopin’s Fantasy in F minor, Op. 49 (1841) is considered a pinnacle of the composer’s oeuvre. Invoking the so-called stylus phantasticus, the Fantasy is presumed to betray something of Chopin’s legendary free improvisations, and includes the expected diversity of musical material in different metres, keys and tempi. Yet the work also evinces a quasi-Classical regularity, alluding to several set forms. Strikingly, while commentators such as Halina Goldberg, John Rink and Jeffrey Kallberg have explored hermeneutic, topical and formal ramifications of certain sections of the piece, few scholars have attempted a comprehensive structural analysis of the Fantasy. One exception is Carl Schachter, who parses the Fantasy from a Schenkerian standpoint and proposes a rotational basis for the return of themes. However, Schachter’s interpretation does not fully explain the piece’s reliance upon fifth relations, which seems to have more conservative, Classical origins. In this paper, I explore how Chopin’s Fantasy may be seen to exhibit a stylised sonata allegro form, in which both first and second subjects are split into two parts in different keys. As such, I apply the concept of tonal pairing, championed by such authors as Robert Bailey and Peter Smith, to a seminal work of Chopin, shedding further light on Chopin’s inventive manipulation of Classical sonata form. I will also discuss elements of cyclic form as discussed by Schachter, and devices by which Chopin strengthens or weakens the sense of telos. I conclude that a loose sonata form is the predominant mode of motivic and tonal organisation in Chopin’s Fantasy, Op. 49, and that many of the seeming departures from this form can be accounted for as transitions or instances of teleological genesis.
弗雷德里克·肖邦的F小调幻想作品49(1841)被认为是作曲家作品的巅峰之作。《幻想》被认为是对肖邦传奇的自由即兴创作的背叛，包括在不同的米、键和速度下预期的音乐材料的多样性。然而，这项工作也证明了一种准古典的规律性，暗指几种集合形式。引人注目的是，虽然像Halina Goldberg, John Rink和Jeffrey Kallberg这样的评论家已经探索了该作品某些部分的解释学，主题和形式分支，但很少有学者试图对《幻想》进行全面的结构分析。Carl Schachter是个例外，他从申克的角度分析了幻想，并提出了主题回归的轮换基础。然而，Schachter的解释并不能完全解释作品对第五关系的依赖，第五关系似乎有更保守的古典渊源。在本文中，我探讨了肖邦的幻想如何被视为一种程式化的奏鸣曲快板形式，其中第一和第二主题在不同的键上被分成两个部分。因此，我将罗伯特·贝利(Robert Bailey)和彼得·史密斯(Peter Smith)等作家所倡导的音调配对概念应用于肖邦的一部开创性作品，进一步阐明肖邦对古典奏鸣曲形式的创造性操纵。我还将讨论沙克特讨论过的循环曲式的元素，以及肖邦加强或削弱末音感的方法。我的结论是，在肖邦的《幻想》(Op. 49)中，松散的奏鸣曲形式是动机和调性组织的主要模式，许多表面上与这种形式的背离可以被解释为过渡或目的论起源的实例。
{"title":"A Fantasy about Sonata Form: Re-Examining Chopin’s Fantasy, Op. 49","authors":"N. Kennedy","doi":"10.56693/cr.122","DOIUrl":"https://doi.org/10.56693/cr.122","url":null,"abstract":"Fryderyk Chopin’s Fantasy in F minor, Op. 49 (1841) is considered a pinnacle of the composer’s oeuvre. Invoking the so-called stylus phantasticus, the Fantasy is presumed to betray something of Chopin’s legendary free improvisations, and includes the expected diversity of musical material in different metres, keys and tempi. Yet the work also evinces a quasi-Classical regularity, alluding to several set forms. Strikingly, while commentators such as Halina Goldberg, John Rink and Jeffrey Kallberg have explored hermeneutic, topical and formal ramifications of certain sections of the piece, few scholars have attempted a comprehensive structural analysis of the Fantasy. One exception is Carl Schachter, who parses the Fantasy from a Schenkerian standpoint and proposes a rotational basis for the return of themes. However, Schachter’s interpretation does not fully explain the piece’s reliance upon fifth relations, which seems to have more conservative, Classical origins. In this paper, I explore how Chopin’s Fantasy may be seen to exhibit a stylised sonata allegro form, in which both first and second subjects are split into two parts in different keys. As such, I apply the concept of tonal pairing, championed by such authors as Robert Bailey and Peter Smith, to a seminal work of Chopin, shedding further light on Chopin’s inventive manipulation of Classical sonata form. I will also discuss elements of cyclic form as discussed by Schachter, and devices by which Chopin strengthens or weakens the sense of telos. I conclude that a loose sonata form is the predominant mode of motivic and tonal organisation in Chopin’s Fantasy, Op. 49, and that many of the seeming departures from this form can be accounted for as transitions or instances of teleological genesis.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116982010","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}
Pianos find resonance in Shanghai’s treaty port history through their constant and changing inflections of coloniality, here understood as a deep-rooted historical condition replaying itself in strange, latent ways. Accordingly, this article explores the piano’s role as subject, enmeshed as it is within the treaty port as a peculiar plural setting, within the treaty port’s workings of music, power and place, and within the treaty port’s multiple entanglements with coloniality – in situ and over time. The piano, in a sense, lives vicariously through its allusions to colonialism’s hangover codes and structures. In turn, I conceptualise and investigate the piano (as) subject by cross-examining colonialities in and across French Shanghai of the 1930s and Chinese Nationalist Shanghai of the 1940s. Significantly, this discussion extends through temporal significations of place, revealing inner paradoxes of enclosure and experience, for one thing, and their regulatory manifestations across Shanghai’s treaty[1]port and post-treaty-port years, for another. Indeed, Shanghai’s French Concession in the 1930s, along with its incorporation back into the city’s Chinese Nationalist municipality from the mid to the late 1940s, are especially pertinent moments of inquiry, for these identified areas expose an underlying process of continuity-in[1]change, amid and despite the post-war resumption of sovereignty. Further such particularities help to eschew the rigidity of a foreign/indigenous dichotomy. Through observations of social order and ordering, as derived from the piano subject and its place signification, I explore the coiled workings of coloniality in Shanghai’s treaty port history, as well as interlocked meanings of power and perplexity, territory and ambience across licensed and taxable venues in the French Concession and the Chinese Nationalist municipality. Finally, from the treaty port setting, wider reflections follow on what I term ‘colonialities without recourse’, by which colonialities in the plural beget non-conclusive colonialities – in themselves awkward, yet telling, narratives of musical lives.
{"title":"Coiled Colonialities: Pianos and Place Signification in Shanghai’s Treaty Port History","authors":"Yvonne Liao","doi":"10.56693/cr.6","DOIUrl":"https://doi.org/10.56693/cr.6","url":null,"abstract":"Pianos find resonance in Shanghai’s treaty port history through their constant and changing inflections of coloniality, here understood as a deep-rooted historical condition replaying itself in strange, latent ways. Accordingly, this article explores the piano’s role as subject, enmeshed as it is within the treaty port as a peculiar plural setting, within the treaty port’s workings of music, power and place, and within the treaty port’s multiple entanglements with coloniality – in situ and over time. The piano, in a sense, lives vicariously through its allusions to colonialism’s hangover codes and structures. In turn, I conceptualise and investigate the piano (as) subject by cross-examining colonialities in and across French Shanghai of the 1930s and Chinese Nationalist Shanghai of the 1940s. Significantly, this discussion extends through temporal significations of place, revealing inner paradoxes of enclosure and experience, for one thing, and their regulatory manifestations across Shanghai’s treaty[1]port and post-treaty-port years, for another. Indeed, Shanghai’s French Concession in the 1930s, along with its incorporation back into the city’s Chinese Nationalist municipality from the mid to the late 1940s, are especially pertinent moments of inquiry, for these identified areas expose an underlying process of continuity-in[1]change, amid and despite the post-war resumption of sovereignty. Further such particularities help to eschew the rigidity of a foreign/indigenous dichotomy. Through observations of social order and ordering, as derived from the piano subject and its place signification, I explore the coiled workings of coloniality in Shanghai’s treaty port history, as well as interlocked meanings of power and perplexity, territory and ambience across licensed and taxable venues in the French Concession and the Chinese Nationalist municipality. Finally, from the treaty port setting, wider reflections follow on what I term ‘colonialities without recourse’, by which colonialities in the plural beget non-conclusive colonialities – in themselves awkward, yet telling, narratives of musical lives.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128790023","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 traces the reception of Chopin’s music and its evolution in Japan from the mid-nineteenth to the mid-twentieth century. The reception of Chopin’s music in Japan during the Meiji era (1868–1912) took place through direct and immediate person-to[1]person contact. One of the important figures in early piano education in Japan was Shige Uryū (1862–1928). The musical education she received in America from 1871 to 1881 is a significant factor in explaining why Chopin’s music was played in Japan at such an early stage. She taught piano at the Ongaku Torishirabe Gakari (Institute for Musical Research). In the last year of the Meiji era, the first solo piano recital in Japan was given by Ryūkichi Sawada (1886–1936). Its programme consisted exclusively of works by Chopin. Then, during the transition period from the Meiji era to the Taishō era (1912–1926), SP records became popular in Japan. At that time, concert styles and formats were diversified, and people started to embrace Western music as part of mass entertainment. In the Shōwa era (1926–1989), the reception of Chopin’s music and its evolution in Japan finally reached a culminating point with the appearance of the first two Japanese pianists at the 3rd International Chopin Piano Competition in 1937. This inaugurated a tradition of Japanese participation in the Chopin Competition in Warsaw that has continued to this day, to the extent that we may reasonably question whether it is any longer appropriate to refer to the ‘reception’ of Chopin in Japan. The Chopin competition also became a main theme for a cartoon series titled Forest of Piano. The composer is now an integral part of Japanese culture.
{"title":"Chopin in Japan: From Ongaku Torishirabe Gakari to Forest of Pia","authors":"J. Tada","doi":"10.56693/cr.10","DOIUrl":"https://doi.org/10.56693/cr.10","url":null,"abstract":"This paper traces the reception of Chopin’s music and its evolution in Japan from the mid-nineteenth to the mid-twentieth century. The reception of Chopin’s music in Japan during the Meiji era (1868–1912) took place through direct and immediate person-to[1]person contact. One of the important figures in early piano education in Japan was Shige Uryū (1862–1928). The musical education she received in America from 1871 to 1881 is a significant factor in explaining why Chopin’s music was played in Japan at such an early stage. She taught piano at the Ongaku Torishirabe Gakari (Institute for Musical Research). In the last year of the Meiji era, the first solo piano recital in Japan was given by Ryūkichi Sawada (1886–1936). Its programme consisted exclusively of works by Chopin. Then, during the transition period from the Meiji era to the Taishō era (1912–1926), SP records became popular in Japan. At that time, concert styles and formats were diversified, and people started to embrace Western music as part of mass entertainment. In the Shōwa era (1926–1989), the reception of Chopin’s music and its evolution in Japan finally reached a culminating point with the appearance of the first two Japanese pianists at the 3rd International Chopin Piano Competition in 1937. This inaugurated a tradition of Japanese participation in the Chopin Competition in Warsaw that has continued to this day, to the extent that we may reasonably question whether it is any longer appropriate to refer to the ‘reception’ of Chopin in Japan. The Chopin competition also became a main theme for a cartoon series titled Forest of Piano. The composer is now an integral part of Japanese culture.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127625608","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 article examines the use of Chopin’s music in video games created by Japanese developers. While, as William Gibbons and others have documented, classical music has been used throughout the history of video games, a surprising number of Japanese games have used Chopin’s music. Sometimes this music is presented as a straightforward performance of a piece by Chopin, while others remix, vary or interpolate Chopin’s musical materials in new compositions. Chopin’s music here stages many of the tensions and possibilities found in the video game medium. In that sense, it ‘thematises’ video games. The article focuses on three aspects of Chopin in games. The first is sentimentalism (both in association with death, the supernatural and the morbid, and in association with sexual romance and romanticism more broadly). Secondly, Chopin’s music is associated with virtuosity, intertwining emotion and physicality. Finally, Chopin’s music is used as an agent for postmodern juxtaposition, in the process problematising a divide between art and mass culture. These three trends are interlinked and draw upon longstanding historical images and connotative values in relation to Chopin. The discussion builds on antecedent research concerning Chopin’s reception by Lawrence Kramer, Jim Samson, Charles Rosen and Stephen Downes, critical perspectives on games and/as musical interfaces by David Sudnow and Roger Moseley, and discussions of classical music in popular culture by Andreas Huyssen and Mina Yang. Key case studies include Space Adventure Cobra, Clock Tower 3, Eternal Sonata, Gran Turismo, Pop’n Music, Catherine and a selection of visual novels. Chopin’s music in Japanese games serves as a way to understand the meanings of that music in a modern pop-culture context. Besides that, however, such a study uncovers how the issues central to the discourse of Chopin are manifest and (re)configured in a medium and context of production very far removed from the music’s origins.
{"title":"Images of Chopin in, and through, Japanese Video Games","authors":"T. Summers","doi":"10.56693/cr.11","DOIUrl":"https://doi.org/10.56693/cr.11","url":null,"abstract":"This article examines the use of Chopin’s music in video games created by Japanese developers. While, as William Gibbons and others have documented, classical music has been used throughout the history of video games, a surprising number of Japanese games have used Chopin’s music. Sometimes this music is presented as a straightforward performance of a piece by Chopin, while others remix, vary or interpolate Chopin’s musical materials in new compositions. Chopin’s music here stages many of the tensions and possibilities found in the video game medium. In that sense, it ‘thematises’ video games. The article focuses on three aspects of Chopin in games. The first is sentimentalism (both in association with death, the supernatural and the morbid, and in association with sexual romance and romanticism more broadly). Secondly, Chopin’s music is associated with virtuosity, intertwining emotion and physicality. Finally, Chopin’s music is used as an agent for postmodern juxtaposition, in the process problematising a divide between art and mass culture. These three trends are interlinked and draw upon longstanding historical images and connotative values in relation to Chopin. The discussion builds on antecedent research concerning Chopin’s reception by Lawrence Kramer, Jim Samson, Charles Rosen and Stephen Downes, critical perspectives on games and/as musical interfaces by David Sudnow and Roger Moseley, and discussions of classical music in popular culture by Andreas Huyssen and Mina Yang. Key case studies include Space Adventure Cobra, Clock Tower 3, Eternal Sonata, Gran Turismo, Pop’n Music, Catherine and a selection of visual novels. Chopin’s music in Japanese games serves as a way to understand the meanings of that music in a modern pop-culture context. Besides that, however, such a study uncovers how the issues central to the discourse of Chopin are manifest and (re)configured in a medium and context of production very far removed from the music’s origins.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114303559","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}
Just as Poland capitalises on the worldwide popularity of Chopin’s music to export him as a cultural commodity, the People’s Republic of China (PRC) has embraced Chopin as patriotism personified, a high-profile ‘cultural worker’ in exile who agonised over the crushing of the November Uprising in Poland in 1831. It was likely Fou Ts’ong winning third prize at the Fifth International Chopin Piano Competition in 1955 that triggered the PRC’s strategic promotion of Chopin. Unlike Fou, who had benefitted from the tutelage of Zbigniew Drzewiecki at Warsaw’s State College of Music (the present-day Fryderyk Chopin University of Music), Li Yundi, the first Chinese pianist to be awarded first prize at the International Chopin Piano Competition, in 2000, was trained at Shenzhen Art School. Understandably, this success story could not fail to boost the PRC’s claim on Chopin. The special case of Chopin in the PRC is even more striking when we shift our focus from charismatic performance platforms to Chopin’s treatment within academic circles. Through a critique of selected papers about Chopin published by People’s Music and Music Research, the PRC’s leading music journals, this study reveals how and to what extent Chopin was claimed and promoted above other Western classical composers, arguably to serve, first and foremost, ideological ends. With the onset of the decade-long Sino–US ambassadorial talks in 1958, held in Warsaw’s ‘Chopin Park’, as one main focus, the timeframe of this study is delimited to cover the period from the founding of the PRC in 1949 to c.1979, when the PRC established formal diplomatic relationships with the United States.
{"title":"Cheong Images of Chopin in the People’s Republic of China","authors":"Wai-Ling Cheong","doi":"10.56693/cr.8","DOIUrl":"https://doi.org/10.56693/cr.8","url":null,"abstract":"Just as Poland capitalises on the worldwide popularity of Chopin’s music to export him as a cultural commodity, the People’s Republic of China (PRC) has embraced Chopin as patriotism personified, a high-profile ‘cultural worker’ in exile who agonised over the crushing of the November Uprising in Poland in 1831. It was likely Fou Ts’ong winning third prize at the Fifth International Chopin Piano Competition in 1955 that triggered the PRC’s strategic promotion of Chopin. Unlike Fou, who had benefitted from the tutelage of Zbigniew Drzewiecki at Warsaw’s State College of Music (the present-day Fryderyk Chopin University of Music), Li Yundi, the first Chinese pianist to be awarded first prize at the International Chopin Piano Competition, in 2000, was trained at Shenzhen Art School. Understandably, this success story could not fail to boost the PRC’s claim on Chopin. The special case of Chopin in the PRC is even more striking when we shift our focus from charismatic performance platforms to Chopin’s treatment within academic circles. Through a critique of selected papers about Chopin published by People’s Music and Music Research, the PRC’s leading music journals, this study reveals how and to what extent Chopin was claimed and promoted above other Western classical composers, arguably to serve, first and foremost, ideological ends. With the onset of the decade-long Sino–US ambassadorial talks in 1958, held in Warsaw’s ‘Chopin Park’, as one main focus, the timeframe of this study is delimited to cover the period from the founding of the PRC in 1949 to c.1979, when the PRC established formal diplomatic relationships with the United States.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126273612","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}
Western music first achieved a sustained presence in East Asia during the sixteenth century, brought to this ‘distant’ region by European traders and missionaries. However, its dissemination remained limited for some three centuries to specific locales such as the area of southern Japan around Nagasaki and the Chinese imperial court in Beijing. Even so, investigation of the early phases of this cross [1]cultural encounter helps to illuminate the process by which Asian listeners gradually assimilated the alien quality of Europe’s musical sounds as transmitted especially by its keyboard instruments, to such a degree that these came to function as a native language of sorts. The present article will discuss the following aspects: the exotic fascination with the technological complexity of the foreigners’ musical devices, taking precedence over any aesthetic engagement with the music; the initial clash and then shift in musical centralities in the sense formulated by Bruno Nettl, that is, the selective emphasis of parameters (e.g. polyphony, timbre) that define musical creation, listening and thought; the applicability to the history of Sino-Western exchange of Emily Dolan’s notion of ‘keyboardisation’, an idiosyncratic reconceptualisation of musical content that would eventually acquire normative force; questions of colonisation and reverse colonisation in understanding the complex power dynamics that shaped this global musical encounter.
{"title":"Exotic Toys, Musical Centralities and Power Reversals: The Early Reception of European Keyboard Music and Instruments in East Asia 20","authors":"Jen-yen Chen","doi":"10.56693/cr.5","DOIUrl":"https://doi.org/10.56693/cr.5","url":null,"abstract":"Western music first achieved a sustained presence in East Asia during the sixteenth century, brought to this ‘distant’ region by European traders and missionaries. However, its dissemination remained limited for some three centuries to specific locales such as the area of southern Japan around Nagasaki and the Chinese imperial court in Beijing. Even so, investigation of the early phases of this cross [1]cultural encounter helps to illuminate the process by which Asian listeners gradually assimilated the alien quality of Europe’s musical sounds as transmitted especially by its keyboard instruments, to such a degree that these came to function as a native language of sorts. The present article will discuss the following aspects: the exotic fascination with the technological complexity of the foreigners’ musical devices, taking precedence over any aesthetic engagement with the music; the initial clash and then shift in musical centralities in the sense formulated by Bruno Nettl, that is, the selective emphasis of parameters (e.g. polyphony, timbre) that define musical creation, listening and thought; the applicability to the history of Sino-Western exchange of Emily Dolan’s notion of ‘keyboardisation’, an idiosyncratic reconceptualisation of musical content that would eventually acquire normative force; questions of colonisation and reverse colonisation in understanding the complex power dynamics that shaped this global musical encounter.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122255724","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":"The pedalling of the ‘style brillant’ and its influence upon the early works of Chopin Martin Sehested Hansen epOs-Music, 2016","authors":"David L. Rowland","doi":"10.56693/cr.14","DOIUrl":"https://doi.org/10.56693/cr.14","url":null,"abstract":"<jats:p>1</jats:p>","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127980769","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：