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From Exoticism to Interculturalism: Counterframing the East–West Binary
Music Theory Spectrum Pub Date : 2021-05-20 , DOI: 10.1093/mts/mtab001
Everett Y.

Abstract
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:

从异域主义到跨文化主义:东西方二进制的反框架

摘要
本文论述了扩展音乐剧目进行分析的必要性,超越西方经典,以及制定跨文化的分析策略以反映作曲家,表演者和理论家的多元文化主题。在我的专业领域,关于异国情调,文化变迁,东方主义和全球化的论述为考查战后东亚传统作曲家的音乐提供了框架,这些人包括周文忠,竹满寿,陈毅,伊桑云等。但是,通过加强音乐刻板印象和熟悉的唱片,这种音乐的学术著作和接受趋向于使东西方的二元性永存。在音乐理论范围内,通过使用音调后和其他形式化的分析模型,该曲目已被吸收到经典中并合法化。
更新日期:2021-05-25
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