625673.pdf

Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. As China and the West demonstrates, the emergence of “Westernized” music from China—concurrent with the technological advances...

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Γλώσσα:English
Έκδοση: University of Michigan Press 2017
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spelling oapen-20.500.12657-317192023-02-01T09:33:48Z China and the West Yang, Hon-Lu Saffle, Michael Music China bic Book Industry Communication::A The arts::AV Music bic Book Industry Communication::A The arts::AV Music::AVA Theory of music & musicology Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. As China and the West demonstrates, the emergence of “Westernized” music from China—concurrent with the technological advances that have made global culture widely accessible—has not established a prominent presence in the West. China and the West brings together essays on centuries of Sino-Western musical exchange by musicologists, ethnomusicologists, and music theorists from around the world. It opens with a look at theoretical approaches of prior studies of musical encounters and a comprehensive survey of the intercultural and cross-cultural theoretical frameworks—exoticism, orientalism, globalization, transculturation, and hybridization—that inform these essays. Part I focuses on the actual encounters between Chinese and European musicians, their instruments and institutions, and the compositions inspired by these encounters, while Part II examines theatricalized and mediated East-West cultural exchanges, which often drew on stereotypical tropes, resulting in performances more inventive than accurate. Part III looks at the musical language, sonority, and subject matters of “intercultural” compositions by Eastern and Western composers. Essays in Part IV address reception studies and consider the ways in which differences are articulated in musical discourse by actors serving different purposes, whether self-promotion, commercial marketing, or modes of nationalistic—even propagandistic—expression. The volume’s extensive bibliography of secondary sources will be invaluable to scholars of music, contemporary Chinese culture, and the globalization of culture. 2017-03-16 23:55 2020-03-12 03:00:30 2020-04-01T13:47:09Z 2020-04-01T13:47:09Z 2017 book 625673 OCN: 974947641 9780472130313 9780472900756 http://library.oapen.org/handle/20.500.12657/31719 eng application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 625673.pdf University of Michigan Press 10.3998/mpub.5555199 100389 10.3998/mpub.5555199 e07ce9b5-7a46-4096-8f0c-bc1920e3d889 b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9780472130313 9780472900756 Knowledge Unlatched (KU) Ann Arbor 100389 KU Select 2016 Front List Collection Knowledge Unlatched open access
institution OAPEN
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language English
description Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. As China and the West demonstrates, the emergence of “Westernized” music from China—concurrent with the technological advances that have made global culture widely accessible—has not established a prominent presence in the West. China and the West brings together essays on centuries of Sino-Western musical exchange by musicologists, ethnomusicologists, and music theorists from around the world. It opens with a look at theoretical approaches of prior studies of musical encounters and a comprehensive survey of the intercultural and cross-cultural theoretical frameworks—exoticism, orientalism, globalization, transculturation, and hybridization—that inform these essays. Part I focuses on the actual encounters between Chinese and European musicians, their instruments and institutions, and the compositions inspired by these encounters, while Part II examines theatricalized and mediated East-West cultural exchanges, which often drew on stereotypical tropes, resulting in performances more inventive than accurate. Part III looks at the musical language, sonority, and subject matters of “intercultural” compositions by Eastern and Western composers. Essays in Part IV address reception studies and consider the ways in which differences are articulated in musical discourse by actors serving different purposes, whether self-promotion, commercial marketing, or modes of nationalistic—even propagandistic—expression. The volume’s extensive bibliography of secondary sources will be invaluable to scholars of music, contemporary Chinese culture, and the globalization of culture.
title 625673.pdf
spellingShingle 625673.pdf
title_short 625673.pdf
title_full 625673.pdf
title_fullStr 625673.pdf
title_full_unstemmed 625673.pdf
title_sort 625673.pdf
publisher University of Michigan Press
publishDate 2017
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