This essay addresses the need to expand the musical repertory for analysis beyond the western canon, as well as to develop intercultural strategies for analysis that reflect the multicultural subject positions of composers, performers, and theorists. In my area of specialization, discourses on exoticism, transculturation, Orientalism, and globalization have provided frameworks for examining music composed by postwar composers of East Asian heritage, such as Chou Wen-chung, Tōru Takemitsu, Chen Yi, Isang Yun, and others. However, scholarly writings and reception of this music have tended to perpetuate the East–West binary by reinforcing musical stereotypes and familiar labels. Within the music theory, this repertory has been assimilated into the canon and legitimized through application of post-tonal and other formalized models of analysis. Prompted by developments in studies of gesture, semiotics, and East Asian cultural history and aesthetics, I explore analytical approaches that counter-frame the binarism by illustrating culture-specific modes of attending to musical gestures and expressive meanings, as exemplified in recent publications on music by Chou and Chen.

中文翻译：

---

从异国情调到跨文化主义：反框架东西方二元论

本文提出了将音乐剧目扩展到西方经典之外的分析需求，以及制定反映作曲家、表演者和理论家的多元文化主题立场的跨文化分析策略。在我的专业领域，关于异国情调、跨文化、东方主义和全球化的论述为研究战后东亚遗产作曲家创作的音乐提供了框架，例如周文中、Tōru Takemitsu、陈毅、Isang Yun 等。然而，学术著作和对这种音乐的接受倾向于通过强化音乐刻板印象和熟悉的标签来延续东西方二元论。在音乐理论中，这个曲目已被同化为经典，并通过应用后调和其他形式化的分析模型而合法化。