Pub Date : 2022-01-18DOI: 10.1017/S1478572221000232
Daniel Elphick
The 6th of April 2021 marked the 50th anniversary of Igor Stravinsky’s death. The BBC planned a ‘Stravinsky Day’ on Radio 3 to mark the occasion, with over five hours of programming and features on the Saturday after the anniversary. In the event, the programming was delayed for two weeks as the news came in of the death of HRH The Duke of Edinburgh. All BBC schedules were turned over to playing solemn music and identical news reports, a move which attracted the largest number of complaints the BBC has ever received. There is some faint poetry to discern in the parallels between the death and funerals of the Duke of Edinburgh and the death of Stravinsky back in 1971. Both occasions elicited very public outpourings of grief and various commentators marking the ‘end of an era’; on Stravinsky’s death, musicians, composers, and even politicians made press releases to express their sympathies, including the White House. Both deaths invited reflections on the direction and very existence of their respective spheres: contemporary composition and the monarchy. With the Stravinsky quinquagenary falling this year, it is perhaps inevitable that we would see several new publications released to coincide. One of these, Stravinsky in Context, edited by GrahamGriffiths, is a remarkable taking of the pulse of Stravinsky Studies over the last few years. There has been no shortage of books on Stravinsky, of course: there is perhaps no other twentieth-century composer who has received more scholarly attention. Edited essay volumes have been plentiful in recent years, including Stravinsky and His World; the 2013 anniversary of The Rite of Spring brought about at least two essay collections dedicated to that infamous piece alone. Unlike most other edited collections, however, Stravinsky in Context contains many essays: thirty-five, to be exact. Such a quantity might instantly make one think of large tomes along the lines of Routledge Companions, but that is not the case here; indeed, Stravinsky in Context barely tips over 300 pages. Instead, each contribution is a micro-essay, barely numbering 10 pages or so. For some authors, this clearly provides remarkable freedom while for others it evidently means limitations.
2021年4月6日是伊戈尔·斯特拉文斯基逝世50周年。英国广播公司计划在第三广播电台举办一个“斯特拉文斯基日”来纪念这一时刻，在周年纪念日后的周六播出五个多小时的节目和特写。在活动中，由于爱丁堡公爵殿下去世的消息传出，节目被推迟了两周。英国广播公司的所有节目表都改为播放庄严的音乐和相同的新闻报道，这是英国广播公司有史以来收到的投诉最多的一次。爱丁堡公爵的去世和葬礼与1971年斯特拉文斯基的去世之间有一些微妙的相似之处。这两次事件都引发了公众的悲痛，各种评论家都在标志着“一个时代的结束”；斯特拉文斯基去世后，音乐家、作曲家，甚至政治家都发布了新闻稿来表达他们的同情，包括白宫。这两次死亡都引发了对各自领域的方向和存在的思考：当代构成和君主制。随着斯特拉文斯基五年刊今年的停刊，我们可能不可避免地会看到几本新出版物同时发行。其中一本由GrahamGriffiths编辑的《Stravinsky in Context》是对过去几年Stravinsky研究脉搏的一次非凡解读。当然，关于斯特拉文斯基的书并不缺乏：也许没有其他二十世纪的作曲家受到过更学术的关注。近年来，编辑的散文卷很多，包括《斯特拉文斯基和他的世界》；2013年的《春之祭》周年纪念日，仅就为这篇臭名昭著的文章就带来了至少两本散文集。然而，与大多数其他编辑集不同的是，《语境中的斯特拉文斯基》包含了许多散文：准确地说是35篇。这样的数量可能会立刻让人想起《劳特利奇伴侣》中的大部头著作，但这里的情况并非如此；事实上，《语境》中的斯特拉文斯基几乎没有超过300页的提示。相反，每一篇文章都是一篇微文章，只有10页左右。对一些作者来说，这显然提供了非凡的自由，而对另一些作者来说这显然意味着限制。
{"title":"Graham Griffiths, ed., Stravinsky in Context (Cambridge: Cambridge University Press, 2021), ISBN: 978-1-108-42219-2 (hb).","authors":"Daniel Elphick","doi":"10.1017/S1478572221000232","DOIUrl":"https://doi.org/10.1017/S1478572221000232","url":null,"abstract":"The 6th of April 2021 marked the 50th anniversary of Igor Stravinsky’s death. The BBC planned a ‘Stravinsky Day’ on Radio 3 to mark the occasion, with over five hours of programming and features on the Saturday after the anniversary. In the event, the programming was delayed for two weeks as the news came in of the death of HRH The Duke of Edinburgh. All BBC schedules were turned over to playing solemn music and identical news reports, a move which attracted the largest number of complaints the BBC has ever received. There is some faint poetry to discern in the parallels between the death and funerals of the Duke of Edinburgh and the death of Stravinsky back in 1971. Both occasions elicited very public outpourings of grief and various commentators marking the ‘end of an era’; on Stravinsky’s death, musicians, composers, and even politicians made press releases to express their sympathies, including the White House. Both deaths invited reflections on the direction and very existence of their respective spheres: contemporary composition and the monarchy. With the Stravinsky quinquagenary falling this year, it is perhaps inevitable that we would see several new publications released to coincide. One of these, Stravinsky in Context, edited by GrahamGriffiths, is a remarkable taking of the pulse of Stravinsky Studies over the last few years. There has been no shortage of books on Stravinsky, of course: there is perhaps no other twentieth-century composer who has received more scholarly attention. Edited essay volumes have been plentiful in recent years, including Stravinsky and His World; the 2013 anniversary of The Rite of Spring brought about at least two essay collections dedicated to that infamous piece alone. Unlike most other edited collections, however, Stravinsky in Context contains many essays: thirty-five, to be exact. Such a quantity might instantly make one think of large tomes along the lines of Routledge Companions, but that is not the case here; indeed, Stravinsky in Context barely tips over 300 pages. Instead, each contribution is a micro-essay, barely numbering 10 pages or so. For some authors, this clearly provides remarkable freedom while for others it evidently means limitations.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48959885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-18DOI: 10.1017/S147857222100027X
Jessica Bissett Perea
Yagheli du. Jessica Bissett Perea sh’iyi qilan. Dena’ina eshlan shida. K’enaht’ana eshlan shida. K’enakatnu shgu shqayek qilanda. Sh’eldinna Dghelay Teht’ana eshlan shida. Shqizdlan Dgheyaytnu, shunkda shtukda ała Niteh shgu koht’an ghat’na gheluda. Xučyun, Chochenyo Ohlone Ełnena, shgu yesduda. Putah-toi, Patwin Ełnena, k’a shgu yesduda. Chin’an hech’ qeshnash hu. Dena’inaq’ dudeldih shit. Greetings, I am thankful if I can write to you this way; I am learning the Dena’ina language. My name is Jessica Bissett Perea and I am Upper Tikahtnu (Cook Inlet) Dena’ina and an enrolled member of the Knik Tribe from southcentral Alaska. I was born in Dgheyaytnu, or what is currently known as Anchorage, and raised on my ancestral homelands. I currently live on Chochenyo Ohlone lands or Xučyun (currently known as Berkeley, California). I currently work on Patwin lands or Putah-toi (currently known as Davis, California). In academic contexts, I identify as an interdisciplinary musician-scholar. I am a double bassist and vocalist with earned degrees in Music Education (BME from Central Washington University), Music History (MA from the University of Nevada), and Musicology (PhD from the University of California, Los Angeles). I am currently an Associate Professor and Graduate Advisor in Native American Studies at the University of California, Davis, and my three core areas of research expertise include: (1) Indigenous-led research methodologies and theories, including writing and editorial praxes; (2) Indigeneitycentred approaches to performance, improvisation, media, and sensory studies; and (3) arts and activism in North Pacific and Circumpolar Arctic communities specifically, and between Indigenous, Black, and Peoples of Colour communities more broadly. To contextualize this review of Dylan Robinson’s Hungry Listening: Resonant Theory for Indigenous Sound Studies (2020), it is important that I begin with the preceding explanations of (some of) the relationalities I bring to this work. In theorizing ‘a range of encounters between Indigenous song and Western art music (also called classical music or concert music)’ (1) more broadly, or Native North American song and European art music more specifically, Hungry Listening traces a multitude of encounters that require new forms of attention to better account for ‘aesthetic and structural encounters that take place within music composition and performance; listening encounters that take place between the listening
{"title":"Dylan Robinson, \u0000 Hungry Listening: Resonant Theory for Indigenous Sound Studies\u0000 (Minneapolis: University of Minnesota Press, 2020), ISBN: 978-1-5179-0768-6 (hc); ISBN: 978-1-5179-0769-3 (pb).","authors":"Jessica Bissett Perea","doi":"10.1017/S147857222100027X","DOIUrl":"https://doi.org/10.1017/S147857222100027X","url":null,"abstract":"Yagheli du. Jessica Bissett Perea sh’iyi qilan. Dena’ina eshlan shida. K’enaht’ana eshlan shida. K’enakatnu shgu shqayek qilanda. Sh’eldinna Dghelay Teht’ana eshlan shida. Shqizdlan Dgheyaytnu, shunkda shtukda ała Niteh shgu koht’an ghat’na gheluda. Xučyun, Chochenyo Ohlone Ełnena, shgu yesduda. Putah-toi, Patwin Ełnena, k’a shgu yesduda. Chin’an hech’ qeshnash hu. Dena’inaq’ dudeldih shit. Greetings, I am thankful if I can write to you this way; I am learning the Dena’ina language. My name is Jessica Bissett Perea and I am Upper Tikahtnu (Cook Inlet) Dena’ina and an enrolled member of the Knik Tribe from southcentral Alaska. I was born in Dgheyaytnu, or what is currently known as Anchorage, and raised on my ancestral homelands. I currently live on Chochenyo Ohlone lands or Xučyun (currently known as Berkeley, California). I currently work on Patwin lands or Putah-toi (currently known as Davis, California). In academic contexts, I identify as an interdisciplinary musician-scholar. I am a double bassist and vocalist with earned degrees in Music Education (BME from Central Washington University), Music History (MA from the University of Nevada), and Musicology (PhD from the University of California, Los Angeles). I am currently an Associate Professor and Graduate Advisor in Native American Studies at the University of California, Davis, and my three core areas of research expertise include: (1) Indigenous-led research methodologies and theories, including writing and editorial praxes; (2) Indigeneitycentred approaches to performance, improvisation, media, and sensory studies; and (3) arts and activism in North Pacific and Circumpolar Arctic communities specifically, and between Indigenous, Black, and Peoples of Colour communities more broadly. To contextualize this review of Dylan Robinson’s Hungry Listening: Resonant Theory for Indigenous Sound Studies (2020), it is important that I begin with the preceding explanations of (some of) the relationalities I bring to this work. In theorizing ‘a range of encounters between Indigenous song and Western art music (also called classical music or concert music)’ (1) more broadly, or Native North American song and European art music more specifically, Hungry Listening traces a multitude of encounters that require new forms of attention to better account for ‘aesthetic and structural encounters that take place within music composition and performance; listening encounters that take place between the listening","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42840051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-01DOI: 10.1017/s147857222100030x
Alison Babeu
Alison Babeu has served as the Digital Librarian and Research Coordinator for the Perseus Project since 2004. During her time at Perseus she has worked on a variety of diverse projects, from research into historical newspaper digitization to the development of cyberinfrastructure for digital classics as well as helping to manage the metadata for its flagship Greek and Latin collections. Before coming to Perseus, she worked as a librarian at both the Harvard Business School and the Boston Public Library. She has a BA in History from Mount Holyoke College and an MLS from Simmons College. Her current projects include the ongoing development of and support for the Perseus Catalog and helping manage the work of the Open Greek and Latin Project. Her current research interests include digital libraries and digital humanities; metadata creation and cataloging; and new roles for librarians in supporting the complex world of digital scholarship.
{"title":"Notes on Contributors","authors":"Alison Babeu","doi":"10.1017/s147857222100030x","DOIUrl":"https://doi.org/10.1017/s147857222100030x","url":null,"abstract":"Alison Babeu has served as the Digital Librarian and Research Coordinator for the Perseus Project since 2004. During her time at Perseus she has worked on a variety of diverse projects, from research into historical newspaper digitization to the development of cyberinfrastructure for digital classics as well as helping to manage the metadata for its flagship Greek and Latin collections. Before coming to Perseus, she worked as a librarian at both the Harvard Business School and the Boston Public Library. She has a BA in History from Mount Holyoke College and an MLS from Simmons College. Her current projects include the ongoing development of and support for the Perseus Catalog and helping manage the work of the Open Greek and Latin Project. Her current research interests include digital libraries and digital humanities; metadata creation and cataloging; and new roles for librarians in supporting the complex world of digital scholarship.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48250163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-01DOI: 10.1017/s1478572221000141
Pwyll ap Siôn
{"title":"Christophe Levaux, We Have Always Been Minimalist: The Construction and Triumph of a Musical Style, trans. Rose Vekony (Oakland: University of California Press, 2020), ISBN: 978-0-520-29527-8 (pb). - Michael Maizels, In and Out of Phase: An Episodic History of Art and Music in the 1960s (Ann Arbor: University of Michigan Press, 2020), ISBN: 978-0-472-13193-8 (hb).","authors":"Pwyll ap Siôn","doi":"10.1017/s1478572221000141","DOIUrl":"https://doi.org/10.1017/s1478572221000141","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138536295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-01DOI: 10.1017/S1478572221000189
Bess Xintong Liu
Abstract This article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).
{"title":"‘The Timpani Beats Just Hit on My Heart!’ Music, Memory, and Diplomacy in the Philadelphia Orchestra's 1973 China Tour","authors":"Bess Xintong Liu","doi":"10.1017/S1478572221000189","DOIUrl":"https://doi.org/10.1017/S1478572221000189","url":null,"abstract":"Abstract This article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43039346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-01DOI: 10.1017/S1478572221000207
H. Chang
Abstract Protestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for European-style choral music over neotraditional pieces that incorporate the aesthetics of suffering from certain Korean traditional genres. I argue that their musical judgement must be understood in the context of their lived and remembered experience of power inequalities between the United States and South Korea. Based on my interviews with the singers, I show that they understand hymns and related Euro-American genres as healing practices that helped them overcome a difficult past and hear traditional vocal music as sonic icons of Korea's sad past. The article outlines a pervasive South Korean/Korean diasporic historical consciousness that challenges easy conceptions of identity and agency in music studies.
{"title":"Transcending the Past: Singing and the Lingering Cold War in the Korean Christian Diaspora","authors":"H. Chang","doi":"10.1017/S1478572221000207","DOIUrl":"https://doi.org/10.1017/S1478572221000207","url":null,"abstract":"Abstract Protestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for European-style choral music over neotraditional pieces that incorporate the aesthetics of suffering from certain Korean traditional genres. I argue that their musical judgement must be understood in the context of their lived and remembered experience of power inequalities between the United States and South Korea. Based on my interviews with the singers, I show that they understand hymns and related Euro-American genres as healing practices that helped them overcome a difficult past and hear traditional vocal music as sonic icons of Korea's sad past. The article outlines a pervasive South Korean/Korean diasporic historical consciousness that challenges easy conceptions of identity and agency in music studies.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45644783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-01DOI: 10.1017/S1478572221000177
H. Yang
Abstract This article examines the meaning of Western music performances in interwar Shanghai through the theoretical framework of performativity that originated in John Austin's speech act and Judith Butler's notion of identity as performed. The early concerts of the Shanghai Municipal Orchestra (SMO), I suggest, were an assertion of settler sovereignty in a treaty port such as Shanghai. Therefore, Chinese musicians performing Western music – propagated through the establishment of the National Conservatory of Music by Chinese elites in Shanghai's French Settlement in 1927 – was the embodiment of three contradictory ideals: colonialism, nationalism, and cosmopolitanism. Zooming in on four SMO concerts that featured Chinese musicians in 1929, I argue that they were sites of identity and power negotiation, the SMO and the Chinese musicians asserting quite distinct performative utterances. On the one hand, the performing Chinese body enacted the cosmopolitan outlook that the Municipal Council was eager to project, not only for the sake of ideology but also to increase SMO's concert revenue by appealing to the increasing number of Chinese concert attendees. On the other hand, it meant national glory to Chinese residents in Shanghai, marking Chinese musicians participating in a global musical network. Lastly, this study draws attention to the diverse geographies of Western music in the twentieth century and its coeval development beyond the West, testifying to the timely need for a global music history in which the musicking of Western music in so many Asian cities should be interwoven into its narrative.
{"title":"Colonialism, Cosmopolitanism, and Nationalism: The Performativity of Western Music Endeavours in Interwar Shanghai","authors":"H. Yang","doi":"10.1017/S1478572221000177","DOIUrl":"https://doi.org/10.1017/S1478572221000177","url":null,"abstract":"Abstract This article examines the meaning of Western music performances in interwar Shanghai through the theoretical framework of performativity that originated in John Austin's speech act and Judith Butler's notion of identity as performed. The early concerts of the Shanghai Municipal Orchestra (SMO), I suggest, were an assertion of settler sovereignty in a treaty port such as Shanghai. Therefore, Chinese musicians performing Western music – propagated through the establishment of the National Conservatory of Music by Chinese elites in Shanghai's French Settlement in 1927 – was the embodiment of three contradictory ideals: colonialism, nationalism, and cosmopolitanism. Zooming in on four SMO concerts that featured Chinese musicians in 1929, I argue that they were sites of identity and power negotiation, the SMO and the Chinese musicians asserting quite distinct performative utterances. On the one hand, the performing Chinese body enacted the cosmopolitan outlook that the Municipal Council was eager to project, not only for the sake of ideology but also to increase SMO's concert revenue by appealing to the increasing number of Chinese concert attendees. On the other hand, it meant national glory to Chinese residents in Shanghai, marking Chinese musicians participating in a global musical network. Lastly, this study draws attention to the diverse geographies of Western music in the twentieth century and its coeval development beyond the West, testifying to the timely need for a global music history in which the musicking of Western music in so many Asian cities should be interwoven into its narrative.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44685408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-01DOI: 10.1017/S1478572221000153
H. Chang
A number of scholars in critical Asian Studies have pointed out the persistent construction of East Asia as the Other across Anglophone humanities. 1 They have cited ideologies that have continued to motivate the essentialist construction of East Asia as static, archaic, and separate from the West – from orientalism, a hallmark of European and US imperialisms, to post-war Boasian culturalism, which emerged as a kind of critique of cultural standardization brought on by Western imperialisms. 2 It would be an exaggeration to say that current Anglophone scholarship on the music of East Asia overtly partakes in the othering practices of the past. However, the legacies nevertheless continue to shape the epistemic ground of this scholarship in subtle ways. This is seen, for example, in the ways in which knowledge is organized and presented in reference books, textbooks, and syllabi. ‘ Chinese ’ , ‘ Japanese ’ , and ‘ Korean ’ music is depicted first and foremost as a range of traditional musics; Western, popular, or other hybrid forms of music do make an appearance but are given secondary or supplementary status. 3 This structure of knowledge reinforces a ‘ United Nations ’ model where nations are represented by traditional music and exist within nationally bounded space and time. It is difficult to paint in broad strokes the rapidly changing terrain of recent research; however, it is possible to locate a constructivist strain, which, despite its critical work, still maps music onto notions of national or ethnic identity. In this constructivist frame, there is a productive recognition that the traditional in twentieth-century music is reconstructed through the identity discourses of nationalism and globalization. 4 However, what lies outside this reconstructed soundscape remains underexplored, and thus music remains tethered to a ‘ nation-bound, identity-driven hermeneutics ’ . 5
{"title":"Introduction to the Special Issue on Musics of Coeval East Asia","authors":"H. Chang","doi":"10.1017/S1478572221000153","DOIUrl":"https://doi.org/10.1017/S1478572221000153","url":null,"abstract":"A number of scholars in critical Asian Studies have pointed out the persistent construction of East Asia as the Other across Anglophone humanities. 1 They have cited ideologies that have continued to motivate the essentialist construction of East Asia as static, archaic, and separate from the West – from orientalism, a hallmark of European and US imperialisms, to post-war Boasian culturalism, which emerged as a kind of critique of cultural standardization brought on by Western imperialisms. 2 It would be an exaggeration to say that current Anglophone scholarship on the music of East Asia overtly partakes in the othering practices of the past. However, the legacies nevertheless continue to shape the epistemic ground of this scholarship in subtle ways. This is seen, for example, in the ways in which knowledge is organized and presented in reference books, textbooks, and syllabi. ‘ Chinese ’ , ‘ Japanese ’ , and ‘ Korean ’ music is depicted first and foremost as a range of traditional musics; Western, popular, or other hybrid forms of music do make an appearance but are given secondary or supplementary status. 3 This structure of knowledge reinforces a ‘ United Nations ’ model where nations are represented by traditional music and exist within nationally bounded space and time. It is difficult to paint in broad strokes the rapidly changing terrain of recent research; however, it is possible to locate a constructivist strain, which, despite its critical work, still maps music onto notions of national or ethnic identity. In this constructivist frame, there is a productive recognition that the traditional in twentieth-century music is reconstructed through the identity discourses of nationalism and globalization. 4 However, what lies outside this reconstructed soundscape remains underexplored, and thus music remains tethered to a ‘ nation-bound, identity-driven hermeneutics ’ . 5","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47630043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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