# Christian Utz

# Musical Composition in the Context of Globalization

New Perspectives on Music History of the 20th and 21st Century

transcript | Music and Sound Culture

Christian Utz Musical Composition in the Context of Globalization

**Christian Utz** is Professor of Music Theory and Analysis at the University of Music and Performing Arts Graz and an associate professor at the University of Vienna. He directed the FWF-funded research projects "A Context-Sensitive Theory of Post-tonal Sound Organization" (2012-2014) and "Performing, Experiencing and Theorizing Augmented Listening" (2017-2020).

# Christian Utz **Musical Composition in the Context of Globalization**

New Perspectives on Music History in the 20th and 21st Century

translated by Laurence Sinclair Willis

Translation, copy-editing, and open access publication of this book are kindly supported by the Austrian Science Fund FWF and the University of Music and Performing Arts Graz

### Revised and expanded edition

Original edition:

Christian Utz, *Komponieren im Kontext der Globalisierung. Perspektiven für eine Musikgeschichte des 20. und 21. Jahrhunderts*, Bielefeld, transcript, 2014

### **Bibliographic information published by the Deutsche Nationalbibliothek**

The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de

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### **First published in 2021 by transcript Verlag, Bielefeld © Christian Utz**

Cover concept: Kordula Röckenhaus, Bielefeld

Cover illustration: Kazuko Takada plays a reconstructed five-string ancient Chinese ǬŎƷ'nĩƢ-ŎűæǕŠŎ-¼þţþ'nþƪ'nŎܼƪ-*Unebiyama* (1992) (photo: Takashi Kijima). Reproduced in ¼Żƪ'nŎƢƔfŎĢŻ܌-*Reconstructed Music Instruments of Ancient East Asia,* edited by the National Theatre of Japan. Tokyo: Japan Arts Council/Ongaku no tomo sha 1994. The rights to the cover image could not be clarified beyond doubt, despite our efforts. We request that the publisher be notified if necessary.

Copy-editing by Wieland Hoban Typeset by Jan Gerlach Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-5095-2 PDF-ISBN 978-3-8394-5095-6 https://doi.org/10.14361/9783839450956

Printed on permanent acid-free text paper.

# Table of Contents





## **Preface**

In the public debate, the relevance of the topics of musical interculturality and musical globalization seems to have faded in many places, to be replaced by a technology-centered media discourse that shows little interest in conventional notions of culture and emphasizes the permeability, performativity, and mutability of interconnected concepts of identity. In this con-ƷĩǡƷ-Ʒ'nĩ-ŎĢĩþ-ŻŁłŦŻĚþŦŎǬþƷŎŻű܌-ŎűǴŦƿĩűěĩĢ-ĚǢ-Ʒ'nĩůŻĢĩŦ-ŻŁ-ƟŻƟƿŦþƢůƿƪŎěƪ܌ǜ'nŎě'n-'nþǛĩþŦǜþǢƪ- been "global" in their orientation and increasingly determine musicological discourses, has all ƷŻŻ-ŻǼ Ʒĩű-Ěĩĩű-ƢĩƪƷƢŎěƷĩĢ-ƷŻ-Ʒ'nĩĩěŻűŻůŎěƪƟĩěƷƢƿů-ŻŁůĩþűŎűłƪ-Ʒ'nþƷ-ŻűěĩƪƟþǜűĩĢ-ŎƷܗǜ'nþƷ-Ŏƪ- of interest here is less a play with or problematizing of established cultural identities, whose ƪŎłűŎȀěþűěĩ-Ŏƪ-ŁþŎƢŦǢůþƢłŎűþŦ-Ŏű-Ʒ'nĩůþŎűƪƷƢĩþů܌-ŻƢ-Ʒ'nĩǜŻƢŦĢǜŎĢĩ-ĢŎƪƪĩůŎűþƷŎŻű-ŻŁ-ƟþƢƷŎěƿŦþƢ- ŎĢŎŻůƪ-ŻƢłĩűƢĩƪ-ŻŁ-ƟŻƟ܌ǜ'nŎě'n-Ŏƪ-ŻǼ Ʒĩű-Ʒþţĩű-ŁŻƢłƢþűƷĩĢ܌-Ʒ'nþűþłƢŻǜűůþƢţĩƷ-ŻŁěŻűƪƿůĩƢƪ- that was opened up by the new distribution possibilities of the internet – a situation that seems to fundamentally change the general reception of music far beyond these popular genres.

łþŎűƪƷ-Ʒ'nŎƪ-ĚþěţłƢŻƿűĢ܌-ŎűƪŎƪƷŎűłűŻƷ-ŻűŦǢ-ŻűþěŻűěĩƟƷ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦŎƷǢ-ĚƿƷþŦƪŻ-Żűþű- art music discourse must therefore appear doubly quixotic, a clinging to long-questionable, paling categories, especially if this shows a tendency to presuppose the critical – "culture-critical" – impulse of art that was allegedly only brought forth by the "special path" of Western aesthetic modernity. But, one could respond, is it even necessary to emphasize that the concern cannot be to transfer a "purely Western" concept of art (assuming this can be constructed in the ȀƢƪƷ-ƟŦþěĩܤ-ƷŻ-ŻƷ'nĩƢěƿŦƷƿƢþŦþűĢłĩŻłƢþƟ'nŎěþŦěŻűƷĩǡƷƪ܌-ŻƢůƿƪƷǜĩ-ĢŻþǜþǢǜŎƷ'n-Ʒ'nĩůŎƪěŻűception that the concept of "interculturality" is predicated on an obsolete, isolationist "container model" of cultures? Such questions, which certainly demand more than simple answers, þƢĩĩǡþůŎűĩĢ-Ŏű-ĢĩƷþŎŦ-Ŏű- 'nþƟƷĩƢ-ڐ-ŻŁ-Ʒ'nŎƪ-ĚŻŻţܒ

A desire to point not only to such "false dichotomies," but also to impulses in a musico-ŦŻłŎěþŦ-ȀĩŦĢ-Ʒ'nþƷ-ܫǜŎƷ'nþ-ŁĩǜĩǡěĩƟƷŎŻűƪ-ܫěþűƪƷŎŦŦ-ĚĩěŻűƪŎĢĩƢĩĢþ-ĚŦŎűĢƪƟŻƷ-ŎűůƿƪŎěŻŦŻłǢ- þűĢůƿƪŎě-Ʒ'nĩŻƢǢ܌-ĚƿƷþŦƪŻěŻůƟŻƪŎƷŎŻűþŦ-ƟƢþěƷŎěĩ܌ǜþƪƪƿDzȀěŎĩűƷůŻƷŎǛþƷŎŻű-ƷŻƿűĢĩƢƷþţĩ-Ʒ'nĩ- studies presented here, written over the last twelve years following the publication of my 2000 dissertation under the title *Neue Musik und Interkulturalität. Von John Cage zu Tan Dun* in 2002. ȃĩƪĩƪƷƿĢŎĩƪ-'nþǛĩ-Ěĩĩű-ĚƢŻƿł'nƷ-ƷŻłĩƷ'nĩƢ-Ŏűþ-Ʒ'nŻƢŻƿł'nŦǢ-ƢĩǛŎƪĩĢ܌-ƢĩŁŻěƿƪĩĢ܌þűĢ-ƢĩěŻűƪŎĢĩƢĩĢ- ƪƷþƷĩܒrŻƪƷ-ƷĩǡƷƪěŻƿŦĢ܌-Ŏű-Ʒ'nĩǜŎĢĩƪƷƪĩűƪĩ܌-ĚĩƿűĢĩƢƪƷŻŻĢþƪĩǡěƿƢƪƿƪĩƪ-Żű-Ʒ'nĩ-ƟƢĩǛŎŻƿƪ-ĚŻŻţ܋- Ʒ'nĩǢǜĩƢĩůĩþűƷ- ƷŻ ěŦŻƪĩ ěĩƢƷþŎű łþƟƪ-ŎűĩǛŎƷþĚŦǢ-ŦĩǼ Ʒ- ĚǢ- Ʒ'nĩ ĩþƢŦŎĩƢ ƪƷƿĢǢ܌- ĢĩƪƟŎƷĩ-ŎƷƪ ěŻűƪŎĢܮ erable length, and also to expand the range of historical-analytical research methodologically þűĢ܌- ƷŻþ-ŦŎůŎƷĩĢĩǡƷĩűƷ܌łĩŻłƢþƟ'nŎěþŦŦǢܒȃĩ- ƢĩŦþƷŎŻűƪ'nŎƟ-ĚĩƷǜĩĩű-/þƪƷƪŎþ-ܣ 'nŎűþ܌-1/4þŎǜþű܌dþƟþű܌þűĢfŻƢĩþܤþűĢ-Ʒ'nĩàĩƪƷ-ܣ/ƿƢŻƟĩþűĢtŻƢƷ'nůĩƢŎěþܤěŻűƷŎűƿĩƪ-ƷŻ-ƟŦþǢþěĩűƷƢþŦ-ƟþƢƷ܌þƪin *Neue Musik und Interkulturalität*, but is augmented through the inclusion of several other local ěŻűƷĩǡƷƪ-ܣŁƢŎěþ܌-Ʒ'nĩ-£'nŎŦŎƟƟŎűĩƪ܌-SűĢŻűĩƪŎþ܌þűĢ-Ʒ'nĩ-ƢþĚǜŻƢŦĢܒܤ-

rþűǢ-ŻŁ-Ʒ'nĩěŻůƟŻƪŎƷŎŻűþŦ-ƷƢĩűĢƪ-ĢŎƪěƿƪƪĩĢ-Ŏű-Ʒ'nŎƪ-ĚŻŻţþƢĩě'nþƢþěƷĩƢŎǬĩĢ-ĚǢþłƢŻǜŎűł- ƢĩǴŦĩǡŎǛŎƷǢ- ǛŎƪܮĐܮǛŎƪ ěŻůƟŻƪŎƷŎŻűþŦ ůĩƷ'nŻĢƪ þűĢ þĩƪƷ'nĩƷŎě- ƟŻƪŎƷŎŻűƪ- ƷŻǜþƢĢ- Ʒ'nĩ- ƷǜŻ- ŻƟƟŻƪܮ Ŏűł-ƷĩűĢĩűěŎĩƪ-ŎűěƿŦƷƿƢþŦłŦŻĚþŦŎǬþƷŎŻű܋-Żű-Ʒ'nĩ-Żűĩ-'nþűĢ܌-ŻǜŎűł-ƷŻþű-ŻǼ Ʒĩű-'nþƪƷǢ-ƢĩěĩƟƷŎŻű- ŻŁ-/ƿƢŻƟĩþűůƿƪŎě-ŎűƪŎþ܌-ŁƢŎěþ܌-ŻƢhþƷŎűůĩƢŎěþ܌-Ʒ'nĩƢĩþƢĩƿűůŎƪƷþţþĚŦǢěŦĩþƢ-ƷĩűĢĩűěŎĩƪ- toward a worldwide standardization of compositional practice according to Western crite-ƢŎþ܌ƪĩĩůŎűłŦǢěŻűƷŎűƿŎűł-Ʒ'nĩĩDz ŁĩěƷƪ-ŻŁěŻŦŻűŎþŦ-ƟŻǜĩƢƪƷƢƿěƷƿƢĩƪ-ƷŻ-Ʒ'nĩ-ƟƢĩƪĩűƷ-ĢþǢܒű-Ʒ'nĩ- ŻƷ'nĩƢ-'nþűĢ܌-Ʒ'nĩěŻůƟŻƪŎƷŎŻű-ŻŁþƢƷůƿƪŎěþűĢ-Ʒ'nĩ-ĢŎƪěŻƿƢƪĩƪþǜþţĩűĩĢ-ĚǢ-ŎƷ-ŻǼ ƷĩűþěƷþƪ-Ŏůportant triggers for movements of self-determination and liberation in non-Western countries – though equally as tools of pure nationalism, oppression, and exclusion. In the six chap-ƷĩƢƪ܌-SþƷƷĩůƟƷ-ƷŻ-ŎűƷĩƢƟƢĩƷƪƿě'n-ܹƟþƢþĢŻǡĩƪܺ-ŻŁ-ƟƢŻĢƿěŎűłůƿƪŎě-Ŏű-Ʒ'nĩłŦŻĚþŦŎǬĩĢ-ƷĩűƪŎŻű-ȀĩŦĢ- þłþŎűƪƷ-Ʒ'nĩ-ĚþěţłƢŻƿűĢ-ŻŁěŻűƷĩůƟŻƢþƢǢ-'nŎƪƷŻƢŎěþŦ-ĢĩǛĩŦŻƟůĩűƷƪ܌ěƿŦƷƿƢĩܮƟŻŦŎƷŎěþŦþűĢěƿŦƷƿƢĩܮ ƪŻěŎŻŦŻłŎěþŦƪŎƷƿþƷŎŻűƪ-Ŏű- Ʒ'nĩŎƢůþűǢ-ŦþǢĩƢƪ-ŻŁůĩþűŎűłܒȃĩþƢłƿůĩűƷþƷŎŻűþŦƪŻþƷƷĩůƟƷƪ- ƷŻ- open up perspectives on the problem of a consistently globally conceived music historiography ݑދܣ SSܤڐܒþűĢěŻůƟŻƪŎƷŎŻűþŦ-ƟƢþěƷŎěĩ܌-ĚƿƷěþű-ƟĩƢ'nþƟƪþŦƪŻ-ŻDz ŁĩƢ-ŎűĢŎǛŎĢƿþŦƪƿłłĩƪƷŎŻűƪ- ŁŻƢþűܮ swering the question of how cultural techniques and processes of globalization can, beyond the realm of music, fundamentally be understood and interpreted more precisely. In this context, Ʒ'nĩþƷƷĩůƟƷ-ƷŻ-ŎűěŻƢƟŻƢþƷĩůƿƪŎěܮþűþŦǢƷŎěþŦ܌ěƿŦƷƿƢĩܮƪěŎĩűƷŎȀě܌þűĢƪŻěŎŻ'nŎƪƷŻƢŎěþŦþƟƟƢŻþě'nĩƪ- ƪĩƢǛĩƪ- Ʒ'nĩ-ƟƿƢƟŻƪĩ-ŻŁ-ĚƢĩþţŎűł- Ʒ'nƢŻƿł'n- Ʒ'nĩůĩƷ'nŻĢŻŦŻłŎěþŦŦǢ-ŻűĩܮƪŎĢĩĢþƟƟŦŎěþƷŎŻű-ŻŁ- Ʒ'nĩƪĩ- ƢĩƪĩþƢě'n-ƟþƢþĢŎłůƪ-ŁŻƿűĢþŦŦ-ƷŻŻ-ŻǼ Ʒĩű-ŎűůƿƪŎěŻŦŻłŎěþŦ-ĢŎƪěŎƟŦŎűĩƪܒűþĢĢŎƷŎŻűþŦĩǡƟþűƪŎŻű- ŻŁůĩƷ'nŻĢŻŦŻłǢěŻůĩƪ- ŁƢŻů- Ʒ'nĩ- ŁþěƷ- Ʒ'nþƷĩƪƪþǢƪ-Żű- Ʒ'nĩþƿƷ'nŻƢܼƪ-Żǜű- ܹěƿŦƷƿƢþŦŦǢ- ǴŦƿěƷƿþƷŎűłܺěŻůƟŻƪŎƷŎŻűþŦ-ƟƢŻŠĩěƷƪþƢĩ-ŎűěŦƿĢĩĢ-Ŏű-Ʒ'nĩ-ȀűþŦě'nþƟƷĩƢ܌þŦĚĩŎƷƿűĢĩƢƪƷŻŻĢþƪþƪƿƟƟŦĩůĩűƷþűĢ- þűþƢƷܮƪƟĩěŎȀě܌-ŎűůþűǢǜþǢƪ-ŎƢƢĩĢƿěŎĚŦĩĩǡƷĩűƪŎŻű-ŻŁ-Ʒ'nĩþƢłƿůĩűƷþƷŎŻű܌űŻƷþƪ-Ʒ'nĩþƢƷŎƪƷŎě- "realization" of a theoretical model.

tĩĩĢŦĩƪƪ-ƷŻƪþǢ܌-Ʒ'nĩ-ƟƢĩƪĩűƷƪƷƿĢǢ-ĢŻĩƪűŻƷ-ƟƿƢƟŻƢƷ-ƷŻ-ŻDz ŁĩƢþűǢěŻűěŎƪĩ-'nŎƪƷŻƢŎŻłƢþƟ'nǢ-ŻƢ- universalist historical conception. "Perspectives" on music history are meant in the sense of ƪĩŦĩěƷĩĢ܌-ĢŎƪƟþƢþƷĩƪűþƟƪ'nŻƷƪ-ŻŁ- Ʒ'nĩ- ƷŎł'nƷŦǢ-ŎűƷĩƢǜŻǛĩűůƿƪŎě-'nŎƪƷŻƢŎĩƪ-ŻŁ- Ʒ'nĩàĩƪƷþűĢ-/þƪƷ- ƪŎþ܌þűĢěĩƢƷþŎűŦǢűŻƷþěŻůƟƢĩ'nĩűƪŎǛĩěŻűƪŎĢĩƢþƷŎŻű-Ʒ'nĩƢĩŻŁܒȃƿƪ܌-ŎűěŻűƷƢþƪƷ-ƷŻ-Ʒ'nĩ-ĚƢŻþĢŦǢ- conceived overview chapters in *Neue Musik und Interkulturalität*, I have refrained here from attempting to show any form of representative selection of compositional conceptions with the łƢĩþƷĩƪƷ-ƟŻƪƪŎĚŦĩƪƷǢŦŎƪƷŎě-Ƣþűłĩ-ŁƢŻůþ-ĚŎƢĢܼƪĩǢĩ-ǛŎĩǜ܌þƪ-ŎƷǜĩƢĩܗ-ƢþƷ'nĩƢ܌-SþƷƷĩůƟƷ-ƷŻ-Ʒ'nĩůþƷŎǬĩ- exemplary sonic thought in which the fault lines of cultural, historical, or aesthetic discourses ĚĩěŻůĩþƿĢŎĚŦĩþűĢþƟƟƢĩěŎþĚŦĩܒȃĩƪƷƿĢŎĩƪ-ƟƢĩƪĩűƷĩĢłŎǛĩ-ƟþƢƷŎěƿŦþƢǜĩŎł'nƷ-ƷŻ-Ʒ'nĩ-ƟƢĩ'nŎƪƷŻƢǢ- þűĢĩþƢŦǢ-'nŎƪƷŻƢǢ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎěþŦ-ƢĩǴŦĩěƷŎŻű-ݑދܣSS܌ړܫڒܒ-SSSܤڒܫڑܒþƪǜĩŦŦþƪ-ƷŻ-ƢĩěĩűƷ-Ģĩ-ǛĩŦŻƟůĩűƷƪ-ŻŁ-Ʒ'nĩ-ŦþƪƷ-ƷǜŻ-ƷŻ-Ʒ'nƢĩĩ-ĢĩěþĢĩƪ-ݑދܣSS܌ڕܒ-SSS܌ڔܒ-SßܫßSܒܤ

 *Vienna, 1 October 2013*

# **Preface to the Revised and Expanded English Edition**

Musical interculturality and intercultural composition have been addressed as concepts someǜ'nþƷůŻƢĩ-ŻǼ Ʒĩű-ŎűůƿƪŎěƪƷƿĢŎĩƪ-Ŏű-ƢĩěĩűƷ-ǢĩþƢƪܒrþűǢ-ŻŁ- Ʒ'nĩƪĩƪě'nŻŦþƢŦǢþěƷŎǛŎƷŎĩƪĩůĩƢłĩ- from the globalizing and transnational dynamics whose preconditions and musical conseơƿĩűěĩƪ- ŁŻƢů- Ʒ'nĩěŻƢĩ-ŻŁ- Ʒ'nŎƪ-ĚŻŻţܒ-ůŻƷŎǛþƷŎŻűƪ'nþƢĩĢ-ĚǢƪě'nŻŦþƢƪǜŻƢţŎűł-Ŏű- Ʒ'nŎƪþƢĩþ-Ŏƪ- ƪƿƢĩŦǢǜ'nþƷ-¼ŻĚŎþƪdþűǬþűĢæþűł- 'nŎĩűܮ 'nþűł-'nþǛĩ-ƷĩƢůĩĢ-ܹ'ĩěĩűƷĩƢŎűłrƿƪŎěþŦrŻĢĩƢűŎƷǢܺin their volume of collected essays, edited by transcript in 2019, which reconsiders more recent concepts of historical analysis such as "multiple modernities" and "entangled histories" ŁŻƢůƿƪŎěŻŦŻłǢ܌ ěŻűěĩƟƷƪ ǜ'nŎě'n- 'nþǛĩ þŦƪŻ- Ěĩĩű-ŎűǴŦƿĩűƷŎþŦ- ŁŻƢ- Ʒ'nĩ űĩǜŦǢ þĢĢĩĢ þűĢ- ƢĩǛŎƪĩĢ- ƟþƢƷƪ-ŻŁ-Ʒ'nĩ-ƟƢĩƪĩűƷ-ĚŻŻţښܒ Although we have been now aware for some time that gender, racial, social, historical, and cultural biases surround research and teaching of music history and muƪŎě-Ʒ'nĩŻƢǢ-ŎűůƿŦƷŎƟŦĩǜþǢƪ܌-Ʒ'nĩþěƷƿþŦůƿƪŎěþŦ-ƢĩƟĩƢƷŻƢǢ-ƷþěţŦĩĢ-Ŏű-ƢĩƪĩþƢě'n-ƟƢŻŠĩěƷƪ܌-ƟƿĚŦŎěþ-ƷŎŻűƪ܌þűĢ-Ʒ'nĩŻƢǢþűĢ-'nŎƪƷŻƢǢěŦþƪƪĩƪ-ŻǼ Ʒĩű-ƢĩůþŎűƪ-ƢĩƪƷƢŎěƷĩĢ-ƷŻǜŻƢţƪ-ŻŁ-Ʒ'nĩàĩƪƷĩƢű܌ǜ'nŎƷĩ܌þűĢěŦþƪƪŎěþŦěþűŻűܒ-¦ĩěĩűƷŦǢ܌-Ŏűþ-ƟŦĩűþƢǢ-ƷþŦţ-ȀƢƪƷłŎǛĩű-Ŏű-ژڐڏڑþƷ-Ʒ'nĩ-£ŦĩűþƢǢ-®ĩƪƪŎŻű-ŻŁ-Ʒ'nĩ- űűƿþŦ- ŻűŁĩƢĩűěĩ-ŻŁ-Ʒ'nĩ-®ŻěŎĩƷǢ-ŁŻƢrƿƪŎěȃĩŻƢǢ-ܣRr¼܌ܤæþǢŻŎ-ÃűŻ-/ǛĩƢĩƷƷ-ĢŎƪƷŎűłƿŎƪ'nĩĢ-ƷǜŻ- ůþŎű-Ŏƪƪƿĩƪ-ƷŻ-ĚĩþĢĢƢĩƪƪĩĢ-Ŏűǜ'nþƷƪ'nĩ-ĢĩƪěƢŎĚĩƪþƪ-ܹěŻƿűƷĩƢܮŁƢþůŎűł-Ʒ'nĩ-/þƪƷܮàĩƪƷ-ĚŎűþƢǢܺ܋- "a greater inclusion of this [non-Western] repertory into the canon and […] diversifying methods of analysis."<sup>ڛ</sup> -SűĢĩĩĢ܌þłþŎűƪƷ-Ʒ'nĩ-ĚþěţĢƢŻƟ-ŻŁ-ƟŻŦŎƷŎěþŦƿƟ'nĩþǛþŦƪ-Ŏű-Ʒ'nĩî܌-ƢĩěĩűƷþěƷŎǛŎƷŎĩƪ- ǜŎƷ'nŎű-Ʒ'nĩ-®r¼-'nþǛĩ-ƟƢŻůƟƷĩĢþłƢŻƿƟ-ŻŁ-Ʒ'nĩŻƢŎƪƷƪ-ƷŻ-ƟƿĚŦŎƪ'nþű-ܹƟĩűhĩƷƷĩƢ-ŻűűƷŎƢþěŎƪƷ- ěƷŎŻűƪàŎƷ'nŎű-®r¼ܺǜ'nŎě'něƢŎƷŎěŎǬĩĢ- ܹƷ'nĩ ƪƷƢƿěƷƿƢþŦ- ŁŻƢěĩ-ŻŁǜ'nŎƷĩ ƪƿƟƢĩůþěǢ-Ŏű-ŻƿƢ-ĢŎƪěŎܮ ƟŦŎűĩܒܺěěŻƢĢŎűł-ƷŻ-Ʒ'nĩ-ŦĩƷƷĩƢ܌-ܹǜĩþŦŦűĩĩĢ-ƷŻþƪţ-ŻƿƢƪĩŦǛĩƪ܋à'nþƷ-'nþǛĩ-S-ĢŻűĩþƪþű-ŎűĢŎǛŎĢƿþŦ- ƷŻ-ƟĩƢƟĩƷƿþƷĩĩǡŎƪƷŎűłǜ'nŎƷĩƪƿƟƢĩůþěŎƪƷƪǢƪƷĩůƪ-ŻŁ-ƟŻǜĩƢþűĢ-ŎűĩơƿŎƷǢ-Ŏű-ŻƿƢ-ȀĩŦĢܓܺڜ ȃĩƪŎƷƿþƷŎŻű-Ŏƪ-ŁƿƢƷ'nĩƢ-ƢĩǴŦĩěƷĩĢ-ĚǢ-Ʒ'nĩ-ڏڑڏڑ-ƟƿĚŦŎěþƷŎŻű-ŻŁ-£'nŎŦŎƟ-ܒ-/ǜĩŦŦܼƪþƢƷŎěŦĩ-ܹrƿƪŎěȃĩŻƢǢþűĢ- the White Racial Frame" in *rƿƪŎě-ȄĩŻƢǢűŦŎűĩ*܌þŦƪŻ-ȀƢƪƷ-ƟƢĩƪĩűƷĩĢþƪþ-ƟŦĩűþƢǢ-ƷþŦţþƷ-Ʒ'nĩ-ژڐڏڑ- £ŦĩűþƢǢ-®ĩƪƪŎŻű-ŻŁ-Ʒ'nĩűűƿþŦ- ŻűŁĩƢĩűěĩ-ŻŁ-Ʒ'nĩ-®r¼܌þűþƢƷŎěŦĩ-Ʒ'nþƷ-ĚƢŻþĢŦǢ-ƢĩǴŦĩěƷƪ-Żű-Ʒ'nĩ- deep and long-established cultural, social, and racial processes of exclusion in our disciplines.<sup>ڝ</sup>

®Żůĩ-ŻŁ-Ʒ'nĩ-ŻƢŎłŎűþŦ-ŎůƟƿŦƪĩƪ-Ʒ'nþƷƪƟþƢţĩĢůǢ-ŎűƷĩƢĩƪƷ-Ŏűǜ'nþƷ-Ŏƪ-ƟƢĩƪĩűƷĩĢ-Ŏű-Ʒ'nŎƪ-ĚŻŻţ- had been similar observations, although they might have appeared somewhat less pressing or ǛŎŻŦĩűƷ-Ŏű-Ʒ'nĩ-/ƿƢŻƟĩþűěŻűƷĩǡƷ-ƷǜĩűƷǢ-ǢĩþƢƪþłŻܒű-Ʒ'nĩ-Żűĩ-'nþűĢ܌-Ʒ'nĩűþƢƢŻǜűĩƪƪ-ŻŁ-ƢĩƟĩƢ-

ڵ Janz and Yang, *Decentering Musical Modernity*.

ڶ Everett, "From Exoticism to Interculturalism."

ڷ" Open Letter on Antiracist Actions Within SMT," ŊƸƸƠƫܕܕ܈ģżĜƫŃżżŃŧĪĜżŰܕģżĜǀŰĪŲƸܕģڍܕƠŲĪڒڌ'ěš'ƸܫǀŰĪڒڌdrƸĜڑǵŧšƠěh'ŤrðŃǝڏۦFƣ¦ĪƠ/.

ڸ- -/ǝĪŧŧ܉-ܶrǀƫŏĜ-¼ŊĪżƣǣÿŲģ-ƸŊĪàŊŏƸĪ-¦ÿĜŏÿŧ-FƣÿŰĪܷ

toire studied at music academies and during musicology programs at universities was all too obvious during the late 1990s and early 2000s, when even the impulses of Anglophone critical musicologies could hardly be felt. The continuous isolation of ethnomusicological and historical branches of musicology contributed (and arguably still contributes to some degree) to this unsatisfactory situation. Well into the new millennium, intercultural composition was denounced in German-language music journalism as an escape into "distant illusory worlds" or an arrangement of "stolen ideas and objects."5

This made it increasingly obvious to me that the very reality of interculturality in musical life, past and present, was something that gnawed at some hidden point as a critical voice in the ear of the purely academically Western-trained and oriented composer, music theorist, or music historian. The tendency toward global standardization of compositional idioms based on models of a "historical avant-garde" legitimized by Western musical history ultimately contradicts this aesthetic reality, as does the geographically ubiquitous commercialization and banalization of traditional music genres.

While culture and identity have been acknowledged as key areas of popular music studies for some time, an intensified examination of the consequences, aporiai, and potential of cultural globalization in the historical and analytical interpretation of new art music not only seems to be urgent, but has become the only conceivable standard for a present in which "cultures" are in an unprecedented process of transformation, mixing, and overlap – but also (still) in confrontation with one another. Recent writings on intercultural composition and the historical processes it involved and involves have taken up this challenge hands-on during the seven years since the original edition of this book appeared, showing how transnational meetings and associations such as the Darmstadt International Summer Course (since 1946),6 the Asian Composers League (founded in 1973), or the Dutch Musicultura Meetings (since 1974) increased the interconnectedness and awareness of globalized forms of music-making in the context of the Cold War. However, as Hilary Vanessa Finchum-Sung explains, "insider/outsider dichotomies have remained foundational to the reception and interpretation of compositions by non-European, non-U.S .- American composers into the new millennium." The conclusion drawn from this, as formulated by Yang Chien-Chang, namely "to avoid the East-West binary opposition, so that a more entangled web of the history can be revealed,"10 is shared by the studies presented here. They also demonstrate that the earlier focus of many composers and scholars on the musical materialization and reception of cultural difference has given way to increasingly complex forms of ambiguity,41 not least in relation to new processes of migration and cultural multiplicity that feed into a continuous decentering, readjusting, and sometimes reatfirming of identity concepts in and through music.

Although the present book attempts neither a history nor a theory of intercultural music in the twentieth and twenty-first centuries in an all-encompassing sense, the revised and expanded edition strives to demonstrate the potential of entangled historical perspectives more

<sup>5</sup> Boehmer, "Globalisierung als heimischer Fetisch," 44 ("in ferne Scheinwelten […] fliehen," "Arrangeur geklauter Ideen und Objekte").

<sup>6</sup> See Caitano, "Intercultural Perspectives in the International Summer Courses for New Music."

<sup>7</sup> See Yang, "Technologies of Tradition in Post-War Musical Avant-Gardism."

<sup>8</sup> See Langenkamp, "Close Encounters of Another Kind."

<sup>9</sup> Finchum-Sung, "Foreword: Aesthetics of Interculturality in East Asian Contemporary Music," 8.

<sup>10</sup> Yang, "Technologies of Tradition in Post-War Musical Avant-Gardism," 43.

<sup>11</sup> See Lee, "Postcolonial Affect" and Lee "Introduction: From Difference to Ambiguity."

comprehensively than the original German edition, especially in the newly added Chapters II.2, SS܌ړܒþűĢ-SSܒڔܒà'nŎŦĩůþűǢ-ŻŁ-Ʒ'nĩþĢĢĩĢ-ƟþƢƷƪ-ŎűěŦƿĢĩþ-ĚƢŻþĢĩƢþƟƟƢŻþě'něŻůĚŎűŎűł-ŎűƪƷŎƷƿƷŎŻűܮ al, sociocultural, and analytical perspectives, the core methodology pursued in most chapters may be described as a "bottom-up" focus on what has been called "artistic agency,"ڛښ including ƢĩǴŦĩěƷŎŻűƪ-Żű-ƟĩƢŁŻƢůþűěĩ܌-ƟĩƢěĩƟƷŎŻű܌þűĢ-ƢĩěĩƟƷŎŻűܒrþűǢ-ŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎěþŦ-ƟƢŻěĩƪƪĩƪ- ĢŎƪěƿƪƪĩĢ-Ŏű-Ʒ'nŎƪ-ĚŻŻţĩůĩƢłĩĢ-ŁƢŻůłƢþƪƪƢŻŻƷƪ-ƟƢŻŠĩěƷƪǜŎƷ'nŻƿƷůƿě'n-ŎűƪƷŎƷƿƷŎŻűþŦƪƿƟƟŻƢƷ܌- ƪƿƪƷþŎűĩĢ-ĚǢ-Ʒ'nĩěŻůƟŻƪĩƢƪܼþűĢ-Ʒ'nĩ-ƟĩƢŁŻƢůĩƢƪܼƪ'nþƢĩĢĩűƷ'nƿƪŎþƪů-ŁŻƢ-Ʒ'nĩþƢĩþܒȃĩ-ŻĚƪĩƢǛþ-ƷŎŻű-Ʒ'nþƷþ-ܹƢĩܮűĩłŻƷŎþƷŎŻű-ŻŁűĩǜěƿŦƷƿƢþŦƪƟþěĩƪܺ-Ŏű-ŎűƷĩƢěƿŦƷƿƢþŦěŻůƟŻƪŎƷŎŻű-Ŏƪ-ŻǼ Ʒĩű-ĚþƪĩĢ- on "intimate artist-to-artist, musician-to-musician collaborations"ڜښ and requires a commuűŎƷǢ-ŻŁ-ĢĩĢŎěþƷĩĢ-ŦŎƪƷĩűĩƢƪ-ĢĩƪěƢŎĚĩƪƿűƪƷþĚŦĩ-ƟƢĩěŻűĢŎƷŎŻűƪ-Ʒ'nþƷěþűűŻƷ-Ěĩ-Ʒþţĩű-ŁŻƢłƢþűƷĩĢ- ƷŻĢþǢ-ŻƢ-Ŏű-Ʒ'nĩ-ŁƿƷƿƢĩܒȃŎƪůþţĩƪ-ŎƷ-ŻĚǛŎŻƿƪ-Ʒ'nþƷǜŎƷ'nŎű-Ʒ'nĩ-ŻǼƷĩűƪŻěŎþŦŦǢþűĢ-ŎűƪƷŎƷƿƷŎŻűþŦŦǢ- marginalized sphere of contemporary music, intercultural composition may easily be considĩƢĩĢþűĩƟ'nĩůĩƢþŦþűĢ-ƟĩƢŎƟ'nĩƢþŦ-Ɵ'nĩűŻůĩűŻűܒ-SƷ-Ŏƪ-ŎůƟŦŎĩĢ-Ŏű-Ʒ'nŎƪ-ĚŻŻţܼƪůƿŦƷŎƟŦĩűþƢƢþƷŎǛĩƪ- that, on the contrary, composers who have continuously scrutinized the cultural and historical prejudices of our listening provide models of musical interculturality that should be valued þƪ ţĩǢ ĩŦĩůĩűƷƪ- ŻŁ þ łŦŻĚþŦŎǬĩĢ ůƿƪŎěܮ'nŎƪƷŻƢŎěþŦ- ƟƢŻěĩƪƪܒ ĩƢƷþŎűŦǢ܌- Ʒ'nĩ- ĚŻŻţܼƪ ůŻƪƷ- ŎůƟŻƢܮ tant aim is to suggest a change in focus by bringing these new geographies, new protagonists, þűĢűĩǜ-ŎĢĩþƪ-ƷŻ-Ʒ'nĩěĩűƷĩƢ-ŻŁ-'nŎƪƷŻƢŎŻłƢþƟ'nŎěþŦþƷƷĩűƷŎŻűܒ-SűƪƷþŦŦŎűł-Ʒ'nĩƪĩěŻůƟŻƪĩƢƪþƪţĩǢ- ȀłƿƢĩƪ-ŻŁþłƢþűĢ- ܹǜŻƢŦĢůƿƪŎě-'nŎƪƷŻƢǢ܌ܺ-'nŻǜĩǛĩƢ܌ǜŻƿŦĢ-ŦŎţĩŦǢ-ŁþŎŦ- ƷŻłƢþƪƟ- Ʒ'nĩ- ŁƢþłůĩűƷĩĢ܌- ǴŦƿěƷƿþƷŎűł܌þűĢ-ĢĩěĩűƷĩƢĩĢůƿƪŎěþŦěƿŦƷƿƢĩƪ-ŻŁ-Ʒ'nĩ-ƟþƪƷěĩűƷƿƢǢ܌þƪ-ŻƿƷŦŎűĩĢ-Ŏű- 'nþƟƷĩƢ-SSܒ-- more moderate implication of the research presented here, then, might be that all music is in a fundamental sense intercultural, and that the hybrid or composite character of the historical constructs of "Western" or "non-Western" music today and their long history continuously demand new perspectives in music research as well as in composition, performance, and lis-ƷĩűŎűł܌-ƟĩƢƪƟĩěƷŎǛĩƪ-Ʒ'nþƷě'nþŦŦĩűłĩþűĢ-ĢŎƪěþƢĢ-ŦŻűłܮ'nĩŦĢƪƷĩƢĩŻƷǢƟĩƪþűĢěþűŻűŎǬĩĢ-Ʒ'nŎűţŎűłܒ-

 *Vienna, 17 September 2020*

ڶڵ- -FŏŲĜŊǀŰܫRǀŲŃ܉-ܶFżƣĪǝżƣģ܈-ĪƫƸŊĪƸŏĜƫżł-SŲƸĪƣĜǀŧƸǀƣÿŧŏƸǣŏŲ-/ÿƫƸƫŏÿŲ żŲƸĪŰƠżƣÿƣǣrǀƫŏĜ܉ܷ-ڒڍ

## **Acknowledgements**

Sű- ƷŻƷþŦ܌- ڐړ- ĢŎDz ŁĩƢĩűƷ- ƟƿĚŦŎěþƷŎŻűƪ- ŦþŎĢ- Ʒ'nĩ łƢŻƿűĢǜŻƢţ- ŁŻƢ- Ʒ'nĩ- ƟƢĩƪĩűƷ- ĚŻŻţ܌ ǜŎƷ'n- Ʒ'nĩůþŎű- þƢƷŎěŦĩƪ-ŁŻƢůŎűł-Ʒ'nĩ-ĚþěţłƢŻƿűĢ-ŻŁ-Ʒ'nĩ-ŻƢŎłŎűþŦ-GĩƢůþűĩĢŎƷŎŻű-ŻŁ-ړڐڏڑƪƿƟƟŦĩůĩűƷĩĢ-ĚǢƪŎǡ- ůŻƢĩ-ƢĩěĩűƷ-Żűĩƪܒȃĩ-ƟƟĩűĢŎǡ-ŻDz ŁĩƢƪþ-ŦŎƪƷ-ŻŁ-Ʒ'nĩƪĩ-ƟƿĚŦŎěþƷŎŻűƪܒ-Ʒ-Ʒ'nŎƪ-ƟŻŎűƷ܌-SǜŻƿŦĢ-ŦŎţĩ- ƷŻĩǡƟƢĩƪƪůǢƪŎűěĩƢĩ-Ʒ'nþűţƪ-ƷŻþŦŦěŻŦŦĩþłƿĩƪþűĢ-ŁƢŎĩűĢƪǜ'nŻ-'nþǛĩ-'nĩŦƟĩĢůĩ-ƷŻ-ƟƿƢƪƿĩůǢ- ƢĩƪĩþƢě'n܌þűĢǜ'nŻ- 'nþǛĩ-ŎűƪƟŎƢĩĢůĩþűĢ- ƟƢŻǛŻţĩĢůǢ-ŎůþłŎűþƷŎŻűþűĢ ƪě'nŻŦþƢŦǢþƪǜĩŦŦþƪ- þƢƷŎƪƷŎěþěƷŎǛŎƷǢܒ-RŎłűŎȀěþűƷ-ĢŎƪěƿƪƪŎŻűƪĩůĩƢłĩĢ-ĢƿƢŎűł-Ʒ'nĩ-ŦŻűł-ƟƢŻěĩƪƪĩƪ-ŻŁ-ƷƢþűƪŦþƷŎŻű-ĚǢ- hþƿƢĩűěĩàŎŦŦŎƪþűĢěŻƟǢܮĩĢŎƷŎűł-ĚǢàŎĩŦþűĢ-NŻĚþű-ܣǜ'nŻþŦƪŻůþĢĩ-ŎůƟŻƢƷþűƷěŻűƷƢŎĚƿƷŎŻűƪ- ƷŻ-Ʒ'nĩ-ƷƢþűƪŦþƷŎŻűþƷþűĩþƢŦŎĩƢ-ƟŻŎűƷ܌ܤþűĢ-SĩǡƷĩűĢůǢ-ĢĩĩƟĩƪƷłƢþƷŎƷƿĢĩ-ŁŻƢ-Ʒ'nĩŎƢ-ŦŻűłþűĢěŻű-ƷŎűƿŻƿƪĩDz ŁŻƢƷƪ-ƷŻůþűþłĩ-Ʒ'nĩěŻűƪŎĢĩƢþĚŦĩþůŻƿűƷ-ŻŁ-ƷĩǡƷ-ƷŻ-Ěĩ-ŎűƷĩƢƟƢĩƷĩĢ-ܣþűĢ܌-Ŏű-Ʒ'nþƷ-ƟƢŻěĩƪƪ܌-ƢĩěŻűƪŎĢĩƢĩĢþűĢƿƟĢþƷĩĢܒܤ-SþůþŦƪŻłƢþƷĩŁƿŦ-ŁŻƢþĢĢŎƷŎŻűþŦ-ƢĩƪĩþƢě'nůþƷĩƢŎþŦþűĢěŻůůĩűƷƪ-Żűě'nþƟƷĩƢƪ-ŻŁ-Ʒ'nĩ-ƢĩǛŎƪĩĢĩĢŎƷŎŻű-ƟƢŻǛŎĢĩĢ-ĚǢæþǢŻŎ-ÃűŻ-/ǛĩƢĩƷƷ܌-RŻƟ'nŎĩ-FĩƷƷ'nþƿĩƢ܌dŻ'nű- àŎűǬĩűĚƿƢł܌hŎűܮtŎhŎþŻ܌þűĢtþűěǢæƿű'nǜþ-¦þŻܒ- SűþĢĢŎƷŎŻű܌- Ʒ'nƢĩĩþűŻűǢůŻƿƪ-ƢĩǛŎĩǜĩƢƪ- ůþĢĩ-ǛþŦƿþĚŦĩěŻůůĩűƷƪþűĢƪƿłłĩƪƷŎŻűƪ-Żű-'nŻǜ-ƷŻ-ŎůƟƢŻǛĩ-Ʒ'nĩěŻűƷĩűƷþűĢƪěŻƟĩ-ŻŁ-Ʒ'nĩ-ĚŻŻţܒ

Major research contexts, conferences, collaborations, and valuable discussions that have ŁŻƿűĢ- Ʒ'nĩŎƢǜþǢ-ŎűƷŻ- Ʒ'nĩ-ĚŻŻţ-ŎűǛŻŦǛĩĢþ-ŦþƢłĩűƿůĚĩƢ-ŻŁƪě'nŻŦþƢƪ-ŎűěŦƿĢŎűł-NĩƢůþűű-GŻƷƷƪě'nĩǜƪţŎ-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁ- ¼ŻţǢŻ܌ܤ- FƢĩĢĩƢŎěţ hþƿ-ܣȃĩ- 'nŎűĩƪĩ-ÃűŎǛĩƢƪŎƷǢ-ŻŁ-NŻűłfŻűł܌ܤ dŻ'nű- àŎűǬĩűĚƿƢł-ܣNŻűłfŻűłþƟƷŎƪƷ-ÃűŎǛĩƢƪŎƷǢ܌ܤfþůhþƟܮfǜþűþűĢ-¼ƿűł- 'nþŻܮrŎűł-ܣtþƷŎŻűþŦ- 'nŎþŻܮ1/4ƿűł-ÃűŎǛĩƢƪŎƷǢ-NƪŎűě'nƿ܌-1/4þŎǜþű܌ܤ-£þű-NǜþűłܮhŻűł-ܣ1/4þŎƟĩŎtþƷŎŻűþŦ-ÃűŎǛĩƢƪŎƷǢ-ŻŁ-Ʒ'nĩ- ƢƷƪ܌ܤhŻfŎŎܮrŎűł-ܣtþƷŎŻűþŦ-¼þŎǜþűtŻƢůþŦ-ÃűŎǛĩƢƪŎƷǢ܌ܤàþűłæŎűłŁĩűþűĢæþűł- 'nŎĩűܮ 'nþűł- ܣtþƷŎŻűþŦ-¼þŎƟĩŎ-ÃűŎǛĩƢƪŎƷǢ܌ܤ-NĩĩܮRŻŻţ-'n-ܣRĩŻƿŦtþƷŎŻűþŦ-ÃűŎǛĩƢƪŎƷǢ܌ܤdŎþ-'þơƿűþűĢæþűłæþű-ĢŎ-ܣ ŻűƪĩƢǛþƷŻƢǢ-ŻŁrƿƪŎě-®'nþűł'nþŎ܌ܤdƆƢű-£ĩƷĩƢ-NŎĩţĩŦ-ܣNŻě'nƪě'nƿŦĩ-ŁDžƢrƿƪŎţ-'ƢĩƪĢĩű܌ܤ-1/4ŻĚŎþƪ- dþűǬ-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁ-Żűű܌ܤ- ŦþƿĢŎƿƪݑ1/4ŻƢƟ-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁfþƪƪĩŦ܌ܤ-RŻƟ'nŎĩ-FĩƷƷ'nþƿĩƢ-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁ- NþůĚƿƢł܌ܤrŎűþƢŎ-Żě'nůþűű-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁhĩŎƟǬŎł܌ܤþƢĚþƢþrŎƷƷŦĩƢþűĢ-'ŻƢŻƷ'nĩþ-¦ĩĢĩƟĩűűŎűł-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁ-NĩŎĢĩŦĚĩƢł܌ܤàþŦƷĩƢܮàŻŦŁłþűł-®ƟþƢƢĩƢ-ܣĩƢŦŎű܌ܤ-ŦĚƢĩě'nƷ-¦ŎĩƷ'nůDžŦŦĩƢ-ܣFƢĩĩ- ÃűŎǛĩƢƪŎƷǢ-ŻŁĩƢŦŎű܌ܤ-FĩĢĩƢŎěŻ ĩŦĩƪƷŎűŎ-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁ-SűűƪĚƢƿěţ܌ܤtŎűþ-£ŻŦþƪě'nĩłł-ܣßŎĩűűþ܌ܤæþǢŻŎ-ÃűŻ-/ǛĩƢĩƷƷ-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁ-SŦŦŎűŻŎƪþƷ- 'nŎěþłŻ܌ܤ-RþűĢĩĩƟ-'nþłǜþƷŎ-ܣ ŻűěŻƢĢŎþ-ÃűŎǛĩƢƪŎƷǢ܌ܤtþűěǢæƿű'nǜþ-¦þŻ-ܣ¦ƿƷłĩƢƪ-ÃűŎǛĩƢƪŎƷǢ܌ܤrþƢƷŎű-®ě'nĩƢǬŎűłĩƢ-ܣtæÃ-®ƷĩŎű'nþƢĢƷ܌ܤ-£'nŎŦŎƟßܒ-Ż'nŦůþű-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁ- 'nŎěþłŻ܌ܤűűþrþƢŎþƿƪƪĩĩƢłĩƢ-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁ þŦŎŁŻƢűŎþ-'þǛŎƪ܌ܤtŎě'nŻ-Ŧþƪ- ŻŻţ-ܣÃűŎǛĩƢƪŎƷǢ-ŻŁ þůĚƢŎĢłĩ܌ܤdŻűþƷ'nþű-®ƷŻěţ-ܣÃűŎǛĩƢƪŎƷǢ- ŻŦŦĩłĩ- ŻƢţ܌ܤhƿěŎþűþ-GþŦŦŎþűŻ- ܣÃűŎǛĩƢƪŎƷÿ þܼ-FŻƪěþƢŎ-ĢŎßĩűĩǬŎþܤþƪǜĩŦŦþƪhŎűܮtŎhŎþŻ܌dĩþűܮæǛĩƪ-ŻƪƪĩƿƢ-ܣ£þƢŎƪ܌ܤþűĢ-FƢþű-ĞŻŎƪ-£ŎěþƢĢ-ܣÃűŎǛĩƢƪŎƷĪ-£þƢŎƪܮRŻƢĚŻűűĩ܌-£þƢŎƪ- Sßܒܤ-ŦƪŻ܌ůþűǢ-ŎůƟŻƢƷþűƷ ěŻűǛĩƢƪþƷŎŻűƪǜŎƷ'n- ěŻŦŦĩþłƿĩƪþƷ-Ʒ'nĩ-ÃűŎǛĩƢƪŎƷǢ-ŻŁrƿƪŎěþűĢ-£ĩƢŁŻƢůŎűł-ƢƷƪ-GƢþǬ-ŎűěŦƿĢŎűł-£ĩƷĩƢ-¦ĩǛĩƢƪ܌-GĩƢĢ- GƢƿƟĩ܌- 'nƢŎƪƷþ-ƢDžƪƷŦĩ܌űĢƢĪ-'Żĩ'nƢŎűł܌-'ĩűŎǬ-£ĩƷĩƢƪ܌þűĢűĢƢĩþƪ-'ŻƢƪě'nĩŦ܌þƪǜĩŦŦþƪůþűǢ- ƪƷƿĢĩűƷƪ-Ŏű-Ʒ'nĩůƿƪŎě-Ʒ'nĩŻƢǢþűĢ-£'n'-ƟƢŻłƢþůƪ܌ƪƟþƢţĩĢűĩǜ-ŎĢĩþƪþűĢ-ƟĩƢƪƟĩěƷŎǛĩƪܒ

I am equally deeply indebted to all colleagues, musicians, ensembles, and organizers who helped me to develop, create, and realize my own musical ideas, including Chai Found Music àŻƢţƪ'nŻƟ-ܣ þŎŁĩűł æƿĩŁþűłܤ-1/4 þŎƟĩŎ܌- Ʒ'nĩ- ŻűƷĩůƟŻƢþƢǢrƿƪŎě-/űƪĩůĚŦĩfŻƢĩþ܌- £N /-ܣŁŻƢůĩƢŦǢĩűƪĩůĚŦĩ-ŻűܚŦŎűĩ܌ßŎĩűűþ܌ܤ-RŎůĩŻű-£ŎƢŻűţŻDz Ł-ܣßŎĩűűþ܌ܤhþƢƪrŦĩţƿƪě'n-ܣðƿƢŎě'n܌ܤrþƢƷŎű- hŎűĢƪþǢ-ܣ ŻŦŻłűĩ܌ܤfƔ-Sƪ'nŎţþǜþ-ܣ1/4ŻţǢŻ܌ܤ-¥Ŏűàĩűě'nĩű-ܣ ĩűƷƢþŦ- ŻűƪĩƢǛþƷŻƢǢ-ŻŁrƿƪŎěĩŎŠŎűł܌ܤàƿàĩŎ-ܣĩƢŦŎű܌ܤæĩ'ndŎƿþűܮ¦ĩűł-ܣ1/4þŎƟĩŎ܌ܤ-NŻűłàĩűܮ1/4ƪŎĩű-ܣßŎĩűűþ܌ܤdŻűłܮ'næŻŻű-ܣRŎűłþƟŻƢĩ܌ܤ-'ŎƢţ-¦ŻƷ'nĚƢƿƪƷ-ܣ ŻŦŻłűĩ܌ܤåĩűŎþåŎĩűǢƿĩ-GƢŻ'nܮNƿ-ܣĩƢŦŎű܌ܤàŎŦŦŎþůhþűĩ-ܣNŻűłfŻűł܌ܤ-Ʒ'nĩ-ŦþƷĩ- dþěţ-ŻĢǢþűĢrŎě'nþĩŦtŻƢƢŎƪ-ܣtĩǜðĩþŦþűĢ-®ě'nŻŻŦ-ŻŁrƿƪŎěܘßŎěƷŻƢŎþ-ÃűŎǛĩƢƪŎƷǢ-ŻŁàĩŦŦŎűłƷŻű܌ܤ-¼ŻűǢ-£ƢþĚŻǜŻ-ܣdþţþƢƷþ܌ܤrþƷƷ'nŎþƪƪƷĩƢǜŻŦĢ-ܣĩƢŦŎűĩƢ-FĩƪƷƪƟŎĩŦĩ܌ܤ-Ʒ'nĩ-ŦþƷĩ-¦ĩŎű'nþƢĢĩ'nŦƪě'nŦĎłĩŦ-ܣ'ĩƿƷƪě'nŦþűĢŁƿűţ- ŻŦŻłűĩ܌ܤ-GŎƪĩŦ'nĩƢ-®ůĩţþŦ-ܣƿƪƷƢŎþű-ƢŻþĢěþƪƷŎűł- ŻƢƟŻƢþƷŎŻűßŎĩűűþܤ- þƪǜĩŦŦþƪ-GĩƢ'nþƢĢ-®ƷĎĚŦĩƢþűĢfƿűƪƿ-®'nŎů-ܣ/þƢ£ŻƢƷ܌-'ƿŎƪĚƿƢłܘ'DžƪƪĩŦĢŻƢŁܒܤ

SþůłƢþƷĩŁƿŦ-ƷŻ-ƷƢþűƪěƢŎƟƷ-ŁŻƢ-ƷþţŎűł-Żű-Ʒ'nĩ-ƢĩǛŎƪĩĢ-/űłŦŎƪ'n-ƷƢþűƪŦþƷŎŻű-ŻŁ-Ʒ'nŎƪ-ĚŻŻţþǼ ƷĩƢ- ƟƢŻĢƿěŎűł-Ʒ'nĩ-ŻƢŎłŎűþŦ-GĩƢůþűĩĢŎƷŎŻűƪŻ-ĚĩþƿƷŎŁƿŦŦǢܒ-SűþĢĢŎƷŎŻű܌-SůƿƪƷ-Ʒ'nþűţ-Ʒ'nĩƿƪƷƢŎþű- ®ěŎĩűěĩ-FƿűĢ-ܣFàFܤ-ŁŻƢ-ŎƷƪłĩűĩƢŻƿƪ-ȀűþűěŎþŦƪƿƟƟŻƢƷ-ŻŁ-Ʒ'nĩ-ƷƢþűƪŦþƷŎŻűþűĢ-ŻƟĩűþěěĩƪƪ-ƟƿĚܮ ŦŎěþƷŎŻű܌þƪǜĩŦŦþƪ-Ʒ'nĩ-GƢþǬ-ÃűŎǛĩƢƪŎƷǢ-ŻŁrƿƪŎěþűĢ-£ĩƢŁŻƢůŎűł-ƢƷƪ-ŁŻƢþĢĢŎƷŎŻűþŦ-ŁƿűĢŎűłܒ-ƢĩűßŎűŻłƢþĢŻǛţŎűĢŦǢþƪƪŎƪƷĩĢ-Ŏű-Ʒ'nĩ-ŁŻƢůþƷƷŎűłþűĢ-ƟƢŻŻŁƢĩþĢŎűł-ŻŁ-Ʒ'nĩ-ŦĩűłƷ'nǢ-ĚŎĚŦŎŻłƢþ-Ɵ'nǢþűĢ-Ʒ'nĩ-ŁŻŻƷűŻƷĩƪ܌-'ŎůŎƷƢŎŻƪfþƷ'nþƢŻƟŻƿŦŻƪ-ŻDz ŁĩƢĩĢ-'nŎƪ-'nĩŦƟ-Ŏű-ƢĩŁŻƢůþƷƷŎűł-Ʒ'nĩůƿƪŎěþŦ- ĩǡþůƟŦĩƪ܌þűĢ-'ŎĩƷĩƢfŦĩŎűƢþƷ'nþłþŎű-ƟƢŻǛŎĢĩĢ-'nŎƪþƪƪŎƪƷþűěĩ-Ŏű-ƟƿƷƷŎűł- ƷŻłĩƷ'nĩƢ- Ʒ'nĩ-ŎűĢĩǡܒhþƪƷ-ĚƿƷűŻƷ-ŦĩþƪƷ܌-Sþů-ĢĩĩƟŦǢłƢþƷĩŁƿŦ- ŁŻƢþŦŦ- Ʒ'nĩ-ŦŻǛĩþűĢƪƿƟƟŻƢƷ- S-'nþǛĩ-ƢĩěĩŎǛĩĢ- ŁƢŻůůǢ- family and close friends over the years.

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## **List of Examples, Figures, and Tables**












/ǡþůƟŦĩ-܋ڒܒڔ--1/4 þű-'ƿű܌-*Silk Road*-ŁŻƢƪŻƟƢþűŻþűĢ-ƟĩƢěƿƪƪŎŻű܌-܌ڒƪǢƪƷĩůƪ-ڑݯڐ



/ǡþůƟŦĩ-܋ڏڑܒڕ-- 'nƢŎƪƷŎþű-ÃƷǬ܌*telinga – mulut*܌ƪĩěƷŎŻű-܌ڑܒړůůܒ-ڑڗڑܫڔږڑ


# **I. Introduction: Art Music, Identity, and Reflexive Globalization**

### **1. Art Music in a Global Context**

Simon Rattle's assessment that the future of "classical music" lies in China, made on the ocěþƪŎŻű-ŻŁ-Ʒ'nĩĩƢŦŎű-£'nŎŦ'nþƢůŻűŎěܼƪ- 'nŎűþ-ƷŻƿƢ-Ŏű-ڔڏڏڑ-Ʒ'nþƷ-¦þƷƷŦĩěŻűĢƿěƷĩĢښ܌ ůþǢ-Ěĩ-Ʒþţĩűþƪ- þ-ŠƿůƟŎűłܮŻDz ŁܮƟŻŎűƷ-ŁŻƢ-Ʒ'nĩ-ƢĩܮĩǡþůŎűþƷŎŻű-ŻŁ-Ʒ'nĩűŻǜ-ŻǛĩƢ-Żűĩܮ'nƿűĢƢĩĢܮǢĩþƢ-'nŎƪƷŻƢǢ-ŻŁ-Ʒ'nĩ- reception of Western music in Japan, China, and Korea from new perspectives that can help þűƪǜĩƢ-ŻĚǛŎŻƿƪơƿĩƪƷŎŻűƪ܋-'nŻǜ-ĢŎĢ-Ʒ'nŎƪƪĩĩůŎűłŦǢ-'nŎł'nĩƪƷĩĩů-ŁŻƢ-/ƿƢŻƟĩþűþƢƷůƿƪŎě-Ŏű-/þƪƷ- Asia come about? Against which historical, political, and social dynamics did this development Ʒþţĩ-ƟŦþěĩܓűĢěþű-ŎƷ-ƢĩþŦŦǢ-ĚĩþƪƪƿůĩĢþǼ ƷĩƢěƢŎƷŎěþŦĩǡþůŎűþƷŎŻű-Ʒ'nþƷ܌-Ŏű-ȀǼ ƷǢ-ŻƢ-Żűĩ-'nƿűĢƢĩĢ- ǢĩþƢƪ܌-/þƪƷƪŎþűþƢƷŎƪƷƪǜŎŦŦ-ĢŻůŎűþƷĩ-ܹěŦþƪƪŎěþŦůƿƪŎěܺłŦŻĚþŦŦǢܓ

ŁěŻƿƢƪĩ܌-Ʒ'nĩƿűơƿĩƪƷŎŻűŎűł-ƢĩŁĩƢĩűěĩ-ƷŻ-Ʒ'nĩěŻűěĩƟƷ-ŻŁ-ܹěŦþƪƪŎěþŦůƿƪŎěܺþŦƢĩþĢǢůþţĩƪ-Żűĩ- ƪƿƪƟŎěŎŻƿƪ܋-ܹȃĩěþƷĩłŻƢŎĩƪ-ŻŁþƿƷŻűŻůŻƿƪŦǢ-ŻƢŎĩűƷĩĢþƢƷ-'nþǛĩűŻþƟƟŦŎěþĚŎŦŎƷǢ-ƷŻ-Ʒ'nĩěŻűƷĩůƟŻ-ƢþƢǢ-ƢĩěĩƟƷŎŻű-ŻŁůƿƪŎěܗűŻƷĩǛĩű-ŁŻƢ-Ʒ'nþƷ-ŻŁƪĩƢŎŻƿƪůƿƪŎě܌-ĢŻůĩƪƷŎěþƷĩĢƿűĢĩƢ-Ʒ'nĩ-ĚþƢĚþƢŻƿƪ- name of classical so as to enable one to turn away from it again in comfort."<sup>ڛ</sup> It is probably not ǜ'nŻŦŦǢƿűűĩěĩƪƪþƢǢ-ƷŻ-ƟŻŎűƷ-ŻƿƷ-Ʒ'nĩ-ŻűłŻŎűł-ƢĩŦĩǛþűěĩ-ŻŁ-Ʒ'nŎƪƪƷþƷĩůĩűƷ-ŁƢŻů-ڗڒژڐ-ĚǢȃĩŻĢŻƢ- àܒ-ĢŻƢűŻܒȃĩ-ƷƢĩűĢ-ƷŻƿƪĩ-Ʒ'nĩůƿƪŎě-ŎűĢƿƪƷƢǢ-ŦþĚĩŦ-ܹ ŦþƪƪŎěþŦrƿƪŎěܺþƪþƪĩĩůŎűłŦǢűĩƿƷƢþŦ- technical term in several recent music-sociological publications correlates with an unwillingűĩƪƪ-ƷŻþŦŦŻǜ-ŁŻƢůƿŦƷŎŁþěĩƷĩĢ-ŎűƷĩƢƟƢĩƷþƷŎŻűƪ-ŻŁůƿƪŎěþŦǜŻƢţƪ܌-ŻƢ-ƷŻłƢþűƷ-Ʒ'nĩů-Ʒ'nĩ-ƟŻƷĩűƷŎþŦ- ŻŁ-ƟƢŻǛŻţŎűł-ŎűĢĩƟĩűĢĩűƷůĩþűŎűłڜܒ ȃĩěŻĢŎȀěþƷŎŻű-ŻŁþěþűŻű-ŻŁ-/ƿƢŻƟĩþűþűĢtŻƢƷ'nůĩƢŎܮ ěþű ƪǢůƟ'nŻűŎě܌-ŻƟĩƢþ܌- ǛŻěþŦ܌ ě'nþůĚĩƢ܌þűĢ ƪŻŦŻ- ƢĩƟĩƢƷŻŎƢĩ-ܣƢŻƿł'nŦǢ- ŁƢŻůþě'n- ƷŻrþ'nŦĩƢܤ-Ŏƪ- thus accepted without reservation, along with the exclusion of large parts of twentieth-century

ڵ- -¦ÿƸƸŧĪ-ĪǢƠƣĪƫƫĪģ-ƸŊŏƫÿƸÿ-ƠƣĪƫƫ-ĜżŲłĪƣĪŲĜĪŏŲ- ŊŏŲÿÿƫ-ƠÿƣƸżł-ƸŊĪ-Ƹżǀƣ-®ĪĪ-®ƠÿŊŲ܉-ܶ'ĪƣŧÿŲŃĪrÿƣƫĜŊǭǀ-ĪĪƸŊżven."

ڶ- ģżƣŲż܉-ܶŲ-ƸŊĪ-FĪƸŏƫŊܫ ŊÿƣÿĜƸĪƣŏŲrǀƫŏĜÿŲģ-ƸŊĪ-¦ĪŃƣĪƫƫŏżŲżłhŏƫƸĪŲŏŲŃ܉ܷ-ڕڔڎ-ܠܶ'ŏĪfÿƸĪŃżƣŏĪŲģĪƣÿǀƸżŲżŰ- ŏŲƸĪŲģŏĪƣƸĪŲfǀŲƫƸƫŏŲģłdžƣģŏĪ-ŃĪŃĪŲǝďƣƸŏŃĪ-¦ĪǭĪƠƸŏżŲǜżŲrǀƫŏŤÿǀƷĪƣ-GĪŧƸǀŲŃ܈ǝĪŏƸŊŏŲÿǀĜŊłdžƣģŏĪģĪƣ-ĪƣŲƫ-ƸĪŲ܉ģŏĪ-ŰÿŲ-ǀŲƸĪƣģĪŰěÿƣěÿƣŏƫĜŊĪŲtÿŰĪŲģĪƫfŧÿƫƫŏƫĜŊĪŲ-ǀŰŃďŲŃŧŏĜŊ-ŃĪŰÿĜŊƸ-ŊÿƸ܉-ǀŰƫŏĜŊŏŊƣǝĪŏƸĪƣěĪ-ƢǀĪŰ-ĪŲƸǭŏĪŊĪŲǭǀ-ŤƇŲŲĪŲܷģżƣŲż܉-ܶÉěĪƣģĪŲ-FĪƸŏƫĜŊĜŊÿƣÿŤƸĪƣŏŲģĪƣrǀƫŏŤ܉ܷ-ڑڍܡ

ڷ- -RĪĪ-ĪƫƠĪĜŏÿŧŧǣ-ƸŊĪƣĪǜŏĪǝżł-ƸŊĪěżżŤdǀŲŃŰÿŲŲ܉-*Sozialgeschichte der klassischen Musik*܉ŏŲðĪŊĪŲƸƣĪŏƸĪƣ܉-ܶŲÿƸżŰŏĪ- ģĪƫŏŧģǀŲŃƫědžƣŃĪƣƸǀŰƫܷrŏĜŊÿĪŧ- ǀƫƸżģŏƫ-ŃŏǜĪƫÿ-ĜżŰƠƣĪŊĪŲƫŏǜĪ-ŊŏƫƸżƣǣżł-ƸŊĪ-ĜżŲĜĪƠƸÿŲģŏƸƫģĪǿŲŏƸŏżŲƫæĪƸ܉- ŊĪÿŧƫż-ǀƫĪƫŏƸżǜĪƣěƣżÿģ-ƠÿƫƫÿŃĪƫŏŲÿǝÿǣ-ƸŊÿƸŏƫ-ܠƸżżܡŧŏƸƸŧĪģŏdz łĪƣĪŲƸŏÿƸĪģ-SŲ-ƠÿƣƸŏĜǀŧÿƣ܉ŏƸŏƫ-ŲżƸƫǀdz ǿĜŏĪŲƸŧǣ- ĜŧÿƣŏǿĪģ-ƸŊÿƸ-ܶĜŧÿƫƫŏĜÿŧ-ŰǀƫŏĜܷ-ŊÿƫŧżŲŃěĪĪŲżŲĪżł-ƸŊżƫĪ-ܶĜżŰŰżŲěǀǭǭǝżƣģƫܷ-ƸŊÿƸÿƣĪěÿƫĪģżŲ-ܶŰÿƣŤĪƸƫƸƣÿ-ƸĪŃŏĪƫżł-ƸŊĪƣĪĜżƣģĪģ-ŰǀƫŏĜŏŲģǀƫƸƣǣ܉ܷǝŊŏĜŊŏƫ-Ŋżǝ- ǀƫƸżģŏƫ-ĜŊÿƣÿĜƸĪƣŏǭĪƫ-ƸŊĪ-ƸĪƣŰ-ܶĜƣżƫƫżǜĪƣܷ-ܠ ǀƫƸżģŏƫ܉-*Klassische Musik heute*܉-ܡڕڍ--ŲǀÿŲĜĪģģŏƫĜǀƫƫŏżŲżł-ƸŊĪ-ĜżŲĜĪƠƸŏƫ-ƠƣĪƫĪŲƸĪģŏŲfƣÿŰĪƣ܉-*Why Classical Music Still Matters*.

art music.<sup>ڝ</sup> -/Ǜĩűǜ'nĩűůŻƢĩ-ƢĩěĩűƷěŻůƟŻƪĩƢƪþƢĩěŻűƪŎĢĩƢĩĢ-ŁŻƢþĢůŎƪƪŎŻű-ƷŻ-Ʒ'nŎƪ-ܹ ŦþƪƪŎěþŦܺěþűŻű܌-Ʒ'nŎƪ-ŎűĩǛŎƷþĚŦǢ-'nþƟƟĩűƪǜŎƷ'nŎű-Ʒ'nĩ-ƢĩŦþƷŎǛĩŦǢűþƢƢŻǜ-ŁƢþůĩǜŻƢţ-ŻŁ-ǛþŦƿĩěƢŎƷĩƢŎþþűĢ-ŦŎƪtener expectations dominated by the canon. Music that deliberately challenges the conventions ŻŁƪƿě'nþěþűŻűŎǬĩĢ-ŦŎƪƷĩűŎűł-ܣŻƢ܌-Ŏű-NĩŦůƿƷhþě'nĩűůþűűܼƪ-ƷĩƢůŎűŻŦŻłǢ܌-ĚƢĩþţƪþǜþǢ-ŁƢŻů-Ʒ'nĩ- ǴŦŻǜ-ŻŁ-'nþĚŎƷܮŻƢŎĩűƷĩĢ-ܹŦŎƪƷĩűŎűłܺ-ܡ*Zuhören*] to an existential "hearing-in" [*Hinhören*ڞܤܢ -'nþƪ-ܤڑܒSßݑދܣ- űŻ-ƢĩþŦ-ƟŦþěĩ-Ŏű-Ʒ'nŎƪěŻűěĩƟƷ-ŻŁůƿƪŎěþŦ-ŁƿƷƿƢĩܫݑĩǛĩű-ŎŁƪƿě'nþ-ŁƢþłŎŦŎƷǢ-ŻŁ-ŦŎƪƷĩűŎűłůþǢƿűĢŻƿĚƷܮ edly turn itself into an object of canonization, and thus be aesthetically tamed.

ȃĩ-ĢŎƪěƿƪƪŎŻűþĚŻƿƷ-Ʒ'nĩ-ƟƢŻěĩƪƪ-ŻŁěþűŻűŎǬþƷŎŻű-ŁŻƢ- ŦþƪƪŎěþŦܮ¦ŻůþűƷŎěůƿƪŎěþűĢ-ŎƷƪĩŁfects on the present has indeed hardly been addressed at length by representatives and theo-ƢŎƪƷƪ-ŻŁűĩǜůƿƪŎěܒ-ÃűĢŻƿĚƷĩĢŦǢ܌-Ʒ'nĩƢĩ-ŎƪþŦƪŻþ-ƷĩűĢĩűěǢǜŎƷ'nŎűűĩǜůƿƪŎě-ĢŎƪěŻƿƢƪĩ-ƷŻǜþƢĢ- Ʒ'nĩěþűŻűŎǬþƷŎŻű-ŻŁěĩƢƷþŎűěŻůƟŻƪĩƢƪ-ŻƢǜŻƢţƪþƢŎƪŎűł-ŁƢŻů-Ʒ'nĩ-ĢĩƪŎƢĩ-ƷŻ-ŎĢĩűƷŎŁǢƪƷƢƿěƷƿƢĩƪ- Ŏű-Ʒ'nĩ-ܹűĩǜ-ŻĚƪěƿƢŎƷǢ܌ܺǜ'nŎŦĩþƷ-Ʒ'nĩƪþůĩ-ƷŎůĩܫݑ-ŎűþŦŦþƢĩþƪ-ŻŁěŻűƷĩůƟŻƢþƢǢůƿƪŎěܫݑǜĩþƢĩ- ěŻűŁƢŻűƷĩĢǜŎƷ'nþűĩǛĩƢǜŎĢĩűŎűłþűĢ-ŎűƷĩűƪŎŁǢŎűł- ŁƢþłůĩűƷþƷŎŻű-ŻƢ-ĢŎǛĩƢƪŎȀěþƷŎŻűڟܒ If the deconstructive perspective of globalization is added to this complex situation, the implied prob-Ŧĩů-ŻŁ- ܹěþűŻűŎěŎƷǢܺ-ĚĩěŻůĩƪ-ƟþƢƷŎěƿŦþƢŦǢþěƿƷĩ܋ dŎů-®þůƪŻűþƟƷŦǢþƢłƿĩƪ- Ʒ'nþƷ- ܹƷ'nĩþƿƷ'nŻƢŎƷǢ- of the canon as a measurement of quality in some absolute sense has proved increasingly dif-ȀěƿŦƷ-ƷŻƪƿƪƷþŎű܌ܺƪŎűěĩ-ܹþűǢűŻƷŎŻű-ŻŁþƪŎűłŦĩěƿŦƷƿƢĩ܌-ŻŁǜ'nŎě'n-Ʒ'nĩěþűŻűůŎł'nƷ-Ěĩ-ƢĩłþƢĢĩĢ- þƪ-Ʒ'nĩ-ȀűĩƪƷĩǡƟƢĩƪƪŎŻű܌-ŎƪűŻ-ŦŻűłĩƢ-ǛŎþĚŦĩܒܺڠ ȃĩƪĩűƪĩ-ŻŁ-ŎűƪĩěƿƢŎƷǢěƢĩþƷĩĢ-ĚǢ-Ʒ'nŎƪƪŎƷƿþƷŎŻű- 'nþƪ-ŦþƷĩŦǢ-ŦĩĢ-ƷŻűƿůĩƢŻƿƪþƷƷĩůƟƷƪþƷ-ƢĩܮěþűŻűŎǬþƷŎŻű܌-ŎűěŦƿĢŎűł-Ŏű-Ʒ'nĩ-ȀĩŦĢ-ŻŁěŻűƷĩůƟŻƢþƢǢ- ƢĩƟĩƢƷŻŎƢĩƪܒ-Rƿě'nþƷƷĩůƟƷƪ܌-'nŻǜĩǛĩƢ܌þƢĩƿƪƿþŦŦǢěŻűȀűĩĢ-ƷŻàĩƪƷĩƢű-ƟƢŻƷþłŻűŎƪƷƪܒ- ŻűƪŎĢĩƢ܌for example, the list of the "100 Classics of Modern Music" (*ڕڕږfŦþƪƪŎţĩƢ-ĢĩƢůŻĢĩƢűĩűrƿƪŎţ*ܤ-Ŏű- ǜ'nŎě'n-Ʒ'nĩĩĢŎƷŻƢƪ-ŻŁ-Ʒ'nĩ-GĩƢůþűǜĩĩţŦǢ-*Die Zeit* ĢŎĢűŻƷ-ƢþűţþƪŎűłŦĩƪŎþű܌-ŁƢŎěþű܌-ŻƢhþƷŎű- American artist.<sup>ڡ</sup> tŻƷ-ŻűŦǢ-ĢŻĩƪ-Ʒ'nĩ-ƷĩƢů-ܹěŦþƪƪŎěþŦůƿƪŎěܺ-ƷĩűĢ-ƷŻĩǡěŦƿĢĩěƢŎƷŎěþŦ-ŁŻƢůƪ-ŻŁűĩǜ- music, its use is usually implicitly ethnocentric and a priori prevents a substantial expansion and alteration of the repertoire through intercultural hybridization or elementary composi-ƷŎŻűþŦ-ŎűƷĩƢǛĩűƷŎŻűƪ-Ŏű- ƷŻűþŦ ƪǢƪƷĩů܌- ƟŎƷě'n ƪƷƢƿěƷƿƢĩ܌þűĢůƿƪŎěþŦ ƪǢűƷþǡܒȃþƷþ ěŻűěĩƟƷ-ŻŁ- "classical music" or "classical style" also exists in other musical cultures is certainly not an ar-

ں Michael Custodis places this term at the center of his investigation (Custodis, *Klassische Musik heute*܉-ܡڎڎܨڕ

ڸ- -Ų-ƸŊĪ-ŃĪŲĪƫŏƫ܉-ƸŊĪżƣǣ܉ÿŲģ-ĜƣŏƸŏƢǀĪżł-ƸŊĪ ŧÿƫƫŏĜÿŧܫ¦żŰÿŲƸŏĜ-ŰǀƫŏĜÿŧ-ĜÿŲżŲ܉ƫĪĪ܉ÿŰżŲŃżƸŊĪƣƫ܉-£ŏĪƸƫĜŊŰÿŲŲ- and Wald-Fuhrmann, *Der Kanon der Musik*, Bergeron and Bohlman, *Disciplining Music*܉ àĪěĪƣ܉- ܶ1/4ŊĪ- NŏƫƸżƣǣ żł- rǀƫŏĜÿŧ ÿŲżŲ܉ܷ-'żƣƫĜŊĪŧ܉-ܶÉěĪƣfÿŲżŲŏƫŏĪƣǀŲŃܷ

ڹ- -ܶNĪÿƣŏŲŃ-ŰĪÿŲƫ܉ŏŲ-ĜżŲƸƣÿƫƸ-Ƹż-ĜżܫĪŲÿĜƸŏŲŃŧŏƫƸĪŲŏŲŃ܈-ƸżƣÿģŏĜÿŧŧǣƣĪżƣŏĪŲƸżŲĪƫĪŧł܉-Ƹż-ŊÿǜĪ-ƸżǿŲģ-ŲĪǝěĪÿƣŏŲŃƫܔŏƸ- ŰĪÿŲƫżƠĪŲŏŲŃ-ǀƠ-ŊŏģģĪŲƫƠÿĜĪƫǝŏƸŊŏŲżŲĪƫĪŧłŏŲ-ƸÿĜŤŧŏŲŃ-ǀŲłÿŰŏŧŏÿƣƫƸƣǀĜƸǀƣĪƫܷ-ܠhÿĜŊĪŲŰÿŲŲ܉-ܶĜĜÿŲƸż܉ܷ-܉ڕڒڍ- ܶNƇƣĪŲ-ŊĪŏƷƸŏŰ-GĪŃĪŲƫÿƸǭǭǀŰ-ŰŏƸǜżŧŧǭŏĪŊĪŲģĪŲðǀŊƇƣĪŲ܈ƫŏĜŊƣÿģŏŤÿŧ-ǀŰżƣŏĪŲƸŏĪƣĪŲ܉ƫŏĜŊ-ŲĪǀǭǀƣĪĜŊƸǿŲģĪŲ- ŰdžƫƫĪŲ܉-ŊĪŏƷƸ܉ŏŰ-/ƣƸÿƫƸĪŲ-ǀŲŃĪǝżŊŲƸĪƣ-®ƸƣǀŤƸǀƣĪŲǜĪƣěżƣŃĪŲĪ-¦ďǀŰĪŏŲƫŏĜŊ-ĪƣƫĜŊŧŏĪƷĪŲܷܡ-RĪĪÿŧƫż-NÿŰŏŧƸżŲ܉- *Aesthetics and Music*܉-ڍڍڍܨڑڕ

<sup>ܷ</sup>ܟŏŏŏܞÿŲżŲ -ܶ܉ÿŰƫżŲ®- -ڻ

ڼ- -1/4ŊŏƫŏƫƫƸÿƸĪģŧÿĜżŲŏĜÿŧŧǣŏŲ-ĪƠŏƫżģĪ-ڒڕżł-ƸŊĪƫĪƣŏĪƫ܈-ܶڑڕ-ŰǀƫŏĜÿŧ-ĜŧÿƫƫŏĜƫ-ŊÿǜĪÿŧƣĪÿģǣěĪĪŲ-ƠƣĪƫĪŲƸĪģŏŲ-ƸŊŏƫƫĪƣŏĪƫ ěǀƸ܉ ÿƫ- ƸŊĪ ƫĪƣŏĪƫ ŏƫ- ĜżŰŏŲŃ- Ƹż ÿŲ- ĪŲģ܉- Ųż łƣŏĜÿŲ- ܠżƣ ƫŏÿŲ܉ tĪǝ ðĪÿŧÿŲģ܉- ǀƫƸƣÿŧŏÿŲܡ ƣĪĜżƣģŏŲŃ- Ŋÿƫ ěĪĪŲ- ŏŲĜŧǀģĪģ- GŧżěÿŧŏǭÿƸŏżŲ- Ŋÿƫ- ŲżƸ ǣĪƸ ŧĪģ- Ƹż ÿ- Ƹƣǀŧǣ- Ńŧżěÿŧ ǜŏĪǝ żł- ƸŊĪ- ĜǀŧƸǀƣĪƫ żł- ƸŊĪ ǝżƣŧģܷ- ܠGƣżƷ܉- ܶǀƫ ģĪŰ- ®ĜŊƣĪŏŲܷ-ܶڑڕrǀƫŏŤŤŧÿƫƫŏŤĪƣǝǀƣģĪŲŏŲģŏĪƫĪƣ-¦ǀěƣŏŤěĪƣĪŏƸƫǜżƣŃĪƫƸĪŧŧƸ܉ģŏĪ-®ĪƣŏĪ-ŃĪŊƸÿǀłŏŊƣ-/ŲģĪǭǀ܉ģżĜŊ-ĪŏŲĪ- ÿłƣŏŤÿŲŏƫĜŊĪ- ܞǝÿŊŧǝĪŏƫĪ ÿǀĜŊ܈ ÿƫŏÿƸŏƫĜŊĪ܉- ŲĪǀƫĪĪŧďŲģŏƫĜŊĪ܉ ÿǀƫƸƣÿŧŏƫĜŊĪܟ- ǀłŲÿŊŰĪ ǝÿƣ ěŏƫŧÿŲŃ- ŲŏĜŊƸ ģÿěĪŏ- 'ŏĪ- GŧżěÿŧŏƫŏĪƣǀŲŃ-ŊÿƸ-ĪěĪŲģżĜŊ-ŲżĜŊǭǀ-ŤĪŏŲĪŰǝŏƣŤŧŏĜŊ-ŃŧżěÿŧĪŲŧŏĜŤÿǀłģŏĪ fǀŧƸǀƣĪŲģĪƣàĪŧƸ-ŃĪłdžŊƣƸܷܡ- ¦ĪŧÿƸĪģ- ĪǢÿŰƠŧĪƫ ÿěżǀŲģ܉ ƫǀĜŊ ÿƫ ŏŲ- 'ŏĪƸƣŏĜŊ- ®ĜŊǝÿŲŏƸǭܹƫ ƫǀĜĜĪƫƫłǀŧ- ƠǀěŧŏĜÿƸŏżŲ- *Alles, was man wissen muß* ܉ܡڕڕڕڍܠ ǝŊŏĜŊ- ĪǢĜŧǀƫŏǜĪŧǣ- ĜżŲƸÿŏŲƫ- ĜŊÿƠƸĪƣƫ żŲ- /ǀƣżƠĪÿŲ- ŊŏƫƸżƣǣ ÿŲģ ÿƣƸ łżƣŰƫ܉ żƣ- 'ǀěÿŧ܉-*The Essential Canon of Classical Music*-܉ܡڏڌڌڎܠŏŲǝŊŏĜŊ-ŰĪƣĪŧǣżŲĪƫŏÿŲ-ĜżŰƠżƫĪƣ-ܠ1/4ƕƣǀ-¼ÿŤĪŰŏƸƫǀܡŏƫłĪÿƸǀƣĪģ-®ĪĪ ŏƸƣżŲ܉-*Gender and the Musical Canon*łżƣÿŲ-ĪǢĜŧǀƫŏżŲżłłĪŰÿŧĪ-ĜżŰƠżƫĪƣƫłƣżŰ-ƸŊĪ-ŰǀƫŏĜÿŧ-ĜÿŲżŲżł ŧÿƫƫŏĜÿŧÿŲģ-¦żŰÿŲƸŏĜ-ŰǀƫŏĜ

gument against the unambiguously ethnocentric idea of a "future of classical music in China." There is no doubt here that the "classical" is considered exclusively European in the sense defined above. In addition, it would first be necessary to examine on a case-by-case basis whether designations such as "classical Indian music" or "classical Persian music" actually describe original concepts of canonization in the respective musical cultures or are, rather, premature transfers of (Western-oriented) research. Although there are certainly tendencies in the canonization of certain pieces of music or interpretive schools in virtually all art music traditions, they are usually associated with forms of cultural transmission that fundamentally differ from the Western process of canonization (in the Japanese context, for example, they can be described by the ambiguous binary dentō/denshō\*).

Even more problematic in the context of Simon Rattle's account of the future of "classical music" in China or Asia is the implied thesis that – if more is meant than just a new consumer market – future Asian performers will cultivate and maintain the core repertoire in more or less the same way as Western performers have in the past 200 years. Indeed, among contemporary Asian performers of (Western) art music, significant deviations from established paradigms of interpretation seem extremely rare. There are exceptions of course, such as Yūji Takahashi's second recording of the Bach "Goldberg Variations" (2004). While the pianist here applies his decades-long compositional and practical experience with the performance practice of Japanese instruments (→ IV.4) to create an exceptionally free and flexible rhythmic representation of Bach's work, such a recording is given little attention at the international level and is certainly too unspectacular on the surface to survive on the "Classical market."19 The global concert audience, both in the West and in Asia, is usually fed by far more harmless varieties of a vaguely assumed "Asian identity," such as those featuring star pianist Lang Lang adorned with the stereotype of virtuoso dexterity – in a duo with his father, who played the Chinese two-stringed fiddle erhu, as an encore in his solo recitals.11 From a compositional perspective, the Chinese-American composer Tan Dun hits the bull's eye of this new pseudo-traditional Asian future music when, in his piano concerto for Lang (with the additional title The Fire, 2008), he vaguely references the archaic Chinese philosophy of the five elements (ww xing). The composer makes use of simplified Chinese folk tunes cast in the style of Liszt's Liebestraume and Bartók-esque motoric passages as central elements of the composition. In this way, he consciously accepts the association of these features with exotic clichés of Asian sensuality

<sup>9</sup> See Ackermann, "Japan," 110. Both terms vaguely signify what is meant by the term "tradition" in Western languages; while dento implies the concepts of heritage, continuation, and handing-down, densho additionally connotes the acts of receiving and inheriting traditions. As Ackermann explains, the terms can also be associated with a strong tendency in Japan's traditional culture to preserve (musical) traditions down to the tiniest details in small groups of specialists, which, however, can also imply adapting them to changing circumstances or necessities.

<sup>10</sup> Avex AVCL-25026, 2004. Like Clenn Gould, Takahashi has recorded the work twice, for the first time in 1976 (newly edited as Denon COCQ-84162, 2006). The aforementioned "Asian" characteristics are much more radical in the second recording than in the first, and are a document of a decades-long examination of the body, instrumental practice, hearing, and soundaesthetics in an intercultural context. See, among others, Takahashi, "Bach as a Failure," and Takahashi, "Two Statements on Music." Takahashi also criticized both of Gould's recordings as "an auto-repressive stoicism of North American intellectuals before the Vietnam War" and as "a projection of the Eastern American Puritanism" on Bach's music (review, On-Stage Shinbun, 27/01/1995, translated by Junichi Miyazawa, http://glenngould.org/f\_minor/msg01925.html).

<sup>11</sup> See https://www.youtube.com/watch?v=fyJemf8hwkU. This is a duo adaption of Huang Haihuai's (1935–1967) virtuoso erhu solo saima (Horse Race, 1964). On the development of the erhu solo repertoire, see Stock "Contemporary Recital Solos for the Chinese Two-Stringed Fiddle erhu."

or primitiveness. Otherwise, however, the Western genre type of the virtuoso solo concerto is not questioned for one second.

In this book, by considering this contemporary background and interpreting historical developments at the intersection between Asia and the West, I will address the question of what an alternative future of global art music might look like if less blatantly dominated by economic constraints. I consciously replace the concept of "classical music" with that of "art music." In using this term, it must hrst be asked whether this implies a (too) strong tendency to exclusion, particularly toward forms of popular music. Indeed, it is often said that the future of "classical music" must open up more to contemporary popular music, and popular culture more generally.13 Linked to this is an adoption of new forms of presentation and dissemination, allegedly pragmatically embodied in the YouTube Symphony Orchestra (for which Tan Dun composed a five-minute "Eroica" Symphony from Beethoven quotations).33 Even if one rejects too close a rapprochement of the "Classical" to popular culture, or believes that such an approach is already more than sufficiently well-established in many places (Beethoven's construction as a star of popular culture is as old as the Beethoven myth itself"), the question of which concept of art one uses in the formulation "art music" is by no means trivial. For the time being, it may perhaps be stated that a basic conception of "music as an art form" does not a priori make a cultural confinement to a specific concept of art (such as the European one), nor does it necessarily require certain types of transmission (such as written notation) or presentation (such as the "concert"). The first two chapters of this book interrogate these issues (→ I.3, II.1).

So, what could an art music of the tuture look like in which Asian (or other non-Western) performers and composers are not merely vicarious agents of an unquestionable European art and music concept? Where they are not consumers of a museum-like "Classical" market, but where - from diverse perspectives (theories, concepts, or ways of making music as an art form) – traces of a reflexive globalization (more on this concept below) can be recognized? Countless composers from Asia, Oceania, the Arabic world, Africa, Latin America, but also North America and Europe have been seeking answers to such questions for more than a hundred years, though each has faced radically different sociopolitical conditions that have had a lasting effect on the answers.

<sup>12</sup> This demand is based on the 2009 study by the TNS Emnid Institute commissioned by the Bertelsmann Foundation: "Asked what needs to chat more people are interested in classical music, nearly three-quarters of people respond that they want lower ticket prices for concerts and opera performances (72 %), closely followed by a wish for more events that combine classical and pop (71 %)." ("Danach gefragt, was sich ändern müsse, damit sich mehr Menschen Musik interessierten, antworten nahezu drei Viertel der Menschen, sie halten niedrige Eintrittspreise für Konzert- und Opernabende für wünschenswert (72 Prozent), dicht gefolgt (mit 71 Prozent) von mehr Veranstaltungsangeboten, die Klassik und Pop verbinden." https://www.bertels mann-stiftung.de/de/presse/pressemitteilung/pid/klassik-und-oper-sind-unverzichtbar)

<sup>13</sup> http://www.youtube.com/user/symphony. The debut of the orchestra, which was put together through a selection process via video broadcasts, took place on 15 April 2009 at Carnegie Hall. Tan Dun's Internet Symphony Eroica (http://www.youtube.com/watch?v=w47v5N5g7Q) was the first composition for this project and served as one of the two compulsory pieces in the selection process. The symphony was recorded in advance on 6 October 2008 by the London Symphony Orchestra conducted by the composer on video and released on 20 November 2008 on YouTube (http://www.youtube.com/watch?v=Tqiro1kdRlw). Thousands of video submissions to the orchestra were later made into a "mash-up" version of the symphony ("The Internet Symphony" Global Mash Up"," http://www.youtube.com/watch?v=oC4FAyg64Ol).

<sup>14</sup> For an overview, see the articles "Mythos Beethoven," "Popmusik," and "Rezeption und Wirkung" in Loesch and Raab, Beethoven-Lexikon.

### **2. Identity Criticism and Reflexive Globalization**

An identity developed from artistic positions, despite all cultural "turns" in research, seems Ʒ'nĩƿűơƿĩƪƷŎŻűĩĢ- ŁŻƿűĢþƷŎŻű- ŁŻƢþ-ǛþƢŎĩƷǢ-ŻŁ- ƷĩǡƷƪþĚŻƿƷűĩǜþƢƷůƿƪŎěܒȃĩǢ-ƟƢŻěĩĩĢ- ŁƢŻů- Ʒ'nĩ-ĚþƪŎěþƪƪƿůƟƷŎŻű-Ʒ'nþƷ-Ʒ'nĩǜŻƢţƪ-ŻŁ-ŎűĢŎǛŎĢƿþŦěŻůƟŻƪĩƢƪþƢƷŎěƿŦþƷĩþ-ܹĢŎƪƷŎűěƷŎǛĩܺþűĢ-ܹþƿܮ Ʒ'nĩűƷŎěܺ-ƟŻƪŎƷŎŻűܒȃĩ-ƟƢŎűěŎƟŦĩ܌ǜ'nŎě'n-ƢĩŁĩƢĩűěĩƪ-/űŦŎł'nƷĩűůĩűƷ-Ɵ'nŎŦŻƪŻƟ'nǢ܌-ŻŁ-ܹƪƟĩþţŎűłǜŎƷ'n- Żűĩܼƪ- Żǜű- ǛŻŎěĩܺݑ ܫ ƿűĢĩƢƪƷŻŻĢ ƪŎűěĩ- Ʒ'nĩ- ŦþƷĩ ĩŎł'nƷĩĩűƷ'n ěĩűƷƿƢǢ þƪ- Ʒ'nĩ- ŻĚŦŎłþƷŎŻű-ŎůƟŻƪĩĢ- on each of us "to live up to our originality"ܫݑڞښ-Ŏƪ-ŻůűŎƟƢĩƪĩűƷ-Ŏű-Ʒ'nĩ-ĢŎƪěŻƿƢƪĩ-ŻűěŻűƷĩůƟŻܮ rary music. It also generally remains the decisive criterion in the education of composers today, ǜ'nŎě'nþŎůƪ-ŁŻƢűŻǛĩŦƷǢþűĢƿűŎơƿĩűĩƪƪܒȃĩěƢŎƪŎƪ-ŻŁ-Ʒ'nĩůŻĢĩƢűƪƿĚŠĩěƷþƪƪĩƢƷĩĢ-ĚǢȃĩŻĢŻƢàܒ-Adorno, Michel Foucault and others,ڟښ the poststructuralist critique of the authorial principle and monologic authority, and attempts to highlight the "mixed identities" or "semantic chameleon"ڠښ-'nŎĢĢĩű-ŎűůƿƪŎěþŦǜŻƢţƪ-ŻŁþƢƷ-ĚþƢĩŦǢƪĩĩů-ƷŻ-ƟŦþǢþ-ƟþƢƷ-Ŏűƪƿě'nþ-ƟĩƢƟĩƷƿþƷŎŻű-ŻŁ-Ʒ'nĩ- aesthetics of genius.ڡښ With a mixture of obstinacy and helplessness, this adherence to composer-centered hermeneutics opposes their obvious marginalization in favor of performers and ĩǛĩűƷƪ-Ʒ'nþƷ-Ʒþţĩƪ-ƟŦþěĩ-Ŏű-Ʒ'nĩěŻůůĩƢěŎþŦŎǬĩĢ-ܹěŦþƪƪŎěþŦůƿƪŎěܺƪěĩűĩܒ

rƿƪŎěŻŦŻłǢþűĢůƿƪŎěěƢŎƷŎěŎƪů-ƟŦþǢþţĩǢ-ƟþƢƷ-Ŏű-Ʒ'nŎƪ-ƟƢŻěĩƪƪ-ŻŁþƪěƢŎƟƷŎŻűܒàƢŎƷŎűłþűĢ- ƪƟĩþţŎűłþĚŻƿƷůƿƪŎěþƪǜĩŦŦþƪ-ĢŻěƿůĩűƷŎűł-Ʒ'nĩ-ƟƢŻěĩƪƪĩƪ-ŻŁ-ŎƷƪěƢĩþƷŎŻűþűĢ-ƟĩƢŁŻƢůþűěĩ- ultimately cannot avoid providing or "writing over" sound and musical text with identities of Ʒ'nĩůŻƪƷ-ǛþƢŎĩĢţŎűĢƪܒȃĩ-ŎűěƢĩþƪŎűłŦǢƪƷƢŻűł-ŻƢŎĩűƷþƷŎŻű- ƷŻǜþƢĢěƿŦƷƿƢþŦƪƷƿĢŎĩƪ-ŎűůƿƪŎě- ƢĩƪĩþƢě'n-'nþƪƪĩűƪŎƷŎǬĩĢƿƪ-ƷŻ-Ʒ'nĩƪƿĚƷĩǡƷƪ-ŻŁƪƿě'nůƿƪŎěܮƢĩŦþƷĩĢ-ŎĢĩűƷŎƷǢ-ĢŎƪěŻƿƢƪĩƪ܋-Ʒ'nĩ-ĚþƪŎě- idea that composers, performers, and listeners are acting as part of a "cultural practice"ڢښ im-ƟŦŎĩƪ-Ʒ'nþƷ-Ʒ'nĩŎƢěŻűěĩƟƷŎŻű-ŻŁůƿƪŎěþŦƪŻƿűĢƪþűĢƪƷƢƿěƷƿƢĩƪ-Ŏƪ-ŎűĩǡƷƢŎěþĚŦǢ-ŦŎűţĩĢ-ƷŻěƿŦƷƿƢþŦŦǢ- ƪƟĩěŎȀě-ŎĢĩþƪþĚŻƿƷůƿƪŎěܒßŎĩǜĩĢ-Ŏűþ-ĚƢŻþĢ-'nŎƪƷŻƢŎěþŦěŻűƷĩǡƷ܌ƪƿě'něŻűěĩƟƷƪĩůĩƢłĩ-ŁƢŻů- þ- ܹěƿŦƷƿƢþŦůĩůŻƢǢܺþƪ-ĢĩƪěƢŎĚĩĢ-ĚǢ-ŦĩŎĢþþűĢ dþűƪƪůþűűܒȃĩ-ܹěŻűűĩěƷŎǛĩƪƷƢƿěƷƿƢĩܺ-ŻŁ- cultural memory is based on a continued evocation of canonical motifs and ideas within an "extended situation."ڙڛ-SƷ-Ŏƪ-ĚŻƿűĢ-ƷŻƪƟĩěŎȀě-ŎűƪƷŎƷƿƷŎŻűƪþűĢ-ƢŎƷƿþŦŎǬĩĢ-ŁŻƢůƪ-ŻŁ-ƟƿĚŦŎěþűĢ-ƟƢŎvate presentation and reception as well as the interactions between production, transmission, and reception.ښڛ-/Ǜĩű-ŎŁůþűǢ-ŻŁ-Ʒ'nĩƪĩ-ƟƢŻěĩƪƪĩƪ-ŻŁěƿŦƷƿƢþŦ-ƟƢþěƷŎěĩþƢĩ-ĢŎƪŎűƷĩłƢþƷŎűł-Ŏű-Ʒ'nĩ- age of digitalization and globalization, we should not underestimate their ongoing presence in cultural discourse and their tendency to reactivate cultural essentialism.

ȃĩěŻűěĩƟƷŎŻű-ŻŁůƿƪŎěþƪþ-ܹěƿŦƷƿƢþŦ-ƟƢþěƷŎěĩܺ-'nþƪ-ŦĩĢůþűǢþƿƷ'nŻƢƪ-ƷŻ-ƢĩěŻűƪŎĢĩƢ-Ʒ'nĩ-ƟþƢticular *local*ěŻűƷĩǡƷ-Ŏűǜ'nŎě'nůƿƪŎěþŦěŻűěĩƟƷƪ܌ǜþǢƪ-ŻŁ-Ʒ'nŎűţŎűł܌ǜŻƢţƪ܌-ŻƢ-ƟĩƢŁŻƢůþűěĩƪþƢĩ- ŁŻƢůƿŦþƷĩĢþűĢ-ƢĩþŦŎǬĩĢܒȃƿƪűűĩłƢĩƷ-FþƿƪĩƢ-ĢĩƪěƢŎĚĩƪ-Ʒ'nĩěŻůƟŻƪŎƷŎŻűþŦ-ƢĩƪƿŦƷƪ-ŻŁ- ŦþƿĢĩ- 'ĩĚƿƪƪǢܼƪ-ŁþƪěŎűþƷŎŻűǜŎƷ'nàĩƪƷdþǛþűĩƪĩ*gamelan saléndro*þűĢ-Ʒ'nĩßŎĩƷűþůĩƪĩůƿƪŎě-Ʒ'nĩþƷĩƢ- form *'nÿƷ-ĚƁŎ*þƷ-Ʒ'nĩ-ژڗڗڐ-£þƢŎƪàŻƢŦĢܼƪ-FþŎƢþƪ-ܹþ-ŁŻƢů-ŻŁþƟƟƢŻƟƢŎþƷŎŻű-ȀƢůŦǢ-ŎűƪěƢŎĚĩĢ-Ŏű-Ʒ'nĩ-ƷƢþ-ĢŎƷŎŻű-ŻŁ-FƢĩűě'nůƿƪŎě-ŻŁ-Ʒ'nĩ-ڏژڗڐƪܺǜ'nŎŦĩĩůƟ'nþƪŎǬŎűł-Ʒ'nþƷ-'ĩĚƿƪƪǢܼƪ-ܹƪƷƢƿěƷƿƢþŦþƟƟƢŻƟƢŎþtion" eventually paved the way for many similar reinventions of gamelan in twentieth-century

ڹڵ- -1/4ÿǣŧżƣ܉-*Sources of the Self*܉-ړڏ

ںڵ See Wellmer, "ÉěĪƣrǀƫŏŤ-ǀŲģ-®ƠƣÿĜŊĪßÿƣŏÿƸŏżŲĪŲ-ǀŲģ-/ƣŃďŲǭǀŲŃĪŲ܉ܷ-ړڏܨڏڎ-

ڕڐڍܷ-܉NÿǀƸěżǣƫܹ-NĪƣĜǀŧĪƫ-ܶ܉fƣÿŰĪƣ- -ڻڵ

ڼڵ- -Ų-ĪǢƸĪŲƫŏǜĪ-ĜƣŏƸŏƢǀĪżł-ƸŊŏƫƫŏƸǀÿƸŏżŲŏƫłżǀŲģŏŲ-ÃƸǭ܉-ܶrǀƫŏŤǜżŲ-ĪŏŲĪŰłƣĪŰģĪŲ-£ŧÿŲĪƸĪŲܐܷ

ڽڵ- -RĪĪfƣÿŰĪƣ܉-*Music as Cultural Practice*, *1800–1900*.

ڴڶ Jan Assmann, *Cultural Memory and Early Civilization*܉-܉ڐܨڎ-ڔܨړ-

ڵڶ See Aleida Assmann, *Cultural Memory and Western Civilization* and Jan Assmann, *Cultural Memory and Early Civilization*.

music on a global scale.ڛڛ-FþƿƪĩƢܼƪƪƷƿĢǢƪ'nþƢƟĩűƪ-ŻƿƢƿűĢĩƢƪƷþűĢŎűł-ŻŁ-Ʒ'nĩƪƟĩěŎȀěěƿŦƷƿƢþŦ- þűĢ-'nŎƪƷŻƢŎěþŦěŻűƷĩǡƷ-ŻŁ-'ĩĚƿƪƪǢܼƪ-ƢĩěĩƟƷŎŻű-ŻŁłþůĩŦþű܌-ĚƿƷþŦƪŻůþţĩƪěŦĩþƢ-Ʒ'nþƷ-'nŎƪ-ƟþƢƷŎěƿŦþƢþƟƟƢŻþě'n-ƟŻŎűƷƪ-ĚĩǢŻűĢ-Ʒ'nĩ-ŁƢþůĩǜŻƢţ-ŻŁþ-'nŎƪƷŻƢŎěþŦěŻűƷĩǡƷƿþŦŎǬþƷŎŻű-ŦŎůŎƷĩĢ-ĚǢ܌-ŻƢ-ƷŻ܌local or national contexts.

ȃĩě'nþűłŎűł-ܹŁþěĩƪܺ-ŻŁ-'ĩĚƿƪƪǢ-ŎűĢĩĩĢ-ĢĩůŻűƪƷƢþƷĩ-ǛĩƢǢěŦĩþƢŦǢ-'nŻǜ-ŎĢĩűƷŎƷŎĩƪ-ŎűůƿƪŎěþŦ- ĢŎƪěŻƿƢƪĩþƢĩűŻƷƪŎůƟŦǢ-ܹłŎǛĩűܺ-ĚƿƷěŻűƷŎűƿŻƿƪŦǢ-Ƣĩƪ'nþƟĩĢþűĢ-ƢĩŎűǛĩűƷĩĢܒ-FþůŻƿƪŦǢ܌-'ĩĚƿƪƪǢ-ŎĢĩþŦŎǬĩĢ- ܹdþǛþűĩƪĩůƿƪŎěܺþƪþ- ƢĩȀűĩĢ- ŁŻƢů-ŻŁ-ƟŻŦǢƟ'nŻűǢ- ŁŻŦŦŻǜŎűł- ܹþěŻƿűƷĩƢƟŻŎűƷ- Ʒ'nþƷ- ůþţĩƪ- £þŦĩƪƷƢŎűþܼƪ ƪĩĩů-ŦŎţĩ ě'nŎŦĢܼƪ- ƟŦþǢ܌ܺڜڛ a form of music that "contained all the nuances […] where tonic and dominant became naught but vain ghosts for the use of unruly children."ڝڛ ȃĩƪĩ ƪƷþƷĩůĩűƷƪ ĩǡƟƢĩƪƪ ƪĩƢŎŻƿƪ- ĢŻƿĚƷƪ þĚŻƿƷ ǜ'nþƷ ůþűǢ- ŻŁ- 'ĩĚƿƪƪǢܼƪ ěŻűƷĩůƟŻƢþƢŎĩƪ- perceived as the unchallenged superiority of Western musical culture over non-Western cul-ƷƿƢĩƪ-ܫǜ'nĩƢĩþƪ-'ĩĚƿƪƪǢܼƪ- ŁŻƢůƿŦþƷŎŻűƪþŦƪŻ- ƷƢþűƪŁĩƢƢĩĢĩŦĩůĩűƷƪ-ŻŁ- Ʒ'nĩĩǡŻƷŎěŎƪƷ- ܹűŻĚŦĩƪþvage" topos to the context of modernity.ڞڛȃĩƪĩ-'nŎűƷƪþƷþěƿŦƷƿƢĩܮěƢŎƷŎěþŦƪţĩƟƷŎěŎƪů-ĢŎĢűŻƷ- ƟƢĩǛĩűƷ-'ĩĚƿƪƪǢ-ŁƢŻůƪƿĚƪĩơƿĩűƷŦǢ-ĚĩěŻůŎűłþţĩǢ-ƢĩƟƢĩƪĩűƷþƷŎǛĩ-ŻŁ-FƢĩűě'nűþƷŎŻűþŦůƿƪŎě- Ŏű-Ʒ'nĩ-ƢƿűܮƿƟ-ƷŻ-Ʒ'nĩ-FŎƢƪƷàŻƢŦĢàþƢܒ-'ĩĚƿƪƪǢþűĢ-'nŎƪ-ŎűěƢĩþƪŎűłŦǢĩǡƟŦŎěŎƷűþƷŎŻűþŦŎƪƷƪĩűƷŎůĩűƷƪ-ƟŦþǢĩĢþěƢƿěŎþŦ-ƟþƢƷ-Ŏű-Ʒ'nŎƪ-ƟƢŻěĩƪƪ܌þƪ-ĢŻěƿůĩűƷĩĢ-Ŏű-ĢĩƷþŎŦ-ĚǢþƢĚþƢþhܒfĩŦŦǢڟڛܒ In Ʒ'nŎƪǜþǢ܌ǜ'nŎŦĩ-Ʒ'nĩĩþƢŦŎĩƢ-'ĩĚƿƪƪǢ-ĢĩěŎĢĩĢ-ŻŁ-'nŎƪ-ŻǜűþěěŻƢĢ-ƷŻ-*ŎĢĩűƷŎŁǢ* with a counterculture, partly constituted of the culture-pessimistic discourse that characterized the *ennui* of an entire łĩűĩƢþƷŎŻű-Ŏű-ŦþƷĩűŎűĩƷĩĩűƷ'nܮěĩűƷƿƢǢ-/ƿƢŻƟĩڠڛ܌-'ĩĚƿƪƪǢ-ŦþƷĩƢěŻűƷƢŎĚƿƷĩĢĩơƿþŦŦǢĩǡƟŦŎěŎƷŦǢ-ƷŻ- Ʒ'nĩ-ƢĩŎűǛĩűƷŎŻű-ŻŁþűþDzȀƢůþƷŎǛĩ܌ĩƪƪĩűƷŎþŦŎƪƷ-FƢĩűě'nűþƷŎŻűþŦƪƷǢŦĩ-Ŏű-Ʒ'nĩĩþƢŦǢ-ƷǜĩűƷŎĩƷ'něĩű-ƷƿƢǢܒűĩěŻƿŦĢűþůĩůþűǢ-ŻƷ'nĩƢěþƪĩƪþƢŻƿűĢ-ڏڏژڐ-Ʒ'nþƷ-ĢĩůŻűƪƷƢþƷĩþƪ'nŎǼ Ʒ-ŁƢŻůþűþůĚŎǛþ-ŦĩűƷ-ŎűƷĩƢűþƷŎŻűþŦŎƪƷ-ƷŻþűþDzȀƢůþƷŎǛĩŦǢűþƷŎŻűþŦŎƪƷ-ŎĢŎŻůܫݑ-ŻƢ-ǛŎěĩ-ǛĩƢƪþܫݑ-ŎűěŦƿĢŎűł-Ʒ'nŻƪĩ-ŻŁ- þƢƷżţ܌-RƷƢþǛŎűƪţǢ-ݑދܣSS܌ܤڒܒþűĢ-®ŎĚĩŦŎƿƪܒ-

Such examples show clearly that on the one hand, identity is the result of a deliberate, considered, and at times strategic choice between several options, while on the other hand, it is ěŦŻƪĩŦǢ- ƷŎĩĢ- ƷŻ ěŻůƟŦĩǡ ƪŻěŎŻŦŻłŎěþŦ þűĢ- ƟŻŦŎƷŎěþŦ ĩűƷþűłŦĩůĩűƷƪ- Ʒ'nþƷůþǢůþţĩ-ŎƷ ƪĩĩů- ܹŎűĩǛŎƷþĚŦĩܺ-ŎűůþűǢěþƪĩƪܒ-Sű-'ĩĚƿƪƪǢܼƪěþƪĩ܌ƪƿě'nĩűƷþűłŦĩůĩűƷƪǜĩƢĩ-'nŎƪěŦŻƪĩěŻűűĩěƷŎŻű-ƷŻ- widespread tendencies of cultural pessimism and orientalism as well as the overall trend of re-ethnicization and a nationalist form of pre- and post-World War I cultural essentialism that ƿŦƷŎůþƷĩŦǢ-ŦĩĢ-ƷŻ-Ʒ'nĩĩǡƷƢĩůĩ-ƟŻŦþƢŎǬþƷŎŻűƪþűĢ-ŎĢĩŻŦŻłŎěþŦěŻűǴŦŎěƷƪ-ŻŁ-Ʒ'nĩ-ڏڒژڐƪþűĢ-ڏړƪܒ

ڶڶ Fauser, *Musical Encounters at the 1889 Paris World's Fair*܉-ڑڌڎ

ڷڶ- -ܶæĪƸ dÿǜÿŲĪƫĪ- ŰǀƫŏĜ ŏƫ ěÿƫĪģ żŲ ÿ- ƸǣƠĪ żł- ĜżǀŲƸĪƣƠżŏŲƸ- ĜżŰƠÿƣĪģ- Ƹż ǝŊŏĜŊ- ƸŊÿƸ żł- £ÿŧĪƫƸƣŏŲÿ ŏƫ- ĜŊŏŧģܹƫ- Ơŧÿǣܷ- ܠܶ ĪƠĪŲģÿŲƸ܉ŧÿ-ŰǀƫŏƢǀĪšÿǜÿŲÿŏƫĪżěƫĪƣǜĪ-ǀŲ-ĜżŲƸƣĪƠżŏŲƸÿǀƠƣĹƫģǀ-ƢǀĪŧ-ĜĪŧǀŏģĪ-£ÿŧĪƫƸƣŏŲÿ-ŲܹĪƫƸ-ƢǀܹǀŲšĪǀ- ģܹĪŲłÿŲƸܷ-'Īěǀƫƫǣ܉-*Monsieur Croche et autres écrits*܉-ڏڎڎ-1/4Ŋŏƫ-ĜŊÿƣÿĜƸĪƣŏǭÿƸŏżŲǝÿƫ-ƠǀěŧŏƫŊĪģŏŲÿƣĪƸƣżƫƠĪĜƸŏǜĪŏŲ- ڏڍڕڍŏŲ-ƸŊĪ-*Revue S.I.M.*ܡ

ڸڶ- hĪƸƸĪƣ-Ƹż-£ŏĪƣƣĪhżǀǦƫ܉-܉ڑڕڔڍܕڍܕڎڎ-ƸƣÿŲƫŧÿƸŏżŲ-ƢǀżƸĪģÿǽ ƸĪƣ-FÿǀƫĪƣ܉-*Musical Encounters at the 1889 Paris World's Fair*, ڔڕڍ

ڔڏڎܨڔڎڎ-܉*Exoticism Musical*-܉hżĜŤĪ-ĪĪ®- -ڹڶ

ںڶ- fĪŧŧǣ܉-*French Music, Culture, and National Identity, 1870–1939*܉-ڒړܨڔڑ

ڻڶ See Charle, "'ĪěǀƫƫǣŏŲ-FŏŲܫģĪܫRŏĹĜŧĪ-£ÿƣŏƫܷ

### Problems of Identity

®Ż܌ǜ'nþƷþƢĩ-Ʒ'nĩ-ƟƢŻĚŦĩůƪǜŎƷ'n-Ʒ'nĩþDzȀƢůþƷŎǛĩěŻűěĩƟƷ-ŻŁ-ŎĢĩűƷŎƷǢ-Ʒ'nþƷ-ŎƪƪƷŎŦŦ-ŎűǛŻţĩĢƪŻ-ŻǼ Ʒĩű- Ŏű-ƷŻĢþǢܼƪ-ĢŎƪěŻƿƢƪĩ-Żű-ƢĩěĩűƷůƿƪŎěܓ-Sű-'nŎƪƪĩůŎűþŦ-ƷĩǡƷ-ܹȃĩ-¥ƿĩƪƷŎŻű-ŻŁ ƿŦƷƿƢþŦ-SĢĩűƷŎƷǢ܌ܺ- ®ƷƿþƢƷ-NþŦŦűþůĩƪ-ȀǛĩ-ŁþěƷŻƢƪ-Ʒ'nþƷ-ŦþƪƷŎűłŦǢ-ĢĩěĩűƷĩƢĩĢ-Ʒ'nĩ-Ŏůþłĩ-ŻŁþƪƷþĚŦĩƪĩŦŁܮŎĢĩűƷŎƷǢ-Ŏű- modernity,ڡڛþŦŦ-ĚþƪĩĢ-ŻűþěŦŻƪĩ-ŎűƷĩƢƷǜŎűŎűł-ŻŁƪƿĚŠĩěƷ-ŎĢĩűƷŎƷǢþűĢěŻŦŦĩěƷŎǛĩ-ŎĢĩűƷŎƷǢ܋-


Ʒ-ȀƢƪƷłŦþűěĩ܌-Ʒ'nĩěŻűěĩƟƷƪ-ŻŁ-ƟĩƢƪŻűþŦþűĢěŻŦŦĩěƷŎǛĩ-ŎĢĩűƷŎƷǢ܌þŦƢĩþĢǢ-ŦþƪƷŎűłŦǢ-ĢĩƪƷþĚŎŦŎǬĩĢ܌- 'nþǛĩ-ĚĩĩűěŻůƟŦĩƷĩŦǢþĚþűĢŻűĩĢ-ĚǢ-ƟŻƪƷěŻŦŻűŎþŦěƢŎƷŎěŎƪůܒ-1/4Ż ƪƷþƷĩþűǢ- ŁŻƢů-ŻŁþDzȀƢůþƷŎǛĩ- connection between identity, culture, and ethnicity would raise suspicion of complicity with Ŏű'nĩƢĩűƷŦǢěŻŦŻűŎþŦ-Ʒ'nŻƿł'nƷܒßŎĩǜĩĢþłþŎűƪƷ-Ʒ'nŎƪ-ĚþěţłƢŻƿűĢ܌-Ʒ'nĩ-ƷǢƟĩƪ-ŻŁ-ŎĢĩűƷŎƷǢ-ŻDz ŁĩƢĩĢ-ĚǢ- strengthened neo-nationalist or pan-national religious, even fundamentalist, "isms" are only ƪĩĩůŎűłŦǢþűþě'nƢŻűŎƪƷŎě܋-Ʒ'nĩǢ-ĚŻƷ'n-ƢĩþěƷ-ƷŻ-Ʒ'nĩƪþůĩ-ƷĩűĢĩűěŎĩƪ-ƷŻǜþƢĢłƢþƪƪƢŻŻƷƪłŦŻĚþŦŎǬþtion,ڢڛ in which local and global processes interact and new communities beyond established űþƷŎŻűƪþűĢěƿŦƷƿƢĩƪþƢĩ-ŁŻƢůĩĢܒȃĩ-ŎűěƢĩþƪŎűł-ŁƢþłůĩűƷþƷŎŻű-ŻŁůŻĢĩƢűƪŻěŎĩƷŎĩƪ܌-ƷĩƢůĩĢ- "super-diversity"ڙڜ- ĚǢ-®ƷĩƟ'nĩűßĩƢƷŻǛĩě܌-'nþƪ-ŎűůþűǢ-ƟŦþěĩƪ ƪƟþƢţĩĢ- Ʒ'nĩ-ĢĩƪŎƢĩ- ŁŻƢ- ƢĩܮƷĩƢƢŎƷŻ-ƢŎþŦŎǬþƷŎŻűþűĢ-ܣƢĩܤܮĩƷ'nűŎěŎǬþƷŎŻű-ŻŁ-ŎĢĩűƷŎƷǢ܌ ĩǡƷĩűĢŎűł- ƷŻþ-ܹƟƢŻŦŎŁĩƢþƷŎŻűþűĢ- ƢĩŎȀěþƷŎŻű-ŻŁ- [geographical and mental] boundaries."ښڜ-1/4ŻĢþǢ܌-Ʒ'nĩ-ƷƢþĢŎƷŎŻűƪ-Ʒ'nþƷ-/ƢŎě-NŻĚƪĚþǜů-ƷĩƢůƪ-ܹŎű-ǛĩűƷĩĢܺ-ƟŦþǢþţĩǢ-ƢŻŦĩ-Ŏű-Ʒ'nŎƪ-ƟƢŻěĩƪƪ܌þƪ-Ʒ'nĩǢ-'nþǛĩ-Ŏű-Ʒ'nĩěŻűƪƷƢƿěƷŎŻű-ŻŁűþƷŎŻűþŦ-ŎĢĩűƷŎƷŎĩƪ-ŁŻƢ- ڏڏڑ-ǢĩþƢƪ܌þƪǜĩŦŦþƪ-Ŏű-Ʒ'nĩ-ȀĩŦĢ-ŻŁůƿƪŎěڛڜܒ

ƢŎŁ-'ŎƢŦŎţƪ'nŻǜƪ-Ʒ'nþƷ-ŎƷ-Ŏƪ-'nŎł'nŦǢơƿĩƪƷŎŻűþĚŦĩ-ƷŻƿűĢĩƢƪƷþűĢůŎłƢþűƷƪܫݑþƪ-ƟþƢþĢŎłůþƷŎěþƪ- Ʒ'nĩǢƪĩĩůþƷ-Ʒ'nĩ-ƟƢĩƪĩűƷܫݑþƪ-Ʒ'nĩţĩǢůĩƷþƟ'nŻƢ-ŻŁ-Ʒ'nĩěŻűƷĩůƟŻƢþƢǢǜŻƢŦĢ܋-ܹȃĩłƢĩþƷůþŠŻƢŎƷǢ- ŻŁ-'nƿůþűţŎűĢ-ܡěŻűƷŎűƿĩƪ-ƷŻܢ-ŦĩþĢƪĩƷƷŦĩĢ-ŦŎǛĩƪƿűŦĩƪƪ-ƟƿŦŦĩĢ-ŻƢ-Ɵƿƪ'nĩĢ-ŎűƷŻůŻĚŎŦŎƷǢܒܺڜڜ Indeed, it is doubtful whether a convincing connection can be made between the social phenomenon ŻŁůŎłƢþƷŎŻűþűĢ-Ŏƪƪƿĩƪ-ŻŁ-ŎĢĩűƷŎƷǢ-Ŏű-ƢĩěĩűƷþƢƷƪ-ĢŎƪěŻƿƢƪĩܒ-RŦþǛŻŠòŎǮĩţ-ŎűěŎƪŎǛĩŦǢƪ'nŻǜƪ-Ʒ'nþƷ- the models of the academic or artist, who is always equipped with an appropriate visa, and Ʒ'nĩůŎłƢþűƷ܌-ŁŻƢǜ'nŻů-ܹ'nǢĚƢŎĢŎƷǢܺ-Ŏƪþ-ƷƢþƿůþƷŎěĩǡƟĩƢŎĩűěĩ܌þƢĩ-ŎűěŻůƟþƷŎĚŦĩ-ݑދܣSڝڜܒܤڒܒ Helmut

ڼڶ- -Nÿŧŧ܉-ܶ1/4ŊĪ-¥ǀĪƫƸŏżŲżł- ǀŧƸǀƣÿŧ-SģĪŲƸŏƸǣ܉ܷ-ڍڕڎܨڑڔڎ

ڽڶ Appadurai, "Grassroots Globalization."

ڴڷ ßĪƣƸżǜĪĜ܉-ܶRǀƠĪƣܫ'ŏǜĪƣƫŏƸǣÿŲģ-SƸƫ-SŰƠŧŏĜÿƸŏżŲƫܷ

ڵڷ- -'ŏƣŧŏŤ܉-ܶ1/4ƣÿŲƫŲÿƸŏżŲÿŧŏƫŰŏŲ-¼ŊĪżƣǣÿŲģ-£ƣÿĜƸŏĜĪܷ

ڶڷ- -NżěƫěÿǝŰ܉- ܶSŲƸƣżģǀĜƸŏżŲ܈- SŲǜĪŲƸŏŲŃ- ¼ƣÿģŏƸŏżŲƫܷ- Fżƣ ÿŲ ÿƠƠŧŏĜÿƸŏżŲ żł- ƸŊŏƫ- ĜżŲĜĪƠƸ- Ƹż- ƸŊĪ- ŰǀƫŏĜ- ŊŏƫƸżƣǣ żł- ŊŏŲÿƫĪĪhÿǀ܉-ܶFżƣĪǜĪƣ-¦Īģܷ

ڷڷ- -'ŏƣŧŏŤ܉-ܶ1/4ƣÿŲƫŲÿƸŏżŲÿŧŏƫŰŏŲ-¼ŊĪżƣǣÿŲģ-£ƣÿĜƸŏĜĪܷ

ڸڷ- -RĪĪòŏǯĪŤ܉-*Ein Plädoyer für die Intoleranz*܉-ڍڔܨڌڔ

hþě'nĩűůþűű-'nþƪ-ƟŻŎűƷĩĢ-ŻƿƷ-Ʒ'nþƷ-Ʒ'nĩěŻůƟŻƪĩƢܫݑĩůĚþƢţŎűł-Żű-ŎűƷĩƢěƿŦƷƿƢþŦĩűěŻƿűƷĩƢƪǜŎƷ'n- þ-ǛþŦŎĢ-ƢĩƷƿƢű-ƷŎěţĩƷ-Ŏű-Ʒ'nĩŎƢ-ƟŻěţĩƷܫݑ-ŎƪƿűþĚŦĩ-ƷŻƿűĢĩƢƪƷþűĢ-Ʒ'nĩţŎűĢ-ŻŁ-ܹƪĩěƿƢŎƷǢܺ-Ʒ'nþƷ-Ʒ'nĩ- ůƿƪŎě-ŻŁ-ŻƷ'nĩƢěƿŦƷƿƢĩƪůŎł'nƷěŻűƪƷŎƷƿƷĩ-Ŏű-ŎƷƪ-Żǜű-ŦŻěþŦƪĩƷƷŎűł-ݑދܣSܗڒܒ-Sßڞڜܒܤڑܒ In addition, the ƷĩűĢĩűěŎĩƪ-ŻŁ-ƟŻŦǢěƿŦƷƿƢþŦůŎǡƷƿƢĩþűĢ-'nǢĚƢŎĢŎƷǢ-ŎűþƢƷþűĢ-ƟŻƟěƿŦƷƿƢĩƪĩĩůĩơƿþŦŦǢ-ƷŻŻƷ'nŦĩƪƪ܋- ܹĚǛŎŻƿƪŦǢ܌-Ʒ'nĩƪĩ-ĢŎǛĩƢƪĩ-ŎůƟƿŦƪĩƪěþű-ĚĩþĚƪŻƢĚĩĢǜŎƷ'nŻƿƷ-ƢĩůŻƷĩŦǢ-Ʒ'nƢĩþƷĩűŎűł-Ʒ'nĩ-ƢĩƪƟĩěƷŎǛĩ- societies with descent into an identity crisis. But above all, such a pluralizing and increasingly colorful cultural scene has never threatened, at least not so far, the core of political culture."ڟڜ ®Ż܌-ŎűűĩǜþƢƷůƿƪŎě-ƷŻŻ܌-ŻűĩěþűƪƟĩþţ-ŻŁǜ'nþƷ-'ŎĩƷĩƢ-®ĩűł'nþþƪěþŦŦƪ-ܹłŦŻĚþŦŎǬþƷŎŻű*deluxe*",ڠڜ a ƟƢŎǛŎŦĩłĩĢůŻĢĩ-Ŏűǜ'nŎě'n-Ʒ'nĩþĢǛþűƷþłĩƪ-ŻŁłŦŻĚþŦŎǬþƷŎŻű-ŻƿƷƪ'nŎűĩ-ŎƷƪ-ƟƢŻĚŦĩůþƷŎěƪŎĢĩܮĩDz ŁĩěƷƪܒ

 þű- Żűĩ܌- 'nŻǜĩǛĩƢ܌ ěŻűěŦƿĢĩ- ŁƢŻů- Ʒ'nŎƪ܌ þƪ- NþƢƢǢ hĩ'nůþűű ƪƿłłĩƪƷƪ܌- Ʒ'nþƷ űĩǜ ůƿƪŎě- ƪŎűěĩ-Ʒ'nĩ-ƟŻƪƷǜþƢ-ƟĩƢŎŻĢ-'nþƪűŻƷţűŻǜű-ܹŎĢĩűƷŎƷǢ-ƟƢŻĚŦĩůƪܺ-Ěĩěþƿƪĩ-ܹŻƷ'nĩƢűĩƪƪܺ-Ŏƪ-ǛŎƢƷƿþŦŦǢ- its basic prerequisite?ڡڜȃŎƪǜŻƿŦĢůĩþű-ŻǛĩƢŦŻŻţŎűł-Ʒ'nĩ-ŁþěƷ-Ʒ'nþƷ-Ʒ'nĩƢĩ-ŎƪþěŻůƟŦĩǡ-ŎűƷĩƢƷǜŎűܮ ing of music-historical, aesthetic, and compositional discourses that certainly do limit the posƪŎĚŎŦŎƷŎĩƪ-ƷŻþƢƷŎěƿŦþƷĩƪƿě'n-ŻƷ'nĩƢűĩƪƪ-ŎűƪƟĩěŎȀěěŻűƷĩǡƷƪܒűĩƪ'nŻƿŦĢ-ȀƢƪƷ-ŻŁþŦŦůĩűƷŎŻű-Ʒ'nĩ- sustained tendency to suppress the "cultural" element in much new music, which is primarily Ʒ'nĩ-ŦĩłþěǢ-ŻŁ-Ʒ'nĩłŦŻĚþŦ-ƟŻŦŎƷŎěþŦƪŎƷƿþƷŎŻűþǼ ƷĩƢ-ܒڔړژڐȃĩ-ŎűƪƷŎƷƿƷŎŻűƪ-ŁŻƢűĩǜůƿƪŎě-Ŏű-GĩƢůþűǢ- were supported by the allied occupying powers not least with the ulterior motive of installing a supposedly ideology-free area of artistic development as a symbol of political freedom from ǜ'nŎě'nűŻűĩǜ-ŎĢĩŻŦŻłŎěþŦ-ĢþűłĩƢƪěŻƿŦĢ-ƢĩƪƿŦƷ-ݑދܣSSڢڜܒܤڔܒ In fact, in postwar serialism a special compositional logic was developed that sought to remove any "culturally" encoded language from music. Such techniques were guided by the search for an alternative model to the misuse ŻŁ- Ʒ'nĩ-ŦþűłƿþłĩܮŦŎţĩěŻůůƿűŎěþƷŎŻű-ŻŁůĩƪƪþłĩƪ-Ŏű- ƷŻƷþŦŎƷþƢŎþű-ƟŻŦŎƷŎěþŦ ƪǢƪƷĩůƪܒȃĩ ƪþůĩ- ƪŻěŎŻ'nŎƪƷŻƢŎěþŦ-ĚþěţłƢŻƿűĢěþű-Ěĩƪĩĩűþƪ-ŎűŁŻƢůŎűłdŻ'nű þłĩܼƪěŻűěĩƟƷŎŻű-ŻŁůƿƪŎěþƪ-ܹŁƢĩĩ- ŁƢŻů-ŦŎţĩƪþűĢ-ĢŎƪŦŎţĩƪ܌ܺǜ'nŎě'něþű-ĚĩƿűĢĩƢƪƷŻŻĢþƪ-Ʒ'nĩ-ƢĩƪƿŦƷ-ŻŁþ-ĚþƪŎěƪţĩƟƷŎěŎƪů-ƷŻǜþƢĢ- Ʒ'nĩ-ǛþŦƿĩƪ-ŻŁ-/ƿƢŻƟĩþűƪě'nŻŻŦƪ-ŻŁ-Ʒ'nŻƿł'nƷþůŻűłůĩƢŎěþű-ŎűƷĩŦŦĩěƷƿþŦƪ-Ŏű-Ʒ'nĩþǼ ƷĩƢůþƷ'n-ŻŁ- Ʒ'nĩ-®ĩěŻűĢàŻƢŦĢàþƢ-ݑދܣSSܒܤڕܒ-ĢůŎƷƷĩĢŦǢ܌-SłŻƢ-®ƷƢþǛŎűƪţǢܼƪűĩŻěŦþƪƪŎěŎƪů-'nþĢþŦƢĩþĢǢ-Ěĩĩű- ĚþƪĩĢ- Żű þ- ĢĩƟþƢƷƿƢĩ- ŁƢŻů þ űþƢƢŻǜŦǢ- ĢĩȀűĩĢ ĩƷ'nűŻܮűþƷŎŻűþŦ ě'nþƢþěƷĩƢ- ŻŁ- Ʒ'nĩůƿƪŎěþŦ- Ŧþűܮ łƿþłĩ-ŻŁ-Ʒ'nĩ-¦ƿƪƪŎþűűþƷŎŻűþŦŎƪƷƪě'nŻŻŦþűĢ-'nŎƪ-ŻǜűűĩŻܮűþƷŎŻűþŦǜŻƢţƪ-ƟƢŎŻƢ-ƷŻ-ܒڐڑܘږڐژڐrĩþűǜ'nŎŦĩ܌-ĪŦþþƢƷżţþĢ'nĩƢĩĢ-ƷŻ-'nŎƪěŻűěĩƟƷ-ŻŁ-'nǢĚƢŎĢŎƷǢ-ŻŁ-ŁŻŦţþűĢþƢƷůƿƪŎě܌ĩǛĩű-ŎŁ-ŎƷƪ-ŻƢŎłŎűþŦűĩŻܮ national components were heavily ruptured by historical events and his overall conception beěþůĩ- ŎűěƢĩþƪŎűłŦǢ ƿűŎǛĩƢƪþŦŎƪƷŎěþŦŦǢ þěěĩűƷƿþƷĩĢ- ŁƢŻů- Ʒ'nĩ- ڏڒژڐƪ- Żű- ݑދܣ SSڙڝܒܤڒܒ-R ƟĩěŎȀěþŦŦǢ܌-

ڹڷ- -NĪŧŰǀƸhÿĜŊĪŲŰÿŲŲŏŲ-ĜżŲǜĪƣƫÿƸŏżŲǝŏƸŊ-¦żŧł-/ŧěĪƣłĪŧģÿŲģ-¼żƫŊŏż-NżƫżŤÿǝÿ-ܠNÿǀƫģĪƣfǀŧƸǀƣĪŲģĪƣàĪŧƸ܉- ĪƣŧŏŲ܉-܉ܡڑڌڌڎܕڑܕڎڍ-ƢǀżƸĪģŏŲ-ÃƸǭ܉-ܶðǝŏƫĜŊĪŲrǣƸŊżƫ-ǀŲģfżżƠĪƣÿƸŏżŲ܉ܷ-܉ڔڎ-ڍڏ-£ƣżěÿěŧǣěżƸŊòŏǯĪŤܹƫÿŲģhÿĜŊĪŲ-ŰÿŲŲܹƫÿƣŃǀŰĪŲƸƫ-ĜÿŲěĪ-ƸƣÿĜĪģěÿĜŤ-Ƹż-NĪƣěĪƣƸrÿƣĜǀƫĪܹƫ-ŰǀĜŊܫģŏƫƠǀƸĪģ-ڑڒڕڍ-ĜƣŏƸŏƢǀĪżł-ܶƣĪƠƣĪƫƫŏǜĪ-ƸżŧĪƣÿŲ-ĜĪܷ-ܠƫĪĪrÿƣĜǀƫĪ܉-ܶ¦ĪƠƣĪƫƫŏǜĪ-¼żŧĪƣÿŲĜĪܷܡ

ںڷ- -ܶܞܟdz łĪŲƫŏĜŊƸŧŏĜŊŧÿƫƫĪŲƫŏĜŊģŏĪƫĪǜŏĪŧłďŧƸŏŃĪŲ-SŰƠǀŧƫĪÿěƫżƣěŏĪƣĪŲ܉żŊŲĪģÿƷģŏĪěĪƸƣżdz łĪŲĪŲ-GĪƫĪŧŧƫĜŊÿǽ ƸĪŲ- ÿǀĜŊ-ŲǀƣÿŲłďŲŃŧŏĜŊŏŲ-SģĪŲƸŏƸďƸƫŤƣŏƫĪŲǭǀǜĪƣłÿŧŧĪŲģƣżŊĪŲßżƣÿŧŧĪŰ܈-ĪŏŲĪƫŏĜŊģĪƣŃĪƫƸÿŧƸ-ƠŧǀƣÿŧŏƫŏĪƣĪŲģĪ܉ěǀŲ-ƸĪƣǝĪƣģĪŲģĪfǀŧƸǀƣƫǭĪŲĪěĪģƣżŊƸ-ŲŏĜŊƸ܉ǭǀŰŏŲģĪƫƸ-ŲŏĜŊƸěŏƫ-ŊĪǀƸĪ܉ģĪŲfĪƣŲěĪƫƸÿŲģģĪƣ-ƠżŧŏƸŏƫĜŊĪŲfǀŧƸǀƣܷ- ܠRĪŲŃŊÿÿƫ܉-ܶrżģĪƣŲĪ-ǀŲģ-ŲƸŏŰżģĪƣŲĪÿŲŃĪƫŏĜŊƸƫ-ŤǀŧƸǀƣĪŧŧĪƣ-GŧżěÿŧŏƫŏĪƣǀŲŃ܉ܷ-ڕڎڏܡ

ڕڎڏܨڔڎڏ-܉Sěŏģ- -ڻڷ

<sup>ܷ</sup>ßĪƣłƣĪŰģǀŲŃ-ܨ-ŲƸłƣĪŰģǀŲŃ-ܶ/܉hĪŊŰÿŲŲ- -ڼڷ

ڽڷ See Beal, "Negotiating Cultural Allies."

ڴڸ- -RĪĪƣżǝŲ܉-ܶÿƣƸŽŤ܉-ƸŊĪ-GǣƠƫŏĪƫ܉ÿŲģ-NǣěƣŏģŏƸǣŏŲrǀƫŏĜܷ

þƢƷżţܼƪþƟƟƢŻþě'n-'nþĢþ-ŁŻƢůþƷŎǛĩĩDz ŁĩěƷ-Żű-ĢĩěŎƪŎǛĩ-ĢĩǛĩŦŻƟůĩűƷƪ-ŎűþƢƷůƿƪŎě-Ŏű-¼ƿƢţĩǢ-ܣĢƿƢܮ Ŏűł-Ʒ'nĩ-ڏڑژڐƪܤþűĢ- 'nŎűþ-ܣĢƿƢŎűł-Ʒ'nĩ-ڏڗژڐƪښڝܒܤ

ŁěŻƿƢƪĩ܌-Ʒ'nĩ-ƟƢþěƷŎěþŦ-ŎůƟŦĩůĩűƷþƷŎŻű-ŻŁ-Ʒ'nĩěŦþŎů-ŻŁƿűŎǛĩƢƪþŦŎƪůþűĢƪĩŦŁܮƢĩŁĩƢĩűƷŎþŦܮ Ŏƪů-Ŏű-Ʒ'nĩĩþƢŦǢ-ڏڔژڐƪ-ŦĩǼ Ʒůƿě'n-ƷŻ-Ěĩ-ĢĩƪŎƢĩĢܒ-/ǛĩűþƪƿƟĩƢȀěŎþŦ-ŦŻŻţþƷ-GĩƢůþűܮFƢĩűě'n-ƟŻŦþƢܮ ŎƷŎĩƪ-ĢþƷŎűł-Ěþěţ-ƷŻ-Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ-Ʒ'nĩěĩűƷƿƢǢƪ'nŻǜƪ-Ʒ'nŎƪěŦĩþƢŦǢ܋-ŎŁ-Ʒ'nĩ-®ě'nŻĩűĚĩƢłܮ'ĩĚƿƪƪǢ- relationship was "uptight" in every respect due to complications of historical tendencies,ڛڝ it ŎƪþŦƪŻƪěþƢěĩŦǢ-ƟŻƪƪŎĚŦĩ- ƷŻ-ȀűĢěŻůůŻűþŦŎƷŎĩƪ-ĚĩƷǜĩĩű-£ŎĩƢƢĩ-ŻƿŦĩǬܼƪ-ƢĩěĩƟƷŎŻű-ŻŁűƷŻűŎű- ƢƷþƿĢ-ŎűþǜŻƢţƪƿě'nþƪ-Ʒ'nĩ-®ĩěŻűĢ-£ŎþűŻ-®ŻűþƷþ-ڜڝܤڗړܫڕړژڐܣ and the structuralist mysticism ŻŁfþƢŦ'nĩŎűǬ-®ƷŻěţ'nþƿƪĩűܼƪ-*Kreuzspiel*-ܤڐڔژڐܣþƪƪƿƟƟŻƪĩĢ-ܹŁŻƿűĢŎűłůŻůĩűƷƪܺ-ŻŁƪĩƢŎþŦ-Ʒ'nŻƿł'nƷܒ-And Wolfgang Rihm's neo-expressionist chamber opera *Jakob Lenz*-܌ܤڗږܫږږژڐܣ-ŦŎţĩ-Ʒ'nĩűĩŻܮŻƢłþűŎܮ ěŎƪƷ ƪŻƿűĢܮƷŎůĩ- ƟƢŻěĩƪƪĩƪ-Ŏű-GĪƢþƢĢ-GƢŎƪĩǢܼƪ- *Les Espaces Acoustiques* ܌ܤڔڗܫړږژڐܣ ěþű- 'nþƢĢŦǢ- Ěĩ- ƿűĢĩƢƪƷŻŻĢ-ŻƿƷƪŎĢĩ-ŻŁ- Ʒ'nĩŎƢ-ƢĩƪƟĩěƷŎǛĩűþƷŎŻűþŦŦǢƪƟĩěŎȀě- ƷƢþĢŎƷŎŻűƪ-ŻŁĩǡƟƢĩƪƪŎŻű܌- ƷŎůĩ܌-Ŧþűłƿþłĩ܌þűĢƪŻƿűĢ-ܣƷ'nŻƿł'nűĩŎƷ'nĩƢǜŻƢţěþű܌-ŻŁěŻƿƢƪĩ܌-Ěĩ-ƢĩĢƿěĩĢ-ƷŻ-Ʒ'nĩƪĩ-ƷƢþĢŎƷŎŻűƪܒܤȃĩƪĩ- ܹěƿŦƷƿƢþŦܺ-ĢŎůĩűƪŎŻűƪ-ŻŁůŻĢĩƢűůƿƪŎě-Ŏű-/ƿƢŻƟĩ܌ǜ'nŎě'nþƢĩěŦŻƪĩŦǢěŻűűĩěƷĩĢ-ƷŻ-Ʒ'nĩŎƢ-ŎűƪƷŎƷƿtional establishment,ڝڝǜĩƢĩ-ĚþƢĩŦǢ-ĢŎƪěƿƪƪĩĢ-Ŏű-/ƿƢŻƟĩþű-ƟƿĚŦŎěþƷŎŻűƪƿűƷŎŦ-ƢĩěĩűƷŦǢܒłþŎűƪƷ- ƪƿě'nþ-ĚþěţłƢŻƿűĢ܌-Ʒ'nĩ-ƟŻƪŎƷŎŻű-Ʒ'nþƷűĩǜþƢƷůƿƪŎě-Ŏƪ-ŎűĢĩƟĩűĢĩűƷ-ŻŁþűǢ-ܹěƿŦƷƿƢĩ܌ܺþƪƪƷþƷĩĢ- a number of times during the symposium *Musik-Kulturen*þƷ-Ʒ'nĩ-'þƢůƪƷþĢƷ-®ƿůůĩƢ- ŻƿƢƪĩ-Ŏű- ܌ڕڏڏڑ-ŎƪěĩƢƷþŎűŦǢƿűƷĩűþĚŦĩܒ-ܹSĢĩűƷŎƷǢ-ƟƢŻĚŦĩůƪܺ-ŎűĢĩĩĢ-'nþƢĢŦǢƪĩĩů-ƷŻĩǡŎƪƷ-ŎűůþűǢþƢĩþƪ-ŻŁ- ƷŻĢþǢܼƪěŻůƟŻƪŎűłܫݑ-ĚƿƷűŻƷ-ŦĩþƪƷ-Ěĩěþƿƪĩþ-ȀƢů-ܣƢĩܤŁŻěƿƪŎűł-ŻűƪƟĩěŎȀě-ŦŻěþŦ-/ƿƢŻƟĩþű-ŁŻƢůƪ- ŻŁ-Ʒ'nŻƿł'nƷ܌-Ŧþűłƿþłĩ܌þűĢƪŻƿűĢ-Ŏƪ-ƷþţŎűł-ƟŦþěĩܒ-RŎűěĩ-Ʒ'nĩ-ڏڗژڐƪ܌-Ʒ'nŎƪűĩǜěƿŦƷƿƢþŦ-ŎƪŻŦþƷŎŻűŎƪů- can be interpreted not least as echoing the failure of the explicit cultural universalism of the ڏڕژڐƪ܌ǜ'nŎě'n-'nþĢ-ĚĩĩűþƢƷŎěƿŦþƷĩĢ-Ŏűƪƿě'nǜŻƢţƪþƪ-®ƷŻěţ'nþƿƪĩűܼƪ-*Telemusik*-ܤڕڕژڐܣ-ŻƢ-*NǢůűĩű* ܤږڕܫڔڕژڐܣ-ݑދܣSSڞڝܒܤڑܒȃĩƿű'nĩƪŎƷþƷŎűłþƟƟƢŻþě'n-ƷŻ-Ʒ'nĩ-ܹƢĩƪŻƿƢěĩƪܺ-ŻŁþ-ĢŎDz Łƿƪĩ-ܹǜŻƢŦĢůƿƪŎěܺ-Ŏű- Ʒ'nĩƪĩǜŻƢţƪ-'nŎł'nŦŎł'nƷƪ-Ʒ'nĩ-ŁþěƷ-Ʒ'nþƷþěƢŎƷŎěþŦěŻůƟŻƪŎƷŎŻűþŦ-ƢĩǴŦĩěƷŎŻű-ŻűěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ- ůƿƪƷ-ȀƢƪƷ-ŻŁþŦŦ-ŻǛĩƢěŻůĩ-Ʒ'nĩ-ܹƪĩŦŁܮþǜþƢĩűĩƪƪþűĢƪĩűƪĩ-ŻŁůŎƪƪŎŻű-ŻŁ-Ʒ'nĩ-ܣàĩƪƷĩƢűܤěŻůƟŻƪܮ er."ڟڝ-ÃűƷŎŦűŻǜ܌-'nŻǜĩǛĩƢ܌-Łĩǜ-'nþǛĩ-Ěĩĩű-ƟƢĩƟþƢĩĢ-ƷŻ-Ʒþţĩ-Ʒ'nŎƪƪƷĩƟǜŎƷ'n-ŎƷƪ-ŁƿŦŦ-ŎůƟŦŎěþƷŎŻűƪܒ-

### Reflexive Globalization

£ŻŎűƷŎűł- ŻƿƷ- Ʒ'nĩ- ĢŎǛĩƢƪŎȀěþƷŎŻű- ŻŁ ěŻűƷĩůƟŻƢþƢǢůƿƪŎě- 'nþƪ- ĚĩěŻůĩ ěŻůůŻűƟŦþěĩ-ŎűůƿƪŎě- ŠŻƿƢűþŦŎƪůܒȃĩƢĩ-ŎƪűŻǜþű-ŎűěƢĩþƪŎűłþǜþƢĩűĩƪƪ-Ʒ'nþƷłĩűĩƢþŦ-ƟþƷƷĩƢűƪ-ŻŁěƿŦƷƿƢþŦłŦŻĚþŦŎǬþ-ƷŎŻűěþű-Ěĩ-ŎĢĩűƷŎȀĩĢĩơƿþŦŦǢ-Ŏű-Ʒ'nĩƪŻěŎþŦ܌-ƟŻŦŎƷŎěþŦ܌þűĢƪƷƢƿěƷƿƢþŦ-ĢŎůĩűƪŎŻűƪ-ŻŁþűþƢƷůƿƪŎě- ǜ'nŻƪĩ-ƟƢŻĢƿěƷŎŻűþűĢ-ƢĩěĩƟƷŎŻű-Ʒþţĩ-ƟŦþěĩþŦůŻƪƷĩǛĩƢǢǜ'nĩƢĩ-Ŏű-Ʒ'nĩǜŻƢŦĢ-ƷŻĢþǢܒűĩ-ŻŁ-Ʒ'nĩƪĩ- patterns lies in the interdependence of cultural homogenization and cultural particulariza-ƷŎŻűڠڝ܋-Żű-Ʒ'nĩ-Żűĩ-'nþűĢ܌ěƿŦƷƿƢþŦűŻƢůƪþűĢ-ŎĢŎŻůƪþƢĩƪƿĚŠĩěƷ-ƷŻþ-ƟƢŻěĩƪƪ-ŻŁƪƷþűĢþƢĢŎǬþƷŎŻűܫݑ-ŦþƢłĩŦǢƪǢűŻűǢůŻƿƪǜŎƷ'nàĩƪƷĩƢűŎǬþƷŎŻűܫݑĩǡƟƢĩƪƪĩĢ-ŎűƪƷƢŎţŎűł-ĚƿǬǬǜŻƢĢƪ-ŻŁłŦŻĚþŦŎǬþƷŎŻű-

ڵڸ- -RĪĪ-GĪƣƸŏĜŊÿŲģ-GƣĪǜĪ܉-ܶtĪǀĪrǀƫŏŤŏŰ-ƠżƫƸŤżŧżŲŏÿŧĪŲðĪŏƸÿŧƸĪƣ܉ܷ-܉ڑڑܨڎڑfżǀǝĪŲŊżǜĪŲ܉-ܶrÿŏŲŧÿŲģ- ŊŏŲÿܹƫtĪǝ- rǀƫŏĜ-ܠSSS܉ܡܷ-܉ڒڔܨڑڔÿŲģàżŲŃ܉-ܶÿƣƸŽŤܹƫ-SŲǵŧǀĪŲĜĪżŲ- ŊŏŲĪƫĪtĪǝrǀƫŏĜŏŲ-ƸŊĪ-£żƫƸܫ ǀŧƸǀƣÿŧ-¦ĪǜżŧǀƸŏżŲ-/ƣÿܷ

ڶڸ- -RĪĪ-NÿƫĪŧěƇĜŤ܉-ܶ'Īěǀƫƫǣ-ǀŲģģŏĪàŏĪŲĪƣ-®ĜŊǀŧĪܷ

ڷڸ- -RĪĪðĪŲĜŤ܉-ܶƣƸÿǀģ-ܨżǀŧĪǭ-ܨ-¦ŏŊŰܷ

ڸڸ See Born, *Rationalizing Culture*.

ڹڸ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڍړڍܨڒڏڍ

ںڸ- àŏŧƫżŲ܉-ܶ'ŏĪ-ŊŲĪŲģĪƫfżŧǀŰěǀƫ܉ܷ-ڔڍ-ܠܶRĪŧěƫƸܫ-ǀŲģ-®ĪŲģǀŲŃƫěĪǝǀƫƫƸƫĪŏŲܞƫܟģĪƫ-ܞǝĪƫƸŧŏĜŊĪŲܟfżŰƠżŲŏƫƸĪŲܷܡ

ڻڸ- -RĪĪ-Nÿŧŧ܉-ܶ1/4ŊĪ-¥ǀĪƫƸŏżŲżł- ǀŧƸǀƣÿŧ-SģĪŲƸŏƸǣ܉ܷ-ڒڍڏܨڏړڎ

Ʒ'nĩŻƢǢƪƿě'nþƪ-ܹrě'ŻűþŦĢŎǬþƷŎŻűܺڡڝ or "Coca-Colonization."ڢڝ In the realm of contemporary art ůƿƪŎě܌-Ʒ'nŎƪ-ƷƢĩűĢ-ŎƪěŦŻƪĩŦǢ-ŦŎűţĩĢ-ƷŻþűĩűĢƿƢŎűłůŻűŻƟŻŦǢ-Żű-ƟƢŻŁĩƪƪŎŻűþŦůƿƪŎěĩĢƿěþƷŎŻű- exerted by Western musical institutions as well as the problems posed by the institutionaliza-ƷŎŻű-ŻŁþű-ŎűĢĩƟĩűĢĩűƷþƢƷ-ŎűűŻűܮàĩƪƷĩƢűƪŻěŎĩƷŎĩƪܒűĩěþű-ŻĚƪĩƢǛĩþ-ŦĩǛĩŦŎűłܮŻƿƷ-ƟƢŻěĩƪƪ܋-ŎƷ- Ŏƪ-ŻǼ Ʒĩű-'nþƢĢ-ŻƢ-ŎůƟŻƪƪŎĚŦĩ-ƷŻ-ĢĩƷĩƢůŎűĩǜ'nĩƷ'nĩƢþűĩǜǜŻƢţ-'nþƪ-ĚĩĩűěƢĩþƷĩĢ-ĚǢþěŻůƟŻƪĩƢ- from Cologne, Paris, Milan, Beijing, San Francisco, or Johannesburg. At this point, no concept ŎűŎƷŎþŦŦǢƪĩĩůƪůŻƢĩơƿĩƪƷŎŻűþĚŦĩ-Ŏű-Ʒ'nĩůƿƪŎě-ŻŁ-ƷŻĢþǢ-Ʒ'nþű-Ʒ'nþƷ-ŻŁþƪƟĩěŎȀě-ŦŻěþŦ-ŻƢ-ƢĩłŎŻűܮ þŦ-ŎĢĩűƷŎƷǢ܌-ŦĩƷþŦŻűĩ-ܹĩƷ'nűŎěŎƷǢܒܺȃŎƪƪţĩƟƷŎěŎƪů-ƷŻǜþƢĢ-Ʒ'nĩ-ܹŎĢŎŻůþƷŎěܺůƿƪƷƿűĢŻƿĚƷĩĢŦǢ-Ěĩ- ǛŎĩǜĩĢ þƪ- Ʒ'nĩ- ŦĩłþěǢ-ŻŁ- Ʒ'nĩ þŁŻƢĩůĩűƷŎŻűĩĢ- ƢþĢŎěþŦ ěƢŎƷŎơƿĩ-ŻŁůƿƪŎěܼƪ- ŦŎţĩűĩƪƪ- ƷŻ- Ŧþűłƿþłĩ- þǼ ƷĩƢ-ܒڔړژڐ

ȃŎƪƪŎƷƿþƷŎŻű܌-'nŻǜĩǛĩƢ܌- ƷƢŎłłĩƢƪþűƿűĢĩƢƪƷþűĢþĚŦĩěŻůƟĩűƪþƷŻƢǢ-ĚþěţŦþƪ'n܋þƪĩþƢě'n- ŁŻƢ- ŦþƪƷŎűłþűĢĩůƟ'nþƷŎě- ŁŻƢůƪ-ŻŁěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ- Ʒ'nþƷěþűűŻƷ-Ěĩ-ŦĩǛĩŦĩĢ-ŻƿƷ-ĚǢ- Ʒ'nŎƪ-ƟƢŻěĩƪƪ- ŻŁƪƷþűĢþƢĢŎǬþƷŎŻű-ݑދܣSSSܒܤړܒ-Ʒ-Ʒ'nĩƪþůĩ-ƷŎůĩ܌-'nŻǜĩǛĩƢ܌-ŎƷ-Ŏƪ-ŎůƟŻƢƷþűƷ-ƷŻ-ƢĩþŦŎǬĩ-Ʒ'nþƷƪŎůƟŦǢ- ŻƟƟŻƪŎűł-'nŻůŻłĩűŎǬŎűłàĩƪƷĩƢűŎǬþƷŎŻűþűĢþűþŕǛĩ-ܹĚþěţ-ƷŻ-Ʒ'nĩ-ŻƢŎłŎűƪܺůŻǛĩůĩűƷěþűűŻƷ-ĢŻ- justice to the complexity of the situation. Several studies of non-Western contemporary music 'nþǛĩĩůƟ'nþƪŎǬĩĢ-Ʒ'nþƷůƿƪŎěǜ'nŎě'n-ĢĩȀĩƪ-Ʒ'nĩƪƷĩƢĩŻƷǢƟŎěþŦ-ƟþƷƷĩƢűƪ-ŻŁ-ŦŻěþŦ-ŎĢĩűƷŎƷǢěþű-Ěĩĩű- ƪĩĩű-Ŏű-Ʒ'nĩƪŻěŎþŦěŻűƷĩǡƷƪ-ŻŁ-ŁƢŎěþ܌ƪŎþ܌þűĢhþƷŎűůĩƢŎěþþƪþ-ƢĩƪŎƪƷþűěĩþłþŎűƪƷ-Ʒ'nŻƪĩƿĚŎơƿŎƷŻƿƪ ƪƷǢŦĩƪ- Ʒ'nþƷ- ǴŦþƷƷĩű- ƷƢþĢŎƷŎŻűþŦ-ƟƢþěƷŎěĩƪ- ŁŻƢěŻůůĩƢěŎþŦ-ŻƢ-ƟŻŦŎƷŎěþŦ-ƟƿƢƟŻƪĩƪڙڞܒ Such ǜþǢƪ-ŻŁþěěĩűƷƿþƷŎűłěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ-Ŏű-Ʒ'nĩűĩǜþƢƷůƿƪŎěƪ-ŻŁ-ŁƢŎěþ܌ƪŎþ܌þűĢ-®ŻƿƷ'nůĩƢܮ ŎěþþƢĩƪƿłłĩƪƷŎǛĩ-ŁŻƢþű-ŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎě-'nŎƪƷŻƢǢ-ݑދܣSS܌ܤڐܒ-ĚƿƷþŦƪŻ-ĢĩůþűĢþůŻƢĩ-ƟƢĩěŎƪĩ- ĢĩȀűŎƷŎŻű-ŻŁǜ'nþƷěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ܌þŦƷĩƢŎƷǢ܌-ŻƢ-ŎűěŻůůĩűƪƿƢþĚŎŦŎƷǢěþűůĩþű-ݑދܣS܌ڒܒ-SSܒܤړܒ

ȃŎƪƪĩĩůƪþŦŦ-Ʒ'nĩůŻƢĩƿƢłĩűƷ-ĚĩěþƿƪĩĩƷ'nűŻůƿƪŎěŻŦŻłǢ-'nþƪþĚþűĢŻűĩĢ-ŎƷƪ-ŁŻƢůĩƢŦǢƪƷƢŎěƷ- ěŻűěĩƟƷ-ŻŁþƿƷ'nĩűƷŎěŎƷǢܒtŻǜĩƷ'nűŻůƿƪŎěŻŦŻłŎƪƷƪ-ŻǼ ƷĩűƪǢůƟþƷ'nŎǬĩǜŎƷ'n-ŁŻƢůƪ-ŻŁ-ƟŻƟƿŦþƢůƿsic that adopt elements from traditional musical practice. Standardizing tendencies inherent Ŏűƪƿě'n-ŁŻƢůƪ-ŻŁ-ƟŻƟůƿƪŎě-ܣĢĩȀűĩĢþƪ-ܹĩƷ'nűŎěܺܤþƢĩ-ƢþƢĩŦǢěƢŎƷŎěŎǬĩĢܒȃŎƪ-Ŏƪ-ĢĩƪƟŎƷĩ-Ʒ'nĩŎƢ-'nŻůŻłĩűŎǬĩĢ-Ɵ'nƢþƪĩƪþűĢ-ƢĩłƿŦþƢ-ĚĩþƷƪ-ŻǼ ƷĩűĩŦŎůŎűþƷŎűł-ƟƢĩěŎƪĩŦǢ-Ʒ'nĩƪƿĚƷŦĩůĩŦŻĢŎě-ŻƢ-Ƣ'nǢƷ'nůŎě-ĚŦƿƢƢŎűł- Ʒ'nþƷ- ŁŻƢůƪ-Żűĩ-ŻŁ- Ʒ'nĩ- ܹŎƢƢŎƷþƷŎűłܺ-ŦþǢĩƢƪ-ŻŁěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ܌þűĢ-Ŏƪ- Ʒ'nĩƢĩŁŻƢĩ- unsuited to representative or economic purposes.ښڞ- ǛĩƢþŦŦ܌- ŁŻƢůƪ- ŻŁ ƪƷþűĢþƢĢŎǬŎűł ůĩĢŎþ-ƷŎŻű-'nþǛĩ-ƟþƢƷŎěƿŦþƢŦǢ-ŁþƢܮƢĩþě'nŎűłĩDz ŁĩěƷƪ-Ŏű-Ʒ'nĩþłĩ-ŻŁ-ĢŎłŎƷþŦŎǬþƷŎŻű܌-ŎűěŦƿĢŎűł-ŎűűŻűܮàĩƪƷܮ ĩƢű-ƟƢþěƷŎěĩƪܒȃƿƪ܌- Ʒ'nĩůĩĢŎþܮþƪƪŎƪƷĩĢ-ƟƢŻĢƿěƷŎŻűþűĢ-ĢŎƪƪĩůŎűþƷŎŻű-ŻŁěĩƢƷþŎű- ƷƢþĢŎƷŎŻűþŦ- genres can result in a loss of religious or ritual functions, as shown by Gerd Grupe in the case of *qawwali*ůƿƪŎě-Ŏű-SűĢŎþþűĢ-£þţŎƪƷþűܒ-SűþĢĢŎƷŎŻű܌-Żűĩěþű-ŻĚƪĩƢǛĩþ-ƷƢþűƪƢĩłŎŻűþŦƪƷþűĢþƢĢization in certain styles of performance that leads to a loss of diversity in regional practices, for example in the *karawitan* compositions of Javanese gamelan music.ڛڞ

¼þţŎűłþŦŦ-Ʒ'nŎƪ-ŎűƷŻþěěŻƿűƷ܌-Ʒ'nĩű܌-Żűĩƪ'nŻƿŦĢ-ĚĩłŎű-ĚǢűŻƷŎűł-Ʒ'nþƷǜŎƷ'n-ƢĩłþƢĢ-ƷŻ-Ʒ'nĩ-ĢǢűþůܮ Ŏěƪ-ŻŁ łŦŻĚþŦŎǬþƷŎŻű܌ łŦŻĚþŦ ƪƷþűĢþƢĢŎǬþƷŎŻű- ƟƢŻěĩƪƪĩƪþűĢ-ŦŻěþŦ-ŎĢĩűƷŎƷǢ ěŻűǴŦŎěƷƪ-ŎűƷĩƢþěƷ-Ŏű- ůþűŎŁŻŦĢǜþǢƪܫݑþƪ-¦ŻŦþűĢ-¦ŻĚĩƢƷƪŻűþŦƢĩþĢǢ-ƷƢŎĩĢ-ƷŻĩǡƟƢĩƪƪ-Ŏű-ڔژژڐǜŎƷ'n-Ʒ'nĩ-ƷĩƢů-ܹłŦŻěþŦŎǬþtion."ڜڞ-ƟƟŦŎĩĢ-ƷŻůƿƪŎěþŦ-ĢŎƪěŻƿƢƪĩƪ܌-Ʒ'nĩƪĩ-ĢǢűþůŎěƪůĩþű-ȀƢƪƷ-ŻŁþŦŦ-Ʒ'nþƷ-ǛĩƢǢƪƟĩěŎȀě-ŦŻěþŦ- ƟƢþěƷŎěĩƪ-ܣƷ'nþƷěþűűŻƷ-Ěĩ-ŦĩþƢűĩĢ-ŻƢƿűĢĩƢƪƷŻŻĢǜŎƷ'nŻƿƷ-ƟĩƢƪŻűþŦ܌-ŦŻűłܮƷĩƢůěŻűƷþěƷܤůŎűłŦĩ-

ڼڸ- -¦ŏƸǭĪƣ܉-*The McDonaldization of Society*.

ڽڸ- fżżŏšŰÿŲ܉-ܶFÿěƣŏĜÿƸŏŲŃ-ƸŊĪěƫżŧǀƸĪ-FÿŤĪ܉ܷ-܉ڑڏܨڐڏàÿŃŲŧĪŏƸŲĪƣ܉-*Coca-Colonisation und Kalter Krieg*.

ڴڹR ĪĪ-®ĜŊĪƣǭŏŲŃĪƣ܉-ܶƣƸrǀƫŏĜŏŲÿ ƣżƫƫܫ ǀŧƸǀƣÿŧ żŲƸĪǢƸ܉ܷ-ڍڍڒܨڌڍڒ

ڵڹ- -RĪĪ-ƸŊĪģŏƫĜǀƫƫŏżŲŏŲ-'żƣƫĜŊĪŧ܉-ܶSŲƸĪƣŤǀŧƸǀƣĪŧŧĪ-ĪŃĪŃŲǀŲŃÿŧƫ-ĪǢŏƫƸĪŲƸŏĪŧŧĪƫ-¦ŏƫŏŤż܉ܷ-ڔڌڍܨڐڌڍ

ڶڹ Grupe, "àÿĜŊƫǝÿŧǭĪŲ-ǀŲģ- 'ƫ܉ܷ-ڒڌڎ

ڷڹ- -¦żěĪƣƸƫżŲ܉-ܶGŧżĜÿŧŏǭÿƸŏżŲ܈-1/4ŏŰĪܫRƠÿĜĪÿŲģ-NżŰżŃĪŲĪŏƸǣܫNĪƸĪƣżŃĪŲĪŏƸǣܷ

Ŏű-ǛþƢŎŻƿƪǜþǢƪǜŎƷ'n-Ʒ'nĩþƟƟƢŻƟƢŎþƷŎŻű-ŻŁ-ܹŎűƷĩƢűþƷŎŻűþŦܺ-ƟƢþěƷŎěĩƪܒȃŎƪ-ŎűĩǛŎƷþĚŦǢ-ŦĩþĢƪ-ƷŻþ- ƟƢŻěĩƪƪ-ŻŁ-ŁƢþłůĩűƷþƷŎŻűþűĢ-ƟƢŻłƢĩƪƪŎǛĩ-ĢŎDz ŁĩƢĩűƷŎþƷŎŻűܒ

tþƷƿƢþŦŦǢ܌ ƪƿě'n- ŁƢþłůĩűƷþƷŎŻű-ŎƪþŦƢĩþĢǢ-ŎůƟŦŎěŎƷ-Ŏű- Ʒ'nĩ-/ƿƢŻƟĩþű ěŻűěĩƟƷ-ŻŁůŻĢĩƢűŎƷǢ܌ǜ'nŎě'n-ŎűŎƷŎþƷĩĢ þű-ŎűěƢĩþƪŎűłŦǢ ěƢŎƷŎěþŦ- ŁŻƢů-ŻŁ ƪĩŦŁܮƢĩǴŦĩěƷŎŻű ĩǡƟƢĩƪƪĩĢ-Ŏű- Ʒ'nĩ ěŻűěĩƟƷ-ŻŁ þ- ܹ®ĩěŻűĢrŻĢĩƢűŎƷǢܺ-ŻƢ-ܹƢĩǴŦĩǡŎǛĩůŻĢĩƢűŎƷǢܒܺȃĩƪĩ-ƷĩƢůƪĩůƟ'nþƪŎǬĩ-Ʒ'nĩ-ŎƢƢĩǛĩƢƪŎĚŎŦŎƷǢ-ŻŁłŦŻĚܮ alization processes and urgently thematize the resulting social and societal problems such as mass unemployment, environmental damage, and so forth.ڝڞ Following on from this at the end ŻŁ- Ʒ'nĩ- ڏژژڐƪ܌-ÃŦƢŎě'nĩěţ- ĢĩƪěƢŎĚĩĢ- Ʒ'nĩ ěŻűěĩƟƷ-ŻŁ- ܹƢĩǴŦĩǡŎǛĩ łŦŻĚþŦŎǬþƷŎŻűܺþƪþ ƪŎƷƿþƷŎŻű-Ŏű- ǜ'nŎě'n-Ʒ'nĩěƿƢƢĩűƷ-ƟƢŻĚŦĩůþƷŎě܌ěŻűǴŦŎěƷܮŦþĢĩű-ܣĩűǛŎƢŻűůĩűƷþŦ-ŻƢƪŻěŎþŦܫݑ-ĚƿƷþŦƪŻěƿŦƷƿƢþŦܤĩŁ-ŁĩěƷƪ-ŻŁłŦŻĚþŦŎǬþƷŎŻűěþű-Ěĩ-ܹƢĩǴŦĩěƷĩĢƿƟŻűܺþűĢ-ŎűěŻƢƟŻƢþƷĩĢ-ŎűƷŻűĩǜěƿŦƷƿƢþŦ-ƟƢþěƷŎěĩƪڞڞܒ He Ʒ'nƿƪ-ƢĩŠĩěƷĩĢ܌þƪ-Ŏű-Ʒ'nĩ-ƟƢĩǛŎŻƿƪŦǢůĩűƷŎŻűĩĢ-Ʒ'nĩŻƢŎĩƪ-ŻŁ-ƟƟþĢƿƢþŎ܌ßĩƢƷŻǛĩě܌þűĢ-'ŎƢŦŎţ܌-Ʒ'nĩ- basic model of "container theory," in which a dynamic acting from "outside" a clearly delineated ƷĩƢƢŎƷŻƢǢ-ŎűǴŦƿĩűěĩƪ-ŎƷ-ŦŻěþŦŦǢܒ-SűƪƷĩþĢ܌-ƢĩǴŦĩǡŎǛĩłŦŻĚþŦŎǬþƷŎŻűþŦƪŻ-ƢĩŁĩƢƪ- ƷŻ- Ʒ'nĩ- ŁŻƢůþƷŎŻű-ŻŁ- űĩǜłƢŻƿƟŎűłƪþűĢěŻůůƿűŎƷŎĩƪþěƢŻƪƪĩƪƷþĚŦŎƪ'nĩĢ-ܣűþƷŎŻűþŦ܌ěƿŦƷƿƢþŦ܌-ƟŻŦŎƷŎěþŦ܌-ŻƢ-ƢĩŦŎłŎŻƿƪܤ- identity boundaries.

®ŎűěĩþƷ-ŦĩþƪƷ-Ʒ'nĩĩþƢŦǢ-ƷǜĩűƷŎĩƷ'něĩűƷƿƢǢ܌ƪƿě'n-ƢĩǴŦĩǡŎǛŎƷǢ-'nþƪ-ĚĩĩűþĚƪŻŦƿƷĩŦǢĩƪƪĩűƷŎþŦ-ŁŻƢ- ƿűĢĩƢƪƷþűĢŎűłůƿƪŎěþŦěƿŦƷƿƢĩƪ-ŻƿƷƪŎĢĩ-/ƿƢŻƟĩܒȃĩǢ-'nþǛĩĩǛŻŦǛĩĢ-ŎűěŦŻƪĩ܌-ƢĩǴŦĩǡŎǛĩ܌þűĢ-ŻŁ-Ʒĩű- ŁƢþěƷŎŻƿƪ-ŎűƷĩƢþěƷŎŻűǜŎƷ'n-/ƿƢŻƟĩþűůŻĢĩƢűŎƷǢܒȃƿƪ܌- ĢƿƢŎűł-Ʒ'nĩ űŻƷŻƢŎŻƿƪ ƪǢůƟŻƪŎƿů- ܹǛĩƢěŻůŎűłrŻĢĩƢűŎƷǢܺ-ܣ*fŎűĢþŎűŻě'nƔţŻţƿ*ܤ-ŎűdƿŦǢ-ڑړژڐ-ŎűfǢŻƷŻ܌-Ʒ'nĩdþƟþűĩƪĩěŻůƟŻƪĩƢ-®þĚƿƢƔ- rŻƢŻŎ-ڟڞܤږږژڐܫڒڏژڐܣ stated that only music that expressed Japanese "spirit" using the means of Western compositional techniques and instrumentation was capable of "overcoming modernity."ڠڞȃŎƪǜþƪ-Ʒ'nĩƪŦŻłþű-ŻŁ-Ʒ'nĩƪǢůƟŻƪŎƿů-ŁŻƢ-Ʒ'nĩěŻűƪƷƢƿěƷŎŻű-ŻŁþűþŦƷĩƢűþƷŎǛĩdþƟþűĩƪĩůŻdernity that was not meant to be synonymous with "Westernization." Its jingoistic undertones in the context of Japanese military aggression led to sustained criticism of the symposium in postwar Japan.ڡڞ While those that repeatedly praise the title and content of this symposium have mostly been nationalist Japanese authors,ڢڞ the realization has spread in the last two decades that a discussion of modernity will remain inadequate without an acceptance of several ĢŎDz ŁĩƢĩűƷ܌ěŻůƟĩƷŎűł-ܹůŻĢĩƢűŎƷŎĩƪܺڙڟ-ݑދܣSSܒܤڐܒ

Moroi's distinction between spirit and technique was a master pattern for the adoption of àĩƪƷĩƢűěƿŦƷƿƢĩ-ŎűdþƟþűþűĢ- 'nŎűþþƪĩþƢŦǢþƪ-Ʒ'nĩůŎĢܮűŎűĩƷĩĩűƷ'něĩűƷƿƢǢ-ݑދܣSSSܒܤڐܒ-SƷ-'nþƪ-Ěĩĩű- incorporated, in a milder form, as part of the cultural essentialism in the aesthetics of many ěŻůƟŻƪĩƢƪ-ŎűƪŎþƪŎűěĩ- Ʒ'nĩ- ڏڒژڐƪܒ- Sű- Ʒ'nĩ- ڏڕژڐƪ܌- Sƪþűłæƿű܌ dŻƪĪrþěĩĢþ܌- 'nŻƿàĩűܮ 'nƿűł܌þűĢ-¼ƔƢƿ-¼þţĩůŎƷƪƿĩƪƷþĚŦŎƪ'nĩĢܫݑĩþě'nǜŎƷ'n- Ʒ'nĩŎƢ-Żǜű-ƟŻŎűƷƪ-ŻŁĩůƟ'nþƪŎƪܫݑþ-ĢŎƪěŻƿƢƪĩ-Żű- Ʒ'nĩ- ܹě'nþƢþěƷĩƢŎƪƷŎěƪܺ-ŻŁƪŎþűůƿƪŎě- Ʒ'nþƷ ƪƟĩěŎȀěþŦŦǢþŎůĩĢ- ƷŻ-ܹŻǛĩƢěŻůĩܺ- Ʒ'nĩ- ĢŻůŎűþűěĩ-ŻŁ- àĩƪƷĩƢűþĩƪƷ'nĩƷŎěƪ-ݑދܣ SSSܒܤړܒ-Rƿě'nþĩƪƷ'nĩƷŎěƪ-'nþĢ-ĚĩěŻůĩ-ƟþƢƷŎěƿŦþƢŦǢơƿĩƪƷŎŻűþĚŦĩ܌űŻƷ-ŦĩþƪƷ- Ěĩěþƿƪĩ-ŻŁ-Ʒ'nĩ-®ĩěŻűĢàŻƢŦĢàþƢܒƿƷ-Ʒ'nĩƪĩěŻůƟŻƪĩƢƪþŦƪŻƪŻƿł'nƷ-ƷŻ-ŎűƷĩłƢþƷĩţĩǢĩŦĩůĩűƷƪ-

ڸڹ- -ĪĜŤ܉-ܶ'ÿƫðĪŏƸÿŧƸĪƣģĪƣtĪěĪŲłżŧŃĪŲ-ǀŲģģŏĪ-£żŧŏƸŏƫŏĪƣǀŲŃģĪƣrżģĪƣŲĪܷ

ڹڹ- -ĪĜŤÿŲģðżŧż܉-ܶàŊÿƸ-Sƫ-GŧżěÿŧŏǭÿƸŏżŲܐܷܔƫĪĪÿŧƫż-ĪĜŤ܉-*'ŏĪ-/ƣǾŲģǀŲŃģĪƫ-£żŧŏƸŏƫĜŊĪŲ*.

ںڹ On Moroi see Galliano, *æƕŃÿŤǀ*܉-܉ڒړܨڏړ-ڔڔ

ڻڹ See rŏŲÿŰżƸż܉-ܶ1/4ŊĪ-®ǣŰƠżƫŏǀŰżŲ-ܸǜĪƣĜżŰŏŲŃrżģĪƣŲŏƸǣܹܷ

ڼڹ- -1/4Ŋŏƫ-ĜƣŏƸŏĜŏƫŰÿŧƫż-ĜżŲĜĪƣŲĪģ-ƸŊĪ-ƠŊŏŧżƫżƠŊĪƣƫżł-ƸŊĪfǣżƸżƫĜŊżżŧ-ƠÿƣƸŏĜŏƠÿƸŏŲŃŏŲ-ƸŊĪƫǣŰƠżƫŏǀŰ܉-ŲÿŰĪŧǣfĪŏšŏ- tŏƫŊŏƸÿŲŏÿŲģ-®ŊŏŃĪƸÿŤÿ-®ǀǭǀŤŏ܉ƫĪĪŏěŏģ

ڽڹ- -RĪĪ-NŏšŏǣÿܫfŏƣƫĜŊŲĪƣĪŏƸ܉-ܶhĪǀĜŊƸĪƸdÿƠÿŲܐܷ

ڴں See Eisenstadt, *Multiple Modernities*ÿŲģ-/ŧěĪƣłĪŧģ܉-ܶrżģĪƣŲĪŏŲƸĪƣŤǀŧƸǀƣĪŧŧܷ

of Western thought.ښڟæƿűþűĢ- 'nŻƿ܌þƪůŎłƢþűƷěŻůƟŻƪĩƢƪ܌-ŁþěĩĢ-Ʒ'nĩě'nþŦŦĩűłĩ-ŻŁ-ŦĩþĢŎűł-Ʒ'nŎƪ- discourse in direct confrontation with Western aesthetic trends.

While their writings and statements showed clear tendencies toward essentialism,ڛڟ their ǜŻƢţƪ܌-ĚǢěŻűƷƢþƪƷ܌-ŻǼ Ʒĩű-ĢĩþŦƷǜŎƷ'n-ǛĩƢǢƪƟĩěŎȀě-ƷƢþĢŎƷŎŻűƪܒ- 'nŻƿܼƪǜŻƢţƪ-*ȄĩàŎŦŦŻǜƪþƢĩtĩǜ* ܤږڔژڐܣþűĢ-*Yü Ko*-܌ܤڔڕژڐܣ-ŁŻƢĩǡþůƟŦĩ܌þƷƷĩůƟƷܫݑǜŎƷ'nƪŻůĩǜ'nþƷ-ŦŎůŎƷĩĢƪƿěěĩƪƪܫݑ-ƷŻþƟƟŦǢ-ƟĩƢformance principles of the ancient Chinese zither *qin* to Western instruments.ڜڟ æƿűܼƪ-*Réak* ܤڕڕژڐܣ-ƷƢþűƪŁĩƢƪ-Ʒ'nĩěŻűƷŎűƿŻƿƪ-ƟŎƷě'n-ŎűǴŦĩěƷŎŻűƪþűĢ-ŎűƷĩƢǜŻǛĩű-ŦŎűĩƪ-ŻŁfŻƢĩþűěŻƿƢƷůƿƪŎě- into sound textures of the Western orchestra.ڝڟ- SŁ ƪƿě'něŻűěĩƟƷƪ-ŻǼ ƷĩűĩůƟ'nþƪŎǬĩ*þŦƷĩƢŎƷǢ* in relation to Western musical aesthetic discourse, it should not be forgotten how strongly they ǜĩƢĩþŦƪŻ-ŎűǴŦƿĩűěĩĢ-ĚǢ-ƢűŻŦĢ-®ě'nŻĩűĚĩƢłܼƪ܌-/ĢłþƢĢßþƢĸƪĩܼƪ܌-SþűűŎƪåĩűþţŎƪܼƪ܌þűĢfþƢŦ'nĩŎűǬ- ®ƷŻěţ'nþƿƪĩűܼƪěƢŎƷŎơƿĩƪ-ŻŁ-ƷƢþĢŎƷŎŻűþűĢ-ŎĢĩűƷŎƷǢ-ŎűàĩƪƷĩƢűůŻĢĩƢűŎƷǢܒ

ȃĩ-ĚƢŎĩŁ-ŻƿƷŦŎűĩ-S-'nþǛĩ-Ʒ'nƿƪ-ŁþƢ-ƟƢĩƪĩűƷĩĢþŦƢĩþĢǢƪƿłłĩƪƷƪ-Ʒ'nþƷ-ŠĩƷƷŎƪŻűŎűł-Ʒ'nĩěŻűěĩƟƷ-ŻŁ- identity entirely on account of the crisis of identity is far too crudely reductive. It has been asserted on various occasions that the music of non-Western contemporary composers ought not ŻűŦǢ-ƷŻ-Ěĩ-ĢŎƪěƿƪƪĩĢþłþŎűƪƷ-Ʒ'nĩ-ĚþěţĢƢŻƟ-ŻŁ-ĢĩĚþƷĩƪ-ŻŁěƿŦƷƿƢþŦ-ŎĢĩűƷŎƷǢ܌-ĚƿƷ-ƢþƷ'nĩƢ-ƟƢŎůþƢŎŦǢ- ƿűĢĩƢƪƷŻŻĢþűĢ-ƢĩƪƟĩěƷĩĢþƪþůþűŎŁĩƪƷþƷŎŻű-ŻŁ-ܹŎűĢŎǛŎĢƿþŦܺþƢƷŎƪƷŎě-ƟŻƪŎƷŎŻűƪ܋-

tĪǝ- ŊŏŲĪƫĪrǀƫŏĜżǀŃŊƸ-ƸżěĪ-ĜżŲƫŏģĪƣĪģżŲÿŲŏŲƸĪƣŲÿƸŏżŲÿŧƫƸÿŃĪ܉-ŲżƸÿƫÿ-ŰǀƫŏĜěżƸŊ-ĪǢżƸŏĜ- ÿŲģ-ƸŊĪƣ܉ěǀƸÿƫÿ-ŰǀƫŏĜŏŲŏƸƫżǝŲƣŏŃŊƸ܉-ܟ܊ܞÿƫÿ-ŰǀƫŏĜżłŏŲƸĪƣŲÿƸŏżŲÿŧŏŰƠżƣƸ܉ěǣŏŲģŏǜŏģǀÿŧƫ܉- ŏŲģĪƠĪŲģĪŲƸżł-ƸŊĪŏƣ-ŲÿƸŏżŲÿŧģĪƫĜĪŲƸ-ܟ܊ܞ-ƸŊĪ- ŊŏŲĪƫĪŲĪƫƫżł- ŊŏŲĪƫĪ-ŰǀƫŏĜ-ŲĪĪģ-ŲżƸěĪ-ĜżŲsidered a matter of course but of individual choice and development. Each of these composers ǝƣŏƸĪƫ-Ŋŏƫżƣ-ŊĪƣżǝŲ-ƠĪƣƫżŲÿŧ-ŰǀƫŏĜ܉-ĜƣĪÿƸŏŲŃƫżŰĪƸŊŏŲŃěĪǣżŲģ-ƸŊĪ-ƸƣÿģŏƸŏżŲƫ-ܠ ŊŏŲĪƫĪżƣżƸŊĪƣܫ ǝŏƫĪܡ-ƸŊÿƸÿƣĪěĪŏŲŃ-ǀƫĪģڛڜ

àŊÿƸŏƫƣĪƢǀŏƣĪģŏƫ-ƸżŏŧŧǀŰŏŲÿƸĪ-ƸŊĪƫĪŏŲƸĪƣŲÿƸŏżŲÿŧ܉ƫŏŰƠŧǣ-ŰǀƫŏĜÿŧÿƫƠĪĜƸƫƣÿƸŊĪƣ-ƸŊÿŲ-ƠĪƣƫŏƫƸܫ ŏŲŃŏŲ-ƸŊĪƫĪÿƣĜŊܨݎ-ŲÿƸǀƣÿŧŧǣÿŲŏŰƠżƣƸÿŲƸżŲĪ܉ěǀƸ-ŲżŧżŲŃĪƣŏŲģŏƫƠĪŲƫÿěŧĪܨݎłżƣ- ŊŏŲĪƫĪżƣƫŏÿŲ- ŏģĪŲƸŏƸǣ܉ƫĪŧłܫÿƫƫĪƣƸŏżŲżƣ-ŲÿƸŏżŲÿŧƫƸǣŧĪŏŲ-ƸŊŏƫ-ŰǀƫŏĜ܉ǝŊŏĜŊ܉-Ƹż-ƠǀƸŏƸŏŲ-ĪǢƸƣĪŰĪ-ƸĪƣŰƫ܉ÿŰżǀŲƸƫ- ŰżƣĪ-ƸżÿģŏƫĜƣŏŰŏŲÿƸŏżŲÿŃÿŏŲƫƸƫŏÿŲ-ĜżŰƠżƫĪƣƫÿŲģ-ƸŊĪŏƣ-ŰǀƫŏĜ-ܟ܊ܞ-ƸŊĪƫŏÿŲ-ĜżŰƠżƫĪƣ-ŰǀƫƸ- ěĪÿěŧĪÿŲģÿŧŧżǝĪģ-ƸżģĪǿŲĪ-ƸŊĪŰƫĪŧǜĪƫ-ŲżƸÿƫÿŲ-*Asian* composer, but as an Asian *composer*. ڜڜ

Sű-ŁþěƷ܌-Ʒ'nŎƪ-'nþƪ-ŦŻűł-Ěĩĩűþ-ƢĩþŦŎƷǢ-Ŏű-Ʒ'nĩůƿƪŎěƪěĩűĩܒæŻƿűłĩƢěŻůƟŻƪĩƢƪƪƿě'nþƪ-Ãűƪƿţ- 'nŎű܌- 'þŎ-FƿŠŎţƿƢþ܌-ŻƢæŎűłàþűł-ƟƿƢƪƿĩĩǡěĩƟƷŎŻűþŦŦǢƪƿěěĩƪƪŁƿŦěþƢĩĩƢƪ܌ůþŎűŦǢ-ŎűàĩƪƷĩƢűěƿŦƷƿƢܮ þŦěĩűƷĩƢƪܒȃĩŎƢ-ŎűƷĩƢűþƷŎŻűþŦ܌-ǛŎƢƷƿŻƪŎě-ŎĢŎŻů-ŎƪþłƿþƢþűƷĩĩ-ŻŁƪƿěěĩƪƪ܌þűĢ-ŎƷƪĩĩůƪ-Ʒ'nþƷ-ŎŁ- they were to address themes of intercultural rupture and hybridity more explicitly, this success ǜŻƿŦĢ-Ěĩ-'nŎűĢĩƢĩĢ-ƢþƷ'nĩƢ-Ʒ'nþűþƪƪŎƪƷĩĢܒƿƷ-Ŏƪ-ŎƷ-ƢĩþŦŦǢ-ƟŻƪƪŎĚŦĩ-ŁŻƢ-ܹěƿŦƷƿƢþŦܺ-ĢŎƪěŻƿƢƪĩܫݑ-Ƣĩ-

ڵں- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڍڍڏܨڎڎڎ

ڶں- -RĪĪłżƣ-ĪǢÿŰƠŧĪ- Ŋżǀ܉-ܶƫŏÿŲ-/ƫƸŊĪƸŏĜƫÿŲģàżƣŧģrǀƫŏĜܷÿŲģæǀŲ܉-ܶÉěĪƣ-ŰĪŏŲĪrǀƫŏŤܷ

ڷں- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ړړڎܨڌړڎ

ڸں See Choi, "*Réak*-ܡڒڒڕڍܠܷ

ڹں- rŏƸƸŧĪƣ܉-ܶŃÿŏŲƫƸtÿƸŏżŲÿŧ-®ƸǣŧĪ."

ںں- rŏƸƸŧĪƣ܉-ܶàŏģĪƣģĪŲ-ܸŲÿƸŏżŲÿŧĪŲ-®Ƹŏŧ܉ܹܷ-ړڌڒ-ܠܶ'ŏĪƫĪŏŲƸĪƣŲÿƸŏżŲÿŧĪŲ܉-ĪŏŲłÿĜŊ-ŰǀƫŏŤÿŧŏƫĜŊĪŲƫƠĪŤƸĪ-ŃŏŧƸ-ĪƫǭǀěĪŧĪǀĜŊƸĪŲ܉-ŲŏĜŊƸ-ŰĪŊƣǭǀǜĪƣŊÿƣƣĪŲŏŲģĪƣ-ܞŲÿƸdžƣŧŏĜŊǝŏĜŊƸŏŃĪŲ܉ÿěĪƣ-ŲŏĜŊƸ-ŰĪŊƣ-ǀŲĪƣŧďƫƫŧŏĜŊĪŲܟ-RǀĜŊĪ-ŲÿĜŊ-ĜŊŏ-ŲĪƫŏƫĜŊĪƣżģĪƣÿƫŏÿƸŏƫĜŊĪƣ-SģĪŲƸŏƸďƸ܉-ŲÿĜŊ-®ĪŧěƫƸěĪŊÿǀƠƸǀŲŃ܉-ŲÿĜŊ-ŲÿƸŏżŲÿŧĪŰ-®ƸŏŧŏŲģŏĪƫĪƣrǀƫŏŤ܉ģŏĪ܉-ǀŰ-Īƫ- ĪǢƸƣĪŰÿǀƫǭǀģƣdžĜŤĪŲ܉-ĪŊĪƣ-ĪŏŲĪƣ-'ŏƫŤƣŏŰŏŲŏĪƣǀŲŃÿƫŏÿƸŏƫĜŊĪƣfżŰƠżŲŏƫƸĪŲ-ǀŲģŏŊƣĪƣrǀƫŏŤ-ŃŧĪŏĜŊŤżŰŰƸ-܈ܟ܊ܞ- 'ĪƣÿƫŏÿƸŏƫĜŊĪfżŰƠżŲŏƫƸ-ŰǀƫƫƫŏĜŊ-ŲĪǀģĪǿŲŏĪƣĪŲ-ŤƇŲŲĪŲ-ǀŲģģdžƣłĪŲ܉-ŲŏĜŊƸÿŧƫ*asiatischer*fżŰƠżŲŏƫƸ܉ƫżŲģĪƣŲ- als asiatischer *Komponist*ܷܡ

łþƢĢŦĩƪƪ-ŻŁþěŻůƟŻƪĩƢܼƪ-ŻƢŎłŎűþűĢ-ƷƢþĢŎƷŎŻűܫݑ-ƷŻ-ĚĩƪŎůƟŦǢ-ŎłűŻƢĩĢ-Ŏű-ŁþǛŻƢ-ŻŁþű-ܹŎűĢŎǛŎĢƿþŦܺ- perspective? Is it not necessary, rather, to place renewed emphasis on the sociocultural condi-ƷŎŻűƪ-ŻŁ-ƢĩěĩűƷěŻůƟŻƪŎƷŎŻűþűĢ-ŎƷƪ-ŎűěŻƢƟŻƢþƷŎŻű-ŎűƷŻþűĩƷǜŻƢţ-ŻŁƪŻěŎŻěƿŦƷƿƢþŦ- ƷƢþűƪŁĩƢ-ŻŁ- meaning (in the sense of abandoning the music-historical paradigm of "techno-essentialism"ܓܤڠڟ-ݑދܣSSܤڐܒ-Sű-Ʒ'nŎƪƪĩűƪĩ܌-RþůƪŻűæŻƿűłůþţĩƪ-ŎƷěŦĩþƢ-Ʒ'nþƷ-Ʒ'nĩ-ƟŻƪƪŎĚŎŦŎƷǢ-ŻŁ-ܹěƿŦƷƿƢĩܮŁƢĩĩܺ- ŦŎƪƷĩűŎűł-Ŏƪ-ŦŎůŎƷĩĢǜ'nŎŦĩ-ܹěƿŦƷƿƢþŦ-ŎĢĩűƷŎƷŎĩƪܺěŻűƷŎűƿĩ-ƷŻ-Ěĩ-ĢĩŦŎĚĩƢþƷĩŦǢĩǛŻţĩĢ-ĚǢěŻůƟŻƪĩƢƪ- þűĢ-Ʒ'nĩŎƢ-ƟĩƢŁŻƢůĩƢƪþŦŎţĩ-Ʒ'nƢŻƿł'nþƟƟƢŻƟƢŎþƷĩŦǢě'nþƢłĩĢƪŎłűŎȀĩƢƪ܋-

SłǝĪ-ĪŰěƣÿĜĪ-ƸŊĪǜŏĪǝ-ƸŊÿƸ-ĪƸŊŲŏĜŏģĪŲƸŏƸŏĪƫÿƣĪ-ĜżŲƫƸƣǀĜƸƫ܉-ƸŊĪŲ-ƸżǝŊÿƸ-ĪǢƸĪŲƸÿƣĪǝĪŏŲƸĪƣĪƫƸĪģ- ŏŲ-Ŋżǝ-ĜǀŧƸǀƣÿŧƫŏŃŲŏǿĪƣƫłǀŲĜƸŏżŲ-ƸżƣĪŏŲłżƣĜĪ-ƸŊĪƫĪŏŰÿŃŏŲÿƣǣ-ĜÿƸĪŃżƣŏĪƫܐ-ܟ܊ܞ-SŲƫƸĪÿģżłłżĜǀƫܫ ŏŲŃżŲ-ƸŊĪģĪŃƣĪĪƫ-ƸżǝŊŏĜŊÿƫŏŃŲŏǿĪƣŏƫ-ܶƸƣÿģŏƸŏżŲÿŧܷżƣ-ܶĜżŲƸĪŰƠżƣÿƣǣ܉ܷ-ĜżǀŧģżŲĪ-ŲżƸÿƫŤǝŊǣ- ĪƸŊŲŏĜŏƸǣŏƫ-ƠĪƣłżƣŰĪģǝŊĪŲŏƸŏƫ-ŲżƸÿŧǝÿǣƫ-ŲĪĜĪƫƫÿƣǣ܉ÿŲģ-ƠżƸĪŲƸŏÿŧŧǣ-ĪǜĪŲģŏƫƸƣÿĜƸƫÿƸƸĪŲƸŏżŲ- łƣżŰ-ƸŊĪ-ŰǀƫŏĜŏƸƫĪŧłܐ-SŲ-ƸŊĪ-ĜÿƫĪżł-ĜżŲƸĪŰƠżƣÿƣǣ- ŊŏŲĪƫĪ-ŰǀƫŏĜ܉ŏłƫżǀŲģ-ĜÿŲŏŲģĪĪģěĪ-ŊĪÿƣģ- łƣĪĪżł-ĜǀŧƸǀƣÿŧ-ĜżŲƸĪǢƸƫ-܉ܟ܊ܞ-ƸŊĪŲǝŊǣģż-ĜżŰƠżƫĪƣƫÿŲģÿŲÿŧǣƫƸƫ-ĜżŲƸŏŲǀĪ-ƸżŏŲǜżŤĪ-ĜǀŧƸǀƣĪڞڜܐ

æŻƿűł-'nþƪþŦƪŻĩůƟ'nþƪŎǬĩĢ-Ʒ'nþƷ-ŎƷ-Ŏƪ-ƟƢĩěŎƪĩŦǢ-Ʒ'nĩ-ĢĩůþűĢ-ŁŻƢþěŻűƷŎűƿŻƿƪ*opposition* to cultural essentialism and a culturalist stereotyping of artistic positions that necessitates thematiz-ŎűłơƿĩƪƷŎŻűƪ-ŻŁ-ܹƢþěĩ܌ĩƷ'nűŎěŎƷǢ܌ěƿŦƷƿƢĩþűĢ-ƟŻŦŎƷŎěƪܺ-ƷŎůĩþűĢþłþŎű܋

SģżŲܹƸ-ƸŊŏŲŤżł-ŰǣƫĪŧłÿƫ- ŊŏŲĪƫĪŏŲƫżŰĪǝÿǣ܉ěǀƸ-S-ƠƣżěÿěŧǣģżŲܹƸěĪŧŏĪǜĪŏŲ܉ÿŲģ-ĜĪƣƸÿŏŲŧǣģż- ŲżƸǝÿŲƸ-Ƹż-ƠŧÿǣÿŲǣ-ƠÿƣƸŏŲ܉ƣĪÿdz ǿƣŰŏŲŃ-ƸŊĪ-ŲżƸŏżŲżłÿƫŏŲŃǀŧÿƣ܉-ǀŲƠƣżěŧĪŰÿƸŏĜ-ܶ ŊŏŲÿ-ƠƣżƠĪƣܷ܈- ƸŊĪ- ĜżŰŰǀŲŏƫƸ- ŊŏŲÿ܉- ƸŊĪ- ŊŏŲÿ- ƸŊÿƸ ƫŏƸƫ ěĪŊŏŲģ ǿƣĪǝÿŧŧƫ܉- ƸŊĪ- ŊŏŲÿ- ƸŊÿƸ ƫǀƠƠƣĪƫƫĪƫ łƣĪĪģżŰ- żłƫƠĪĪĜŊÿŲģŏŲģŏǜŏģǀÿŧŧŏěĪƣƸǣƣƸŏƫƸƫģż-ŲżƸżƠĪƣÿƸĪŏŲǜÿĜǀǀŰƫàżƣŤƫżłÿƣƸ-ĜŏƣĜǀŧÿƸĪ܉-ŃĪŲĪƣÿƸŏŲŃƣĪÿŧ-ĜǀŧƸǀƣÿŧ܉ƫżĜŏÿŧÿŲģ-ƠżŧŏƸŏĜÿŧ-ĜżŲƫĪƢǀĪŲĜĪƫ-SƸŏƫ-ŰǣěĪŧŏĪł-ƸŊÿƸÿŲÿƣƸŏƫƸÿƫÿłƣĪĪÿŃĪŲƸ- żǀŃŊƸ-ƸżƣĪǵŧĪĜƸ-ǀƠżŲ-ƸŊĪǜÿŧǀĪƫƫŊĪܕŊĪÿěŏģĪƫěǣŏŲÿŧŧÿĜƸƫżł-ĜƣĪÿƸŏǜŏƸǣ-ܟ܊ܞ-1/4ŊĪÿŃĪ-ܞżłܟ-ŃŧżěÿŧŏǭÿƸŏżŲģĪŰÿŲģƫÿŲŏŲƸĪŲƫŏǿĪģŧĪǜĪŧżł-ĜżŰŰǀŲŏĜÿƸŏǜĪ-ŲǀÿŲĜĪ-SŲ-ƸŏŰĪƫżł-ĜżŲǵŧŏĜƸƫ܉-ƸǀƣěǀŧĪŲĜĪ- ÿŲģ-ĜżŲłǀƫŏżŲ܉ǝĪ-ŲĪĪģ-Ƹżƫÿǣ-ŰżƣĪ܉-ŲżƸŧĪƫƫ܉ÿěżǀƸŏƫƫǀĪƫżłƣÿĜĪ܉-ĪƸŊŲŏĜŏƸǣ܉-ĜǀŧƸǀƣĪÿŲģ-ƠżŧŏƸŏĜƫڟڜ

FƢĩĢĩƢŎěţhþƿƿŦƷŎůþƷĩŦǢǜĩűƷƪŻ-ŁþƢþƪ-ƷŻƪþǢ-Ʒ'nþƷ-Ʒ'nĩ-ƟƢŻƷĩþű-ܣþűĢ-Ŏű-ƟþƢƷƪ-ƢþƷ'nĩƢƪƿěěĩƪƪŁƿŦܤ- adoption of culturalist identity models by Chinese composers of the "new wave" generation Ŏű-Ʒ'nĩî܌ƪŎűěĩ-Ʒ'nĩ-ڏڗژڐƪ܌ěþű-ĚĩěŻűƪŎĢĩƢĩĢþƪǢůƟƷŻů-ŻŁ-ŎĢĩűƷŎƷǢěŻűƪƷƢƿěƷŎŻűþƪþěþƢĩĩƢ- ƪƷƢþƷĩłǢ܌ůƿě'n-ŦŎţĩ-Ʒ'nĩ-ƟŻƟ-ŎűĢƿƪƷƢǢܼƪ-ܹƪƿƟĩƢƪƷþƢƪǢűĢƢŻůĩܺ܋

SŲÿģǜżĜÿƸŏŲŃÿƫƸǣŧĪ-ƸŊÿƸ-ŰÿŤĪƫ-ǀƫĪżł- ŊŏŲĪƫĪ-ĪŧĪŰĪŲƸƫ܉-ƸŊĪ-ŲĪǝǝÿǜĪ-ĜżŰƠżƫĪƣƫÿƣĪ-ƠÿƣƸŏĜŏ-ƠÿƸŏŲŃŏŲÿ-ĜżģŏǿĪģÿŲģ-ŃŧżěÿŧŏǭĪģ-ŰÿƣŤĪƸŏŲǝŊŏĜŊ-ƸŊĪǣÿƣĪěĪŏŲŃ-ƠĪƣĜĪŏǜĪģ-ƸŊƣżǀŃŊ-ƸŊĪŏƣ-ŰǀƫŏĜ- ÿŲģ-ƸŊĪ-ǀƫĪżł- ŊŏŲĪƫĪ-ĪŧĪŰĪŲƸƫ-¼ŊĪǣÿƣĪ-ĜŧĪÿƣŧǣ-ĜÿƠŏƸÿŧŏǭŏŲŃżŲƣŏĪŲƸÿŧŏƫŰÿƫ-ĪǢƠƣĪƫƫĪģŏŲ- ƸŊĪŏƣ-ŰǀƫŏĜÿŲģŏŲ-ƸŊĪŏƣżǝŲǝżƣģƫŏŲżƣģĪƣ-Ƹż-ƸƣÿŲƫŃƣĪƫƫ-ƸŊĪěżǀŲģÿƣŏĪƫżłàĪƫƸĪƣŲƣŏĪŲƸÿŧŏƫƸ- ģŏƫĜżǀƣƫĪǝŏƸŊŏƸƫ-ĪŰƠŊÿƫĪƫżŲģŏdz łĪƣĪŲĜĪ܉żƸŊĪƣŏŲŃ܉ÿŲģ-ƸŊĪ-ĪǢżƸŏĜrǀƫŏĜÿŧ-ĪǢżƸŏĜŏƫŰ܉ÿĜĜżƣģܫ ŏŲŃ-ƸżdżŲÿƸŊÿŲ-ĪŧŧŰÿŲ܉ƫǀŃŃĪƫƸƫ-ƸŊĪƫƸƣÿŲŃĪŲĪƫƫżłÿƫƠĪĜŏǿĜÿŧŧǣÿŧŏĪŲ-ĜǀŧƸǀƣĪżƣ-ĪƸŊżƫ-¼ŊĪ- ŲĪǝǝÿǜĪ-ĜżŰƠżƫĪƣƫÿƣĪ-ǀƸŏŧŏǭŏŲŃƫǀĜŊÿƫƸƣÿƸĪŃǣ-ǀŲģĪƣ-ƸŊĪÿĪŃŏƫżł-ŰǀŧƸŏĜǀŧƸǀƣÿŧŏƫŰږڝ

ڻں- -RĪĪ àŏŧŧŏÿŰƫ܉- ܶł ÿŲżŲƫ ÿŲģ żŲƸĪǢƸܷ- ®ĪĪ ÿŧƫż żżŤ ÿŲģ- £żƠŧĪ܉- ܶSŲƸƣżģǀĜƸŏżŲ܈-1/4 ƣÿšĪĜƸżƣŏĪƫ żł- ¼ǝĪŲƸŏĪƸŊܫ ڐܷ-܉rǀƫŏĜ-ĪŲƸǀƣǣ

ڼں Young, "¦ĪĜżŲƫŏģĪƣŏŲŃ- ǀŧƸǀƣÿŧ-£żŧŏƸŏĜƫŏŲ-ƸŊĪ-Ųÿŧǣƫŏƫżł żŲƸĪŰƠżƣÿƣǣ- ŊŏŲĪƫĪrǀƫŏĜ܉ܷ-ړڌڒ

ڽں Young, "¦ĪÿģŏŲŃ żŲƸĪŰƠżƣÿƣǣ- ŊŏŲĪƫĪrǀƫŏĜ܉ܷ-ڌڕܨڕڔ

ڴڻ Lau, "Fusion or Fission," citing Bellman, *The Exotic in Western Music*, xii. See also Melvin and Cai, *Rhapsody in Red*, ڏڏڏܨڎڏڏ

£ŻƪŎƷŎǛĩŦǢ-ƟƿƷ܌ǜ'nĩűþƢƷůƿƪŎěܼƪ- ܹŎĢĩűƷŎƷǢ-ƟƢŻĚŦĩůƪܺ-ĚĩěŻůĩłĩűƿŎűĩŦǢ-ƟĩƢěĩƟƷŎĚŦĩ܌-ƢĩǴŦĩǡŎǛĩ- łŦŻĚþŦŎǬþƷŎŻű-ĚĩěŻůĩƪ-ƷƢƿŦǢ-ƢĩŦĩǛþűƷܒűŦǢ-Ʒ'nĩűěþűþűĩǜ-ŁƢþůŎűłþűĢ-ĢĩȀűŎƷŎŻű-ŻŁ-ƟĩƢƪƟĩě-ƷŎǛĩ-ƢĩłþƢĢŎűłĩƪƷþĚŦŎƪ'nĩĢěŻűěĩƟƷƪ-ŻŁ-ŎĢĩűƷŎƷǢþDz ŁĩěƷ-ĚŻƷ'n-Ʒ'nĩܫݑþĢůŎƷƷĩĢŦǢ-'nĩłĩůŻűŎěܫݑ-/ƿƢŻpean discourses on aesthetics and the culture-essentialist and neo-nationalist models in and outside of the West. In the process, the resulting musical situations can produce "cluster iden-ƷŎƷŎĩƪ܌ܺ- ܹƟþƷě'nǜŻƢţ-ŎĢĩűƷŎƷŎĩƪ܌ܺ-ŻƢ- ܹůƿŦƷŎƟŦĩ-ŎĢĩűƷŎƷŎĩƪ܌ܺښڠ-'nŻǜĩǛĩƢ-Żűĩě'nŻŻƪĩƪ- ƷŻ-ĢĩȀűĩ- Ʒ'nĩů- Ŏű-ĢĩƷþŎŦܒȃƿƪ-Ʒ'nĩǢěþűƿŦƷŎůþƷĩŦǢěŦþŎůěŻűƷĩůƟŻƢþƢǢƪŻěŎþŦ-ƢĩŦĩǛþűěĩþǼ ƷĩƢþŦŦ܌þŦĚĩŎƷ-ŁƢŻůþ- *deluxe* ƟŻƪŎƷŎŻűܒłþŎűƪƷ-Ʒ'nĩ-ĚþěţĢƢŻƟ-ŻŁ-ƷǜĩűƷŎĩƷ'nܮěĩűƷƿƢǢůƿƪŎěþŦþűĢ-ƟŻŦŎƷŎěþŦ-'nŎƪƷŻƢǢ܌þűĢ- Ʒ'nĩ-ŻǛĩƢǜ'nĩŦůŎűłĩěŻűŻůŎǬþƷŎŻű-ŻŁ-ƟƢĩƪĩűƷ-ƷŎůĩƪ܌-Ʒ'nŎƪ-ƢĩǴŦĩǡŎǛŎƷǢþƟƟĩþƢƪűŻƷůĩƢĩŦǢ-ƷŻ-Ěĩ-Ʒ'nĩ- best of many options, but rather a necessity for advanced art music's survival.

### **3. Discourses of Intercultural Composition**

ȃĩ- ƷĩƢů- ܹŎűƷĩƢěƿŦƷƿƢþŦܺ-Ŏƪ-ŎűƷĩűĢĩĢ- 'nĩƢĩ- ƷŻ- ƢĩŁĩƢ- ƷŻ- Ʒ'nĩ-ŎűƷĩƢþěƷŎŻű-ŻŁ- ƷǜŻ-ŻƢůŻƢĩ ěƿŦƷƿƢþŦ- ĢŎƪěŻƿƢƪĩƪܫݑþ-ŁŻƢů-ŻŁ-ŎűƷĩƢþěƷŎŻű-Ʒ'nþƷůƿƪƷ-ŎűĩǛŎƷþĚŦǢěƢŎƷŎěþŦŦǢơƿĩƪƷŎŻű-Ʒ'nĩ-ŦŎűĩƪƪĩƟþƢþƷŎűł- ܹěƿŦƷƿƢþŦĩűƷŎƷŎĩƪܒܺűĩǜþǢ-ƷŻþěěĩűƷƿþƷĩ-Ʒ'nĩ-ƟƢŻěĩƪƪƿþŦþƪƟĩěƷ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦþěƷŎŻű-Ŏƪ-ĢĩǛĩŦܮ ŻƟĩĢ-Ŏű-Ʒ'nŎƪě'nþƟƷĩƢܒ-FƿƢƷ'nĩƢ-ĚĩŦŻǜ܌-SǜŎŦŦþƟƟŦǢdþűƪƪůþűűܼƪěŻűěĩƟƷ-ŻŁ-ܹ'nǢƟŻŦĩƟƪŎƪܺܫݑƿű-ĢĩƢƪƷŻŻĢþƪ-Ʒ'nĩ-ƷƢþűƪŁŻƢůþƷŎǛĩěŻűƷŎűƿþƷŎŻű-ŻŁ-ƷĩǡƷƪǜŎƷ'nŎű-Ʒ'nĩěŻűȀłƿƢþƷŎŻű-ŻŁ-ܣŎűƷĩƢܤěƿŦƷƿƢþŦ- ůĩůŻƢŎĩƪܫݑ-ƷŻůƿƪŎěþŦěŻűƷĩǡƷƪܒ

In analyzing musical *inter*culturality, it would seem that we are obliged to problematize fun-ĢþůĩűƷþŦ-ƟƢĩěŻűĢŎƷŎŻűƪ-ŻŁ-Ʒ'nĩ-/ƿƢŻƟĩþűěŻűěĩƟƷ-ŻŁþƢƷ-ŎŁǜĩþƢĩ-ƷŻþǛŻŎĢ-Ʒ'nĩ-ŁƢĩơƿĩűƷþěěƿƪþƷŎŻű- ŻŁůĩƢĩŦǢ-ŎűƷĩłƢþƷŎűłĩŦĩůĩűƷƪ-ŁƢŻůűŻűܮàĩƪƷĩƢűěƿŦƷƿƢĩƪ-ŎűƷŻþ-ܹ/ƿƢŻŦŻłŎěþŦܺڛڠ-ĢŎƪěŻƿƢƪĩܒȃþƷ- ŎűƷĩłƢþƷŎŻű-ŎűĩǛŎƷþĚŦǢ-ƟŦþěĩƪ-Ʒ'nĩ-Ʒ'nĩƢ-ŎűþűþƪǢůůĩƷƢŎěþŦ-ƟŻǜĩƢƪƷƢƿěƷƿƢĩ܌þƟƟƢŻƟƢŎþƷĩƪ-ŎƷ-Ŏű- a postcolonial fashion, and thus distorts it without giving its elements a chance to articulate Ʒ'nĩŎƢěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩܒ-NŻǜĩǛĩƢþěěƿƢþƷĩ-Ʒ'nŎƪěƢŎƷŎơƿĩůþǢ-Ěĩ-Ŏű-Ʒ'nĩěþƪĩƪ-ŻŁƪŻůĩþŦŦĩłĩĢŦǢ- intercultural, but in fact monocultural, compositional approaches, its problem lies in its culture-essentialist precondition, which remains trapped in the very dualism of "self" and "other," of "cultural self" and "cultural other," that it purports to reject. Wolfgang Welsch addresses this with his concept of "transculturality," and accuses theories of multiculturality and interculturality of clinging to the traditional concept of culture attributed to Johann Gottfried Herder's "sphere premise."ڜڠȃŎƪůĩþűƪ-Ʒ'nþƷ-Ʒ'nĩǢ-ƟƢŻƟþłþƷĩ-ܣþƷ-ŦĩþƪƷ-ŎůƟŦŎěŎƷŦǢܤþ-'nŻůŻłĩűĩŻƿƪěŻűěĩƟƷ- of culture and thus lay the foundation for culture-based separation and isolation, extending to "cultural racism,"ڝڠ whereas *ůƿŦƷŎěƿŦƷƿƢþŦŎƷǢ* retains a basic polarity in the model of coexistence of ěƿŦƷƿƢþŦĩűƷŎƷŎĩƪ܌àĩŦƪě'nþƢłƿĩƪ܌þűĢ-ƟƢŻĢƿěĩƪ-ܹƟþƢþŦŦĩŦěƿŦƷƿƢĩƪܒܺȃĩ-ĚþƪŎěůŻĢĩŦ-ŻŁ-ĢŎþŦŻłƿĩ- presupposed in *ŎűƷĩƢěƿŦƷƿƢþŦŎƷǢ* does not solve the basic problem, since its insistence on the singularity of cultures involves the exclusion of others. Rather, Welsch highlights the hybrid, permeable, and transformative constitution of all present cultures and emphasizes, in the context of globalization, the *internal* transculturality of individuals, which is clear in the fact that "we all possess 'multiple attachments and identities.'"ڞڠȃŎƪ-Ŏƪ-ƷþţĩűþƪƷĩƟ-ŁƿƢƷ'nĩƢ-ĚǢ-Ǣƿűłܮ 'nƿŦ-Nþű-

ڔڕڍ-܉Sěŏģ- -ڹڻ

ڵڻ- -RĪĪ-/ŧěĪƣłĪŧģ܉-ܸܶ'ÿƫ-SĜŊŏƫƸ-ŤĪŏŲ-'ŏŲŃ܉ƫżŲģĪƣŲ-ĪŏŲƣƸܹܷ

ڶڻ hĪǝŏƫ܉-ܶSŰƠƣżǜŏƫĪģrǀƫŏĜÿǽ ƸĪƣ-ڌڑڕڍܷ-RĪĪ-ŊÿŃǝÿƸŏ܉-ܶSŰÿŃŏŲŏŲŃ-ƸŊĪ-ƸŊĪƣܹƫßżŏĜĪܷ

ڷڻ- -RĪĪ hƇĜŊƸĪ܉- *Johann Gottfried Herder: Kulturtheorie und Humanitätsidee*܉- ܉ڕڏڍܨڔڎڍ ðŏŰŰĪƣŰÿŲŲ܉- ܶGŧżěÿŧĪ- /ŲƸǝdžƣłĪ܉ܷ-܉ڍڏڎܨړڎڎÿŲģàĪŧƫĜŊ܉-ܶ1/4ƣÿŲƫĜǀŧƸǀƣÿŧŏƸǣ܈-1/4ŊĪ-£ǀǭǭŧŏŲŃ-FżƣŰżł- ǀŧƸǀƣĪƫ-¼żģÿǣܷ

ڸڻ- àĪŧƫĜŊ܉-ܶ1/4ƣÿŲƫĜǀŧƸǀƣÿŧŏƸǣ܈-1/4ŊĪ-£ǀǭǭŧŏŲŃ-FżƣŰżł- ǀŧƸǀƣĪƫ-¼żģÿǣ܉ܷ-ڑڕڍ

ǜŎƷ'n-'nŎƪěŻűěĩƟƷ-ŻŁ-ܹ'nǢƟĩƢěƿŦƷƿƢþŦŎƷǢ܌ܺǜ'nŎě'nþƪƪƿůĩƪþ-ŁƢĩĩܮǴŦŻþƷŎűłůþƪƪ-ŻŁ-ܹĢĩŁþěƷŎǬĩĢܺ-ŻĚjects no longer tied to the here and now.ڟڠȃĩƪĩþƢĩþǛþŎŦþĚŦĩ-ƷŻ-Ʒ'nĩ-ܹ'nǢƟĩƢěƿŦƷƿƢþŦ-ƷŻƿƢŎƪƷܺǜŎƷ'n- ǛŎƢƷƿþŦŦǢűŻ-ƟƢĩěŻűĢŎƷŎŻűƪ܌ǜŎƷ'nŻƿƷ-ƢĩơƿŎƢŎűł-Ʒ'nĩĩDz ŁŻƢƷ-ŻŁěƢŻƪƪŎűł-ĚŻƿűĢþƢŎĩƪ-ŻƢ-ܹǜþűĢĩƢŎűłܒܺڠڠ ȃĩůŻĢĩŦ-ŻŁþ-'nǢƟĩƢěƿŦƷƿƢĩ܌-'nŻǜĩǛĩƢ܌-ŎƪƿűěŻűǛŎűěŎűł-Ěĩěþƿƪĩ-ŻŁ-ŎƷƪ-ĢĩȀűŎƷŎŻűþŦ-ŎůƟƢĩěŎƪŎŻű܋- ŎƷ-Ŏƪ-ĚǢűŻůĩþűƪ-ƷƢƿĩ-Ʒ'nþƷ-Ʒ'nĩůĩƷ'nŻĢƪ܌-ŎĢŎŻůƪ܌þűĢłƢþůůþƢƪ-ŻŁ-ܹþŦŦěƿŦƷƿƢĩƪܺþƢĩܫݑ-ŁŻƢ-ƷŻĢþǢܼƪ- ěƢĩþƷŎǛĩþƢƷŎƪƷƪ܌- ŁŻƢĩǡþůƟŦĩܫݑĩơƿþŦŦǢ-ŦĩþƢűþĚŦĩþűĢþǛþŎŦþĚŦĩܒ- SűþĢĢŎƷŎŻű܌þűǢ-ƢĩůŻƷĩŦǢƪƿĚstantial acquisition of such an idiom demands a great deal of time and patience. Paradoxically, the idea of "defactized" cultural objects contradicts the very desire to overcome established cultural concepts that guides Welsch's and Han's thought. It is precisely when assuming a dynamic, ƷƢþűƪŁŻƢůþƷŎǛĩěŻűěĩƟƷ-ŻŁěƿŦƷƿƢĩ-Ʒ'nþƷ-Żűĩ-Ʒ'nŎűłůƿƪƷ-ĚĩěŻůĩěŦĩþƢ܋þűǢ-ĢĩěŻűƷĩǡƷƿþŦŎǬþƷŎŻű- ŻŁ-ܹěƿŦƷƿƢþŦ-ŻĚŠĩěƷƪܺ-ƢŎƪţƪ-ĢĩƪěĩűĢŎűł-ŎűƷŻþƪƷĩƢĩŻƷǢƟŎěþŦ-ƢĩƟƢĩƪĩűƷþƷŎŻű-ŻŁ-ܣűþƷŎŻűþŦܤěƿŦƷƿƢĩƪܒ- Indeed, the notion of a removal of such contexts is an illusion. In addition, the idea of hyperěƿŦƷƿƢĩ-ŻǛĩƢŦŻŻţƪ-Ʒ'nþƷþƢƷŎƪƷŎě-ƟƢŻĢƿěƷŎŻű-ƷŻ-Ʒ'nŎƪ-ĢþǢ-Ŏƪ-ŎűƷĩłƢþƷĩĢ-ŎűƷŻþłŦŻĚþŦ-ƟŻǜĩƢ-ĢŎƪěŻƿƢƪĩ- in which Western and non-Western artists can by no means always act with the same precon-ĢŎƷŎŻűƪܒà'nþƷůþţĩƪ-ĚŻƷ'něŻűěĩƟƷƪ-ƟƢŻĚŦĩůþƷŎě-Ŏƪ-Ʒ'nĩŎƢ-ŎĢĩþŦŎǬŎűł-ƷĩűĢĩűěǢ܋-ܹƟþƢþŦŦĩŦěƿŦƷƿƢĩƪܺare as much an indisputable reality in today's societies as the necessity of a continuous intercultural dialogue. Here one can argue against Welsch that the dialogical model is limited in its þĚŎŦŎƷǢ-ƷŻ-ƷƢþűƪěĩűĢěƿŦƷƿƢþŦĩƪƪĩűƷŎþŦŎƪů-ܣƪĩĩ-ĚĩŦŻǜܒܤ-

At any rate, the constantly changing constitution of cultures has long been recognized by Ʒ'nĩěŻűƪƷƢƿěƷŎǛŎƪů-ŻŁ-ƟŻƪƷěŻŦŻűŎþŦěƿŦƷƿƢþŦ-Ʒ'nĩŻƢǢܒ-RŎűěĩþƷ-ŦĩþƪƷ-Ʒ'nĩ-ڏږژڐƪ܌ěƿŦƷƿƢĩƪ-'nþǛĩ-Ěĩĩű- understood as resulting from a construction of historical "narratives," and no longer as essential, given *a priori*. ڡڠȃĩ-ƟƢŻěĩƪƪ-ŻŁěŻűƪƷþűƷ-ƢĩŎűǛĩűƷŎŻűþűĢ-ƢĩĢĩȀűŎƷŎŻű-'nþƪ-Ěĩĩű-ĢĩůŻűƪƷƢþted especially through the history of nationalism.ڢڠ łþŎűƪƷ- Ʒ'nĩ- ĚþěţłƢŻƿűĢ- ŻŁ- ŎűěƢĩþƪŎűłŦǢ- multiethnic societies, the cultural theory of the 1990s developed such concepts as "mixed identities" or "strange multiplicity."ڙڡ- /ĢǜþƢĢ- ®þŎĢ ƪþǜ- Ʒ'nĩ þě'nŎĩǛĩůĩűƷ- ŻŁ ƪƿě'n- Ʒ'nĩŻƢĩƷŎěþŦ- ŁŻƢmulations as questioning the "binary oppositions dear to the nationalist and imperialist enterprise"ښڡþűĢ-ƢĩƟŦþěŎűł-Ʒ'nĩůǜŎƷ'nůŻƢĩěŻůƟŦĩǡůŻĢĩŦƪܒű-Ʒ'nĩěŻűƷƢþƢǢ܌-Ʒ'nĩƢĩ-ŎƪűŻ-ĢŻƿĚƷ-Ʒ'nþƷ- Ʒ'nĩ-ĢŎě'nŻƷŻůǢ-ŻŁ-ܹƿƪܺþűĢ-ܹƷ'nĩůܺěŻűƷŎűƿĩƪ܌þűĢ-'nþƪþƷ-ƷŎůĩƪĩǛĩű-Ěĩĩű-ŎűƷĩűƪŎȀĩĢ-Ŏű-Ʒ'nĩ-ƟƿĚŦŎě- ěŻűƪěŎŻƿƪűĩƪƪܫݑþƪěþű-ĚĩĩǡƟĩƢŎĩűěĩĢ-ĢþŎŦǢ-Ŏű-ƟŻƪƷڐڐܘژܮƪŻěŎĩƷŎĩƪܒ-NĩƢĩ-ŎƷ-Ŏƪ-ŎůƟŻƢƷþűƷ-ƷŻ-Ƣĩ쯳űŎǬĩ-Ʒ'nþƷ-Ʒ'nŎƪ-ĢŎě'nŻƷŻůǢűŻƷ-ŻűŦǢƪĩƢǛĩĢ-Ʒ'nĩ-ŁŻƿűĢþƷŎŻű-ŻŁ-Ʒ'nĩ-ܣŁŻƢůĩƢܤěŻŦŻűŎǬĩƢƪܼ-ŎĢĩűƷŎƷǢ܌-ĚƿƷ- þŦƪŻ-ƟƢŻǛŎĢĩĢěƢƿěŎþŦ-ĚƿŎŦĢŎűł-ĚŦŻěţƪ-ŁŻƢþƪĩŦŁܮĢĩȀűŎƷŎŻű-ŻŁ-Ʒ'nĩ-ܣŁŻƢůĩƢŦǢܤěŻŦŻűŎǬĩĢěƿŦƷƿƢĩƪڛڡܒ

ȃĩ- ƢĩƪƿŦƷŎűł ǜĩĚ- ŻŁ ĩűƷþűłŦĩĢ- ŎűƷĩƢěƿŦƷƿƢþŦ- ŎűǴŦƿĩűěĩƪ܌- ĢĩůþƢěþƷŎŻűƪ܌ þűĢ ěŻűűĩěƷŎŻűƪ- ůþţĩƪþű-ܹþƪĩƟƷŎěܺ-ĢĩȀűŎƷŎŻű-ŻŁěƿŦƷƿƢĩƪ-ܣþƷ-Ʒ'nĩĩǡƟĩűƪĩ-ŻŁ-Ʒ'nĩŎƢ-ŎűűĩƢěŻůƟŦĩǡŎƷǢܤƪĩĩů-ƢĩĢƿětionist and simplistic. It fails to recognize the long history of their mutual dependence. Such a reduction of complexity is especially characteristic of the authoritarian construction of national ěƿŦƷƿƢþŦ-ŎĢĩűƷŎƷǢ-ŁŻƢ-ƟŻŦŎƷŎěþŦ-ŻƢ-ƟƢŻƟþłþűĢþ-ƟƿƢƟŻƪĩƪܒȃĩǜĩþŦƷ'n-ŻŁĩǡþůƟŦĩƪ-Ŏű-Ʒ'nĩàĩƪƷ܌-/þƪƷ- ƪŎþ܌þűĢĩŦƪĩǜ'nĩƢĩ-ŎƪǜĩŦŦܮţűŻǜűܒ- SűłŦŻĚþŦůƿƪŎě-'nŎƪƷŻƢǢ܌- Ʒ'nĩǢ-ŎűěŦƿĢĩ- Ʒ'nĩƪŎůƟŦŎȀěþƷŎŻű-ŻŁ- ƪŎþűůƿƪŎěþŦůŻĢĩŦƪ-Ŏű-/ƿƢŻƟĩþűĩǡŻƷŎěŎƪůܫݑþűĢ-Ŏű- Ʒ'nĩĩþƢŦǢƪƷǢŦĩ-ŻŁěŻůƟŻƪĩĢ-/þƪƷƪŎþű-

ڽڻ See Gellner, *Nations and Nationalism* and Anderson, *Imagined Communities*.

ڵڼ Said, *Culture and Imperialism*, xxviii.

ڏڍ-܉*Hyperkulturalität* ,Han ںڻ

ڌڒܨڒڑ-܉ڌڎ-܉Sěŏģ- -ڻڻ

ڼڻ- -RĪĪ-NżěƫěÿǝŰÿŲģ-¦ÿŲŃĪƣ܉-*The Invention of Tradition*, Said, *Culture and Imperialism*, and Benhabib, *The Claims of Culture*.

ڴڼ- -RĪĪ-¼ǀŧŧǣ܉-*Strange Multiplicity*.

ڶڼ See ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڏڎܨڎڎ

ůƿƪŎě- ݑދܣ SSSܤڐܒ- Ʒ'nþƷ þƢĚþƢþ rŎƷƷŦĩƢ- ƷĩƢůƪ- ܹƟĩűƷþƷŻűŎě- ƢŻůþűƷŎěŎƪůܒܺڜڡ She uses this term to ĢĩƪěƢŎĚĩ- Ʒ'nĩ- ĢŻůŎűþűƷ ěŻůƟŻƪŎƷŎŻűþŦ ƪƷǢŦĩ- Ŏű- ƷǜĩűƷŎĩƷ'nܮěĩűƷƿƢǢ- /þƪƷ ƪŎþ܌ ǜ'nŎě'n- Ŏƪ ƿƪƿþŦŦǢ- ĚþƪĩĢ-ŻűěƢƿĢĩŦǢƪŎůƟŦŎȀĩĢƪěþŦĩƪ܌ůŻĢĩŦƪ܌þűĢůĩŦŻĢŎĩƪ-ŁƢŻů-/þƪƷƪŎþű-ƷƢþĢŎƷŎŻűěŦŻþţĩĢ-Ŏű- àĩƪƷĩƢű-ŦþƷĩ-¦ŻůþűƷŎě-'nþƢůŻűŎĩƪܒȃŎƪƪƷǢŦĩǜþƪ-Ŏű-ƷƿƢű-ŎűƪĩƟþƢþĚŦĩ-ŁƢŻů-Ʒ'nĩ-'nŎł'n-ĢĩłƢĩĩ-ŻŁ- ƟŻŦŎƷŎěŎǬþƷŎŻű-Ŏű-/þƪƷƪŎþűěŻűƷĩůƟŻƢþƢǢůƿƪŎěþűĢ-ŎűƪŻůĩþƢĩþƪ-'nþƪ-ƢĩůþŎűĩĢ-Ʒ'nŎƪǜþǢ-ƷŻ-Ʒ'nĩ- present day.

In the following section, I will connect culture-theoretical discussion to questions of compositional aesthetics and methodology. We can initially assume that the tiny (in the global con-ƷĩǡƷܤþƢĩþ-ŻŁþűĩůƟ'nþƷŎěþŦŦǢ-ŻƢěƢŎƷŎěþŦŦǢěŻűěĩŎǛĩĢ-ܹþƢƷůƿƪŎěܺƪĩĩůƪůŻƪƷƪƿŎƷĩĢ-ƷŻ-ƟƢŻǛŎĢĩþ- space for concrete utopias of musical interculturality. Here, admittedly, composers are faced ǜŎƷ'nþƪĩĩůŎűłŦǢě'nþŻƷŎě-ܹȀĩŦĢ-ŻŁ-ƟŻƪƪŎĚŎŦŎƷŎĩƪܺ-Ŏű-Ʒ'nĩ-ĢǢűþůŎěƪ-ĚĩƷǜĩĩű-ŎűĢŎǛŎĢƿþŦŎƪƷþűĢěŻŦ-ŦĩěƷŎǛŎƪƷěŻűěĩƟƷŎŻűƪ-ŻŁěƿŦƷƿƢĩ܌þűĢþŦƪŻ-ĚĩƷǜĩĩűþűþDzȀƢůþƷŎŻűþűĢþ-ƟƢŻĚŦĩůþƷŎǬþƷŎŻű܌-ŻƢ- ĩǛĩű-ܣƟŻƷĩűƷŎþŦܤűĩłþƷŎŻű܌-ŻŁěƿŦƷƿƢþŦƪĩŦŁþűĢěƿŦƷƿƢþŦ-Ʒ'nĩƢܒ

### Myth and Migration

It is not always possible to distinguish clearly between mythologizing processes of reception and creative engagement with myth, ritual, and spiritual experience as an open space of eněŻƿűƷĩƢƪ- ĚĩƷǜĩĩű ěƿŦƷƿƢĩƪܒ- Sű- Ʒ'nĩůŻƪƷ- ĢŎǛĩƢƪĩ ěŻűƷĩǡƷƪ܌ ěŻůƟŻƪĩƢƪţĩĩƟ- ƢĩŁĩƢƢŎűł- Ěþěţ- ƷŻ- existential, structural, and spiritual dimensions of archaic-mythological cultural layers. In Ʒ'nŎƪ܌- Ʒ'nĩǢ þƢĩ- ŻǼ Ʒĩű ůŻƷŎǛþƷĩĢ- ĚǢ- Ʒ'nĩ- ŎűƷĩűƷŎŻű- ŻŁ- ƟŻŎűƷŎűł- ĚĩǢŻűĢ þ ƪŎůƟŦĩ- /þƪƷܮàĩƪƷ- ܣŻƢ- tŻƢƷ'nܮRŻƿƷ'nܤěƿŦƷƿƢþŦ-ĢƿþŦŎƪů܌-ŻƢěƿŦƷƿƢþŦŎƪƷ-Ʒ'nŻƿł'nƷ-ŎűłĩűĩƢþŦ-ݑދܣSSܒܤڕܒ-ĢůŎƷƷĩĢŦǢ܌-Ʒ'nĩ-Ŧĩƪƪ- philologically or analytically founded this approach to an allegedly precultural area of myth, the greater the tendency to *construct* ܹůŻĢĩƢűůǢƷ'nƪܺ-ŻŁěƿŦƷƿƢĩƪܒȃĩƪĩ-ȀűĢ-ŁƢĩơƿĩűƷěŻƢƢŻĚܮ oration in the media's propagation of culturalist stereotypes that portray such phenomena as ܹůǢƷ'nŎěþŦ-SűĢŎþܺ-ŻƢ-ܹůǢƪƷĩƢŎŻƿƪ- 'nŎűþܺ-ܣŻǼ Ʒĩű-ŁŻƢ-ƢĩƟƢĩƪĩűƷþƷŎŻűþŦ-ƟƿƢƟŻƪĩƪܤ-Ʒ'nƢŻƿł'nƪƿƟƟŻƪܮ edly "timeless" and "inviolable" attributes and paint a static, collectivist picture of culture as a ǜ'nŻŦĩܒȃŎƪěƿŦƷƿƢþŦŦǢĩƪƪĩűƷŎþŦŎƪƷ-ĢŎƪěŻƿƢƪĩůþǢ-ĚĩþěěĩűƷƿþƷĩĢ-ĚŻƷ'n-ŁƢŻů-Ʒ'nĩàĩƪƷĩƢűƪŎĢĩ- ܣŻǼ Ʒĩű-ŁŻƢěŻůůĩƢěŎþŦ-ƟƿƢƟŻƪĩƪƪƿě'nþƪ-ƷŻƿƢŎƪůܤþűĢ-Ʒ'nĩűŻűܮàĩƪƷĩƢűƪŎĢĩ-ܣŻǼ ƷĩűǜŎƷ'nþűþƷŎŻűܮ þŦŎƪƷܫݑ-ĚƿƷþŦƪŻěŻůůĩƢěŎþŦܫݑþłĩűĢþ܌ܤ-ŁƢĩơƿĩűƷŦǢ-ĚƿƷƷƢĩƪƪĩĢ-ĚǢ-ƟŻŦŎƷŎěþŦŦǢ-ĢŻůŎűþűƷłƢŻƿƟƪܒ- Contrasting practices are found in those forms of myth reception that allow for spaces of intuitive connection or encounter while distancing themselves from essentialist stereotypes.

A direct contrast to mythologization is found in the "migration" discourse, which focuses on the hybridity and complexity of contemporary cultural situations (for example, in urban ěĩűƷĩƢƪܒܤȃþƷ-ĢŎƪěŻƿƢƪĩ-ƢĩŠĩěƷƪþůŻűŎƪƷŎěěŻűěĩƟƷ-ŻŁěƿŦƷƿƢĩþűĢěŻűŁƢŻűƷƪ-Ʒ'nĩƪĩĩůŎűłŦǢ-ܹĢĩpoliticized" myth discourse with "harsh" political reality. Although migration discourse has ƢþƢĩŦǢ-ĚĩĩűěŻűűĩěƷĩĢ-ƷŻþƢƷůƿƪŎě܌-ŎƷ-ƢĩƪŻűþƷĩƪǜŎƷ'n-NĩŦůƿƷhþě'nĩűůþűűܼƪþŁŻƢĩůĩűƷŎŻűĩĢ- demand to engage compositionally and existentially with intercultural processes, rather than ůĩƢĩŦǢ-ܹƪƷƢŻŦŦŎűłܺěŻůŁŻƢƷþĚŦǢ-Ʒ'nƢŻƿł'nűŻűܮ/ƿƢŻƟĩþűǜŻƢŦĢƪ܌ƪþŁĩ-Ŏű-Ʒ'nĩţűŻǜŦĩĢłĩ-ŻŁþŦǜþǢƪ- 'nþǛŎűłþ-ܹƢĩƷƿƢű-ƷŎěţĩƷܺ-ܹŎű-Żűĩܼƪ-ƟŻěţĩƷܺ܋

Fżƣ-ŰĪÿƫÿ-/ǀƣżƠĪÿŲ܉-S-ƸŊŏŲŤ-ƸŊÿƸ-ƸŊŏƫÿƫƠĪĜƸżłƣĪƫŏƫƸÿŲĜĪŏƫƫżŰĪŊżǝ-ŲĪĜĪƫƫÿƣǣ-ƸżÿǜżŏģƫŏŰƠŧǣ- ĜżŲƫǀŰŏŲŃ-ܞdÿƠÿŲĪƫĪ*ƫŊƕ*-ŰǀƫŏĜܟÿƫ-ܶłƣĪƫŊ-ŲżŲܫ/ǀƣżƠĪÿŲ-ŰĪÿƸܷ-ܠÿƫ-S-ĜÿŧŧĪģŏƸżŲżŲĪżĜĜÿƫŏżŲܡ- łżƣ-ƸŊĪěƣżŤĪŲ܉ǝĪÿƣǣ-/ǀƣżƠĪÿŲǝżƣŧģ܉żƣƫƸƣżŧŧŏŲŃÿěżǀƸŏŲŏƸÿƫÿ-ƸżǀƣŏƫƸܨݎÿŲģÿƫŧżŲŃÿƫǣżǀ- ƫƸŏŧŧ-ŊÿǜĪǣżǀƣƣĪƸǀƣŲ-ƸŏĜŤĪƸŏŲǣżǀƣ-ƠżĜŤĪƸƫż-ƸŊÿƸǣżǀ-ĜÿŲŧŏƫƸĪŲ-Ƹż-ĪĪƸŊżǜĪŲÿŃÿŏŲÿƸ-ŊżŰĪ܉ŏƸܹƫ-

ڏڏ-܉*Tunes Dangerous* ,Mittler ڷڼ

ÿŧƣŏŃŊƸ-ǀƸÿĜƸǀÿŧŧǣ-ĪǢƠżƫŏŲŃżŲĪƫĪŧł-ƸżÿǝżƣŧģŏŲǝŊŏĜŊ-ƸŊÿƸ-ŰǀƫŏĜ-ŃŏǜĪƫ-ƠĪżƠŧĪƫĪĜǀƣŏƸǣ܉-ƸŊÿƸܹƫan existential challenge.ښڞ

hþě'nĩűůþűű-ĢŻĩƪűŻƷ܌þĢůŎƷƷĩĢŦǢ܌ƪƟĩěŎŁǢǜ'nþƷ-Ʒ'nĩěŻůƟŻƪŎƷŎŻűþŦěŻűƪĩơƿĩűěĩƪ-ŻŁĩűƷĩƢŎűł- Ʒ'nĩ-ŻƷ'nĩƢ-ܹŦŻěţ܌ƪƷŻěţ܌þűĢ-ĚþƢƢĩŦܺůŎł'nƷ-Ěĩ܌űŻƢǜ'nĩƷ'nĩƢ-ŎƷ-'nþƪ-'nþĢěŻűěƢĩƷĩĩDz ŁĩěƷƪ-Żű-'nŎƪ-Żǜű- ůƿƪŎě-ݑދܣSßܒܤڑܒhþě'nĩűůþűűܼƪ-ƟŻŦþƢŎǬþƷŎŻű܌þƪĩǡƟŦþŎűĩĢ܌ĩě'nŻĩƪ-®ŦþǛŻŠòŎǮĩţܼƪěƢŎƷŎěŎƪů-ŻŁþěþ-ĢĩůŎě-Ʒ'nĩŻƢŎĩƪ-Ʒ'nþƷěĩŦĩĚƢþƷĩ-'nǢĚƢŎĢŎƷǢǜŎƷ'nŻƿƷ-ĢĩþŦŎűłǜŎƷ'n-Ʒ'nĩĩǡŎƪƷĩűƷŎþŦ܌-ŻǼ Ʒĩű-ƷƢþƿůþƷŎě- experience of hybridity among political migrants.ڞڡ A potential way out of this dilemma would Ěĩ-Ʒ'nĩĩǡŎƪƷĩűƷŎþŦěŻůůŎƷůĩűƷ-ܣŁŻƢůƿŦþƷĩĢ-ĚǢ-NþűƪðĩűĢĩƢþűĢ-ŻƷ'nĩƢƪܤ-ƷŻ-Ʒ'nĩůƿŦƷŎĢŎůĩűƪŎŻűܮ ality of musical cultures in the form of personal, unguarded, even hazardous encounters with actual musicians, ensembles, genres, texts, or through spiritual experiences.ڟڡ In this context, 'nþƢŦĩƪ-¼þǢŦŻƢ-'nþƪĩůƟ'nþƪŎǬĩĢ-Ʒ'nþƷþţĩǢ-ƷŻ-ŻǛĩƢěŻůŎűł-ƟŻŦþƢŎǬĩĢĩƪƪĩűƷŎþŦŎƪƷ-Ʒ'nŻƿł'nƷ-ŦŎĩƪ-Ŏű- Ʒ'nĩþěƷ-ŻŁƪŻŦŎĢþƢŎƷǢ܋-Ŏű-Ʒ'nĩ-ŁþěƷ-ܹƷ'nþƷǜĩ-'nþǛĩ-Ěĩĩű-ƷƢþűƪŁŻƢůĩĢ-ĚǢ-Ʒ'nĩƪƷƿĢǢ-ŻŁ-Ʒ'nĩ-ŻƷ'nĩƢ܌ƪŻ- that we are not simply judging by our original familiar standards."ڠڡ Here, at last, the step has Ěĩĩű-Ʒþţĩű-ŁƢŻůěŻűěĩƟƷƪĩůƟ'nþƪŎǬŎűł-Ʒ'nĩěŻŦŦĩěƷŎǛĩ-ƷŻěŻűěĩƟƷƪĩůƟ'nþƪŎǬŎűł-Ʒ'nĩ-ŎűĢŎǛŎĢƿþŦ- ĩǡƟĩƢŎĩűěĩƪ-ŻŁěƿŦƷƿƢĩܒȃĩƪĩěŻűěĩƟƷƪ܌ĩƪƟĩěŎþŦŦǢ-Ŏűþ-ƷŎůĩǜ'nĩűěŻŦŦĩěƷŎǛĩ-ܹěƿŦƷƿƢþŦ-ǛþŦƿĩƪܺþƢĩ- ƪƷŎŦŦ-ĢĩůþűĢĩĢ-ĚǢƪŻůĩ-Ŏű-ƷŻĢþǢܼƪƪŻěŎĩƷŎĩƪ܌-Ʒþţĩ-ŻűĩǛĩƢłƢĩþƷĩƢƪŎłűŎȀěþűěĩþűĢƿűĢŻƿĚƷĩĢŦǢ- ƪ'nŻǜþ- ƷĩűĢĩűěǢ- ƷŻǜþƢĢþ- ŁƢþłůĩűƷþƷŎŻűþűĢ-ŎűĢŎǛŎĢƿþŦŎǬþƷŎŻű-ŻŁ-ܣŎűƷĩƢܤěƿŦƷƿƢþŦĩǡƟĩƢŎĩűěĩ- ܣǜ'nŎě'n-ŎƪþŦƪŻĩůƟ'nþƪŎǬĩĢ-ĚǢàĩŦƪě'nܒܤ

### Dialogue and Hypolepsis

àĩěþűƿƪĩ-Ʒ'nĩ-ƷĩƢůƪ-ܹĢŎþŦŻłƿĩܺþűĢ-ܹ'nǢƟŻŦĩƟƪŎƪܺ-ƷŻ-ƢĩŁĩƢ-ƷŻ-ƷǜŻůŻĢĩŦƪ-Ʒ'nþƷƪĩĩţ-ƷŻĩǡƟŦþŎű- how individuals might articulate themselves within the dynamics of myth and migration. à'nŎŦĩ-Ʒ'nĩ-ܹĢŎþŦŻłƿĩܺůŻĢĩŦ-ƟƢĩƪƿƟƟŻƪĩƪ-ŁƿűĢþůĩűƷþŦ-ĢŎDz ŁĩƢĩűěĩƪ-ĚĩƷǜĩĩű-ܣƿƪƿþŦŦǢ-ƷǜŻܤ-ƟþƢƷners in dialogue that are meant to be bridged, or at least contained, the model of *'nǢƟżŦĩƟƪŎƪ*, a ěŻűěĩƟƷ-ŁƢŻůþűěŎĩűƷ-Ƣ'nĩƷŻƢŎě-ƷþţĩűƿƟ-ĚǢdþűƪƪůþűűڡڡ܌-ƢĩŁĩƢƪ-ƷŻþěŻűȀłƿƢþƷŎŻű-ŻŁěƿŦƷƿƢþŦ- ůĩůŻƢǢ-Ŏűǜ'nŎě'n܌ƿűŦŎţĩ-Ʒ'nĩ-ĢŎƪěŻƿƢƪĩƪ-ŻŁ-ܹůǢƷ'nܺþűĢ-ܹěþűŻű܌ܺěŻűƷƢþĢŎěƷŎŻűƪþűĢěƢŎƷŎơƿĩþƢĩ- -܋ƟƢĩƪĩƢǛĩĢ

rǣƸŊŏĜÿŧģŏƫĜżǀƣƫĪŏƫ-ܟ܊ܞ-ƠÿĜŏǿĪģŏŲƫżłÿƣÿƫŏƸŏƫ-ŲżƸ-ĜżŲłƣżŲƸĪģěǣÿŲǣǜŏƫŏěŧĪ-ĜżŲƸƣÿģŏĜƸŏżŲ܉ÿŲģ- all of its statements and images stand on an equal footing beside one another. Canonical dis-ĜżǀƣƫĪŏƫÿŧƫżÿƠƠĪÿƫĪģěĪĜÿǀƫĪŏƸƫŏŰƠŧǣģżĪƫ-ŲżƸÿŧŧżǝÿŲǣ-ĜżŲƸƣÿģŏĜƸŏżŲ-ǀƸ-ŊǣƠżŧĪƠƸŏĜģŏƫ-ĜżǀƣƫĪŏƫƣŏģģŧĪģǝŏƸŊ-ĜżŲƸƣÿģŏĜƸŏżŲƫ܉ÿŲģŏŲģĪĪģŏƸƫǝŊżŧĪěÿƫŏƫŏƫÿƫŊÿƣƠĪŲĪģ-ƠĪƣĜĪƠƸŏżŲżł- contradictions, that is, of criticism that at the same time preserves the positions that it criticizes.ڟڞ

ڸڼ- -NĪŧŰǀƸ hÿĜŊĪŲŰÿŲŲ ŏŲ- ĜżŲǜĪƣƫÿƸŏżŲ ǝŏƸŊ- ¦żŧł- /ŧěĪƣłĪŧģ ÿŲģ- ¼żƫŊŏż- NżƫżŤÿǝÿ- ܠƫĪĪ łżżƸŲżƸĪ- ܔܡڑڏ ƫĪĪ ÿŧƫż- NŏĪŤĪŧ܉-ܶSŲƸĪƣŤǀŧƸǀƣÿŧŏƸďƸÿŧƫ-ĪǢŏƫƸĪŲƸŏĪŧŧĪ-/ƣłÿŊƣǀŲŃ܉ܷ-ڐڒ

ڹڼ òŏǯĪŤ܉-*Ein Plädoyer für die Intoleranz*܉-ڍڔܨڌڔ

ںڼ- -RĪĪ-NÿŲƫðĪŲģĪƣܹƫƫƸÿƸĪŰĪŲƸŏŲ-'żƣƫĜŊĪŧ܉-ܶSŲƸĪƣŤǀŧƸǀƣĪŧŧĪ-ĪŃĪŃŲǀŲŃÿŧƫ-ĪǢŏƫƸĪŲƸŏĪŧŧĪƫ-¦ŏƫŏŤż܉ܷ-ړڌڍܨڒڌڍ

ڻڼ- -1/4ÿǣŧżƣ܉--ܶ1/4ŊĪ-£żŧŏƸŏĜƫżł-¦ĪĜżŃŲŏƸŏżŲ܉ܷ-ڌړ

ڼڼ Jan Assmann, *Cultural Memory and Early Civilization*܉-ړڒڎܨڑڑڎ-1/4ŊĪ-ƸĪƣŰ*hypólepsis*ǝÿƫ-ĜżŏŲĪģěǣƣŏƫƸżƸŧĪŏŲ-Ŋŏƫ- late treatise *De anima* ܠƫĪĪ-¼ŊĪżěÿŧģ܉-ܶRƠǀƣĪŲģĪƫrǣƸŊżƫŏŲģĪƣƣŏƫƸżƸĪŧŏƫĜŊĪŲ-¼ŊĪżƣŏĪģĪƣ-/ƣŤĪŲŲƸŲŏƫܷܡƫƫ-ŰÿŲŲ܉-ŊżǝĪǜĪƣ܉-ŰÿŏŲŧǣƣĪłĪƣƫ-Ƹż-ƸŊĪ-ǀƫÿŃĪŏŲÿŲƸŏƢǀĪ-ƸƣĪÿƸŏƫĪƫżŲƣŊĪƸżƣŏĜ-ܠdÿŲƫƫŰÿŲŲ܉-*Cultural Memory and Early Civilization*܉-ܡڔڑڎܨړڑڎǝŊĪƣĪ-ƸŊĪ-ƸĪƣŰƫŏŃŲŏǿĪƫÿ-ĜżŲŲĪĜƸŏżŲ-ƸżǝŊÿƸÿ-ƠƣĪĜĪģŏŲŃƫƠĪÿŤĪƣ-Ŋÿƫƫÿŏģ

ڽڼ Jan Assmann, *Cultural Memory and Early Civilization,*-ڎڒڎ-ܠܶ'Īƣ-ŰǣƸŊŏƫĜŊĪ-'ŏƫŤǀƣƫŏƫƸŏŲƫżłĪƣŲěĪƣǀŊŏŃƸ܉ÿŧƫ-Īƣ-ŤĪŏ-ŲĪŲàŏģĪƣƫƠƣǀĜŊƫŏĜŊƸěÿƣǝĪƣģĪŲ-ǀŲģÿŧŧĪ-ǀƫƫÿŃĪŲ-ǀŲģŏŧģĪƣ-ŃŧĪŏĜŊěĪƣĪĜŊƸŏŃƸ-ŲĪěĪŲĪŏŲÿŲģĪƣƫƸĪŊĪŲŧďƫƫƸ-

SűěŦþƪƪŎěþŦ-Ƣ'nĩƷŻƢŎě܌- ܹ'nǢƟŻŦĩƟƪŎƪܺůĩþűƷ- ƷþţŎűł-ŻǛĩƢ- ŁƢŻů- Ʒ'nĩǜŻƢĢƪ-ŻŁ- Ʒ'nĩ-ƟƢĩǛŎŻƿƪƪƟĩþţĩƢ- and continuing them freely. Assmann expands the concept to include commentary on and fur-Ʒ'nĩƢ-ĢĩǛĩŦŻƟůĩűƷ-ŻŁ-ƷĩǡƷƪǜŎƷ'nŎű-Ʒ'nĩěŻűȀłƿƢþƷŎŻű-ŻŁěƿŦƷƿƢþŦůĩůŻƢŎĩƪ܋

ܟ܊ܞ-ƸŊĪ-ŊǣƠżŧĪƠƸŏĜ-ƠƣżĜĪƫƫŏƫżŲĪżł-ĪŲŃÿŃŏŲŃŏŲÿƠƠƣżǢŏŰÿƸŏżŲƫ-SƸģƣÿǝƫŏƸƫ-ŰżŰĪŲƸǀŰłƣżŰ- ƸŊĪÿǝÿƣĪŲĪƫƫ-ƸŊÿƸ-ŤŲżǝŧĪģŃĪŏƫ-ŲĪǜĪƣ-ĜżŰƠŧĪƸĪ܉ÿŲģ-ƸŊĪƣĪŏƫÿŧǝÿǣƫ-ŰżƣĪ-ƸżěĪ-Ŋÿģæżǀ-ĜÿŲ- żŲŧǣ-ĜżŰĪ-ĜŧżƫĪƣ-Ƹż-ƸŊĪ-ƸƣǀƸŊ-ܟ܊ܞěǣłƣĪĪŏŲŃǣżǀƣƫĪŧłłƣżŰ-ƸŊĪģĪŧǀƫŏżŲ-ƸŊÿƸǣżǀ-ĜÿŲ-ŤĪĪƠƫƸÿƣƸŏŲŃ- ÿłƣĪƫŊ܉ěǣƣĪĜżŃŲŏǭŏŲŃ-ƸŊÿƸǣżǀ-ŊÿǜĪěĪĪŲěżƣŲŏŲƸżÿŲżŲŃżŏŲŃ-ƠƣżĜĪƫƫ܉ěǣƫĪĪŏŲŃǝŊŏĜŊǝÿǣ- ƸŊŏŲŃƫ-Ńż܉ÿŲģěǣ-ĜżŲƫĜŏżǀƫŧǣ܉-ǀŲģĪƣƫƸÿŲģŏŲŃŧǣ܉ěǀƸÿŧƫż-ĜƣŏƸŏĜÿŧŧǣŧĪÿƣŲŏŲŃǝŊÿƸǣżǀƣ-ƠƣĪģĪĜĪƫƫżƣƫ-ŊÿǜĪÿŧƣĪÿģǣƫÿŏģږڟ

In contrast to the "dialogue" model, which may ultimately result in understanding partners ůĩƢĩŦǢ-ŁŻƢ-Ʒ'nĩƪþţĩ-ŻŁƿűĢĩƢƪƷþűĢŎűł-ܣþűĢůþǢ-Ʒ'nƿƪ-ĚŦŻěţěƢĩþƷŎǛĩþűĢþŦƷĩƢŎűł-ƟƢŻěĩƪƪĩƪ܌ܤ-'nǢ-ƟŻŦĩƟƪŎƪ-ŦĩþǛĩƪƪƟþěĩ-ŁŻƢ-ŁƢĩĩ܌-ƷƢþűƪŁŻƢůþƷŎǛĩ܌ěƢŎƷŎěþŦ-ǛþƢŎþƷŎŻűܒȃĩěŻűěĩƟƷěþű-ŻűŦǢ-Ěĩ-ƷƢþűƪferred to intercultural musical situations if one assumes that composers today can operate in a theoretically unlimited meta-cultural space in which a globalized cultural memory continually ƢĩěŻűȀłƿƢĩƪ-ŎƷƪĩŦŁܒ-'ŎDz ŁĩƢĩűěĩƪþƢĩűŻƷĩŦŎůŎűþƷĩĢ-Ŏű-Ʒ'nŎƪƪƟþěĩ܌-ĚƿƷűĩŎƷ'nĩƢþƢĩ-Ʒ'nĩǢ-ƟŻƪŎƷĩĢþƪ- þĚƪŻŦƿƷĩƪܒȃĩ-'nǢƟŻŦĩƟƷŎě-ĢŎƪěŻƿƢƪĩ-ŻűŦǢ-ĚĩěŻůĩƪ-ǛŎƪŎĚŦĩ܌-'nŻǜĩǛĩƢ܌-Ʒ'nƢŻƿł'n-Ʒ'nĩ-'nŎł'nŦǢƪƟĩěŎȀě- ěŻůƟĩƷĩűěŎĩƪ-Ʒ'nþƷĩűþĚŦĩþƪƿĚƪƷþűƷŎþŦ-ŎĢĩűƷŎȀěþƷŎŻűܫݑǜ'nĩƷ'nĩƢ-Ɵ'nŎŦŻŦŻłŎěþŦ-ŻƢ-ŎűƷƿŎƷŎǛĩܫݑ-ŻŁ- Ʒ'nĩƪĩ-ĢŎDz ŁĩƢĩűěĩƪ܌þűĢ-ƟŻƪƪŎĚŦǢþŦƪŻ-Ʒ'nĩŎƢ-ƟŻŎűƷƪ-ŻŁěŻűƷþěƷښڢܒȃƿƪþłŦŻĚþŦŎǬĩĢěƿŦƷƿƢþŦůĩůŻƢǢ- is by no means a license for the consumerist attitude implicit in the concept of the "hypercultural tourist."

### Alterity, Hybridization, and Incommensurability

űĩěþű-ŎĢĩűƷŎŁǢþţĩǢ-ƟƢŻĚŦĩůěŻűűĩěƷĩĢ-ƷŻůƿƪŎěþŦ-ŎűƷĩƢěƿŦƷƿƢþŦŎƷǢ-ŎűƪƿƟƟŻƪĩĢĩǡƟŦþűþƷŎŻűƪ- of the question of cultural *þŦƷĩƢŎƷǢ*܋-ܹþŦƷĩƢŎƷǢܺěþű-ĚþƪŎěþŦŦǢ-Ěĩ-ĢĩȀűĩĢþƪ-Ʒ'nĩ-ŁŻƢů-ŻŁ-ĚĩŎűłܮĢŎŁferent that cannot be directly decoded as a sociocultural phenomenon that is ideological, or shaped by power discourses, and hence historically conditioned. Rather, it requires "essential" ŠƿƪƷŎȀěþƷŎŻűƪ܌-'nŻǜĩǛĩƢ-Żűĩě'nŻŻƪĩƪ-ƷŻ-ĢĩȀűĩ-Ʒ'nĩůܒ-Sű-Ʒ'nŎƪ-ĢĩȀűŎƷŎŻű܌-Ʒ'nĩěŻűěĩƟƷ-ŻŁ-ܹþŦƷĩƢŎƷǢܺ- has become an important instrument in identity-creating liberation discourses that are critical of authority. In addition, the tendency of those who use alterity toward essentialism exposes them to the critique of constructivist theories of identity summarized above.

In his thoughts on recognition, Paul Ricœur stresses that the foundations of the concept of "alterity" contain an originary asymmetry ("the other remains inaccessible in his or her alterity þƪƪƿě'nܺܗ-ܹƷ'nĩ-Żűĩ-ŎƪűŻƷ-Ʒ'nĩ-ŻƷ'nĩƢܺܤþűĢþ-ƢĩěŎƟƢŻěŎƷǢ-Ʒ'nþƷ-ƢĩƷþŎűƪþůŎĢĢŦĩ-ƟŻƪŎƷŎŻű-ĚĩƷǜĩĩű-

<sup>&#</sup>x27;Īƣ- ŤÿŲżŲŏƫĜŊĪ- 'ŏƫŤǀƣƫ ŏƫƸ ěĪƣǀŊŏŃƸ܉ ǝĪŏŧ- Īƣ- ŤĪŏŲĪŲ àŏģĪƣƫƠƣǀĜŊ ģǀŧģĪƸ- 'Īƣ- ŊǣƠżŧĪƠƸŏƫĜŊĪ- 'ŏƫŤǀƣƫ ŏƫƸ ģĪŰ-ŃĪŃĪŲdžěĪƣ-ĪŏŲĪfǀŧƸǀƣģĪƫàŏģĪƣƫƠƣǀĜŊƫ-/ƣěĪƣǀŊƸÿǀł-ĪŏŲĪƣǜĪƣƫĜŊďƣǽ ƸĪŲàÿŊƣŲĪŊŰǀŲŃǜżŲàŏģĪƣƫƠƣdžĜŊĪŲ܉- ģݎ Ŋ fƣŏƸŏŤ܉ ěĪŏ- ŃŧĪŏĜŊǭĪŏƸŏŃĪƣ- ĪǝÿŊƣǀŲŃ ģĪƣ- ŤƣŏƸŏƫŏĪƣƸĪŲ- £żƫŏƸŏżŲĪŲܷ dÿŲ ƫƫŰÿŲŲ܉-*Das kulturelle Gedächtnis*, ܡڔڔڎ

ڴڽ- -Sěŏģ܉-ڍڒڎ-ܠܶ'Īƣ-ŊǣƠżŧĪƠƸŏƫĜŊĪ-£ƣżǭĪƫƫŏƫƸ-ĪŏŲ-£ƣżǭĪƫƫģĪƣ-ŲŲďŊĪƣǀŲŃ-ǀƫģĪŰ-ĪǝǀƫƫƸƫĪŏŲģĪƣ-ŲŏĪ-ŃÿŲǭǜżŧŧƫƸďŲģŏŃĪŲ܉ŏŰŰĪƣǜżƣÿǀƫŧŏĪŃĪŲģĪŲ-/ƣŤĪŲŲƸŲŏƫěĪǭŏĪŊƸ-ĪƣƫĪŏŲĪ-ŤŏŲĪƸŏƫĜŊĪ-/ŲĪƣŃŏĪ-'ĪƣàÿŊƣŊĪŏƸ-ŤÿŲŲ-ŰÿŲ-Ųǀƣ- ŲďŊĪƣ-ŤżŰŰĪŲ-܉ܟ܊ܞǝĪŲŲ-ŰÿŲ-ĪƣŤĪŲŲƸ܉ģÿƫƫ-ŰÿŲŏŰŰĪƣƫĜŊżŲŏŲ-ĪŏŲĪŲŧÿǀłĪŲģĪŲ-'ŏƫŤǀƣƫ-ŊŏŲĪŏŲŃĪěżƣĪŲŏƫƸ܉- ƫŏĪŊƸ܉ǝŏĪģŏĪ-¦ŏĜŊƸǀŲŃĪŲǜĪƣŧÿǀłĪŲ܉-ǀŲģŧĪƣŲƸ܉ƫŏĜŊěĪǝǀƫƫƸ܉ǜĪƣƫƸĪŊĪŲģ-ǀŲģ-ŤƣŏƸŏƫĜŊÿǀłģÿƫǭǀěĪǭŏĪŊĪŲ܉ǝÿƫ- die Vorredner gesagt haben." Jan Assmann, *Das kulturelle Gedächtnis*܉-ܡړڔڎ

ڵڽ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڏڔڐ

nearness and respect in equal measure, and thus avoids the "pitfalls of a fusional union."ڛڢ At Ʒ'nĩƪþůĩ- ƷŎůĩ܌þŦƷĩƢŎƷǢ-ŎƪþţĩǢþłĩűƷ-ŻŁěŻűǴŦŎěƷ܌ƪƿě'n- Ʒ'nþƷ- ܹƢĩ쯳űŎƷŎŻűܺěþű-Ěĩ-ƢĩƟŦþěĩĢ-ĚǢ- Hegel's model of a "struggle for recognition" implying an "involvement of misrecognition in recognition."ڜڢ- Sű-ŻƷ'nĩƢǜŻƢĢƪ܌ĩǛĩƢǢþƷƷĩůƟƷþƷůƿƷƿþŦ- Ƣĩ쯳űŎƷŎŻűůƿƪƷ ƪĩĩţþ- ĚþŦþűěĩ- Ěĩܮ Ʒǜĩĩű-Ʒ'nĩþĚþűĢŻűůĩűƷ-ŻŁþ-ܹűþƢěŎƪƪŎƪů-ŻŁůŎűŻƢ-ĢŎDz ŁĩƢĩűěĩƪܺþűĢ-Ʒ'nĩþěěĩƟƷþűěĩ-ŻŁ-ŻƢŎłŎűþƢǢ- þƪǢůůĩƷƢŎĩƪܒà'nþƷ-FƢĩƿĢěþŦŦĩĢ-Ʒ'nĩ-ܹűþƢěŎƪƪŎƪů-ŻŁůŎűŻƢ-ĢŎDz ŁĩƢĩűěĩƪ܌ܺűþůĩŦǢ-ܹþěŻůŁŻƢƷþĚŦĩ- þűĢ-ƢĩŦþƷŎǛĩŦǢ-'nþƢůŦĩƪƪłƢþƷŎȀěþƷŎŻű-ŻŁ-Ʒ'nĩ-ŎűěŦŎűþƷŎŻű-ƷŻþłłƢĩƪƪŎŻű܌-Ʒ'nƢŻƿł'nǜ'nŎě'něŻ'nĩƪŎŻű- is made easier for the members of the community,"ڝڢ ultimately tends toward a stance that is ŻǼ Ʒĩű-Ŧĩƪƪ- 'nþƢůŦĩƪƪ- Ʒ'nþű- FƢĩƿĢ ěŦþŎůƪܒ- SƷ- ƟŻƷĩűƷŎþŦŦǢĩǡƷĩűĢƪ- ƷŻ- ĢŎƪěƢŎůŎűþƷŻƢǢ ěƿŦƷƿƢþŦŎƪů- and essentialism. By contrast, "forgetting" originary asymmetries can result precisely in cementing open or hidden hierarchies.

¦ŎěƞƿƢܼƪĩůƟ'nþƪŎƪ-Żű-Ʒ'nĩ-ܹŎűƷĩƢůĩĢŎþƷĩܺ-ȀűþŦŦǢþƟƟĩþƢƪþƪþěŻůůŻű-ŁþěƷŻƢǜŎƷ'n-Ʒ'nĩ-ĢĩěŻűƪƷƢƿěƷŎǛŎƪƷěƿŦƷƿƢþŦ-Ʒ'nĩŻƢǢ-ŻŁ-NŻůŎfܒ-'nþĚ'nþ܌-ƢĩǛĩþŦŎűł-ŦŎűţƪǜŎƷ'n-Ʒ'nĩdþƟþűĩƪĩěƿŦƷƿƢþŦ- Ɵ'nŎŦŻƪŻƟ'nĩƢ-¼ĩƷƪƿƢƔàþƷƪƿŠŎ-ܣ'nþĚ'nþ܋-ܹŎűܮĚĩƷǜĩĩű܌ܺàþƷƪƿŠŎ܋-ܹŎűƷĩƢǛĩűŎűłܺ-ܡ*aidagara*] ܮěěŻƢĢ-ܒܤڞڢ Ŏűł- ƷŻ-'nþĚ'nþ܌- Ʒ'nĩ- ܹŎűܮĚĩƷǜĩĩűܺ-ĚƢĩþţƪƿƟ- Ʒ'nĩ- ܹƟŻŦŎƷŎěƪ-ŻŁ-ƟŻŦþƢŎƷǢ܌ܺþĢǛþűěŎűł-ŎűƷŻþ- ܹȃŎƢĢ- ®Ɵþěĩܺ-ŻŁþƢƷŎěƿŦþƷŎŻűƪ-Ŏűǜ'nŎě'něƿŦƷƿƢþŦ-'nǢĚƢŎĢŎƷǢ-ĚĩěŻůĩƪ-ƟŻƪƪŎĚŦĩ܋-

ƸŊĪ ƫƠŧŏƸܫƫƠÿĜĪ żł- ĪŲǀŲĜŏÿƸŏżŲ- Űÿǣ żƠĪŲ- ƸŊĪ ǝÿǣ- Ƹż- ĜżŲĜĪƠƸǀÿŧŏǭŏŲŃ ÿŲ ŏŲƸĪƣŲÿƸŏżŲÿŧ- ĜǀŧƸǀƣĪ܉ěÿƫĪģ-ŲżƸżŲ-ƸŊĪ-ĪǢżƸŏĜŏƫŰżł-ŰǀŧƸŏĜǀŧƸǀƣÿŧŏƫŰżƣ-ƸŊĪģŏǜĪƣƫŏƸǣżł-ĜǀŧƸǀƣĪƫ܉ěǀƸżŲ-ƸŊĪŏŲƫĜƣŏƠƸŏżŲ- ÿŲģÿƣƸŏĜǀŧÿƸŏżŲżł-ĜǀŧƸǀƣĪܹƫ-ŊǣěƣŏģŏƸǣ-¼ż-ƸŊÿƸ-ĪŲģǝĪƫŊżǀŧģƣĪŰĪŰěĪƣ-ƸŊÿƸŏƸŏƫ-ƸŊĪ-ܶŏŲƸĪƣܷܨݎ-ƸŊĪ- ĜǀƸƸŏŲŃ-ĪģŃĪżł-ƸƣÿŲƫŧÿƸŏżŲÿŲģ-ŲĪŃżƸŏÿƸŏżŲ܉-ƸŊĪŏŲܫěĪƸǝĪĪŲƫƠÿĜĪܨݎ-ƸŊÿƸ-ĜÿƣƣŏĪƫ-ƸŊĪěǀƣģĪŲżł- ƸŊĪ-ŰĪÿŲŏŲŃżł-ĜǀŧƸǀƣĪ-ܟ܊ܞ-Ųģěǣ-ĪǢƠŧżƣŏŲŃ-ƸŊŏƫ-¼Ŋŏƣģ-®ƠÿĜĪ܉ǝĪ-Űÿǣ-ĪŧǀģĪ-ƸŊĪ-ƠżŧŏƸŏĜƫżł-Ơżŧÿƣܫ ŏƸǣÿŲģ-ĪŰĪƣŃĪÿƫ-ƸŊĪżƸŊĪƣƫżłżǀƣƫĪŧǜĪƫڜڟ

rþƢƷŎű-®ƷŻţĩƪ܌-Żű-Ʒ'nĩ-ŻƷ'nĩƢ-'nþűĢ܌-'nþƪþƢłƿĩĢ-Ʒ'nþƷ-Ʒ'nĩěŻűěĩƟƷ-ŻŁ-'nǢĚƢŎĢŎƷǢ-ŎůƟŦŎěŎƷŦǢ-ƟĩƢƟĩƷƿܮ ates the authenticity discourse so that "authenticity and hybridity are, from a discursive point ŻŁ-ǛŎĩǜ܌ůŻƢĩěŻůƟŦĩǡŦǢĩűƷþűłŦĩĢěŻűěĩƟƷƪܒ-£ŻƟƿŦþƢǜŻƢŦĢůƿƪŎě-ĢŎƪěŻƿƢƪĩ-ƢĩǛĩþŦƪ-Ʒ'nĩ-ŦŎűţƪ- between the two terms and betrays their ideological dimensions."ڠڢ-SűþĢĢŎƷŎŻű܌-£ĩƷĩƢƿƢţĩ- has criticized the supposedly neutral-objective observer position associated with hybridity-ŻƢŎĩűƷĩĢ-Ʒ'nŻƿł'nƷ܌-ƟþƢƷŦǢ-ŁŻŦŦŻǜŎűł-Ʒ'nĩƪþůĩþƢłƿůĩűƷþƷŎŻűþƪòŎǮĩţܒ-SƷ-Ŏƪ-ŁƢŻů-Ʒ'nŎƪ-ƟŻƪŎƷŎŻű- Ʒ'nþƷ-ŻƟƟŻƪŎƷĩƪůĩƢłĩþŦůŻƪƷ-ŻŁ-Ʒ'nĩŎƢ-ŻǜűþěěŻƢĢ܋-Ʒ'nĩěŻűěĩƟƷ-ŻŁ-ܹ'nǢĚƢŎĢŎƷǢ܌ܺƿƢţĩþƢłƿĩƪ܌-ƢƿŦĩƪ- ŻƿƷþŦŦþěƷŎŻűþűĢĩǛŻţĩƪ-ܹƷ'nĩ-ŻƿƷƪŎĢĩ-ŻĚƪĩƢǛĩƢ-Ʒ'nþƷƪƷƿĢŎĩƪěƿŦƷƿƢĩþƪ-ŎŁ-ŎƷǜĩƢĩűþƷƿƢĩ܌þűĢ-Ʒ'nĩ- products of individuals and groups as if they were botanical specimens."ڡڢ So, in the concept of

ڏڒڎ-܉ڌڒڎܨڕڑڎ-܉*Recognition of Course The*-܉ŏĜƟǀƣ¦- -ڶڽ

ڷڽ- -Sěŏģ܉-ڕڑڎ-1/4Ŋŏƫ-ŰŏŃŊƸěĪłǀƣƸŊĪƣ-ŊŏŃŊŧŏŃŊƸĪģěǣ-ƸŊĪ-ƸŊŏŲŧŏŲĪ-ƸŊÿƸ-¦ŏĜƟǀƣ-ƠĪƣĜĪŏǜĪƫěĪƸǝĪĪŲ-ƸŊĪ-FƣĪŲĜŊǝżƣģƫ- *mépris*-ܠĜżŲƸĪŰƠƸܡÿŲģ*méprise*-ܠŰŏƫƸÿŤĪܡ-ܠŏěŏģ܉-ܡڔڑڎàŊŏŧĪ-ŰŏƫƸÿŤĪƫ-ƸǀƣŲżǀƸ-ƸżěĪ-ĜżŲƫƸŏƸǀƸŏǜĪ-ĜżŰƠżŲĪŲƸƫŏŲ- ƸŊĪ ƫĪÿƣĜŊ łżƣ- ƸŊĪ- ƸƣǀƸŊ܉- ĜżŲƸĪŰƠƸ ŏƫ ŏŲƫĪƠÿƣÿěŧǣ ŧŏŲŤĪģ- Ƹż- ƸŊĪ- ܶƫƸƣǀŃŃŧĪ łżƣ ƣĪĜżŃŲŏƸŏżŲܷ ÿŲģ- ƸŊǀƫ- ǀŧƸŏŰÿƸĪŧǣ- inherent to all forms of recognition.

ڸڽ Freud, *Civilization and Its Discontents*܉- ڔڔ- ܠܶtÿƣǭŏƷŰǀƫ ģĪƣ- ŤŧĪŏŲĪŲ- 'ŏdz łĪƣĪŲǭĪŲ܉- ܟ܊ܞ- ĪŏŲĪ ěĪƢǀĪŰĪ- ǀŲģ ƣĪŧÿƸŏǜ- ŊÿƣŰŧżƫĪ- ĪłƣŏĪģŏŃǀŲŃ ģĪƣ- ŃŃƣĪƫƫŏżŲƫŲĪŏŃǀŲŃ܉ ģǀƣĜŊ ģŏĪ ģĪŲ rŏƸŃŧŏĪģĪƣŲ- ĪŏŲĪƣ- GĪŰĪŏŲƫĜŊÿǽ Ƹ ģÿƫ ðǀƫÿŰ-ŰĪŲŊÿŧƸĪŲ-ĪƣŧĪŏĜŊƸĪƣƸǝŏƣģܷ-FƣĪǀģ܉-*Das Unbehagen in der Kultur*܉-ڕړܡ

ڹڽ- -RĪĪ-£ƇƣƸŲĪƣÿŲģ-NĪŏƫĪ܉-*Die Philosophie Japans*܉-ڒڒڏÿŲģtÿŃÿŰŏ܉-ܶ1/4ŊĪ-ŲƸżŧżŃŏĜÿŧ-FżǀŲģÿƸŏżŲŏŲ-¼ĪƸƫǀƣżàÿƸƫǀšŏܹƫ- £ŊŏŧżƫżƠŊǣܷ

ںڽ Bhabha, *The Location of Culture*܉-ڕڏܨڔڏ

ڻڽ- -RƸżŤĪƫ܉-ܶrǀƫŏĜÿŲģ-ƸŊĪ-GŧżěÿŧƣģĪƣ܉ܷ-ڕڑ

ڑڑܨڐڑ-܉*Hybridity Cultural*-܉ǀƣŤĪ- -ڼڽ

'nǢĚƢŎĢŎƷǢ܌-ŻűĩěþűþŦƪŻ-ŎĢĩűƷŎŁǢ-Ʒ'nŻƪĩ-ŎĢĩþŦŎǬŎűł-ƷƢþěĩƪěƢŎƷŎěŎǬĩĢþĚŻǛĩ-Ŏű-Ʒ'nĩ-ȀłƿƢĩƪ-ŻŁ-ƷƢþűƪܮand hyperculturality. Certainly, we should remain aware that the hybrid substance of cultures describes a fundamental constitution of all cultures that has simply become increasingly vis-ŎĚŦĩþƪǜĩ-'nþǛĩþƟƟƢŻþě'nĩĢ- Ʒ'nĩ-ƟƢĩƪĩűƷ-ĢþǢܫݑþűĢěþű- Ʒ'nƿƪěŦþŎůěŻűƪŎĢĩƢþĚŦĩĩůƟŎƢŎěþŦĩǛŎ-Ģĩűěĩ-ŁŻƢ-ŎƷƪĩŦŁܒæĩƷ-'nǢĚƢŎĢŎƷǢƪ'nŻƿŦĢűŻƷ-ĚĩƿűĢĩƢƪƷŻŻĢþƪþű-ŎűƪƿĚƪƷþűƷŎþŦłþůĩǜŎƷ'něƿŦƷƿƢþŦ- þƢƷŎěƿŦþƷŎŻűƪ܌-ĚƿƷ-ƢþƷ'nĩƢþƪþěŻůƟŦĩůĩűƷ-ƷŻ-ŁƿűĢþůĩűƷþŦ-ĢŎDz ŁĩƢĩűěĩƪ-ĚĩƷǜĩĩű-Ʒ'nĩƪĩþƢƷŎěƿŦþ-ƷŎŻűƪܒȃĩƪĩ-ĢŎDz ŁĩƢĩűěĩƪܫݑ-ŻǼ ƷĩűĩűŻƿł'n-Ŏű-ƷƢŎǛŎþŦŎǬĩĢ-ŁŻƢůƪܫݑ-ŦŎţĩ-'nǢĚƢŎĢŎƷǢ܌ěŻűƷŎűƿĩ-ƷŻ-ĢĩȀűĩ- large parts of globalized societies.

ßŎĩǜĩĢ-Ŏű-Ʒ'nĩ-ĚƢŻþĢĩƢěŻűƷĩǡƷ-ŻŁ-Ʒ'nĩ-'nŎƪƷŻƢǢ-ŻŁ-ŎĢĩþƪ܌ěƿŦƷƿƢþŦþŦƷĩƢŎƷǢěþűþŦƪŻ-ĚĩěŻűűĩěƷĩĢ- ƷŻ-Ʒ'nĩ-ŎĢĩþ-ŻŁ-ܹŎűěŻůůĩűƪƿƢþĚŎŦŎƷǢܒܺȃŎƪ-ŎƪþěĩűƷƢþŦ-ƷŻƟŎě-ŻŁ-ĢŎƪěƿƪƪŎŻű-Ŏű-Ʒ'nĩ-Ɵ'nŎŦŻƪŻƟ'nǢ-ŻŁ- language, political aesthetics, and the philosophy of science, as well as a basic model for un-ĢĩƢƪƷþűĢŎűł-Ʒ'nĩůŻĢĩƢűþűĢ-ƟŻƪƷůŻĢĩƢűþƢƷƪܒȃŻƿł'nþ-ĢĩƷþŎŦĩĢ-ƷƢĩþƷůĩűƷ-ŻŁ-Ʒ'nŎƪ-ĢŎƪěŻƿƢƪĩ-Ŏƪ- not possible here, it certainly is a relevant concept for the discussion of musical interculturality.

SűěŻůůĩűƪƿƢþĚŎŦŎƷǢ-ĚĩěþůĩþţĩǢěŻűěĩƟƷ-Ŏű- Ʒ'nĩ-Ɵ'nŎŦŻƪŻƟ'nǢ-ŻŁƪěŎĩűěĩþƪþ-ƢĩƪƿŦƷ-ŻŁ-£þƿŦ- FĩǢĩƢþĚĩűĢܼƪǜƢŎƷŎűłƪþǼ ƷĩƢ-Ʒ'nĩ-ŦþƷĩ-ڏڔژڐƪ܌þűĢĩƪƟĩěŎþŦŦǢȃŻůþƪfƿ'nűܼƪ-ŎűǴŦƿĩűƷŎþŦƪƷƿĢǢ-*Ȅĩ- ®ƷƢƿěƷƿƢĩ-ŻŁ-®ěŎĩűƷŎȁě-¦ĩǛŻŦƿƷŎŻűƪ*-ڢڢܒܤژڕܘڑڕژڐܣȃĩěĩűƷƢþŦ-ŁŻěƿƪ-ŻŁfƿ'nűܼƪ-Ʒ'nĩŻƢǢ-Ŏƪ-Ʒ'nĩůĩƷ'nŻĢŻŦŻłŎěþŦþűĢěŻűěĩƟƷƿþŦ-ŎűěŻůƟþƷŎĚŎŦŎƷǢ-ĚĩƷǜĩĩű-'nŎƪƷŻƢŎěþŦŦǢƪƿěěĩƪƪŎǛĩƪěŎĩűƷŎȀě-ƟþƢþĢŎłůƪ܌þƪǜĩŦŦ- þƪ-ܹƷƢþűƪŦþƷŎŻűĩƢƢŻƢƪܺ-ĚĩƷǜĩĩűƪěŎĩűƷŎȀě-Ʒ'nĩŻƢŎĩƪ-ĚĩŦŻűłŎűł-ƷŻ-ĢŎDz ŁĩƢĩűƷ-ƟþƢþĢŎłůƪڙڙښܒ Similarly, FĩǢĩƢþĚĩűĢ-'nþĢĩþƢŦŎĩƢ-ĢĩƪěƢŎĚĩĢ-Ʒ'nĩ-ŎƢƢĩěŻűěŎŦþĚŎŦŎƷǢ-ŻŁƪƿěěĩƪƪŎǛĩ-ŻűƷŻŦŻłŎěþŦ-Ʒ'nĩŻƢŎĩƪ܋-Ʒ'nĩǢþƢĩ- incompatible and cannot be reduced to or derived from one another.ښڙښ Although they developed Ʒ'nĩŎƢ-ƢĩƪƟĩěƷŎǛĩ-Ʒ'nĩŻƢŎĩƪ-ŻŁ-ŎűěŻůůĩűƪƿƢþĚŎŦŎƷǢ-Żű-ĢŎDz ŁĩƢĩűƷ-ŁŻƿűĢþƷŎŻűƪ܌fƿ'nűþűĢ-FĩǢĩƢþĚĩűĢ- ǜĩƢĩ-ĚŻƷ'n-ŎűǴŦƿĩűěĩĢ-ĚǢ-Ʒ'nĩłĩƪƷþŦƷܮƷ'nĩŻƢĩƷŎěþŦ-ƟŻƪƷƿŦþƷĩ-Ʒ'nþƷ-ĚþƪŎě-Ʒ'nĩŻƢĩƷŎěþŦěŻűěĩƟƷƪ-'nþǛĩþ- ŦþƪƷŎűłĩDz ŁĩěƷ-Żű-Ʒ'nĩ-ƟƢŻěĩƪƪ-ŻŁ-ŻĚƪĩƢǛþƷŎŻű-Ŏű-Ʒ'nĩ-ܣűþƷƿƢþŦܤƪěŎĩűěĩƪܒ-Nĩűěĩ܌-Ʒ'nĩǢ-ĚŻƷ'n-ŁŻŦŦŻǜĩĢ-

ƸŊĪěÿƫŏĜŏģĪÿ-ܟ܊ܞ-ƸŊÿƸěĪĜÿǀƫĪ-ƸŊĪ-ŰĪÿŲŏŲŃƫ܉-ĪǜĪŲżłżěƫĪƣǜÿƸŏżŲÿŧ-ƸĪƣŰƫ܉ÿƣĪģĪƸĪƣŰŏŲĪģěǣ- ƸŊĪ-ƸŊĪżƣŏĪƫ-ƸżǝŊŏĜŊ-ƸŊĪǣěĪŧżŲŃ܉ǝŊĪŲ-ƸŊĪƣĪŏƫ-ƸŊĪżƣǣ-ĜŊÿŲŃĪ܉-ƸŊĪƣĪÿƣĪ-ŰĪÿŲŏŲŃ-ĜŊÿŲŃĪƫ-ƸŊÿƸ- ĜÿŲ ƣĪƫǀŧƸ ŏŲ ÿ- ŲĪǝ- ĜżŲĜĪƠƸŏżŲ żł ƣĪÿŧŏƸǣ ƫ ÿ- ĜżŲƫĪƢǀĪŲĜĪ܉ ŧżŃŏĜÿŧ ƣĪŧÿƸŏżŲƫ- ĜÿŲŲżƸ- ĜżƣƣĪĜƸŧǣ- ĜŊÿƣÿĜƸĪƣŏǭĪ-ƸŊĪƣĪŧÿƸŏżŲƫŊŏƠěĪƸǝĪĪŲ-ĜĪƣƸÿŏŲ-ƠÿŏƣƫżłƫǀĜĜĪƫƫŏǜĪƫĜŏĪŲƸŏǿĜ-ƸŊĪżƣŏĪƫژږڗ

In French poststructuralism in particular, "incommensurability" became a decisive part of Ʒ'nĩ-ĢŎƪěŻƿƢƪĩ܌þŦĚĩŎƷ-Ŏűþƪ'nþƢƟĩƢ-ŁŻƢů-Ʒ'nþƷěŻűƪƷŎƷƿƷĩĢþ-ܹłĩűĩƢþŦþƷƷþěţ-Żű-ƢþƷŎŻűþŦŎƪů-Ʒ'nþƷ- still triggers defensive reactions to this day."ڜڙښ Michel Foucault's concept of the "archaeology ŻŁţűŻǜŦĩĢłĩ܌ܺ-ŁŻƢĩǡþůƟŦĩ܌-'nŎł'nŦŎł'nƷƪ-Ʒ'nĩ-ĢŎƪěŻűƷŎűƿŻƿƪ-ĢĩǛĩŦŻƟůĩűƷ-ŻŁ-Ʒ'nĩ-ŁŻƢůƪ-Ŏűǜ'nŎě'n- ţűŻǜŦĩĢłĩ-Ŏƪ- ƢĩƟƢĩƪĩűƷĩĢ-Ŏű- ܹ'nĩƷĩƢŻƷŻƟŎþƪܺ ǜŎƷ'nŻƿƷ- ŻDz ŁĩƢŎűł þ-ܣƢþƷŎŻűþŦܤ- ƢĩþƪŻű- ŁŻƢ ƪƿě'n þű- þĚƢƿƟƷ-ĚƢĩþţŎűłܮþǜþǢ-ŻŁ-Ʒ'nĩ*episteme*. ڝڙښrĩþűǜ'nŎŦĩdĩþűܮFƢþűĞŻŎƪhǢŻƷþƢĢ܌-ŁŻŦŦŻǜŎűł-Żű-ŁƢŻů- hƿĢǜŎłàŎƷƷłĩűƪƷĩŎűܼƪ-Ʒ'nĩŻƢǢ-ŻŁ-Ŧþűłƿþłĩłþůĩƪ܌ƿƪĩƪ-Ʒ'nĩ-ƷĩƢů-ܹŎűěŻůůĩűƪƿƢþĚŎŦŎƷǢܺ-ƷŻþĢdress the irreconcilable and untranslatable nature of language systems.ڞڙښ He points out, in Wittgenstein's sense, the fundamental irreconcilability of saying and showing, and thus ulti-

ڽڽ See Oberheim, "Ų-ƸŊĪ-NŏƫƸżƣŏĜÿŧƣŏŃŏŲƫżł-ƸŊĪ żŲƸĪŰƠżƣÿƣǣtżƸŏżŲżł-SŲĜżŰŰĪŲƫǀƣÿěŏŧŏƸǣܷ

ڴڴڵ- fǀŊŲ܉-*1/4ŊĪ-®ƸƣǀĜƸǀƣĪżł-®ĜŏĪŲƸŏǾĜ-¦ĪǜżŧǀƸŏżŲƫ*.

ڌڕ-܉ڐړܷ-܉ŰƠŏƣŏĜŏƫŰ-/ÿŲģ-ĪģǀĜƸŏżŲ¦-܉ǢƠŧÿŲÿƸŏżŲ-ܶ/܉FĪǣĪƣÿěĪŲģ ڵڴڵ

ڶڴڵ Oberheim, "Ų-ƸŊĪ-NŏƫƸżƣŏĜÿŧƣŏŃŏŲƫżł-ƸŊĪ żŲƸĪŰƠżƣÿƣǣtżƸŏżŲżł-SŲĜżŰŰĪŲƫǀƣÿěŏŧŏƸǣ܉ܷ-ڒڔڏ

ڷڴڵ- ěŏƸżƣ܉- ܶrĪƸÿƠŊĪƣ ÿŧƫ- ŲƸǝżƣƸ ÿǀł- SŲŤżŰŰĪŲƫǀƣÿěŏŧŏƸďƸ܉ܷ- ڐڎڍ- ܠܶGĪŲĪƣÿŧÿŲŃƣŏdz ł ÿǀł ģĪŲ- ¦ÿƸŏżŲÿŧŏƫŰǀƫ- ܉ܟ܊ܞ- ģĪƣěŏƫ-ŊĪǀƸĪěǝĪŊƣƣĪÿŤƸŏżŲĪŲ-ŊĪƣǜżƣƣǀǽ Ƹܷܡ

ڸڴڵ Foucault, *The Order of Things*.

ړڏڍܨڔڎڍ-܉*ŏDzłĪƣĪŲģ'-Ŋμ*-܉hǣżƸÿƣģ- -ڹڴڵ

mately the irreducibility of linguistic materiality.ڟڙښhǢŻƷþƢĢěŻűűĩěƷƪƪƿě'nůŻĢĩŦƪ-ƷŻ-Ʒ'nĩþĩƪܮ Ʒ'nĩƷŎěƪ-ŻŁþƢƷŎƪƷŎěþǛþűƷܮłþƢĢĩƪ-Ŏű-Ʒ'nĩ-ƷǜĩűƷŎĩƷ'něĩűƷƿƢǢþűĢ-Ʒ'nĩŎƢ-ƷĩűĢĩűěǢ-ƷŻůþţĩ-ܹþűþŦŦƿsion to the unpresentable by means of visible presentations" and thus deny themselves "the solace of good forms."ڠڙښ

ȃŻƪĩ- ƢĩƪĩþƢě'nŎűł ůƿƪŎěܮ'nŎƪƷŻƢŎěþŦ- ƢĩěĩƟƷŎŻű þűĢ- ŎűƷĩƢƷĩǡƷƿþŦŎƷǢ- 'nþǛĩ- ŻǼ Ʒĩű ěŻűƷĩűƷĩĢ- Ʒ'nĩůƪĩŦǛĩƪǜŎƷ'nƪ'nŻǜŎűł-ƷƢþĢŎƷŎŻűƪþűĢþűǡŎĩƷŎĩƪ-ŻŁ-ܹŎűǴŦƿĩűěĩ܌ܺǜŎƷ'nŻƿƷþĢĢƢĩƪƪŎűł-Ʒ'nĩơƿĩƪ-ƷŎŻű-ŻŁěƿŦƷƿƢþŦ-ܣƿűܤƷƢþűƪŦþƷþĚŎŦŎƷǢܒæĩƷ-Ʒ'nŎƪ-'nþƪ-ŦŻűł-Ěĩĩű-ĢŎƪěƿƪƪĩĢ-Ŏű-ĢĩƟƷ'n-ĚǢĩƷ'nűŻůƿƪŎěŻlogists and literary scholarsܫݑڡڙښ-ǛĩƢǢ-ŻǼ ƷĩűĩǡƟŦŎěþƷŎűł-ŦþűłƿþłĩܮŎű'nĩƢĩűƷ-ƟŻǜĩƢ-ĢŎƪěŻƿƢƪĩƪ-Ŏű the process.ڢڙښ-SƷ-ŎƪěŦĩþƢ-Ʒ'nþƷĩǛĩű-ܣŻƢĩƪƟĩěŎþŦŦǢܤ-Ŏű-Ʒ'nĩþłĩ-ŻŁ-ĢŎłŎƷþŦŎǬþƷŎŻűþűĢ-Ʒ'nĩ-ŎűěƢĩþƪŎűł- þǛþŎŦþĚŎŦŎƷǢ-ŻŁěƿŦƷƿƢþŦ-ܹŻĚŠĩěƷƪ܌ܺ-Ʒ'nĩ-ƟŻƪƪŎĚŎŦŎƷǢ-ŻŁůŎƪƿűĢĩƢƪƷþűĢŎűłþűĢ-ƷþŦţŎűłþƷěƢŻƪƪ-ƟƿƢposes is omnipresent. Admittedly, "productive misunderstandings" are always welcome in the artistic context, and "communication disturbances" are a popular topic in avant-garde artistic ƟƢŻĢƿěƷŎŻű-ܣƟƢŻŠĩěƷƪ-ĚþƪĩĢ-Żű-Ʒ'nĩȃĩþƷĩƢ-ŻŁ-Ʒ'nĩ-ĚƪƿƢĢ܌-ŁŻƢĩǡþůƟŦĩܒܤ-SűƪŎƷƿþƷŎŻűƪ-ŻŁ-ƟƢŻĢƿětive misunderstanding, the idea of incommensurability can indeed become fruitful without having to withdraw to the position of a rigorous untranslatability.ڙښښ

It is also important to recognize that comparable discourses on the incommensurable exist ŎűůþűǢěƿŦƷƿƢĩƪ܌þűĢþƢĩþŦƪŻ-ƷþţĩűƿƟ-ĚǢűŻűܮàĩƪƷĩƢűěŻůƟŻƪĩƢƪ܌-ŻǼ Ʒĩű-Ŏűþ-ǛĩƢǢĩǡƟŦŎěŎƷ-ƟŻ-ŦŎƷŎěþŦƪĩűƪĩ-ݑދܣSSSܒܤڕܫړܒ-NĩƢĩ-ŻűĩěŻƿŦĢ-ƟŻŎűƷ-ƷŻ-Ʒ'nĩ-ƢĩěĩƟƷŎŻű-ŻŁ-'þŻŎƪƷ-Ɵ'nŎŦŻƪŻƟ'nǢ-ŻƢ-ƢĩŁĩƢĩűěĩƪ- ƷŻ-Ʒ'nĩþƢě'nþŎě-ǛĩƢƪĩƪ-ŻŁ-Ʒ'nĩĩǡŎŦĩĢ-ƟŻĩƷ-¥ƿæƿþű-ڗږڑܫڏړڒܣ- /ܤ-Ŏű- 'nŎűĩƪĩůƿƪŎě-ŻŁ-Ʒ'nĩ-ڏڗژڐƪܒ-Instances of this reception refer to anti-authoritarian and regime-critical elements of these ƷƢþĢŎƷŎŻűƪܫݑþ- ƷǢƟĩ-ŻŁěŻĢĩĢ-ƟŻŦŎƷŎěþŦƪƷþƷĩůĩűƷ- Ʒ'nþƷ- ŁŻƢůƪþ- ƷƢþĢŎƷŎŻű-ŻŁ-ŎƷƪ-Żǜű-Ŏű- 'nŎűĩƪĩ- intellectual history.ښښښ

In this context, therefore, what is required is no less than a critical discussion of the lim-ŎƷƪ þűĢ ĩǡěŦƿƪŎŻűůĩě'nþűŎƪůƪ- ŻŁ- Ʒ'nĩ- /ƿƢŻƟĩþű ěŻűěĩƟƷ- ŻŁ þƢƷ þŦƢĩþĢǢůĩűƷŎŻűĩĢ þĚŻǛĩ܌ þƪ- ǜĩŦŦ þƪ þű ĩűłþłĩůĩűƷ ǜŎƷ'n- Ʒ'nĩ ěƿŦƷƿƢþŦ- ƟƢĩěŻűĢŎƷŎŻűƪ- ŻŁ ěŻůƟŻƪŎƷŎŻű- ݑދܣ SSܒܤڐܒ àĩ ƪ'nŻƿŦĢ- Ěĩ þǜþƢĩ- ŻŁ- Ʒ'nĩ- ŎűþĢĩơƿþěǢ- ŻŁ- NĩŦůƿƷ hþě'nĩűůþűűܼƪ ěƿŦƷƿƢþŦ ěþƷĩłŻƢŎǬþƷŎŻűƪܒȃþƷ- Ŏƪ܌- 'nŎƪ- þƷƷĩůƟƷ- ƷŻ þƪƪŻěŎþƷĩ- Ʒ'nĩ- /ƿƢŻƟĩþű ěŻűěĩƟƷ- ŻŁ þƢƷ ǜŎƷ'n ƪƷƢƿěƷƿƢŎűł܌- ƢƿƟƷƿƢĩ܌ ƪĩŦŁܮƢĩǴŦĩě-ƷŎŻű܌ þűĢ ƪĩŦŁܮƟĩƢěĩƟƷŎŻű܌ ǜ'nŎŦĩ þƪƪŻěŎþƷŎűł űŻűܮ/ƿƢŻƟĩþűůƿƪŎěݑ ܫ ǜŎƷ'n- ƢĩŁĩƢĩűěĩ- ƷŻ þ ěŻűěĩƢƷłŎǛĩű-ĚǢ-¦þǛŎ-®'nþűţþƢþƷ-Ʒ'nĩ-ږڔژڐ-'þƢůƪƷþĢƷ-®ƿůůĩƢ- ŻƿƢƪĩܫݑþŦŦ-ƷŻŻ-ŻűĩܮƪŎĢĩĢŦǢǜŎƷ'n- religious, ritual and magical intentions, and a "paradise of content intactness."ڛښښ-ݑދܣ Sßܤڑܒ

In these introductory "circlings," I have attempted to place contemporary composition in the ěŻűƷĩǡƷ-ŻŁǜŎĢĩƢ-ĢŎƪěŻƿƢƪĩƪ܌ƪƟĩěŎȀěþŦŦǢ- Ʒ'nŻƪĩ-ŻŁěþűŻűŎěŎƷǢ܌-ŎĢĩűƷŎƷǢěƢŎƷŎơƿĩ܌-ƢĩǴŦĩǡŎǛĩłŦŻĚܮ þŦŎǬþƷŎŻű܌þűĢ-ŎűƷĩƢěƿŦƷƿƢþŦŎƷǢܒłþŎűƪƷ- Ʒ'nĩ-ĚþěţĢƢŻƟ-ŻŁþěŻűƷŎűƿŻƿƪ-ĢŻůŎűþűěĩ-ŻŁàĩƪƷĩƢű-

\*\*\*

ںڴڵ- -RĪĪrĪƣƫĜŊ܉-ܶGĪƫĜŊŏĪŊƸ-Īƫܐܷ

ڻڴڵ- hǣżƸÿƣģ܉-ܶŲƫǝĪƣŏŲŃ-ƸŊĪ-¥ǀĪƫƸŏżŲ܈àŊÿƸŏƫ-£żƫƸŰżģĪƣŲŏƫŰ܉ܐܷ-܉ڕڎڍ-ڍڏڍ

ڼڴڵ- -RĪĪ-ƸŊĪŧÿƸĪǝƣŏƸŏŲŃƫżł-/ģǝÿƣģ-/ǜÿŲ-/ǜÿŲƫܫ£ƣŏƸĜŊÿƣģÿƫǝĪŧŧÿƫ- ŊÿŲÿŲģtżěŧĪ܉ *Sounds in Translation*ܔƫĪĪÿŧƫż- ƸŊĪżǜĪƣǜŏĪǝŏŲ-£ǣŰ܉-*Exploring Translation Theories*.

ڽڴڵ See for example Asad, "The Concept of Cultural Translation."

ڴڵڵ- -FżƣÿŲ-ǀƠģÿƸĪģÿŲģ-ŃĪŲĪƣÿŧƣĪǜŏĪǝżł-ŰǀƫŏĜżŧżŃǣܫƣĪŧÿƸĪģ-ƸƣÿŲƫŧÿƸŏżŲ-ĜżŲĜĪƠƸƫƫĪĪhĪƫƫŰÿŲŲ܉-ܶÉěĪƣƫĪƸǭǀŲŃܨݎ-ĪŏŲ-¼ŊĪŰÿģĪƣrǀƫŏŤłżƣƫĜŊǀŲŃܐܷ

ڵڵڵ- -RĪĪ- ÃƸǭ܉- *Neue Musik und Interkulturalität*܉- ܉ړڑڏܨڑڑڏ- ڏڎڐܨڏڌڐ- ܠ¥ǀ æǀÿŲܡ ÿŲģ- ڐڐڐ- ܠ'ÿżŏƫŰܡ-R ĪĪ ÿŧƫż rŏƸƸŧĪƣ܉- ڑڎڍܨڒڍڍ-܉*Tunes Dangerous*

ڍڕܨڌڕܷ-܉ܐàĪƫƸ-ŰĪĪƸƫÿƫƸ-ܶ/܉hÿĜŊĪŲŰÿŲŲ- -ڶڵڵ

cultural centers in global cultural politics,ڜښښ as well as the inescapable ethnocentrism of canon-ŁŻƢůŎűł-ĢŎƪěŻƿƢƪĩƪ-ݑދܣS܌ܤڐܒ-ŎƷ-ŎƪěŦĩþƢ-Ʒ'nþƷþěĩűƷƢþŦě'nþŦŦĩűłĩ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦěŻůƟŻƪŎƷŎŻűܫݑþűĢ- þ-'nŎƪƷŻƢŎŻłƢþƟ'nǢěŻűƷĩǡƷƿþŦŎǬŎűłþűĢ-ƢĩǴŦĩěƷŎűł-ŎƷܫݑ-Ŏƪ-ƷŻ-ƢĩƪƟĩěƷ-ܹŻƢŎłŎűþƢǢþƪǢůůĩƷƢŎĩƪܺþűĢ- ƪĩĩţ-ŻƿƷþƢĩþƪ-ŻŁ-Ʒ'nĩ-ܹŎűܮĚĩƷǜĩĩű܌ܺǜŎƷ'nŻƿƷ-ŁþŦŦŎűł-ŎűƷŻ-Ʒ'nĩ-ƷƢþƟ-ŻŁþ-ܹűþƢěŎƪƪŎƪů-ŻŁůŎűŻƢ-ĢŎŁ-ŁĩƢĩűěĩƪܒܺrŻƪƷ-ŻŁþŦŦ܌-'nŻǜĩǛĩƢ܌-Ʒ'nĩ-Ʒþƪţ-Ŏƪ-ƷŻěŻűƷĩǡƷƿþŦŎǬĩƪƿě'nůƿƪŎěþŦǜŻƢţƪþűĢ-Ʒ'nĩŎƢƪŻěŎþŦ- embeddedness without subsuming these asymmetries under a pseudo-universalist but ultiůþƷĩŦǢĩƷ'nűŻěĩűƷƢŎěěŻűěĩƟƷŎŻű-ŻŁłŦŻĚþŦěƿŦƷƿƢĩܒȃŎƪůĩþűƪ-Ʒ'nþƷ-Ʒ'nĩůĩƷ'nŻĢŻŦŻłǢ-ŻŁþłŦŻĚþŦ܌- ŻƢůŻƢĩůŻĢĩƪƷŦǢþ-ܹłŦŻĚþŦŦǢ-ŎűŁŻƢůĩĢ܌ܺ-'nŎƪƷŻƢŎŻłƢþƟ'nǢþűĢþűþŦǢƪŎƪ-ŻŁůƿƪŎěǜŻƿŦĢ-ȀƢƪƷ-'nþǛĩ- ƷŻůĩĩƷ-ŁŻƿƢ-ƢĩơƿŎƢĩůĩűƷƪ܋


ڷڵڵ- -S-ŊÿǜĪ-ƠƣĪǜŏżǀƫŧǣŧÿěĪŧĪģ-ƸŊŏƫ-ƠŊĪŲżŰĪŲżŲ-ܶŃƣÿǜŏƸÿƸŏżŲܷ-®ĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڏڔڐܨڎڔڐ

# **II. Toward an Entangled History of Twentieth-Century Music in a Global Context**

### **1. Preliminaries of an Intercultural Music Historiography**

ȃĩůĩƷ'nŻĢŻŦŻłŎěþŦ-ƢĩǴŦĩěƷŎŻűƪ-Ŏű-Ʒ'nĩ-ȀƢƪƷě'nþƟƷĩƢ-ƢĩƪƿŦƷ-Ŏű-ƷǜŻƿűĢĩƢƪƷþűĢŎűłƪ܋-ȀƢƪƷ܌-Ʒ'nĩűĩěĩƪƪŎƷǢ-ŻŁ-Ƣĩ쯳űŎǬŎűł-Ʒ'nĩþĩƪƷ'nĩƷŎě܌ěƿŦƷƿƢþŦ܌-ŦŻěþŦ܌þűĢ-ŎűĢŎǛŎĢƿþŦ-ƟþƢƷŎěƿŦþƢŎƷǢ-ŻŁƪƟĩěŎȀěþƢƷܮ istic positions. Second, the need to develop categories for comparing forms of music that come þĚŻƿƷƿűĢĩƢ-ĢŎDz ŁĩƢĩűƷƪŻěŎŻěƿŦƷƿƢþŦþűĢěƿŦƷƿƢĩܮ'nŎƪƷŻƢŎěþŦěŻűĢŎƷŎŻűƪǜŎƷ'nŻƿƷƪůŻŻƷ'nŎűł-ŻǛĩƢ- Ʒ'nĩŎƢ-ĢŎDz ŁĩƢĩűěĩƪ-ŻƢ-ƟƢĩƪƿƟƟŻƪŎűłþűǢƪƟĩěƿŦþƷŎǛĩěŦþŎůƪ-ŻŁ-ܹƪ'nþƢĩĢ-ƢŻŻƷƪܺ-ܫ-ĚƿƷþŦƪŻǜŎƷ'n-Ʒ'nĩ- aim of moving beyond a mere statement of multiplicity. In the light of recent (and not so reěĩűƷܤ-ĢĩǛĩŦŻƟůĩűƷƪ-ŎűůƿƪŎě-ƢĩƪĩþƢě'n܌-ŎƷ-ŎƪþłŎǛĩű-Ʒ'nþƷ-Ʒ'nŎƪěþűűŻƷ-Ʒþţĩ-Ʒ'nĩ-ŁŻƢů-ŻŁþű-ܹĩŎƷ'nĩƢܘ ŻƢܺ-ŻŁþĩƪƷ'nĩƷŎěƪ-ŻƢ-'nŎƪƷŻƢǢ܌-ŻŁǜŻƢţ-'nŎƪƷŻƢǢ-ŻƢƪŻěŎþŦ-'nŎƪƷŻƢǢ܌-ŻƢ-ŻŁþűþŦǢƷŎěþŦ-ŻƢƪŻěŎŻĩƷ'nűŻŦŻłŎcal methodology.<sup>ښ</sup> -ĢůŎƷƷĩĢŦǢ܌þƪ-'nĩþƷĩĢ-ĢŎƪěƿƪƪŎŻűƪ-ŻŁ-Ʒ'nĩǜŻƢţěŻűěĩƟƷڛ or historiographical <sup>ڜ</sup>methodology have shown, many of these polarities are still alive and well. For example, we still debate how music historiography, despite all postmodern objections, can continue to be conceived of as a "grand narrative" following "mainstreams,"<sup>ڝ</sup> or whether we should rather allow ěŻůƟĩƷŎűł-ĢĩƪěƢŎƟƷŎŻűƪ- ƷŻĩǡŎƪƷþŦŻűłƪŎĢĩ-ŻűĩþűŻƷ'nĩƢþűĢ-ŎűěƢĩþƪŎűłŦǢƪĩĩţ-ŻƿƷþŦƷĩƢűþƷŎǛĩ- sites, foregrounding once-neglected areas through a "micrology" of *pétit récits*. ڞ tþƷƿƢþŦŦǢƪƿě'n-

ڵ- -RĪĪ-ƸŊĪ-ƠżŧĪŰŏĜŏŲ-¼ÿƣǀƫŤŏŲ܉-ܶSŲƸƣżģǀĜƸŏżŲ܈-1/4ŊĪ-NŏƫƸżƣǣżłàŊÿƸ܉ܐܷååßSSܨååßSSSÿŃÿŏŲƫƸ-ƸŊĪ-ƠżŧÿƣŏƸŏĪƫ-ĪƫƸÿěŧŏƫŊĪģŏŲ- Dahlhaus, *Grundlagen der Musikgeschichte*-¼ŊŏƫŏƫģŏƫĜǀƫƫĪģŏŲ- ŊƣŏƫƸĪŲƫĪŲ܉-ܶ'ÿŊŧŊÿǀƫŏŲ-ŰĪƣŏŤÿ܉ܷ-ڒڏڍܨڑڏڍ

ڶ- -RĪĪ-®ƸƣżŊŰ܉-ܶhżżŤŏŲŃÿĜŤÿƸ-ǀƣƫĪŧǜĪƫ܈-1/4ŊĪ-£ƣżěŧĪŰǝŏƸŊ-ƸŊĪrǀƫŏĜÿŧàżƣŤܫ żŲĜĪƠƸܷÿŲģ-GżĪŊƣ܉-ܸܶŲ-ƸŊĪ-£ƣżěŧĪŰƫżł-'ÿƸŏŲŃܹżƣ-ܸhżżŤŏŲŃÿĜŤǝÿƣģÿŲģ-FżƣǝÿƣģǝŏƸŊ-®ƸƣżŊŰ܉ܹܷƣĪłĪƣƣŏŲŃěÿĜŤ-Ƹż-GżĪŊƣ܉-*The Imaginary Museum of Musical Works*.

ڷ- -RĪĪ-¼ÿƣǀƫŤŏŲ܉-ܶRƠĪĪģ-ǀŰƠƫ܉ܷ żżŤ܉-ܶŧƸĪƣŲÿƸŏǜĪ-¦ĪÿŧŏƸŏĪƫܷ-®ĪĪÿŧƫżdÿŲǭ܉-ܶrǀƫŏŤŊŏƫƸżƣŏżŃƣÿƠŊŏĪ-ǀŲģrżģĪƣŲĪܷ- ÿŲģ-'ÿŲŏĪŧĜǭǣŤ-ĪƸÿŧ܉-*Konstruktivität von Musikgeschichtsschreibung*.

ڸ" *CH20* ģĪŃĪŲĪƣÿƸĪƫěĪłżƣĪżǀƣ-ĪǣĪƫŏŲƸżÿÿěĪŧżłƫƢǀÿěěŧŏŲŃ-ŰÿŏŲƫƸƣĪÿŰƫ܉ÿŧŧ-ĜŧÿŰżƣŏŲŃłżƣƫǀƠƣĪŰÿĜǣ-¼ŊÿƸ- ǝĪŧŧ-ĪǢĪŰƠŧŏǿĪƫÿƫÿŧŏĪŲƸłĪÿƸǀƣĪżł-ƸǝĪŲƸŏĪƸŊܫĜĪŲƸǀƣǣ-ŰǀƫŏĜÿŧŧŏłĪ܉-ƸżěĪƫǀƣĪܔěǀƸǝŊÿƸÿ*history* żł-ƸǝĪŲƸŏĪƸŊܫ ĜĪŲƸǀƣǣ- ŰǀƫŏĜ żǀŃŊƸ- Ƹż ÿƸƸĪŰƠƸ ŏƫ ÿ ƣĪÿŧŏƫƸŏĜ- ĜżŲƸĪǢƸǀÿŧŏǭÿƸŏżŲ żł ŏƸ܉ ÿŲģ ÿŲ- ĪǢƠŧÿŲÿƸŏżŲܷ- ܠ1/4ÿƣǀƫŤŏŲ܉- ܶRƠĪĪģ- ǀŰƠƫ܉ܷ-ڑڌڎܡ-ܶܟ܊ܞ-ƸŊĪ-ƸƣżǀěŧĪŏƫ-ƸŊĪǝÿǣŏŲǝŊŏĜŊ܉ÿƫ-ƸŊĪģŏdz łĪƣĪŲĜĪěĪƸǝĪĪŲ-ܸƫƸƣĪÿŰƫܹÿŲģ-ܸŰÿŏŲƫƸƣĪÿŰƫܹŏŧŧǀƫܫ ƸƣÿƸĪƫ܉-ƸŊÿƸ-ŤŏŲģżłÿƠƠƣżÿĜŊ-ƸĪŲģƫ-Ƹż-ƠƣŏżƣŏƸŏǭĪ-ƸŊĪ-ŊŏƫƸżƣŏÿŲܹƫŏŲƸĪƣƠƣĪƸÿƸŏżŲÿƸ-ƸŊĪ-ĪǢƠĪŲƫĪżł-ĜżŰŰǀŲŏĜÿƸŏŲŃ- ƸŊĪ-ĪǢƠĪƣŏĪŲĜĪƫżł-ŊŏƫƸżƣŏĜÿŧƫǀěšĪĜƸƫܷ-ܠ żżŤ܉-ܶŧƸĪƣŲÿƸŏǜĪ-¦ĪÿŧŏƸŏĪƫ܉ܷ-ړڌڎܡ

ڹ- -RĪĪhǣżƸÿƣģ܉-*La condition postmoderne*܉-ړڌڍ-ܶܟ܊ܞŏƸǝŏŧŧěĪ-ĪǜŏģĪŲƸ-ƸżÿŧŧƣĪÿģĪƣƫ-ƸŊÿƸ-ƸŊŏƫěżżŤģĪǜżƸĪƫÿƫ-ŰǀĜŊÿƸ-ƸĪŲƸŏżŲ-Ƹżÿ-ĜżŲŃĪƣŏĪƫżł-ܸƠĪƸŏƸƫƣīĜŏƸƫܹ-ܨŏŲģŏǜŏģǀÿŧÿĜĜżǀŲƸƫżł-ƸŊŏƫÿŲģ-ƸŊÿƸ-ܨÿƫŏƸģżĪƫ-Ƹż-ƸŊĪ-ĪƠŏĜƫŤĪƸĜŊĪģŏŲ- ƸŊĪłżƣĪŃżŏŲŃ-ƠÿƣÿŃƣÿƠŊƫ-ǀƸ-ƸŊĪżǜĪƣÿƣĜŊŏŲŃ-ƸƣÿšĪĜƸżƣǣżł-ŰǀƫŏĜÿŧŧŏƸĪƣÿĜǣŏƫ-ŲĪǜĪƣƸŊĪŧĪƫƫ-ƠÿƣƸżłÿŧŧ-ƸŊĪƫƸżƣŏĪƫ܉- ÿŲģÿ-ƠÿƣƸŏĜǀŧÿƣŧǣƣĪǜĪÿŧŏŲŃżŲĪܷܠ1/4ÿƣǀƫŤŏŲ܉-ܶSŲƸƣżģǀĜƸŏżŲ܈-1/4ŊĪ-NŏƫƸżƣǣżłàŊÿƸ܉ܐܷååSSSܡ-RĪĪÿŧƫżfżŃŧĪƣ܉-ܶßżŲģĪƣ- ŃƣżƷĪŲ-/ƣǭďŊŧǀŲŃǭǀƣrŏŤƣżŧżŃŏĪܐܷ

ƪƿƟƟŻƪĩĢŦǢþűƷþłŻűŎƪƷŎě-ƟŻƪŎƷŎŻűƪűĩĩĢűŻƷ-ƢĩůþŎűůƿƷƿþŦŦǢĩǡěŦƿƪŎǛĩܒ-ƪƟĩěŎȀěþŦŦǢ-ŎűƷĩƢěƿŦtural historiography, however, would have to investigate the existing tensions between such ŻƟƟŻƪŎűł-ƟŻƪŎƷŎŻűƪ-ŎűƷĩűƪŎǛĩŦǢܒ-/ƪƟĩěŎþŦŦǢǜ'nĩű-ܫþƪǜŻƿŦĢƪĩĩůþŦůŻƪƷ-ŎűĢŎƪƟĩűƪþĚŦĩ-ŁŻƢ-Ʒ'nĩ- þěƷƿþŦ-ƢĩƟĩƢƷŻŎƢĩþűĢǜ'nĩű-ƢĩǴŦĩěƷŎűł-ŻűůþƷĩƢŎþŦ܌-ƟĩƢěĩƟƷƿþŦ܌þűĢ-ƟĩƢŁŻƢůþƷŎǛĩ-ƷƿƢűƪ-ŎűůƿƪŎěþŦƪě'nŻŦþƢƪ'nŎƟ-ܫůƿƪŎě-ĚƢĩþţƪǜŎƷ'n-Ʒ'nĩěƢŎƷĩƢŎŻű-ŻŁƪěƢŎƟƷƿƢþŦŎƷǢ܌-ŻƢþűĩǡěŦƿƪŎǛĩ-ŻƢŎĩűƷþƷŎŻű- toward the *text* paradigm. It is clear that such a history can ultimately only be described, as dDžƢłĩűƪƷĩƢ'nþůůĩŦ-'nþƪ-ĢŻűĩ-Ŏű-'nŎƪ-ƢĩěĩűƷ-'nŎƪƷŻƢǢ-ŻŁ-Ʒ'nĩűŎűĩƷĩĩűƷ'něĩűƷƿƢǢڟ܌ as a "polylogue ŻŁ-ĢŎDz ŁĩƢĩűƷűþƢƢþƷŎǛĩƪ܌-Ʒ'nĩůĩƪþűĢ-Ʒ'nĩŻƢŎĩƪܺ-Ʒ'nƢŻƿł'nþ-ܹěŻűƪŎƪƷĩűƷ-ĢĩěĩűƷĩƢŎűł-ŻŁ-ƟĩƢƪƟĩěƷŎǛĩ- ܢ܍ܡűŻ-ŦŻűłĩƢ- ŁƢŻů-/ƿƢŻƟĩþƪ- Ʒ'nĩěĩűƷĩƢ܌-ĚƿƷ- ŁƢŻůþűĩűƪĩůĚŦĩ-ŻŁ-ĢŎDz ŁĩƢĩűƷěĩűƷĩƢƪܒܺڠ Music 'nŎƪƷŻƢŎŻłƢþƟ'nǢ-'nþƪ܌þƷ-ĚĩƪƷ܌-ŻűŦǢ-Ʒþţĩű-ƷĩűƷþƷŎǛĩƪƷĩƟƪ-Ŏű-Ʒ'nŎƪ-ĢŎƢĩěƷŎŻűڡܒ

First of all, then, the analyses presented here presuppose a basic comparability of musiěþŦǜŻƢţƪ- ŁƢŻů-ĢŎDz ŁĩƢĩűƷěƿŦƷƿƢþŦþűĢ-'nŎƪƷŻƢŎěþŦěŻűƷĩǡƷƪ܌- Ʒ'nŻƿł'n- Ʒ'nŎƪ-ĚǢűŻůĩþűƪƪƿłłĩƪƷƪ- a purely functionalist notion of structure (in the sense that "all music" is ultimately no more Ʒ'nþűþƪƷƢƿěƷƿƢĩĢ܌þűĢ-'nĩűěĩþűþŦǢǬþĚŦĩ܌-ŻƢłþűŎǬþƷŎŻű-ŻŁƪŻƿűĢƪܒܤ-¦þƷ'nĩƢ܌þƷƷĩůƟƷŎűł- ƷŻþěƷ- ǜŎƷ'nůĩƷ'nŻĢŻŦŻłŎěþŦ-ƢþƷŎŻűþŦŎƷǢ-ĢĩůþűĢƪ-Ʒ'nþƷǜĩƪĩĩţ-ƷŻþǛŻŎĢ-Ʒ'nĩ-ƟŎƷŁþŦŦƪ-ŻŁ-ĚŻƷ'nþ-ƢŎłŻƢŻƿƪ- ěƿŦƷƿƢþŦŎƪƷ-ƢĩŦþƷŎǛŎƪů-ܣƷ'nþƷǜŻƿŦĢ-ƢƿŦĩ-ŻƿƷþűǢ-ƟŻƪƪŎĚŎŦŎƷǢ-ŻŁěŻůƟþƢþĚŎŦŎƷǢܤþűĢþűĩůƟ'nþƷŎě܌covertly ethnocentric universalism (that would view all individual phenomena as manifesta-ƷŎŻűƪ-ŻŁþƪŎűłŦĩ-ƢĩŁĩƢĩűěĩěŻűěĩƟƷڢܒܤ Furthermore, it seems no less self-evident that one should assume a continued interplay of immanent and contextual factors in the production of musical "meaning" through composition, notation, interpretation and reception, and increasingly understand how these areas correlate and interweave. When combining individual "voices" in the complex of what "music" can mean in an interculturally expanded domain, however, we must be content to dispense with evolutionary or teleological models. Inevitably, we must respect discontinuity as a basic principle present even in the smallest cells of the individual articulations ĚĩŎűłĩǡþůŎűĩĢ܋þ-ŁƿűĢþůĩűƷþŦ-ܹƟŻŦǢƟ'nŻűǢܒܺ

At the least, dispensing with the "grand narratives" must be a precondition when they refer to the orthodoxy of "techno-essentialism,"ڙښ a naïve concept of progress that reduces musichistorical dynamics to an increase in structural complexity or gives absolute precedence to the ƪƷƢƿěƷƿƢþŦ-ƟþƢþĢŎłůþƪþǜ'nŻŦĩ܋

¼ŊŏƫżƣƸŊżģżǢǣ܉żdz łĪƣŏŲŃÿ-ŊĪÿģŧŏŲĪƫƸżƣǣÿƣżǀŲģǝŊŏĜŊÿƣÿŲŃĪżł-ŰżƣĪ-ĜżŲƫĪƣǜÿƸŏǜĪżƣƫŏŰƠŧǣ- ģŏdz łĪƣĪŲƸ-ƸƣÿģŏƸŏżŲƫ-ĜÿŲěĪ-ĜŧǀƫƸĪƣĪģ܉-ŲżƸżŲŧǣ-ĜżŲƫƸƣǀĪƫ-ŊŏƫƸżƣǣÿƫÿ-ƢǀÿƫŏܫĪǜżŧǀƸŏżŲÿƣǣ-ƠƣżĜĪƫƫ-

ں Osterhammel, *Die Verwandlung der Welt*.

ڻ- dÿŲǭ܉-ܶrǀƫŏŤŊŏƫƸżƣŏżŃƣÿƠŊŏĪ-ǀŲģrżģĪƣŲĪ܉ܷ-ڐڍڏܨڏڍڏ-ܠܶŤżŲƫĪƢǀĪŲƸĪ-'ĪǭĪŲƸƣŏĪƣǀŲŃģĪƣ-£ĪƣƫƠĪŤƸŏǜĪ-ܟ܊ܞ-ŲŏĜŊƸ-ŰĪŊƣ- ǜżŰðĪŲƸƣǀŰ-/ǀƣżƠÿ܉ƫżŲģĪƣŲǜżŲ-ĪŏŲĪŰ-/ŲƫĪŰěŧĪ-ǀŲƸĪƣƫĜŊŏĪģŧŏĜŊĪƣðĪŲƸƣĪŲÿǀƫ-ĪƣǭďŊŧƸܷܡ

ڼ- -RĪĪ- GĪƣƸŏĜŊ ÿŲģ- GƣĪǜĪ܉- ܶtĪǀĪ rǀƫŏŤ ŏŰ- ƠżƫƸŤżŧżŲŏÿŧĪŲ ðĪŏƸÿŧƸĪƣ܉ܷ- ÃƸǭ܉- *Neue Musik und Interkulturalität*, Danuser, *Musikalische Lyrik*܉ ǜżŧ- ܈ڎ- *Vom 19. Jahrhundert bis zur Gegenwart – außereuropäische Perspektiven*܉ żżŤ and Pople, *The Cambridge History of Twentieth-Century Music*.

ڽ- -RǀĜŊ ÿ- ŰĪƸŊżģ ŏƫ ŏŲ- ŰÿŲǣ ƣĪƫƠĪĜƸƫ ÿŤŏŲ- Ƹż rŏĜŊÿĪŧ- ¼ĪŲǭĪƣܹƫ ÿƠƠƣżÿĜŊ- Ƹż ÿŲ- ܶÿŲÿŧǣƫŏƫ ÿŲģ- ƸŊĪżƣǣ żł- ŰǀƫŏĜƫ żł- ƸŊĪǝżƣŧģ܉ܷ-ƸŊżǀŃŊ-Sģż-ŲżƸƫŊÿƣĪ-¼ĪŲǭĪƣܹƫżƠƸŏŰŏƫŰ-ƸŊÿƸǝĪÿƣĪŏŲģĪĪģ-ŊĪÿģŏŲŃ-Ƹżǝÿƣģÿ-ܶǝżƣŧģ-ŰǀƫŏĜ-ƸŊĪżƣǣܷ- ܠ1/4ĪŲǭĪƣ܉- ܶSŲƸƣżģǀĜƸŏżŲ܈- Ųÿŧǣƫŏƫ܉ ÿƸĪŃżƣŏǭÿƸŏżŲ܉ ÿŲģ- ¼ŊĪżƣǣ żł rǀƫŏĜƫ żł- ƸŊĪ àżƣŧģ܉ܷ- ܡڑڏܨڎڏ àŊÿƸ- S ƫŊÿƣĪ ŏƫ- ¼ĪŲǭĪƣܹƫ ŏŲƫŏŃŊƸ- ƸŊÿƸ- ܶĜżŰƠÿƣŏƫżŲ ÿĜƣżƫƫ ÿŲǣ ěżǀŲģÿƣǣ ƣĪƢǀŏƣĪƫƣĪĜżŲƫŏģĪƣŏŲŃ ěÿƫŏĜ ÿƫƫǀŰƠƸŏżŲƫ ƫż- ƸŊÿƸ- ĜŧĪÿƣ- ģĪƫĜƣŏƠƸŏǜĪŧÿŲŃǀÿŃĪ-ĜÿŲ-ĪŰĪƣŃĪÿŲģŧĪÿģ-ŲżƸżŲŧǣ-Ƹż-ŲĪǝ-ĜÿƸĪŃżƣŏĪƫżłŧĪÿƣŲŏŲŃ܉ěǀƸěĪǣżŲģ-ƸŊĪŰ-Ƹż-ŲĪǝ-ĪǢƠĪƣŏĪŲĜĪƫÿŲģ-ĜżŲƫƸƣǀÿŧƫżł-ŰǀƫŏĜܷ-ܠ1/4ĪŲǭĪƣ܉-ܶ1/4ĪŰƠżƣÿŧ-¼ƣÿŲƫłżƣŰÿƸŏżŲƫŏŲ ƣżƫƫܫ ǀŧƸǀƣÿŧ-£ĪƣƫƠĪĜƸŏǜĪ܉ܷ-ܡړڍڑ-1/4ŊĪ-ǀŲŏǜĪƣƫÿŧŏƫƸŏĜ-ƠƣżšĪĜƸżłÿ-ܶGŧżěÿŧrǀƫŏĜ-¼ŊĪżƣǣܷŏŲǝŊŏĜŊ܉ÿŰżŲŃżƸŊĪƣƫ܉ƫĜÿŧĪƫǣƫƸĪŰƫÿƣĪŏŲƸƣżģǀĜĪģÿƫ-ܶƢǀÿŧŏǿĪģ- ŰǀƫŏĜÿŧ-ǀŲŏǜĪƣƫÿŧƫܷ-ܠNŏšŧĪŊݎ܉*Towards a Global Music Theory*܉-ܡڕ-ŰǀƫƸƫǀƣĪŧǣ-ĪǜżŤĪ-ĜżŲƫŏģĪƣÿěŧĪģżǀěƸƫ

ڴڵ See Williams, "Of Canons and Context."

but also locates that process in compositional technique: it is the same kind of approach that you might use in writing the history of, say, the internal combustion engine […].11

Nicholas Cook's and Anthony Pople's attempt to oppose this orthodoxy through the broad focus of the Cambridge History of Twentieth-Century Music, however, proves problematic in some respects. While it seems fair that the chapter on serial music does not take up more space than that on the "moderate mainstream 1945-75," one of many things that remains unclear is why there is a chapter on art music in Africa, but none on art music in Asia or Latin America. In a strangely timid gesture, the explanation provided for this takes back the de-restriction aimed for directly beforehand:

The rationale, in short, is that non-Western musics fall within the book's scope to the extent that they can be seen as integral to the historical development of Western music, "our" music. That can't to any great extent be said of Beijing opera between the wars, but it becomes more generally the case as the century progresses, with globalization replacing a pattern of sporadic encounters by one of sustained interaction. Indeed there is a sense in which, by the time you get to the end of the century, it is in principle impossible to justify leaving any music, anywhere, out of the book. […] "Western" music, clearly located around 1900 in the urban centers of Europe and North America, has become a global currency in the same way as the hamburger, and one sometimes has the impression that the "art" tradition flourishes more in East Asia, Israel, and parts of South America than in its former heartlands. It is not so much that there has been a relocation from the center to the periphery as that the distinction between center and periphery has become increasingly fuzzy […]. And so it is appropriate that the accumulating emphasis, as the book proceeds, on increasingly globalized and hybridized popular musics leads […] to a kind of reverse discourse: issues of musical modernism and autonomy, increasingly sidelined in the First World, ironically take on a new cultural significance when relocated to the Third. 12

However instructive the insight may be that the discourses of Western music have to change in a globalized context and take on new qualities, I find that the seemingly helpless, albeit ironically understated, retention of the focus on "our' music" is rather questionable. Björn Heile is therefore right in his criticism that "the consequences of the global and globalized nature of new music haven't been fully thought through or conceptualized. […] behind the ostensible cosmopolitanism of the new music scene, the old thinking in terms of 'self' and 'other,' 'center' and 'periphery' seems to go on unabated."3 Admittedly, Cook himself did not stop at this unsatisfactory perspective; since 2002, he has worked continuously on a concept of "relational musicology,"4 referring, among other things, to an approach outlined by Regula Burckhardt Qureshi,5 a concept further pursued by Georgina Born.16 Cook bases this perspective not only on an integration of music analysis, music historiography, and ethnomusicology, but also on a tundamentally relational understanding of musical "meaning":

<sup>11</sup> Cook and Pople, "Introduction: Trajectories of Twentieth-Century Music," 4.

<sup>12</sup> Ibid. 8-9.

<sup>13</sup> Heile, "Weltmusik and the Globalization of New Music," 101–102.

<sup>14</sup> See Cook's essays "One Size Fits All'?,""We Are All (Ethno)musicologists Now,"" Intercultural Analysis as Relational Musicology," and "Anatomy of the Encounter."

<sup>15</sup> Qureshi, "Other Musicologies."

<sup>16</sup> Born, "For a Relational Musicology."

S-ƸŊŏŲŤżł-ŰĪÿŲŏŲŃÿƫƫżŰĪƸŊŏŲŃ-ƸŊÿƸ-ĪŰĪƣŃĪƫ-ƸŊƣżǀŃŊ-ƸŊĪŏŲƸĪƣÿĜƸŏżŲěĪƸǝĪĪŲģŏdz łĪƣĪŲƸ-ƸĪǢƸƫ- żƣ-ƠƣÿĜƸŏĜĪƫ-ܠěĪƸǝĪĪŲǝżƣŤƫÿŲģ-ƠĪƣłżƣŰÿŲĜĪƫ܉ěĪƸǝĪĪŲģŏdz łĪƣĪŲƸ-ŰĪģŏÿ܉ܡÿŲģ-ƸŊÿƸŏƫÿĜĜżƣģܫ ŏŲŃŧǣ-ŲĪŃżƸŏÿƸĪģÿƸ-ƸŊĪ-ƠżŏŲƸżłƣĪĜĪƠƸŏżŲ-SŲżƸŊĪƣǝżƣģƫ-ŰĪÿŲŏŲŃŏƫ-ŲżƸŏŲƸƣŏŲƫŏĜěǀƸÿƣŏƫĪƫłƣżŰ- ƣĪŧÿƸŏżŲƫŊŏƠƫ܉ÿŲģ-ƸŊÿƸܹƫǝŊǣ-SƫƠĪÿŤżłƣĪŧÿƸŏżŲÿŧ-ŰǀƫŏĜżŧżŃǣڝڗ

### Models of Music Historiography and the Critique of Universal History

From the age of colonialism and historicism onward, a persistent dichotomy was established between the *'nŎƪƷŻƢǢ*þƪěƢŎĚĩĢ-ƷŻàĩƪƷĩƢűůƿƪŎě܌þűĢ-'nŻǜƪŎþű܌-ŁƢŎěþű-ŻƢhþƷŎűůĩƢŎěþűůƿsical cultures have only been credited with musical *traditions* but no music-historical continuity. Such a dichotomy exists not least because scripturality has usually only played a secondary ƟþƢƷ-Ŏű-Ʒ'nŻƪĩěƿŦƷƿƢĩƪ܋-Ŏű-ƷƢþĢŎƷŎŻűþŦůƿƪŎě-'nŎƪƷŻƢŎŻłƢþƟ'nǢ܌þ-ĚþƪŎěůŻĢĩŦ-ŻŁěŻűƷŎűƿŎƷǢěŦŻƪĩŦǢ- ƢĩŦþƷĩƪ-ƷŻƪěƢŎƟƷƿƢþŦŎƷǢܒȃŎƪ-ǛŎĩǜ܌ƪƷĩůůŎűł-ŁƢŻů-Ʒ'nĩ-Ʒ'nĩŻƢŎĩƪ-ŻŁ-'nŎƪƷŻƢǢ-ĢĩǛĩŦŻƟĩĢ-ĚǢ-FƢŎĩĢrich Schlegel and Georg Wilhelm Friedrich Hegel in the early nineteenth century, and the acěŻůƟþűǢŎűłƪĩŦĩěƷŎŻűŎƪƷ-ǛþŦƿĩ-ŠƿĢłůĩűƷƪ܌-'nþǛĩ-ƢĩƷþŎűĩĢ-Ʒ'nĩŎƢ-ŎűǴŦƿĩűěĩ-ƷŻ-Ʒ'nŎƪ-ĢþǢܒ-Sű-¼þƢƿƪţŎűܼƪěŻůƟĩűĢŎƿů܌ĩǡƟŦŎěŎƷŦǢ-ƷĩƢůĩĢþ-'nŎƪƷŻƢǢ-ŻŁ-*Western* music, the criterion of scripturality ĚĩěŻůĩƪ-Ʒ'nĩ-ĢĩěŎƪŎǛĩţĩǢ-ƷŻþű-ŻǛĩƢþƢě'nŎűłűþƢƢþƷŎǛĩ܋-

ŏƸŏƫ-ƸŊĪěÿƫŏĜ-ĜŧÿŏŰżł-ƸŊŏƫ-ŰǀŧƸŏǜżŧǀŰĪģ-ŲÿƣƣÿƸŏǜĪ-ܨŏƸƫ-ŲǀŰěĪƣܫżŲĪ-ƠżƫƸǀŧÿƸĪ-ܨ-ƸŊÿƸ-ƸŊĪŧŏƸĪƣÿƸĪ- tradition of Western music is coherent at least insofar as it has a completed shape. Its begin-ŲŏŲŃƫÿƣĪ-ŤŲżǝŲÿŲģ-ĪǢƠŧŏĜÿěŧĪ܉ÿŲģŏƸƫ-ĪŲģŏƫ-ŲżǝłżƣĪƫĪĪÿěŧĪ-ܠÿŲģÿŧƫż-ĪǢƠŧŏĜÿěŧĪܡ-ŲģšǀƫƸÿƫ- ƸŊĪ-Īÿƣŧǣ-ĜŊÿƠƸĪƣƫÿƣĪģżŰŏŲÿƸĪģěǣ-ƸŊĪŏŲƸĪƣƠŧÿǣżłŧŏƸĪƣÿƸĪÿŲģ-ƠƣĪŧŏƸĪƣÿƸĪ-ŰżģĪƫżł-ƸŊŏŲŤŏŲŃ- ÿŲģ-ƸƣÿŲƫŰŏƫƫŏżŲ-ܠÿŲģ-ƸŊĪ-ŰŏģģŧĪ-ĜŊÿƠƸĪƣƫ-Ƹƣǣ-Ƹż-ĜŏƸĪ-ĪŲżǀŃŊ-ĪǢÿŰƠŧĪƫ-Ƹż-ŤĪĪƠ-ƸŊĪŏŲƸĪƣƠŧÿǣ- żłŧŏƸĪƣÿƸĪÿŲģ-ŲżŲŧŏƸĪƣÿƸĪÿŧŏǜĪŏŲ-ƸŊĪƣĪÿģĪƣܹƫ-ĜżŲƫĜŏżǀƫŲĪƫƫ܉ܡƫż-ƸŊĪ-ĜżŲĜŧǀģŏŲŃ-ĜŊÿƠƸĪƣƫÿƣĪ- ģżŰŏŲÿƸĪģěǣ-ƸŊĪŏŲƸĪƣƠŧÿǣżłŧŏƸĪƣÿƸĪÿŲģ-ƠżƫƸŧŏƸĪƣÿƸĪ-ŰżģĪƫ܉ǝŊŏĜŊ-ŊÿǜĪěĪĪŲģŏƫĜĪƣŲÿěŧĪÿƸ- ŧĪÿƫƸƫŏŲĜĪ-ƸŊĪ-ŰŏģģŧĪżł-ƸŊĪ-ƸǝĪŲƸŏĪƸŊ-ĜĪŲƸǀƣǣ܉ÿŲģǝŊŏĜŊƫĪŲƸ-ƸŊĪŧŏƸĪƣÿƸĪ-ƸƣÿģŏƸŏżŲ-ܠŏŲ-ƸŊĪłżƣŰ- żłÿěÿĜŤŧÿƫŊܡŏŲƸżŏƸƫ-ĜǀŧŰŏŲÿƸŏŲŃ-ƠŊÿƫĪڞڗ

Sű- ¼þƢƿƪţŎűܼƪ ěþƪĩ܌- Ʒ'nŎƪ- ĢĩŦŎůŎƷþƷŎŻű- ŻŁ- ƟƢĩܮ þűĢ- ƟŻƪƷŦŎƷĩƢþƷĩ ĩƟŻě'nþŦ- ĚŻƿűĢþƢŎĩƪ- 'nþƪ þű ƿűdertone of cultural pessimism that foregrounds the prevalence of cursory, fragmented listen-Ŏűł-Ŏű-Ʒ'nĩůĩĢŎþþłĩܒ-NŎƪþƷƷŎƷƿĢĩěŻűűĩěƷƪǜŎƷ'ndĩƢƢŻŦĢhĩǛŎűƪŻűܼƪ-Ɵ'nĩűŻůĩűŻŦŻłŎěþŦ-Ʒ'nĩŻƢǢ- of merely stringing together isolated events while listening to music – *concatenationism*. In ڢښ þĢĢŎƷŎŻű܌-1/4þƢƿƪţŎű-ĢĩŁĩűĢƪ-Ʒ'nĩ-ƢĩƪƷƢŎěƷŎŻű-ƷŻ-Ʒ'nĩàĩƪƷĩƢűǜŻƢŦĢ-ܣ/ƿƢŻƟĩþűĢtŻƢƷ'nůĩƢŎěþܤ- ǜŎƷ'nþěŦĩþƢŦǢěŻűƷĩƪƷþĚŦĩþƢłƿůĩűƷ܋- ܹȃĩƪ'nĩĩƢþĚƿűĢþűěĩþűĢ- Ʒ'nĩłĩűĩƢŎě-'nĩƷĩƢŻłĩűĩŎƷǢ-ŻŁ- the music so disseminated in 'the West' is a truly distinguishing feature – perhaps the West's signal musical distinction. It is deserving of critical study."ڙڛ But this unique "abundance of the most varied styles and expressive forms"ښڛ-ŎűàĩƪƷĩƢűůƿƪŎě܌-ŻǼ ƷĩűěĩŦĩĚƢþƷĩĢĩǛĩű-ĚǢ-ܹěƢŎƷŎěþŦܺ- voices, hardly stands up to objections from postcolonial theory or ethnomusicology, and could ƪƿƢĩŦǢ-ĚĩěŦþŎůĩĢ-ŁŻƢ-ƷƢþĢŎƷŎŻűƪƪƿě'nþƪ-SűĢŎþű-ŻƢfŻƢĩþűþƢƷůƿƪŎěǜŎƷ'nĩơƿþŦ-ŠƿƪƷŎȀěþƷŎŻűܒ-

ڻڵ- żżŤ܉-ܶSŲƸĪƣĜǀŧƸǀƣÿŧ-Ųÿŧǣƫŏƫÿƫ-¦ĪŧÿƸŏżŲÿŧrǀƫŏĜżŧżŃǣܷ

ڼڵ- -1/4ÿƣǀƫŤŏŲ܉-ܶSŲƸƣżģǀĜƸŏżŲ܈-1/4ŊĪ-NŏƫƸżƣǣżłàŊÿƸ܉ܐܷååSSS

ڽڵ- -1/4ÿƣǀƫŤŏŲ܉-*Music in the Late Twentieth Century*܉-ڐڍڑܨڌڍڑ-RĪĪhĪǜŏŲƫżŲ܉-*Music in the Moment*.

ڴڶ- -1/4ÿƣǀƫŤŏŲ܉-ܶSŲƸƣżģǀĜƸŏżŲ܈-1/4ŊĪ-NŏƫƸżƣǣżłàŊÿƸ܉ܐܷååSSS

ڵڶ Helmut Lachenmann in Spahn, ܶGĪŃĪŲ ģŏĪ ßżƣŰÿĜŊƸ ģĪƣ ěĪƣǵŧďĜŊŧŏĜŊŤĪŏƸܷ- ܠܶfĪŏŲĪ- ܞÿŲģĪƣĪ rǀƫŏŤƸƣÿģŏƸŏżŲ- ÿǀƷĪƣģĪƣ-ĪǀƣżƠďŏƫĜŊĪŲܟ-ŊÿƸƫŏĜŊƫżƣÿƫÿŲƸłżƣƸĪŲƸǝŏĜŤĪŧƸ-ǀŲģ-ĪŏŲĪŲƫżŧĜŊĪŲ-¦ĪŏĜŊƸǀŰÿŲ-ǀŲƸĪƣƫĜŊŏĪģŧŏĜŊƫƸĪŲ- ®ƸŏŧĪŲ-ǀŲģ-ǀƫģƣǀĜŤƫłżƣŰĪŲ-ŊĪƣǜżƣŃĪěƣÿĜŊƸܷܡ

Alternative approaches to music historiography have repeatedly been outlined, but rarely put into practice. A teleological principle of progress was already questioned in rudimentary manner during the 1920s, for example in the model of metamorphosis and fluctuation in Paul Bekker's Musikgeschichte als Geschichte der musikalischen Formwandlungen (Music History as the History of Changes in Musical Form, 1926), 22 in the cyclical model of Alfred Lorenz's Abendlandische Musikgeschichte im Rhythmus der Generationen (Occidental Music History in the Rhythm of Generations, 1928), 23 and in sociohistorical approaches first pursued systematically since the 1920s.24 To be sure, every one of these studies was limited to European music20 and, in Lorenz's case, was even shaped by a deep cultural pessimism of a decaying "occidental" (or more specifically German) culture threatened by non-European cultural "forces" as outlined in proto-fascist writings such as Oswald Spengler's Der Untergang des Abendlandes (The Decline of the West, 1918/22, first translated into English in 1926), of which the second volume in its subtitle claimed to provide "Perspectives of World History."26

While it is still the prevailing view that "everything presented as a line of development is simply an abstraction from progressions and regressions," and that "development has many threads and moves in several directions simultaneously,"" there is hardly a music-historical overview that has truly drawn out the necessary conclusions from this insight. A systematic discussion of methods would have to draw on something like Dahlhaus's "problem history of composition" against the backdrop of a combination of compositional history, history of ideas, and social history, 8 as well as its critique or refinement in the context of New Musicology. 90 Such a discussion would have to reflect especially on developments in other disciplines, for example the idea of an intercultural history of philosophy.30 Ultimately, the models of "multiple modernities" and "entangled history," explored further below in this chapter, pursue the aim of weaving together at least some of these requirements.

First, however, steps toward an engagement with the tradition of universal-historical and culturally comparative research approaches will be sketched in contrast to two well-known studies, Walter Wiora's Die vier Weltalter der Musik (The Four Ages of Music, 1961) and John Blacking's How Musical Is Man? (1973). Despite Wiora's efforts to distance himself from Eurocentrism,

<sup>22</sup> See Bekker, Musikgeschichte als Geschichte der musikalischen Formwandlungen, 5–15.

<sup>23</sup> See Lorenz, Abendländische Musikgeschichte im Rhythmus der Generationen.

<sup>24</sup> See Potter, Most German of the Arts.

<sup>25</sup> Very few exceptions such as Jacques Handschin's essay "Réflexions dangereuses sur le renouveau de la musique ancienne" [Dangerous Reflections on the Revival of Early Music] (1938) were labeling non-European (here: Japanese) music consistently as "exotic," crediting it with a lack of immediacy. Handschin though questions the universal validity claim of music historiography based on these reflections. See Maier, Jacques Handschins "Toncharakter", 50—59.

<sup>26</sup> See Spengler, Der Untergang des Abendlandes. Lorenz later became an enthusiastic supporter of the Nazi regime; see among others Kinderman, "Das Institut für Musikwissenschaft in der NS-Zeit."

<sup>27</sup> Rienäcker and Rösing "Epochendefinition und Geschichtsschreibung" 411 ("[…] alles, was als Entwicklungslinie dargestellt wird, [ist] nichts anderes als Abstraktion von Progressionen und Regressionen"; "Entwicklung ist […] vielsträngig und geht gleichzeitig in verschiedene Richtungen […].")

<sup>28</sup> Dahlhaus, Grundlagen der Musikgeschichte, 182–187, Dahlhaus, "Zur Problemgeschichte des Komponierens."

<sup>29</sup> See Treitler, Musicand the Historical Imagination, Music in Renaissance Magic, Cook and Pople, The Cambridge History of Twentieth-Century Music, and Taruskin, The Oxford History of Western Music.

<sup>30</sup> See for example Wimmer, Interkulturelle Philosophie, 89–117 and Kimmerle, Interkulturelle Philosophie zur Einführung.

his outline stands in the tradition of colonialist universal-historical concepts. He presupposes a "natural" foundation of music that he only believes to have been fully developed in "occidental music," and whose "naturalness" – as opposed to power-political factors, for example – is the ě'nŎĩŁěþƿƪĩ-ŁŻƢ-Ʒ'nĩłŦŻĚþŦ-ĢŎƪƪĩůŎűþƷŎŻű-ŻŁàĩƪƷĩƢűůƿƪŎěþŦ-ŁŻƢůƪ܋-

SƸǝÿƫ-ĪÿƫǣłżƣżĜĜŏģĪŲƸÿŧ-ŰǀƫŏĜ- ƸżěĪÿƠƠƣżƠƣŏÿƸĪģěǣ- Ƹƣŏěÿŧ-ĜǀŧƸǀƣĪƫÿŲģěÿƫŏĜ-ĜŧÿƫƫĪƫżł-ƸŊĪ- ƣŏĪŲƸ ěĪĜÿǀƫĪ ŏƸƫ łżŧŤ łżƣŰƫ żdz łĪƣĪģ ǜĪƣǣ ƫŏŰƠŧĪ܉ ƫƸƣŏŤŏŲŃ ÿŲģ- ƸŊĪƣĪłżƣĪ- ĜżŲǜŏŲĜŏŲŃ ƫŊÿƠĪƫ-ŲĪƫǀĜŊƫŏŰƠŧĪƫŊÿƠĪŏƫ-ƸŊĪƫƸƣÿŏŃŊƸ-ĪŏŃŊƸܫěÿƣ-ƸǀŲĪŏŲÿ-Űÿšżƣ-ŤĪǣǝŏƸŊÿ-ĜżŲƫƸÿŲƸÿŧƸĪƣŲÿƸŏżŲ- ěĪƸǝĪĪŲ-ƸŊĪ-ƸżŲŏĜÿŲģģżŰŏŲÿŲƸ-¼Ŋŏƫǝÿƫ-ĪŲĜżǀŲƸĪƣĪģŏŲÿŧŧ-ĜǀŧƸǀƣĪƫěǣƫƸƣǀĜƸǀƣĪƫżłǜÿƣǣŏŲŃ- ŤŏŲƫŊŏƠ܉ÿŲģǝÿƫ-ƸŊǀƫ-ĪÿƫŏŧǣÿƫƫŏŰŏŧÿƸĪģ܉łżƣ-ĪǢÿŰƠŧĪŏŲ-ŲÿƸŏżŲÿŧÿŲƸŊĪŰƫ-¼ŊĪ-ܶƫĪĜżŲģ-ƠƣŏŰŏܫ ƸŏǜŏƸǣܷżłƣŊǣƸŊŰŏĜÿŧŧǣƫƸƣÿŏŃŊƸƫżŲŃ-ƸǣƠĪƫŏƫŏŲ-ŤĪĪƠŏŲŃǝŏƸŊ-ƸŊĪżƣŏŃŏŲÿŧ-ƠƣŏŰŏƸŏǜŏƸǣ-¼ŊĪ-ƸǣƠŏĜÿŧ- ƫƸƣǀĜƸǀƣĪżł-ŰÿƣĜŊĪƫżƣ-ƠżƠǀŧÿƣƫżŲŃƫ-Ŋÿƫÿ-ܶƫƸƣŏŤŏŲŃܷ-Īdz łĪĜƸڗڙ

Sű-܌ژڒژڐ-Ŏűþ-ƢĩǛŎĩǜ-ŻŁ-Ʒ'nĩ-ǛŻŦƿůĩ-*Zur Tonalität des deutschen Volksliedes* ܣű-Ʒ'nĩ-¼ŻűþŦŎƷǢ-ŻŁ-Ʒ'nĩ- GĩƢůþű-FŻŦţ-®Żűł܌ܤ edited by Guido Waldmann and ƟƿĚŦŎƪ'nĩĢ-Ŏű- ڗڒژڐ-ĚǢ- Ʒ'nĩtþǬŎ-ŻƢłþűŎǬþ-ƷŎŻű-¦ĩŎě'næŻƿƷ'nhĩþĢĩƢƪ'nŎƟ-ܣ¦ĩŎě'nƪŠƿłĩűĢŁDž'nƢƿűł܌ܤàŎŻƢþ-'nþĢ-ŦŎƪƷĩĢ-ĚþƪŎěþŎůƪ-ŻŁ-ŁŻŦţůƿƪŎě-ƢĩƪĩþƢě'n܌-ŎűěŦƿĢŎűłěþŦŦƪ-ƷŻ-ƢĩěŻűƪƷƢƿěƷǜ'nþƷ-'nĩěŻűƪŎĢĩƢĩĢþűþƷƿƢþŦ-ĢĩǛĩŦŻƟůĩűƷ-ŻŁ-ŁŻŦţ- ůƿƪŎě-ƷŻǜþƢĢ-ƷŻűþŦŎƷǢþűĢĩůƟ'nþƪŎǬŎűł-Ʒ'nĩþĚŎŦŎƷǢ-ŻŁ-GĩƢůþű-ŁŻŦţƪŻűł-ƷŻþƪƪŎůŎŦþƷĩ-ŁŻƢĩŎłű- ŎűǴŦƿĩűěĩƪڛڜܒ-SƷ-ŎƪűŻƷ-ĢŎDzȀěƿŦƷ-ƷŻ-Ƣĩ쯳űŎǬĩ܌-Ʒ'nĩű܌-'nŻǜþ-ĚŦþƷþűƷŦǢűþƷŎŻűþŦŎƪƷþűĢǡĩűŻƟ'nŻĚŎě- ĩůƟ'nþƪŎƪěþű-Ěĩ-ƢĩǜŻƢţĩĢ܌ǜŎƷ'nŻƿƷþűǢě'nþűłĩƪ-ƷŻ-Ʒ'nĩƪƿĚƪƷþűěĩ-ŻŁ-Ʒ'nĩþƢłƿůĩűƷþƷŎŻű܌þƪþ- ƿűŎǛĩƢƪþŦܮ'nŎƪƷŻƢŎěþŦěŻűěĩƟƷܒȃþƷěŻűěĩƟƷ܌-Ʒ'nĩű܌þƷƷĩůƟƷƪ-ƷŻ-ƟƢŻǛĩǜŎƷ'nłƢĩþƷĩűƷ'nƿƪŎþƪů-Ʒ'nĩ- special status of Western music in purely technical, seemingly non-ideological terms.

űĩěŻƿŦĢƪþǢ-Ʒ'nþƷ-ŦþěţŎűłܼƪƪƷƿĢǢƪƷþƢƷƪ-ŁƢŻůþ-ĢŎþůĩƷƢŎěþŦŦǢ-ŻƟƟŻƪĩĢ-ƟŻƪŎƷŎŻű܌űþůĩŦǢ- Ʒ'nĩ-Ʒ'nĩƪŎƪ-Ʒ'nþƷ-ܹþŦŦůƿƪŎě-ŎƪƪƷƢƿěƷƿƢþŦŦǢ܌þƪǜĩŦŦþƪ-ŁƿűěƷŎŻűþŦŦǢ܌-ŁŻŦţůƿƪŎěܒܺڜڜ Hence his study attempts to examine all forms of music from a culture-sociological position through analyses "that explain how a musical system is part of other systems of relationships within a culture."ڝڜ FƢŻů-Ʒ'nŎƪ-ƟĩƢƪƟĩěƷŎǛĩ-ŻűĩěþűƿűĢĩƢƪƷþűĢ-ŦþěţŎűłܼƪěƢŎƷŎơƿĩ-ŻŁǜŻƢŦĢܮ'nŎƪƷŻƢŎěþŦþƟƟƢŻþě'nĩƪ܌ĩƪƟĩěŎþŦŦǢǜ'nĩű-Ʒ'nĩǢ-'nþǛĩþűĩǛŻŦƿƷŎŻűŎƪƷ-ŁŻěƿƪ܋-ܹrƿƪŎěþŦƪƷǢŦĩƪěþűűŻƷ-Ěĩ-'nĩþƢĢþƪƪƷþłĩƪ-Ŏű-Ʒ'nĩ- evolution of music, as judged in terms of one particular civilization's concepts of music."ڞڜ-Ŧþěţܮ ing calls for a precise examination of the sociocultural situation from which music emerges, the "cultural agreement"ڟڜ through which alone it can communicate meaning, and the "sonic order"ڠڜ-Ʒ'nþƷ܌þƪþůƿƪŎěܮƪƟĩěŎȀě-ƟƢŎűěŎƟŦĩ-ŻŁ-ŻƢłþűŎǬþƷŎŻű܌ĩűþĚŦĩƪ-Ʒ'nŎƪěŻůůƿűŎěþƷŎŻűܒ-Ŧþěţܮ ŎűłܼƪþƟƟƢŻþě'n-ǴŦþƷƷĩűƪ-ŻƿƷ-Ʒ'nĩ-ĢŎDz ŁĩƢĩűěĩƪ-ĚĩƷǜĩĩűěƿŦƷƿƢĩƪþƪ-'nĩ-ƷƢŎĩƪ-ƷŻþƟƟŦǢ-Ʒ'nĩƪþůĩ-ĚþƪŎě-

ڵڷ Wiora, *Die vier Weltalter der Musik*,ڒڐڍ-ܠܶrǀƫŏŤģĪƫěĪŲģŧÿŲģĪƫ-ŤżŲŲƸĪŏŲ-®ƸÿŰŰĪƫŤǀŧƸǀƣĪŲ-ǀŲģ-GƣǀŲģƫĜŊŏĜŊ-ƸĪŲģĪƫƣŏĪŲƸƫģÿƣǀŰŧĪŏĜŊƸÿŲŃĪĪŏŃŲĪƸǝĪƣģĪŲ܉ǝĪŏŧƫŏĪŏŲŏŊƣĪŲǜżŧŤƫƸdžŰŧŏĜŊĪŲ-FżƣŰĪŲdžěĪƣÿǀƫ-ĪŏŲłÿĜŊĪ܉- ƠƣďŃŲÿŲƸĪ-ǀŲģģÿƣǀŰ-ĪŏŲŧĪǀĜŊƸĪŲģĪ-GĪƫƸÿŧƸĪŲģÿƣěżƸ-/ŏŲĪƫżŧĜŊĪ-ĪŏŲłÿĜŊĪ-GĪƫƸÿŧƸŏƫƸģĪƣ-ŃŧÿƸƸĪ-ĜŊƸܫ1/4ÿŤƸĪƣ- ŏŲ-'ǀƣ-ŰŏƸƫƸďŲģŏŃĪŰàĪĜŊƫĪŧǜżŲ-¼żŲŏŤÿ-ǀŲģ-'żŰŏŲÿŲƸĪ-/ƣ-ƸƣÿłěĪŏÿŧŧĪŲßƇŧŤĪƣŲÿǀł-ŰĪŊƣżģĪƣǝĪŲŏŃĪƣǜĪƣǝÿŲģƸĪ-®ƸƣǀŤƸǀƣĪŲ-ǀŲģ-ŤżŲŲƸĪƫŏĜŊŧĪŏĜŊƸ-ĪŏŲědžƣŃĪƣŲ܉ƫżŏŲtÿƸŏżŲÿŧŊǣŰŲĪŲ-'ŏĪ-ܸǭǝĪŏƸĪ-£ƣŏŰŏƸŏǜŏƸďƸܹƣŊǣƸŊ-ŰŏƫĜŊ-ŃŧÿƸƸĪƣhŏĪģƸǣƠĪŲ-ŤżŰŰƸģĪƣ-ǀƣƫƠƣdžŲŃŧŏĜŊĪŲ-£ƣŏŰŏƸŏǜŏƸďƸ-ĪŲƸŃĪŃĪŲ-'ŏĪģǀƣĜŊƫĜŊŲŏƸƸŧŏĜŊĪ-®ƸƣǀŤƸǀƣǜżŲ- rďƣƫĜŊĪŲżģĪƣ-®ĜŊŧÿŃĪƣŲ-ŊÿƸ-ܸƫĜŊŧÿŃĪŲģĪܹàŏƣŤǀŲŃܷܡ

ڶڷ- àŏżƣÿ܉-ܶ'ŏĪ-¼żŲÿƣƸĪŲŏŰģĪǀƸƫĜŊĪŲßżŧŤƫŧŏĪģܷ-®ĪĪÿŧƫż-£żƸƸĪƣ܉-*Most German of the Arts*.

ڷڷ- ŧÿĜŤŏŲŃ܉-*How Musical is Man?*, xi.

ڑڎ-܉Sěŏģ- -ڸڷ

<sup>56. .,</sup>Ibid ڹڷ

ڌڍܨڕ-܉Sěŏģ- -ںڷ

<sup>11. .,</sup>Ibid ڻڷ

socioanalytical approach to all kinds of music – a goal that he barely achieves when, in contrast to structuralist analyses of the music of the South African Venda, in discussing works by Benjamin Britten or Gustav Mahler, he follows his own subjective feelings and strongly emphasizes that he has not drawn on any analyses by other authors. 38

Blacking's approach has nonetheless been continued intensively in Anglo-American research in particular, one example of which is Stephen Blum's notable article "Composition" in The New Grove.39 Blum defines composition primarily by the postulate of self-identity (music that remains identifiably the same in different performances can be termed "composition") and begins his account paradigmatically with examples of African and Latin American ritual music whose self-identity - as in many genres of European music - lies primarily in core models that can be augmented in a given performance with varyingly extensive variations. Indeed, as the following section shows, opening up the notion of composition is a preliminary when intercultural contexts of music history are approached, as narrow conceptualizations of this term would leave major gaps in the repertoire to be discussed in such a history. This implies that scripturality can by no means be the sole criterion to delineate what music should be included in an intercultural music history, but also that distinguishing between the connection to written and non-written components of the compositional process can assist in laying out the criteria for comparison sought here. What must also be found is a convincing combination of textual and contextual analysis that unifies hermeneutical, structural, music-aesthetic, and sociohistorical factors in order to grasp the fabric-like, network-like basic structures woven between compositional act, composer, society, politics, and historical "encyclopedia."

### Opening Up the Notion of Composition

The sociohistorical preconditions for artistic, and hence compositional, acts in the globalized context are undoubtedly closely linked to the problems accompanying the global dominance of the Western musical discourse (in the Foucauldian sense). So when one speaks of "new composed music," for example (or also "composed new music"), it is certainly worth questioning first of all how culturally-conditioned these concepts, or the historical processes to which they reter, in fact are.

If we direct our attention toward "new composed music" in East Asia, for example, we are confronted with a common two-phase model. The phase before the intensive encounter with Western culture through imperialism and colonialism since the nineteenth century essentially featured nothing analogous to the Western concept of "musical composition," which consequently appears as a "special path" of the West. After this confrontation with the West, however, the concept of composition experienced a gradual reception and assimilation in East Asia. The spectrum of this assimilation meanwhile extends from the imitation or flawless mastery of Western styles or compositional tendencies toward the rupturing of the cultural-aesthetic foundations underlying the concept of "composition." Leaving aside the problematic postcolonial perspective that presents music-historical movements as solely dependent on Western influence, this also denigrates (traditional) forms of composition in East Asia without further discussion by denying them the dignity of being considered "composition." Thus, in the article "Komposition" (1996) from the encyclopedia Die Musik in Geschichte und Gegenwart, non-Western contexts are consistently ignored, implying that their forms of musical creativity do not meet

<sup>38</sup> lbid., 60.

<sup>39</sup> See Blum, "Composition."

the standard laid out, namely producing a "construct with artistic ambition (which is thus charþěƷĩƢŎǬĩĢ-ĚǢþ-ƟþƢƷŎěƿŦþƢơƿþŦŎƷǢ-ŻŁ-ŁŻƢůƪ܌ĩǡƟƢĩƪƪŎǛĩěþƟþěŎƷǢ܌-ĢĩƟƷ'n-ŻŁůĩþűŎűłĩƷěܒܤܒܺڙڝ

In opposition to this rather dualistic view of Western composed music and non-Western ƷƢþĢŎƷŎŻűþŦŦǢ-ܣƟƢĩĢŻůŎűþűƷŦǢþƿƢþŦŦǢþűĢ-ŻƢþŦŦǢܤ-ƷƢþűƪůŎƷƷĩĢůƿƪŎě܌-SǜŻƿŦĢ-ŦŎţĩ-ƷŻ-ƟƢŻƟŻƪĩþ- more complex model. My model will not dispute the cultural autonomy and largely independent historical development of both forms of musical creativity before the nineteenth century while adopting a less essentialist position. For now, let us continue to assess the concept of "musical composition" in the Western context.ښڝtŻůþƷƷĩƢǜ'nŎě'n-ƟŻŎűƷ-ŻŁ- ƷŎůĩ-ŻƢ-ƟĩƢŎŻĢ- Żűĩě'nŻŻƪĩƪþƪ- Ʒ'nĩ- ƷŎůĩ-ŻŁ-ŎƷƪ-ĚŎƢƷ'n-ܫ-܌ڔڑڏڐ-܌ړږړڐ-ŻƢ-ڛڝږڒڔڐ – the criteria that justify "viewing ěŻůƟŻƪŎƷŎŻűþƪƪƟĩěŎȀě-ƷŻ-Ʒ'nĩ-/ƿƢŻƟĩþűěƿŦƷƿƢþŦ-ƷƢþĢŎƷŎŻűܺڜڝ and hence placing it in opposition to musical creativity in other cultures are far from self-evident.ڝڝ Certainly there was a new ĢĩǛĩŦŻƟůĩűƷ-ĚĩƷǜĩĩű-Ʒ'nĩtŻƷƢĩ-'þůĩ-ƟĩƢŎŻĢþűĢ-Ʒ'nĩ-FƢþűěŻܮFŦĩůŎƪ'nƪě'nŻŻŦ-ƷŻǜþƢĢ-Ʒ'nĩƪĩƟܮ þƢþƷŎŻűþűĢþƿƷŻűŻůǢ-ŻŁ- Ʒ'nĩ-ȀǡĩĢ- ƷĩǡƷ-Ŏű-ƢĩŦþƷŎŻű- ƷŻ-ǛþƢŎŻƿƪ-ƟƢþěƷŎěĩƪ-ŻŁ-ŎůƟƢŻǛŎƪþƷŎŻűþűĢ- extemporized performance, leading to the introduction of a functional and exact music no-ƷþƷŎŻűܒ-1/4ŻłĩƷ'nĩƢǜŎƷ'nþűĩǜ-'nŎĩƢþƢě'nǢ-ŦĩĢ-ĚǢ-Ʒ'nĩěƢĩþƷŎǛĩ*poeticus musicus*, ڞڝ this situation laid Ʒ'nĩ-ŁŻƿűĢþƷŎŻű-ŁŻƢþűĩǜ-ŁŻƢů-ŻŁůƿƪŎěþŦþƿƷŻűŻůǢ܌-Ƣĩþě'nŎűłþ-ȀƢƪƷ-Ɵĩþţ-Ŏű-Ʒ'nĩěŻůƟŻƪŎƷŎŻűþŦ- procedures of the late fourteenth-century *ars subtilior*ܒȃĩƪĩ- ƟƢŻƟĩƢƷŎĩƪ-ŻŁůƿƪŎěþŦ ěŻůƟŻƪŎtion remained crucial in Western music up to the twentieth century, in a complexity that only Ěĩěþůĩ- ƟŻƪƪŎĚŦĩ- Ʒ'nƢŻƿł'n ƪěƢŎƟƷƿƢþŦŎƷǢܒȃĩ- ܹtĩǜ- ŻůƟŦĩǡŎƷǢܺþƪƪŻěŎþƷĩĢǜŎƷ'n-ƢŎþű- FĩƢűĩǢhough, for example, is only conceivable as the radicalized autonomy of written formulation in relation to musical practice, which it certainly enriches creatively at the same time, but without being limited by the possibilities of any established *res facta* (which may freely signify here both the means of standard notational practice as well as limitations of traditional musical perfor-

ڴڸ- -RÿĜŊƫ-ĪƸÿŧ܉-ܶfżŰƠżƫŏƸŏżŲܷ-ܠܶĪŏŲ-GĪěŏŧģĪ-ŰŏƸfǀŲƫƸÿŲƫƠƣǀĜŊ-ܞģÿƫƫŏĜŊƫżŰŏƸģǀƣĜŊěĪƫżŲģĪƣĪ-GĪƫƸÿŧƸƢǀÿŧŏƸďƸ܉- ǀƫģƣǀĜŤƫłďŊŏŃŤĪŏƸ܉-RŏŲŲƸŏĪłĪ-ǀݎďÿǀƫǝĪŏƫƸܟܷܡ

ڵڸ- -RĪĪ ÿŊŲ܉- ܶðǀƣ ßżƣŃĪƫĜŊŏĜŊƸĪ ģĪƫ- ܸƠǀƫ- ƠĪƣłĪĜƸǀŰ- ĪƸ ÿěƫżŧǀƸǀŰ܉ܹܷ fÿģĪŲ܉- *Des Lebens wilder Kreis*܉- ܉ڏڌڍܨڐڒ- Loesch, *'ĪƣàĪƣŤěĪŃƣŏDzłŏŲģĪƣ-ƠƣżƸĪƫƸÿŲƸŏƫĜŊĪŲrǀƫŏŤƸŊĪżƣŏĪģĪƫ-ܓږڑ-ǀŲģ-ܓڗڑdÿŊƣŊǀŲģĪƣƸƫ*, Strohm, "Opus: An Aspect żł-ƸŊĪ-/ÿƣŧǣ-NŏƫƸżƣǣżł-ƸŊĪrǀƫŏĜÿŧàżƣŤܫ żŲĜĪƠƸ܉ܷ-RƸƣżŊŰ܉-ܶ'Īƣ-ŰǀƫŏŤÿŧŏƫĜŊĪàĪƣŤěĪŃƣŏdz ł܈-'ÿŊŧŊÿǀƫ-ǀŲģģŏĪ- tÿĜŊǝĪŧƸ܉ܷ-FŧżƸǭŏŲŃĪƣ܉-ܶGŧżƫƫĪŲǭǀŰłƣdžŊĪŲÿěĪŲģŧďŲģŏƫĜŊĪŲ-ܸfżŰƠżƫŏƸŏżŲƫܹܫĪŃƣŏdz ł܉ܷÿŲģÿŲģǀƣ܉-ܶ żŰƠżƫŏ-ƸŏżŲܕfżŰƠżƫŏƸŏżŲ܉ܷ-RÿĜŊƫ-ĪƸÿŧ܉-ܶfżŰƠżƫŏƸŏżŲ܉ܷŧǀŰ܉-ܶ żŰƠżƫŏƸŏżŲ܉ܷrƇŧŧĪƣ܉-ܶfżŰƠżƫŏƸŏżŲܷ

ڶڸ- -ŲĪ-ŰŏŃŊƸ-ǀŲģĪƣƫƸÿŲģ-ƸŊŏƫ-ĜżŲĜĪƠƸ-Ƹż-ŊÿǜĪÿƣŏƫĪŲŏŲ-ƸŊĪ-ĪÿƣŧǣÿƠƠĪÿƣÿŲĜĪżł-ƸŊĪ-ƸĪƣŰ-ܶĜżŰƠżŲĪƣĪܷŏŲ-Gǀŏģż- żłƣĪǭǭżܹƫ-*Micrologus de musica*-ܠ ŊÿƠƸĪƣ-܉ڑڍ-܉ܡڑڎڌڍŏŲģŏĜÿƸŏŲŃÿƫŏŃŲŏǿĜÿŲƸ-ƠÿƣÿģŏŃŰƫŊŏǽ Ƹ-Ƹżǝÿƣģÿ-ܶƣĪǵŧĪĜƸŏǜĪ܉- ƸŊżƣżǀŃŊŧǣ-ĜżŲƫŏģĪƣĪģłżƣŰżł-ŰǀƫŏĜÿŧŏŲǜĪŲƸŏżŲܷ-ܠfÿģĪŲ܉-*Des Lebens wilder Kreis*܉-ܔڕڒ-ܶƣĪǵŧĪŤƸŏĪƣƸĪ܉ܟܞ-ŰĪŊƣłÿĜŊ- džěĪƣģÿĜŊƸĪܟܞ-FżƣŰ-ŰǀƫŏŤÿŧŏƫĜŊĪŲ-/ƣǿŲģĪŲƫܷܡ-/ƢǀÿŧŧǣżŲĪ-ŰŏŃŊƸǜŏĪǝ-ƸŊĪ-ƸĪƣŰ*res facta* of Johannes Tinctoris (*¼ĪƣŰŏŲżƣǀŰrǀƫŏĜÿĪ-'ŏDzǾŲŏƸżƣŏǀŰ*܉-ܡڐړܨڎړڐڍżƣ-ƸŊĪģĪǿŲŏƸŏżŲżł-ƸŊĪ*opus perfectum et absolutum* (and the *opus conƫǀŰÿƸǀŰ-ĪƸ-ĪDzłĪĜƸǀŰ*ܡŏŲ- ŊÿƠƸĪƣ-SżłtŏŤżŧÿǀƫhŏƫƸĪŲŏǀƫܹƫ-*Musica*-܉ܡړڏڑڍܠ-ƸŊÿƸŏƫ-Ƹżƫÿǣ܉-ƸŊĪ-GĪƣŰÿŲ*musica poetica* of ƸŊĪ-¦ĪłżƣŰÿƸŏżŲ܉ÿƫÿģĪĜŏƫŏǜĪƫƸĪƠ-Ƹżǝÿƣģ-ƸŊĪ-ĪƫƸÿěŧŏƫŊŰĪŲƸżł-ƸŊĪ-ĜżŲĜĪƠƸŏŲàĪƫƸĪƣŲ-ŰǀƫŏĜ-ŊŏƫƸżƣǣ

ڷڸ- fÿģĪŲ܉-*Des Lebens wilder Kreis*܉-ڑڒ-ܠܶfżŰƠżƫŏƸŏżŲÿŧƫ-ĪŏŲ-®ƠĪǭŏǿŤǀŰ-ĪǀƣżƠďŏƫĜŊĪƣfǀŧƸǀƣƸƣÿģŏƸŏżŲǭǀ-ĪƣÿĜŊƸĪŲܷܡ

ڸڸ See Blum, "Composition."

ڹڸ- -RĪĪ ÿŊŲ܉- ܶðǀƣ ßżƣŃĪƫĜŊŏĜŊƸĪ ģĪƫ- ܸƠǀƫ- ƠĪƣłĪĜƸǀŰ- ĪƸ ÿěƫżŧǀƸǀŰܹܷ ÿŲģ- ƸŊĪ- ĜƣŏƸŏĜÿŧ ÿƣŃǀŰĪŲƸƫ ŏŲ hżĪƫĜŊ܉-*Der àĪƣŤěĪŃƣŏDzłŏŲģĪƣ-ƠƣżƸĪƫƸÿŲƸŏƫĜŊĪŲrǀƫŏŤƸŊĪżƣŏĪģĪƫ-ܓږڑ-ǀŲģ-ݒܓڗڑdÿŊƣŊǀŲģĪƣƸƫ*܉ƣĪšĪĜƸĪģěǣ-®ƸƣżŊŰ܉-ܶ'Īƣ-ŰǀƫŏŤÿŧŏƫĜŊĪ- àĪƣŤěĪŃƣŏdz ł܈-'ÿŊŧŊÿǀƫ-ǀŲģģŏĪtÿĜŊǝĪŧƸ܉ܷ-܈ڎړڎ-ܶ'Īƣ-ĪŃƣŏdz łģĪƫ-ŰǀƫŏŤÿŧŏƫĜŊĪŲ*opus* ܟ܊ܞǝÿƣŧÿŲŃĪǜżƣhŏƫƸĪŲŏǀƫ- und der Wittenberger Schulreform im internationalen humanistischen Sprachgebrauch verbreitet und stell-ƸĪěĪƣĪŏƸƫģŏĪƫĪŧěĪŲ-ŲżƣŰÿƸŏǜĪŲ-ŲƫƠƣdžĜŊĪǝŏĪģĪƣšĪŲŏŃĪģĪƫ-ڕڍdÿŊƣŊǀŲģĪƣƸƫ܉ǝĪŲŲ-ĪƣÿǀĜŊģŏĪrǀƫŏŤƠƣÿǢŏƫ- ŲżĜŊ-ŲŏĜŊƸŏŲģĪƣƫĪŧěĪŲƣĪŏƸĪÿěģĪĜŤƸĪǝŏĪŏŲƫƠďƸĪƣĪŲdÿŊƣŊǀŲģĪƣƸĪŲܷ-ܠܶ1/4ŊĪ-ĜżŲĜĪƠƸżłÿ-ŰǀƫŏĜÿŧ*opus*-ܟ܊ܞǝÿƫ- common long before Listenius and the Wittenberg educational reform in international humanistic usage and ÿŧƣĪÿģǣ-ƠŧÿĜĪģ-ƸŊĪƫÿŰĪ-ŲżƣŰÿƸŏǜĪģĪŰÿŲģƫÿƫ-ƸŊżƫĪżł-ƸŊĪ-ŲŏŲĪƸĪĪŲƸŊ-ĜĪŲƸǀƣǣ܉ÿŧƸŊżǀŃŊŏƸģŏģ-ŲżƸǣĪƸ-ĜżǜĪƣ- ŰǀƫŏĜ-ƠƣÿĜƸŏĜĪ-Ƹż-ƸŊĪƫÿŰĪ-ĪǢƸĪŲƸÿƫŏŲŧÿƸĪƣ-ĜĪŲƸǀƣŏĪƫܷܡ-

mance). Yet Debussy's polemical comment, quoted in Chapter 1, that characterized Javanese gamelan music as "a counterpoint that makes Palestrina's seem like child's play"" shall remind us that complexity is by no means linearly dependent on scripturality. (This will be exemplified, among many other examples, by those African genres that served as György Ligeti's models in creating hyper-complex rhythmic-metrical structures in his later works, → V.2.)

Such practices as Ferneyhough's are undoubtedly deeply indebted to a specific feature in the Western conception of composition that emerged in the early phases of modernity around 1800: the "objectified spirit" ot the musical work, in which the notated appears as a (culturally encoded) text.47 The culture-sociological circumstances involving this topos were the emancipation of music from social functions, the development of concert and opera life, and above all a corresponding repertoire that enabled the intertwining of antiquity and modernity in which the paradoxical postulate of "originality" could be realized. This paradox is illustrated most clearly by the expectation that the "original genius" (Originalgenie) will keep creating new things while still respecting the limits of certain conventions. 48 In other words, the new and advanced was (or is) only acceptable it it could (or can) be related to the existing repertoire, even if only by slowly "seeping into" that repertoire through its repeated performance and gradual ascent to canonic status.

This kind of self-reflexivity of music has been singled out as the decisive criterion for the definition of musical modernity by Tobias Janz, 9 who also stresses the extent to which progress-driven European modernity remained dependent on an anti-modernist "discomfort of modernity."50 Examples of such a paradoxical linking of modernist and anti-modernist layers are the juxtaposition of authoritarian pre-modern art religion and high-modernist dramaturgy of sound in Richard Wagner' Parsifal (1877–82), 4 or the ambivalence between colonialist and postcolonialist readings in Charles Koechlin's and Percy Grainger's adaptations of Rudyard Kipling's Jungle Book, where the non-European Other as an idealized "counter model" of Western modernity is at once integrated and ostracized.52

The question still remains whether general autonomy from musical practice, involving the strong focus on scripturality, is sufficient to quality composition as specific to Western culture. In recent musical performance studies, this assumption has been thoroughly challenged and countered by minimizing the impact of written musical notation to a mere "script," a secondary aid for the primary experience of musical performance or "musicking,"33 positing a work concept which is inwardly based on "sounded writing" – the "work as performance."\* Probably the most important intervention in this field has been Carolyn Abbate's essay "Music – Drastic or Gnostic?," which adopted Vladimir Jankélévitch's music philosophy for a much-discussed challenge of the long-lasting discourse of "great works as unperformed abstractions," in-

<sup>46</sup> Debussy, Monsieur Croche et autres écrits, 223 (see Chapter 1, footnote 23).

<sup>47</sup> Dahlhaus, "Der Werkbegriff als Paradigma," 94-95. See also Bürger, Theory of the Avant-Garde, 47-54.

<sup>48</sup> Dahlhaus, "Der Werkbegriff als Paradigma," 97-98.

<sup>49</sup> Janz, Genealogie der musikalischen Moderne, 239–265.

<sup>50</sup> Ibid., 513 ("Unbehagen an der Moderne" – a formulation which alludes to the German translation of Charles Taylor's book The Malaise of Modernity, 1991)

<sup>51</sup> Ibid., 448—456.

<sup>52</sup> Ibid., 457-514.

<sup>53</sup> See Small, Musicking.

<sup>54</sup> See Cook, Beyond the Score, 237—248.

<sup>55</sup> Abbate, "Music - Drastic or Gnostic?," 505.

ƪƷĩþĢ-ĢĩůþűĢŎűłþűĩǜ-ŁŻěƿƪ-ŻŁůƿƪŎěŻŦŻłǢ-Żű-ܹůƿƪŎěűŻƷþƪþǜŻƢţ-ĚƿƷþƪþűĩǛĩűƷܺڟڞ and its "material presence and carnality."ڠڞ It has been noted by several commentators that Abbate's ŎűƷĩƢǛĩűƷŎŻű-ܣǛŎþƪŻƿƢěĩƪ-ŁƢŻůdþűţĪŦĪǛŎƷě'n-Ʒ'nþƷĩǡƷĩűĢ-Ěþěţ-ƷŻ-Ʒ'nĩ-ڏڑژڐƪܤěþű-Ěĩ-ƷƢþěĩĢ-ƷŻĩþƢ-ŦǢ-ƷǜĩűƷŎĩƷ'nܮěĩűƷƿƢǢ-ǛŎƷþŦŎƪů܌-ĚƿƷþŦƪŻ-ƷŻůƿƪŎěܮƪƟĩěŎȀěþƟƟƢŻþě'nĩƪ-ŻŁ-ƟƢŎŻƢŎƷŎǬŎűłƪŻƿűĢŎűł- ƟĩƢŁŻƢůþűěĩþƪ-ŎűƷƢŻĢƿěĩĢ-ĚǢ-£þƿŦĩţţĩƢ-ŻƢ-ŦŁƢĩĢ-®ě'nDžƷǬڡڞܒȃŎƪƪƿĚƪƷþűƷŎþƷĩƪ-Ʒ'nĩ-ŻĚƪĩƢǛþtion, made by many scholars today, that a critique of modernity is deeply ingrained in the process of modernity itself, a process which prominently and necessarily involves the decentering ĢǢűþůŎěƪ-ŻŁłŦŻĚþŦŎǬþƷŎŻű-ƟƢŻěĩƪƪĩƪþűĢ-ŎűƷĩƢěƿŦƷƿƢþŦěŻűǴŦŎěƷ-ǬŻűĩƪܒ

/Ǜĩű-ŎŁ- Ʒ'nŎƪ- ƷƢþĢŎƷŎŻű- ŻŁ- ƷƿƢűƪ- ƷŻǜþƢĢ- ܹůþƷĩƢŎþŦܺ- ŻƢ- ܹƟĩƢŁŻƢůþűěĩܺ-ŎűůƿƪŎě ƪě'nŻŦþƢƪ'nŎƟ- tends to retain a dualism of written and sounding dimensions of music, thus remaining indebtĩĢ-ƷŻþ-ĚþƪŎě-ƟŻŦþƢŎǬþƷŎŻű-Ʒ'nĩǢěŦþŎů-ƷŻ-ƷƢþűƪěĩűĢ܌ĩþě'n-ŻDz ŁĩƢƪþ-'nŎł'nŦǢűĩěĩƪƪþƢǢĩǡƷĩűƪŎŻű-ŻŁ- ŁŻěƿƪǜ'nĩűþƟƟƢŻþě'nŎűł-Ʒ'nĩ-ĢĩȀűŎƷŎŻű-ŻŁěŻůƟŻƪŎƷŎŻű-Ŏűþű-ŎűƷĩƢěƿŦƷƿƢþŦěŻűƷĩǡƷ܋űŻƷ-ŻűŦǢ-Ŏƪ- composition dependent on performative reproduction and aural perception, composition and listening can themselves be understood as performative acts and thus described as incommensurable and idiosyncratic.ڢڞȃŎƪ-ŎĢĩþǜŎŦŦ-ĚĩěŻůĩ-ŻĚǛŎŻƿƪ-ŎűűƿůĩƢŻƿƪþűþŦǢƪĩƪ-ƟƢĩƪĩűƷĩĢ-Ŏű Ʒ'nĩ-ŁŻŦŦŻǜŎűłě'nþƟƷĩƢƪܒȃĩƢĩǜĩǜŎŦŦƪĩĩ-'nŻǜþű-ŎűƷĩƢþěƷŎŻű-ĚĩƷǜĩĩűěŻůƟŻƪĩƢƪ܌-ƟĩƢŁŻƢůĩƢƪ܌þűĢþƿĢŎĩűěĩƪůþǢ-ĚĩěŻůĩěŻůƟŦĩƷĩŦǢ-ƢĩěŻűěĩŎǛĩĢþűĢ-ܹƢĩŎűǛĩűƷĩĢ܌ܺ-ŻǼ Ʒĩű-Żű-Ʒ'nĩ-ĚþƪŎƪ-ŻŁƪƟĩěŎȀěěƿŦƷƿƢþŦ-ƟƢĩěŻűĢŎƷŎŻűƪܒȃŎƪěŻűěĩƟƷǜŎŦŦ-ƟĩƢ'nþƟƪ-ĚĩěŻůĩěŦĩþƢĩƪƷ-Ŏű-Ʒ'nĩ-ƟþƢƷŦǢ-ƟŻŦŎƷŎěþŦŦǢ- ůŻƷŎǛþƷĩĢ-ŎĢĩþƪ-ŻŁdŻƪĪrþěĩĢþþűĢæǕŠŎ-¼þţþ'nþƪ'nŎ-ݑދܣSSSܒܤړܒ

ŁěŻƿƢƪĩ܌-Ʒ'nĩ-ŎĢĩþ-Ʒ'nþƷűŻűܮàĩƪƷĩƢűěƿŦƷƿƢĩƪǜŻƿŦĢ-Ěĩ-ĚþƪĩĢ-ƟƢŎůþƢŎŦǢ-ܣŻƢĩǛĩűĩűƷŎƢĩŦǢܤ- Żű-ƟĩƢŁŻƢůþƷŎǛĩþűĢ-ܹůþƷĩƢŎþŦܺ-ܣþƿƢþŦܘŻƢþŦܤ-ƟƢþěƷŎěĩƪ-ŎƪĩơƿþŦŦǢ-ŻűĩܮĢŎůĩűƪŎŻűþŦܒ-SƷƪ'nŻƿŦĢ-Ěĩ- þěţűŻǜŦĩĢłĩĢ-Ʒ'nþƷűŻűܮàĩƪƷĩƢűůƿƪŎěþŦěƿŦƷƿƢĩƪþŦƪŻ-'nþǛĩǜƢŎƷŎűł-ƟƢþěƷŎěĩƪ-Ʒ'nþƷĩůþűěŎƟþƷĩ- themselves from musical realization and add speculative and autonomous dimensions to the functionality of musical notation.ڙڟ-/Ǜĩű-ŎűĩþƢŦǢ-Ɵ'nþƪĩƪ܌-Żűĩěþű-ĢĩƷĩěƷþěƢĩþƷŎǛĩƪĩŦŁܮþǜþƢĩܮ ness in this context – for example, in the scores of *ci* songs by the Chinese scholar Jiang Kui ܤڐڑڑڐܫڔڔڐڐܣ-ŁƢŻů-Ʒ'nĩƪŻƿƷ'nĩƢű-®Żűł-'ǢűþƪƷǢ-ܒܤژږڑڐܫږڑڐڐܣdŎþűłűŻƷ-ŻűŦǢ-ƷĩƢůĩĢ-Ʒ'nĩƪĩƪŻűłƪ-'nŎƪ- "own compositions" (*ziduqu*܌ܤ-ĚƿƷþŦƪŻþĢĢĩĢ-ƟƢĩŁþěĩƪ-ƷŻ-'nŎƪƪěŻƢĩƪĩǡƟŦþŎűŎűł-Ŏű-ĢĩƷþŎŦ-'nŻǜ-'nĩ- had developed the text and music in close parallel.ښڟ

ȃĩƢĩŁŻƢĩ܌-ŎƷƪĩĩůƪ-쯳ĩűƷ-ƷŻ-ĢĩȀűĩ-Ʒ'nĩěŻűěĩƟƷ-ŻŁ-ܹěŻůƟŻƪŎƷŎŻűܺ-Ŏűþ-ܹłŦŻĚþŦܺůþűűĩƢ-ŁƢŻů- the outset, as Stephen Blum has done.ڛڟ-ÃűĢĩƢƪƷþűĢŎűł-Ʒ'nĩ-ŎűǛĩűƷŎŻű܌űŻƷþƷŎŻű܌-ƟĩƢŁŻƢůþűěĩ܌þűĢ-ƢĩěĩƟƷŎŻű-ŻŁůƿƪŎěþƪƪŻěŎŻěƿŦƷƿƢþŦþěƷƪ-ŦĩƷƪ-ܹěŻůƟŻƪŎűłܺþƟƟĩþƢþƪ-Ʒ'nĩ-ĢĩȀűŎƷŎŻű-ŻŁþű-ܣŎű-ƷĩƢܤěƿŦƷƿƢþŦ-ƟŻƪŎƷŎŻűþűĢ-Ʒ'nƿƪ-ŻDz ŁĩƢƪ-ŎűƪŎł'nƷ-ŎűƷŻ-Ʒ'nĩěŻůƟŻƪĩƢܼƪ-ܣþűĢ-ƟĩƢŁŻƢůĩƢܼƪ-ŻƢ-ŦŎƪƷĩűĩƢܼƪܤ- ƪƷþűěĩ-ƷŻǜþƢĢěƿŦƷƿƢþŦ܌ƪŻěŎþŦ܌þűĢƪŻěŎĩƷþŦěŻűĢŎƷŎŻűƪþűĢ-ƢĩþŦŎƷŎĩƪܒěěŻƢĢŎűł-ƷŻȃĩŻĢŻƢàܒ-Adorno, we can trace these conditions to the tiniest details of a score,ڜڟ even if the composer ƢĩůþŎűƪƿűþǜþƢĩ-ŻŁƪƿě'něŻűűĩěƷŎŻűƪܒȃĩěŻůƟŦĩǡŎƷǢ-ŻŁ-Ʒ'nƿƪ-ĢĩȀűŎűłþƪŻěŎŻěƿŦƷƿƢþŦ-ƟŻƪŎƷŎŻű-

ڏڏڑ-܉Sěŏģ- -ںڹ

ڕڎڑ-܉Sěŏģ- -ڻڹ

ڼڹ- -RĪĪżƣŤ܉-ܶ1/4ĪǢƸǜĪƣƫǀƫ-£ĪƣłżƣŰÿŲĜĪ-ܨǭǀ-ĪŏŲĪŰ-'ǀÿŧŏƫŰǀƫģĪƣrǀƫŏŤŃĪƫĜŊŏĜŊƸƫƫĜŊƣĪŏěǀŲŃ܉ܷ-܉ڏڔڏdżƫƸ܉-ܶ'Īƣ-ܸƠĪƣłżƣŰÿƸŏǜĪ-ƸǀƣŲܹŏŲģĪƣrǀƫŏŤłżƣƫĜŊǀŲŃ܉ܷ-܉ڎڕڎÿŲģfÿěŏƫĜŊ܉-ܸܶßĪƣƫĜŊǝŏŲģĪŲģĪƫ-/ƣƫĜŊĪŏŲĪŲܹÿŧƫ-£ƣŏŲǭŏƠ-ĪŏŲĪƣrǀƫŏŤ- ģĪƣrżģĪƣŲĪ܉ܷ-܉ڕڏƫǀŰŰÿƣŏǭĪģŏŲ-ÃƸǭ܉-ܶ ÿƣżŧǣŲěěÿƸĪrǀƫŏĜ-ܨ-'ƣÿƫƸŏĜżƣ-GŲżƫƸŏĜܐܷ

ڽڹ- -RĪĪfƣÿŰĪƣ܉-ܶFƣżŰ-ƸŊĪ-ƸŊĪƣ-Ƹż-ƸŊĪěšĪĜƸ܉ܷ-ڒڒܨڑڒÿŲģ-ÃƸǭ܉-ܶßżŰÿģďƢǀÿƸĪŲǭǀŰ-ƠĪƣłżƣŰÿƸŏǜĪŲ-NƇƣĪŲܷłżƣÿ-ƸŊĪżƣǣżł-ܶƠĪƣłżƣŰÿƸŏǜĪŧŏƫƸĪŲŏŲŃܷ

ڴں See for example Liang, *Music of the Billion*܉-ڎڌڎܨڒڔڍ

ڵں Lam, "Writing Music Biographies of Historical East Asian Musicians."

ڶں Blum, "Composition."

ڷں- ģżƣŲż܉-ܶðǀƣ-ŃĪƫĪŧŧƫĜŊÿǽ ƸŧŏĜŊĪŲhÿŃĪģĪƣrǀƫŏŤ܉ܷ-ڍڏړ

undoubtedly increases with the two opposing tendencies in cultural globalization: homogenization and diversification. Through this binary, one can understand the compositional process as the conceptual linking of historical location, social context, cultural context, and the composer's biographical "constellation" to the specific processing of problems immanent in tradition, genre, œuvre, and the individual work. In an interculturally accentuated approach to composition, the interplay between these factors becomes clear. As soon as composers operate between different cultural contexts, their historical location and the immediately relevant musical traditions begin to oscillations should be the focus of an intercultural music historiography.

### De-Nationalizing Music Historiography

Broadening our idea of musical composition, integrating dimensions of performed and perceived sound, and deconstructing the idea of authenticity are merely preliminary steps in an attempt at decentering and denationalizing the writing of music history. In order to outline a more comprehensive view of this challenge, the following chapters (II.2—II.6) develop ideas put forward by recent theories in historical studies such as "entangled history" and "multiple" or "alternative modernities."65 The focus is on "non-simultaneous" processes in music history of different nations or regions of the world during the first and the second half of the twentieth century, alluding to the notions of "relationality" and "synchronicity" as discussed in recent historical scholarship:56 Whereas relationality signifies that in modernity no region or nation is the sole agent of its history, that the emergence of modern societies is deeply connected to an interactive process among regions, nations, or cultures,67 synchronicity stresses the fact that "synchronous" (largely synonymous with "simultaneous") global processes in modern history have often engendered interdependent changes in different areas of the world. ® While these approaches suggest a more emphatic perspective on the project of a "world history" by bringing local developments together into a common framework, my approach aims to confront this framework with those "non-synchronous" or "non-simultaneous" aspects of pre- and postwar (music) history of the twentieth century that resist the project of a unified "world (music) history." The precondition and challenge, therefore, is to understand any local, national, or regional music-historical processes not in isolation from global processes but as (frequently unscious and/or unconsidered) consequences of inter- or transnational dynamics, including (but not limited to) political and social contexts such as political ideologies and postcolonial power structures, images, and mentalities. Local or national dynamics and processes that do not match an overarching historical narrative must still be acknowledged.

Reflecting these tensions and the divergent preconditions of art music composition in the different areas of the world since 1900, the notion of a "non-simultaneity of the simultaneous" [Ungleichzeitigkeit des Gleichzeitigen] as coined by art historian Wilhelm Pinder during the 1920s and made famous by Ernst Bloch's in-depth Marxist analysis of rising fascism in the

<sup>64</sup> See Werner and Zimmermann, "Beyond Comparison."

<sup>65</sup> See Eisenstadt, Multiple Modernities, Gaonkar, Alternative Modernities, Conrad and Eckert, "Globalgeschichte, Globalisierung, multiple Modernen," and Janz, "Multiple Musical Modernities?" This concept is discussed more thoroughly toward the end of Chapter II.4.

<sup>66</sup> See the summaries in Conrad, What is Global History?, 65–66, 150–156.

<sup>67</sup> See Goody, The East in the West.

<sup>68</sup> See Harvey, The Condition of Postmodernity.

ڏڒژڐƪƪƟƢŎűłƪ-ƷŻůŎűĢڢڟܒ-Sű-ŦŻě'nܼƪƪŻěŎþŦ-Ʒ'nĩŻƢǢ܌-Ʒ'nĩ-ܹűŻűܮƪŎůƿŦƷþűĩŻƿƪܺ-ĢĩƪŎłűþƷĩĢ-Ʒ'nĩ-ܹĢŎDz ŁĩƢܮ ĩűƷ-ƷŎůĩƪ܌-Ʒ'nĩ-ĢŎDz ŁĩƢĩűƷ-ܻűŻǜƪܼܺ-ŻŁ-/ƿƢŻƟĩþűƪŻěŎĩƷŎĩƪ-ĢƿƢŎűł-Ʒ'nĩ-ȀƢƪƷ-ĢĩěþĢĩƪ-ŻŁ-Ʒ'nĩ-ƷǜĩűƷŎĩƷ'n- ěĩűƷƿƢǢ܌ǜ'nŎě'n-ŦŻě'n-ĢĩƷĩƢůŎűĩĢ- ܹƿƪŎűł- Ʒ'nĩ-쯯ƢĢŎűþƷĩƪ-ŻŁþłĩ܌ěŦþƪƪ܌þűĢłĩŻłƢþƟ'nǢܺڙڠ܋ the ƿűĩůƟŦŻǢĩĢ-ǢŻƿƷ'n܌-Ʒ'nĩ-ƟĩþƪþűƷƢǢ܌þűĢ-Ʒ'nĩ-ƢŎƪŎűłƿƢĚþűůŎĢĢŦĩěŦþƪƪþŦŦ-ŦŎǛĩĢ-Ŏű-ĢŎDz ŁĩƢĩűƷ-ܹűŻǜƪܺ-ĚƿƷ ƪ'nþƢĩĢþ ěŻůůŻű-ŎůƟƿŦƪĩ- ƷŻ- ƢĩŠĩěƷ- Ʒ'nĩůŻĢĩƢűŎƪƷ- ƟƢĩƪĩűƷ܌ůþţŎűł- Ʒ'nĩů ƪƿƪěĩƟƷŎĚŦĩ- ƷŻ- extremist ideas and movements. A literal transfer of this theory to music history is surely not viable and is not my principal aim. Rather, I am curious about how the "radical polyphony" of twentieth-century new music as described by Andreas Meyerښڠ can be understood against the ĚþěţłƢŻƿűĢ-ŻŁ-ŦŻě'n߳ƪ-Ʒ'nĩŻƢĩƷŎěþŦ-ŁƢþůĩǜŻƢţܒȃĩě'nþŦŦĩűłĩ-Ʒ'nƿƪ-ŎƪűŻƷ-ƷŻ-ƢĩƪŻƢƷ-ƷŻ-Ʒ'nĩěŻůůŻű- ƪƷĩƢĩŻƷǢƟĩ-ŻŁþƪŎůƟŦĩ-ܹƪƷǢŦŎƪƷŎě-ƟŦƿƢþŦŎƪůܺ-ŎűůƿƪŎěƪŎűěĩ-ڔړژڐ-ŻƢ-ƷŻ-Ʒ'nĩ-ƷƢŻƟĩ-ŻŁűŻűܮàĩƪƷĩƢű- areas experiencing an "asynchronous delay" to Western centers, connected to an implicit or ex-ƟŦŎěŎƷ-ƟƢĩƪƪƿƢĩ-ƷŻ-ܹěþƷě'nƿƟܺǜŎƷ'nàĩƪƷĩƢűƪƷþűĢþƢĢƪ-ܣƷ'nŻƿł'n-Ʒ'nŎƪǜþƪþěŻůůŻű܌-ŎŁ-ŻǼ Ʒĩűƪ'nŻƢƷܮ sighted demand articulated by many non-Western reformers in early postcolonial periodsܒܤڛڠ-Rather, the repeated emphasis on "non-simultaneity" points to the fact that twentieth-century music is much less subject to *one*-ŦŎűĩþƢ-'nŎƪƷŻƢŎěþŦűþƢƢþƷŎǛĩ-Ʒ'nþű-'nþƪ-ŻǼ Ʒĩű-ĚĩĩűƪƿƟƟŻƪĩĢܒ-

ȃþƷůƿƪŎě-'nŎƪƷŻƢǢěþű-ŻűŦǢ-ĚĩþĢĩơƿþƷĩŦǢƿűĢĩƢƪƷŻŻĢþűĢǜƢŎƷƷĩű-ŁƢŻůþű-ŎűƷĩƢܮ-ŻƢ-ƷƢþűƪnational perspective is neither a new nor, probably, a particularly provocative insight. Concert and opera companies of the seventeenth to nineteenth centuries were characterized by continuous processes of migration and exchange, and their protagonists – composers, virtuosos, singers, impresarios – usually had correspondingly polyglot life stories.ڜڠ Styles typically blended ingredients from diverse local, supra-regional, and "foreign" traditions, even and paradoxically where they claimed to produce "national styles."ڝڠ-/Ǜĩű-Ŏű-Ʒ'nĩűŎűĩƷĩĩűƷ'něĩűƷƿƢǢ܌-ŁƿĩŦĩĢ- by the "poison of nationalism," public recognition could only be gained on the basis of interna-ƷŎŻűþŦƪƿěěĩƪƪ܌þűĢ-Ʒ'nĩůƿƪŎěþŦ-ĚŎŻłƢþƟ'nŎĩƪ-ŻŁ- 'nŻƟŎű܌hŎƪǬƷ܌àþłűĩƢ܌-ŻƢrþ'nŦĩƢþƢĩƿűŎůþłŎűܮ able without transnational journeys – in part forced by economic pressures.

Sű-ŎƷƪ-ƷƿƢű܌ůƿƪŎě-'nŎƪƷŻƢŎŻłƢþƟ'nǢ-ŁƢŻůdŻ'nþűűtŎţŻŦþƿƪ-FŻƢţĩŦ܌-FƢþűĞŻŎƪܮdŻƪĩƟ'n-FĪƷŎƪ܌þűĢ- August Wilhelm Ambros to Hugo Riemann has followed the model of a universal history, dat-Ŏűł-Ěþěţ-ƷŻ-Ʒ'nĩ-/űŦŎł'nƷĩűůĩűƷ-ܫǜŎƷ'n-Ʒ'nĩǜĩŦŦܮţűŻǜű-ƟƢŻĚŦĩůƪþƪƪŻěŎþƷĩĢǜŎƷ'n-Ʒ'nŎƪěŻűěĩƟƷ- Ŏű- Ʒ'nĩ ěŻűƷĩǡƷ-ŻŁþǜŻƢŦĢůþƢţĩĢ- ĚǢ ěŻŦŻűŎþŦŎƪů܌-ŎůƟĩƢŎþŦŎƪů܌þűĢůŎŦŎƷþƢŎƪůܒ- Sű- Ʒ'nĩƪĩƿűŎversal music histories, international or intercontinental relations were by no means presented űĩƿƷƢþŦŦǢ܌-ĚƿƷ-ܫƪŎűěĩ-Ʒ'nĩůŎĢܮűŎűĩƷĩĩűƷ'něĩűƷƿƢǢůŻƪƷŦǢƿűĢĩƢ-NĩłĩŦŎþű-ŎűǴŦƿĩűěĩ-ܫ-ŎűěƢĩþƪܮ ŎűłŦǢƪ'nþƟĩĢ-ƷĩŦĩŻŦŻłŎěþŦŦǢ-ŻƢĩǛŻŦƿƷŎŻűþƢŎŦǢ-ƷŻǜþƢĢ-ƢĩěĩűƷ-/ƿƢŻƟĩþűþƢƷůƿƪŎěþƪþţŎűĢ-ŻŁ-ܹŻƟ-ƷŎůŎǬĩĢܺƪƷþƷĩ-ŻŁłŦŻĚþŦ-ĢĩǛĩŦŻƟůĩűƷܒȃŎƪ-ǛŎĩǜƟŻŎűƷ-ĢŻǜűłƢþĢĩĢůƿƪŎě-ŻŁ-ŻƷ'nĩƢěƿŦƷƿƢĩƪþűĢ- ĩþƢŦŎĩƢ-ƷŎůĩƪ-ƷŻůĩƢĩĩþƢŦǢ-ŻƢ-ƟƢĩܮ'nŎƪƷŻƢǢ܌-ŎŁ-ŎƷǜþƪþƷƷƢŎĚƿƷĩĢþ-ܹ'nŎƪƷŻƢŎěþŦěþƟþěŎƷǢܺþƷþŦŦܒ-/Ǜĩű- þǼ ƷĩƢ-܌ڏڏژڐǜ'nĩűƪƿě'n-/ƿƢŻěĩűƷƢŎƪůǜþƪěƢŎƷŎěŎǬĩĢ-ĚǢěŻůƟþƢþƷŎǛĩůƿƪŎěŻŦŻłǢ܌ǜ'nŎě'nþŎůĩĢ-

ڽں Pinder, *Das Problem der Generation in der Kunstgeschichte Europas* and Bloch, */ƣěƫĜŊÿǼ ƸģŏĪƫĪƣðĪŏƸ*ܔ ƫĪĪ- ®ĜŊǝÿƣƸǭ܉-"Ernst Bloch and Wilhelm Pinder."

ڴڻ- -RĜŊǝÿƣƸǭ܉-ܶ/ƣŲƫƸŧżĜŊÿŲģàŏŧŊĪŧŰ-£ŏŲģĪƣ܉ܷ-ڔڑ

ڵڻ- -ܶ1/4ŊĪ-ŰǀƫŏĜ-ŊŏƫƸżƣǣżł-ƸŊĪ-ƸǝĪŲƸŏĪƸŊ-ĜĪŲƸǀƣǣŏƫƣÿģŏĜÿŧŧǣ-ƠżŧǣƠŊżŲŏĜ-SƸģŏƫŏŲƸĪŃƣÿƸĪƫŏŲƸżģŏdz łĪƣĪŲƸ-ĜǀŧƸǀƣĪƫ܉ÿŲģ- no *zeitgeist*-ĜÿŲ-ŰĪģŏÿƸĪěĪƸǝĪĪŲ-ƸŊĪŰܷ-ܠrĪǣĪƣ܉-ܶßżŧŤƫƸdžŰŧŏĜŊ-ܨ-ƠƣŏŰŏƸŏǜ-ܨ-ƠżƠǀŧďƣ܉ܷ ړڎ-ܶ'ŏĪrǀƫŏŤŃĪƫĜŊŏĜŊƸĪ- ģĪƫ-ڌڎݎdÿŊƣŊǀŲģĪƣƸƫŏƫƸƣÿģŏŤÿŧǜŏĪŧƫƸŏŰŰŏŃ-®ŏĪǭĪƣłďŧŧƸŏŲǜĪƣƫĜŊŏĪģĪŲĪfǀŧƸǀƣĪŲ܉ģŏĪ-ŤĪŏŲðĪŏƸŃĪŏƫƸ-ŰŏƸĪŏŲÿŲģĪƣǜĪƣŰŏƸƸĪŧƸܷܡ

ڶڻ Mishra, *From the Ruins of the Empire*܉-ړ

ڷڻ- -RĪĪ܉ ÿŧĪŧŧÿ܉-ܶrŏŃƣÿƸŏżŲ܉-1/4ƣÿŲƫłĪƣ-ǀŲģ-GÿƸƸǀŲŃƫǝÿŲģĪŧܷ

ڸڻ See, among others, Bohlman, *Focus: Music, Nationalism, and the Making of the New Europe* and La Motte-Haber, *Nationaler Stil und europäische Dimension in der Musik der Jahrhundertwende*.

at a more context-sensitive understanding of musical cultures, little changed. Hugo Riemann, for example, reacting to early studies of non-Western tone and tuning systems in the foreword to the first volume of his Handbuch der Musikgeschichte (1904) insisted on the universal validity of the "division of the octave into twelve semitones" and declared this a "historical fact that a few poorly drilled pipes from Polynesia or questionable singing performances of colored females cannot upset."75 In his late work Folkloristische Tonalitätstudien (1916), Riemann attempted to substantiate the alleged universality of the European major and minor scales by means of a developmental narrative of melodies and modes in various musical cultures. At that point, the influential nineteenth-century concept of a continuous evolution of cultures had already been challenged by new ideas of a relativity, equality, and multiplicity of cultures as put forward most prominently by Alexander Ellis's epochal comparative study on the "Musical Scales of Various Nations" (1885) and in writings by German-American anthropologist Franz Boas.66 This cultural relativism, however, was not yet a well-established concept in early comparative musicology, as testified by Erich Moritz von Hornbostel's and Carl Stumpt's but also by Charles Seeger's basically evolutionary concepts of cultural history, which generally accredited low developmental stages to "primitive" non-Western musics."

Despite the blatant isolationism brought about by totalitarian systems, especially in the first half of the twentieth century, and despite many neo-nationalist tendencies extending into the immediate present, the extent of the transnational network of interrelationships in both art and popular music grew in the twentieth century. At least toward the end of the century, these changing relationships made the need to revise the established music-historical methodologies increasingly clear. It can be said that, as a result of exile and extensive migratory movements, an increased transnational orientation in the arts has been a simple historical fact since the beginning of the twentieth century. This orientation also decisively influenced the aesthetics and reception of prominent émigré artists such as Edgard Varèse, Arnold Schoenberg, Igor Stravinsky, Béla Bartók, Isang Yun, or Tan Dun. The awareness of addressing a global audience shaped compositional aesthetic concepts on a particularly broad scale after 1945, even though initially only few composers defended an explicitly inter- or transculturally oriented universalism (→ II.2).

Yet even today, a critique of the national bias of music historiography is by no means obsolete. Certainly, Richard Taruskin has been accused of, in volume 5 of his Oxford History of Western Music, which deals with music since 1945, overemphasizing American tendencies® (and among them neotonal currents) and constructing a teleological music-historical narrative from the geopolitical tensions of the Cold War based on the supposed decline of the avantgarde. Taruskin unequivocally defends his narrative in the preface to the paperback edition of the volume:

<sup>75</sup> Riemann, Handbuch der Musikgeschichte, vol. 1, V—VI. ("Teilung der Oktave in zwölf Halbtöne," "historisches Faktum, das man mit ein paar mangelhaft gebohrten Pfeifen aus Polynesien oder mit fragwürdigen Gesangsleistungen farbiger Weiber nicht über den Haufen rennt.")

<sup>76</sup> Ellis, "On the Musical Scales of Various Nations" and Boas, The Mind of Primitive Man. See Taylor, Beyond Exoticism, 107-108.

<sup>77</sup> See Stumpf, Die Anfänge der Musik and Hornbostel, "Die Probleme der vergleichenden Musikwissenschaft." On Seeger see Sharif, Speech about Music.

<sup>78</sup> See among others the critique of Taruskin's "xenophobic essentialism" (Cook, "Alternative Realities," 208) and his "erstaunlichen Akt des Ethnozentrismus" ("amazing act of ethnocentrism") (Cox, "Richard Taruskins The Oxford History of Western Music," 103).

¼ŊĪ-ÃŲŏƸĪģ-®ƸÿƸĪƫ-ǀŲƢǀĪƫƸŏżŲÿěŧǣŏŲŊĪƣŏƸĪģ-ŰǀƫŏĜÿŧŧĪÿģĪƣƫŊŏƠģǀƣŏŲŃ-ƸŊŏƫ-ƠĪƣŏżģłƣżŰ-/ǀƣżƠĪ- ܨÿƸǿƣƫƸěǣģĪłÿǀŧƸ܉ÿƫÿ-Ńŏǽ ƸłƣżŰģżŧł-NŏƸŧĪƣ܉-ƸŊÿŲŤƫ-ƸżǝŊżŰ-®ĜŊżĪŲěĪƣŃ܉-RƸƣÿǜŏŲƫŤǣ܉ÿƣƸŽŤ܉-NŏŲģĪŰŏƸŊ܉fƣĪŲĪŤ܉fżƣŲŃżŧģ܉rŏŧŊÿǀģ܉ÿŲģ-ŰÿŲǣżƸŊĪƣƫ-Ŋÿģ܉ěǣ-܉ڑڐڕڍšżŏŲĪģ-¦ÿĜŊŰÿŲŏŲżdz ł܉ßÿƣĪƫĪ܉ÿŲģŧżĜŊŏŲ-ŰĪƣŏĜÿ܉-ŰÿŲǣżł-ƸŊĪŰƣĪŰÿŏŲŏŲŃÿŲģěĪĜżŰŏŲŃ-ĜŏƸŏǭĪŲƫ-¼ŊĪ-ĜżŲģŏƸŏżŲƫ-ƸŊÿƸ- ƫƸŏŰǀŧÿƸĪģ-ƸŊĪƣŏƫĪżł-ƸŊĪ-ƠżƫƸǝÿƣ-/ǀƣżƠĪÿŲÿǜÿŲƸܫŃÿƣģĪǝĪƣĪŧÿƣŃĪŧǣ-ĜƣĪÿƸĪģěǣ-ƸŊĪdz ǿĜĪżł- rŏŧŏƸÿƣǣ-GżǜĪƣŲŰĪŲƸ܉-ÃŲŏƸĪģ-®ƸÿƸĪƫ-ܠrGî܉ܡ-ƸŊĪ-ŰĪƣŏĜÿŲżĜĜǀƠǣŏŲŃłżƣĜĪ-ƸŊÿƸ܉łżƣżŲĪ-ƠÿƣƸŏĜܫ ǀŧÿƣŧǣ-ƸĪŧŧŏŲŃ-ĪǢÿŰƠŧĪ܉ǿŲÿŲĜĪģÿŲģÿƸǿƣƫƸÿģŰŏŲŏƫƸĪƣĪģ-ƸŊĪ-'ÿƣŰƫƸďģƸĪƣ-FĪƣŏĪŲŤǀƣƫĪ܉ÿƸǝŊŏĜŊ- ƸżƸÿŧƫĪƣŏÿŧŏƫŰ܉-/ǀƣżƠĪÿŲܫƫƸǣŧĪ܉ǝÿƫěżƣŲ-ܨŏŲłÿƣ-ŰżƣĪģŏƣĪĜƸƣĪƫƠżŲƫĪ-Ƹż-®żǜŏĪƸÿƣƸƫ-ƠżŧŏĜǣ-ƸŊÿŲ- Ŋÿƫ-ĪǜĪƣěĪĪŲ-ƠǀěŧŏĜŧǣÿģŰŏƸƸĪģ-¼ŊĪƣĪÿǽ ƸĪƣ܉ŏƸǝÿƫ-ƸŊĪ-ŰǀƫŏĜżł-ƸŊĪ-ŰĪƣŏĜÿŲÿǜÿŲƸܫŃÿƣģĪ܉-ĜŊŏĪłŧǣƣĪƠƣĪƫĪŲƸĪģěǣdżŊŲ ÿŃĪÿŲģrżƣƸżŲ-FĪŧģŰÿŲ܉ÿŲģ-ĪŲƸŊǀƫŏÿƫƸŏĜÿŧŧǣ-ƠƣżƠÿŃÿƸĪģěǣŧÿǜŏƫŊŧǣ- ƫǀěƫŏģŏǭĪģàĪƫƸ-GĪƣŰÿŲƣÿģŏżƫƸÿƸŏżŲƫ-܉ܟ܊ܞ-ƸŊÿƸƫĪƸ-ƸŊĪ-ƸżŲĪłżƣ-/ǀƣżƠĪÿŲ-ĪǢƠĪƣŏŰĪŲƸÿƸŏżŲڟڝ

'ĩƪƟŎƷĩþŦŦ-ŦĩłŎƷŎůþƷĩěƢŎƷŎěŎƪůþűĢþűƿűůŎƪƷþţþĚŦĩ-ŻűĩƪŎĢĩĢűĩƪƪ܌-ŎƷěþű-ĚĩěŻűěĩĢĩĢ-Ʒ'nþƷ-¼þ-ƢƿƪţŎűܼƪþƢłƿůĩűƷƪűŻƷ-ŻűŦǢ- ŁƿŦȀŦŦþłĩűĩƢþŦþűĢ-ĚþƪŎě-ƢĩơƿŎƢĩůĩűƷ-ŻŁěƿŦƷƿƢþŦܮƪěŎĩűƷŎȀěůĩthodology by combining the ideological and institutional historical with aesthetic dimensions ŻŁ-ƢĩěĩűƷůƿƪŎě-'nŎƪƷŻƢǢ܌-ĚƿƷ-Ŏű-ƟþƢƷŎěƿŦþƢ܌-'nŎƪ-ƷĩǡƷ-ƟŦþěĩƪþ-ȀűłĩƢ-ŻűƪŻƢĩ-ƟŻŎűƷƪþűĢƿűƢĩƪŻŦǛĩĢ- ƟƢŻĚŦĩůƪ-ŻŁ-'nŎƪƷŻƢŎŻłƢþƟ'nŎěþŦůĩƷ'nŻĢŻŦŻłǢ-ܣŎƷ-ŎƪűŻěŻŎűěŎĢĩűěĩ- Ʒ'nþƷ-¼þƢƿƪţŎűƪĩĩƪ-ŎƷþƪ- Ʒ'nĩ- 'nŎƪƷŻƢŎþűܼƪ-ƟƢŎůþƢǢ-Ʒþƪţ-ܹƷŻ-ĢŎƪĩűě'nþűƷþƿƢþƪþűĢ-ĢĩůǢƪƷŎŁǢ-ĢŎƪěŻƿƢƪĩƪܺܒܤڙڡà'nþƷěŻƿŦĢþ-Ŧĩƪƪ- ƟŻŦĩůŎěþŦŦǢě'nþƢłĩĢěŻűěƢĩƷŎŻű-ŻŁƪƿě'nþůĩƷ'nŻĢ-ŦŻŻţ-ŦŎţĩ-Ʒ'nþƷþŦƪŻ-ƷŎĩƪ-ŎűǜŎƷ'n-ƢĩěĩűƷěŻűƪŎĢܮ ĩƢþƷŎŻűƪ-ŻŁþłŦŻĚþŦůƿƪŎě-'nŎƪƷŻƢǢþƪ-ŻƿƷŦŎűĩĢþĚŻǛĩܓȃĩěþƪĩƪƷƿĢŎĩƪ-Ŏű-Ʒ'nĩ-ŁŻŦŦŻǜŎűłě'nþƟƷĩƢƪ- ܣSSܫڑܒSSܤڕܒþĢĢƢĩƪƪ-Ʒ'nŎƪě'nþŦŦĩűłĩ-ĚǢ-ƢĩǛŎƪŎƷŎűł-Ʒ'nĩƪŎƷƿþƷŎŻű-ŻŁþű-ŎűěƢĩþƪŎűłŦǢ-ŎűƷĩƢěŻűűĩěƷĩĢ- ǜŻƢŦĢþłþŎűƪƷ-Ʒ'nĩ-ĚþěţĢƢŻƟ-ŻŁůƿƪŎěܮ'nŎƪƷŻƢŎěþŦƪŎƷƿþƷŎŻűƪ-Ŏű-/ƿƢŻƟĩ܌-Ʒ'nĩî܌þűĢ-/þƪƷƪŎþܒ- ȃĩ-ŁŻěƿƪǜŎŦŦ-Ěĩ-ƟŦþěĩĢ-ŻűþƟƟŦǢŎűł-Ʒ'nĩůŻĢĩŦ-ŻŁĩűƷþűłŦĩĢ-'nŎƪƷŻƢǢ܌ǜ'nŎě'n܌-ŎűěŻűƷƢþƪƷ-ƷŻůŻĢܮ ĩŦƪ-ŻŁűþƷŎŻűþŦ- 'nŎƪƷŻƢǢ܌þƷƷĩůƟƷƪ- ƷŻ- ܹƪǢƪƷĩůþƷŎěþŦŦǢ- ĢƢþǜþƷƷĩűƷŎŻű- ƷŻ- Ʒ'nĩ-ŎűƷĩƢŦŻěţŎűł-ŻŁ- Ʒ'nĩ- levels of investigation and their mutual conditionality."ښڡȃŎƪþƟƟƢŻþě'nþŎůƪ-ƷŻĩǡƟŦŻƢĩ-ܹƪŻěŎþŦ܌cultural, and political formation, generally at the national level, that are assumed to be one-toone,"ڛڡ with internationalized art production as a prime example of "areas of contact that are transformed through their mutual interaction."ڜڡ

¼ƢþűƪŁĩƢƢĩĢ-ƷŻ-Ʒ'nĩ-ȀĩŦĢ-ŻŁůƿƪŎě܌-ŎűƷĩƢĢĩƟĩűĢĩűěŎĩƪ-ĚĩƷǜĩĩűěŻůƟŻƪŎƷŎŻűþŦ-ĢĩěŎƪŎŻűƪ܌ěŻű-ǛĩűƷŎŻűƪþűĢ-ŎűűŻǛþƷŎŻűƪ܌-ŎűƪƷŎƷƿƷŎŻűþŦ-ĢĩǛĩŦŻƟůĩűƷƪ܌þűĢ-ܣěƿŦƷƿƢþŦܤ-ƟŻŦŎƷŎěþŦěŻűĢŎƷŎŻűƪěþű- be considered at the transnational level. In the current subject discourse of musicology, such a model seems to encounter problems, above all, because the division of labor between sub-ĢŎƪěŎƟŦŎűĩƪ-ŻŁůƿƪŎěŻŦŻłǢ-Ŏƪ-ǛĩƢǢþĢǛþűěĩĢþűĢƪŻůĩƷŎůĩƪƪĩĩůƪ-ŎƢƢĩǛĩƢƪŎĚŦĩ܋þ-ܹàŻƢŦĢrƿƪŎěܺexplored by ethnomusicology, encompassing traditional and popular music, is juxtaposed with globalized "Western Music," for which historical musicology is deemed responsible.ڝڡ A high ĢĩłƢĩĩ-ŻŁ-ĢŎDz ŁĩƢĩűƷŎþƷŎŻűþűĢ܌ěĩƢƷþŎűŦǢ܌-Ʒ'nĩ-ŎűƪƷŎƷƿƷŎŻűþŦƪĩƟþƢþƷŎŻű-ŻŁ-Ʒ'nĩƪĩ-ƷǜŻ-ĢŎƪěŎƟŦŎűĩƪ܌ƪĩĩů-ƷŻůþţĩ-ŦŎűţŎűł-Ʒ'nĩů-ƟĩƢĩűűŎþŦŦǢ-ĢŎDzȀěƿŦƷܒ

ååܨåSåܷ-܉ƣĪłÿĜĪ-ܶ£܉ÿƣǀƫŤŏŲ¼- -ڽڻ

ڌڔڎܷ-܉ܐ*ěŧǀƸěĪǴŧĪĜŤƸtŏĜŊƸ*-܈ƸĪƣǝżƣģ ǽ-ܶ܉ÿƣǀƫŤŏŲ¼- -ڴڼ

ڵڼ- àĪƣŲĪƣÿŲģðŏŰŰĪƣŰÿŲŲ܉-ܶßĪƣŃŧĪŏĜŊ܉-1/4ƣÿŲƫłĪƣ܉ßĪƣǵŧĪĜŊƸǀŲŃ܉ܷ ڌڏڒ-ܠܶģŏĪ-ǀłŰĪƣŤƫÿŰŤĪŏƸƫǣƫƸĪŰÿƸŏƫĜŊÿǀłģŏĪ- ßĪƣƫĜŊƣďŲŤǀŲŃģĪƣ-ÃŲƸĪƣƫǀĜŊǀŲŃƫĪěĪŲĪŲ-ǀŲģÿǀłŏŊƣĪǝĪĜŊƫĪŧƫĪŏƸŏŃĪ-ĪģŏŲŃƸŊĪŏƸ-ܞŧĪŲŤĪŲܟܷܡ-Fżƣ-ƸŊĪ-ŊŏƫƸżƣŏĜÿŧ- ĜŧÿƫƫŏǿĜÿƸŏżŲżł-ƸŊŏƫÿƠƠƣżÿĜŊƫĪĪÿŰżŲŃżƸŊĪƣƫ-NÿǀƠƸ܉-ܶNŏƫƸżƣŏƫĜŊĪfżŰƠÿƣÿƸŏƫƸŏŤŏŲģĪƣŏŲƸĪƣŲÿƸŏżŲÿŧĪŲ-GĪschichtsschreibung."

ڶڼ- àĪƣŲĪƣÿŲģðŏŰŰĪƣŰÿŲŲ܉-ܶĪǣżŲģ żŰƠÿƣŏƫżŲ܉ܷ-ڍڏ

ڑڏݎ܉Sěŏģ- -ڷڼ

ڸڼ- -RĪĪdÿŲǭ܉-ܸܶGŏěƸ-Īƫ-ĪŏŲĪàĪŧƸŃĪƫĜŊŏĜŊƸĪģĪƣrǀƫŏŤ܉ܐܹܷ-ڔڐڍ

New music before and after 1945, however, is at odds with this division simply because in its development, the turn to forms of traditional (often non-European) musical practice, which were increasingly marginalized in the course of musical and social modernization, played a key part - at least since Bartók's and Stravinsky's doubly reflected and broken folklorism (→ II.3). What Andreas Meyer refers to as "musical anthropology"85 sheds light on a specific area of tension in twentieth-century art music: between the integration of the marginalized, the "Other," into public discourse and the shift toward the allegedly "non-cultural," "pure" structures as they appear especially in the aesthetics of serial music after 1950, numerous facets of new music emerge in which modernist and anti-modernist motifs are interwoven. In other words, for new music – especially in the 1950s and 60s – there is a paradox that exists between a basic cultural relativism - an essentialism insisting on the uniqueness and incommensurability of local traditions - and an advanced structuralist universalism. Such aesthetic transformations cannot be adequately understood without the geopolitical context of the twentieth century.

### Iransnational Avant-gardes?

Understanding musical composition, performance, and reception as results of "non-simultaneous" entangled networks, does not, of course, imply the existence of a "transcultural avantgarde." As discussed earlier, a single person may always be conceive themselves as "transcultural," as not indebted to a specific national or regional cultural essence – perhaps, following Welsch or Han, transcending or even eliminating the very notion of clearly distinct, separate cultures (→ I.3). However, such an idealized definition of transculturality is ill-fitting with a historical analysis of the decades around 1900 and later periods in which cultural essentialism blossomed in both its hegemonic and its emancipatory forms. Of course, this polarity between authoritarian and relativist cultural essentialism did not stop at the frontiers of musical composition. The way in which composers (mis-)represented and appropriated non-Western musics in musical exoticism and orientalism is a well-studied area of postcolonial musicology. However, we can arguably detect traces of relativist thought in the ideas of some composers who turned to non-Western musical traditions with more dedication and enthusiasm. In such cases, the context of musical modernity, its rejection of established musical modes and practices, helped to overcome prejudice against an assumed low evolutionary stage of non-Western traditions.

One of the questions we have to solve here is whether such modernist approaches toward non-Western musics resulted in a transnational proliferation of compositional techniques and aesthetic ideas that were indeed shared by a "transcultural avant-garde." Even if we, as a first step, attempt here to replace "transcultural" with the more neutral term "transnational," and thus challenge the idea that composers actually created a hybrid aesthetic area beyond the spheres of distinct cultures, the question remains whether these composers formed transnational groups connected either by real networks or at least by shared ideas. My basic argument here will be that such transnational connections were quite loose, especially before the 1950s, but even during later periods.

Adopting Bloch's concept of the "non-simultaneity of the simultaneous" to music historiography may enable us to understand how composers and musicians developed similar ideas and approaches against radically different social backgrounds, and motivated by hardly comparable social and aesthetic agendas (→ II.4, II.5). Whether we highlight the entanglement (relationality, simultaneity) of these ideas (guided by the principle of an entangled history) or rather

<sup>85</sup> Meyer, "Volkstümlich - primitiv - populär," 34-40.

their social, geographical, or conceptual distinction and independence (isolation, non-simul-ƷþűĩŎƷǢܗ łƿŎĢĩĢ- ĚǢ- Ʒ'nĩ- ƟƢŎűěŎƟŦĩ-ŻŁ*multiple modernities*ܤůŎł'nƷ űŻƷ-ŦĩþƪƷ- Ěĩþ ơƿĩƪƷŎŻű-ŻŁ-ŻƿƢ- ƷƢƿƪƷ-ŻƢƪţĩƟƷŎěŎƪů-ƷŻǜþƢĢ-Ʒ'nĩ-ŎĢĩþ-ŻŁþłŦŻĚþŦůƿƪŎě-'nŎƪƷŻƢǢ-ŎűþűĩůƟ'nþƷŎěƪĩűƪĩܒȃŻƿł'nůǢ- focus on the "non-simultaneity of the simultaneous" may seem to place me in the camp of the ƪţĩƟƷŎěƪ܌-SůƿƪƷĩůƟ'nþƪŎǬĩ-Ʒ'nþƷ-SĩűĢŻƢƪĩ-Ʒ'nĩěŻűěĩƟƷ-ŻŁłŦŻĚþŦůƿƪŎě-'nŎƪƷŻƢŎŻłƢþƟ'nǢ-ƟƢĩěŎƪĩŦǢ- Ěĩěþƿƪĩ-ŎƷůþţĩƪƿƪþǜþƢĩ-ŻŁƪƿě'n-ܹűŻűܮƪŎůƿŦƷþűĩŎƷŎĩƪܺ-ŻƢűŻűܮƢĩŦþƷŎŻűƪܒ

ȃĩ-ŻƷ'nĩƢ܌ĩǛĩűůŻƢĩěŻůƟŦĩǡ-Ŏƪƪƿĩ-ƷŻ-Ěĩ-ƷþěţŦĩĢ-'nĩƢĩ-Ŏƪ-Ʒ'nĩ-ĢĩȀűŎƷŎŻű-ŻŁþůƿƪŎěþŦþǛþűƷܮ łþƢĢĩܒűĩůŎł'nƷþƢłƿĩ-Ʒ'nþƷǜĩůƿƪƷƪŻůĩ'nŻǜ-ŦŎǛĩǜŎƷ'n-Ʒ'nĩ-ƟƢŻĚŦĩů-ŻŁ-ܹůƿƪŎěþŦþǛþűƷܮłþƢĢĩܺþƪþű-ŎŦŦܮĢĩȀűĩĢ-ƷĩƢůǜ'nŎě'n-ƷƿƢűƪ-ŻƿƷ-ƷŻ-ĚĩĩŎƷ'nĩƢ-ƷŻŻűþƢƢŻǜŦǢ-ŻƢ-ƷŻŻ-ĚƢŻþĢŦǢ-ĢĩȀűĩĢܒȃĩţĩǢ- point for the discussion of a *transnational* avant-garde is, of course, that it compels us to rede-Ȁűĩ-Ʒ'nĩűŻƷŎŻű-ŻŁ-ܹůƿƪŎěþŦþǛþűƷܮłþƢĢĩܺ-Ŏű-Ʒ'nĩěŻűƷĩǡƷ-ŻŁþłŦŻĚþŦ-ĢŎůĩűƪŎŻű-ŻŁ-ܣþƢƷܤůƿƪŎěůþţŎűłܒƿƷ-ŦĩƷƿƪ-ȀƢƪƷ-ƢĩůŎűĢ-ŻƿƢƪĩŦǛĩƪ-Ʒ'nþƷ-Ʒ'nĩ-ĢĩȀűŎƷŎŻű-ŻŁ-Ʒ'nĩ-ƷĩƢů*avant-garde*, even within a Western discourse of new music, is far from evident. Recently, Pietro Cavallotti has insisted Ʒ'nþƷ-£ĩƷĩƢ-DžƢłĩƢܼƪƪƷþűĢþƢĢ-ĢĩȀűŎƷŎŻű-ŻŁ-Ʒ'nĩ-ƷĩƢů܌ǜ'nŎě'n-Ʒþţĩƪ-ŎƷƪěƿĩ-ŁƢŻůĩþƢŦǢ-ƷǜĩűƷŎĩƷ'nܮ ěĩűƷƿƢǢþǛþűƷܮłþƢĢĩůŻǛĩůĩűƷƪ-Ŏű-ǛŎƪƿþŦþƢƷƪþűĢ-ŦŎƷĩƢþƷƿƢĩ܌-Ŏƪ-ŎűůþűǢǜþǢƪ-ŎŦŦܮȀƷƷŎűłǜŎƷ'n- twentieth-century *music* history.ڟڡ In this sense, Gianmario Borio suggested earlier that an aesthetics of continuously *surpassing* the features of musical modernity must be considered a ţĩǢěŻűěĩƢű-ŻŁ-Ʒ'nĩ*musical* avant-garde (without necessarily calling such procedures "progress" ŎűþűþƢƢŻǜƪĩűƪĩڠڡܒܤ-ƟƟŦǢŎűł-Ʒ'nŎƪ-ĢĩȀűŎƷŎŻűěŻűƪŎƪƷĩűƷŦǢ܌-'nŻǜĩǛĩƢ܌-ƟƢŻǛŻţĩƪ-Ʒ'nĩ-ƟþƢþĢŻǡŎěþŦ- conclusion that the avant-garde concept must be opened up for large parts of twentieth-century music because innovation, the surpassing of previously "modern" musical features, the ܹƢĩůþţŎűł-ŻŁ-Ʒ'nĩ-ƟþƪƷ܌ܺþƪdŻƪĩƟ'ntܒ-RƷƢþƿƪ-ƟƿƷ-ŎƷڡڡ܌ is a broad concern of musical poetics from the early to the late twentieth century in and beyond the West.

I believe that this situation prompts us to doubt seriously the usage of the term "avantłþƢĢĩܣƪܤܺ-ŎűůƿƪŎěܮ'nŎƪƷŻƢŎěþŦǜƢŎƷŎűłܒű-Ʒ'nĩ-Żűĩ-'nþűĢ܌þűƷŎܮƷƢþĢŎƷŎŻűþŦŎƪƷ-ŎűűŻǛþƷŎŻű܌-Ʒ'nĩěƢŎ-ƷŎơƿĩ-ŻŁƿűěŻűƪŎĢĩƢĩĢěŻűǛĩűƷŎŻű-ŎűþěŻűƷĩůƟŻƢþƢǢƪŻěŎĩƷǢ܌-'nþƪ-Ěĩĩű-ĢĩƪěƢŎĚĩĢþƪþţĩǢ-Łĩþture of modernity in general, so that "avant-garde" and modernity seem to be inclusive or at ŦĩþƪƷěŦŻƪĩŦǢĩűƷþűłŦĩĢ-Ŏű-Ʒ'nĩ-ȀĩŦĢ-ŻŁůƿƪŎěܒű-Ʒ'nĩ-ŻƷ'nĩƢ-'nþűĢ܌łŎǛŎűłƿƟ-Ʒ'nĩ-ƷĩƢůþǛþűƷܮłþƢĢĩ- enables intercultural music historiography to stress how closely musical modernity and the þǜþƢĩűĩƪƪ-ŻŁűŻűܮàĩƪƷĩƢű-ƷƢþĢŎƷŎŻűƪþƢĩ-ŎűƷĩƢƷǜŎűĩĢ܋

¼ŊĪ- ĪƸŊŲżŃƣÿƠŊŏĜ łÿƫĜŏŲÿƸŏżŲ܉ łƣżŰ- Ųģƣī dżŧŏǜĪƸ- Ƹż żǀŧĪǭ܉ łƣżŰ ßÿƣĹƫĪ- Ƹż- GĪżƣŃĪ ƣǀŰě܉ ŏƫ- ŲżƸ ÿ ƣĪŧŏĜ żł- ĜżŲǜĪŲƸŏżŲÿŧ- ĪǢżƸŏĜŏƫŰ- SƸ- ŰÿƣŤƫ ÿ- ŰǀƫŏĜ- ƸŊÿƸ- ܨ-ǀŲģĪƣ- ƸŊĪ- ĜżŲģŏƸŏżŲ żł- ĪǢƸƣĪŰĪ- ƫĪŧłܫÿŧŏĪŲÿƸŏżŲÿŲģÿ-ƢǀĪƫƸŏżŲÿěŏŧŏƸǣżłÿŧŧ-ĪƫƸÿěŧŏƫŊĪģłżƣŰƫ-ܨŏƫǝŏŧŧŏŲŃ-ƸżģŏƫĜżǜĪƣ-ĪǢƠƣĪƫƫŏżŲ- ÿŲģ-ĪŰżƸŏżŲŏŲ-ƸŊĪ-ĪŲĜżǀŲƸĪƣǝŏƸŊ-ƸŊĪģŏƫƸŏŲĜƸ-ƸŊĪƣżłƣĪÿƫżŲÿŲģ-ĜżŲǜĪŲƸŏżŲÿŧ-ĪǢƠƣĪƫƫŏżŲڟڞ

ȃĩ þDz ŁĩěƷŎŻű þűĢ ƪŻŦŎĢþƢŎƷǢ ǜ'nŎě'nůþűǢ ěŻůƟŻƪĩƢƪ- ŻŁ űĩǜůƿƪŎě-Ŏű- Ʒ'nĩ- ƷǜĩűƷŎĩƷ'n ěĩűƷƿƢǢ- developed toward non-Western "traditional music" arguably grew out of the observation that

ںڼ- ÿǜÿŧŧżƸƸŏ܉-ܶǜÿŲƸŃÿƣģĪ܉ܷƫĪĪdžƣŃĪƣ܉-*Theory of the Avant-Garde*.

ڻڼ Borio, *rǀƫŏŤÿŧŏƫĜŊĪǜÿŲƸŃÿƣģĪ-ǀŰ-ڐږڙڑ*.

ڼڼ See Straus, *The Remaking of the Past*.

ڽڼ- rĪǣĪƣ܉-ܶßżŧŤƫƸdžŰŧŏĜŊ-ܨ-ƠƣŏŰŏƸŏǜ-ܨ-ƠżƠǀŧďƣ܉ܷ-ڐڏ-ܠܶ'ŏĪ-ĪƸŊŲżŃƣÿƠŊŏƫĜŊĪ-FÿƫǭŏŲÿƸŏżŲ܉ǜżŲ-ŲģƣīdżŧŏǜĪƸěŏƫżǀŧĪǭ܉ǜżŲßÿƣĹƫĪěŏƫ-GĪżƣŃĪ ƣǀŰě܉ŏƫƸ-ŤĪŏŲ-¦ĪŧŏŤƸģĪƫ-ŤżŲǜĪŲƸŏżŲĪŧŧĪŲ-/ǢżƸŏƫŰǀƫ-®ŏĪ-ŤĪŲŲǭĪŏĜŊŲĪƸ-ĪŏŲĪrǀƫŏŤ܉- ģŏĪěĪƣĪŏƸŏƫƸ܉-ǀŲƸĪƣ-ĪģŏŲŃǀŲŃĪŲ-ĪŏŲĪƣ-ĪǢƸƣĪŰĪŲ-®ĪŧěƫƸĪŲƸłƣĪŰģǀŲŃ܉-ĪŏŲĪƣ-FƣÿŃŧŏĜŊŤĪŏƸÿŧŧĪƣdžěĪƣŤżŰŰĪŲĪŲ- FżƣŰĪŲ܉ŏŲģĪƣ-ĪŃĪŃŲǀŲŃ-ŰŏƸģĪŰ-ŃÿŲǭ-ŲģĪƣĪŲģĪƣßĪƣŲǀŲǽ Ƹ-ǀŲģģĪƫ-ŤżŲǜĪŲƸŏżŲĪŧŧĪŲ-ǀƫģƣǀĜŤƫģĪŲŲżĜŊ- ǀƫģƣǀĜŤ-ǀŲģ-/ŰżƸŏżŲǝŏĪģĪƣǭǀǿŲģĪŲܷܡ

both globalizing art music in the Western traditional non-Western musics were marginalized by the processes of canonization, commerce, and the abounding genres of popular music established since the advent of the recording industry. For emerging non-Western composers, the situation was even more complex, as traditional musics underwent accelerated and often radical transformations, usually closely linked to nationalist, pro- or anti-Western agendas. It is thus vital to see a connection between the modernist readings of traditional non-Western musics by Western-educated composers and these composers' social situation. I will therefore aim consistently to place emphasis on the social embeddedness of the musical works that serve as my case studies.

### 2. Internationalism and Universalism: Repercussions of Political and Cultural History

Both before and after 1945, "internationalism" and "universalism" have been the most prominent concepts of global entanglement; it therefore seems consistent to dedicate a closer reading to their changing meanings and implications in music-historical contexts. By attending to the controversial debates which arose from these ideas, this chapter demonstrates how the increasing awareness among composers (and, in turn, performers and audiences) of acting as "agents" in an international or global context substantially affected compositional technique and aesthetics. I also show how the "simultaneity" of such an increasingly globalized musical communication continued to imply many "non-simultaneities" between global and local, Western and non-Western music aesthetics or "realities." I suggest that these "non-simultaneities" in particular offer a key to understanding the music-historical dynamics of these periods. This will provide a framework for detailed case studies to follow in the subsequent chapters (II.3–6).

### Internationalism

The dedication to internationalism in twentieth-century music predated the Cold War period by several decades, and resulted from both political-militarist confrontation and a certain social isolation of modernist music in European societies. The trend toward internationalization was in fact already a global characteristic of political movements in the second half of the nineteenth century, including the First International, founded by Karl Marx in 1864; the Second International, founded in Paris in 1889; the International Council of Women founded in Washington, D.C., in 1888; and international pacifism, emerging from the Universal Peace Congress in Paris (1889) and the Conventions of Geneva (1864) and The Hague (1899, 1907), as well as the first steps toward the establishment of international law. In general, the decades around 1900 saw a proliferation of international non-governmental organizations in many areas, particularly in the social and political domain, which became crucial sites of activity for the globalization process. 9 Not least, this tendency accelerated a normalizing universalization of economic, communicative, and technical standards such as standardized measures and weights - but it also led to an increasing internationalization of cultural events as marked by the revitalized Olympic Games in 1896.25 World exhibitions in London (1851/62/86), Paris (1855/67/78/89, 1900), and elsewhere celebrated "world peace" and "social harmony" as

<sup>90</sup> Osterhammel, Die Verwandlung der Welt, 723-735.

presumably brought about by Western civilization.ڛڢ Some had a profound impact on cultural and musical processes and innovations,ڜڢƪƿłłĩƪƷŎűłþ-Ȁűĩ-ŦŎűĩ-ĚĩƷǜĩĩű-ŎůƟĩƢŎþŦŎƪƷƪƷƢþƷĩłŎĩƪ- ŻŁþƟƟƢŻƟƢŎþƷŎŻűþűĢůŻĢĩƢűŎƷǢܮƪţĩƟƷŎěþŦěƿŦƷƿƢþŦ-ƟĩƪƪŎůŎƪů-ދܣ-SSڝڢܒܤڐܒ In addition, the interűþƷŎŻűþŦŎǬþƷŎŻű-ŻŁ-Ʒ'nĩǜŻƢŦĢ-ĢŎĢűŻƷĩǡěŦƿĢĩ-Ʒ'nĩ-ܣůŎƪܤƿƪĩ-ŻŁ-ŎűƷĩƢűþƷŎŻűþŦěŻůůƿűŎěþƷŎŻű-ŁŻƢ- nationalist agendas.ڞڢ

ȃĩ-SűƷĩƢűþƷŎŻűþŦ-®ŻěŎĩƷǢ-ŁŻƢ- ŻűƷĩůƟŻƢþƢǢrƿƪŎě-ܣS® rܤǜþƪ-ŁŻƿűĢĩĢ-Ŏű-ڑڑژڐ-ƷŻ-ŻǛĩƢěŻůĩ- the national isolation of musical scenes and institutions resulting from World War I and the ŦþƢłĩŦǢűþƷŎŻűþŦŦǢ-ĢĩȀűĩĢ-ŎűŁƢþƪƷƢƿěƷƿƢĩ-ŻŁűŎűĩƷĩĩűƷ'nܮěĩűƷƿƢǢůƿƪŎěþŦ-ŎűƪƷŎƷƿƷŎŻűƪ-Ʒ'nþƷ-'nþĢ- Ěĩĩű-ĢĩĩƟŦǢ-ŎűǛŻŦǛĩĢ-ŎűůƿƪŎěþŦ-ܹűþƷŎŻű-ĚƿŎŦĢŎűłܒܺ-SűƪƟŎƢĩĢ-ĚǢ-Ʒ'nĩhĩþłƿĩ-ŻŁtþƷŎŻűƪ-ŁŻƿűĢĩĢ- Ŏű-܌ژڐژڐþűĢ-Ʒ'nĩ- ŦƿĚ-ŻŁ-£ŻĩƷƪ܌-/ƪƪþǢŎƪƷƪ܌tŻǛĩŦŎƪƷƪ-ܣ£/tܤ-ŁŻƿűĢĩĢ-Ŏű-ڟڢ܌ڐڑژڐ the ISCM intended to represent and support composers, performers, and amateurs of contemporary music "of all aesthetic directions and tendencies – irrespective of citizenship, race, religion, or political beliefs."ڠڢ-ŦƷ'nŻƿł'nűþƷŎŻűþŦŎƪƷþűĢþĩƪƷ'nĩƷŎěěŻűǴŦŎěƷƪþƢŻƪĩǜŎƷ'nŎű-Ʒ'nĩ-S® rĩþƢŦǢ-Żű܌-Ʒ'nĩ-ŻƢłþnization remained a platform for a relatively non-ideological, though clearly Western-oriented, international exchange – Soviet and communist countries never applied or were considered for membership.ڡڢ Indeed, the "Prague manifesto," approved by the Second International ConłƢĩƪƪ-ŻŁ- ŻůƟŻƪĩƢƪþűĢrƿƪŎě- ƢŎƷŎěƪ-ŎűrþǢ-܌ڗړژڐĩűǛŎƪŎŻűĩĢ-Ʒ'nĩ-ŁŻƿűĢþƷŎŻű-ŻŁþěŻƿűƷĩƢ-ŻƢganization.ڢڢȃĩěŻƿűƷƢŎĩƪƿűĢĩƢ-®ŻǛŎĩƷěŻűƷƢŻŦ-ĢƿƢŎűł-Ʒ'nĩ-ĢĩěþĢĩƪƿűƷŎŦ-ڐژژڐǜĩƢĩ-ĢŻůŎűþƷĩĢ- ĚǢ-Ʒ'nĩ-ƟŻǜĩƢŁƿŦ-ÃűŎŻű-ŻŁ-®ŻǛŎĩƷ- ŻůƟŻƪĩƢƪƿűĢĩƢ-Ʒ'nĩłĩűĩƢþŦƪĩěƢĩƷþƢǢ-¼Ŏţ'nŻűf'nƢĩűűŎţŻǛ܌although the repression of Western-oriented aesthetics varied considerably, with Poland and ŦþƷĩƢ- ŁŻƢůĩƢ æƿłŻƪŦþǛŎþþűĢ-/þƪƷ-GĩƢůþűǢ ĩƪƷþĚŦŎƪ'nŎűł- ƟþƢƷŎěƿŦþƢŦǢ ěŦŻƪĩ- ƷŎĩƪ-ŻŁůƿƪŎěþŦ ĩǡchange with the West.

In the immediate postwar period, the word "internationalism" usually had positive connotations when used by Soviet-oriented writers, based on the idea of solidarity among nations Ȁł'nƷŎűł-ŁŻƢþěŻůůŻűěþƿƪĩþłþŎűƪƷěþƟŎƷþŦŎƪƷĩǡƟŦŻŎƷþƷŎŻűڙڙښܒ Most notably, this "internationalism" was based on the preservation of national identities and characteristics, in declared contrast to Western capitalist "cosmopolitanism," which was considered to erode these charþěƷĩƢŎƪƷŎěƪܒȃĩǜŻƢĢ-ܹěŻƪůŻƟŻŦŎƷþűܺǜþƪþŦƪŻƿƪĩĢþƪþ-ƟƢŻƟþłþűĢŎƪƷ-ŎűǛĩěƷŎǛĩ-ĢƿƢŎűł-Ʒ'nĩěŻűěĩþŦĩĢ-®ƷþŦŎűŎƪƷþűƷŎܮRĩůŎƷŎěěþůƟþŎłűƪþűĢ-ƟŻłƢŻůƪ-ĚĩƷǜĩĩű-ژړژڐþűĢ-ښڙښܒڒڔژڐ In the Prague ůþűŎŁĩƪƷŻ܌-ŁŻƢůƿŦþƷĩĢ-ĚǢ-Nþűűƪ-/ŎƪŦĩƢ܌-Ʒ'nĩƪĩ-ƷĩƢůƪǜĩƢĩěŻűűĩěƷĩĢǜŎƷ'n-Ʒ'nĩ-ĢŎþłűŻƪŎƪ-ŻŁþ-ܹƪĩrious crisis" of contemporary music, contributing to a much-repeated trope of postwar musicrelated discourse and, indeed, of the modernist discourse in general.ڛڙښ In both popular and art

ڎڐܨڍڐ-܉Sěŏģ- -ڶڽ

ڷڽ See Fauser, *Musical Encounters at the 1889 Paris World's Fair*.

ڸڽ See Born and Hesmondhalgh, *Western Music and Its Others*.

ڹڽ Osterhammel, *Die Verwandlung der Welt*܉-ڏڏړ

ڒڔڎܨڐڔڎܷ-܉ƣŃÿŲŏƫÿƸŏżŲĪŲܕSŲƫƸŏƸǀƸŏżŲĪŲ-ܶ܉tżŲŲĪŲŰÿŲŲ- -ںڽ

ڻڽ Haefeli, *SGtr܌-'ŏĪ-SŲƸĪƣŲÿƸŏżŲÿŧĪ-GĪƫĪŧŧƫĜŊÿǼ ƸłdžƣtĪǀĪrǀƫŏŤ*܉-ڏڑ-ܠܶŃĪŃƣdžŲģĪƸǭǀƣ-FƇƣģĪƣǀŲŃǭĪŏƸŃĪŲƇƫƫŏƫĜŊĪƣrǀƫŏŤ ÿŧŧĪƣ ďƫƸŊĪƸŏƫĜŊĪŲ- ¦ŏĜŊƸǀŲŃĪŲ- ǀŲģ- ¼ĪŲģĪŲǭĪŲ- ܨ żŊŲĪ- ¦džĜŤƫŏĜŊƸ ÿǀł- ®ƸÿÿƸƫÿŲŃĪŊƇƣŏŃŤĪŏƸ܉-¦ ÿƫƫĪ܉-¦ ĪŧŏŃŏżŲ- żģĪƣ-ƠżŧŏƸŏƫĜŊĪ-ŲƫŏĜŊƸŏŊƣĪƣrŏƸŃŧŏĪģĪƣܷܡ

ڼڽ- -¦ǀƫƫŏÿ-ŊÿƫěĪĪŲÿ-ŰĪŰěĪƣżł-ƸŊĪ-S® rƫŏŲĜĪ-܉ڑڌڌڎ- ŊŏŲÿƫŏŲĜĪ-ڎڍڌڎdÿƠÿŲšżŏŲĪģ-ƸŊĪ-S® rŏŲ-܉ڑڏڕڍ-RżǀƸŊfżƣĪÿ- ŏŲ-܉ړڑڕڍ-NżŲŃfżŲŃ-ܠNżŲŃfżŲŃ żŰƠżƫĪƣƫܹ-GǀŏŧģܡŏŲ-܉ڏڔڕڍ-1/4ÿŏǝÿŲŏŲ-ڕڔڕڍ

ڽڽ- fżǜĀĜǭ܉-ܶ'ŏĪ-SŲƫƸŏƸǀƸŏżŲ-ܨ-/ŲƸƫƸĪŊǀŲŃ-ǀŲģ-®ƸƣǀŤƸǀƣ܉ܷ-ڔڍڍ

ڴڴڵ- -1/4ŊĪłżŧŧżǝŏŲŃŏŲłżƣŰÿƸŏżŲŏƫ-ƠƣĪģżŰŏŲÿŲƸŧǣěÿƫĪģżŲŏěŏģ܉-ڕڏڍܨڒڍڍ

ڵڴڵ- -RĪĪǭÿģżǜƫŤŏŏÿŲģ-/Ńżƣżǜ܉-ܶFƣżŰ-ŲƸŏܫàĪƫƸĪƣŲŏƫŰ-Ƹż-ŲƸŏܫRĪŰŏƸŏƫŰܷ

ڌڐܨڕڏܷ-܉ƠżƠǀŧďƣ-ܨ-ƠƣŏŰŏƸŏǜ-ܨßżŧŤƫƸdžŰŧŏĜŊ-ܶ܉rĪǣĪƣ-ĪĪ®- -ڶڴڵ

music, the reason for this "crisis" was believed to lie in the "individualism" and "subjectivism" of the Western composer and performer.

Leftist artists living in the West usually defended the freedom of individual expression. They included Hermann Scherchen and most prominently René Leibowitz, whose book Lartiste et sa conscience (1950) features a critique of his former student Serge Nigg's inclination toward the program of the Prague manifesto.103 Some were more explicit in their support for Eisler's program, such as the prominent scholar and critic Hans Mayer, one of the most influential speakers during the first five years of the Darmstadt Summer Course (1946–50). Mayer sought to reconcile socialist realism with musical modernism, including his positive assessment of Schoenberg and the Viennese School attuned to the rhetoric of a "crisis" of bourgeois culture attributed to an increasing gap between art and "reality." For Eisler and Mayer, the origins of modernity's crisis were to be seen in the "emancipation from the religious-cultural-civil" and the implied processes of individualization and anti-collectivism. In contrast to the official Zhdanov doctrine, however, Mayer was skeptical about a preservation of "national characteristics" and associated "tormalism" with Stravinsky's and Hindemith's neoclassicism rather than with atonality and dissonance. The audience and press reception of the early Darmstadt Summer Course demonstrates how such "moderate" positions during the years around 1950 increasingly gave way to a more polarized rhetoric. Such polarization is especially documented in East German press reviews that idealized nationalist and folkloristic styles, of which Béla Bartók was considered exemplary, while denouncing "international" and "formalist" tendencies, particularly associated with American composers such as Edgard Varese – whose lifelong fight against "formalist" aesthetics in this context evidently remained unnoticed. Thus in Soviet-influenced rhetoric, the term "international" had changed from positive to negative within a few years. Meanwhile, the Darmstadt course increasingly claimed to represent a true "international" platform, not least marked by the notable change of name from "Ferienkurse für internationale neue Musik" to "Internationale Ferienkurse für neue Musik" in 1948. In the following decade, the proportion of non-German participants increased from 4.3 percent in 1948 continuously to a peak of 70.4 percent in 1961.104

Musical trends and works from that period, which manifest elements of such new "internationalism," may be found most prominently in interwar, wartime, and postwar neoclassicism, which from the beginning had been declared an "international" trend with profound influences on pre- and postwar musical history in Russia, France, Eastern and Northern Europe, and Latin America. The awareness of writing for a broad international audience, however, informs many politically imbued works of the period that are not of the neoclassicist repertoire, such as Arnold Schoenberg's A Survivor from Warsaw (1948) – which instigated a particularly broad and controversial discussion on political music in postwar Europe, 05 Karl Amadeus Hartmann's postwar Symphonies 3 to 8 (1945-62), 106 and Hanns Eisler's paradigmatic Deutsche Symphonie (1935–57).107 In their idioms and programs as well their genesis and performance history, these pieces mirror particular concrete facets of wartime and postwar history, as do the well-known examples of Shostakovich's Symphonies 9 to 13 (1948–62) and Stravinsky's Sym-

<sup>103</sup> See Carroll, Musicand Ideology in Cold War Europe, 116-131 and Sprout," The 1945 Stravinsky Debates."

<sup>104</sup> Kovácz, "Die Institution - Entstehung und Struktur," 62.

<sup>105</sup> Carroll, Musicand Ideology in Cold War Europe, 116–131, Calico, Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, and Shreffler, "Cold War Dissonance," 53-54.

<sup>106</sup> See Mosch, "Freiheit war es immer, die er meinte.' Karl Amadeus Hartmann und die 'Stunde Null."

<sup>107</sup> See Wißmann, Hanns Eisler: Komponist, Weltbürger, Revolutionär, 107–126.

*Ɵ'nŻűǢ-Ŏű-ȄƢĩĩrŻǛĩůĩűƷƪ*-ܒܤڔړܫڒړژڐܣrŻƪƷěŻůƟŻƪĩƢƪ-ܣŎűěŦƿĢŎűł-Ʒ'nĩ-ƟƢŻůŎűĩűƷěþƪĩƪ-ŎűƷƢŻĢƿěĩĢ- ĚĩŦŻǜ܌-ݑދSS܌ܤڔܒĩǛĩű-ŎŁ-Ʒ'nĩǢ-ĢŎĢűŻƷ-ƢĩþěƷ-ƷŻ-Ʒ'nĩ-ƟŻŦŎƷŎěþŦƪŎƷƿþƷŎŻű-ŻƢ-Ʒ'nĩ-ƷĩƢƢŻƢƪ-ŻŁ-Ʒ'nĩ-ƢĩěĩűƷ-ƟþƪƷ- in similarly explicit terms, consequently tended to conceive of their potential audience as a "global" community, which, not least, in many cases may have helped to overcome local resis-Ʒþűěĩ-ƷŻ-Ʒ'nĩŎƢ-ŎűűŻǛþƷŎŻűƪܒȃŎƪ-ܹłŦŻĚþŦþƿĢŎĩűěĩ܌ܺűþƷƿƢþŦŦǢ܌-ƷƿƢűĩĢ-ŻƿƷ-ŎűƪŻůĩǜþǢƪ-ƷŻ-Ěĩþű- *ŎůþłŎűĩĢěŻůůƿűŎƷǢ*܌þűĢǜþƪűŻƷ-ĢŎƪƪŎůŎŦþƢ-ƷŻ-Ʒ'nĩ-ܹ'nƿůþűŎƷǢܺȃĩŻĢŻƢàܒ-ĢŻƢűŻ-'nþĢ-ŎűůŎűĢ- ǜ'nĩű-'nĩ-ƷĩƢůĩĢĩĩƷ'nŻǛĩűܼƪƪǢůƟ'nŻűŎĩƪ-ܹƟƿĚŦŎěþĢĢƢĩƪƪĩƪ-ƷŻ-'nƿůþűŎƷǢܺ-ܣܹ߯ŦţƪƢĩĢĩűþű-ĢŎĩ- Menschheit"ܒܤڡڙښłþŎűƪƷ-Ʒ'nŎƪ-ĚþěţłƢŻƿűĢ܌-ƟŻƪƷǜþƢůƿƪŎěþŦ-ŎűƷĩƢűþƷŎŻűþŦŎƪůþűĢƿűŎǛĩƢƪþŦŎƪů- must arguably be viewed not only as reactions against the nationalist discourses of the recent past, but also as evidence of an increasing awareness of global interconnectedness – including Ʒ'nĩþǜþƢĩűĩƪƪ-Ʒ'nþƷůþűǢ-ƷƢĩűĢƪ-Ŏű- ŻŦĢàþƢ-ƟŻŦŎěŎĩƪǜĩƢĩ-Ʒ'nƢĩþƷĩűŎűł-ƷŻ-Ɵƿƪ'n-Ʒ'nĩǜŻƢŦĢ-Ěþěţ- ŎűƷŻ-ŦŻěþŦŎƪƷ-ŻƢ-ƢĩłŎŻűþŦŎƪƷ-ŎƪŻŦþƷŎŻűŎƪůܒȃĩ-ƷǜŻůŻƪƷ-ŎűǴŦƿĩűƷŎþŦůƿƪŎěܮ'nŎƪƷŻƢŎěþŦ-ƷĩűĢĩűěŎĩƪ- in this context were the invention of serial music, with its structuralist universalist claims, and forms of ethnically accentuated multi- or transethnic universalism occurring later on.

### Universalism

à'nĩƢĩþƪ-ܹŎűƷĩƢűþƷŎŻűþŦŎƪůܺƪĩĩůƪ-ƷŻƪŎłűŎŁǢþěŻůƟŦĩǡ-ŻŁłŦŻĚþŦ-ŻƢ-ƷƢþűƪűþƷŎŻűþŦűĩƷǜŻƢţƪ܌-ŻŁ-Ʒĩű-ŎůƟŦǢŎűł-Ʒ'nĩǜŎƪ'n-ƷŻ-ŻǛĩƢěŻůĩ-ƢĩƪƷƢŎěƷŎǛĩűþƷŎŻűþŦŎƪƷ-Ʒ'nŎűţŎűłþűĢþłĩűěǢ܌-ܹƿűŎǛĩƢƪþŦŎƪůܺ- clearly indicates a more emphatic and optimistic world-embracing concept aimed at transcend-Ŏűł-Ʒ'nĩ-ŦŎůŎƷƪ-ŻŁűþƷŎŻűþŦ-ŻƢěƿŦƷƿƢĩܮƪƟĩěŎȀě-ĢŎƪěŻƿƢƪĩ܌-'nĩþĢŎűł-ƷŻǜþƢĢ-ܹǜŻƢŦĢůƿƪŎě܌ܺ-ܹǜŻƢŦĢ- literature," "world art," etc.ڢڙښ- ÃűŎǛĩƢƪþŦŎƪů- Ŏű- Ʒ'nĩ- /ƿƢŻƟĩþű ěŻűƷĩǡƷ- Ŏƪ- ƟƢŎůþƢŎŦǢ þ- ƟƢŻĢƿěƷ- ŻŁ-/űŦŎł'nƷĩűůĩűƷ-Ʒ'nŻƿł'nƷ܌-Ŏű-Ʒ'nĩþƢĩþ-ŻŁůƿƪŎě-ƢĩǴŦĩěƷĩĢ-Ŏű-Ʒ'nĩǜĩŦŦܮţűŻǜűơƿŻƷĩþƷƷƢŎĚƿƷĩĢ- to Joseph Haydn in which he assumes that his "language" can be understood throughout the ǜ'nŻŦĩǜŻƢŦĢܒȃŎƪ-ŎĢĩþǜþƪěƢŎƷŎěŎǬĩĢþűĢůĩƷǜŎƷ'n ƪţĩƟƷŎěŎƪů-ŎűůþűǢþƢĩþƪ-ŻŁűŎűĩƷĩĩűƷ'nܮ century aesthetics.ڙښښ At the same time, universalism served as the founding ideology of nine-ƷĩĩűƷ'nܮěĩűƷƿƢǢěŻŦŻűŎþŦŎƪůþűĢ-ŎůƟĩƢŎþŦŎƪůܒȃĩěŻűěĩƟƷ-Ŏƪ-Ʒ'nƿƪ-'nĩþǛŎŦǢ-ŎűǛŻŦǛĩĢ-Ŏű-ƟŻŦŎƷŎěþŦ- 'nŎƪƷŻƢǢþűĢ-ŎĢĩŻŦŻłǢ܋

SŲ-ƸŊĪƫÿŰĪ-ƠĪƣŏżģǝŊĪŲ-ŰżƫƸ-ƠżŧŏƸŏĜÿŧ-ƠŊŏŧżƫżƠŊĪƣƫěĪŃÿŲ-ƸżģĪłĪŲģ-ƸŊĪ-ƠƣŏŲĜŏƠŧĪƫżł-ǀŲŏǜĪƣƫÿŧŏƫŰÿŲģ-ĪƢǀÿŧŏƸǣ܉-ƸŊĪƫÿŰĪŏŲģŏǜŏģǀÿŧƫƫƸŏŧŧģĪłĪŲģĪģ-ƸŊĪŧĪŃŏƸŏŰÿĜǣżł-ĜżŧżŲŏÿŧŏƫŰÿŲģŏŰƠĪƣŏÿŧŏƫŰ-ŲĪǝÿǣżłƣĪĜżŲĜŏŧŏŲŃ-ƸŊżƫĪÿƠƠÿƣĪŲƸŧǣżƠƠżƫĪģ-ƠƣŏŲĜŏƠŧĪƫǝÿƫ-ƸŊĪÿƣŃǀŰĪŲƸ-ŤŲżǝŲ- ÿƫ-ƸŊĪ-ܶĜŏǜŏŧŏǭŏŲŃ-ŰŏƫƫŏżŲ܉ܷǝŊŏĜŊƫǀŃŃĪƫƸĪģ-ƸŊÿƸÿ-ƸĪŰƠżƣÿƣǣ-ƠĪƣŏżģżł-ƠżŧŏƸŏĜÿŧģĪƠĪŲģĪŲĜĪżƣ- ƸǀƸĪŧÿŃĪ ǝÿƫ- ŲĪĜĪƫƫÿƣǣ ŏŲ żƣģĪƣ łżƣ- ܶǀŲĜŏǜŏŧŏǭĪģܷ ƫżĜŏĪƸŏĪƫ- ƸżÿģǜÿŲĜĪ- Ƹż- ƸŊĪ- ƠżŏŲƸ ǝŊĪƣĪ- ƸŊĪǣ- ǝĪƣĪ-ĜÿƠÿěŧĪżłƫǀƫƸÿŏŲŏŲŃŧŏěĪƣÿŧŏŲƫƸŏƸǀƸŏżŲƫÿŲģƫĪŧłܫŃżǜĪƣŲŰĪŲƸڗڗڗ

SűůƿƪŎě-'nŎƪƷŻƢŎŻłƢþƟ'nǢþűĢěŻůƟþƢþƷŎǛĩůƿƪŎěŻŦŻłǢ܌-/ƿƢŻěĩűƷƢŎěƿűŎǛĩƢƪþŦŎƪů-ĢŻůŎűþƷĩĢ-Ʒ'nĩ- ĩþƢŦǢ-ĢĩěþĢĩƪ-ŻŁ-Ʒ'nĩ-ĢŎƪěŎƟŦŎűĩƪþŦůŻƪƷĩǡěŦƿƪŎǛĩŦǢܒ-/Ǜĩű-Ʒ'nŻƿł'něŻůƟþƢþƷŎǛĩůƿƪŎěŻŦŻłǢěƢŎƷܮ ŎěŎǬĩĢ-/ƿƢŻěĩűƷƢŎěůƿƪŎěܮƷ'nĩŻƢĩƷŎěþŦþűĢůƿƪŎěܮ'nŎƪƷŻƢŎěþŦůĩƷ'nŻĢŻŦŻłŎĩƪĩþƢŦǢ-Żű܌-Ʒ'nĩƪĩþƢě'n- ŁŻƢůƿƪŎěþŦƿűŎǛĩƢƪþŦƪěŻűƷŎűƿĩĢ- ƷŻƪ'nþƟĩ-ܣþűĢěŻűȀűĩܤ-ŦþƷĩƢƪƷƿĢŎĩƪ-ŎűłŦŻĚþŦůƿƪŎě-'nŎƪƷŻƢǢ܌-

ڼڴڵ- ģżƣŲż܉-ܶ/ŏŲŧĪŏƸǀŲŃŏŲģŏĪrǀƫŏŤƫżǭŏżŧżŃŏĪ܉ܷ-ڍڔڎ

ڽڴڵ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-܉ڏڐܨڒڎ-NĪŏŧĪ܉-ܶ*Weltmusik*ÿŲģ-ƸŊĪ-GŧżěÿŧŏǭÿƸŏżŲżłtĪǝrǀƫŏĜ܉ܷ-NǀÿŲŃ܉- ܶ żŲƫƸĪŧŧÿƸŏŲŃàżƣŧģhŏƸĪƣÿƸǀƣĪ܉ܷÿŲģ-FŏŧŧŏƸǭ܉-ܶŲƸŊƣżƠżŧżŃǣÿŲģ-'ŏƫĜżǀƣƫĪƫżŲ-GŧżěÿŧƣƸܷ

ڴڵڵ- -'ÿŊŧŊÿǀƫ܉-ܶNŏƫƸżƣŏƫĜŊĪƫ-ĪǝǀƷƸƫĪŏŲ-ǀŲģ-/ƸŊŲżŧżŃŏĪ܉ܷ-ܔڌڎڎƫĪĪdÿŲǭ܉-ܸܶGŏěƸ-Īƫ-ĪŏŲĪàĪŧƸŃĪƫĜŊŏĜŊƸĪģĪƣrǀƫŏŤ܉ܐܹܷ- ړڐڍ

<sup>ܷ</sup>żŧżŲŏÿŧŏƫŰ -ܶ܉fżŊŲ- -ڵڵڵ

such as Walter Wiora's Die vier Weltalter der Musik (→ II.1). The idea of musical universals still figures in the (predominantly ethnomusicologically based) discourse on "world music," which tends toward a notion of "music" that encompasses all kinds and genres worldwide, seemingly without introducing hierarchies:112

Whether musical systems leak at the borders or not, languages are not all that coherent, being subject to constant change, and failing in the test of precise geographic borders. Whether there is something still to be said for the concept of music as the universal language of mankind, and whether enjoying the sounds of a foreign music is identical with understanding may be argued. The issue is not 'one' or 'many' but in what ways the notion of musics provide insight. A history of world music should, if it does not come down on one side or the other, show how the two perspectives provide different interpretations of what happened. 133

It is obvious (and has been explained by many authors) that universalism is dialectically opposed to the concepts of (cultural) essentialism, particularism, and relativism. The latter concepts tend to deny the possibility of universal forms of artistic (or political) articulation and to emphasize cultural uniqueness and the partial incompatibility or alterity of a "culture" or "nation" with other comparable entities. Relativism in particular seems to function essentially as a critical counterpart of universalism, exemplified by some approaches in postcolonial studies. Nonetheless, cultural and national essentialisms are deeply embedded in the history of modernity and act both as intrinsic components in the process of nation building and as the basis of most claims of cultural difference.44 At the same time, we can recognize that essentialism and universalism are not mutually exclusive but rather interdependent concepts: universalists often presuppose basic and essential differences – cultural, racial, political, aesthetic, stylistic - that are then emphatically "transcended" in an act of "synthesis" or "integration." The idea of essential entities is a shared assumption of both universalism and essentialism.

Therefore, a reasonable and careful discussion about whether different forms of music, art, religious ideas, or social structures, etc. are (partly) compatible or not might easily revert to ideological forms of opposition, or even become the basis for new kinds of radicalized thinking or political misuse, as for example in diverse forms of neo-nationalism. Such a reclamation of identities seems to recur in waves. The term "neo-nationalism," for example, has been used in describing European music history of the 1910s and 1920s (pre- and post-World War I affirmations of national identities, as in Stravinsky's "Russian" ballets or in Bartók's idealization of peasant music; → II.3). This idea, however, can equally apply to dimensions of transnational history of the early 1990s (post-1989, post-Cold War reclamation of national identity especially in Eastern Europe, but also in East Germany, as well as a first wave of right-wing populist parties and politicians) and to the present period (the reaffirmation of national interest and xenophobic sentiments throughout Europe and in many Asian and American countries as an obvious counter-reaction to migration and economic changes resulting from globalized political and economic dynamics). In Asia, (neo-)nationalist tides have proved influential for music history, as can be identified in many areas of twentieth-century music in Japan, Korea, and China (→ III).

<sup>112</sup> See Janz, "Gibt es eine Weltgeschichte der Musik?," 148.

<sup>113</sup> Nettl, "On World Music as a Concept in the History of Music Scholarship," 25.

<sup>114</sup> See, e.g., Zhou, "Essentialist Legacies and Shifting Identities."

In European music from the 1940s to the 1970s, there are at least four basic forms of universalism, which I label "religious" or "spiritual universalism," "technological universalism," "structuralist universalism," and "transethnic" or "transcultural universalism," and I will characterize each below. These classifications are all indebted to Enlightenment ideas regarding "art" and music, particularly the notion of art as a universal phenomenon, understood as a "collective singular" with the composer acting as a kind of high priest of a "religion of art" with potentially global impact. My categories do not exclude one another, but rather interact in myriad ways. From this perspective, these different types of musical universalism potentially appear as a particularly apt exemplification of the "non-simultaneity of the simultaneous" in pre- and postwar music history, which will ultimately become evident in the case studies discussed below.

### Religious and Spiritual Universalism

Religious thought mostly tends to be universal by definition. This universalism to some extent lets the political impact of Enlightenment universalism and the universalism of political theories and ideologies such as Marxism appear as necessary consequences of a critique of religion (eventually itself taking on many features of a religion). The "sacred" implications of musical performance and reception became particularly pertinent in nineteenth-century "religion of art," eventually motivating composers to conceive an all-encompassing reform of the modes of musical presentation and reception, the most prominent example being Richard Wagner. The decades around 1900 saw a wave of highly influential post- or pseudo-religious universalist theories such as Theosophy and Anthroposophy, many of which incorporated fragments of mystic Asian traditions. An important Russian-American-Italian trajectory in this respect leads from Alexander Scriabin and Ferruccio Busoni to Dane Rudhyar and Giacinto Scelsi.155 Olivier Messiaen's outline of a "theological" music was deeply informed by such individualized mystic universalism, as it was cultivated during the 1930s in the group La Jeune France by André Jolivet, among others,146 while the inspiration drawn from the Renoweau catholique movement also included considerable culturally conservative elements.10 Messiaen's Indianinspired rhythms, however, were not used to evoke Indian music (in contrast to the clearly audible evocation of gamelan music in the Turangalila Symphony, 1946–48, or of Japanese gagaku in the fourth movement of the Sept Haïkaï, 1964), but rather represented a "timeless," primordial theological world order, thus also connecting to the quadrivium tradition of religiously based numerical rationalism and symbolism.118

In the early 1950s, influenced by Messiaen's religiously based universalism, Karel Goeyvaerts and Karlheinz Stockhausen were strongly attracted to the idea of a "pure structure."137 Early on, Stockhausen grounded his activity on the idea of being sent on the compositional path by a divine message, 200 claiming that his music merely "translated" divine vibrations. 121

<sup>115</sup> Reish, "The Transformation of Giacinto Scelsi's Musical Style and Aesthetic," Celestini, "Busoni und Scelsi," Utz, "Klang als Energie in der Musik seit 1900."

<sup>116</sup> Gut, Le Groupe Jeune France, Borio, "Vom Ende des Exotismus."

<sup>117</sup> Lindhorst, "Gedanken, Bilder und Schlüsselbegriffe des Renoweau catholique in den Texten von Olivier Messiaen."

<sup>118</sup> Bruhn, Messiaens musikalische Sprache des Glaubens.

<sup>119</sup> Sabbe, Karlheinz Stockhausen. ... wie die Zeit verging ...

<sup>120</sup> Blumröder, Die Grundlegung der Musik Karlheinz Stockhausens, 73.

<sup>121</sup> lbid., 89.

Stockhausen also proposed more explicitly culturally or ethnically defined universalist ideas. Inspired by a 1952 Paris concert with Balinese and Tibetan music, Stockhausen (retrospectively) claimed to have decided to "make a kind of music that relies on the tradition of music from the entire world."122 This claim acquired neo-imperialist undertones and thus aroused heated debate in a later formulation, in which Stockhausen proposed to write "not 'my own' music but a music of the whole earth, of all countries and races."133 The mystic tradition of religious intuition as a basis for the compositional process, with the composer acting as a "medium" between divine forces and sounding material in Stockhausen's case, can be linked to at least two major traditions of thought: Messiaen's "theological" aesthetics, in which mystic universalism had already been closely linked to the reception of non-Western musical traditions harking back to Debussy's, Roussel's, and Delage's "submerged exoticism"124 around 1900 (→ II.4); and Catholic thought, which substantially influenced Stockhausen's conception of music, resulting in a characteristic simultaneity of rationalism and mysticism.125

### lechnological Universalism

The argument that technological innovation, usually considered a driving force of modernity if not its main constituting factor, has led to the "time-space-compression"26 typical of globalization processes (→ I.2), is familiar from our immediate present where the high-speed internet, Google, and YouTube seem to contribute to a readily available and continuously expanding archive of "world cultures." The essentialist, and technocratic conviction that a musical recording has the capacity to "represent" a specific culture; the misconception that technology is a culture-independent force, transcending traditional forms of encultured communication and articulation; and the optimistic enthusiasm that saw new technologies as a symptom of a "new era" can all be detected clearly in many areas of European music of the 1950s and 1960s.127 Marshall McLuhan's trope of the "global village" offers the best-known theorization of this overt technological optimism (McLuhan, The Gutenberg Galaxy, 1962, German translation 1968; Understanding Media, 1964; The Medium Is the Message, 1967; War and Peace in the Global Village, 1968129. McLuhan's theory was sparked by sensational technological innovations during the 1960s, culminating in the first satellite communication in 1969.43 Many of Stockhausen's statements suggest close ties to McLuhan's ideas, as he repeatedly invokes the metaphor of the "global village";30 indeed, McLuhan is quoted once in Stockhausen's essay "Ein

129 Siebert, Musik im Zeitalter der Globalisierung, 86.

<sup>122</sup> Stockhausen, "Nr. 13: Momente für Sopran, 4 Chorgruppen und 13 Instrumentalisten," 133 ("es mir bewußt wurde, daßich mich sogar in kleinsten Fragen der Klangmaterial-Auswahl entscheiden mülste, ob ich mich streng an unsere zentraleuropäische Tradition halte oder eine Musik mache, deren Tradition die Musik der ganzen Welt ist").

<sup>123</sup> Stockhausen, "Telemusik," 75 ("nicht 'meine' Musik zu schreiben, sondern eine Musik der ganzen Erde, aller Länder und Rassen").

<sup>124</sup> See Locke, Musical Exoticism, 214-244.

<sup>125</sup> Gutknecht, "Das Geistliche im realen Kompositionsprozeß Stockhausens," Ulrich, "Spirituelle All-Einheit und das Subjekt des Komponisten," and Utz, Neue Musik und Interkulturalität, 141–144.

<sup>126</sup> Hall, "The Question of Cultural Identity," 300-302.

<sup>127</sup> Utz, Neue Musik und Interkulturalität, 147–148.

<sup>128</sup> See Heile, "Weltmusik and the Globalization of New Music," 105-106.

<sup>130</sup> Stockhausen, "Interview über Telemusik," 81 ("Wir werden immer mehr der Tatsache bewußt, daß dieser ganze Globus ein einziges Dorf ist.").

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ڷڷڵ See Siebert, *rǀƫŏŤŏŰðĪŏƸÿŧƸĪƣģĪƣ-GŧżěÿŧŏƫŏĪƣǀŲŃ*܉-ڔڔ

ڸڷڵ- -¦ĪǜĪƣƫ܉-ܶ/ǀƣżƠďŏƫĜŊĪ-¼ƣĪŏěŊÿǀƫěŧdžƸĪŲ܉ܷ-ڒڕڍܨڎڕڍÿŲģ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڍړڍܨڑڒڍ

The implied position of the composer becomes even clearer in Stockhausen's Telemusik, in which - contrary to the composer's emphasis on a diversity of musical styles that should not be distorted by creating a "superstyle," but rather retain their diversity – Stockhausen's procedures do not give a prominent role to the articulation of cultural difference, but appear firmly rooted in the aesthetics and techniques of Western Europe's electronic music of the 1950s and 1960s. 155 The cultural difference of the recorded music is transformed and filtered into a musical context in which the uniqueness of the individual elements is almost completely erased - Telemusik employs both synthetically generated sounds from sine tone and triangle wave generators and recordings of traditional art and folk music from Japan, China, Vietnam, Bali, sub-Saharan Africa, indigenous Amazonian peoples, Spain, and Hungary. Stockhausen's Pluramon concept, which strives for a balanced relationship between pluralism and "monism,"136 is hardly put into practice here – the monism of Stockhausen's compositional style clearly predominates. When fragments of the traditional music recordings become audible, they are heard in a blurred, sometimes even grotesquely distorted manner that seems to mock the original performance style. Even if Stockhausen's reluctance to render the qualities of the traditional music genres used might have been rooted in the wish to respect their "original" form by not quoting them literally, the question remains why he actually decided to make use of them in the first place. The analyses show that the reasons for this decision do not stem from the specific musical qualities of the recorded music, nor from its acoustic properties;47 rather, Stockhausen's conventionally Western conception of a composer as universalist and "discoverer," based on nineteenth-century religion of art and Catholic faith, probably should be considered the main reason.

### Structuralist Universalism

The cases of Messiaen and Stockhausen clarify how religious and structural universalism interrelate. The assumption of the universal, culture-free, or transcultural properties of serial structure is an oft-invoked topos, although it was employed in most cases with reservation and, more importantly, articulated in quite different ways by different composers and authors. In both the Cologne and Paris contexts, the impact of universalist linguistic theories should be noted (Saussurian and Lévi-Straussian structuralism in Paris and Meyer-Eppler's information-theoretical research into an artificial hyperlanguage in Cologne). Although the common understanding of a "global" structure in which "everything is contained," supposedly reflecting a "universal, planned order,"138 was rarely connected to explicit cultural or ethnic claims during the 1950s, the interpretation of serial technique as a "culturally neutral" basis of postwar musical language was emphasized retrospectively in Dieter Schnebel's 1972 essay "New World Music." This text was written for the catalogue of the Munich Olympic Games 1972, entitled World Cultures and Modern Art: The Encounter of Nineteenth- and Twentieth-Century European Art and Music with Asia, Africa, Oceania, Afro- and Indo-America:

<sup>135</sup> See the analyses in Utz, Neue Musik und Interkulturalität, 153–165, Kohl, "Serial Form, and Process in Karlheinz Stockhausen's Telemusik," Erbe, "Karlheinz Stockhausens "Telemusik," and Hünermann, "Transkription und Intermodulation."

<sup>136</sup> Cott, Stockhausen. Conversations with the Composer, 144 and Shimizu, "Was ist PluraMonismus?"

<sup>137</sup> This is claimed by Maconie, The Works of Karlheinz Stockhausen, 207.

<sup>138</sup> Stockhausen, "Zur Situation des Metiers," 46-47 ("universelle[], geplante[] Ordnung"; "Musik jeweils als Vorstellung jener umfassendsten 'globalen' Struktur zu verstehen, in die alles einbezogen ist"; emphasis original).

¼ŊĪ-ŰǀƫŏĜ-ƠƣżģǀĜĪģÿǽ ƸĪƣ-ƸŊĪ-®ĪĜżŲģàżƣŧģàÿƣ܉-ĪƫƠĪĜŏÿŧŧǣŏŲ-/ǀƣżƠĪ܉-ŰÿƣŤĪģÿ-ŲĪǝěĪŃŏŲŲŏŲŃ- ¼ŊĪ-ŲĪǝ-ŰǀƫŏĜǝÿƫģŏƫƸŏŲŃǀŏƫŊĪģłƣżŰ-ƸŊĪżŧģŏŲ-ƸŊÿƸŏƸŧÿĜŤĪģ-ƸżÿŧÿƣŃĪ-ĪǢƸĪŲƸěżƸŊ-ƸŊĪ-ƸƣÿģŏƸŏżŲܫ ÿŧƣǀŧĪƫÿŲģƣĪŃŏżŲÿŧ-ĜżŧżƣŏŲŃàĪ-ĜÿŲÿŧŰżƫƸ-ƸÿŧŤżł-ƸŊĪěŏƣƸŊżłÿłǀƸǀƣŏƫƸŏĜǝżƣŧģŧÿŲŃǀÿŃĪŧܫ ƸŊżǀŃŊ-ƸŊĪ-ŲĪǝ-ĜżŰƠżƫŏƸŏżŲƫƫƸĪŰŰĪģłƣżŰàĪƫƸĪƣŲ-ŰǀƫŏĜ܉-ƸŊĪǣģŏģ-ŲżƸ-ŲĪĜĪƫƫÿƣŏŧǣģĪŰÿŲģ- ÿ-ŤŲżǝŧĪģŃĪżłŏƸłżƣ-ƸŊĪŏƣ-ǀŲģĪƣƫƸÿŲģŏŲŃ-¼ŊĪǣǝĪƣĪ-ƸŊĪ-ĜƣĪÿƸŏżŲƫżł-ĜżŰƠżƫĪƣƫ-ŊÿŏŧŏŲŃłƣżŰÿŧŧ- ƸŊĪŏŲģǀƫƸƣŏÿŧŏǭĪģ-ĜżǀŲƸƣŏĪƫ܉ǝŏƸŊżǀƸ-ŰżƣĪ-ƸŊÿŲ-ŊŏģģĪŲƣĪŃŏżŲÿŧƣĪŰŏŲŏƫĜĪŲĜĪƫ܈-ƸŊĪƫĪƣŏÿŧ-ŰǀƫŏĜ- żłÿfżƣĪÿŲ-ŊÿƫÿƫŧŏƸƸŧĪżł-ƸŊĪżƣŏĪŲƸÿŧÿěżǀƸŏƸÿƫ-ƸŊÿƸżłÿ-®ǝĪģĪ-Ŋÿƫżł-ƸŊĪtżƣģŏĜ-¼ŊŏƫƣÿƸŊĪƣ- ǀŲĜŊÿƣÿĜƸĪƣŏƫƸŏĜÿŲģƫĪĪŰŏŲŃŧǣ-ƸƣÿģŏƸŏżŲŧĪƫƫǝżƣŧģ-ŰǀƫŏĜżłÿ-ƸĪĜŊŲżŧżŃŏĜÿŧÿŃĪÿƸǿƣƫƸÿǜżŏģĪģ- ĪŰƠŧżǣŏŲŃ-ƸŊĪ-ĜǀƫƸżŰÿƣǣÿƠƠÿƣÿƸǀƫżł-ƸŊĪěżǀƣŃĪżŏƫ-Īƣÿ-¼ŊĪ-ǀƫǀÿŧżƠĪƣÿƸŏĜÿŲģ-ĜżŲĜĪƣƸłżƣŰƫ- ǝĪƣĪƫĜżƣŲĪģÿŲģ-ƸŊĪ-ĜżŰƠżƫŏƸŏżŲƫǝĪƣĪǝƣŏƸƸĪŲłżƣ-ǀŲżƣƸŊżģżǢ-ĪŲƫĪŰěŧĪƫڟڙڗ

Considering that the catalogue included both a "postcolonial" criticism of aesthetic (and poli-ƷŎěþŦܤƿűŎǛĩƢƪþŦŎƪůڙڝښ and seemingly "neutral" descriptions of how Western artists used "non-Western material,"ښڝښ this period today appears as a transitional phase from a structurally to an ethnically rooted universalism while, at the same time, the deep problem inherent in musical ƿűŎǛĩƢƪþŦŎƪůƪŦŻǜŦǢěþůĩ-ƷŻ-ĚĩůŻƢĩ-ŻƟĩűŦǢ-ĢŎƪƟƿƷĩĢ-܌ĩƪƟĩěŎþŦŦǢ-Ŏű-Ʒ'nĩǜþţĩ-ŻŁ-®ƷŻěţ'nþƿƪĩűܼƪ- ĩƪƪþǢ- ܹàĩŦƷůƿƪŎţܺ- ŁƢŻů- ܌ڒږژڐǜ'nŎě'n ěþű- Ěĩ ěŻűƪŎĢĩƢĩĢþ- Ɵĩþţ-ŻŁ-'nŎƪ ƿűŎǛĩƢƪþŦŎƪƷþĩƪƷ'nĩƷŎěƪ܌- ƪƿůůþƢŎǬŎűł-ŎĢĩþƪ ƪŎűěĩ- Ʒ'nĩ- ڏڔژڐƪڛڝښ þűĢ- ƟþƢƷŎěƿŦþƢŦǢ- ĚƿŎŦĢŎűł- Żű þ- 'þƢůƪƷþĢƷ ƪĩůŎűþƢ- Żű- ܹůĩƷþܮěŻŦŦþłĩܺ-ŁƢŻů-ڜڝښܒڏږژڐȃĩ-ƟŻƪƷǜþƢ-ܹŎĢĩŻŦŻłǢܺ-ŻŁþűŻűƟŻŦŎƷŎěþŦ-ƢŻŦĩ-ŻŁþƢƷþűĢůƿƪŎě-'nĩƢĩ- Ʒþţĩƪ-Żű-Ʒ'nĩ-ŎűěƢĩþƪŎűłŦǢĩƪŻƷĩƢŎěþűĢ-Ǜþłƿĩ-Ŧþűłƿþłĩ-®ƷŻěţ'nþƿƪĩű-ĢĩǛĩŦŻƟĩĢƪŎűěĩþƷ-ŦĩþƪƷ-Ʒ'nĩ- ŦþƷĩ-ڏڕژڐƪ܌-ĢĩűǢŎűłþűǢ-ƟŻƪƷěŻŦŻűŎþŦ-ŎůƟþěƷ-Ŏű-ŁþǛŻƢ-ŻŁþ-ܹƟƢŻěĩƪƪ-ŻŁ-ŎűűĩƢ-ƢĩűĩǜþŦܺ܋

ŲĪ żǽ ƸĪŲ- ŊĪÿƣƫ- ƸŊĪ ÿƣŃǀŰĪŲƸ- Ƹżģÿǣ- ƸŊÿƸ- /ǀƣżƠĪÿŲƫ- Ŋÿģ- ƸƣÿŲƫłżƣŰĪģ- ƸŊĪŏƣ- ĪÿƣŧŏĪƣ ŧÿŲģܫĜżŧż-ŲŏǭÿƸŏżŲ ŏŲƸż- ĜǀŧƸǀƣÿŧ- ĜżŧżŲŏǭÿƸŏżŲ-SŲ żƸŊĪƣ ǝżƣģƫ܉- Ƹżģÿǣ܉- ƸŊĪ-ƸżǀƣŏƫƸƫÿƣĪ-ƸŊĪ-ĜżŲƢǀĪƣżƣƫÿŲģ- ĪǢƠŧżŏƸĪƣƫŏŲÿŲżƸŊĪƣłżƣŰ-ǀƸ-ƸŊŏƫÿƣŃǀŰĪŲƸżǜĪƣŧżżŤƫ-ƸŊĪłÿĜƸ-ƸŊÿƸ-ǀŲģĪƣ-ƸŊĪƫǀƣłÿĜĪ-ŰÿŲŤŏŲģ- ŏƫ-ŰżǜĪģěǣ-ƸƣĪŲģƫżłģĪǜĪŧżƠŰĪŲƸǝŊŏĜŊ-ĜƣżƠ-ǀƠŏŲÿŧŧ-ĜǀŧƸǀƣĪƫ-ŲĪ-ĜÿŲŲżƸƫƠĪÿŤżłƫĪƠÿƣÿƸĪ- ƠƣżěŧĪŰƫżłƫżŰĪŏƫŧÿŲģ-ĜǀŧƸǀƣĪǝŏƸŊżǀƸ-ƸÿŤŏŲŃŏŲƸżÿĜĜżǀŲƸ-ƸŊĪ-ƸƣĪŲģƫǝŊŏĜŊěŏŲģ-ƸŊŏƫŏƫŧÿŲģ- ĜǀŧƸǀƣĪ-ƸżÿŧŧżƸŊĪƣƫ-¼ŊĪ-ƠƣżĜĪƫƫżłŏŲŲĪƣƣĪŲĪǝÿŧŏŲÿŧŧ-ĜǀŧƸǀƣĪƫěĪŃŏŲƫ-ŰżƣĪżƣŧĪƫƫÿƸ-ƸŊĪƫÿŰĪ- ښښڗܟ܊ܞ-ƸŏŰĪ

ڔڏڏܷ-܉rǀƫŏĜàżƣŧģtĪǝ-ܶ܉ĜŊŲĪěĪŧ®- -ڽڷڵ

ڴڸڵ- hŏƫƫÿ܉-ܶßżŰàĪƫĪŲģĪƫ-ÃŲŏǜĪƣƫÿŧŏƫŰǀƫŏŲģĪƣrǀƫŏŤܷ

ڵڸڵ- -£ĪŧŏŲƫŤŏ܉-ܶƣŏĪŲƸÿŧ żŧżǀƣŏŲŃŏŲ-ƸŊĪrǀƫŏĜżł-ƸŊĪtŏŲĪƸĪĪŲƸŊ- ĪŲƸǀƣǣ܉ܷ-£ĪŧŏŲƫŤŏ܉-ܶrǀƫŏĜÿŧ-/ǢżƸŏĜŏƫŰƣżǀŲģ-ƸŊĪ- æĪÿƣ-܉ڌڌڕڍܷ-¦ÿÿě܉-ܶ'ŏdz ǿĜǀŧƸŏĪƫŏŲ-ƸŊĪ-FǀƫŏżŲżłdÿǭǭÿŲģ-®ǣŰƠŊżŲŏĜrǀƫŏĜ܉ܷ-¦ÿÿě܉-ܶtĪŃƣżrǀƫŏĜŏŲhÿƸŏŲ-ŰĪƣŏ-Ĝÿ܉ܷ-RĜŊŲĪěĪŧ܉-ܶtĪǝàżƣŧģrǀƫŏĜܷ

ڶڸڵ Siebert, *rǀƫŏŤŏŰðĪŏƸÿŧƸĪƣģĪƣ-GŧżěÿŧŏƫŏĪƣǀŲŃ*܉-ڎڕܨڍڐ

ڷڸڵ- -Sěŏģ܉-ڑڐ-1/4ŊĪ-ĪƫƫÿǣǝÿƫǝƣŏƸƸĪŲěǣ-®ƸżĜŤŊÿǀƫĪŲżŲ-ڔ-Ơƣŏŧ-ڏړڕڍ-/ǢĜĪƣƠƸƫǿƣƫƸÿƠƠĪÿƣĪģŏŲ-ƸŊĪ-*Frankfurter All-ŃĪŰĪŏŲĪðĪŏƸǀŲŃ*żŲ-ړڍtżǜĪŰěĪƣ-ڏړڕڍ-£ƣŏŲƸĪģ-ǀŲÿěƣŏģŃĪģŏŲ-*Musik und Bildung*-܉ڒ-Ųżڍݎ-ܡڐړڕڍܠÿŲģŏŲ-*Universitas*-܉ڍڏ- Ųżڒݎ-ܡڒړڕڍܠ-£ǀěŧŏƫŊĪģŏŲ-®ƸżĜŤŊÿǀƫĪŲܹƫ-*Texte zur Musik*܉ßżŧ-ڐ-ܠƫĪĪ-®ƸżĜŤŊÿǀƫĪŲ-ܟڏړڕڍܞ-ܡڔړڕڍ

ڸڸڵ- -RƸżĜŤŊÿǀƫĪŲ܉- ܶàżƣŧģ rǀƫŏĜ܉ܷ- ڒܨڑ- ܠRƸżĜŤŊÿǀƫĪŲ܉- ܶàĪŧƸŰǀƫŏŤ܉ܷ- ڌړڐ- ܶrÿŲ- ŊƇƣƸ- ŊĪǀƸĪ żǽ Ƹ ģÿƫ ƣŃǀŰĪŲƸ܉ ģŏĪ- /ǀƣżƠďĪƣ-ŊďƸƸĪŲŏŊƣĪŲěŏƫŊĪƣŏŃĪŲhÿŲģܫfżŧżŲŏÿŧŏƫŰǀƫ-ǀŰŃĪǝÿŲģĪŧƸŏŲ-ĪŏŲĪŲfǀŧƸǀƣܫfżŧżŲŏÿŧŏƫŰǀƫrŏƸÿŲģĪƣĪŲàżƣƸĪŲ܈ģŏĪ-¼żǀƣŏƫƸĪŲƫĪŏĪŲ-/ƣżěĪƣĪƣ-ǀŲģ-ǀƫěĪǀƸĪƣŏŲÿŲģĪƣĪƣ-FżƣŰrÿŲdžěĪƣƫŏĪŊƸÿěĪƣģÿěĪŏ܉ģÿƷģŏĪ- rĪŲƫĜŊŊĪŏƸ-ǀŲƸĪƣģĪƣěĪƣǵŧďĜŊĪģǀƣĜŊ-/ŲƸǝŏĜŤŧǀŲŃƫƫƸƣƇŰĪěĪǝĪŃƸǝŏƣģ܉ģŏĪŏŲÿŧŧĪŲfǀŧƸǀƣĪŲÿǀǽ ƸÿǀĜŊĪŲ- rÿŲ-ŤÿŲŲ-ŲŏĜŊƸdžěĪƣƫĪƠÿƣÿƸĪ-£ƣżěŧĪŰĪŏƣŃĪŲģĪŏŲĪƣ-SŲƫĪŧŤǀŧƸǀƣƫƠƣĪĜŊĪŲ܉żŊŲĪģŏĪ-®ƸƣƇŰĪǭǀěĪƣdžĜŤƫŏĜŊƸŏ-ŃĪŲ܉ģŏĪģŏĪƫĪ-SŲƫĪŧŤǀŧƸǀƣ-ŰŏƸÿŧŧĪŲÿŲģĪƣĪŲǜĪƣěŏŲģĪŲ-'Īƣ-£ƣżǭĪƷģĪƣŏŲŲĪƣĪŲ-/ƣŲĪǀĪƣǀŲŃŏŲÿŧŧĪŲfǀŧƸǀƣĪŲ- ƫĪƸǭƸ-ŰĪŊƣżģĪƣǝĪŲŏŃĪƣ-ŃŧĪŏĜŊǭĪŏƸŏŃ-ĪŏŲ-ܟ܊ܞܷܡ

It is surely characteristic that Stockhausen recognized some crucial features of the globalization process early on when he emphasized the interconnectedness and entanglement of global regions, while his belief in a deterministic convergence and "inner renewal" of decaying and perishing cultures shows clear traits of early twentieth-century cultural pessimism in the style of Dane Rudhyar's writings of the 1920s and 1930s, which were in turn influenced by politically proto-fascist writings such as Oswald Spengler's Der Untergang des Abendlandes (The Decline of the West):145

[...] at the same time, cultures are destroyed from within. They are over-ripe and in a state of decay, and therefore definitely destined to change into something new. The consequence of this rapid process of the disintegration of individual cultures is that they all lead into a more unified world culture.146

This decline sets the stage for the "savior-composer," labeled "earthling" (Erdling) by Stockhausen, who has abandoned the chimera of a "personal style":44 he "literally embrace[s] the earth," and sets out to create "new forms […] in which many aspects – stylistic qualities – are united." Only to this end is the "[p]reservation of the greatest possible number of musical forms of all cultures" deemed necessary.148

The complex interrelation between presumably declining cultures – both Western and non-Western – serving as a justification for the individual genius composer's task of taking up the "invigorating" forces of global musical traditions, the call for a preservation of traditional musical cultures (to be freely used as material in new compositions), and the assignment of a key role to the composer, staged as a preserver of traditions and innovator transcending them at the same time, is a paradox that lies at the heart of globalized art music's universalist tendencies from the 1960s up to the 2000s. It recurs, for example, in Tan Dun's intermedia cello concerto The Map (2002), which integrates video footage of music from southwestern Chinese minorities into a conventional Western orchestra with a cello soloist. In this work, Tan Dun seems to be playing two roles simultaneously, each coming from a different ideological standpoint: that of the preserver of vanishing cultures, specifically as an ethnically Chinese artist, and that of the innovator of the modern Western orchestra, a citizen of the world and practitioner of Western art (> III.5).149

### Transethnic Universalism

Stockhausen's arrival at an explicit transethnic universalism was undoubtedly instigated by his increasingly international success as a composer, which included performances, commissions, and invitations from the United States (1958, 1961, 1965, 1966-67) and Japan (1966, 1970,

<sup>145</sup> Ertan, Dane Rudhyar, 18–21; see Utz, "Klang als Energie in der Musik seit 1900."

<sup>146</sup> Stockhausen, "World Music," 4 (Stockhausen, "Weltmusik," 469. "[…] gleichzeitig zerstören sich Kulturen von innen heraus selber. Sie sind überreif und im Zustand der Fäulnis, dazu bestimmt, sich in etwas Neues zu verwandeln. Die Konsequenz aus diesem schnellen Prozeß der Auflösung individueller Kulturen ist, daß sie alle in eine mehr einheitliche Erdkultur münden.")

<sup>147</sup> Ibid., 9. (Stockhausen, "Weltmusik," 472. "persönliche[r] Stil.")

<sup>148</sup> Ibid. (Stockhausen, "Weltmusik," 472–473. "buchstäblich die Erde umfassen"; "neue Gebilde […], in denen eine große Zahl von Aspekten – stilistischen Qualitäten – vereinigt ist"; "Erhaltung möglichst vieler musikalischer Formen aller Kulturen.")

<sup>149</sup> See Young, "The Voicing of the Voiceless in Tan Dun's The Map."

܌ܤږږܮڕږژڐþůŻűł-ŻƷ'nĩƢƪܒȃĩůƿŦƷŎƟŦĩůƿƷƿþŦ-ŎűǴŦƿĩűěĩƪ-ĚĩƷǜĩĩű-®ƷŻěţ'nþƿƪĩűþűĢ- Ʒ'nĩůĩƢŎěþű- ܹ/ǡƟĩƢŎůĩűƷþŦ-¼ƢþĢŎƷŎŻűܺ-ĚĩŁŻƢĩ܌-ĢƿƢŎűł܌þűĢþǼ ƷĩƢ-'nŎƪ-ƟƢŻŁĩƪƪŻƢƪ'nŎƟþƷ- Ʒ'nĩ-ÃűŎǛĩƢƪŎƷǢ-ŻŁ- þŦŎŁŻƢűŎþ-ܣ'þǛŎƪܤ-Ŏű-ږڕܮڕڕژڐ-ƢĩůþŎűþ-ĢĩƪŎĢĩƢþƷƿů-ŻŁ-ŁƿƷƿƢĩ-ƢĩƪĩþƢě'nڙڞښܒ In contrast, the impact ŻŁ-®ƷŻěţ'nþƿƪĩűܼƪ-ƷƢŎƟƪ-ƷŻdþƟþű-'nþǛĩ-Ěĩĩű-'nŎł'nŦŎł'nƷĩĢ-ĚǢ-ĚŻƷ'n-®ƷŻěţ'nþƿƪĩű-'nŎůƪĩŦŁþűĢƪĩǛĩƢþŦ- studies.ښڞښ-NŎƪƷŻƢŎěþŦŦǢ܌-Ʒ'nĩěŻűěĩƟƷ-ŻŁ-ƷƢþűƪĩƷ'nűŎěŎƪů-'nþĢ-ĢĩǛĩŦŻƟĩĢ-ŎűtŻƢƷ'nůĩƢŎěþűůƿƪŎě- Ŏű-Ʒ'nĩĩþƢŦǢ-ƷǜĩűƷŎĩƷ'něĩűƷƿƢǢǜŎƷ'n-ƟƢŻƟŻűĩűƷƪƪƿě'nþƪ-£ĩƢěǢ-GƢþŎűłĩƢ܌-NĩűƢǢ-/Ŏě'n'nĩŎů܌-'þűĩ- ¦ƿĢ'nǢþƢ܌-NĩűƢǢ- ŻǜĩŦŦ-ܣƪĩĩ-ĚĩŦŻǜ܌ܤ- ŻŦŎűrě£'nĩĩ܌-NþƢƢǢ-£þƢƷě'n܌hŻƿ-NþƢƢŎƪŻű܌-Ŧþű-NŻǛ'nþűĩƪƪ܌-George Crumb, and John Cageڛڞښ – although Cage's universalism is arguably better described as a complex synthesis of structural and ethnic or cultural components.

¼ƢþűƪĩƷ'nűŎěƿűŎǛĩƢƪþŦŎƪů-ŎűůƿƪŎěǜþƪ-ŻŁěŻƿƢƪĩűŻűĩǜ-ŎĢĩþ-Ŏű-Ʒ'nĩ-ڏڕژڐƪܒ-SƷ-'nþĢ-Ěĩĩű-ĢŎƪܮ ěƿƪƪĩĢěŻűƷƢŻǛĩƢƪŎþŦŦǢ-Ŏű- Ʒ'nĩĩþƢŦǢ- ƷǜĩűƷŎĩƷ'něĩűƷƿƢǢ܌ƪƟþƢţĩĢ-ĚǢ- Ʒ'nĩěŻűěĩƟƷ-ŻŁþűĩǜ- ܹĩǡŻƷܮ ŎěŎƪƷůƿƪŎěþŦƪƷǢŦĩ܌ܺ-ƷĩƪƷŎȀĩĢ-Ŏű-Ʒ'nĩ-Ʒ'nĩŻƢǢ-ŻŁ-GĩŻƢł þƟĩŦŦĩű-Ʒ'nþƷǜþƪ-ĢĩƪƷŎűĩĢ-ƷŻ-ŻǛĩƢěŻůĩ-Ʒ'nĩ- "crisis" of modern music with its "rejuvenating" forces.ڜڞښ Capellen's approach shows obvious ƟþƢþŦŦĩŦƪ-ƷŻ-®ƷŻěţ'nþƿƪĩűܼƪ܌ƪƿłłĩƪƷŎűł-Ʒ'nþƷ-Ʒ'nĩ-ŎĢĩþ-ŻŁ-ܹƪƷþłűþƷŎŻűܺ-ŻŁ-ĚŻƷ'n-/ƿƢŻƟĩþűþűĢűŻűܮ /ƿƢŻƟĩþűěƿŦƷƿƢĩƪ-ܫ-ƷŻ-Ěĩ-ܹƢĩǛŎƷþŦŎǬĩĢܺ-ĚǢ-Ʒ'nĩłĩűŎƿƪěŻůƟŻƪĩƢ-ܫþűĢ-Ʒ'nĩ-ŎĢĩþ-ŻŁþűĩěĩƪƪþƢǢ- ܣƪƷþƷŎěܤ-ܹƟƢĩƪĩƢǛþƷŎŻűܺ-ŻŁűŻűܮàĩƪƷĩƢűěƿŦƷƿƢĩƪ-ĚǢ-ĢŻěƿůĩűƷþƷŎŻűþƢĩþƢě'nĩƷǢƟĩƪ-ŻŁ-ƷƢþűƪűþƷŎŻűܮ al modernity discourse, recurring in waves.ڝڞښ Representatives of early comparative musicology ǜĩƢĩ-'nŻƢƢŎȀĩĢ-ĚǢ-Ʒ'nĩ-ܹƪƟĩěƷĩƢܺþűĢ-Ʒ'nĩ-ܹƿűƢĩþŦŎƪƷŎěƿƷŻƟŎþܺ-ŻŁþ-ܹÃűŎǛĩƢƪþŦůƿƪŎţܺ-ƷŻǜ'nŎě'n-Żűĩ- ůŎł'nƷ-ŦŎƪƷĩű-ܹǜŎƷ'n-Ʒ'nĩƪþůĩĩǡěŎƷĩůĩűƷ-Żű-FŎǼ Ʒ'n-Ǜĩűƿĩþƪ-Ŏű-Ʒ'nĩfþŦþ'nþƢŎ܌ܺڞڞښ a position expandĩĢþűĢ-ŎűƷĩűƪŎȀĩĢ-ŎűěƢŎƷŎơƿĩƪþűĢ-ƟŻŦĩůŎěƪƪƿƢƢŻƿűĢŎűł-®ƷŻěţ'nþƿƪĩűܼƪ-ܹàĩŦƷůƿƪŎţܺěŻűěĩƟƷ- amply documented and analyzed in earlier studies.ڟڞښ

ȃĩ-ŎůƟþěƷ-ŻŁþűĩǡƟŦŎěŎƷ܌ĩƷ'nűŎěþŦŦǢ-ŻƢŎĩűƷĩĢƿűŎǛĩƢƪþŦŎƪƷ-Ʒ'nŻƿł'nƷþƢŻƿűĢ-ڏږژڐ-Ŏű-ĚŻƷ'nî- þűĢ-/ƿƢŻƟĩþűůƿƪŎěþŦěŻűƷĩǡƷƪěþű-'nþƢĢŦǢ-Ěĩ-ŻǛĩƢĩƪƷŎůþƷĩĢ܌ǜŎƷ'nůþűǢþƟƟƢŻþě'nĩƪ-ƢĩþěƷŎűł- ĢŎƢĩěƷŦǢ-ŻƢ-ŎůƟŦŎěŎƷŦǢþűĢ-ŻǼ ƷĩűěƢŎƷŎěþŦŦǢ- ƷŻ-®ƷŻěţ'nþƿƪĩűܼƪ- ܹàĩŦƷůƿƪŎţܺ-ŎĢĩþŦڠڞښܒ Mauricio KałĩŦ܌-£ĩƷĩƢrŎě'nþĩŦ-NþůĩŦ܌-NþűƪðĩűĢĩƢ܌þűĢ-NĩŦůƿƷhþě'nĩűůþűű-Ŏű-GĩƢůþűǢ܌-GŎþěŎűƷŻ-®ěĩŦƪŎ܌hƿěŎþűŻĩƢŎŻ܌-ŦǛŎű ƿƢƢþű-Ŏű- SƷþŦǢþűĢ- Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪ܌-£ŎĩƢƢĩ-ŻƿŦĩǬ܌ dĩþűܮ ŦþƿĢĩ-/ŦŻǢ܌- and Georges Aperghis in France, Benjamin Britten in Great Britain, and, largely neglected by research, Henri Pousseur in Belgium,ڡڞښþƪǜĩŦŦþƪ- Ʒ'nĩþŁŻƢĩůĩűƷŎŻűĩĢtŻƢƷ'nůĩƢŎěþűěŻůposers and a considerable number of Asian composers (including most prominently Pan-Asiat-

ڴڹڵ See Heile, "*Weltmusik*ÿŲģ-ƸŊĪ-GŧżěÿŧŏǭÿƸŏżŲżłtĪǝrǀƫŏĜ܉ܷ-ڒڌڍ

ڵڹڵ- -GǀƸŤŲĪĜŊƸ-ܶ®ƸżĜŤŊÿǀƫĪŲ-ǀŲģdÿƠÿŲ܉ܷ-RŊŏŰŏǭǀ܉-ܶRƸżĜŤŊÿǀƫĪŲ-ǀŲģdÿƠÿŲ܉ܷÿŲģ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڏڑڍܨڔڐڍ

ڶڹڵ Nicholls, "Transethnicism and the American Experimental Tradition."

ڷڹڵ Capellen, *Ein neuer exotischer Musikstil an Notenbeispielen nachgewiesen*܉ ÿƠĪŧŧĪŲ܉- ܶ/ǢżƸŏƫĜŊĪ- ¦ŊǣƸŊŰŏŤ܉ܷ ÿŲģ- ÿƠĪŧŧĪŲ܉-ܶàÿƫ-ŤƇŲŲĪŲ-ǀŲƫ-ĪǢżƸŏƫĜŊĪrĪŧżģŏĪŲŧĪŊƣĪŲܐܷ-RĪĪ-ÃƸǭ܉-ܶrǀƫŏŤÿŧŏƫĜŊĪ-ܸ¼ƣĪŏěŊÿǀƫěŧdžƸĪŲܹܐܷ

ڸڹڵ- -¦ĪǜĪƣƫ܉-ܶ/ǀƣżƠďŏƫĜŊĪ-¼ƣĪŏěŊÿǀƫěŧdžƸĪŲܷ

ڹڹڵ- -NżƣŲěżƫƸĪŧ܉- ܶî tÿƸŏżŲÿŧ rǀƫŏĜ܉ܷ- ڔڒܨړڒ- ܠܶ/ŏŲĪ- ÃŲŏǜĪƣƫÿŧŰǀƫŏŤ- ܉ܟ܊ܞ ģŏĪ ģĪƣ- ƸƇŲĪŲģĪ- ǀƫģƣǀĜŤ ģĪƫ- ܸŧŧŃĪ-ŰĪŏŲܫrĪŲƫĜŊŧŏĜŊĪŲܹǝďƣĪ-ǀŲģģĪƣ-ŰÿŲ-ŰŏƸ-ŃŧĪŏĜŊĪŰ-/ŲƸǭdžĜŤĪŲŏŲģĪƣ-Fŏǽ ƸŊǜĪŲǀĪ-ǀŲģŏŲģĪƣfÿŧÿŊÿƣŏŧÿǀƫĜŊĪŲǝdžƣģĪ܉-ܟ܊ܞǝŏƣģŏŰŰĪƣ-ĪŏŲĪǝŏƣŤŧŏĜŊŤĪŏƸƫłƣĪŰģĪ-ÃƸżƠŏĪěŧĪŏěĪŲ-ǀĜŊǝdžƣģĪƫŏĪěĪƫƫĪƣǭǀŰ-®ĜŊƣĪĜŤ-ŃĪƫƠĪŲƫƸ-ƸÿǀŃĪŲÿŧƫǭǀŰ-SģĪÿŧܷܡ

ںڹڵ- -FƣŏƸƫĜŊ܉-ܶðǀƣ-SģĪĪģĪƣàĪŧƸŰǀƫŏŤ܉ܷ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-܉ڍړڍܨڒڏڍ-NĪŏŧĪ܉-ܶ*Weltmusik* and the GlobÿŧŏǭÿƸŏżŲżłtĪǝrǀƫŏĜ܉ܷ-܉ڑڍڍܨڕڌڍÿŲģ-®ŏĪěĪƣƸ܉*rǀƫŏŤŏŰðĪŏƸÿŧƸĪƣģĪƣ-GŧżěÿŧŏƫŏĪƣǀŲŃ*܉-ڐڐܨڏڐ

ڻڹڵ- tŏĜŊżŧŧƫ-ܶ¼ƣÿŲƫĪƸŊŲŏĜŏƫŰÿŲģ-ƸŊĪ-ŰĪƣŏĜÿŲ-/ǢƠĪƣŏŰĪŲƸÿŧ-¼ƣÿģŏƸŏżŲ܉ܷ-ÃƸǭ܉-*Neue Musik und Interkulturalität*, Heile, "*Weltmusik*ÿŲģ-ƸŊĪ-GŧżěÿŧŏǭÿƸŏżŲżłtĪǝrǀƫŏĜ܉ܷżƣŏż܉-ܶ żŲǜĪƣŃĪŲĜĪ-ĪƸǝĪĪŲàĪƫƸÿŲģ-/ÿƫƸŏŲ-ڌڎƸŊܫ ĪŲ-ƸǀƣǣrǀƫŏĜ܉ܷÿŲģżƣŏż܉-ܶßżŰ-/ŲģĪģĪƫ-/ǢżƸŏƫŰǀƫܷ

ڼڹڵ Heile, "*Weltmusik*ÿŲģ-ƸŊĪ-GŧżěÿŧŏǭÿƸŏżŲżłtĪǝrǀƫŏĜ܉ܷ-ڏڍڍ

ic tendencies in works by Toshirō Mayuzumi, Akira Nishimura, Minoru Miki, José Maceda, and Isang Yun), all included intercultural ideas prominently in their compositional aesthetics during this period, sometimes in an explicitly universalist manner close to Stockhausen (e.g., Pousseur), sometimes with a decidedly opposing approach (Boulez, who, as a young man, wanted to study ethnology and was in close contact with the anthropologist André Schaeffner throughout the 1950s to 1970s159. The reason for this broad attempt at an identification with non-Western cultures, though frequently linked to a rigorous criticism of modernized non-Western musical practices, might very well be tound in the precarious social situation of new music, necessitating the creation of aesthetic and cultural alliances and solidarities that transcend the limitations of the immediate (local) "realities" and constraints.160

### 3. The Ambivalence of the Local in Twentieth-Century Music

A dynamic concept of culture must concede that a tendency toward essentializing cultural symbols, idioms, or stereotypical representations of (national) cultures in musical contexts is not simply a thing of the past. Not only do the local and the global stand in an ongoing relationship of interaction or feedback (as Robertson's concept of "glocalization" tried to explain → I.2), but local and national (or nationalist) discourses are also variously interwoven. The local challenge of nationalist generalization can itself turn into a questionable nationalism when aiming to escape from a hegemonic "internationalist" standardization: a resentment of the Other may be subsumed under the local, and in a generalized form – as an "invented tradition" – turn into a (neo-)nationalist symbol. In the tollowing, I will investigate how such specific, locally focused concepts of musical culture can be understood within the tensions between national essentialism and global standardization. This question will be broached against the background of two prominent examples from the first half of the twentieth century that had "non-simultaneous" resonances during the century's second half.

### Stravinsky and Bartok: Construction and Criticism of National Music in the Tension Fields Between Composition and Ethnography

The tendency toward suppressing "ethnic" categories in most new music was primarily a legacy of the post-1945 political-musical situation. In this period, serial music acted as a self-referential counter-model to the misuse of musical topicality by the totalitarian political systems of the immediate past, especially in National Socialism (→ I.2). But a phenomenon both aesthetically and socially contradictory to serialism, such as the neoclassicism of Igor Stravinsky (a declared sympathizer of Italian fascism161 with notoriously anti-Semitic attitudes), was also based on a renunciation of musical "language" in the narrower sense. In Stravinsky's case, this renunciation concerned above all the idiom of the national Russian school of the decades following the 1860s and was preserved and transformed in the neo-national "Russian" sound of his works before the October Revolution in 1917. In his Autobiography of 1936, Stravinsky attacked the

<sup>159</sup> Borio, "Vom Ende des Exotismus," 117-118 and Zenck, Pierre Boulez, 63-64.

<sup>160</sup> Meyer, "Volkstümlich - primitiv - populär," 34.

<sup>161</sup> In 1930, Stravinsky declared Mussolini "the savior […] of Europe" (quoted in Taruskin, "The Dark Side of the Moon," 208). See Stenzl, Von Giacomo Puccini zu Luigi Nono, 29, Sachs, Music in Fascist Italy, Taruskin, "Notes on Svadebka," 450–453, and Taruskin, "The Dark Side of the Moon," 208–212.

"naive but dangerous" and "sterile tendency" of nationally minded Russian and Spanish compoƪĩƢƪ-ŎűěŦƿĢŎűł-'nŎƪ-ŁŻƢůĩƢ-Ʒĩþě'nĩƢtŎţŻŦþŎ-¦ŎůƪţŎܮfŻƢƪþţŻǛ-ܹƷŻ-ƢĩůþţĩþűþƢƷ-Ʒ'nþƷ-'nþƪþŦƢĩþĢǢ- been created instinctively by the genius of the people" on an ethnographic basis.ڛڟښ At the same ƷŎůĩ܌-'nĩ-ĢƢþƪƷŎěþŦŦǢ-ĢŻǜűƟŦþǢĩĢ-Ʒ'nĩ-ŎůƟŻƢƷþűěĩ-ŻŁ-¦ƿƪƪŎþű-ŁŻŦţůƿƪŎěþƪþƪŻƿƢěĩ-ŻŁ-'nŎƪ-Żǜű- ǜŻƢţƪܒ-RƷƢþǛŎűƪţǢܼƪ-ƷĩűĢĩűěǢ-ƷŻůþƪţ-Ʒ'nĩĩƷ'nűŎěěŻűƷĩǡƷƪ-ŻŁ-'nŎƪůƿƪŎěěŻűƷŎűƿĩĢ-Ŏű-Ʒ'nĩ-ŎűǴŦƿĩű-ƷŎþŦ܌-ƟƿƢĩŦǢƪƷƢƿěƷƿƢþŦŎƪƷþűþŦǢƪĩƪ-ŻŁ-'nŎƪůƿƪŎě-ĚǢ-ŦŎǛŎĩƢrĩƪƪŎþĩűþűĢ-£ŎĩƢƢĩ-ŻƿŦĩǬþǼ ƷĩƢ-ڜڟښܒڔړژڐ

¦ĩěĩűƷ-ŎűǛĩƪƷŎłþƷŎŻűƪ܌űþůĩŦǢ- Ʒ'nĩĩǡƷĩűƪŎǛĩƪƷƿĢŎĩƪ-ŻŁ-¦Ŏě'nþƢĢ-¼þƢƿƪţŎűڝڟښ܌ show, on the ěŻűƷƢþƢǢ܌-'nŻǜ-ŁƿűĢþůĩűƷþŦ-Ʒ'nĩěŻűŁƢŻűƷþƷŎŻűǜŎƷ'n-ŦŻěþŦůƿƪŎěǜþƪ-ŁŻƢ-®ƷþǛŎűƪţǢܼƪ-Ʒ'nƢĩĩ-ܹ¦ƿƪƪŎþűܺ- ĚþŦŦĩƷƪþűĢ-ŻƷ'nĩƢǜŻƢţƪ- ĚĩŁŻƢĩ- ܒږڐژڐrƿě'n-ŻŁ- Ʒ'nĩůĩŦŻĢŎěůþƷĩƢŎþŦ-ŻŁ-*Ȅĩ-¦ŎƷĩ- ŻŁ- ®ƟƢŎűł* (*Le Sacre du Printemps*- ܤڒڐܫڐڐژڐ ǜþƪ- ĚþƪĩĢ- Żű hŎƷ'nƿþűŎþű þűĢ- ¦ƿƪƪŎþű- ŁŻŦţůĩŦŻĢŎĩƪ܌- Ʒ'nŻƿł'n- considerably abstracted and transformed.ڞڟښ Similarly, the sonorities in large parts of *Ȅĩ-¦ŎƷĩ- of Spring*, *Petrushka*-܌ܤڐڐܫڏڐژڐܣþűĢ-*Ȅĩ-FŎƢĩĚŎƢĢ*-ܤڏڐܫژڏژڐܣþƢĩ-ĚþƪĩĢ-Żű- Ʒ'nĩþƿƢþŦ-ŎůƟƢĩƪƪŎŻű-ŻŁ- characteristic Russian instruments, such as the shepherd shawms *dudka* and *ƢŻǬ'nżţ*, the hurdygurdy *líra* or the psaltery *gusli*. ڟڟښ-RƷƢþǛŎűƪţǢƿƪĩĢ-ǛþƢŎŻƿƪ-ŁŻŦţƪŻűłěŻŦŦĩěƷŎŻűƪ܌-ĚƿƷþƟƟþƢĩűƷŦǢ- also occasionally notated the music of his local environment.ڠڟښű-Ʒ'nĩǜ'nŻŦĩ܌-ŎƷ-ŎƪűŻƷĩǜŻƢƷ'nǢ- Ʒ'nþƷ-®ƷƢþǛŎűƪţǢĩůƟ'nþƪŎǬĩĢĩƷ'nűŻłƢþƟ'nŎě-ƟƢĩěŎƪŎŻűþűĢěƢŎƷŎěþŦŦǢþƪƪĩƪƪĩĢ-Ʒ'nĩ-ƢĩŦŎþĚŎŦŎƷǢ-ŻŁ-Ʒ'nĩ- melodic transcription of his sources, even considering the sociocritical context of the melodies in the context of his ballet scenarios.ڡڟښæĩƷ܌-ŎűěŻűƷƢþƪƷ-ƷŻ-Ʒ'nĩ-ܹţƿě'nţŎƪƷܺ-ƷƢþĢŎƷŎŻű-ŻŁ-'nŎƪ-ƟƢĩěƿƢƪŻƢƪ܌-ܹȃĩ-FŎǛĩܺ-ܣ*rŻłƿĝþŠþţƿĝţþ*܌ܤ-'nĩ-ĢŎĢűŻƷƪĩƷ-Ʒ'nĩƪĩƪŻƿƢěĩƪ-Ŏű-Ʒ'nĩŎƢ-ܹŻƢŎłŎűþŦ-ŁŻƢů܌ܺ-ĚƿƷ- rather exposed them to radical transformation processes that went as far as pre-serial meth-ŻĢƪ-ܣŎűěŦƿĢŎűł܌- ŁŻƢ ĩǡþůƟŦĩ܌- Ʒ'nĩ- ǛĩƢƷŎěþŦŎǬþƷŎŻű- ŻŁ- ŁŻŦţůĩŦŻĢŎĩƪ- Żű- Ʒ'nĩ- ĚþƪŎƪ- ŻŁ ƪĩƢŎþŦ- ƟƢþěܮ ƷŎěĩƪڢڟښܒܤłþŎűƪƷ-Ʒ'nŎƪ-ĚþěţłƢŻƿűĢ܌rþƢƷŎűðĩűěţܼƪ-ŎűƷĩƢƟƢĩƷþƷŎŻű-ŻŁ-Ʒ'nĩůƿƪŎě-ŻŁ-*Ȅĩ-¦ŎƷĩ* in accordance with Sigmund Freud's analysis in *Totem and Taboo*-ܣǜ'nŎě'nþƟƟĩþƢĩĢ-Ŏű-܌ڒڐژڐ-Ʒ'nĩ-ǢĩþƢ-ŻŁ-Ʒ'nĩ- premiere of *Ȅĩ-¦ŎƷĩ*ܤƪĩĩůƪ-쯳ĩűƷܒ-Rƿě'nþűþűþŦǢƪŎƪƪĩĩůƪ-ƟþƢƷŎěƿŦþƢŦǢþƟƷ-ŁŻƢ-Ʒ'nĩ-ȀűþŦ-*Danse Sacrale*-ܣǜ'nŎě'něŻűƪƟŎěƿŻƿƪŦǢűŻ-ŦŻűłĩƢ-ŁĩþƷƿƢĩƪ-ŁŻŦţůĩŦŻĢŎĩƪܗܤ-Ʒ'nĩ-ŻǼƷĩűþűþŦǢǬĩĢ-*Danse* seems ƷŻ-ŁŻƢůƿŦþƷĩþěƢŎƷŎơƿĩ-ŻŁ-Ʒ'nĩƪþěƢŎȀěŎþŦ-ƟƢþěƷŎěĩ-ŻŁ-Ʒ'nĩ-ƢŎƷƿþŦþűĢűŻƷþűþƢě'nþŎƪƷŎěþŦŦǢěŻŦŻƢĩĢ-

ڶںڵ- -RƸƣÿǜŏŲƫŤǣ܉-*An Autobiography*܉-ړڕ-RĪĪ-¼ÿƣǀƫŤŏŲ܉-ܶ¦ǀƫƫŏÿŲ-FżŧŤrĪŧżģŏĪƫŏŲ-*The Rite of Spring*܉ܷ-ڏڌڑ

ڷںڵ- -RĪĪ-¼ÿƣǀƫŤŏŲ܉-ܶ¦ǀƫƫŏÿŲ-FżŧŤrĪŧżģŏĪƫŏŲ-*The Rite of Spring*," 505.

ڸںڵ- -RĪĪŏěŏģÿŲģ-¼ÿƣǀƫŤŏŲ܉-*Stravinsky and the Russian Traditions*܉ǜżŧ܉ڍݎ-ڌڑڕܨڍڕڔ

ڹںڵ- -RƸƣÿǜŏŲƫŤǣ-ǀƫĪģÿƸŧĪÿƫƸłżǀƣ-ŰĪŧżģŏĪƫłƣżŰ-ƸŊĪ-ĜżŧŧĪĜƸŏżŲ *Melodje ludowe litewskie* ܞhŏƸŊǀÿŲŏÿŲ-FżŧŤrĪŧżģŏĪƫ܉ܟ- ĪģŏƸĪģěǣ-ƸŊĪ-£żŧŏƫŊ-ƠƣŏĪƫƸ-ŲƸżŲdǀƫǭŤŏĪǝŏĜǭ-܉ܡڌڔڔڍܨڕڍڔڍܠŏŲ-ƸŊĪ-ĜżŰƠżƫŏƸŏżŲżł-*The Rite of Spring*. The collection ĜżŲƸÿŏŲƫ-ڑڔړ܉ڍhŏƸŊǀÿŲŏÿŲłżŧŤƫżŲŃƫ-ܠĪƫƠĪĜŏÿŧŧǣǝĪģģŏŲŃƫżŲŃƫܡ-RĪĪ܉łżƣłǀƣƸŊĪƣģĪƸÿŏŧƫ܉ŏěŏģ܉-ڏڎڕܨڍڕڔ

ںںڵ- -RĪĪŏěŏģ܉-܉ڌڏړ-ڑڏڕ-1/4ŊĪ-ƸŏƸŧĪ-ƠÿŃĪżłǜżŧǀŰĪ-ڍżł-¼ÿƣǀƫŤŏŲܹƫ-*Stravinsky and the Russian Traditions*łĪÿƸǀƣĪƫÿƫŤĪƸĜŊ- of a *rozhók*-ƠŧÿǣĪƣŏŲÿ-ĜżƫƸǀŰĪěǣtŏĜŊżŧÿƫ-¦żĪƣŏĜŊłżƣ-*The Rite of Spring*-ܠÿŤŊƣǀƫŊŏŲ-®ƸÿƸĪ- ĪŲƸƣÿŧ-¼ŊĪÿƸƣŏĜÿŧ- ܡrżƫŤÿǀ-܉rǀƫĪǀŰ

ڻںڵ- ƫƫĪĪŲŏŲÿłƣĪƢǀĪŲƸŧǣƣĪƠƣżģǀĜĪģ-ƠŊżƸżŃƣÿƠŊ܉-RƸƣÿǜŏŲƫŤǣ-ŲżƸÿƸĪģ-ƸŊĪ-ŊǀƣģǣܫŃǀƣģǣ-ܠ*líra*ܡŧǣƣŏĜÿŧÿĜĜżŰƠÿŲŏment of a song of a sightless *lirnik*-ܠƸƣÿǜĪŧŏŲŃ-ŰǀƫŏĜŏÿŲܡŏŲ-ŊŏƫƫǀŰŰĪƣƣĪƫŏģĪŲĜĪÿƸ-ÃƫƸŏŧǀŃ-ܠĜ-ܔڌڍڕڍƫĪĪ-'ÿŲǀser, *'ŏĪrǀƫŏŤģĪƫ-ݒܓڐڒdÿŊƣŊǀŲģĪƣƸƫ*܉-܉ڏڑ-1/4ÿƣǀƫŤŏŲ܉-ܶ¦ǀƫƫŏÿŲ-FżŧŤrĪŧżģŏĪƫŏŲ-*The Rite of Spring*܉ܷ-ܡړڌڑ-SŲ-Ŋŏƫ-ŰżŲżgraph (*Stravinsky and the Russian Traditions*܉ǜżŧ-܉ڍ-ܡڌړڔ-1/4ÿƣǀƫŤŏŲ-ĜżŲƸƣÿģŏĜƸƫ-ŊŏƫżǝŲ-ĪÿƣŧŏĪƣŏŲƸĪƣƠƣĪƸÿƸŏżŲżł-ƸŊĪ- ƠŊżƸżŃƣÿƠŊ܉ŏŲǝŊŏĜŊ-ŊĪ-ܠÿƫǝĪŧŧÿƫ-'ÿŲǀƫĪƣܡ-ƸżżŤ-ƸŊĪ-ƠŊżƸżŃƣÿƠŊÿƫ-ĪǜŏģĪŲĜĪ-ƸŊÿƸ-®ƸƣÿǜŏŲƫŤǣ-Ŋÿģ-ĜżŲģǀĜƸĪģ- ĪƸŊŲżŧżŃŏĜÿŧƫƸǀģŏĪƫ-ܶđŧÿÿƣƸżŤܷ-¼ÿƣǀƫŤŏŲƣÿƸŊĪƣƫǀŃŃĪƫƸƫ-ƸŊÿƸ-ƸŊĪ-ƠŊżƸżģżĪƫ-ŲżƸÿŧŧżǝ-ĜżŲĜŧǀƫŏżŲƫ-ƸżěĪ- ģƣÿǝŲÿěżǀƸ-®ƸƣÿǜŏŲƫŤǣܹƫǝŏģĪƣ-ĪƸŊŲżŰǀƫŏĜżŧżŃŏĜÿŧÿĜƸŏǜŏƸŏĪƫ܉ƫŏŲĜĪŏƸƫĪĪŰƫ-ܶƠżƫĪģܷÿŲģ-ƸŊÿƸ-ĜŧżƫĪƣ-ĜżŲƸÿĜƸ- ǝŏƸŊŧżĜÿŧ-ŰǀƫŏĜŏÿŲƫǝżǀŧģ-ŊÿǜĪ-ĜżŲƸƣÿģŏĜƸĪģ-®ƸƣÿǜŏŲƫŤǣܹƫ-ܶĜŧÿƫƫܷ-ĜżŲƫĜŏżǀƫŲĪƫƫ

ڼںڵ- -1/4ÿƣǀƫŤŏŲ܉-*Stravinsky and the Russian Traditions*܉ǜżŧ-܉ڍ-܉ڏڕڔ-ڍڍڕ

ڽںڵ- -RĪĪ-¼ÿƣǀƫŤŏŲ܉-ܶ¦ǀƫƫŏÿŲ-FżŧŤrĪŧżģŏĪƫŏŲ-*The Rite of Spring*܉ܷ-ڏڐڑܨڍڐڑÿŲģßŧÿģ܉-ܶ¦ĪŏŊĪŲƫƸƣǀŤƸǀƣĪŲŏŰ-*Sacre du Printemps*."

nostalgia for lost primitivity.100 Thus, Stravinsky's music clearly stood in opposition to Nicholas Roerich, who designed the scenario based strictly on ethnographic authenticity. The composer implicitly distanced himself from a neo-nationalist idealization of archaic Slavic rituals.

Today, Béla Bartók's attempt to establish new art music on the basis of Hungarian, Romanian, and Slavic folk music – which initially showed a far clearer neo-nationalist emphasis – may seem even more contradictory than Stravinsky's engagement with the sources of traditional folk music forms. Only since the mid-1990s has Bartók research subjected this approach to differentiated criticism, and thus also uncovered the reasons why this composer still occupies a position of primacy in the "official" history of new music – even if this position has been reaffirmed and in a broader sense surely appears beyond doubt.201 Julie Brown distinguishes two phases of Bartók's neo-national aesthetics, which are inextricably linked to turbulent contemporary history:!" Bartók turned to a "pure" and "authentic" form of Hungarian peasant music (also using the central orientalist trope of the "noble savage") as a point of departure until about 1931."3 He clearly distinguished it from the hybrid and "contaminated" form of urban gypsy music and chose it as the sole legitimate source of this new art music. Under the influence of socialism, however, Bartok re-examined his assessment of gypsy music and gave it a more neutral interpretation, defining it as "Hungarian popular art music."14 At the same time, Bartok called the "purity" of peasant music into question. Through expanded ethnological studies, Bartók gained knowledge of the constant reciprocal influences that made it difficult to differentiate between "authentic" and "contaminated" forms of local music. However, this insight remained qualified by Bartók's demand that the ethnographic sources of new art music should be "pure, fresh and healthy."175

The collapse of the Austro-Hungarian monarchy, the repressions of the proto-fascist Hungarian Horthy-regime, and upcoming Nazism and anti-Semitism transformed Bartók's nationalist project into an undertaking that aimed at universality, with the dream of creating a "brotherhood of people." Romanian, Slovakian, and Arab music – and essentially music from around the world - is now being presented as a possible source ("well assimilated foreign impulses offer possibilities of enrichment"169, and the Rakóczi March, which integrates extremely diverse cultural influences, is used as an example of the hybrid nature of Hungarian folk music. Nevertheless, Bartók remains tied to the concept of "national character": despite its inner hybridity, the march is labeled "incontestably Hungarian."" The contradiction between isolationist and diffusionist models of culture, which, based on Johann Gottfried Herder, has determined the discourse on culture and "race" since the nineteenth century,10 is evident in Bartók's models of thought. In that context, it is particularly interesting that Bartók ultimately did not consider philological authenticity to be relevant for art music at the highest level, but rather foregrounded the ability of a composer – such as Stravinsky – to reinterpret the versatility of folk

<sup>170</sup> See Zenck, "Ritual or Imaginary Ethnography in Stravinsky's Le Sacre du Printemps?"

<sup>171</sup> See Taruskin, "Why You Cannot Leave Bartók Out."

<sup>172</sup> Brown, "Bartók, the Gypsies, and Hybridity in Music."

<sup>173</sup> Ibid., 128-129.

<sup>174</sup> Bartók, "Gypsy Music or Hungarian Music?"; see Brown, "Bartók, the Gypsies, and Hybridity in Music," 130.

<sup>175</sup> Letter to Octavian Beu, 11/01/1931. In Bartók, Weg und Werk, 261-263: 262.

<sup>176</sup> Bartók, "Race Purity in Music," 31.

<sup>177</sup> lbid., 32.

<sup>178</sup> See among others Young, Colonial Desire, 36-43 and Löchte, Johann Gottfried Herderie und Humanitätsidee, 128-139 (-> 1.3).

ůƿƪŎě-Ʒ'nƢŻƿł'n-Ʒ'nĩ-ƷƢþűƪŁŻƢůþƷŎǛĩ-ƟƢŻěĩƪƪĩƪ-ŻŁþƢƷůƿƪŎěܒþƢƷżţܼƪþűĢ-®ƷƢþǛŎűƪţǢܼƪƿƪĩ-ŻŁ-ŦŻěþŦ- ůƿƪŎě-Ʒ'nƿƪ-ĢŎĢűŻƷ-ƢƿŦĩ-ŻƿƷþűƿűĚƢŻţĩűěŻůůŎƷůĩűƷ-ŻŁ-Ʒ'nĩŎƢůƿƪŎě-ƷŻ-Ʒ'nĩàĩƪƷĩƢűþƢƷůƿƪŎě-ƷƢþĢŎƷŎŻűþǼ ƷĩƢĩĩƷ'nŻǛĩűþűĢ-ŎƷƪ-ĢƢŎǛĩ-ƷŻǜþƢĢþƿƷŻűŻůǢ-ܫþƢƷżţěŻűƪĩơƿĩűƷŦǢ-ƢĩŁƢþŎűĩĢ- ŁƢŻů-ǛŻŎěŎűłþűǢƪţĩƟƷŎěŎƪů-ƷŻǜþƢĢ-®ƷƢþǛŎűƪţǢܼƪƪƷþƷĩůĩűƷ-Ʒ'nþƷþěŻůƟŻƪĩƢěŻƿŦĢůþţĩƿƪĩ-ŻŁ- all conceivable sources, and that the mere fact that he considers musical material suitable for ŎűǴŦƿĩűěŎűłþƢƷůƿƪŎěǜŻƿŦĢůþţĩ-ŎƷ-'nŎƪ-ŎűƷĩŦŦĩěƷƿþŦ-ƟƢŻƟĩƢƷǢܒ ڢڠښ

### Localism in Chinese New Music Since the 1980s

ȃĩƪƿĚŦŎůŎűþŦ-ĢŎƪěŻƿƢƪĩƪ-ŻŁűþƷŎŻűþűĢ-ƢþěĩěþƪƷþ-ƟƢŻĚŦĩůþƷŎě-ŦŎł'nƷ-Żű-Ʒ'nĩěŻůƟŻƪŎƷŎŻűþŦŦǢěĩƢ-ƷþŎűŦǢ-ƢĩůþƢţþĚŦĩ-ƷƢþűƪŁŻƢůþƷŎǛĩ-ƟƢŻěĩƪƪĩƪ-Ŏű-Ʒ'nĩůƿƪŎě-ŻŁ-®ƷƢþǛŎűƪţǢþűĢþƢƷżţܒȃþƷ-Ʒ'nĩƪĩ- dimensions of power and appropriation are more visible today than in the past cannot least be ěŻűƪŎĢĩƢĩĢþű-ŎůƟŻƢƷþűƷĩDz ŁĩěƷ-ŻŁ-Ʒ'nĩǜŻƢţ-ŻŁůþűǢěŻůƟŻƪĩƢƪ-ŻƿƷƪŎĢĩ-Ʒ'nĩàĩƪƷܒȃĩ-ĢŎƪěŻƿƢƪĩ- ŻŁ ěƿŦƷƿƢþŦ- ĢŎDz ŁĩƢĩűěĩ- ĚĩƷǜĩĩű ƪŎþű þĩƪƷ'nĩƷŎě þűĢůƿƪŎěþŦ ěŻűěĩƟƷƪ þűĢ- Ʒ'nĩůþŎűƪƷƢĩþů-ŻŁ- àĩƪƷĩƢűěŻůƟŻƪŎƷŎŻű܌-ŁŻƿűĢĩĢ-Żűþ-ĚƢŻþĢ-ĚþƪŎƪ-ĚǢ- 'nŻƿàĩűܮ 'nƿűł܌-Sƪþűłæƿű܌dŻƪĪrþěĩĢþ܌- ŻƢ-¼ƔƢƿ-¼þţĩůŎƷƪƿƪŎűěĩ-Ʒ'nĩ-ڏڕژڐƪ-ݑދܣS܌ڒܒ-SSS܌ܤړܒ-ƟŦþǢĩĢþű-ŎůƟŻƢƷþűƷ-ƟþƢƷ-Ŏű-Ʒ'nŎƪ-ƟƢŻěĩƪƪܒȃŎƪ- discourse should also be understood as a reaction to the increasing Westernization of Asia since Ʒ'nĩůŎĢܮűŎűĩƷĩĩűƷ'něĩűƷƿƢǢþűĢ-Ʒ'nĩ-ƷĩűĢĩűěǢ܌-ŻǼ Ʒĩű-ƟþƢƷŎěƿŦþƢŦǢůþƢţĩĢ-Ŏű-Ʒ'nŎƪěŻűƷĩǡƷ܌-ƷŻǜþƢĢ- ěƿŦƷƿƢþŦ-'nŻůŻłĩűŎǬþƷŎŻűþěěŻƢĢŎűł-ƷŻàĩƪƷĩƢűůŻĢĩŦƪ-ݑދܣSSSܒܤڐܒȃĩƿűĢĩƢƪƷþűĢŎűł-ŻŁƪŎþűůƿƪŎěþŦ-ܹě'nþƢþěƷĩƢŎƪƷŎěƪ܌ܺǜ'nŎě'n-Ŏű-Ʒ'nĩ-ڏڕژڐƪǜĩƢĩƪƷŎŦŦěŻűěĩŎǛĩĢ-ŎűþƪƷƢŻűłŦǢěƿŦƷƿƢþŦŦǢĩƪƪĩűƷŎþŦŎƪƷ- way – such as the constant change, variation, coloring of single tones, the great importance of ƪŎŦĩűěĩ܌űŻűܮȀűþŦŎƪƷŎěěŻűěĩƟƷƪ-ŻŁ-ŁŻƢů܌-ŻƢþűƷŎܮěþƿƪþŦěŻűěĩƟƷƪ-ŻŁ-ƷŎůĩ-ܫ-'nþƪ-ĚĩěŻůĩůŻƢĩ-ĢŎŁ-ŁĩƢĩűƷŎþƷĩĢþűĢ-ƟŦƿƢþŦŎƪƷŎěƪŎűěĩ-Ʒ'nĩ-ڏڗژڐƪ-ܫþ-ƟƢŻěĩƪƪ-Ʒ'nþƷ-'nþƪƿŦƷŎůþƷĩŦǢ-ŦĩĢ-ƷŻþ-ŁƿűĢþůĩűƷþŦ- ěƢŎƷŎơƿĩ-ŻŁěƿŦƷƿƢþŦĩƪƪĩűƷŎþŦŎƪů-Ʒ'nƢŻƿł'n-ƟŻŎűƷĩĢ-ŦŻěþŦŎƪƷ-ŻƢ-ƟŦƿƢþŦŎƪƷŎěþƟƟƢŻþě'nĩƪ-ݑދܣSSSܒܤڔܫړܒ

In Asia, localism has played an important part in music history, especially in China, starting ŁƢŻů-Ʒ'nĩ-ƟŻŦŎƷŎěþŦƿƟ'nĩþǛþŦþƷ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩ ƿŦƷƿƢþŦ-¦ĩǛŻŦƿƷŎŻű-ܒܤڕږܫڕڕژڐܣ-FŎƢƪƷŦǢ܌ůþűǢ-ǢŻƿűł- ěŻůƟŻƪĩƢƪ-'nþĢ-Ěĩĩű-ŻƢĢĩƢĩĢ-ƷŻłƢŻǜ-ƢŎěĩ-Ŏű-Ʒ'nĩěŻűƷĩǡƷ-ŻŁ-Ʒ'nĩ-ŦþƢłĩܮƪěþŦĩ-ƢĩŦŻěþƷŎŻűݑƟƢŻłƢþů- (*shangshan xiaxiang*܌- ܹÃƟ- ƷŻ- Ʒ'nĩůŻƿűƷþŎűƪ܌- ĢŻǜű- ƷŻ- Ʒ'nĩ- ǛŎŦŦþłĩƪܺܤ- ŦŎţĩůþűǢ- ŻƷ'nĩƢ-ܹĩĢƿěþƷĩĢ- youth" (*zhishi qingnian*ܤƪŎűěĩ- Ʒ'nĩ-ŦþƷĩ- ڏڕژڐƪڙڡښܒ-RŻůĩ-ŻŁ- Ʒ'nĩů-'nþĢěŻůĩ- ƷŻţűŻǜ-ŦŻěþŦ- ŁŻƢůƪ-ŻŁ- ůƿƪŎě-ȀƢƪƷܮ'nþűĢþűĢƿƪƿþŦŦǢǜŎƷ'nþěƷŎǛĩ-ƟþƢƷŎěŎƟþƷŎŻű-ŻǛĩƢ-Ʒ'nĩ-ǢĩþƢƪܒ-Sű-Ʒ'nĩěŻůƟŻƪŎƷŎŻűěŦþƪƪĩƪ- þƷ-Ʒ'nĩűĩǜŦǢ-ŻƟĩűĩĢěŻűƪĩƢǛþƷŻƢŎĩƪ-ŻŁ-Ʒ'nĩ-ŦþƷĩ-ڏږژڐƪþűĢĩþƢŦǢ-ڏڗژڐƪ܌þàĩƪƷĩƢűůŻĢĩƢűŎƷǢ-ܫþŦůŻƪƷěŻůƟŦĩƷĩŦǢƿűţűŻǜűþűĢ-ǛŎĩǜĩĢþƪ-ƷþĚŻŻ-ŁŻƢ-ĢĩěþĢĩƪ-ܫǜþƪ-ƢĩěĩŎǛĩĢĩűƷ'nƿƪŎþƪƷŎěþŦŦǢ܌ǜŎƷ'n- þƢƷżţܼƪǜŻƢţ-ƟŦþǢŎűłþţĩǢ-ƢŻŦĩ܋rþűǢěŻůƟŻƪĩƢƪ-ŻŁ-Ʒ'nŎƪłĩűĩƢþƷŎŻű܌ţűŻǜűþƪ-Ʒ'nĩ*xinchao* (new

ڽڻڵ- ÿƣƸŽŤ܉-ܶ1/4ŊĪ-SŲǵŧǀĪŲĜĪżł-£ĪÿƫÿŲƸrǀƫŏĜżŲrżģĪƣŲrǀƫŏĜ܉ܷ-܉ܟڍڏڕڍܞ-ڏڐڏ-ܠܶRƸƣÿǜŏŲƫŤǣ-ܟ܊ܞǝÿŲƸƫ-ƸżģĪŰżŲƫƸƣÿƸĪ- ƸŊÿƸŏƸģżĪƫ-ŲżƸ-ŰÿƸƸĪƣÿšżƸǝŊĪƸŊĪƣÿ-ĜżŰƠżƫĪƣŏŲǜĪŲƸƫ-ŊŏƫżǝŲ-ƸŊĪŰĪƫżƣ-ǀƫĪƫ-ƸŊĪŰĪƫłƣżŰ-ĪŧƫĪǝŊĪƣĪ-NĪ- ŊÿƫÿƣŏŃŊƸ-Ƹż-ǀƫĪ-ŰǀƫŏĜÿŧ-ŰÿƸĪƣŏÿŧ-ƸÿŤĪŲłƣżŰÿŧŧƫżǀƣĜĪƫàŊÿƸ-ŊĪ-ŊÿƫšǀģŃĪģƫǀŏƸÿěŧĪłżƣ-Ŋŏƫ-ƠǀƣƠżƫĪ-Ŋÿƫ- ěĪĜżŰĪ-ƸŊƣżǀŃŊ-ƸŊŏƫǜĪƣǣ-ǀƫĪ-Ŋŏƫ-ŰĪŲƸÿŧ-ƠƣżƠĪƣƸǣ-ܟ܊ܞ-1/4ŊĪ-ƢǀĪƫƸŏżŲżłżƣŏŃŏŲƫ-ĜÿŲżŲŧǣěĪŏŲƸĪƣĪƫƸŏŲŃłƣżŰ-ƸŊĪ- ƠżŏŲƸżłǜŏĪǝżł-ŰǀƫŏĜÿŧģżĜǀŰĪŲƸÿƸŏżŲ-ܟ܊ܞ-1/4Ŋŏƫ-ŰǀĜŊŏƫ-ĜĪƣƸÿŏŲ܉-ƸŊÿƸŏłÿŰżŲŃ-ƸŊĪ-ƸŊĪŰÿƸŏĜ-ŰÿƸĪƣŏÿŧżł-®ƸƣÿǜŏŲƫŤǣܹƫ-ƸŊĪƣĪÿƣĪƫżŰĪżł-ŊŏƫżǝŲŏŲǜĪŲƸŏżŲ-ܠÿŲģǝŊż-ĜÿŲģżǀěƸ-ƸŊÿƸ-ƸŊĪƣĪÿƣĪܡܐ-ƸŊĪƫĪÿƣĪ-ƸŊĪ-ŰżƫƸłÿŏƸŊłǀŧ- ÿŲģ-ĜŧĪǜĪƣŏŰŏƸÿƸŏżŲƫżłłżŧŤƫżŲŃƫܷܡ-RĪĪ-¼ÿƣǀƫŤŏŲ܉-ܶ¦ǀƫƫŏÿŲ-FżŧŤrĪŧżģŏĪƫŏŲ-*The Rite of Spring*܉ܷ-ڎڌڑܨڍڌڑ-RĪĪ- ÿŧƫżÿƣƸŽŤܹƫƫŏŰŏŧÿƣƫƸÿƸĪŰĪŲƸƣĪłĪƣƣŏŲŃ-Ƹż-®ƸƣÿǜŏŲƫŤǣܹƫ-ŲĪżĜŧÿƫƫŏĜŏƫƸ-ƠĪƣŏżģ܈-ܶܟ܊ܞǝŊĪŲ-SżŲĜĪ-ŰĪƸ-®ƸƣÿǜŏŲƫŤǣ- ŏŲ-£ÿƣŏƫ܉-ŊĪ-Ƹżŧģ-ŰĪ-ƸŊÿƸ-ŊĪ-ƸŊŏŲŤƫ-ŊĪ-Ŋÿƫ-ƸŊĪƣŏŃŊƸ-ƸżŏŲĜżƣƠżƣÿƸĪŏŲƸż-Ŋŏƫ-ŰǀƫŏĜÿŲǣ-ŰÿƸĪƣŏÿŧ-ŊĪěĪŧŏĪǜĪƫ-ƸżěĪ- ǿƸżƣÿƠƠƣżƠƣŏÿƸĪłżƣ-Ŋŏƫ-ƠǀƣƠżƫĪƫ-ܟ܊ܞ-RƸƣÿǜŏŲƫŤǣ-ǀƫĪƫ-ƸŊŏƫ-ŰÿƸĪƣŏÿŧŏŲ-ŊŏƫżǝŲǝÿǣ܉ÿƣƣÿŲŃŏŲŃÿŲģ-ƸƣÿŲƫłżƣŰܫ ŏŲŃŏƸÿĜĜżƣģŏŲŃ-Ƹż-ŊŏƫżǝŲŏŲģŏǜŏģǀÿŧƫƠŏƣŏƸ܉-ƸŊǀƫ-ĜƣĪÿƸŏŲŃǝżƣŤƫżłÿ-ŲĪǝ܉ŏŲģŏǜŏģǀÿŧƫƸǣŧĪܷ-ܠÿƣƸŽŤ܉-ܶNÿƣǜÿƣģ- ܡڌڒڏܷ-܉hĪĜƸǀƣĪƫ

ڴڼڵ See Bernstein, *Up to the Mountains and Down to the Villages* and Mittler, *Dangerous Tunes*܉-ڒڕڎ-RĪĪÿŧƫżhttps:// chineseposters.net/themes/up-to-the-mountains.php.

Example 2.1: Guo Wenjing, She Huo, rehearsal number 6

ǜþǛĩ܌ܤ-ŎűŎƷŎþŦŦǢ-ƢĩŁĩƢƢĩĢĩǡƟŦŎěŎƷŦǢ-ƷŻþƢƷżţܼƪěŻűěĩƟƷ-ŻŁ-'nǢĚƢŎĢŎƷǢþűĢþƷƷĩůƟƷĩĢ-ƷŻþůþŦłþůþƷĩ- Chinese local traditions in an analogous way.ښڡښ-SƷǜþƪ܌-'nŻǜĩǛĩƢ܌-ŻűŦǢþǼƷĩƢ-Ʒ'nĩþƢƷżţůŻĢĩŦ-'nþĢ- Ěĩĩű-ŻǛĩƢěŻůĩ-Ʒ'nþƷłĩűƿŎűĩŦǢ-ŻƢŎłŎűþŦěŻűěĩƟƷƪ-ŻŁěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩĩůĩƢłĩĢ-Ʒ'nƢŻƿł'n-ƢþĢŎěþŦܮ ŎǬþƷŎŻű܌-'nǢĚƢŎĢŎǬþƷŎŻű܌þűĢþĚƪƷƢþěƷŎŻű-ŻŁ-ŦŻěþŦ-ƷƢþĢŎƷŎŻűƪ-ŎűǜŻƢţƪƪƿě'nþƪ-¥ƿåŎþŻƪŻűłܼƪ-ܣĚܤڐڔژڐݑܒ- *Mong Dong*- ŁŻƢ-ǛŻŎěĩþűĢě'nþůĚĩƢĩűƪĩůĚŦĩ-܌ܤړڗژڐܣ-1/4þű-'ƿűܼƪ-ܣĚܤږڔژڐݑܒ*ű-¼þŻŎƪů* for voice and ŻƢě'nĩƪƷƢþ-܌ܤڔڗژڐܣ-ŻƢ-GƿŻàĩűŠŎűłܼƪ-ܣĚܤڕڔژڐݑܒ-*She Huo*-ŁŻƢě'nþůĚĩƢĩűƪĩůĚŦĩ-ݑܒܤڐژژڐܣGƿŻܼƪǜŻƢţ-ŁŻƢ- Western instrumental ensemble is not so much about the musical depiction of a harvest festival to which the title refersڛڡښ as a general atmospheric characterization of Chinese country life. In Ʒ'nŎƪǜŻƢţ܌-Ʒ'nĩůĩþűƪ-ŻŁ-ƢĩŎűŁŻƢěŎűł܌-ĢŎƪƷŻƢƷŎűł܌þűĢ-ŎűƷĩűƪŎŁǢŎűł-Ʒ'nĩ-ƷĩǡƷƿƢĩƪ-ŁŻƿűĢ-Ŏű-Ʒ'nĩůŻĢܮ ĩŦƪ-ŻŁ- 'nŎűĩƪĩ-ƢƿƢþŦůƿƪŎě-ƟƢþěƷŎěĩþƢĩůŻƢĩ-ƢĩůŎűŎƪěĩűƷ-ŻŁ-®ƷƢþǛŎűƪţǢܼƪ-Ʒĩě'nűŎơƿĩ-Ʒ'nþűþƢƷżţܼƪ܌ƪƿě'nþƪǜ'nĩű-Ʒ'nĩěƢŻƪƪܮƢ'nǢƷ'nůƪ-ŻŁ-ƷǜŻěǢůĚþŦ-ƟŦþǢĩƢƪ-ŁƢŻů-Ʒ'nĩ-ŦŻěþŦ-®Ŏě'nƿþű-ƟĩƢþ-ܣ*chuanju*ܤ- þƢĩĩǡƷĩűĢĩĢ-ƷŻ-Ʒ'nƢĩĩ-ƟŦþǢĩƢƪ-ܣ/ǡܤڐܒڑݑܒþűĢ-Ʒ'nĩƢĩĚǢěŻűĢĩűƪĩĢܒ-FŻŦŦŻǜŎűł-Ʒ'nĩƪþůĩ-ƟƢŎűěŎƟŦĩ܌-Ʒ'nĩ- blurring of the instrumental tuning of various local ensembles is "radicalized" by microtonally þĢŠƿƪƷĩĢ-ƷƿűŎűłƪ-ŻŁ-Ʒ'nĩƪƷƢŎűłĩĢ-ŎűƪƷƢƿůĩűƷƪþűĢ-ĚǢƿƪŎűłþ-ǛŎŻŦŎűǜŎƷ'n-ŁŻƿƢ-ܮƪƷƢŎűłƪ-ܣ/ǡܒܤڑܒڑݑܒ-

®ŎůŎŦþƢŦǢ܌-¥ƿåŎþŻƪŻűłܼƪţűŻǜűĩűƪĩůĚŦĩǜŻƢţ-*Mong Dong* for male voice and ensemble ǜŻƿŦĢ-ĚĩƿűƷ'nŎűţþĚŦĩǜŎƷ'nŻƿƷ-Ʒ'nĩěŻůƟŦĩǡĩǡƟĩƢŎĩűěĩ-ŻŁ-Ʒ'nĩ*xinchao* generation. What is deciƪŎǛĩ-ŁŻƢ-Ʒ'nĩơƿþŦŎƷǢ-ŻŁ-Ʒ'nŎƪǜŻƢţ-ŎƪűŻƷƪŻůƿě'n-Ʒ'nĩűþƷƿƢĩܮƪǢůĚŻŦŎěþƪƟĩěƷ܌-Ʒ'nĩþƷƷĩůƟƷ-ƷŻƪƿůmon a lost originality between man and nature, evident in the adoption of vocal techniques of *ƪ'nþű݂łĩ*-ŁŻŦţƪŻűłƪ܌-Ʒ'nĩƿƪĩ-ŻŁůŎěƢŻƷŻűĩƪ܌þűĢ-Ʒ'nĩ-ƢĩűƿűěŎþƷŎŻű-ŻŁþ-ƷĩǡƷƪĩƷƷŎűłܒȃĩ-ƢĩŁĩƢĩűěĩ-ƷŻ- Ʒ'nĩ-ŦŻěþŦ-'nĩƢĩþŦƪŻ-ŎűǛŻŦǛĩƪ-Ʒ'nĩ-ŎűƷĩłƢþƷŎŻű-ŻŁþűĩǜ-ĢŎůĩűƪŎŻű-ŻŁƪƷƢƿěƷƿƢþŦ-Ʒ'nŎűţŎűłܒ-£ŻƪƪŎĚŦǢ- ŎűǴŦƿĩűěĩĢ-ĚǢ-Ʒĩě'nűŎơƿĩƪ-ŻŁ-Ʒ'nĩ-ŻŦĢĩƢłĩűĩƢþƷŎŻű܌ƪƿě'nþƪhƿŻð'nŻűłƢŻűł-ܣĚܤړڑژڐݑܒ-ݑދܣSSS܌ܤڐܒ-¥ƿ- refers to the *Ǣƿܴ'nĩܴĚþ* patterns of the *shifan luogu* percussion ensembles.ڜڡښ In a dialogic manner, short phrases of eight beats each are grouped in ever new proportions, for instance in measures ڝڡښܒږݯڐ-܌ڔݯڒ-܌ڒݯڔ-܌ڐݯږþƪ-ڑژܫڔڗ

Perhaps the most spectacular result of the move toward localism in Chinese new music 'nþƪ-Ěĩĩű-¼þű-'ƿűܼƪ-ܹƢŎƷƿþŦ-ŻƟĩƢþܺ-*Nine Songs*-ڞڡښܒܤژڗژڐܣ-1/4þű-'ƿű-ƢĩěŻůĚŎűĩƪ-ŁƢþłůĩűƷƪ-ŻŁ-Ʒ'nĩ- famous archaic poetry cycle *Jiu ge*-ܣtŎűĩ-®Żűłƪܤ-ĚǢ-¥ƿæƿþű-ڗږڑܫڏړڒܣ- /܌ܤþűĢ-'nþƪ-Ʒ'nĩůþƢƷŎěƿŦþƷĩĢ-Ŏűþű-ܹŎůþłŎűþƢǢ-ĢŎþŦĩěƷܺ-ŻŁ-Ʒ'nĩþƢě'nþŎě- 'nƿěƿŦƷƿƢĩ-ܣěܒ-ڒڑڑܫڏڏڗ- /܌ܤƿƪŎűłƪŎűłŎűł܌screaming, and whispering, as well as ceramic instruments that were largely newly built for Ʒ'nŎƪ- ƟƢŻŠĩěƷܒ-1/4 þű- ĢĩǛĩŦŻƟƪ- 'nŎƪ-ŎůþłŎűþƢǢ þƢě'nþŎƪƷůƿƪŎě- ŁƢŻů þ- ǛĩƢǢ- ĚƢŻþĢ- ƢĩƟĩƢƷŻŎƢĩ-ŻŁ- ǛŻcal characters such as the *ƪ'nþű݂łĩ*-ŁŻŦţƪŻűłƪ܌ƪŎůƟŦĩ-Ƣ'nǢƷ'nůŎě-ȀłƿƢĩƪ܌þűĢþ-ŦþƢłĩŦǢůŻűŻƟ'nŻܮ űŎěůĩŦŻĢŎě-ƷĩǡƷƿƢĩ܌-ĢĩƷĩƢůŎűĩĢ-ĚǢ-Ʒ'nĩłŻþŦ-ƷŻ-ƢĩĢĩƪŎłű-Ʒ'nĩ-ƢŎƷƿþŦŎƪƷůƿƪŎěěŻűŠƿƢĩĢƿƟ-Ŏű-¥ƿ- æƿþűܼƪ-ƟŻĩƷƢǢܒȃŎƪěŻűěĩƟƷŎŻű-ƢĩŁĩƢƪ- ƷŻþűþƷƷŎƷƿĢĩ-ŻŁ- Ʒ'nĩ-ŦŎƷĩƢþƢǢ*xungen*-ܣܹƢŻŻƷܺܤůŻǛĩůĩűƷ- Ŏű- 'nŎűþ- ĢƿƢŎűł- Ʒ'nĩ- ڏڗژڐƪ܌ ǜ'nŻƪĩ ůþŎű- ƢĩƟƢĩƪĩűƷþƷŎǛĩ- Nþű- ®'nþŻłŻűł- ܣĚݑܒ ܌ܤڑڔژڐ þƪ ǜĩŦŦ þƪ- ¼þű- 'ƿű- ŁƢŻů- Nƿűþű- £ƢŻǛŎűěĩ܌- ĢĩƢŎǛĩƪ þ- ǴŦƿŎĢ ěŻűűĩěƷŎŻű- ĚĩƷǜĩĩű- ŦŻěþŦ- ܫ- ƢþƷ'nĩƢ- Ʒ'nþű űþtional – identity with an openness to international tendencies – but without the goal of ܹƷŻƷþŦàĩƪƷĩƢűŎǬþƷŎŻűܺ-ŻǼ Ʒĩű-ĢĩůþűĢĩĢ-ĚǢ- 'nŎűþܼƪĩþƢŦǢ-ƢĩŁŻƢůĩƢƪ-ݑދܣSSSܒܤڐܒ-1/4þű-'ƿűþŦƪŻ-ƟŻƪŎtioned himself with *Nine Songs*-Ŏűþ-ƷŎůĩ-ŻŁ-ƟŻŦŎƷŎěþŦƿƟ'nĩþǛþŦ-Ŏű- 'nŎűþ܋-Ʒ'nĩ-ƟƢĩůŎĩƢĩ-ƷŻŻţ-ƟŦþěĩ- ŎűtĩǜæŻƢţ-Żű-ڑڐrþǢ-܌ژڗژڐƪ'nŻƢƷŦǢ-ĚĩŁŻƢĩ-Ʒ'nĩůþƪƪþěƢĩ-Ŏű-¼Ŏþűþűůĩű-®ơƿþƢĩ-Żű-ړdƿűĩ-ܒژڗژڐ-

ڵڼڵ- -RĪĪfżǀǝĪŲŊżǜĪŲ܉-ܶrÿŏŲŧÿŲģ- ŊŏŲÿܹƫtĪǝrǀƫŏĜ-ܠSSS܉ܡܷ-ڒڔܨڑڔÿŲģàżŲŃ܉-ܶÿƣƸŽŤܹƫ-SŲǵŧǀĪŲĜĪżŲ- ŊŏŲĪƫĪtĪǝ- rǀƫŏĜŏŲ-ƸŊĪ-£żƫƸܫ ǀŧƸǀƣÿŧ-¦ĪǜżŧǀƸŏżŲ-/ƣÿܷ

ڶڼڵ Mittler, *Neue Musik aus China,*-ڑڍܨڐڍ

ڷڼڵ See Jones, *Folk Music of China*܉-ڕڒڎܨڌڒڎ

ڸڼڵ- -RĪĪfżǀǝĪŲŊżǜĪŲ܉-ܶrÿŏŲŧÿŲģ- ŊŏŲÿܹƫtĪǝrǀƫŏĜ-ܠSSSܡ-ܨ-1/4ŊĪ-ŃĪżł-£ŧǀƣÿŧŏƫŰ܉ܷ-܉ڑڔܨڏڔ-ڏڕ

ڹڼڵ- -ģĪƸÿŏŧĪģŏŲƸƣżģǀĜƸŏżŲ-Ƹż-ƸŊŏƫǝżƣŤ-ĜÿŲěĪłżǀŲģŏŲ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڏڎڐܨڏڌڐ

Example 2.2: Guo Wenjing, She Huo, rehearsal number 26

Copyright © by Universal Music Publishing Ricordi; Milan, Italy

His concept would thus immediately become a criticism of Chinese nationalism as well as the homogenizing tendencies of Western cultures.

### Toward a Critique of Authenticity-Based Thinking

The works of Guo, Qu, and Tan remain ambivalent in their attitude. Their musical character sketches of rural Chinese atmospheres cannot only be considered a critique of nationalism. Rather, they may be heard also as a "paradoxical redemption" of Mao Zedong's anti-urban ideology, as an aftereffect of the idealization of rural life during the time of relocation. The ideological dimension of compositional localism is thus hardly less complex here than in Bartók or Stravinsky, as it always flirts with a mythically transfigured ethnological authenticity, which can then be "abstracted" almost arbitrarily in the process of appropriation. Here

ŦŎĩƪ-Ʒ'nĩ-ĚþƪŎě-ƟƢŻĚŦĩů-ŻŁůƿƪŎěþŦ-ŦŻěþŦŎƪůþƪþǜ'nŻŦĩ܋-Żű-Ʒ'nĩ-Żűĩ-'nþűĢ܌ěŻůƟŻƪŎűłþƪþűþěƷ-ŻŁ- cultural or intercultural positioning seems more plausible the more *ƪƟĩěŎȁě* it becomes*,* and the ůŻƢĩ-ƟƢĩěŎƪĩŦǢþƢƷ-ƷþţĩƪěĩƢƷþŎű-ŦŻěþŦ-ƷƢþĢŎƷŎŻűƪƪĩƢŎŻƿƪŦǢ܌ǜŎƷ'nþŦŦ-Ʒ'nĩŎƢ-ŎůƟŦŎěþƷŎŻűƪ܌þűĢ-ĢƢþǜƪ- ěŻůƟƢĩ'nĩűƪŎǛĩěŻůƟŻƪŎƷŎŻűþŦěŻűěŦƿƪŎŻűƪ-ŁƢŻů-Ʒ'nĩůܒű-Ʒ'nĩ-ŻƷ'nĩƢ-'nþűĢ܌ƪƿě'nþ-ƢŎłŻƢŻƿƪ-Ƣĩܮ ƪƷƢŎěƷŎŻű-ŻŁ-Ʒ'nĩůƿƪŎěþŦܮŎĢŎŻůþƷŎě-ܹŦŎƪƷĩűŎűł-ȀĩŦĢܺ-ܫþƪ-ĚĩěŻůĩƪ-ǛĩƢǢěŦĩþƢ-Ŏű-¼þű-'ƿűܼƪ-*Nine Songs*-ܫ-ƢŎƪţƪþƟƟƢŻþě'nŎűł-ŎůŎƷþƷŎŻű܌þěƿŦƷƿƢĩܮƪƟĩěŎȀě-ŻűĩƪŎĢĩĢűĩƪƪþűĢ-ܫ-Ŏűþű-ŎűƷĩƢűþƷŎŻűþŦ- ěŻűƷĩǡƷ-ܫþ-ǴŦŎƢƷþƷŎŻűǜŎƷ'n-Żűĩܼƪ-ŻǜűĩǡŻƷŎěŎƪů܋ƪĩŦŁܮĩǡŻƷŎěŎǬþƷŎŻűڟڡښܒ In this context, however, it ƪ'nŻƿŦĢ-ĚĩűŻƷĩĢ-Ʒ'nþƷƪŎűěĩ-܌ڕڗژڐ-1/4þű-'ƿűܼƪǜŻƢţƪ-'nþǛĩ-Ěĩĩű-ƟƢŻĢƿěĩĢ-Ŏű-Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪþűĢ- are primarily aimed at Western audiences – even though they have been no less successful in 'nŎűþ-ܫþűĢ-Ʒ'nþƷ-GƿŻàĩűŠŎűłܼƪþűĢ-¥ƿåŎþŻƪŻűłܼƪ-ŦþƢłĩƢǜŻƢţƪ-Ŏű-Ʒ'nĩ-ڏژژڐƪ-'nþǛĩ-ŦŎţĩǜŎƪĩ-Ěĩĩű- ƟƢĩĢŻůŎűþűƷŦǢ-ƟĩƢŁŻƢůĩĢ-Ŏű-/ƿƢŻƟĩþűĢ-Ʒ'nĩîܒ

ȃŎƪ-ƟþƢþĢŻǡůþţĩƪ-ŎƷěŦĩþƢ-ŻűěĩþłþŎű-Ʒ'nþƷůƿƪŎěþŦ-ƷƢþĢŎƷŎŻűƪ-ܫþƢƷůƿƪŎěþűĢ-ŦŻěþŦůƿƪŎě- genres – are in a constant process of transformation and do not produce immutable "authentic ŻĚŠĩěƷƪ܌ܺƪŻ-Ʒ'nþƷþűǢěŻůƟŻƪŎƷŎŻűþŦþěƷŎŻű-ŎűĩǛŎƷþĚŦǢ-ĢĩěŻűƷĩǡƷƿþŦŎǬĩƪƪƿě'n-ƷƢþĢŎƷŎŻűƪܒ-/ǛĩƢǢ- musical or compositional act will therefore operate, consciously or unconsciously, within this ƷĩűƪŎŻű-ȀĩŦĢ-ܫǜ'nĩƷ'nĩƢěŻűěƢĩƷĩ-ŦŻěþŦ-ƷƢþĢŎƷŎŻűƪþƢĩĩǡƟŦŎěŎƷŦǢþĢĢƢĩƪƪĩĢ-ŻƢűŻƷܒ-ŻƷ'nĩǡƷƢĩůĩƪ- Ʒ'nþƷěþű-Ěĩ-ĢĩĢƿěĩĢ-ŁƢŻů-Ʒ'nŎƪþƢĩ-ƟƢŻĚŦĩůþƷŎě܋-Ʒ'nĩűŻƷŎŻű-ŻŁþű-ܹþĚƪŻŦƿƷĩþƿƷ'nĩűƷŎěŎƷǢܺ-ŻŁ-ŦŻěþŦ- music, which must not be touched by art music, as well as the image of a "hypercultural" superůþƢţĩƷ- Ʒ'nþƷůƿƪŎěěƢĩþƷŻƢƪěþű- ŁƢĩĩŦǢűþǛŎłþƷĩܒűŦǢěŻůƟŻƪŎƷŎŻűþŦ-ĢĩƪŎłűƪ- Ʒ'nþƷěŻůƟŦĩƷĩŦǢ- transform these extremes through variety and precision of compositional ideas and solutions can attempt to outstrip the ideological accents of the local – especially in view of the resurgent űþƷŎŻűþŦŎƪů-ŎűƪŎþ-ƷŻĢþǢ܌ĩƪƟĩěŎþŦŦǢ-Ŏű- 'nŎűþ-ܣþűĢ-Ŏű-ƟþƢƷƪ-ŻŁ-/ƿƢŻƟĩþűĢ-Ʒ'nĩůĩƢŎěþƪ܌ܤþűĢ-ŎƷƪ- ĢĩůþłŻłŎěþŦŦǢ-ŦĩǛĩŦŎűł ěŻűƪƷƢƿěƷŎŻű-ŻŁ űþƷŎŻűþŦ ě'nþƢþěƷĩƢŎƪƷŎěƪܒ-/Dz ŁĩěƷŎǛĩŦǢ- ƢĩŠĩěƷŎűł űþƷŎŻűܮ alist or provincial discourses involves an artistically substantive reference to local identities as ƢĩŁƢþěƷĩĢ܌-ƟŦƿƢþŦŎƪƷŎě܌þűĢěƢŎƷŎěþŦܒȃĩ-ȀűþŦƪƷþƷĩůĩűƷ-ŎűȃĩŻĢŻƢàܒ-ĢŻƢűŻܼƪ-*£'nŎŦŻƪŻƟ'nǢ-ŻŁtĩǜ- Music*-Ŏƪ-ƢþƷ'nĩƢ-ƷŻƟŎěþŦ-Ŏű-Ʒ'nŎƪ-ƢĩłþƢĢ܋-ܹ£ĩƢ'nþƟƪ-Ʒ'nþƷþƢƷþŦŻűĩǜŻƿŦĢ-ĚĩþƿƷ'nĩűƷŎě-Ʒ'nþƷǜŻƿŦĢ-Ěĩ- liberated from the idea of authenticity, of being thus and not otherwise."ڠڡښ

### **4. Modernist Reception of Japanese and Indian Traditional Music between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka**

NþǛŎűł- ƢĩþƟƟŦŎĩĢ- /ƢűƪƷ- ŦŻě'nܼƪ ěŻűěĩƟƷ- ŻŁ- Ʒ'nĩ- ܹűŻűܮƪŎůƿŦƷþűĩŎƷǢ- ŻŁ- Ʒ'nĩ ƪŎůƿŦƷþűĩŻƿƪܺ- ܣ*Ungleichzeitigkeit des Gleichzeitigen*ܤ- ƷŻůƿƪŎě- 'nŎƪƷŻƢŎŻłƢþƟ'nǢ-Ŏű- 'nþƟƷĩƢ- SSڐܒ-ܣƪĩěƷŎŻű-*De-Nationa-ŦŎǬŎűłrƿƪŎě-NŎƪƷŻƢŎŻłƢþƟ'nǢ*܌ܤ-SǜŎŦŦűŻǜþƷƷĩůƟƷ-ƷŻƪ'nŻǜ܌-Ŏű- 'nþƟƷĩƢƪ-SSړܒþűĢ-SS܌ڔܒ-'nŻǜěŻůƟŻsers and musicians during the pre- and postwar decades developed similar musical ideas and þƟƟƢŻþě'nĩƪþłþŎűƪƷ- ƢþĢŎěþŦŦǢ- ĢŎDz ŁĩƢŎűł ƪŻěŎþŦ- ĚþěţłƢŻƿűĢƪ܌ůŻƷŎǛþƷĩĢ- ĚǢ- ĢŎƪƷŎűěƷ ƪŻěŎþŦþűĢ- þĩƪƷ'nĩƷŎěþłĩűĢþƪܒ-GƿŎĢĩĢ-ĚǢ-Ʒ'nĩ-ƟƢŎűěŎƟŦĩ-ŻŁþű-ܹĩűƷþűłŦĩĢ-'nŎƪƷŻƢǢܺ-ދܣ-SS܌ܤڐܒ-Ʒ'nĩ-ŁŻŦŦŻǜŎűłěþƪĩ- ƪƷƿĢŎĩƪ-'nŎł'nŦŎł'nƷ-Ʒ'nĩ-ĢŎDz ŁĩƢŎűłěƿŦƷƿƢþŦþűĢ-'nŎƪƷŻƢŎěþŦƪŎƷƿþƷŎŻűƪ-Ŏűǜ'nŎě'n-Ʒ'nĩƪĩ-ƟƢŻƷþłŻűŎƪƷƪ- þěƷĩĢ܌-ŁŻěƿƪŎűł-Żű-Ʒ'nĩ-ĢĩłƢĩĩ-ƷŻǜ'nŎě'n-Ʒ'nĩŎƢǜŻƢţƪĩǡ'nŎĚŎƷþDzȀűŎƷŎĩƪþűĢĩűƷþűłŦĩůĩűƷƪܒ

ȃĩ-ŁŻƿƢěŻůƟŻƪĩƢƪ-ŎűƷƢŻĢƿěĩĢ-Ŏű-Ʒ'nŎƪě'nþƟƷĩƢ-ƢĩƟƢĩƪĩűƷ-Ʒ'nƢĩĩłĩűĩƢþƷŎŻűƪ-ĚŻƢű-Ŏű-Ʒ'nĩ-ĢĩěþĢĩƪþƢŻƿűĢ- ܌ڏڏژڐ- Ʒ'nƢĩĩ ěŻƿűƷƢŎĩƪ-ŻƢ ěŻűƷŎűĩűƷƪ-ܣFƢþűěĩܘ/ƿƢŻƟĩ܌- Ʒ'nĩ-ÃűŎƷĩĢ- ®ƷþƷĩƪܘůĩƢŎěþ܌- þűĢdþƟþűܘƪŎþ܌ܤþűĢ-ĢŎDz ŁĩƢĩűƷěŻůƟŻƪŎƷŎŻűþŦƪě'nŻŻŦƪþűĢþĩƪƷ'nĩƷŎěƪܒrþƿƢŎěĩ-'ĩŦþłĩ-܌ܤڐڕژڐܫژږڗڐܣ-

ںڼڵ- -Ų-ƸŊĪƫǀěšĪĜƸżł-ܶƫĪŧłܫĪǢżƸŏĜŏǭÿƸŏżŲܷŏŲ-ƸŊĪdÿƠÿŲĪƫĪ-ĜżŲƸĪǢƸƫĪĪ-NŏšŏǣÿܫfŏƣƫĜŊŲĪƣĪŏƸ܉-*Das Ende der Exotik*܉-ڒڍܨڏڍ

ڻڼڵ Adorno, *Philosophy of New Music*܉-ڔڑڍ-ܠܶßŏĪŧŧĪŏĜŊƸǝďƣĪÿǀƸŊĪŲƸŏƫĜŊ-ĪƣƫƸģŏĪfǀŲƫƸ܉ģŏĪģĪƣ-SģĪĪǜżŲ-ǀƸŊĪŲƸŏǭŏƸďƸƫĪŧěĪƣ܉ģĪƫƫż-ǀŲģ-ŲŏĜŊƸÿŲģĪƣƫ-®ĪŏŲƫ܉ƫŏĜŊ-ĪŲƸŧĪģŏŃƸ-ŊďƸƸĪܷģżƣŲż܉-*Philosophie der neuen Musik*܉-ڒڕڍܡ

Henry Cowell (1897–1965), Shūkichi Mitsukuri (1895–1971), and Fumio Hayasaka (1914–1955) distinguish themselves from most of their contemporaries by their dedicated and systematic attempts to adopt, incorporate, and re-invent non-Western music traditions as a principal feature of their music (and not, as it was far more common at the time, as a subsidiary element). Moreover, all of them acted as nodes of local and international networks and music societies (see Table 2.1), embedding their artistic work in an internationalized social context. We may retrospectively consider their independent artists' groups as key institutions of modern music in their respective countries. These groups shared a pronounced internationalism, implemented through the performance of the most recent and advanced new music from other countries, while also sharing anti-establishment aesthetics. This context was undoubtedly crucial in provoking the composers' modernist reception of non-Western musics. The guiding idea behind these approaches emerged from a pessimistic view of contemporaneous Western music, a common stance in early twentieth-century discourse. Japanese and Chinese as well as Indonesian or Indian traditional music seemed to provide all those features that Western music of the early twentieth century supposedly lacked: intricate rhythm, refined melodic design, spontaneity, "feeling," timbral differentiation, complex layering, etc.188 This search for a decentering Otherness converged in an unsettling manner on tendencies of nationalist, essentialist, and isolationist thought in the wake of two world wars and major sociohistorical turns such as the Great Depression. The conflicts and paradoxical situations resulting from such "non-simultaneities" will be at the focus of the following analytical readings, which relate musical detail to historical context. Table 2.1 provides an overview of the institutions, musical works, and articles referred to throughout.

### Maurice Delage: Close Listening to Asian Traditions and the Emancipation from Exoticism

Maurice Delage, born in 1879, was a leading member of the artists' collective Apaches, founded in 1902, and of the Société Musicale Indépendante (SMI), founded in 1909. Both groups were centered around Maurice Ravel (1875–1937), Delage's teacher and close friend. The Apaches considered themselves a rebellious group and were united by their enthusiasm for Claude Debussy's opera Pelléas et Mélisande (premiered in 1902), their substantial interest in Russian music, and their criticism of the nationalist and conservative impact of the academic musical establishment of the Schola Cantorum around Vincent d'Indy who also controlled the politics of the influential Société National de Musique (founded in 1871). The weekly gatherings of the Apaches, starting in 1904, took place in a pavilion in the Parisian quarter Auteuil which was rented by Maurice Delage (son of a wealthy entrepreneur) especially for that occasion.188 The largely selftaught Delage was an important figure in this group which his close friendship to Igor Stravinsky reflects. Stravinsky joined the group along with Manuel de Falla, Isaac Albeniz, and other international figures during the first decade of the twentieth century.

Delage was also involved in the foundation of the more official organization Société Musicale Indépendante in 1909 that formally marked the rejection of the ideas represented by the Société National. The immediate reason for its foundation was that the Société National had declined to perform "Temples," the first of Charles Koechlin's two Etudes antiques (1908–10), and Delage's

<sup>188</sup> See Pasler, "Race, Orientalism, and Distinction in the Wake of the Yellow Peril," 101–103.

<sup>189</sup> Pasler, "Stravinsky and the Apaches," 403.

Table 2.1: Chronology 1875–1965 of the institutions, works, and articles discussed in this chapter

symphonic poem Conté par la mer (1908) due to their advanced style.199 The SMI from its beginnings successfully introduced the most recent musical trends from both its French members and international composers. Among other activities, it organized the French premieres of Arnold Schoenberg's Three Piano Pieces op. 11 (1909) in 1913 and Six Little Piano Pieces op. 19 (1911) in 1914. 199 Stravinsky's enthusiasm for Schoenberg's Pierrot lunaire (1912) 122 sparked the plan to organize the French premiere of this work in what Ravel imagined to be a "scandalous concert."93 Although the Pierrot premiere had to be canceled for practical reasons, 94 the society's concert on 14 January 1914 featured the world premieres of two pieces that were at least indirectly influenced or triggered by the enthusiasm for Schoenberg's Pierrot: Stravinsky's Trois poésies de la lyrique japonaise (1912/13) and Ravel's Trois poèmes de Mallarmé (1913) – along with Delage's Quatre poemes hindous for soprano and chamber ensemble (1913) which is closely intertwined with these two cycles. The rebellious tone is evident in a review of this concert by Apaches- and SMI-member Émile Vuillermoz:195

For a long time-since the heroic evenings of the old Nationale-musicians had not had the sensation of attending such an important event, so significant for the evolution of our art. The Salle Erard, where so many glorious pages of our musical history were already written, heard that day echo the energetic blows of the young demolishers who had been occupied for some time, to the great terror of the ignorant crowd, to tear down the walls, behind which they hope to discover the beautiful enchanted gardens of earthly paradise. […]

There is no longer any security on the market of the sixteenth notes and new cataclysms are preparing. The SMI has just torn down a whole wall and, blinded by the cloud of sound dust that rose after the collapse of the wall, some listeners are already trying to discover, among the chunks, a road toward the obscure sensed delights.196

<sup>190</sup> Duchesneau, "Maurice Ravel et la Société Musicale Indépendante," 257. Both pieces were performed in the first orchestral concert of the SMI on 9 June 1910 in Salle Gaveau with considerable success, see ibid., 261–262, 274.

<sup>191</sup> op. 11: 28 May 1913, Salle de la Société des concerts (Ancien Conservatoire); op. 19: 9 February 1914, Salle Erard. See Duchesneau, "Maurice Ravel et la Société Musicale Indépendante," 278–280, Meyer, Ensemblelieder in der frühen Nachfolge (1912–17) von Arnold Schönbergs Pierrot lunaire, 141.

<sup>192</sup> Stravinsky had attended the fourth performance of the work in Berlin on 8 December 1912; later Stravinsky claimed that he had been merely interested in the instrumental music of the Pierrot lunaire (Stravinsky, An Autobiography, 43-44; see Meyer, Ensemblelieder, 26-28).

<sup>193 &</sup>quot;Projet mirifique d'un concert scandaleux […]" Maurice Ravel, letter to Hélène Kahn-Casella (for the Comité de la SMI), 2/4/1913, quoted in Meyer, Ensemblelieder, 29.

<sup>194</sup> See ibid., 32-33.

<sup>195</sup> See ibid., 137.

<sup>196</sup> Vuillermoz, "La musique au concert." ("Depuis bien longtemps-depuis les soirs heroiques de l'ancienne Natio nale – les musiciens n'avaient pas eu la ssister à une manifestation aussi importante, aussi capitale pour l'évolution de notre art. La salle Erard, où s'écrivirent déjà tant de pages glorieuses de notre histoire musical, entendit ce jour-là résonner les énergiques coups de pic des jeunes démolisseurs occupés depuis quelque temps, au grand effroi de la foule ignorante, à abattre des murs derrière lesquelles ils espèrent découvrir les beaux jardins enchantés du paradis terrestre. […] Il n'y a plus aucune sécurité sur le marché de la double-croche et de nouveaux cataclysmes se préparent. La SMI vient d'abbatre tout un pan de mur et, aveuglé par le nuage de poussière sonore que souleva sa chute, certains auditeurs cherchent déjà à se frayer péniblement, parmi les plâtras, une route vers d'obscures délices pressenties.")

ȃŎƪ-ƢþĢŎěþŦŎǬĩĢ-Ƣ'nĩƷŻƢŎě-ŎűŎƷŎþŦŦǢƪĩĩůƪƿűŠƿƪƷŎȀĩĢ-Ŏű-ŦŎł'nƷ-ŻŁ-Ʒ'nĩ-ŁƢþłŎŦĩ-ƟŎĩěĩƪ-ƟĩƢŁŻƢůĩĢ-Ģƿring this concert, but it documents the struggles of the younger generation of Paris-based com-ƟŻƪĩƢƪ-Ŏű-Ʒ'nĩþǼ ƷĩƢůþƷ'n-ŻŁ-Ʒ'nĩ-*Sacre* ƪěþűĢþŦ-ŻŁ-ژڑrþǢ-ܒڒڐژڐ-

ȃĩŎƢ- ĢƢŎǛĩ- ƷŻ- Ƣĩþě'n- ĚĩǢŻűĢ- Ʒ'nĩ- ŦŎůŎƷþƷŎŻűƪ- ŻŁ þ űþƢƢŻǜŦǢ- ĢĩȀűĩĢ űþƷŎŻűþŦŎƪů ůþĢĩ- Ʒ'nĩ- *Apaches* and the *Société Musicale Indépendante* a fertile ground for openness toward non-Western ůƿƪŎěܒ-Rƿě'n-ŎűƷĩƢĩƪƷƪǜĩƢĩűĩěĩƪƪþƢŎŦǢ-ƟƢĩȀłƿƢĩĢ-ĚǢ- Ʒ'nĩƪƿƟĩƢȀěŎþŦþƟƟƢŻƟƢŎþƷŎŻűƪ-ŻŁ-FƢĩűě'n- ŻƢŎĩűƷþŦŎƪů þűĢ ĩǡŻƷŎěŎƪů- Ƣĩþě'nŎűł- Ěþěţ þƷ- ŦĩþƪƷ- ƷŻ dĩþűܮ£'nŎŦŎƟƟĩ- ¦þůĩþƿܼƪ- ĚþŦŦĩƷ- ŻƟĩƢþ- *Les Indes galantes* ܤڔڒږڐܣþűĢƪƷŎŦŦ-ƟƢĩƪĩűƷ-Ŏű-¦þǛĩŦܼƪƪŻűłěǢěŦĩ-*Shéhérazade* ŁƢŻů-܌ڒڏژڐ-Żűĩ-ŻŁ-Ʒ'nĩ-ȀƢƪƷ- artistic achievements of the *Apaches* łƢŻƿƟ-ܣ1/4ƢŎƪƷþűfŦŎűłƪŻƢ܌ǜ'nŻƪĩ-ƟŻĩůƪ-ƟƢŻǛŎĢĩĢ-Ʒ'nĩ-ŦǢƢŎěƪ- ŁŻƢ-¦þǛĩŦܼƪěǢěŦĩ܌ǜþƪþŦƪŻþůĩůĚĩƢܒܤ-'ĩĚƿƪƪǢܼƪƪŎůƿŦƷþűĩŻƿƪ܌-ƢĩȀűĩĢĩDz ŁŻƢƷƪþƷ-ŎűěŻƢƟŻƢþƷŎűł- Javanese gamelan structures into some of his piano pieces, most notably in *Pagodes*-ŁƢŻů-ڠڢښ܌ڒڏژڐ gave way to attempts at a closer modeling of non-Western traditions as in Charles Koechlin's *Deux pièces javanaises*, which were based on transcriptions of Javanese gamelan pieces and were ƟƢĩůŎĩƢĩĢ-Ŏű-Ʒ'nĩƪĩěŻűĢěŻűěĩƢƷ-ŻŁ-Ʒ'nĩ-®rS-Żű-ړrþǢ-ڡڢښܒڏڐژڐ Furthermore, given that, during his ƪƷƿĢŎĩƪǜŎƷ'n-¦þǛĩŦ܌-'ĩŦþłĩ-'nþĢ-ĚĩĩűĩűěŻƿƢþłĩĢ-ƷŻþěěĩƟƷ-Ʒ'nĩěŻűěĩƟƷ-ŻŁƪƷǢŦŎƪƷŎě-ŎůŎƷþƷŎŻűþƪþ- major technique in developing one's own style,ڢڢښ it seems consistent that his approach to Asian traditions was based on detailed study, close listening, and reconstruction of these traditions' ůƿƪŎěþŦ-ĢĩƷþŎŦƪ-Ŏű-'nŎƪƪěŻƢĩƪܒȃĩƪĩ-ŁĩþƷƿƢĩƪǜĩƢĩĩŦþĚŻƢþƷĩĢ-ƷŻ-Ʒ'nĩŎƢ-ŁƿƢƷ'nĩƪƷ-ƟŻŎűƷ-ŎűþƪĩƢŎĩƪ-ŻŁ- ǜŻƢţƪ-ŁŻƢƪŻƟƢþűŻþűĢ-ƟŎþűŻ-ŻƢě'nþůĚĩƢĩűƪĩůĚŦĩ܌ůŻƪƷűŻƷþĚŦǢ-Ŏű-ܹhþ'nŻƢĩ܌ܺ-Ʒ'nĩƪĩěŻűĢůŻǛĩment of *Quatre poèmes hindous*-܌ܤڒڐژڐܣ-Ŏű-*Ragamalika*-܌ܤړڐژڐܣþƪǜĩŦŦþƪ-Ŏű-*Sept Haï-kaïs*-ܒܤړڑܘڒڑژڐܣ

ȃĩ-ƢĩěĩƟƷŎŻű-ŻŁ-SűĢŎþűůƿƪŎě-ĚǢrþƿƢŎěĩ-'ĩŦþłĩ-'nþƪ-Ěĩĩű-ĢŻěƿůĩűƷĩĢþűĢ-ĢŎƪěƿƪƪĩĢ-Ŏű- łƢĩþƷ-ĢĩƷþŎŦ-ĚǢdþűű-£þƪŦĩƢþűĢűĢƢĩþƪrĩǢĩƢ܌þűĢ-Ʒ'nƿƪ-Ʒ'nŎƪþƪƟĩěƷ-ŻŁ-'ĩŦþłĩܼƪǜŻƢţǜŎŦŦ-ŻűŦǢ-Ěĩ- ĚƢŎĩǴŦǢƪƿůůþƢŎǬĩĢ-'nĩƢĩڙڙڛܒȃĩ-*Quatre poèmes hindous* ǜĩƢĩěŻůƟŻƪĩĢ-Ŏű-Ʒ'nĩǜþţĩ-ŻŁ-Ʒ'nĩěŻů-ƟŻƪĩƢܼƪ-ȀǛĩܮůŻűƷ'n-ƷƢŎƟ-ƷŻ-SűĢŎþþűĢdþƟþű-Ŏű-ڐڐژڐþűĢ-ܒڑڐژڐȃĩĩǡþěƷ-ĢþƷĩƪ-ŻŁěŻůƟŻƪŎƷŎŻűþƢĩ- not easy to determine. In the autograph and the printed edition of the piano score, the follow-Ŏűł-ĢþƷĩƪþƢĩ-ŎűĢŎěþƷĩĢþƷ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩůŻǛĩůĩűƷƪ܋-Sܒ-*Madras* (*Une Belle…*ܤ-ܡrþĢƢþƪ܌rþƢƪ-ܗܢڑڐژڐ- II. *Lahore* (*Un Sapin isolé…*ܤ-ܡhþ'nŻƢĩ܌-FĪǛƢŎĩƢ-ܗܢڑڐژڐ-SSSܒ-*Bénarès* (*Naissance de Bouddha*ܤ-ܡĪűþƢĸƪ܌dþű-ǛŎĩƢ-ܗܢڑڐژڐ-Sßܒ*dĩǢƟƿƢ* (*Si vous pensez…*ܤ-ܡdĩǢƟƿƢ܌dþűǛŎĩƢ-ښڙڛܒܢڑڐژڐ-'ĩŦþłĩůĩűƷŎŻűĩĢ-Ŏűþ-ŦĩƷƷĩƢ-ƷŻ-®ƷƢþ-

ڻڽڵ- -RĪĪ܉-ŰżƫƸƣĪĜĪŲƸŧǣ܉-1/4ÿŰÿŃÿǝÿ܉-*/ĜŊżĪƫłƣżŰ-ƸŊĪ-/ÿƫƸ܌-1/4ŊĪdÿǜÿŲĪƫĪ-GÿŰĪŧÿŲÿŲģ-SƸƫ-SŲǴŧǀĪŲĜĪżŲ-ƸŊĪrǀƫŏĜżł ŧÿǀģĪ- Debussy*.

ڼڽڵ- -'ǀĜŊĪƫŲĪÿǀ܉- ܶrÿǀƣŏĜĪ- ¦ÿǜĪŧ- ĪƸ ŧÿ- ®żĜŏīƸī rǀƫŏĜÿŧĪ- SŲģīƠĪŲģÿŲƸĪ܉ܷ- ڐڒڎ-1/4 Ŋŏƫ ǝżƣŤ܉- ĜÿƸÿŧżŃǀĪģ ěǣ ƣŧĪģŃĪ܉-  *ŊÿƣŧĪƫfżĪĜŊŧŏŲ-܌ܥڐڕڙڑܬڗږژڑܤ-NŏƫhŏłĪÿŲģàżƣŤƫ*܉-܉ڑڐڏÿƫ-ƸŊĪ-*Suite Javanaise* żƠ-ڐڐě܉ŏƫÿŲÿƣƣÿŲŃĪŰĪŲƸżł-Ƹǝżdÿvanese *gamelan* ƠŏĪĜĪƫ-ܶGÿŰĪŧÿŲ-ƠÿŧÿŃܷÿŲģ-ܶGÿŰĪŧÿŲƫÿŧÿŲģƣżܷ-ܠƸƣÿŲƫĜƣŏěĪģěǣhżǀŏƫhÿŧżǣܡłżƣ-ĪŧĪǜĪŲ-/ǀƣż-ƠĪÿŲ ŏŲƫƸƣǀŰĪŲƸƫ܉ ÿŲģ ǝÿƫ- ĜżŰƠżƫĪģ ŏŲ- Ơƣŏŧ- ڌڍڕڍ fżĪĜŊŧŏŲ ǝÿŲƸĪģ- Ƹż ƣĪĜżŲƫƸƣǀĜƸ- ƸŊĪ ŏŰƠƣĪƫƫŏżŲ- ŊĪ- Ŋÿģ- żł- ƸŊŏƫ- ŰǀƫŏĜ ģǀƣŏŲŃ- ƸŊĪ àżƣŧģ- /ǢƠżƫŏƸŏżŲ ŏŲ- ڕڔڔڍ ěÿƫĪģ żŲ- ƸŊĪ-ƸƣÿŲƫĜƣŏƠƸŏżŲƫ ěǣ hÿŧżǣ܉ ƫĪĪ fżĪĜŊŧŏŲ܉-*Écrits*, ڔڔ-܉ڍǜżŧ

ڎڑڍ-܉*Ensemblelieder*-܉rĪǣĪƣ-ĪĪ®- -ڽڽڵ

ڴڴڶ- -£ÿƫŧĪƣ܉-ܶ¦ĪŏŲƸĪƣƠƣĪƸŏŲŃ-SŲģŏÿŲrǀƫŏĜ܉ܷ-£ÿƫŧĪƣ܉-ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ-'ŏƫƸŏŲĜƸŏżŲ܉ܷÿŲģrĪǣĪƣ܉ *Ensemblelieder*, ڔڒڎܨڐڐڎ-܉ڏڑڍܨڕڐڍ-܉ڑڏܨڍڏ

ڵڴڶ- rÿģƣÿƫ܉-ŰżģĪƣŲܫģÿǣ- ŊĪŲŲÿŏ܉ŏƫ-ƸŊĪ-ĜÿƠŏƸÿŧżł-ƸŊĪ-¼ÿŰŏŧtÿģǀƫƸÿƸĪŏŲ-®żǀƸŊܫ/ÿƫƸ-SŲģŏÿÿŲģǝÿƫ-ƸŊĪ-ĜĪŲƸĪƣżł- ƸŊĪ-/ÿƫƸ-SŲģŏÿ żŰƠÿŲǣܔhÿŊżƣĪ܉łżƣŰĪƣŧǣ-ƠÿƣƸżłtżƣƸŊĪƣŲ-SŲģŏÿ܉ŏƫ-ƸŊĪ-ŊŏƫƸżƣŏĜÿŧ-ĜÿƠŏƸÿŧżł-ƸŊĪ-£ǀŲšÿěƣĪŃŏżŲ- ܠƸżģÿǣ-ƸŊĪƫĪĜżŲģŧÿƣŃĪƫƸ-ĜŏƸǣżł-£ÿŤŏƫƸÿŲܔܡīŲÿƣĹƫ܉-ŲżǝßÿƣÿŲÿƫŏ܉ŏŲ-ƸŊĪtżƣƸŊ-SŲģŏÿŲƫƸÿƸĪżł-ÃƸƸÿƣ-£ƣÿģĪƫŊ܉- ŏƫ-ĜżŲƫŏģĪƣĪģ-ƸŊĪƫƠŏƣŏƸǀÿŧ-ĜÿƠŏƸÿŧżł-SŲģŏÿÿŲģÿƸƸƣÿĜƸƫ-ƠŏŧŃƣŏŰƫǝŊż-Ńż-ƸŊĪƣĪ-ƸżěÿƸŊĪŏŲ-ƸŊĪ-GÿŲŃĪƫܔdĪǣƠżƣĪ- ܠdÿŏƠǀƣܡŏƫ-ƸŊĪ-ĜÿƠŏƸÿŧżł-ƸŊĪtżƣƸŊĪƣŲ-SŲģŏÿŲƫƸÿƸĪżł-¦ÿšÿƫƸŊÿŲ-ܠĜŧżƫĪ-ƸżtĪǝ-'ĪŧŊŏܡ-1/4Ŋǀƫ܉ŏƸǝżǀŧģƫĪĪŰ-ƸŊÿƸ- 'ĪŧÿŃĪܹƫ-ƸƣŏƠłżŧŧżǝĪģ-ƸŊĪƣżǀƸĪdĪǣƠżƣĪ-ܠdÿŲ-ܡڎڍڕڍ-ܨīŲÿƣĹƫ-ܠdÿŲ-ܡڎڍڕڍ-ܨhÿŊżƣĪ-ܠFĪě-ܡڎڍڕڍ-ܨrÿģƣÿƫ-ܠrÿƣ- ܡڎڍڕڍ-'ĪŧÿŃĪܹƫ-ܶhĪƸƸƣĪģĪŧܹSŲģĪܷłƣżŰfÿŲģǣ-ܠ ĪǣŧżŲ܉-Ƹżģÿǣ-®ƣŏhÿŲŤÿ܉ܡ-ƠǀěŧŏƫŊĪģŏŲ-ƸŊĪ-*Revue musicale S.I.M.* on ܡěĪŧżǝƫĪĪܠ-ڎڍڕڍrÿƣĜŊ-ڐģÿƸĪģŏƫ-܉ڎڍڕڍdǀŲĪ-ڑڍ

vinsky, however, that he completed these pieces only in the summer of 1913, so it seems likely that the dates indicated in the score signify the time of Delage's visit to the four cities during his trip rather than the dates of composition.202 This would mean that more than one year passed after the trip before Delage actually composed this work. The chamber ensemble version for 2 flutes (1 also piccolo), oboe (also English horn), 2 clarinets (in both A and Bb, 1 also bass clarinet), harp, and string quartet, probably completed in November 1913, was of particular significance for Delage, as he indicated in a letter to Stravinsky eight days before the premiere: "I am restless about my small orchestra since I have searched for Hindu sonorities that send chills up my spine."400

Based on Delage's "Lettre de l'Inde," a short account of his Indian trip published in the journal Revue musicale S.I.M. on 15 June 1912204 and other sources, Jann Pasler has singled out those characteristics of Delage's approach to Indian music that differed from the common exoticism of his epoch:205 he followed Debussy's strategy in focusing on those features of Indian music that seemed to expose a culture-specific logic – deemed opaque to the Western listener – as well as the continuity of pitch, rich timbres, especially in vocal music, and their supposed spontaneity and emotional effect. Like many composers in the following decades, Delage was concerned about "contaminating" Western (phonograph, harmonium, violin) and particularly Muslim influences on "Hindu music."206 Like Dane Rudhyar about ten years after him, he held on to the image of a "pure" Hindu music.200 Delage was in personal contact with several distinguished soloists from different Indian music traditions and bought several recordings of Indian music, which served as his main source for the adaptations elaborated in his scores after he had returned to France.

Pasler has identified the beginning of Lahore (a song based on the French translation of a poem by Heinrich Heine200) as a transcription of a surbahar200 performance of Jaunpuri Todika

<sup>202 &</sup>quot;Heureusement que j'ai fait quatre poèmes Hindous cet été. Ravel pretend que c'est bien." Maurice Delage, letter to Igor Stravinsky, 9/12/1913 (Collection Igor Stravinsky, Paul Sacher Foundation Basel), quoted in Meyer, Ensemblelieder, 31.

<sup>203 &</sup>quot;Je suis inquiet pour mon petit orchestre, car j'ai cherché des sonorités Hindoues qui me donnent froid dans le dos." Maurice Delage, letter to lgor Stravinsky, 6/1/1914 (Collection Igor Stravinsky, Paul Sacher Foundation Basel), quoted in Meyer, Ensemblelieder, 32.

<sup>204</sup> Delage, "Lettre de l'Inde."

<sup>205</sup> Pasler, "Race, Orientalism, and Distinction," 100-103.

<sup>206</sup> Ibid., 101.

<sup>207</sup> See Rudhyar, "A Call to Indian Musicians."

<sup>208</sup> Delage obviously relied on the French translation of this poem by Gérard de Nerval, first published in 1848 (although no source is provided in the two printed editions of the work): "Un sapin isolé se dresse sur une montagne / Aride du Nord. Il sommeille. / La glace et la neige l'environnent / D'un manteau blanc. / Il rêve d'un palmier qui là-bas / Dans l'Orient lointain se désole, / Solitaire et taciturne, / Sur la pente de son rocher brûlant." German original: "Ein Fichtenbaum steht einsam / lm Norden auf kahler Höh. / lhn schläfert; mit weißer Decke / Umhüllen ihn Eisund Schnee. / Er träumt von einer Palme, / Die, fern im Morgenland, / Einsam und schweigend trauert / Auf brennender Felsenwand." (Heinrich Heine, "Lyrisches Intermezzo" [1822/23], no. 33. In: Sämtliche Gedichte, Stuttgart, 1997, 94, quoted in Meyer, Ensemblelieder, 244.) Pasler notes that Delage had already set a poem by Heine in French translation three years earlier (Intermezzo no. 1 of the Trois mélodies op. 2, composed in January 1910, a setting of Heine's famous "Auf Flügeln des Gesanges"). This poem already invokes dreamy images of India in the lines "Fort nach den Fluren des Ganges, / Dort weiß ich den schönsten Ort;" and "Dort wollen wir niedersinken / Und Liebe und Ruhe trinken, / Und träumen seligen Traum." See Pasler, "Reinterpreting Indian Music," 136.

<sup>209</sup> Large plucked long-necked lute in North Indian music, belonging to the same family of instruments as the sitar and usually tuned a fourth or fifth lower.

*Alap*-ĚǢ-SůĢþĢf'nþű-܌ܤڏڑژڐܫڗړڗڐܣ-ƟƢŻĚþĚŦǢ-ƢĩěŻƢĢĩĢ-Ŏű-܌ڔڏژڐ-Ʒ'nĩƪŦŻǜ܌ƿűůĩþƪƿƢĩĢ-ŎűƷƢŻĢƿětion (*alap*ܤ- ƷŻþű-ŎůƟƢŻǛŎƪþƷŎŻű-Żű- Ʒ'nĩ-*Ƣēłþ-ŠþƿűƟƿƢŎ-*ܣƿƟǜþƢĢ܋- -'-F-G-K BK- ܗ-ĢŻǜűǜþƢĢ܋- - BK AK-G-F-/K-'- ڙښڛܒܤ-'ĩŦþłĩěŦŻƪĩŦǢ-ƢĩěŻűƪƷƢƿěƷƪ*ƪƿƢĚþ'nēƢ* playing techniques in the cello part ŎűěŦƿĢŎűł ƪŦŎĢĩƪ- ĚĩƷǜĩĩű þĢŠþěĩűƷ- ƟŎƷě'nĩƪ ǜŎƷ'n- Ʒ'nĩ ƪþůĩ- ȀűłĩƢܒȃĩ ĩűƪĩůĚŦĩ ƪŦŻǜŦǢ ĩƪƷþĚܮ ŦŎƪ'nĩƪþ-ĢƢŻűĩ-Żű-Ʒ'nĩ-ȀǼ Ʒ'n-ܮF-Ŏű-ĢŎDz ŁĩƢĩűƷ-ƢĩłŎƪƷĩƢƪ܌-ƢĩěþŦŦŎűłþűŻƷ'nĩƢţĩǢ-ƟƢŎűěŎƟŦĩ-ŻŁ-SűĢŎþű- ůƿƪŎě-ƟƢþěƷŎěĩܒȃĩƪƟþƢƪĩ-'nþƢůŻűŎěƪƷƢƿěƷƿƢĩ-Ŏƪ-ĚþƪĩĢ-ŻűůŻĢþŦþűĢ-ƟŦþłþŦ-ƟƢŻłƢĩƪƪŎŻűƪþűĢ- ƷĩűĢƪ-ƷŻþǛŻŎĢěŻűǛĩűƷŎŻűþŦ-ƷƢŎþĢŎě-'nþƢůŻűǢܒȃĩ-ƷŎůĚƢĩƪ܌-'nŻǜĩǛĩƢ܌-ƢĩƟĩþƷĩĢŦǢĩǛŻţĩ-ƷŻƟŎěƪ-ŻŁ- ůƿƪŎěþŦ-ŻƢŎĩűƷþŦŎƪů܌űþůĩŦǢ-Ŏű-Ʒ'nĩ-'nþƢƟܼƪþƢƟĩłłŎþƷŎŻűþűĢ-Ʒ'nĩ-ƷǜŻ-ǴŦƿƷĩƪܼƪŻŦŻŎƪƷŎě-ȀłƿƢĩƪ-Ʒ'nþƷ- þěěŻůƟþűǢ-Ʒ'nĩ-ŦŎűĩ-ܹSŦ-ƢĮǛĩ-Ģܼƿű-ƟþŦůŎĩƢơƿŎ-ŦĐܮĚþƪ-Ģþűƪ-ŦܼƢŎĩűƷ-ŦŻŎűƷþŎűƪĩ-ĢĪƪŻŦĩܺ-ܡSƷ-ĢƢĩþůƪ- ŻŁþ-ƟþŦůܮƷƢĩĩǜ'nŎě'nłƢŎĩǛĩƪݑŁþƢþǜþǢ-Ŏű-Ʒ'nĩ-ĢŎƪƷþűƷ-/þƪƷܒܢ- ŻűǛĩűƷŎŻűþŦ-ŻƢŎĩűƷþŦŎƪƷ-ܹěŻŦŻƢŎűłܺ-Ŏƪ- Ʒ'nƿƪ-ܹơƿŻƷĩĢܺ-Ŏű-Ʒ'nĩěŻűƷĩǡƷ-ŻŁþůƿě'nůŻƢĩ-ƢĩȀűĩĢþƟƟƢŻþě'n-ƷŻ-SűĢŎþűůƿƪŎě܌ěŦĩþƢŦǢůþƢţŎűł- Ʒ'nĩ-ĢŎDz ŁĩƢĩűěĩ-ĚĩƷǜĩĩű-Ʒ'nĩƪĩ-ƷǜŻ-ŁŻƢůƪ-ŻŁěŻůƟŻƪŎƷŎŻű-ĚþƪĩĢ-ŻűűŻűܮàĩƪƷĩƢűůþƷĩƢŎþŦܒ

ȃĩůŻƪƷ-ƢĩůþƢţþĚŦĩ-ŁĩþƷƿƢĩ-ŻŁ-Ʒ'nŎƪƪŻűł-ŎƪƪƿƢĩŦǢ-Ʒ'nĩ-ƟþƢƷŦǢƿűþěěŻůƟþűŎĩĢěŻűěŦƿĢŎűł- vocalise, which systematically changes between open and closed mouth articulation, a feature ŻŁ-SűĢŎþű-ǛŻěþŦůƿƪŎě-Ʒ'nþƷ-'ĩŦþłĩ-'nþĢ-ĢĩƪěƢŎĚĩĢ-Ŏű-'nŎƪ-ܹhĩƷƷƢĩ-Ģĩ-ŦܼSűĢĩܒܺښښڛ In contrast to the ŁþůŻƿƪ-ǛŻěþŦŎƪĩ-ŁƢŻůhĪŻ-'ĪŦŎĚĩƪܼƪ-ŻƟĩƢþ-*Lakmé* ܌ܤڒڗڗڐܣ-Żűĩ-ŻŁ-Ʒ'nĩůŻƪƷ-ƢĩƟƢĩƪĩűƷþƷŎǛĩǜŻƢţƪ- ŻŁ-ŦþƷĩűŎűĩƷĩĩűƷ'nܮěĩűƷƿƢǢĩǡŻƷŎěŎƪů܌- Ʒ'nĩ- ƢĩȀűĩĢ- Ƣ'nǢƷ'nůŎě ƪƷƢƿěƷƿƢĩ-Ŏű-'ĩŦþłĩܼƪ ƪŻűłþłþŎű- suggests close modeling on a recorded performance.ڛښڛ- Sű- Ʒ'nĩ-ȀűþŦ-ƟþƢƷ-ŻŁ- Ʒ'nŎƪ-ǛŻěþŦŎƪĩ܌- Ʒ'nĩ- ĩűƪĩůĚŦĩ-ŠŻŎűƪ-Ŏűþ-'nŎł'nŦǢěŻůƟŦĩǡ-'nĩƷĩƢŻƟ'nŻűǢܒ--ړڐژڐ-ƢĩǛŎĩǜ-ŻŁ-Ʒ'nĩĩĢŎƷĩĢƪěŻƢĩ-'nŎł'nŦŎł'nƷƪ- Ʒ'nĩĩűĢ-ŻŁ-ܹhþ'nŻƢĩܺþƪþ-ƟþƢƷŎěƿŦþƢƪƿěěĩƪƪŁƿŦ-ƟþƢƷ-ŻŁ-Ʒ'nĩǜŻƢţþǼ ƷĩƢơƿŻƷŎűłþƪĩűƷĩűěĩ-ŁƢŻů- 'ĩŦþłĩܼƪ-ܹhĩƷƷƢĩ-Ģĩ-ŦܼSűĢĩܺ Ʒ'nþƷěŦĩþƢŦǢĩǛŻţĩƪ-ŻƢŎĩűƷþŦŎƪƷƪƷĩƢĩŻƷǢƟĩƪ܋

ܶ®ƸƣÿŲŃĪŏŰƠƣĪƫƫŏżŲżł-ŊżƣŏǭżŲƫǝŊĪƣĪǜĪŊĪŰĪŲƸżƣǜĪƣǣƫżǽ Ƹ-ƸĪÿƣƫ-Ơÿƫƫěǣ܉-ƸĪŲģĪƣƫŏƸĪƫÿŲģÿǝÿŤܫ ĪŲŏŲŃƫ ŏŲ ěĪÿǀƸŏłǀŧ ŧŏŃŊƸܷ- S ģż- ŲżƸ- ŤŲżǝ ÿŲǣ żƸŊĪƣ ƫǀĜŊ- ĪǢƢǀŏƫŏƸĪ- ŲĪǝŲĪƫƫ łżƣ żǀƣ- /ǀƣżƠĪÿŲ- Īÿƣƫ-ƸŊÿŲ-ƸŊĪǜżĜÿŧŏƫĪ-ƸŊÿƸ-ƸĪƣŰŏŲÿƸĪƫ-ƸŊĪ-ŰĪŧżģǣƫǣŲƸŊĪƫŏǭĪģŏŲhÿŊżƣĪܔÿǜżĜÿŧŏƫĪƫǀŲŃǝŏƸŊÿ- closed mouth on strange nasal sonorities, hot breath, cries and caresses!ڙڗژ

ȃĩěŻůƟŦĩǡŎƷǢ-ŻŁ-Ʒ'nĩůƿƪŎěþŦƪƷƢƿěƷƿƢĩ-ŎƪĩǛĩű-ŎűěƢĩþƪĩĢ-Ŏű-'ĩŦþłĩܼƪ-*Ragamalika*-ŁƢŻůrþǢ-܌ړڐژڐěŻůƟŻƪĩĢþ-ŁĩǜůŻűƷ'nƪþǼ ƷĩƢ-Ʒ'nĩƪƿěěĩƪƪŁƿŦ-ƟƢĩůŎĩƢĩ-ŻŁ-Ʒ'nĩ-*Quatre poèmes hindous*ܒȃĩ-ƟŎĩěĩ- is a detailed transcription of a recording of the *devadasi*ƪŎűłĩƢ- ŻŎůĚþƷŻƢĩȃþǢŎ-܌ܤږڐژڐܫڑږڗڐܣwho was based in MadrasڝښڛþűĢǜ'nŻů-'ĩŦþłĩ-'nþĢůĩƷ-ĢƿƢŎűł-'nŎƪ-ƷƢŎƟ-Ŏű-SűĢŎþǜ'nŎŦĩ-ǛŎƪŎƷŎűł- the temples at Mahabalipuram.ڞښڛ- ŻŎůĚþƷŻƢĩ ȃþǢŎ ůþĢĩ þĚŻƿƷ- ڏڏڒ- ƢĩěŻƢĢŎűłƪ þǼ ƷĩƢ- Ʒ'nĩ-

ڵڵڶ- -'ĪŧÿŃĪ܉-ܶhĪƸƸƣĪģĪŧܹSŲģĪ܉ܷ-ڐړ

ڴڵڶ- -£ÿƫŧĪƣ܉-ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ-'ŏƫƸŏŲĜƸŏżŲ܉ܷ-܉ڐڌڍܨڏڌڍ-ړڍڍ-1/4ŊĪƣĪĜżƣģŏŲŃ-ĜÿŲěĪłżǀŲģżŲ-ƸŊĪ-ڔړƣƠŰģŏƫĜ-GƣÿŰż- G -ڐڒڏړڍàŏƸŊżǀƸ-ŤŲżǝŧĪģŃĪżł-ƸŊŏƫƫżǀƣĜĪrĪǣĪƣ-ܠ*Ensemblelieder*܉-܉ܡڐڑڎ-Ŋÿƫ-ƸƣŏĪģ-ƸżŏģĪŲƸŏłǣ-ƸŊĪ*ƣĔŃÿ* as *darbari-kanada* ("midnight *ƣĔŃÿ*ܷܔ-ǀƠǝÿƣģ܈- -'-/K F G AK BK- -ܕģżǝŲǝÿƣģ܈- -K BK G F G EK-'- ܡ-£ÿƫŧĪƣ-ܠܶ¦ĪŏŲƸĪƣƠƣĪƸŏŲŃ- SŲģŏÿŲrǀƫŏĜ܉ܷ-ܡڔڏڍƫƠĪĜŏǿĪƫ-ƸŊÿƸ-ƸŊĪƫǝŏƸĜŊłƣżŰ*jaunpuri* to *darbari*ŏŲ-ƸŊĪǿŲÿŧ-ƠÿƣƸżł-ƸŊĪ-ĜĪŧŧżƫżŧż-ŰÿƣŤƫÿŲ- intentional departure from the recorded model.

ڎڒڎܨڌڒڎ-܉*Ensemblelieder*-܉rĪǣĪƣ-܉ڑڌڍܷ-܉ŏƫƸŏŲĜƸŏżŲ'ÿŲģ-܉ƣŏĪŲƸÿŧŏƫŰ-܉ÿĜΦ-ܶ܉ÿƫŧĪƣ-£ĪĪ®- -ڶڵڶ

ڷڵڶ- -ܸܶ*Curieuse impression d'horizons où passent des sanglots véhéments ou très doux, des sites tendres et des réveils dans la belle lumière*ܹdĪ-ŲĪ-ĜżŲŲÿŏƫƣŏĪŲģĪ-Ơŧǀƫ-ĪǢƢǀŏƫīŰĪŲƸ-ŲżǀǜĪÿǀ-Ơżǀƣ-ŲżƫżƣĪŏŧŧĪƫ-ĪǀƣżƠīĪŲŲĪƫ-ƢǀĪŧÿǜżĜÿŧŏƫĪ-Ƣǀŏ- ƸĪƣŰŏŲĪŧÿ-ŰīŧżģŏĪ-ƢǀŏƫǣŲƸŊīƸŏƫĪhÿŊżƣĪܔǜżĜÿŧŏƫĪđěżǀĜŊĪłĪƣŰīĪƫǀƣģܹīƸƣÿŲŃĪƫƫżŲżƣŏƸīƫ-ŲÿƫÿŧĪƫ܉ƫżǀdz ǵŧĪ- chaud, cris et caresses!" Gabriel Grovlez, "La musique dans les partitions," *Musica*-܉ڐڍڕڍܕړܕڍ-ܔڍڐڍ-ƢǀżƸÿƸŏżŲłƣżŰ- 'ĪŧÿŃĪ܉-ܶhĪƸƸƣĪģĪŧܹSŲģĪ܉ܷ-ڏړ

ڸڵڶ- -RĪĪÿģƣŏŲÿƸŊÿŲ܉-ܶSŲƸĪƣƠŧÿǣżł-ƸŊĪ*devadasi*ÿŲģ-ƸŊĪ żŰƠżƫĪƣܷÿŲģ-®ÿŰƠÿƸŊ܉-ܶ żŏŰěÿƸżƣĪ-¼Ŋÿǣŏܷ

ڹڵڶ- -£ÿƫŧĪƣ܉-ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ-'ŏƫƸŏŲĜƸŏżŲ܉ܷ-܉ڒڌڍ-ړڍڍrÿŰÿŧŧÿƠǀƣÿŰ-ܠrÿŊÿěÿŧŏƠǀƣÿŰ܉ܡŧżĜÿƸĪģƫżǀƸŊżł- ŊĪŲ-Ųÿŏ-ܠrÿģƣÿƫ܉ܡŏƫÿ-ƸżǝŲǝŏƸŊŏŰƠżƣƸÿŲƸÿƣĜŊĪżŧżŃŏĜÿŧƫŏƸĪƫłƣżŰ-ƸŊĪ-£ÿŧŧÿǜŏÿŲ-£Īƣŏżģ-ܠƫĪǜĪŲƸŊ-Ƹż-ŲŏŲƸŊ-ĜĪŲƸǀƣǣܡ-

British Gramophone Company had started to record Indian music in 1904. 266 The recorded piece Rāgamālika, Ramalinga swamis arulpa was probably recorded in 1909.207 Devadasi dancers and singers were temple courtesans who were sold to temples at a young age and learned classical Indian styles of music and dance. Arulpa is a genre of devotional song with the highly melismatic and sliding line of the voice accompanied by tabla drums and a tanpura drone; rāgamālika means "garland of rāgas," signifying a continuous change between different rāgas during the same piece.218 The text of this specific arulpa is attributed to Ramalinga Swamigal (Swamy, 1823–1874), a Tamil Shivait saint and poet. In Carnatic vocal tradition, a "vocalist usually sings a Sanskrit, Tamil, or Telugu poem toward the end of a concert by improvising in a ragamalika 'garland of ragas.' This is nonmetered improvisation similar to alapana, in which the performer uses the text freely to bring out the essence of the meaning of the text."101 The common pitch center of the emerging ragas in this piece, Bb, in Delage's adaption is optionally damped in the piano by placing a small piece of cardboard under the hammer of the piano's Bb2-string, imitating the buzzing sound of the tanpura. Delage here also makes an attempt to transliterate the Tamil lyrics of the piece, which praise the god Nadaradjâ (Shiva),200 indicating special pronunciation rules in a short note at the beginning. The final section recapitulates the beginning, creating a variation similar to the end of "Lahore" by continuously alternating between open- and closed-mouth sections (Ex. 2.3).

Delage's literal approach definitely shows deep respect for the musical tradition he was approaching – and the orientalist ideal of "purity" may have influenced his method, even though it was doubtless naïve considering the complex history of Indian music traditions and their continuous mutual influences and flux: "With its emphasis on self-criticism, sound for its own sake, and respect for traditions on their own terms, the modernist aesthetic prepared Delage to hear Indian music in its own terms."221

Ten years later, in the Sept Haï-kaïs of 1923/24, Delage's approach appears to have changed, now being less oriented toward ethnographic precision than the India-inspired works. Still, these seven short songs also markedly differ from the musical Japonisme in many French and other European works from the turn of the century. In contrast to Delage's trip to India, his stay in Japan appears to be largely undocumented. It is obvious, however, that Delage acquired a substantial knowledge of the Japanese language.222 He probably assisted Stravinsky in selecting the poems for the latter's Trois poésies de la lyrique japonaise in 1912/13 and provided French translations.23 Five of the seven poems of Sept Haï-kaïs are taken from Kikou Yamata's anthology of translations of Japanese poetry from different periods (Sur les lèvres japonaises, Paris: Le Divan 1924);

<sup>216</sup> Sampath, "Coimbatore Thayi."

<sup>217</sup> Pasler, "Race, Orientalism, and Distinction," 106, 117. The recording is published on Gramo G.C. 8-13793.

<sup>218</sup> Kassebaum, "Karnatak Raga," 99.

<sup>219</sup> Ibid.

<sup>220</sup> Gordon, "Discovering Maurice Delage," 302.

<sup>221</sup> Pasler, "Race, Orientalism, and Distinction," 107.

<sup>222</sup> Rodriguez, Maurice Delage ou La solitude de l'artisan, 38.

<sup>223</sup> Funayama, "Three Japanese Lyrics and Japonisme," 279. It is known, however, that Stravinsky used the Russian translation of the poems during the compositional process. Stravinsky's enthusiasm for Japanese wood prints and their "two-dimensional" character seems to have developed independently of Delage (see ibid. and Taruskin, Stravinsky and the Russian Traditions, vol. 1, 822-848).

### Example 2.3: Maurice Delage, Ragamalika (version for voice and piano, 1914), final section

Copyright © by Durand & Cie 1915

Example 2.4: Maurice Delage, Sept Haï-kaïs (1923/24), no. 5: " La lune d'automne… ," piano version

Copyright © by J. Jaubert 1924

no. 6 was translated by Paul-Louis Couchoud, who in 1905 had published Au fil de l'eau, a collection of French haikai, and no. 3 was written by the French poet Georges Sabiron (1882–1918).24

<sup>224</sup> Chipot, "Musique & haiku." The haikai, a form of tanka poetry (following a verse scheme of 5-7-5-7-7 syllables) emerged in Japan during the fifteenth to seventeenth centuries. Yet among the seven poems selected by Delage, only two are examples of traditional haiku form – a reduced variant of the haikai model organized in 5-7-5 syllables (no. 6 by Onitsura Uejima, 1661–1738, and no. 7 by Bashō Matsuo, 1644–1694), while two poems have to be attributed to the medieval Heian-period waka genre (no. 1 by Ki no Tsurayuki, 872-945, and no. 2 by Sosei, c. 844-910). The three remaining poems were written by contemporary poets in haikai form (no. 3, in French, by Georges Sabiron, 1882-1918, no. 4 by Hiroko Katayama, 1878-1957, and no. 5 by Akiko Yosano, 1878-1942).

Both the piano and the ensemble version of the *Sept Haï-kaïs* were published by Jaubert in ܒړڑژڐȃĩěǢěŦĩǜþƪ-ƟƢĩůŎĩƢĩĢ-Żű- ڕڐ- FĩĚƢƿþƢǢ- ڔڑژڐ-Ŏűþ-®SrěŻűěĩƢƷ-ܣƪŻƟƢþűŻ܋ dþűĩþƷ'nŻƢŎĩ܌ěŻűĢƿěƷŻƢ܋-'þƢŎƿƪrŎŦ'nþƿĢܤþűĢ-ƟĩƢŁŻƢůĩĢþłþŎűþƷ-Ʒ'nĩ-S® r-ŁĩƪƷŎǛþŦ-Ŏű-ƟƢŎŦ-ژڑژڐ-Ŏű-GĩűĩǛþ- ĚǢrþĢĩŦĩŎűĩ-GƢĩǢþűĢ-/ƢűĩƪƷűƪĩƢůĩƷܒ-ƢŻƿűĢ-Ʒ'nĩƪþůĩ-ƟĩƢŎŻĢ܌-Ŏű-܌ڔڑژڐ-'ĩŦþłĩþűĢ-¦þǛĩŦ- ŻƢłþűŎǬĩĢþ-ƟƢŎǛþƷĩěŻűěĩƢƷǜŎƷ'n-Ʒ'nĩŎƢdþƟþűĩƪĩ-ŁƢŎĩűĢdŎƢŻ'nþě'nŎ-®þƷƪƿůþ-ܤڕږژڐܫڐڏژڐܣ-ŻŁ-Ʒ'nĩdþƟܮ anese *shamisen*-ƟŦþǢĩƢfŎűĩǢþ-®þţŎě'nŎ-Sß-ܤڔړژڐܫړڗڗڐܣ-Ŏű-Ʒ'nĩþƟþƢƷůĩűƷ-ŻŁ-Ʒ'nĩ-ƟŎþűŎƪƷ-NĩűƢŎ-GŎŦܮ rþƢě'nĩǡ܌ǜ'nŻ-'nþĢ-ƷŻƿƢĩĢdþƟþű-ŁŻƢ-Ʒ'nĩ-ȀƢƪƷ-ƷŎůĩ-Ʒ'nĩƪþůĩ-ǢĩþƢڞڛڛܒ-'ĩŦþłĩ-ĢĩĢŎěþƷĩĢþűŻƷ'nĩƢ- ܣǢĩƷƿűƟƿĚŦŎƪ'nĩĢܤƪ'nŻƢƷƪŻűł܌-ĚþƪĩĢ-Żűþ*haiku* ĚǢþƪ'nƔrþƷƪƿŻ܌-ƷŻ-®þƷƪƿůþ-Żű-ڏڑ-'ĩěĩůĚĩƢ- ړڑژڐþǼ ƷĩƢěŻůƟŦĩƷŎűł-Ʒ'nĩ-*Sept Haï-kaïs*. ڟڛڛ

ȃĩ *Sept Haï-kaïs*܌ěƢĩþƷĩĢůŻƢĩ-Ʒ'nþű-Ʒĩű-ǢĩþƢƪþǼ ƷĩƢ-®ƷƢþǛŎűƪţǢܼƪ-*ȄƢĩĩdþƟþűĩƪĩhǢƢŎěƪ*, are 'nþƢĢŦǢ-ƢĩŦþƷĩĢ-ƷŻ-®ƷƢþǛŎűƪţǢܼƪůƿƪŎěþŦƪƷǢŦĩܒtĩŎƷ'nĩƢ-Ŏƪ-Ʒ'nĩƢĩþűǢěŦĩþƢ-ŎűĢŎěþƷŎŻű-ŻŁþűþĢþƟƷŎŻű- ŻŁdþƟþűĩƪĩƪěþŦĩƪ-ŻƢůŻĢĩƪ-ܫþŦƷ'nŻƿł'n-Ʒ'nĩ-'nþƢůŻűŎěƪƷƢƿěƷƿƢĩ܌-ĚþƪĩĢ-ŻűƪƷþěţĩĢ-ŁŻƿƢƷ'nƪþűĢ- ȀǼ Ʒ'nƪ܌ůþǢǜĩŦŦ-Ěĩ-ĢĩƢŎǛĩĢ-ŁƢŻůþ-ƟŻŦǢůŻĢþŦþƢƢþűłĩůĩűƷ-ŻŁ-ƟĩűƷþƷŻűŎě-ŻƢ-'nĩƟƷþƷŻűŎě-ƟŎƷě'n- ěŻŦŦĩěƷŎŻűƪܒ-¦ĩƟĩþƷĩĢŦǢ܌-'ĩŦþłĩ ĩůƟŦŻǢƪ- ĢƢŻűĩܮŦŎţĩ ƪƷƢƿěƷƿƢĩƪ-Ŏű- Ʒ'nĩƪĩ ƪŻűłƪܒȃĩ-ȀƢƪƷ ƪŻűł- ܣܹ£ƢĪŁþěĩ-ĢĩfŻţŎűƪ'nŎŻƿܺܤþǼ ƷĩƢþ-ŁƢĩĩ-ƟƢĩŦƿĢĩĩƪƷþĚŦŎƪ'nĩƪþ-ĢƢŻűĩ-Żű-/K and BK with major and ůŎűŻƢ-Ʒ'nŎƢĢƪ-ܣGܘGKܤ-ƢĩƟĩþƷĩĢŦǢěŻŦŦŎĢŎűł-ŎűþƪĩƷƷŎűł-Ʒ'nþƷ-ƢþƷ'nĩƢěŦŻƪĩŦǢ-ƢĩƪĩůĚŦĩƪ-Ʒ'nþƷ-ŻŁ-*Ragamalika*ܒ-ěþŦůĩƢ-ǛþƢŎþűƷ-ŻŁ-Ʒ'nĩƪþůĩ-'nþƢůŻűŎě-ƟƢŎűěŎƟŦĩ-Ŏƪ-ƷþţĩűƿƟ-Ŏű-Ʒ'nĩƪĩěŻűĢ-'nþŦŁ-ŻŁűŻڕݑܒ- ܣܹŦŻƢƪ܍ܺ܌ܤ-ƟƢŻŦŻűłĩĢ-ŎűƷŻ-Ʒ'nĩ-ȀűþŦƪŻűł-ܣűŻ܋ږݑܒ-ܹhܼĪƷĪ܍ܺ܌ܤĩƪƷþĚŦŎƪ'nŎűłþ-'nþƢůŻűŎě-ŁƢþůĩ-ŁŻƢ-Ʒ'nĩ- ěǢěŦĩܒȃĩ-Ʒ'nŎƢĢƪŻűł-ܣܹhĩěŻơ܍ܺܤ-ŎűƷƢŻĢƿěĩƪþƪŎůŎŦþƢƪƷƢƿěƷƿƢĩ-ƢþŎƪĩĢ-ĚǢþƪĩůŎƷŻűĩ-ƷŻ-/-B þűĢ-Ʒ'nĩěŻűǴŦŎěƷŎűł-Ʒ'nŎƢĢƪ-G and G܌-ƟƢŻǛŎĢŎűł-Ʒ'nĩ-ŁƢþůĩ-ŁŻƢþůƿƪŎěþŦ-ƟŎěƷŻƢŎþŦŎƪů-Ʒ'nþƷĩǛŻţĩƪ- Ʒ'nĩěŻơܼƪěþěţŦŎűł-ĚǢƪ'nŻƢƷþƟƟŻłłŎþƷƿƢþƪ-Ŏű-Ʒ'nĩƪƷǢŦĩ-ŻŁ-¦þǛĩŦܼƪ-*Histoires naturelles*-ڠڛڛܒܤڕڏژڐܣȃĩ- ƪĩěŻűĢ-ܣܹhĩƪ-'nĩƢĚĩƪ-Ģĩ-ŦܼŻƿĚŦŎ܍ܺܤþűĢ-Ʒ'nĩ-ŁŻƿƢƷ'nƪŻűł-ܣܹhþ-ƟĩƷŎƷĩ-ƷŻƢƷƿĩ܍ܺܤþƪǜĩŦŦþƪ-Ʒ'nĩ-ȀƢƪƷ- 'nþŦŁ-ŻŁűŻ܌ڕݑܒ-ŎűěŻűƷƢþƪƷ܌ƪŎƷƿþƷĩ- Ʒ'nĩ-ĢƢŻűĩܮŦŎţĩƪƷƢƿěƷƿƢĩƪ-ŻűůþŠŻƢƪĩěŻűĢƪ-ܣ'ܮ/-ŎűűŻ܌ڑݑܒ-F-G-ŎűűŻ܌ړݑܒ- ܮ'ܘ Kܮ'K-ŎűűŻܒܤڕݑܒà'nŎŦĩűŻڑݑܒ-Ŏƪě'nþƢþěƷĩƢŎǬĩĢ-ĚǢůĩŦŻĢŎě-ŦŎűĩƪůŻǛŎűł-Ŏű- ƟþƢþŦŦĩŦ-ŁŻƿƢƷ'nƪ܌űŻړݑܒþĢŻƟƷƪ-Ʒ'nĩþƟƟŻłłŎþƷƿƢþƪ-ŁƢŻůűŻ܌ڒݑܒ-ƟŻƪƪŎĚŦǢűŻǜ-ƟŻŎűƷŎűł-ƷŻ-Ʒ'nĩěŦƿűţǢ- movements of the tortoise.


ڹڶڶ- -FǀŲÿǣÿŰÿ܉-ܶ1/4ŊƣĪĪdÿƠÿŲĪƫĪhǣƣŏĜƫÿŲģdÿƠżŲŏƫŰĪ܉ܷ-ڕړڎܨڔړڎfŏŲĪǣÿ-®ÿŤŏĜŊŏ-SßǝÿƫÿƣĪłżƣŰĪƣżłdÿƠÿŲĪƫĪ-ƸƣÿģŏƸŏżŲÿŧ-ŰǀƫŏĜÿŲģģĪǜĪŧżƠĪģŧÿƣŃĪƣ-ƸǣƠĪƫżłƫŊÿŰŏƫĪŲƫǀĜŊÿƫ-ƸŊĪ*sero shamisen* (cello *shamisen*ܡÿŲģ-ƸŊĪ*teion shamisen* ܠܶŧżǝĪƣƣÿŲŃĪ*shamisen*ܷܡ-ܠàÿģĪ܉-*Composing Japanese Musical Modernity*܉-ܡڌڑڎ-NĪŲƣŏ-GŏŧܫrÿƣĜŊĪǢ-ܨڐڕڔڍܠ ܡڌړڕڍ-ƸżǀƣĪģdÿƠÿŲłżǀƣ-ƸŏŰĪƫ܉ŏŲ-܉ڑڎڕڍ-܉ڍڏڕڍ-܉ڎڏڕڍÿŲģ-ړڏڕڍ-1/4ŊĪdÿƠÿŲĪƫĪ-ĜżŰƠżƫĪƣæżƣŏƸƫǀŲĪrÿƸƫǀģÿŏƣÿ-ܨړڌڕڍܠ ܡڍڌڌڎǝÿƫŏŰƠƣĪƫƫĪģěǣ-GŏŧܫrÿƣĜŊĪǢܹƫ-ƠĪƣłżƣŰÿŲĜĪƫÿŲģ-ƸżżŤ-ƠŏÿŲżŧĪƫƫżŲƫǝŏƸŊ-ŊŏŰǝŊŏŧĪ-ƸŊĪ-ƠŏÿŲŏƫƸǝÿƫŏŲ- Japan (Galliano, *æƕŃÿŤǀ*܉-ܡڐڔܨڏڔ-SŲ-ڒڏڕڍ-GŏŧܫrÿƣĜŊĪǢ-ĜżŰƠżƫĪģ-*Quatre [Deux] images du vieux Japon* for piano.

ںڶڶ- -FǀŲÿǣÿŰÿ܉-ܶ1/4ŊƣĪĪdÿƠÿŲĪƫĪhǣƣŏĜƫÿŲģdÿƠżŲŏƫŰĪ܉ܷ-ڍڔڎܨڕړڎ

ڻڶڶ- -¦żģƣŏŃǀĪǭ܉-*Maurice Delage ou La solitude de l'artisan*܉-ڏڔ

ڼڶڶ- -£ÿĜǀŲ܉-ܶtÿƸŏżŲÿŧŏƫŰÿŲģrǀƫŏĜÿŧ-®ƸǣŧĪŏŲ-SŲƸĪƣǝÿƣ*æƕŃÿŤǀ*܉ܷ-ڎڎܨڍڍ-ܠƫĪĪěĪŧżǝܡ

Example 2.5: Maurice Delage, Sept Haï-kaïs (1923/24), no. 5: " La lune d'automne… ," orchestral version, final part

Copyright © 1924 by Jaubert

The rich sonorities of the ensemble version considerably expand these restrained harmonic structures into veritable flashes of color. This may be exemplified by the fifth song again (Ex. 2.5). The quick tempo here lets the highly perforated orchestration, comprising fluttertonguing in the flute and glissandi in the strings, turn into a dissonant and bewildering sonorous field. The composer's great attention to detail, evident from the score, thus gives way to a "sound composition" reaching far beyond established orientalist musical concepts. Although the current state of research does not allow a reliable conclusion as to the actual impact of Japanese traditional music for Delage's compositional conception, it is apt to say that in comparison to the earlier literal approach in "Lahore" or Ragamalika, the Sept Haï-kaïs establish a far more abstract and concealed way of communicating with the non-Western tradition – most importantly through a radicalized aphoristic form and a highly refined (poly)modal harmony.

### Henry Cowell: Toward Cultural Hybridity

If the Société Musicale Indépendante stood for a new internationalism and new approaches toward the music of non-Western cultures, those preconditions reappeared in a more rigorous and resolute manner in the context of Henry Cowell's New Music Society of California, established in Los Angeles in 1925, continued in San Francisco from 1927 to 1936, and later in New York. According to Cowell's first flyer, the society was dedicated to the performance of the "most discussed composers of so-called ultramodern tendencies, such as Strawinsky [sic], Schoenberg, Ruggles, Rudhyar, etc."239 and it had a decidedly international perspective (works

<sup>229</sup> Quoted in Mead, "Henry Cowell's New Music Society," 450.

ĚǢ-ڕڒ-/ƿƢŻƟĩþű܌ƪŎǡhþƷŎűܮůĩƢŎěþű܌þűĢ-ڏڒůĩƢŎěþűěŻůƟŻƪĩƢƪǜĩƢĩ-ƟĩƢŁŻƢůĩĢ-Ŏű-Ʒ'nĩƪŻěŎĩ-ƷǢܼƪěŻűěĩƢƷƪ-ĚĩƷǜĩĩű-ڔڑژڐþűĢ-ܒܤڙڜڛڕڒژڐ-Ʒ-ŦĩþƪƷ-Żűĩ-ŻŁ-Ʒ'nĩƪŻěŎĩƷǢܼƪĩǛĩűƷƪ-ܣþěŻűěĩƢƷ-Żű-ڐ-ƟƢŎŦ- ܤڔڒژڐþŦƪŻ-ŎűěŦƿĢĩĢ-ƟĩƢŁŻƢůþűěĩƪ-ŻŁ-ƷƢþĢŎƷŎŻűþŦdþƟþűĩƪĩůƿƪŎěښڜڛܒ

Ǣ-܌ڔڑژڐþƷ-Ʒ'nĩþłĩ-ŻŁ-܌ڗڑ- ŻǜĩŦŦ-'nþĢþŦƢĩþĢǢ-ĚĩěŻůĩþű-ŎűƷĩƢűþƷŎŻűþŦěĩŦĩĚƢŎƷǢܒ-Nĩ-'nþĢ-Ěĩĩű- Żű-ƷŻƿƢ-ƷŻ-/ƿƢŻƟĩƪĩǛĩƢþŦ-ƷŎůĩƪƪŎűěĩ-ڒڑژڐþƪþ-ܹƪěþűĢþŦŻƿƪܺ-ƟŎþűŎƪƷ-ƟĩƢŁŻƢůŎűłěŦƿƪƷĩƢƪþűĢ- ƟŦþǢŎűł-Żű-Ʒ'nĩ-ƟŎþűŻƪƷƢŎűłƪ܌þűĢ-'nþĢůþĢĩ-'nŎƪ-ĢĩĚƿƷþƷ þƢűĩłŎĩ-NþŦŦ-Żű-ړ-FĩĚƢƿþƢǢ-ܒړڑژڐ-Sű- /ƿƢŻƟĩ-'nĩůĩƷþűƿůĚĩƢ-ŻŁ-ŦĩþĢŎűłůŻĢĩƢűŎƪƷěŻůƟŻƪĩƢƪþűĢůƿƪŎěŎþűƪܒ-NŎƪĩƢŦŎű-ƢĩěŎƷþŦ-Ŏű- ڒڑژڐ-'nþĢ-Ěĩĩű- ŁƿűĢĩĢ-ĚǢ-NĩƢůþűű-®ě'nĩƢě'nĩűܼƪ*tĩƿĩrƿƪŎţłĩƪĩŦŦƪě'nþǽƷ*. ڛڜڛ Similarly to Ravel's þűĢ-'ĩŦþłĩܼƪƪŻěŎĩƷŎĩƪ܌- ŻǜĩŦŦܼƪtĩǜrƿƪŎě-®ŻěŎĩƷǢ-ŻŁ þŦŎŁŻƢűŎþǜþƪěŻűěĩŎǛĩĢ-Ŏű-ŻƟƟŻƪŎƷŎŻű- ƷŻ-Ʒ'nĩűþƷŎŻűþŦŎƪƷþĩƪƷ'nĩƷŎěƪ-ŻŁěŻůƟŻƪĩƢƪþƪƪĩůĚŦĩĢ-Ŏű-Ʒ'nĩhĩþłƿĩ-ŻŁ- ŻůƟŻƪĩƢƪ܌-ŁŻƿűĢĩĢ-Ŏű- ڜڜڛܒڒڑژڐ An anti-nationalist stance was a precondition especially for many composers who had ĩůŎłƢþƷĩĢ-ƷŻ-Ʒ'nĩî-ĢƿƢŎűł-Ʒ'nĩ-FŎƢƪƷàŻƢŦĢàþƢ܌ƪƿě'nþƪ-/ĢłþƢĢßþƢĸƪĩ-ŻƢ-'þűĩ-¦ƿĢ'nǢþƢڝڜڛ܌ a ěŦŻƪĩ-ŁƢŎĩűĢþűĢþŦŦǢ-ŻŁ- ŻǜĩŦŦܒ-¦ƿĢ'nǢþƢǜƢŻƷĩ-Ŏű-܋ڑڑژڐ

tÿƸŏżŲÿŧŏƫŰěƣĪĪģƫ-ŊÿƸƣĪģżł-ƸŊĪłżƣĪŏŃŲĪƣàŊĪƣĪǜĪƣƫǀĜŊ-ŊÿƸƣĪģ-ĪǢŏƫƸƫ-ܞÿŲģܟ-ƸŊĪłǀŲģÿŰĪŲƸÿŧ- ŏŲƸĪƣŊǀŰÿŲ-ƢǀÿŧŏƸǣŏƫ-ŤŏŧŧĪģ܉-ŰǀƫŏĜ-ĜĪÿƫĪƫ-Ƹż-ĪǢƠƣĪƫƫ-ƸŊĪ-ĪƫƫĪŲƸŏÿŧŧŏłĪżłrÿŲ܉-ŊŏƫŏģĪÿŧ܉-ŊŏƫłĪƣǜżƣ܉- ŊŏƫÿƫƠŏƣÿƸŏżŲƫ-ܨ-ĜżŧżƣĪģÿƫ-ƸŊĪǣ-ŰÿǣěĪěǣƣÿĜŏÿŧŏģŏżƫǣŲĜƣÿƫŏĪƫ-ܨŏƸ-ĪǢƠƣĪƫƫĪƫżŲŧǣ-ƸŊĪƫǀƠĪƣǿ-Ĝŏÿŧ-ĜżŰƠŧĪǢżłłÿƫŊŏżŲƫ܉żł-ƠĪĜǀŧŏÿƣěƣÿŏŲܫÿĜƸŏǜŏƸŏĪƫ܉ǝŊŏĜŊ-ĜżŲƫƸŏƸǀƸĪƫ-ƸŊĪżǀƸĪƣ-ŰÿŤĪܫǀƠżłÿ- ŲÿƸŏżŲ܉-ŲżƸ-Ƹƣǀŧǣÿ-¦ÿĜĪŏŲ-ƸŊĪƫƠŏƣŏƸǀÿŧŧǣ-ŊǀŰÿŲƫĪŲƫĪżł-ƸŊĪǝżƣģ-ܟ܊ܞ

àĪŏŲƫŏƫƸżŲ-ƸŊŏƫ-ƠżŏŲƸěĪĜÿǀƫĪŏƸŏƫÿŲ-ĪƫƫĪŲƸŏÿŧżŲĪ-Ƹżģÿǣ-ŰĪƣŏĜÿƫŊżǀŧģěĪ-ĜżŲƫŏģĪƣĪģÿƫ-ƸŊĪ- ŲĪǝƫżŏŧ-ܠĜǀŧƸǀƣÿŧŧǣƫƠĪÿŤŏŲŃܡǝŊŏĜŊǝŏŧŧěĪ-ƸŊĪ-ŊżŰĪżł-ƸŊĪ-ŲĪǢƸ-ĜŏǜŏŧŏǭÿƸŏżŲǝŊĪŲ-/ǀƣżƠĪ-Ŋÿƫ- łÿŧŧĪŲŏŲ-ƸŊĪƫƸÿƸĪżłƫŧǀŰěĪƣÿŲģ-ŰĪģŏĪǜÿŧŏƫŰǝŊŏĜŊƫŊĪŏƫłÿƫƸÿƠƠƣżÿĜŊŏŲŃ-SƸŏƫ-ŲÿƸŏżŲÿŧŏƫŰ- ǝŊŏĜŊ-ŤŏŧŧĪģ-/ǀƣżƠĪ-¼ŊĪǜÿƣŏżǀƫ-/ǀƣżƠĪÿŲƫƸÿƸĪƫ-Ĝżǀŧģ-ŲżƸÿŲģ-ĜÿŲŲżƸƣĪÿŧŏǭĪ-ƸŊĪŏƣłǀŲģÿŰĪŲ-ƸÿŧŏģĪŲƸŏƸǣ܉-ǀŲŏƸĪÿŲģ-ĜżŲƫƸŏƸǀƸĪ-ƸŊĪ-ÃŲŏƸĪģ-®ƸÿƸĪƫżł-/ǀƣżƠĪǝŊŏĜŊÿŧżŲĪ-Ĝżǀŧģ-ŊÿǜĪ-ŃŏǜĪŲěŏƣƸŊ- Ƹżÿ-ƸƣǀĪ-/ǀƣżƠĪÿŲ-ĜǀŧƸǀƣĪtżǝ-ƸŊĪ-ŰĪƣŏĜÿŲ-ĜŏǜŏŧŏǭÿƸŏżŲǝŊŏĜŊŏƫěĪŏŲŃěżƣŲŏƫŏŲŊĪƣĪŲƸŧǣÿŲ- ŊĪŏƣ- Ƹż- ƸŊĪ- /ǀƣżƠĪÿŲ- ĜŏǜŏŧŏǭÿƸŏżŲ àŏŧŧ ŏƸ ŏŲŊĪƣŏƸ ŏƸƫ- ŲÿƸŏżŲÿŧŏƫƸŏĜ ÿƸƸŏƸǀģĪ܉ żƣ ǝŏŧŧ ŏƸ ƣĪƠǀģŏÿƸĪ ŏƸ- ÿƸ- ƸŊĪ żǀƸƫĪƸ܉ ÿŲģ ěĪŃŏŲ- Ƹż- ƸŊŏŲŤ ŏŲ- ƸĪƣŰƫ żł ŏŲƸĪƣŊǀŰÿŲ- ǀŲŏƸǣܐ- ܟ܊ܞ- Sł- ƸŊĪƫĪ- ܞ/ǀƣżƠĪÿŲܟ ƫĪĪģƫ- ÿƣĪ-ƠĪƣŰĪÿƸĪģěǣ-ƸŊĪǜŏƣǀƫżł-ŲÿƸŏżŲÿŧŏƫƸŏĜƫĪƠÿƣÿƸŏǜĪŲĪƫƫ܉-ƸŊĪłǀƸǀƣĪǝŏŧŧƣĪƠĪÿƸ-ƸŊĪ-ƠÿƫƸ܉ÿŲģ- ǜÿƣŏżǀƫƫĜŊżżŧƫǝŏŧŧǝÿƣǝŏƸŊŏŲ-ƸŊĪěżƣģĪƣƫżł-ŰĪƣŏĜÿŏŲƫƸĪÿģżł-ĜżżƠĪƣÿƸŏŲŃ-ƸżŃĪƸŊĪƣŏŲÿ-ƸƣǀĪ- ƫǣŲƸŊĪƸŏĜ-ĜǀŧƸǀƣĪ-®ǀĜŊÿ-ŃŧżƣŏżǀƫƫǣŲƸŊĪƸŏĜ-ĜǀŧƸǀƣĪ-ĜÿŲżŲŧǣ-ŰÿŲŏłĪƫƸŏł-ŰĪƣŏĜÿƣĪƫƠżŲģƫ-Ƹż-ƸŊĪ- ƫƠŏƣŏƸǀÿŧ-ŲżƸĪżłÿƣƸŏƫƸŏĜŏŲƸĪƣŲÿƸŏżŲÿŧŏƫŰ܉ǝŊŏĜŊŏƫ-ŲżƸŏŲģŏdzłĪƣĪŲĜĪ-ƸżƣÿĜĪěǀƸ-ŊǀŰÿŲŏƫŰÿƫÿ- fundamental, and racial differences as overtones.ڛڙژ

<sup>454. .,</sup>Ibid ڴڷڶ

<sup>461. 454, .,</sup>Ibid ڵڷڶ

ڕڐڐ-܉Sěŏģ- -ڶڷڶ

ڷڷڶ- -Ų-ĪǢƠŧŏĜŏƸŧǣŏŲƸĪƣŲÿƸŏżŲÿŧ-ƠĪƣƫƠĪĜƸŏǜĪ-ŊÿģÿŧƫżěĪĪŲ-ĪŲǜŏƫŏżŲĪģěǣ-/ģŃÿƣģßÿƣĹƫĪÿŲģ ÿƣŧżƫ-®ÿŧǭīģżǝŊĪŲ- ƸŊĪǣ-ŊÿģłżǀŲģĪģ-ƸŊĪ-SŲƸĪƣŲÿƸŏżŲÿŧ żŰƠżƫĪƣܹƫ-Gǀŏŧģ-ܠS GܡŏŲ-ڍڎڕڍ-ŰżŲŃżƸŊĪƣÿĜƸŏǜŏƸŏĪƫ܉-ƸŊĪ-S GǝÿƫżƣŃÿŲŏǭܫ ŏŲŃ-ƸŊĪî-ƠƣĪŰŏĪƣĪżł-*Pierrot lunaire* żŲ-ڐ-FĪěƣǀÿƣǣ-ڏڎڕڍ-1/4ŊĪhĪÿŃǀĪżł żŰƠżƫĪƣƫƫĪŃƣĪŃÿƸĪģłƣżŰ-ƸŊĪ-S GŏŲ- ڏڎڕڍ-SŲ-ڔڎڕڍßÿƣĹƫĪÿŲģ żǝĪŧŧ-ǀŲŏƸĪģ-ƸżłżƣŰ-ƸŊĪ-£ÿŲ-ŰĪƣŏĜÿŲƫƫżĜŏÿƸŏżŲżł żŰƠżƫĪƣƫ-ܠ£ ܉ܡƫǀƠƠżƣƸŏŲŃ- ĜżŰƠżƫĪƣƫłƣżŰěżƸŊtżƣƸŊÿŲģhÿƸŏŲ-ŰĪƣŏĜÿ-ܠŏěŏģ܉-ܔڏڑڐƫĪĪÿŧƫżšÿ܉-*Making Music Modern*܉-ڌڌڎܨړړڍÿŲģtżŲ-ŲĪŲŰÿŲŲ܉-ܶSŲƫƸŏƸǀƸŏżŲĪŲܕƣŃÿŲŏƫÿƸŏżŲĪŲ܉ܷ-ܡڑڔڎ

ڸڷڶ- ßÿƣĹƫĪÿƣƣŏǜĪģŏŲ-ƸŊĪîżŲ-ڕڎ-'ĪĜĪŰěĪƣ-܉ڑڍڕڍ-¦ǀģŊǣÿƣ-ܠƸŊĪŲƫƸŏŧŧ-ǀŲģĪƣ-ƸŊĪ-ŲÿŰĪ-'ÿŲŏĪŧ- ŊĪŲŲĪǜŏĹƣĪܡżŲ-ڏڍ- ڒڍڕڍtżǜĪŰěĪƣ

ڹڷڶ- -¦ǀģŊǣÿƣ܉-ܶ/ģŃÿƣģßÿƣĹƫĪÿŲģ-ƸŊĪtĪǝrǀƫŏĜżł-ŰĪƣŏĜÿܷ

 ŻǜĩŦŦܼƪ-ŎűƷĩƢűþƷŎŻűþŦþěƷŎǛŎƷŎĩƪ-ĚĩƷǜĩĩű- ڒڑژڐþűĢ- ڕڒژڐƪ'nŻǜłƢĩþƷĩDz ŁŻƢƷƪþűĢþŦƪŻþěĩƢƷþŎű- ƢĩƪƷŦĩƪƪűĩƪƪ܌-ŎűěƢĩþƪŎűłŦǢ-ŦĩþĢŎűł-ƷŻ-ŁƢƿƪƷƢþƷŎŻűƪ-Ŏű-Ʒ'nĩǜþţĩ-ŻŁ-Ʒ'nĩ-GƢĩþƷ-'ĩƟƢĩƪƪŎŻűþűĢ-Ʒ'nĩ- ĩűƪƿŎűł-ȀűþűěŎþŦ-ŦŎůŎƷþƷŎŻűƪܒȃĩ-£þűůĩƢŎěþűƪƪŻěŎþƷŎŻű-ŻŁ- ŻůƟŻƪĩƢƪ-ܣ£ ܌ܤ-ŁŻƿűĢĩĢ-ĚǢ- ßþƢĸƪĩþűĢ- ŻǜĩŦŦ-Ŏű-܌ڗڑژڐ-ŁŻƢĩǡþůƟŦĩ܌-ŎűǛŻŦǛĩĢ܌þůŻűł-ŻƷ'nĩƢƪ܌þěŦŻƪĩěŻűƷþěƷ-ƷŻ-Ʒ'nĩ-NþǛþűþ- ®ŻěŎĩƷǢ-ŁŻƢ- ŻűƷĩůƟŻƢþƢǢrƿƪŎě-Ŏű-ڏڒژڐþűĢ-Ʒ'nĩěŻŦŦþĚŻƢþƷŎŻűǜŎƷ'n-Ʒ'nĩ- ŻůůŎƪƪŎŻű-ŁŻƢ-SűƷĩƢűþƷŎŻűþŦ-/ǡě'nþűłĩ- ŻűěĩƢƷƪ܌-ŁŻƿűĢĩĢ-ŎűßŎĩűűþþŦƪŻ-Ŏű-ڟڜڛܒڏڒژڐ

ŻƷ'n-¦ƿĢ'nǢþƢþűĢ- ŻǜĩŦŦǜĩƢĩ-ĢĩĩƟŦǢ-ŎűǴŦƿĩűěĩĢ-ĚǢűŻűܮàĩƪƷĩƢűůƿƪŎěþŦ-ƷƢþĢŎƷŎŻűƪĩþƢŦǢ- Żűܒ-¦ƿĢ'nǢþƢ-'nþĢ-ŎůůŎłƢþƷĩĢ-ƷŻ-Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪ-ŁƢŻů-FƢþűěĩ-Ŏű-܌ڕڐژڐþűĢ-ĚǢ-ڗڐژڐ-'nþĢĩƪƷþĚܮ ŦŎƪ'nĩĢ-ƷŎĩƪ-ƷŻ-Ʒ'nĩŻƪŻƟ'nŎěþŦěŻůůƿűŎƷŎĩƪ-Ʒ'nƢŻƿł'n-®ěƢŎþĚŎűܼƪƪƷƿĢĩűƷ-'ŠþűĩhþǛŻŎĩܮNĩƢǬ-ܫژڗڗڐܣ ܌ܤڑڗژڐǜ'nŻů-¦ƿĢ'nǢþƢůĩƷ-ŎűtĩǜæŻƢţ-Ŏű-ڠڜڛܒڗڐژڐ-¦ƿĢ'nǢþƢþűĢ- ŻǜĩŦŦ-ȀƢƪƷůĩƷ-Ŏű-ڏڑژڐ-Ŏű-Ʒ'nĩ- Californian theosophical community Halcyon,ڡڜڛ-ŦĩĢ-ĚǢdŻ'nűßþƢŎþű-܌ܤڐڒژڐܫڒڕڗڐܣþű-SƢŎƪ'nܮůĩƢܮ ican poet and amateur musician. Cowell had already joined the community as a teenager in 1912 and many of his early pianist practices, such as cluster and string piano techniques, as well as music-theoretical ideas, namely microtonal and polyrhythmic concepts,ڢڜڛ can be attributed ƷŻ-Ʒ'nĩŻƪŻƟ'nŎěþŦ-ŎűǴŦƿĩűěĩƪ܌þƪ-GƢĩłŻƢ-NĩƢǬŁĩŦĢ-'nþƪ-ĢĩůŻűƪƷƢþƷĩĢܒ ڙڝڛȃĩěŦƿƪƷĩƢƪ܌-ŁŻƢĩǡþůƟŦĩ܌were to represent the oneness of humans and nature,ښڝڛ and the string piano techniques (sound ěƢĩþƷĩĢ-ĚǢ-ƟŦþǢŎűł-ĢŎƢĩěƷŦǢ-Żű-Ʒ'nĩ-ƟŎþűŻƪƷƢŎűłƪܤĩǛŻŦǛĩĢ-Ŏű-Ʒ'nĩěŻűƷĩǡƷ-ŻŁ-Ʒ'nĩ-ŎĢĩþ-ŻŁþłŎþűƷ- harp conceived as the universe's body of resonance (a reference to the antique concept of the ܹĩŻŦŎþű-'nþƢƟܺþƪ-ȀƢƪƷ-ĢĩƪěƢŎĚĩĢ-ĚǢݑƷ'nþűþƪŎƿƪfŎƢě'nĩƢ܌ܤþű-ŎĢĩþþĢŻƟƷĩĢ-ĚǢßþƢŎþű-Ŏű-'nŎƪ-ܹěŻƪmic play" *Ȅĩ-NþƢƟ-ŻŁhŎŁĩ*-܌ܤڕڐژڐܣ-ŁŻƢǜ'nŎě'n- ŻǜĩŦŦǜƢŻƷĩ-Ʒ'nĩůƿƪŎěڛڝڛܒ A transcultural dimension ǜþƪ-ŎůƟŦŎěŎƷ-Ŏű-Ʒ'nĩŻƪŻƟ'nŎěþŦ-Ʒ'nŻƿł'nƷܒ-SűǴŦƿĩűěĩĢ-ĚǢ-SűĢŎþűůǢƷ'nƪ-ŻŁ-ŻƢŎłŎű-ƟƢĩƪĩƢǛĩĢ-Ŏű-Ʒ'nĩ- ßĩĢþƪ܌-NĩŦĩűþ-ŦþǛþƷƪţǢěŻűěĩŎǛĩĢ-ŻŁůƿƪŎěþƪ- ܹěŻƪůŎěĩűĩƢłǢܺþűĢþƪþ-ƟƢŎűěŎƟŦĩě'nþƢþěƷĩƢܮ ized by continuous movement and dynamic motionڜڝڛ – features that abound in Cowell's early ǜŻƢţܒ-SűþůŻƢĩĩǡƟŦŎěŎƷůŻǛĩ-ƷŻǜþƢĢěƿŦƷƿƢþŦþűĢ-ƢþěŎþŦ-'nǢĚƢŎĢŎƷǢ܌dŻ'nűßþƢŎþűěŻűƪŎĢĩƢĩĢ-Ʒ'nĩ- theosophical community the "germic embryonic seed of future majesties of growth," of a "new ěŎǛŎŦŎǬþƷŎŻűűŻǜƪƷþƢƷŎűł-ƢŻƿűĢ-Ʒ'nĩ-£þěŎȀěܺ-ƟƢŻůŎűĩűƷŦǢ-ŎűěŦƿĢŎűł-ܹŻƢŎĩűƷþŦ-Ƣþěĩƪܒܺڝڝڛ

ںڷڶ Sachs, *Henry Cowell*܉-܉ڏڔڍܨڎڔڍ-ڕڕڍܨڔڕڍŧƣĪÿģǣěǣ-ڕڎڕڍ żǝĪŧŧ܉ƣĪƸǀƣŲŏŲŃłƣżŰÿ-Ƹżǀƣ-Ƹż-ƸŊĪ-®żǜŏĪƸ-ÃŲŏżŲ܉-Ŋÿģ- ƫǀŃŃĪƫƸĪģ-Ƹż-/ƣŏĜŊrżƣŏƸǭǜżŲ-NżƣŲěżƫƸĪŧÿŲģ ÿƣŧ-®ƸǀŰƠłŏŲ-ĪƣŧŏŲ-ƸŊĪ-ܶĜƣĪÿƸŏżŲżłÿŲŏŲƸĪƣŲÿƸŏżŲÿŧ-ŲĪƸǝżƣŤ- Ƹż-ĪǢĜŊÿŲŃĪÿŲģģŏƫƫĪŰŏŲÿƸĪŏŲłżƣŰÿƸŏżŲ-ƸŊƣżǀŃŊ-ĜĪŲƸĪƣƫŏŲrżƫĜżǝ܉hĪŲŏŲŃƣÿģ܉-ĪƣŧŏŲ܉-£ÿƣŏƫ܉tĪǝæżƣŤ܉ÿŲģ- ®ƸÿŲłżƣģܷ-ܠŏěŏģ܉-ړڔڍܡǽ ƸĪƣ-ƸŊĪƫÿŰĪŏģĪÿǝÿƫ-ƠƣĪƫĪŲƸĪģ-Ƹżÿ-ĜŏƣĜŧĪżłtĪǝæżƣŤƫĜŊżŧÿƣƫÿŲģ-ĜżŰƠżƫĪƣƫ܉-ƸŊĪ- tĪǝæżƣŤrǀƫŏĜżŧżŃŏĜÿŧ-®żĜŏĪƸǣǝÿƫłżǀŲģĪģ܉ƣĪżƣŃÿŲŏǭĪģÿƫ-ƸŊĪ-ŰĪƣŏĜÿŲrǀƫŏĜżŧżŃŏĜÿŧ-®żĜŏĪƸǣ-ܠr®ܡŏŲ- £ŊŏŧÿģĪŧƠŊŏÿ ŏŲ- ڐڏڕڍ żƸŊ ŏŲƸĪƣŲÿƸŏżŲÿŧ ÿŲģ ŏŲƸĪƣĜǀŧƸǀƣÿŧ łżĜǀƫĪƫ ǝĪƣĪ ÿěÿŲģżŲĪģ ģǀƣŏŲŃ- ƸŊŏƫ- ƠƣżĜĪƫƫ܉ ƫż- żǝĪŧŧģŏģ-ŲżƸƣĪŰÿŏŲŏŲǜżŧǜĪģ-ܠŏěŏģܔƫĪĪÿŧƫż-¦ÿż܉-ܶŰĪƣŏĜÿŲ żŰƠżƫŏƸŏżŲÿŧ-¼ŊĪżƣǣŏŲ-ƸŊĪ-ڌڏڕڍƫ܉ܷ-ܡڔڌڒܨڒڕڑ

ڎڏܨڌڏ-܉*Rudhyar Dane* ,Ertan ڻڷڶ

ڼڷڶ Oja, *Making Music Modern*܉-ڕڎڍܨڔڎڍ

ڽڷڶ- -SŲ-NÿŧĜǣżŲ܉ żǝĪŧŧǝÿƫ-ƠƣżěÿěŧǣģƣÿǝŲ-Ƹż-ܶNŏŲģǀƣŊǣƸŊŰƫܷěǣ-ƸŊĪ-ĜżŰŰǀŲŏƸǣܹƫ-ŰǀƫŏĜģŏƣĪĜƸżƣ-/ģŃÿƣģ- ŊĪĪƸ-ŊÿŰÿƫ-Īÿƣŧǣÿƫ-ڒڍڕڍ-ܠRÿĜŊƫ܉-*Henry Cowell*܉-ܡڔڔڍ-1/4ŊĪ-ŰżƫƸƫǀěƫƸÿŲƸŏÿŧŏŲǵŧǀĪŲĜĪżŲ-ƸŊĪƣŊǣƸŊŰŏĜƫǣƫƸĪŰ-ĪǢƠŧżƣĪģ- ŏŲ żǝĪŧŧܹƫ-ƸƣĪÿƸŏƫĪ-*New Musical Resources*-܉ܡڕڍܨڒڍڕڍܠ-ŊżǝĪǜĪƣ܉ƣĪƫǀŧƸĪģłƣżŰ-ƸŊĪ-ĜżƣƣĪƫƠżŲģĪŲĜĪǝŏƸŊdżŊŲßÿƣŏÿŲܹƫƫżŲ-¦ǀƫƫĪŧŧ-ܠNĪƣǭłĪŧģ܉*ðĪŏƸÿŧƫ-£ƣżǭĪƫƫ-ǀŲģ-/ƠŏƠŊÿŲŏĪ*܉-ܡړڏڍܨڒڏڍ

ڴڸڶ Herzfeld, *ðĪŏƸÿŧƫ-£ƣżǭĪƫƫ-ǀŲģ-/ƠŏƠŊÿŲŏĪ*܉-ڍڑڍܨڎڎڍ

ڒڎڍ-܉Sěŏģ- -ڵڸڶ

ڏڏڍܨڎڏڍ-܉Sěŏģ- -ڶڸڶ

ڷڸڶ See Oja, *Making Music Modern*܉-܉ڒڌڍܨڍڌڍ-¦ĪŏƫŊ܉-ܶ1/4ŊĪ-¼ƣÿŲƫłżƣŰÿƸŏżŲżł-GŏÿĜŏŲƸż-®ĜĪŧƫŏܹƫrǀƫŏĜÿŧ-®ƸǣŧĪ܉ܷ-܉ڒړܨڔڒ- ÿŲģÿÿƸǭ܉-ܶ¦ĪƫżŲÿŲǭģĪƫ-ܸǝĪŏƷĪŲ-ÃŲěĪǝĪŃƸĪŲ܉ܹܷ-ڒڏ

ڸڸڶ- -ܶ1/4ŊĪƣĪŏƫÿ-ŲĪǝƣÿĜĪěŏƣƸŊŏŲŃ-ŊĪƣĪŏŲ-ƸŊĪàĪƫƸ-ܟ܊ܞ-SŲ-ƸŊĪÿŃĪƫ-ĜżŰŏŲŃ܉ŏƸǝŏŧŧěĪÿŧÿƣŃĪłÿĜƸżƣŏŲÿ-ŲĪǝ-ĜŏǜŏŧŏǭÿƸŏżŲ- ŲżǝƫƸÿƣƸŏŲŃƣżǀŲģ-ƸŊĪ-£ÿĜŏǿĜ-ܨżłÿ-ƢǀŏƸĪģŏdz łĪƣĪŲƸ-ŲÿƸǀƣĪłƣżŰ-ƸŊÿƸżł-ƸŊĪ-ƸŧÿŲƸŏĜƣŏĪŲƸÿŧƣÿĜĪƫǝŏŧŧěĪŏŲŏƸ-

Sű-'nŎƪě'nŎŦĢ'nŻŻĢ-ĢþǢƪ-Ŏű-®þű-FƢþűěŎƪěŻǜ'nĩƢĩ-'nĩƪƟĩűƷ-Ʒ'nĩ-ȀƢƪƷűŎűĩ-ǢĩþƢƪ-ŻŁ-'nŎƪ-ŦŎŁĩ܌- ŻǜĩŦŦ- ěþůĩ-ŎűƷŻěŦŻƪĩěŻűƷþěƷǜŎƷ'nůƿƪŎě-ƷƢþĢŎƷŎŻűƪ-ŻŁ- 'nŎűþ-ܣ þűƷŻűĩƪĩ-ƟĩƢþ܌ܤdþƟþű-ܣ*koto*ůƿƪŎě܌ܤþűĢ-SűĢŎþ-ܣܹSűĢŎþű-ǛŎƢƷƿŻƪŎܺǜ'nŻþŦŦŻǜĩĢ- ŻǜĩŦŦ-ƷŻ-ŦŎƪƷĩű-ŁƢŻůþěŻƢűĩƢ-Ŏű-Ʒ'nĩŎƢ-ƢŻŻůڞڝڛ܌ܤ – an experience that, according to the composer, explains his open-mindedness toward musics of Ʒ'nĩǜŻƢŦĢ܋-ܹtŻ-Żűĩ-ܡŎű-Ʒ'nĩƪĩĩþƢŦǢ-ǢĩþƢƪܢ-ܢ܍ܡĩǛĩƢ-ƷŻŦĢ-'nŎů-Ʒ'nþƷàĩƪƷĩƢűůƿƪŎěǜþƪƪƿƟƟŻƪĩĢ-ƷŻ- be superior."ڟڝڛ In his short piano encore *Amiable Conversation* ŁƢŻů-܌ږڐژڐ- ŻǜĩŦŦůŻĢĩŦĩĢ-Ʒ'nĩ- ܣŦþƢłĩŦǢ-ƟĩűƷþƷŻűŎěܤůĩŦŻĢŎĩƪ-Ŏű-Ʒ'nĩ-ŦĩǼ Ʒ-'nþűĢ-ܣĚŦþěţţĩǢƪܤþűĢ-ƢŎł'nƷ-'nþűĢ-ܣǜ'nŎƷĩţĩǢƪܤ-Żű-Ʒ'nĩ- speech melodies in a conversation between two Cantonese in a Chinese laundry.ڠڝڛ

'ƿƢŎűł-Ʒ'nĩ-ڏڑژڐƪ܌- ŻǜĩŦŦ-ƢĩƟĩþƷĩĢŦǢĩƪƷþĚŦŎƪ'nĩĢěŻűƷþěƷƪǜŎƷ'nƪŎþűůƿƪŎěŎþűƪþűĢƪƷƿĢŎĩĢ- Ʒ'nĩ- ŁŻƿűĢþƷŎŻűƪ-ŻŁƪŎþűůƿƪŎě-ƟƢþěƷŎěĩƪܒ-Nĩ-ŻƢłþűŎǬĩĢ- ƷǜŻ- ܹ®ǢůƟŻƪŎþ-Żű-/ǡŻƷŎěrƿƪŎěܺ-Ŏű- ړڑژڐþűĢ- ڕڑژڐ-Ŏű- Ʒ'nĩrþű'nþƷƷþűě'nƿƢě'n-®ƷܒrþƢţܼƪܮŎűܮƷ'nĩܮŻƿǜĩƢŎĩ܌- ŁĩþƷƿƢŎűł-ƟĩƢŁŻƢůþűěĩƪ- of traditional music from Japan (*shamisen*, *shakuhachi*܌ܤ-SűĢŎþ-ܣ*sitar*, *esraj*܌ܤþűĢ- 'nŎűþ-Ŏű-ڡڝڛ܌ړڑژڐ þűĢ-ƟĩƢŁŻƢůĩƢƪ-ŁƢŻů dþƟþűĩƪĩ܌- 'nŎűĩƪĩ܌-NŎűĢƿ܌þűĢ-ƢþĚůƿƪŎě-ƷƢþĢŎƷŎŻűƪ-Ŏű-ܒڕڑژڐȃĩ-ȀƢƪƷ- ƪǢůƟŻƪŎƿůþŦƪŻ-ŎűěŦƿĢĩĢþ- ƷþŦţ-Żű- ܹƷ'nĩ-ƟĩěƿŦŎþƢŎƷŎĩƪ-ŻŁ-ƢŎĩűƷþŦrƿƪŎě-ŎŦŦƿƪƷƢþƷĩĢ-ĚǢ- SűƪƷƢƿmentalists."ڢڝڛȃŎƪ ůŎł'nƷ- 'nþǛĩ- Ěĩĩű- ܹƷ'nĩ- ȀƢƪƷ- ƟƿĚŦŎě- ƟƢĩƪĩűƷþƷŎŻű- ŻŁ ĩǡƷƢþܮ/ƿƢŻƟĩþű ůƿƪŎě- Ŏű-Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪܺ-ŁŻƢþ-ܹǜ'nŎƷĩþƿĢŎĩűěĩܒܺڙڞڛ Anti-immigrant and racist discourse generally ěŻűȀűĩĢůƿƪŎěþŦþěƷŎǛŎƷŎĩƪ-ŻŁƪŎþűůƿƪŎěŎþűƪ-ƷŻ-Ʒ'nĩŎƢ-ŦŻěþŦƿƢĚþűěŻůůƿűŎƷŎĩƪƪƿě'nþƪ- 'nŎűþ-ƷŻǜűþűĢ-ŦĩűĢ- ŻǜĩŦŦܼƪĩDz ŁŻƢƷƪþ-ƟŎŻűĩĩƢŎűłě'nþƢþěƷĩƢܒ

Sű-܌ږڑژڐ- ŻǜĩŦŦܼƪ-ƟŻƪƪŎĚŦĩěŻűǛĩƢƪþƷŎŻűƪǜŎƷ'n-ĪŦþþƢƷżţþűĢ-'nŎƪ-ƷƢŎƟ-ƷŻþrŻƢþǛŎþűůŻƿű-ƷþŎű-ǛŎŦŦþłĩ-Ŏű-ڕڑژڐǜĩƢĩ-ƢĩŁĩƢƢĩĢ-ƷŻ-Ŏű-ƷǜŻþƢƷŎěŦĩƪښڞڛܒ In the same year, he began a study of the tŻƢƷ'n-SűĢŎþű-*Ƣēłþ*and *ƷēŦþ*ƪǢƪƷĩůƪǜŎƷ'n-®þƢþƷhþ'nŎƢŎ-ܣþ-ƟĩƢŁŻƢůĩƢ-Ŏű-Ʒ'nĩ-®ǢůƟŻƪŎƿů-Żű-/ǡŻƷŎě- rƿƪŎě-Ŏű-ܤړڑژڐþűĢ-ƢþĚůƿƪŎěܗ-'nĩ-ŻĚǛŎŻƿƪŦǢþŦƪŻƪƷƿĢŎĩĢ-ŁƢŎěþű-ĢƢƿůůŎűł-Ŏű-ڛڞڛܒڗڑژڐ-Ǽ ƷĩƢ-'nĩ- ǜþƪþƟƟŻŎűƷĩĢůƿƪŎě-Ʒĩþě'nĩƢþƷ-Ʒ'nĩtĩǜæŻƢţ-®ě'nŻŻŦ-ŁŻƢ-®ŻěŎþŦ-¦ĩƪĩþƢě'n܌-'nĩ-ŦĩěƷƿƢĩĢ-Żű-ܹtĩǜ-ŦǢ-'ŎƪěŻǛĩƢĩĢ-ƢŎĩűƷþŦ-£ƢŎűěŎƟŦĩƪܺ-ŎűƪƟƢŎűł-܌ڏڒژڐ-ŻƢłþűŎǬĩĢ-ƷǜĩŦǛĩǜĩĩţŦǢ-ŦĩěƷƿƢĩ-ƢĩěŎƷþŦƪ-Żű- ܹrƿƪŎě-®ǢƪƷĩůƪ-ŻŁ-Ʒ'nĩàŻƢŦĢܺ-ŎűƪƟƢŎűł-ڜڞڛ܌ڑڒژڐþűĢ-ŁƢŻů-ڒڒژڐ-Żű-ƢĩłƿŦþƢŦǢ-Ʒþƿł'nƷ-ܹàŻƢŦĢrƿƪŎěܺěŦþƪƪĩƪþƷ-Ʒ'nĩtĩǜ-®ě'nŻŻŦþűĢ-ŁƢŻů-ړڒژڐ-ŻűþƷ-Ʒ'nĩ-ÃűŎǛĩƢƪŎƷǢ-ŻŁ þŦŎŁŻƢűŎþþƷĩƢţĩŦĩǢþűĢ-®Ʒþű-ŁŻƢĢ-ÃűŎǛĩƢƪŎƷǢ܌-'nĩűěĩŁŻƢƷ'nƿƪŎűł-Ʒ'nĩ-ƷŎƷŦĩ-ܹrƿƪŎě-ŻŁ-Ʒ'nĩ-£ĩŻƟŦĩƪ-ŻŁ-Ʒ'nĩàŻƢŦĢܒܺڝڞڛ In the autumn

ܟ܊ܞàĪÿƣĪ-ŃĪƣŰŏĜ-ĪŰěƣǣżŲŏĜƫĪĪģżłłǀƸǀƣĪ-ŰÿšĪƫƸŏĪƫżł-ŃƣżǝƸŊܷ-ܠdżŊŲßÿƣŏÿŲ܉łżƣĪǝżƣģ-Ƹż-*Tirawa* ܞRÿŲ-'ŏĪŃż܈-¼ƣżǀěÿģżǀƣ܉-܉ܟڌڏڕڍ-ƢǀżƸĪģŏŲdżŊŲƫżŲ܉-ܶNĪŲƣǣ żǝĪŧŧ܉dżŊŲßÿƣŏÿŲ܉ÿŲģ-NÿŧĜǣżŲ܉ܷ-ڒڍܡ


ڼڸڶ Sachs, *Henry Cowell*܉-܉ڕڎڍ-ړڎڑŲڌڎŏģĪŲƸŏǿĪƫ-ƸŊĪ-ƠĪƣłżƣŰĪƣƫÿƸ-ƸŊĪ-ڐڎڕڍܕڎڍܕڔڎ-ĜżŲĜĪƣƸÿƫæżƫŊŏ܉*shamisen*ܔæżƫŊŏĜÿ܉- *shakuhachi*ܔƣšǀŲ-GżǜŏŲģ܉*sitar*ܔ-RÿƣÿƸhÿŊŏƣŏ܉*esraj*ܔàÿŲŃfÿŲŃ-Nżǀ܉*wu con*-ܠÿƸŏěŏģ܉-܉ڔڔڍ-ڏڏڑŲڍڍ-ƸŊĪƫĪĜżŲģ-ĜżŲ-ĜĪƣƸżŲ-ڒڎڕڍܕڎܕڌڎŏƫ-ŰĪŲƸŏżŲĪģܡ

ڕڎڍ-܉Sěŏģ- -ڽڸڶ

<sup>.</sup>Ibid ڴڹڶ

ڵڹڶ- żǝĪŧŧ܉-ܶrżƣÿǜŏÿŲrǀƫŏĜܷÿŲģ żǝĪŧŧ܉-ܶNżǝæżǀŲŃ-NǀŲŃÿƣǣ-/ǢƠƣĪƫƫĪƫ-SŲģŏǜŏģǀÿŧŏƸǣܷ

ڔڔڍ-܉*Cowell Henry* ,Sachs ڶڹڶ

ڷڹڶ- -1/4Ŋŏƫ ƫĪƣŏĪƫ ŏŲĜŧǀģĪģ ŧŏǜĪ- ƠĪƣłżƣŰÿŲĜĪƫ żł ƣÿě܉ ÿŧŤÿŲ܉- ŊŏŲĪƫĪ܉- SŲģŏÿŲ܉- SƣŏƫŊ܉ dÿƠÿŲĪƫĪ܉ dÿǜÿŲĪƫĪ܉ rĪǢŏĜÿŲ܉- ¦ǀƫƫŏÿŲ܉-RĜżƸƸŏƫŊ܉tÿƸŏǜĪ-ŰĪƣŏĜÿŲ܉ÿŲģ-NĪěƣĪǝ-ŰǀƫŏĜ-ܠŏěŏģ܉-ܡڑڕڍ

ڕڌڎܨڔڌڎ-܉Sěŏģ- -ڸڹڶ

and winter of 1931, and from the summer to the winter of 1932, Cowell was living in Berlin on a Guggenheim Foundation grant.255 In Berlin, he was studying audio recordings in Erich Moritz von Hornbostel's Phonogramm-Archiv systematically as well as receiving intense instructions in the performance and theory of Javanese music by Raden Mas Jodjana, in Balinese music by the dancer-musician A. F. Roemahlaiselan, and in Indian music by Pichu Sambamoorthy (1903–73) from the University of Madras.256 During his Berlin years he met Arnold Schoenberg, Alban Berg, and Anton Webern, who at one point was supposed to concert with American composers in Vienna.257

Perhaps the most significant aspect of Cowell's approach toward non-Western music is his anti-essentialist position, based on the close observation of the musical traditions he studied. Criticizing the focus of comparative musicology on acoustics and tone psychology, Cowell deplored that such an approach would exclude cultural exchange and hybridity: "There is very little music in the world of which one may say with certainty that it is completely indigenous to the region in which it may be found. And when, through integration, does a hybrid form cease to be hybrid? It is hard to say. Opinions differ."258 This eventually led to Cowell's provocative idea that "the single tone with a given pitch is not the basis of musical sound" but that such a basis rather is to be found in the sliding tone, represented by a curve.289 In reaction to systematic scale theories in American music theory during the early 1930s, 200 this idea was eventually worked out in the 1937 treatise The Nature of Melody, in which sliding tones occupy a prominent position because

[Sliding tones] are differentiated so as to express the finest shades of meaning in the cultivated Oriental systems of music. In our vocal music, they are a sort of skeleton in the closet. It is physically impossible for the human voice to proceed from one pitch to another, legato, without sliding. […] The reason that slides have been banned is doubtless because they were so badly used, and that was because so little was known of their functions. In all vocal music, and on all stringed and other instruments capable of sliding, they are used often according to certain conventions […] .261

The idea that it is not fixed tones but rather continuous movements between tones or pitches that act as the basis of music clearly emerged from the close study of Indian, Chinese, and Japanese music traditions, as well as theosophical ideas of a continuous, dynamic, energetic flow of sound as manifest in Cowell's string piano compositions.

As Nancy Yunhwa Rao has demonstrated, expanded sliding structures form the basis of the unpublished score of Atlantis (1926) for three vocalists and orchestra. The premiere of the piece, written for a dance performance of the choreographer Doris Humphrey, was canceled, possibly due to the experimental setting of the score.262 The first movement shows a systematic layering

<sup>255</sup> Cowell's stays in Berlin (including frequent trips to other places in Europe) covered the periods 1/10/1931— 23/12/1931 and 31/7/1932-22/12/1932. The Guggenheim grant was granted for one year but Cowell was allowed to split his stay in Berlin into two halves to be able to teach at the New School in spring semester 1932 (ibid., 189).

<sup>256</sup> Ibid., 190.

<sup>257</sup> Ibid., 192-193.

<sup>258</sup> Cowell, "Hybrid Music" (unpublished Ms.), quoted in Sachs, Henry Cowell, 197–198.

<sup>259</sup> Sachs, Henry Cowell, 198.

<sup>260</sup> See Rao, "American Compositional Theory in the 1930s" and Rao, "Henry Cowell and His Chinese Music Heritage," 129-130.

<sup>261</sup> Cowell, The Nature of Melody, 76, quoted in Rao, "Henry Cowell and His Chinese Music Heritage," 130.

<sup>262</sup> Rao, "Henry Cowell and His Chinese Music Heritage," 125.

ŻŁłŦŎƪƪþűĢŎǜŎƷ'nþűĢǜŎƷ'nŻƿƷþě'nþűłĩ-ŻŁ-ĢŎƢĩěƷŎŻű-ܣ/ǡܒܤڕܒڑݑܒȃĩ-ŎůůĩĢŎþƷĩ-ŎűƪƟŎƢþƷŎŻű- ŁŻƢ- this approach may have been a vocal ensemble using extended vocal techniques that Cowell 'nĩþƢĢ-ŎűþěŻűěĩƢƷ-Ŏű-£Ƣþłƿĩ-Ŏű-ƟƢŎŦ-܌ڕڑژڐ-ƟƢŻĚþĚŦǢ-ŦĩĢ-ĚǢ-/ůŎŦ-FƢþűƷŎƮĩţƿƢŎþűڜڟڛܒ *Atlantis* thus demonstrates impressively how principles derived from non-Western practices and the latest Ʒĩě'nűŎơƿĩƪ-ŻŁěŻűƷĩůƟŻƢþƢǢůƿƪŎěůþǢůĩƢłĩ-ŎűƷŻƪƟĩěŎȀěþűĢ-ŎűűŻǛþƷŎǛĩůƿƪŎěþŦƪƷƢƿěƷƿƢĩƪܒ-£ĩƢ'nþƟƪĩǛĩűůŻƢĩ-ƢĩůþƢţþĚŦĩ-Ŏƪ- ŻǜĩŦŦܼƪþĢŻƟƷŎŻű-ŻŁ-Ʒ'nĩƪŦŎĢĩ-ƟƢŎűěŎƟŦĩ-Ŏű-'nŎƪĩþƢŦǢ-ŻƢě'nĩƪƷƢþŦ- score *Some Music*, ƟƿĚŦŎƪ'nĩĢþƪĩþƢŦǢþƪ-ܒڑڑژڐȃĩ-ŻƢě'nĩƪƷƢþŦƪƷƢƿěƷƿƢĩĩǡĩůƟŦŎȀĩƪ-Ʒ'nĩ-ƟƢŎűěŎƟŦĩ- of continuous movement, realized by alternating scalar movements within semi- and whole-ƷŻűĩܮěŦƿƪƷĩƢƪ-ŻŁ-ĢŎDz ŁĩƢĩűƷ-ƢþűłĩƪܒȃĩƪěŻƢĩƪĩĩůƪ-ƷŻþűƷŎěŎƟþƷĩěĩƢƷþŎűƪŻƿűĢěŻůƟŻƪŎƷŎŻűƪ-ĚǢ- SþűűŎƪåĩűþţŎƪþűĢfƢǬǢƪǬƷŻŁ-£ĩűĢĩƢĩěţŎ-ŻŁ-Ʒ'nĩ-ڏڔژڐƪþűĢ-ڏڕƪ܌þűĢěŦĩþƢŦǢ-ƢĩƟƢĩƪĩűƷƪ-Ʒ'nĩ-ŎĢĩþ- ŻŁ-ŎűĢŎƪƷŎűěƷ܌ƪƷĩþĢŎŦǢ-ŎűǴŦĩěƷĩĢ-ƟŎƷě'nĩƪþűĢ-Ʒ'nĩ-Ʒ'nĩŻƪŻƟ'nŎěþŦ-ܹŻűĩűĩƪƪ-ŻŁƪŻƿűĢܒܺ

®ŦŎĢŎűł-ƟŎƷě'nĩƪþƢĩƿƪĩĢůŻƢĩěŻűƪŎƪƷĩűƷŦǢ-ŎűǜŻƢţƪ-ŁƢŻů- ŻǜĩŦŦܼƪ-ŦþƷĩƢ-ƟĩƢŎŻĢƪ܌þƪ-Ŏű-®Ǣů-Ɵ'nŻűŎĩƪ-ڐڐ-ƷŻ-ڔڐ-ܒܤڏڕܫڒڔژڐܣ-Sű-Ʒ'nĩǜŻƢţƪ-ŻŁ-Ʒ'nĩ-ڏڒژڐƪ܌ƪŦŎĢŎűł-ƷŻűĩ-Ʒĩě'nűŎơƿĩƪþƢĩűŻƷ-ĢŻůŎűþűƷܗ- the restricted use of sliding lines for the purpose of word-painting in the song *Rest* ܤڒڒژڐܣþűĢ- the secondary role of continuous slides in the third movement of the *Mosaic Quartet*-ŻŁ- ܌ڔڒژڐǜ'nĩƢĩ-Ʒ'nƢĩĩ-'nŎł'nĩƢƪƷƢŎűłƪ-ƟƢŻǛŎĢĩþ-ĚþěţłƢŻƿűĢ-ŻŁěŻűƷŎűƿŻƿƪŦǢƪŦŎĢŎűł-ƟŎƷě'nĩƪ-ŁŻƢ-Ʒ'nĩěĩŦŦŻܼƪ- ěþűƷŎŦĩűþ܌-ĢŻűŻƷ-ĢĩȀűĩƪŦŎĢŎűł-ƷŻűĩƪþƪěŻƢĩƪƷƢƿěƷƿƢþŦĩŦĩůĩűƷƪڝڟڛܒ

Cowell's *United Quartet*-ܣRƷƢŎűł-¥ƿþƢƷĩƷűŻܤړݑܒ-ŻŁ-ڕڒژڐůþƢţƪ-Ʒ'nĩěŻůƟŻƪĩƢܼƪ-ȀƢƪƷĩǡƟŦŎěŎƷþƷ-ƷĩůƟƷþƷůƿƪŎěþŦ-ƟŻŦǢƪƷǢŦŎƪů܌-ǴŦĩǡŎĚŦǢþĢþƟƷŎűłþ-ǛþƢŎĩƷǢ-ŻŁ-ܹƷ'nĩǜŻƢŦĢܼƪůƿƪŎěƪǢƪƷĩůƪ܌ܺþ-Łĩþture which would become characteristic of Cowell's later style, although usually only one partiěƿŦþƢ-ƷƢþĢŎƷŎŻű-ƟĩƢ-ƟŎĩěĩ-ŎƪĩǛŻţĩĢڞڟڛܒ Cowell declared the *United Quartet* "an attempt toward a more universal musical style"ڟڟڛ and a preface to the score explicitly addresses a multicultural ŦŎƪƷĩűĩƢƪ'nŎƟþěƢŻƪƪþŦŦƪŻěŎþŦěŦþƪƪĩƪ-ܣܹůĩƢŎěþűƪ܌-/ƿƢŻƟĩþűƪ܌-ƢŎĩűƷþŦƪ܌-ŻƢ-'nŎł'nĩƢ-ƟƢŎůŎƷŎǛĩƪܗ- þűǢĚŻĢǢ-ŁƢŻůþěŻþŦůŎűĩƢ-ƷŻþ-Ěþűţ-ƟƢĩƪŎĢĩűƷܺڠڟڛܒܤ

ڷںڶ Sachs, *Henry Cowell*܉- ڕڏڍ- SƸ ŏƫ- ŰżƫƸ ŧŏŤĪŧǣ- ƸŊÿƸ żǝĪŧŧ- ŊĪÿƣģ- /Űŏŧ- FƣÿŲƸŏƯĪŤ- ǀƣŏÿŲܹƫ- ܡڕڑڕڍܨڐڌڕڍܠ ßżŏĜĪěÿŲģ܉- ǝŊŏĜŊ܉- ŊżǝĪǜĪƣ܉ ǝÿƫ żŲŧǣ żdz ǿĜŏÿŧŧǣ łżƣŰĪģ ŏŲ- ړڎڕڍ żǝĪŧŧ ģĪƫĜƣŏěĪģ- ǀƣŏÿŲܹƫ- ƠƣÿĜƸŏĜĪƫ ŏŲ- ڌڏڕڍ ŏŲ- Ŋŏƫ ÿƣƸŏĜŧĪ- "Vocal Innovators of Europe."

ڸںڶ- -RĪĪ-¦ÿż܉-ܶNĪŲƣǣ żǝĪŧŧÿŲģ-Nŏƫ- ŊŏŲĪƫĪrǀƫŏĜ-NĪƣŏƸÿŃĪ܉ܷ-܉ڒڎڍ-ڒڏڍ

ڹںڶ- -ŰżŲŃżƸŊĪƣƫ܉-ƸŊĪłżŧŧżǝŏŲŃǝżƣŤƫěǣ żǝĪŧŧƣĪłĪƣ-ƸżƫƠĪĜŏǿĜ-ŰǀƫŏĜÿŧ-ƸƣÿģŏƸŏżŲƫ܈-SŲģżŲĪƫŏÿ܈-*Ostinato Pianissimo* łżƣ-ƠĪƣĜǀƫƫŏżŲ-ĪŲƫĪŰěŧĪ-ܔܡڐڏڕڍܠ-SƣĪŧÿŲģ܈-*Celtic Set*łżƣ żŲĜĪƣƸÿŲģ-ܔܡڔڏڕڍܠ-SƣÿŲ܈-*Persian Set* for chamber orches-Ƹƣÿ-ܔܡړڑܨڒڑڕڍܠ-SŲģŏÿ܈-*Pulse*łżƣ-ƠĪƣĜǀƫƫŏżŲ-ĪŲƫĪŰěŧĪ-܉ܡڕڏڕڍܠ-RǣŰƠŊżŲǣ-Ųżڏڍݎ-ܶrÿģƣÿƫܷ-ܔܡڔڑܨڒڑڕڍܠdÿƠÿŲ܈-*Ongaku*  łżƣżƣĜŊĪƫƸƣÿ-܉ړڑڕڍܠ-ވ-SSڑܡ-ĪƫŏģĪƫ-ƸŊĪ-*United Quartet*܉-ƸŊĪ-ĪǢƠŧŏĜŏƸŧǣ-ܶŰǀŧƸŏܫĪƸŊŲŏĜܷ-ƠŏĪĜĪƫŏŲĜŧǀģĪ-*Four Assorted Movements* łżƣ ǵŧǀƸĪ܉ żěżĪ܉- ĜŧÿƣŏŲĪƸ܉ ěÿƫƫ- ĜŧÿƣŏŲĪƸ܉ ěÿƫƫżżŲ܉- ŊżƣŲ܉ ÿŲģ- ƠŏÿŲż- ܠÿģ ŧŏěܡ- ܡڔڏڕڍܠ- ܞǿƣƫƸ- ŰżǜĪŰĪŲƸ܈- *Hoedown*ܔƫĪĜżŲģ-ŰżǜĪŰĪŲƸ܈-*Taxim*ܔ- ƸŊŏƣģ- ŰżǜĪŰĪŲƸ܈-*Tala*ܔłżǀƣƸŊ-ŰżǜĪŰĪŲƸ܈-*Chorale*ܟ ÿŲģ-*American Melting Pot*łżƣ-ĜŊÿŰěĪƣżƣĜŊĪƫƸƣÿ-ܡڌڐڕڍܠ

ںںڶ- -ܶܟ܊ܞ-ƸŊĪ-ÃŲŏƸĪģ-¥ǀÿƣƸĪƸŏƫÿŲÿƸƸĪŰƠƸ-Ƹżǝÿƣģÿ-ŰżƣĪ-ǀŲŏǜĪƣƫÿŧ-ŰǀƫŏĜÿŧƫƸǣŧĪ-ܟ܊ܞ-£ƣŏŰŏƸŏǜĪ-ŰǀƫŏĜŏƫƣĪƠƣĪƫĪŲƸܫ Īģ܉-ŲżƸěǣŏŰŏƸÿƸŏŲŃŏƸ܉-Ųżƣěǣ-ƸÿŤŏŲŃÿƫƠĪĜŏǿĜ-ŰĪŧżģǣżƣƣŊǣƸŊŰłƣżŰƫżŰĪ-ƸƣŏěĪ܉ěǀƸěǣ-ǀƫŏŲŃÿ-ƸŊƣĪĪܫƸżŲĪ- ƫĜÿŧĪ܉ÿŲģ-ĪǢŊÿǀƫƸŏŲŃÿŧŧ-ƸŊĪģŏdz łĪƣĪŲƸǝÿǣƫ-ƸŊĪ-ƸŊƣĪĪ-ƸżŲĪƫ-ĜÿŲÿƠƠĪÿƣ܉ǝŊŏĜŊŏƫÿ-ƠƣżĜĪģǀƣĪżłƫżŰĪ-ƠƣŏŰŏƸŏǜĪ- ŰǀƫŏĜܷ-ܠNĪŲƣǣ żǝĪŧŧ܉-ŲżƸĪ-Ƹż-*String Quartet no. 4, United Quartet*܉tĪǝæżƣŤ܈- -F-£ĪƸĪƣƫ܉-܉ڒڒڕڍ-ƢǀżƸĪģŏŲ-¼ÿǣŧżƣ܉- ܡڕڌڍ-܉*Exoticism Beyond*

ڻںڶ- -ܶ1/4ŊĪ-¥ǀÿƣƸĪƸƫŊżǀŧģ-ŲżƸżŲŧǣěĪ-Īÿƫǣ-Ƹż-ǀŲģĪƣƫƸÿŲģ܉ǝŏƸŊżǀƸłżŧŧżǝŏŲŃÿŲǣ-ŤŲżǝŲ-ƠÿƸŊǝÿǣ܉ěǀƸŏƸƫŊżǀŧģěĪ- ǀŲģĪƣƫƸżżģ-ĪƢǀÿŧŧǣǝĪŧŧěǣ-ŰĪƣŏĜÿŲƫ܉-/ǀƣżƠĪÿŲƫ܉ƣŏĪŲƸÿŧƫ܉żƣ-ŊŏŃŊĪƣ-ƠƣŏŰŏƸŏǜĪƫܔěǣÿŲǣěżģǣłƣżŰÿ-Ĝżÿŧ-ŰŏŲܫ Īƣ-ƸżÿěÿŲŤ-ƠƣĪƫŏģĪŲƸ-¼ŊĪ-ŰÿŏŲ-ƠǀƣƠżƫĪżłŏƸ܉żł-ĜżǀƣƫĪ܉ŏƫ-ŲżƸŏŲŏƸƫ-ƸĪĜŊŲŏƢǀĪ܉ěǀƸŏŲ-ƸŊĪ-ŰĪƫƫÿŃĪ܉ǝŊŏĜŊ܉żł- ĜżǀƣƫĪ܉ŏƫ-ŲżƸƫǀŏƸÿěŧĪłżƣ-ĪǢƠƣĪƫƫŏżŲŏŲǝżƣģƫ-SƸ-ŰÿǣěĪƫÿŏģ-ƸŊÿƸŏƸ-ĜżŲĜĪƣŲƫ-ŊǀŰÿŲÿŲģƫżĜŏÿŧƣĪŧÿƸŏżŲƫŊŏƠƫ- ¼ŊĪ-ƸĪĜŊŲŏƢǀĪŏƫłżƣ-ƸŊĪ-ƠǀƣƠżƫĪżł-ĜżŲǜĪǣŏŲŃ-ƸŊĪ-ŰĪƫƫÿŃĪ-Ƹż-ƸŊĪǝŏģĪŧǣģŏdz łĪƣĪŲƸŏÿƸĪģ-ŃƣżǀƠƫǝŊż-ŲĪĪģ-ƸżěĪ- ǀŲŏƸĪģŏŲ-ƸŊĪƫĪƣĪŧÿƸŏżŲƫŊŏƠƫܷ-ܠ żǝĪŧŧ܉-ܶSŲƸƣżģǀĜƸŏżŲ܉ܷ-ƢǀżƸĪģŏŲtŏĜŊżŧŧƫ܉-ܶNĪŲƣǣ żǝĪŧŧܹƫ-*United Quartet*܉ܷ-ڕڕڍܡ

*/ǡþůƟŦĩ-ڛܘڗܑ-NĩűƢǢ- ŻǜĩŦŦܒ-AtlantisܒȁƢƪƷůŻǛĩůĩűƷܒůůږݗܘܱڙږ*

¦ĪƠƣżģǀĜĪģěǣ-ƠĪƣŰŏƫƫŏżŲżł-ƸŊĪ-'ÿǜŏģÿŲģ-®ǣŧǜŏÿ-¼ĪŏƸĪŧěÿǀŰ-FǀŲģ܉-SŲĜ܉- ÿƫƫǀĜĜĪƫƫżƣƫ-Ƹż-NĪŲƣǣÿŲģ-®ŏģŲĪǣżǝĪŧŧ

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¼ŎůŻƷ'nǢ-¼þǢŦŻƢ-'nþƪ-ŎűƷĩƢƟƢĩƷĩĢ-Ʒ'nŎƪþƪĩǛŎĢĩűěĩ-ŻŁ- ŻǜĩŦŦܼƪ-ƢĩŦþƷŎǛŎƪƷþƟƟƢŻþě'n-ƷŻůƿƪŎěþŦ- ěƿŦƷƿƢĩƪ܌-Ŏű-ƷƿűĩǜŎƷ'n-ŻþƪܼƪěƿŦƷƿƢþŦ-Ʒ'nĩŻƢǢ-ދܣ-SSڡڟڛܒܤڐܒ-NŻǜĩǛĩƢ܌- ŻǜĩŦŦ-'nĩƢĩůþţĩƪþěŦĩþƢ-ĢŎƪtinction between "primitive music" ("represented […] by using a three-tone scale, and exhaust-ŎűłþŦŦ-Ʒ'nĩ-ĢŎDz ŁĩƢĩűƷǜþǢƪ-Ʒ'nĩ-Ʒ'nƢĩĩ-ƷŻűĩƪěþűþƟƟĩþƢ܌ǜ'nŎě'n-Ŏƪþ-ƟƢŻěĩĢƿƢĩ-ŻŁƪŻůĩ-ƟƢŎůŎƷŎǛĩ- ůƿƪŎěܺ܌ܤ- ܹƢŎĩűƷþŦůƿƪŎěܺ-ܣܹƢĩƟƢĩƪĩűƷĩĢ- ĚǢůŻĢĩƪǜ'nŎě'nþƢĩ ěŻűƪƷƢƿěƷĩĢþƪ-ƢŎĩűƷþŦůŻĢĩƪ- þƢĩěŻűƪƷƢƿěƷĩĢ܌ǜŎƷ'nŻƿƷ-ĚĩŎűłþěƷƿþŦůŻĢĩƪƿƪĩĢ-Ŏű-ƟþƢƷŎěƿŦþƢěƿŦƷƿƢĩƪܺ܌ܤþűĢ-ܹƷ'nĩůŻĢĩƢűܺ-ܣܹȃĩůŻĢĩƢű-Ŏƪ-ƢĩƟƢĩƪĩűƷĩĢ-ĚǢ- Ʒ'nĩƿƪĩ-ŻŁƿűƢĩƪŻŦǛĩĢ-ĢŎƪěŻƢĢƪ܌-ĚǢ- ŁƢĩĩ-ŎűƷĩƢǛþŦƪ-Ŏű- ƷǜŻܮƟþƢƷ- counterpoint, and by the fact that the whole result is something new, – and all that is new is ůŻĢĩƢűܺڢڟڛܒܤ It becomes clear from this distinction that both Cowell's cultural relativism as well as his aesthetic universalism are based on those essentialist concepts he had felt at odds with during his days in the Berlin *Phonogramm-Archiv*ܒȃĩ- ŁŻƿƢƷ'nůŻǛĩůĩűƷ- ƟƢĩƪĩűƷŎűł-ŎƷƪ- three simple layers as "principal melody, countermelody plus drone, and percussive accompaniment"ڙڠڛůþţĩƪ-Ʒ'nĩƿűƪƟĩěŎȀěĩƷ'nűŎě-ĚþěţłƢŻƿűĢ-ƟƢŻĚŦĩůþƷŎěþűĢ-ƷĩűĢƪ-ƷŻǜþƢĢþƪƷĩƢĩŻƷǢƟܮ ŎěþŦ-ܹűĩŻܮƟƢŎůŎƷŎǛŎƪůܒܺ-Sű-ڒڒژڐ- ŻǜĩŦŦ-'nþĢěŻűěĩŎǛĩĢ-ŻŁ-Ʒ'nŎƪƪƷǢŦĩ-Ʒ'nĩŻƢĩƷŎěþŦŦǢ-Ŏű-ŻƢĢĩƢ-ƷŻƪĩƷ- his approach clearly apart from French and American neoclassicism. Characteristically, Cowell 'nĩƢĩűþǛŎłþƷĩƪ-ĚĩƷǜĩĩűƪǜĩĩƟŎűłłĩűĩƢþŦŎǬþƷŎŻűƪþűĢþűƷŎܮĩƪƪĩűƷŎþŦŎƪƷþƢłƿůĩűƷƪ܋

tżǝ-ƸŊĪ-ƸŏŰĪ-Ŋÿƫ-ĜżŰĪłżƣÿƫƸƣżŲŃ-ŲĪǝ-ĜżǀŲƸĪƣܫŰżǜĪŰĪŲƸ܉łǀŧŧܫěŧżżģĪģÿŲģǜŏƸÿŧ-¼ŊĪ-ƸĪŲģĪŲ-ĜǣÿŧƣĪÿģǣ-ĪǢŏƫƸƫ܉ÿŲģƫŊżǝƫƫŏŃŲƫżłƫƸĪÿģǣ-ŃƣżǝƸŊ-SƸƣĪÿĜƸƫÿŃÿŏŲƫƸ-ƸŊĪżǜĪƣܫĜżŰƠŧĪǢŏƸǣżł-ƸŊĪ- ĪÿƣŧŏĪƣ-ŰżģĪƣŲ-ŰǀƫŏĜěǀƸ-ŲżƸÿŃÿŏŲƫƸ-ĪǢƠĪƣŏŰĪŲƸܔÿŃÿŏŲƫƸ-ƸŊĪƫĪŲƸŏŰĪŲƸÿŧŏƸǣÿŲģ-ƠżŰƠżłŧÿƸĪƣ- ƣżŰÿŲƸŏĜ-ŰǀƫŏĜěǀƸ-ŲżƸÿŃÿŏŲƫƸłĪĪŧŏŲŃܔÿŃÿŏŲƫƸ-ƸŊĪƫǀƠĪƣĜŏŧŏżǀƫłżƣŰÿŧŏƫŰżłÿƣĪƸǀƣŲ-Ƹż-ƸŊĪ-Ơÿƣ-ƸŏĜǀŧÿƣƫƸǣŧĪżłƫżŰĪ-ƠÿƫƸ-ĜĪŲƸǀƣǣěǀƸ-ŲżƸÿŃÿŏŲƫƸ-ƸŊĪ-ǀƫĪżł-ƠƣŏŰÿƣǣ-ŰǀƫŏĜÿŧ-ĪŧĪŰĪŲƸƫ-ܟ܊ܞ-SƸŏƫ- ŲżƸÿŲÿƸƸĪŰƠƸ-ƸżŏŰŏƸÿƸĪ-ƠƣŏŰŏƸŏǜĪ-ŰǀƫŏĜ܉ěǀƸƣÿƸŊĪƣ-ƸżģƣÿǝżŲ-ƸŊżƫĪ-ŰÿƸĪƣŏÿŧƫ-ĜżŰŰżŲ-Ƹż-ƸŊĪ- ŰǀƫŏĜżłÿŧŧ-ƸŊĪ-ƠĪżƠŧĪƫżł-ƸŊĪǝżƣŧģ܉-Ƹżěǀŏŧģÿ-ŲĪǝ-ŰǀƫŏĜ-ƠÿƣƸŏĜǀŧÿƣŧǣƣĪŧÿƸĪģ-ƸżżǀƣżǝŲ-ĜĪŲ-Ƹǀƣǣ-ܟ܊ܞrÿŲǣżł-ƸŊĪ-ĜǀƫƸżŰÿƣǣ-ŃĪŲĪƣÿŧŏǭÿƸŏżŲƫ-ĜÿŲ-ŲżŧżŲŃĪƣěĪ-ŰÿģĪŏŲ-ƸŊĪłÿĜĪżł-ƸŊŏƫǝŏģĪƣ- ŤŲżǝŧĪģŃĪ-¼ŊĪƣĪŏƫ܉żł-ĜżǀƣƫĪ܉-ŲżÿěżƣŏŃŏŲÿŧ-ŰǀƫŏĜ-ƸżěĪłżǀŲģÿŲǣǝŊĪƣĪǝŊŏĜŊ-ĜżƣƣĪƫƠżŲģƫ-Ƹż- ƸŊĪ-ĜżŰŰżŲ-ĜżŲĜĪƠƸŏżŲżłÿŲ-ǀŲĜżŲƸƣżŧŧĪģ-ĪǢƠƣĪƫƫŏżŲżłǝŏŧģ܉-ǀŲěƣŏģŧĪģ܉ƫÿǜÿŃĪłĪĪŧŏŲŃtżƣ- ĜÿŲ-ƠƣŏŰŏƸŏǜĪ-ŰǀƫŏĜěĪŧǀŰƠĪģŏŲƸżżŲĪ-ŃƣżǀƠ-¼ŊĪ-ŰǀƫŏĜżłǜÿƣŏżǀƫ-ƸƣŏěĪƫŏƫÿƫģŏdz łĪƣĪŲƸÿƫ-ƸŊĪ- ŰǀƫŏĜżł-ƸŊĪǜÿƣŏżǀƫ-ĜǀŧƸŏǜÿƸĪģ-ŲÿƸŏżŲƫ-ܟ܊ܞ

NżǝĪǜĪƣ-ƸŊĪƣĪÿƣĪƫżŰĪ-ŃĪŲĪƣÿŧ-ĜŊÿƣÿĜƸĪƣŏƫƸŏĜƫǝŊŏĜŊ-ŲĪÿƣŧǣÿŧŧ-ƠƣŏŰŏƸŏǜĪ-ŰǀƫŏĜƫŊÿƣĪƫrżƫƸżł- ŏƸŏƫƫǀŲŃ-Ƹż-ƸŊĪÿĜĜżŰƠÿŲŏŰĪŲƸżł-ƠĪƣĜǀƫƫŏżŲܔ-ŰĪŧżģǣÿŲģƣŊǣƸŊŰÿƣĪ-ƸŊǀƫ-ƸŊĪ-ŰÿŏŲ-ĪŧĪŰĪŲƸƫ- àŊĪƣĪƫĪǜĪƣÿŧģŏdz łĪƣĪŲƸǜżŏĜĪƫƫŏŲŃ-ƸżŃĪƸŊĪƣ-ƸŊĪǣÿƣĪ-ĪŏƸŊĪƣŏŲ-ǀŲŏƫżŲżƣ-ŊĪƸĪƣżƠŊżŲŏĜ܉-ŰÿŤŏŲŃ- ÿłƣĪĪ-ƠżŧǣƠŊżŲǣŏŲǝŊŏĜŊ-ĪÿĜŊ-ƠÿƣƸŏƫ-ƢǀŏƸĪŏŲģĪƠĪŲģĪŲƸ-ĪǢĜĪƠƸ-ƸŊÿƸŏƸ-ŰǀƫƸ-ĜżŰĪżǀƸǝŏƸŊ-ƸŊĪ- żƸŊĪƣƫÿƸ-ƸŊĪ-ĪŲģ-FǀƣƸŊĪƣ܉-ŲĪÿƣŧǣÿŧŧ-ƠƣŏŰŏƸŏǜĪ-ŰǀƫŏĜ-ŊÿƫƣÿƠŏģƣŊǣƸŊŰŏĜÿŧ-ĜŊÿŲŃĪƫ܉ƫǣŲĜżƠÿƸŏżŲƫ܉-ƠżŧǣƣŊǣƸŊŰƫÿŲģ-ĜƣżƫƫܫƣŊǣƸŊŰƫ-SŲ-ƸŊĪ-ŰĪŧżģǣ-ƸŊĪƣĪ-ŰÿǣěĪÿǝŏģĪƣÿŲŃĪżłģŏdz łĪƣĪŲƸƫżƣƸƫżł- ƠŏƸĜŊ-ĜǀƣǜĪƫÿƫǝĪŧŧÿƫƫƸƣÿŏŃŊƸŧŏŲĪƫżłƫżǀŲģ-¼ŊĪ-ƸżŲĪƫ-ĪŏƸŊĪƣǝÿěěŧĪěÿĜŤÿŲģłżƣƸŊżƣƫŧŏģĪ-ǀƠ- żƣģżǝŲ-ܨ-ŲżƸ-ĜÿƣĪŧĪƫƫŧǣ܉ěǀƸÿƫÿǜŏƸÿŧ-ƠÿƣƸżł-ƸŊĪ-ŰǀƫŏĜÿŧƫĜŊĪŰĪڗڝژ

Cowell detailed his perspectives on the relationship between traditional and contemporary music in many further essays and statements that have been scrutinized in the dissertation ĚǢ-/Ʒ'nþű hĩě'nűĩƢ- ŁƢŻů-ܒڗڏڏڑ hĩě'nűĩƢ ěŻűȀƢůƪ- Ʒ'nþƷ- ŻǜĩŦŦܼƪþƟƟƢŻþě'n- ƷŻ űŻűܮàĩƪƷĩƢűůƿ-

ڼںڶ- -1/4ÿǣŧżƣ܉-*Beyond Exoticism*܉-ڔڌڍܨڒڌڍ

ڽںڶ- ŧŧ-ƢǀżƸÿƸŏżŲƫłƣżŰ żǝĪŧŧ܉-ŲżƸĪ-Ƹż *String Quartet no. 4*-ܠƫĪĪłżżƸŲżƸĪ-ܡڒڒڎ

ڴڻڶ- tŏĜŊżŧŧƫ܉-ܶ1/4ƣÿŲƫĪƸŊŲŏĜŏƫŰÿŲģ-ƸŊĪ-ŰĪƣŏĜÿŲ-/ǢƠĪƣŏŰĪŲƸÿŧ-¼ƣÿģŏƸŏżŲ܉ܷ-ڏړڑ

ڍڑڍܨڌڑڍܷ-܉ƣŏŰŏƸŏǜŏƫŰ£ܫtĪżżǝÿƣģƫ¼-ܶ܉żǝĪŧŧ - -ڵڻڶ

sics was still shaped by an evolutionary concept distinguishing between "primitive cultures" and "civilizations," and between different stages of "development" achieved in different cultures.272 Notably, this concept did not conceive of Western culture or music as the fulfillment of an evolutionary process because Western music, according to Cowell, particularly lacked rhythmic and melodic refinement. Still, it was substantiated by a positivistic compositional and scholarly concept of music consisting of discrete, analyzable "elements" that might be turned into "resources" for composers. The composer as a quasi-scientific experimenter was free to use and combine these resources into a new universalist model of a "music of many cultures." Such naïve openness and the straightforward goal of its audience-friendly compositional realization would become increasingly explicit in Cowell's output from the 1930s on, eventually making him the ideal composer for the American cultural politics of transcultural universalism during the Cold War period (→ II.5).

### Shukichi Mitsukuri and Fumio Hayasaka: Between Modernity and Nationalism

Switching the geographical and sociocultural context to 1920s and 1930s Japan, the differences are obvious. By the early 1930s, Western-oriented musical institutions and musical lite in Japan had reached considerable standards, an outcome of roughly sixty years of radical and all-encompassing modernization and Westernization programs since the Meiji restauration in 1868 (→ III.i). Westernization was not only prevalent in yogaku, Western-oriented chamber and orchestral music written by Japanese composers, but also in hogaku, traditional Japanese music. While these two segments of Japanese music were largely isolated from each other until the late 1920s, attempts at convergence arose in the early 1930s, not least in a response to Michio Miyagi's Etenraku Variations with an orchestral arrangement by Hidemaro and Naomaro Konoe, an adaptation of the most famous piece from gagaku court music, performed during the enthronement ceremonies of the new Showa emperor in 1928.273

This rapprochement should also be viewed in the context of an increasingly obvious nationalist tide in Japanese politics, escalating in the occupation of the Manchuria peninsula in 1931. Although composers' groups of the early 1930s, such as the Shinkō sakkyokuka renmei (Federation of Innovative Composers), founded in Tokyo in 1930, and the Shin ongaku renme' (New Music Federation), founded in Sapporo in 1934, did not pursue explicit political agendas, their common objective was to qualitatively change the integration of Japanese musical traditions into contemporary music. As Stefan Menzel has demonstrated, the compositional scene had been monopolized far into the 1920s by Kōsaku Yamada (1885–1963), who, at the age of 29, had returned to Japan in 1914 after four years of study in Berlin (> III.1).24 Oriented toward Richard Strauss's style, Yamada wrote the first Japanese opera (Ochitaru tennyo, 1913, premiered in 1929), the first Japanese symphony in F major "Peace and War," 1912, premiered in 1914), and the first Japanese symphonic poem (Kurai to, 1913; premiered in 1918). Relying on generous funding from the Mitsubishi corporation, Yamada was central in the founding and development of musical institutions, namely the Philharmonic Society Tokyo (founded in 1910), the Japanese Symphony Orchestra (1923), and particularly the New Symphony Orchestra (Shin kokyo gakudan) together with the influential conductor Hidemaro Konoe in 1926. The New Symphony Orchestra was crucial in performing new orchestral works by Japanese composers over

<sup>272</sup> Lechner, "Composers as Ethnographers," 110-176.

<sup>273</sup> Menzel, Hōgaku, 117–119.

<sup>274</sup> Ibid., 104-108.

the decades that followed.ڞڠڛ-Ʒ-Ʒ'nĩƪþůĩ-ƷŎůĩ܌æþůþĢþěŻůƟŻƪĩĢþ-ŦþƢłĩűƿůĚĩƢ-ŻŁƪŻűłƪ-ܣ'nŎƪ ƷŻƷþŦ-ŻƿƷƟƿƷþůŻƿűƷƪ-ƷŻ-ŻǛĩƢ-܌ܤڏڏڐ܌ڐ-Ʒ'nĩ-ŁþǛŻƢŎƷĩłĩűƢĩ-ŻŁdþƟþűĩƪĩěŻůƟŻƪĩƢƪƿƟ-ƷŻ-Ʒ'nĩ-ڏړژڐƪڟڠڛܒ Ǣ- Ʒ'nĩĩþƢŦǢ-ڏڑژڐƪ܌ěĩƢƷþŎű- ƷŻƟŻŎ-ŻŁþ- ܹdþƟþűĩƪĩ-'nþƢůŻűǢܺ-'nþĢ-ĢĩǛĩŦŻƟĩĢ܌-ƟþƢƷŎěƿŦþƢŦǢ-Ŏű- ŁŻŦţ- ƪŻűłƪĩƷƷŎűłƪ-ĚǢæþůþĢþþűĢ-ŻƷ'nĩƢěŻůƟŻƪĩƢƪƪƿě'nþƪfŎǢŻůŎ-FƿŠŎŎ-܌ܤړړژڐܫژژڗڐܣ-ŎűěŦƿĢŎűł-Ʒ'nĩ- prominent use of the half-diminished seventh chord in connection to the *ůŎǢþţŻĚƿƪ'nŎ* scale and 'nþƢůŻűŎĩƪ-ĚþƪĩĢ-ŻűƪƷþěţĩĢ-ŁŻƿƢƷ'nƪþűĢ-ȀǼ Ʒ'nƪ܌ĩůĩƢłŎűł-ŁƢŻů-ƟĩűƷþƷŻűŎěƪěþŦĩƪ܌þƪǜĩŦŦþƪþ- ŁƢĩơƿĩűƷĩǛŻěþƷŎŻű-ŻŁ-FƢĩűě'nůƿƪŎě-ĚǢ-'ĩĚƿƪƪǢ܌-¦þǛĩŦ܌þűĢ-Ʒ'nĩŎƢěŻűƷĩůƟŻƢþƢŎĩƪڠڠڛܒ

ȃĩ-*®'nŎűţƔƪþţţǢŻţƿţþ-ƢĩűůĩŎ*܌-ŁŻƿűĢĩĢ-ĚǢƪŎǡƷĩĩű-ǢŻƿűłůƿƪŎěþƢƷŎƪƷƪþłĩĢ-ĚĩƷǜĩĩű-ڒڑþűĢ- ړڒ-ܣĩŦĩǛĩűěŻůƟŻƪĩƢƪ܌-ŁŻƿƢůƿƪŎěŎþűƪ܌þűĢ-ŻűĩěƢŎƷŎěܤڡڠڛ-ŁƢŻů-ĢŎDz ŁĩƢŎűł-ĚþěţłƢŻƿűĢƪ܌þŎůĩĢ-ƷŻ- reach beyond such conventional limitations, adopting the term *ƪ'nŎűţƔ* (lit. "rising," "innova-ƷŎǛĩܺܤǜ'nŎě'n-Ŏű-Ʒ'nĩ-ŦþƷĩ-ڏڑژڐƪ-'nþĢ-ƢĩƟŦþěĩĢ*bunmei* ܣܹěŎǛŎŦŎǬþƷŎŻűܺܤþƪþłƿŎĢŎűł-ƟƢŎűěŎƟŦĩ-ŎűdþƟþnese cultural discourse.ڢڠڛűĩ-ŻŁ-Ʒ'nĩ-ŁŻƢĩůŻƪƷěŻűěĩƢűƪ-ŻŁ-Ʒ'nĩłƢŻƿƟǜþƪ-ƷŻĩƪƷþĚŦŎƪ'nþű-ܹþűƷŎ-Ʒ'nĩƪŎƪܺ-ƷŻ-Ʒ'nĩ-ĢŻůŎűþűƷ-GĩƢůþűܮƪƷǢŦĩěŻůƟŻƪŎƷŎŻű-ŻŁ-Ʒ'nĩ-ƷŎůĩ܌ůþŎűŦǢ-ƢĩƟƢĩƪĩűƷĩĢ-ĚǢæþůþĢþܒ-In addition, it seems that the association was conceived in opposition to the *'þŎűŎ'nŻűƪþţţǢŻţƿţþţǢƔţþŎ*-ܣGƢĩþƷdþƟþűĩƪĩƪƪŻěŎþƷŎŻű-ŻŁ- ŻůƟŻƪĩƢƪ܌ܤ-ŁŻƿűĢĩĢ-Ŏű-܌ڔڑژڐ-Ŏűǜ'nŎě'něŻůƟŻƪĩƢƪ- of popular and children's songs assembled (as elsewhere in the world, popular music reached þű-ŎűŎƷŎþŦ-Ɵĩþţ-ŎűdþƟþű-ĢƿƢŎűł-Ʒ'nĩ-ڏڑژڐƪ-Ģƿĩ-ƷŻ-Ʒ'nĩþĢǛĩűƷ-ŻŁ-Ʒ'nĩ-ƢĩěŻƢĢŎűł-ŎűĢƿƪƷƢǢڙڡڛܒܤ In its beginnings, *®'nŎűţƔ ƪþţţǢŻţƿţþ- ƢĩűůĩŎ* was associated with the concept of "avant-garde" that was concurrently imported into culture-related discourse, translated as *Ǭĩű݂ĩŎ*or transliterated as *þǛþűƷłǢþƢĢŻ*. ښڡڛ Although all composers of the group were oriented toward recent musical ĢĩǛĩŦŻƟůĩűƷƪ-Ŏű-/ƿƢŻƟĩ܌-ŎƷǜþƪ-ŻűŦǢtŻĚŻƢƿ-SƷŻ-ܤڒژژڐܫڒڏژڐܣǜ'nŻþěƷƿþŦŦǢĩůƟŦŻǢĩĢƪƿě'n-Łĩþ-ƷƿƢĩƪþƪơƿþƢƷĩƢƷŻűĩƪþűĢ-ƟŻŦǢƷŻűþŦŎƷǢ-ĚǢ-Ʒ'nĩĩþƢŦǢ-ڏڒژڐƪܗ-Ŏű-ڒڒژڐ-'nĩǜƢŻƷĩþűþƢƷŎěŦĩĩűƷŎƷŦĩĢ- ܹ¼ŻůŻƢƢŻǜܼƪrƿƪŎěܺ Żű-ƢĩěĩűƷ-/ƿƢŻƟĩþű-ƷƢĩűĢƪ܌-ŎűěŦƿĢŎűł-ĢŻĢĩěþƟ'nŻűǢڛڡڛܒ

Musical innovation was such an important objective of *®'nŎűţƔƪþţţǢŻţƿţþ-ƢĩűůĩŎ* that it was ĩǛĩűěŻĢŎȀĩĢ-Ŏű-ŁŻƿƢłƿŎĢĩŦŎűĩƪ-ŻŁ-Ʒ'nĩþƪƪŻěŎþƷŎŻű-Ʒ'nþƷƿƢłĩĢ-Ʒ'nĩůĩůĚĩƢƪ-ƷŻ-ܤڐܣƿƪĩƪěþŦĩƪþűĢ- ůŻĢĩƪ-ŁƢŻů-ܣdþƟþűĩƪĩܤ-ƷƢþĢŎƷŎŻűþŦůƿƪŎě܌-ܤڑܣ-ĢĩǛĩŦŻƟ-ƷŻűþŦƪǢƪƷĩůƪ-ŻƢŎĩűƷĩĢ-ƷŻǜþƢĢ-Ʒ'nĩơƿþƢƷþŦ-


<sup>105. .,</sup>Ibid ڹڻڶ

ںڻڶ- -RĪĪ-GżƸƸƫĜŊĪǝƫŤŏ܉-ܸܶ£żĪƫŏĪ-ǀŲģrǀƫŏŤ܉ܹܷ-ڌڔڏ

ڻڻڶ- -£ÿĜǀŲ܉-ܶtÿƸŏżŲÿŧŏƫŰÿŲģrǀƫŏĜÿŧ-®ƸǣŧĪŏŲ-SŲƸĪƣǝÿƣ*æƕŃÿŤǀ*܉ܷ-ڑڎܨڐڎ

ڼڻڶ- hĪŊƸżŲĪŲ܉-ܸܶrÿƣĜŊłƣżŰ-ƸŊĪ-ŃĪżł-SŰŏƸÿƸŏżŲ-Ƹż-ƸŊĪ-ŃĪżł ƣĪÿƸŏżŲ܉ܹܷ-ڕڏܨڔڏ-1/4ŊĪłżǀŲģŏŲŃ-ŰĪŰěĪƣƫǝĪƣĪfǀŲŏܫ ŊŏŤż- NÿƫŊŏŰżƸż- ܉ܡڕڐڕڍܨڐڌڕڍܠ æǀǭǀƣǀ- SŤĪ- ܉ܡڌڕڕڍܨڎڌڕڍܠ- Gżƣƕ- SƫŊŏŏ-܉ܡڌڕڕڍܨڕڌڕڍܠ tżěżƣǀ- SƸż- ܉ܡڏڕڕڍܨڏڌڕڍܠ æÿƫǀšŏ- fŏǣżƫĪ-܉ܡڍڔڕڍܨڌڌڕڍܠ-NĪŏŃżƣƕfżŰÿƸƫǀ-܉ܡڏڑڕڍܨړڕڔڍܠfŏǣżƫŊŏfżŰÿƸƫǀ-܉ܡڑړڕڍܨڕڕڔڍܠæżƣŏƸƫǀŲĪrÿƸƫǀģÿŏƣÿ-ܨړڌڕڍܠ ܉ܡڍڌڌڎ-RŊǖŤŏĜŊŏrŏƸƫǀŤǀƣŏ-܉ܡڍړڕڍܨڑڕڔڍܠrĪŏƣƕ-®ǀŃÿǝÿƣÿ-܉ܡڔڔڕڍܨړڕڔڍܠÿŲģtÿżƸÿģÿæÿŰÿŰżƸż-ܔܡڑڒڕڍܨڐڌڕڍܠ-ƸŊĪ- ĜƣŏƸŏĜfÿŰĪƫǀŤĪ-®Ŋŏżŏƣŏ-ܨڌڌڕڍܠ-ܔܡڔڏڕڍ-ƸŊĪ-ƠŏÿŲŏƫƸƫ-NÿŤǀšŏƣƕfżŲģƕ-ܡڎڏڕڍܨڌڌڕڍܠÿŲģfƕŤŏĜŊŏŏģÿ-ܔܡڐڒڕڍܨڎڌڕڍܠ- ƸŊĪ-ĜĪŧŧŏƫƸÿŲģ-ĜżŲģǀĜƸżƣ-NŏģĪż-®ÿŏƸƕ-ܔܡڐړڕڍܨڎڌڕڍܠÿŲģ-ƸŊĪ-ĜĪŧŧŏƫƸ-FǀŰŏż-®ǀǭǀŤŏ-ܡڑڐڕڍܨڌڌڕڍܠ-ܶ1/4ŊĪģŏǜŏƫŏżŲŏŲƸż- ĜżŰƠżƫĪƣƫÿŲģ-ƠĪƣłżƣŰĪƣƫǝÿƫ܉-ŊżǝĪǜĪƣ܉żƣŏŃŏŲÿŧŧǣ-ŲżƸ-ƸŊÿƸƫƸƣŏĜƸܔÿŧƸŊżǀŃŊŧŏƫƸĪģÿƫ-ŰǀƫŏĜŏÿŲƫ-ŊĪƣĪ܉ŏģÿ܉- ®ÿŏƸƕ܉ÿŲģ-®ǀǭǀŤŏ-ĜżŰƠżƫĪģƫżŰĪǝżƣŤƫÿƸ-ƸŊĪ-ĪÿƣŧǣƫƸÿŃĪƫżł-ƸŊĪŏƣ-ĜÿƣĪĪƣƫ-ŲģǜŏĜĪǜĪƣƫÿ܈-ƠƣÿĜƸŏĜÿŧŧǣÿŧŧ-ĜżŰ-ƠżƫĪƣƫǝĪƣĪÿŧƫż-ŰǀƫŏĜŏÿŲƫżƣ-ĜżŲģǀĜƸżƣƫܷ-ܠŧěŏģ܉-ڕڏܡ

ڶڼڶ- -Sěŏģ܉-ڔړ-SŲ-܉ڐڏڕڍtżěżƣǀ-SƸżÿŲģ-Gżƣƕ-SƫŊŏŏłżǀŲģĪģ-ƸŊĪ-*Shin ongaku ha*-ܠtĪǝrǀƫŏĜ-GƣżǀƠ܉ܡ-ĪǜŏģĪŲƸŧǣěĪĜÿǀƫĪ- ƸŊĪƫǀƠƠżƣƸłżƣ-ƸŊĪŏƣ-ܶÿǜÿŲƸܫŃÿƣģŏƫƸܷŏģĪÿƫǝŏƸŊŏŲ-*®ŊŏŲŤƕƫÿŤŤǣżŤǀŤÿƣĪŲŰĪŏ*ǝÿƫŧŏŰŏƸĪģ-ŲżƸŊĪƣ-ŃƣżǀƠłżǀŲģܫ Īģ ģǀƣŏŲŃ- ƸŊÿƸ- ƠĪƣŏżģ ǝÿƫ- *Prometeo*܉ ƫƸÿƣƸĪģ ŏŲ- ړڏڕڍ ěǣ- ®Ŋŏƣƕ- FǀŤÿŏ- ܉ڕڑڕڍܨړڌڕڍܠ ŧŏŤĪ- SƸż ÿ ƫƸǀģĪŲƸ żł rĪŏƣż- ®ǀŃÿǝÿƣÿ܉ܡłżĜǀƫŏŲŃżŲ-ƸŊĪƣĪĜĪƠƸŏżŲżłƣĪĜĪŲƸ-/ǀƣżƠĪÿŲ-ŰǀƫŏĜ܉-ŰÿŏŲŧǣ-FƣĪŲĜŊ-ŲĪżĜŧÿƫƫŏĜŏƫŰ-FǀŤÿŏ-ĜƣŏƸŏĜŏǭĪģ- ŲÿƸŏżŲÿŧŏƫƸ-ƸĪŲģĪŲĜŏĪƫŏŲdÿƠÿŲÿŲģÿƣŃǀĪģ-ƸŊÿƸ-ܶdÿƠÿŲĪƫĪ-ĜżŰƠżƫĪƣƫƫŊżǀŧģŏŰŰĪƣƫĪ-ƸŊĪŰƫĪŧǜĪƫ-ĜżŰƠŧĪƸĪŧǣ- ÿŲģ-ǀŲƣĪƫĪƣǜĪģŧǣŏŲ-ƸŊĪ-/ǀƣżƠĪÿŲ-ƸƣÿģŏƸŏżŲܷ-ܠŏěŏģ܉-ܡڕړ

harmonies of the mouth organ (shō) in gagaku, (3) develop heterophonic textures inspired by the traditional chamber music genres sankyoku and jiuta, and (4) make creative use of instrumental "colors."283 Apart from the remarkable fact that a heterogeneous group of composers was willing to agree on such a detailed compositional program, 204 the four guidelines can also be read as a criticism of the limited means deployed in the music of established composers like Yamada, Kōsuke Komatsu (1884–1966), and Shinpei Nakayama (1887–1952) – although Yamada soon shared the group's aims and became a member in 1932.285 It is likely that Shūkichi Mitsukuri (1895–1971), as the oldest founding member, had a considerable influence on formulating these guidelines; his works of the same period, in particular his song cycle Bashō kikoshū from 1930/31, can be considered a compositional exemplification of most of these guidelines (see below).266

In 1935 the society renamed itself Nihon gendai sakkyokuka renmei (Federation of Contemporary Japanese Composers) and expanded considerably; thanks to the efforts of Mitsukuri and Saburō Moroi (1903–1977), it joined the International Society for Contemporary Music in the same year, 387 representing Japan at the ISCM festivals in 1937 in Paris and in 1939 in Warsaw and Krakow. This considerably increased international awareness of composers from Japan. 488

While the ISCM membership made Japanese composers part of an international community, the federation's invitation of international composers to Japan before 1935 was arguably even more important for stylistic developments within Japan: while Alexandre Tansman's (1897–1986) visit to Japan in March 1933 probably only had a limited effect (as on the young Yoritsune Matsudaira, 1907-2001, who obviously adopted the principle of tritone-related harmonies from Tansman289), the impact of Alexander Tcherepnin's (1899–1977) frequent visits in the mid-1930s (1934/35) was substantial and long-lasting, like his impact in China during the same period (> III.1). Akira Ifukube (1914–2006) and Yasuji Kiyose (1900–1981) took composition lessons with Tcherepnin, who motivated them to remain independent from European music and supported their "moderately" modernizing approach toward folkloristic material. In 1935 Tcherepnin an-

<sup>283</sup> Herd, "The Cultural Politics of Japan's Modern Music," 44.

<sup>284</sup> Indeed, recent research has doubted that these guidelines were actually agreed upon by all members (Lehtonen, "March from the Age of Imitation to the Age of Creation," 40).

<sup>285</sup> Ibid., 38.

<sup>286</sup> In 1934 the federation changed its name to Kindai Nippon sakkyokuka renmei (Modern Composers' Federation of Japan) as the term shinkō had come to be associated with communist activities that were increasingly subject to governmental repressions (ibid., 42). In 1935 the federation declared its objective to "work together to promote the progress of tomorrow's music." (Galliano, Yōgaku, 82.)

<sup>287</sup> Lehtonen, "March from the Age of Imitation to the Age of Creation," 42.

<sup>288</sup> Ibid. and Galliano, Yōgaku, 82. In November 1940, all music societies were forced to unite in the Alliance to Promote the New Order in the Musical World (Gakudan shintaisei sokushin dōmei), replaced in 1941 by the Association for Japanese Music Culture (Nihon ongaku bunka kyōkai), operating until the end of the war (Lehtonen, "March from the Age of Imitation to the Age of Creation," 43). After the war, the ISCM-branch of Japan was re-founded in 1946 as Japan Society for Contemporary Music (JSCM; Nihon gendai ongaku kyōkai) with Mitsukuri assuming the position of its first chair (ibid.). Until its enforced dissolution in 1940 the federation had organized 39 concerts and several radio broadcasts, mostly featuring works by the federation's members, the number of which by 1939 had reached its peak with 116 composers (ibid., 42), but also at least once introducing new works by German composers (ibid., 40-41). The foundation of the new journal Ongaku hyōron (Music Review) in 1934 by Mitsukuri and other members also contributed to an increasing awareness of the group in Japanese musical life (ibid., 41). The founders of this journal apart from Mitsukuri were Heigorō Komatsu, Kiyoshi Komatsu, Saburō Moroi, Masao Oki (1901–1971), Naotada Yamamoto, and Ginji Yamane (1906–1982) (ibid., 71).

<sup>289</sup> Galliano, Yōgaku, 83.

nounced a composition prize and works by Ifukube and Matsudaira were selected.200 Tcherepnin published the winning scores in his own publishing series and, back in Europe, introduced works by young Japanese and Chinese composers in his piano recitals. 291

Both composers' federations adopted optimistic language at their outset. In the context of the foundation of the Shin ongaku renmei (New Music Federation) in 1934 in remote Sapporo, Fumio Hayasaka said: "Absolutely the only path that is open to us younger composers is to combine new methods and techniques with the venerable heritage of our traditional culture."22 Aged 20, Hayasaka (1914–55) and his colleague Akira Itukube had founded the federation two years after meeting in Sapporo, which was rather isolated from Tokyo-centered Japanese musical life during that period. Notwithstanding, the two young composers and the music critic Atsushi Miura (1913–1997), who had already been corresponding with European and American musicians and composers for about two years, started their activities.23 On 30 September 1934, they staged a one-day festival under the French name Le festival de musique contemporaine in Sapporo's Imai Memorial Hall.224 The festival featured Japanese premieres of works by Satie, Ravel, Stravinsky, de Falla, Erwin Schulhoff, and other European composers, including a version of de Falla's ballet music El amor brujo (1915/16) arranged for sextet by Hayasaka and Ifukube. The group clearly also regarded itself as an opposition (nozai) to Tokyo's academic establishment. 395 This position was expressed not least in the group's dedicated internationalism and the composers' more rigorous and direct approach toward Japanese traditional and folk musics. Ifukube's orchestral piece Japanese Rhapsody (Nihon kyōshi kyoku) from 1935, awarded the Tcherepnin Price of the same year, became the foremost model of a neo-folklorist style dubbed kokumin-shikyoku (national tone poems) by 193826 – adopting the national style of European composers around 1900 and painting an idealized picture of a pre-Westernized rural Japan. However, Hayasaka's more refined approach to the court music genre tōgaku, based on detailed structural modeling as realized in his 1937 orchestral work Ancient Dance (Kodai no bukyoku), was probably closer to the approach originally envisaged by Mitsukuri and his colleagues in 1930, when they formulated the guidelines for the Shinko sakkyokuka renmei.

Mitsukuri and Hayasaka were both participants in the controversial discussion on "Japanese harmony" (Nihonteki waseiron) that spanned the entire 1930s and continued into the 1940s.

<sup>290</sup> First prize: Ifukube, Japanese Rhapsody (Nihon kyōshi kyoku) for orchestra (1935); second prize: Matsudaira, Pastorale (1935) for orchestra; the jury of the competition in Paris included Jacques Ibert, Albert Roussel, Arthur Honegger, Alexandre Tansman, Tibor Harsányi, Pierre-Octave Ferroud, Henri Gil-Marchex, and Henri Prunières (Homenick, "Biography" III). In Shanghai, where he lived during the period 1934–37 as an advisor of the Chinese-Japanese admnistration, Tcherepnin had also organized a competition in 1934, in which the piano piece Buffalo Boy's Flute by He Luting won the first prize (→‎) II. .). During a concert tour with the Vienna Philharmonic in 1937, its conductor Felix Weingartner (1863–1942) also awarded a composition prize; the prize winners in 1939 were Mitsukuri (first prize for Sinfonietta [Shōkōkyōkyoku], 1934), Fumio Hayasaka (Ancient Dance, 1937), and Masao Oki (Yoru no meisõ [Evening Meditation]) (Galliano, Yōgaku, 92–93). According to Lehtonen ("March from the Age of Imitation to the Age of Creation," 71), Mitsukuri's Sinfonietta was also awarded the prize of the Ongaku konkuuru (Music Competition) in 1934; this competition had been established in 1932.

<sup>291</sup> Lehtonen, "March from the Age of Imitation to the Age of Creation," 42, 72, 98.

<sup>292</sup> Quoted in Galliano, Yōgaku, 81 (no original source provided).

<sup>293</sup> lbid., 79-81.

<sup>294</sup> Homenick, "Biography."

<sup>295</sup> Menzel, Hōgaku, 116.

<sup>296</sup> Ibid., 144-163 (here Menzel also provides close readings of Ifukube's and Hayasaka's folkloristic symphonic poems).

In 1929 and 1930, Mitsukuri first introduced a system of symmetrically ordered fifths, developed from Japanese scales and grounded in Hugo Riemann's dualism. The system was explicated again in some detail in an article in three languages (Japanese, French, German) in 1934, thereby addressing an international readership.277 In this system, the arrangement of fifths, a model of gagaku tuning and chord-building, results in two different six- (or seven-)note scales, one ascending (positive) and one descending (negative), which are largely identical to the Japanese ryo- and ritsu-scales of the gagaku system (positive: A-B-C#-[D#]-E-F#-G#-[A]; negative: E-D-C4-[Bb]-A-G-Fh-[E]).208 Mitsukuri highlights the option to switch between the two systems that might be interconnected by either Fhand F# or Bb and B#. Assuming a Pythagorean tuning system, Mitsukuri argues that in Japanese music the major second would be considered more consonant than the (major or minor) thirds. In a system based on A, for example, the trichord A-B-E should be considered consonant.299 Also, the tritone should be applied consistently, as it occurs in both basic scales.300 Mitsukuri's song cycle Bashō kikōshū (Bashō's Travelogue) after ten haiku by Matsuo Bashō (1644–1694) from 1930/31 for voice and piano (arranged for voice and chamber orchestra in 1937) exemplifies the theory's potential. Here, minor and major seconds significantly enrich the harmonic language based on fourths and fifths.301 Indeed, seconds here repeatedly seem to have the status of resolution sonorities.302

Following Lasse Lehtonen's analysis of this cycle, we can see that Mitsukuri did not apply his system mechanically. Indeed, it seems that he took the basic idea of switching between the pitches Fhand Ft as well as between Bhand Bb as a starting point for a rather free alteration of the basic modes; moreover, the frequent switching between related modes creates a constant harmonic flux. Song no. 2 "Uma ni nete" (I slept on my horse; Ex. 2.7)333 clearly establishes E as a pitch center throughout (it acts as the root in all measures except for 3 and 6-7 – built on A – and measure 9 – built on D – which here can be interpreted as a cadential major second below the tonic: E-D-E). The pitch content of the first three measures is E-F-A-B-D(-E), a fivenote variant of the miyakobushi scale, which cannot be derived from Mitsukuri's modal system. The mode E-negative would be E-F-G-A-Bb-C-D, so G and C are missing entirely and Bb is raised to Bk, resulting in a combination of a miyakobushi-trichord (E-F-A) and a min'yo-trichord (B-D-E).30 Measures 4 and 5.1 now replace the B4 by Bb, resulting in a full five-note miyakobushiscale (E-F-A- Bb-D-[E]). In measure 5.2 the Bq again replaces Bb and in the next measure the F4 is raised to F#, resulting in a simple tetrachord in measures 6-7: A-B-E-F# which could be interpreted as a subset of the mode A-positive (the dualist relative of E-negative) in Mitsukuri's


<sup>297</sup> Mitsukuri, "Über japanische Harmonie."

<sup>298</sup> lbid., 2.

<sup>299</sup> Lehtonen, "March from the Age of Imitation to the Age of Creation," 74.

<sup>300</sup> See ibid., 75.

<sup>301</sup> This cycle has received considerable attention in the literature; see Miyuki, "Basho kikoshu to Mitsukuri Shūkichi," Galliano, Yōgaku, 68–70, Herd, "The Cultural Politics of Japan's Modern Music," 50–51, Pacun, "Nationalism and Musical Style in Interwar Yōgaku," 28–31, and Lehtonen, "March from the Age of Imitation to the Age of Creation," 108—119.

<sup>304</sup> See Komoda and Nogawa, "Theory and Notation in Japan" for the theory of trichords and tetrachords in Japanese music theory, developed by Fumio Koizumi.

ƪǢƪƷĩůܒ-SűůĩþƪƿƢĩƪ-ڏڐܫڗ-Ʒ'nĩ-ŻƢŎłŎűþŦ-ƟŎƷě'něŻűƷĩűƷ-/ܮFܮܮܮ'ܣܮ/ܤ-Ŏƪ-ƢĩƪƷŻƢĩĢ܌-ŁŻěƿƪŎűł-Żű-Ʒ'nĩ- ůþŠŻƢƪĩěŻűĢ-'ܮ/-ܣĚŻƷ'nþƪþ-ܹŦĩþĢŎűł-ƷŻűĩܺ-Ŏű-Ʒ'nĩ-ĚþƪƪþűĢ-ŎűěƢĩþƷŎűł-ƷĩűƪŎŻű-ĚĩƷǜĩĩű-Ʒ'nĩ-ȀűþŦ- ůĩŦŻĢǢ-ƟŎƷě'nĩƪ-Ŏű-Ʒ'nĩ-ǛŻŎěĩ-ܣ'ܤڔþűĢ-Ʒ'nĩ-ƟŎþűŻ-ܣ/܌ܤڔþƪǜĩŦŦþƪþƷ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩěŻűěŦƿĢŎűł-ƟŎþűŻ- þƢƟĩłłŎŻܒܤ- Sű łĩűĩƢþŦ܌- Ʒ'nĩ-'nþƢůŻűŎě ƪƷƢƿěƷƿƢĩ-ŻŁ- Ʒ'nŎƪ ƪŻűł ƪƿłłĩƪƷƪ- Ʒ'nþƷrŎƷƪƿţƿƢŎǜþƪěŻűcerned with deploying alterations to the standard *ůŎǢþţŻĚƿƪ'nŎ* scale rather than the consistent application of his own system.ڞڙڜ

ȃĩƪŎƷƿþƷŎŻű-ŎƪěŻűƪŎĢĩƢþĚŦǢůŻƢĩěŻůƟŦĩǡ-ŎűűŻܒ-ڕ-ܹR'nŎǬƿţþƪþ-ǢþܺܣȃĩƪƷŎŦŦűĩƪƪܗ-/ǡڟڙڜ܌ܤڗܒڑݑܒ þƪŻűł-Ʒ'nþƷrŎƷƪƿţƿƢŎěŦþŎůĩĢűŻƷ-ƷŻ-ĚĩþĚŦĩ-ƷŻƿűĢĩƢƪƷþűĢ-ŁƿŦŦǢ-'nŎůƪĩŦŁڠڙڜܒ A continuous minor ƪĩěŻűĢ-ŻƪƷŎűþƷŻ-Ŏű-Ʒ'nĩ-ƢŎł'nƷ-'nþűĢ-ŻŁ-Ʒ'nĩ-ƟŎþűŻ-ƢĩűĢĩƢƪ-Ʒ'nĩě'nŎƢƟŎűł-ŻŁěŎěþĢþƪ܌ĩǛŻţĩĢ-Ŏű-Ʒ'nĩ-Ȁnal part of the *haiku.*ȃŎƪ-ŻƪƷŎűþƷŻěŦĩþƢŦǢþŦŦƿĢĩƪ-ƷŻ-Ʒ'nĩ-/űĩłþƷŎǛĩƪěþŦĩ-ܣŻƢ-ǛþƢŎĩĢ*ůŎǢþţŻĚƿƪ'nŎ*ܤ- ƿƪĩĢ-ŎűűŻܒ-ڑþűĢ-ŻƷ'nĩƢƪŻűłƪ-ŻŁ-Ʒ'nĩěǢěŦĩܒ-'ĩƪƟŎƷĩƪƿě'nþűþŦŦƿƪŎŻű܌-Ʒ'nĩ-ŦĩǼ Ʒ-'nþűĢ-ŎűůĩþƪƿƢĩƪ- ڒܫڑ-ĚƢŎűłƪ-ƟŎƷě'nĩƪ-/ܮF-A-BK-Bܮ ܮ'K܌-Ʒ'nƿƪĩǡƟþűĢŎűłþűĢþŦƷĩƢŎűł-Ʒ'nĩ-/űĩłþƷŎǛĩƪěþŦĩě'nƢŻůþƷŎěþŦŦǢ܌þƪ-'nþĢþŦƢĩþĢǢ-ŻěěƿƢƢĩĢ-ŎűűŻƪڒݑܒþűĢ-ܒڔȃĩű-/-Ŏƪ-ƢĩƟŦþěĩĢ-ĚǢ-/K-ŎűůĩþƪƿƢĩ-܌ړǜ'nĩű- Ʒ'nĩ-ǛŻŎěĩĩűƷĩƢƪ܌þűĢ-Ʒ'nĩ-ƟþƪƪþłĩƪƷþƢƷŎűł-ŎűůĩþƪƿƢĩ-ڔěŦĩþƢŦǢĩƪƷþĚŦŎƪ'nĩƪ-Fþƪþ-ƢĩěƿƢƢŎűł-ƟŎƷě'n- ěĩűƷĩƢ-Ŏű-Ʒ'nĩ-ĚþƪƪܒhþƷĩƢ-K replaces A-ܣůܒ-ܤڕþűĢ-GK-ܣůܒ-ܤږþƟƟĩþƢƪ܌-ƷĩůƟŻƢþƢŎŦǢ-ƢþŎƪĩĢ-ƷŻ-G ܣůܒ-ܤژ-ĚƿƷ-ƢĩƷƿƢűŎűł-ƷŻ-GK-ŦþƷĩƢ-ܣůܒ-ܗܤڏڐ-Ʒ'nƿƪ-Ʒ'nĩ-ƢĩŁĩƢĩűěĩƪěþŦĩ-ŁŻƢ-Ʒ'nŎƪ-ƟþƪƪþłĩþƟƟĩþƢƪ-ƷŻ-Ěĩ- "F-negative" F-GK-AK-BKܮ ܮ'Kܮ/KܮܣFܤ-ܣǜŎƷ'n-Ʒ'nĩ-ȀǼ Ʒ'nƪěþŦĩ-ĢĩłƢĩĩ- K raised to C, analogous to űŻܒ-ܒܤڑàĩěþű-Ʒ'nƿƪƿűĢĩƢƪƷþűĢ-Ʒ'nŎƪƪŻűłþƪþƪěþŦþƢĩǡƷĩűƪŎŻű-ŻŁ-Ʒ'nĩ-ƷǜŻ-ŻƪƷŎűþƷŻ-ƟŎƷě'nĩƪ-/þűĢ- F܋ǜ'nŎŦĩ-Ʒ'nĩ-ȀƢƪƷůĩŦŻĢŎěƪĩłůĩűƷ-Ŏű-Ʒ'nĩ-ƟŎþűŻ-ܣůůܒ-ܤڒܫڑƪƷŎŦŦþƟƟĩþƢƪ-ƷŻĩƪƷþĚŦŎƪ'nþű-/-ƷŻűŎě܌the remaining part of the song establishes the F center.ڡڙڜȃĩěĩűƷƢþŦŎƷǢ-ŻŁ-Ʒ'nĩ-ƟŎƷě'n-F-ŎƪĩǛĩű- ůŻƢĩþƟƟþƢĩűƷ-Ŏű-Ʒ'nĩþĢþƟƷþƷŎŻű-ŻŁ-Ʒ'nŎƪƪŻűł-Ŏű-Ʒ'nĩƪĩěŻűĢůŻǛĩůĩűƷ-ŻŁrŎƷƪƿţƿƢŎܼƪ-®ŻűþƷþ-ŁŻƢ- ßŎŻŦŎűþűĢ-£ŎþűŻ-ŁƢŻů-܌ڔڒژڐǜ'nĩƢĩ-Ʒ'nĩ-ǛŎŻŦŎűܼƪůĩŦŻĢŎě-ŦŎűĩþŦǜþǢƪ-ƢĩƷƿƢűƪ-ƷŻ-F-ܣŻƢ-Fܮ ܤ-ƷŻǜþƢĢ- the end of the phrases.

rŎƷƪƿţƿƢŎ- 'nþĢ- ƷŻ- ĢĩŁĩűĢ- 'nŎƪ ƪǢƪƷĩů þűĢ þű-ŻƢŎłŎűþƢǢ dþƟþűĩƪĩ þƟƟƢŻþě'n- ƷŻ- 'nþƢůŻűǢ-Ŏű- łĩűĩƢþŦþłþŎűƪƷfŦþƿƪ-£ƢŎűłƪ'nĩŎů-܌ܤڑږژڐܫڒڗڗڐܣǜ'nŻ-Ʒþƿł'nƷ-ŁƢŻů-ڐڒژڐ-ƷŻ-ږڒژڐþƷ-Ʒ'nĩ-¼ŻţǢŻrƿƪŎě- School and demanded of his students a "submission to the fundamental law of our functional harmony" and to the "strict regulation of imitative-contrapuntal structure."ڢڙڜ In this de-ĚþƷĩ܌ rŎƷƪƿţƿƢŎ- ƟŻŎűƷĩĢ- ƷŻ þ ěƢŎƷŎơƿĩ- ŻŁ- £ƢŎűłƪ'nĩŎůܼƪ þƢłƿůĩűƷƪ- Ʒ'nþƷ- 'nþĢ- Ěĩĩű- ƢþŎƪĩĢ- ĚǢ- ®'nƔ'nĩŎ-¼þűþţþ-܌ܤڔړژڐܫڑڕڗڐܣþ-ŁŻƢůĩƢƪƷƿĢĩűƷ-ŻŁ-NĩƢůþűű-ǛŻű-NĩŦů'nŻŦƷǬþűĢþ-ŦĩþĢŎűłůƿƪŎěŻŦŻܮ łŎƪƷ-ŎűdþƟþű-ĢƿƢŎűł-Ʒ'nĩ-ڏڒژڐƪܒ-1/4þűþţþܼƪ-ڏړژڐ-ƷƢĩþƷŎƪĩ-*Nihon wasei no kiso* (Foundations of Japaűĩƪĩ-NþƢůŻűǢܤ-ƟƢŻƟŻƪĩĢþłƢŻƿƟ-ŻŁ-ڏږƪŻűŻƢŎƷŎĩƪ-Ʒ'nþƷǜĩƢĩěŻűƪŎĢĩƢĩĢþĢĩơƿþƷĩ-ŁŻƢdþƟþűĩƪĩ- 'nþƢůŻűǢ܌-ĚþƪĩĢ-Żű-ƷǜŻ-'nĩƟƷþƷŻűŎěƪěþŦĩƪ܌ƪƷþěţĩĢ-Ʒ'nŎƢĢƪ܌þűĢ-Ʒ'nĩ-ƟƢŎűěŎƟŦĩ-ŻŁ-ŠƿƪƷ-ŎűƷŻűþƷŎŻűڙښڜܒ

ڹڴڷ- hĪŊƸżŲĪŲܹƫÿŲÿŧǣƫŏƫ-ܠłżŧŧżǝŏŲŃ-ƸŊĪ-ĜżŰƠżƫĪƣܹƫżǝŲÿĜĜżǀŲƸܡƫĪĪŰƫ-Ƹżż-ƸŊĪżƣĪƸŏĜÿŧŏŲÿƫƫǀŰŏŲŃ-ƸŊƣĪĪģŏdz łĪƣĪŲƸ- ŰżģĪƫŏŲǿǜĪģŏdz łĪƣĪŲƸƫĪĜƸŏżŲƫ-ܠܸܶrÿƣĜŊłƣżŰ-ƸŊĪ-ŃĪżł-SŰŏƸÿƸŏżŲ-Ƹż-ƸŊĪ-ŃĪżł ƣĪÿƸŏżŲ܉ܹܷ-ܡڎڍڍܨڔڌڍ-£ÿƣƸŏ-Ĝǀŧÿƣŧǣ-ƸŊĪŏŲƸĪƣƠƣĪƸÿƸŏżŲżł-ŰĪÿƫǀƣĪƫ-ڑܨڐڍÿƫ--ŲĪŃÿƸŏǜĪƫĪĪŰƫ-Ŋÿƣģŧǣ-Ƹż-ŰÿŤĪƫĪŲƫĪ܉-ĜżŲƫŏģĪƣŏŲŃ-ƸŊÿƸ-/ŏƫ- ĜŧĪÿƣŧǣ-ĪƫƸÿěŧŏƫŊĪģÿƫÿ-ƸżŲŏĜŏŲ-ƸŊĪěÿƫƫ-ŊĪƣĪ܉ÿƫŏŲ-ŰĪÿƫǀƣĪƫ-ڎܨڍ

ںڴڷ *Shizukasa ya / iwa ni shimiiru / semi no koe*-ܕ-1/4ŊĪƫƸŏŧŧŲĪƫƫ-ܕƫĪĪƠŏŲŃŏŲƸż-ƸŊĪƣżĜŤƫ-ܕ-ĜŏĜÿģÿƫܹƫĜƣĪĪĜŊ-ܠƸƣÿŲƫŧÿƸŏżŲ- ÿǽ ƸĪƣŏěŏģ܉-ܡڒڍڍ

ڻڴڷ See ibid.

ڼڴڷ- rǣÿŲÿŧǣƫŏƫ-ŊĪƣĪÿŃÿŏŲģŏdz łĪƣƫłƣżŰ-ƸŊÿƸżłhĪŊƸżŲĪŲ܉ǝŊżŏŲƸĪƣƠƣĪƸƫ-ŰĪÿƫǀƣĪƫ-ڕܨڎÿƫěÿƫĪģżŲ- -ŲĪŃÿƸŏǜĪ- ܡڔڍڍܨڒڍڍ-܉ŏěŏģܠ

ڽڴڷ- -¥ǀżƸĪģŏŲ-®ǀĜŊǣ-ܶ'ĪǀƸƫĜŊƫƠƣÿĜŊŏŃĪrǀƫŏŤĪƣŏŲdÿƠÿŲǜżƣ-܉ڑڐڕڍܷ-܉ڐڔ-ڍڏڍ-ܠܶÃŲƸĪƣǝĪƣłǀŲŃ-ǀŲƸĪƣģÿƫ-GƣǀŲģŃĪƫĪƸǭ- ǀŲƫĪƣĪƣłǀŲŤƸŏżŲĪŧŧĪŲ-NÿƣŰżŲŏĪܷܔ-ܶƫƸƣŏŤƸĪ-¦ĪŃǀŧÿƸŏǜģĪƣŏŰŏƸÿƸżƣŏƫĜŊܫŤżŲƸƣÿƠǀŲŤƸŏƫĜŊĪŲ-®ÿƸǭǝĪŏƫĪܷܡ-RĪĪÿŧƫż- ڏڐܨڍڐ-܉*æƕŃŤÿǀ*-܉GÿŧŧŏÿŲżÿŲģ-ڌڕܨڐڔ-܉ŏěŏģ

ڴڵڷ- -1/4ÿŲÿŤÿ܉-*Nihon wasei no kiso*ܔƫĪĪ-®ĪƣǜŏĜĪ܉-ܶNÿƣŰżŲǣ-ǀƸƫŏģĪ-ƸŊĪ-SƣżŲÿŃĪܷ

Copyright © Shūkichi Mitsukuri / Tokyo: Zen-On Music 1971

*/ǡþůƟŦĩ-ڝܘڗܑ-R'nǕţŎě'nŎrŎƷƪƿţƿƢŎܒþƪ'nƔţŎţƔƪ'nǕ-ܒܪږژܞڕژڞږܩűŻܘ-ڛܑ-ܿR'nŎǬƿţþƪþ-Ǣþ݀-ܩȄĩƪƷŎŦŦűĩƪƪܪ-*

 żƠǣƣŏŃŊƸ-ޣ-RŊǖŤŏĜŊŏrŏƸƫǀŤǀƣŏ-ܕ-1/4żŤǣż܈ðĪŲܫŲrǀƫŏĜ-ڍړڕڍ

®ƿě'nþƪǢƪƷĩůþƷŎěěŻűƪƷƢƿěƷŎŻű-ŻŁdþƟþűĩƪĩ-'nþƢůŻűǢƪƟþƢţĩĢěƢŎƷŎěŎƪů-ŁƢŻů-NþǢþƪþţþǜ'nŻ- ƢĩŁƿƷĩĢþűƿůĚĩƢ-ŻŁ-Ʒ'nĩƪŻűŻƢŎƷŎĩƪ-ŎűƷƢŻĢƿěĩĢ-ĚǢ-¼þűþţþ-ŎűþűþƢƷŎěŦĩ-ŁƢŻů-ڐړژڐþűĢ-Ŏű-'nŎƪ-ڑړژڐ- treatise *Nihonteki ongakuron* ܣ1/4ƢĩþƷŎƪĩ-ŻŁdþƟþűĩƪĩrƿƪŎěܒܤ-NþǢþƪþţþܼƪěŻůƟŦþŎűƷ-ƢĩƪƷĩĢ-Żű-¼þűþţþܼƪ-ƢĩŦŎþűěĩ-ŻűƪƷþěţĩĢ-Ʒ'nŎƢĢƪ܌þűĢ-Ŏű-ƷƿƢűþƟƟĩűĢĩĢþűƿůĚĩƢ-ŻŁ-¼þűþţþܼƪě'nŻƢĢƪ-ĚǢþĢĢŎűł- second- and fourth-intervals as well as excluding several chords entirely from the system of "Japanese harmony."ښښڜ

NþǢþƪþţþܼƪ- ږڐ short *Piano Pieces* (*£ŎþűŻ ƪ'nƔ'nŎű ƪ'nǕ*܌- ܤڐړژڐ-ĢĩůŻűƪƷƢþƷĩ- Ʒ'nŎƪ- ܹůŻĢĩƢűŎƪƷܺþƟproach to Japanese harmony while remaining indebted to traditional scalar and melodic structuresڛښڜ-ܫþűþƟƟƢŻþě'nǜ'nŎě'n-ƟƢŻǛŎĢĩĢ- Ʒ'nĩ-ƟŻŎűƷ-ŻŁ-ĢĩƟþƢƷƿƢĩ- ŁŻƢ- Ʒ'nĩ-ǢŻƿűł-¼ƔƢƿ-¼þţĩůŎƷƪƿ- þǼ ƷĩƢ-܌ڔړژڐǜ'nŻěŻűƪŎĢĩƢĩĢ-NþǢþƪþţþ-'nŎƪůŻƪƷ-ŎůƟŻƢƷþűƷůĩűƷŻƢܒtŻڐڐݑܒ-ŁƢŻů-Ʒ'nŎƪěǢěŦĩ-ܣ/ǡܤژܒڑݑܒ- ěŦĩþƢŦǢ-ĢĩůŻűƪƷƢþƷĩƪǜ'nþƷěþű-Ěĩ-ĢĩƪěƢŎĚĩĢþƪ-Ʒ'nĩůþŎű-ŁĩþƷƿƢĩ-ŻŁ-NþǢþƪþţþܼƪ-ܹěŻƢƢĩěƷŎŻűƪܺ-ŻŁ- ¼þűþţþܼƪě'nŻƢĢ-ƟƢŻłƢĩƪƪŎŻűƪ܋-'nĩþŦǜþǢƪ-ƟƢŻŦŻűłƪ-ƟŎƷě'nĩƪ-ŻŁ-Ʒ'nĩ-ȀƢƪƷě'nŻƢĢ-ŎűƷŻ-Ʒ'nĩƪĩěŻűĢ-ܹƢĩƪŻ-ŦƿƷŎŻűܺě'nŻƢĢ܌-ƢĩƪƿŦƷŎűł-ŎűůþŠŻƢƪĩěŻűĢƪ-ܣŎű-ŁĩǜěþƪĩƪþŦƪŻůŎűŻƢƪĩěŻűĢƪܤþűĢ-ŁŻƿƢƷ'nƪܒ-Sű-Ʒ'nĩ- ƟŎþűŻ-ƟŎĩěĩ-Ʒ'nĩ-ƟŎƷě'něŻűƷĩűƷ-ŎƪƪŦŻǜŦǢĩǡƟþűĢĩĢ-ŁƢŻů-/K-F-BK-ŎűůĩþƪƿƢĩƪ-ڐ-ƷŻ-ږ-ȀƢƪƷ-ĚǢþĢĢŎűł- CK and AK܌ěŦĩþƢŦǢĩƪƷþĚŦŎƪ'nŎűł-/K-ܣůŻƪƷŦǢěŻůĚŎűĩĢǜŎƷ'n-Ʒ'nĩƪŎůƿŦƷþűĩŻƿƪƿƟƟĩƢܮƪĩěŻűĢ-Fܤþƪþ- pitch center of a *ritsu*ܮƷǢƟĩƪěþŦĩǜŎƷ'nŻƿƷþ-Ʒ'nŎƢĢƪěþŦĩ-ĢĩłƢĩĩ-ܣ/K-F-AK-BK-CKܒܤ-FƢŻůůĩþƪƿƢĩ-ږڐ- þŦƷĩƢþƷŎŻűƪþƢĩ-ŎűƷƢŻĢƿěĩĢ܌űþůĩŦǢ-/ and B as well as GK and FK-ܣůů܌ܤڐڑܫڏڑݑܒ-ƢĩƪƿŦƷŎűł-Ŏű-ĢŎƪƪŻűþűƷƪŻűŻƢŎƷŎĩƪ-ŦŎţĩ-/-AKܮ/K-ܣůůܤڐڑܫږڐݑܒ-Ʒ'nþƷěþű-ĚĩƿűĢĩƢƪƷŻŻĢþƪ-ܹǛĩƢƷŎěþŦŎǬþƷŎŻűƪܺ-ŻŁ-Ʒ'nĩ- *ůŎǢþţŻĚƿƪ'nŎ*-ƷƢŎě'nŻƢĢ-/K-FK-ܣ/ܮܤK which is concurrently introduced in the bass line. A similar approach is applied to the *ůŎǢþţŻĚƿƪ'nŎ* tetrachord on BK-ĢƿƢŎűł-Ʒ'nĩűĩǡƷƪĩěƷŎŻű-ܣůů܌ܤږڑܫڑڑݑܒresulting in a transposition of the dissonant sonority to CK-F-BKܒȃĩ-ƢĩůþŎűŎűł-ƷǜŻƪĩěƷŎŻűƪ- ƢĩƪƷþĚŎŦŎǬĩ-Ʒ'nĩƪŎůƟŦĩůŻĢþŦƪŎƷƿþƷŎŻű-ŻŁ-Ʒ'nĩ-ĚĩłŎűűŎűł܌-Ʒ'nĩ-ƟŎƷě'něŻűƷĩűƷ-Ŏƪ-ƢĩƪƷƢŎěƷĩĢ-ƷŻ-/K-F-AK-BK-CK-ĚƿƷűŻǜ-ĢŎƪƪŻűþűƷě'nŻƢĢƪþƢĩþĢĢĩĢ-ܣůů܋ڐڒܫڗڑݑܒ-/K-F-CKܮ/Kܗůůڔڒܫړڒݑܒ- Kܮ/K-F-BKܤ- Ʒ'nþƷþłþŎűþƢĩ-ǛĩƢƷŎěþŦŎǬþƷŎŻűƪ-ŻŁ-Ʒ'nĩůŻĢĩܼƪ-ƟŎƷě'něŻűƷĩűƷܒȃĩůŎűŻƢƪĩěŻűĢ-K-CK in the penultimate measure, resolving into BK-Ŏű-Ʒ'nĩ-ǛĩƢǢ-ŦþƪƷůĩþƪƿƢĩ܌ůþţĩƪ-Ʒ'nŎƪ-ƟƢŎűěŎƟŦĩ-ŻŁƪŎůƿŦƷþűܮ eous modal pitches evident.

ȃĩ-ŎűƷŎůþƷĩǜƢŎƷŎűł ƪƷǢŦĩ-ŻŁ-NþǢþƪþţþܼƪ *Piano Pieces*ůþƢţƪþ-ȀƢƪƷ ƪƷĩƟ-ŎűƷŻ- Ʒ'nĩ ěŻůƟŻƪܮ ĩƢܼƪ-ܹŎűűĩƢĩůŎłƢþƷŎŻűܺ-ĢƿƢŎűł-Ʒ'nĩǜþƢ-ǢĩþƢƪܒȃĩůŻƪƷ-ŎůƟƢĩƪƪŎǛĩ-ĢŻěƿůĩűƷ-ŻŁ-Ʒ'nŎƪ-ƟĩƢŎŻĢ-Ŏƪ- the cycle *FŻƿƢ-ÃűþěěŻůƟþűŎĩĢ-®Żűłƪ-ƷŻ-£Żĩůƪ-ĚǢ-NþƢƿŻ-*(*NþƢƿŻűŻ ƪ'nŎűŎ-ǢŻƢƿ-ǢŻƷƷƪƿűŻůƿĚþűƪƔ- ţþţǢŻţƿ*ܤ-ŁŻƢƪŻŦŻ-ǛŻŎěĩ܌ěŻůƟŻƪĩĢ-Ŏű-ړړܘڒړژڐ-Żű-ƟŻĩůƪ-ĚǢ-NþƢƿŻ-®þƷƔ-ܤړڕژڐܫڑژڗڐܣþűĢþŦŦƿĢŎűł- to ancient unaccompanied vocal music genres of the court music *gagaku* such as *ƢƔĩŎ*. Although űŻƪŦŎĢŎűł-ĚǢłŦŎƪƪþűĢŻ-Ŏƪ-ŎűĢŎěþƷĩĢ܌-Ʒ'nĩěŻűƪƷþűƷŦǢƿƪĩĢ-ŁþƪƷ-ȀłƿƢĩƪ-ƢĩƪƿŦƷ-ŎűƪŦŎĢĩܮ-ŻƢ-ƟŻƢƷþůĩűƷŻܮŦŎţĩ-ǛŻěþŦþƢƷŎěƿŦþƷŎŻűƪܒłþŎű܌þůŻĢĩܮĚþƪĩĢǜƢŎƷŎűłǜŎƷ'něŻűƷŎűƿŻƿƪŦǢþŦƷĩƢĩĢƪěþŦĩ- ĢĩłƢĩĩƪ-ŎƪĩǛŎĢĩűƷܒȃĩ-ȀƢƪƷƪŻűł-ܣ/ǡ܌ܤڏڐܒڑݑܒĩǛŻţŎűł-Ʒ'nĩƿűŎơƿĩƪŎűłŎűł-ŻŁ-Ʒ'nĩdþƟþűĩƪĩƿƪ'n- Warbler (*uguisu*܌ܤþ-ĚŎƢĢ-ƢĩƟĩþƷĩĢŦǢ-ĢĩƪěƢŎĚĩĢ-ŎűěŦþƪƪŎěþŦdþƟþűĩƪĩ-ƟŻĩƷƢǢ-ŻŁ-Ʒ'nĩ*rþű݂ǢƔƪ'nǕݗ*)com-ƟŎŦĩĢě܌ܤژڔږݑܒ-Ŏƪ-ĚþƪĩĢ-Żű-ǜŎƷ'n-Ʒ'nĩƪĩěŻűĢ܌-ȀǼ Ʒ'n܌þűĢƪŎǡƷ'nƪěþŦĩ-ĢĩłƢĩĩƪ-ƢĩƟĩþƷĩĢŦǢƪǜŎƷě'nŎűł- ĚĩƷǜĩĩű-ƷǜŻ-ǛþƢŎþűƷƪ-ܣ ܘ ܌-FܘF܌-GܘGܒܤ-NþǢþƪþţþܼƪþűĢrŎƷƪƿţƿƢŎܼƪ-Ʒĩě'nűŎơƿĩƪ-ŻŁ-'nþƢůŻűŎě- ǜƢŎƷŎűłþƢĩ-Ʒ'nĩƢĩŁŻƢĩůƿě'něŦŻƪĩƢ-ƢĩŦþƷĩĢ-Ʒ'nþű-ŻűĩůŎł'nƷĩǡƟĩěƷ-Żű-ȀƢƪƷ-'nĩþƢŎűłܒ-

àþƢƷŎůĩdþƟþűĩƪĩűþƷŎŻűþŦŎƪů܌þƪ-'þǛŎĢ-£þěƿű-'nþƪ-ĢĩůŻűƪƷƢþƷĩĢ܌-ŎűǴŦƿĩűěĩĢ-Ʒ'nĩ-ĢŎƪěƿƪƪŎŻűƪ- on "Japanese harmony" in multiple ways, turning the debates on harmonic details into "ideo-

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ڵڵڷ- -NÿǣÿƫÿŤÿ܉-ܶ1/4ÿŲÿŤÿ-ŊÿŤǀƫŊŏ-Ųż-*Nihon wasei no kiso ni oite no shiken*܉ܷ-NÿǣÿƫÿŤÿ܉-*Nihonteki ongakuron*ܔƫĪĪ-GÿŧŧŏÿŲż܉-ړڔ-܉ڎړܨڕڒ-܉*æƕŃŤÿǀ*

ڶڵڷ See Pacun, ܶtÿƸŏżŲÿŧŏƫŰÿŲģrǀƫŏĜÿŧ-®ƸǣŧĪŏŲ-SŲƸĪƣǝÿƣ*æƕŃÿŤǀ*܉ܷ-ڒڏܨڏڏ

Copyright © 1958 by Ongaku no tomo sha, Tokyo

logical hair splitting."ڜښڜàŎƷ'nŎűþ-Łĩǜ-ǢĩþƢƪܼ-ƷŎůĩ܌rŎƷƪƿţƿƢŎܼƪ-ŻƢ-NþǢþƪþţþܼƪ-ƢĩȀűĩĢ-'nþƢůŻűŎě- ĩŦþĚŻƢþƷŎŻűƪǜĩƢĩ-ƷƿƢűĩĢ-ŎűƷŻ-ƷŻŻŦƪ-ŻŁ-ƟƢŻƟþłþűĢþ܌ěƿŦůŎűþƷŎűłþƷ-Ʒ'nĩěŻűŁĩƢĩűěĩ-ܹǛĩƢěŻůܮ ŎűłrŻĢĩƢűŎƷǢܺ-Ŏű dƿŦǢ- ڑړژڐ-ݑދܣ S܌ڑܒ-*¦ĩdzŦĩǡŎǛĩ-GŦŻĚþŦŎǬþƷŎŻű*ܒܤ- Ʒ- Ʒ'nĩ ƪþůĩ- ƷŎůĩ܌-' ĩŦþłĩ- ƷƿƢűĩĢ- away from the enthusiasm of his earlier periods and into "inner emigration" during the war, þŦŦĩłĩĢŦǢ-ܫƪŎůŎŦþƢŦǢ-ƷŻűƷŻűàĩĚĩƢű-ܫƪǢůƟþƷ'nŎǬŎűłǜŎƷ'n-Ʒ'nĩ-GĩƢůþűtþǬŎ-ŻěěƿƟŎĩƢƪڝښڜܒ

'ĩŦþłĩ܌- ŻǜĩŦŦ܌ rŎƷƪƿţƿƢŎ܌ þűĢ- NþǢþƪþţþ ěŻűƪŎĢĩƢþĚŦǢ- ŎűǛŎłŻƢþƷĩĢ- Ʒ'nĩ- ŎűƷĩƢűþƷŎŻűþŦŎǬþ-ƷŎŻűþűĢłŦŻĚþŦŎǬþƷŎŻű-ŻŁůƿƪŎě-Ŏű-Ʒ'nĩŎƢ-ƢĩƪƟĩěƷŎǛĩěŻƿűƷƢŎĩƪ-ŻŁ-FƢþűěĩ܌-Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪ܌þűĢ- dþƟþűܒ--ƟĩƢƪŻűþŦĩűěŻƿűƷĩƢ-ĚĩƷǜĩĩű-Ʒ'nĩƪĩěŻůƟŻƪĩƢƪ-ŎƪűŻƷ-ĢŻěƿůĩűƷĩĢܒ-'ĩŦþłĩþűĢ- ŻǜĩŦŦ- ůþǢ-'nþǛĩůĩƷþƷþ-ƟƢŎǛþƷĩěŻűěĩƢƷ-Ʒ'nþƷ- ŻǜĩŦŦłþǛĩ-Ŏű-£þƢŎƪ-Ŏű-ڒڑژڐþűĢ-ŁŻƢǜ'nŎě'n-ĪŦþþƢƷżţ- þŦŦĩłĩĢŦǢ-'nþĢþƪƪĩůĚŦĩĢ-¦þǛĩŦ܌-Ģĩ-FþŦŦþ܌-NŻűĩłłĩƢ܌rŎŦ'nþƿĢ܌-£ƢƿűŎĸƢĩƪ܌þűĢ-¦ŻƿƪƪĩŦþƪþűĩǡclusive audience.ڞښڜ- ŻǜĩŦŦþűĢrŎƷƪƿţƿƢŎůþǢ-'nþǛĩěƢŻƪƪĩĢ-ƟþƷ'nƪþƷþű-S® r- ŁĩƪƷŎǛþŦ-Ŏű- Ʒ'nĩ- ƟŻƪƷǜþƢ-ƟĩƢŎŻĢ-ŻƢ-ĢƿƢŎűł- ŻǜĩŦŦܼƪƪƷþǢƪ-ŎűdþƟþű-Ŏű-ڔڔژڐþűĢ-ڐڕژڐ-ދܣ-SSܒܤڔܒȃĩ-ŁŻěƿƪ-ŻŁůǢþƢłƿůĩűƷ܌-ŻŁěŻƿƢƪĩ܌-'nþƪűŻƷ-Ěĩĩű-Ʒ'nĩ-ƟĩƢƪŻűþŦ-ŎűƷĩƢþěƷŎŻű-ŻƢ-ŎűǴŦƿĩűěĩƪ-ĚĩƷǜĩĩű-Ʒ'nĩƪĩěŻůƟŻƪĩƢƪ- ĚƿƷ-Ʒ'nĩơƿĩƪƷŎŻű-ŻŁ-'nŻǜ-Ʒ'nĩŎƢǜŻƢţƪůþǢĩǡĩůƟŦŎŁǢ-Ʒ'nĩ-ܹűŻűܮƪŎůƿŦƷþűĩŎƷǢ-ŻŁ-Ʒ'nĩƪŎůƿŦƷþűĩŻƿƪܺin global music history.

Starting by summarizing the commonalities, we can highlight that all four composers were proactive founding members of composers' societies that were conceived in direct opposition ƷŻ-ĢŻůŎűþűƷěŻűƪĩƢǛþƷŎǛĩěŻůƟŻƪĩƢƪ-ŻŁ-ŻŦĢĩƢłĩűĩƢþƷŎŻűƪܒȃĩƪĩłƢŻƿƟƪ-Ʒ'nƿƪþŦŦ-ƢĩǴŦĩěƷĩĢěƢŎƷŎcally on a hierarchical, paternalistic social system in the arts with strong nationalist tendencies and showed the necessity for the younger generation to establish itself by setting up their own ŎűƪƷŎƷƿƷŎŻűþŦ þűĢ þƢƷŎƪƷŎě- ŎűŁƢþƪƷƢƿěƷƿƢĩ܋ ůƿƪŎěŎþűƪ܌ ĩűƪĩůĚŦĩƪ܌ ěŻűěĩƢƷ- 'nþŦŦƪ܌- ŻƢłþűŎǬþƷŎŻű܌and funding (in all societies, the founding composers also frequently acted as performers and, ŻŁěŻƿƢƪĩ܌þƪ-ŻƢłþűŎǬĩƢƪ܌ƿƪƿþŦŦǢǜŎƷ'nŻƿƷ-ƢĩěĩŎǛŎűłþűǢ-ƟþǢůĩűƷܒܤtþƷƿƢþŦŦǢ܌-Ʒ'nŎƪ-ƟƢŻěĩƪƪ-'nþĢ- ơƿŎƷĩ-ĢŎDz ŁĩƢĩűƷ-ŎůƟŦŎěþƷŎŻűƪ-Ŏű-ژڏژڐ-£þƢŎƪ܌-Ŏű-ړڑژڐ þŦŎŁŻƢűŎþ܌-Ŏű-ڏڒژڐ-1/4ŻţǢŻ܌þűĢ-Ŏű-ړڒژڐ-RþƟƟŻƢŻܒ-

While internationalism was employed in all these cases as a main counterdiscourse against the aesthetics of the dominating repertoire in concert life and compositional production, ƷƢŻƟĩƪ-ŻŁűþƷŎŻűþŦƪƷǢŦĩǜĩƢĩűŻƷþƷþŦŦþĚƪĩűƷ- ŁƢŻů- Ʒ'nĩłƢŻƿƟܼƪ-ĢŎƪěŻƿƢƪĩƪܒ- Sű- ڏڒژڐƪ dþƟþű܌þ- ƢĩȀűĩĢ þƟƟƢŻþě'n- ƷŻǜþƢĢ dþƟþűĩƪĩůƿƪŎě ǜþƪ-ŎűĢĩĩĢ- Ʒ'nĩ- ƟƢĩěŻűĢŎƷŎŻű- ŁŻƢ þű ĩůþűěŎƟþƷŎŻű- ŁƢŻůƪŎǡ-ĢĩěþĢĩƪ-ŻŁůþƪƪŎǛĩ-/ƿƢŻƟĩþű-ŎűǴŦƿĩűěĩ-ŻűůƿƪŎěþŦ-ƟƢŻĢƿěƷŎŻű܌-ƢĩƪƿŦƷŎűł-Ŏűþ-ƷǢƟĩ-ŻŁ- modernity-related cultural confusion that had been described as early as 1912 as "complicated and intricate" (*fukuzatsu hansa*ܤ-ĚǢ-Ʒ'nĩǜƢŎƷĩƢ-®þţƿƷþƢƔ-NþłŎǜþƢþ-ڟښڜܒܤڑړژڐܫڕڗڗڐܣ Similar to preàŻƢŦĢܮàþƢܮSűþƷŎŻűþŦŎƪů-Ŏű-FƢþűěĩþűĢ-Ʒ'nĩ-GƢĩþƷ-'ĩƟƢĩƪƪŎŻű-Ŏű-Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪ-ĢƿƢŎűł-Ʒ'nĩ- ĩþƢŦǢ-ڏڒژڐƪ܌-Ʒ'nĩ-ŎűěƢĩþƪŎűłŦǢ-ȀĩƢěĩ-ƟŻŦŎƷŎěþŦűþƷŎŻűþŦŎƪů-ŎűdþƟþűƪŎűěĩ-Ʒ'nĩ-ŦþƷĩ-ڏڒژڐƪ-ŎűĩǛŎƷþĚŦǢ- puts the Japanese composers' activities during that period in a politically charged context. More-ŻǛĩƢ܌-Ʒ'nĩ-£þƢŎƪŎþű܌ þŦŎŁŻƢűŎþű܌þűĢ-¼ŻţǢŻƪŻěŎĩƷŎĩƪ-'nþĢ-ŦŻƪƷ-Ʒ'nĩŎƢ-ǛþűłƿþƢĢƪƷþƷƿƪþǼ ƷĩƢþ-Łĩǜ- years and turned into nationwide organizations, necessarily losing the initial rigor of their aesthetic programs. We can therefore say that the institutional context in which these four composers operated, and which was evidently crucial for the development of their aesthetic ŎĢĩþƪ܌ǜþƪ-ĢĩĩƟŦǢƪ'nþƟĩĢþűĢ-ŎűǴŦƿĩűěĩĢ-ĚǢ-ŦŻěþŦ-ƟŻŦŎƷŎěƪþűĢƪŻěŎĩƷǢܒȃĩǜŻƢŦĢǜþƢƪ-Ʒ'nþƷ-ŁŻŦܮ lowed interrupted the optimistic internationalism of the enthusiastic early periods.

ƪ-ĢŎƪěƿƪƪĩĢĩþƢŦŎĩƢ-ދܣ-SS܌ܤڐܒ-Ʒ'nĩůŻĢĩŦ-ŻŁþ-ܹűŻűܮƪŎůƿŦƷþűĩŎƷǢ-ŻŁ-Ʒ'nĩƪŎůƿŦƷþűĩŻƿƪܺůŎł'nƷ- be expanded in two directions, either highlighting the entanglement of aesthetic ideas in a

ڷڵڷ- -£ÿĜǀŲ܉-ܶtÿƸŏżŲÿŧŏƫŰÿŲģrǀƫŏĜÿŧ-®ƸǣŧĪŏŲ-SŲƸĪƣǝÿƣ*æƕŃÿŤǀ*܉ܷ-ڒڎ

ڕڕڎܨڔڕڎܷ-܉ĪŧÿŃĪ'rÿǀƣŏĜĪŏƫĜżǜĪƣŏŲŃ'-ܶ܉GżƣģżŲ- -ڸڵڷ

ڎڎڍ-܉*Cowell Henry* ,Sachs ڹڵڷ

ڕڐܨړڐ-܉*NƕŃÿŤǀ* ,Menzel ںڵڷ

global context, thus suggesting an "entangled history," or rather their distinction and independence, thus suggesting Eisenstadt's "multiple modernities." Tobias Janz has recently discussed the option of multiple musical modernities as a music-historiographical model at length, choosing Japan as a case study.317 He outlines the difficulty of reconciling, on the one hand the close interaction between Japanese and Western music since the Meiji era and, on the other, the particular situation and "uniqueness" of Japanese music history, with its yogaku-hōgaku separation and interaction. Adopting a skeptical position toward Japanese peculiarity such as that of philosopher Masao Maruyama (→ III.4), Janz arrives at the caretul conclusion that "the imagination of an autochthonous, incommensurable musical culture of Japan gave way to a polyphony of completely different interests in Japanese musical modernity,"18 demanding a sensitive historiographical framework that can account for cultural difference without negating the highly entangled manner in which Western and Japanese modernities are cross-related. It seems therefore, that the "entangled history" model is ultimately a more useful approach, especially for a conclusion to the materials presented in this chapter: that Delage and Mitsukuri chose to set traditional Japanese poems (haiku) in extremely short pieces, with a harmony based on drone and ostinato structures and multiply chromaticized modes, might be considered a particularly evident case of entanglement. Of course, these two works have to be considered in broader contexts, such as the anti-Romanticist turn to aphoristic forms around 1910 shared by composers worldwide.39 More specifically, both Delage and Mitsukuri were indebted to Debussy's and Ravel's harmonic innovations as well as their experiences of Japanese hogaku, aiming to reach beyond orientalist clichés. Despite such similarities, a quasiethnographical approach as documented in Delage's Indian-inspired works clearly contrasts with Cowell's attempt in the United Quartet to extract commonalities from diverse "primitive musics," necessarily eradicating distinguishing features of individual traditions. Still, these approaches are "entangled" by their intention, also shared by Mitsukuri and Hayasaka, to reconceive non-Western musics as a counterdiscourse to a European Classical-Romantic tradition that seemed to provide inappropriate tools for responding to the social and aesthetic problems of music-making in a globalizing modernity.

In the works of these four composers, we can therefore find surprising convergences that hint at the tentative beginnings of a transnational musical modernity. But the divergences, which can be attributed primarily to the institutional, social, and political contexts of their work, make it necessary to conclude that it was impossible for this transnational musical modernity to blossom and to develop before 1945. As the following chapter will demonstrate, even after 1945, institutional and political restrictions considerably obstructed balanced forms of transnational music-aesthetic exchange.

<sup>317</sup> Janz, "Multiple Musical Modernities?"

<sup>318</sup> Ibid., 301.

<sup>319</sup> See Obert, Musikalische Kürze.

### 5. Re-Reading the Impact of the "Cultural Cold War" on Music History: Cowell, Mayuzumi, Berio

### Postwar Music History and the "Cultural Cold War"

The relevance of the Cold War for the music history of the decades after 1945, which serves as a master narrative for Richard Taruskin, remains controversial.300 First, it is certainly obvious that the lasting influence of (cultural) politics on music in Soviet-dependent countries on the one hand, and those under the influence of the United States on the other hand, can hardly be doubted. Second, there is no denying that the music-semantic complexity of the music of composers like Igor Stravinsky, Pierre Boulez, Dmitri Shostakovich, or Hanns Eisler cannot be grasped with reference to contemporary or political discourses alone – and this claim can be made without having to assume an "aseptic" sphere of aesthetic difference divorced from the sociopolitical. Certainly, Taruskin is right to say unequivocally that there is no such thing as "apolitical music"321 and, in particular, that there is a connection between the aesthetics of serial music in postwar Western Europe and the Cold War mentalities of the same period (often considered "apolitical" in the past – or conversely decidedly political).224 In addition, Anne C. Shreffler has shown clearly that addressing the issues of control and freedom in the discussion of serial and aleatoric music cannot be understood as detached from the political ideologies of the time, in which these issues arose from battles between ideological camps. 331

Ultimately, we must develop a perspective that can do justice to the complex relationships between music and society in the postwar era. In this respect, Martin Zenck suggests that Taruskin puts forward a "rather blunt equation of 'Cold War' and the strict and stringent organization of serial music, which is referred to as 'cold,' constructed and inhumane."24 Zenck rightly criticizes Taruskin's simplifying and distorting equation of the polemical aesthetic writings of René Leibowitz with Goebbels's propaganda and of Boulez's rhetoric with the "Communist journalism of his day," as well as the diagnosis of alleged "Nazi resonances" in Herbert Elmert's writings.255 There is no question, however, that an authoritarian rhetoric that spoke of the "worthlessness" of contrary aesthetic attitudes, or the "eradication" or "extinction" of certain residues of past styles, is found everywhere in the writings of the 1950s and 60s.

Artists were sometimes well aware of the historical burden of such rhetoric. In this situation, in the early 1950s, a young composer like Pierre Boulez tried to write music that was emphatically based on historical experience and knowledge, a music

which distances itself from the abuse of the body and its sensations in Nazi ideology and its relative, the Vichy regime in France, a music […] that cannot be used for any political machinations.

<sup>320</sup> See in summary, among others, Schmelz, "Introduction: Music in the Cold War" and Shreffler, "Cold War Dissonance." In German-language musicology, the Cold War has so far been addressed largely in reviews of East German music history after 1945/48; see Jungmann, Kalter Krieg in der Musik and Tischer, "Musik in der Ara des kalten Krieges."

<sup>321</sup> See Taruskin, "Afterword: Nicht blutbefleckt?," 276-277.

<sup>322</sup> Shreffler, "Cold War Dissonance," 54-56.

<sup>323</sup> See Shreffler, "Ideologies of Serialism," 221-225.

<sup>324</sup> Zenck, Pierre Boulez, 64 ("ziemlich plumpel) Gleichsetzung von 'Kaltem Krieg' […] und der stringenten Organisation der seriellen Musik […], die als 'kalt', konstruiert und als […] inhuman bezeichnet wird").

<sup>325</sup> See Taruskin, Music in the Late Twentieth Century, 18.

In this sense, it is an eminently political music that, in its internal organization and expression, follows the concept of a "committed literature" in the sense of Jean-Paul Sartre, without being explicitly or crudely connected to any external political content.326

And that the anti-communist cultural policy of the American occupying forces sometimes also promoted performances and institutions of the musical avant-garde327 - in the sense of a defense of artistic freedom, more nolens volens than with real conviction - does not make the resulting works simply "products" of the Cold War. 328

Finally, following the observations of Ben Parsons239 and Zenck, the "changeability of the temporal core as inscribed in the musical work, which unfolds in its post-history,"30 must be taken into account. This aspect is reflected above all in the performance history34 and changing public reception of serial music and other avant-garde music during the 1950s and 60s. This history might arguably be interpreted as a fruitful public dispute and continued revision of positions, rather than ideological "blindness."332


<sup>326</sup> Zenck, Pierre Boulez, 66 ("[…] die sich vom Missbrauch des Körpers und seines Gefühls in der Nazi-ldeologie und dem mit ihr verwandten des Vichy-Systems in Frankreich distanziert, also eine Musik […], die in keiner Weise politischen Machenschaften dienstbar gemacht werden kann. In diesem Sinne handelt es sich um eine eminent politische Musik, die von ihrer inneren Organisation und vom Ausdruck das Konzept einer engagierten Literatur' im Sinne Jean-Paul Sartres sucht, ohne mit einem externen politischen Außenhalt ausdrücklich und plakativ verbunden zu sein."). Of course, Sartre's position is exactly characterized by this "external political content," which Boulez declined. In addition, Sartre expressed in public discussion with René Leibowitz a stressed skepticism regarding the possibilities of a musique engagée. See also Carroll, Music and Ideology in Cold War Europe, 103–140 and Glaser, "René Leibowitz und die Idee einer 'musique engagée.""

 ŻűƪŎĢĩƢŎűł-Ʒ'nĩ-'nŎƪƷŻƢŎěþŦƪŎƷƿþƷŎŻűþǼ ƷĩƢ-܌ڔړژڐ-Ŏűǜ'nŎě'n-Ʒ'nĩĩűƷŎƢĩěŻűƷŎűĩűƷ-ŻŁ-/ƿƢŻƟĩǜþƪ- þƷ- Ʒ'nĩěĩűƷĩƢ-ŻŁþ łŦŻĚþŦěŻűǴŦŎěƷ-ĚĩƷǜĩĩű- Ʒ'nĩűĩǜ- ܹƪƿƟĩƢƟŻǜĩƢƪ܌ܺ- Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪþűĢ- Ʒ'nĩ- ®ŻǛŎĩƷ-ÃűŎŻű܌þ-ƷĩűĢĩűěǢ-ƷŻ-ǛŎĩǜþŦŦůþűŎŁĩƪƷþƷŎŻűƪ-ŻŁþƢƷ-ŻƢěƿŦƷƿƢĩþƪ-'nþǛŎűłþű-ŎůƟŦŎěŎƷŦǢłŦŻĚܮ þŦ-ŻƢ-ŎűƷĩƢűþƷŎŻűþŦ-ŎůƟþěƷǜþƪ-ƟþƢƷŎěƿŦþƢŦǢƪƷƢŻűł-ŎűàĩƪƷĩƢű-/ƿƢŻƟĩܒȃĩ-ŁþěƷ-Ʒ'nþƷ-Ʒ'nĩůŻƪƷ-ŎűǴŦƿĩűƷŎþŦ-ƷƢĩűĢ-ŎűàĩƪƷĩƢű-/ƿƢŻƟĩþű-ƟŻƪƷǜþƢůƿƪŎě܌-ڏڔژڐƪƪĩƢŎþŦŎƪů܌-ĢƢĩǜěŻűƪŎĢĩƢþĚŦǢ-Żű- Ʒ'nĩ-ŎĢĩþ-ŻŁþ-ܹƟƿƢĩܺ-ܣþűĢ-Ʒ'nĩƢĩŁŻƢĩ-ƟŻƷĩűƷŎþŦŦǢ-ܹþƟŻŦŎƷŎěþŦܺܤƪƷƢƿěƷƿƢĩ-Ŏƪ-ŦŎţĩ-Ʒ'nĩűĩłþƷŎǛĩ-Ŏůþłĩ- ŻŁ-Ʒ'nŎƪþŦŦܮĩűěŻůƟþƪƪŎűł-ƟƿĚŦŎěþűĢ-ƟŻŦŎƷŎěþŦ-ƢŻŦĩ-ŻǼ ƷĩűþƷƷƢŎĚƿƷĩĢ-ƷŻůƿƪŎěþűĢ-Ʒ'nĩþƢƷƪ-Ŏű-ƟŻƪƷwar societies. Indeed, the fact that music, and new music in particular, was part of this power struggle and was consciously conceived of as a medium or even "weapon" in the "Cultural Cold War" has been highlighted in a number of recent studies,ڜڜڜ though the extent to which this explicit political context shaped aesthetic and stylistic developments and decisions remains contested.

ȃĩ-ĢĩĢŎěþƷĩĢþƷƷĩůƟƷƪ-ŻŁ-ŎűǴŦƿĩűƷŎþŦ-ŎűƪƷŎƷƿƷŎŻűƪƪƿě'nþƪ-Ʒ'nĩ-'þƢůƪƷþĢƷ-®ƿůůĩƢ- ŻƿƢƪĩ- ƷŻþǛŻŎĢ-ŻǛĩƢƷ-ƟŻŦŎƷŎěþŦ-ƷŻƟŎěƪ-ŻƢ-ŎűǴŦƿĩűěĩƪěþűěŦĩþƢŦǢ-ĚĩƪĩĩűþƪþěŻƿűƷĩƢܮƢĩþěƷŎŻű-ƷŻ-Ʒ'nĩ-ƟŻܮ ŦŎƷŎěŎǬĩĢþƢƷŎƪƷŎě-ĢŻěƷƢŎűĩƪ-ŻŁ-®ŻǛŎĩƷ- ܹƪŻěŎþŦŎƪƷ-ƢĩþŦŎƪůܺ-ƢĩŎůƟŦĩůĩűƷĩĢ-ĚǢűĢƢĩŠð'nĢþűŻǛ-Ŏű- ĩþƢŦǢ-ڗړژڐþűĢ-Ŏű-Ʒ'nĩ-£ƢþłƿĩrþűŎŁĩƪƷŻ-ŻŁ-Ʒ'nĩƪþůĩ-ǢĩþƢ܌þĢŻƟƷĩĢ-ĚǢ-Ʒ'nĩ-®ĩěŻűĢ-SűƷĩƢűþƷŎŻűþŦ- ŻűłƢĩƪƪ-ŻŁ- ŻůƟŻƪĩƢƪþűĢrƿƪŎě- ƢŎƷŎěƪ-ژڑܫڏڑܣrþǢ-܌ܤڗړژڐůŻĢŎŁǢŎűł-ĚƿƷþŦƪŻþDzȀƢůŎűł-Ʒ'nĩ- ð'nĢþűŻǛ- ĢŻěƷƢŎűĩ-ދܣ- SSڝڜڜܒܤڑܒ- Sű- ĚŻƷ'nàĩƪƷĩƢű-/ƿƢŻƟĩ þűĢ- Ʒ'nĩ-ÃűŎƷĩĢ- ®ƷþƷĩƪ܌- Ʒ'nĩ ƪŻůĩƷŎůĩƪ- űþŕǛĩ-ŎĢĩþŦŎǬþƷŎŻű-ŻŁƪěŎĩűƷŎȀě-Ʒ'nŻƿł'nƷ-ܫěŦĩþƢŦǢĩǡĩůƟŦŎȀĩĢ-ĚǢƪĩƢŎþŦůƿƪŎě-Ʒ'nĩŻƢǢ-ܫþűĢ-Ʒ'nĩ- optimistic image and use of technology for experimental means were further indications of a close relationship between Western new music and capitalist modernism, eventually resulting in a re-academization of musical composition, most famously instigated by Milton Babbitt's ĩDz ŁŻƢƷƪ-ƷŻ-ŎűƪƷþŦŦþ-£'n'-ƟƢŻłƢþů-ŎűěŻůƟŻƪŎƷŎŻűþƷ-£ƢŎűěĩƷŻű-ÃűŎǛĩƢƪŎƷǢڞڜڜܒ And while technological progress had equally positive connotations in the Soviet-dominated sphere, the aesthetic appropriation of the social prestige attached to the sciences in art music during the postwar period was unique to the project of the Western avant-garde.

ȃĩłĩűĩƢþŦ-ƟŻŦŎƷŎěŎǬþƷŎŻű-Ŏű-ŦþƢłĩ-ƟþƢƷƪ-ŻŁ- Ʒ'nĩůƿƪŎěþŦǜŻƢŦĢ-ĢƿƢŎűł- Ʒ'nĩ- ڏڕژڐƪþűĢ- ڏږژڐƪ- remained closely connected to world political events and developments, particularly in divided countries such as Germanyڟڜڜ and Korea.ڠڜڜrŻƢĩłĩűĩƢþŦŦǢ܌-Ʒ'nĩ-ƷƢĩůĩűĢŻƿƪĩDz ŁĩěƷ-ŻŁ-Ʒ'nĩ- ŻŦĢ- àþƢ-Ŏű-/þƪƷƪŎþǜŎƷ'n-Ʒ'nĩrþŻŎƪƷ-ƢĩǛŻŦƿƷŎŻű-Ŏű-܌ژړژڐ-Ʒ'nĩǜŎƷ'nĢƢþǜþŦ-ŻŁ-Ʒ'nĩűþƷŎŻűþŦŎƪƷ- 'nŎűĩƪĩ- ŁŻƢěĩƪ-ƷŻ-¼þŎǜþű܌-Ʒ'nĩfŻƢĩþűàþƢ܌þűĢ-Ʒ'nĩ-ĢŎǛŎƪŎŻű-ŻŁfŻƢĩþ܌ƪƿłłĩƪƷƪ-Ʒ'nþƷ-ŁƢŻůþűƪŎþű-ƟĩƢspective, cultural or musical statements in this region were considered implicitly political, all the more since a concept of "musical autonomy" had not been established in Asian countries


ĪŰĪƣŃĪģܡܷ-ܠRŊƣĪdz ǵŧĪƣ܉-ܶ'ÿŊŧŊÿǀƫ-ǀŲģģŏĪ-ܸŊƇŊĪƣĪfƣŏƸŏŤ܉ܹܷڒڑڎݎ-ܞܶ/ŏŲ-®ǣŰƠƸżŰģŏĪƫĪƣ-ܸŧŏŲģŊĪŏƸܹǝÿƣģŏĪŏŰƠŧŏǭŏƸĪ-ŲŲÿŊŰĪ܉ģÿƫƫģŏĪÿǀƸżŲżŰĪrǀƫŏŤ-ƠĪƣƫĪ-ǀŲƠżŧŏƸŏƫĜŊƫĪŏ-'ŏĪƫĪƣŏĪŧŧĪǜÿŲƸŃÿƣģĪǝǀƣģĪģĪŰĪŲƸƫƠƣĪĜŊĪŲģ- ÿŧƫ-SŲěĪŃƣŏdz łģĪƣ-ŤdžŲƫƸŧĪƣŏƫĜŊĪŲ-ǀƸżŲżŰŏĪǜĪƣƫƸÿŲģĪŲ-'ÿƫƫģŏĪ-ƠżŧŏƸŏƫĜŊĪ-ÃŲƸĪƣƫƸdžƸǭǀŲŃ-ŤdžŲƫƸŧĪƣŏƫĜŊĪƣ-ǀƸż-ŲżŰŏĪ-ĪŊĪƣŏŰßĪƣěżƣŃĪŲĪŲěĪƸƣŏĪěĪŲǝǀƣģĪ܉-ŃĪŊƇƣƸ-ŰŏƸǭǀģŏĪƫĪƣ-ܸŧŏŲģŊĪŏƸܹ-ǀŲģŏƫƸŏŲƫżłĪƣŲƫǣƫƸĪŰŏŰŰÿŲĪŲƸěĪģŏŲŃƸ-®żǝÿƣĪŲģŏĪ-ĪƫƸƣĪěǀŲŃĪŲǝĪƫƸŧŏĜŊĪƣ-¦ĪŃŏĪƣǀŲŃĪŲ܉fǀŧƸǀƣłƇƣģĪƣǀŲŃÿŧƫ-SŲƫƸƣǀŰĪŲƸŏŲƸĪƣŲÿƸŏżŲÿŧĪƣ-£żŧŏƸŏŤ-ĪŏŲǭǀƫĪƸǭĪŲ܉ģÿŰÿŧƫǝĪŏƸŃĪŊĪŲģ-ǀŲěĪŤÿŲŲƸ܉ǝŏĪǭǀŰ-ĪŏƫƠŏĪŧģŏĪ-ÃŲƸĪƣƫƸdžƸǭǀŲŃģĪƣ-'ÿƣŰƫƸďģƸĪƣ-FĪƣŏĪŲŤǀƣƫĪ ģǀƣĜŊ ģŏĪ îܫĪƫÿƸǭǀŲŃ żģĪƣ ģŏĪ- ¼ďƸŏŃŤĪŏƸĪŲ ģĪƫ- SܫŃĪłƇƣģĪƣƸĪŲ żŲŃƣĪƫƫ łżƣ- ǀŧƸǀƣÿŧ- FƣĪĪģżŰ-ܠǝżƣÿǀƫ-ǀŲƸĪƣÿŲģĪƣĪŰģŏĪðĪŏƸƫĜŊƣŏǽ Ƹ-*Der Monat*ƫżǝŏĪģŏĪ-ĪƣŧŏŲĪƣ-FĪƫƸǝżĜŊĪŲ-ŊĪƣǜżƣŃŏŲŃĪŲܡܷܡܟ

on a broader basis before 1945. This does not mean that musical works in postwar East Asia were explicitly political in general; on the contrary, the majority of Western-oriented East Asian composers, like most of their Western colleagues well into the 1960s, tried to remain aloof from political engagement.

Although global politics was thus obviously a considerable factor of synchronization and interconnection in postwar music history, "Cold War ideologies" remain too crude and inflexible a framework for grasping the complex effects of musical works and performances on the diverse historical processes in difterent countries and regions of the world. Moreover, it seems inadequate and insensitive to the complexity of historical constellations and processes to place the aesthetic appropriation of scientific trends of the Cold War (even if they were based on or implied a certain authoritarian worldview) in (Western) serial music and the simultaneous control of composers and musicians in totalitarian regimes on the same level. In sum, "simultaneous" discourses or processes should not be simplified by attributing them to a common (in this case political-ideological) framework; rather, one must keep the "non-simultaneous" character of local music-related discourses in mind when trying to sketch the entanglements of global music-making in the postwar period. The following discussion will show that this is all the truer if one widens the perspective from the transatlantic situation to the global. For an appropriate music-historical account of the decades atter 1945, nuance is required in order to avoid falling back into the polarizations that characterize this historical period.

### Henry Cowell, Toshiro Mayuzumi, Luciano Berio and the Tokyo 1961 East-West Music Encounter

As demonstrated in Chapter II.2, both internationalism - as a form of composers', performers', and audiences' awareness of global interconnectedness and interdependence – and universalism - as the more or less open attempt to reach beyond the limitations of national or local musical confinements, guided by religious, technological, structural, or ethnic ideas and categories – may be understood as countermodels to the ubiquitous construction of composers as representatives of specific national or cultural identities by media, historians, and audiences. How, then, did the different facets of international and universal composition interact during the postwar period in such a way that simultaneous works and discourses reveal "non-simultaneous" preconditions and entangled histories? Three short case studies will address this question, focusing on the involvement of three prominent composers from different countries (United States, Japan, Italy) in a key event of the "Cultural Cold War."

The term "international" tigured prominently in most activities and events hosted or supported by the Congress for Cultural Freedom (CCF), a CIA-sponsored organization that existed between 1950 and 1967 and played a crucial role in enhancing international relations in music and other arts during the 1950s and 1960s, pursuing a decidedly anticommunist agenda. 338

<sup>338</sup> The secret financing of the CCF, founded in West Berlin in June 1950, by the CIA, which was mainly carried out through the shell organization Farfield Foundation, was disclosed in a series of articles in the New York Times in April 1966 and led initially to the renaming of the CCF as the International Association for Cultural Freedom (IACF), which was then funded by the Ford Foundation. In 1979, the organization dissolved. For basic information about the Congress for Cultural Freedom see among others Coleman, The Liberal Conspiracy, Hochgeschwender, Freiheit in der Offensive?, Stonor Saunders, The Cultural Cold War, Scott-Smith, The Political Culture, and Wellens, Musical institutions, works, and developments connected to the CCF are discussed, among others, in Stonor Saunders, The Cultural Cold War, Carroll, Music and Ideology in

Ǣ-ŁƿűĢŎűł-ŦþƢłĩůƿƪŎě-ŁĩƪƷŎǛþŦƪ-Ŏű-£þƢŎƪ-܌ܤڑڔژڐܣ-¦Żůĩ-܌ܤړڔژڐܣßĩűŎěĩ-܌ܤڗڔژڐܣþűĢ-¼ŻţǢŻ-܌ܤڐڕژڐܣ-Ʒ'nĩ- CCF aimed to demonstrate the unlimited freedom of style and expression in contemporary muƪŎě-Ŏű-Ʒ'nĩàĩƪƷþƪěŻƿűƷĩƢĩǡþůƟŦĩ-ƷŻ-Ʒ'nĩ-®ŻǛŎĩƷ-ĚŦŻěܼƪ-ܹěŻűƷƢŻŦŦĩĢůƿƪŎěܺ-ܣܹłĩłĎűłĩŦƷĩrƿƪŎţܺڢڜڜܒܤ ȃŎƪ-ŎƪěŦĩþƢŦǢ-ĢŻěƿůĩűƷĩĢ-Ŏű-Ʒ'nĩ-ŎűƷƢŻĢƿěƷŎŻű-ĚǢ-Ʒ'nĩ- FܼƪƪĩěƢĩƷþƢǢłĩűĩƢþŦ܌-Ʒ'nĩ-¦ƿƪƪŎþűܮůĩƢŎܮ ěþűěŻůƟŻƪĩƢtŎěŻŦþƪtþĚŻţŻǛ܌-ƷŻ-Ʒ'nĩ-ڑڔژڐ-£þƢŎƪ-ŁĩƪƷŎǛþŦ܋-

'ǀƣŏŲŃ-ƸŊŏƫ-ĜżŰŏŲŃÿƣƸƫłĪƫƸŏǜÿŧ܉ģĪģŏĜÿƸĪģ-Ƹżŧܹ¢ǀǜƣĪģǀååĪƫŏĹĜŧĪ܉ǝĪǝŏŧŧ-ŲżƸ-ŊĪÿƣÿŲǣƫĜżƣĪƫ- ƸŊÿƸģż-ŲżƸżǝĪ-ƸŊĪŏƣ-ƢǀÿŧŏƸŏĪƫ܉-ƸŊĪŏƣǜĪƣǣƫżǀŧ܉-Ƹż-ƸŊĪłÿĜƸ-ƸŊÿƸ-ƸŊĪǣÿƣĪ-ƸŊĪ-ŰǀƫŏĜÿŲģ-ƸŊĪÿƣƸżł- ŰĪŲǝŊż-ŤŲżǝ-ƸŊĪǜÿŧǀĪżłŧŏěĪƣƸǣ-ܟ܊ܞ-Ųģ-ƸŊżƫĪǝŊżŧŏǜĪ-Ƹżģÿǣ-ŤŲżǝ-ƸŊŏƫǜÿŧǀĪżł-ƸŊĪŏƣ-ƸŏŰĪƫ- ěĪƸƸĪƣěĪĜÿǀƫĪ-ƸŊĪǣ-ŊÿǜĪƫĪĪŲŏƸ-ܟ܊ܞ-Słÿ-ŰǀƫŏĜłĪƫƸŏǜÿŧ-Ŋÿƫÿ-ƠǀƣƠżƫĪÿŲģÿǜŏƣƸǀĪ܉ŏƸ-ŰǀƫƸěĪ-Ƹż- ĜżŰěÿƸ- ŊżƠĪŧĪƫƫŲĪƫƫ ÿŲģ ģŏƫĜżǀƣÿŃĪŰĪŲƸ- ܟ܊ܞ-1/4 żƸÿŧŏƸÿƣŏÿŲ ŏģĪżŧżŃŏĪƫ- ܟ܊ܞ- ĜÿŲŲżƸ ģŏŰŏŲŏƫŊ żŲĪ- ŏŲĜŊ-ƸŊĪ-ŰÿƫƸĪƣǝżƣŤƫ-ƸŊÿƸƫƠĪÿŤłżƣ-ƸŊĪŰƫĪŧǜĪƫ-ܨÿŲģłżƣ-ƸŊĪ-ĜŏǜŏŧŏǭÿƸŏżŲ-ƸŊÿƸ-ŃÿǜĪ-ƸŊĪŰěŏƣƸŊږښڙ


*Cold War Europe*܉-£ÿƣƫżŲƫ܉-ܶRĪƸƫÿŲģ-ƸŊĪ ŏƸǣ܉ܷ-RŊƣĪdz ǵŧĪƣ܉-ܶSģĪżŧżŃŏĪƫżł-®ĪƣŏÿŧŏƫŰ܉ܷ-Īÿŧ܉-*New Music, New Allies*, ®ŊĪƠƠÿƣģ܉-ܶ żŲƸŏŲǀŏƸǣŏŲ żŰƠżƫŏŲŃ-ƸŊĪ-ŰĪƣŏĜÿŲ ƣżƫƫܫ ǀŧƸǀƣÿŧ܉ܷÿŲģ-Gŏƣżǀģ܉-*Nicolas Nabokov*.


ڽڷڷ- ģżƣŲżܹƫ-Īƫƫÿǣ-ܶ'ŏĪ-ŃĪŃďŲŃĪŧƸĪrǀƫŏŤܷǝÿƫǝƣŏƸƸĪŲŏŲ-ڔڐڕڍŏŲŏŰŰĪģŏÿƸĪƣĪƫƠżŲƫĪ-Ƹż-/ŏƫŧĪƣܹƫ-£ƣÿŃǀĪrÿŲŏłĪƫƸż- ÿŲģǝÿƫǿƣƫƸ-ƠǀěŧŏƫŊĪģŏŲ-ڏڑڕڍŏŲ-ƸŊĪ-ĪƣŧŏŲšżǀƣŲÿŧ-*Der Monat*,ǝŊŏĜŊǝÿƫƫǀƠƠżƣƸĪģěǣ-ƸŊĪ- F-ܠżƸŊĪƣšżǀƣŲÿŧƫ- ƫǀƠƠżƣƸĪģ ěǣ- ƸŊĪ- F ŏŲĜŧǀģĪģ-*Encounter* in London and *Preuves* ŏŲ- £ÿƣŏƫܡ- ܠRƸżŲżƣ- ®ÿǀŲģĪƣƫ܉-*The Cultural Cold*  ܡÿěżǜĪ-ڎڏڏłżżƸŲżƸĪÿŧƫżƫĪĪ-ܔڔڑڍܨڔڏڍ-܉ړڔܨڑڔ-܉ڒڎ-܉*War*

ڷڸڷ- -1/4ŊĪ-ĜżŲłĪƣĪŲĜĪŏƫģŏƫĜǀƫƫĪģŏŲ-FǀŤǀŲÿŤÿ܉-ܶ ŊŏŲŰżŤǀƫǀƣǀ-ܸƫĪŏšŏŲܹ܉-ĜŊǖƫŊƕ-ŤÿƫÿƣĪƸÿ-ܸÿŏŤÿ܉ܹܷ-RŊĪƠƠÿƣģ܉-ܶ żŲƸŏ-ŲǀŏƸǣ ŏŲ żŰƠżƫŏŲŃ- ƸŊĪ- ŰĪƣŏĜÿŲ ƣżƫƫܫ ǀŧƸǀƣÿŧ܉ܷ- ܉ڐڎڑܨڏڎڑ żƣŏż܉- ܶ żŲǜĪƣŃĪŲĜĪ- ĪƸǝĪĪŲ àĪƫƸ ÿŲģ- /ÿƫƸ ŏŲ- ڌڎƸŊܫ ĪŲƸǀƣǣrǀƫŏĜ܉ܷ-܉ڌڍڍܨڕڌڍ-Gŏƣżǀģ܉-*Nicolas Nabokov*܉-܉ڎڏڏܨڕڎڏÿŲģ-FǀŤǀŲÿŤÿ܉-ܶàżƣŧģrǀƫŏĜ-NŏƫƸżƣǣÿŲģ-SŲ-ƸĪƣĜǀŧƸǀƣÿŧŏƸǣܷ

ڐړڐܨڏړڐ-܉*Cowell Henry* ,Sachs ڸڸڷ

### Table 2.2: East West Music Encounter Conference, Tokyo 17–22 April 1961, Program and List of Participants345


<sup>345</sup> Executive Committee for 1961 Tokyo East-West Music Encounter, Music – East and West.


ȃŻƿł'n-ŦþƢłĩŦǢ-ŻĚƪěƿƢĩĢ-ĚǢ-Ʒ'nĩ-ƟƢŻƟþłþƷŎŻűþűĢĩűĢŻƢƪĩůĩűƷ-ŻŁ-ܹŁƢĩĩĢŻůܺ-Ŏű-Ʒ'nĩþƢƷƪ܌-Ʒ'nĩ-'nŎĢ-Ģĩű-ƟŻŦŎƷŎěþŦůŻƷŎǛĩƪ-ŻŁ-Ʒ'nĩ- FܼƪþěƷŎǛŎƷŎĩƪ܌ůþŎűŦǢ-ŎƷƪþŎů-ƷŻ-ܹěŻűƷþŎűܺ-ŦĩǼ ƷŎƪƷ-ŻƢůŻƢĩĩǡƟŦŎěܮ ŎƷŦǢ-ƟƢŻܮRŻǛŎĩƷ-ƷĩűĢĩűěŎĩƪ܌ǜĩƢĩ-ŻĚǛŎŻƿƪ-ƷŻůþűǢěŻůůĩűƷþƷŻƢƪþűĢ-ƟþƢƷŎěŎƟþűƷƪ-Ŏű-¼ŻţǢŻڟڝڜ þƪǜĩŦŦþƪþƷ-Ʒ'nĩĩþƢŦŎĩƢ-/ƿƢŻƟĩþűĩǛĩűƷƪ܌þŦƷ'nŻƿł'n-Ʒ'nĩ- S-ŁƿűĢŎűłǜþƪ-ƢĩǛĩþŦĩĢ-ŻűŦǢ-Ŏű-ܒڕڕژڐ- In addition, there was a general anti-American sentiment in Japan, with the previous year's ƢþƷŎȀěþƷŎŻű-ŻŁ-Ʒ'nĩůƟŻ-£þěƷ-ܣ1/4ƢĩþƷǢ-ŻŁrƿƷƿþŦ- ŻŻƟĩƢþƷŎŻűþűĢ-®ĩěƿƢŎƷǢ-ĚĩƷǜĩĩű-Ʒ'nĩ-ÃűŎƷĩĢ- ®ƷþƷĩƪþűĢdþƟþű܌-ژڐdƿűĩ-܌ܤڏڕژڐ-Ŏűǜ'nŎě'n-ƷƢŻŻƟ-ƟŻƪƷŎűłƪ-ŻűdþƟþűĩƪĩ-ƷĩƢƢŎƷŻƢǢǜĩƢĩ-ƟƢŻŦŻűłĩĢ܌- ƟƢŻǛŻţŎűłƪƷƿĢĩűƷ-ƟƢŻƷĩƪƷƪܒ

rþűǢ-ŻŁ-Ʒ'nĩěŻůƟŻƪĩƢƪ-ƟþƢƷŎěŎƟþƷŎűł-Ŏű-Ʒ'nĩ-¼ŻţǢŻěŻűŁĩƢĩűěĩ-ŻƪƷĩűƪŎĚŦǢƪ'nþƢĩĢ-/ƿƢŻƪţĩƟtic viewpoints, envisioning a new "universalist" musical idiom independent from dominating /ƿƢŻƟĩþű-ƷƢĩűĢƪƪƿě'nþƪƪĩƢŎþŦŎƪů܌ǜ'nŎŦĩþƢłƿŎűł-ŁŻƢ-ܹƟƢĩƪĩƢǛŎűłܺűŻűܮàĩƪƷĩƢű-ƷƢþĢŎƷŎŻűƪ܌ƪþ-

ںڸڷ- -NÿǣÿƫŊŏ܉-ܶ1/4ǝż-ƠŏŲŏżŲƫǜĪƣ-ƸŊĪ-¼żŤǣżàżƣŧģrǀƫŏĜ-FĪƫƸŏǜÿŧ܈-SSܷ-®ĪĪ-FǀŤǀŲÿŤÿ܉-ܶ ŊŏŲŰżŤǀƫǀƣǀ-ܸƫĪŏšŏŲܹ܉-ĜŊǖƫŊƕ- ŤÿƫÿƣĪƸÿ-ܸÿŏŤÿܹܷ

ving them from the threat of a contaminating Western influence240 - not least in order to subject them to compositional appropriation. Cowell was particularly clear in this regard:

[…] composers would like to feel that they have the freedom to draw on worldwide musical resources, so we would like to do more of what Dr. Mantle Hood is doing in Los Angeles; that is in training groups of American people to play oriental instruments from all nations, to sing in oriental languages and styles and composers would like to draw on the tone quality of certain oriental instruments. We would like to include this and to have a worldwide and international field by drawing on the music which appeals to people all over the world.348

During the conference, ethnomusicologists and composers therefore unanimously demanded the preservation of "non-Western" traditional musical practices, which to them appeared under acute threat in the rapidly Westernizing Asian countries.390 This focus on the preservation of musical traditions did not occur "by coincidence," but was part of a larger trend in US foreign cultural policy at the time:

Especially at the time when the Vietnam War, civil rights movements, and revelations about covert ClA interventions in Africa, Asia and Latin America shattered faith in liberal universalism in favour of cultural relativism, [Ford Foundation] administrators considered investment in local heritages as a tactic of soothing those who criticised the American modernization programmes for being too one-sidedly focused on economic and political development at the expense of the indigenous traditions they sought to sustain.350

A memorandum written at the end of the conference outlined the project of an "International Institute for Comparative Music Studies." Two years later, in 1963, when Nabokov was invited by the Mayor of Berlin, Willy Brandt, to act as advisor to the city government on cultural matters, 355 the Berlin International Institute of Comparative Music Studies and Documentation (iicmsd, in 1991 renamed International Institute for Traditional Music) was founded, financed through the Ford Foundation and directed by Alain Daniélou (the Institute was closed in 1996). 32

Despite these connections, it would clearly miss the point to attribute the international or even universalist claims of both serial music and countertrends such as Henry Cowell's ethnically defined universalism exclusively to institutional and political history and denigrate these

<sup>347</sup> See Cowell, "Oriental Influence on Western Music," Sheppard "Continuity in Composing the American Cross-Cultural," 523-524.

<sup>348</sup> Henry Cowell in "Discussions. Music and the Listener," in: Executive Committee for 1961 Tokyo East-West Music Encounter, Music - East and West, 183-201: 197.

<sup>349 &</sup>quot;Non-Western" within this conference denotes "Asian" exclusively, since African and Latin American music were conspicuously absent from the discussion.

<sup>350</sup> Langenkamp, "(Dis)Connecting Cultures, Creating Dreamworlds," 221.

<sup>351</sup> See Stonor Saunders, The Cultural Cold War, 295–296 and Giroud, Nicolas Nabokov, 341–371.

<sup>352 &</sup>quot;A Proposal by the Standing Committee of 1961 Tokyo East-West Music Encounter Conference," in: Executive Committee for 1961 Tokyo East-West Music Encounter, Music – East and West, 227–228. The Standing Committee included prominent names such as Yehudi Menuhin, Saburō Moroi, Alain Daniélou, and Hans H. Stuckenschmidt (see Giroud, Nicolas Nabokov, 332). The plan for such an institute went back to a meeting of Nabokov with Alain Daniélou in Madras in 1955 (ibid., 346) and was part of a comprehensive effort by the CCF to sustainably strengthen Berlin as the location of "free" culture, especially after the Berlin Wall had been built; the Berliner Festspiele also emerged from this process. See Stonor Saunders, The Cultural Cold War, 295–296.

ŦþƢłĩŦǢƿűƟŻƟƿŦþƢƪƷǢŦĩƪþƪěŻƢƢƿƟƷĩĢ-ĚǢ- Ʒ'nĩ-ŎĢĩŻŦŻłŎĩƪ-ŻŁ- Ʒ'nĩŎƢ-ĢþǢ܋- ܹSƷ-ŎƪĩþƪǢ- ƷŻ-ĢŎƪůŎƪƪ- Ʒ'nĩ- ůƿƪŎěþŦƪƷǢŦĩƪ-Ʒ'nþƷǜĩűĩǛĩƢ-ŦŎţĩĢþűǢǜþǢ܌-ŎŁǜĩěþűěŻűǛŎűěĩ-ŻƿƢƪĩŦǛĩƪ-Ʒ'nþƷ-Ʒ'nĩǢ-ŻűŦǢĩǡŎƪƷĩĢþƪ- part of a CIA plot."ڜڞڜ However, such contexts reveal the important insight that "advanced music ŎƪűŻƷűĩƿƷƢþŦ-ܣþƿƷŻűŻůŻƿƪܤ-ŻƢĩǛĩűűĩěĩƪƪþƢŎŦǢěƢŎƷŎěþŦ܌ƪŎůƟŦǢ-ĚǢ-ǛŎƢƷƿĩ-ŻŁ-ŎƷƪ-ŎĢŎŻůܒܺڝڞڜ A closer ŦŻŻţþƷ-Ʒ'nƢĩĩěŻůƟŻƪĩƢƪ-ŎűǛŻŦǛĩĢ-Ŏű-Ʒ'nĩ-ڐڕژڐěŻűŁĩƢĩűěĩþűĢ-ŁĩƪƷŎǛþŦǜŎŦŦĩŦþĚŻƢþƷĩ-Żű-Ʒ'nŎƪ-ƟŻŎűƷ܌ǜ'nŎŦĩ-'nŎűƷŎűłþƷ-Ʒ'nĩŎƢ-ܹűŻűܮƪǢűě'nƢŻűŻƿƪܺůŻƷŎǛĩƪþűĢ-ƟƢĩƪƿůƟƷŎŻűƪ܋-NĩűƢǢ- ŻǜĩŦŦ-܌ܤڔڕژڐܫږژڗڐܣ-¼Żƪ'nŎƢƔrþǢƿǬƿůŎ-܌ܤږژژڐܫژڑژڐܣþűĢhƿěŎþűŻĩƢŎŻ-ܤڒڏڏڑܫڔڑژڐܣ-ƟþƢƷŎěŎƟþƷĩĢ-Ŏű-ܣŻƢěþű-ĚĩþƷ-ŦĩþƪƷ- þƪƪŻěŎþƷĩĢ ǜŎƷ'nܤ- Ʒ'nĩ- ڐڕژڐ-1/4 ŻţǢŻ- FĩƪƷŎǛþŦ þűĢ- ŻűŁĩƢĩűěĩ܌ ǜŎƷ'n- Ʒ'nĩ ƪŎǡƷǢܮŁŻƿƢܮǢĩþƢܮŻŦĢ- ŻǜĩŦŦ- ĚĩŎűł-ƟƢŻůŻƷĩĢþƪþůþŠŻƢ-ȀłƿƢĩ-ĚǢ- Ʒ'nĩůĩƢŎěþűěŻܮŻƢłþűŎǬĩƢƪܒȃĩ-ƟĩƢƪŻűþŦ-ƟþƢƷŎěŎƟþƷŎŻű- ŻŁrþǢƿǬƿůŎ-Ŏű-Ʒ'nĩěŻűŁĩƢĩűěĩþƷ-ƟƢĩƪĩűƷěþűűŻƷ-ĚĩěŻűȀƢůĩĢ܌þƪ-'nĩǜþƪ-ŻűþƪŎǡܮůŻűƷ'nƪƷþǢ- Ŏű-Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪþƢŻƿűĢ-Ʒ'nþƷ-ƷŎůĩ܌þŦƷ'nŻƿł'n܌þƪůĩűƷŎŻűĩĢþĚŻǛĩ܌þ-ƟŎĩěĩ-ĚǢ-'nŎůǜþƪ-ƟĩƢܮ formed during the festival. Far beyond the conference, the "entanglement" of all three com-ƟŻƪĩƢƪǜŎƷ'n- ŻŦĢܮàþƢܮƢĩŦþƷĩĢ-ŎűƪƷŎƷƿƷŎŻűƪǜþƪƪŎłűŎȀěþűƷ-ŁŻƢ-Ʒ'nĩŎƢěþƢĩĩƢƪþűĢþƢƷŎƪƷŎě-ĢĩǛĩŦŻƟůĩűƷ܌-ĢĩƪƟŎƷĩ-Ʒ'nĩŎƢ-ĢŎDz ŁĩƢĩűƷþłĩƪ܌ƪŻěŎþŦƪƷþƷƿƪ܌þűĢ-ƢŻŦĩƪ-Ŏű-Ʒ'nĩŎƢ-ƢĩƪƟĩěƷŎǛĩěŻƿűƷƢŎĩƪܼůƿƪŎěþŦ- ƪěĩűĩƪܒȃƿƪ܌- Ʒ'nĩŎƢƿűŦŎţĩŦǢ- ܹĩűěŻƿűƷĩƢܺþƷ- Ʒ'nĩ-¼ŻţǢŻ-ڐڕژڐěŻűŁĩƢĩűěĩþűĢ- ŁĩƪƷŎǛþŦ-ƟƢŻǛŎĢĩƪþű- apt example of the "non-simultaneous" impact of simultaneous events in postwar music history.

### Henry Cowell and the Project of Hybridization

Henry Cowell's compositional approach, aimed at hybridizing global musical traditions, ǜþƪ-ƟþƢƷŎěƿŦþƢŦǢěŻűĢƿěŎǛĩ-ƷŻ-Ʒ'nĩ-ܹěƢŻƪƪܮűþƷŎŻűþŦܺ-ŎůƟƿŦƪĩ-ŻŁ-Ʒ'nĩ-/þƪƷܮàĩƪƷrƿƪŎě-/űěŻƿűƷĩƢ- ŻűŁĩƢĩűěĩܒ- ŻǜĩŦŦ-'nþĢ-ĚĩĩűƪƷƿĢǢŎűłűŻűܮàĩƪƷĩƢűůƿƪŎěěƿŦƷƿƢĩƪƪŎűěĩ-Ʒ'nĩůŎĢڏڑژڐܮƪ-ދܣ-SSܒܤړܒ- NŎƪ-ƟƢŻłƢþů-ŻŁ- ƷƢþűƪĩƷ'nűŎěƿűŎǛĩƢƪþŦŎƪů-ĢĩǛĩŦŻƟĩĢ-Ŏű- Ʒ'nĩĩþƢŦǢ-ڏڒژڐƪ܌þűĢ- ƢĩůþŎűĩĢƪƿƢƟƢŎsingly consistent over more than three decades despite all the political changes during that ƟĩƢŎŻĢܒ- ŻǜĩŦŦ-ŎűěƢĩþƪŎűłŦǢ-ƢĩłþƢĢĩĢ-'nŎƪþƟƟƢŻþě'nþƪƪƟĩěŎȀěþŦŦǢůĩƢŎěþű܋

SŲ-ŰǣżǝŲ-ŰǀƫŏĜ-SěĪŧŏĪǜĪ-S-ĜżżƣģŏŲÿƸĪ-ܟ܊ܞ-ŰǀƫŏĜÿŧ-ŰĪÿŲƫłƣżŰÿŧŧ-ƠÿƣƸƫżł-ƸŊĪǝżƣŧģ܉ÿŲģłƣżŰ- ÿŧŧÿŃĪƫżł-ŰǀƫŏĜÿŧ-ŊŏƫƸżƣǣ-SŲƸż-ŰǣŏŲŲĪƣ-ĜƣĪÿƸŏǜĪ-ŲĪĪģƫ-S-ŰÿǣłĪĪŧ-ƸŊĪ-ŲĪĜĪƫƫŏƸǣżłģƣÿǝŏŲŃżŲ- ƣĪƫżǀƣĜĪƫłƣżŰÿŲǣ-ƠÿƣƸżł-ƸŊĪǝżƣŧģ܉łżŧŤżƣ-ĜǀŧƸŏǜÿƸĪģ܉ÿŲģłƣżŰÿŲǣÿŃĪ܉ƫŏŰƠŧĪżƣ-ĜżŰƠŧĪǢ-ܟ܊ܞ- SŲÿǝÿǣ܉-S-ƸŊŏŲŤżł-ƸŊŏƫÿƫ-Ƹƣǀŧǣ-ŰĪƣŏĜÿŲ܉ěĪĜÿǀƫĪ-ŰĪƣŏĜÿ-ŰżƣĪ-ƸŊÿŲÿŲǣżƸŊĪƣ-ĜżǀŲƸƣǣ܉ŏƫ-ŰÿģĪ- ǀƠżłÿŧŧ-ƸŊĪ-ƠĪżƠŧĪƫżł-ƸŊĪǝżƣŧģ܉ÿŲģŧĪƫƫ-ƸŊÿŲÿŲǣżƸŊĪƣ-ŃƣĪÿƸ-ĜżŰƠżƫĪƣܫƠƣżģǀĜŏŲŃ-ĜżǀŲƸƣǣ- ģżĪƫŏƸ-ŊÿǜĪÿŲǣżŲĪƫƠĪĜŏǿĜżŧģ-ƸƣÿģŏƸŏżŲżł-ŰǀƫŏĜÿŧ-ĜżŰƠżƫŏƸŏżŲڛڛڙ

ƪƪ'nŻǜű-Ŏű- Ʒ'nĩ-ƟƢĩǛŎŻƿƪě'nþƟƷĩƢ܌- ŻǜĩŦŦƪǢƪƷĩůþƷŎěþŦŦǢěƢĩþƷĩĢǜŻƢţƪ- Ʒ'nþƷ-ĢĩþŦǜŎƷ'n-ŎűĢŎǛŎ-ĢƿþŦůƿƪŎě ěƿŦƷƿƢĩƪþƪǜĩŦŦþƪ ěƿŦƷƿƢþŦŦǢ- 'nǢĚƢŎĢǜŻƢţƪڟڞڜܒ He simultaneously tended toward a more conservative idiom contrasted with his early "ultramodernist" experiments, an idiom which was certainly better suited for representative political purposes than, for instance, John þłĩܼƪěŻűěƿƢƢĩűƷþƪěĩƷŎě-ƟƿƢŎƪů-ދܣ-SS܌ܤڕܒ-ĢĩƪƟŎƷĩ-Ʒ'nĩ-ƷǜŻěŻůƟŻƪĩƢƪܼƪ'nþƢĩĢ-ŎĢĩþƪþűĢ-ŻƢŎĩűƷþtion toward universalism.

ƪĩþƢŦǢþƪ-Ʒ'nĩ-ڏڒژڐƪ܌- ŻǜĩŦŦ-'nþĢłƢŻǜűþěơƿþŎűƷĩĢǜŎƷ'ndþƟþűĩƪĩůƿƪŎěܒ-Ł-ƟþƢƷŎěƿŦþƢ-Ŏůportance was his encounter with the *shakuhachi*-ƟŦþǢĩƢfŎƷþƢŻ-¼þůþĢþ܌ǜ'nŻ-Ʒþƿł'nƷ- ŻǜĩŦŦ-Ʒ'nĩ-

ڷڹڷ- -RŊƣĪdz ǵŧĪƣ܉-ܶ żŧģàÿƣ-'ŏƫƫżŲÿŲĜĪ܉ܷ-ڕڑ

<sup>.</sup>Ibid ڸڹڷ

ڹڹڷ- żǝĪŧŧ܉ƫƸÿƸĪŰĪŲƸ-¼żŤǣż܉-ڍrÿǣ-܉ڍڒڕڍ-ƢǀżƸĪģŏŲ-®ŊĪƠƠÿƣģ܉-ܶ żŲƸŏŲǀŏƸǣŏŲ żŰƠżƫŏŲŃ-ƸŊĪ-ŰĪƣŏĜÿŲ ƣżƫƫܫ ǀŧ-Ƹǀƣÿŧ܉ܷړڌڑݎ

ںڹڷ See, among others, Nicholls, "Transethnicism and the American Experimental Tradition."

instrument from 1937 during Cowell's imprisonment in San Quentin Prison (1936-40).357 In 1946, Cowell dedicated the solo work The Universal Flute for shakuhachi to Tamada.358 Crucial to the context of the Tokyo conference in 1961 was Cowell's year-long trip to Asia between August 1956 and September 1957, which was generously funded by the Rockefeller Foundation and the US Department of State. This trip took Cowell through Ireland, London, Turkey, Lebanon, Syria, Jordan, Egypt, Pakistan, India, Iran (for two months), Burma (Myanmar), Thailand, Indonesia, the Philippines, Hong Kong, Japan, and Korea.359 Comparable to the activities of the Congress for Cultural Freedom, the Rocketeller Foundation had been actively involved in the "Cultural Cold War" since 1955 and saw Asia as a key region, not least as a result of the Korean War. 360

While still in Japan at the end of this journey, Cowell began composing the orchestral piece Ongaku in June 1957. The work, commissioned by the Louisville Orchestra, was inspired by the Japanese court music gagaku and the urban chamber music sankyoku. Cowell completed this work in September 1957 after his return to the US. 341 Ongaku was directly influenced by the music Cowell heard during his stay in Tokyo; this included rehearsals by court musicians, gagaku court music, and shakuhachi music. Cowell was particularly impressed by the chord structures of the mouth organ shō in gagaku music (→ IV.). 362

The work was a prelude to a series of works by Cowell inspired by Japanese instruments and musical genres, including two concertos for koto and orchestra.387 Cowell explicitly pursued an anti-European program, or, more specifically, a program directed against the contemporary serial avant-garde in Europe and the USA: "In 'drawing on resources' from nations such as Japan, Cowell's explicitly stated goal was to counter international serialism with a new musical universalism - on American terms."64 As part of the Tokyo conference, Cowell clarified that from his point of view, the interest in Asian music was primarily due to the diagnosis that Western music styles had already lost their "vitality" toward the end of the nineteenth century. \*65 Undoubtedly, Cowell's universalistic transethnicism benefited US diplomacy at the time:

His universalism and attempts to synthesize East and West in his music, however benign in motivation, worked hand-in-hand with U.S. Cold War efforts to form political bonds with Asian nations, particularly with Japan, much in the same way as state-sponsored radio broadcasts, lectures, and concerts of American music abroad […] […] living "in the whole world of mu-

<sup>357</sup> Sheppard, Continuity in Composing the American Cross-Cultural, 500-506. For a broader representation of the reception of Japanese traditional music in the twentieth-century USA see Sheppard, Extreme Exoticism.

<sup>358</sup> Sheppard, Continuity in Composing the American Cross-Cultural, 505-506.

<sup>359</sup> Sachs, Henry Cowell, 429-430. "For his 1957 tour, Cowell had been contacted by the U.S. Information Agency and asked to deliver lectures on contemporary American music with the explicit goal of promoting the image of the U.S. as a cultured nation to counter Soviet propaganda." (Sheppard, "Continuity in Composing the American Cross-Cultural," 507).

<sup>360</sup> Sachs, Henry Cowell, 469-470.

<sup>361</sup> Sheppard, "Continuity in Composing the American Cross-Cultural," 518.

<sup>362</sup> Sachs, Henry Cowell, 453.

<sup>363</sup> Concerto [no. 1] for koto and Orchestra (1962) and Concerto no. 2 for koto and Orchestra (1965). The Concerto for Harmonica (1962) was created at the same time and originally bore the title Haiku (Spirit of Japan), which was crossed out in the autograph (Sheppard, "Continuity in Composing the American Cross-Cultural," 518).

<sup>364</sup> lbid., 508.

<sup>365</sup> Cowell, "Oriental Influence on Western Music," 72.

sic" and subsuming all musics under an American label do involve a certain problematic egotism that resonates with U.S. covert imperialism of the past fifty years.366

Naturally one must treat such theses, which suggest a kind of "complicity" between artists and cultural politics or diplomacy, with a degree of caution. 60 Even though the Head of the American Center in Japan, E.J. Findlay, thanked Cowell after a week-long lecture and concert tour in Japan atter the East-West Music Encounter Festival "for all you did in Japan to win the cultural cold war,"60 one must at least consider that Cowell's universalism was not an immediate result of the geopolitical situations of the Cold War, especially since it had developed from the 1920s onwards. Certainly the Cold War provided additional motivation and encouragement for this perspective. Nevertheless, it is obvious that Cowell's approach, which, unlike John Cage's, gave up neither the concept of the work nor an essentialist concept of culture, was indeed suitable as a model for a diplomatic elite whose target group was a broad public.

How did Cowell's hybridized musical language actually materialize? In the introductory text to Ongaku, the composer wrote:

The foreign music strangest to Western ears is certainly that of the Far East: China, Korea and Japan. But the strangeness seems to be largely superficial: a matter of tone color and technique rather than structure. The basic relationship between music East and West is attested, I think, by the fact that Western orchestra performers will find nothing particularly surprising in their individual instrumental parts [in Ongaku] […] in spite of the unfamiliar style in which the music is couched. […] [the piece] is not an imitation of Japanese music, but an integration of some of its usages with related aspects of Western music. […] all the thematic material is my own; there are no actual Japanese themes in the work. The themes are extended by means of techniques for melodic variation that are common to both cultures. Western techniques for thematic development are not applied to the material.369

It is remarkable in this note that Cowell implicitly refers to his own work as "Japanese music" - from the perspective of American musicians and listeners - while emphasizing that he had not quoted any Japanese melodies. Autograph materials, meanwhile, have revealed a close connection between the first movement with the pitch structure and instrumentation of the tōgaku repertoire of gagaku Japanese court music.300 Cowell, however, chose the miyakobushi scale for the first movement. This scale had played a significant role in nationalist music theory and composition in the 1920s to 40s and had been conceptualized as specifically "Japanese" as described in Chapter II.4. It does not, however, appear in the togaku repertoire, but rather in certain koto and shamisen traditions of urban music during the Edo period (1600–1867) as in the pieces of sankyoku (trio setting originally of shamisen, koto, and the knee fiddle kokyi, increasingly replaced by the shakuhachi). In addition, Cowell's scale on the pitch G (G-Ab-(A)-C-

<sup>366</sup> Sheppard, "Continuity in Composing the American Cross-Cultural," 507–508 and Sachs, Henry Cowell, 452–453.

<sup>367</sup> Cowell, like several other artists, was a consultant worker at the Office of War Information between the two world wars (OW); United States War Information Office), where he was responsible for designing radio programs for US soldiers. See Cowell, "Shaping Music for Total War" and Beal, New Music, New Allies, 8–11.

<sup>368</sup> Quoted in Sachs, Henry Cowell, 474.

<sup>369</sup> Cowell, program note to Ongaku, quoted in Sheppard, "Continuity in Composing the American Cross-Cultural," 508

<sup>370</sup> Sheppard, "Continuity in Composing the American Cross-Cultural," 510.

D-Eb-G) includes the pitch Eb, which does not appear in the pitch system of togaku (Ex. 2.11).77 Likewise, the chords characterized by mild dissonances in high strings and woodwinds are not exact duplications or transpositions of the sho's aitake chords, which determine the harmony of togaku (→ IV.1). Thus, on the one hand, Cowell may have felt a special affinity for the "oriental" sounding miyakobushi due to his engagement with Persian and Arab music, while on the other hand, the references to Japanese traditions are possibly intentionally set in an imprecise manner in order to avoid the implication of "cultural imperialist" plagiarism. The combination of koto and gagaku traditions, which are strictly separated in the Japanese hōgaku (traditional music) system, may also indicate a deliberate form of intra-Japanese hybridization, which is also suggested by the choice of the general title Ongaku ("Music" – in opposition to yogaku, Western-oriented musical composition, and hōgaku, traditional Japanese music), 372

Cowell was by no means the only composer fascinated by the musical traditions that Japan had institutionalized with great "success" since the Meiji restoration. Especially gagaku and the shō offered a point of attraction for many composers from both Japan and the West, including Iannis Xenakis, Olivier Messiaen, Benjamin Britten, Karlheinz Stockhausen, Toru Takemitsu, Jean-Claude Eloy, and Toshio Hosokawa (→ IV.). Except for the "scenic music" of Stockhausen with gagaku instruments from the late 1970s, 333 the public in Japan responded favorably to these approaches of Western composers, as in Cowell's case. 34 In all these cases, in the sense of

372 This was also evident in the performance of the work in Japan: "some Japanese audience members were apparently disturbed by Cowell's juxtaposition of the sacred and ritualistic gagaku alongside the sankyoku genre of secular entertainment" (Sheppard, "Continuity in Composing the American Cross-Cultural," 511).

373 See Shimizu, "Stockhausen und Japan" and Utz, Neue Musik und Interkulturalität, 148–153. In the 1970s, Stockhausen developed the concept of "Szenische Musik," culminating in his music theater cycle Licht (1977–2003). Der Jahreslauf provides an early example of this approach. See Wirtz, Licht. Die szenische Musik von Karlheinz Stockhausen.

<sup>371</sup> The modal system of gagaku has often been described in different ways and is characterized by some contradictions between theory and practice: "Gradually theory (even as rationalized in Japan) and evolving performance practice in gagaku diverged to a confusing degree" (McQueen Tokita and Hughes, "Context and Change in Japanese Music," 19). Fundamentally, one starts from a nine-note pitch repository, the pitches available on the mouth organ shō: C-C#-D-E-Fi-G-G;-A-Bb (i.e., without E½, F'n, and B﴾) (Garfias, Music of a Thousand Autumns, 60). In the mode classes ryo (major third over the central tone) and ritsu (minor third over the central tone) categorized in today's practice, or three mode types on it (see ibid., 61-63), there are no formations that contain the typical miyakobushi trichord (C-Db-F). Although similar melodic formations sometimes occur in the context of the variable intonation of the leading reed hichiriki (see ibid., 133), Cowell, in the first movement of Ongaku, clearly uses the trichords C-A>-C and G-Eb-D as a structural basis, not as intonational variants. Sheppard, in his account also referring to the compositional sketches, states that only the second movement of Ongaku was oriented to sankyoku, while the first movement was (exclusively) related to gagaku (Sheppard, "Continuity in Composing the American Cross-Cultural," 510). There is no doubt that the main models of both movements are unequivocal in terms of composition and instrumentation (in the second movement the gagaku model is retaken in measure 90 in a reminiscent form). It is, however, likely that Cowell, intentionally avoiding too close a reference to the original forms, consciously kept the modal system of the first movement "inauthentic"," thus blending gagaku and sankyoku references in both movements.

<sup>374</sup> The koto soloist Kimio Eto (1924–2012), a student of the eminent koto reformer Michio Miyagi and soloist at the premiere of Cowell's first koto concerto, said of Cowell's Ongaku, "The degree of success with which Mr. Cowell has caught the flavor of Japanese music is illustrated by the reaction of a Japanese audience to [Ongaku] in 1959. It was enthusiastically received by older members of the audience. But some of the younger ones, whose musical leanings and experience are increasingly Western, were puzzled. 'Frankly, it's too Japanese for us, 'said

Andreas Meyer's "musical anthropology,"375 there is a tension between what is considered an "archaic," but in fact idealized, non-Western tradition (which, in the case of Japanese court music for example, was a construct of modern Japan) and the aesthetic demand after hybridizing such traditions under the conditions of musical modernity, where the forms of "synthesis" could by no means all be equivalent, but were subject to a controversial contemporaneous discourse.

### Toshirō Mayuzumi: Reception of Modernism and Neo-Nationalism

In global music-political contexts, the polarization of "West" and "East" after 1945 made itself felt in a variety of ways, and also had a tremendous impact on postwar Japan. It may be too neutral to describe the development of Japanese music after 1945 as a "shared space" of European and Japanese musical culture (as Bonnie Wade does™), as a common ground prepared by the systematic adaptation of European music since the Meiji restoration of 1868. That such an adaptation had to be thoroughly reconceived after a period of fierce militarist aggression, war crimes, and the atomic catastrophe may be demonstrated by the example of Toshirō Mayuzumi, probably the most active and innovative Japanese composer during the 1950s. Mayuzumi presented a key work of a neo-national aesthetic in 1958 at the age of 29 with his Nirvana Symphony [Nehan kokyoku] for orchestra and male choir. The neo-national aesthetic, one that many artists in postwar Japan avoided or explicitly denounced, reminded many of the Japanese militarism in the Pacific War and its exploitation of traditional cultural symbols. Mayuzumi, born in 1929, was part of the composers' group San'nin no kai (Group of Three) founded

375 See Meyer, "Volkstümlich – primitiv – populär." (→ II.1, II.2)

376 See Wade, Composing Japanese Musical Modernity, 39-95.

one, 'it's way over our heads." (Daniel Webster, "An Interview with Kimio Eto." Philadelphia Inquirer, 18/12/1964, quoted in Sheppard, "Continuity in Composing the American Cross-Cultural," 511).

Ŏű-܌ڒڔژڐǜ'nŎě'nþŦƪŻ-ŎűěŦƿĢĩĢæþƪƿƪ'nŎţƿƷþłþǜþ-ܤژڗܫڔڑژڐܣþűĢ-Sţƿůþ-'þű-ܒܤڐڏڏڑܫړڑژڐܣ-*Rþű݂űŎű- no kai*ǜþƪ-Ʒ'nĩ-ŻűŦǢ-Żűĩ-ŻŁűƿůĩƢŻƿƪłƢŻƿƟƪ-ƷŻĩůĩƢłĩ-ĢƿƢŎűł-Ʒ'nĩ-ڏڔژڐƪ-Ʒ'nþƷþƷƷĩůƟƷĩĢ-ƷŻěŻűűĩěƷ-ƷŻűþƷŎŻűþŦ-ŻƢ-ܹƟþűܮƪŎþűܺ-ƟƢĩǜþƢ-ƷƢĩűĢƪܒ-Ǽ ƷĩƢþƪ'nŻƢƷ-ƟĩƢŎŻĢ-ŻŁƪƷƿĢǢ-Ŏű-£þƢŎƪ-Ŏű-܌ڑڔܫڐڔژڐ-Mayuzumi presented the earliest examples of *musique concrète* and electronic music in Japan, þƪǜĩŦŦþƪ-ŻƢě'nĩƪƷƢþŦþűĢě'nþůĚĩƢǜŻƢţƪ-Ŏű-ĢŎDz ŁĩƢĩűƷƪƷǢŦĩƪƪŎƷƿþƷĩĢ-ĚĩƷǜĩĩűűĩŻěŦþƪƪŎěŎƪƷþűĢ- avant-garde idioms.ڠڠڜ-RƷĩǛĩűtƿƪƪ-ĢĩƪěƢŎĚĩƪrþǢƿǬƿůŎܼƪƪƿĚƪĩơƿĩűƷűĩŻܮűþƷŎŻűþŦŎƪƷ-ƷƿƢűþƪ- þ-ܹěŻűƪěŎŻƿƪ-ĢĩěŎƪŎŻű-Ŏű-Ʒ'nĩ-ŦþƷĩ-ڏڔژڐƪþűĢĩþƢŦǢ-ڏڕژڐƪ-ƷŻ-ƢĩŠĩěƷ-ŻƢƪƿĚŠƿłþƷĩ-Ʒ'nĩěŻűƪŎĢĩƢþĚŦĩ- ŎűǴŦƿĩűěĩ-Żű-'nŎů-ŻŁěŻűƷĩůƟŻƢþƢǢàĩƪƷĩƢű-ܣƟþƢƷŎěƿŦþƢŦǢ-FƢĩűě'nܤěŻůƟŻƪŎƷŎŻűþŦ-Ʒĩě'nűŎơƿĩƪþűĢ- ƪƷǢŦĩƪþűĢ-ƷŻ-ĢƢþǜ-ŎűƪƷĩþĢ-Żű-'nŎƪ-ƟƢŻŁŻƿűĢţűŻǜŦĩĢłĩ-ŻŁdþƟþű߳ƪ-ƷƢþĢŎƷŎŻűþŦůƿƪŎěþŦłĩűƢĩƪ-ŁŻƢ- ůƿƪŎěþŦ-ŎűƪƟŎƢþƷŎŻűܺþűĢ-Ʒ'nƿƪþƪþ-ܹěŦĩþƢþƷƷĩůƟƷ-ƷŻ-Ʒþţĩǜ'nþƷ-'nĩƪþǜþƪ-Ʒ'nĩàĩƪƷܼƪ-ŎűƪŎĢŎŻƿƪ- ܣůƿƪŎěþŦܤěŻŦŻűŎþŦŎƪůþűĢ-ǴŦŎƟ-ŎƷ-Żű-ŎƷƪ-'nĩþĢܒܺڡڠڜ

Mayuzumi tried to continue nationally-oriented prewar tendencies using new studio techűŻŦŻłŎĩƪ܋-Ŏűþ-ƢĩůþƢţþĚŦĩþűƷŎěŎƟþƷŎŻű-ŻŁƪƟĩěƷƢþŦ-ƷĩűĢĩűěŎĩƪ܌-'nĩ-ƷŻŻţƪƟĩěƷƢþŦþűþŦǢƪĩƪ-ŻŁdþƟþܮ nese temple bells (*ĚŻűƪ'nƔ*܌ܤþƪ- Ʒ'nĩ-'nþƢůŻűŎě- ĚþƪŎƪ- ŁŻƢůŻǛŎűł- ܹƪŻƿűĢܮůþƪƪĩƪܺ-ŎűůŻǛĩůĩűƷƪ ܌ڐ-܌ڒþűĢ-ڔ-ܣ *þůƟþűŻŦŻłǢ-SܱSSS*ܤ-ŻŁ- Ʒ'nĩƪŎǡܮůŻǛĩůĩűƷ*tŎƢǛþűþ-®ǢůƟ'nŻűǢ*. Characteristically, he ǜþűƷĩĢ-ƷŻůþţĩþ-ƷƢþěĩ-ŻŁ-Ʒ'nĩ-ܹdþƟþűĩƪĩܺ-Ŏű-Ʒ'nĩ-ĚĩŦŦƪƟĩěƷƢƿů-ǛŎþ-ƷǜŻ-ƟĩűƷþƷŻűŎěůŻĢĩƪڢڠڜܒȃĩ- modes, however, are largely presented in a decidedly "modern," textural reading of the national element and integrated into a system of "verticalized" serial rows.ڙڡڜȃĩ-ƢĩƪƿŦƷ-Ŏƪ-ŁƿűĢþůĩű-ƷþŦŦǢ-ĢŎDz ŁĩƢĩűƷ-ŁƢŻů- ŻǜĩŦŦܼƪ-ƷƢþĢŎƷŎŻűþŦŎƪƷ-'nǢĚƢŎĢƪƷǢŦĩƪƷƿĢǢ-ĢĩƪŎłűĩĢ-ŠƿƪƷ-Żűĩ-ǢĩþƢĩþƢŦŎĩƢܒ-- ůŻĢĩƢűŎƷǢܮĢƢŎǛĩűěƢŎƷŎơƿĩ-ŻŁ- ƷƢþĢŎƷŎŻű-Ŏƪ-ŦŎűţĩĢ- ƷŻþűŻǛĩŦ-ŎűƷĩƢƟƢĩƷþƷŎŻű-ŻŁ- Ʒ'nĩűþƷŎŻűþŦĩŦĩůĩűƷܒȃĩ-ƷĩǡƷƿƢþŦ-Ʒĩě'nűŎơƿĩěŻűƷŎűƿĩƪ-ŎűƪŻůĩ-Ɵþƪƪþłĩƪ-ŻŁůŻǛĩůĩűƷƪ-܌ڑ-܌ړþűĢ-ڕ-ܣ*̄ǕƢþŵłþůþ*ܗ- *rþ'nēƟƢþŠźēƟēƢþůŎƷē*ܗ-*Finale*ܒܤ-NĩƢĩ܌-Ʒ'nĩƿĢĢ'nŎƪƷ-ƢĩěŎƷþƷŎŻű-ƟƢþěƷŎěĩƪ-ŻŁ-ǛþƢŎŻƿƪdþƟþűĩƪĩƪĩěƷƪ- þƢĩ-ƷþţĩűƿƟþűĢ-ĢŎƪƪŻŦǛĩĢ-ŎűƷŻůŻǛŎűłƪŻƿűĢ-ȀĩŦĢƪܒ

Ʒ-Ʒ'nĩ-ŎűǛŎƷþƷŎŻű-ŻŁ-Ʒ'nĩ-FŻƢĢ-FŻƿűĢþƷŎŻű܌rþǢƿǬƿůŎƪƟĩűƷþĚŻƿƷƪŎǡůŻűƷ'nƪ-ŎűtĩǜæŻƢţ- ŁƢŻů-Ʒ'nĩĩűĢ-ŻŁ-܌ڏڕژڐǜ'nĩƢĩ-'nĩþƷƷĩűĢĩĢ-ƟĩƢŁŻƢůþűěĩƪ-ŻŁ-'nŎƪ-ŻƢě'nĩƪƷƢþŦǜŻƢţ-*Bacchanale*-ܤڒڔژڐܣ- ĚǢ-Ʒ'nĩtĩǜæŻƢţ-£'nŎŦ'nþƢůŻűŎěƿűĢĩƢhĩŻűþƢĢĩƢűƪƷĩŎűþƷ þƢűĩłŎĩ-NþŦŦ-܌ڒڐܣ-܌ړڐþűĢ-ڕڐ-ƟƢŎŦ- ܒܤڐڕژڐ-Nĩ-ƢĩěĩŎǛĩĢþěŻůůŎƪƪŎŻű-ŁƢŻů-Ʒ'nĩtĩǜæŻƢţ- ŎƷǢþŦŦĩƷþűĢůĩƷǜŎƷ'n-ŎƷƪ-ĢŎƢĩěƷŻƢ-GĩŻƢłĩ- þŦþűě'nŎűĩܒ-RƿĚƪĩơƿĩűƷŦǢ܌-'nĩěŻůƟŻƪĩĢ-'nŎƪ-ƷǜŻܮůŻǛĩůĩűƷ-ŻƢě'nĩƪƷƢþŦǜŻƢţ-*Bugaku* (the score ǜþƪěŻůƟŦĩƷĩĢ-Żű-ڒڑrþƢě'n-ڑڕژڐ-Ŏű-¼ŻţǢŻ܌þűĢ-Ʒ'nĩǜŻƢŦĢ-ƟƢĩůŎĩƢĩǜþƪ-Żű-ڏڑrþƢě'n-ڒڕژڐ-Ŏűtĩǜ- æŻƢţښڡڜܒܤ Following on from his spectacular cello solo *Bunraku*-܌ܤڏڕژڐܣrþǢƿǬƿůŎ-ĢƢĩǜůŻƢĩþűĢ- ůŻƢĩĩǡƟŦŎěŎƷŦǢ-ŻűdþƟþűĩƪĩůŻĢĩŦƪ-ܫ-ƟŻƪƪŎĚŦǢþŦƪŻůŻƷŎǛþƷĩĢ-ĚǢǜŻƢţƪƪƿě'nþƪ- ŻǜĩŦŦܼƪ*űłþţƿ*, ĚƿƷůþǢĚĩþŦƪŻ-ĚǢ-Ʒ'nĩ-¼ŻţǢŻ-/þƪƷܮàĩƪƷrƿƪŎě-/űěŻƿűƷĩƢ- ŻűŁĩƢĩűěĩ-ŻŁ-ڛڡڜܒڐڕژڐ In the context of

ڒڔڍܨڑڔڍ-܉ڔڒڍܨڒڒڍ-܉*æƕŃÿŤǀ* ,Galliano ڻڻڷ

ڼڻڷ- tǀƫƫ܉-ܶrǀƫŏĜłƣżŰ-ƸŊĪ-¦ŏŃŊƸ܉ܷ-ړڔܨڒڔ

ڽڻڷ- rÿǣǀǭǀŰŏ܉-ܶ1/4ƣÿģŏƸŏżŲÿŧ-/ŧĪŰĪŲƸƫÿƫÿ ƣĪÿƸŏǜĪ-®żǀƣĜĪłżƣżŰƠżƫŏƸŏżŲܷ

ڴڼڷ- -RŊŏŰŏǭǀ܉-ܶrÿǣǀǭǀŰŏ-¼żƫŊŏƣƕ-Ųż-ŤÿŲƠÿŲżŧżšŏ-ĪłĪŤǀƸżܷ

ڵڼڷ- rÿǣǀǭǀŰŏ܉-ܶÿƣÿŲƫŊŏŲ-Ƹżěÿƣļ-ܸǀŃÿŤǀܹܷ

ڶڼڷ- -ƸŊĪƣƫŏŰŏŧÿƣŧǣżƣŏĪŲƸĪģǝżƣŤƫěǣrÿǣǀǭǀŰŏłƣżŰ-ƸŊĪƫÿŰĪ-ƠĪƣŏżģŏŲĜŧǀģĪ-*Sange*-ܠRĜÿƸƸĪƣŏŲŃܡłżƣ-ŰÿŧĪ-ĜŊżŏƣ- ܉ܡڕڑڕڍܠ-ƸŊĪ-*Mandala Symphony*-܉ܡڌڒڕڍܠ-ƸŊĪƫǣŰƠŊżŲŏĜ-ƠżĪŰ-*Samsara* ܠ¦ĪŏŲĜÿƣŲÿƸŏżŲܡ-܉ܡڎڒڕڍܠÿŲģ-ƸŊĪ-ĜÿŲƸÿƸÿ-*Geka (Pratidesana)*-ܠ£ǀěŧŏĜ żŲłĪƫƫŏżŲܡ-ܡڏڒڕڍܠ-ܶ1/4ŊĪƫĪ-ĜżŰƠżƫŏƸŏżŲƫ-Űŏƣƣżƣ-Ŋŏƫ-ŲÿƸŏżŲÿŧŏƫƸ-ƠÿƣƸŏÿŧŏƸǣ-ƸŊƣżǀŃŊ-ƸŊĪ-ǀƫĪ- żłdÿƠÿŲĪƫĪ-ĪŧĪŰĪŲƸƫÿŲģŏŲƫżŰĪ-ĜÿƫĪƫżǜĪƣƸŧǣ-ŲÿƸŏżŲÿŧŏƫƸ-ŰĪƫƫÿŃĪƫܷ-ܠ żżŤ܉-ܶßĪŲĪƣÿěŧĪ-¼ƣÿģŏƸŏżŲƫ܉ܷ-ܡڑڌڍæżƣŏܫ ƸƫǀŲĪrÿƸƫǀģÿŏƣÿ-܉ܡڍڌڌڎܨړڌڕڍܠ-ڎڎǣĪÿƣƫżŧģĪƣ-ƸŊÿŲrÿǣǀǭǀŰŏ܉-ŊÿģƫżǀŃŊƸƫŏŲĜĪ-ƸŊĪ-ڌڏڕڍƫ-ƸżŏŲƸĪŃƣÿƸĪdÿƠÿܫ ŲĪƫĪ-ƸƣÿģŏƸŏżŲÿŧ-ŰÿƸĪƣŏÿŧŏŲƸżdÿƠÿŲĪƫĪ-ŲĪǝ-ŰǀƫŏĜ܉-ƠƣĪƫĪŲƸŏŲŃÿŲżƣĜŊĪƫƸƣÿŧǝżƣŤżł-ƸŊĪƫÿŰĪ-ƸŏƸŧĪ܉-*Bugaku*, ƸŊĪ-ƠƣĪǜŏżǀƫǣĪÿƣ-ܡڍڒڕڍܠ-1/4ŊŏƫǝżƣŤǝÿƫÿǝÿƣģĪģǿƣƫƸ-ƠƣŏǭĪÿƸ-ƸŊĪ-ĜżŰƠĪƸŏƸŏżŲżł-ƸŊĪÿŲŲǀÿŧłĪƫƸŏǜÿŧżł-ƸŊĪ-SŲƸĪƣ-ŲÿƸŏżŲÿŧ-®żĜŏĪƸǣłżƣ żŲƸĪŰƠżƣÿƣǣrǀƫŏĜ-ܠS® rܡŏŲ-SƸÿŧǣ܉ÿŲģ-ƸŊǀƫƣĪĜĪŏǜĪģǝŏģĪƫƠƣĪÿģÿƸƸĪŲƸŏżŲ-ܠGÿŧŧŏÿŲż܉- *æƕŃÿŤǀ*,ܡڍڐڍ-SŲ-ĜżŲƸƣÿƫƸ-ƸżrÿǣǀǭǀŰŏܹƫŏŲĜƣĪÿƫŏŲŃŧǣ-ĪǢƠŧŏĜŏƸƣĪłĪƣĪŲĜĪ-ƸżdÿƠÿŲĪƫĪ-ŰżģĪŧƫ܉rÿƸƫǀģÿŏƣÿ-ƸƣŏĪģ-Ƹż-

*/ǡþůƟŦĩ-ڗږܘڗܑ-1/4Żƪ'nŎƢƔrþǢƿǬƿůŎܒ-Bugakuܒ-ƟþƢƷ-ܒږůůږݗܘܱښ-ܩǛŦűܘ-ܝܪڗ-Ʒ'nĩ-ƟĩƢŁŻƢůþűěĩ-ŎűƪƷƢƿěƷŎŻű- ǜƢŎƷƷĩű-Ŏű-Ʒ'nĩƪěŻƢĩ-ƢĩþĢƪܑ-ܿà'nŻŦĩƪƷƢŎűłƪ'nŻƿŦĢ-Ěĩ-ƟŦþǢĩĢǜŎƷ'nŻƿƷ-ǛŎĚƢþƷŻ-Ʒ'nƢŻƿł'n-ܘږږ-ŦŦłŦŎƪƪþűĢŎ- ůþƢţĩĢ-- -----ŻƢ---------þƢĩ-ƷŻ-Ěĩ-ƟŦþǢĩĢ-Ŏűƪƿě'nþůþűűĩƢ-Ʒ'nþƷƪƷþƢƷŎűłűŻƷĩ-Ŏƪ-ŦĩǽƷ-ŎůůĩĢŎþƷĩŦǢܒ-ƟƢŻĢƿěŎűł- þűĩǛĩűłŦŎĢŎűłƪŻƿűĢƿűƷŎŦ-Ʒ'nĩ-ŁŻŦŦŻǜŎűłűŻƷĩ-Ŏƪ-Ƣĩþě'nĩĢܘrĩŦŻĢŎĩƪ-ƟŦþǢĩĢ-ĚǢƪŻŦŻƪƷƢŎűł-ƟŦþǢĩƢƪþƢĩ- ƷŻ-Ěĩ-ƟŦþǢĩĢ-Ŏűƪƿě'nþůþűűĩƢ-Ʒ'nþƷĩþě'nűŻƷĩ-ŎƪƪƷŻƟƟĩĢ-ĚǢþƪŎűłŦĩȁűłĩƢ-ܩƟƢĩŁĩƢþĚŦǢ-Żű-ŎűĢĩǡȁűłĩƢ-ŻŁ- ŦĩǽƷ-'nþűĢܪǜŎƷ'nŻƿƷě'nþűłŎűł-Ʒ'nĩȁűłĩƢĩǛĩű-ŎŁ-Ʒ'nĩűŻƷĩ-Ŏƪě'nþűłĩĢܘ݀*

 żƠǣƣŏŃŊƸ-ޣ-ڏڒڕڍěǣ- ݎF-£ĪƸĪƣƫ żƣƠżƣÿƸŏżŲ܉tĪǝæżƣŤ

the reference to the dance genre of the court music *gagaku*ڜڡڜ – a traditionalism characterized ĚǢ-Ʒ'nĩƪŦŎĢŎűłűŻƷĩƪ-ŻŁ-Ʒ'nĩ-ĚĩłŎűűŎűł-ܣ/ǡܤڑڐܒڑݑܒ-ŻŁ-Ʒ'nĩ-ȀƢƪƷůŻǛĩůĩűƷ-ƷƢþűƪŁŻƢůŎűł-ŎűƷŻþ-ĚƢŻþĢ- þűĢþDzȀƢůþƷŎǛĩŦǢĩǡƷĩűĢĩĢ*tutti* – it seems clear how the *tutti*ĩDz ŁĩěƷ-ĚƢƿƷþŦŦǢ-ŻǛĩƢƟŻǜĩƢƪ-Ʒ'nĩ- ƪƿĚƷŦĩ ƪƷƿĢǢ-ŻŁ- Ʒ'nĩ- ƷƢþĢŎƷŎŻűþŦ ƪƷǢŦĩܒ- SűþĢĢŎƷŎŻű܌-ŎƷ ƪĩĩůƪ- Ʒ'nþƷ- ĚĩƪŎĢĩƪþàĩƪƷĩƢű-ŎűǴŦƿĩűěĩ- in the cyclic ostinato rhythms, we may also hear traits of *gamelan* structures, which had al-ƢĩþĢǢ-ƟƢŻǛŎĢĩĢþůŻĢĩŦ-ŁŻƢrþǢƿǬƿůŎƪŎűěĩ-Ʒ'nĩĩþƢŦǢ-ڏڔژڐƪڝڡڜܒ-SűþűǢěþƪĩ܌-Ʒ'nĩ-ǛŎŻŦĩűƷĩDz ŁĩěƷ-ŻŁ- the concluding *tutti* is symptomatic of Mayuzumi's neoconservative turn during this period, ǜ'nŎě'n-ܫƪĩĩůŎűłŦǢ-ƟþƢþĢŻǡŎěþŦŦǢ-ܫǜĩűƷ-'nþűĢ-Ŏű-'nþűĢǜŎƷ'nþłƢŻǜŎűłƪ'nŎǼ ƷþǜþǢ-ŁƢŻůĩǡƟŦŎěŎƷ- ƢĩŁĩƢĩűěĩƪ-ƷŻ-Ʒ'nĩdþƟþűĩƪĩůƿƪŎě-ƷƢþĢŎƷŎŻű-Ŏű-Ʒ'nĩ-ڏڕژڐƪ܌þŦƷ'nŻƿł'n-Ʒ'nŎƪ-ƟƢŻěĩƪƪǜþƪűŻƷ-ŦŎűĩþƢܒ

SűrþǢƿǬƿůŎܼƪǜŻƢţƪþƢŻƿűĢ-܌ڏڕژڐ-Żűĩěþű-ƢĩƷƢŻƪƟĩěƷŎǛĩŦǢ-Ƣĩ쯳űŎǬĩþűþǜþƢĩűĩƪƪ-ŻŁ-Ʒ'nĩ- need to strengthen the relevance of the national in order to counteract the questionable stra-ƷĩłǢ-ŻŁ-ܹěþƷě'nŎűłƿƟܺǜŎƷ'n-/ƿƢŻƟĩþű-ĢĩǛĩŦŻƟůĩűƷƪ܌ǜŎƷ'nŻƿƷ-ܫþƷ-Ʒ'nþƷ-ƟŻŎűƷ-ܫűĩěĩƪƪþƢŎŦǢ-ŎűǛŻŦving a "patriotic" or "narrow nationalist" outrage.ڞڡڜ Cultural essentialism, however, was thus ŁŻƢĩƪ'nþĢŻǜĩĢþƪþěĩűƷƢþŦ-ĢŎƪěŻƿƢƪĩ-Ʒ'nþƷǜŻƿŦĢƪƷƢŻűłŦǢ-ŎűǴŦƿĩűěĩdþƟþűĩƪĩůƿƪŎěþƷ-ŦĩþƪƷƿűƷŎŦ- Ʒ'nĩ-ڏڗژڐƪ܌ěŻŎűěŎĢŎűłǜŎƷ'nþłĩűĩƢþŦ-ŎűěƢĩþƪĩ-ŎűűþƷŎŻűþŦŎƪƷƪĩűƷŎůĩűƷƪ-ŎűdþƟþűĩƪĩƪŻěŎĩƷǢþƪ- mirrored in the *nihonjinron*-ܣdþƟþűĩƪĩ-ĢŎƪěŻƿƢƪĩƪڟڡڜܒܤ

ĜżŰěŏŲĪƫĪƣŏÿŧ-ŰĪƸŊżģƫÿŲģ-ƸĪŲƸÿƸŏǜĪ-ĪŧĪŰĪŲƸƫżłÿŧĪÿƸżƣŏĜŏƫŰ܉ǿƣƫƸ-ǀƫĪģŏŲ-*Bugaku*܉ǝŏƸŊ-ƸŊĪdÿƠÿŲĪƫĪ-ƠŏƸĜŊƫǣƫƸĪŰ


Mayuzumi's nationalism eventually became more policit during the 1960s, conditioned by, among other factors, his encounter with the writer Yukio Mishima (1925–70), who had increasingly turned to nationalist ideas as a result of the protests against the Ampo Pact in 1960. As one of few Japanese composers, Mayuzumi combined the widespread cultural essentialism in the sense of minzoku shugi ("cultural tradition") with nationalist political ideology (kokumin shugi).387 Especially after Mishima's spectacular ritual suicide (following an "attempted coup") in 1970, Mayuzumi stepped up as a political activist and headed the nationalist organization Nihon wo mamoru kokumin kaigi (National Conterence for the Defense of Japan; since 1997 Nippon kaigi, Japan Conference) from 1981-91.388 This group, which denied Japanese war crimes, set itself the goal of reviving the principles of the Japanese empire. During the same time, Mayuzumi's Showa tenpyoraku (1970) was the first work by a Japanese composer for traditional gagaku ensemble commissioned by the Tokyo National Theater, followed by many more. 388

It is precarious to assert a direct connection between Mayuzumi's clearly positively accentuated reception of Western modernism and his political Japanese nationalism. It is as clear that both are closely related as it would be problematic simply to call Mayuzumi's highly virtuosic "synthesis" of European orchestral technique and substantial knowledge of Japanese pitch systems and practices "nationalist" – an approach that need not shy away from the comparison with Yoritsune Matsudaira or Toru Takemitsu. Declaring Mayuzumi a musical nationalist tout court would ignore the tradition-critical impulse that found its way into Mayuzum's scores along with his reception of modernity. It should also be considered that paradoxically, Mayuzumi, through the international context of the "Cultural Cold War," must generally have experienced support rather than obstruction for his neo-nationalist idiom, given that his specific combination of international postwar avant-garde and Japanese traditional idioms had resulted in a hybridity that coincided favorably with a politically motivated American cultural universalism. This was a universalism that Mayuzumi directly confronted during his stay in the USA (supported by the Ford Foundation) and at the 1961 Tokyo East-West Music Encounter.

### Luciano Berio: Collage Technique with "Suppressed Political Overtones"?

The resistance to a culturally restrictive aesthetic approach in Europe, as represented especially by Karlheinz Stockhausen's works between 1958 and 1974 (not least triggered and reinforced by the composer's multiple trips to the United States and Japan, -> II.2), was considerable from the beginning. This is reflected not least in the widespread lack of understanding among his fellow European composers (and in part audiences), who were presented in the early 1970s with the musical minimalism of Steve Reich or Terry Riley (which was also interculturally oriented).39º Less explored in this context is Luciano Berio's tendency toward transethnicism in the context of the musical collage technique for which his spectacular Sinfonia (1968, rev. 1969) has become famous. For these tendencies in Berio's work, the American influence must again be assigned a key role. Berio's acquaintance with John Cage, who had created Fontana Mix in Berio's Milanese RAI studio in 1958 and composed his Aria for Berio's American-born wife Cathy Berberian, was just one of the jigsaw pieces among Berio's many contacts with the United States. In her 2011 dissertation, Tiffany M. Kuo has compiled a precise chronology of Berio's US stays

<sup>387</sup> See Cook, "Venerable Traditions," 100-101.

<sup>388</sup> Havens, Radicals and Realists in the Japanese Nonverbal Arts, 258.

<sup>389</sup> See Everett, "Mirrors of West and Mirrors of East," 182.

<sup>390</sup> See Kleinrath, "Minimalismus/Minimal Music," 378.

*/ǡþůƟŦĩ-ژږܘڗܑhƿěŎþűŻĩƢŎŻܒ-SinfoniaݗܒƢĩ'nĩþƢƪþŦűƿůĚĩƢ-* żƠǣƣŏŃŊƸ-ޣ-ڎړڕڍěǣ-ÃŲŏǜĪƣƫÿŧ-/ģŏƸŏżŲ-ܠhżŲģżŲܡhƸģ܉hżŲģżŲ

þűĢ-Ʒ'nĩŎƢ-ܣěƿŦƷƿƢþŦܤܮƟŻŦŎƷŎěþŦ-ĚþěţłƢŻƿűĢƪښڢڜܒƪĩþƢŦǢþƪ-܌ڑڔژڐĩƢŎŻ-'nþĢ-Ěĩĩű-Ŏű-Ʒ'nĩî-ŁŻƢ-Ʒ'nĩ- ȀƢƪƷ-ƷŎůĩǜŎƷ'n-Ʒ'nĩƪƿƟƟŻƢƷ-ŻŁþfŻƿƪƪĩǛŎƷǬţǢ-FŻƿűĢþƷŎŻűƪě'nŻŦþƢƪ'nŎƟþűĢ-ƟþƢƷŎěŎƟþƷĩĢ-ŎűþěŻů-ƟŻƪŎƷŎŻűěŻƿƢƪĩǜŎƷ'nhƿŎłŎ-'þŦŦþƟŎěěŻŦþþƷ-Ʒ'nĩĩƢţƪ'nŎƢĩ-FĩƪƷŎǛþŦ-Ŏű-¼þűłŦĩǜŻŻĢ܌rþƪƪþě'nƿƪĩƷƷƪܒ-FƢŻů-ڑڕژڐ-ƷŻ-ړږژڐĩƢŎŻ-ŦŎǛĩĢůþŎűŦǢ-Ŏű-Ʒ'nĩî܌ǜ'nĩƢĩ-'nĩ-Ʒþƿł'nƷþƷ-Ʒ'nĩdƿŎŦŦŎþƢĢ-®ě'nŻŻŦ-ŁƢŻů-܌ڔڕژڐamong other activities such as numerous trips and concerts including a prolonged stay in Berlin ŁƢŻů-Ʒ'nĩĩűĢ-ŻŁ-܌ړڕژڐ-ŁƿűĢĩĢ-ĚǢ-Ʒ'nĩ-FŻƢĢ-FŻƿűĢþƷŎŻűڛڢڜܒ

Berio's *Folk Songs*-ŁŻƢůĩǬǬŻܮƪŻƟƢþűŻþűĢƪĩǛĩű-ŎűƪƷƢƿůĩűƷƪ-ŁƢŻů-ړڕژڐ-ܣþƢƢþűłĩĢ-ŁŻƢůĩǬ-ǬŻܮƪŻƟƢþűŻþűĢ-ŻƢě'nĩƪƷƢþ-Ŏű-ܤڒږژڐěþű-ƟĩƢ'nþƟƪ-Ěĩƪĩĩűþƪ-Ʒ'nĩěŻůƟŻƪĩƢܼƪ-ȀƢƪƷþƟƟƢŻþě'n-ƷŻþű- emphatically multicultural concept that largely eschews any "structural" paradigm in favor of ĩƪƷþĚŦŎƪ'nĩĢ-ܹƷƢþĢŎƷŎŻűþŦܺ-ŎĢŎŻůƪܒ-Sű-Ʒ'nĩƪþůĩ-ƟĩƢŎŻĢ܌ĩƢŎŻܼƪĩǡƟĩƢŎůĩűƷþŦůƿƪŎě-Ʒ'nĩþƷĩƢǜŻƢţƪ- more strongly accentuated the political context of the time, in particular the "messa in scena" *Passaggio*-܌ܤڑڕܫڐڕژڐܣ-ĚþƪĩĢ-Żű- ƷĩǡƷƪ-ĚǢ-/ĢŻþƢĢŻ-®þűłƿŎűĩƷŎ܌þűĢ-*Traces*-ܤڔڕژڐܣ- ŁŻƢ- ƷǜŻ ƪŻŦŻŎƪƷƪ܌- ƷǜŻþěƷŻƢƪ܌- ƷǜŻě'nŻŎƢƪ܌þűĢ-ŻƢě'nĩƪƷƢþ-ĚþƪĩĢ-Żű- ƷĩǡƷƪ-ĚǢ-®þűłƿŎűĩƷŎþűĢ-®ƿƪþű-Ǣþůþ܌ěŻůůŎƪƪŎŻűĩĢ-ĚǢ-Ʒ'nĩfŻƿƪƪĩǛŎƷǬţǢ-FŻƿűĢþƷŎŻű-ܤڐڕژڐܣþűĢěŻűěĩŎǛĩĢ-ŁŻƢþ-ƟƢĩůŎĩƢĩþƷ-Ʒ'nĩhŎĚƢþƢǢ-ŻŁ- ŻűłƢĩƪƪ-Ŏű-ܒڔڕژڐȃĩ-ĚĩŦþƷĩĢ-ƟƢĩůŎĩƢĩ-Ŏű-ژڕژڐþƷ-Ʒ'nĩ-ÃűŎǛĩƢƪŎƷǢ-ŻŁ-SŻǜþ-ŁŻŦŦŻǜĩĢ-Ʒ'nĩ-ƢĩŠĩěƷŎŻű- ŻŁ-Ʒ'nĩǜŻƢţ-ĚǢ-Ʒ'nĩ-'nĩþĢ-ŻŁ-Ʒ'nĩrƿƪŎě-'ŎǛŎƪŎŻűþƷ-Ʒ'nĩhŎĚƢþƢǢ-ŻŁ- ŻűłƢĩƪƪ܌-NþƢŻŦĢ-®ƟŎǛþěţĩܒ-Sű- ƢĩƪƟŻűƪĩ-ƷŻ-Ʒ'nĩůĩƢŎěþű- ŎǛŎŦ-¦Ŏł'nƷƪrŻǛĩůĩűƷþűĢ-£ƢĩƪŎĢĩűƷhǢűĢŻű-ܒdŻ'nűƪŻűܼƪ-ܤژڕܫڒڕژڐܣ- ŎűþƿłƿƢþŦþĢĢƢĩƪƪ-ږڑܣtŻǛĩůĚĩƢ- ܌ܤڒڕژڐǜŎƷ'n-ƢĩŁĩƢĩűěĩ- ƷŻ dܒFܒfĩűűĩĢǢܼƪ- ƷĩƪƷŎůŻűǢ܌ǜ'nŎě'n-ĢĩůþűĢĩĢ-Ʒ'nþƷůĩƢŎěþűƪ-ܹĩŦŎůŎűþƷĩ-ŁƢŻů-Ʒ'nŎƪtþƷŎŻűĩǛĩƢǢ-ƷƢþěĩ-ŻŁ-ĢŎƪěƢŎůŎűþƷŎŻűþűĢ-ŻƟƟƢĩƪsions that is based upon race or color,"ڜڢڜĩƢŎŻܼƪǜŻƢţƪ'nŻǜƪ-'nŻǜ-ƷƢþěĩƪ-ŻŁ-ƢþěŎþŦ-ĢŎƪěƢŎůŎűþƷŎŻű- were still ubiquitous in everyday American life.ڝڢڜȃƿƪ܌-*Traces* can be understood as a musical analogy to the critique of the reality of President Johnson's "Great Society" model that appeared Ŏű-NĩƢĚĩƢƷrþƢěƿƪĩܼƪ-ڕڕژڐĩƪƪþǢ-ܹȃĩ-SűĢŎǛŎĢƿþŦ-Ŏű-Ʒ'nĩ-GƢĩþƷ-®ŻěŎĩƷǢܒܺڞڢڜĩƢŎŻܼƪǜŻƢţǜþƪěŻűceived exclusively for an African-American ensemble, with the exception of the mezzo-soprano, Ŏűǜ'nŎě'n-Żűĩ-ŻŁ-Ʒ'nĩ-ŻƟƟŻƪŎűłłƢŻƿƟƪǜþƪ-ƷŻǜĩþƢǜ'nŎƷĩůþƪţƪܒȃŎƪěŻűŁƢŻűƷþƷŎŻűþŦ-ĢƢþůþƷƿƢłǢǜþƪ-ŎűǴŦƿĩűěĩĢ-ĚǢdĩþű-GĩűĩƷܼƪ-ƟŦþǢ-*Les nègres*-܌ܤڗڔܘږڔژڐܣǜ'nŎě'n-'nþĢ-ĚĩěŻůĩ-ƟŻƟƿŦþƢ-Ŏű-Ʒ'nĩ- îþƷ-Ʒ'nĩ-ƷŎůĩ-Ʒ'nƢŻƿł'nþű-ŻDz ŁܮƢŻþĢǜþǢ-ƟƢŻĢƿěƷŎŻűƿűĢĩƢ-Ʒ'nĩ-ƷŎƷŦĩ*-Ȅĩ-Ŧþěţƪ*. ڟڢڜ In addition ƷŻ-Ʒ'nĩ-ƟƢŻǛŻěþƷŎǛĩ-ŦŎĚƢĩƷƷŻ܌-Ʒ'nŎƪěŻűěĩƟƷŎŻűǜþƪ-ŁŻƿűĢ-ƷŻ-Ěĩ-ŎűěŻůƟþƷŎĚŦĩǜŎƷ'n-Ʒ'nĩ-ŻDzȀěŎþŦ-ŦŎűĩ- ŻŁ-ܹěŻűƷþŎűůĩűƷܺþűĢƿŦƷŎůþƷĩŦǢ-ŦĩĢ-ƷŻ-®ƟŎǛþěţĩܼƪ-ƢĩŠĩěƷŎŻűڠڢڜܒ By contrast, *Passaggio* (which had caused massive public protests at the premiere in the *Piccola Scala*-ŎűrŎŦþű-ŎűrþǢ-܌ܤڡڢڜڒڕژڐþ- ǜŻƢţěŻůůŎƷƷĩĢ-ƷŻ-ŎűƷĩƢþěƷŎŻűþűĢě'nþŦŦĩűłŎűł-Ʒ'nĩþƿĢŎĩűěĩ-Ŏű-Ʒ'nĩƪĩűƪĩ-ŻŁĩƢƷŻŦĢ-Ƣĩě'nƷܼƪ-

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ڼڽڷ- -Sěŏģ܉-ܔڒڏƫĪĪÿŧƫż-/ŊƣŰÿŲŲܫNĪƣłżƣƸ܉-ܶ1/4ĪÿƸƣż-ƠĪƣ-ŃŧŏżƣĪĜĜŊŏ܉ܷ ڑړܨڏړ

**AA**

ĩƟŎě-Ʒ'nĩþƷĩƢþűĢ-/ƢǜŎű-£ŎƪěþƷŻƢܼƪ-ƟŻŦŎƷŎěþŦ-Ʒ'nĩþƷĩƢ܌-ŦþƢłĩŦǢ-ĚĩűĩȀƷƷĩĢ-ŁƢŻůþ-ĢŎƪƷŎűłƿŎƪ'nĩĢ-ƟƿĚܮ licڢڢڜþƷ-Ʒ'nĩ-ږڕژڐî-ƟƢĩůŎĩƢĩþƷ-Ʒ'nĩdƿŎŦŦŎþƢĢ-®ě'nŻŻŦþűĢ-NþƢǛþƢĢ-ÃűŎǛĩƢƪŎƷǢ܌ƪƿƟƟŻƢƷĩĢ-ĚǢ-Ʒ'nĩ ¦ŻěţĩŁĩŦŦĩƢ-FŻƿűĢþƷŎŻűܒ-Sű-Ʒ'nŎƪǜŻƢţ܌-Ʒ'nĩ-ƟƢŻĚŦĩů-ŻŁ-ĢŎƪěƢŎůŎűþƷŎŻűǜþƪ-ƷƢĩþƷĩĢ-ŎűþůŻƢĩłĩűܮ eralized social sense,ڙڙڝ-Ŧĩƪƪ-ĢŎƢĩěƷŦǢěŻűŁƢŻűƷŎűłěŻűƷĩůƟŻƢþƢǢî-ƟŻŦŎƷŎěƪܒ

hþƷĩƢǜŻƢţƪ- ĚǢĩƢŎŻ ƪƿě'nþƪ-*Sinfonia* and *Coro*-ܤڕږܫڔږژڐܣ- ƢĩþěƷĩĢ- ƷŻ- Ʒ'nĩƪĩ ěŻűǴŦŎěƷŎűłĩűcounters with *Realpolitik* insofar as they radically expanded the plurality of cultural associa-ƷŎŻűƪþűĢƪƷǢŦŎƪƷŎě-ŦĩǛĩŦƪþŦƢĩþĢǢ-ŦþŎĢ-ĢŻǜű-Ŏű-Ʒ'nĩ-ƷǜŻþŁŻƢĩůĩűƷŎŻűĩĢůƿƪŎě-Ʒ'nĩþƷĩƢǜŻƢţƪ-ŎűƷŻ- a comprehensive collage, ironically undermining overt political statements. In the third movement of *Sinfonia*, Berio paraphrases a sentence from a separate essay published in the same year ܤڗڕژڐܣ-ܫ-ŎűƷĩƢƢƿƟƷŎűł-Ʒ'nĩ-ǴŦŻǜ-ŻŁþ-ƷĩǡƷƿþŦ-ŦþǢĩƢ-ŁƢŻů-®þůƿĩŦĩěţĩƷƷܼƪ-*Ȅĩ-ÃűűþůþĚŦĩ-*– shortly þǼ ƷĩƢ-Ʒ'nĩ-ƢĩěþƟŎƷƿŦþƷŎŻű-ŻŁ-GƿƪƷþǛrþ'nŦĩƢܼƪ-®ě'nĩƢǬŻ-ŁƢŻů-Ʒ'nĩ-®ĩěŻűĢ-®ǢůƟ'nŻűǢ܌ǜ'nŎě'nƪĩƢǛĩƪ- þƪþƪƷƢƿěƷƿƢþŦ-ĚþƪŎƪ- ŁŻƢ- Ʒ'nĩůŻǛĩůĩűƷ-ܣƢĩ'nĩþƢƪþŦűƿůĚĩƢ-܌-1/4ĩűŻƢ-S܌-/ǡ܋ܤڒڐܒڑݑܒ- ܹܢ܍ܡþŦŦ- Ʒ'nŎƪ- ěþűܼƷƪƷŻƟ-Ʒ'nĩǜþƢ܌ěþűܼƷůþţĩ-Ʒ'nĩ-ŻŦĢ-ǢŻƿűłĩƢ܌-ŻƢ-ŦŻǜĩƢ-Ʒ'nĩ-ƟƢŎěĩ-ŻŁ-ĚƢĩþĢܺښڙڝ) in the essay, there ǜþƪ- ƷþŦţ-ŻŁ- ܹůƿƪŎěܺþƷ- Ʒ'nŎƪ-ƟŻŎűƷ܌ǜ'nŎě'n-Ŏƪ-ƢĩƟŦþěĩĢ-ĚǢ- ܹþŦŦ- Ʒ'nŎƪܺ-Ŏű- Ʒ'nĩƪěŻƢĩ܌- Ʒ'nþƷ-Ŏƪ- ƷŻƪþǢ܌-ŎƷ- points self-referentially to the previously heard "music"ܒܤڛڙڝȃĩěŻűƷĩǡƷþűĢ-Ʒ'nĩƪŎůƿŦƷþűĩŻƿƪ- layers of additional musical and textual quotations here create a clear distance from any form ŻŁ-ƟŻŦŎƷŎěþŦþěƷŎǛŎƪů܋-Ʒ'nĩƢĩþƢĩơƿŻƷþƷŎŻűƪ-ŁƢŻů-'ĩĚƿƪƪǢܼƪ-*La mer* and Schoenberg's *Ƣě'nĩƪƷƢþŦ- Piece*-ŻƟܒ-܌ڕڐűŻ܌ڐݑܒþŦŻűłƪŎĢĩþơƿŻƷþƷŎŻű-ܣĩǛŻţŎűł-Ʒ'nĩƪĩþܤ-ŁƢŻů-£þƿŦßþŦĪƢǢܼƪ-ƟŻĩů-ܹhþěŎůŎƷŎĸƢĩ- ůþƢŎűܒܺȃĩ-ĢŎƪƷþűěŎűł-ŁƢŻů-Ʒ'nĩ-ƟŻŦŎƷŎěþŦěŻűƷĩűƷ-ŻŁĩƢŎŻܼƪ-ŻǜűƪƷþƷĩůĩűƷ-ŎƪĩǛĩűůŻƢĩĩǡƟŦŎěŎƷ- in its second appearance in varied form – at the request "Say it again, louder!" (three measures þǼ ƷĩƢ-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-܌-ŦƷŻݑSܗܤ-'nĩƢĩ-Ʒ'nĩůŻǛĩůĩűƷ-ĚĩěŻůĩƪ-ŎűǛŻŦǛĩĢ-Ŏűþű-ܹþĚƪƿƢĢܺě'nþŎű- ŻŁþƪƪŻěŎþƷŎŻűƪ܌-ܹĢĩƪƟþƢþƷĩܡŦǢܢܺƪƟŻţĩű-ĚǢ-¼ĩűŻƢ-SܣݑȀǛĩůĩþƪƿƢĩƪþǼ ƷĩƢ-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-܋ܤ-

ŏƸ-ĜÿŲߴƸƫƸżƠ-ƸŊĪǝÿƣƫ܉-ĜÿŲߴƸ-ŰÿŤĪ-ƸŊĪżŧģǣżǀŲŃĪƣżƣŧżǝĪƣ-ƸŊĪ-ƠƣŏĜĪżłěƣĪÿģ܉-ĜÿŲߴƸ-ĪƣÿƫĪƫżŧŏƸǀģĪ- żƣģǀŧŧ-ƸŊĪ-ƸƣĪÿģżǀƸƫŏģĪ-ƸŊĪģżżƣ܉ǝĪ-ĜÿŲżŲŧǣ-Ųżģ܉ǣĪƫ܉ŏƸߴƫ-ƸƣǀĪ܉ěǀƸ-Ųż-ŲĪĪģ-ƸżƣĪŰŏŲģ܉-Ƹż-ƠżŏŲƸ܉- łżƣŏƸŏƫÿŧŧǝŏƸŊ-ǀƫ܉ÿŧǝÿǣƫ܉-ĪǢĜĪƠƸ܉-ƠĪƣŊÿƠƫÿƸ-ĜĪƣƸÿŏŲ-ŰżŰĪŲƸƫ܉-ŊĪƣĪÿŰżŲŃ-ƸŊĪƫĪƣżǝƫżłěÿŧĜż-ŲŏĪƫ܉ŏŲÿ-ĜƣżǝģżƣżǀƸżłŏƸ܉-ƠĪƣŊÿƠƫǝÿŏƸŏŲŃ-Ƹż-ĪŲƸĪƣ܉ǝÿƸĜŊŏŲŃڙږښ

In addition, the two textual self-citations are separated by the intervening climactic chord (B ůŎűŻƢ-ŻǛĩƢ-Ʒ'nĩ-ĚþƪƪűŻƷĩ- ܤ-ŁƢŻůrþ'nŦĩƢܼƪ-®ě'nĩƢǬŻ܌þĚƪƷƢþěƷŎűł-Ʒ'nĩěŻűƷĩűƷ-ŻŁ-Ʒ'nĩƪƟŻţĩűƪƷþƷĩments further as part of a formal music-speech dramaturgy.

Sű-'nŎƪþƢƷŎěŦĩ-ܹrĩĢŎƷþƷŎŻű-Żűþ-¼ǜĩŦǛĩܮƷŻűĩ-NŻƢƪĩ܌ܺ-ŁƢŻů-Ʒ'nĩƪþůĩ-ǢĩþƢ-܌ܤڗڕژڐܣĩƢŎŻþĢĢƪ-ƷŻ- the sentence quoted in *Sinfonia* the idea that "[n]ever before […] have responsible composers felt ƪŻěŻůƟĩŦŦĩĢ- ƷŻě'nþŦŦĩűłĩ- Ʒ'nĩůĩþűŎűł-ŻŁþűĢ-ƢĩþƪŻűƪ- ŁŻƢ- Ʒ'nĩŎƢǜŻƢţ-Ŏű-ƢĩŦþƷŎŻű- ƷŻ- Ʒ'nĩǜŻƢŦĢ-

ڕڌڍܨڒڌڍܷ-܉SŲģŏǜŏģǀÿŧŏƫŰ-ŰĪƣŏĜÿŲżŰƠżƫŏŲŃ -ܶ܉fǀż- -ڽڽڷ

ڴڴڸ- -RĪĪ-/ŊƣŰÿŲŲܫNĪƣłżƣƸ܉-ܶ1/4ĪÿƸƣż-ƠĪƣ-ŃŧŏżƣĪĜĜŊŏ܉ܷڑړܨڏړݎ

ڵڴڸ- -ܶŲģ ǝŊĪŲ- ƸŊĪǣ ÿƫŤ܉ ǝŊǣ ÿŧŧ- ƸŊŏƫ܉ ŏƸ ŏƫ- ŲżƸ- Īÿƫǣ- Ƹż ǿŲģ ÿŲ ÿŲƫǝĪƣ- Fżƣ܉ ǝŊĪŲ ǝĪ ǿŲģ żǀƣƫĪŧǜĪƫ܉ łÿĜĪ- Ƹż łÿĜĪ܉- Ųżǝ܉-ŊĪƣĪ܉ÿŲģ-ƸŊĪǣƣĪŰŏŲģ-ǀƫ-ƸŊÿƸÿŧŧ-ƸŊŏƫ-ĜÿŲߴƸƫƸżƠ-ƸŊĪǝÿƣƫ܉-ĜÿŲߴƸ-ŰÿŤĪ-ƸŊĪżŧģǣżǀŲŃĪƣżƣŧżǝĪƣ-ƸŊĪ-ƠƣŏĜĪżł- bread" (Berio, *Sinfonia*܉ڔڔܨړڔݎ܉ƣĪŊĪÿƣƫÿŧ-ŲǀŰěĪƣ-ܡ-FżǀŲģÿƸŏżŲÿŧƣĪƫĪÿƣĜŊżŲ-Īƣŏżܹ-ŃƣżǀŲģěƣĪÿŤŏŲŃǝżƣŤ- is provided in Altmann, Sinfonia *von Luciano Berio*, Osmond-Smith, *Playing on Words*܉ ÿŲģ ÿŲģǀƣ܉- ܸܶS- ƠƣĪłĪƣ ÿ- ǝÿŤĪ܉ܹܷÿŰżŲŃżƸŊĪƣƫ

ڶڴڸ- -ܶàĪÿŧŧ-ŤŲżǝ-ƸŊÿƸ-ŰǀƫŏĜ-ĜÿŲܹƸŧżǝĪƣ-ƸŊĪ-ĜżƫƸżłěƣĪÿģ܉ŏƫŏŲĜÿƠÿěŧĪżłƫƸżƠƠŏŲŃ-ܠżƣƫƸÿƣƸŏŲŃ܉łżƣ-ƸŊÿƸ-ŰÿƸƸĪƣܡ- ǝÿƣƫ܉-ĜÿŲŲżƸ-ĪƣÿģŏĜÿƸĪƫŧǀŰƫÿŲģŏŲšǀƫƸŏĜĪܷ-ܠĪƣŏż܉-ܶ1/4ŊĪ żŰƠżƫĪƣżŲ-NŏƫàżƣŤܷܡ-RĪĪfǀż܉-ܶ żŰƠżƫŏŲŃ-ŰĪƣܫ ړڏڍܨڑڏڍܷ-܉SŲģŏǜŏģǀÿŧŏƫŰŏĜÿŲ

ڍڕܨڕڔ-܉*Sinfonia* ,Berio ڷڴڸ

of events."404 In the second movement of Sinfonia, too, the political content is markedly reduced in comparison to the overtly political music of Traces: the textual material of this homage to Martin Luther King consists exclusively of the sounds of the name of the civil rights activist murdered during the composition of the work (4 April 1968; the second movement had already been composed in 1967). On this basis, Kuo diagnosed in Sinfonia "suppressed political overtones that would jeopardize a harmonious image of American freedom and democracy. […] I argue that Berio acceded to George Kennan's 1965 exhortation to artists to 'forbear' rather than to criticize directly America's failings."05 The historian and diplomat George F. Kennan, the inventor of containment policy, in a White House speech in 1965 called for such "tolerance" of American artists toward the government, in exchange for the unlimited freedom that he afforded them at the same time – in deliberate contrast to the concept of "art as a weapon," which was attributed to Soviet cultural policy.40 The concept of freedom underlying this attitude was emphasized several times by the generally art-friendly administration of the Johnson presidency. On the one hand, freedom was understood as a "negative" freedom from restrictions (freedom of speech, religion, and assembly), but on the other hand as a "positive" freedom for the responsibility of the artist in society, with the goal of peace and "strengthening the nation," as formulated by president Johnson in 1965.407 Kuo makes it clear how this specifically American concept of freedom, as represented by the Congress for Cultural Freedom, found paradigmatic expression in Berio's Sinfonia: the work individualizes the listening experience of each recipient, especially since the strategies of perception in relation to the complexity of this text-music collage are heavily dependent on listening background, level of education, age, political attitude, etc.408 In this respect, the work realizes a maximum of "negative" freedom on the reception level. By contrast, examining Sinfonia and the evidence of past and present listeners' reactions to the work® make the relationship between the art world and reality particularly explicit – albeit with almost no direct reference to daily politics – thus also honoring the aim of "positive" freedom.

Was Berio really a "model composer for America's cultural Cold War battle," as Kuo put it? Does the following conclusion not fall short? – "As an Italian-born American resident who garnered financial resources in academia, from private foundations, and from performing arts organizations, Berio reciprocated his gratitude with a sanitized and apolitical text in the second movement of Sinfonia to prove his allegiance."40 Berio undoubtedly showed a considerable understanding of the precarious political situation in his adopted American home, and Sinfonia (for example, via the involvement of the Swingle Singers, long known in popular culture before the world premiere of Berio's work) may even be something like a "designed success" (Morton Subotnick™). Even so, we can clearly see that Sinfonia is by no means the result of a politically corrupted aesthetic, but draws on the achievements of serial music – the autonomy of the individual in the context of a still-related whole, as well as the treatment of the various text sources - in the tradition of the late 1950s and 1960s Sprachkomposition - the emancipation

411 Quoted in ibid., 163.

<sup>404</sup> Berio, "The Composer on His Work." See Kuo, "Composing American Individualism," 137.

<sup>405</sup> Kuo, "Composing American Individualism," 31.

<sup>406</sup> George F. Kennan, "The Arts and American Society," White House Speech 15/6/1965, quoted in Kuo, "Composing American Individualism," 150-151.

<sup>407</sup> Quoted in Kuo, "Composing American Individualism," 183-184.

<sup>408</sup> lbid. 169-180.

<sup>409</sup> See ibid., 158-169.

<sup>410</sup> lbid.

ŻŁ-Ʒ'nĩƪŻƿűĢ--ŻŁ-Ŧþűłƿþłĩ-ŁƢŻů-Ʒ'nĩěŻűƷĩǡƷ-ŻŁůĩþűŎűłܒȃĩƢĩŁŻƢĩ܌-Ʒ'nĩǜŻƢţ-ƟþƢƷŎěŎƟþƷĩƪ-Ŏűþű- essential development in compositional history. It was not until *Coro*-ܫ-Ʒ'nþƷ-Ŏƪ܌þǼ ƷĩƢ-'nŎƪ-ƢĩƷƿƢű- ƷŻ-/ƿƢŻƟĩ-ܫ-Ʒ'nþƷĩƢŎŻ-ƢĩƪŻƢƷĩĢ-ƷŻþűĩǡƟŦŎěŎƷŦǢ-ŎűƷĩƢěƿŦƷƿƢþŦěŻűěĩƟƷ-ܣůƿƪŎě-ŁƢŻů-£ĩƢƿ܌ ĩűƷƢþŦ- ŁƢŎěþ܌þűĢůĩĢŎĩǛþŦþűĢ-¦ŻůþűƷŎě-/ƿƢŻƟĩþƢĩþŦŦ-ŎűěŻƢƟŻƢþƷĩĢ-ŎűƷŻþ-ƟƢŻűŻƿűěĩĢƪƷƢƿěƷƿƢþŦܮ ism܌ܤڛښڝ-ƟƿƢƪƿŎűł-Ʒ'nĩþŎů-ƷŻ-ȀűĢ-ܹƢĩŦþƷŎŻűƪ-ĚĩƷǜĩĩű-ǛĩƢǢ-ĢŎƪƷþűƷ-ƟŻŎűƷƪܒܺڜښڝ Still, a comparable universalistic model in the sense of a concert music "world theater" had already been developed in a mature form in *Sinfonia*ܒȃþƷĩƢŎŻ-Ŏű-Ʒ'nĩƪĩǜŻƢţƪþǛŻŎĢĩĢƿűþůĚŎłƿŻƿƪ-ƟŻŦŎƷŎěþŦ- ƪƷþƷĩůĩűƷƪ-ܫþƪĩƢűĢ-ŦŻŎƪðŎůůĩƢůþű-ĢŻĩƪþƷ-Ʒ'nĩƪþůĩ-ƷŎůĩ-Ŏű-'nŎƪ-*Requiem für einen jungen Dichter*-܌ܤژڕܫږڕژڐܣǜ'nŎě'n-ŎƪěŻůƟþƢþƷŎǛĩŦǢűƿþűěĩĢ-Ŏű-ŎƷƪ-ƟŻŦŎƷŎěþŦůĩƪƪþłĩڝښڝ – without giving ƿƟ-Ʒ'nĩěŻűűĩěƷŎŻű-ƷŻ-Ʒ'nĩ-ƟƢĩƪĩűƷ܌ƪ'nŻƿŦĢ-ĚĩěŻűƪŎĢĩƢĩĢþ-ƟþƢƷŎěƿŦþƢơƿþŦŎƷǢܒȃĩěƿŦƷƿƢþŦþűĢ- ƟŻŦŎƷŎěþŦ-ƟƢĩƪĩűƷ-Ŏű-Ʒ'nŎƪǜŻƢţ-Ŏƪ-ƷþűłŎĚŦĩ-ŁŻƢĩǛĩƢǢ-ŦŎƪƷĩűĩƢþűĢƪŎłűŎȀĩƪþơƿþŦŎƷǢ-Ʒ'nþƷěþűűŻƷ-Ěĩ- adequately interpreted according to any model based on the polarizations of the Cold War, no matter how much these were undoubtedly involved in Berio's concept.

܇܇܇

Sű ƪƿů܌- Ʒ'nĩ- Ʒ'nƢĩĩ ěþƪĩ ƪƷƿĢŎĩƪ- ĢŎƪěƿƪƪĩĢ-Ŏű- Ʒ'nŎƪ ě'nþƟƷĩƢ-ŻDz ŁĩƢ-ŎůƟŻƢƷþűƷ- 'nŎƪƷŻƢŎěþŦ-ŎűƪŎł'nƷƪ܋- ĢƿƢŎűł-Ʒ'nĩ-ڏڔژڐƪþűĢ-ڏڕژڐƪ܌ůþűǢěŻůƟŻƪĩƢƪěŻűƪěŎŻƿƪŦǢěŻűěĩŎǛĩĢ-ŻŁěŻůƟŻƪŎűł-ŎűþłŦŻĚþŦ- ƟŻŦŎƷŎěþŦ ěŻűƷĩǡƷܗ- Ʒ'nŎƪþǜþƢĩűĩƪƪ-ŻŁ- ܹŎűƷĩƢűþƷŎŻűþŦܺ- ƢĩŦþƷŎŻűƪ-ƟƢŻǛŎĢĩĢ- ŁĩƢƷŎŦĩ łƢŻƿűĢ- ŁŻƢ ƿűŎversalist concepts, even if they sometimes appeared in a "neo-nationalist" guise, as in Mayuzumi's case. However, Cowell's *űłþţƿ*, Mayuzumi's *Bugaku*, and Berio's *Sinfonia* respond to Ʒ'nŎƪ ƪŎƷƿþƷŎŻűǜŎƷ'n ƪƷƢŎţŎűłŦǢ-ĢŎDz ŁĩƢĩűƷþűĢ-ŎűĢŎǛŎĢƿþŦþƟƟƢŻþě'nĩƪ- Ʒ'nþƷěþűűŻƷ- Ěĩ ƪƿĚƪƿůĩĢ- under any shared historical label. Cowell's American model of a "hybrid music," an idealized ůŻĢĩŦ- ŻŁ- ƷƢþűƪĩƷ'nűŎěŎƪůܗ rþǢƿǬƿůŎܼƪ dþƟþűĩƪĩ űĩŻܮűþƷŎŻűþŦŎƪů܌- ŻƟƷŎůŎǬŎűł- ƷƢþĢŎƷŎŻűþŦŎƪƷ- ƪƷƢƿěƷƿƢĩƪ-ĚǢàĩƪƷĩƢűůĩþűƪܗþűĢĩƢŎŻܼƪ-ƟŻŦŎƷŎěþŦŦǢþĚƪƷƢþěƷĩĢ-ŁŻƢů-ŻŁƿűŎǛĩƢƪþŦŎƪƷůŻűƷþłĩ܌- ƷŻǜ'nŎě'nǜĩůŎł'nƷþĢĢ-®ƷŻěţ'nþƿƪĩűܼƪĩůƟ'nþƷŎě-ܹǜŻƢŦĢůƿƪŎěܺ-ŎĢĩþƪ-ދܣ-SS܌ܤڑܒ-ŻěěƿƢƢĩĢ-ܹƪŎůƿŦƷþűĩŻƿƪŦǢܺ-Żű-Ʒ'nĩ-'nŎƪƷŻƢŎěþŦƪƷþłĩ-ĚƿƷ-ƷĩƪƷŎŁǢ-ƷŻ-ƢþĢŎěþŦŦǢ-ĢŎDz ŁĩƢĩűƷ-ŦŻěþŦ܌-ŎűĢŎǛŎĢƿþŦ܌-ƟŻŦŎƷŎěþŦ܌þűĢ- þĩƪƷ'nĩƷŎě-ƟƢĩěŻűĢŎƷŎŻűƪ-ŻŁěŻůƟŻƪŎƷŎŻűþŦěƢþǼ Ʒƪůþűƪ'nŎƟ܌ƪƷƢƿěƷƿƢþŦþűĢ-ƷŎůĚƢþŦ-ŻƢłþűŎǬþƷŎŻű܌- performance, and reception. At the same time, all three composers were inclined to underƪƷþűĢ-Ʒ'nĩŎƢůƿƪŎěþƪ-ƟþƢƷŎěƿŦþƢŦǢ-ܹƟƿĚŦŎě܌ܺ-ŦŎűţŎűł-Ʒ'nĩŎƢěŻůƟŻƪŎƷŎŻűƪ-ƷŻůþűǢ-ŻŁ-Ʒ'nĩ-ŻƷ'nĩƢǜŻƢţƪ- ůĩűƷŎŻűĩĢĩþƢŦŎĩƢ-Ŏű-Ʒ'nŎƪě'nþƟƷĩƢ܌-ƷŻǜ'nŎě'n-ŻűĩůŎł'nƷþĢĢ-ŎĢŎŻƪǢűěƢþƷŎě-ƟŎĩěĩƪ-ŦŎţĩhƿŎłŎtŻűŻܼƪ- *SűƷŻŦŦĩƢþűǬþ-ڕڛڞږ*-܌ܤڏڕژڐܣ-1/4ƔƢƿ-¼þţĩůŎƷƪƿܼƪ-*November Steps*-܌ܤږڕژڐܣĩƢűĢ-ŦŻŎƪðŎůůĩƢůþűűܼƪ-*Requiem für einen jungen Dichter*-܌ܤژڕܫږڕژڐܣ-ŻƢ-ŦŁƢĩĢ-®ě'nűŎƷƷţĩܼƪ-FŎƢƪƷ-®ǢůƟ'nŻűǢ-ܒܤڑږژڐܣ-'ĩƪƟŎƷĩ-Ʒ'nĩ- ĩǛŎĢĩűƷ-ƟŻŦŎƷŎěþŦ-ŎůƟþěƷ-ŻŁþŦŦ-Ʒ'nĩƪĩǜŻƢţƪ܌-ŎƷƪĩĩůƪþěŦĩþƢƿűĢĩƢĩƪƷŎůþƷŎŻű-ŻŁ-Ʒ'nĩŎƢƪĩůŎŻƷŎě- þůĚŎłƿŎƷǢ- ƷŻ- ƢĩĢƿěĩ- Ʒ'nĩů- ƷŻůĩƢĩ- ܣŎŁ- ƟþƢƷŦǢ ƿűěŻűƪěŎŻƿƪܤ- ƢĩþěƷŎŻűƪ- ƷŻ- ܣŻƢ- ƢĩƪƿŦƷƪ- ŻŁܤ- ƟŻŦŎƷŎcal discourses. By continuously reframing and reconsidering established concepts of identity, all these composers ultimately contributed to challenging the global hegemony of estab-ŦŎƪ'nĩĢàĩƪƷĩƢűěŻűěĩƟƷƪ-ŻŁůƿƪŎěܒ-'ĩƪƟŎƷĩ-Ʒ'nĩ-ǛþƢŎŻƿƪűŻűܮƪǢűě'nƢŻűŻƿƪ-ƟƢŻěĩƪƪĩƪ-ŎűǛŻŦǛĩĢ-Ŏű- the political and musical layers of their musical aesthetics, the anti-traditionalist impulse of

ڶڵڸ- -Ų-ƸŊĪƣĪłĪƣĪŲĜĪŏŲ-Īƣŏżܹƫ-*Coro*-Ƹż-ƸŊĪ-ŰǀƫŏĜżł-ƸŊĪ- ĪŲƸƣÿŧłƣŏĜÿŲÿŲģÿhŏŲģÿŏŲ-®ŏŰŊÿƣżŰܹƫ-ƸƣÿŲƫĜƣŏƠƸŏżŲ܉- ƫĪĪ-®ĜŊĪƣǭŏŲŃĪƣ܉-ܶhǀĜŏÿŲż-Īƣŏżܹƫ-*Coro*" ÿŲģ-'ƣĪǣĪƣ܉-ܶ1/4ŊĪżƣŏĪÿǀƫģĪƣ-FĪƣŲĪ܉ܷ-ڒڑܨڏڑ-SŲ-*Sequenza XIV* for Violoncelŧż-ܡڎڌڌڎܠ-ĪƣŏżǝżƣŤĪģǝŏƸŊŏŲłżƣŰÿƸŏżŲłƣżŰ-ƸŊĪƫżŧżŏƫƸÿƸ-ƸŊĪ-ƠƣĪŰŏĪƣĪ܉-¦żŊÿŲģĪ-®ÿƣÿŰ܉ÿěżǀƸ-ƸƣÿģŏƸŏżŲÿŧ- ƣŊǣƸŊŰŏĜ-ŰżģĪŧƫłƣżŰ-®ƣŏhÿŲŤÿ-ܠģĪ-®ÿƣÿŰܹƫ-ŲÿƸŏǜĪ-ĜżǀŲƸƣǣܡ

ڏڎ-܉*Interviews Two* ,Berio ڷڵڸ

ڸڵڸ- -Fżƣÿ-ĜżŰƠƣĪŊĪŲƫŏǜĪŏŲƸĪƣƠƣĪƸÿƸŏżŲżł-ƸŊŏƫ-ŰÿšżƣǝżƣŤƫĪĪ-NŏĪŤĪŧ܉-*ĪƣŲģŧżŏƫðŏŰŰĪƣŰÿŲŲƫ-*¦ĪƢǀŏĪŰłdžƣ-ĪŏŲĪŲ- jungen Dichter.

the Western postwar avant-garde and its paradoxical allegiance to so-called "traditional" musics reveal a basic ambiguity in postwar music history that, in its best moments, provided impressive proof of a general public relevance of art music. Considering the worldwide marginalization of art music's role in later periods and in today's commercialized and digitalized societies, one cannot help but see this public impact as the primary quality that distinguishes the globalized music of the postwar decades from that of the present.

### 6. Categories of Intercultural Reception in Western Composition

This concluding chapter of part II attempts to draw a broader picture of intercultural composition in the West than the admittedly narrow focuses of the three preceding chapters. The intention here is to follow the development of basic aesthetic and technical paradigms from the immediate postwar period to the more recent decades of the late twentieth and early twentyfirst centuries. Although "transnational" perspectives certainly predominate in the following, the exclusive attention given to Western composers may appear at odds with the "entangled" perspectives developed in the preceding chapters. Of course, we must acknowledge that many compositional processes, decisions, and innovations since the postwar period were and are still deeply dependent on specific processes that Western music history has created. The impact of John Cage, explored at the beginning of this chapter, is surely a case in point. Also, as the final part of this chapter on compositions for the Chinese mouth organ sheng demonstrates, the migration of performers and composers tends to make a neat definition of the "West" increasingly arbitrary from the final period of the twentieth century onward - even though cultural essentialism (as we will see) was doubtless still relevant and influential for musical thought and compositional agency.

The self-referentiality of postwar serial "logic" and John Cage's conception of a music "free of likes and dislikes" shared a suppression of ethnic layers: it is no coincidence that Cage's transfer of the model of "unimpededness and interpenetration" (ww ai yuan rong), derived from Huayan Buddhism, to an intentionless continuum of sounds and silences45 emerged in close dialogue with Pierre Boulez's early serial techniques.466 Both concepts can be equally understood as attempts to free music from any form of established grammar or idiom. Postserial Sprachkomposition of the late 1950s and 1960s, 40 whose tradition is still alive today, continued to flirt with a rigorous elimination of semantic components of language(s), as in György Ligeti's Aventures (1962), which (like Mauricio Kagel's Anagrama, 1957–58) was based on a meticulously organized system of asemantic sounds free from the rules of existing languages. At the same time, Sprachkomposition instigated a dynamics compensating for such a negation of language: Dieter Schnebel's Glossolalie 61 (1961–65), distinguished by the inclusion of an abundance of language and articulation systems, and Karlheinz Stockhausen's universalism of the 1960s, which culminated in the controversial electronic works Telemusik (1966) and Hymnen (1965–67) (→ II.2), can be perceived as globally expanded attempts to recapture the ability of music to "speak" in different idioms and

<sup>415</sup> See Pritchett, The Music of John Cage, 74–78, Klein, "Gegenseitige Durchdringung und Nicht-Behinderung," and Utz, Neue Musik und Interkulturalität, 78–84.

<sup>416</sup> See Nattiez and Piencikowski, Pierre Boulez-John Cage. Correspondance et documents.

<sup>417</sup> See Klüppelholz, Sprache als Musik for an introduction into the key works of German Sprachkomposition, and Utz and Lau, Vocal Music and Contemporary ldentities for a broader few on intercultural tendencies in twentiethcentury vocal music.

colors. A negative of these ethnicized attempts at a "universal language" appeared in Kagel's ŎƢŻűŎě-ĢĩěŻűƪƷƢƿěƷŎŻű-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎěܮůþţŎűł-Ŏű-*Exotica*-ڡښڝܒܤڑږܫڐږژڐܣ

®ƿě'nþű ĩǡƟŦŎěŎƷ ƿűŎǛĩƢƪþŦŎƪů܌- ĚþƪĩĢ-Żűþ ěŻűŁƢŻűƷþƷŎŻű܌ ěŻűűĩěƷŎŻű܌-ŻƢ-ܣŎű- ®ƷŻěţ'nþƿƪĩűܼƪ- ěþƪĩܤ-ܹŎűƷĩƢůŻĢƿŦþƷŎŻűܺڢښڝ between cultural idioms, and the proclaimed "universal" meaning of ƟŻƪƷڔړژڐܮěŻűěĩƟƷƪ-ŻŁ-ŦþűłƿþłĩěƢŎƷŎěŎƪů-ŎűƪĩƢŎþŦůƿƪŎě܌þƢĩ-ŻűŦǢ-ƷǜŻƪŎĢĩƪ-ŻŁ-Ʒ'nĩƪþůĩěŻŎűܒ-ÃŦ-ƷŎůþƷĩŦǢ܌-ĚŻƷ'něþű-ŻűŦǢ-ĚĩƿűĢĩƢƪƷŻŻĢ-Ŏű-Ʒ'nĩ-ŦŎł'nƷ-ŻŁƪƟĩěŎȀěůŻǛĩůĩűƷƪ-ŎűàĩƪƷĩƢűěƿŦƷƿƢþŦþűĢ- music history during the twentieth century. In this way, they are recognizable as a form of WestĩƢűĩǡěĩƟƷŎŻűþŦŎƪůܒ-Rƿě'nƿűŎǛĩƢƪþŦŎƪů-ƟƢŻǛĩƪĩƪƟĩěŎþŦŦǢ-ĢĩƟĩűĢĩűƷ-Żű-ŦŻěþŦ-ĢŎƪěŻƿƢƪĩƪ܋-Ʒ'nĩþƟ-ƟƢŻƟƢŎþƷŎŻű-ŻŁěƿŦƷƿƢþŦ-ŎĢŎŻůƪ܌ƿƪƿþŦŦǢ-ƢĩŁĩƢƢĩĢ-ƷŻþƪ-ܹŁŻƢĩŎłűܺ-ŻƢĩǛĩű-ܹĩǡŻƷŎě܌ܺ-Ʒþţĩƪ-ƟŦþěĩƪŻŦĩŦǢ- ǜŎƷ'nŎű-Ʒ'nĩƪƟĩěŎȀě-ŦŻłŎě-ŻŁþƪŎűłŦĩǜŻƢţ܌ƞƿǛƢĩ܌-ŻƢěƿŦƷƿƢĩܒȃĩ-ŁþŎŦƿƢĩ-ŻŁ-Ʒ'nĩƪĩþƟƟƢŻþě'nĩƪ܌ǜ'nŎě'n- 'nþƪ-ŎűƷĩűƪŎȀĩĢěƢŎƷŎěŎƪů-ŻŁþƟƟƢŻƟƢŎþƷŎŻűƪƷƢþƷĩłŎĩƪ-Ŏű-Ʒ'nĩtĩǜłĩůŻǛĩůĩűƷþűĢěŻůůĩƢěŎþŦ- ǜŻƢŦĢůƿƪŎěƪŎűěĩ- Ʒ'nĩ-ڏږژڐƪ-ݑދܣSS܌ܤڑܒ-'nþƪ- ƷƿƢűĩĢ- Ʒ'nĩĩůƟ'nþƷŎěƪţĩƟƷŎěŎƪů-ŻŁěƿŦƷƿƢþŦŦǢĩűěŻĢĩĢ- ůƿƪŎěþŦ-ŎĢŎŻůþƷŎěƪ-Ŏű-/ƿƢŻƟĩþűůƿƪŎěþǼƷĩƢ-ڔړژڐ-ŎűƷŻþůƿƪŎěܮþĩƪƷ'nĩƷŎěůþŎűƪƷƢĩþů-ܫþĢůŎƷƷĩĢŦǢ- ǜŎƷ'nƪŎłűŎȀěþűƷĩǡěĩƟƷŎŻűƪþűĢþűĩǜþǜþƢĩűĩƪƪ-ŻŁłŦŻĚþŦ-ŎűƷĩƢĢĩƟĩűĢĩűěŎĩƪƪŎűěĩ-Ʒ'nĩ-ڏژژڐƪܒ-Sű- Ʒ'nĩ-ŁŻŦŦŻǜŎűł܌þƪţĩƷě'nܮŦŎţĩ-ƢĩƟƢĩƪĩűƷþƷŎŻű-ŻŁ-Ʒ'nĩĩƪƪĩűƷŎþŦ-ƟþƢþĢŎłůƪ-ŻŁàĩƪƷĩƢűěŻůƟŻƪĩƢƪܼ-Ŏű-ƷĩƢěƿŦƷƿƢþŦ-ƢĩěĩƟƷŎŻűƪŎűěĩ-Ʒ'nĩ-ƟŻƪƷǜþƢ-ƟĩƢŎŻĢ-Ŏƪ-ŎűƷĩűĢĩĢ-ƷŻ-ĚƢĩþţƿƟþűĢ-ĢŎDz ŁĩƢĩűƷŎþƷĩ-Ʒ'nĩ-ܹŁþŦƪĩ- ƟŻŦþƢŎƷǢܺ-ĚĩƷǜĩĩűþěŻůƟŻƪŎƷŎŻűþŦƪĩŦŁܮƢĩǴŦĩǡŎǛŎƷǢþűĢ-Ʒ'nĩ-ĢŎƪƪŻŦƿƷŎŻű-ŻŁěƿŦƷƿƢþŦŎƪƷ-ƟþƢþĢŎłůƪܒ

### Working on Myth

űĩǜþǢ-ƷŻ-ĢŎƪƷŎűłƿŎƪ'n-ŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎěþŦěŻůƟŻƪŎƷŎŻű-Ŏƪ-ƷŻ-ŦŻŻţþƷ-ƟƢĩěŻůƟŻƪŎƷŎŻűþŦƪƷþłĩƪ- þűĢěƢŎƷŎěþŦŦǢĩǡþůŎűĩ-Ʒ'nĩǜƢŎƷƷĩűþűĢ-ŻƢþŦƪŻƿƢěĩƪƿƪĩĢܒ-ŁěŻƿƢƪĩ܌-ŎƷ-Ŏƪ-ŻǼ ƷĩűĩþƪǢĩűŻƿł'n-ƷŻ- dismiss such sources as inadequate and thus call into question the creative process as a whole. ȃĩ-ǛþłƿĩƢ-Ʒ'nĩƪŻƿƢěĩƪþƢĩ܌-Ʒ'nĩůŻƢĩƪĩĩůŎűłŦǢ-ŻĚǛŎŻƿƪ-Ʒ'nĩ-ƷĩűĢĩűěǢ-ƷŻěŻűƪƷƢƿěƷ-Ʒ'nĩ-Ʒ'nĩƢþƪ- a myth in the tradition of musical exoticism, possibly with reference to archaic traditions that þƢĩ-ƷƢĩþƷĩĢþ'nŎƪƷŻƢŎěþŦŦǢ܌ǜŎƷ'nŻƿƷěƢŎƷŎěŎƪů-ŻŁ-Ʒ'nĩŎƢ-ŎűƷĩƢƟƢĩƷŎǛĩ-ƷƢþĢŎƷŎŻűܒȃŎƪůŎł'nƷ-ŎűǛŻŦǛĩþ- tendency to refer to conceptual aesthetic or philosophical positions rather than musical idioms ŻƢ-ƟƢþěƷŎěĩƪܒdŻ'nű þłĩܼƪ-ƢĩěĩƟƷŎŻű-ŻŁðĩűƿĢĢ'nŎƪů-Żű-Ʒ'nĩ-ĚþƪŎƪ-ŻŁ-'þŎƪĩƷǬ-¼ܒ-RƿǬƿţŎܼƪǜƢŎƷŎűłƪ- and lectures and other sourcesڙڛڝ was criticized even by an otherwise well-meaning interpreter ŦŎţĩ-ÃůĚĩƢƷŻ-/ěŻþƪþ-ܹůǢƷ'nŻŦŻłŎěþŦƪƿƢƢŻłþƷĩ-ŁŻƢþěƢŎƷŎěþŦěŻűƪěŎŻƿƪűĩƪƪܒܺښڛڝ In fact, the ambi-ǛþŦĩűƷ-ŎűƪƷŎƷƿƷŎŻűþŦþűĢ-ƟŻŦŎƷŎěþŦěŻűƷĩǡƷ-ŻŁðĩű-ŎűdþƟþűǜþƪ-ŦþƢłĩŦǢ-ŎłűŻƢĩĢ-ĚŻƷ'n-ĚǢ-ŎƷƪ-ŎűƷĩƢěƿŦ-ƷƿƢþŦůĩĢŎþƷŻƢƪþűĢ-Ʒ'nĩůĩƢŎěþűþƢƷŎƪƷƪ-ŻŁ-Ʒ'nĩ-ڏڒژڐƪ-ƷŻ-ܼڏڔƪܒ-ܹȃĩ-ŎƢƢþƷŎŻűþŦŎƷǢþűĢƪƟŻűƷþűĩŎƷǢܺ-ŻŁðĩűǜþƪ-ܹ'nŎł'nŦŎł'nƷĩĢþűĢ-ƟŦþǢĩĢ-ŻDz ŁþłþŎűƪƷ-Ʒ'nĩ-ƟƢĩǛþŎŦŎűłěŻűǛĩűƷŎŻűƪþűĢ-ƢþƷŎŻűþŦŎƪƷ-ŁŻƢůƪ- ŻŁţűŻǜŦĩĢłĩ-ŻŁ-ŎűĢƿƪƷƢŎþŦƪŻěŎĩƷǢܒܺڛڛڝ In a nuanced form, a similar criticism could also be made of the intensifying reception of the philosophy of the Kyoto school (the same circle from which ®ƿǬƿţŎܼƪ-ŎűƷĩƢƟƢĩƷþƷŎŻű-ŻŁðĩűĩůĩƢłĩĢܤ-Ŏű-Ʒ'nĩĩþƢŦǢ-ڏڏڏڑƪ-ĚǢ-NĩŦůƿƷhþě'nĩűůþűű܌-Nþűƪðĩű-

ڼڵڸ- --ĜżŰƠƣĪŊĪŲƫŏǜĪÿŲÿŧǣƫŏƫżł-®ƸżĜŤŊÿǀƫĪŲܹƫ-ǀŲŏǜĪƣƫÿŧŏƫŰÿŲģfÿŃĪŧܹƫŏƣżŲŏĜƣĪÿĜƸŏżŲ܉ÿŧżŲŃǝŏƸŊģĪƸÿŏŧĪģÿŲÿŧܫ ǣƫĪƫżł-*Telemusik* and *Exotica*܉ŏƫ-ƠƣżǜŏģĪģŏŲ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڍړڍܨڒڏڍÿŲģ-ڒڔڍܨڎړڍƣĪƫƠĪĜƸŏǜĪŧǣ

ڽڵڸ- -ܶSŲƸĪƣŰżģǀŧÿƸŏżŲܷǝÿƫ-ƸŊĪ-ƸĪƣŰ-®ƸżĜŤŊÿǀƫĪŲģĪǜŏƫĪģłżƣƫǀƠĪƣŏŰƠżƫŏŲŃÿǀģŏż-ŰÿƸĪƣŏÿŧłƣżŰģŏǜĪƣƫĪ-ŰǀƫŏĜÿŧ- cultures in *Telemusik* and *Hymnen*-®ĪĪ-NdžŲĪƣŰÿŲŲ܉-ܶ1/4ƣÿŲƫŤƣŏƠƸŏżŲ-ǀŲģ-SŲƸĪƣŰżģǀŧÿƸŏżŲܷ

ڴڶڸ- -RĪĪ-£ÿƸƸĪƣƫżŲ܉-ܶ ÿŃĪÿŲģƫŏÿܷÿŲģ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڒڍڍܨڍړ

ڵڶڸ Eco, *'ÿƫżDzłĪŲĪfǀŲƫƸǝĪƣŤ*܉-ڒڏڎ-ܠܶŰǣƸŊżŧżŃŏƫĜŊĪƫ-®ǀƣƣżŃÿƸłdžƣ-ĪŏŲ-ŤƣŏƸŏƫĜŊĪƫ-ĪǝǀƫƫƸƫĪŏŲܷܡ

ڶڶڸ- ÿŏĪƣ܉-ܶdz łĪŲĪƫfǀŲƫƸǝĪƣŤǜĪƣƫǀƫfǀŲƫƸģĪƣdz łĪŲŊĪŏƸ܉ܷ-ڔڐ-ܠܶ'ÿƫ-SƣƣÿƸŏżŲÿŧĪ-ǀŲģ-®ƠżŲƸÿŲĪǝŏƣģ-ŊĪƣǜżƣŃĪŤĪŊƣƸ- ǀŲģ- ŃĪŃĪŲ ģŏĪ- ŊĪƣƣƫĜŊĪŲģĪŲ fżŲǜĪŲƸŏżŲĪŲ ƫżǝŏĪ ģŏĪ ƣÿƸŏżŲÿŧŏƫƸŏƫĜŊĪŲ àŏƫƫĪŲƫłżƣŰĪŲ ģĪƣ- SŲģǀƫƸƣŏĪŃĪƫĪŧŧƫĜŊÿǽ ƸÿǀƫŃĪƫƠŏĪŧƸܷܡ-RĪĪÿŧƫż-£ĪƠƠĪƣ܉-ܶdżŊŲ ÿŃĪ-ǀŲģģĪƣdÿƣŃżŲģĪƫtŏĜŊƸƫܷÿŲģ-£ĪƠƠĪƣ܉-ܶFƣżŰ-ƸŊĪ-ܸĪƫƸŊĪƸŏĜƫ- żł-SŲģŏdz łĪƣĪŲĜĪܹ-Ƹż-ܸtĪŃÿƸŏǜĪ-ĪƫƸŊĪƸŏĜƫܹܷ

der, and Toshio Hosokawa. In this context, nationalist and culturally essentialist aspects, especially in Keiji Nishitani's thinking, have hardly been discussed up to now (→ IV.2). 423

Nonetheless, John Cage succeeded, through his undoubtedly selective reception of Zen and other Asian philosophies, in an eminently important music-historical emancipation from a dominant European aesthetic discourse, and in a comprehensive liberation of aural perception whose effect continues to this day. We can characterize his appropriation of Asian sources according to three factors: pragmatism (direct applicability, for example, by adopting only the "technical" tools but not the interpretive tradition of the ancient Chinese oracle book Yijing]; radicality (heightening the received fragments within the scope of certain "intra-cultural" aesthetic objectives); and utopianism (for example, in the generalization of certain aspects of Zen and of Huayan Buddhism to construct an "infinite" continuum of sound and silence). 444

A very important facet becomes clear: intercultural composition always serves to establish an intracultural position that clearly determines the handling and interpretation of the received elements. Criticism in the context of postcolonial perspectives on a falsely mythologizing or post-exotic projection of "sacral desires"45 is certainly necessary. On the contrary, as already explained (→ 1.3), a distinction must be made between unreflexively mythologizing reception processes and a creative examination of myth, ritual, and spiritual experience as an open meeting space of cultures.

### Pragmatism, Interpenetration, Difference

The example of Cage shows that mythologizing and pragmatic components of intercultural reception cannot always be clearly separated. The postcolonial critique aims at both components anyway: the mythologizing simplification of complex cultural systems as well as the instrumentalization of the Other for one's own purposes. A prototypical example of the latter tendency might be found in Steve Reich's quotes from the early 1970s:

Non-Western music in general and African, Indonesian, and Indian music in particular will serve as new structural models for Western musicians. Not as new models of sound. (That's the old exoticism trip.)426

[O]ne can create a music with one's own sound that is constructed in the light of one's knowledge of non-Western structure. […] One can study the rhythmic structure of non-Western music […], while continuing to use the instruments, scales, and any other sound one has grown up with. 427


<sup>423</sup> Lachenmann's reception of the Kyoto school is discussed in detail by Hiekel, "Interkulturalität als existentielle Erfahrung," 77–82. A central source for Lachenmann (like Zender) in dealing with East Asian philosophy is Elberfeld, Phänomenologie der Zeit im Buddhismus. For work on the historical role of Zen and the Kyoto school in Japanese wartime nationalism, see Heisig and Maraldo, Rude Awakenings. A nuanced critical view of the frequently used sources on "Japanese aesthetics" from the perspective of cultural and political nationalism would, on the whole, be a necessary supplement to the discussion; this concerns, for example, a critique of writings such as Kikkawa, Vom Charakter der japanischen Musik, Tanizaki, In Praise of Shadows, or Ohashi, Kire: Das "Schöne" in Japan. As a counterpoint to essentialist Japanese aesthetics, see Maruyama, Studies in Intellectual History of Tokugawa Japan.

<sup>426</sup> Reich, "Some Optimistic Predictions (1970) About the Future of Music," 51.

<sup>427</sup> Reich, "Postscript to a Brief Study of Balinese and African Music," 71.

¦ĩŎě'nܼƪƪĩƟþƢþƷŎŻű-ŻŁ-'nŎƪ-ŻǜűĩŦĩůĩűƷƪ-ܣƪŻƿűĢ܌ƪěþŦĩƪ܌-ŎűƪƷƢƿůĩűƷƪܤþűĢ-ŁŻƢĩŎłű-Żűĩƪ-ܣƢ'nǢƷ'nůܤ- may certainly appear categorical and simplistic, and his appropriation of non-Western idioms ƿƷŎŦŎƷþƢŎþű-ܫþűþƪƟĩěƷ-Ʒ'nþƷůþǢ-ܣþůŻűł-ŻƷ'nĩƢƪܤ-ŎűŎƷŎþŦŦǢ-'nþǛĩěŻűƷƢŎĚƿƷĩĢ-ƷŻ-Ʒ'nĩ-ĢŎDzȀěƿŦƷ-ƢĩěĩƟ-ƷŎŻű-'nŎƪůƿƪŎěĩűěŻƿűƷĩƢĩĢ-Ŏű-/ƿƢŻƟĩ-ĢƿƢŎűł-Ʒ'nĩĩþƢŦǢ-ڏږژڐƪڡڛڝܒ At the same time, the change of perspective accomplished through Reich's ethnological-critical and active learning engageůĩűƷǜŎƷ'nàĩƪƷ-ŁƢŎěþű- ĢƢƿůůƿƪŎě܌þŦŎűĩƪĩ-GþůĩŦþű܌þűĢ dĩǜŎƪ'n ěþűƷŎŦŦþƷŎŻű܌-Ŏƪ- ƢĩůþƢţܮ able.ڢڛڝȃĩ-ƢĩěĩƟƷŎŻű-ŻŁtŻƢƷ'n-SűĢŎþűþƢƷůƿƪŎě-ŎűţĩǢǜŻƢţƪ-ĚǢhþrŻűƷĩæŻƿűł܌-1/4ĩƢƢǢ-¦ŎŦĩǢ܌þűĢ-£'nŎŦŎƟ-GŦþƪƪǜþƪĩơƿþŦŦǢ-ĚþƪĩĢ-ŻűěŻůƟþƢþƷŎǛĩŦǢ-ĢĩƷþŎŦĩĢĩƷ'nűŻŦŻłŎěþŦþűĢ-ƟƢþěƷŎěþŦţűŻǜŦܮ ĩĢłĩ܌þŦĚĩŎƷǜŎƷ'nĩűƷŎƢĩŦǢ-ĢŎDz ŁĩƢĩűƷěŻůƟŻƪŎƷŎŻűþŦþűĢƪƷǢŦŎƪƷŎěěŻűƪĩơƿĩűěĩƪڙڜڝܒ

Sű- /ƿƢŻƟĩ܌-Ŏű ěŻűƷƢþƪƷ- ƷŻ- ¦ĩŎě'nܼƪ ƪŻĚĩƢ- ƟƢþłůþƷŎƪů܌-ŎűƷĩƢěƿŦƷƿƢþŦ- ƢĩěĩƟƷŎŻű- ƟƢŻěĩƪƪĩƪ þƢĩ- usually integrated into comprehensive aesthetic conceptions, which can be conceived in the tradition of modernism as "heteroglossia,"ښڜڝþƪþƪĩŦŁܮƢĩǴŦĩǡŎǛĩþűĢěŻůƟŦĩǡůƿŦƷŎŦŎűłƿþŦŎƪůܒ-Sű-Ʒ'nĩ- process, a reception model of *interpenetration* is developed, in part even with explicit reference to Goethe's concept of a "world literature."ڛڜڝȃĩ-ŁŻěƿƪ-ŻŁěŻůƟŻƪĩƢƪ-ƷĩűĢŎűł-ƷŻǜþƢĢ-Ʒ'nŎƪůŻĢܮ ĩŦ-Ŏƪ-ĢŎDz ŁĩƢĩűƷ܌-ŻŁěŻƿƢƪĩ܋-GǢƆƢłǢhŎłĩƷŎܼƪěŻůƟŻƪŎƷŎŻűþŦůĩƷ'nŻĢ-Ŏƪ-ŎűůþűǢǜþǢƪþţŎű-ƷŻ-¦ĩŎě'nܼƪ- ƟƢþłůþƷŎěþƟƟƢŻþě'nܒƿƷ-'nŎƪěŻűěĩƟƷƿþŦ-Ʒ'nŎűţŎűł-Ŏƪ-ŁþƢůŻƢĩ-ƟŦƿƢþŦŎƪƷŎě܋-Ʒ'nĩ-ƢĩěĩƟƷŎŻű-ŻŁ-ŁƢŎěþű- genres – including the *ongo*-ܡ'nŻƢűܢĩűƪĩůĚŦĩƪ-ŻŁ-Ʒ'nĩ ĩűƷƢþŦ-ŁƢŎěþűþűĢþhŎűĢþ܌ƪŻűłƪ-ŻŁ-Ʒ'nĩ- ţþ-ƟǢłůŎĩƪ܌þűĢ-Ʒ'nĩ*amadinda*-ܡǡǢŦŻƟ'nŻűĩܢůƿƪŎě-ŻŁ-ÃłþűĢþ-ݑދܣßܤڑܒ-ܫ-ŁŻƢůƪ-ŻűŦǢ-Żűĩ-ŦŎűţ-Ŏűþű- ĩěŦĩěƷŎěě'nþŎű-ŻŁþƪƪŻěŎþƷŎŻűƪ-ĚĩƷǜĩĩűě'nþŻƪ-Ʒ'nĩŻƢǢ܌-ŁƢþěƷþŦłĩŻůĩƷƢǢ܌-¦ŻůþűƷŎě-ƟŎþűŻůƿƪŎě܌-'ĩbussy, late fourteenth-century *ars subtilior*܌þűĢůƿě'nůŻƢĩ-ĚĩƪŎĢĩƪܒ-RŎůŎŦþƢŦǢ܌-NþűƪðĩűĢĩƢܼƪ-ƟŦƿ-ƢþŦŎƪƷŎěþĩƪƷ'nĩƷŎěěŻƪůŻƪ܌ǜ'nŎě'n-ŦŎţĩ-¦ĩŎě'nܼƪ-ŻƢhŎłĩƷŎܼƪ-ŎűěŦƿĢĩƪ-Ʒ'nĩěŦŻƪĩ-ƢĩþĢŎűł-ŻŁ-Ɵ'nŎŦŻŦŻłŎěþŦ- ŁŻƢůƪ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦ-ƢĩěĩƟƷŎŻű܌-ŎƪþƪƪŻěŎþƷŎǛĩþűĢ-ƷƢþűƪŁŻƢůþƷŎǛĩ܌þŦĚĩŎƷ-ŁŻěƿƪĩĢ-Żű-ŻƷ'nĩƢþƢĩþƪ܋

 ǀŧƸǀƣĪƫÿƣĪ-ĪŰĪƣŃŏŲŃÿƫ-ĜżŰƠĪƸŏŲŃƫǣƫƸĪŰƫÿŲģ-ƸŊĪŧÿǝƫżłÿĪƫƸŊĪƸŏĜ-ĜżŲƫĜŏżǀƫŲĪƫƫÿƣĪŏŲƸŏ-ŰÿƸĪŧǣěżǀŲģ-ǀƠǝŏƸŊ-ƸŊĪģŏdz łĪƣĪŲƸƫĪŰŏżƸŏĜƫǣƫƸĪŰƫżł-ƸŊĪƣĪƫƠĪĜƸŏǜĪ-ĜǀŧƸǀƣĪƫƫǝżƣŧģ-Ĝǀŧ-ƸǀƣĪƫěĪŃÿŲ-Ƹż-ƸÿŤĪ-ŲżƸĪżłżŲĪÿŲżƸŊĪƣ܉-ƸŊĪŏģĪÿżł-ƸŊĪÿěƫżŧǀƸĪ-ƸƣǀƸŊżł-ƸŊĪŏƣżǝŲƫĪŰŏżƸŏĜ- ƫǣƫƸĪŰƫǝÿƫ-ǀŲģĪƣŰŏŲĪģ-SŲ-ƸŊĪÿŃĪżł-ƸŊĪŏŲƸĪƣƠĪŲĪƸƣÿƸŏżŲżłÿŧŧ-ĜǀŧƸǀƣĪƫ-ƸŊÿƸǝĪÿƣĪ-ĪŲƸĪƣŏŲŃ܉- these ideas disappear more and more.ڙڙښ


ڼڶڸ- -1/4ŊĪǝĪŧŧܫŤŲżǝŲ-ĜżŲƸƣżǜĪƣƫǣěĪƸǝĪĪŲ-¦ĪŏĜŊÿŲģ ŧǣƸǀƫ-GżƸƸǝÿŧģŏŲ-܉ڑړڕڍģżĜǀŰĪŲƸĪģŏŲ-ƸŊĪšżǀƣŲÿŧ-*Melos* and ĜżŰƠƣĪŊĪŲƫŏǜĪŧǣŏŲƸĪƣƠƣĪƸĪģěǣ-ĪÿƸĪfǀƸƫĜŊŤĪÿŃÿŏŲƫƸ-ƸŊĪěÿĜŤŃƣżǀŲģżłģŏdz łĪƣĪŲƸ-ƸƣÿģŏƸŏżŲƫżł-ƸŊżǀŃŊƸŏŲ- /ǀƣżƠĪÿŲģ-ƸŊĪî܉ŏƫżŲĪ-ĪǢÿŰƠŧĪ-®ĪĪfǀƸƫĜŊŤĪ܉-*Neue Linke – neue Musik*܉-܉ړڔڎܨڌڒڎÿŲģfŧĪŏŲƣÿƸŊ܉-ܶrŏŲŏŰÿlismus/Minimal Music."

ڽڶڸ- àŏƸŊƣĪŃÿƣģ-Ƹż-¦ĪŏĜŊܹƫƣĪĜĪƠƸŏżŲżłłƣŏĜÿŲ-ŰǀƫŏĜ܉ƫĪĪ܉ÿŰżŲŃżƸŊĪƣƫ܉-¦ĪŏĜŊܹƫ-Īƫƫÿǣƫ-ܶGÿŊǀ-ܨ--'ÿŲĜĪżł-ƸŊĪ-/ǝĪ- ¼ƣŏěĪŏŲ-GŊÿŲÿ܉ܷ-ܶ'ƣǀŰŰŏŲŃ܉ܷ-ܶ£żƫƸƫĜƣŏƠƸ-ƸżÿƣŏĪł-®ƸǀģǣżłÿŧŏŲĪƫĪÿŲģłƣŏĜÿŲrǀƫŏĜ܉ܷÿŲģ-ܶtżŲܫàĪƫƸĪƣŲ- rǀƫŏĜÿŲģ-ƸŊĪàĪƫƸĪƣŲ żŰƠżƫĪƣܷ--ƸŊżƣżǀŃŊƫżǀƣĜĪܫěÿƫĪģģŏƫĜǀƫƫŏżŲżł-¦ĪŏĜŊܹƫƣĪĜĪƠƸŏżŲżłłƣŏĜÿŲ-ŰǀƫŏĜŏƫ-ƠƣżǜŏģĪģŏŲfŧĪŏŲ܉*ŧĪǢÿŲģĪƣðĪŰŧŏŲƫŤǣ-ܬ-RƸĪǜĪ-¦ĪŏĜŊ܌ŧƸĪƣŲÿƸŏǜĪrżģĪƣŲĪܤŲ*܉*ܥ*-ڏڑڍܨړڌڍ-RĪĪÿŧƫż-®ĜŊĪƣǭŏŲŃĪƣ܉- ܶGǣƇƣŃǣhŏŃĪƸŏÿŲģ-ƸŊĪ-Ťÿ-£ǣŃŰŏĪƫ-£ƣżšĪĜƸܷ

ڷڷڸ- ðĪŲģĪƣ܉-ܶÉěĪƣģÿƫ-NƇƣĪŲ܉ܷ-ڕړڍ-ܠܶfǀŧƸǀƣĪŲěŏŧģĪŲƫŏĜŊÿŧƫ-ŤżŲŤǀƣƣŏĪƣĪŲģĪ-®ǣƫƸĪŰĪÿǀƫ܉-ǀŲģģŏĪ-GĪƫĪƸǭŰďƷŏŃŤĪŏ-ƸĪŲŏŰďƫƸŊĪƸŏƫĜŊĪŲ-ĪǝǀƫƫƸƫĪŏŲƫŏŲģÿǀłƫ-ĪŲŃƫƸĪǜĪƣěǀŲģĪŲ-ŰŏƸģĪŲÿŲģĪƣĪŲðĪŏĜŊĪŲƫǣƫƸĪŰĪŲģĪƣšĪǝĪŏŧŏŃĪŲ- fǀŧƸǀƣ- SŲ ģĪŰ rÿƷĪ܉ ÿŧƫ ģŏĪ àĪŧƸŤǀŧƸǀƣĪŲ ěĪŃÿŲŲĪŲ܉ ǜżŲĪŏŲÿŲģĪƣ tżƸŏǭ ǭǀ- ŲĪŊŰĪŲ܉ ǝǀƣģĪ ģŏĪ ßżƣƫƸĪŧŧǀŲŃ- ĪŏŲĪƣÿěƫżŧǀƸĪŲàÿŊƣŊĪŏƸģĪƫšĪǝĪŏŧƫ-ĪŏŃĪŲĪŲðĪŏĜŊĪŲƫǣƫƸĪŰƫ-ǀŲƸĪƣŃƣÿěĪŲܔŏŰðĪŏƸÿŧƸĪƣģĪƣ-'ǀƣĜŊģƣŏŲŃǀŲŃ- ÿŧŧĪƣfǀŧƸǀƣĪŲ܉ŏŲģÿƫǝŏƣ-ŃĪƣÿģĪ-ĪŏŲƸƣĪƸĪŲ܉ǜĪƣƫĜŊǝŏŲģĪŲģŏĪƫĪßżƣƫƸĪŧŧǀŲŃĪŲ-ŰĪŊƣ-ǀŲģ-ŰĪŊƣܷܡ

### Example 2.14: Hans Zender, Chief Joseph, Act I, Scene 2b

At the heart of Zender's music since the late 1990s (with first attempts in this direction since the 1970s) is a 72-tone system of a "harmony of opposing tensions" (gegenstrebige Harmonik) based on archaic Chinese and Pythagorean tuning theories. This falls firmly within the tradition of speculative music theory.44 In addition, one must mention his engagement with the Buddhist concept of time since the early 1970s, primarily with reference to Japanese philosophy and the tradition of no theater, which, along with the pitch system, is bound up in inexorably oscillating intercultural references. 455 Both dimensions, alternative concepts of tunings and of time, are explored extensively in Zender's last music theater work Chief Joseph (2003), which deals explicitly with the tension in (colonial and postcolonial) intercultural encounters.436

In Chief Joseph, as well as in Helmut Lachenmann's Das Mädchen mit den Schwefelhölzern (The Little Match Girl, 1990-96, > IV.2), an East Asian instrument assumes the function of the extraterritorial, the incommensurate. In Lachenmann's "music with images" this is the Japanese shō in the penultimate scene (no. 23). Its extraterritorial character is manifest above all in the fact that, following the example of the traditional shō instrumental technique of the tōgaku repertoire of Japanese court music, it forms a continuum of interlocking chords or Lachenmannian "cadential sounds." These contrast strongly with the non-linear "sound structure" of previous scenes, marking the sho's sonic exclusivity through its cultural alterity. In Zender's Chief Joseph, the struck Korean zither ajaeng accompanies the lamenting chants of the main character (Ex. 2.14). Here, no reference is made to the accompaniment of shamanistic dances or folk songs by the sanjo ajaeng in the Korean context. Rather, as with Lachenmann, the instrument essentially serves as a "symbol of the Other" that consistently resists integration." If, on the one hand, a conception becomes visible here that attempts to emphasize the difference between music traditions, affording a respectful space for the aural effects of the Asian instruments, on the other hand, it is precisely this distillation of aura that can be seen as a continuity in the tradition of mythologizing forms of cultural representation.

Copyright © 2004 by Breitkopf & Härtel, Wiesbaden

<sup>434</sup> See Zender, "Gegenstrebige Harmonik." A number of studies have already been published on Zender's harmonic system. See, among others, Hasegawa, "Gegenstrebige Harmonik' in the Music of Hans Zender" and Gerhardt "Gegenstrebige Harmonik.""

<sup>435</sup> See, among others, Hiekel, "Erstaunen und Widersprüchlichkeit," Gruhn, "Das andere Denken der Ohren," Utz, Neue Musik und Interkulturalität, 190–195, Revers, "Hans Zender: Furin no kyo," and Hiekel, "Vielstimmig in sich."

<sup>436</sup> See Zender, "Das Eigene und das Fremde" and Schmidt, "Wegkarte für Orpheus?"

<sup>437</sup> Personal communication with Hans Zender, Berlin, 24 March 2006.

### Case Study: Hans Zender's*\$ÑÀ®®³§â¹* (1989)

SƷ-ŎƪǜŻƢƷ'n-ƷþţŎűłþěŦŻƪĩƢ-ŦŻŻţþƷþţĩǢǜŻƢţ-ĚǢðĩűĢĩƢþƷ-Ʒ'nŎƪ-ƟŻŎűƷܒ-SƷƪĩĩůƪě'nþƢþěƷĩƢŎƪƷŎě- ŻŁ-Ʒ'nĩűƿþűěĩĢ܌-ĚƿƷþƷ-ŎƷƪěŻƢĩƪƷŎŦŦěƿŦƷƿƢþŦŦǢĩƪƪĩűƷŎþŦŎƪƷ-'nþűĢŦŎűł-ŻŁ-ĢŎDz ŁĩƢĩűěĩþůŻűłůþűǢ- /ƿƢŻƟĩþűěŻůƟŻƪĩƢƪ-ĢƿƢŎűł- Ʒ'nĩ- ڏڗژڐƪþűĢ- ܼڏژƪܒƪǜŎƷ'n-®ƷŻěţ'nþƿƪĩű-ݑދܣ SS܌ܤڑܒðĩűĢĩƢܼƪ-ŦŻűłܮ standing and intensive engagement with Asian cultures was triggered by a stay in Japan (in the ĩþƢŦǢ-ڏږژڐƪܤ-Ʒ'nþƷěþŦŦĩĢ-ŎűƷŻơƿĩƪƷŎŻűþƪĩĩůŎűłŦǢƪĩŦŁܮĩǛŎĢĩűƷ-ƟƢŎůþěǢ-ŻŁ-/ƿƢŻƟĩþűěƿŦƷƿƢĩڡڜڝܒ æĩƷ ðĩűĢĩƢ- ĚǢ űŻůĩþűƪ- ƢĩƷþŎűĩĢ- Ʒ'nŎƪ ěƿŦƷƿƢĩܮƟĩƪƪŎůŎƪƷŎě þƟƟƢŻþě'n ƿűě'nþűłĩĢ܌- ĚƿƷ܌ þƪ-ŻƿƷܮ ŦŎűĩĢþĚŻǛĩ܌-ŎűƪƷĩþĢĩůĚþƢţĩĢ-Żűþ-ƟŦƿƢþŦŎƪƷŎěƿűŎǛĩƢƪþŦŎƪů-Ʒ'nþƷěþűűŻƷ-ĚĩþƷƷƢŎĚƿƷĩĢůĩƢĩŦǢ- ƷŻ-Ʒ'nĩ-ŎűǴŦƿĩűěĩ-ŻŁ-ƟŻƪƷůŻĢĩƢű-Ɵ'nŎŦŻƪŻƟ'nŎĩƪܒðĩűĢĩƢěŦþŎůĩĢ-ŁƢŻů-Ʒ'nĩ-ŦþƷĩ-ڏڗژڐƪ-Żű-Ʒ'nþƷþŦŦ- sound media, sounds, and the music of all eras could now be considered material for the creation of music. In approaching these sounds, he adopts Cage's principle that every sound should Ěĩ-ƢĩƪƟĩěƷĩĢ-Ŏű-ŎƷƪ-ŎűĢŎǛŎĢƿþŦŎƷǢþűĢ-ƟĩěƿŦŎþƢŎƷǢܒ-FŻƢðĩűĢĩƢ܌-'nŻǜĩǛĩƢ܌-Ʒ'nĩůƿƪŎěþŦ-ŁŻƢůƪ-Ʒ'nþƷ- þƢĩ- ƷƢþűƪůŎƷƷĩĢ- Ʒ'nƢŻƿł'n- ĢŎDz ŁĩƢĩűƷ ěƿŦƷƿƢĩƪ þƢĩ űŻƷ ĩơƿŎǛþŦĩűƷ þűĢ- ŎűƷĩƢě'nþűłĩþĚŦĩ- ŻĚŠĩěƷƪܒ-Rather they are *media*-Ʒ'nþƷěŻűǛĩǢ-ŁƿűĢþůĩűƷþŦŦǢ-ĢŎDz ŁĩƢĩűƷ܌-ŻǼ ƷĩűěŻűƷƢþĢŎěƷŻƢǢ܌ůĩƪƪþłĩƪڢڜڝܒ

ðĩűĢĩƢ- 'nþƪ ůŻƪƷ- ŁŻƢěĩŁƿŦŦǢ- ŎůƟŦĩůĩűƷĩĢ- Ʒ'nĩƪĩ- ŎĢĩþƪ- Ŏű- *FǕƢŎű űŻ ţǢƔ* for soprano, clar-ŎűĩƷ܌þűĢĩűƪĩůĚŦĩ-ڙڝڝܒܤژڗژڐܣ-£ŻƪƪŎĚŦǢ-Ʒ'nĩůŻƪƷűŻƷþĚŦĩ-ŁĩþƷƿƢĩ-ŻŁ-Ʒ'nŎƪǜŻƢţ-Ŏƪ-Ʒ'nĩ-ŎĢĩþ-ŻŁ-ŻƟƟŻƪܮ ing cultural "codes" in the multilingual arrangement of the underlying text, a poem by the ŎěŻűŻěŦþƪƷŎěðĩűůŻűţ-®ƔŠƿű-SţţǢǕ-ܒܤڐڗړڐܫړژڒڐܣȃŎƪ-ƷĩǡƷþƟƟĩþƢƪ-ŎűƪĩěƷŎŻűƪ-S܌-SS܌þűĢ-Sß-Ŏű-Ʒ'nĩ- ܣRŎűŻܤܮdþƟþűĩƪĩ-ŻƢŎłŎűþŦ܌þƪǜĩŦŦþƪ-Ŏű-/űłŦŎƪ'nþűĢ-GĩƢůþű-ƷƢþűƪŦþƷŎŻűƪ܌ǜ'nŎŦĩ-Ʒ'nĩěŻűěŦƿĢܮŎűł- ƪĩěƷŎŻűß-ŎűƷƢŻĢƿěĩƪþ-Ɵ'nŻűĩƷŎě-'nǢĚƢŎĢ-ŻŁ-Ʒ'nĩƪĩ-Ʒ'nƢĩĩ-ǛĩƢƪŎŻűƪþűĢþ- 'nŎűĩƪĩ-ǛĩƢƪŎŻű-ܣƪĩěƷŎŻű-SSS- ŎƪěŻűěĩŎǛĩĢþƪþű-ŎűƪƷƢƿůĩűƷþŦ-ŎűƷĩƢŦƿĢĩܒܤ-1/4þĚŦĩڒܒڑݑƪ'nŻǜƪ-Ʒ'nĩ-ŁŻƿƢ-ǛĩƢƪŎŻűƪ-ŻŁ-Ʒ'nĩ-ƷĩǡƷ܌-ŎűěŦƿĢܮ ing the Chinese symbols and transliteration.ښڝڝ

ڼڷڸ- -ܶ1/4ŊĪ-ƠŏĪĜĪ-ܞ*rǀšŏ-Ųż-Ťǣƕ*ܟŏƫ-ĜĪƣƸÿŏŲŧǣŏŲĜżŲĜĪŏǜÿěŧĪǝŏƸŊżǀƸ-ƸŊĪģĪĪƠŏŰƠƣĪƫƫŏżŲżłÿŲĜŏĪŲƸdÿƠÿŲĪƫĪ-ĜǀŧƸǀƣĪ-S- ƣĪĜĪŏǜĪģżŲ-ŰǣǿƣƫƸ-ƸƣŏƠ-ƸżdÿƠÿŲ-/ǀƣżƠĪÿŲŏŲƸĪŧŧĪĜƸǀÿŧŏƫŰ܉-ƸĪĜŊŲżŧżŃǣ܉-ƸŊĪ-ŊǀƫƸŧĪÿŲģ-ŲżŏƫĪżł-Ƹżģÿǣܹƫ-ĪǢŏƫܫ ƸĪŲĜĪ܈ÿŧŧ-ƸŊŏƫƫĪĪŰĪģ-ŰżƣĪ-ƢǀĪƫƸŏżŲÿěŧĪ-ƸŊÿŲ-ĪǜĪƣܷ-ܠðĪŲģĪƣ܉-ܶrǀšŏ-Ųż-Ťǣƕܷ-ܶ'ÿƫ-®ƸdžĜŤ-ܞ*rǀšŏ-Ųż-Ťǣƕ*ܟŏƫƸƫŏĜŊĪƣŧŏĜŊ-ŲŏĜŊƸģĪŲŤěÿƣżŊŲĪģĪŲ-ƸŏĪłĪŲ-/ŏŲģƣǀĜŤ܉ģĪŲŏĜŊÿǀł-ŰĪŏŲĪƣ-ĪƣƫƸĪŲdÿƠÿŲƣĪŏƫĪǜżŲģĪƣÿŧƸĪŲšÿƠÿŲŏƫĜŊĪŲ- fǀŧƸǀƣ- ĪŰƠǿŲŃ- 'Īƣ- SŲƸĪŧŧĪŤƸǀÿŧŏƫŰǀƫ- /ǀƣżƠÿƫ܉-1/4 ĪĜŊŲżŧżŃŏĪ܉ ģŏĪ-NĪŤƸŏŤ- ǀŲģ hďƣŰĪŲƸłÿŧƸǀŲŃ ģĪƫ- ŊĪǀƸŏŃĪŲ- 'ÿƫĪŏŲƫ܈ŧŧģÿƫ-ĪƣƫĜŊŏĪŲ-ŰŏƣƫżłƣÿŃǝdžƣģŏŃǝŏĪ-ŲŏĪܷܡ

ڽڷڸ- -RĪĪðĪŲģĪƣ܉-ܶÉěĪƣģÿƫ-NƇƣĪŲܷÿŲģðĪŲģĪƣ܉-ܶàÿƫ-ŤÿŲŲrǀƫŏŤ-ŊĪǀƸĪƫĪŏŲܐܷ

ڴڸڸ- -1/4ŊĪłżŧŧżǝŏŲŃƣĪŰÿƣŤƫÿƠƠĪÿƣÿŧżŲŃƫŏģĪ-ŰǣÿŲÿŧǣƸŏĜÿŧƫŤĪƸĜŊżł-ƸŊŏƫǝżƣŤŏŲ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڑڕڍܨڎڕڍ-RĪĪÿŧƫż-ƸŊĪÿŲÿŧǣƫĪƫŏŲ-¦ĪǜĪƣƫ܉-ܶNÿŲƫðĪŲģĪƣ܈-*FǖƣŏŲ-Ųż-Ťǣƕ*ܷÿŲģ-NŏĪŤĪŧ܉-ܶ/ƣƫƸÿǀŲĪŲ-ǀŲģàŏģĪƣƫƠƣdžĜŊŧŏĜŊŤĪŏƸ܉ܷ-ڍڕܨڌڕ

ڵڸڸ- -1/4ŊĪǝżƣģƫŏŲěżŧģŏŲ-ƸŊĪ-ƸÿěŧĪģŏdz łĪƣłƣżŰ-ƸŊĪƫƠĪŧŧŏŲŃŏŲðĪŲģĪƣܹƫƫĜżƣĪ܉ǝŊŏĜŊŏƫŏŲģŏĜÿƸĪģŏŲƫƢǀÿƣĪěƣÿĜŤĪƸƫ- àŊŏŧĪ-ƸŊĪ-ŰŏƫƫŏŲŃ-ܶŏܷƫÿƸ-ƸŊĪ-ĪŲģżł-ƸŊĪǿƣƫƸÿŲģ-ƸŊŏƣģŧŏŲĪƫÿƣĪ-ƠƣĪƫǀŰÿěŧǣ-ƸǣƠżŃƣÿƠŊŏĜÿŧ-Īƣƣżƣƫ-ܠƸŊĪ-ܶŏܷŏŲ-ܶŰĪŏܷ- ĜÿŲ ěĪ łżǀŲģ ŏŲ- ƸŊĪ ÿǀƸżŃƣÿƠŊ ƫĜżƣĪ܉ ěǀƸ- ŲżƸ ŏŲ- ƸŊĪ- ƸǣƠĪƫĪƸ ƫĜżƣĪ- ƠǀěŧŏƫŊĪģ ěǣ ƣĪŏƸŤżƠłݎ ޠ- NďƣƸĪŧܔ ŏŲ ěżƸŊ- ƫĜżƣĪƫ-ƸŊĪƣĪŏƫ-Ųż-ܶŏܷŏŲ-ܶƫǀŏܷ܉ܡ-ƸŊĪƣĪÿģŏŲŃżł-ܶŤÿŲܷłżƣ-ƸŊĪǝżƣŤ-ܶŰżŲŤܷƫĪĪŰƫ-ƸżěĪÿ-ĜŧĪÿƣ-ŰŏƫƸÿŤĪ-ܠǝŏƸŊ-ƸŊÿŲŤƫ- Ƹż-SŲŃƣŏģ-FƣŏƸƫĜŊ܉ żŧżŃŲĪ܉łżƣŧŏŲŃǀŏƫƸŏĜŏŲłżƣŰÿƸŏżŲżŲ-ƸŊĪ-ƠƣżŲǀŲĜŏÿƸŏżŲżł-ƸŊĪ-®ŏŲżܫdÿƠÿŲĪƫĪ-ƸĪǢƸܔŏŲƫżŰĪ- ĜÿƫĪƫÿ-®ŏŲżܫdÿƠÿŲĪƫĪ-ĜŊÿƣÿĜƸĪƣ-ŰÿǣŏŲģĪĪģěĪ-ƠƣżŲżǀŲĜĪģŏŲǜÿƣŏżǀƫǝÿǣƫ܉ěǀƸÿƸ-ƸŊŏƫ-ƠżŏŲƸ-ƸŊĪƣĪÿģŏŲŃ*ƫƕ* is ĜŧĪÿƣŧǣ-ĜżƣƣĪĜƸܡ-1/4ŊĪģĪǜŏÿƸŏżŲƫłżƣ-ƸŊĪ*pinyin*-ƸƣÿŲƫŧŏƸĪƣÿƸŏżŲŏŲ-ƸŊĪ- ŊŏŲĪƫĪǜĪƣƫŏżŲÿƣĪ-ƠƣżěÿěŧǣģǀĪ-ƸżðĪŲģĪƣܹƫ- ģĪƫŏƣĪ-ƸżǿŲģÿǝÿǣżłǝƣŏƸŏŲŃ-ƸŊÿƸŏƫÿƫŏŲƸǀŏƸŏǜĪÿƫ-ƠżƫƫŏěŧĪłżƣàĪƫƸĪƣŲǜżĜÿŧ-ƠĪƣłżƣŰĪƣƫ-¼ŊĪƫƠĪŧŧŏŲŃƫ*zu* for *zhou* and *hei* for *he*܉-ŊżǝĪǜĪƣ܉ÿƣĪƣÿƸŊĪƣ-ŰŏƫŧĪÿģŏŲŃ-¼Ŋǀƫ-ƸŊĪÿǜÿŏŧÿěŧĪƣĪĜżƣģŏŲŃƫǝŏƸŊdǀŧŏĪrżdz łÿƸ-ܠ'ǀƣŏÿŲ- ܉ڑڕڕڍfÿŏƣżƫ-ܡڍڌڌڎÿŲģtÿŲĜǣ-®ŊÿģĪ-ܠĜżŧŧĪŃŲż-ܡڍڕڕڍ-ŊÿǜĪƫĪǜĪƣÿŧ-ŰŏƫƸÿŤĪƫŏŲ-ƸŊĪ-ƠƣżŲǀŲĜŏÿƸŏżŲżł-ƸŊĪ- ŊŏŲĪƫĪ- ƸĪǢƸ-¼ŊĪ-ĜŊÿƣÿĜƸĪƣƫƣĪƠƣżģǀĜĪģŏŲ-ƸŊŏƫ-ƸÿěŧĪłżŧŧżǝ-ƸŊĪ-ĪģŏƸŏżŲżł-ƸŊĪ-ƠżĪŰŏŲ-SĜŊŏŤÿǝÿ܉-Sƣŏǣÿ܉ÿŲģæÿŲÿŃŏģÿ܉  *ŊǖƫĪŏðĪŲŤÿ-ŲżƫŊŏƫƕ*܉-ڒڌڏ-1/4ŊĪ-ƸŏƸŧĪżł-ƸŊĪ-ƠżĪŰŏƫżŲŧǣ-ŃŏǜĪŲÿƫ-*FǖƣŏŲ*ŏŲ-ƸŊŏƫ-ĪģŏƸŏżŲ܉ÿŲģŏƫ-ƸŊĪǿƣƫƸżłÿ-Ơÿŏƣżł- ƠżĪŰƫ-ܠƸŊĪƫĪĜżŲģģżĪƫ-ŲżƸÿƠƠĪÿƣŏŲðĪŲģĪƣܹƫǝżƣŤܡ-1/4ŊĪ-Ƹǝż-ƠżĪŰƫÿƠƠĪÿƣÿƫ-ŲżڌڍڍݎÿŲģ-ŲżڍڍڍݎŏŲ-SŤŤǣǖܹƫ- łÿŰżǀƫ-ƠżĪƸƣǣ-ĜżŧŧĪĜƸŏżŲ*fǣƕǀŲƫŊǖ* (Chinese: *Kuang Yun Ji*܉-ܶ ƣÿǭǣ ŧżǀģܷܡàŊŏŧĪǝżƣŤŏŲŃżŲ-*FǖƣŏŲ-Ųż-Ťǣƕ*܉ðĪŲģĪƣ- consulted Covell and Yamada, *ÃŲƣÿǜĪŧŏŲŃðĪŲܽƫ-¦Īģ-¼ŊƣĪÿģ*.

### *Table 2.3: Hans Zender, FǕƢŎűűŻţǢƔܝ-ŁŻƿƢ-ǛĩƢƪŎŻűƪ-ŻŁ-Ʒ'nĩ-SţţǢǕ-ƟŻĩů-FǕƢŎű in Japanese, English, GĩƢůþűܒþűĢ- 'nŎűĩƪĩ-ܩƪƷþűĢþƢĢŎǬĩĢ-ƷƢþűƪŦŎƷĩƢþƷŎŻűܑrŻĢŎȁĩĢ-NĩƟĚƿƢűþűĢ-NþűǢƿ-£ŎűǢŎűܪ*

\*§§âÑO¹¦Ë® ᷧỸ⭾䳻 **\$ÑÀ®Ʈ®³§â¹Ư** 梏戛[͆柦]


in stillness mute in motion sound ÃÈȨ¨ƜÃÈÈÜ®ÈvÈvÃÈÛ³Ƣ ȳ¨³®§ƜÈÀÀïƜÜv§Ã˽À³ÃvâưÈ®v½ ÜvȮȳóˮȮÈÜvÈvÈ®³³®Ƣ

OȨ¨kÈƝ:ȧ¨v®ƛÜÈkÈƝOv¨¨ƛ \*ÃÈÃOÈÀ%¨³§Ʋ\*ÃÈÃ3ÀvÈÃ`®ÃƢ ÀÃÀ§È{ÀÈÀvËƲÀv¨È9¶®vËÃî9ÈÈvÃèvƛ vƠ`vÃÃÈvÃƢ2ÈçÈçËÀ9ÈÈvÃçÈ9ÈÈÀ®vÈè³§Ƣ


Sű-Ʒ'nĩ-ȀǼ Ʒ'nƪĩěƷŎŻű-ŻŁ-Ʒ'nĩǜŻƢţ-ܣůůܒ-ܤڏڔڑܫڑڗڐ-Ʒ'nĩ-ǛŻěþŦƪŻŦŻŎƪƷ܌þƪĩǡƟŦþŎűĩĢþĚŻǛĩ܌ěŻűƪƷþűƷŦǢ- ŠƿůƟƪ-ĚĩƷǜĩĩű-ŁŻƿƢ-ŦŎűłƿŎƪƷŎě-ŦĩǛĩŦƪܒȃĩƪŻƿűĢƪ-ŻŁ-Ʒ'nĩ-ĢŎDz ŁĩƢĩűƷ-ŦþűłƿþłĩƪþƢĩþƪƪŻěŎþƷŎǛĩŦǢ- ŦŎűţĩĢ-ĚǢůĩþűƪ-ŻŁþŦŦŎƷĩƢþƷŎŻűƪþűĢþƪƪŻűþűěĩƪ-ܣ/ǡܒܤڔڐܒڑݑܒ-NĩƢĩ܌þƪ-Ŏű-Ʒ'nĩ-ƟƢĩěĩĢŎűłƪĩěƷŎŻűƪ-S܌- SS܌þűĢ-Sß܌ĩþě'n-Ŧþűłƿþłĩ-ŎƪþƪƪŎłűĩĢ-ŎƷƪ-Żǜű-ĚþƪŎě-ǛŻěþŦ-Ʒĩě'nűŎơƿĩ܋űŻŎƪǢ-ŎűǴŦĩěƷŎŻűƪ-Ŏű-Ʒ'nĩdþƟܮ þűĩƪĩܗ-ĢƢþůþƷŎě܌-'nŎł'nܮěŻűƷƢþƪƷ-ǛŻěþŦƪ-Ŏű-Ʒ'nĩ-/űłŦŎƪ'nܗþƢƷŎěƿŦþƷĩĢ-*Sprechgesang*-Ŏű-Ʒ'nĩ-GĩƢůþűܗ- þűĢ-ƟŎƷě'nĩĢƪƟĩĩě'nłŦŎƪƪþűĢŎþűĢƪǢŦŦþĚŎěĩǡƷĩűƪŎŻűƪ-Ŏű-Ʒ'nĩ- 'nŎűĩƪĩܒ-ŁěŻƿƢƪĩ܌-Ʒ'nŎƪƪĩƷƷŎűł-Ŏƪ- deliberately related to traditional vocal and instrumental techniques of the four "cultures" and þŦƪŻěŻƢƢĩƪƟŻűĢƪ-ƷŻ-ĢŎDz ŁĩƢĩűƷ-ƷĩůƟŻƢþŦůŻĢĩŦƪ-Ʒ'nþƷðĩűĢĩƢþƪƪŎłűĩĢ-ƷŻ-Ʒ'nĩ-ȀǛĩƪĩěƷŎŻűƪڛڝڝܒ For ĩǡþůƟŦĩ܌-Ʒ'nĩĩůƟ'nþƪŎƪ-Żű-Ʒ'nĩěŻűƪŻűþűƷƪ܌-ŎűěŦƿƪŎŻű-ŻŁ-ĚƢĩþƷ'nƪŻƿűĢƪ܌þűĢěŻűƪƷþűƷ-ŎűǴŦĩěƷŎŻű-

ڶڸڸ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڏڕڍ

of the pitch in the setting of the Japanese texts refer to the vocal delivery techniques of no theater, 44 the breathy sound ideal of shakuhachi music, and the vocal quality of the narrative genre gidayū bushi, which may be grasped via the concept of ibushi (oxidation) (→ V.1). The four language layers in Fūrin no kyō should therefore remain clearly distinguishable, even where they follow in close succession. An interpenetration of the four language systems conceived as an approximation and combination of their phonetic differences - but not as its synthesis, merging, or leveling - thus becomes the productive microstructural impulse in the vocal part.

Example 2.15: Hans Zender, Fürin no kyō, mm. 182-193, soprano part (Copyright © 2003 by Breithopf & Härtel, Wiesbaden) and schematic representation of the language structure of the first stanza

These montages of musical languages, presented largely unaccompanied, become further gesturally interwoven and transformed into simultaneous textures in short instrumental interludes (first in mm. 194–197, Ex. 2.16). In this way, the speech gestures are "translated" into instrumental gestures: the "Japanese" idiom is found in noisy harmonics (violins) and drum sounds; the "English" in "dramatic" figures (e.g., solo clarinet, piano), the "German" in staccato figures (brass); the "Chinese" in glissando-like scales (violoncello, trombone, oboe), so that the hybrid language of the song produces a miniature "song without words."

Zender's clear intention to preserve cultural difference even where a tendency toward impenetrable mixture runs counter to that intention, undoubtedly comes up against conceptual, as well as psychological and perceptual, limits. While, in the vocal part of section V, the dramatic "European" articulation tends to mask the quieter and more subtle "East Asian" articulations, these differences disappear completely in the rather conventional polyphonic structures of the instrumental "reinterpretations." Zender's meticulous approach to cultural difference is certainly a significant step in the history of intercultural composition, but, in the end, remains trapped in a certain schematism of strongly culturally essentialist thought.

<sup>443</sup> References to no theater in Zender's work are explored in Revers, "Hans Zender: Fürin no kyo"

### Cooperation and Dialogue

Among composers as diverse as Giacinto Scelsi, Jean-Claude Eloy, or Heiner Goebbels, we find a different weighting of elements from the previously discussed categories of intercultural composition. Their music contrasts with that discussed above, since non-Western sonic materiality and/or performers had a decisive impact on the compositional results in some of their work, and thus, at least temporarily, these composers allowed for drastic processes of stylistic transformation. 444 In this context, one must also mention Klaus Huber's engagement with Arab music and music theory, initially politically motivated by the Gulf War of 1990/91. This engagement resulted in the project Die Erde bewegt sich auf den Hörnern eines Stiers [Ochsen] [The Earth Moves on the Horns of a Bull (Ox), 1992–94], an "assemblage" for four Arab and two European musicians and fixed media. In this work, the composer not only put aside his authorial control in favor of elements of traditional improvisation practice, but also invited the European musicians to engage with the Arab modes and melodic formulas (maqāmāt) and rhythmic cycles (auzan). Basically, Huber's reception of Arab scales and rhythms, with the exception of this assemblage, does not seem to establish a strong sonic relationship with Arab music. Huber uses the maqāmāt in his works from the 1990s on almost exclusively as an abstract repository of pitches largely detached from melodic-rhythmic models (these models are essential for the distinction between maqamat in Arab musical practice).445 Insofar as the origin of the superimposed scales and modes remains largely concealed in the substructure of Huber's music, no maqam "effect" arises in the final score. Of course, this point would need to be discussed separately and possibly examined empirically, especially since there is by no means an ethnomusicological or music-theoretical consensus on the theory and practice of maqāmāt.446 In any case, consideration should be given to how maqam tones deployed freely in pitch space, as in the first movement of Huber's Miserere Hominibus (2006), 44 can still be understood as a meaningful reference to Arab music – even when detached from their scalar structure and placed in the context of complex harmony. 448

<sup>444</sup> See Utz, Neue Musikundität, 188–190 (Scelsi), 195–200 (Eloy), Goebbels, Komposition als Inszenierung. Scelsi's intercultural aesthetics have been discussed repeatedly; see, among others, Reish, "The Transformation of Giacinto Scelsi's Musical Style and Aesthetic," 59–114, Baatz, "Resonanz des 'weißen Unbewegten," and Utz, "Klang als Energie in der Musik seit 1900."

<sup>445</sup> See Zidarić Györek, "Transformation und Polyphonie in Klaus Hubers Die Seele muss vom Reittier steigen."

<sup>446</sup> See Maraqa, "Auf der Suche nach den Anfängen der 'modernen' arabischen Musiktheorie."

<sup>447</sup> See Utz, "Morphologie und Bedeutung der Klänge in Klaus Hubers Miserere Hominibus."

<sup>448</sup> In an unpublished 2008 manuscript, the Jordanian composer Saed Haddad takes a decidedly critical position on Huber's reception of Arab music on the basis of his 2005 dissertation "The Abstraction of Arabic Musical Vocabulary, Spiritual and Cultural Values into Contemporary Western Music." A comprehensive and independent presentation of this problem is still pending (and will hopefully form a part of Petra Zidaric Györek's dissertation project at the Graz University of Music and Performing Arts, to be finalized in 2021). Admittedly, Günter Kleinen's contribution "Ausweitung harmonischer Räume durch arabische Tonarten" attempts to take a position independent of the composer's self-interpretation, but an analogical relationship between compositional intention and perception is arguably still ubiquitous in this article. To a large extent, Huber's own positions are referred to and elaborated in the articles Keller, "Impulse aus dem Orient auf Klaus Hubers musikalisches Schaffen" (as well as various publications by the same author) and Mahnkopf, "Polykulturalität als Polyphonietypus." By contrast, Knipper, "Tonsysteme im kompositorischen Schaffen von Klaus Huber" offers a far more nuanced discussion of the topic.

Example 2.16: Hans Zender, Fūrin no kyō, mm. 194–196

Copyright © 2003 by Breitkopf & Härtel, Wiesbaden

We can certainly consider *Die Erde bewegt sich auf den Hörnern eines Stiers* a precursor of more recent tendencies, in which representatives of Western and non-Western instrumental þűĢܘŻƢ-ǛŻěþŦ-ƟƢþěƷŎƷŎŻűĩƢƪþűĢěŻůƟŻƪĩƢƪĩűƷĩƢ-ŎűƷŻ-ĢŎƢĩěƷ-ĢŎþŦŻłƿĩܒ-Sű-/þƪƷƪŎþ܌-Ʒ'nĩƢĩ-'nþǛĩ- Ěĩĩű ƪƷƢŻűł-ŎűŎƷŎþƷŎǛĩƪ- ŁƢŻů- ƷƢþĢŎƷŎŻűþŦ-ŎűƪƷƢƿůĩűƷþŦŎƪƷƪ- ƷŻ ǜŻƢţ ǜŎƷ'n ěŻůƟŻƪĩƢƪ ƪŎűěĩ- Ʒ'nĩ- ڏڗژڐƪ-ܣŎű dþƟþű܌ƪƿě'n- ƷĩűĢĩűěŎĩƪ-ĢþƷĩ-Ěþěţ- ƷŻ- Ʒ'nĩ*łĩűĢþŎ-'nƔłþţƿ*- ܡ1/4ƢþĢŎƷŎŻűþŦ dþƟþűĩƪĩrƿƪŎě- ŻŁ-Ʒ'nĩ-£ƢĩƪĩűƷܢůŻǛĩůĩűƷ-ŻŁ-Ʒ'nĩ-ڏڔژڐƪþűĢ-ڏڕژڐƪþűĢĩþƢŦŎĩƢ-ƟĩƢŎŻĢƪ-ݑދSS܌ړܒ-SSSܒܤڐܒ-FŻƢĩǡþůƟŦĩ܌the *ƪ'nƔ*ƪŻŦŻŎƪƷrþǢƿůŎrŎǢþƷþĩűěŻƿƢþłĩĢűƿůĩƢŻƿƪěŻůƟŻƪĩƢƪ- ƷŻǜƢŎƷĩűĩǜǜŻƢţƪ- ŁŻƢ-'nĩƢ- ŎűƪƷƢƿůĩűƷ-ݑދܣSßܒܤڐܒ-¦ĩěĩűƷ-ŎűŎƷŎþƷŎǛĩƪþƢĩƪŻűƿůĩƢŻƿƪ- Ʒ'nþƷ-ŻűŦǢ- Ʒ'nĩůŻƪƷ-ŎůƟŻƢƷþűƷěþű-Ěĩ- ěƿƢƪŻƢŎŦǢűþůĩĢ-'nĩƢĩ܋dŻĵŦ-Żűƪܼƪ-ƷŦþƪ-/űƪĩůĚŦĩ-ܣƪŎűěĩ-܌ܤڑڏڏڑ-RþűĢĩĩƟ-'nþłǜþƷŎܼƪ-ܹěŻűƷĩůƟŻ-ƢþƢǢåě'nþűłĩܺþűĢ-ܹ¦þƪþŦœŦþܺ-ƟƢŻŠĩěƷƪǜŎƷ'n-/űƪĩůĚŦĩrŻĢĩƢűþűĢůƿƪŎěŎþűƪ-ŻƢ-Ʒ'nĩŻƢŎƪƷƪ-ŻŁ-ƷƢþ-ĢŎƷŎŻűþŦ-SűĢŎþűůƿƪŎě-܌ܤڕڏܫڐڏڏڑܣþűĢůŻƢĩ-ƢĩěĩűƷŦǢ-'nþłǜþƷŎܼƪĩűƪĩůĚŦĩ-ܭţƪƷݓþţƷŀ-ܣŁĩþƷƿƢŎűł- ůƿƪŎěŎþűƪ-ŁƢŻů- 'nŎűþ܌-GĩƢůþűǢ܌-SűĢŎþ܌fŻƢĩþ܌ƿŦłþƢŎþ܌-RǢƢŎþ܌þűĢ-Ʒ'nĩî܌ܤ-'ŎĩƷĩƢrþěţܼƪ- projects with Indonesian composers and gamelan ensembles, "Crossings," initiated by Asian ƿŦƷƿƢĩhŎűţǜŎƷ'nfŦþűłŁŻƢƿůàŎĩűþűĢ- 'nŎűþ-ܣ 'nþŎܤ-FŻƿűĢrƿƪŎěàŻƢţƪ'nŻƟ-¼þŎƟĩŎ-܌ړڏܫڒڏڏڑܣ-ݑދSSS܌ܤڕܒěŻůůŎƪƪŎŻűƪ-ĚǢ-Ʒ'nĩĩƢŦŎű-Sƪþűłæƿű-®ŻěŎĩƷǢ-ŁŻƢĩűƪĩůĚŦĩƪůŎǡŎűłfŻƢĩþűþűĢàĩƪƷܮ ĩƢű-ŎűƪƷƢƿůĩűƷƪ܌-SƪƷþűĚƿŦܼƪ-NĩǬþƢŁĩű-/űƪĩůĚŦĩ܌-ŻƢ-Ʒ'nĩĩƢŦŎűƪŎþű-ƢƷ-/űƪĩůĚŦĩ܌-ĢŎƢĩěƷĩĢ-ĚǢ- Ʒ'nĩ ěŻůƟŻƪĩƢܮƟĩƢěƿƪƪŎŻűŎƪƷ- SŦܮ¦Ǣƿű- 'nƿűł-ܣƪŎűěĩ-ڢڝڝܒܤژڏܘږڏڏڑȃĩƪĩ-ŎűŎƷŎþƷŎǛĩƪ ƪĩĩţ- ĢŎþŦŻłŎě- ŁŻƢůƪ-ŻŁůƿƪŎěþŦ-ŎűƷĩƢěƿŦƷƿƢþŦŎƷǢ-ܫ-ŁƢĩơƿĩűƷŦǢ-ŁþěŎűłěŻůůŻű-ƟƢþěƷŎěþŦþűĢ-ȀűþűěŎþŦ-ŻĚƪƷþěŦĩƪ- – that encourage mutual learning and study of musical practices and theories. In this way they ĚƢŎűł-ƷŻłĩƷ'nĩƢ-Ʒ'nĩěƢŎƷŎěþŦþǜþƢĩűĩƪƪþűĢƪĩŦŁܮƢĩǴŦĩǡŎǛŎƷǢ-ŻŁþƢƷůƿƪŎě-ƷƢþĢŎƷŎŻűƪ-ŎűþűĢ-ŻƿƷƪŎĢĩ- /ƿƢŻƟĩ܌-Ʒ'nĩ-ƟŻƷĩűƷŎþŦ-ŁŻƢ-ƟƢŻěĩƪƪƿþŦěŻŦŦþĚŻƢþƷŎŻű܌þűĢ-ƟƢĩěŎƪĩěŻůƟŻƪŎƷŎŻűþŦ-Ʒ'nŎűţŎűłڙڞڝܒ

ȃĩ-ƟþƢþĢŎłůƪ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦ-ƢĩěĩƟƷŎŻű-ĢŎƪěƿƪƪĩĢ-'nĩƢĩ-ŻDz ŁĩƢþě'nþűěĩ-ܫ-Ŏű-ŁþǛŻƢþĚŦĩěŻűditions – to exist alongside one another without premature evaluation and, at the same time, to be exposed to a discourse that allows for new forms of "competence" among all participants. In this way, the traditional dominance of the composer's role can both be circumvented and re-ǛŎƷþŦŎǬĩĢܒhŎţĩþŦŦƪƿĚƪƷþűƷŎǛĩ-ŁŻƢůƪ-ŻŁ-ĢŎþŦŻłƿĩ܌-Ʒ'nŎƪ-ƟƢŻěĩƪƪ-ƢĩơƿŎƢĩƪ-Żűĩ-Ʒ'nŎűłþĚŻǛĩþŦŦĩŦƪĩ܋- þű-ŻƟĩűǜþǢ-ŻŁ-ŦŎƪƷĩűŎűł-Ʒ'nþƷ-Ʒþţĩƪ-ŎűƷŻþěěŻƿűƷ-ŻƿƢ-ŻǜűþƪƪƿůƟƷŎŻűƪþűĢ-ƟƢĩŠƿĢŎěĩƪܗþ-ŦŎƪƷĩűing that always leaves open the possibility to revise our understanding of contexts through new experiences and insights.

ڽڸڸ- -SŲ- ܉ړڍڌڎ- ƸŊĪ- ĪƣŧŏŲ łĪƫƸŏǜÿŧ ÿŲģ- ĜżŲłĪƣĪŲĜĪ-*Turbulences. New Roots for New Music* brought together a selected ŲǀŰěĪƣżł-ĪŲƫĪŰěŧĪƫǝŏƸŊ-ĜƣżƫƫܫĜǀŧƸǀƣÿŧŏŲƫƸƣǀŰĪŲƸÿƸŏżŲŏŲĜŧǀģŏŲŃ-ƸŊĪ-ŰŲŏěǀƫ-/ŲƫĪŰěŧĪ-¼ÿƫŊŤĪŲƸ-ܠhttps:// ƸǀƣěǀŧĪŲǭĪŲǝżƣģƠƣĪƫƫĜżŰܡ

ڴڹڸ- -1/4ŊĪ-ƠżƸĪŲƸŏÿŧÿŲģ-ƸŊĪģŏdz ǿĜǀŧƸŏĪƫżłƫǀĜŊ-ƠƣżěŧĪŰƫÿƣĪ-ĜƣŏƸŏĜÿŧŧǣÿŲģ-ƠƣÿĜƸŏĜÿŧŧǣƣĪǵŧĪĜƸĪģŏŲ-ŊÿŃǝÿƸŏ܉-ܶrĪŏƫ-ƸĪƣŲ܉àÿƣƸĪŲ܉ßĪƣŃĪƫƫĪŲ܉-FŏŲģĪŲܷÿŲģ-ÃƸǭ܉-ܶSŲƸĪƣŤǀŧƸǀƣÿŧŏƸďƸŏŲģĪƣ-ŲĪǀĪŲrǀƫŏŤܷ

### Approaching the Chinese Mouth Organ sheng

I will now outline some of the results of such collaborations, using new works for the Chinese mouth organ sheng as case studies. Because of their unusual and multi-faceted sound and their archaic-mythological connotations, as well as the initiatives of virtuoso performers, a compositional examination of the East Asian mouth organs sheng (→ VI.1), shō (→ IV, VI.2), and saengwang (→ VI.2) has taken place on a relatively broad scale over the past four decades. The activities of the Shanghai-trained virtuoso Wu Wei (b. 1970), who has lived in Berlin since 1995, have played a crucial role in the compositional exploration of the sheng by Western composers. Wu, in addition to his work with composed scores, regularly participates in (semi-) improvisational contexts, including performances with the zheng player Xu Fengxia (> III.5), the Berlin-based ensemble skstraktə, and the Elision Ensemble, and thus opened up the sheng to entirely new possibilities that go far beyond its roles in traditional music. The sheng is one of the oldest Chinese instruments and dates back to the Shang Dynasty (1766-1122 BCE) (> IV.i). Throughout Chinese history, the sheng has developed a wide variety of forms and constructions, including chromatically tuned instruments, though the use of these was presumably restricted to Confucian ritual music. 55 Traditional instruments are used today in rural forms of ceremonial music, in kunqu opera, and sizhu (silk and bamboo) ensembles (→ III.1, III.3). These instruments resemble the Japanese shō insofar as they are largely tuned to diatonic scales and not all of the usually 17 bamboo pipes are equipped with reeds (some pipes remain "silent" – usually only 14, 13, or tewer pipes sound). As in other cases, sheng instruments, their organology, and their repertoire underwent significant changes in the course of modernization in the twentieth century (→ III.1). Several modern varieties of the instruments were developed, among them the fully chromatic sheng with 36 or 37 pipes, partly extended by means of metal attachments for dynamic reinforcement. The modern sheng is connected not least with a heavily Westernized repertoire of "conservatory style" (→ III.1), in which a highly virtuosic soloistic playing meets a simplistic appropriation of conventional Western major-minor harmonies.

Just as the largely "traditional" architecture of the sho stimulated the compositional imagination through its limitations, the extended possibilities of the modern sheng were heightened to the utmost complexity (see below as well as VI.I). In contrast to these radicalized attempts to "modernize" the instrument, a form of simplicity associated with the archaic was sought by the Swiss composer Heinz Reber (1952–2007) in his Music for Sheng (2003–04) for Chinese and Western instruments. This work was conceived with the sheng soloist Huang Lung-Yi from Taipei, who in this piece plays on a traditional 17-pipe instrument, acting as the central figure and a conductor of sorts in the ensemble. During a lengthy collaboration with Huang, Reber notated traditional chord progressions (presumably from the accompaniment of Confucian shrine music, Jikong dianli, which in Taiwan is performed only once a year). In his score, Reber carefully extended the traditional chords and allowed them to "fray out" in ensemble textures, where they mingle with a ubiquitous timpani tremolo. The piece ends with a juxtaposition of all individual layers presented during the approximately 13 preceding minutes: the timpani roll, a respiratory flow of constantly animated stacked fifths in the leading sheng, repetitions of simple patterns of the tour strings, improvisational, jazz-phrased piano gestures, and freely chosen quotations of traditional playing styles of the Chinese two-stringed knee fiddle (erhu) all sound simultaneously. Only the points of entrance and exit of the parts are notated, with no exact synchronization indicated. This montage-like intensification lasts a little less than two

<sup>451</sup> See Thrasher, "The Chinese Sheng" and Thrasher, "Sheng."

*/ǡþůƟŦĩ-ڜږܘڗܑdŻƢłĩ-®ÿűě'nĩǬܴ 'nŎŻűłܒ-Teatro Shanghai – Bühnenmusik, second movement: Descarga for sheng and Chinese ensemble, ůůږږڞݗܘܱژږڞ*

 żƠǣƣŏŃŊƸ-ޣ-ڌڌڌڎěǣdżƣŃĪ-®ĀŲĜŊĪǭܫ ŊŏżŲŃ܉ßŏĪŲŲÿ

minutes before the *sheng*þűĢ܌-ȀűþŦŦǢ܌-ŻűŦǢ-Ʒ'nĩ-ƷŎůƟþűŎ-ƢĩůþŎűܒ-Ǣ-Ʒ'nŎƪƪĩƷƷŎűł܌-¦ĩĚĩƢ-ƷƢŎĩĢ-ƷŻ- ƟƢŻǛŎĢĩƪƟþěĩ-ŁŻƢþŦŦ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷƪ-Ŏűǜ'nŎě'n-Ʒ'nĩǢěþű-ܹŎűƷĩƢƟĩűĩƷƢþƷĩƿűŎůƟĩĢĩĢŦǢܒܺȃĩþĚþűܮ ĢŻűůĩűƷ-ŻŁþěŦĩþƢŦǢƪƷþƷĩĢěŻůƟŻƪŎƷŎŻűþŦƪƷƢƿěƷƿƢĩ-Ŏű-Ʒ'nĩƿĢĢ'nŎƪƷܮŎűƪƟŎƢĩĢ-ƷƢþĢŎƷŎŻűƪĩĩţƪþ- þłĩܮŦŎţĩ-ܹŎůůĩĢŎþěǢ-ŻŁ-Ʒ'nĩűŻǜܒ-RŻůĩŻűĩ-Ʒ'nŎűţƪ܌-ĚƿƷ-'nĩ-ĢŻĩƪűŻƷ-Ʒ'nŎűţܒ-RŻůĩŻűĩƪŎűłƪ܌-ĚƿƷ- he does not sing a melody. Someone is playing and his playing is based on nothing."ڛڞڝ

Surely one of most virtuoso *sheng*-ƟþƢƷƪ- ƷŻ- Ʒ'nŎƪ-ĢþǢ-ŻDz ŁĩƢƪ- Ʒ'nĩƿƷůŻƪƷěŻűƷƢþƪƷ- ƷŻ-¦ĩĚĩƢ߳ƪ- þƟƟƢŻþě'n܋-*Teatro Shanghai – Bühnenmusik*-ܤڏڏڏڑܣ- ŁŻƢ ƪĩǛĩű- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪ þűĢ- ƟĩƢěƿƪƪŎŻű܌ǜƢŎƷƷĩű-ĚǢ-Ʒ'nĩßŎĩűűþܮĚþƪĩĢěŻůƟŻƪĩƢdŻƢłĩ-®ÿűě'nĩǬܮ 'nŎŻűł-ܣĚ܌ܤژڕژڐݑܒ-ĚŻƢű-ŎűßĩűĩǬƿĩŦþ- ƷŻþ ƿĚþűܮ 'nŎűĩƪĩ-ŁþůŎŦǢܒȃŎƪ-ƟþƢƷǜþƪþŦƪŻ-ƢĩþŦŎǬĩĢ-ĚǢ-NƿþűłhƿűłܮæŎ܌űŻǜ-ŻűþůŻĢĩƢűܮ ŎǬĩĢ܌-ܮڕڒƟŎƟĩ-ŎűƪƷƢƿůĩűƷܒȃĩƪĩěŻűĢůŻǛĩůĩűƷ܌-*Descarga für* sheng *und chinesisches Ensemble*, is derived from the energetic rhythms of the Cuban improvisatory genre *descarga*-ܣĢŎƪě'nþƢłĩܤ- þűĢ-ƟŦþěĩƪ- Ʒ'nĩ-'nŎł'nĩƪƷ-ŻŁ- Ʒĩě'nűŎěþŦ-ĢĩůþűĢƪ-ŻűþŦŦ-ŎűƪƷƢƿůĩűƷƪ-ŎűǛŻŦǛĩĢܒ-Rÿűě'nĩǬܮ 'nŎŻűłܼƪ- goal aims beyond a simple transfer of a Cuban model to Chinese instruments or tracing of

ڶڹڸ- -¦ĪěĪƣ܉- ܶrǀƫŏĜ łżƣ- ®ŊĪŲŃܷ- ܠܶģŏĪ- ÃŲŰŏƸƸĪŧěÿƣŤĪŏƸ ģĪƫ dĪƸǭƸdĪŰÿŲģ ģĪŲŤƸ܉ ÿěĪƣ- Īƣ ģĪŲŤƸ- ŤĪŏŲĪ- GĪģÿŲŤĪŲ dĪ-ŰÿŲģƫŏŲŃƸ܉ÿěĪƣ-ĪƣƫŏŲŃƸ-ŤĪŏŲĪrĪŧżģŏĪdĪŰÿŲģƫƠŏĪŧƸ-ǀŲģƫĪŏŲ-®ƠŏĪŧŏƫƸÿǀłtŏĜŊƸƫěĪǭżŃĪŲܷܡ

autobiographical hybridity. The composer instead intends to create a surreal atmosphere, inspired by the character of a theater director intoxicated by drugs as described in the novel De donde son los cantantes? (Where do the singers come from?) by the Cuban author Severo Sarduy (1937–1989): "We do not hear the music played by the instrumentalists, but what has already been digested by a 'subjective ear': a distorted music, as perceived by the director under the influence of drugs; his music, his own Descarga. An alienation that enters a new musical character and takes on a life of its own."453

After a dense tutti of the other six instruments of the Silk-and-Bamboo ensemble (erhu, yangqin, zheng, ruan, pipa, and dizi) driven by irregular beats and accents, the sheng first establishes a ten-note chord, which is enhanced by various vibrato techniques in a "very nervous" manner leading to a first culmination. Following a heterophonic passage without exact synchronization, the concluding section is filled with virtuoso gestures in highly complex rhythms (Ex. 2.17) that increasingly cover and "neutralize" the energetic pitch pulsations of the other instruments.

Sanchez-Chiong certainly does little to evoke an atmosphere of authenticity or archaic mythology. It is obvious in many cases that those composers who have experienced merging, hybridity, and anti-purism as a daily reality of life rebel against any thought of cultural "authenticity" in a most pronounced manner. Among them is the Indian-born Sandeep Bhagwati (b. 1963), who was educated and trained in Germany and now teaches in Canada. He developed pioneering concepts of intercultural composition, especially in the area of tension between Indian vocal and instrumental practice. 554 In his duo Illusies van harder en zacht (Illusions of Noise and Silence, 2003) for viola and sheng after a poem by Cees Nooteboom, dialogues of exciting rhythmic intensity oscillate between quasi-improvisational gestures and moments of sudden synchronization (Ex. 2.18).455 Here too, however, the boundaries of "established" playing technique are deliberately exceeded time and again, albeit not to the same extent as by Sánchez-Chiong.

An even increased density and complexity, compared to Sánchez-Chiong, is designed in Simeon Pironkoff's (b. 1966) duo Fall/Wende (2005-06) for the organologically related instruments sheng and accordion (→ IV.1). In this work, the mythological associations that both instruments carry are deliberately "deconstructed" by developing a model of permanent transition - perhaps in the sense of Mathias Spahlinger's well-known orchestral work passage/ paysage (2001). The traditionalist contemplative model of the sheng is situated in areas of "limited" predictability, during which the two instruments approach each other in several cycles before repelling each other. As Example 2.19, from the beginning of the first movement (top), demonstrates, it is clear how minutely conceived the sonic transitions are,466 while the excerpt from the third movement (bottom) indicates a moment of maximum approximation in which, however, the instruments seem to be permanently "shifted" against each other. The quarter-

<sup>453</sup> Sánchez-Chiong, "Teatro Shanghai – Bühnenmusik." ("Wir hören nicht die vom Instrumentalisten gespielte Musik, sondern was bereits durch ein 'subjektives Ohr' verdaut wurde: Eine verzerrte Musik, so wie sie vom Direktor unter Drogenwirkung wahrgenommen wird; seine eigene Descarga. Eine Verfremdung, die sich einem neuen Duktus einfügt und verselbständigt.")

<sup>454</sup> See Bhagwati's essays "Meistern, Warten, Vergessen, Finden," "Sein Zuhause komponieren," and "Imagining the Other's Voice."

<sup>455</sup> Bhagwati composed further works with Chinese instruments, including Wörterbuch der Winde (2002) for Chinese-Western ensemble and two conductors, further versions of Illusies van harder en zacht including a quartet for sheng, zheng, viola, and cello (2004-06) as well as Traces and Shadows for sheng solo (2006).

<sup>456</sup> In both instruments, the decay phases are indicated in a tablature-like notation.

Copyright © 2003 by Sandeep Bhagwati, Berlin/Montreal

Example 2.19: Simeon Pironkoff, Fall/Wende for sheng and accordion, I, mm. 1–5; III, mm. 40–42

Copyright © 2006 by Simeon Pironkoff, Vienna

### */ǡþůƟŦĩ-ڕڗܘڗܑàŻŦŁłþűł-®ƿƟƟþűܒ-Studie II-ŁŻƢƪ'nĩűłþűĢ-ŦŎǛĩܴĩŦĩěƷƢŻűŎěƪܒƪĩěƷŎŻű-ږ*

 żƠǣƣŏŃŊƸ-ޣ-ڐڌڌڎěǣàżŧłŃÿŲŃ-®ǀƠƠÿŲ܉ßŏĪŲŲÿ

ƷŻűĩ-ƷƿűŎűł-ŻŁ-Ʒ'nĩǜƢĩƪƷ-ƟŦþűţ-ŻŁ-Ʒ'nĩþěěŻƢĢŎŻűƿƪĩĢ-'nĩƢĩ-ܣĢĩǛĩŦŻƟĩĢ-ĚǢ-Ʒ'nĩƪŻŦŻŎƪƷ܌fƢþƪƪŎůŎƢ- ®ƷĩƢĩǛܤěŻűƷƢŎĚƿƷĩƪ-ƷŻĩƪƷþĚŦŎƪ'nŎűłþ-ŁƿűĢþůĩűƷþŦ-ܹþŦƷĩƢŎƷǢܺ-ĚĩƷǜĩĩű-Ʒ'nĩ-ƷǜŻ-ŎűƪƷƢƿůĩűƷƪܒ

àŻŦŁłþűł-®ƿƟƟþűܼƪ-ܣĚܤڕڕژڐݑܒůŻƢĩěþƿƷŎŻƿƪþűĢ-ĢĩŦŎěþƷĩþƟƟƢŻþě'nþě'nŎĩǛĩƪ܌-ŻŁěŻƿƢƪĩ܌űŻ- less startling sounding results in his *Studie II*-ܤړڏڏڑܣ-ŁŻƢ*sheng* and live electronics (controlled ĚǢ-Ʒ'nĩƪŻǼ ƷǜþƢĩ-®ƿƟĩƢ ŻŦŦŎĢĩƢܒܤ-SűěŦŻƪĩěŻŦŦþĚŻƢþƷŎŻűǜŎƷ'nàƿàĩŎ܌-RƿƟƟþű-ĢĩǛĩŦŻƟĩĢþěþƷþܮ ŦŻłƿĩ-ŻŁƪ'nŻƢƷƪŻƿűĢ-ŎůƟƿŦƪĩƪǜŎƷ'nþűĢǜŎƷ'nŻƿƷ-ƟŎƷě'n-ĚĩűĢƪܒȃĩƪĩ-ŎűěŦƿĢĩþĢǛþűěĩĢ-Ʒĩě'nűŎques of haptic exploration of the instrument and its construction (turning screws, blowing air ŻǛĩƢ- Ʒ'nĩ-ƟŎƟĩƪܤ-ŻƢ- Ʒĩě'nűŎơƿĩƪ- Ʒ'nþƷþƢĩě'nþƢþěƷĩƢŎƪƷŎě-ŻŁàƿàĩŎܼƪ-ƟŦþǢŎűł ƪƷǢŦĩ܌ ƪƿě'nþƪ-ƟŻŦǢ-Ɵ'nŻűŎěě'nŻƢĢłŦŎƪƪþűĢŻƪܒ-'ƿƢŎűł-Ʒ'nĩ-Ƣĩ'nĩþƢƪþŦ-ƟƢŻěĩƪƪ܌àƿàĩŎĩǡƟĩƢŎůĩűƷĩĢǜŎƷ'n-Ʒ'nĩ-'nŎł'nŦǢ- ƢĩƪƟŻűƪŎǛĩěŻůĚ-ȀŦƷĩƢĩDz ŁĩěƷ-ƟƢŻǛŎĢĩĢ-ĚǢ-Ʒ'nĩ-ŦŎǛĩĩŦĩěƷƢŻűŎěƪ܌-ŁŻƢĩǡþůƟŦĩ-ĚǢěŻűƷŎűƿŻƿƪŦǢ-ǛþƢǢܮ Ŏűł- Ʒ'nĩ-ĢŎƪƷþűěĩ- ŁƢŻů- Ʒ'nĩůŎěƢŻƟ'nŻűĩܒȃĩƪĩĩǡƟĩƢŎůĩűƷƪĩǛĩűƷƿþŦŦǢěƿŦůŎűþƷĩĢ-Ŏűþ- Ʒ'nƢĩĩܮ phase formal process that gradually turns the initially isolated sound impulses into a continƿŻƿƪƪŻƿűĢƪƷƢĩþů-ĚĩŁŻƢĩ-ƢĩƷƿƢűŎűł- ƷŻ-ŎůƟƿŦƪĩƪܒ-Sű- Ʒ'nĩ-ȀƢƪƷƪĩěƷŎŻű܌- Ʒ'nĩ-ƟĩƢŁŻƢůĩƢ-ƢĩþĢƪþ- ƪĩůŎܮłƢþƟ'nŎěƪěŻƢĩ-ŁŻƿƢ-ƷŎůĩƪ-ܣ/ǡ܌ܤڏڑܒڑݑܒǜŎƷ'nůŻƢĩƪŻƿűĢĩǛĩűƷƪůþĢĩþƿĢŎĚŦĩĩþě'n-ƷŎůĩƿűƷŎŦ- þŦŦ-ƷǜĩŦǛĩƪŻƿűĢĩǛĩűƷƪþƢĩ-ƟĩƢŁŻƢůĩĢ-ŎűƪƿěěĩƪƪŎŻűܒȃĩ-Ʒ'nŎƢĢƪĩěƷŎŻű-ƢĩǛĩƢƪĩƪ-Ʒ'nŎƪ-ƟƢŻěĩƪƪƪŻ- Ʒ'nþƷ-Ʒ'nĩƪŻƿűĢƪþƢĩ-ŎűěƢĩþƪŎűłŦǢ-ƢĩĢƿěĩĢ-ƷŻűŻŎƪǢ-ŎůƟƿŦƪĩƪþűĢ-ܹěŦŎěţƪܺǜ'nŎŦĩ-ƟƢĩǛŎŻƿƪŦǢ܌-Ŏű-Ʒ'nĩsecond section, the continuity achieved at the end of the first section is sustained by an uninterrupted series of 49 sound events.

Similar to some works for shō, which are based on a tendency to explore the fingerings, organology, and sound possibilities of the instrument systematically (→ IV.1, VI.2), Reber and Suppan derive their structures from an inventory of playing and sound possibilities of the instrument. The flexibility and openness of their approach allows the sheng soloist to act as a kind of co-composer. Of course, the more "prescriptively" conceived works of Sanchez-Chiong, Bhagwati, and Pironkoff are also inseparable from the almost "unlimited" performative possibilities of soloists like Huang or Wu, who have grown out of the much maligned "conservatory style." This leaves room for an independent interpretation by the performers at the seams of the tightly woven structure. The obvious objection that this approach grafts a "Western," "unidiomatic" model of virtuosity onto a "traditional" instrument must be countered. The recent history of East Asia demonstrates (→ III) how a self-confident appropriation of advanced "technicity" has long since given rise to a multitude of independent "hybrid formations," to which the works presented here merely add further facets. In these works' refusal to appeal to simple culturalist and essentialist oppositions, they take particularities, aspects of alterity, and incommensurability seriously. By implementing these elements in a compositionally nuanced way, these works incorporate the basic prerequisites of a deeper study and the acquisition of intercultural competencies in order to reach beyond established models of a purely technically or purely ideologically imprinted appropriation of cultural "Otherness."

# **III. Studies on the History and Analysis of New East Asian Music**

### **1. The Reception of Western Modernism in the Music of China and Japan Since the Late Nineteenth Century**

FƢŻů-Ʒ'nĩůŎĢܮűŎűĩƷĩĩűƷ'něĩűƷƿƢǢ܌-Ʒ'nĩ-'nŎƪƷŻƢǢ-ŻŁ-/þƪƷƪŎþűůƿƪŎě-Ŏƪ-ŎűĩǡƷƢŎěþĚŦǢ-ŦŎűţĩĢ-ƷŻ-Ʒ'nĩ- ŎűǴŦƿĩűěĩþűĢƪƟƢĩþĢ-ŻŁàĩƪƷĩƢűůƿƪŎě-Ŏű-/þƪƷƪŎþ܌-Ʒ'nŻƿł'n-ĚǢűŻůĩþűƪ-ƢĩĢƿěŎĚŦĩ-ƷŻ-Ʒ'nŎƪþƪ- Ʒ'nĩƪŻŦĩ-ŁþěƷŻƢ-ݑދܣSSܒܤڐܒ-ŦƷ'nŻƿł'n-Ʒ'nĩdþƟþűĩƪĩůŻĢĩŦ-ŻŁþěŻĩǡŎƪƷĩűěĩ-ŻŁdþƟþűĩƪĩþűĢàĩƪƷĩƢű- music and the Chinese model of a reform of Chinese music and instruments by Western stan-ĢþƢĢƪ-'nþǛĩ-Ěĩĩű-ŎĢĩűƷŎȀĩĢþƪ-ƷǜŻ-ŻƟƟŻƪŎűłþűĢ-ƢþƷ'nĩƢůŻůĩűƷŻƿƪ-ƟþƢþĢŎłůƪ-Ŏű-Ʒ'nĩ-ƢĩƪƟŻűƪĩ- ƷŻàĩƪƷĩƢű-ŎűǴŦƿĩűěĩ܌-Ʒ'nĩƢĩǜĩƢĩþŦƪŻ-ƢĩǛĩþŦŎűł-ƟþƢþŦŦĩŦƪ-Ŏű-Ʒ'nĩ-ƢĩěĩƟƷŎŻű-ŻŁàĩƪƷĩƢűůƿƪŎě-Ŏű- dþƟþűþűĢ- 'nŎűþܒ-SƷ-Ŏƪ-ƢĩůþƢţþĚŦĩ܌-ŁŻƢĩǡþůƟŦĩ܌-Ʒ'nþƷĩǛĩűþƷ-Ʒ'nĩ-'nĩŎł'nƷ-ŻŁþűƷŎܮàĩƪƷĩƢű-ƷĩűĢĩűcies – in Japan during the Second World War, in China during the Cultural Revolution – musiěŎþűƪƿűǴŦŎűě'nŎűłŦǢěŦƿűł-ƷŻ-/ƿƢŻƟĩþű-ŎűƪƷƢƿůĩűƷƪþűĢ-Ʒ'nĩ-/ƿƢŻƟĩþűƪǢůƟ'nŻűǢ-ŻƢě'nĩƪƷƢþþƪ- the essential medium of sound.

ȃĩ-ĢŎƪƷŎűěƷŎŻűůþĢĩ-ĚǢ-®þĚƿƢƔrŻƢŻŎþƷ-Ʒ'nĩ-ܹǛĩƢěŻůŎűłrŻĢĩƢűŎƷǢܺƪǢůƟŻƪŎƿů-ĢƿƢŎűł- Ʒ'nĩ-®ĩěŻűĢàŻƢŦĢàþƢ-ĚĩƷǜĩĩűdþƟþűĩƪĩƪƟŎƢŎƷþűĢàĩƪƷĩƢű-Ʒĩě'nűŎơƿĩ-ݑދܣSܤڑܒ-ƢĩǛŎƪŎƷĩĢþůŻĢĩŦ- in the appropriation of Western culture in Japan and China since the mid-nineteenth centu-ƢǢܒȃŎƪěþű-Ěĩ-ƷƢþěĩĢ-ŎűűĩŻܮ ŻűŁƿěŎþűƪŦŻłþűƪ-ĢŎƪƷƢŎĚƿƷĩĢ-ŁƢŻů-Ʒ'nĩ-ڏڔڗڐƪ܌-ȀƢƪƷ-ŎűdþƟþűþűĢ- ƪ'nŻƢƷŦǢþǼ ƷĩƢǜþƢĢ-Ŏű- 'nŎűþ܌-ܹdþƟþűĩƪĩ-®ƟŎƢŎƷþűĢàĩƪƷĩƢű-¼ĩě'nűŻŦŻłǢܺ-ܣ*ǜþţŻű-ǢƔƪþŎ*ښ܌ܤ or "Chiűĩƪĩ-Ʒ'nŎűţŎűł-ܡ ŻűŁƿěŎþűĩƷ'nŎěƪܢþƪƪƿĚƪƷþűěĩ܌àĩƪƷĩƢű-Ʒ'nŎűţŎűł-ܡþĢůŎűŎƪƷƢþƷŎŻűþűĢ-Ʒĩě'nűŻlogy] as means of use" (*Ǭ'nŻűłǡƿĩǜĩŎ-ƷŎܒǡŎǡƿĩǜĩŎ-ǢŻűł*ڛܒܤ Military music, school songs (Japanese *ƪ'nƔţþ*, these in turn serving partly as a template for the Chinese *xuetangge*<sup>ڜ</sup> ܌ܤþűĢ-ƟŻŦŎƷŎěþŦƪŻűłƪ- ǜĩƢĩ-ŻǼ ƷĩűěƢĩþƷĩĢ- ĚǢ- ŁŻŦŦŻǜŎűłàĩƪƷĩƢűůŻĢĩŦƪűŻƷĩ- ŁŻƢűŻƷĩܒ-/þƢŦǢűþƷŎŻűþŦŎƪƷ ƪǢůƟ'nŻűŎě- ǜŻƢţƪǜĩƢĩƿƪƿþŦŦǢ-ĚþƪĩĢ-Żű-Ʒ'nĩěŻűƪƷƢƿěƷŎŻűƪþűĢ-ŎűǛĩűƷŎŻűƪ-ŻŁűþƷŎŻűþŦ-ŎĢĩűƷŎƷǢ-Ŏű-ŦþƷĩűŎűĩ-

ڵ- -1/4ŊĪƫŧżŃÿŲǝÿƫ-ĜżŏŲĪģěǣ-¼ÿģÿǣÿƫǀæżƫŊŏŤÿǝÿ-ܡڐڔڔڍܨڐڎڔڍܠŏŲ-Ŋŏƫ-*Kaika sakuron*-ܠ¥ǀĪƫƸŏżŲƫÿŲģ-¼ŊĪŰĪƫżŲ-£ƣż-ŃƣĪƫƫ܉- ܡړڒڔڍ- ܠŊƸƸƠܕܕ܈ĪŲǝŏŤŏƠĪģŏÿżƣŃܕǝŏŤŏܕæÿŰÿƸżܫģÿŰÿƫŊŏŏܡ-R ŏŰŏŧÿƣ ƫŧżŃÿŲƫ- Ŋÿģ- ƠƣĪĜĪģĪģ- ƸŊŏƫ łżƣŰǀŧÿƸŏżŲ܉- ƫǀĜŊ ÿƫ- ®ŊƕǭÿŲ- ®ÿŤǀŰÿܹƫ- ܡڐڒڔڍܨڍڍڔڍܠ- ܶ/ÿƫƸĪƣŲ- ĪƸŊŏĜƫ܉ àĪƫƸĪƣŲ- ƸĪĜŊŲŏĜÿŧ ŧĪÿƣŲŏŲŃܷ- ܠ*Ƹƕǣƕ ģƕƸżŤǀ܍ ƫĪŏǣƕ- ŃÿŤǀŃĪŏ*ܡ- żƸŊǝĪƣĪ-ŲŏŲĪƸĪĪŲƸŊܫĜĪŲƸǀƣǣƣĪܫƠŊƣÿƫŏŲŃƫżł-ƸŊĪ-NĪŏÿŲܫƠĪƣŏżģƫŧżŃÿŲ*wakon kansai* ("Japanese spirit, Chinese ƸĪĜŊŲŏƢǀĪܷ܉ܡ-ĜƣĪģŏƸĪģ-Ƹż-®ǀŃÿǝÿƣÿ-ŲżrŏĜŊŏǭÿŲĪ-ܡڏڌڕܨڑڐڔܠ-RĪĪdżƫĪƠŊƫżŲ܉-*The Invention of Religion in Japan*܉-ڔڌڍ

ڶ Geist, *Die Modernisierung der chinesischen Kultur*܉-ڌڎܨڎڍ-1/4ŊŏƫłżƣŰǀŧÿǝÿƫǿƣƫƸłżƣŰǀŧÿƸĪģŏŲ-ڔڕڔڍěǣ-ƸŊĪ-ŰżģĪƣÿƸĪ- ƣĪłżƣŰĪƣ ðŊÿŲŃ ðŊŏģżŲŃ- ܡڕڌڕڍܨړڏڔڍܠ ÿŲģ ǝÿƫ- ƠƣżǜżĜÿƸŏǜĪŧǣ- ƸǀƣŲĪģ żǜĪƣ ěǣ- ƸŊĪ ƣĪłżƣŰĪƣƫ żł- ƸŊĪ- ڌڔڕڍƫ ŏŲ*xi ti zhong yong*܉-ܶàĪƫƸĪƣŲÿƫƫǀěƫƸÿŲĜĪ܉- ŊŏŲĪƫĪÿƫ-ŰĪÿŲƫżł-ǀƫĪܷ-ܠŏěŏģ܉-ܡڏڍ

ڷ- -RĪĪ-GżƸƸƫĜŊĪǝƫŤŏ܉-ܶ/ŏŲĪrǀƫŏŤŤǀŧƸǀƣÿǀłģĪŰ-®ĜŊĪŏģĪǝĪŃĪ܉ܷ-GÿŧŧŏÿŲż܉*æƕŃÿŤǀ*܉-܉ڏڒܨړڎ-Gŏŧģ܉-ܶ/ÿƣŧǣ-ڌڎƸŊ- ĪŲƸǀƣǣ- ܸ¦ĪłżƣŰƫܹŏŲ- ŊŏŲĪƫĪrǀƫŏĜ܉ܷhŏÿŲŃ܉-ܶàĪƫƸĪƣŲ-SŲǵŧǀĪŲĜĪżŲ- ŊŏŲĪƫĪrǀƫŏĜŏŲ-ƸŊĪ-/ÿƣŧǣ-¼ǝĪŲƸŏĪƸŊ- ĪŲƸǀƣǣ܉ܷ-ܨڕڏڍ 144, Liu, *A Critical History of New Music in China*܉-܉ڔړܨڏڎ-ÿŲģ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڍڎڎܨڒڌڎ

ƷĩĩűƷ'nܮěĩűƷƿƢǢ-/ƿƢŻƟĩþű-ܹűþƷŎŻűþŦƪě'nŻŻŦƪ܌ܺþűĢěŻůĚŎűĩĢ-Ʒ'nŎƪ-ŦþƢłĩŦǢƪƷǢŦŎƪƷŎěþŦŦǢěŻűƪŎƪƷĩűƷ- idiom with Japanese or Chinese titles, texts, and paratexts. Indeed, the interaction between Japanese and Chinese tendencies of modernization was so complex that the whole epoch around ڏڏژڐěþű-ŻűŦǢ-ĚĩþĢĩơƿþƷĩŦǢƿűĢĩƢƪƷŻŻĢþƪþ-ܹƷƢŎþűłƿŦþƢ-ƢĩŦþƷŎŻűƪ'nŎƟ-ĚĩƷǜĩĩű-/ƿƢŻƟĩ܌dþƟþű܌and China."<sup>ڝ</sup>

ěŻűěĩƟƷ-ŻŁůŻĢĩƢűŎƪůþƪþ-ƟƢŻłƢĩƪƪŎǛĩ-ĚƢĩþě'n-ŻŁ-Ʒ'nĩűŻƢů-Ʒ'nþƷ-ȀűĢƪ-ŎƷƪĩŦŁ-Ŏűþ-ƷĩűƪĩþűĢ- űŻűܮþDzȀƢůþƷŎǛĩ-ƢĩŦþƷŎŻű-ƷŻƪŻěŎĩƷþŦ-ƟƢŻěĩƪƪĩƪůþǢłĩűĩƢþŦŦǢ-Ěĩ-ŻŁ-ŦŎůŎƷĩĢƿƪĩǜŎƷ'n-ƢĩłþƢĢ-ƷŻ- /þƪƷƪŎþű ěŻƿűƷƢŎĩƪ-Ŏű- Ʒ'nĩ- ƷǜĩűƷŎĩƷ'n ěĩűƷƿƢǢ܌þƪþƢłƿĩĢ-Ŏű-/ŎƪĩűƪƷþĢƷܼƪ- Ʒ'nĩŻƢǢ-ŻŁ- ܹůƿŦƷŎƟŦĩ- ůŻĢĩƢűŎƷŎĩƪܺ-ݑދܣSSڐܒ-*'ĩܴtþƷŎŻűþŦŎǬŎűłrƿƪŎě-NŎƪƷŻƢŎŻłƢþƟ'nǢ*ܒܤ-Sű- 'nŎűþ܌-Ʒ'nĩƪƷþƢƷŎűł-ƟŻŎűƷ-ŁŻƢ-Ʒ'nĩ- reception of Western music was utilitarianism characterized by colonial constellations, which ěþű-Ěĩ-ƷƢþěĩĢ-Ěþěţ-ƷŻ-ĚŻƷ'n-Ʒ'nĩ-ƟŎƿůàþƢƪ-ŻŁ-ڑړܫژڒڗڐþűĢ-ڏڕܫڐڔڗڐþűĢ-Ʒ'nĩƪƿĚƪĩơƿĩűƷàĩƪƷernization and Self-Strengthening Movement (*æþűłǜƿ-ǬŎơŎþűł-ǢƿűĢŻűł*ܒܤ-Sű-Ʒ'nĩůƿƪŎěþŦ-ƢĩþŦů܌-Ʒ'nĩþƪƟĩěƷƪ-ŻŁàĩƪƷĩƢű-ƷƢþĢŎƷŎŻű-ȀƢƪƷ-ƢĩěĩŎǛĩĢǜĩƢĩ-ĚþƪŎěůþƷĩƢŎþŦƪ-Ʒ'nþƷǜĩƢĩþŦǜþǢƪþƪƪŎłűĩĢ- ěŦĩþƢŦǢ-ĢĩȀűĩĢƪŻěŎþŦ-ŁƿűěƷŎŻűƪ܋-Ʒ'nĩþƢůŎűł-ŻŁ-Ʒ'nĩůŎŦŎƷþƢǢ-ŎűǛŻŦǛĩĢ-Ʒ'nĩþĢŻƟƷŎŻű-ŻŁàĩƪƷĩƢű- military brass music, modernized school education involved the introduction of Westernoriented school songs, and – most prominently – the strengthening of national self-esteem ŎűǛŻŦǛĩĢěƢĩþƷŎűł ƪŻűłƪ܌þűĢ ƪŻŻűþŦƪŻ ƪǢůƟ'nŻűŎěǜŻƢţƪ܌ǜŎƷ'nűþƷŎŻűþŦŎƪƷŎěþŦŦǢþěěĩűƷƿþƷĩĢ- texts, titles, or melodies.<sup>ڞ</sup>

Sű-ǛþƢŎŻƿƪ- 'nŎűĩƪĩ-ƢĩŁŻƢůůŻǛĩůĩűƷƪ-ŻŁ-Ʒ'nĩ-ڏڑژڐƪþűĢ-ڏڒژڐƪ܌þƪƷƢŻűłĩƢ-ŁŻěƿƪ-Żű-ŦŻěþŦ-ƷƢþditions under the guiding idea of a mutual complementation of Chinese and Western cultures (*ǢŎ-Ǭ'nŻűł-ĚƿǡŎ*ܤǜþƪ-ŻƟƟŻƪĩĢ-ĚǢþ-ƢþĢŎěþŦŎǬĩĢ-ĢĩůþűĢ-ŁŻƢ-ܹƷŻƷþŦàĩƪƷĩƢűŎǬþƷŎŻűܺþƪ-ܣþ-ƷĩůƟŻ-ƢþƢǢܤůĩþűƪ-ŻŁůŻĢĩƢűŎǬþƷŎŻűڟܒ űĩ-ŻŁ-Ʒ'nĩůŻƪƷ-ŎůƟŻƢƷþűƷ-ƢĩŁŻƢůĩƢƪ-ŻŁ-Ʒ'nŎƪ-ƷŎůĩ-Ŏű-Ʒ'nĩ-ȀĩŦĢ- ŻŁůƿƪŎěǜþƪhŎƿ-¼Ŏþű'nƿþ-܌ܤڑڒژڐܫڔژڗڐܣǜ'nŻ-ŁŻƿűĢĩĢ-Ʒ'nĩ-®ŻěŎĩƷǢ-ŁŻƢ-Ʒ'nĩ-SůƟƢŻǛĩůĩűƷ-ŻŁtþƷŎŻnal Music (*GƿŻǢƿĩłþŎŠŎűƪ'nĩ*ܤ-Ŏű-ږڑژڐþŦŻűłǜŎƷ'nåŎþŻæŻƿůĩŎ-܌ܤڏړژڐܫړڗڗڐܣǜ'nŎě'n-ƢĩěĩŎǛĩĢƪƷƢŻűł- impulses from the Western-oriented *åŎűǜĩű'nƿþ-ǢƿűĢŻűł*-ܣtĩǜ ƿŦƷƿƢĩrŻǛĩůĩűƷ܌- ܌ڑڑܫڔڐژڐ- ĚĩƷƷĩƢţűŻǜűþƪ-Ʒ'nĩrþǢ-FŻƿƢƷ'nrŻǛĩůĩűƷ܌ܤǜ'nŎě'n-'nþĢ-Ěĩĩű-ŎűƪƷŎłþƷĩĢ-ĚǢǜƢŎƷĩƢƪþűĢ-ŎűƷĩŦŦĩě-ƷƿþŦƪƪƿě'nþƪ-¥ƿ-¥ŎƿĚþŎ-܌ܤڔڒژڐܫژژڗڐܣ- 'nĩű-'ƿǡŎű-܌ܤڑړژڐܫژږڗڐܣ-Nƿ-®'nŎ-܌ܤڑڕژڐܫڐژڗڐܣþűĢ- 'nĩűåƿ-ŠŎűł-ܒܤږڕژڐܫڒڏژڐܣàŎƷ'n-'nŎƪ-Ʒĩű-ƟŻƪƷ'nƿůŻƿƪŦǢ-ƟƿĚŦŎƪ'nĩĢƪƷƿĢŎĩƪ-ŁŻƢ-Ʒ'nĩ-ƷǜŻܮƪƷƢŎűłĩĢţűĩĩ-ȀĢĢŦĩ- *erhu*-܌ܤڑڒܫڗڐژڐܣhŎƿěŻűƷƢŎĚƿƷĩĢƪŎłűŎȀěþűƷŦǢ-ƷŻ-Ʒ'nĩĩƪƷþĚŦŎƪ'nůĩűƷ-ŻŁþůŻĢĩƢűƪŻŦŻ-ƢĩƟĩƢƷŻŎƢĩ- for Chinese instruments.<sup>ڠ</sup> -¼ƿűŎűł܌-ƟŎƷě'n܌-ƷŻűþŦƪǢƪƷĩů܌űŻƷþƷŎŻű-ܣƷ'nĩěŎƟ'nĩƢűŻƷþƷŎŻű*jianzipu*<sup>ڡ</sup> -܌ܤ ůĩƷĩƢ þűĢ- Ƣ'nǢƷ'nů-ܣƷƢŎƟŦĩůĩƷĩƢ܌ůþƢě'n- Ƣ'nǢƷ'nů܌ܤ þűĢ-ŎűƪƷƢƿůĩűƷþŦ- Ʒĩě'nűŎơƿĩ-ܣĚŻǜŎűł- Ʒĩě'nűŎơƿĩƪ܌ƿƟܮþűĢ-ĢŻǜűܮĚŻǜ܌ĩƷěܤܒǜĩƢĩƪƷþűĢþƢĢŎǬĩĢþěěŻƢĢŎűł-ƷŻ-ƟƢŎűěŎƟŦĩƪ-ŻŁàĩƪƷĩƢűůƿƪŎě܌- while, at the same time, elements of Chinese instrumental practice and aesthetics, especial-


ڸ- -GżƸƸƫĜŊĪǝƫŤŏ܉-ܶðǀƣ-¦ĪǭĪƠƸŏżŲ-ĜŊŏŲĪƫŏƫĜŊĪƣrǀƫŏŤŏŲdÿƠÿŲ-ǀŰ-܉ڌڌڕڍܷ-ڒڍڒ-ܠܶ'ƣĪŏĪĜŤƫěĪǭŏĪŊǀŲŃ-/ǀƣżƠÿܫdÿƠÿŲܫ Ŋŏ-Ųÿܷܡ

ڹ See among others Wong, "*Geming Gequ*," Mittler, *Dangerous Tunes*܉-܉ڎڏܨڍڎrĪŧǜŏŲÿŲģ ÿŏ܉-*Rhapsody in Red*܉-ڐڎڎܨڕڑڍ

ں The slogan of "total Westernization" (*quanpai xifanghua*ܡǝÿƫ-ĜżŏŲĪģŏŲ-ڏڏڕڍěǣ-ƸŊĪƫżĜŏżŧżŃŏƫƸ- ŊĪŲåǀšŏŲŃ-ܨڏڌڕڍܠ ܡړڒڕڍ-SŲ-ƸŊĪǝÿŤĪżł-ƸŊĪrÿǣ-FżǀƣƸŊrżǜĪŰĪŲƸ-ǀŲƸŏŧ-ƸŊĪ-ڌڏڕڍƫ܉-ƸŊŏƫģĪŰÿŲģǝÿƫÿŧƫżÿģǜżĜÿƸĪģěǣ-Nǀ-®Ŋŏ-ܨڍڕڔڍܠ ܉ܡڎڒڕڍÿŲģŏŲ-ƸŊĪģĪŰżĜƣÿĜǣ-ŰżǜĪŰĪŲƸżł-ƸŊĪ-ڌڔڕڍƫěǣ-FÿŲŃhŏǭŊŏ-ܡڎڍڌڎܨڒڏڕڍܠÿŲģhŏǀåŏÿżěż-ܡړڍڌڎܨڑڑڕڍܠ-ܠGĪŏƫƸ܉- *Die Moderniserung der chinesischen Kultur*܉-ܡڐڍàŊŏŧĪŏŲ-ƸŊĪ-ڌڎڕڍƫƫżĜŏÿŧ-ĜŊÿŲŃĪƫǝĪƣĪƫƸŏŧŧÿŧŰżƫƸ-ĪŲƸŏƣĪŧǣ-ĪƢǀÿƸĪģ- ǝŏƸŊ-ܶàĪƫƸĪƣŲŏǭÿƸŏżŲܷ-ܠ*xihua*܉ܡłƣżŰ-ƸŊĪěĪŃŏŲŲŏŲŃżł-ƸŊĪ-ڌڏڕڍƫ-ƸŊĪ-ŰżƣĪ-ŲĪǀƸƣÿŧ-ƸĪƣŰ-ܶŰżģĪƣŲŏǭÿƸŏżŲܷ-ܠ*xiandaihua*ܡěĪĜÿŰĪ-ƠƣĪǜÿŧĪŲƸ-ܠŏěŏģ܉-ܡڐڍܨڏڍ

ly with reference to northern Chinese traditions, were maintained: sectional form, programmatic titles, iconographic musical figures (for example, for imitating birdsong), and erhu fingering patterns. The decisive factor was that the studies were conceived and published in fixed notation and, in contrast to the flexibility of traditional music practice, assumed a largely exact rendering of this musical text in performance.

Eric Hobsbawm's concept of "invented tradition" (-> I.3, II.3) has been applied to the development of the new repertoire of that period, in particular to the solo literature of the Chinese bamboo flute dizi after 1949. It is characteristic that there was originally no clear distinction in the practice of local Chinese genres between solo and ensemble repertoire. In the context of the Maoist "subversion" (fansken) of the feudal class structure after 1949, the rickshaw driver Lu Chunling and the simple farmer Feng Zicun were able to rise to celebrated dizi soloists and were commissioned to create short characteristic solo pieces, which they derived from the dizi part of traditional ensembles and which were distributed to the masses via cassette recordings. °

With the emergence of the Chinese symphony orchestra from the 1930s, a development had already begun that made the problems of the separation of spirit and technique increasingly visible: while Liu's solo works, following the idea of a "national essence," still testify to an appreciation of the aesthetics of traditional instrumental playing, the repertoire of the newly developed orchestras of Chinese instruments was commonly based on a naïve imitation of popular Western orchestral music. This made it abundantly clear that, in contrast to solos and ensembles, an independent Chinese tradition could not be used for orchestral settings. The development of the Chinese symphony orchestra, usually referred to as the "Modern Chinese Folk Orchestra," took decisive steps during the Second World War, the Chinese Civil War (1947–49), and the early Maoist period, and is thus intimately connected with the systematic invention of a national musical idiom." To be able to equip a symphony orchestra with exclusively Chinese instruments, many instruments had to be rebuilt, especially instruments in the bass register. The number of instrument types was systematically expanded until the 1960s. Liu Tianhua had already introduced the standardized procedure, unusual in traditional practice, of notating all parts of a heterophonic ensemble structure. This practice was now transferred to the symphony orchestra, and the use of precisely notated parts and a conductor were adopted largely unchanged from the Western model.

Of course, the translation of Eastern models to the Western orchestra created the acute question of harmony, since polyphonic models could hardly be derived from traditional heterophonic practice. While earlier pieces usually – in analogy to earlier European harmonization of East Asian melodies (→ III.3) – added simple major-minor tonal harmonies to Chinese melodies, a new method was developed in the 1950s by Wang Zhenya and Li Yinghai as Hanzu diaoshi hesheng (Han Chinese Musical Modes and Harmonies). In 1959 Li Yinghai presented a book with a similar title, 12 based on Wang Zhenya's earlier Wusheng yinjie ji qi hesheng (The Pentatonic Scale

<sup>9</sup> Lau, "Forever Red." See Hobsbawm, "Introduction: Inventing Traditions."

<sup>10</sup> The idea of a "national essence" (guocui, Japanese kokosui), taken from the Japanese discourse, had already triggered an intense debate on cultural identity in the framework of the May Fourth Movement (Geist, Die Modernisierung der chinesischen Kultur, 14).

<sup>11</sup> See Jedeck, "Different Interpretations of Musical Modernity?" for a detailed discussion, and Tsui, "The Modern Chinese Folk Orchestra" and Tsui, "Ensembles: The Modern Chinese Orchestra" for a historical overview of the Chinese symphony orchestra.

<sup>12</sup> Li, Hanzu diaoshi ji qi hesheng (Han Modality and Its Harmony).

þűĢ-SƷƪ-NþƢůŻűŎĩƪܤ-ŁƢŻů-ڜښܒژړژڐ In this system, the harmonies are composed almost entirely ŻŁ-Ʒ'nĩűŻƷĩƪ-ŻŁ-Ʒ'nĩ-ƟĩűƷþƷŻűŎěůŻĢĩ-Ʒ'nþƷ-ŁŻƢů-Ʒ'nĩěŻƢƢĩƪƟŻűĢŎűłůĩŦŻĢǢܒȃĩƪǢƪƷĩů-'nþƪþŦƪŻ- ĚĩĩűǜŎĢĩŦǢƿƪĩĢ-ŎűǜŻƢţƪ-ĚǢ- 'nŎűĩƪĩěŻůƟŻƪĩƢƪ-ŁŻƢàĩƪƷĩƢű-ŎűƪƷƢƿůĩűƷƪþűĢ-ŎƪƪƷŎŦŦĩůƟŦŻǢĩĢ- in music for the Chinese symphonic orchestra to the present day, although chromatic altera-ƷŎŻűƪ-'nþǛĩ-Ěĩĩű-ŎűěƢĩþƪŎűłŦǢ-ŎűƷƢŻĢƿěĩĢƪŎűěĩ-Ʒ'nĩ-ڏڗژڐƪڝښܒűŦǢþ-ŁĩǜĩǡƟĩƢŎůĩűƷþŦǜŻƢţƪ-ƷŻŻţ- þĢǛþűƷþłĩ-ŻŁ-Ʒ'nĩƿűŎơƿĩƪŻƿűĢ-ŻŁ-Ʒ'nĩűĩǜ-ŻƢě'nĩƪƷƢþŦþƟƟþƢþƷƿƪ܌ƪƿě'nþƪhþů-'ŻůŎűłܼƪ-ܣĚܤڕڑژڐݑܒ- ǜĩŦŦܮţűŻǜűƪŻűŻƢŎƪƷ-ƟŎĩěĩ-*Insect World*-ܒܤژږژڐܣ-Sű-Ʒ'nĩ-ĢŻůŎűþűƷƪƷþűĢþƢĢ-ƢĩƟĩƢƷŻŎƢĩ-ŻŁ-Ʒ'nĩ- 'nŎűĩƪĩƪǢůƟ'nŻűǢ-ŻƢě'nĩƪƷƢþ܌-Ʒ'nĩ-ƟƢŻĚŦĩů-ƢĩůþŎűƪƿűůŎƪƷþţþĚŦĩ-Ʒ'nþƷǜŎƷ'n-Ʒ'nĩþŦŦĩłĩĢ-ܹůŻĢĩƢűŎzation" and standardization of the instrumental playing, the very same subtle deviations, in-ǴŦĩěƷŎŻűƪ܌þűĢ-ǛþƢŎþƷŎŻűƪ-Ʒ'nþƷěŻűƪƷŎƷƿƷĩþƪƷǢŦĩ-ŦŎţĩ-Ʒ'nĩ-®ŻƿƷ'n- 'nŎűĩƪĩ-ܹƪŎŦţܮþűĢܮĚþůĚŻŻůƿƪŎěܺ-(*ƪŎǬ'nƿǢƿĩ*ܤ-ݑދܣSSSܤڒܒ-Ŏű-Ʒ'nĩ-ȀƢƪƷ-ƟŦþěĩǜĩƢĩƪƿƟƟƢĩƪƪĩĢڞښܒ-FŻƢůþŦŦǢ܌-ƷŻŻ܌-Ʒ'nĩ-ǴŦŻǜ-ŻŁ-Ʒ'nĩůĩŦŻĢŎě-ŦŎűĩ- Ʒ'nþƷ-ŎƪĩƪƪĩűƷŎþŦ- ŁŻƢƪƿě'n- ŁŻƢůƪ-ŎƪƿűĢĩƢůŎűĩĢ-ĚǢ- Ʒ'nĩĩDz ŁĩěƷŎǛĩŦǢ-ŻƟƷŎůŎǬĩĢ-ĢƢþůþƷƿƢłŎĩƪ-ŻŁ- ƪƿƪƟĩűƪŎŻűþűĢěŻűƷƢþƪƷ-ŎűůŻƪƷǜŻƢţƪþűĢþƢƢþűłĩůĩűƷƪ-ŁŻƢ-Ʒ'nĩ- 'nŎűĩƪĩƪǢůƟ'nŻűǢ-ŻƢě'nĩƪƷƢþܒ

ȃĩěŻůĚŎűþƷŎŻű-ŻŁƪŎþűþűĢ-/ƿƢŻƟĩþű-ŎűƪƷƢƿůĩűƷƪǜþƪűŻƷ-ǢĩƷ-ƟƢŻǛŎĢĩĢ-ŁŻƢ-Ŏű-Ʒ'nĩůƿƪŎěþŦ- concepts of the reformers, and, considering the institutional separation of Western and Asian ůƿƪŎěþŦ-ƟƢþěƷŎěĩ܌-ŎƷǜŻƿŦĢ-'nþƢĢŦǢ-'nþǛĩ-Ěĩĩű-ŁĩþƪŎĚŦĩܒȃĩĩþƢŦŎĩƪƷƪƷĩƟ-Ŏű-Ʒ'nŎƪ-ĢŎƢĩěƷŎŻűǜþƪ-ƟƢŻĚþbly the inclusion of Asian solo instruments in the context of Western-oriented orchestral settings, þŦƷ'nŻƿł'nƪŻůĩ-ŻŁ-Ʒ'nĩƪĩ܌þƪ-Ŏű-Ʒ'nĩěþƪĩ-ŻŁåŎþűåŎűł'nþŎܼƪ-ܤڔړژڐܫڔڏژڐܣ-*Yellow River Cantata* (*Huanghe dahechang*܌-܌ܤژڒژڐǜƢŎƷƷĩű-Ŏű-Ʒ'nĩƪƷƢƿěƷƿƢþŦŦǢǜĩþţ-ƢĩƷƢĩþƷ-ŻŁ-Ʒ'nĩ- ŻůůƿűŎƪƷ-£þƢƷǢ-Ŏűæþűܼþű- ܣR'nþþűǡŎ܌ܤůþǢ- 'nþǛĩ- ĚĩĩűůĩƢĩŦǢůþƷĩƢŎþŦůþţĩƪ'nŎǼ Ʒ ƪŻŦƿƷŎŻűƪڟښܒ- Sű þ- ĢŎDz ŁĩƢĩűƷ ěŻűƷĩǡƷ܌ dþƟþܮ űĩƪĩ-ŎűƪƷƢƿůĩűƷƪ-ŎűfƔƪþţƿ-ܡfżƪĞþţܢæþůþĢþܼƪ-ܤڔڕژڐܫڕڗڗڐܣ-ܹłƢþűĢĩ-ŻƟĪƢþܺ-*Yoake – Kuro Fune*-ܣȃĩ- Ŧþěţ-®'nŎƟƪ܌-ܤژڒܫژڑژڐůĩƢĩŦǢěŻűƷƢŎĚƿƷĩĢ-ƷŻþţŎűĢ-ŻŁ-ܹƪĩŦŁܮĩǡŻƷŎěŎǬŎűłܺ-ŦŻěþŦŎƷǢ܌-Ʒ'nþƷ-'nþƢĢŦǢ-ŁŻƿűĢ- its way into the substance of the music. Finally, the combination of Western and Chinese instruůĩűƷƪ-Ŏű-Ʒ'nĩ-ܹůŻĢĩŦǜŻƢţƪܺ-ܣ*ǢþűłĚþűǡŎ*ܤ-ĢƿƢŎűł-Ʒ'nĩ- 'nŎűĩƪĩ ƿŦƷƿƢþŦ-¦ĩǛŻŦƿƷŎŻűěŻŎűěŎĢĩĢǜŎƷ'n- ƢĩŦþƷĩĢ-ƟƢþłůþƷŎěþűĢ-ƟŻŦŎƷŎěþŦ-Żůĩűƪ܋-Ʒ'nĩƪŎűłŎűłƪƷǢŦĩ-ŻŁĩŎŠŎűł-ƟĩƢþǜþƪ-ܹƷĩůƟĩƢĩĢܺþűĢ- stylistically leveled due to a musical style based on Westernized Romantic orchestral textures.ڠښ

SűěƢĩþƷŎűłůƿƪŎěþŦ-ŎĢĩűƷŎȀěþƷŎŻűƪ-Ƣĩ쯳űŎǬĩĢ-ĚǢ-Ʒ'nĩůþƪƪĩƪ܌ěŻůůƿűŎƪƷþűĢűþƷŎŻűþŦŎƪƷܮƢĩ-ƟƿĚŦŎěþű-ŎĢŎŻůƪ-ĢŎDz ŁĩƢĩĢ-ƟƢŎůþƢŎŦǢ-Żű-Ʒ'nĩ-ƷĩǡƷƿþŦ-ŦĩǛĩŦܒåŎþűåŎűł'nþŎ܌ǜ'nŻ-'nþĢƪƷƿĢŎĩĢǜŎƷ'nßŎűěĩűƷ-ĢܼSűĢǢþűĢ-£þƿŦ-'ƿţþƪ-Ŏű-£þƢŎƪ-ŁƢŻů-ڏڒژڐ-ƷŻ-܌ڔڒژڐ-ƟƢŻĢƿěĩĢ-ƟĩƢ'nþƟƪ-Ʒ'nĩ-ĚĩƪƷܮţűŻǜű-ƟŎĩěĩ-ŻŁ- Ʒ'nŎƪłĩűƢĩ-Ŏű-܌ژڒژڐ-Ʒ'nĩ-*Yellow River Cantata* (*Huanghe dahechang*ܒܤ-SűěŻűƷƢþƪƷ-ƷŻhŎƿ-¼Ŏþű'nƿþܼƪǜŻƢţƪ܌åŎþűܼƪƪƷǢŦĩƪ'nŻǜƪűŻƪŎłűƪ-ŻŁþű-ŎűƷĩűƪŎǛĩĩǡþůŎűþƷŎŻű-ŻŁ- 'nŎűĩƪĩůƿƪŎě-ƷƢþĢŎƷŎŻűƪܒȃĩ-'nþƢůŻny of the opening movement, built according to the traditional antiphonal pattern of Chinese rowing songs, characteristically combines pentatonic melody formation with simple diatonic harůŻűŎĩƪ-ƢĩůŎűŎƪěĩűƷ-ŻŁ-Ʒ'nĩ-SƷþŦŎþű-ܣŻƟĩƢþƷŎěܤ-ƷƢþĢŎƷŎŻű-Ŏű-Ʒ'nĩŎƢ-ƢĩƟĩƷŎƷŎǛĩþűĢƪĩơƿĩűƷŎþŦ-ƟþƷƷĩƢűƪܒ

SƷ-ŎƪűŻƷ-ŎűƪŎłűŎȀěþűƷ-Ʒ'nþƷåŎþűܼƪ þűƷþƷþǜþƪě'nþƢþěƷĩƢŎǬĩĢþƪ-ŦþƷĩþƪ-ړڗژڐ-ܫűŻƷþĚŦǢ-Ŏűþű- þěþĢĩůŎěƪƷƿĢǢ-Ŏű-/űłŦŎƪ'n-ܫþƪ-ŁŻŦŦŻǜƪ܋

ڷڵ Wang, *Wusheng yinjie ji qi hesheng*-ܠ1/4ŊĪ-£ĪŲƸÿƸżŲŏĜ-®ĜÿŧĪÿŲģ-SƸƫ-NÿƣŰżŲǣܡ-ģĪƸÿŏŧĪģ-ĪǢƠŧÿŲÿƸŏżŲżł-ƸŊŏƫƫǣƫƸĪŰ- ŏƫ-ƠƣżǜŏģĪģěǣ- ŊĪżŲŃÿŲģ-'ŏŲŃ܉-ܶRƠżƫżěŏŲ-¦ĪŰÿŏŲƫ܉ܷ-ڔڒܨڎڒ-RĪĪÿŧƫżfżǀǝĪŲŊżǜĪŲ܉-ܶrÿŏŲŧÿŲģ- ŊŏŲÿܹƫtĪǝ- ڌڒܨڕڑܷ-܉ܡSSܠrǀƫŏĜ

ڸڵ- -RĪĪ- ŊĪżŲŃ܉-ܶ¦ĪÿģŏŲŃ-®ĜŊżĪŲěĪƣŃ܉-NŏŲģĪŰŏƸŊ܉ÿŲģfǀƣƸŊŏŲ-®ÿŲŃ-¼żŲŃܷ

ڹڵ See among others Thrasher, "*Bianzou*-ݎܨ£ĪƣłżƣŰÿŲĜĪßÿƣŏÿƸŏżŲŏŲ-*Jiangnan sizhu*" and Witzleben, *"Silk and Bamboo" Music in Shanghai.*

ںڵ- -RĪĪfƣÿǀƫ܉-*Pianos & Politics in China*܉-ڕڑܨڒڑ

ڻڵ- -RĪĪ ŧÿƣŤ܉- ܶrżģĪŧ- ¼ŊĪÿƸƣŏĜÿŧ àżƣŤƫ܉ܷ rŏƸƸŧĪƣ܉- ܶ ǀŧƸǀƣÿŧ- ¦ĪǜżŧǀƸŏżŲ rżģĪŧ àżƣŤƫ܉ܷ rĪŧǜŏŲ ÿŲģ ÿŏ܉-*Rhapsody in Red*܉-܉ڐڒڎܨڑڎڎÿŲģhŏǀ܉-*A Critical History of New Music in China*܉-ڎڔڐܨړړڏ

It is by far the most convincing synthesis of Western and Chinese musical idioms. In a single work it unites such diverse techniques and elements as, for example, the Chinese folk antiphonal singing style called duikou chang, the Chinese fisherman's work song called haozi, traditional Chinese percussive patterns and instrumentation, Hugo Wolf's declamatory recitative style (adapted to the Chinese language), the traditional Western contrapuntal technique of choral writing, and, finally, the atmospheric orchestral effects of the French Impressionistic school.18

One could draw a clear line from Xian's cantata to works of the 1950s and 1960s as represented by Ding Shande's (1911–1995) Long March Symphony (Changzheng jiaoxiangqu, 1959–62). National identity and authenticity are suggested here through the use of folk songs, which geographically trace the approximately 6,000-kilometer route of the long march of the fleeing communist troops from 1934 to 1935º from southern Jiangxi to northern Yan'an. That folk songs of the Yao people and other minorities are also included here points to the claim of national music as an all-encompassing idea of a "Great China," especially in the second movement, where this claim is even made explicit in the title: "The Red Army, Loved by Many Peoples" (Hongjun, ge zu renmin de qinren).

It seems evident that in the contexts mentioned so far, the reception of aesthetic modernity in the narrower sense hardly caught the attention of musical protagonists. And so, from today's perspective, it is crucial to emphasize those developments in East Asia that did not fit into this ostensibly seamless lineage of deliberate and naïve iconographic appropriation of Western (programmatic) music. Decisive for this "alternative" lineage of East Asian music of the twentieth century is, on the one hand, the temporary residence and emigration of European musicians in the 1930s and 1940s, primarily in Shanghai, the center of encounter between Western and Chinese trends, and, on the other hand, independent dynamics within the East Asian composer scenes.

The Russian composer and pianist Alexander Tcherepnin (1899–1977) served as an advisor to the Chinese ministry of culture from 1934 to 1937 in Shanghai and Beijing as well as Japan, developing models for the integration of East Asian elements into a moderately modern style (> II.4).20 He tocused primarily on the modernist folklorism of Bartók and Russian composers, which was also reflected in the music of the most important Chinese composers he mentored, including He Luting (1903-1999) and Jiang Wenye (1910-1983). Tcherepnin cites He Luting's piano piece Buffalo Boy's Flute (Mutong duandi, 1934, Ex. 3.1) as a possible model of a new Chinese music in his 1935 article "Music in Modern China."11 While in this piece a tonal-harmonic ambiguity is initially maintained by the consistent use of the pentatonic scale, the second part analogous to examples cited above – is characterized by a pentatonic melodic line in the right hand and a diatonic accompaniment in the lett. Contrary to Tcherepnin's appraisal, a serious reception of Chinese traditions or modern Western currents is hardly recognizable here.

<sup>18</sup> Wong, "Geming Gequ," 125.

<sup>19</sup> See Moise, Modern China, 78-82.

<sup>20</sup> See Chang, "Alexander Tcherepnin, his Influence on Modern Chinese Music," Melvin and Cai, Rhapsody in Red, 110-126, Winzenburg, "From 'Folk Cure' to Catharsis: Alexander Tcherepnin and New Chinese Piano Music."

<sup>21</sup> Tcherepnine, "Music in Modern China," 398–400. On this piece see also Kouwenhoven, "Mainland China's New Music (II)," 57-59.

### Example 3.1: He Luting, Buffalo Boy's Flute (Mutong duandi), mm. 1-11

(Kouwenhoven, "Mainland China's New Music (II)," 57)

What is noteworthy is Tcherepnin's demand that the training of Chinese musicians should begin with the adaptation of Chinese melodies to a "modern style," oriented toward European music of the early twentieth century (Debussy, Stravinsky), not toward Classical or Romantic music.22 In Tcherepnin's argumentation, there is an implicit optimism based on the traditional non-reliance of Chinese musicians on Western tradition, as well as an enthusiasm about the potential of the most populous nation for a future independent Chinese music.

Like Tcherepnin, the composer, music theorist, violist, and lawyer Wolfgang Fraenkel (1897–1983), who lived in exile in Shanghai from 1939 to 1947 after fleeing from the National Socialists, saw the future of Chinese music in a combination of Western modernism with autochthonous Chinese music traditions, though his conception of modernism was shaped differently. Influenced by the Schoenberg school, Fraenkel conceived of new music as fundamentally different from the Classical-Romantic tradition in a specific music-linguistic sense, and in his text "Music Development?" he recommended that his Chinese colleagues develop just such an alterity: Chinese composers should absorb the "technical and sensory qualities of Western art," which would, however, only serve as a basis for making connections with traditional Chinese music without destroying its particularities. In the pronounced distance from a classical musical language, Fraenkel saw a possible connection between pre-Classical and modern European music and Chinese music (→ III.2).

Fraenkel and Tcherepnin brought a fresh perspective to the ongoing discussion on the future of Chinese music, as the basis for the controversy over the roles of Western music up to the 1930s had implicitly always referred to the nineteenth century as the source of tonaldiatonic musical language. Fraenkel's most important student at the Shanghai Conservatory,

<sup>22</sup> Tcherepnine, "Music in Modern China," 398.

®þűł-¼Żűł-܌ܤڐڐڏڑܫڒڑژڐܣǜƢŻƷĩ-*Yejing*-ܣtŎł'nƷ-®ěĩűĩƢǢ܌-܌ږړژڐ-ƟƿĚŦŎƪ'nĩĢ-Ŏű-ܤڐڗژڐ-ŁŻƢ-ǛŎŻŦŎűþűĢ-ƟŎþűŻ- ܫ-Ʒ'nĩ-ȀƢƪƷƪŎþűěŻůƟŻƪŎƷŎŻű-ŎűěŻƢƟŻƢþƷŎűłþƷŻűþŦþűĢ-ĢŻĢĩěþƟ'nŻűŎěƪƷƢƿěƷƿƢĩƪڜڛ – and *Zai na ǢþŻǢƿþű-Ģĩ-ĢŎŁþűł*-ܣSű-Ʒ'nĩhþűĢ܌-FþƢ܌-FþƢǜþǢ܌-ܤږړژڐ-ŁŻƢ-ƟŎþűŻܒȃĩƪĩǜŻƢţƪ-ƢĩƟƢĩƪĩűƷ-ŎůƟƢĩƪƪŎǛĩ- ŻƿƷŦŎűĩƪ-ŻŁǜ'nþƷþűĩǜ- 'nŎűĩƪĩůƿƪŎěůŎł'nƷ-'nþǛĩ-ŦŻŻţĩĢ-ŦŎţĩ-ŦþƷĩƢ-ŎŁ-Ʒ'nŎƪ-ĢĩǛĩŦŻƟůĩűƷ-'nþĢűŻƷ- ĚĩĩűþĚƢƿƟƷŦǢĩűĢĩĢ-ĚǢ-ƟŻŦŎƷŎěþŦþűĢƪŻěŎþŦƿƟ'nĩþǛþŦƪƪƿě'nþƪ- Ʒ'nĩ- ŎǛŎŦàþƢ- ژړܫږړژڐþűĢ- Ʒ'nĩ- ƷþţĩŻǛĩƢ-ĚǢ-Ʒ'nĩ- ŻůůƿűŎƪƷ-£þƢƷǢ-Ŏű-ژړژڐ-ݑދܣSSSܒܤڑܒ-'ŻĢĩěþƟ'nŻűŎěǜŻƢţƪ-ĢŎĢűŻƷþƟƟĩþƢƿűƷŎŦ-Ʒ'nĩ- ŦþƷĩ-ڏږژڐƪ܌ǜŎƷ'nhƿŻð'nŻűłƢŻűłܼƪ-ܣĚܤړڑژڐݑܒ-*Shejiang cai furong*-ܣ£ŎěţŎűłhŻƷƿƪ-FŦŻǜĩƢƪþƷ-Ʒ'nĩ-¦ŎǛܮ ĩƢƪŎĢĩ܌-ܤژږژڐ-ŁŻƢ-ǛŻŎěĩþűĢ-ƟŎþűŻ-ƟŦþǢŎűłþ-ƟŎŻűĩĩƢŎűł-ƢŻŦĩܒ-SűþƪŎůŎŦþƢ-Łþƪ'nŎŻű-ƷŻ-®þűł-¼Żűłܼƪ- ĩþƢŦǢǜŻƢţƪ܌hƿŻƪǢűƷ'nĩƪŎǬĩĢ-ƟĩűƷþƷŻűŎěůĩŦŻĢǢǜŎƷ'n- ƷǜĩŦǛĩܮƷŻűĩ- Ʒĩě'nűŎơƿĩڝڛܒȃĩě'nþűłŎűł- political atmosphere in post-Mao China is expressed in the assessment of the musicologist àþűłtŎűłǢŎ܌ ǜ'nŻ ǜƢŻƷĩ-Ŏű- ڐڗژڐ- Ʒ'nþƷ- ܹ ŻůƢþĢĩ hƿŻܼƪ ěŻƿƢþłĩŻƿƪůŻǛĩ-ŎűƷŻ- Ʒ'nĩ- ƟƢŻ'nŎĚŎƷĩĢ- ǬŻűĩ-ŻŁ-ƷǜĩŦǛĩܮƷŻűĩůƿƪŎěƪ'nŻƿŦĢ-Ěĩ-ŦŻŻţĩĢƿƟŻűþƪþůĩþűŎűłŁƿŦĩǡƟŦŻƢþƷŎŻűܒܺڞڛ

þƢŻű- Ǜƪ'nþŦŻůŻǛ- ܤڕڔژڐܫړژڗڐܣ- 'nþƪ- Ěĩĩű þűŻƷ'nĩƢ- ŎůƟŻƢƷþűƷ- ȀłƿƢĩ- Ŏű- Ʒ'nĩ ůƿƪŎěþŦ- ŦŎŁĩ- ŻŁ- ®'nþűł'nþŎ-ĢƿƢŎűł-Ʒ'nĩ-ڏڒژڐƪþűĢ-'nþƪ-ƢĩěĩŎǛĩĢƪŻůĩþƷƷĩűƷŎŻű-Ŏű-ƢĩƪĩþƢě'n-ƢĩěĩűƷŦǢܒ-Ǜƪ'nþŦŻůŻǛ- ǜþƪ-ĚŻƢű-ŎűtŎţŻŦþǢĩǛƪţܮŻűܮůƿƢěŦŻƪĩ-ƷŻ-Ʒ'nĩ- 'nŎűĩƪĩܮ¦ƿƪƪŎþű-ĚŻƢĢĩƢܒ-'ƿƢŎűł-'nŎƪƪƷþǢ-Ŏű- 'nŎűþ-ŁƢŻů-ڗڐژڐ-ƷŻ-ږړژڐ-ܣ1/4ŎþűŠŎű܌-܌ڐڒܫڗڐژڐ-R'nþűł'nþŎ܌-ܤږړܫڐڒژڐþűĢþǼ ƷĩƢþ-ƟĩƢŎŻĢ-ŻŁ-ȀĩŦĢ-ƢĩƪĩþƢě'n- Żű- 'nŎűĩƪĩ-ŁŻŦţůƿƪŎě-'nĩ-Ěĩěþůĩþůƿě'nܮƢĩƪƟĩěƷĩĢěŻůƟŻƪĩƢþűĢůƿƪŎě-Ʒĩþě'nĩƢ܌ƪ'nþƢŎűł-'nŎƪ- 'nŎűĩƪĩěŻŦŦĩþłƿĩܼƪƪĩþƢě'n-ŁŻƢűĩǜ- 'nŎűĩƪĩůƿƪŎěþŦ-ŎĢĩűƷŎƷŎĩƪܒ-NŎƪǜŻƢţƪĩǡ'nŎĚŎƷþ-ƷǢƟĩ-ŻŁěƿŦtural "fusion" that in many respects seems to predate compositional concepts of both Cultural ¦ĩǛŻŦƿƷŎŻű-ܹůŻĢĩŦǜŻƢţƪܺ-ܣ*ǢþűłĚþűǡŎ*ܤþűĢ-Ʒ'nĩ-ǢŻƿűłþǛþűƷܮłþƢĢĩ-ŻŁ-Ʒ'nĩ-ڏڗژڐƪܒrŻƪƷűŻƷþĚŦǢ܌his "music drama" *Ȅĩ-GƢĩþƷàþŦŦ* (*Meng Jiang Nü*܌-ڟڛܤڔړܫڒړژڐ and his Piano Concerto ڠڛܤڔڒژڐܣ ex-'nŎĚŎƷ- Ʒ'nĩěŻůƟŻƪĩƢܼƪěŻűƪěŎŻƿƪ-ƢĩþěƷŎŻű- ƷŻþƪĩűƪŎƷŎǛĩ܌-ƟŻŦŎƷŎěŎǬĩĢĩűǛŎƢŻűůĩűƷܒhþĚĩŦŎűł-'nŎƪ *Great Wall*܌-ƟƢĩůŎĩƢĩĢ-ŎűtŻǛĩůĚĩƢ-ڔړژڐ-Ŏűþ-ƟƢŻĢƿěƷŎŻű-ƢĩơƿŎƢŎűłěŻűƪŎĢĩƢþĚŦĩ-ƢĩƪŻƿƢěĩƪþűĢ- ĩDz ŁŻƢƷ܌þ- ܹ 'nŎűĩƪĩrƿƪŎě-'Ƣþůþܺ-ܣ*æŎűǢƿĩłĩǜƿŠƿ*ܤþǛŻŎĢĩĢ-ŻĚǛŎŻƿƪěŻűűĩěƷŎŻűƪ- ƷŻþůƿě'nܮĢĩܮ ĚþƷĩĢ-ƢĩŁŻƢů-ŻŁĩŎŠŎűł-ƟĩƢþ-ܣ*jingju*ܒܤ-/ůĩƢłŎűł-ŁƢŻů-Ʒ'nĩěŻűěĩƟƷ-ŻŁþůŻűŻĢƢþůþ܌-Ʒ'nĩůƿƪŎěþŦ-ŎĢŎŻů- ƷŻ þ- ƷĩǡƷ ƪƟŻţĩű þűĢ ƪƿűł-ŎűrþűĢþƢŎű- 'nŎűĩƪĩ-Ŏƪ ě'nþƢþěƷĩƢŎǬĩĢ- ĚǢ þű- ܹĩěŦĩěƷŎě- mixture of late-Romantic, impressionist, and early modernist styles to depict changes in the dramatic action and emotion from moment to moment."ڡڛ While the blending of genres and styles in *Ȅĩ-GƢĩþƷàþŦŦ* to some extent anticipated the *ǢþűłĚþűǡŎ* aesthetic, Avshalomov's Piano Concerto in G major paved the way for the veritable sub-genre of the "fusion concerto," of which

ڷڶ- -RĪĪ- ŊĪżŲŃ܉-ܶ¦ĪÿģŏŲŃ-®ĜŊżĪŲěĪƣŃ܉-NŏŲģĪŰŏƸŊ܉ÿŲģfǀƣƸŊŏŲ-®ÿŲŃ-¼żŲŃ܉ܷǝŊż-ŲżƸĪƫ-ƸŊÿƸÿŧƸŊżǀŃŊ-®ÿŲŃܹƫǝżƣŤ- ܶŏƫ-ŲżƸěÿƫĪģżŲÿŲǣ-ƸǝĪŧǜĪܫƸżŲĪƣżǝ܉-ƸŊĪ-ƸǝĪŧǜĪ-ĜŊƣżŰÿƸŏĜ-ŲżƸĪƫżěǜŏżǀƫŧǣ-ĜżŲƫƸŏƸǀƸĪÿ-ŰÿŏŲƣĪƫżǀƣĜĪܷ-ܡڒڕܠ- ǽ ƸĪƣ-ƸŊĪżƠĪŲŏŲŃżł- ŊŏŲĪƫĪ-ĜǀŧƸǀƣĪŏŲ-ڔړܕڒړڕڍðŊĪŲŃæŏŲŃŧŏĪÿŲģ-ƸŊĪ-ĜżŰƠżƫĪƣ-ŊŏŰƫĪŧł-ƠǀěŧŏƫŊĪģ-ƸǝżÿŲÿŧǣƫĪƫ- żł-ƸŊŏƫ-ƠŏĪĜĪŏŲ-ڏڔڕڍÿŲģ-ڍڕڕڍƣĪƫƠĪĜƸŏǜĪŧǣ-ܠðŊĪŲŃ܉-ܶRÿŲŃ-¼żŲŃģĪæĪšŏŲŃƫŊŏƫŊŏܷ-ܞ-£ƣĪŧŏŰŏŲÿƣǣ-Ųÿŧǣƫŏƫżł-®ÿŲŃ- ¼żŲŃܹƫ-*Night Scenery*ܔܟ-RÿŲŃ܉-ܶæĪšŏŲŃǭŊżŲŃģĪǝǀģŏÿżǢŏŲŃƫŊżǀłÿšŏ-ƢŏƸÿܷ-ܞƸżŲÿŧÿŲģ-ƸŊĪƣ-¼ĪĜŊŲŏƢǀĪƫŏŲ-*Night Scenery*ܡܟżƸŊÿŲÿŧǣƫĪƫ-ĪŰƠŊÿƫŏǭĪģ-ƸŊĪ-ǀƫĪżł-ƸƣÿģŏƸŏżŲÿŧ- ŊŏŲĪƫĪƫĜÿŧĪƫÿŲģ-ŰżģĪƫŏŲ-ƸŊŏƫǝżƣŤ

ڸڶ- -RĪĪðŊĪŲŃ܉-ܶhĪƸƸĪƣłƣżŰ- ŊŏŲÿ܈-1/4ŊĪ-ÃƫĪżł-¼ǝĪŧǜĪ-¼żŲĪ-¼ĪĜŊŲŏƢǀĪŏŲ- ŊŏŲĪƫĪrǀƫŏĜÿŧ żŰƠżƫŏƸŏżŲ܉ܷfżǀǝĪŲ-ŊżǜĪŲ܉-ܶrÿŏŲŧÿŲģ- ŊŏŲÿܹƫtĪǝrǀƫŏĜ-ܠSSS܉ܡܷ-܉ڍڔðŊÿŲŃ܉-*Akkulturationsphänomene in der gegenwärtigen Musikkultur Chinas*܉-܉ړڌڍܨڐڌڍrŏƸƸŧĪƣ܉-*Dangerous Tunes*܉-܉ڐڑڍ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-܉ڍڒڏܨڌڒڏ-¦ÿż܉-ܶNĪÿƣŏŲŃ-£ĪŲ-ƸÿƸżŲŏĜŏƫŰ-¼ŊƣżǀŃŊ-®ĪƣŏÿŧŏƫŰ܉ܷÿŲģ- ŊĪżŲŃ܉-ܶ¦ĪÿģŏŲŃ-®ĜŊżĪŲěĪƣŃ܉-NŏŲģĪŰŏƸŊ܉ÿŲģfǀƣƸŊŏŲ-®ÿŲŃ-¼żŲŃ܉ܷ-ڎڕܨڍڕ

ڹڶ- àÿŲŃ tŏŲŃǣŏ܉- ܶFÿƣĪŲƫŊĪŲƫŏ ģĪ- ƸÿŲƫǀż܈- £ŏŲŃ hǀż ðŊżŲŃƣżŲŃ ģĪ- ܸ®ŊĪšŏÿŲŃ- Ĝÿŏ łǀƣżŲŃܹܷ- ܞ-1/4 ŊżǀŃŊƸܫ£ƣżǜżŤŏŲŃ- /ǢƠĪƣŏŰĪŲƸ܈- ƣŏƸŏƢǀĪ żł hǀż ðŊżŲŃƣżŲŃܹƫ-*Picking Lotus Flowers at the Riverside*܉ܟ- ܉ڑڐ- ƸƣÿŲƫŧÿƸŏżŲ- ƢǀżƸĪģ ÿǽ ƸĪƣ- ŊĪżŲŃ܉-ܶ¦ĪÿģŏŲŃ-®ĜŊżĪŲěĪƣŃ܉-NŏŲģĪŰŏƸŊ܉ÿŲģfǀƣƸŊŏŲ-®ÿŲŃ-¼żŲŃ܉ܷ-ڎڕ

ںڶ- -RĪĪ àŏŲǭĪŲěǀƣŃ܉- ܶÿƣżŲ ǜƫŊÿŧżŰżǜ ÿŲģ tĪǝ- ŊŏŲĪƫĪ rǀƫŏĜ ŏŲ-®ŊÿŲŃŊÿŏ܉- ܉ړڐڕڍܨڍڏڕڍܷ àŏŲǭĪŲěǀƣŃ܉- ܶrǀƫŏĜÿŧܫ Dramatic Experimentation in the *Yangbanxi*܉ܷÿŲģàŏŲǭĪŲěǀƣŃ܉-ܶ£ÿƣƸŲĪƣŏŲŃǝŏƸŊ-ƸŊĪ-®ŊÿŲŃŊÿŏƣƸƫżŰŰǀŲŏƸǣܷ

ڻڶ- -RĪĪàŏŲǭĪŲěǀƣŃ܉-ܶtĪǝrǀŧƸŏǜżŏĜĪģàżƣŧģܷ

ڼڶ Winzenburg, "Musical-Dramatic Experimentation in the *Yangbanxi*܉ܷ-ڏڕڍ

dŻ'nűàŎűǬĩűĚƿƢł-'nþƪěƿƢƢĩűƷŦǢþƪƪĩůĚŦĩĢůŻƢĩ-Ʒ'nþű-ڏڏړ-ƢĩƟƢĩƪĩűƷþƷŎǛĩĩǡþůƟŦĩƪڢڛܒȃĩƪĩěܮ ond movement of this concerto, an adagio carefully incorporating a *kunqu* opera tune, hints at 'nŎűĩƪĩ-ƟĩƢŁŻƢůþűěĩ-Ʒĩě'nűŎơƿĩƪƪƿě'nþƪƪŦŎĢŎűł-ƟŎƷě'n-ŦŎűĩƪܒȃĩůŻǛĩůĩűƷǜþƪþƢƢþűłĩĢ-ĚǢ- Ʒ'nĩěŻůƟŻƪĩƢ-ŁŻƢþűĩűƪĩůĚŦĩ-ŻŁ-ړڐ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪ-Ʒ'nþƷĩűƷĩƢ-ŎűƷŻþ-ĢŎþŦŻłƿĩǜŎƷ'n-Ʒ'nĩ- ƪŻŦŻ-ƟŎþűŻܒȃŎƪþƢƢþűłĩůĩűƷǜþƪ-ƟĩƢŁŻƢůĩĢƪĩƟþƢþƷĩŦǢ-ŁƢŻů-Ʒ'nĩ-Ʒ'nƢĩĩܮůŻǛĩůĩűƷǜŻƢţþƷ-Ʒ'nĩ- ƟƢĩůŎĩƢĩ-Żű-ژڐdþűƿþƢǢ-ڕڒژڐ-Ŏű-®'nþűł'nþŎڙڜ܌ and, according to the composer, the confrontation ĚĩƷǜĩĩű-Ʒ'nĩ-ƷǜŻ-ƟĩƢŁŻƢůþűěĩƪþűĢƪĩƷƷŎűłƪǜþƪ-ŎűƷĩűĢĩĢ-ƷŻ-ĢĩůŻűƪƷƢþƷĩ-Ʒ'nĩţĩǢ-ƢŻŦĩ-ŻŁ-ƷŎůܮ ĚƢĩ-ŁŻƢ-Ʒ'nĩƿűĢĩƢƪƷþűĢŎűł-ŻŁůƿƪŎěþŦ-ŎĢĩűƷŎƷǢ܋

àżƣŤŏŲŃ żŲ- ƸŊĪ- ŰżģĪƣŲŏǭŏŲŃ żł- ŊŏŲĪƫĪ- ŰǀƫŏĜ܉ ŏĪ܉- ƸƣǣŏŲŃ- Ƹż ěƣŏŲŃ ŏƸ- ǀƠ- Ƹż ÿ ƫƸÿŲģÿƣģ ÿĜĜĪƠ-ƸÿěŧĪ- Ƹż- ƸŊĪ- ƠƣĪƫĪŲƸ- ŃĪŲĪƣÿƸŏżŲ܉ żŲĪ ŏƫ- ĜżŲłƣżŲƸĪģ ǝŏƸŊ- ƸŊĪ- ƠƣżěŧĪŰ żł ŧżƫŏŲŃ܉ ŏŲ- ƸŊĪ- ƠƣżĜĪƫƫ܉- ǜĪƣǣ-ŰǀĜŊżłǝŊÿƸŏƫ-ƸǣƠŏĜÿŧŧǣÿŲģ-ĜŊÿƣÿĜƸĪƣŏƫƸŏĜÿŧŧǣ- ŊŏŲĪƫĪ-®ŏŲĜĪŏƸ-ŰǀƫƸěĪƣĪĜżŃŲŏǭĪģ-ƸŊÿƸ- ƸŊĪ- ŊŏŲĪƫĪŏŲƫƸƣǀŰĪŲƸƫ܉ŏŲƫƠŏƸĪżł-ƸŊĪ-ĜŊÿƣŰżł-ƸŊĪŏƣ-ƸżŲܫĜżŧżǀƣ-ܞ*sic*܉ܟ-ĜÿŲŲżƸěĪǣĪƸ-Īdz ǿĜŏĪŲƸŧǣ-ĪŰƠŧżǣĪģ-Ƹż-ƠĪƣłżƣŰżŲ-ƸŊĪŰƫǣŰƠŊżŲŏĜ-ŰǀƫŏĜżŲÿĜĜżǀŲƸżł-ƸĪĜŊŲŏĜÿŧƫŊżƣƸĜżŰŏŲŃƫ܉-ƸŊĪ- żŲŧǣǝÿǣżǀƸ-ܠƸŊĪ-ĜżŰƠżƫĪƣƫĪĪƫŏƸłżƣ-ƸŊĪ-ƠƣĪƫĪŲƸÿŲģ-ǀŲƸŏŧ-ƸŊÿƸ-ƸŏŰĪǝŊĪŲ-ƸŊĪ-ŰĪĜŊÿŲŏĜÿŧÿŲģ- ƸĪĜŊŲŏĜÿŧ-ƠżƫƫŏěŏŧŏƸŏĪƫǝŏŧŧěĪŏŰƠƣżǜĪģܡŏƫ-Ƹż-ǀƫĪ-ƸŊĪǝĪƫƸĪƣŲżƣĜŊĪƫƸƣÿ-ƸƣǣŏŲŃ-ƸŊĪ-ܞ*sic*ܟ-ƠƣĪƫĪƣǜĪ- *only* ƸŊĪƫƠŏƣŏƸżł- ŊŏŲĪƫĪ-ŰǀƫŏĜÿƫ-ĪǢƠƣĪƫƫĪģŏŲ-ƸŊĪ-ƸŊĪŰÿƸŏĜ-ŰÿƸĪƣŏÿŧ܉-ŲżƸ-ƸÿŤŏŲŃŏŲƸż-ŰǀĜŊÿĜ-ĜżǀŲƸ-ƸŊĪŧżƫƫżł-ƸŊÿƸ-ƠĪĜǀŧŏÿƣ-ĜżŧżǀƣǝŊŏĜŊ-Ĝżǀŧģ-ŲżƸěĪżěƸÿŏŲĪģěǣ-ǀƫŏŲŃ- ŊŏŲĪƫĪŏŲƫƸƣǀŰĪŲƸƫ ¼ŊĪ- ƠƣĪƫĪŲƸ- ĪǢƠĪƣŏŰĪŲƸ- ܟ܊ܞ ŏƫ- ŲżƸ ÿ- ĜżŰƠÿƣŏƫżŲ܈ ŏƸ ŏƫ ÿ ģĪƫŏƣĪ-Ƹż- ĪǢƠŧÿŏŲ- ƸŊƣżǀŃŊ ÿĜƸǀÿŧ- ŰǀƫŏĜ- ƸŊÿƸ ÿŧƸŊżǀŃŊ- ܠÿƫ ŏŲ- ƸŊĪ- ĜÿƫĪ żł- ƸŊŏƫ- ܶģÿŃŏżܷܡ- ƸŊĪ- Ƹǝż ǜĪƣƫŏżŲƫ ÿƣĪ *entirely identical* as ƣĪŃÿƣģ ŏŲƫƸƣǀŰĪŲƸÿƸŏżŲ܉- ŊÿƣŰżŲŏǭÿƸŏżŲ܉ łżƣŰ܉ ÿŲģ- ƸŊĪŰÿƸŏĜ- ŰÿƸĪƣŏÿŧ܉- ƸŊĪ ǝĪƫƸĪƣŲ żƣ-ĜŊĪƫƸƣÿ ģżĪƫ- ŲżƸ- ܨ- ܠƠĪƣŊÿƠƫ- ĜÿŲŲżƸܡܐ- ܨ ƫżǀŲģ ÿƫ ǝŊÿƸ ŏƫ żƣģŏŲÿƣŏŧǣ- ĜÿŧŧĪģ- ܶ ŊŏŲĪƫĪ- ŰǀƫŏĜܷ ƣģżĪƫŏƸܐܐ-܊-1/4Ŋŏƫ-ƸŊĪ-ĜżŰƠżƫĪƣŧĪÿǜĪƫłżƣ-ƸŊĪÿǀģŏĪŲĜĪڗڙ

'ƿƢŎűł-Ʒ'nĩƪþůĩ-ƟĩƢŎŻĢ܌ƪŻůĩ-ܫĩơƿþŦŦǢ-ŎůƟŦŎěŎƷŦǢ-ƟŻŦŎƷŎěþŦ-ܫěŻůƟþƢþĚŦĩþƟƟƢŻþě'nĩƪĩůĩƢłĩĢ- ŎűdþƟþű܌ůŻƪƷűŻƷþĚŦǢ-Ŏű-Ʒ'nĩ-ŻƢě'nĩƪƷƢþŦǜŻƢţƪ-*Akebono*-ܤڐڒژڐܣ-ĚǢfƿűŎ'nŎţŻ-Nþƪ'nŎůŻƷŻڛڜ-ܫړڏژڐܣ ܤژړژڐ þűĢ- Ʒ'nĩ*tþłþƿƷþ- ®ǢůƟ'nŻűǢ- ܿ¼ƪƿƢƿţþůĩ݀*- ܤړڒژڐܣ- ĚǢ fƔƪþţƿ- ܣfżƪĞþţܤ æþůþĢþڜڜܒ In both ǜŻƢţƪ܌þě'nŻƢþŦ*nagauta shamisen* ensemble (an ensemble consisting of *shamisen*-accompanying ƪŎűłĩƢƪ-ŎűƿűŎƪŻűܤþűĢþàĩƪƷĩƢűƪǢůƟ'nŻűǢ-ŻƢě'nĩƪƷƢþþƢĩěŻűűĩěƷĩĢ-Ŏűþ-ǛþƢŎĩƷǢ-ŻŁǜþǢƪܒȃĩƪĩ- ǜŻƢţƪĩůĩƢłĩĢ-Ŏűþ-ƟŻŦŎƷŎěŎǬĩĢěŻűƷĩǡƷ-ŻŁ-ŎűěƢĩþƪŎűłűþƷŎŻűþŦŎƪů-Ʒ'nþƷ-'nþĢƪƟƢĩþĢ-Ŏű-Ʒ'nĩǜþţĩ- ŻŁdþƟþűܼƪ-ŻěěƿƟþƷŎŻű-ŻŁ-Ʒ'nĩrþűě'nƿƢŎþű-ƟĩűŎűƪƿŦþ-Ŏű-ܒڑڒܘڐڒژڐ-Nþƪ'nŎůŻƷŻܼƪ-ܮڏڒůŎűƿƷĩ-*Akebono*

ڽڶ- àŏŲǭĪŲěǀƣŃ܉-ܶtĪǝrǀŧƸŏǜżŏĜĪģàżƣŧģ܉ܷ-ܔڏڎڎܨڎڎڎƫĪĪÿŧƫżàŏŲǭĪŲěǀƣŃ܉-ܶNĪƸĪƣżŃŧżƫƫŏÿÿŲģ-¼ƣÿģŏƸŏżŲÿŧßżĜÿŧ- Genres."

ڐڎڎܷ-܉àżƣŧģrǀŧƸŏǜżŏĜĪģtĪǝ-ܶ-܉àŏŲǭĪŲěǀƣŃ- -ڴڷ

ڵڷ- ÿƣżŲ ǜƫŊÿŧżŰżǜ܉- ܶtżƸĪƫ- ǀƠżŲ- ƸŊĪ ƣĜŊĪƫƸƣÿŧ àżƣŤƫ܉ܷ ŏŲ-*The Shanghai Municipal Orchestra at the Lyceum, Fifteenth Sunday Concert Symphonic Programme* ڕڍܠ dÿŲǀÿƣǣ- ܉ܡڒڏڕڍ- ܉ڑܨڐ- ƢǀżƸĪģ ÿǽ ƸĪƣ àŏŲǭĪŲěǀƣŃ܉- ܶ tĪǝ rǀŧƸŏܫ ڍڏڎܷ-܉àżƣŧģǜżŏĜĪģ

ڶڷ- -FƣżŰ-ڐڏڕڍ-Ƹż-܉ړڏڕڍ-NÿƫŊŏŰżƸżƫƸǀģŏĪģŏŲßŏĪŲŲÿǝŏƸŊ-/ŃżŲàĪŧŧĪƫǭ-ŲƣĪƸǀƣŲŏŲŃ-ƸżdÿƠÿŲ܉ǝŏƸŊÿƫƸżƠżǜĪƣŏŲ- hżƫ-ŲŃĪŧĪƫ܉-ŊĪ-ŰĪƸǝŏƸŊ-®ĜŊżĪŲěĪƣŃ-ܠGÿŧŧŏÿŲż܉*æƕŃÿŤǀ*܉-ܡڑڌڎ-*Akebono*ǝÿƫ-ƠĪƣłżƣŰĪģÿŃÿŏŲŏŲ-ڑڌڌڎÿƸ-ƸŊĪ-¼żŤǣż- ÃŲŏǜĪƣƫŏƸǣ żł- ƸŊĪ ƣƸƫ- ܠ*Tokyo Geijutsu Daigaku)*- ǀŲģĪƣ- ƸŊĪ ģŏƣĪĜƸŏżŲ żł- NŏƣżƫŊŏ àÿŤÿƫǀŃŏ- Ƹż- ŃƣĪÿƸ ÿĜĜŧÿŏŰ- ¼ŊĪ- ƸĪǢƸŏƫěǣ-¼ÿƸƫǀǣǀŤŏ-¼ÿŤÿŲż-܉ܡړڐڕڍܨڒړڔڍܠ-ƸŊĪ-ǀŲģĪƣŧǣŏŲŃ*shamisen*-ŰǀƫŏĜǝÿƫ-ĜżŰƠżƫĪģěǣfżƫÿěǀƣżæżƫŊŏǭǀŰŏ- ܡڎړڕڍܨڒړڔڍܠÿŲģ-¦żŤĪƫŊŏƣżfŏŲĪǣÿ-ܡړڔڕڍܨڐڌڕڍܠ

ڷڷ- æÿŰÿģÿǝÿƫ-ƸŊĪ-ŰżƫƸŏŲƸĪƣŲÿƸŏżŲÿŧŧǣƣĪƫƠĪĜƸĪģ-ĜżŰƠżƫĪƣŏŲdÿƠÿŲŏŲ-ƸŊĪǿƣƫƸ-Ŋÿŧłżł-ƸŊĪ-ƸǝĪŲƸŏĪƸŊ-ĜĪŲƸǀƣǣ-NĪ- Ŋÿģ܉ÿŰżŲŃżƸŊĪƣ-ƸĪÿĜŊĪƣƫ܉ƫƸǀģŏĪģŏŲ-ĪƣŧŏŲǝŏƸŊrÿǢƣǀĜŊÿŲģfÿƣŧàżŧł-܉ܡڎڍܨڌڍڕڍܠÿŲģ-ĜżŲƸƣŏěǀƸĪģƫŏŃŲŏǿ-ĜÿŲƸŧǣ-Ƹż-ƸŊĪģĪǜĪŧżƠŰĪŲƸżłdÿƠÿŲĪƫĪ-ŰǀƫŏĜŧŏłĪ-'ǀƣŏŲŃ-ƸŊĪ-£ÿĜŏǿĜàÿƣ܉æÿŰÿģÿżdz łĪƣĪģ-ŊŏƫƫĪƣǜŏĜĪƫ-Ƹż-ƸŊĪ- ŰŏŧŏƸÿƣŏƫƸƣĪŃŏŰĪ܉ŧĪÿģŏŲŃ-ƸżǿĪƣĜĪ-ĜżŲƸƣżǜĪƣƫŏĪƫŏŲ-ƸŊĪŏŰŰĪģŏÿƸĪ-ƠżƫƸǝÿƣ-ƠĪƣŏżģ-ܠGÿŧŧŏÿŲż܉*æƕŃÿŤǀ*܉-ܡڍڏڍܨڌڏڍ- Some further information on Yamada has been provided in Chapter II.4.

(Sunrise), written for a huge ensemble, caused a scandal at its premiere on 14 November 1931, followed by harsh and politically charged press reviews that insisted on the basic incompatibility of the intimate character of Japanese music and the representational character of Western orchestral styles.34 The composer himself published an extensive list of harmonic strategies and ensemble combinations used in his work, concluding that he had "failed to achieve a synthesis, to combine these techniques into a single procedure."5 Yamada's Nagauta Symphony "Tsurukame," by contrast, was much better received, although it pursued an agenda similar to Hashimoto's, namely "the urgently needed overcoming of the opposition between Japanese and Western music with the aim of creating a Japanese national music."36 It is evident that Yamada's success was not least due to the allusions to nationalist tropes and symbols in the quoted nagauta material, and not merely to the astonishing inventiveness of how this material is technically interwoven, through considerable effort, with harmonic and contrapuntal structures. 37

In both works, the melodies of the shamisen ensemble are integrated into the idiom of the orchestra by coloring and developing them with the means of major-minor tonality. At the same time, the composers claimed to have left the traditional idiom of the shamisen ensemble largely untouched. In this formalized dialogue, the juxtaposed ensembles describe a kind of coexistence of Japanese and European music that had been characteristic of the Japanese modernization model since the Meiji era (1868–1911) as a whole. While Hashimoto, a member of Shinkō sakkyokuka renmei (Federation of Innovative Composers, founded in 1930, → II.4), was the only composer of his generation to have studied both European and Japanese music, Yamada's music had initially been strongly influenced by Richard Strauss, but increasingly turned toward an integration of traditional Japanese instruments and genres. Already in Yamada's symphony "Inno Meiji" (1921) a hichiriki is used, which, however, – like the Japanese instruments in the opera Yoake – Kuro Fune (see above) – does not play a major role. The Nagauta Symphony is based on the play Tsurukame ("Crane and Tortoise," a story documenting imperial worship), adapted from the no theater for kabuki. In sum, both symphonies reflect increasingly nationalist tendencies of Japanese music of the 1920s and 1930s, with Yamada's work expressing a more explicit political undertone.

After early attempts to make structural use of the modes and timbres of Japanese traditional genres during the 1930s in the context of the Shinkō sakkyokuka renmei, Yoritsune Matsudaira (1907–2001) extensively linked current European developments from neoclassicism to dodecaphony, serialism, and aleatoricism with structural and tonal aspects of gagaku, during the postwar period. 8 Matsudaira's Theme and Variations for Piano and Orchestra (1952) on the fa-

<sup>34</sup> See Menzel, Hōgaku, 125—133.

<sup>35</sup> Hashimoto, "Nagauta shinkyoku 'Akebono'" 45, quoted after Menzel, Hōgaku, 127 ("Obwohl ich danach trachtete, die oben beschriebenen Techniken in Synthese zu bringen, zu einer einzigen Verfahrensweise zu verbinden, […] muss ich leider bekennen, dass mit dieser entscheidende Schritt nicht gelungen ist.").

<sup>36</sup> Tsuyuki, "Nihon ongaku to no kōryū," 36, quoted after Menzel, Hōgaku, 134 ("[Tsurukame] […] versteht sich als Schritt in Richtung der dringen Überwindung der Opposition von japanischer und westlicher Musik, mit dem Ziel, eine japanische Nationalmusik zu schaffen.").

<sup>37</sup> See Menzel, Hōgaku, 134-141.

<sup>38</sup> Yoritsune Matsudaira was one of Japan's most influential and internationally active composers; he became known in the West already during the 1930s after being awarded the Tcherepnin composition prize in 1935. He attended the 1957 and 1958 Darmstadt Summer Course (Caitano, "Intercultural Perspectives in the International Summer Courses for New Music," 336–342). In 1958 his orchestral work U-Mai (1957–58) was premiered in Darmstadt. Among his later works, the Drei Arien nach Gedichten aus der "Geschichte vom Prinzen Genj" (1990) for soprano, shō, flute, and koto, a preliminary work toward his late opera Genji Monogatari (1991–97), made use of

mous *gagaku* piece *Etenraku* (in the mode *banshikicho*ܤǜþƪþǜþƢĢĩĢþ-ƟƢŎǬĩþƷ-Ʒ'nĩ-S® r-ŁĩƪƷŎǛþŦ- ڑڔژڐþűĢþǼ ƷĩƢǜþƢĢěŻűĢƿěƷĩĢ-ĚǢ-NĩƢĚĩƢƷ-ǛŻűfþƢþŠþű-ŎűßŎĩűűþ-ܤڑڔژڐܣþűĢ-¼ŻţǢŻ-ܒܤړڔژڐܣ-Sű-܌ڏڒژڐ-Matsudaira had been the youngest founding member of the *®'nŎűţƔƪþţţǢŻţƿţþ-ƢĩűůĩŎ*, which encouraged "the development of Japanese tonal systems suitable for primarily pentatonic and ůŻĢþŦůĩŦŻĢŎĩƪ܌ƪƷƢƿěƷƿƢĩĢþǼ ƷĩƢ-Ʒ'nĩ-ƷǢƟĩ-ŻŁ-ܻơƿþƢƷþŦ-'nþƢůŻűŎĩƪܼ-ĢĩƢŎǛĩĢ-ŁƢŻů-Ʒ'nĩ-ǛĩƢƷŎěþŦ-ƷŻűĩ- clusters of the *ƪ'nƔ* in *gagaku*" ڢڜ-Ŏű-Ʒ'nĩƪĩěŻűĢ-ŻŁ-ŎƷƪ-ŁŻƿƢłƿŎĢĩŦŎűĩƪ-ݑދܣSSܒܤړܒƪ-ŻƿƷŦŎűĩĢ-Ŏű- 'nþƟ-ƷĩƢ-SS܌ړܒ- Ʒ'nŎƪ-ĢĩůþűĢǜþƪůĩƷ-Ŏű-ƟþƢƷŎěƿŦþƢ-ĚǢ-FƿůŎŻ-NþǢþƪþţþ-ܤڔڔژڐܫړڐژڐܣ-ŎűǜŻƢţƪƪƿě'nþƪ- *fŻĢþŎűŻ-ĚƿţǢŻţƿ*-ܣűěŎĩűƷ-'þűěĩ܌-ܤږڒژڐþŦŻűłǜŎƷ'n-Ʒ'nĩƪĩěŻűĢůŻǛĩůĩűƷ-ŻŁrþƷƪƿĢþŎƢþܼƪ-®Żűþܮ ƷŎűĩ-ŁŻƢ-FŦƿƷĩþűĢ-£ŎþűŻ-ܤڕڒژڐܣ-Ʒ'nþƷƿƪĩƪþ*gagaku* melody in a predominantly neoclassicist context, "alienating it from its origins."ڙڝƪ-ĢŎƪěƿƪƪĩĢ-Ŏű-ĢĩƷþŎŦ-Ŏű- 'nþƟƷĩƢ-SS܌ړܒ-Ŏű-Ʒ'nĩ-ڏڒژڐƪ܌dþƟþűܼƪ- ƷĩűĢĩűěǢ-ƷŻǜþƢĢěƿŦƷƿƢþŦ-ƢĩűĩǜþŦ܌ţűŻǜűþƪ*ƪ'nŎűţƔ*܌-'nþĢƪƟþƢţĩĢþű-ŎűƷĩűƪĩ-ĢĩĚþƷĩ-ŻǛĩƢ-ܹdþƟܮ þűĩƪĩ-'nþƢůŻűǢ܌ܺ-Ŏűǜ'nŎě'n-®'nǕţŎě'nŎrŎƷƪƿţƿƢŎ܌-R'nƔ'nĩŎ-¼þűþţþ܌þűĢfŦþƿƪ-£ƢŎűłƪ'nĩŎů-ƟþƢƷŎěŎܮ ƟþƷĩĢ þŦŻűłƪŎĢĩ- NþǢþƪþţþښڝܒ- NþǢþƪþţþܼƪ þűĢrþƷƪƿĢþŎƢþܼƪ ǜŻƢţƪ- ŻŁ- Ʒ'nĩ- ƟŻƪƷǜþƢ- ƟĩƢŎŻĢ ěŻűܮ ǛĩǢĩĢ-Ʒ'nĩƪĩ-ƟƢŎűěŎƟŦĩƪ-ƷŻ-Ʒ'nĩ-ǢŻƿűłĩƢłĩűĩƢþƷŎŻűܒ-Sű-'nŎƪǜŻƢţƪ-ŻŁ-Ʒ'nĩ-ڏڔژڐƪ܌rþƷƪƿĢþŎƢþěŻűƷŎűܮ ƿĩĢ-ƷŻĩǡƟŦŻƢĩƪƟĩěŎȀěěŻűěĩƟƷƪ-ŻŁdþƟþűĩƪĩ-'nþƢůŻűǢ܌ƪƿě'nþƪ-Ŏű-'nŎƪþĢþƟƷþƷŎŻű-ŻŁ-Ʒ'nĩůŻƿƷ'n- organ *ƪ'nƔ*'s *aitake*ě'nŻƢĢƪ-Ŏű-'nŎƪěĩűƷƢþŦǜŻƢţ-*®þŎĚþƢþűŎ-ǢŻƢƿrĩƷþůŻƢŁƔǬƿ* (Metamorphoses on ڛڝܒܤڗڔܘڒڔژڐ-܌þŎĚþƢþ®

¦ĩŁŻƢůƪ-Ŏű- ƷƢþĢŎƷŎŻűþŦůƿƪŎěǜĩƢĩ- ŁþƢ-Ŧĩƪƪ-ƢþĢŎěþŦ-Ŏű dþƟþű- Ʒ'nþű-Ŏű- 'nŎűþܒ-ěĩűƷƢþŦ-Ȁłƿre was the *koto* player Michio Miyagiڜڝ-܌ܤڕڔژڐܫړژڗڐܣǜ'nŻ-Ěĩěþůĩ-Ʒ'nĩ-ƟƢŻƷþłŻűŎƪƷ-ŻŁ-*Shin Nihon ongaku*-ܣtĩǜdþƟþűĩƪĩrƿƪŎě܌ܤþůŻǛĩůĩűƷ-Ʒ'nþƷƪŻƿł'nƷ-ƷŻłĩűƷŦǢ-ŎűƷĩłƢþƷĩàĩƪƷĩƢűĩŦĩůĩűƷƪ- into traditional Japanese instrumental structures.ڝڝȃĩůŻǛĩůĩűƷþŎůĩĢ-ƷŻĩǡƟþűĢ-Ʒ'nĩ-ƟĩƢ-ŁŻƢůþűěĩ- Ʒĩě'nűŎơƿĩƪ- ŻŁ- ƷƢþĢŎƷŎŻűþŦ-ŎűƪƷƢƿůĩűƷƪ܌- ĚƿƷ þŦƪŻ ĩǡƟĩƢŎůĩűƷĩĢ ǜŎƷ'nůŻĢŎȀěþƷŎŻűƪ- ܣƿƪƿþŦŦǢ ĩűŦþƢłĩůĩűƷƪܤ- ŻŁ- Ʒ'nĩ-ŎűƪƷƢƿůĩűƷƪܒ- ŦƢĩþĢǢ- ĚĩŁŻƢĩrŎǢþłŎ܌- Ʒ'nĩ *koto* genre *ƪ'nŎűţǢŻţƿ* ܣtĩǜ-£Ŏĩěĩƪܤ-'nþĢ-ĚĩĩűěƢĩþƷĩĢ-ĢƿƢŎűł-Ʒ'nĩrĩŎŠŎ-£ĩƢŎŻĢ-ܤڐڐژڐܫڗڕڗڐܣ-Ŏűƪþţþ܌-Ŏűǜ'nŎě'nĩŦĩůĩűƷƪ- ŻŁàĩƪƷĩƢű ůƿƪŎě ǜĩƢĩ-ŎűěŦƿĢĩĢܒ tŻĚŻƢƿ- ¼þƷĩǢþůþ- ܤڕڑژڐܫڕږڗڐܣ- ƟŦþǢĩĢ þ ƪŎłűŎȀěþűƷ- ƢŻŦĩ-Ŏű- the formation of that repertoire.ڞڝ-Ǽ ƷĩƢ- Ʒ'nĩ-®ĩěŻűĢàŻƢŦĢàþƢ܌þ-ĚƢŻþĢĩƢ- ƷƢĩűĢ- ƷŻǜþƢĢ- Ʒ'nĩ- ěŻűǴŦƿĩűěĩ- ŻŁ dþƟþűĩƪĩ þűĢ- /ƿƢŻƟĩþű ůƿƪŎěþŦ- ƷƢþĢŎƷŎŻűƪ ǜþƪ űŻƷ- ƢĩܮĩƪƷþĚŦŎƪ'nĩĢ ƿűƷŎŦ- Ʒ'nĩ- ڏڕژڐƪ܌- ƟƢŎůþƢŎŦǢ- ĚǢ ůƿƪŎěŎþűƪ ǜ'nŻ܌- ŁŻŦŦŻǜŎűł rŎǢþłŎ- ܣǜ'nŻ- ĢŎĩĢ- Ŏű- ܤڕڔژڐ þĢŻƟƷĩĢ- Ʒ'nĩ- ƷĩƢů- *łĩűĢþŎ- 'nƔłþţƿ*- ܣ1/4ƢþĢŎƷŎŻűþŦ dþƟþűĩƪĩ rƿƪŎě- ŻŁ- Ʒ'nĩ- £ƢĩƪĩűƷܒܤ ȃŎƪ űŻƷþĚŦĩ łƢŻƿƟ- ŻŁ- ĢŎƪƷŎűܮ guished soloists was able to arouse a new interest in traditional instruments among Westerneducated composers.ڟڝ Most prominently, the "Group of four for traditional Japanese music"

ڎڔܨڕړ-܉ڏړܨڒڒ-܉*æƕŃÿŤǀ* ,Galliano ڵڸ

ڎڔܨڒڒ-܉*NƕŃÿŤǀ*-܉rĪŲǭĪŧ-ĪƫƠĪĜŏÿŧŧǣ-ĪĪ®- -ڸڸ

dÿƠÿŲĪƫĪŏŲƫƸƣǀŰĪŲƸƫłżƣ-ƸŊĪǿƣƫƸ-ƸŏŰĪ-ŲrÿƸƫǀģÿŏƣÿƫĪĪ܉ÿŰżŲŃżƸŊĪƣƫ܉-RÿǝÿěĪ܉*tĪǀĪrǀƫŏŤŏŲdÿƠÿŲǜżŲ-ڐڕڙڑ- ěŏƫ-*܉*ڐږڙڑ*-܉ڍڑܨڔڐ-RÿǝÿěĪ܉-ܶ'ĪƣŧÿŲŃĪàĪŃǭǀƣ-ܸGĪƫĜŊŏĜŊƸĪǜżŰ-£ƣŏŲǭĪŲ-GĪŲšŏ܉ܹܷ-GÿŧŧŏÿŲż܉*æƕŃÿŤǀ*܉-܉ڑڔܨڎڔ-܉ڐڐڍܨړڏڍ- ܉ڌڒڎܨڕڑڎÿƫǝĪŧŧÿƫ-ƸŊĪ-ĪƫƫÿǣƫŏŲ-ĪŲőƸĪǭÿŲģfżŲģƕ܉-*Gagaku and Serialism*. Some further information on Matsudaira is provided in Chapter II.4.

ڽڷ- -¥ǀżƸĪģŏŲ-NĪƣģ܉-ܶ1/4ŊĪ- ǀŧƸǀƣÿŧ-£żŧŏƸŏĜƫżłdÿƠÿŲܹƫrżģĪƣŲrǀƫŏĜ܉ܷ-ڐڐ-ވܠ-SSܡڐ

ڴڸ- hĪŊƸżŲĪŲ܉-ܸܶrÿƣĜŊłƣżŰ-ƸŊĪ-ŃĪżł-SŰŏƸÿƸŏżŲ-Ƹż-ƸŊĪ-ŃĪżł ƣĪÿƸŏżŲ܉ܹܷ-ڍڔڍhĪŊƸżŲĪŲ-ܠŏěŏģ܉-ܡڑڔڍܨړڒڍ-ƠƣżǜŏģĪƫÿ- ĜŧżƫĪƣĪÿģŏŲŃżł-ƸŊŏƫ-ŰżǜĪŰĪŲƸÿŲģżƸŊĪƣ-ƠƣĪǝÿƣǝżƣŤƫěǣrÿƸƫǀģÿŏƣÿ

ڍڐڍܨڔڏڍ-܉Sěŏģ- -ڶڸ

ڷڸ The blind *koto*- ƠŧÿǣĪƣ rŏĜŊŏż rŏǣÿŃŏ ǝÿƫ żŲĪ żł- ƸŊĪ- ŰżƫƸ ŏŰƠżƣƸÿŲƸ ƣĪłżƣŰĪƣƫ żł- ƸƣÿģŏƸŏżŲÿŧ dÿƠÿŲĪƫĪ- ŰǀƫŏĜ- ŏŲ-ƸŊĪ-ƸǝĪŲƸŏĪƸŊ-ĜĪŲƸǀƣǣ-Ƹ-ƸŊĪÿŃĪżł-܉ڔڍ-ŊĪƣĪÿĜŊĪģ-ƸŊĪ-ŊŏŃŊĪƫƸƣÿŲŤ-ܠ*kengyo*ܡǝŏƸŊ-ƸŊĪ-ƸƣÿģŏƸŏżŲÿŧdÿƠÿŲĪƫĪ- ŰǀƫŏĜŏÿŲƫǣƫƸĪŰ-®ĪĪ-GÿŧŧŏÿŲż܉*æƕŃÿŤǀ*܉-ڑڑܨڎڑ

ڹڸ See Flavin, "*Meiji shinkyoku*" and Menzel, *NƕŃÿŤǀ*܉-ڑڒܨڑڑ

ڐڑڎܨڔڏڎ-܉*æƕŃÿŤǀ* ,Galliano See ںڸ

(*NƔłþţƿ-ǢŻűŎűűŻţþŎ*ܤþűĢ-Ʒ'nĩ*koto*-ƟŦþǢĩƢfþǢŻţŻ-®ƿǬƿţŎ-ĢĩǛĩŦŻƟĩĢ-Ʒ'nĩ-ƢþƟƟƢŻě'nĩůĩűƷܒ-Sű-Ʒ'nŎƪ- ěŻűƷĩǡƷ܌æŻƪ'nŎƢƔ-SƢŎűŻ-ܤڏڗژڐܫڐڑژڐܣǜƢŻƷĩ-*Music for Two Kotos* ܌ܤږڔژڐܣ-Ʒ'nĩ-ȀƢƪƷ-ĢŻĢĩěþƟ'nŻűŎěǜŻƢţ- for traditional Japanese instruments,ڠڝþűĢ-Ʒĩű-ǢĩþƢƪ-ŦþƷĩƢ-¼ƔƢƿ-¼þţĩůŎƷƪƿěŻůƟŻƪĩĢ-'nŎƪƪĩůŎűþŦǜŻƢţƪ-ŁŻƢ-ƷƢþĢŎƷŎŻűþŦ-ŎűƪƷƢƿůĩűƷƪ-*Eclipse* ܤڕڕژڐܣþűĢ-*November Steps*-ܤږڕژڐܣ-ݑދܣSSSܒܤړܒ

Sű- 'nŎűþ܌-R'nŎæŻűłţþűłܼƪ-ܣĚܤژڑژڐݑܒěŻűěĩƢƷŻ-*Huanghe de gushi*-ܣȃĩ-®ƷŻƢǢ-ŻŁ-Ʒ'nĩæĩŦŦŻǜ- Ƣþűĩ܌-ܤڔڔژڐ- ƢĩƟƢĩƪĩűƷƪþű ĩþƢŦǢ ĩǡþůƟŦĩ-ŻŁþ- ܹŁƿƪŎŻű ěŻűěĩƢƷŻܺǜŎƷ'nþ- 'nŎűĩƪĩ ƪŻŦŻ-ŎűƪƷƢƿůĩűƷ܌- Ƣĩ-ǛĩƢƪŎűł-Ǜƪ'nþŦŻůŻǛܼƪƪĩƷƷŎűł-ƷǜĩűƷǢ-ǢĩþƢƪĩþƢŦŎĩƢܒȃĩƪŻŦŻ-ŎűƪƷƢƿůĩűƷ-Ŏƪ-Ʒ'nĩ- 'nŎűĩƪĩ-ĚþůĚŻŻ- ǴŦƿƷĩ*dizi*, but the piece almost entirely conforms to the conventions of the Western Romantic virtuoso concerto tradition.ڡڝ An appropriation of Western virtuosity has generally acted as þ-ĢĩƷĩƢůŎűŎűł-ŁþěƷŻƢ-Ŏű-Ʒ'nĩ-ƢĩƟĩƢƷŻŎƢĩ-ŻŁþŦůŻƪƷþŦŦ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪƪŎűěĩ-Ʒ'nĩ-ڏڒژڐƪܒȃĩ- ƢĩƪƿŦƷŎűłƪƷǢŦĩ-ŎƪůþƢţĩĢ-ĚǢþű-ŎűƷĩłƢþƷŎŻű-ŻŁ- 'nŎűĩƪĩƪŻƿűĢ-ƢĩƪŻƿƢěĩƪ-ŎűƷŻþűþŦůŻƪƷĩűƷŎƢĩŦǢ- /ƿƢŻƟĩþűűŎűĩƷĩĩűƷ'nܮěĩűƷƿƢǢ-ŎĢŎŻůܒȃŎƪłŻĩƪ-'nþűĢ-Ŏű-'nþűĢǜŎƷ'nþěŻűƪŎĢĩƢþĚŦĩ-ƢĩĢƿěƷŎŻű-Ŏű- complexity at all musical levels and is generally summarized as "conservatory style" since it is ěŦŻƪĩŦǢ-ŦŎűţĩĢǜŎƷ'n-Ʒ'nĩĩƪƷþĚŦŎƪ'nůĩűƷ-ŻŁþěþĢĩůŎěůƿƪŎěĩĢƿěþƷŎŻű-ŎűƪƷŎƷƿƷŎŻűƪƪŎűěĩ-ڢڝ܋ږڑژڐ

rÿŲǣǜŏƣƸǀżƫżƫŏŲ-ƸŊĪ-ĜżŲƫĪƣǜÿƸżƣŏĪƫżƣ-ƠƣżłĪƫƫŏżŲÿŧƫƸÿƸĪܫƫǀƠƠżƣƸĪģ-ǀƣěÿŲ-ƸƣżǀƠĪƫ-ĜżŰĪłƣżŰ- ƸŊĪ ěÿĜŤŃƣżǀŲģ żł- ŊĪƣĪģŏƸÿƣǣ ǜŏŧŧÿŃĪ- ܶłżŧŤ ÿƣƸŏƫƸܷ łÿŰŏŧŏĪƫ܉ ěǀƸ- ƸŊĪǣ- ŊÿǜĪ ŧÿƣŃĪŧǣ ÿěÿŲģżŲĪģ- ƸŊĪ-ƸƣÿģŏƸŏżŲÿŧ-ĪƸŊżƫŏŲłÿǜżǀƣżłÿ-ŰżģĪƣŲŏǭĪģ܉ǜŏƣƸǀżƫżÿŲģ-ƠÿƣƸŧǣàĪƫƸĪƣŲŏǭĪģƫƸǣŧĪ܉-ǀƫŏŲŃÿ- ƸĪŰƠĪƣĪģƫĜÿŧĪ܉ÿěěƣĪǜŏÿƸŏŲŃ-ƠŏĪĜĪƫ-ĜżŲƫŏģĪƣÿěŧǣÿŲģ-ĪǢÿŃŃĪƣÿƸŏŲŃģǣŲÿŰŏĜƫÿŲģ-ŃĪƫƸǀƣĪƫłżƣ- ƫƸÿŃĪ-ƠĪƣłżƣŰÿŲĜĪ-¼Ŋŏƫ-ܶĜżŲƫĪƣǜÿƸżƣǣƫƸǣŧĪܷŏƫ-ŰżƣĪÿĜĜĪƫƫŏěŧĪěǀƸżłŧĪƫƫ-ĜżŰƠŧĪǢŏƸǣ-ƸŊÿŲ-ƸŊĪ- ƸƣÿģŏƸŏżŲÿŧƣǀƣÿŧ-ŰǀƫŏĜܫŰÿŤŏŲŃږڛ

ȃĩƿƪĩ-ŻŁ- 'nŎűĩƪĩƪŻŦŻ-ŎűƪƷƢƿůĩűƷƪ-Ŏű-ŻƢě'nĩƪƷƢþŦěŻűƷĩǡƷƪ-ĚĩěþůĩƪŎłűŎȀěþűƷŦǢůŻƢĩƪŻƟ'nŎƪ-ƷŎěþƷĩĢþǼ ƷĩƢ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩ ƿŦƷƿƢþŦ-¦ĩǛŻŦƿƷŎŻű-Ŏű-Ʒ'nĩ-ڏڗژڐƪþűĢ-ڏژƪܒ-FŻƢĩǡþůƟŦĩ܌-Ʒ'nĩ*dizi* in ð'nƿdŎþűܼĩƢܼƪ-ܤږڐڏڑܫڑڑژڐܣ-FŻƿƢƷ'n-®ǢůƟ'nŻűǢ-ܤڏژژڐܣ-ƢĩƟƢĩƪĩűƷƪþƪƷƢƿěƷƿƢþŦŦǢ-ŦŻŻƪĩƢ-ƟƢŎűěŎƟŦĩ܌þěƷܮ ing within a stylistically complex amalgamation of dodecaphony, sound masses, and Chinese ƟĩƢěƿƪƪŎŻűĩűƪĩůĚŦĩ-Ƣ'nǢƷ'nůƪܒȃŎƪƪŎƷƿþƷŎŻű-ŎƪƪŎůŎŦþƢ-ƷŻ-Ʒ'nĩ-ƢŻŦĩ-ŻŁ-Ʒ'nĩůƿƪŎěþŦƪþǜ-Ŏűð'nƿܼƪ- ®ĩěŻűĢ-®ǢůƟ'nŻűǢ-ܒܤږڗژڐܣű-ŻĚǛŎŻƿƪűþƢƢþƷŎǛĩ-ŎűƷĩƢƟƢĩƷþƷŎŻű-Ŏƪ-Żűĩ-Ʒ'nþƷ-Ʒ'nþƷƿűĢĩƢƪƷþűĢƪ-Ʒ'nĩ- ƪŻŦŻ-ŎűƪƷƢƿůĩűƷƪ-Ŏű-Ʒ'nĩƪĩ-ƷǜŻǜŻƢţƪþƪ-ĢĩƟŎěƷŎűł-Ʒ'nĩþƢƷŎěƿŦþƷŎŻű-ŻŁ-Ʒ'nĩ-ŎűĢŎǛŎĢƿþŦ-Ŏűþ-ƢĩƟƢĩƪsive and coercively constrained society, thus processing the traumas of the Cultural Revolution, ǜ'nŎě'nǜĩƢĩ-Ʒ'nĩĩǡƟŦŎěŎƷ-Ʒ'nĩůĩ-ŻŁ-Ʒ'nĩ-FŎƢƪƷ-®ǢůƟ'nŻűǢ-ښڞܒܤڕڗܫږږژڐܣ

ð'nƿ dŎþűܼĩƢܼƪ- ƷĩűƪǢůƟ'nŻűŎĩƪǜĩƢĩǜƢŎƷƷĩű-ĚĩƷǜĩĩű- ڕڗژڐþűĢ- ܌ژژژڐþűĢěþű-Ěĩƪĩĩűþƪþű- þŦůŻƪƷ ƪǢƪƷĩůþƷŎě ƿűĢĩƢƷþţŎűł- ƷŻ-ȀűĢþůƿƪŎě- ĢŎDz ŁĩƢŎűł-Ŏű ƪŎłűŎȀěþűƷǜþǢƪ- ŁƢŻů- Ʒ'nĩàĩƪƷܮ ĩƢűƪǢůƟ'nŻűŎě- ƷƢþĢŎƷŎŻű-ĚǢůĩþűƪ-ŻŁ-ĢŎDz ŁĩƢĩűƷĩǡƟĩƢŎůĩűƷþŦþƢƢþűłĩůĩűƷƪǜ'nŎŦĩƿƟ'nŻŦĢŎűł- Ʒ'nĩĩůƟ'nþƷŎěþĩƪƷ'nĩƷŎěěŦþŎůƪ-ŻŁ-Ʒ'nĩƪǢůƟ'nŻűŎě-ƷƢþĢŎƷŎŻű-ݑދܣSSSڛڞܒܤڔܒ-Ʒ-Ʒ'nĩþłĩ-ŻŁ-܌ڏڔð'nƿ܌ǜ'nŻ-

ڻڸ- -RÿǝÿěĪ܉*tĪǀĪrǀƫŏŤŏŲdÿƠÿŲǜżŲ-ڐڕڙڑěŏƫ-*܉*ڐږڙڑ*-ړڐ

ڼڸ- -1/4ŊĪƫĜżƣĪżł-ƸŊŏƫǝżƣŤŏƫ-ĪǢƸĪŲƫŏǜĪŧǣģŏƫĜǀƫƫĪģÿŲģłǀŧŧǣƣĪƠƣżģǀĜĪģŏŲrŏƸƸŧĪƣ܉-*Dangerous Tunes*܉-܉ڏڎڏܨڍڎڏ-ړڑڐܨڌڐڐ

ڽڸ- -SŲ- ܉ړڎڕڍ- ƸŊĪ- ®ŊÿŲŃŊÿŏ żŲƫĪƣǜÿƸżƣǣ ǝÿƫ żƠĪŲĪģ- ®ĪĪ- ®ĜŊŏŰŰĪŧƠĪŲŲŏŲĜŤ ÿŲģ fżǀǝĪŲŊżǜĪŲ܉- ܶ1/4ŊĪ- ®ŊÿŲŃŊÿŏ- żŲƫĪƣǜÿƸżƣǣżłrǀƫŏĜܷÿŲģæÿŲŃ܉-ܶ1/4ŊĪ-®ŊÿŲŃŊÿŏ żŲƫĪƣǜÿƸżƣǣ܉- ŊŏŲĪƫĪrǀƫŏĜÿŧhŏłĪ܉ÿŲģ-ƸŊĪ-¦ǀƫƫŏÿŲ-'ŏÿƫƠżƣÿ܉- ܷڕڐڕڍܨړڎڕڍ

ڴڹ Jones, "China §IV. Living Traditions."

ڵڹ- -RĪĪŏŲ-ƠÿƣƸŏĜǀŧÿƣÿƣěÿƣÿrŏƸƸŧĪƣܹƫŏŲƸĪƣƠƣĪƸÿƸŏżŲżłðŊǀܹƫ-FŏƣƫƸ-®ǣŰƠŊżŲǣŏŲ-*Dangerous Tunes*܉-ڑڌڍܨړڕ-Ų-ƸŊĪ-ĜżŲ-ƸŏŲǀĪģŏŰƠżƣƸÿŲĜĪżł-ƠżƫƸܫ ǀŧƸǀƣÿŧ-¦ĪǜżŧǀƸŏżŲ-ܶƫĜÿƣ-ŰǀƫŏĜܷłżƣ- ŊŏŲĪƫĪ-ĜżŰƠżƫĪƣƫ-ǀŲƸŏŧ-ƸŊĪ-ڌڕڕڍƫƫĪĪrŏƸƸŧĪƣ܉-ܶ®żǀŲģ-£ÿƸƸĪƣŲƫżł- ǀŧƸǀƣÿŧrĪŰżƣǣܷ

ڶڹ- -1/4ŊĪƫĜżƣĪƫżłðŊǀܹƫ-ƸĪŲƫǣŰƠŊżŲŏĪƫÿŲģ-ŊŏƫƫŏŲłżŲŏĪƸƸÿǝĪƣĪƣĪŧĪÿƫĪģ܉ÿŧżŲŃǝŏƸŊ- 'ƣĪĜżƣģŏŲŃƫ܉ŏŲ-ڎڌڌڎŏŲÿŲ-ĪŧÿěżƣÿƸĪ-ƸŊƣĪĪܫǜżŧǀŰĪ-ĪģŏƸŏżŲżł-ƸŊĪ-®ŊÿŲŃŊÿŏrǀƫŏĜ-£ǀěŧŏƫŊŏŲŃ-NżǀƫĪ-®ĪĪÿŧƫż-®ǀŲ܉-ܶðŊǀdŏÿŲܹĪƣܹƫ-®ǣŰƠŊżŲŏĪƫܷ

had mostly composed unnoticed before and during the Cultural Revolution, attended compoƪŎƷŎŻűěŦþƪƪĩƪþƷ-Ʒ'nĩ-®'nþűł'nþŎ- ŻűƪĩƢǛþƷŻƢǢǜŎƷ'n- 'nĩűrŎűłǬ'nŎ-ܤژڏڏڑܫڔڑژڐܣþűĢæþűłhŎơŎűł- ܤڒڐڏڑܫڑړژڐܣ-ƷŻĩǡƟŦŻƢĩþűĢþƟƟƢŻƟƢŎþƷĩűĩǜ-Ʒĩě'nűŎơƿĩƪ܌-ŎűěŦƿĢŎűł-Ʒ'nĩ-ƷǜĩŦǛĩܮƷŻűĩůĩƷ'nŻĢ-Ŏű- particular.ڜڞ While the First Symphony, in its long formation and methodological eclecticism, þƟƷŦǢ-ĢŻěƿůĩűƷƪ-Ʒ'nĩ-ĢŎDzȀěƿŦƷŎĩƪ-ŻŁ-ȀűĢŎűłþűĩǜůƿƪŎěþŦ-Ŧþűłƿþłĩ-Ŏű-Ʒ'nĩ-ǢĩþƢƪ-ŁŻŦŦŻǜŎűł-Ʒ'nĩ- Cultural Revolution, the Second Symphony compresses the traumatic experiences into an ex-ƷƢĩůĩ-ĢĩűƪŎƷǢܒȃĩ- ƷǜŻ-'nþŦǛĩƪ-ŻŁ- Ʒ'nĩ- ƷǜĩŦǛĩܮƷŻűĩ- ƢŻǜ-ܣ ܫܫGܫݑ- Fܫ/ܫ ܫݑ-'–FܫGܫݑ-– ܫ'ܗ þŦŦ- ƷƢŎě'nŻƢĢƪ- ĚĩŎűł ůĩůĚĩƢƪ- ŻŁ- Ʒ'nĩ ƪþůĩ ƪĩƷ ěŦþƪƪ- ܌ܤړڐڏ ƪŎůŎŦþƢ-Ŏű ƪƷƢƿěƷƿƢĩ- ƷŻ űƷŻű- Webern's dodecaphonic symmetries, appear in the main theme permuted and simultaneously ƪ'nþƢƟŦǢþěěĩűƷƿþƷĩĢ-ĚǢþǜ'nŻŦĩ-ƷŻűĩ-ܣ1/42 ܤ-ƷƢþűƪƟŻƪŎƷŎŻű܌ǜ'nŎě'nþƢƷŎěƿŦþƷĩƪ-Ʒ'nĩ- 'nŎűĩƪĩƪƟĩĩě'n- Ƣ'nǢƷ'nů-ŻŁ-Ʒ'nĩơƿĩƪƷŎŻű-ܹà'nǢܓܺ-ܣ/ǡڝڞܒܤڑܒڒݑܒ

*/ǡþůƟŦĩ-ڗܘژܑð'nƿdŎþű݂ĩƢܒ Second Symphony-ŻƟܘ-ܒڝڗ-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-ژݵڛږܱڛܑůþŎű-Ʒ'nĩůĩǜŎƷ'n-Ʒ'nĩ- ƿűĢĩƢŦǢŎűłǜŻƢĢƪ-ܿǜĩŎƪ'nĩűůĩܒǜĩŎƪ'nĩűůĩ-Ǭ'nĩǢþűłܒǜĩŎƪ'nĩűůĩ-Ǭ'nĩǢþűł-ĢŻƿ݀-ܩܿà'nǢܙà'nǢƪŻܙà'nǢ- Ŏƪ-ŎƷƪƿě'nþƪƷƢƿłłŦĩܙ݀*ڞڞ*ܪ*

Sű-Ʒ'nĩ-ĚƢŻþĢ-ŎűƷƢŻĢƿěƷŎŻű-ƷŻ-Ʒ'nĩ-ȀƢƪƷůŻǛĩůĩűƷ܌-Ʒ'nĩ-ŁƢþłŎŦĩƪŻƿűĢƪ-ŻŁ-Ʒ'nĩůƿƪŎěþŦƪþǜěŻűƷŎűƿĩ- ŎűĩǡƷĩűƪŎǛĩƪŻŦŻ-ȀĩŦĢƪ-ŻŁ-ŻƷ'nĩƢ-ŎűƪƷƢƿůĩűƷƪ-ĚƿƷþƢĩ-ƢĩƟĩþƷĩĢŦǢěƿƷ-ŻDz Ł-'nþƢƪ'nŦǢ-ĚǢ-ƢŻŦŦŎűł-ƷƿƷƷŎ- ƪŻƿűĢƪܒȃĩƪĩƪƟƢĩþĢ-ŻƿƷěŻűƪŎĢĩƢþĚŦǢ-Ŏű-Ʒ'nĩƪĩěŻűĢ-ƟþƢƷ-ŻŁ-Ʒ'nĩǜŻƢţƿűƷŎŦ܌þƷ-Ʒ'nĩĩűĢ܌þǼ ƷĩƢþ- painful polytonal "apparent triumph" of the brass, an echo of the saw becomes audible – which can easily be understood as the barely audible, yet sustainably articulated voice of the individual.

SűěŻůƟŦĩƷĩŦǢ-ĢŎDz ŁĩƢĩűƷƪŻěŎþŦþűĢ-'nŎƪƷŻƢŎěþŦ-ƷĩƢůƪ܌-Ʒ'nĩ-ƷƢĩþƷůĩűƷ-ŻŁ-Ʒ'nĩdþƟþűĩƪĩƪŻŦŻ-Ŏűܮ struments *shakuhachi* and (*satsuma-*ܤ*biwa*-Ŏű-¼þţĩůŎƷƪƿܼƪ-*November Steps*-ܤږڕژڐܣ-ŎƪþŦƪŻě'nþƢþěƷĩƢܮ ŎǬĩĢ-ĚǢþůƿě'nłƢĩþƷĩƢ-ǴŦĩǡŎĚŎŦŎƷǢ-ŻŁ-ƷĩůƟŻ܌ƪǢűě'nƢŻűŎǬþƷŎŻű܌þűĢþƢƷŎěƿŦþƷŎŻűǜ'nĩűěŻůƟþƢĩĢ- to the orchestral structures, resulting not least from the mostly unmetered, partly ambiguous űŻƷþƷŎŻű-ŁŻƢ-Ʒ'nĩƪŻŦŻ-ŎűƪƷƢƿůĩűƷƪ-ݑދܣSSSܒܤړܒǜŎűł-ƷŻ-Ʒ'nĩ-ĢŎDz ŁĩƢĩűěĩƪ-Ŏű-ƷŻűĩþűĢ-Ʒĩě'nűŎơƿĩ܌-Ʒ'nĩ- ƪŎþű-ŎűƪƷƢƿůĩűƷƪ-ŁŻƢð'nƿþűĢ-¼þţĩůŎƷƪƿ-ĚĩěŻůĩěþƢƢŎĩƢƪ-ŻŁþű-ŎűĢŎǛŎĢƿþŦŎǬþƷŎŻű-ƟƢŻěĩƪƪ܌þűĢ- produce an autonomous music that disengages from the determinism of compositional ideas and penetrates open spaces removed from large-scale formal processes.

¦ĩŁŻƢů܌- ŎůŎƷþƷŎŻű܌ ěŻĩǡŎƪƷĩűěĩ܌- ŎűƷĩłƢþƷŎŻű܌ þűĢ- ŎűĢŎǛŎĢƿþŦŎǬþƷŎŻű܋- Ʒ'nĩƪĩ- 'nŎƪƷŻƢŎěþŦ ěŻűěĩƟƷƪ-Ŏű-ĢĩþŦŎűłǜŎƷ'n-/þƪƷƪŎþűƪŻƿűĢƪ܌-ŎűƪƷƢƿůĩűƷƪ܌þűĢłĩűƢĩƪůþţĩ-ŎƷ-ƟþƢƷŎěƿŦþƢŦǢěŦĩþƢ-'nŻǜ- ěŦŻƪĩŦǢěŻůƟŻƪŎƷŎŻű-Ŏű-/þƪƷƪŎþǜþƪ܌þűĢƪƷŎŦŦ-Ŏƪ܌-ŦŎűţĩĢ-ƷŻ-ĚƢŻþĢĩƢƪŻěŎŻěƿŦƷƿƢþŦ-ĢĩǛĩŦŻƟůĩűƷƪ܌-ĚƿƷ þŦƪŻ- 'nŻǜ- ĢŎDz ŁĩƢĩűƷŦǢ- Ʒ'nĩ- ƢĩƪƟŻűƪĩƪ- ƷŻ- Ʒ'nĩ ě'nþŦŦĩűłĩƪ- ŻŁ þĩƪƷ'nĩƷŎě þűĢ- ƟŻŦŎƷŎěþŦůŻĢĩƢűŎty could be conceived. In these conceptual constellations, a realm of absolute alterity (HashiůŻƷŻܼƪ þűĢ æþůþĢþܼƪ- ĢƿþŦŎƪƷŎě- ŻƢě'nĩƪƷƢþŦ ƪĩƷƷŎűłƪ܌ ð'nƿܼƪ þűĢ- ¼þţĩůŎƷƪƿܼƪ ěŻűƷƢþƪƷŎűł- ƷŎůĩ- ƪƷƢþƷþ܌ܤ- ƢþƷŎŻűþŦŎǬĩĢůĩĢŎþƷŎŻű-ܣhŎƿܼƪþűĢrŎǢþłŎܼƪ- ƢĩŁŻƢůƪ܌ܤþűĢƪƷǢŦŎƪƷŎě-ŦĩǛĩŦŎűłþűĢþƟƟƢŻܮ ƟƢŎþƷŎŻű-ܣƷ'nĩ- 'nŎűĩƪĩƪǢůƟ'nŻűǢ-ŻƢě'nĩƪƷƢþ܌-R'nŎܼƪ-ǛŎƢƷƿŻƪŻěŻűěĩƢƷŻ܌- Ʒ'nĩěŻűƪĩƢǛþƷŻŎƢĩƪƷǢŦĩܤ-ܫ-

ڷڹ Mittler, *Dangerous Tunes*, 151.

ڸڹ- fżǀǝĪŲŊżǜĪŲ܉-ܶrÿŏŲŧÿŲģ- ŊŏŲÿܹƫtĪǝrǀƫŏĜ-ܠSS܉ܡܷ-ڑڒÿŲģ-®ǀŲ܉-ܶðŊǀdŏÿŲܹĪƣܹƫ-®ǣŰƠŊżŲŏĪƫܷ

ڹڹ- fżǀǝĪŲŊżǜĪŲ܉-ܶrÿŏŲŧÿŲģ- ŊŏŲÿܹƫtĪǝrǀƫŏĜ-ܠSS܉ܡܷ-ڑڒ

was staked out along with substantial attempts at a re-invention of an independent Asian modernity filtered through the ethics and aesthetics of recent musical modernism (Avshalomov, Tcherepnin, Fraenkel). The potential for intercultural mediation and transformation in East Asian music history emerging from these fundamental concepts will now be further explored by the case studies in this chapter.

### 2. Triggering Musical Modernism in China: l he Work of Wolfgang Fraenkel in Shanghai Exile

The history of early musical modernism in East Asia has not yet been written with an adequate multiplicity of perspectives. Initial studies that have approached this topic\* confirm that European composers and musicians sometimes played important roles in the formation of a modern musical identity in East Asian countries. These European figures' roles, however, often remained ambivalent in a colonial, or postcolonial situation due to the obvious tension between a sometimes obvious contempt for Asian musicians and a sensitive empathy for local circumstances and traditions. The Shanghai of the first half of the twentieth century offers a wealth of examples. The interactions, collaborations, and conflicts between Russian and Western European and Chinese inhabitants as well as colonial (Western and Japanese) administrators in Shanghai's internationalized music scene in the late 1930s and early 1940s were intensihed by the presence of a significant number of Jewish musicians fleeing Nazi Germany and Austria. Only three of them may count among representatives of Western musical modernism: Alban Berg's German student and assistant Julius Schloß (1902–1972); the pianist Karl Steiner (1912–2001), also from Schoenberg's Viennese circle; and the Berlin composer, musician, and judge Wolfgang Fraenkel (1897–1983). All three arrived in Shanghai in 1939 as refugees from Nazism after being detained for a few months in concentration camps. The lives and artistic work of Schloß and Steiner have been documented as part of research on the history of the Schoenberg school? and Fraenkel's case has only been studied since 2003. The following overview summarizes his work in Shanghai as a musician, teacher, and composer while attempting to identify essential starting points for research on Fraenkel. 88

<sup>56</sup> See Sawabe, Neue Musik in Japan von 1950 bis 1960, 15–33, Mittler, Dangerous Tunes, 21–12, Galliano, Yōgaku, 27–12, Utz, Neue Musik und Interkulturalität, 206–222, Melvin and Cai, Rhapsody in Red, and Liu, A Critical History of New Music in China, 23-286.

<sup>57</sup> On Schloß see Krones, "Es waere die Erfuellung eines meiner ernstesten Wuensche und Pflichten, die LULU zu vollenden," Krones, "Julius Schloß," Fricke, "Ein saarländischer Vertreter der Zweiten Wiener Schule," and Fricke, "Julius Schloß." On Steiner, see Krones, "Karl Steiner – ein später Pianist der 'Wiener Schule," Gaub, "Karl Steiner," Baier, "50 Jahre danach: Julius Schloss, Karl Steiner, "50 nian zhi hou," and Steiner, "Report About My Years in Shanghai, 1939–1949." In 2003 I published the first of several articles on Fraenkel, on which this part of the chapter is based (see Appendix).

<sup>58</sup> The documents of the Fraenkel estate cited below are part of the musical estate of Wolfgang Fraenkel, Bavarian State Library, Music Department, Mus.ms. 19557–19828 (here cited as mus. est.), and the literary estate Wolfgang Fraenkel, Bavarian State Library, Department of Manuscripts and Rare Books, ANA 496, Sch[achteln] (boxes) 1–6 (here cited as lit. est.). So far, only two studies have dealt with Fraenkel's estate: Kellermann, "Kellermann-Verzeichnis der Werke von Wolfgang Fraenkel, Afunktionelle Musik (edited and with a commentary by Markus Köhler). Fraenkel's musical works are identified below using the Kellermann catalogue of Fraenkel's works (Kel.V.). There is also a rudimentary overview of the Fraenkel estate in McCredie, "Komponisten, die in den westpazifischen Raum und nach Ozeanien emigrierten" and McCredie, "Die emigrierten euro-

### Wolfgang Fraenkel's Development as a Composer and Path to Exile

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SűtŻǛĩůĚĩƢ-܌ڗڒژڐ-FƢþĩűţĩŦǜþƪ-ŎůƟƢŎƪŻűĩĢþƷ-®þě'nƪĩű'nþƿƪĩűěŻűěĩűƷƢþƷŎŻűěþůƟ-Ŏű-ƢþűŎĩűĚƿƢł܌űĩþƢĩƢŦŎű܌þƪ-ƟƢŻĚþĚŦǢ-Żűĩ-ŻŁ-ڏڏڏ܌ڕdĩǜŎƪ'nůþŦĩƪǜ'nŻǜĩƢĩ-ĢĩƟŻƢƷĩĢ-ƷŻ-®þě'nƪĩűhausen following the ܹ¦ĩŎě'nƪţƢŎƪƷþŦŦűþě'nƷܺ-ƟŻłƢŻů-Żű-ژtŻǛĩůĚĩƢܒƪ-'nŎƪůŻƷ'nĩƢǜþƪěŻűƪŎdered to be "Aryan" and he promised to leave the country immediately, he was released from Sachsenhausen with the help of the *Kulturbund*þǼ ƷĩƢ-Żűĩ-ŻƢ-ƷǜŻůŻűƷ'nƪ܌-ƟƢŻĚþĚŦǢ-Ŏű-ŦþƷĩ-ڗڒژڐ- ŻƢĩþƢŦǢ- ܒژڒژڐ- Sű- ܌ژڒژڐ- ژڗڏ܌ڑڐ-GĩƢůþűþűĢƿƪƷƢŎþű- ƢĩŁƿłĩĩƪ- Ƣĩþě'nĩĢ- ®'nþűł'nþŎþƪþ- ܹƟŻƢƷ-ŻŁ- last resort," since the international city was the only remaining place worldwide that did not require visa or even a passport for immigration.ڛڟůŻűł-Ʒ'nĩ-ƢŻƿł'nŦǢ-ڏڏڏ܌ڗڐ-GĩƢůþűþűĢƿƪ-ƷƢŎþű-ƢĩŁƿłĩĩƪǜ'nŻ-Ƣĩþě'nĩĢ-®'nþűł'nþŎ-Ŏű-Ʒ'nŎƪ-ƟĩƢŎŻĢ܌þěŻűƪŎĢĩƢþĚŦĩűƿůĚĩƢ-ܫ-ڏڔړ-ܤއڔܒڑܣ-ܫǜĩƢĩ- ڜڟ.musicians

FƢþĩűţĩŦ-ŦĩǼ Ʒ- ŁŻƢ- ®'nþűł'nþŎ-Żű- Ʒ'nĩ-*Conte Rosso*܌ þ- ŁþůŻƿƪ- SƷþŦŎþű hŦŻǢĢܮ1/4ƢŎĩƪƷŎűŻ-ŦŎűĩƢ܌-Żű- ڑڐ-ƟƢŎŦ-ژڒژڐþűĢþƢƢŎǛĩĢ-Ŏű-®'nþűł'nþŎ-Żű-ږrþǢ-ڝڟܒژڒژڐ' ĩƟƢŎǛĩĢ-ŻŁůŻƪƷ-ŻŁ- Ʒ'nĩŎƢ-ƟĩƢƪŻűþŦ-Ěĩ-ŦŻűłŎűłƪþűĢ-ŻűŦǢþŦŦŻǜĩĢ-ƟĩƢƪŻűþŦ- ŁƿűĢƪ-ŻŁ-ڏڐ-¦ĩŎě'nƪůþƢţ-ړܣî-܌ܤݘ- Ʒ'nĩ-ƢĩŁƿłĩĩƪþƢƢŎǛĩĢ-Ŏű- ®'nþűł'nþŎþǼ ƷĩƢþ-ŦŻűłþűĢĩǡ'nþƿƪƷŎűł-ŠŻƿƢűĩǢ܌ůŻƪƷŦǢ-Ŏű-ƟŻŻƢůþƷĩƢŎþŦěŻűĢŎƷŎŻűþűĢǜŎƷ'nŻƿƷ- þűǢ-ƟƢĩƟþƢþƷŎŻű-ŁŻƢ-ŦŎǛŎűł-Ŏűþ- 'nŎűĩƪĩ-ܫþŦĚĩŎƷ-ǛĩƢǢ-ŎűƷĩƢűþƷŎŻűþŦ-ܫěŎƷǢܒȃĩƪŎƷƿþƷŎŻű-ŻŁ-Ʒ'nĩ- Jewish refugees was partly relieved by the activities of several self-founded Jewish assistance ŻƢłþűŎǬþƷŎŻűƪ܌ƪƿě'nþƪ-Ʒ'nĩ-®ƟĩĩŦůþűěŻůůŎƷƷĩĩ-ܣ ŻůůŎƷƷĩĩ-ŁŻƢƪƪŎƪƷþűěĩ-ŻŁ-/ƿƢŻƟĩþű-¦ĩŁƿłĩĩƪ-Ŏű-®'nþűł'nþŎܤ-ŻŁ-Ʒ'nĩ-'ƿƷě'n-ĚƿƪŎűĩƪƪůþűrŎě'nĩŦ-®ƟĩĩŦůþű܌ǜ'nŎě'n-ƟƢŻǛŎĢĩĢ-'nŻƿƪŎűłþűĢþ- ůŻűƷ'nŦǢƪƷŎƟĩűĢ-ŁŻƢþěĩƢƷþŎű-ƟĩƢŎŻĢ-ƷŻ-Ʒ'nĩ-ǛŎěƷŎůƪ-ŻŁ-Ʒ'nĩtþǬŎ-ƢĩłŎůĩ܌þűĢ-Ʒ'nĩ-FþƢ-/þƪƷĩƢűdĩǜܮ ish Central Information Bureau in Harbin und Shanghai, which established contacts to local employers and provided advice.

'ƿƢŎűł-Ʒ'nĩĩŎł'nƷ-ǢĩþƢƪ-'nĩƪƟĩűƷ-Ŏű-®'nþűł'nþŎ܌àŻŦŁłþűł-FƢþĩűţĩŦ-'nþĢþƷ-ŦĩþƪƷƪŎǡ-ĢŎDz ŁĩƢĩűƷ- þĢĢƢĩƪƪĩƪ܋-ŎűtŻǛĩůĚĩƢ-ژڒژڐ-'nĩǜþƪ-ƢĩłŎƪƷĩƢĩĢþƷ-ڑږڒ-ŻƿƢłĩþƷ-ܣ*Pushi lu*, today named *Changle lu*ܤ-Ŏű-Ʒ'nĩ-FƢĩűě'n- ŻűěĩƪƪŎŻű-ܣƷ'nĩ-ƟþƢƷ-ŻŁ-Ʒ'nĩěŎƷǢǜ'nĩƢĩůŻƪƷ-¦ƿƪƪŎþűþƪǜĩŦŦþƪàĩƪƷĩƢű-/ƿƢŻ-Ɵĩþű-ŎůůŎłƢþűƷƪ-ŦŎǛĩĢڞڟܒܤ-ƢŻƿűĢ-ڐړژڐ-'nĩ-ŦŎǛĩĢ-Ŏű-*Chengdu lu*þűĢ-ĚǢĩþƢŦǢ-ڒړژڐ-Ŏű-Ʒ'nĩ-ܹ ŻƪůŻpolitan Centre" (*Shijie Xin Cun*ܤ-Ŏű-*Tianping lu*. ڟڟű-ڗڐ-FĩĚƢƿþƢǢ-ڒړژڐ-Ʒ'nĩdþƟþűĩƪĩłŻǛĩƢűůĩűƷ- announced that all "stateless refugees" (designating all Jewish refugees who had arrived in ®'nþűł'nþŎ-ŁƢŻů-ږڒژڐ-ŻűǜþƢĢܤǜĩƢĩ-ƷŻůŻǛĩ-ƷŻþůþƢţĩĢܮŻDz ŁþƢĩþ-Ŏű-NŻűłţŻƿ-ܣþűŻƢƷ'nĩƢű-ĢŎƪ-ƷƢŎěƷ-ŻŁ-®'nþűł'nþŎܤǜŎƷ'nŎű-Ʒ'nƢĩĩůŻűƷ'nƪܒ-FƢþĩűţĩŦ-ƢĩŦŻěþƷĩĢ-ƷŻ-Ʒ'nŎƪdĩǜŎƪ'n-G'nĩƷƷŻ-Ŏű-NŻűłţŻƿ- ǜ'nĩƢĩ܌þěěŻƢĢŎűł- ƷŻ-'nŎƪ- ŁŻƢůĩƢƪƷƿĢĩűƷ-¥ŎűåŎǡƿþű܌-'nĩ-ȀƢƪƷ-ŦŎǛĩĢ-Ŏű-*Zhabei lu*. ڠڟ- Sű- Ʒ'nĩ- ܹhŎƪƷ- ŻŁ- FŻƢĩŎłűĩƢƪ-Ŏű- 'ĩĩ hþǢ dþŻ- £ŻŦŎěĩ- 'ŎƪƷƢŎěƷܺ- ŁƢŻů- ړڑ ƿłƿƪƷ- ܌ړړژڐ- 'nĩ-Ŏƪ- ƢĩłŎƪƷĩƢĩĢ þƪ-ܹ'ŻŦŁ-


ŏŲƣĪƫŧÿǀ-ܨŏłǣżǀǝżǀŧģŧŏŤĪ-Ƹż-ŤŲżǝ-ŰżƣĪÿěżǀƸ-ƸŊĪěĪŧżǜĪģ *Kulturbund*-SÿŰ-ŊÿƠƠǣ-ƸżƣĪƠżƣƸěǀƸ-S-ŊÿǜĪ-ƸżƫƸƣĪƫƫthat the *K[ultur]bund*ěĪŊÿǜĪģ-ĪǢĜĪƠƸŏżŲÿŧŧǣǝĪŧŧǝŊĪŲ-SǝÿƫŏŲ-ĜżŲĜĪŲƸƣÿƸŏżŲ-ĜÿŰƠÿŲģƣĪÿŧŧǣģŏģÿŧżƸłżƣ-Űǣ-ܡܷ܋܋ƣĪŧĪÿƫĪ-Īÿƣŧǣ

ڶں- -RĪĪ-¦ŏƫƸŏÿŲż܉-*Port of Last Resort* and Messmer, *Jewish Wayfarers in Modern China*.

gang [*sic*ܢ-FƢþĩűţĩŦ܌rƿƪŎěŎþű܌ܺþłĩ-܌ڗړ-ƷŻłĩƷ'nĩƢǜŎƷ'n-'nŎƪǜŎŁĩ܌-¦Żƪþ-FƢþĩűţĩŦ܌þłĩ-܌ڕړ-Ŏű-ڒڔܘڒړڒ- *ðþűłǢþűł- Ŧƿ*- ܣůŻƪƷ- ŦŎţĩŦǢ þű- ŎűěŻƢƢĩěƷ- ƷƢþűƪěƢŎƟƷŎŻű- ŻŁ- *'nþűłǢþűł- Ŧƿ*܌- ŁŻƢůĩƢŦǢ àþƢĢ- ¦ŻþĢܘ *Huade lu*܌-Żűĩ-ŻŁ-Ʒ'nĩůþŎűƪƷƢĩĩƷƪ-Ŏű-Ʒ'nĩ-NŻűłţŻƿ-G'nĩƷƷŻڡڟܒܤ-Nĩ-ƟƢŻĚþĚŦǢůŻǛĩĢþłþŎű-Ŏű-܌ڕړژڐ-ƷŻ- *æƿǢƿþű-Ŧƿ*űŻڏڏڏڐݑܒ-Ŏű-Ʒ'nĩ-FƢĩűě'n- ŻűěĩƪƪŎŻű܌ǜ'nĩƢĩ-'nĩǜþƪƪƷŎŦŦ-ƢĩłŎƪƷĩƢĩĢ-Ŏű-ڢڟܒږړژڐ

FƢþĩűţĩŦܼƪþƢƷŎƪƷŎě-ĢĩǛĩŦŻƟůĩűƷ-ĚĩŁŻƢĩ-ژڒژڐ-ƢĩǴŦĩěƷƪ-ĢŎDz ŁĩƢĩűƷ-ƷƢĩűĢƪ-ŻŁ-Ʒ'nĩĩþƢŦǢ-ƷǜĩűƷŎĩƷ'n- century, namely neoclassicism, free atonality, and twelve-tone technique. His most important ǜŻƢţƪ-ŻŁ- Ʒ'nŎƪ-ƟĩƢŎŻĢ-ŎűěŦƿĢĩ- Ʒ'nĩ-ŻƟĩƢþ-*Der brennende Dornbusch*-ܣȃĩƿƢűŎűłƿƪ'n܌- ܌ڗڑܫڕڑژڐfĩŦܒßܒ-ܤڏژڐþǼ ƷĩƢƪţþƢfŻţŻƪě'nţþþűĢ-Ʒ'nĩěþűƷþƷþ-*'Ŏĩ-ܘڗڝ-RƿƢĩ-ĢĩƪfŻƢþű*-܌ڕڒژڐܣfĩŦܒßܒ-ܒܤڑڐڐȃĩ- ěþűƷþƷþǜþƪ-ƟƢĩůŎĩƢĩĢ-Żű-ژtŻǛĩůĚĩƢ- ږڒژڐƿűĢĩƢ- Ʒ'nĩ-ĢŎƢĩěƷŎŻű-ŻŁ-FƢþĩűţĩŦ- ĚǢ- Ʒ'nĩ-NþþƢŦĩů-Ƣě'nĩƪƷƢþƪƪŻěŎþƷŎŻűþűĢ-Ʒ'nĩþŦƷŻ-£þƿŦþhŎűĢĚĩƢł-Ŏű-NþþƢŦĩů-ܣtĩƷ'nĩƢŦþűĢƪڙڠܒܤ In addition, he ěŻůƟŻƪĩĢ-ƷǜŻƪƷƢŎűłơƿþƢƷĩƷƪ-܌ړڑܫڒڑژڐܣfĩŦܒßܒ-ژڐþűĢ-܌ܤڏڑ-*Musik mit konzertanter Flöte* (Music ǜŎƷ'n- ŻűěĩƢƷþűƷĩ-FŦƿƷĩ܌-܌ڏڒژڐfĩŦܒßܒ-܌ܤڒڐ-Ʒ'nĩěþűƷþƷþ-*Der Wegweiser* (also listed as *Musik mit ob-ŦŎłþƷĩƢ-ĚŻĩ*܌-܌ڐڒژڐfĩŦܒßܒ-܌ܤڏڐڐþƪǜĩŦŦþƪþ-ǛŎŻŦŎűƪŻűþƷþþűĢþěĩŦŦŻƪŻűþƷþ-܌ڔڒژڐܣfĩŦܒßܒ-ژڑþűĢ-ܒܤړڒ

ȃĩ ǜŻƢţƪ- ŁƢŻů- Ʒ'nĩ ůŎĢڏڒژڐܮƪ- ŻűǜþƢĢ- Ŏű- ƟþƢƷŎěƿŦþƢ ƪ'nŻǜ þ ƪĩŦŁܮěŻűȀĢĩűƷ þƷŻűþŦ ƪƷǢŦĩ- in the tradition of the early Schoenberg, largely without systematic use of the twelve-tone ůĩƷ'nŻĢ܌ ǜ'nŎě'n- FƢþĩűţĩŦ- 'nþĢ- ƟƢŻĚþĚŦǢţűŻǜű ƪŎűěĩ- Ʒ'nĩ ĩþƢŦǢ- ڏڒژڐƪܒ- FƢþĩűţĩŦܼƪ- ƟĩƢƪŻűþŦ ěŻűtact with Schoenberg during the latter's professorship at the *Akademie der Künste*-ܤڒڒܫڕڑژڐܣ-ŻƢ- ǜŎƷ'n-®ě'nŻĩűĚĩƢłܼƪĩƢŦŎűěŎƢěŦĩěþűűŻƷěƿƢƢĩűƷŦǢ-Ěĩ-ƟƢŻǛĩű܌-'nŻǜĩǛĩƢ܌þűĢ-ŎƷƪĩĩůƪ-ŦŎţĩŦǢ-Ʒ'nþƷ- FƢþĩűţĩŦ ěþűűŻƷ- Ěĩ ěŻűƪŎĢĩƢĩĢ- ƟþƢƷ- ŻŁ- ®ě'nŻĩűĚĩƢłܼƪ- ܹĩƢŦŎű- ®ě'nŻŻŦܺ- Ŏű- Ʒ'nĩ űþƢƢŻǜĩƢ ƪĩűƪĩܒtĩǛĩƢƷ'nĩŦĩƪƪ܌-'nŎƪ-ŁƿƢƷ'nĩƢ-ĢĩǛĩŦŻƟůĩűƷůþţĩƪ-ŎƷěŦĩþƢ-Ʒ'nþƷ-®ě'nŻĩűĚĩƢłܼƪůƿƪŎěþűĢěŻůƟŻƪŎƷŎŻűܮ al aesthetics played a central role for him, but he could synthesize them from a distance, in a ǛĩƢǢ-ŻƢŎłŎűþŦǜþǢ܌ǜŎƷ'n-ŻƷ'nĩƢ-ŎűǴŦƿĩűěĩƪ-ŁƢŻů-£þƿŦ-NŎűĢĩůŎƷ'n-ƷŻ-/ƢűƪƷfƿƢƷ'n܌þƪ-ĢŻěƿůĩűƷĩĢ- Ŏű-'nŎƪ-Ʒ'nĩŻƢĩƷŎěþŦůþŎűǜŻƢţ-*Afunktionelle Musik*-ܣŁƿűěƷŎŻűþŦrƿƪŎě܌-܌ڒړܫږڒژڐƪĩĩ-ĚĩŦŻǜܒܤ

hŎţĩűƿůĩƢŻƿƪ-ŻƷ'nĩƢĩǡŎŦĩƪ-ŁƢŻů-®'nþűł'nþŎ܌-FƢþĩűţĩŦ-ŦĩǼ Ʒ-®'nþűł'nþŎǜ'nĩű-Ʒ'nĩ- 'nŎűĩƪĩ- ŎǛŎŦ- àþƢ-ĚƢŻţĩ-ŻƿƷþűĢůŻǛĩĢ-ƷŻhŻƪűłĩŦĩƪ-ŎűƿłƿƪƷ-ښڠܒږړژڐ-Sű-Ʒ'nĩ-ƢĩůþŎűŎűł-ڕڒ-ǢĩþƢƪ-'nĩǜþƪþĚŦĩ- ƷŻěĩŦĩĚƢþƷĩƪŻůĩƪƿěěĩƪƪĩƪþƪþěŻůƟŻƪĩƢ-ĢĩƪƟŎƷĩ-'nŎƪƪŦŎł'nƷŦǢþĢǛþűěĩĢþłĩ܌þűĢ-'nŎƪǜŻƢţǜþƪ- ĚĩłŎűűŎűł- ƷŻ-ĚĩűŻƷŎěĩĢ-Ŏű-/ƿƢŻƟĩܒȃƢĩĩ-ŻŁ-'nŎƪǜŻƢţƪǜĩƢĩþǜþƢĢĩĢ-/ƿƢŻƟĩþűěŻůƟŻƪŎƷŎŻű- ƟƢŎǬĩƪ܌þűĢ-Żű-ڐڑěƷŻĚĩƢ- ڕڕژڐ-ƢƿűŻrþĢĩƢűþěŻűĢƿěƷĩĢ- Ʒ'nĩ-ƟƢĩůŎĩƢĩ-ŻŁ-'nŎƪ-*®ǢůƟ'nŻűŎƪě'nĩ- Aphorismen*-܌ܤژڔژڐܣþǜŻƢţ-ŻƢŎĩűƷĩĢ-ƷŻǜþƢĢàĩĚĩƢű܌þƷ-*La Scala*-ŎűrŎŦþűܒ-Ʒ-Ʒ'nĩþłĩ-ŻŁ-܌ڏڕ-FƢþĩűܮ ţĩŦ-ŁŻŦŦŻǜĩĢ-Ʒ'nĩ-ŦþƷĩƪƷ-ĢĩǛĩŦŻƟůĩűƷƪ-Ŏű-/ƿƢŻƟĩþűůƿƪŎě܌ǜƢŎƷŎűłƪ-ĚǢfþƢŦ'nĩŎűǬ-®ƷŻěţ'nþƿƪĩű- þűĢ-£ŎĩƢƢĩ-ŻƿŦĩǬěþű-Ěĩ- ŁŻƿűĢ-Ŏű-'nŎƪĩƪƷþƷĩǜŎƷ'nűŻƷĩƪþűĢ-ܣƪŻůĩƷŎůĩƪěƢŎƷŎěþŦܤěŻůůĩűƷƪܒ-SűhŻƪűłĩŦĩƪ܌-FƢþĩűţĩŦþŦƪŻůĩƷ-ƢűŻŦĢ-®ě'nŻĩűĚĩƢłþűĢ܌-Żű- Ʒ'nĩ-ŦþƷƷĩƢܼƪ-ڔږth-ĚŎƢƷ'nĢþǢ-Żű- ڒڐ- ®ĩƟƷĩůĚĩƢ-܌ژړژڐ-ĢŎƢĩěƷĩĢþ-ƟĩƢŁŻƢůþűěĩ-ŻŁ-Ʒ'nĩ-*Ģĩ-ƷŻtþƟŻŦĩŻűƿŻűþƟþƢƷĩ*-ܤڑړژڐܣ-ŻƟڐړݑܒ-Ŏű-Ʒ'nĩ- version for string quartet, piano, and reciter. For this birthday he also dedicated his (freely þƷŻűþŦ܌űŻƷ-ĢŻĢĩěþƟ'nŻűŎěܤ-*Music for String Quartet*-܌ژړܫڗړژڐܣfĩŦܒßܗڐڑݑܒ-FŎłܤڐܒڒݑܒ-ƷŻ-®ě'nŻĩűĚĩƢłܒ

ڼں- -1/4ŊĪŧŏƫƸŏƫ-ƠǀěŧŏƫŊĪģżŲ- 'ܫ¦rŏŲƣŰěƣdžƫƸĪƣ܉fżŊŧƫƸƣǀĜŤÿŲģrdžŊŧěĪƣŃĪƣ܉-*Exil Shanghai 1938–1947*-ÃŲłżƣƸǀŲÿƸĪܫ ŧǣ-ƸŊĪłÿĜƫŏŰŏŧĪżł-ƸŊĪ-ƠÿŃĪżŲǝŊŏĜŊ-FƣÿĪŲŤĪŧŏƫŧŏƫƸĪģ-ܠƠÿŃĪܡڑڒݎ-ĜÿŲŲżƸěĪłżǀŲģżŲ-ƸŊĪ- 'ܫ¦r-ܠƠÿŃĪڑڔݎŏƫǝƣżŲŃŧǣ-ƠƣżǜŏģĪģŏŲƫƸĪÿģܡ

ڽں- -£ĪƣƫżŲÿŧ-ĜżŰŰǀŲŏĜÿƸŏżŲłƣżŰ-FƣÿĪŲŤĪŧܹƫłżƣŰĪƣƫƸǀģĪŲƸƫ-¥ŏŲåŏǢǀÿŲÿŲģðŊżǀ-GǀÿŲŃƣĪŲ܉-ĪŏšŏŲŃ܉-'ĪĜĪŰěĪƣ-ڎڌڌڎ-1/4ŊŏƫÿģģƣĪƫƫŏƫÿŧƫżŧŏƫƸĪģŏŲ-ƸŊĪ-*Shi sheng tongxun lu*-ܠ¦ĪĜżƣģżł-¼ĪÿĜŊĪƣƫÿŲģ-®ƸǀģĪŲƸƫܡżł-ƸŊĪtÿƸŏżŲÿŧ żŲƫĪƣǜÿƸżƣǣżłrǀƫŏĜ-®ŊÿŲŃŊÿŏ܉dǀŧǣ-܉ړڐڕڍ-ڎ-

ڴڻ- -£ƣżŃƣÿŰŏŲŧŏƸݎĪƫƸ܉t-܉ڒڕڐ-RĜŊ܉ڑݎ-ܶ£ƣżŃƣÿŰŰĪܷܔ-ŲĪǝƫƠÿƠĪƣƣĪǜŏĪǝƫŏŲŧŏƸݎĪƫƸ܉t-܉ڒڕڐ-RĜŊ܉ڑݎ-ܶðĪŏƸǀŲŃƫÿƣƸŏŤĪŧ-ǀŲģfƣŏƸŏŤĪŲܷ

ڵڻ- -FƣÿĪŲŤĪŧܹƫšżǀƣŲĪǣłƣżŰ-®ŊÿŲŃŊÿŏ-Ƹżhżƫ-ŲŃĪŧĪƫ-ĜÿŲěĪƣĪĜżŲƫƸƣǀĜƸĪģłƣżŰ-ƸŊĪÿǀƸżŃƣÿƠŊƫĜżƣĪżł-*Musik für großes Orchester*-܉ڔڐܨڒڐڕڍܠfĪŧß-܉ܡڔżŲǝŊŏĜŊ-ƸŊĪłżŧŧżǝŏŲŃ-ƠŧÿĜĪ-ŲÿŰĪƫÿƣĪŏŲģŏĜÿƸĪģ܈-RŊÿŲŃŊÿŏ-ܠƠ܉ܡڍݎtÿŲšŏŲŃ- ܠƠ܉ܡڑڏݎfżěĪ-ܠƠ܉ܡڒڏݎæżŤżŊÿŰÿ-ܠƠ܉ܡڕڏݎ-NżŲżŧǀŧǀ-ܠƠ܉ܡڍڑݎ-RÿŲ-FƣÿŲĜŏƫĜż-ܠƠ܉ܡڏڑݎhżƫ-ŲŃĪŧĪƫ-ܠƠܡڑڑݎ-RĪĪłżżƸŲżƸĪ-ڏڏڍ

Figure 3.1: Letter from Wolfgang Fraenkel to Arnold Schoenberg, 14 September 1949

Wolfgang Fraenkel. 185 So.Kingsley Drive. Los Angeles 4, Calif. Tel .: FEderal 3956.

14. September 1949.

Hochverehrter Meister I

Zu meinem grössten Bedauern hatte ich keine Gelegenheit, Ihnen mein Quartett an Ihrem Geburtstage persönlich zu überreichen. Leider habe ich die Partitur noch nicht abschreiben können, aber ich werde mir erlauben, sie Ihnen sofort nach Fertigstellung zu übersenden.

Darf ich Ihnen, sehr verehrter Meister, für die mir erwiesene grosse Ehre danken, dass Sie es mir gestattet haben, Ihnen meine Komposition widmen zu dürfen.

Ich verbleibe

Ihr sehr ergebener

Copyright © by Arnold Schönberg Center Vienna

Wolfgang Fraenkel died in 1983 at the age of 85. He left behind 193 works, 19 of which remained unfinished. Most of the scores have survived in Fraenkel's hand-written manuscript; only a few were published during his lifetime.72

<sup>72</sup> Most notably, the published scores include 3 Impromptus for Pianoforte, Ries & Erler, Berlin c. 1921 (R 9175 E), Die 82. Sure des Koran for alto voice, string orchestra, and timpani, Universal Edition, Vienna c. 1948 (UE 11880), and Variationen und Fantasien über ein Thema von Arnold Schönberg for piano, Universal Edition, Vienna 1959 (UE 12549) (the theme on which the latter work is based is no. 3 from Schoenberg's Six little Piano Pieces op. 19, 19,1911).

### Fraenkel's Activities as Musician, Pedagogue, and Composer in Shanghai

### Fraenkel as a Musician and Conductor

Sűþ-ŦĩƷƷĩƢ-ƷŻ-Ʒ'nĩ-FþƢ-/þƪƷĩƢűdĩǜŎƪ'n ĩűƷƢþŦ-SűŁŻƢůþƷŎŻűƿƢĩþƿǜƢŎƷƷĩűþĚŻƿƷ-ƷǜŻǜĩĩţƪ- þǼ ƷĩƢ-'nŎƪþƢƢŎǛþŦ܌-FƢþĩűţĩŦƪƷþƷĩĢ-Ʒ'nþƷ-Ŏű-®'nþűł'nþŎ-Ʒ'nĩƢĩǜŻƿŦĢ-Ěĩ-ܹűŻ-ƟƢŻƪƟĩěƷƪþƷþŦŦ-ƷŻĩþƢű- money even to the most modest extent."ڜڠ He was therefore prepared to move on to Harbin or ŻƷ'nĩƢ-/þƪƷƪŎþűěŎƷŎĩƪܒ-'ƿĩ-ƷŻ-ŎƷƪ-ŦþƢłĩ-¦ƿƪƪŎþű-ƟŻƟƿŦþƷŎŻű܌-NþƢĚŎűǜþƪƪƷŎŦŦ-ǛŎĩǜĩĢ-ĚǢůþűǢ- ŎůůŎłƢþűƷƪ-ܣƟŻƪƪŎĚŦǢ-ŎűěŦƿĢŎűł-FƢþĩűţĩŦܤþƪþěŎƷǢě'nþƢþěƷĩƢŎǬĩĢ-ĚǢþ-ܹ/ƿƢŻƟĩþűܺěƿŦƷƿƢþŦ-ŦŎŁĩܒ-Russian immigration to Harbin ܣ¦ƿƪƪŎþű܋- 'nþƢĚŎű܌ܤ-Ʒ'nĩ-ܹ®Ʒܒ-£ĩƷĩƢƪĚƿƢł-ŻŁ-Ʒ'nĩ-/þƪƷ܌ܺ a city foundĩĢ-ĚǢ-¦ƿƪƪŎþþǼ ƷĩƢ-ŻěěƿƟǢŎűłtŻƢƷ'nĩƢűrþűě'nƿƢŎþ-Ŏű-܌ڗژڗڐhad started in the early twentieth ěĩűƷƿƢǢǜŎƷ'nĩěŻűŻůŎěůŎłƢþűƷƪþűĢdĩǜŎƪ'n-ƢĩŁƿłĩĩƪ-ǴŦĩĩŎűł-ƟŻŻƢ-ŦŎǛŎűłěŻűĢŎƷŎŻűƪþűĢþűƷŎܮ Semitic persecution.ڝڠűŻƷ'nĩƢǜþǛĩ-ŻŁ-¦ƿƪƪŎþű-ŎůůŎłƢþűƷƪ-ǴŦĩĢ-ƷŻ-NþƢĚŎűþǼ ƷĩƢ-Ʒ'nĩěƷŻĚĩƢ- ¦ĩǛŻŦƿƷŎŻű-Ŏű-ܒږڐژڐ-¦ƿƪƪŎþűƪěŻűƷƢŎĚƿƷĩĢƪŎłűŎȀěþűƷŦǢ-ƷŻůƿƪŎěþŦ-ŦŎŁĩ-Ŏű-NþƢĚŎű-ŎűěŦƿĢŎűłþƪǢůphony orchestra, a music academy, and a string quartet.ڞڠ-Ǽ ƷĩƢdþƟþű-ŻěěƿƟŎĩĢrþűě'nƿƢŎþ-Ŏű- ܌ڐڒژڐþ-ŦþƢłĩűƿůĚĩƢ-ŻŁ-¦ƿƪƪŎþű-ŎůůŎłƢþűƷƪůŻǛĩĢ-ƷŻ-®'nþűł'nþŎ܌ǜ'nŎě'nƪŻŻű-Ěĩěþůĩ-Ʒ'nĩűĩǜ- center of internationalized cultural life, continuing despite the escalating Second Sino-JapaűĩƪĩàþƢ-܌ܤڔړܫږڒژڐܣ-ŎűěŦƿĢŎűł-Ʒ'nĩ-ĚþƷƷŦĩ-ŻŁ-®'nþűł'nþŎ-Ŏű-܌ږڒژڐþűĢ-Ʒ'nĩ-£þěŎȀěàþƢ-ܒܤڔړܫڐړژڐܣ-

ȃĩ-ƢĩƟŦǢ-ŁƢŻů-Ʒ'nĩƿƢĩþƿܼƪůþűþłĩƢrĩŎƢܣݑrĩǢĩƢ-/ŦŎþƪ'nܤ-ŎƢůþűڟڠ-ƷŻ-FƢþĩűţĩŦƪƷþƷĩƪ-Ʒ'nþƷ- in Harbin too, "the opportunities for serious musicians have now begun to be very restricted." ŎƢůþű-ƢĩěŻůůĩűĢƪ-ƷŻ-FƢþĩűţĩŦ-ƷŻ-ŻƢŎĩűƷ-'nŎůƪĩŦŁ-ƷŻǜþƢĢ-¼ŎþűŠŎű-ܣ1/4ŎĩűƷƪŎű܌ܤþűĢ-ƢĩłƢĩƷƪ-Ʒ'nþƷ- FƢþĩűţĩŦ-'nþĢ-ܹěŻůĩ-ƷŻ-®'nþűł'nþŎƪŻ-ŦþƷĩܒܺڠڠ-Sűþ-ŦĩƷƷĩƢ-ƷŻ-FƢþĩűţĩŦ-ŁƢŻů-ڗڑdƿŦǢ-܌ژڒژڐ-'nŻǜĩǛĩƢ܌-Ʒ'nĩ- ƿƢĩþƿƪƷŎŦŦ-ŻDz ŁĩƢƪ- ƷŻ-ŻƢłþűŎǬĩþ-ƟŻƪŎƷŎŻű- ŁŻƢ-FƢþĩűţĩŦþƷ- Ʒ'nĩ-NþƢĚŎű-®ǢůƟ'nŻűǢ-Ƣě'nĩƪƷƢþ-Ŏű- ڡڠܒژڒژڐþƿƷƿůű

àŻŦŁłþűł-FƢþĩűţĩŦƪƷþǢĩĢ-Żű-Ŏű-®'nþűł'nþŎ܌-'nŻǜĩǛĩƢ܌þűĢ-ĚĩłþűǜŻƢţþƪþůƿƪŎěŎþű-Ŏůůĩ-ĢŎþƷĩŦǢþǼ ƷĩƢ-'nŎƪþƢƢŎǛþŦ-ܣ1/4þĚܒܤڐܒڒݑܒ-1/4ǜŻþƢƢþűłĩůĩűƷƪǜƢŎƷƷĩű-Ŏű-®'nþűł'nþŎ܌-ĚŻƷ'n-ŁŻƢ-ǛŎŻŦþþűĢ- ƟŎþűŻ܌þŦƢĩþĢǢ-ĢþƷĩ-ŁƢŻůdƿűĩ-ژڒژڐ-ܣGܒFܒ-NþűĢĩŦ܌-*Passacaglia*-Ŏű-GůŎűŻƢ-Nàß-܌ڕܘڑڒړfĩŦܒßܒ-ܗږژڐ- J.S. Bach, *Gavotte and Musette*-ŁƢŻů-Ʒ'nĩ-/űłŦŎƪ'n-®ƿŎƷĩ-Ŏű-GůŎűŻƢàß-܌ڗڏڗfĩŦܒßܒ-ܤڗژڐþűĢǜĩƢĩ- ƟŻƪƪŎĚŦǢ-ƟĩƢŁŻƢůĩĢþƷ-Ʒ'nĩ-ȀƢƪƷěŻűěĩƢƷ-Ŏűǜ'nŎě'n-FƢþĩűţĩŦ-Ŏƪ-ĢŻěƿůĩűƷĩĢ-Ʒ'nĩ-'nþǛĩ-ƟþƢƷŎěŎƟþƷĩĢ- Żű- ܤܓܣڔڐ dƿűĩ- ܒژڒژڐȃĩűĩǡƷ ě'nþůĚĩƢ ěŻűěĩƢƷ-Ŏűǜ'nŎě'n- FƢþĩűţĩŦ-Ŏƪ-ŦŎƪƷĩĢþƪ- Ʒ'nĩ-ǛŎŻŦŎűŎƪƷ-ŻŁþ- ƟŎþűŻ-ƷƢŎŻ-Ŏƪ-ĢŻěƿůĩűƷĩĢ-Żű-ڔڑěƷŻĚĩƢ-ڢڠܒژڒژڐ-£ŻƪƪŎĚŦǢ-Żű-Ʒ'nĩ-ƢĩěŻůůĩűĢþƷŎŻű-ŻŁ-ƷƷŻfŦĩůperer and Hidemaro Konoe, and maybe also due to the strong support by Fritz Segall of the Berlin *Künstlerhilfe der Jüdischen Gemeinde* (Association for the Support of Artists of the Jewish ŻůůƿűŎƷǢڙڡ܌ܤ-FƢþĩűţĩŦ-ĚĩěþůĩþůĩůĚĩƢ-ŻŁ-Ʒ'nĩ-®'nþűł'nþŎrƿűŎěŎƟþŦ-Ƣě'nĩƪƷƢþ-ܣRrܤ-ŎűĩþƢŦǢ-

ڷڻ- -FƣÿĪŲŤĪŧܹƫŧĪƸƸĪƣ-Ƹż-ƸŊĪ-Fÿƣ-/ÿƫƸĪƣŲdĪǝŏƫŊ- ĪŲƸƣÿŧ-SŲłżƣŰÿƸŏżŲ-ǀƣĪÿǀ܉-RŊÿŲŃŊÿŏ-ڕڏڕڍܕڑڌܕڑڎ-ܠ'hܡڕڍڍڍݎ

ڸڻ Melvin and Cai, *Rhapsody in Red*܉-ڍڌڍܨڌڌڍ

<sup>101. .,</sup>Ibid ڹڻ

ںڻ On Birman see Messmer, *Jewish Wayfarers in Modern China*܉-ڔڎܨړڎ-1/4ŊĪ-ǀƣĪÿǀ-ŊÿģŏƸƫżdz ǿĜĪŏŲ-NÿƣěŏŲÿŲģżŲŧǣ- ŏŲÿǀƸǀŰŲ-ڕڏڕڍ-ŰżǜĪģŏƸƫżdz ǿĜĪ-Ƹż-®ŊÿŲŃŊÿŏ-ܠFĪƸƸŊÿǀĪƣ܉-ܶ'ÿƫ-Fÿƣ-/ÿƫƸĪƣŲdĪǝŏƫŊ- ĪŲƸƣÿŧ-SŲłżƣŰÿƸŏżŲ-ǀƣĪÿǀŏŲ- NÿƣěŏŲ-ǀŲģ-®ŊÿŲŃŊÿŏ܉ܷ-ܡڌڒ

ڻڻ- hĪƸƸĪƣżł-ƸŊĪ-Fÿƣ-/ÿƫƸĪƣŲdĪǝŏƫŊ- ĪŲƸƣÿŧ-SŲłżƣŰÿƸŏżŲ-ǀƣĪÿǀ-Ƹż-FƣÿĪŲŤĪŧ-ڕڏڕڍܕڒڌܕڎڍ-ܠ'hܡڕڍڍڍݎ

ڼڻ- hĪƸƸĪƣżł-ƸŊĪ-Fÿƣ-/ÿƫƸĪƣŲdĪǝŏƫŊ- ĪŲƸƣÿŧ-SŲłżƣŰÿƸŏżŲ-ǀƣĪÿǀ-Ƹż-FƣÿĪŲŤĪŧ-ڕڏڕڍܕړڌܕڔڎ-ܠ'hܡڕڍڍڍݎ

<sup>ܷ</sup>ƣżŃƣÿŰŰĪ-ܶ£܉ڑ-ĜŊ®-܉ڒڕڐt-܉ĪƫƸݎhŏƸ- -ڽڻ

ڴڼ- -ƸƸżfŧĪŰƠĪƣĪƣ-܉ܡڏړڕڍܨڑڔڔڍܠǝŊż-Ŋÿģ-ĪŰŏŃƣÿƸĪģ-Ƹż-ƸŊĪîŏŲ-Ơƣŏŧ-܉ڏڏڕڍƣĪĜżŰŰĪŲģĪģ-FƣÿĪŲŤĪŧ܉-ƠƣŏŰÿƣŏŧǣÿƫ- ÿǜŏżŧŏƫƸ܉ŏŲÿŧĪƸƸĪƣ-Ƹż-ƸŊĪŏŲǵŧǀĪŲƸŏÿŧdÿƠÿŲĪƫĪ-ĜżŲģǀĜƸżƣ-NŏģĪŰÿƣżfżŲżĪ-ݎވܠSSS܈ܡڍ-ܶÿŲßŏƫĜżǀŲƸfżŲżǣĪhŏĪěĪƣ- NĪƣƣfżŧŧĪŃĪ܋-'ÿƣłŏĜŊ-SŊŲĪŲ-NĪƣƣ-ܞ*sic*ܟàżŧłŃÿŲŃ-FƣďŲŤĪŧÿǀƫ-ĪƣŧŏŲ-ŲÿĜŊģƣdžĜŤŧŏĜŊƫƸ-ĪŰƠłĪŊŧĪŲ-/ƣŏƫƸ-ĪŏŲÿǀƫŃĪǭĪŏĜŊŲĪƸĪƣrǀƫŏŤĪƣ܉ģĪƣŏŲǜŏĪŧĪƣ-NŏŲƫŏĜŊƸ-ܠǜżƣÿŧŧĪŰÿŧƫƣÿƸƫĜŊŏƫƸܡǭǀǜĪƣǝĪŲģĪŲŏƫƸ-NĪƣǭŧŏĜŊĪ-ĜżŧŧĪŃŏÿŧĪ-GƣdžƫƫĪ-

1940, which since 1919 had developed into a professional ensemble under the direction of Mario Paci (1878-1946; head of SMO 1919-42).81 The SMO gave weekly concerts every Sunday at the Lyceum in the French Concession.86 In the orchestra, Fraenkel usually played the viola, although there is evidence that he occasionally played both first and second violin as well.83 Fraenkel also arranged repertoire for the SMO (Table 3.1). Due to the Pacific War, the SMO officially declared its dissolution on 1 May 1942 and on 31 May gave a "farewell concert" in which Fraenkel participated. The orchestra, however, continued to give regular concerts under the name of the Shanghai Philharmonic Society from 1942 to 1945, controlled by Japanese military authorities, and officially resumed work on 18 November 1945, now mostly designated as the Shanghai Municipal Symphony Orchestra. 44 Fraenkel's estate contains sixteen programs that document

Ihr Klemperer, Jan 24. 39" (lit. est., ANA 496, Sch. 5, "Korrespondenz"). Klemperer wrote a similar short recommendation to Joseph Rosenstock (1895–1985), who at that time was principal conductor of the New Symphony Orchestra (which became the NHK Orchestra in 1951) (before his emigration, Rosenstock had been director of the Berlin orchestra of the Kulturbund deutscher Juden from 1933 to 1936). Fraenkel had definitely considered the option of immigrating to Japan (Xu, Xunfang Youtairen, 75–76), and was likely also aware of the considerable influence of Japanese musicians in Harbin, Shanghai, and other Chinese cities. Konoe (1898–1973), who was probably in Berlin at the time of Fraenkel's departure, may have paved the way for Fraenkel into the musical life of the city in the Japanese-administered Shanghai. Konoe was the brother of Fumimaro Konoe (1891–1945, Japanese Prime Minister 1937–39 and 1940–41). Hidemaro Konoe, a conductor, pianist and composer and an important figure in Japanese Mahler reception, had studied with Erich Kleiber in Berlin and was in close contact with well-known conductors of the time such as Furtwängler, Stokowski and Klemperer; he conducted the Berlin Philharmonic several times during the 1930s. Together with the Japanese composer Kunihiko Hashimoto, Konoe had helped Gurlitt (1890–1972) emigrate to Japan in the same period (early 1939) (see Suchy, "Deutschsprachige Musiker in Japan vor 1945," 196). The strong support from the Künstlerhilfe is documented in a letter by Segall to the Hilfsverein der Juden in Deutschland (26/01/1939) and to the Far Eastern Jewish Central Information Bureau (10/03/1939) (DAL 1119).


*FŎłƿƢĩ-ڗܘژܑ-FƢþĩűţĩŦ݂ƪ-ƟŻƢƷƢþŎƷ-Ŏű-Ʒ'nĩűĩǜƪƟþƟĩƢ-ƟƢĩǛŎĩǜ- ŻŁ-Ʒ'nĩ-®'nþűł'nþŎ-®ŻűłƪƷĩƢƪ݂ěŻűěĩƢƷƪܒ-ڝږþűĢ-ږڙڞږܞڗܞڕڗ- ܩȄĩ-®'nþűł'nþŎ-®ƿűĢþǢ-¼Ŏůĩƪܒ-ܪږڙڞږܞڗܞڗ-*

ÿǜÿƣŏÿŲ-®ƸÿƸĪhŏěƣÿƣǣ܉ěƸĪŏŧǀŲŃ-NÿŲģƫĜŊƣŏǽ ƸĪŲ- ÿŲģ-®ĪŧƸĪŲĪ-'ƣǀĜŤĪ܉t-ڒڕڐ

'nŎƪ þěƷŎǛŎƷŎĩƪ þƪ þ ůƿƪŎěŎþű- ܣ1/4þĚ-Ŧĩ܌ܤڐܒڒݑ-ĚƿƷ-ŎƷěþű-ĚĩþƪƪƿůĩĢ-Ʒ'nþƷ-'nĩ- participated in many more concerts, especially in his role as a member of Ʒ'nĩ-®rܒ

NŻǜ- ĢŎĢ- FƢþĩűţĩŦ þěƷ þűĢ- ƢĩþěƷ- in the Shanghai environment that ǜþƪ- ĢĩĩƟŦǢ þDz ŁĩěƷĩĢ- ĚǢ- ĢŎǛĩƢƪĩ þűĢ- ŻǼ ƷĩűěŻűƷƢþĢŎěƷŻƢǢ-ƟŻŦŎƷŎěþŦ܌ĩěŻűŻůŎě܌ þűĢ ěƿŦƷƿƢþŦ-ŎűƷĩƢĩƪƷƪܓ- /Ǜĩű-ŎŁ- no documents have yet come to light that reveal his emotional reactions or his more personal considerations, the sociohistorical context suggests that the daily struggle for existence that characterized the life of most Shanghai refugeesڞڡ was an immediate challenge for him too, at least in the beginning. In this situation, a mixture of determination, foresight, ěŦĩþƢŦǢ- ĢĩȀűĩĢ łŻþŦƪ܌ þűĢ þ ěĩƢƷþŎű- pragmatism (which does not mean ŻƟƟŻƢƷƿűŎƪůܤ ƪƿƢĩŦǢ- 'nĩŦƟĩĢ- 'nŎů- to survive, while his multi-faceted ůƿƪŎěþŦ- ƷþŦĩűƷ þŦŦŻǜĩĢ- 'nŎů- ƷŻ- ȀűĢ- a broad range of music-related occupations. Within a relatively short ƷŎůĩ܌-FƢþĩűţĩŦǜŻƢţĩĢþƪþ-ǛŎŻŦŎűŎƪƷ܌- violist, pianist, orchestral and cho-ƢþŦ ěŻűĢƿěƷŻƢ-ܣFŎłܒ- ܌ڑܒڒ- ܌ܤڒܒڒ- Ʒĩþě'nĩƢ- of music theory and composition, writer of theoretical essays, and ar-

ƢþűłĩƢþűĢěŻůƟŻƪĩƢ-ŁŻƢ-ĢþűěĩþűĢ-ȀŦů-ƟƢŻĢƿěƷŎŻűƪܒ-/Ǜĩű-Ʒ'nŻƿł'n-'nĩţűĩǜ-'nŻǜ-ƷŻƪĩƷƷŦĩ-Ŏű-Ʒ'nĩ- /ƿƢŻƟĩþűĩűěŦþǛĩ-ŻŁ-®'nþűł'nþŎþűĢěĩƢƷþŎűŦǢ-'nþĢ-ƷŻěŻůĩ-ƷŻ-ƷĩƢůƪǜŎƷ'ndþƟþűĩƪĩ-ƢƿŦĩƢƪ-ŻƢ- 'nŎnese collaborators – although he undoubtedly tried to stay out of political entanglementsڟڡ – he űĩǛĩƢ-ĢŎĢƪŻþƷ-Ʒ'nĩĩǡƟĩűƪĩ-ŻŁ- 'nŎűĩƪĩ-ŻƢ-/ƿƢŻƟĩþűěŻŦŦĩþłƿĩƪ-ŻƢƪƷƿĢĩűƷƪܒű-Ʒ'nĩěŻűƷƢþƢǢ܌-'nŎƪ- high level of commitment clearly went beyond what was necessary.

Sű- ܌ژڒژڐ- FƢþĩűţĩŦ ĩűěŻƿűƷĩƢĩĢ þ ƪŎƷƿþƷŎŻű- Ŏű ǜ'nŎě'n þ ůƿƪŎěþŦ- ƟƢþěƷŎěĩ- ĚþƪĩĢ- Żű- /ƿƢŻpean tradition that went beyond mere colonial culture was still in its early stages, but had al-ƢĩþĢǢ-Ěĩĩűþű-ŻĚŠĩěƷ-ŻŁ-'nĩþƷĩĢ-ĢŎƪěƿƪƪŎŻűܒ-SƷǜþƪűŻƷƿűƷŎŦ-ڗڒژڐ-Ʒ'nþƷ-Ʒ'nĩ-®r-Ěĩłþű-ƷŻ-ƢĩłƿŦþƢŦǢ-

ڹڼ- -RĪĪÿŰżŲŃżƸŊĪƣƫƣŰěƣdžƫƸĪƣ܉fżŊŧƫƸƣǀĜŤ܉ÿŲģrdžŊŧěĪƣŃĪƣ܉-*Exil Shanghai 1938–1947*.

ںڼ Activities related to Japan such as the arrangement of Japanese dances for Western orchestra (for a dance eve-ŲŏŲŃżŲ-Ơƣŏŧ-܉ڔڍ-ܔڌڐڕڍŧŏƸݎĪƫƸ܉t-܉ڒڕڐ-RĜŊڑݎ-ܶ£ƣżŃƣÿŰŰĪܷܡżƣǿŧŰ-ŰǀƫŏĜłżƣÿdÿƠÿŲĪƫĪƫżǀŲģǿŧŰ-ܔڎڐڕڍܠ-ŲżƸĪ- ŏŲ-®ŊÿŲŃŊÿŏdĪǝŏƫŊ- ŊƣżŲŏĜŧĪ-ܔڎڐڕڍܕڔܕڕŧŏƸݎĪƫƸ܉t-܉ڒڕڐ-RĜŊ܉ڑݎ-ܶðĪŏƸǀŲŃƫÿƣƸŏŤĪŧ-ǀŲģfƣŏƸŏŤĪŲܷܡ-Űÿǣ-ŊÿǜĪěĪĪŲ- ĜżŲĜĪƫƫŏżŲƫ-Ƹż-ƸŊĪƫŏƸǀÿƸŏżŲ܉ǝŊŏĜŊǝĪƣĪģŏdz ǿĜǀŧƸ-ƸżÿǜżŏģłƣżŰÿŲ-ĪĜżŲżŰŏĜÿŲģ-ƠżŧŏƸŏĜÿŧ-ƠżŏŲƸżłǜŏĪǝ

appoint Chinese orchestral members.ڠڡȃĩůƿƪŎěěƢĩþƷĩĢ-ĚǢ- 'nŎűĩƪĩěŻůƟŻƪĩƢƪ-ĢƿƢŎűł-Ʒ'nþƷ- period mostly remained in the context of a simple tonal style accentuated by pentatonic scales þƷþ-ŦŻǜ-ŦĩǛĩŦ-ݑދܣSSSܒܤڐܒ-RƷŎŦŦ܌-Ʒ'nĩ-®rƪƿƟƟŻƢƷĩĢǜŻƢţƪ-ĚǢ- 'nŎűĩƪĩěŻůƟŻƪĩƢƪܗ-Ʒ'nĩ-ȀƢƪƷǜŻƢţ-ĚǢ- þ- 'nŎűĩƪĩěŻůƟŻƪĩƢ܌-NƿþűłðŎܼƪ-ŻǛĩƢƷƿƢĩ-*In Memoriam*-܌ܤژڑژڐܣǜþƪ-ƟĩƢŁŻƢůĩĢ-Żű-ڒڑtŻǛĩůĚĩƢ- ڡڡܒڏڒژڐ-Ǽ ƷĩƢ-܌ژڑژڐ-Ʒ'nĩ-®rþŦƪŻ-Ěĩłþű-ƷŻ-ŁĩþƷƿƢĩ- 'nŎűĩƪĩƪŻŦŻŎƪƷƪ-ƢĩłƿŦþƢŦǢڢڡܒ

ÃűĢĩƢ- Ʒ'nĩƪĩ ěŎƢěƿůƪƷþűěĩƪ܌ þűĢ-Ŏű- ǛŎĩǜ- ŻŁ- Ʒ'nĩ- ĢŎDzȀěƿŦƷůþƷĩƢŎþŦ þűĢ- ƟŻŦŎƷŎěþŦ ƪŎƷƿþƷŎŻű- ĢƿƢŎűł- Ʒ'nĩ ǜþƢ- ǢĩþƢƪ܌-ŎƷ ǜþƪ- ƢĩůþƢţþĚŦĩ- Ʒ'nþƷ- FƢþĩűţĩŦ ǜþƪ-ŎűǛŻŦǛĩĢ-Ŏű- ĚƿŎŦĢŎűł þ- ǢŻƿƷ'n- ŻƢchestra (*Zhongguo Qingnian Jiaoxiang Yuetuan*ܤ-ĢƿƢŎűłþűĢþǼ ƷĩƢ- Ʒ'nĩǜþƢ܌- ŁŻƿűĢĩĢ- ĚǢ-'nŎƪ ƪƷƿ-ĢĩűƷƪ hŎ- 'ĩŦƿűڙڢ- ܌ܤڐڏڏڑܫږڐژڐܣ ǜ'nŻ- ŦþƷĩƢ- Ěĩěþůĩ- Żűĩ- ŻŁ- 'nŎűþܼƪ- ŦĩþĢŎűł ěŻűĢƿěƷŻƢƪ܌ þűĢ- 'nŎƪ- ŦþƷĩƢǜŎŁĩ܌-Ʒ'nĩ-ǛŎŻŦŎűŎƪƷhŎdƿĩ-ܒܤڒڐڏڑܫړڑژڐܣȃĩ- 'nŎűþ-®ǢůƟ'nŻűŎě-Ƣě'nĩƪƷƢþ-ܣ*Zhongguo Jiaoxiang Yuetuan*܌ܤǜ'nŎě'n-FƢþĩűţĩŦěŻűĢƿěƷĩĢƪĩǛĩƢþŦ-ƷŎůĩƪ-Ŏű-ڔړژڐþűĢ-ڕړژڐǜŎƷ'n-ǛĩƢǢ-ĢĩůþűĢŎűł-ƟƢŻłƢþůƪ܌ĩůĩƢłĩĢ-ŁƢŻů-Ʒ'nĩƪþůĩěŻűƷĩǡƷ-ܣhŎ-'ĩŦƿűþűĢhŎdƿĩþŦƪŻ-ƟŦþǢĩĢ-'nĩƢĩܒܤ-A concert on 1 rþƢě'n-ڕړژڐǜŎƷ'n-FƢþĩűţĩŦěŻűĢƿěƷŎűłrĩűĢĩŦƪƪŻ'nűܼƪßŎŻŦŎű- ŻűěĩƢƷŻþűĢĩĩƷ'nŻǛĩűܼƪ-£þƪƷŻƢþŦ- ®ǢůƟ'nŻűǢþůŻűł-ŻƷ'nĩƢǜŻƢţƪ-ܣFŎłܤڒܒڒݑܒǜþƪ-ƟƢþŎƪĩĢ-ĚǢ-Ʒ'nĩ-GĩƢůþűěƢŎƷŎě-ŦŁƢĩĢ-'ƢĩŎŁƿƶ-ܫڑڏژڐܣ ܌ܤڒژژڐ ǜ'nŻ-ŎűŁŻƢůĩĢ- 'nŎƪ- ƢĩþĢĩƢƪ- Ʒ'nþƷ- Ʒ'nĩ- ŻƢě'nĩƪƷƢþ- 'nþĢ- Ěĩĩű- ŁŻƿűĢĩĢ- ĢƿƢŎűł- Ʒ'nĩ ǜþƢ- ǢĩþƢƪ- ܹƿűĢĩƢ- ĢŎDzȀěƿŦƷ ěŎƢěƿůƪƷþűěĩƪ܌ܺ þĢĢŎűł- Ʒ'nĩ- ŻĚƪĩƢǛþƷŎŻű- Ʒ'nþƷ- FƢþĩűţĩŦ܌ þ- ܹƟĩĢþłŻłƿĩ ǜĩŦŦܮ ţűŻǜű-Ŏű-®'nþűł'nþŎܼƪůƿƪŎěþŦ-ŦŎŁĩ܌ܺ-'nþĢůþĢĩþ-ܹěƿŦƷƿƢþŦĩDz ŁŻƢƷ-ܢ܍ܡ-Ʒ'nþƷěþű-'nþƢĢŦǢ-Ěĩ-ŻǛĩƢƪƷþƷܮ ed."ښڢȃĩ-ŻƢě'nĩƪƷƢþůþǢ- 'nþǛĩ- Ěĩĩű ěŦŻƪĩŦǢ-ŦŎűţĩĢ- ƷŻ- Ʒ'nĩ ěŻűƪĩƢǛþƷŻƢǢ܌ ƪŎűěĩ hŎàĩŎűŎűł܌- Ʒ'nĩ- ƟƢĩƪŎĢĩűƷ-ŻŁ-Ʒ'nĩěŻűƪĩƢǛþƷŻƢǢ܌-Ŏƪ-ŦŎƪƷĩĢ-Żű-Ʒ'nĩ-ƟƢŻłƢþů-ĚŻŻţŦĩƷþƪ-Ʒ'nĩ-ŻƢě'nĩƪƷƢþܼƪ-ܹþĢǛŎƪŻƢܒܺ

ڻڼ- -¦żƫĪŲƫżŲ܉-ܶdĪǝŏƫŊrǀƫŏĜŏÿŲƫŏŲ-®ŊÿŲŃŊÿŏ܉ܷ-ڍڐڎÿŲģæÿŲŃ܉-ܶFƣżŰ żŧżŲŏÿŧrżģĪƣŲŏƸǣ-Ƹż-Gŧżěÿŧ-SģĪŲƸŏƸǣ܉ܷ-ڔڑ-Ų- ĪǢĜĪƠƸŏżŲǝÿƫ-¼ÿŲ-®ŊǀǭŊĪŲ-܉ܡڎڌڌڎܨړڌڕڍܠǝŊż-ŊÿģěĪĪŲǜŏżŧŏŲŏƫƸżł-ƸŊĪ-®rłƣżŰ-ړڎڕڍ-Ƹż-ڕڎڕڍ-1/4ÿŲ-®ŊǀǭŊĪŲŧÿƸĪƣ- ěĪĜÿŰĪ-ƸŊĪ-ŊĪÿģżł-ƸŊĪǜŏżŧŏŲģĪƠÿƣƸŰĪŲƸÿƸ-ƸŊĪ-®ŊÿŲŃŊÿŏ żŲƫĪƣǜÿƸżƣǣÿŲģ-ƠŧÿǣĪģÿ-ƠƣżŰŏŲĪŲƸƣżŧĪŏŲ-ƸŊĪ- ǝĪŧŧܫŤŲżǝŲģżĜǀŰĪŲƸÿƣǣ-*From Mao to Mozart*-܉ڕړڕڍܠģŏƣĪĜƸĪģěǣrǀƣƣÿǣhĪƣŲĪƣܡ-RĪĪÿŧƫż-ƸŊĪ-ĪǢƸĪŲƫŏǜĪģĪƠŏĜƸŏżŲ- żł-¼ÿŲܹƫŏŰƠÿĜƸŏŲrĪŧǜŏŲÿŲģ ÿŏ܉-*Rhapsody in Red*.

ڼڼ- æÿŲŃ܉-ܶFƣżŰ żŧżŲŏÿŧrżģĪƣŲŏƸǣ-Ƹż-Gŧżěÿŧ-SģĪŲƸŏƸǣ܉ܷ-ڏڑ

ړڑܨڐڑ-܉Sěŏģ- -ڽڼ

ڴڽ See Melvin and Cai, *Rhapsody in Red*܉-ڔڑڍܨڐڑڍÿŲģfƣÿǀƫ܉-*Pianos & Politics in China*܉-ڏڍڎܨڎڍڎhŏ-'ĪŧǀŲǝÿƫ-ƸŊĪ-ƠƣŏŲcipal conductor of the Central Philharmonic Orchestra (*ðŊżŲŃǣÿŲŃæǀĪƸǀÿŲ*ܡŏŲ-ĪŏšŏŲŃłżƣ-ŰÿŲǣǣĪÿƣƫÿŲģǝÿƫ- żŲĪżł-ƸŊĪłĪǝ-ŰǀƫŏĜŏÿŲƫŏŲ- ŊŏŲÿ-Ƹż-Ơŧÿǣÿ-ŤĪǣƣżŧĪŏŲ- ŊŏŲĪƫĪ-ŰǀƫŏĜÿŧŧŏłĪěĪłżƣĪ܉ģǀƣŏŲŃ܉ÿŲģÿǽ ƸĪƣ-ƸŊĪ- ǀŧƸǀƣÿŧ- ¦ĪǜżŧǀƸŏżŲàŏƸŊ-ŊŏƫżƣĜŊĪƫƸƣÿ-ŊĪ-ĜżŲƸƣŏěǀƸĪģ-Ƹż-ƸŊĪ-ŰǀƫŏĜÿŧƣĪÿŧŏǭÿƸŏżŲżł-ƸŊĪ-ŰżģĪŧǝżƣŤƫ-ܠ*yangbanxi*܉-ݎވSSSܡڍ- ģǀƣŏŲŃ-ƸŊĪ- ǀŧƸǀƣÿŧ-¦ĪǜżŧǀƸŏżŲÿŲģÿǽ ƸĪƣ-ƸŊĪ- ǀŧƸǀƣÿŧ-¦ĪǜżŧǀƸŏżŲ-ŊĪ-ĜżŲģǀĜƸĪģ-ƸŊĪǿƣƫƸ-ƠĪƣłżƣŰÿŲĜĪÿǽ ƸĪƣ-ŰżƣĪ- ƸŊÿŲ-ƸĪŲǣĪÿƣƫěǣÿ- ŊŏŲĪƫĪżƣĜŊĪƫƸƣÿżłÿ-/ǀƣżƠĪÿŲżƣĜŊĪƫƸƣÿŧǝżƣŤ-ܠĪĪƸŊżǜĪŲܹƫ-Fŏǽ ƸŊ-®ǣŰƠŊżŲǣܡżŲ-ڒڎrÿƣĜŊ- ړړڕڍ-ܠŏŲ-®ĪƠƸĪŰěĪƣ-ڏړڕڍ-ƸŊĪ-£ŊŏŧÿģĪŧƠŊŏÿƣĜŊĪƫƸƣÿ-ǀŲģĪƣ-/ǀŃĪŲĪƣŰÿŲģǣ-Ŋÿģ-ƠĪƣłżƣŰĪģ-ĪĪƸŊżǜĪŲܹƫ-Fŏǽ ƸŊ- ÿŲģ-®ŏǢƸŊ-®ǣŰƠŊżŲŏĪƫłżƣ-ƸŊĪǿƣƫƸ-ƸŏŰĪŏŲ- ŊŏŲÿƫŏŲĜĪ-܉ڏڒڕڍģǀƣŏŲŃ-ŃǀĪƫƸÿƠƠĪÿƣÿŲĜĪƫŏŲ-ĪŏšŏŲŃÿŲģ-®ŊÿŲŃŊÿŏܔ- see Melvin and Cai, *Rhapsody in Red*܉-ܡڕړڎܨڔڒڎhŏ-'ĪŧǀŲěĪĜÿŰĪŏŲƸĪƣŲÿƸŏżŲÿŧŧǣ-ŤŲżǝŲ-ƸŊƣżǀŃŊ-ƸŊĪǿŧŰ-*From Mao to Mozart*-܉ڕړڕڍܠƫĪĪłżżƸŲżƸĪ-܉ܡړڔŏŲ-ڕڕڕڍ-ŊĪ-ĜżŲģǀĜƸĪģÿ-ܶƣĪǀŲŏżŲܷ-ĜżŲĜĪƣƸǝŏƸŊ-SƫÿÿĜ-®ƸĪƣŲŏŲ-®ŊÿŲŃŊÿŏ-Ƹż- ĜĪŧĪěƣÿƸĪ-ƸŊĪǿŧŰܹƫ-ڌڎƸŊÿŲŲŏǜĪƣƫÿƣǣ-ܠƫĪĪŏěŏģ܉-܉ڕڔڎܨڔڔڎ-ܡڒڕڎ

ڵڽ- -ܞŧłƣĪģܟ-' ƣĪŏłǀƫƫ܉- ܶàżŧłŃÿŲŃ- FƣÿĪŲŤĪŧ ģŏƣŏŃŏĪƣƸĪ܋ܷ- SŲ- *The Shanghai Herald. German Supplement* ܉ڒڐڕڍ- Ųżݎ ܉ڎ- ܈ڒڐڕڍܕڒڌܕڏڌ-܉ڔŧŏƸݎĪƫƸ܉t-܉ڒڕڐ-RĜŊ܉ڑݎ-ܶðĪŏƸǀŲŃƫÿƣƸŏŤĪŧ-ǀŲģfƣŏƸŏŤĪŲܷ-ܠܶ'ÿƫ-ܸ ŊŏŲÿ-®ǣŰƠŊżŲŏĜƣĜŊĪƫƸƣÿ܉ܹ-ܟ܊ܞ- ǀŲƸĪƣƫĜŊǝŏĪƣŏŃĪŲ-ÃŰƫƸÿĪŲģĪŲƫĜŊżŲǝÿĪŊƣĪŲģģĪƫfƣŏĪŃĪƫ-ŃĪěŏŧģĪƸ-ǀŲģÿƣěĪŏƸĪŲģ-ܟ܊ܞ-ܟ܊ܞ-'ĪƣŏŰ-®ĜŊÿŲŃŊÿŏĪƣ- rǀƫŏŤŧĪěĪŲǝżŊŧěĪŤÿŲŲƸĪ-£ÿĪģÿŃżŃĪ-£ƣżłĪƫƫżƣàżŧłŃÿŲŃ-FƣÿĪŲŤĪŧ-ŊÿƸ-ŰŏƸģĪƣ-NĪƣÿŲěŏŧģǀŲŃ-ǀŲģ-/ƣǭŏĪŊǀŲŃ- ģŏĪƫĪƫfŧÿŲŃŤżĪƣƠĪƣƫ-ĪŏŲĪfǀŧƸǀƣÿƣěĪŏƸ-ŃĪŧĪŏƫƸĪƸ܉ģŏĪ-Ńÿƣ-ŲŏĜŊƸ-ŊżĜŊ-ŃĪŲǀŃěĪǝĪƣƸĪƸǝĪƣģĪŲ-ŤÿŲŲܷܡ-Ų-'ƣĪŏłǀƷƫĪĪ-FĪƸƸŊÿǀĪƣ܉-ܶŧłƣĪģ-'ƣĪŏłǀƷܷ

### *FŎłƿƢĩ-ژܘژܑ-£ƢŻłƢþů-ĚŻŻţŦĩƷ-ŁŻƢ-Ʒ'nĩěŻűěĩƢƷþƷ-Ʒ'nĩhǢěĩƿů-ȄĩþƷĩƢ-®'nþűł'nþŎܒ-ܝڛڙڞږܞژڕܞږڕ-FƢþĩűţĩŦěŻűĢƿěƷĩĢ-Ʒ'nĩ- 'nŎűþ-®ǢůƟ'nŻűŎě-Ƣě'nĩƪƷƢþ*

*¼þĚŦĩ-ږܘژܑ- ŻűěĩƢƷƪ-ڞژڞږܱܒڛڙڞږ-Ŏűǜ'nŎě'nàŻŦŁłþűł-FƢþĩűţĩŦ-ƟþƢƷŎěŎƟþƷĩĢܝ-ŦŎƷݗܘĩƪƷܒܘt-ܒڛڞڙ-Rě'nܒښݗܘ- ܿ£ƢŻłƢþůůĩ݀þűĢ-ܿðĩŎƷƿűłƪþƢƷŎţĩŦƿűĢfƢŎƷŎţĩű݀*



### 178 9ËÃv¨³½³Ãȳ®®È³®Èáȳ%¨³v¨çvȳ®



ȃĩ- 'nŎł'n ĩƪƷĩĩů- FƢþĩűţĩŦ ĩűŠŻǢĩĢ þůŻűł- Ʒ'nĩ- ®'nþűł'nþŎ ůƿƪŎě ěŻůůƿűŎƷǢ þűĢ- Ʒ'nĩ ěƿŦƷƿƢþŦ- ěŻűǴŦŎěƷƪ-ŻŁ-Ʒ'nŎƪůƿƪŎěþŦ-ŦŎŁĩþƢĩ-ĢŻěƿůĩűƷĩĢ-Ŏűþ-'nþűĢǜƢŎƷƷĩű-ŦĩƷƷĩƢ-Ŏű-/űłŦŎƪ'nþĢĢƢĩƪƪĩĢ-ƷŻ- FƢþĩűţĩŦ܌-ĢĩþŦŎűłǜŎƷ'nþ-ǢŻƿűł-ŁĩůþŦĩ-ƟŎþűŎƪƷ-ƢĩŁĩƢƢĩĢ-ƷŻþƪ-ܹfǜŻűłfǜŻűłܒܺȃĩǜƢŎƷĩƢěŦĩþƢŦǢ- ůĩþűƪ-¼ƿűłfǜŻűłܮfǜŻűł-ܣ'Żűł-GƿþűłܮGƿþűł܌-܌ܤڒڐڏڑܫږڑژڐþ- 'nŎűĩƪĩ-ƟŎþűŎƪƷǜ'nŻ-ŦĩǼ Ʒ- 'nŎűþ- ŁŻƢ-Ʒ'nĩî-Ŏű-ږړژڐþűĢǜþƪůþƢƢŎĩĢ-ƷŻrþ-®ŎܮNŻű-ܣrþ-®Ŏ'nŻűł܌-܌ܤژڏڏڑܫڔڑژڐ-ĚƢŻƷ'nĩƢ-ŻŁ-Ʒ'nĩǜĩŦŦܮ ţűŻǜűěŻůƟŻƪĩƢþűĢ-ǛŎŻŦŎűŎƪƷrþ-®ŎěŻűł-ڛڢܒܤږڗژڐܫڑڐژڐܣ Ma Si-Hon was the violinist who per-ŁŻƢůĩĢrĩűĢĩŦƪƪŻ'nűܼƪßŎŻŦŎű- ŻűěĩƢƷŻƿűĢĩƢ-FƢþĩűţĩŦܼƪ-ĢŎƢĩěƷŎŻűþƷ- Ʒ'nĩěŻűěĩƢƷ-Żű- ڐrþƢě'n- ܒڕړژڐ-ŦƷ'nŻƿł'n-Ʒ'nĩƪŎłűþƷƿƢĩ-ŻŁ-Ʒ'nŎƪ-ŦĩƷƷĩƢ-Ŏƪ-ĢŎDzȀěƿŦƷ-ƷŻ-ĢĩěŎƟ'nĩƢ܌-Ʒ'nĩǜƢŎƷĩƢěþű-Ěĩ-ŎĢĩűƷŎȀĩĢþƪ- rþƢŎŻ-£þěŎ܌ǜ'nŻ-ĢŎƢĩěƷĩĢ-Ʒ'nĩ-®r-ŁƢŻů-ژڐژڐ-ƷŻ-ڑړژڐþűĢǜþƪþŦƪŻþƪŻƿł'nƷܮþǼ ƷĩƢ-ƟŎþűŻ-Ʒĩþě'nĩƢ- ܣ'nŎƪ-ƟƿƟŎŦƪ-ŎűěŦƿĢĩĢ-Ʒ'nĩ-ǢŻƿűł-FŻƿ-¼ƪƿűłڜڢ-ܡFƿ- Żűł܌-Ěܢړڒژڐݑܒ-ܫ-Ʒ'nĩůŻƪƷ-ƟƢŻůŎűĩűƷ- 'nŎűĩƪĩ- ƟŎþűŎƪƷ-ĢƿƢŎűł-Ʒ'nĩ-ڏڕژڐƪþűĢ-ڏږƪܒܤȃĩ-ŦĩƷƷĩƢǜþƪ-ƟƢĩƪƿůþĚŦǢǜƢŎƷƷĩű-Ŏű-܌ڒړژڐƪŎűěĩ-Ʒ'nĩǜƢŎƷĩƢ- ƢĩŁĩƢƪ- ƷŻþ-ƟĩƢŎŻĢ-ŻŁ- ܹړڑ-ǢĩþƢƪܺ-Ŏűǜ'nŎě'n-'nĩ-'nþƪ-ĚĩĩűǜŻƢţŎűł-Ŏű- 'nŎűþܒ-FƢþĩűţĩŦþƟƟþƢĩűƷŦǢ- ƟŦþűűĩĢ-ƷŻ-ƟĩƢŁŻƢůþ-ƟŎþűŻěŻűěĩƢƷŻǜŎƷ'n-¼ƿűłfǜŻűłܮfǜŻűłþƪþƪŻŦŻŎƪƷǜŎƷ'n-Żűĩ-ŻŁ-'nŎƪ-ŻƢě'nĩƪƷƢþƪ܌þ-ƟƢŻŠĩěƷ-£þěŎƪĩĩůƪƪţĩƟƷŎěþŦ-ŻŁ-ŁŻƢ-ƢĩþƪŻűƪ-Ʒ'nþƷþƢĩűŻƷĩűƷŎƢĩŦǢ-ŻĚǛŎŻƿƪ܋

ڶڽ- -1/4ǀŲŃfǝżŲŃܫfǝżŲŃƫƸǀģŏĪģǝŏƸŊƣƸǀƣ-®ĜŊŲÿěĪŧŏŲtĪǝæżƣŤÿŲģ܉-ƸżŃĪƸŊĪƣǝŏƸŊ-ŊĪƣ-ŊǀƫěÿŲģ܉-ĜżŲƸŏŲǀĪģ-ŊĪƣ- ĜÿƣĪĪƣÿƫÿ-ƠŏÿŲŏƫƸÿŲģ-ƸĪÿĜŊĪƣŏŲ-ƸŊĪîrÿ-®ŏĜżŲŃǝÿƫ-ܶƸŊĪǿƣƫƸ- ŊŏŲĪƫĪƫżŧżŏƫƸ-Ƹż-ƠŧÿǣǝŏƸŊ-ƸŊĪ-®rܷżŲ-ڎڎ- 'ĪĜĪŰěĪƣ-ڕڎڕڍ-ܠæÿŲŃ܉-ܶFƣżŰ żŧżŲŏÿŧrżģĪƣŲŏƸǣ-Ƹż-Gŧżěÿŧ-SģĪŲƸŏƸǣ܉ܷ-ܡڑڑ

ڷڽ- -RĪĪfƣÿǀƫ܉-*Pianos & Politics in China*܉-ڕڕܨڌړ

My dear Fraenkel,

l am terribly sorry that circumstances" in which they (the Chinese) have put me) oblige me to deney [sic] my permission to Kwong to play with your orchestra.

We have always been good friends, and I have always expressed my sincere appreciation and esteem for you as a very fine musician. I have always said to everyone that there is only one musician in Shanghai and that is you. And this I repeat now. -

I don't want therefore that you may think that in denying to play to Kwong Kwong […] should be considered as anything against you. Personally – on the contrary – if I have something against somebody is not against you, but against the Chinese musicians who have failed to express a little appreciation to me who for 24 years I have given so much of my Art for them. –

They want Kwong Kwong. Why? Because [she] is the only good Chinese pianiste [sic]. – Why they don't come to me (they – not you) to ask me her collaboration which of course will make a success of their concert? -

If they ask me to present her, and conduct her accompaniment, I will do it free of charge and with pleasure. You can [do (?)] better, you should conduct the whole programme. I don't want to do it. I will be the accompanist. – But Kwong Kwong is the only thing left to me of my long years of work in China and I don't give it willingly to them. - If you don't see the point, try to come and see me94 and I will explain still clearer. -

Your[s] M.[ario] Paci95

It was not possible to reconstruct the outcome of this episode. The pianist Zhou Guangren (also Paci's student and Tung's colleague around 1946) pointed out to me that Tung had played Edvard Grieg's Piano Concerto in public before immigrating to the USA in 1947, but she was not sure whether this concert was conducted by Fraenkel.

### Fraenkel as a Pedagogue, Publicist, and Theorist

Fraenkel was soon able to establish contacts with the conservatory, probably through the SMO, which had been founded in 1927 by Cai Yuanpei and Xiao Youmei as the first music academy in Asia based on the Russian model and successfully expanded in the following years (> III.1).36 In the years of the Japanese occupation, the conservatory, which was then known as the "National Vocational School for Music" (Guoli yinyue zhuanke xuexiao), was in a very difficult situation. After war broke out between Japan and China in August 1937, the conservatory moved from its location in Jiangwan in the Northern part of the city to Xujiahui Street in the Southwest, and had to move again several times due to the exigencies of the war before it could

<sup>94</sup> Fraenkel noted down the address "Kings App. House 345 / Room 7" on the first page of the letter, as this was indeed Paci's address (see Paci Zaharoff, "The Daughter of the Maestro," 286), this indicates that Fraenkel actually met Paci for a face-to-face meeting.

<sup>95</sup> Lit. est., ANA 496, Sch. 5, "Korrespondenz."

<sup>96</sup> See Schimmelpenninck and Kouwenhoven, "The Shanghai Conservatory of Music" and Melvin and Cai, Rhøpsody in Red, 106–117.

ƢĩƷƿƢű-ƷŻ-ŎƷƪ-ŻƢŎłŎűþŦ-ŦŻěþƷŎŻű-Ŏű-Ʒ'nĩ dŎþűłǜþű-ĢŎƪƷƢŎěƷ-Ŏű-ܒڕړژڐ-Sű-ŻƢĢĩƢ-ƷŻþǛŻŎĢþűǢ-ŻĚǛŎŻƿƪ- connection with the Chinese government, the conservatory was even referred to as *Sili Shang-'nþŎ-ǢŎűǢƿĩ-Ǣƿþű*-ܣR'nþűł'nþŎ-£ƢŎǛþƷĩrƿƪŎě-®ě'nŻŻŦܤ-ŁŻƢþ-ƟĩƢŎŻĢ-ĢƿƢŎűł-Ʒ'nĩǜþƢڠڢܒ

FƢþĩűţĩŦǜþƪþƟƟŻŎűƷĩĢþƪþ- Ʒĩþě'nĩƢ-ŻŁůƿƪŎě- Ʒ'nĩŻƢǢþűĢěŻůƟŻƪŎƷŎŻű-Ŏű- Ʒ'nĩƪƿůůĩƢ-ŻŁ- ڐړژڐ-ĚǢhŎàĩŎűŎűł܌ǜ'nŻ-'nþĢƪƷƿĢŎĩĢ-Ŏű-£þƢŎƪþűĢßŎĩűűþ-Ŏű-Ʒ'nĩ-ڏڒژڐƪܒhŎ-'nþĢ-'nĩþĢĩĢ-Ʒ'nĩ-Ʒ'nĩŻƢǢ- þűĢěŻůƟŻƪŎƷŎŻű-ĢĩƟþƢƷůĩűƷƪŎűěĩ-܌ږڒژڐ-'nþĢ-ĚĩĩűþůĩůĚĩƢ-ŻŁ-Ʒ'nĩ-®rěŻůůŎƷƷĩĩƪŎűěĩ-ڡڢ܌ژڒژڐ þűĢ-Ěĩěþůĩ-ƟƢĩƪŎĢĩűƷ-ŻŁ-Ʒ'nĩěŻűƪĩƢǛþƷŻƢǢ-Ŏű-ڏړژڐþǼ ƷĩƢ-Ʒ'nĩ-ŁŻƿűĢŎűł-ƟƢĩƪŎĢĩűƷåŎþŻæŻƿůĩŎ- ƟþƪƪĩĢþǜþǢ-ܒܤڏړژڐܫړڗڗڐܣhŎǜþƪ-ĢŎƪůŎƪƪĩĢ-ŁƢŻů-'nŎƪ-ƟŻƪŎƷŎŻű-Ŏű-ڕړژڐþƪþ-ܹěŻŦŦþĚŻƢþƷŻƢܺ-ܣhŎ-'nþĢ- þŦƢĩþĢǢ ěŻŦŦþĚŻƢþƷĩĢ ǜŎƷ'n- Ʒ'nĩ dþƟþűĩƪĩ- ĚĩŁŻƢĩ- Ʒ'nĩ ěŻűƪĩƢǛþƷŻƢǢ ǜþƪ- ŻDzȀěŎþŦŦǢ- ƟŦþěĩĢ ƿűĢĩƢ- dþƟþűĩƪĩþĢůŎűŎƪƷƢþƷŎŻűܒܤ-Ǽ ƷĩƢ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩǜþƢ܌-FƢþĩűţĩŦǜþƪþŦƪŻþƟƟŻŎűƷĩĢ-ƷŻ-Ʒ'nĩtþƷŎŻűþŦ- rƿƪŎě-®ě'nŻŻŦtþűŠŎűł-ܣ*tþűŠŎűłłƿŻŦŎ-ǢŎűǢƿĩ-Ǣƿþű*ܤ-Żű-Ʒ'nĩƪƿłłĩƪƷŎŻű-ŻŁ-'nŎƪƪƷƿĢĩűƷ-'Ŏűł-®'nþűĢĩ- ܒܤڔژܫڐڐژڐܣ-'Ŏűł- 'nŎůƪĩŦŁǜþƪ ƪƿƟƟŻƪĩĢ- ƷŻ- Ʒĩþě'n- ƟŎþűŻ-ŎűtþűŠŎűł܌- ĚƿƷ-ŦĩƪƪŻűƪ-ŻűŦǢ ƪƷþƢƷĩĢ-Ŏű- ĩþƢŦǢ-ږړژڐ-ŻǜŎűł-ƷŻ-Ʒ'nĩ-ĢĩƪƷƢƿěƷŎŻű-ŻŁ-Ʒ'nĩ-ĚƿŎŦĢŎűłܒȃĩƢĩŁŻƢĩ܌-FƢþĩűţĩŦ-ŻűŦǢ-Ʒþƿł'nƷ-ŎűtþűŠŎűł- ŁŻƢ-ƷǜŻƪ'nŻƢƷĩűĩĢƪĩůĩƪƷĩƢƪ-ŁƢŻůdþűƿþƢǢ-ƷŻdƿŦǢ-ڢڢ܌ږړژڐ while at the same time continuing to ŁƿŦȀŦŦ-'nŎƪ-Ʒĩþě'nŎűł-ŻĚŦŎłþƷŎŻű-Ŏű-®'nþűł'nþŎܒ-SűþĢĢŎƷŎŻű-ƷŻ-'nŎƪǜŻƢţþƷ-Ʒ'nĩěŻűƪĩƢǛþƷŻƢǢ܌-FƢþĩűţĩŦ- gave private lessons, which he sought to expand, since here he could charge a higher fee.ڙڙښ

 ŻűƷƢþƢǢ-ƷŻ-FƢþĩűţĩŦܼƪƪƷƢŎţŎűłŦǢ-ƟƢŻłƢĩƪƪŎǛĩþƢƷŎƪƷŎěƪƷþűěĩ܌-ĢĩůŻűƪƷƢþƷĩĢ-ĚǢ-'nŎƪþDzȀűŎƷǢ- for the Schoenberg School, his music theory and composition lessons seem to have remained ŦþƢłĩŦǢěŻűǛĩűƷŎŻűþŦ܌þŦĚĩŎƷþƷþ-'nŎł'n-ŦĩǛĩŦܒ-Nĩ-Ěĩłþű-Ʒĩþě'nŎűł-'nþƢůŻűǢ-Ŏű-®ĩƟƷĩůĚĩƢ-܌ڐړژڐþěcording to the curriculum, but subsequently also taught strict and free counterpoint, analysis, form, instrumentation, and composition.ښڙښ

S-'nþǛĩ-ŎĢĩűƷŎȀĩĢ-ړڑ- 'nŎűĩƪĩƪƷƿĢĩűƷƪþűĢ-ŻűĩĩůŎłƢĪƪƷƿĢĩűƷڛڙښ-ĚǢűþůĩ-ܣ1/4þĚŦĩ܌ܤڑܒڒݑ-ŎűěŦƿ-ĢŎűł-ŦĩþĢŎűł-ƢĩƟƢĩƪĩűƷþƷŎǛĩƪ-ŻŁ-Ʒ'nĩŎƢłĩűĩƢþƷŎŻűƪƿě'nþƪ-'Ŏűł-®'nþűĢĩ-܌ܤڔژژڐܫڐڐژڐܣ-Rþűł-¼Żűł- ܌ܤڐڐڏڑܫڒڑژڐܣþűĢð'nþűł-NþŻ-܌ܤڒڏڏڑܫڏڐژڐܣþƪǜĩŦŦþƪ-Ʒ'nĩ-ƢĩűŻǜűĩĢ-ƟŻƟƿŦþƢƪŻűłǜƢŎƷĩƢ- 'nĩű-GĩǡŎű-ڜڙښܒܤڐڕژڐܫړڐژڐܣȃƢĩĩþěěŻƿűƷƪ-ĚǢ-FƢþĩűţĩŦܼƪ-ŁŻƢůĩƢƪƷƿĢĩűƷƪ-'Ŏűł-®'nþűĢĩ܌-Rþűł-¼Żűł܌þűĢ- ¥ŎűåŎǡƿþű give detailed descriptions of his teaching methods and the content of the theory and composition lessons. ڝڙښ FƢþĩűţĩŦܼƪĩƪƷþƷĩěŻűƷþŎűƪĩǡƷĩűƪŎǛĩ- Ʒĩþě'nŎűłůþƷĩƢŎþŦƪ- ŁƢŻů- Ʒ'nĩ- Shanghai era, including several hundred pages of manuscripts on counterpoint, harmony, orchestration, and musical analyses of Bach, Beethoven, Schubert, Chopin, Brahms, Richard Strauss, Reger, Hindemith, and Schoenberg.ڞڙښ In fact, FƢþĩűţĩŦƿƪĩĢ-ĚŻƷ'n-®ě'nŻĩűĚĩƢłܼƪ-*Harmonielehre* (1911, <sup>ڒ</sup> ܤڑڑژڐþűĢfƿƢƷ'nܼƪ-*GƢƿűĢŦþłĩű-Ģĩƪ-ŦŎűĩþƢĩűfŻűƷƢþƟƿűţƷƪܑþě'nƪůĩŦŻĢŎƪě'nĩ-£ŻŦǢƟ'nŻnie* ܌ږڐژڐܣ-2 <sup>ڒ</sup> 1922, ܤږڑژڐ as teaching materials.ڟڙښ For pre-Baroque counterpoint he mainly referred to examples by Girolamo Frescobaldi, rather than to Palestrina.ڠڙښ-FƢþĩűţĩŦܼƪþƟƟƢĩěŎþƷŎŻű-ŻŁ-


ڻڽ-R ĜŊŏŰŰĪŧƠĪŲŲŏŲĜŤÿŲģfżǀǝĪŲŊżǜĪŲ܉-ܶ1/4ŊĪ-®ŊÿŲŃŊÿŏ żŲƫĪƣǜÿƸżƣǣżłrǀƫŏĜ܉ܷ-ڔڒ

ڼڽ- ŏĜŤĪƣƫ܉-ܸܶ1/4ŊĪ-GƣĪÿƸĪƫƸ- ǀŧƸǀƣÿŧƫƫĪƸ-/ÿƫƸżł-®ǀĪǭ܉ܹܷ-ڏڒڔܨڎڒڔ

ڽڽ- -£ĪƣƫżŲÿŧ-ĜżŰŰǀŲŏĜÿƸŏżŲǝŏƸŊàÿŲŃðŊĪŲŃǣÿ܉-ĪŏšŏŲŃ܉-'ĪĜĪŰěĪƣ-ڎڌڌڎ

ڴڴڵ See "Ding Shande Festival," in: *CHIME*-ڑ-܉ܡڎڕڕڍܠ-ڐڐڍ

ڵڴڵ- -RÿŲŃ܉-ܶdŏŲŏÿŲ-FǀŧÿŲŤĪܹĪƣǣǀåǀhǀżƫŊŏ܉ܷ-ڌڍ

ڸڴڵ- -'ÿŏ܉-ܶ'ŏŲŃ-®ŊÿŲģĪǣŏŲǣǀĪ-ŲŏÿŲƠǀ-ĜŊÿŲŃěŏÿŲ܉ܷ-RÿŲŃ܉-ܶdŏŲŏÿŲ-FǀŧÿŲŤĪܹĪƣǣǀåǀhǀżƫŊŏ܉ܷÿŲģ-¥ŏŲ܉-ܶNǀŏǣŏàżĪƣłǀ-ŃÿŲŃ-FǀŧÿŲŤĪܹĪƣܷ

ڎ-ĜŊ®-܉ڒڕڐt-܉ĪƫƸݎhŏƸ- -ڹڴڵ

ںڴڵ- -RÿŲŃ܉-ܶdŏŲŏÿŲ-FǀŧÿŲŤĪܹĪƣǣǀåǀhǀżƫŊŏ܉ܷ-ڌڍ-RĪĪ-®ĜŊƇŲěĪƣŃ܉ *Harmonielehre*܉fǀƣƸŊ܉-*Grundlagen des linearen Kontrapunkts*.

ڻڴڵ- -RÿŲŃ܉-ܶdŏŲŏÿŲ-FǀŧÿŲŤĪܹĪƣǣǀåǀhǀżƫŊŏ܉ܷ-ڌڍ

Frescobaldi is also documented in *Afunktionelle Musik*-ڡڙښܤڒړܫږڒژڐܣ and in his arrangement of FƢĩƪěŻĚþŦĢŎܼƪ-FŎǛĩ-Ƣłþű-£Ŏĩěĩƪ-܌ڗڔܫږڔژڐܣfĩŦܒßܒ-ܒܤژژڐ


*¼þĚŦĩ-ڗܘژܑàŻŦŁłþűł-FƢþĩűţĩŦ݂ƪƪƷƿĢĩűƷƪ-Ŏű- 'nŎűþ*

Sű-Ʒ'nĩůĩůŻŎƢƪ-ŻŁ-'nŎƪƪƷƿĢĩűƷƪ܌-FƢþĩűţĩŦþƟƟĩþƢƪþƪþ-ƟƢĩěŎƪĩþűĢěŻůƟĩƷĩűƷĩĢƿěþƷŻƢ܌þƪǜĩŦŦ- þƪþűƿűěŻűǛĩűƷŎŻűþŦþűĢűŻűܮěŻűŁŻƢůŎƪƷƪƟŎƢŎƷܒð'nŻƿ-GƿþűłƢĩű܌ǜ'nŻ-ŦþƷĩƢ-Ěĩěþůĩ-Żűĩ-ŻŁ-Ʒ'nĩ- ŦĩþĢŎűł-ƟŎþűŎƪƷƪ-Ŏű- 'nŎűþ܌-ƢĩƟŻƢƷƪ-Ʒ'nþƷ-FƢþĩűţĩŦþƪţĩĢ-'nĩƢ-ƷŻ-ĢĩƷĩƢůŎűĩ-Ʒ'nĩ-ĚĩƪƷ-'nþƢůŻűŎě-ƟƢŻgression using a coin toss instead of following conventional harmony rules.ڢڙښ

ڎڒڎ-܉*Musik Afunktionelle*-܉FƣÿĪŲŤĪŧ-ĪĪ®- -ڼڴڵ

ڎڌڌڎܕڎڍܕڐ-܉ĪŏšŏŲŃ-܉ĜżŰŰǀŲŏĜÿƸŏżŲ-ĪƣƫżŲÿŧ-£ -ڽڴڵ

FƢþĩűţĩŦܼƪůŻƪƷ-ŎůƟŻƢƷþűƷƪƷƿĢĩűƷ܌-Rþűł-¼Żűł܌-ĚĩłþűǜŻƢţŎűłǜŎƷ'n-'nŎů-Ŏű-܌ڐړژڐƪƷƿĢǢŎűł- ƟŎĩěĩƪ-ĚǢ- ŦþƿĢĩ-'ĩĚƿƪƪǢ܌-SłŻƢ-®ƷƢþǛŎűƪţǢ܌-¦þŦƟ'nßþƿł'nþűàŎŦŦŎþůƪ܌ðŻŦƷÿűfŻĢÿŦǢ܌-ĪŦþþƢƷżţ܌þűĢ-ŦĩǡþűĢĩƢ-®ěƢŎþĚŎű-ܫþűĢ܌-ŦþƪƷ-ĚƿƷűŻƷ-ŦĩþƪƷ܌-ĚǢ-GƿƪƷþǛrþ'nŦĩƢ܌ǜ'nŻů-FƢþĩűţĩŦ-ĢĩƪěƢŎĚĩĢ- as "our great Master."ڙښښ-SƷƪĩĩůƪ܌-'nŻǜĩǛĩƢ܌-Ʒ'nþƷ-FƢþĩűţĩŦ-ŻűŦǢ-ŎűƷƢŻĢƿěĩĢ-Ʒ'nĩ-ƷǜĩŦǛĩܮƷŻűĩ-Ʒĩě'nűŎơƿĩ-ƷŻþƪůþŦŦłƢŻƿƟ-ŻŁ-'nŎƪƪƷƿĢĩűƷƪ-ܣRþűł-¼ŻűłþűĢæþűłæƿƪ'nŎܤ-ĚĩƷǜĩĩű-ڔړژڐþűĢ-܌ږړژڐ-ƟƢĩsumably using his own *Drei zweistimmige Praeludien*-ŁŻƢ-ƟŎþűŻ-܌ڔړژڐܣfĩŦܒßܒ-ښښښܒܤڑڗܫڏڗ-Rþűł-¼Żűłܼƪ- ȀƢƪƷ ěŻůƟŻƪŎƷŎŻűĩǡƟĩƢŎůĩűƷŎűłǜŎƷ'nþƷŻűþŦþűĢ- ƷǜĩŦǛĩܮƷŻűĩ- Ʒĩě'nűŎơƿĩ-ܫþűĢ- Ʒ'nƿƪ- ƟƢŻĚþĚŦǢ- Ʒ'nĩ-ȀƢƪƷþƷŻűþŦǜŻƢţ-ĚǢþűƪŎþűěŻůƟŻƪĩƢ-ܫ-Ŏƪ-*Yejing*-ܣtŎł'nƷ-®ěĩűĩƢǢ܌-ܤږړژڐ-ŁŻƢ-ǛŎŻŦŎűþűĢ-ƟŎþűŻ- ݑދܣSSS܌ܤڐܒěŻůƟŦĩƷĩĢ-Ŏű-FĩĚƢƿþƢǢ-ږړژڐƿűĢĩƢ-FƢþĩűţĩŦܼƪłƿŎĢþűěĩ-ܣ/ǡڛښښܒܤڒܒڒݑܒ Sang's next piece *Zai űþ-ǢþŻǢƿþű-Ģĩ-ĢŎŁþűł*-ܣSű-Ʒ'nĩhþűĢ܌-FþƢ܌-FþƢǜþǢܤ-ŁŻƢ-ƟŎþűŻ܌ěŻůƟŦĩƷĩĢ-ŦþƷĩƢ-Ŏű-܌ږړژڐǜþƪþŦƢĩþĢǢ- ǜƢŎƷƷĩűƿűĢĩƢ-Ʒ'nĩ-ĢŎƢĩěƷŎŻű-ŻŁdƿŦŎƿƪ-®ě'nŦŻƶ܌-FƢþĩűţĩŦܼƪƪƿěěĩƪƪŻƢڜښښܒ-'ƿĩ-ƷŻ-Ʒ'nĩŎƢ-ŻƢŎłŎűþŦþűĢ- technically sophisticated combination of Western and Chinese materials (the piano piece is ĚþƪĩĢ-Żűþ-'nŎł'nŦǢþĚƪƷƢþěƷĩĢ-ǛĩƢƪŎŻű-ŻŁ-Ʒ'nĩ-ŁŻŦţƪŻűłůĩűƷŎŻűĩĢ-Ŏű-Ʒ'nĩ-ƷŎƷŦĩ܌ܤ-ĚŻƷ'něŻůƟŻƪŎƷŎŻűƪ- ܫ-ŁþƢ-ŁƢŻůűþŎǛĩ-ŁŻŦţŦŻƢŎƪů-ܫěþű-ĚĩěŻűƪŎĢĩƢĩĢţĩǢǜŻƢţƪ-ŻŁ- 'nŎűĩƪĩůƿƪŎěþŦůŻĢĩƢűŎƷǢ܌ĩǛĩű- ŎŁ-ƟŻŦŎƷŎěþŦ-ƷƿƢůŻŎŦþűĢrþŻŎƪƷěƿŦƷƿƢþŦ-ƟŻŦŎěǢůĩþűƷ-Ʒ'nþƷ-Ʒ'nĩǢ-ŻűŦǢƪŦŻǜŦǢ-'nþĢþű-ŎůƟþěƷþǼ ƷĩƢ- ܒڗږژڐȃĩǢǜĩƢĩ-ƟƢĩůŎĩƢĩĢ-Ŏű-ڗړژڐþƷ-Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪ-SűŁŻƢůþƷŎŻű-®ĩƢǛŎěĩ-Ŏű-®'nþűł'nþŎ-ĚǢfþƢŦ- ®ƷĩŎűĩƢþƪ-ƟŎþűŎƪƷþűĢ-Ʒ'nĩ-ǛŎŻŦŎűŎƪƷð'nþűł-GƿŻŦŎűł܌ǜ'nŻ-ĢŎĩĢƪ'nŻƢƷŦǢ-Ʒ'nĩƢĩþǼ ƷĩƢܒ

As outlined in the previous part of this chapter, a modernist-driven compositional treatůĩűƷ-ŻŁ- ŁŻŦţ ƪŻűłůþƷĩƢŎþŦ- ĚþƪĩĢ-Żű- Ʒ'nĩůŻĢĩŦ-ŻŁ-ĪŦþþƢƷżţ܌- FƢĩűě'n܌þűĢ-¦ƿƪƪŎþű ěŻůƟŻƪĩƢƪ-'nþĢ-ĚĩĩűǜŎĢĩƪƟƢĩþĢ-Ŏű- 'nŎűþþűĢdþƟþűƪŎűěĩ-Ʒ'nĩ-ŎűǴŦƿĩűěĩ-ŻŁ-ŦĩǡþűĢĩƢ-¼ě'nĩƢĩƟűŎű-Ŏű- Ʒ'nĩůŎĢڏڒژڐܮƪ-ݑދܣSSSܒܤڐܒ-Rþűł-¼Żűłܼƪ*ðþŎűþ-ǢþŻǢƿþű-Ģĩ-ĢŎŁþűł-*Ʒþţĩƪ-Ʒ'nŎƪěŻűěĩƟƷ-ƷŻþűĩǜ-ŦĩǛĩŦ- through the inclusion of atonal harmony and "prose rhythms" analogous to Schoenberg's early ƟŎþűŻ-ƟŎĩěĩƪܒȃĩ-'nĩƟƷþƷŻűŎě-ŁŻŦţƪŻűł-ŁƢŻů-Ʒ'nĩűŻƢƷ'nǜĩƪƷ- 'nŎűĩƪĩ-ƟƢŻǛŎűěĩ-ŻŁ-¥Ŏűł'nþŎþŦŦƿĢĩĢ- ƷŻ-Ŏű-Ʒ'nĩ-ƷŎƷŦĩ-Ŏƪ-ƷƢĩþƷĩĢ-Ŏű-ȀǛĩ-ǛþƢŎþƷŎŻűƪ܌-ƷŻǜ'nŎě'n-®þűł-¼ŻűłþƪƪŎłƪ-ܹŦŻűłŎűłƪƷþƷĩƪܺ-ܣܹĢĩĩƟ܌ܺ-ܹƪŎűěĩƢĩ܌ܺ-ܹƟþƪƪŎŻűþƷĩ܌ܺ-ܹŎűƷŎůþƷĩ܌ܺþűĢ-ܹĩǡěŎƷĩĢܺ-ŦŻűłŎűłܒܤ-SƷ-ŎƪƪƷƢŎţŎűł-Ʒ'nþƷ-Ʒ'nĩěĩűƷƢþŦě'nŻƢĢƪ- þƷ-Ʒ'nĩ-ĚĩłŎűűŎűłþƢĩ-ĚþƪĩĢ-Żű-ƷƢŎƷŻűĩƪþűĢƪĩǛĩűƷ'nƪ-ܣ/ǡܤړܒڒݑܒþűĢþƢĩ-ŎűěƢĩþƪŎűłŦǢ-ƢĩƟŦþěĩĢ-ĚǢ- ŻěƷþǛĩƪ-ŁƢŻů-Ʒ'nĩ-Ʒ'nŎƢĢ-ǛþƢŎþƷŎŻűƿƟ-ƷŻ-ĢŻƿĚŦĩ-ŻěƷþǛĩƪ-Ŏű-Ʒ'nĩ-ȀǼƷ'n܌-Ŏűǜ'nŎě'n-Ʒ'nĩ-ŁŻŦţƪŻűłűŻǜ- þƟƟĩþƢƪěŦĩþƢŦǢ-ŎűþƟŻƷ'nĩŻƷŎě-ŁŻƢůܒ-'ĩƪƟŎƷĩ-Ʒ'nŎƪþűƷŎěŎƟþƷŎŻű-ŻŁ-Ʒ'nĩƿĚŎơƿŎƷŻƿƪ-ƟþƷ'nŻƪ-ŻŁ- 'nŎűĩƪĩ-ƟŻŦŎƷŎěþŦůƿƪŎě- ŁƢŻů- ڏڔژڐ- ƷŻ- ܌ڗږژڐ-RþűłܼƪǜŻƢţłŎǛĩƪþű-ŎůƟƢĩƪƪŎǛĩ-ŻƿƷŦŎűĩ-ŻŁǜ'nþƷűĩǜ- 'nŎűĩƪĩůƿƪŎěěŻƿŦĢ-'nþǛĩ-ŦŻŻţĩĢ-ŦŎţĩ-ŎŁ-Ʒ'nŎƪ-ĢĩǛĩŦŻƟůĩűƷ-'nþĢűŻƷ-ĚĩĩűěƿƢƷþŎŦĩĢ-ĚǢ-ƟŻŦŎƷŎěþŦ- þűĢƪŻěŎþŦƿƟ'nĩþǛþŦƪ-ܫ-Ʒ'nĩěŎǛŎŦǜþƢ-ŁƢŻů-ږړژڐ-ƷŻ-ژړژڐþűĢ-Ʒ'nĩ-ƷþţĩŻǛĩƢ-ŻŁ-Ʒ'nĩ- ŻůůƿűŎƪƷ-£þƢƷǢ- Ŏű-ܒژړژڐ-SƷǜþƪ-ŻűŦǢþǼ ƷĩƢ-ڗږژڐ-Ʒ'nþƷþűĩǜłĩűĩƢþƷŎŻű-ŻŁěŻůƟŻƪĩƢƪ܌-Ʒ'nĩ-ܹtĩǜàþǛĩܺ-ܣ*xinchao*܌ܤěŻƿŦĢ-Ƣĩƪƿůĩ-Ʒ'nŎƪ-ܹƪ'nŻƢƷƪƿůůĩƢܺ-ŻŁ- 'nŎűþܼƪůƿƪŎěþŦůŻĢĩƢűŎƷǢ-ݑދܣSSSܒܤړܒ

ڴڵڵ- -RÿŲŃ܉-ܶdŏŲŏÿŲ-FǀŧÿŲŤĪܹĪƣǣǀåǀhǀżƫŊŏ܉ܷ-ڌڍ-ĜĜżƣģŏŲŃ-Ƹż-®ÿŲŃ-¼żŲŃ܉-FƣÿĪŲŤĪŧ-ĪǜĪŲěƣżǀŃŊƸÿrÿŊŧĪƣ-ܶÿǀƸżŃƣÿƠŊܷ- ǝŏƸŊ-ŊŏŰ-Ƹż-®ŊÿŲŃŊÿŏ܉ǝŊŏĜŊ-ŊĪƫŊżǝĪģ-Ƹż-Ŋŏƫ-ŰÿƫƸĪƣƫƸǀģĪŲƸ-ܠŏěŏģ܉-ܡڍڍ-NżǝĪǜĪƣ܉ŏƸƫĪĪŰƫ-ǀŲŧŏŤĪŧǣ-ƸŊÿƸ-FƣÿĪŲ-ŤĪŧŏŲģĪĪģżǝŲĪģÿrÿŊŧĪƣ-ŰÿŲǀƫĜƣŏƠƸ

ڎڌڌڎܕڍڍܕڕڎ-ĜżŰŰǀŲŏĜÿƸŏżŲ-ƠĪƣƫżŲÿŧÿŲģ-ڌڍ-܉Sěŏģ- -ڵڵڵ

ڶڵڵ- -'ĪƸÿŏŧĪģÿŲÿŧǣƫĪƫżł-ƸŊŏƫǝżƣŤ-ĜÿŲěĪłżǀŲģŏŲðŊĪŲŃ܉-ܶRÿŲŃ-¼żŲŃģĪæĪšŏŲŃƫŊŏƫŊŏܷÿŲģ-ĪƫƠĪĜŏÿŧŧǣŏŲ- ŊĪżŲŃ܉- ܶ¦ĪÿģŏŲŃ-®ĜŊżĪŲěĪƣŃ܉-NŏŲģĪŰŏƸŊ܉ÿŲģfǀƣƸŊŏŲ-®ÿŲŃ-¼żŲŃ܉ܷ-ړڕܨڑڕ-RĪĪ-SSS܉ڍłżżƸŲżƸĪ-܉ڏڎłżƣłǀƣƸŊĪƣģĪƸÿŏŧƫ-

ڷڵڵ- -FżƣÿģŏƫĜǀƫƫŏżŲżł-ƸŊŏƫ-ƠŏĪĜĪ܉ƫĪĪfżǀǝĪŲŊżǜĪŲ܉-ܶrÿŏŲŧÿŲģ- ŊŏŲÿܹƫtĪǝrǀƫŏĜ-ܠS܉ܡܷ-܉ڑڔrŏƸƸŧĪƣ܉-*Dangerous Tunes*, ܉ڍڑڏܨڌڑڏÿŲģ- ŊĪżŲŃ܉-ܶ¦ĪÿģŏŲŃ-®ĜŊżĪŲěĪƣŃ܉-NŏŲģĪŰŏƸŊ܉ÿŲģfǀƣƸŊŏŲ-®ÿŲŃ-¼żŲŃ܉ܷ-ڏڕܨڔڔ-'ǀƣŏŲŃ-ŊŏƫżŲĪǣĪÿƣ- ÿƸ-ƸŊĪ-ĜżŲƫĪƣǜÿƸżƣǣ܉dǀŧŏǀƫ-®ĜŊŧżƷ-ܠǝŊżŧĪǽ Ƹ-®ŊÿŲŃŊÿŏżŲĪǣĪÿƣÿǽ ƸĪƣ-FƣÿĪŲŤĪŧŏŲ-ܡڔڐڕڍǝƣżƸĪ-Ƹǝż-*Chinesische Rhapsodien*łżƣßŏżŧŏŲÿŲģƣĜŊĪƫƸƣÿ-ڔڐܕړڐڕڍܠÿŲģ-ܡڕڐܕڔڐڕڍÿǽ ƸĪƣ-ŊĪ-Ŋÿģ-ƸżƫƸżƠ-ĜżŰƠżƫŏŲŃěĪƸǝĪĪŲ-ڑڏڕڍÿŲģ- ړڐڕڍģǀĪ-Ƹż-ƠĪƣƫĪĜǀƸŏżŲ܉ģĪƸĪŲƸŏżŲ-ܠ'ÿĜŊÿǀ żŲĜĪŲƸƣÿƸŏżŲ ÿŰƠ܉ܡÿŲģ-ƸŊĪ-ŊÿƣģŧŏłĪŏŲ-®ŊÿŲŃŊÿŏ-ĪǢŏŧĪ-ܠFƣŏĜŤĪ܉- ܶdǀŧŏǀƫ-®ĜŊŧżƷܷܡ

Example 3.3: Sang Tong, Yejing for violin and piano, p. 1

Copyright © 1947 by Sang Tong, Shanghai

From this perspective, although Fraenkel's contribution to musical modernity in China may appear rather marginal, one must take into account how his modernist-informed view of early – European and Asian – musics had a lasting impact on the musical thinking of an entire generation. In fact, many former students agree that of all the teachers and artists, Fraen-

 żƠǣƣŏŃŊƸ-ޣ-ړڐڕڍěǣ-®ÿŲŃ-¼żŲŃ܉-RŊÿŲŃŊÿŏڑڌڌڎܕěǣ-®ŊÿŲŃŊÿŏæŏŲǣǀĪ-ŊǀěÿŲƫŊĪ

ţĩŦ- 'nþĢ- Ʒ'nĩ łƢĩþƷĩƪƷ-ŎűǴŦƿĩűěĩ-Żű- Ʒ'nĩŎƢ-ǛŎĩǜ-ŻŁůƿƪŎěڝښښܒȃŎƪþƟƟƢĩěŎþƷŎŻű ƪĩĩůƪ ěŻůƟŦĩƷĩŦǢ- ƟŦþƿƪŎĚŦĩ܌űŻƷ-ŦĩþƪƷǜŎƷ'n-ƢĩŁĩƢĩűěĩ-ƷŻ-FƢþĩűţĩŦܼƪ-ĢĩůþűĢ-ŁŻƢþű-ŎűĢĩƟĩűĢĩűƷþűĢƪĩŦŁܮþƪƪƿƢĩĢ- ĢĩǛĩŦŻƟůĩűƷ-ŻŁ- 'nŎűĩƪĩůƿƪŎěþŦůŻĢĩƢűŎƷǢ܋-FƢþĩűţĩŦܼƪůþűƿƪěƢŎƟƷ-ܹrƿƪŎěܮ'ĩǛĩŦŻƟůĩűƷ܌ܓܺþƟ-ƟþƢĩűƷŦǢĩĢŎƷĩĢþűĢ-ƷƢþűƪŦþƷĩĢ-ĚǢ-'nŎƪƪƷƿĢĩűƷð'nƿdŎþű-ܤڗڏڏڑܫړڑژڐܣ-ŎűěƷŻĚĩƢ-ڔړژڐƿűĢĩƢ-Ʒ'nĩ- title *àĩŎŦþŎ-Ģĩð'nŻűłłƿŻ-ǢŎűǢƿĩ*-ܣȃĩ-FƿƷƿƢĩ-ŻŁ- 'nŎűĩƪĩrƿƪŎěܤ-Ŏű-Ʒ'nĩ-ȀƢƪƷĩĢŎƷŎŻű-ŻŁ*rƿƪŎěàĩĩţŦǢ*,

ڸڵڵ- -£ĪƣƫżŲÿŧ-ĜżŰŰǀŲŏĜÿƸŏżŲǝŏƸŊ-ƸŊĪ-FƣÿĪŲŤĪŧƫƸǀģĪŲƸƫ-®ÿŲŃ-¼żŲŃ܉ðŊżǀ-GǀÿŲŃƣĪŲ܉àÿŲŃðŊĪŲŃǣÿ܉ÿŲģ-'ǀÿŲ- £ŏŲŃƸÿŏ܉-RŊÿŲŃŊÿŏÿŲģ-ĪŏšŏŲŃ܉-ڍڍܕڕڎ-Ƹż-ڎڌڌڎܕڎڍܕڑڌ

þƪ'nŻƢƷܮŦŎǛĩĢǜĩĩţŦǢ-ƟþƟĩƢ-ƟƢŻĢƿěĩĢ by the *Gƿþűł'nƿþ-'þŎŦǢ*, ڞښښ-ƟƢŻǛĩƪ- Ʒ'nþƷ-FƢþĩűţĩŦ-ƢĩǴŦĩěƷĩĢ- Ŏűþ-ŁŻƢǜþƢĢܮŦŻŻţŎűłǜþǢ-Żű-Ʒ'nĩěƿƢƢĩűƷƪŎƷƿþƷŎŻű-ŻŁ- 'nŎűĩƪĩůƿƪŎěþűĢ-ƷŻŻţþ-ǛĩƢǢƿűƿƪƿþŦ- ǛŎĩǜ-ŁŻƢþ-/ƿƢŻƟĩþűþƷ-Ʒ'nĩ-ƷŎůĩܒ-NĩþƢłƿĩĢ-Ʒ'nþƷ-Ʒ'nĩ-/ƿƢŻƟĩþűůƿƪŎěþŦ-ƷƢþĢŎƷŎŻűƪ'nŻƿŦĢűŻƷ-Ěĩ- þĢŻƟƷĩĢƿűěƢŎƷŎěþŦŦǢ-ĚǢ- 'nŎűĩƪĩþƢƷŎƪƷƪ܌þűĢ- Ʒ'nþƷ- Ʒ'nĩůþŎű- Ʒþƪţ- ŁŻƢ- Ʒ'nĩ- ŁŻƢůþƷŎŻű-ŻŁþůĩþűܮ ŎűłŁƿŦƪǢűƷ'nĩƪŎƪ-ŁĩŦŦ-ƷŻ-Ʒ'nĩ- 'nŎűĩƪĩůƿƪŎěŎþűƪ-Ʒ'nĩůƪĩŦǛĩƪ܌űŻƷ-Ʒ'nĩ-/ƿƢŻƟĩþűƪ-ܣFƢþĩűţĩŦܼƪƪŻůĩܮ ƷŎůĩƪƿűŎĢŎŻůþƷŎě-/űłŦŎƪ'nþűĢ-ŻƢƷ'nŻłƢþƟ'nǢ-'nþǛĩűŻƷ-ĚĩĩűůŻĢŎȀĩĢ܋ܤ

One of the most important problems regarding the future music-life in China is the relationship ěĪƸǝĪĪŲ-ĜŊŏŲĪƫĪÿŲģǝĪƫƸĪƣŲ-ŰǀƫŏĜ żŰěŏŲÿƸŏżŲżł-ƸŊĪƫĪěżƸŊģŏǜĪƣŃĪŲƸěƣÿŲĜŊĪƫżł-ŰǀƫŏĜܫ ÿƣƸƫĪĪŰƫÿģǜŏƫÿěŧĪżŲÿĜĜżǀŲƸżł-ƸŊĪłǀŲģÿŰĪŲƸÿŧ-ĜŊÿƣÿĜƸĪƣżłǝĪƫƸĪƣŲ-ŰǀƫŏĜ܈-Ƹż-ĜżŲĜĪŏǜĪÿŲģ- ǝƣŏƸĪ-ĜżŲĜĪƣƸĪģ-ŰǀƫŏĜ

¼ŊĪ ǝĪƫƸĪƣŲ- ŰǀƫŏĜŏÿŲ- ĜÿŲŲżƸ ƫŊÿƠĪ ÿ- ŲĪǝ ģĪǜĪŧżƠŰĪŲƸ żł- ĜŊŏŲĪƫĪ- ŰǀƫŏĜ܉- ŊĪ żŲŧǣ- ĜÿŲ- ƠƣĪܫ ƠÿƣĪ-ƸŊĪǝÿǣ܉-ƠĪƣŊÿƠƫ-Ƹƣǣ-Ƹż-ĪǢĪƣƸƫżŰĪ-ŤŏŲģżłŏŲǵŧǀĪŲĜĪܔ-ƸŊĪ-ĜżŰƠŧĪƸŏżŲ-ŰǀƫƸěĪ-ĜÿƣƣŏĪģżǀƸ- ěǣ-ĜŊŏŲĪƫĪ-ĜżŰƠżƫĪƣƫ-SƸǝŏŧŧěĪ-ǀƠ-Ƹż-ƸŊĪŰ܉ǿƣƫƸ-Ƹżÿěƫżƣě-ƸŊĪ-ƸĪĜŊŲŏĜÿŧÿŲģƫĪŲƫÿƸŏżŲÿŧŏƸĪŰƫ- żłǝĪƫƸĪƣŲÿƣƸ܉ÿŲģ-ƸŊĪŲ-ƸżǿŲģżǀƸǝÿǣƫ-ƸżłżƣŰ-ĜżŲŲĪǢŏżŲƫ-Ƹż-ƸŊĪ-ĪǢŏƫƸŏŲŃ-ܠżŧģܡ-ĜŊŏŲĪƫĪ-ŰǀƫŏĜ- ǝŏƸŊżǀƸģŏƫƸǀƣěŏŲŃŏƸܹƫ-ĜŊÿƣÿĜƸĪƣŏƫƸŏĜ-ƠĪĜǀŧÿƣŏƸŏĪƫ

¼żšǀģŃĪ-ƸŊĪ-ƠƣżƫƠĪĜƸƫżłÿģĪǜĪŧżƠŰĪŲƸżłƫǀĜŊ-ŤŏŲģŏƫƣÿƸŊĪƣģŏdz ǿĜǀŧƸ܉ÿƫ-ƸŊĪƣĪÿƣĪ-ŲżƸ-ŰÿģĪ- ĪǜĪŲěĪŃŏŲŲŏŲŃƫǣĪƸ-SÿŰ-ĜżŲǜŏŲĜĪģ-ƸŊÿƸŏƸǝŏŧŧěĪżł-Ųż-ǀƫĪłżƣ-ĜŊŏŲĪƫĪ-ŰǀƫŏĜŏÿŲƫ-Ƹż-ĜƣĪÿƸĪ-ƸǣƠŏ-ĜÿŧǝĪƫƸĪƣŲ-ŰǀƫŏĜ܈ƫǀĜŊǝżƣŤ-ŰĪÿŲƫ-ŲĪŏƸŊĪƣģĪǜĪŧżƠŰĪŲƸ-Ųżƣ-ƠƣżŃƣĪƫƫܔ-ŰÿǣěĪŏƸŏƫƣĪŰÿƣŤÿěŧĪ- ÿŲģ-ŲżƸĪǝżƣƸŊǣ܉ěǀƸŏƸƣĪŰÿŏŲƫ-ƸżěĪƫżŰĪ-ŤŏŲģżł-ĜżƠǣ܉ÿƫ-ƸŊĪŏŲŲĪƣŰżƫƸłĪĪŧŏŲŃŏƫ-ŊĪƸĪƣżŃĪ-ŲĪżǀƫ-¼ŊĪ-ĪƫƫĪŲƸŏÿŧ-ŤŲżǝŧĪģŃĪżłǝĪƫƸĪƣŲ-ŰǀƫŏĜƫŊżǀŧģěĪ-ƸŊĪěÿƫŏƫżŲŧǣ܉ǝŊŏĜŊŏƸŏƫ-ŲĪĜĪƫƫÿƣǣ- ƸżÿģǜÿŲĜĪłƣżŰ܉ÿŲÿģǜÿŲĜĪǝŊŏĜŊ-ŰÿǣŏŲłÿĜƸ-ŊżŧģżǀƸŏŲĜÿŧĜǀŧÿěŧĪ-ƠƣżƫƠĪĜƸƫ

¼ż-Űǣ-ŰŏŲģ-ƸŊĪ-ƸĪĜŊŲŏĜÿŧƫƸÿƣƸŏŲŃܫƠżŏŲƸłżƣÿƸƸĪŰƠƸƫżłƫǀĜŊ-ŤŏŲģŏƫ-ŲżƸ-ƸŊĪ-ŰǀƫŏĜżł-ƸŊĪ-ĜŧÿƫƫŏĜ- ƠĪƣŏżģżłǝĪƫƸĪƣŲ-ŰǀƫŏĜ-¼ŊĪ-ŲĪǝĪƫƸģĪǜĪŧżƠŰĪŲƸŏŲ-/ǀƣżƠĪģĪŰżŲƫƸƣÿƸĪģ-ƸŊÿƸ-ƸŊĪ-ĜŧÿƫƫŏĜ-ƠĪƣŏżģŏƫƫżŰĪ-ƸĪƣŰŏŲÿƸĪģ-ǀŲŏƸǝŊŏĜŊ-Ŋÿƣģŧǣ-ĜÿŲ-ƠƣżģǀĜĪ-ŲĪǝżdz łƫƠƣŏŲŃƫżłƣĪÿŧǜÿŧǀĪ-¼ŊĪ-ŰżģĪƣŲ- ǝĪƫƸĪƣŲ-ŰǀƫŏĜ܉ǝŊŏĜŊŏƫģĪǜĪŧżƠĪģƫŏŲĜĪÿěżǀƸ-ڌڐǣĪÿƣƫ܉łżǀŲģŏƸܹƫ-ƠżŏŲƸżł-ĜżŲƸÿĜƸŏŲ-ƸŊĪ-ĪǜĪŲƸƫ- żł-ƸŊĪ-ƠƣĪĜŧÿƫƫŏĜ-ŰǀƫŏĜÿŲģ-ĜżǀŲƸĪƣƠżŏŲƸǝŊŏĜŊ-ŃŏǜĪ-ŰżƣĪłƣĪĪģżŰÿŲģ-ƢǀŏƸĪżƸŊĪƣ-ƠżƫƫŏěŏŧŏƸŏĪƫ- żł-ĪǜżŧǀƸŏżŲ-NĪƣĪƫĪĪŰƫ-ƸżěĪ-ƸŊĪǝÿǣ-ƸżŏŲƫĪƣƸ-ƸŊĪłǀŲģÿŰĪŲƸÿŧ-ƠƣŏŲĜŏƠżł-ĜżŲĜĪƣƸĪģ-ŰǀƫŏĜ-Ƹż- ÿƫǣƫƸĪŰǝŊŏĜŊŏƫŏŲǝÿƣģŧǣ-ŲżƸ-ĜżŲŲĪĜƸĪģǝŏƸŊ-ƸŊĪǝĪƫƸĪƣŲ-ŰǀƫŏĜܫŏģĪÿƫڜڗڗ

ȃŎƪ- ƟĩƢƪƟĩěƷŎǛĩ܌ ǜ'nŎě'n þĢĢĩĢ űĩǜ ĩŦĩůĩűƷƪ- ƷŻ- Ʒ'nĩ- ĢŎƪěŻƿƢƪĩ- Żű űĩǜ- 'nŎűĩƪĩ ůƿƪŎě ĩƪƷþĚܮ ŦŎƪ'nĩĢ-ĚǢ-ȀłƿƢĩƪ-ŦŎţĩ-Ǜƪ'nþŦŻůŻǛþűĢ-¼ě'nĩƢĩƟűŎű܌-ĢŎĢűŻƷƪĩĩ-Ʒ'nĩ-ŁƿƷƿƢĩ-ŻŁ-ܹěŻűěĩƢƷþűƷĩܺ- 'nŎűĩƪĩůƿƪŎě-ŎűěŻűűĩěƷŎŻű- ƷŻ- Ʒ'nĩ- ŦþƪƪŎěþŦܮ¦ŻůþűƷŎě-/ƿƢŻƟĩþű- ƷƢþĢŎƷŎŻűܒȃŎƪ- ƷƢþĢŎƷŎŻű܌-'nŻǜܮ ĩǛĩƢ܌ǜþƪ-Ʒ'nĩůþŎűƪƷƢĩþů-ƟƢþěƷŎěĩ-ŻŁ- 'nŎűĩƪĩěŻůƟŻƪĩƢƪ-ĢƿƢŎűł-Ʒ'nĩ-ڏڒژڐƪþűĢ-ڏړژڐƪ܌þűĢ܌-Ģĩܮ spite many attempts at reform, it was largely retained until the end of the Cultural Revolution. FƢþĩűţĩŦܼƪ- ƟĩƢƪƟĩěƷŎǛĩ܌- Ŏű ěŻűƷƢþƪƷ- ƷŻ- Ʒ'nŎƪ ěŻůůŻű- ƟƢþěƷŎěĩ܌- ƢĩěŻůůĩűĢĩĢ- Ʒ'nþƷ ěŻůƟŻƪĩƢƪ- ěŦþŎůþűþŦƷĩƢŎƷǢ-ƷŻ-Ʒ'nŎƪ- ŦþƪƪŎěþŦܮ¦ŻůþűƷŎě-ƷƢþĢŎƷŎŻű-ŎűþűþŦŻłǢ-ƷŻ-/ƿƢŻƟĩþűűĩǜůƿƪŎě܌-ƟŻƪ-

ڹڵڵ- -/Űÿŏŧ-ĜżŰŰǀŲŏĜÿƸŏżŲǝŏƸŊðŊÿŲŃæŏ܉-RŊÿŲŃŊÿŏ܉-܉ڏڌڌڎܕڑڌܕڍڏǝŊżŏŲƸĪƣǜŏĪǝĪģðŊǀdŏÿŲżŲ-Ŋŏƫ-ƸĪÿĜŊĪƣ-FƣÿĪŲŤĪŧ- ¼ŊĪǿƣƫƸÿŲģżŲŧǣ-ĪģŏƸŏżŲżł-*Music Weekly*ÿŧƫżŏŲĜŧǀģĪģÿƣƸŏĜŧĪƫěǣ-Fǀ żŲŃÿŲģ-®ŊĪŲðŊŏěÿŏ

ںڵڵ- -1/4ǝżܫƠÿŃĪ-ƸǣƠĪƫĜƣŏƠƸģÿƸĪģ-ܶĜƸżěĪƣ-ڑڐڕڍܷŏŲŧŏƸݎĪƫƸ܉t-܉ڒڕڐ-RĜŊܔڏݎ-ŊÿŲģǝƣŏƸƸĪŲģƣÿǽ ƸƫŏŲ-GĪƣŰÿŲÿŲģ-/ŲŃŧŏƫŊ- ǀŲģĪƣ- ƸŊĪ ƫŤĪƸĜŊĪƫ łżƣ- ƸŊĪ żƠĪƣÿ *Hölle, Weg, Erde* ܠŰǀƫ- ĪƫƸ܉ rǀƫŰƫ- ܉ڑڌڒڕڍ ƫǀƠƠŧĪŰĪŲƸ܈- ǀŲŲǀŰěĪƣĪģ- ƫŊĪĪƸ ÿŲģ rǀƫŰƫ- ܉ڑڌڒڕڍ- ڒڕ ǜĪƣƫżܡ-R ŏŲĜĪ- FƣÿĪŲŤĪŧ- ĜżǀŲƸĪģ- ƸŊĪǝżƣģƫ ŏŲ- ƸŊĪ- ŊÿŲģǝƣŏƸƸĪŲ ǜĪƣƫŏżŲ܉ żŲĪ- ĜÿŲ- ÿƫƫǀŰĪ-ƸŊÿƸ-ƸŊĪ-ƸĪǢƸǝÿƫŏŲƸĪŲģĪģłżƣ-ƠǀěŧŏĜÿƸŏżŲ

ƪŎĚŦǢþŦƪŻ-ŎűěŻůĚŎűþƷŎŻűǜŎƷ'n-ƟƢĩܮ ŦþƪƪŎěþŦ-/ƿƢŻƟĩþűůƿƪŎě-ŁŻƢůƪ܌-ĚƿƷěĩƢƷþŎűŦǢǜŎƷ'nþƪƿƪܮ tained orientation toward the Chinese music tradition.

ƪ ƪ'nŻǜű-Ŏű- ƟþƢƷ- ڐ-ŻŁ- Ʒ'nŎƪ ě'nþƟƷĩƢ܌ ƪĩǛĩƢþŦ ĩDz ŁŻƢƷƪ- 'nþĢ- ĚĩĩűůþĢĩ- ĚǢ- 'nŎűĩƪĩ- ƢĩŁŻƢůĩƢƪ- þűĢ-ƢĩƪĩþƢě'nĩƢƪƪŎűěĩ-Ʒ'nĩ-ڏڐژڐƪ-ܫ-ŦŎţĩàþűł-GƿþűłơŎ-܌ܤڕڒژڐܫڑژڗڐܣhŎƿ-¼Ŏþű'nƿþ-ŻƢæþűłæŎűŦŎƿ- ܌ܤړڗژڐܫژژڗڐܣǜ'nŻěƢŎƷŎěŎǬĩĢ-Ʒ'nĩƪƟƢĩþĢŎűł-ŎűǴŦƿĩűěĩ-ŻŁàĩƪƷĩƢűůƿƪŎě-Ŏű- 'nŎűþ-ܫ-ƷŻ-ƢĩǴŦĩěƷ-Żű- þƪǢűƷ'nĩƪŎƪ-ŻŁ- 'nŎűĩƪĩþűĢ-/ƿƢŻƟĩþűůƿƪŎě-Ŏű-Ʒ'nĩǜþţĩ-ŻŁ-Ʒ'nĩrþǢ-FŻƿƢƷ'nrŻǛĩůĩűƷ-ݑދܣSSSܒܤڐܒ-Criticism of Western music, however, usually had a nationalist angle and was commonly directed exclusively against the Classical-Romantic music tradition, not against Western modĩƢűŎƪůܒ-Sű-Ʒ'nĩƪþůĩ-ƟĩƢŎŻĢ܌-ĢƿƢŎűł-'nŎƪǜŻƢţ-Żű-Ʒ'nĩ-ŎűǴŦƿĩűƷŎþŦ*ð'nŻűłłƿŻłƿĢþŎ-ǢŎűǢƿĩƪ'nŎłþűł* (A 'ƢþǼ Ʒ-NŎƪƷŻƢǢ-ŻŁűěŎĩűƷ- 'nŎűĩƪĩrƿƪŎě܌-܌ܤړړژڐæþűłæŎűŦŎƿǜƢŻƷĩ-Ŏű-'nŎƪþƢƷŎěŦĩ-ܹGƿŻǢƿĩơŎþűƷƿ- ŠŎơŎ-ǢþűŠŎƿܺ-ܣȃĩ-FƿƷƿƢĩ-ŻŁtþƷŎŻűþŦrƿƪŎěþűĢ-SƷƪ-®ƷƿĢǢ܌ܤ-ƟƿĚŦŎƪ'nĩĢ-Ŏű-Ʒ'nƢĩĩ-ŎűƪƷþŦŦůĩűƷƪ-ŁƢŻů- ܋ړړژڐ-ƷŻ-ڑړژڐ

àĪƫƸĪƣŲ-ŰǀƫŏĜ-ŊÿƫÿŧƣĪÿģǣ-ŊÿģÿŲÿdz łĪĜƸ-ܞ*sic*ܟżŲ- ŊŏŲĪƫĪ-ĜǀŧƸǀƣĪ܉ÿŲģǝĪ-ŊÿǜĪ-ĪŲĜżǀŲƸĪƣĪģ-ƠƣżěŧĪŰƫ-ŊĪƣĪǝŊŏĜŊǝĪ-ŊÿǜĪ-ŲĪǜĪƣ-ŰĪƸǝŏƸŊěĪłżƣĪ-ܟ܊ܞ żŲƫĪƢǀĪŲƸŧǣ܉-ƸŊĪģĪǜĪŧżƠŰĪŲƸżłàĪƫƸܫ ĪƣŲ-ŰǀƫŏĜ-ܨ-ǀŲƠƣżěŧĪŰÿƸŏĜŏŲŏƸƫżǝŲ-ĜżŲƸĪǢƸ-ܨŏƫ-ŊŏŃŊŧǣ-ƠƣżěŧĪŰÿƸŏĜŏŲ- ŊŏŲÿ܉ǝŊŏĜŊ-ŊÿƫŏƸƫżǝŲ- ŊŏƫƸżƣǣ܉ŧŏłĪ-ĜǀƫƸżŰƫ܉ÿŲģ-ŲÿƸŏżŲÿŧěÿĜŤŃƣżǀŲģ-ܟ܊ܞ-£ÿƣƸżł-ƸŊŏƫ-ƠƣżěŧĪŰǝŏƸŊƣĪŃÿƣģ-ƸżàĪƫƸĪƣŲ- ŰǀƫŏĜÿŲģ-ŲÿƸŏżŲÿŧ-ŰǀƫŏĜŏŲ- ŊŏŲÿ-ĪŰĪƣŃĪƫłƣżŰ-ƸŊĪŏƣ-ŰǀƸǀÿŧƣĪŧÿƸŏżŲƫŊŏƠܔŏƸƫłǀƸǀƣĪƣĪƫżŧǀƸŏżŲ- ŰǀƫƸÿŧƫżěĪ-ƠƣĪƫĪŲƸŏŲ-ƸŊĪŏƣŏŲƸĪƣƣĪŧÿƸŏżŲƫŊŏƠ܈-ƸŊĪ-ƠƣżƠĪƣ-ĜżǀƣƫĪżłģĪǜĪŧżƠŰĪŲƸżł-ĪÿĜŊ܉ǜĪƣǣ- Ơƣżěÿěŧǣ܉ǝŏŧŧěĪÿ-ĜżŰŰżŲżŲĪ-ܟ܊ܞtÿƸŏżŲÿŧ-ŰǀƫŏĜ-ŊÿƫƫżłÿƣłżŧŧżǝĪģŏƸƫżǝŲ-ƠÿƸŊ܉ěǀƸ-ƸżģĪǜĪŧżƠłǀƣƸŊĪƣ܉àĪƫƸĪƣŲ-ŰǀƫŏĜ܉ƣÿƸŊĪƣ-ƸŊÿŲěĪŏŲŃƫǝÿŧŧżǝĪģǝŊżŧĪŏŲ- ŊŏŲÿ-ŰǀƫƸěĪ-ƠƣżƠĪƣŧǣÿŲģ- ŲÿƸǀƣÿŧŧǣģŏŃĪƫƸĪģڝڗڗ

FƢþĩűţĩŦܼƪ-ƟĩƢƪƟĩěƷŎǛĩƿűĢĩƢ-Ʒ'nĩƪĩěŻűĢŎƷŎŻűƪůƿƪƷ-Ʒ'nĩƢĩŁŻƢĩ-'nþǛĩƪĩĩůĩĢűĩǜþűĢ-ŁƢĩƪ'n-ƷŻ-'nŎƪ- readers, although most probably only a few had a very vague idea of the "newest development Ŏű-/ƿƢŻƟĩܺ-ŻƢ-ŻŁ-ܹůŻĢĩƢűàĩƪƷĩƢűůƿƪŎěܺ-Ʒ'nþƷ-'nĩ-ŻƿƷŦŎűĩĢþƪþůŻĢĩŦܒ-/ƪƟĩěŎþŦŦǢ-ĚǢƪƿłłĩƪƷŎűł- Ʒ'nĩ ƪǢűƷ'nĩƪŎƪ- ŻŁ- ƷƢþĢŎƷŎŻűþŦ- 'nŎűĩƪĩ þűĢ ůŻĢĩƢűàĩƪƷĩƢű ůƿƪŎě܌- FƢþĩűţĩŦ ǜþƪ- ƟƿƷƷŎűł- ŁŻƢǜþƢĢþ-ǛŎƪŎŻűǜ'nŻƪĩ-ƷŎůĩǜŻƿŦĢ-ŻűŦǢěŻůĩ-Ŏű-Ʒ'nĩ-ڏڗژڐƪ-ݑދܣSSS܌ܤڔܒ-ĢĩƪƟŎƷĩ-Ǜƪ'nþŦŻůŻǛܼƪ-ƟŎŻűĩĩƢܮ ŎűłǜŻƢţƪ-ŻŁ-Ʒ'nĩ-ڏڒژڐƪܒ-FƢþĩűţĩŦ-Ʒ'nƿƪ-ŎůƟŦŎěŎƷŦǢěƢŎƷŎěŎǬĩĢ-Ʒ'nĩ eraܮĢĩȀűŎűłƪƷǢŦĩ-ŻŁ-ܣƟŻŦŎƷŎěþŦŦǢ- ěŻĢĩĢܤ-ƟĩűƷþƷŻűŎě-¦ŻůþűƷŎěŎƪů܌þƪ- ƢĩƟƢĩƪĩűƷĩĢ- ĚǢ- Ʒ'nĩǜŻƢţƪ-ŻŁ-Nĩ hƿƷŎűł܌-NƿþűłðŎ܌åŎþű- åŎűł'nþŎ܌-ŻƢrþ-®ŎěŻűł܌þƪƷǢŦĩǜ'nŎě'n-'nþƪ-ƢĩůþŎűĩĢþ-ƟƢŎűěŎƟþŦůƿƪŎěþŦěŻĢĩ-ŁŻƢűĩŻܮĚŻƿƢłĩŻŎƪ- þƿĢŎĩűěĩƪ-Ʒ'nƢŻƿł'nŻƿƷ-/þƪƷƪŎþ-ܫĩǛĩűƿűĢĩƢě'nþűłŎűłþűĢ-ĢŎǛĩƢƪĩ-ƟŻŦŎƷŎěþŦěŻűĢŎƷŎŻűƪܒ

Sűþ-ĚƢŻþĢĩƢěŻűƷĩǡƷ܌-ŎƷ-ŎƪĩǛŎĢĩűƷ-Ʒ'nþƷ-FƢþĩűţĩŦܼƪ-ŎĢĩþƪǜĩƢĩ-ƟþƢƷ-ŻŁþ-ĢĩĢŎěþƷĩĢůŻǛĩůĩűƷ- ƷŻǜþƢĢ þ- ĚþŦþűěĩĢ ěŻűǴŦƿĩűěĩ- ŻŁ- 'nŎűĩƪĩ þűĢ àĩƪƷĩƢű ůƿƪŎě- Ʒ'nþƷ- 'nþĢ- Ěĩĩű þĢǛŻěþƷĩĢ- ĚǢ- Ǜƪ'nþŦŻůŻǛƪŎűěĩ- Ʒ'nĩĩþƢŦǢ- ڏڒژڐƪ-ݑދܣSSSܤڐܒþűĢ-'nþĢ-ĚĩĩűƪƿƟƟŻƢƷĩĢ-ĚǢ-£þěŎþűĢ- Ʒ'nĩ-®rǜ'nŻ- Ŏű-ڒڒژڐĩǛĩű-ŎűƷƢŻĢƿěĩĢþ-ܹƪƟĩěŎþŦłƢþűĢ- 'nŎűĩƪĩĩǛĩűŎűłܺ-ŁĩþƷƿƢŎűł- 'nŎűĩƪĩĩűƪĩůĚŦĩůƿƪŎě- performed by *Datong Yuehui*-ܣÃűŎŻűrƿƪŎě- ŦƿĚܤþűĢþ*pipa*ƪŻŦŻ-ƟĩƢŁŻƢůþűěĩ-ĚǢàĩŎð'nŻűłŦĩ܌þŦŻűłǜŎƷ'n-ŻƢě'nĩƪƷƢþŦǜŻƢţƪ-ĚǢ-Ǜƪ'nþŦŻůŻǛڡښښܒ Avshalomov's son, the composer Jacob AvshaloůŻǛ-܌ܤڒڐڏڑܫژڐژڐܣ-'nþƪ-ĢŻěƿůĩűƷĩĢþ-ŦĩƷƷĩƢ-Ŏűǜ'nŎě'n-'nŎƪ-ŁþƷ'nĩƢĩǡƟƢĩƪƪĩĢƪŎűěĩƢĩþƟƟƢĩěŎþƷŎŻű-ŁŻƢ- FƢþĩűţĩŦ܌ƪ'nŻƢƷŦǢþǼ ƷĩƢ-Ʒ'nĩ-ŦþƷƷĩƢܼƪþƢƢŎǛþŦ-Ŏű-®'nþűł'nþŎ܋

ڻڵڵ- æÿŲŃ܉-ܶGǀżǣǀĪ-ƢŏÿŲƸǀšŏƢŏǣÿŲšŏǀܷ-ܠ1/4ŊĪ-FǀƸǀƣĪżłtÿƸŏżŲÿŧrǀƫŏĜÿŲģ-SƸƫ-®Ƹǀģǣ܉ܡ-ƢǀżƸĪģŏŲ-®ŊĪŲ܉-ܶ/ƸŊŲżŰǀƫŏĜżŧżŃǣŏŲ- ŊŏŲÿ܉ܷ-ڐڍ

ڼڵڵ- àŏŲǭĪŲěǀƣŃ܉-ܶÿƣżŲǜƫŊÿŧżŰżǜÿŲģtĪǝ- ŊŏŲĪƫĪrǀƫŏĜŏŲ-®ŊÿŲŃŊÿŏ܉-܉ړڐڕڍܨڍڏڕڍܷ-ڍڒܨڌڒÿŲģæÿŲŃ܉-ܶFƣżŰ żŧżŲŏÿŧrżģĪƣŲŏƸǣ-Ƹż-Gŧżěÿŧ-SģĪŲƸŏƸǣ܉ܷ-ڐڑ

There is no stimulus for work here, although there is much musical activity in Shanghai today (mainly of inferior quality). Many refugees from Austria and Germany. Of the numerous musicians two are outstanding. One a violinist, Adler by name. The other is a composer, Frankel, who is first class. A follower of Schoenberg, with many compositions, a very erudite man, skillful orchestrator and theoretician. Nice fellow, too, the only person except Grisha with whom it is possible to talk music with understanding.119

It is also documented that Fraenkel had an artistic exchange with the influential baritone and choral conductor Chao Mei-Pa (Zhao Meibo, 1905–1999), who had studied in Belgium and lived in the USA before returning to China in 1936 and serving as head of the conservatory's vocal music department.140 In 1937, Chao had published an article "The Trend of Modern Chinese Music" in which he had to some extent refuted the enthusiasm about Tcherepnin's impact, claiming an enhanced independence from Western ideas – in words clearly driven by a nationalist undertone (as well as by a skeptical position toward modernist Western tendencies):

Tcherepnine soon […] cursed the danger of Western influence. […] In his lectures he declared that Chinese do not have to learn from Bach, Handel, or Beethoven; and if Chinese do adopt Western music they should go directly to the impressionistic composers, such as Debussy or Stravinsky. [...] But whether Mr. Tcherepnine's principle is workable or not still remains an open question, for after all Tcherepnine is a European himself.

In the field of composition, suppose we should follow Tcherepnine's idea, shall we be satisfied with a harmony based upon the pentatonic scale with modulations? Should we invent a harmony and a science of orchestration by ourselves? […] It is interesting to know that Chinese are inclined to counterpoint. But will counterpoint without harmony satisfy us? Mr. Tcherepnine was right in one way when he recognized the capacity of Chinese in counterpoint, and he did not agree with our blind acceptance of Western ideas; but how far can his study help? […]

If there is anything China is taking from the West, it is only for temporary use. In the long run, China will always be Chinese, in style and in expression, and not less so in her music. 121

Fraenkel's position also agreed with that of Tan Xiaolin (1912–1948), who returned to China from studying with Paul Hindemith at Yale University in 1946, as Sang Tong testifies: "Like Tan Xiaolin, he supported the idea of a synthesis from the spirit of [Chinese] folk music and the new compositional techniques and saw this as an influential means of musical creation."124 It can be

<sup>119</sup> Letter from Aaron Avshalomov from 24/04/1940 (Avshalomov, Avshalomov, Avshalomov's Winding Way, 162). By "Grisha," Avshalomov means the Russian pianist Gregory (Grisha) Singer. The violinist Ferdinand Adler emigrated from Vienna to Shanghai in 1939 after being imprisoned at Dachau concentration camp. He became a member and concertmaster of the SMO in 1939, and Professor of Violin at the conservatory in 1941. See, Fetthauer, "Ferdinand Adler."

<sup>120</sup> Since 1937, Chao had been involved in conducting mass choral singing at rallies during Chiang Kai-Shek's New Life Movement (Xinshenghuo yundong) aiming at China's unification, started in 1934, and partly oriented toward National Socialist propaganda (Jones, Yellow Music, 49).

<sup>121</sup> Chao, "The Trend of Modern Chinese Music," 283, 286. See Winzenburg, "From 'Folk Cure' to Catharsis: Alexander Tcherepnin and New Chinese Piano Music."

<sup>122</sup> Sang, "Jinian Fulanke'er yu Xu Luoshi," 11 (translated by the author).

þƪƪƿůĩĢ-Ʒ'nþƷ-FƢþĩűţĩŦǜþƪ-ŎűěŻűƷþěƷǜŎƷ'n-¼þű܌ǜ'nŻ-Żű-'nŎƪ-ƢĩƷƿƢű-Ěĩěþůĩ-'nĩþĢ-ŻŁ-Ʒ'nĩ-Ʒ'nĩŻƢǢ- þűĢ ěŻůƟŻƪŎƷŎŻű- ĢĩƟþƢƷůĩűƷƪþƷ- Ʒ'nĩ ěŻűƪĩƢǛþƷŻƢǢܒ-R ŎůŎŦþƢŦǢ܌- FƢþĩűţĩŦůþǢ- 'nþǛĩ ĩǡě'nþűłĩĢ- ǛŎĩǜƪǜŎƷ'n- FƢŎƷǬfƿƷƷűĩƢ-܌ܤڐژژڐܫڒڏژڐܣǜ'nŻ-ƟƢŻĚþĚŦǢþƢƢŎǛĩĢ-Ŏű-®'nþűł'nþŎþƪþ- ƢĩŁƿłĩĩ ƪ'nŻƢƷŦǢ- þǼ ƷĩƢ-FƢþĩűţĩŦ-ŎűrþǢ-ژڒژڐþűĢǜŻƢţĩĢþƪþůƿƪŎě-ŠŻƿƢűþŦŎƪƷ-ژړܫڗړژڐܣ-ŁŻƢ- 'nŎűþ-£ƢĩƪƪܤþűĢ-Ʒĩþě'nܮ ĩƢ-ŻŁůƿƪŎě-'nŎƪƷŻƢǢþűĢ-Ʒ'nĩŻƢǢþƷ-®ƷܒdŻ'nűܼƪ-ÃűŎǛĩƢƪŎƷǢ-ܣŁƢŻů-ܒܤړړژڐ-Ǽ ƷĩƢůŻǛŎűł-ƷŻ-Ʒ'nĩ-ÃűŎƷĩĢ- ®ƷþƷĩƪ-Ŏű-܌ژړژڐ-'nĩěŻűƷŎűƿĩĢ-ƷŻ-ƢĩƪĩþƢě'nþűěŎĩűƷ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪþűĢ-ƷƿűŎűłƪǢƪƷĩůƪڜڛښܒ

Sű- 'nŎƪ- ܹrƿƪŎěܮ'ĩǛĩŦŻƟůĩűƷܓܺ- FƢþĩűţĩŦ-ŻƿƷŦŎűĩĢ- Ʒ'nĩ-ŎĢĩþ-ŻŁþ- ŁƿűĢþůĩűƷþŦ ěŻűƷƢþĢŎěƷŎŻű- ĚĩƷǜĩĩű űĩǜ þűĢ ěŦþƪƪŎěþŦ-ܣ/ƿƢŻƟĩþűܤůƿƪŎě܌ þű þƢłƿůĩűƷ ǜ'nŎě'n- 'nĩ- 'nþĢ þŦƢĩþĢǢ- ƟƢŻƟŻƪĩĢ- a few years earlier, based on the analogy of music and language and its limits, in his article ܹGƢƿűĢƟƢŻĚŦĩůĩ-ĢĩƢtĩƿĩűrƿƪŎţ܋-'ĩƢűĩƿĩ-¼ŻűƪƟƢþě'nţƢĩŎƪƿűĢƪĩŎűĩĩłƢŎDz ŁƪĚĩƪƷŎůůƿűł܌ܺ-ƟƿĚŦŎƪ'nĩĢ-Ŏű-®'nþűł'nþŎ-Ŏű-ܒڐړژڐȃĩ-ȀƢƪƷ-ƟþƢƷ-ŻŁ-Ʒ'nŎƪþƢƷŎěŦĩǜþƪ-ƟƿĚŦŎƪ'nĩĢ-Ŏű-Ʒ'nĩƪŻŦĩ-Ŏƪƪƿĩ-ŻŁ-Ʒ'nĩ- journal *Der Kreis*-Ŏű-'ĩěĩůĚĩƢ-܌ڐړژڐǜ'nŎŦĩ- Ʒ'nĩƪĩěŻűĢ-ƟþƢƷ܌þűűŻƿűěĩĢþƷ- Ʒ'nĩĩűĢ-ŻŁ- Ʒ'nŎƪþƢƷŎܮ cle, has probably never been published.ڝڛښƪ-Ŏű-'nŎƪůþŎű-Ʒ'nĩŻƢĩƷŎěþŦǜŻƢţ-*Afunktionelle Musik* ܣܹŁƿűěƷŎŻűþŦrƿƪŎěܺ܌ܤǜ'nŎě'n-FƢþĩűţĩŦěŻűƷŎűƿĩĢ-ƷŻǜŻƢţ-Żű-Ŏű-®'nþűł'nþŎ܌-Ʒ'nŎƪþƢƷŎěŦĩůþţĩƪ-ŎƷ- ěŦĩþƢ-Ʒ'nþƷ-FƢþĩűţĩŦƪþǜ-ŦþűłƿþłĩþűĢůƿƪŎěþƪ-ƢĩŦþƷĩĢůĩþűƪ-ŻŁ-ܹƟƢĩƪĩűƷŎűł-ŎůþłŎűþƷŎŻűþűĢ- ideas"ڞڛښ-ܫþƪĩǛŎĢĩűěĩĢ-ĚǢ-Ʒ'nĩ-ŁŻěƿƪ-Żű-Ʒ'nĩěŻűěĩƟƷ-ŻŁ-ܹGĩĢþűţĩ܌ܺěĩƢƷþŎűŦǢƪ'nþƟĩĢ-ĚǢ-Ʒ'nĩ-®ě'nŻĩűܮ berg School. In the realm of music, however, the close coupling of the musical idea to the un-ĢĩƢŦǢŎűł-ܹƷŻűþŦ-Ŧþűłƿþłĩܺůþţĩƪ-Ʒ'nŎƪ-ŎĢĩþƿűƷƢþűƪŦþƷþĚŦĩ܌þƪ-ŎƷǜĩƢĩ܋-ܹSĢĩþƪþűĢ-ƷŻűþŦ-Ŧþűłƿþłĩ- þƢĩƪŻěŦŻƪĩŦǢ-ƢĩŦþƷĩĢ-Ʒ'nþƷ-ŻűĩůƿƪƷþŦůŻƪƷƪƟĩþţ-ŻŁ-ŎűƷĩƢƟĩűĩƷƢþƷŎŻű܌-ŻŁ-ŻƿƷĩƢĩǛĩűƷƪ-ƢƿĚĚŎűł- ŻDz Ł-Żű-ŎűűĩƢĩǛĩűƷƪܒܺڟڛښ-FŻƢ-FƢþĩűţĩŦ܌ěŦþƪƪŎěþŦþűĢűĩǜůƿƪŎěþƢĩ-ĚŻƷ'n-ܹůƿƪŎěþŦ-Ŧþűłƿþłĩƪܺ-Ŏű- this emphatic sense.

FƢþĩűţĩŦܼƪěŻůƟƢĩ'nĩűƪŎǛĩ-Ʒ'nĩŻƢĩƷŎěþŦܮþĩƪƷ'nĩƷŎěţűŻǜŦĩĢłĩþűĢ-ŎűƷĩƢĩƪƷƪǜĩƢĩłþƷ'nĩƢĩĢ-ƷŻłĩƷ'nĩƢ-Ŏű-'nŎƪĩǡƷĩűƪŎǛĩ-Ʒ'nĩŻƢĩƷŎěþŦǜŻƢţ-*Afunktionelle Musik*܌ǜƢŎƷƷĩű-Ŏű-ڗڒܘږڒژڐþűĢ-ƢĩǛŎƪĩĢ-Ŏű- ®'nþűł'nþŎ-Ŏű- ڠڛښܒڒړܘڑړژڐȃŎƪ- ĚŻŻţܮŦĩűłƷ'n ƪƷƿĢǢþƷƷĩůƟƷƪ- ƷŻþƟƟŦǢ-/ƢűƪƷfƿƢƷ'nܼƪůƿƪŎě- Ʒ'nĩŻƢǢ- ƷŻ-Ʒ'nĩþűþŦǢƪŎƪ-ŻŁ-ܹþŁƿűěƷŎŻűþŦܺ-ܣþƷŻűþŦ-ŻƢ-ƟŻƪƷܮƷŻűþŦܤůƿƪŎěܒ-*Afunktionelle Musik* can be underƪƷŻŻĢþƪþűƿþűěĩĢĩǡþůŎűþƷŎŻű-ŻŁ- ƷƢĩűĢƪ-Ŏűűĩǜ-/ƿƢŻƟĩþűůƿƪŎě-ŁƢŻů- ڏڐژڐ- ƷŻ- ڔڒژڐ-ܣǜŎƷ'nþ- ŁŻěƿƪ-Żű-Ʒ'nĩ-®ě'nŻĩűĚĩƢł-®ě'nŻŻŦþűĢ-NŎűĢĩůŎƷ'n܌ܤþűĢ-Ʒ'nĩ-Ʒ'nĩŻƢĩƷŎěþŦ-ĢŎƪěƿƪƪŎŻű-ĢĩþŦƪǜŎƷ'nþ- ǜŎĢĩ-Ƣþűłĩ-ŻŁůƿƪŎě-Ʒ'nĩŻƢǢǜƢŎƷŎűłƪ܌-ŎűěŦƿĢŎűł-Ʒ'nŻƪĩ-ĚǢ-NƿłŻ-¦ŎĩůþűűþűĢdŻƪĩƟ'næþƪƪĩƢ܌-ĚƿƷ- ůŻƪƷ-ƟƢŻůŎűĩűƷŦǢ-/ƢűƪƷfƿƢƷ'nþűĢ-'nŎƪěŻűěĩƟƷ-ŻŁůƿƪŎěþŦ-ܹĩűĩƢłĩƷŎěƪܒܺƪ-ŻƷ'nĩƢƪƿƢǛŎǛŎűł-ĢŻěܮ ƿůĩűƷƪ ƪ'nŻǜ܌- FƢþĩűţĩŦĩűłþłĩĢ-ŎűƷĩűƪŎǛĩŦǢǜŎƷ'nfƿƢƷ'nܼƪǜƢŎƷŎűłƪܒ ڡڛښ- FƢþĩűţĩŦܼƪ- ƷĩƢů- ܹþŁƿűě-ƷŎŻűþŦůƿƪŎěܺ-ŎůƟŦŎĩƪþ- ƟƢŻŁŻƿűĢ ƪţĩƟƷŎěŎƪů- ƷŻǜþƢĢ- Ʒ'nĩűŎűĩƷĩĩűƷ'nܮěĩűƷƿƢǢ-ŎĢĩþ-ŻŁůƿƪŎěþŦ- ܹŁƿűěƷŎŻűþŦŎƪůܺ þƪ- ƢĩǴŦĩěƷĩĢ- ƟƢŎůþƢŎŦǢ-Ŏű- ¦Ŏĩůþűűܼƪ-ŎűǴŦƿĩűƷŎþŦ- Ʒ'nĩŻƢǢ- ŻŁ- ƷŻűþŦ- ŁƿűěƷŎŻűƪ-Ŏű-

ڷڶڵ- -FĪƸƸŊÿǀĪƣ܉-ܶFƣŏƸǭ-fǀƸƸŲĪƣ܉ܷ-¦żƫĪŲƫżŲ܉-ܶdĪǝŏƫŊrǀƫŏĜŏÿŲƫŏŲ-®ŊÿŲŃŊÿŏ܉ܷ-܉ڑڐڎܨڏڐڎÿŲģ-®ĜŊŏŰŰĪŧƠĪŲŲŏŲĜŤÿŲģ- fżǀǝĪŲŊżǜĪŲ܉-ܶ1/4ŊĪ-®ŊÿŲŃŊÿŏ żŲƫĪƣǜÿƸżƣǣżłrǀƫŏĜ܉ܷ-ڎړܨڍړfǀƸƸŲĪƣܹƫƣĪƫĪÿƣĜŊŏŲƸżÿŲĜŏĪŲƸ- ŊŏŲĪƫĪ-ŰǀƫŏĜŏƫ- ģżĜǀŰĪŲƸĪģŏŲfǀƸƸŲĪƣ܉-*The Archaeology of Music in Ancient China*.

ڸڶڵ- àżŧłŃÿŲŃ- FƣÿĪŲŤĪŧ܉- ܶGƣǀŲģƠƣżěŧĪŰĪ ģĪƣ- ŲĪǀĪŲ rǀƫŏŤ- 'Īƣ- ŲĪǀĪ- ¼żŲƫƠƣÿĜŊŤƣĪŏƫ- ǀŲģ ƫĪŏŲĪ- ĪŃƣŏdz łƫěĪƫƸŏŰmung," *Der Kreis*-ܠ'ĪĜĪŰěĪƣ-܉ܡڍڐڕڍ-ڔڍܨڏڍ-ܠŧŏƸݎĪƫƸ܉t-܉ڒڕڐ-RĜŊܡڏݎ

ڹڶڵ- -Sěŏģ܉-ڒڍ-ܠܶ'ÿƣŧĪŃǀŲŃǜżŲßżƣƫƸĪŧŧǀŲŃĪŲ-ǀŲģ-GĪģÿŲŤĪŲܷܡ

ںڶڵ- -Sěŏģ܉-ڔڍ-ܠܶGĪģÿŲŤĪ-ǀŲģ-¼żŲƫƠƣÿĜŊĪ-ܞƫŏŲģܟ-ŰŏƸĪŏŲÿŲģĪƣƫż-ĪŲŃǜĪƣěǀŲģĪŲ܉ģÿƫƫ-ŃĪƣÿģĪǭǀǜżŲ-ĪŏŲĪƣ-ŃĪŃĪŲƫĪŏ-ƸŏŃĪŲ-'ǀƣĜŊģƣŏŲŃǀŲŃ܉-ĪŏŲĪŰěłďƣěĪŲģĪƫďǀƫƫĪƣĪŲ-GĪƫĜŊĪŊĪŲƫÿǀłģÿƫŏŲŲĪƣĪ-ŃĪƫƠƣżĜŊĪŲǝĪƣģĪŲ-Űǀƫƫܷܡ

ڻڶڵ- -Ų- ĪģŏƸŏżŲ ǝŏƸŊ ÿ- ĜżŰŰĪŲƸÿƣǣ żŲ- ƸŊŏƫ ǝżƣŤ܉ ěÿƫĪģ żŲ- ƸŊĪ- ĜżŰƠŧĪƸĪ- ŰÿŲǀƫĜƣŏƠƸ ÿŲģ- ŲżƸĪƫ łƣżŰ- FƣÿĪŲŤĪŧܹƫ- ĪƫƸÿƸĪ܉-ŊÿƫěĪĪŲ-ĜżŰƠŧĪƸĪģÿƫÿŲÿĜÿģĪŰŏĜ-ƸŊĪƫŏƫěǣrÿƣŤǀƫfƇŊŧĪƣŏŲ-ڕڔڕڍ-ܠFƣÿĪŲŤĪŧ܉-*Afunktionelle Musik*ܡ

ڼڶڵ- -FƣÿĪŲŤĪŧ-ŊÿģƫƸǀģŏĪģfǀƣƸŊܹƫłżǀƣ-Űÿšżƣ-ƠǀěŧŏĜÿƸŏżŲƫŏŲ-ŃƣĪÿƸģĪƸÿŏŧ܉ÿƫƣĪǜĪÿŧĪģěǣ-Ŋŏƫ-ŲżƸĪƫ-ĜżŧŧĪĜƸĪģŏŲ-ƸŊĪ-ܫڍړ ƠÿŃĪǿŧĪ-ܶfƣŏƸŏƫĜŊĪtżƸŏǭĪŲdžěĪƣ-ŰǀƫŏŤǝŏƫƫĪŲƫĜŊÿǽ ƸŧŏĜŊĪßĪƣƇdz łĪŲƸŧŏĜŊǀŲŃĪŲܷ-ܠrÿƣĜŊ-Ƹż-ĜƸżěĪƣ܉-܉ܡړڏڕڍǝŊŏĜŊ- ĜżŲƸÿŏŲƫ-ĜżŰŰĪŲƸÿƣŏĪƫżŲfǀƣƸŊܹƫěżżŤƫ-*Grundlagen des linearen Kontrapunkts*, *Romantische Harmonik und ihre Krise in Wagners* Tristan, *Bruckner*, and *Musikpsychologie*.

harmony. Discarding the idea of functions, Fraenkel conceives of music as "kinetic energy" in Kurth's sense. In his introductory chapter, there are a number of inserts that show the influence of his exile experience. Writing about general musical principles, for example, he limits the concept of "music as a demonstration of musical ideas" to the "occidental musical area" and criticizes those who think that Chinese or Arab musical traditions cannot be labeled "music. "199 In such passages (as in the adherence to this voluminous theoretical project as a whole), it becomes clear how Fraenkel consolidated his identity as a representative of musical modernism in exile, but also palpably incorporated his exile experience.

### Fraenkel as a Composer

Even if no performance of Fraenkel's works is documented during the time in Shanghai, the papers in his estate prove that he was unusually active in composition during these years. His compositional activity only seems to have included "applied music" (arrangements for orchestra [see above], arrangements of traditional Chinese and Japanese music [see below], film music 50) in a few cases, an area in which most other exiled musicians worked. In at least one case, Fraenkel's compositional activity shows a very interesting reaction to his exile environment: Drei Orchesterlieder (Three Orchestral Songs, Kel.V. 113–115), after Chinese poems from Tang and Song Dynasties, translated into German by Vinzenz Hundhausen (1878–1955).13 Composed between 9 May and 24 September 1941, it is the only major work that Fraenkel was able to complete during his time in Shanghai. In addition, only the aforementioned Drei zweistimmige Praeludien (Three Two-part Preludes, Kel.V. 80-82, 1945) for piano were completed, which were to be part of a planned cycle of twelve-tone inventions and preludes and were probably written along the lines of Bach as both compositional and pianistic studies (only one of the inventions was composed after the time in Shanghai, in 1951139. The Praeludien combine a relatively simple form of dodecaphonic technique with an imitative counterpoint based on Hindemith (Ex. 3.5). It was not until 1964 that Fraenkel collected the three completed preludes (without the invention) for a volume of his collected piano works to create the preserved three-movement series.

In addition to the orchestral songs and the Praeludien, Fraenkel worked on the following pieces in Shanghai: the Third Symphony (Kel.V. 3), begun on 4 December 1937 in Berlin, interrupted on 23 March 1940; the Fourth Symphony (Kel.V. 4), begun on 10 May 1942, interrupted on 6 May 1944; the opera fragment Hölle – Weg – Erde (Hell – Path – Earth, Kel.V. 191) after Georg Kaiser, begun on 19 September 1944, and Musik für großes Orchester (Music for Large Orchestra, Kel.V. 8), begun on 2 November 1946, interrupted on 12 September 1948.133 None of these unfinished works were completed later.

<sup>129</sup> Fraenkel, Afunktionelle Musik, 16 ("Darlegung musikalischer Gedanken"), "abendländischen Musikkreis"), 18–19.

<sup>130</sup> A German-language newspaper note in the Shanghai Jewish Chronicle (09/08/1942) mentions that Fraenkel was rehearsing the music for a Japanese film with the Shanghai Philharmonic Society (ANA 496, Sch. 5, "Zeitungsartikel und Kritiken").

<sup>131</sup> See Walravens, Vincenz Hundhausen (1878-1955).

<sup>132</sup> See Kellermann, "Kellermann-Verzeichnis der Werke von Wolfgang Fraenkel," 92.

<sup>133</sup> The Musik für großes Orchester breaks off in measure 208 of the second movement. As mentioned in footnote 71, entries in the score show Fraenkel's route from Shanghai to Los Angeles.

*/ǡþůƟŦĩ-ښܘژܑàŻŦŁłþűł-FƢþĩűţĩŦܒ-Drei zweistimmige Praeludienܒ-Ɵږݗܘ*

ÿǣĪƣŏƫĜŊĪ-®ƸÿÿƸƫěŏěŧŏżƸŊĪŤ܉rǀƫŏŤÿěƸĪŏŧǀŲŃ܉rǀƫŰƫ-ڐڌڔڕڍ-

ȃĩ-Ʒ'nƢĩĩ-ƟŻĩůƪ-Ʒ'nþƷ-FƢþĩűţĩŦƪĩƷ-Ŏű-*'ƢĩŎ-Ƣě'nĩƪƷĩƢŦŎĩĢĩƢ*-ŦŎţĩŦǢěþůĩ-ŁƢŻů-NƿűĢ'nþƿƪĩűܼƪ-ƟƿĚŦŎcation *'nŎűĩƪŎƪě'nĩ-'Ŏě'nƷĩƢ-Ŏű-ĢĩƿƷƪě'nĩƢ-®ƟƢþě'nĩܒůŎƷ-ڗ-ŎŦĢĩƢűűþě'n-ƢŎłŎűþŦĩű-Ģĩƪàþűł-¼Ŏűłܴ'ƪě'nĩ* ܣĩŎŠŎűłܘhĩŎƟǬŎł-ܒܤڕڑژڐ-ŦŦ-Ʒ'nƢĩĩ-ƟŻĩůƪĩǛŻţĩƪƟƢŎűł-Ŏű-Ʒ'nĩŎƢ-ƷŎƷŦĩƪ܋


Hundhausen's German *Nachdichtungen*-ܣŁƢĩĩþĢþƟƷþƷŎŻűƪܤ-ŻŁěŦþƪƪŎěþŦ- 'nŎűĩƪĩ-ƟŻĩůƪǜĩƢĩłĩűܮ erally based on word-for-word translations by his Chinese friends and students. Interestingly, Ʒ'nŎƪþƟƟƢŻþě'n-ƷŻ-Ʒ'nĩ- 'nŎűĩƪĩ-Ŏƪƪ'nŻǜű-Ŏű-Ʒ'nĩþƟƟĩűĢŎǡ-ƷŻ-FƢþĩűţĩŦܼƪƪěŻƢĩܒȃĩ- 'nŎűĩƪĩě'nþƢþě-ƷĩƢƪþƢĩǜƢŎƷƷĩű-Żű-Ʒ'nĩƪěŻƢĩƪ'nĩĩƷþűĢþű-/űłŦŎƪ'nǜŻƢĢܮŁŻƢܮǜŻƢĢ-ƷƢþűƪŦþƷŎŻű-Ŏƪ-ƟƢŻǛŎĢĩĢ-Żűþű- ŻǛĩƢŦþŎĢƪ'nĩĩƷ-ŻŁ-ƷƢþűƪƟþƢĩűƷ-ƟþƟĩƢ-ܣFŎłܒܤړܒڒݑܒȃŎƪþűþŦŻłǢ-ƷŻ-NƿűĢ'nþƿƪĩűܼƪǜŻƢţěŻƿŦĢ-ŎűĢŎěþƷĩ-FƢþĩűţĩŦܼƪ-ƟĩƢƪŻűþŦěŻűƷþěƷǜŎƷ'n- Ʒ'nĩĩŎŠŎűłܮĚþƪĩĢ-ƟŻĩƷþűĢ-ŦŎƷĩƢþƷƿƢĩ-ƟƢŻŁĩƪƪŻƢܒ-SƷþŦƪŻ- ƟƢŻǛĩƪ-Ʒ'nþƷ-FƢþĩűţĩŦĩűĢĩþǛŻƢĩĢ-ƷŻłþŎűþűþĢĩơƿþƷĩƿűĢĩƢƪƷþűĢŎűł-ŻŁ-Ʒ'nĩ-ŻƢŎłŎűþŦ-ǛĩƢƪŎŻűƪ-ŻŁ- the texts set to music.

Figure 3.4: Wolfgang Fraenkel, calligraphy from the appendix to the Drei Orchesterlieder; the poem "Spring Night" (Chun xiao) by Su Dong-Bo (Su Shi) is shown, which is set in the first movement; 34 left: the English translation of each individual character is placed on the Chinese characters using transparent paper; right: calligraphy without transparent paper

Nº 2 14

Bayerische Staatsbibliothek, Musikabteilung, Mus.ms. 19654, p. 50a

All three orchestral songs are based on the same twelve-tone row, which Fraenkel provides in the appendix to the score (Ex. 3.6). Fraenkel designed a quasi-symmetrical structure: songs I and III use only the four basic forms of the series (P, I, R, RI) as well as transpositions one fourth higher (I) and lower (III), while the second movement uses the tritone transposition and two related rows. While this systematic application of the dodecaphonic technique points to an intensified examination of the twelve-tone method in the context of his extensive theoretical writing in Afunctional Music (1937–43), the deliberate, sometimes almost "impressionistic" use of orchestral colors (e.g., no. 2 "Am frühen Frühlingstage," score, mm. 23-27, Ex. 3.7) certainly comes from an attempt to interpret the atmosphere of the Chinese poems musically in a (post-) exoticist manner. Despite such coloristic experiments, the quality of the work can be seen in that Fraenkel largely refrains from any kind of plain exoticism and instead tries to render the atmosphere of the texts with his personal (Western) means. The work was not performed during his time in Shanghai, but it seems that a premiere may have taken place after Fraenkel moved to the US, since the score has notes obviously made during rehearsals. 355

<sup>134</sup> Fraenkel mistakenly identified this poem as no. 2 in the manuscript, but later corrected this mistake.

<sup>135</sup> A recent performance of the work in Beijing (March 2019) has been co-organized by the Vienna organization exil.arte (e-mail-communication with Gerold Gruber, 25/05/2020).

*/ǡþůƟŦĩ-ڛܘژܑàŻŦŁłþűł-FƢþĩűţĩŦܒ-ƢŻǜþűþŦǢƪŎƪ-Ŏű-Ʒ'nĩþƟƟĩűĢŎǡ-ŻŁ-Ʒ'nĩƪěŻƢĩ-ŻŁ-Drei Orchesterlieder: ȁƢƪƷ-ŦŎűĩܑ-ƟƢŎůĩ-ƷǜĩŦǛĩܴƷŻűĩ-ƢŻǜܝ-ĚĩŦŻǜܑ-ƢŻǜ-ŁŻƢůƪþűĢ-ǛþƢŎþűƷƪƿƪĩĢ-Ŏű-Ʒ'nĩůŻǛĩůĩűƷƪ-ږ-ƷŻ-ژ-*

ÿǣĪƣŏƫĜŊĪ-®ƸÿÿƸƫěŏěŧŏżƸŊĪŤ܉rǀƫŏŤÿěƸĪŏŧǀŲŃ܉rǀƫŰƫ-܉ڐڑڒڕڍ-Ơڌڑݎģ

/ǡƷĩűƪŎǛĩ-ƷƢþűƪěƢŎƟƷŎŻűƪ-ŻŁ-ƢĩěŻƢĢĩĢůƿƪŎěƪ'nŻǜ-Ʒ'nþƷ-FƢþĩűţĩŦþŦƪŻ-ƷƢŎĩĢ-ƷŻƿűĢĩƢƪƷþűĢ-ƷƢþĢŎ-ƷŎŻűþŦ- 'nŎűĩƪĩþűĢdþƟþűĩƪĩůƿƪŎěܒæĩƷ-Ʒ'nĩ-ƷƢþűƪěƢŎƟƷŎŻűƪ-ŻŁǜŻƢţƪ-ĚǢ-Ʒ'nĩ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷ- þűĢ-ƢĩƟĩƢƷŻŎƢĩ-ƢĩŁŻƢůĩƢhŎƿ-¼Ŏþű'nƿþ-ݑދܣSSS܌ܤڐܒ-ƢĩěŻƢĢĩĢ-Żű-Ʒ'nĩh£-*Chinese Classical Music*-ܣhǢƢŎܮ ě'nŻƢĢh£܌hh-܌ڑڑږ-܌ܤڕڔژڐůþǢ-'nþǛĩþƢŎƪĩű-ŻűŦǢƪŻůĩ-ƷŎůĩþǼ ƷĩƢ-Ʒ'nĩƪƷþǢ-Ŏű-®'nþűł'nþŎ܌-ƟƢŻĚþĚŦǢ- þƢŻƿűĢ- Ʒ'nĩ ĩűĢ-ŻŁ- Ʒ'nĩ- ڏڔژڐƪܒȃĩǢ- ŁŻƢůĩĢ- Ʒ'nĩ- ĚþƪŎƪ- ŁŻƢ- Ʒ'nĩ ƪţĩƷě'nĩĢ-*Chinese Song*-ܣfĩŦܒßܒ- ܌ڔڒ- ěܤڏڕژڐݑܒ-ŁŻƢþŦƷŻ-ǴŦƿƷĩþűĢłƿŎƷþƢ܌þűþƷƷĩůƟƷ-ƷŻ-ȀűĢþ-ܹ 'nŎűĩƪĩ-ƷŻűĩܺ-ŎűhŎƿܼƪƪƷǢŦĩܒ

ȃĩ-ƷƢþűƪěƢŎƟƷŎŻűƪ-ŻŁdþƟþűĩƪĩůƿƪŎěڟڜښ܌ on the contrary, probably already largely originatĩĢ-Ŏű-®'nþűł'nþŎ-Ŏű- Ʒ'nĩěŻűƷĩǡƷ-ŻŁþ-ĢþűěĩĩǛĩűŎűłǜŎƷ'n-®ŦþǛŎűþܮƢŻǜűþűĢ-SűĢŎƢþ-'ĩǛŎ-Żű- ڗڐ- ƟƢŎŦ-܌ڏړژڐǜ'nĩƢĩ-ƷǜŻþƢƢþűłĩůĩűƷƪ-ĚǢ-FƢþĩűţĩŦǜĩƢĩ-ƟĩƢŁŻƢůĩĢƿűĢĩƢ-Ʒ'nĩ-ĢŎƢĩěƷŎŻű-ŻŁþƢŻű- Ǜƪ'nþŦŻůŻǛ-ܣƪĩĩ-¼þĚ܋ܤڐܒڒݑܒ*ůĚþě'nþ* and *ȄƢĩĩrþƪţƪ-ܩSůƟƢŻǛŎƪþƷŎŻű-Żűþ dþƟþűĩƪĩ-Ȅĩůĩܪ*. Both þƢƢþűłĩůĩűƷƪǜĩƢĩůŻƪƷ-ŦŎţĩŦǢ-ĚþƪĩĢ-Żű-ƷƢþűƪěƢŎƟƷŎŻűƪ-ŻŁ-ƟŎĩěĩƪ-ƢĩěŻƢĢĩĢ-Żű-Ʒ'nĩh£*ůܴĚþƷܴƷ'nþ* ܣßŎěƷŻƢܮ¦ĩěŻƢĢƪűŻܒ-ܮڑڗڑڑڔþ-ܒܤܢڏړږڒܡ-A transcription of the famous Japanese *gagaku* classic *Etenraku*-ŎƪþŦƪŻ-ƟƢĩƪĩƢǛĩĢ-Ŏű-FƢþĩűţĩŦܼƪĩƪƷþƷĩܗ-'nĩ-ǛĩƢǢ-ŦŎţĩŦǢ-ƷƢþűƪěƢŎĚĩĢ-ŎƷ-ŁƢŻů-Ʒ'nĩ-ƢĩěŻƢĢ-*Music ŻǛĩƢ-Ʒ'nĩ-®ţǢ*-ܣßŎěƷŻƢܮ¦ĩěŻƢĢƪ܌űŻܒ-ږڗړڒڐ-܌ܤܢڕړܘڔړږڗܡþűĢűŻƷĩƪ-Ŏű-Ʒ'nĩ-ƷƢþűƪěƢŎƟƷŎŻűƪƿłłĩƪƷ-Ʒ'nþƷþű- arrangement for Western orchestra was considered. It is still unclear whether this arrangement was carried out or indeed performed.

ںڷڵ- hŏƸݎĪƫƸ܉t-܉ڒڕڐ-RĜŊ-܉ڐ-ܶdÿƠÿŲŏƫĜŊĪ-£ŧÿƸƸĪŲܷ

Example 3.7: Wolfgang Fraenkel, Drei Orchesterlieder, no. 2 "Am frühen Frühlingstage," score, mm. 25—27

Bayerische Staatsbibliothek, Musikabteilung, Mus.ms. 19654, p. 21

### Perspectives

ƪŎĢĩ-ŁƢŻů-Ʒ'nĩþƪƟĩěƷƪƪƿůůþƢŎǬĩĢ-'nĩƢĩ܌-ŎƷ-ŎƪűŻƷĩþƪǢ-ƷŻ-ƢĩěŻűƪƷƢƿěƷ-FƢþĩűţĩŦܼƪ-ƷŎůĩ-Ŏű-®'nþűłhai in great detail. In many respects, we still have to rely on assumptions, for example, when trying to reconstruct the exact circumstances of his release from Sachsenhausen and his trip ƷŻ-®'nþűł'nþŎ܌-ĚƿƷ܌ůŻƪƷ-ŎůƟŻƢƷþűƷŦǢ܌þŦƪŻ-'nŎƪþƢƷŎƪƷŎěþűĢěƿŦƷƿƢþŦ-ŎůƟþěƷ-ĢƿƢŎűł-Ʒ'nĩĩǡŎŦĩ-ǢĩþƢƪ܋- 'nŻǜ-ĢŎĢ-FƢþĩűţĩŦůþţĩěŻűƷþěƷƪ-Ŏű-®'nþűł'nþŎܓ-NŻǜ-ĢŎĢ-'nĩ-ȀűĢþěŻűűĩěƷŎŻű-ƷŻ-Ʒ'nĩěŎƷǢܼƪůƿƪŎě- ƪěĩűĩƪŻơƿŎěţŦǢ܌łþŎűŎűłþěŻůƟþƢþƷŎǛĩŦǢ-ƟƢŎǛŎŦĩłĩĢ-ƟŻƪŎƷŎŻű-Ŏű-Ʒ'nĩ-ŎůƟŻǛĩƢŎƪ'nĩĢ-ŎůůŎłƢþűƷ- ěŻůůƿűŎƷǢ܌-ŎűěŻűƷƢþƪƷ-ƷŻdƿŦŎƿƪ-®ě'nŦŻƶ-ŻƢfþƢŦ-®ƷĩŎűĩƢ܌ǜ'nŻ-'nþĢ-ƷŻůþţĩĩűĢƪůĩĩƷ-Ŏű-ĚþƢƪþƪ- accordion and piano players?ڠڜښ

Further studies of his estate, a more comprehensive consideration of the oral history, which was only cursorily included here, and, last but not least, more precise analyses of his musical ǜŻƢţƪěŻƿŦĢěĩƢƷþŎűŦǢ-'nĩŦƟ-ƷŻþűƪǜĩƢ-Ʒ'nĩƪĩþűĢ-ŻƷ'nĩƢơƿĩƪƷŎŻűƪ-Ʒ'nþƷþƢŎƪĩܒ-FŻƢ-Ʒ'nĩ-ƷŎůĩ-ĚĩŎűł܌-ŎƷ-ƢĩůþŎűƪ-ƢĩůþƢţþĚŦĩ-'nŻǜƪĩűƪŎƷŎǛĩŦǢ-FƢþĩűţĩŦ-ƢĩþěƷĩĢ-ƷŻ-Ʒ'nĩƪƷþƷĩ-ŻŁůƿƪŎě-Ŏű- 'nŎűþþűĢ-'nŻǜ- Ʒ'nŎƪǜþƪ-ƟþƢƷŦǢ-ƢĩǴŦĩěƷĩĢ-Ŏű-'nŎƪǜƢŎƷŎűłƪþűĢǜŻƢţƪܒ

FƢŻů-Ʒ'nĩ-ƟĩƢƪƟĩěƷŎǛĩ-ŻŁ- 'nŎűĩƪĩůƿƪŎě-'nŎƪƷŻƢŎŻłƢþƟ'nǢ܌-FƢþĩűţĩŦ-ŎƪþƪůþŦŦ-ĚƿƷěƢƿěŎþŦ-ĚƿŎŦĢܮ Ŏűł-ĚŦŻěţܒ-àŎƷ'nŻƿƷ-'nŎů܌-Ʒ'nĩĩþƢŦǢ-ƢĩěĩƟƷŎŻű-ŻŁůƿƪŎěþŦůŻĢĩƢűŎƪů-Ŏű- 'nŎűþǜŻƿŦĢ-ƟƢŻĚþĚŦǢűŻƷ- 'nþǛĩ-Ʒþţĩű-ƟŦþěĩþƷþŦŦ܌þűĢ-Ʒ'nĩƪĩűƪþƷŎŻűþŦ-ܹƪĩěŻűĢůƿƪŎěþŦůŻĢĩƢűŎƷǢܺ-Ŏű- 'nŎűþ-ĢƿƢŎűł-Ʒ'nĩ- ڏڗژڐƪþűĢ-ڏژژڐƪ-ݑދܣSSSܤڔܒǜŻƿŦĢűŻƷ-'nþǛĩ-ŁŻƿűĢþűǢ-ƟŻŎűƷ-ŻŁ-ƢĩŁĩƢĩűěĩ-Ŏű-ŎƷƪ-Żǜű-ƟþƪƷܒ-FƢþĩűţĩŦܼƪ- ǜŻƢţþƪþ-ƟĩĢþłŻłƿĩ܌ěŻűĢƿěƷŻƢ܌ůƿƪŎěŎþű܌þűĢěŻůƟŻƪĩƢ-ĢĩƪĩƢǛĩƪ-ƷŻ-Ěĩ-ŁƿƢƷ'nĩƢĩǡþůŎűĩĢ-Ŏű- China as well as in the West. Publishing his writings and performing his highly original and ŎűűŻǛþƷŎǛĩůƿƪŎěþŦǜŻƢţƪǜŻƿŦĢƿűĢŻƿĚƷĩĢŦǢ-ĚĩǜŻƢƷ'nǜ'nŎŦĩ܌þűĢǜŻƿŦĢ-'nĩŦƟ-ƷŻ-Ƣĩƪěƿĩþű-Ŏů-ƟŻƢƷþűƷůĩĢŎþƷŻƢ-ĚĩƷǜĩĩű-/ƿƢŻƟĩþűĢƪŎþ-ŁƢŻů-ŻĚŦŎǛŎŻűܒ

### **3. The Travels of a Jasmine Flower: A Chinese Folk Song, Its Prehistory, and Tan Dun's** *Symphony 1997*

ȃĩ- 'nŎƪƷŻƢǢ- ŻŁ- Ʒ'nĩ- 'nŎűĩƪĩ ůĩŦŻĢǢ- *Molihua*- ܣdþƪůŎűĩ- FŦŻǜĩƢ܌ þŦƪŻ ţűŻǜű þƪ-*Xianhua* [Fresh FŦŻǜĩƢ܌ܤܢǜ'nŎě'n-Ěĩěþůĩ- ŁþůŻƿƪ- Ʒ'nƢŻƿł'n-GŎþěŻůŻ-£ƿěěŎűŎܼƪ-ŻƟĩƢþ-*Turandot*-܌ܤړڑܫڏڑژڐܣ-ŻDz ŁĩƢƪ- a manifold impression of the intricate and recursive intercultural processes that provided the ĚþěţłƢŻƿűĢ-ŁŻƢěŻůƟŻƪŎƷŎŻű-Ŏű-/þƪƷƪŎþ-Ŏű-Ʒ'nĩ-ƷǜĩűƷŎĩƷ'něĩűƷƿƢǢþűĢ-ƟĩƢƪŎƪƷ-ƷŻ-Ʒ'nŎƪ-ĢþǢܒȃþƷ- ¼þű-'ƿűơƿŻƷĩƪ-ܫþűĢþĚŻǛĩþŦŦ܌-'nŻǜ-'nĩơƿŻƷĩƪ-ܫ-Ʒ'nŎƪůĩŦŻĢǢ-Ŏű-'nŎƪ-ƟŻŦŎƷŎěþŦŦǢě'nþƢłĩĢ-*®ǢůƟ'nŻűǢ-ڜڞڞږ*-ƢĩơƿŎƢĩƪƿƪ-ƷŻ-ŦŻŻţěŦŻƪĩƢþƷ-Ʒ'nŎƪ-'nŎƪƷŻƢŎěƪŻƿƢěĩ-ŻŁ- 'nŎűĩƪĩ-ŎĢĩűƷŎƷŎĩƪܒàĩěþűěŻůƟþƢĩ- ŎƷƪ- ǛþƢŎŻƿƪ- ǛĩƢƪŎŻűƪ- 'nĩƢĩ- ŁƢŻůþ-ܣůƿƪŎěܤܮ'nŎƪƷŻƢŎěþŦ- ƟĩƢƪƟĩěƷŎǛĩܒàĩ ěþű ƪ'nŻǜ- 'nŻǜ- Ʒ'nĩǢ- 'nþǛĩ- ě'nþűłĩĢƪŎűěĩ-Ʒ'nĩ-ȀƢƪƷǜƢŎƷƷĩűƪŻƿƢěĩ-ŁŻƢ-Ʒ'nĩůĩŦŻĢǢ-Ŏű-ڔژږڐ-ƷŻ-Ʒ'nĩůŻƪƷ-ƢĩěĩűƷěŻűƷĩůƟŻƢþƢǢ- ǛĩƢƪŎŻű-ܣƪƿůůþƢŎǬĩĢ-Ŏű-¼þĚŦĩ-ܗڒܒڒƪĩĩþŦƪŻ-/ǡþůƟŦĩƪ-܌ڗܒڒ-܌ژܒڒþűĢ-¼þĚŦĩ-ܒܤړܒڒ-SƷ-ƢĩůþŎűƪ-ƷŻ-Ěĩ- ĢŎƪěƿƪƪĩĢ-Ŏűǜ'nŎě'nǜþǢƪ-Ʒ'nĩƪĩ-ǛþƢŎþƷŎŻűƪ-ƢĩŁĩƢ-Ěþěţ-ƷŻ-Ʒ'nĩě'nþűłĩƪ-ŎűěƿŦƷƿƢĩþűĢĩűǛŎƢŻűůĩűƷ- Ʒ'nþƷ-Ʒ'nĩǢ-ƢĩěŻƢĢܒ-FƢŻůþűĩƷ'nűŻܣůƿƪŎěŻܤŦŻłŎěþŦ-ƟĩƢƪƟĩěƷŎǛĩ܌-Ʒ'nĩ-ĢŎDz ŁĩƢĩűƷ-ǛĩƢƪŎŻűƪ-ŻŁ-Ʒ'nĩůĩŦܮ ody within the musical practice of China or Asia can be investigated and potential conclusions ĢƢþǜűþĚŻƿƷ-Ʒ'nĩ-ƷƢþűƪƢĩłŎŻűþŦ-ƷƢþĢŎƷŎŻűƪ-ŻŁ-Ʒ'nĩůĩŦŻĢǢܒ-Ǽ ƷĩƢþŦŦ܌-Ʒ'nƢŻƿł'n-Ʒ'nĩůƿƪŎěþŦþűþŦǢƪŎƪ- ŻŁ-Ʒ'nĩ-ƢĩƪƟĩěƷŎǛĩůĩŦŻĢŎě-ȀłƿƢĩƪþűĢ܌-ŎŁþƟƟŦŎěþĚŦĩ܌-Ʒ'nĩ-'nþƢůŻűŎǬþƷŎŻű܌-ŻƢě'nĩƪƷƢþƷŎŻű܌-ŻƢ-ƟĩƢ-

ڻڷڵ- -1/4ŊĪƣĪŰÿƣŤŏŲ-ƸŊĪ-FƣÿĪŲŤĪŧ-ĪŲƸƣǣŏŲ-*Baker's Biographical Dictionary*-ƸŊÿƸ-FƣÿĪŲŤĪŧ-Ŋÿģ-ĪŲšżǣĪģ-ƸŊĪ-ƠƣżƸĪĜƸŏżŲżł- ŊŏÿŲŃfÿŏܫRŊĪŤ܉ǝŊż-ŊÿģÿƫŤĪģ-ŊŏŰ-Ƹż-ĜżżƣģŏŲÿƸĪ-ƸŊĪ-ŰǀƫŏĜÿŧ-ƸƣÿŏŲŏŲŃŏŲ-®ŊÿŲŃŊÿŏÿŲģtÿŲšŏŲŃ܉ƫŊżǀŧģěĪ- łżŧŧżǝĪģ-ǀƠŏŲ-ƸŊŏƫ-ĜżŲƸĪǢƸ-¼ż-ƸŊĪ-ĪǢƸĪŲƸƫǀŃŃĪƫƸĪģ-ŊĪƣĪ܉ŏƸƫĪĪŰƫƣÿƸŊĪƣ-ǀŲŧŏŤĪŧǣ܉ÿƸŧĪÿƫƸěĪłżƣĪ-܉ڑڐڕڍ-ŃŏǜĪŲ- ƸŊĪ-ƠżŧŏƸŏĜÿŧƫŏƸǀÿƸŏżŲÿŲģ-ƸŊĪ-ĪǢƸĪŲƫŏǜĪ-ĜżŲƸƣżŧěǣ-ƸŊĪdÿƠÿŲĪƫĪÿǀƸŊżƣŏƸŏĪƫ-®ĪĪ-®ŧżŲŏŰƫŤǣ܉-ܶFƣÿĪŲŤĪŧܷ

formance practice, cross-connections, affinities, or opposites of the different traditional and modern versions and their musical meaning can be worked out.


Table 3.3: Molihua, overview of sources, transcriptions, and editions

ȃĩůĩŦŻĢǢ-Ŏƪ-ȀƢƪƷ-ĢŻěƿůĩűƷĩĢ-Ŏű- 'nŎűĩƪĩ-Ŏű-ڐڑڗڐ-Ŏűþ*gongche* solmization notationڡڜښ-ܣ/ǡڗܒڒݑܒł܌ܤþŦƷ'nŻƿł'n-Ʒ'nĩ-ƷĩǡƷܼƪ-ŻƢŎłŎűƪ܌þƷ-ŦĩþƪƷ܌-ƟŻƪƪŎĚŦǢłŻ-Ěþěţ-ƷŻ-Ʒ'nĩ-ǢĩþƢ-ڕڕڔڐ-ܣƷ'nĩƪƿĚƪƷþűěĩůĩűƷŎŻűĩĢ- Ŏű-Ʒ'nĩ-ƷĩǡƷĩǛĩű-ƢĩŁĩƢƪ-Ěþěţ-ƷŻ-Ʒ'nĩűŻǛĩŦ-*ȄĩàĩƪƷ- 'nþůĚĩƢ*܌ǜ'nŎě'nǜþƪǜƢŎƷƷĩű-ĢƿƢŎűł-Ʒ'nĩæƿþű- 'ǢűþƪƷǢþƢŻƿűĢ-ڢڜښܒܤڏڏڒڐ-1/4ŻĢþǢ܌-ǛĩƢƪŎŻűƪ-ŻŁ-Ʒ'nŎƪ-ƷƿűĩþƢĩ-ƷŻ-Ěĩ-ŁŻƿűĢ-ŎűþƷ-ŦĩþƪƷ-Ʒ'nŎƢƷĩĩű- 'nŎűĩƪĩ-ƟƢŻǛŎűěĩƪþűĢ-Ŏű-¼ŎĚĩƷ܌ƪŻůĩ-ŻŁǜ'nŎě'n-ĢŎDz ŁĩƢłƢĩþƷŦǢ-ŁƢŻů-ŻűĩþűŻƷ'nĩƢþűĢ-ŻǼ Ʒĩű-ƢĩǛĩþŦ- similarities only in the texts and titles.ڙڝښ Within the category of *xiaodiao*-ܣŦŎƷƷŦĩůĩŦŻĢŎĩƪ܌ܤ-Ʒ'nĩ- song belongs to the *shidiao*-ܣŁƢĩĩܡܮƷŎůĩܢůĩŦŻĢŎĩƪ܌ܤƪŻůĩ-ŻŁǜ'nŎě'nþƢĩþŦƪŻ-ƟĩƢŁŻƢůĩĢ-ĚǢ-ܣƪĩůŎܤܮ ƟƢŻŁĩƪƪŎŻűþŦůƿƪŎěŎþűƪܒȃĩƪĩůĩŦŻĢŎĩƪ þƢĩ- ƟƢĩĢŻůŎűþűƷŦǢ- ƟĩƢŁŻƢůĩĢ-Ŏű ƿƢĚþű ěĩűƷĩƢƪ þűĢ- ƟƿĚŦŎěƪƟþěĩƪ܌-ŻǼ ƷĩűǜŎƷ'n-ŎűƪƷƢƿůĩűƷþŦþěěŻůƟþűŎůĩűƷܒȃĩůŻƪƷ-ŁþůŻƿƪ-ǛĩƢƪŎŻűěŻůĩƪ-ŁƢŻů- the southern central Chinese province of Jiangsu and is documented in various modern transcriptions and recordingsښڝښ-ܣ/ǡڗܒڒݑܒ'nܒܤȃŎƪ-ǛĩƢƪŎŻűěþű-ĚĩěŦĩþƢŦǢ-ƷƢþěĩĢ-ƷŻ-Ʒ'nĩĩþƢŦŎĩƪƷǜƢŎƷƷĩű- ƪŻƿƢěĩ-ŻŁ-ܒڐڑڗڐ-ŁěŻƿƢƪĩ܌-Ʒ'nĩ-ƷƢþűƪěƢŎƟƷŎŻű-ŻŁ-Ʒ'nĩůĩŦŻĢǢ-Ŏű-Ʒ'nĩ-ȀǛĩܮŦŎűĩƪǢƪƷĩů-ܣþűĢ-ŦŎţĩǜŎƪĩ- in the Chinese cipher notation *jianzipu*ܤ-ĢŻĩƪűŻƷěþƟƷƿƢĩ-Ʒ'nĩěƢƿěŎþŦ-ĚŦƿƢƢŎűł-Ŏű-ŎűƷŻűþƷŎŻű܌-Ʒ'nĩ- Ȁűĩ-ǛŎĚƢþƷŻ܌þűĢ-ŎűǴŦĩěƷŎŻűƪ܌þƪǜĩŦŦþƪ-Ʒ'nĩ-'nĩƷĩƢŻƟ'nŻűŎě-ŎűĢĩƟĩűĢĩűěĩ-ŻŁ-Ʒ'nĩ-ǛŻŎěĩþűĢ-ŎűƪƷƢƿůĩűƷƪܒȃĩƪĩþƪƟĩěƷƪ-ŻŁ-Ʒ'nĩůƿƪŎěþƢĩþƪƪŻěŎþƷĩĢǜŎƷ'n*ƪŎǬ'nƿǢƿĩ*-ܣƪŎŦţþűĢ-ĚþůĚŻŻůƿƪŎě܌ܤþůþŎű- ensemble type of *Jiangsu*-Ʒ'nþƷ-ŎƪþŦƪŻƿƪĩĢ-ŁŻƢ-Ʒ'nĩþěěŻůƟþűŎůĩűƷ-ŻŁ-ŁŻŦţƪŻűłƪڛڝښܒ

tŻǜ܌-Ʒ'nŎƪ-ŎűƷƢþܮ 'nŎűĩƪĩěŻűƷĩǡƷ-Ŏƪ-ŻǛĩƢŦþŎĢǜŎƷ'nþű-ŎűƷĩƢěƿŦƷƿƢþŦ-Żűĩܒƪ-ƟþƢƷ-ŻŁ-Ʒ'nĩ-ܣƿŦƷŎܮ ůþƷĩŦǢƿűƪƿěěĩƪƪŁƿŦܤůŎƪƪŎŻű-ŻŁ-Ʒ'nĩ-/űłŦŎƪ'n-ĢŎƟŦŻůþƷhŻƢĢ-GĩŻƢłĩrþěþƢƷűĩǢ-ƷŻ- 'nŎűþ-Ŏű-ڒژږڐ- þűĢ-ڜڝښړژږڐ a melody entitled *Molihua* (spelled as *Moo*-*Lee*-*Hwa* and *Mu*-*Li*-*Chwa*ܤǜþƪ-ƢĩěŻƢĢĩĢ- ĚǢ-Ʒ'nĩ-GĩƢůþű-Ʒĩþě'nĩƢþűĢǜƢŎƷĩƢdŻ'nþűű- 'nƢŎƪƷŎþű-NDžƷƷűĩƢڝڝښܒhþƷĩƢ܌-NDžƷƷűĩƢþěƷĩĢþƪþű-Ŏů-ƟŻƢƷþűƷ ƪŻƿƢěĩ-ŻŁ-ŎűŁŻƢůþƷŎŻű- ŁŻƢ-GŻĩƷ'nĩ-Ŏű hŻűĢŻű܌ǜ'nĩƢĩ- 'nĩǜþƪ-Ŏű ěŻűƷþěƷǜŎƷ'n܌þůŻűł- others, the renowned music historian Charles Burney.ڞڝښ-ŦƷ'nŻƿł'n-NDžƷƷűĩƢ-ĢŻĩƪűŻƷůĩűƷŎŻű-

ڼڷڵ- -1/4ŊŏƫƫżǀƣĜĪŏƫƣĪƠƣżģǀĜĪģŏŲ-NǀÿŲŃ܉-ܶðŊżŲŃŃǀż-ŰŏŲŃĪ-ܸrżŧŏŊǀÿܹģĪ-ǢŏǭŊǀÿŲŃǣǀģżŲŃŃǀŏ܉ܷ-ڕ-¥ŏÿż*܍ðŊżŲŃŃǀż- jingdian zhinan*܉ßżŧ-܉ڍ-ڎڌڍģÿƸĪƫ-ƸŊŏƫƫżǀƣĜĪ-Ƹż-ڔڏڔڍ

ڽڷڵ See Jiang, *Hanzu minge gailun*܉-ڔڏڎܨڑڏڎÿŲģ-FĪŲŃ܉*ðŊżŲŃŃǀż-ƸżŲŃǭżŲŃ-ŰŏŲŃĪ*܉-ڌڏܨڔڍ

ڴڸڵ- -SŲÿŲżǜĪƣ-ܫڌڌڐƠÿŃĪ-ŰżŲżŃƣÿƠŊŏĜƫƸǀģǣ܉- ŊÿŲŃ- ŊŏܫfǀÿŲŃ-ŰĪƸŏĜǀŧżǀƫŧǣƣĪƫĪÿƣĜŊĪƫ-ƸŊĪ-ŃĪŲĪÿŧżŃǣżł-ƸŊĪ-ŰĪŧżģǣÿŲģƫǣƫƸĪŰÿƸŏĜÿŧŧǣ-ĜżŰƠÿƣĪƫÿǜÿƣŏĪƸǣżł-ƸĪǢƸÿŲģ-ŰĪŧżģǣǜÿƣŏÿŲƸƫ-ܠ ŊÿŲŃ܉-*Minge "Molihua" yanjiu*ܡ The ƫƸÿŲģÿƣģǝżƣŤ*ðŊżŲŃŃǀż-ŰŏŲšŏÿŲ-ŃĪƢǀšŏĜŊĪŲŃ*-ܠŲƸŊżŧżŃǣżł- ŊŏŲĪƫĪ-FżŧŤ-®żŲŃƫܡŧŏƫƸƫǜÿƣŏÿŲƸƫżł-ƸŊĪ-ƸǀŲĪŏŲ-ƸŊĪ- provinces of Fujian, Gansu, Hebei, Heilongjiang, Hubei, Liaoning, Shaanxi, Shandong, Shanxi, Sichuan, in the autonomous regions of Guangxi and Ningxia, and in Beijing. See also Feng, *ðŊżŲŃŃǀż-ƸżŲŃǭżŲŃ-ŰŏŲŃĪ*.

ڵڸڵ- -SģĪŲƸŏĜÿŧ-ƸƣÿŲƫĜƣŏƠƸŏżŲƫżł-ƸŊĪdŏÿŲŃƫǀłżŧŤƫżŲŃ-ĜÿŲěĪłżǀŲģŏŲ܉ÿŰżŲŃżƸŊĪƣƫ܉*ðŊżŲŃŃǀż-ŰŏŲšŏÿŲ-ŃĪƢǀšŏĜŊĪŲŃ* ܠŲƸŊżŧżŃǣżł- ŊŏŲĪƫĪ-FżŧŤ-®żŲŃƫ܉ܡßżŧ-*Jiangsu*܉-ƠÿƣƸ-܉ڎ-܉ړڎړܨڒڎړdŏÿŲŃ܉-*Hanzu minge gailun*܉-܉ڒڏڎ-¥ŏÿż܉*ðŊżŲŃŃǀż- jingdian minge jianshang zhinan*܉ßżŧ-܉ڍ-܉ڍڌڍÿƫǝĪŧŧÿƫŏŲ-®ĜŊÿdz łƣÿƸŊ܉-*Einhundert chinesische Volkslieder*܉-ڏڍڍܨڎڍڍ

ڶڸڵ- -ǝĪŧŧܫŃƣżǀŲģĪģŏŲƸƣżģǀĜƸŏżŲ-Ƹż*sizhuyue* is Witzleben, *"Silk and Bamboo" Music in Shanghai*. The interpretation of *Molihua*ěǣhǀ-¥ŏŲŃƫŊǀÿŲŃ-ĜÿŲěĪ-ŊĪÿƣģÿƸ-ŊƸƸƠܕܕ܈ǝǝǝǣżǀƸǀěĪĜżŰܕǝÿƸĜŊܐǜڕݰæŲڏŲǢĪGŲڒĜ-Ų-ƸŊĪ-ƠŧÿǣŧŏƫƸ- ŊƸƸƠܕܕ܈ǝǝǝǣżǀƸǀěĪĜżŰܕƠŧÿǣŧŏƫƸܐŧŏƫƸݰ£hړڕڑڎڑڏڎڒڕڏڐ ڑڕڔ-ƸŊĪƣĪÿƣĪ-ƸǝĪŧǜĪ-ŰżƣĪƣĪĜżƣģŏŲŃƫżł-ƸŊĪƫżŲŃ܉ŏŲcluding, in addition to several interpretations of the tune from Jiangsu, the versions from Hebei, Shaanxi, and łƣżŰ-ƸŊĪrÿŲĜŊǀƣŏÿŲ-ŲżƣƸŊĪÿƫƸżł- ŊŏŲÿ܉ěǀƸ-ŰżƫƸŧǣŏŲ-ŰǀĜŊŧĪƫƫ-ܶÿǀƸŊĪŲƸŏĜܷÿƣƣÿŲŃĪŰĪŲƸƫ

ڷڸڵ See among others Melvin and Cai, *Rhapsody in Red*܉-ڎڔܨڔړ

ڸڸڵ- -ĜĜżƣģŏŲŃ- Ƹż ÿƣƣżǝ܉- ƸŊĪ ƫżŲŃ ǝÿƫ- ƸƣÿŲƫĜƣŏěĪģ łƣżŰ- ƸŊĪ ƫżŲŃ żł ÿ- ŰǀƫŏĜŏÿŲ ÿĜĜżŰƠÿŲŏĪģ żŲ ƫżŰĪ- ŤŏŲģ żł- ŃǀŏƸÿƣ-ܠƠżƫƫŏěŧǣÿ*sanxian* or a *pipa*ܔÿƣƣżǝ܉-*John Barrow's Travels in China*܉-ܡڑڍڏ-ÃŲłżƣƸǀŲÿƸĪŧǣ܉-ŲĪŏƸŊĪƣÿƣƣżǝ- Ųżƣ-NdžƸƸŲĪƣ-ƠƣżǜŏģĪŏŲłżƣŰÿƸŏżŲżŲǝŊĪƣĪ-ƸŊĪǣ-ŊĪÿƣģ-ƸŊŏƫ-ƸǀŲĪǝŊŏŧĪ-ƸƣÿǜĪŧŏŲŃěĪƸǝĪĪŲ-ĪŏšŏŲŃÿŲģ ÿŲƸżŲ- ܡGǀÿŲŃǭŊżǀܠ

ڹڸڵ- -RĪĪ-£ƣżĪƫĜŊżŧģƸ܉-ܶdżŊÿŲŲ- ŊƣŏƫƸŏÿŲ-NdžƸƸŲĪƣܷ-NdžƸƸŲĪƣǝÿƫżŲĪżłżŲŧǣÿłĪǝ-GĪƣŰÿŲƫ-Ƹż-ƠÿƣƸŏĜŏƠÿƸĪŏŲrÿĜÿƣƸ-ŲĪǣܹƫ ģŏƠŧżŰÿƸŏĜ- ŰŏƫƫŏżŲ- NĪ ǝÿƫ- ƸŊĪ- ƸĪÿĜŊĪƣ żł- ƸŊĪ ƫżŲ żł rÿĜÿƣƸŲĪǣܹƫ ģĪƠǀƸǣ- GĪżƣŃĪ hĪżŲŊÿƣģ- ®ƸÿǀŲƸżŲ- NdžƸƸŲĪƣƫǀěƫĪƢǀĪŲƸŧǣěĪĜÿŰĪÿšżǀƣŲÿŧŏƫƸÿŲģ-ƸƣÿŲƫŧÿƸżƣŏŲhżŲģżŲ܉ǝŊĪƣĪ-ŊĪÿŧƫżÿģǜŏƫĪģ- ŊÿƣŧĪƫ-ǀƣŲĪǣżŲ- ÿģŏĜƸŏżŲÿƣǣ-ĪŲƸƣǣżŲ- ŊŏŲĪƫĪ-ŰǀƫŏĜ-ܠƫĪĪ-ǀƣŲĪǣ܉-ܶ ŊŏŲĪƫĪrǀƫŏĜܷܡ

the melody in the very revealing paragraph on Chinese music of his travelogue Nachricht von der Britischen Gesandtschaftsreise nach China 1792–94, which appeared in 1797,466 his transcription had already been published in London in 1795 together with the Chinese rowing song Higho high-hau by the Saxon composer Karl Kambra, both in its supposedly "original" form (Ex. 3.8a) and in an arrangement for piano, where the melody is complemented by major-minor tonal harmonies. The edition advances the following remarkable explanation:

The following Chinese Songs were brought to England by a Gentleman of the late Embassy to China, who took them down upon the Spot. Their Originality, therefore, may be depended on, and Mr. KAMBRA, in offering them to the Public, with the addition of a Bass, flatters himself to have rendered them more agreeable to the English Ear.147

In 1804, John Barrow, secretary to Lord Macartney during the legate mission to China, published his Travels in China in London, which Hüttner translated and published in German the same year. Barrow reproduces a transcription of Molihua (Ex. 3.8b) that differs markedly in some details from Kambra's version. Barrow justifies his version - in reference to Kambra's piano writing with the astonishing reasoning that with the addition of an accompaniment, the music "ceases to be a specimen of the plain melody of China."48 A version slightly different from Barrow's, in turn, is reproduced in the first volume of August Wilhelm Ambros's Geschichte der Musik in 1862 (Ex. 3.8c), again with a tonal harmonization (in D minor); without making reference to his source, Ambros reproduces a version of the melody handed down by Eyles Irwin in 1797.40 An-

<sup>146</sup> Hüttner, Nachricht von der Britischen Gesandtschaftsreise nach China 1792–94, 179–183.

<sup>147</sup> Karl Kambra, Two Original Chinese Songs, Moo-Lee-Chwa & Higho Highau, for the Piano Forte or Harpsichord, London 1795, reprinted in Harrison, Time, Place, and Music, 213–213. The same volume published the Chinese rowing song Higho highau and was reprinted in 1796 in the January issue of the Weimar Journal der Moden with a commentary by Hüttner: Johann Christian Hüttner, "Ein Ruderliedchen aus China mit Melodie" Journal des Luxus und der Moden 11, no. 1 (1796), 36–37. Hüttner's commentary in the Journal is reprinted in Harrison, Time, Place and Music, 188–189.

<sup>148</sup> Barrow, John Barrow's Travels in China, 315. In his translation of Barrow's text, Hüttner contradicts Barrow in a footnote with this assessment: "But if he [Kambra] immediately made a bass, then nothing was added to the melody itself. The bass could not change the melody; it remains as plain and Chinese as before. [translator's comment]" ("Aber ob er [Kambra] gleich einen Baß dazu machte, so wurde doch zur Melodie selbst nichts hinzugefügt. Der Baß konnte die Melodie nicht ändern; sie bliebt so einfach und Chinesisch wie vorher. Uebers.") (Barrow, Johann Barrow's Reise durch China, 380.)

<sup>149</sup> Ambros, Geschichte der Musik, Vol. 1, 34–36. Ambros's source was Irwin, "Chinese Musick," 343 (1797, here the tune is reproduced under the title Tsin Fa, along with another tune Chew Two further melodies were published by Irwin in Volume 2 of The Oriental Collections, London 1798, 148). Eyles Irwin was an Irish poet and colonial official working for the East India Company and spent the years between 1792 and 1794 in China. He was also involved in the Macartney mission, so it can be assumed that he had Hüttner's transcription of the song to work from. It cannot be ruled out that the differences in details between the versions of Barrow/Hüttner and Irwin/Ambros are due to copying errors (the title Tsin Fa - in other sources spelled Sinfa - indicates the Cantonese pronunciation of the alternative title Xianhua, which is also named by Barrow and Hüttner). In describing this melody, Ambros does not hesitate to voice his aversion to Chinese music as a whole. The melody "only too soon enters into the peculiar and grotesque, which is a family trait of all Chinese melodies" (Ambros, Geschichte der Musik, Vol. 1, 34, "sie geräth nur allzubald in das Absonderliche und Fratzenhafte hinein, welches den Familienzug aller chinesischen Melodien bildet"). In a footnote, Ambros also refers to Barrow's version, which he considers "a little less barbaric" (Ibid., 35, "etwas weniger barbarisch"). Other melodies introduced by Ambros served Ferruccio Busoni as an important source for his opera Turandot (1905/17), see Lo, Turandot auf der Opernbühne, 257–266.

Example 3.8: Nine Versions of Molihua, a. Kambra 1795 (based on Hüttner's transcription 1793/94), b. Barrow 1804 (Hüttner's transcription 1793/94), c. Ambros 1862 (source: Irwin 1797; \*: A4 instead of B4 in third edition 1887, also in Irwin 1797), d. van Aalst 1884; e. Fassini-Camossi's music box (1920; recorded in the 1970s); f. Puccini, Turandot (1920–24), Act I, rehearsal number 19 (boys choir); g. gongchepu transcription (Chinese solmisation) from 1821 (after Qian, Zhongguo jingdian minge jianshang zhinan, vol. 1, 103), h. modern transcription of the folk song from Jiangsu province (after ibid., 101), i. Tan Dun, Symphony 1997, I. Heaven, mm. 129–143 (children's choir)

other version was published by Jules A. van Aalst in 1884, a Belgian official who was acting in the service of the Chinese imperial customs authority, in his book Chinese Music (Ex. 3.8d). This version has the title Xianhua (Fresh Flower), which appears in very early Chinese sources as an alternative title for Molihua, as well as a Chinese gongche score reproduced by the author. Although this demonstrates that van Aalst had a Chinese source at his disposal, his version quite clearly differs from both the aforementioned 1821 gongche score and Barrow's and Ambros's versions. "S

In August 1920, during a visit to Bagni di Lucca, Giacomo Puccini heard four Chinese tunes on a music box of his friend Baron Edoardo Fassini-Camossi (1871–1941), "a veteran of the 1900 campaign to suppress the Boxer Rebellion and of a military mission through China to Siberia at the end of the First World War in 1918–20 to reclaim Italian prisoners." The first of the four tunes was Molihua, in a polyphonic version whose main melody resembles that reproduced by Barrow and Ambros (Ex. 3.8e).152 Puccini made use of this version of the melody (along with two

151 Sheppard, "Puccini and the Music Boxes," 71.

Puccini's encounter with the Fassini-Camossi music box had been documented early on in a newspaper article by Luigi Gualtiero Paolini in the Giornale d'Italia on 19 August 1920 (see ibid., 70). A further indication of Puccini's source was given by Giuseppe Adami, one of the two librettists of Turandot and Puccini's biographer (Adami, Puccini, 176). The Fassini-Camossi music box was discovered and recorded in 1965 by "Michael Rose and Hans Hammelmann in Rome at the home of Fassini's widow just in time for a BBC Third Programme radio broadcast about Turandot in the series 'Birth of an Opera'" (Sheppard, "Puccini and the Music Boxes," 72). William Weaver, who had joined Rose and Hammelmann, broadcast the music box tunes in a "Metropolitan Opera Intermission Broadcast" on 28 December 1974. I thank Jürgen Maehder for referring me to this broadcast and providing me with a copy of the program. The version of Molihua on the music box employs a simple counter-

<sup>150</sup> Aalst, Chinese Music, 19. The relatively large deviations in the version reproduced by van Aalst may indicate that the author either made mistakes in transferring the original gongche characters into his book, or when transcribing these characters into Western notation. The gongche notation reproduced by van Aalst deviates fundamentally from the gongche source of 1821. Van Aalst's transcription oddly contains the fourth scale degree, which occurs in none of the other versions. Van Aalst may have mistaken the gongche sign 1上 (shang, the octave of the first scale step) for 凡 (fan, fourth scale step). Compare, for example, van Aalst's gongche depiction with a gongche source of Molihua in the Japanese collection Gekkin Gakufu, Tokyo 1877 (https://zh.wikipedia.org/wiki/ File:Molihua1877.jpg).

<sup>152</sup> The melodies of Fassini-Camossi's music box are discussed in Ashbrook and Powers, Puccini's Turandot. The End of the Great Tradition, 94–96, Lo, Turandotaufder Opernbühne, 326–327, and, most comprehensively, in Sheppard, "Puccini and the Music Boxes." Sheppard has discovered that "Puccini had also turned to a music box for exoticinspiration some 18 years earlier, during the composition of Madama Butterfly" (ibid., 43). He points to the fact that music boxes with Asian melodies from around 1900 were produced in Switzerland and France rather than in Asia; therefore, they testify to orientalist conceptions of Asian music and cannot be considered "authentic" sources. "The box appears to have been manufactured in Switzerland and exported to China in the late nineteenth century. Baron Fassini returned with the box to Italy either after the Boxer War or in 1920 and brought the instrument to Bagni di Lucca, where Puccini encountered it in August 1920." (ibid., 76)

1

e a c

ŁƿƢƷ'nĩƢůĩŦŻĢŎĩƪ-ŻŁ-FþƪƪŎűŎܮ þůŻƪƪŎܼƪůƿƪŎě-ĚŻǡܤþŦůŻƪƷ-ŦŎƷĩƢþŦŦǢþƪþěĩűƷƢþŦůŻƷŎŁ-Ŏű-'nŎƪ-ŻƟĩƢþ- *Turandot*, but re-designed the harmonic accompaniment and, of course, the tonal dimension ŎűơƿŎƷĩþ-ĢŎDz ŁĩƢĩűƷůþűűĩƢܒ-Ʒ-ƷŎůĩƪ-'nĩ-ƷƢĩþƷƪ-Ʒ'nĩůĩŦŻĢǢþƪþƪǢůĚŻŦ-ŻŁě'nŎŦĢܮŦŎţĩ-ŎűűŻěĩűěĩ- ܣþƪ-ŎűěƷ-S܌-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-܌ژڐ-ĚŻǢƪě'nŻŎƢ܌-/ǡڗܒڒݑܒŁ܌ěƷ-SS܌-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-܌ڑړěƷ-SSS܌-ȀǛĩ- ůĩþƪƿƢĩƪþǼ ƷĩƢ-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-܌ܤڏړþƷ-ƷŎůĩƪ-'nĩ-ŎűƷƢŻĢƿěĩƪþű-ŎůƟĩƢŎþŦŦǢƪŻŦĩůű܌ƪŻůĩǜ'nþƷ- Ʒ'nƢĩþƷĩűŎűł܌-ǛĩƢƪŎŻű-ŻŁ-Ʒ'nĩůĩŦŻĢǢ-ܣþƪ-ŎűěƷ-S܌-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-܌ڗړ-/ǡܗژܒڒݑܒěƷ-SS܌-ڕڐůĩþƪƿƢĩƪ- ĚĩŁŻƢĩ-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-ܗڒڕěƷ-SSS܌-ƷǜŻůĩþƪƿƢĩƪ-ĚĩŁŻƢĩ-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-ܒܤږڐ-£ƿěěŎűŎ-ƢĩƟĩþ-ƷĩĢŦǢþŦŦƿĢĩƪ-ƷŻ-Ʒ'nĩůƿƪŎě-ĚŻǡܼƪƪƟĩěŎȀě-ƷŎůĚƢĩ-Ŏű-'nŎƪ-ŻƢě'nĩƪƷƢþƷŎŻűþűĢ-Ʒ'nĩƪ'nþƟŎűł-ŻŁ-¼ƿƢþűdot's "mechanical" character in the opera might equally have been enhanced by the rhythmiěþŦŦǢƪƷŎDz Ł-ǛĩƢƪŎŻű-ŻŁ-Ʒ'nĩůĩŦŻĢǢ-Żű-Ʒ'nĩůƿƪŎě-ĚŻǡ܌-Ʒ'nƿƪ-ƟĩƢƟĩƷƿþƷŎűł-ƢŎĩűƷþŦŎƪƷƪƷĩƢĩŻƷǢƟĩƪ-ŻŁ- the "mechanical" character of Asian people and their music.ڜڞښ

Both characteristics of Puccini's *Molihua*þƢĩ ĩǡƟŦŻƢĩĢ- ĚǢ- ¼þű-'ƿű-Ŏű- 'nŎƪ-*®ǢůƟ'nŻűǢ- ڜڞڞږܑ- Heaven – Earth – Mankind* ܌ܤږژژڐܣěŻůƟŻƪĩĢ-ŁŻƢ-Ʒ'nĩ-ƢĩƷƿƢű-ŻŁ-NŻűłfŻűł-ƷŻ- 'nŎűþ-Żű-ڐdƿŦǢ-܋ږژژڐ- Ŏű-Ʒ'nĩ-ȀƢƪƷůŻǛĩůĩűƷ܌-*Heaven*܌-Ʒ'nĩ-ܹŎůƟĩƢŎþŦܺ-ǛĩƢƪŎŻű-ܣůů܌ڑڑڐܫڔڐڐݑܒ-/ǡܤژܒڒݑܒ-Ŏƪ-'nĩþƢĢ-ȀƢƪƷ܌þűĢ- Ʒ'nĩű-Ʒ'nĩě'nŎŦĢŦŎţĩ-ŎűűŻěĩűƷ-ǛĩƢƪŎŻű-ܣůŎǡĩĢě'nŎŦĢƢĩűܼƪě'nŻŎƢ܌ěþűŻűŎěþŦŦǢěŻůƟŦĩůĩűƷĩĢ-ĚǢƪŻŦŻ- ǛŎŻŦŻűěĩŦŦŻ܌ůů܌ڒړڐܫژڑڐݑܒ-/ǡڗܒڒݑܒŎܒܤȃĩ-ƢĩŁĩƢĩűěĩƪ-ƷŻþűĢ-ĢĩǛŎþƷŎŻűƪ-ŁƢŻů-£ƿěěŎűŎܼƪ-ǛĩƢƪŎŻűþƢĩ- ŎűŁŻƢůþƷŎǛĩ܋-1/4 þű- 'ƿű- 'nþƢůŻűŎǬĩƪ- Ʒ'nĩ- ܹŎůƟĩƢŎþŦܺ- ǛĩƢƪŎŻű ǜŎƷ'n ƪŦŎł'nƷŦǢ- ĢŎDz ŁĩƢĩűƷ ě'nŻƢĢƪ܌- Gܫ -Ʒ'nĩ-ŻŁþƟƟĩþƢþűěĩ-ȀƢƪƷ-Ʒ'nĩþƷܣƿěěŎűŎ-£ǜ'nŎŦĩ-܌ܤڑڑڐܫڔڐڐݑܒůů-܌*Heaven*ݑܒSܣ- ܫ'ܫGܘ ܫ'ܫGܘ ܫ'ܫ ܹŎůƟĩƢŎþŦܺ-ǛĩƢƪŎŻű-ŎűěƷ-S܌-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-܌ڗړ-ŦþƷĩƢþŦǜþǢƪþűþŦŻłŻƿƪŦǢܤ-ƢĩƟĩþƷƪ-Ʒ'nĩ-ƷǜŻܮůĩþܮ ږþܮ'ܫ ܮ'ůŻĢĩŦ-'nþƢůŻűŎěƪƿƢĩ ܒȃĩ-ƢĩƪƿŦƷŎűł-'nþƢůŻűŎěěŻŦŻƢ-ŎƪƪŎůŎŦþƢ-ŻǜŎűł-ƷŻ-Ʒ'nĩƿĚŎơƿŎtous *sixte ajoutée*܌ƪĩǛĩűƷ'n܌þűĢűŎűƷ'ně'nŻƢĢƪþƪǜĩŦŦþƪ-Ʒ'nĩůŎǡŻŦǢĢŎþűůŎűŻƢƪĩǛĩűƷ'n-ܣ/ǡ܌ܤژܒڒݑܒ-ƢĩŁĩƢƢŎűł-ƷŻ-ŦþƷĩ-/ƿƢŻƟĩþűĩǡŻƷŎěŎƪů܌űŻƷ-ŦĩþƪƷ-ƢĩƟƢĩƪĩűƷĩĢ-ĚǢ-Ʒ'nĩ-'nþƢůŻűŎĩƪ-ŻŁ-GƿƪƷþǛrþ'nler's *Das Lied von der Erde*, where the added sixth is derived from pentatonic collections and ƟŦþǢƪþěĩűƷƢþŦ-ƢŻŦĩ-Ʒ'nƢŻƿł'nŻƿƷ-Ʒ'nĩǜŻƢţܒ

¼þű-'ƿűܼƪƿűĢĩűŎþĚŦĩ-ŁþůŎŦŎþƢŎƷǢǜŎƷ'nþǜŎĢĩ-Ƣþűłĩ-ŻŁ- 'nŎűĩƪĩůƿƪŎěþŦ-ƟƢþěƷŎěĩ-'nþƪ-ŻǼ Ʒĩű- been instrumentalized as a central factor in his notable success in the Western music world.ڝڞښ Sű- ŁþěƷ܌-1/4 þű ěŻůĩƪ- ŁƢŻů þ łĩűĩƢþƷŎŻű- Ʒ'nþƷ łƢĩǜ ƿƟ þǼ ƷĩƢ- Ʒ'nĩ ƿŦƷƿƢþŦ- ¦ĩǛŻŦƿƷŎŻű- Ŏű þ ěŦŎܮ mate that favored an enthusiastic reception of Western modernism, while Chinese symphoűŎěǜƢŎƷŎűł- ŁƢŻů- Ʒ'nĩ- ڏڒژڐƪ- ƷŻ- Ʒ'nĩ- ڏږژڐƪǜþƪ- ƢĩłþƢĢĩĢ ƪţĩƟƷŎěþŦŦǢ- ĚǢ- Ʒ'nĩ- ǢŻƿűłĩƢ łĩűĩƢþƷŎŻűܒȃĩ ůþŎű- ŁĩþƷƿƢĩ- ŻŁ- 'nŎűĩƪĩ ƪǢůƟ'nŻűŎě ůƿƪŎě- ĚĩŁŻƢĩ- ڗږژڐ ǜþƪ àĩƪƷĩƢűܮĚþƪĩĢ- ܹƟĩűƷþƷŻűŎě-


ŰĪŧżģǣܔŏŲ-/ǢÿŰƠŧĪڏݎڔĪ܉żŲŧǣ-ƸŊĪ-ŰĪŧżģǣǜżŏĜĪŏƫƣĪƠƣżģǀĜĪģ-ܠÿŧƸŊżǀŃŊàĪÿǜĪƣܹƫěƣżÿģĜÿƫƸƣĪŲģĪƣƫ-ƸŊĪ-ƸǀŲĪ- in D major, I have reproduced it in EK-Űÿšżƣ-ŊĪƣĪ܉ƫŏŲĜĪ-ܶƸŊĪrĪƸƣżƠżŧŏƸÿŲ-ƠĪƣÿěƣżÿģĜÿƫƸŧżǝĪƣĪģ-ƸŊĪ-ƠŏƸĜŊ- żł-ƸŊĪƫĪ-ƸŊƣĪĪ-ƸǀŲĪƫěǣÿƫĪŰŏƸżŲĪܷ-ܠŏěŏģ܉-ܡڑړ-SƸŏƫ-ĜŧĪÿƣ-ƸŊÿƸ-£ǀĜĜŏŲŏ-ŰÿģĪ-ǀƫĪżł-ƸŊŏƫ-*Molihua* version and not ƸŊĪǜĪƣƫŏżŲƣĪƠƣżģǀĜĪģěǣǜÿŲÿŧƫƸ܉ÿŧƸŊżǀŃŊ-ŊĪ-ƸżżŤłżǀƣżƸŊĪƣ-ŰĪŧżģŏĪƫłƣżŰǜÿŲÿŧƫƸܹƫěżżŤ-ƸŊÿƸ-ƠŧÿǣÿŲ- important part in *Turandot* ܠƫĪĪƫŊěƣżżŤÿŲģ-£żǝĪƣƫ܉-*Puccini's Turandot. The End of the Great Tradition*܉-ڔڕܨڒڕ- and Lo, *Turandot auf der Opernbühne*܉-ܡڐڏڏܨڌڏڏrżƫƸ- ŊŏŲĪƫĪ-ŰĪŧżģŏĪƫƣĪƠƣżģǀĜĪģěǣ-®ǝŏƫƫ-ŰǀƫŏĜěżǢĪƫǝĪƣĪ- ƠƣżěÿěŧǣěÿƫĪģżŲ-ƸƣÿŲƫĜƣŏƠƸŏżŲƫěǣ-ƸŊĪ-®ǝŏƫƫěǀƫŏŲĪƫƫŰÿŲ-FƣĪģĪƣŏĜ-ܸFƣŏƸǭܹżǜĪƸ-ܡڐڍڕڍܨڐڎڔڍܠ-ܠRŊĪƠƠÿƣģ܉-ܶ£ǀĜ-ĜŏŲŏÿŲģ-ƸŊĪrǀƫŏĜżǢĪƫ܉ܷ-ܡڔڔܨڏڔ-1/4ŊĪ-ŲżƸÿƸŏżŲ-ǀƫĪģłżƣ-ƠŏŲŲŏŲŃ-*Molihua* on a Bovet music box is reproduced in Chapuis, *History of the Musical Box and of Mechanical Music,*-ڑڒڎ

Example 3.9: Molihua – "imperial" version: harmonizations by Puccini (Turandot, Act I, rehearsal number 48) and Tan Dun (Symphony 1997, I. Heaven, mm. 115–119)

Romanticism," which confined itself to heavily simplified reminiscences of traditional Chinese music. In many respects this repertoire set out from the legacy of European exoticism and the "national schools" of the nineteenth century (→ III.1). Tan Dun and his colleagues in China's "new wave" (xinchao), on the contrary, expressed their new path not least by referring to materials of Chinese music that could not be captured with such simplifications. 555 Tan Dun, like no one else, had to feel the precarious consequences of such an approach, when being accused of acting as a "running dog of capitalism"56 during the first "Anti-Spiritual Pollution Campaign" (Qingchu jingshen wuran) from 1983 to 1984, and his music was banned from public performance for six months.157 Against this background, the connection to the formulas of exoticist power representation in the Symphony, which only arose thirteen years later, in the context of Tan Dun's glaring success story is all the more haunting.158

<sup>155</sup> Tan, for example, was very fascinated by the music of the Yao minority that he had encountered in the southern Chinese Guangxi province, not least because of their unusual melodic formations in which tritone-like intervals play an important role, features that cannot be represented in the context of a pentatonic tone system; see Utz, Neue Musik und Interkulturalität, 351–352, 361.

<sup>156</sup> Lu, "Ting Tan Dun xianyue sichongzou Feng – Ya – Song," quoted in Mittler, Dangerous Tunes, 99, 123.

<sup>157</sup> See Mittler, Dangerous Tunes, 99, 123–124 and Utz, Neue Musik und Interkulturalität, 358.

<sup>158</sup> CCP General Secretary Jiang Zemin is said to have smiled approvingly as he recognized the melody of Molihua during the premiere of Tan's Symphony, see Yu, "Two Practices Confused in One Composition," 58.


*¼þĚŦĩ-ڙܘژܑ-Molihuaܒ-ĢŎDZŁĩƢĩűƷ-ǛĩƢƪŎŻűƪ-ŻŁ-Ʒ'nĩƪŻűł-ƷĩǡƷ-ܩƟŎűǢŎű-ƷƢþűƪŦŎƷĩƢþƷŎŻűܪ*

ڽڹڵ- ǽ ƸĪƣ-¥ŏÿż܉*ðŊżŲŃŃǀżšŏŲŃģŏÿŲ-ŰŏŲŃĪšŏÿŲƫŊÿŲŃǭŊŏŲÿŲ*܉ßżŧ-܉ڍ-ڎڌڍ


SƷ-ƢĩůþŎűƪěŦĩþƢ-Ʒ'nþƷ-¼þű܌-ĢĩƪƟŎƷĩƪŻůĩĩDz ŁŻƢƷƪ-ƷŻƪƿłłĩƪƷ- 'nŎűĩƪĩ-ŎĢŎŻůþƷŎěƪŻƿűĢƪ-ܫ-ŁŻƢ- example, with the sliding melody in the strings or occasional ornamentsڝڟښ – clearly references £ƿěěŎűŎ-ŻƢ-Ʒ'nĩàĩƪƷĩƢűþƟƟƢŻƟƢŎþƷŎŻű-ŻŁ-Ʒ'nĩůĩŦŻĢǢþűĢűŻƷ-Żűĩ-ŻŁ-Ʒ'nĩ-ǛþƢŎþűƷƪ-ŻŁ- 'nŎűĩƪĩ-ŁŻŦţ- ůƿƪŎě- ƟƢþěƷŎěĩűþůĩĢþĚŻǛĩܒȃĩ- ܹŎűűŻěĩűƷܺ-ǛĩƢƪŎŻű ƪƿűł- ĚǢ- Ʒ'nĩ ě'nŎŦĢƢĩűܼƪ ě'nŻŎƢ-ܣSܒ-*Heaven*ܗ- ůů܌ڒړڐܫژڑڐݑܒ-/ǡڗܒڒݑܒŎܤ-Ŏƪ-ŎůŎƷþƷĩĢ-ĚǢ-Ʒ'nĩƪŻŦŻěĩŦŦŻ-ŎűěþűŻű܌ǜ'nŎě'n-ƟŻŎűƷƪ-ƷŻǜþƢĢþűŻƷ'nĩƢ-ŎűƷĩƢěƿŦƷƿƢþŦěŻűƷĩǡƷ܋þƪ-ŻƿƷŦŎűĩĢĩþƢŦŎĩƢ܌-Ʒ'nĩþƢƢþűłĩůĩűƷ-ŻŁ-ŁŻŦţƪŻűłƪ-ĚþƪĩĢ-ŻűàĩƪƷĩƢű-ƟƢŎűěŎƟŦĩƪ- and styles has played a pivotal role in Chinese music history since the end of the nineteenth -ܒܤڐܒSSSݑދܣěĩűƷƿƢǢ

tŻǜ܌-ŎűĢĩĩĢ܌-Ʒ'nĩ-ǛĩƢƪŎŻű-ŻŁ-*Molihua*-ƢĩƟƢŻĢƿěĩĢ-ĚǢ-¼þű-'ƿű-ŎƪţűŻǜűþűĢ-ƟŻƟƿŦþƢŎǬĩĢ-ƷŻ-ĢþǢþƪþ-ܹűþƷŎŻűþŦܺ- 'nŎűĩƪĩ-ŁŻŦţƪŻűł܌þűĢ-ŎƷƪ-ƢĩŦþƷŎŻűƪ'nŎƟ-ƷŻ-Ʒ'nĩ-ǛþƢŎþƷŎŻűƪ-ŻŁdŎþűłƪƿ-ŁŻŦţůƿsic introduced above has not yet been fully explained by music research. A comparison of the ƪŻűł-ƷĩǡƷ-Ŏű-Ʒ'nĩ-ǛþƢŎŻƿƪƪŻƿƢěĩƪ-ƢĩǛĩþŦƪƪŎłűŎȀěþűƷ-ĢŎDz ŁĩƢĩűěĩƪ-ĚĩƷǜĩĩű-Ʒ'nĩ-ǛĩƢƪŎŻűƿƪĩĢ-ĚǢ-¼þű- 'ƿűþűĢ-Ʒ'nĩ-ƢĩůþŎűŎűł-ǛþƢŎþűƷƪ܌ǜ'nŎě'nþƢĩ-ƢĩŦþƷĩĢ-ƷŻ-Ʒ'nĩþŦƷĩƢĩĢűƿůĚĩƢ-ŻŁ-ƟŎƷě'nĩƪþűĢ-Ɵ'nƢþƪĩ- ƪƷƢƿěƷƿƢĩ-ܣ1/4þĚŦĩܒܤړܒڒݑ-¦ĩłþƢĢŎűł-Ʒ'nĩ-'nŎƪƷŻƢŎěþŦ-ŻƢŎłŎű-ŻŁ-Ʒ'nŎƪ-ƷĩǡƷƿþŦþŦƷĩƢþƷŎŻű܌-ŻűĩůþǢłŦĩþű- ƪŻůĩ-'nŎűƷƪ-ŁƢŻů-Ʒ'nĩƪŻƿƢěĩƪ܋-Ʒ'nĩdŎþűłƪƿ-ŁŻŦţƪŻűłǜþƪ-ƷƢþűƪěƢŎĚĩĢ-ĚǢ-Ʒ'nĩ-ܣƷ'nĩű-ŻűŦǢ-ܮړڐǢĩþƢܮ ŻŦĢܤƪŎűłĩƢ-Nĩ-Fþűł-Ŏű-ڑړژڐ-Ŏű-Ʒ'nĩhŎƿ'nĩ-ƢĩłŎŻű-ŻŁdŎþűłƪƿ-ƟƢŻǛŎűěĩ-ŁƢŻů-Ʒ'nĩƪŻűł-ŻŁþű-ŻŦĢůþƪ-ƷĩƢܒȃĩű܌-Ŏű-܌ږڔژڐ-Nĩ-FþűłƪĩƷ-Ʒ'nĩ-ƷĩǡƷ-ŁŻƢ-ŁĩůþŦĩě'nŻŎƢ܌þűþƢƢþűłĩůĩűƷ-Ʒ'nþƷǜþƪ-ƢĩěŻƢĢĩĢþűĢ- ĢŎƪƷƢŎĚƿƷĩĢ-Ʒ'nƢŻƿł'nŻƿƷ- 'nŎűþ܌þűĢ-ȀűþŦŦǢ܌-Ŏű-܌ژڔژڐ-ŎƷþƟƟĩþƢĩĢǜŎƷ'nþűĩǜ-ƷĩǡƷþƷ-Ʒ'nĩ-®ĩǛĩűƷ'n- àŻƢŦĢ-FĩƪƷŎǛþŦ-ŻŁæŻƿƷ'nþűĢ-®ƷƿĢĩűƷƪ-ŎűßŎĩűűþ܌-Ʒ'nƿƪ-ƟŦþǢŎűłþ-ƟŻŦŎƷŎěþŦŦǢ-ƢĩƟƢĩƪĩűƷþƷŎǛĩ-ƟþƢƷڞڟښܒ SƷěþű-ĚĩþƪƪƿůĩĢ-Ʒ'nþƷ-Ŏű-Ʒ'nĩěŻƿƢƪĩ-ŻŁ-Ʒ'nĩ-ڏڔژڐƪ܌-£ƿěěŎűŎܼƪ-ŻƟĩƢþ-'nþĢþŦƢĩþĢǢ-ĚĩěŻůĩţűŻǜű-Ŏű- 'nŎűþ܌þƷ-ŦĩþƪƷþůŻűłůƿƪŎěŎþűƪ܌þŦƷ'nŻƿł'n-Ʒ'nĩ-ŻƟĩƢþǜþƪ-ŻDzȀěŎþŦŦǢ-ĚþűűĩĢ-Ʒ'nĩƢĩþűĢǜþƪ-ȀƢƪƷ- ƟĩƢŁŻƢůĩĢþƷ-Ʒ'nĩ-®'nþűł'nþŎ-ƟĩƢþ-NŻƿƪĩ-ŻűŦǢ-Ŏű-ڟڟښܒڏژژڐ In any case, Puccini's version of the melody may still have had an impact on arrangements such as He Fang's, which were in turn ǜŎĢĩŦǢƿƪĩĢ-Ŏű- 'nŎűþ܌-ŎűţĩĩƟŎűłǜŎƷ'nrþŻðĩĢŻűłܼƪűĩǜƪŦŻłþű-ŎƪƪƿĩĢ-Ŏű-Ʒ'nĩ-ڏڔژڐƪ܌*gu wei jin ǢŻűłܒ-ǢþűłǜĩŎð'nŻűł-ǢŻűł*-ܣrþţŎűł-Ʒ'nĩ-ƟþƪƷƿƪĩŁƿŦ-ƷŻ-Ʒ'nĩ-ƟƢĩƪĩűƷþűĢ-Ʒ'nĩ-ŁŻƢĩŎłűƿƪĩŁƿŦ-ŁŻƢ- 'nŎűþ܌ܤ-ĚþƪĩĢ-ŻűþƪŎůŎŦþƢƪŦŻłþű-ĚǢ-Ʒ'nĩ-ŻDzȀěŎþŦð'nþűłð'nŎĢŻűł-ŁƢŻů-Ʒ'nĩ-ŦþƷĩűŎűĩƷĩĩűƷ'něĩűƷƿƢǢ- ދܣ- SSSڠڟښܒܤڐܒȃĩ- ŁŻěƿƪǜþƪ- Ʒ'nĩƢĩŁŻƢĩ-Ŧĩƪƪ-Żű- Ʒ'nĩ- ƟƢĩƪĩƢǛþƷŎŻű-ŻŁ- ƢĩłŎŻűþŦ-ŻƢ ěƿŦƷƿƢþŦ- ƟĩěƿŦŎþƢŎties, but rather on the utilitarian adoption of Western techniques for mass dissemination and ŎĢĩűƷŎƷǢ-ŁŻƢůþƷŎŻű-ܫ-ŁŻƢǜ'nŎě'n-£ƿěěŎűŎܼƪƪŎůƟŦŎƪƷŎě-ǛĩƢƪŎŻűǜþƪűŻ-ĢŻƿĚƷůŻƢĩĩDz ŁĩěƷŎǛĩ-Ʒ'nþű- Ʒ'nĩ-ŁŻŦţƪŻűł-ŁƢŻůdŎþűłƪƿ܌ǜŎƷ'n-ŎƷƪ-ĚþƪŎƪ-ŎűěŻůƟŦĩǡ-ŻƢþŦ-ƷƢþĢŎƷŎŻűƪþűĢ-ƟĩƢŁŻƢůþűěĩ-ƟƢþěƷŎěĩܒ FŎűþŦŦǢ܌-ŎƷƪ'nŻƿŦĢ-ĚĩűŻƷĩĢ-Ʒ'nþƷ-ŁŻƢ- 'nŎűĩƪĩ-ƢĩƪĩþƢě'nĩƢƪþűĢůƿƪŎěŎþűƪ܌-Ʒ'nĩ-ĢŎDz ŁĩƢĩűěĩ-ĚĩƷǜĩĩű- Ʒ'nĩ-ܹ/ƿƢŻƟĩþűܺþűĢ-Ʒ'nĩ-ܣŦŻěþŦܤ- 'nŎűĩƪĩ-ǛĩƢƪŎŻűƪ-ŎƪűŻƷþƪ-ĚŦþƷþűƷþƪ-ŎƷǜþƪ-ƟƢĩƪĩűƷĩĢ-'nĩƢĩܒű- the contrary, in Puccini's version, some of them see another more "regional" variant of an only ŎůþłŎűþƢŎŦǢĩǡŎƪƷŎűł-ŁƢþůĩǜŻƢţůþƷĩƢŎþŦ܌-ƷŻǜ'nŎě'nþŦŦ-Ʒ'nĩ-ŻƷ'nĩƢ-ƢŻƿł'nŦǢ-ڔڐ-ĢŎDz ŁĩƢĩűƷůĩŦŻĢŎĩƪ- in China also refer, and in which, due to the regional styles, there are also sometimes intriguing changes to the text and the melodic structure.ڡڟښȃŎƪ-ƢþƷ'nĩƢ-ŻƢŎłŎűþŦþƢłƿůĩűƷƪĩĩůƪ-ƷŻ-

ڸںڵ- -/ŧƫĪǝŊĪƣĪ܉-Īdz łżƣƸƫÿƣĪ-ŰÿģĪěǣ-¼ÿŲ-ƸżÿģģÿƫƠĪĜŏÿŧ-ƢǀÿŧŏƸǣģŏƫƸŏŲŃǀŏƫŊŏŲŃ-ŊŏƫƣĪŲģŏƸŏżŲłƣżŰ-£ǀĜĜŏŲŏܹƫ܉ÿƫŏŲ-ƸŊĪÿƠƠƣżÿĜŊ-Ƹż-ƸŊĪ-ƸŊŏƣģěÿƣżł-ƸŊĪ-ŰĪŧżģǣ-ܠĪŲŊÿŲĜĪģěǣģǣŲÿŰŏĜƫ܉-ƸŏŰƠÿŲŏ-ƸƣĪŰżŧż܉ÿŲģ-ĜǣŰěÿŧÿĜĜĪŲƸܡżƣěǣ-ƸŊĪ-ܶĜżǀŲƸĪƣŰĪŧżģǣܷŏŲ-ƸŊĪÿƫĜĪŲģŏŲŃǿǽ ƸŊƫ- ܨڐGܨڐ'ڑŧŧ-ƸŊŏƫ܉żł-ĜżǀƣƫĪ܉ģżĪƫ-ŲżƸ-ĜŊÿŲŃĪ-¼ÿŲܹƫěÿƫŏĜƣĪŧŏÿŲĜĪżŲ-£ǀĜĜŏŲŏܹƫ-ܶƣĪƠƣĪƫĪŲƸÿƸŏżŲܷżł-ƸŊĪ-ŰĪŧżģǣ

ڹںڵ *ðŊżŲŃŃǀż-ŰŏŲšŏÿŲ-ŃĪƢǀšŏĜŊĪŲŃ*܉-ړڎړ-RĪĪÿŧƫż-ƸŊĪ-ƢǀżƸĪģŏŲƸĪƣŲĪƸƫżǀƣĜĪƫŏŲłżżƸŲżƸĪ-ڏڒڍ

ںںڵ He, "The Ambiguities of Chineseness," 551.

ڻںڵ See Geist, *Die Modernisierung der chinesischen Kultur*܉-ڌڎܨڎڍ-Fżƣ-ƸŊĪǿƣƫƸ-ƸŏŰĪŏŲ-܉ڔڕڔڍðŊÿŲŃłżƣŰǀŧÿƸĪģ-ƸŊĪƫŧżgan *zhongxue wei ti, xixue wei yong*܈-ܶ1/4ƣÿģŏƸŏżŲÿŧ-ܠ ŊŏŲĪƫĪܡŧĪÿƣŲŏŲŃ-ܞ żŲłǀĜŏÿŲ-ĪƸŊŏĜƫܟÿƫƫǀěƫƸÿŲĜĪ܉tĪǝ-ܠàĪƫ-ƸĪƣŲܡŧĪÿƣŲŏŲŃ-ܞÿģŰŏŲŏƫƸƣÿƸŏżŲÿŲģ-ƸĪĜŊŲżŧżŃǣܟÿƫÿƠƠŧŏĜÿƸŏżŲܷ-ވܠ-SSSܡڍ

ڼںڵ- -£ĪƣƫżŲÿŧ-ĜżŲǜĪƣƫÿƸŏżŲǝŏƸŊdŏÿŲŃrŏŲŃģǀŲ܉-RŊÿŲŃŊÿŏ܉-ڎڌڌڎܕڍڍܕڔڎ

ŻǛĩƢŦŻŻţ-Ʒ'nþƷ-Ŏű-ĚŻƷ'n-Ʒ'nĩ-£ƿěěŎűŎþűĢ-Ʒ'nĩ-¼þű-'ƿű- 'nŎűþ-ܣŻƢ- 'nŎűĩƪĩěƿŦƷƿƢĩ-Ŏű-Ʒ'nĩƪĩűƪĩ-ŻŁ-Ʒ'nĩ- ܹůǢƷ'n-ƟþƢþĢŎłů܌ܺ-ݑދSܤڒܒ-Ŏƪ-ƢĩƟƢĩƪĩűƷĩĢ-ĚǢ-Ʒ'nŎƪůĩŦŻĢǢþƪþű-ܣŎůþłŎűþƢǢܤ-ܹĩűƷŎƷǢ܌ܺþűĢ-Ʒ'nĩůþűűĩƢ- ŻŁ-ŎƷƪƪŎůƟŦŎȀěþƷŎŻű-ĚǢ-Ʒ'nĩàĩƪƷĩƢűůƿƪŎěþŦěŻűƷĩǡƷ-ŎƪěŻűĢŎƷŎŻűþŦ-ܫƪŻůĩƷ'nŎűłěþƷĩłŻƢŎěþŦŦǢ- ĢŎDz ŁĩƢĩűƷ-ŁƢŻů-ƷƢþűƪŁŻƢůþƷŎŻűƪ-ŻŁþůŻĢĩŦ-ŻǜŎűł-ƷŻ-ƢĩłŎŻűþŦůƿƪŎě-ƟƢþěƷŎěĩܒ

SƷ-ŎƪűŻƷ-ĢŎDzȀěƿŦƷ-ƷŻƪĩĩ-Ŏű-¼þű-'ƿűܼƪ-*®ǢůƟ'nŻűǢ*an example of a postcolonial construction of cultural identity, which, incidentally, can be clearly demonstrated on various other levels ŻŁ-Ʒ'nĩǜŻƢţ܌þűĢ-ŎűěŻűěŦƿĢŎűł܌-SǜŎŦŦ-ĚƢŎĩǴŦǢ-ĢŎƪěƿƪƪ-ƷǜŻƪƿě'n-ŦĩǛĩŦƪ܋ȃĩƪĩƷ-ŻŁ-ŎůƟĩƢŎþŦ-ĚĩŦŦƪ- *bianzhong*܌ǜ'nŎě'n-ƟŦþǢƪþěĩűƷƢþŦ-ƢŻŦĩ-Ŏű-¼þűܼƪǜŻƢţ܌ǜþƪ-ȀƢƪƷƿűĩþƢƷ'nĩĢ-Ŏű-ڗږژڐ-Ŏű-Ʒ'nĩ-®ƿŎǡŎþű-ƢĩłŎŻű-ŻŁ-NƿĚĩŎ-ƟƢŻǛŎűěĩþűĢơƿŎěţŦǢ-ĚĩěþůĩþűĩǜƪǢůĚŻŦ-ŻŁ- 'nŎűĩƪĩ-ܹűþƷŎŻűþŦěƿŦƷƿƢĩ܌ܺþƪ-Żűĩ- ŻŁ-Ʒ'nĩ-ŻŦĢĩƪƷţűŻǜű- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪܒ-Ł-ŎƷƪ-ړڕ-ĚƢŻűǬĩ-ĚĩŦŦƪ܌-ڔړǜĩƢĩƿƪĩĢ-ŁŻƢ-Ʒ'nĩěŻƿƢƷŦǢ- ěĩƢĩůŻűŎþŦůƿƪŎěþűĢ-ژڐþĢĢĩĢ-ŻűŦǢ-ŁŻƢ-ƷƿűŎűł-ƢĩþƪŻűƪܒȃĩ-ŎűƪƷƢƿůĩűƷěŻůĩƪ-ŁƢŻů-Ʒ'nĩĩƪƷþƷĩ- ŻŁ-'ƿţĩæŎ-ŁƢŻů-Ʒ'nĩƪƷþƷĩ-ŻŁðĩűł-ڐڑڑܫڑڑږܣ- /ܤ-ĢƿƢŎűł-Ʒ'nĩþűěŎĩűƷð'nŻƿ-'ǢűþƪƷǢڢڟښܒȃĩ-ĚĩŦŦƪ- ǜĩƢĩƿƪĩĢ-Ŏű-ǛþƢŎŻƿƪ łĩűƢĩƪ-ŻŁěŻƿƢƷůƿƪŎěܒ- Sű- Ʒ'nĩěŻűƷĩǡƷ-ŻŁ-¼þű-'ƿűܼƪ-*®ǢůƟ'nŻűǢ- ڜڞڞږ*, the þƢě'nþŎě-ŎűƪƷƢƿůĩűƷƪĩĩůƪ-ŦŎţĩþ-ŁŻƢĩŎłű-ĚŻĢǢ-Ʒ'nþƷ-Ŏƪ-ĢŎDzȀěƿŦƷ-ƷŻ-ŎűƷĩłƢþƷĩ܌-Ģƿĩ-Ŏű-ƟþƢƷŎěƿŦþƢ-ƷŻ- the combination of the equally-tempered, mostly even diatonic orchestral structures and the ƪƟĩěŎȀě-ܹůŎěƢŻƷŻűþŦܺ-ƷƿűŎűł-ŻŁ-Ʒ'nĩ-ĚĩŦŦƪڙڠښܒȃĩ-ܮڏڏړڑǢĩþƢܮŻŦĢ-ŎůƟĩƢŎþŦ-ĚĩŦŦƪĩƷ-Ʒ'nƿƪƪĩƢǛĩƪ-ŻűŦǢ- þƪþƪƟŦþƪ'n-ŻŁěŻŦŻƢ܌-ŎƷƪƪƟĩěŎȀěþŦŦǢƿűĩơƿþŦŦǢܮƷĩůƟĩƢĩĢ-ƷƿűŎűł-Ŏƪ-ŦĩǛĩŦĩĢ-Ŏűþ-ŦþƢłĩŦǢ-ĢŎþƷŻűŎě- music. In his study of the *®ǢůƟ'nŻűǢ*܌æƿ-®Ŏƿàþ'nþŦƪŻĩŦþĚŻƢþƷĩƪ-Żű-Ʒ'nĩƪŎłűŎȀěþűěĩþűĢ܌þĚŻǛĩ- all, the ambivalent cultural symbolism of the bell set. His positive conclusion, however, is dif-ȀěƿŦƷ-ƷŻþłƢĩĩǜŎƷ'n܋

¼ÿŲ-ƸÿĜŤŧĪģ-ƸŊĪ-ƠƣżěŧĪŰ-ܞżł-ĜżŲŲĪĜƸŏŲŃ-ƸŊĪ-ŲżŲܫĪƢǀÿŧŧǣ-ƸĪŰƠĪƣĪģěĪŧŧƫ-Ƹż-ƸŊĪ-ĪƢǀÿŧŧǣ-ƸĪŰƠĪƣĪģ- àĪƫƸĪƣŲ ƫǣŰƠŊżŲǣ żƣĜŊĪƫƸƣÿܟ ěǣ ģĪŧŏěĪƣÿƸĪŧǣ- ǀƫŏŲŃ- ƸŊĪ ěĪŧŧƫ ŏŲƫżŧż łżƣ ÿ ŧżŲŃ ƫĪĜƸŏżŲܔ ǝŊĪŲ- ǀƫĪģƫŏŰǀŧƸÿŲĪżǀƫŧǣǝŏƸŊ-ƸŊĪżƣĜŊĪƫƸƣÿ܉-ƸŊĪěĪŧŧܫĜŊŏŰĪƫÿƣĪÿŧǝÿǣƫƫĜżƣĪģÿƫ-ƠĪƣĜǀƫƫŏżŲŏŲƫƸƣǀ-ŰĪŲƸƫ܉ÿŲģ-ƸŊĪ-ĜŧÿƫŊŏŲ-ƸĪŰƠĪƣÿŰĪŲƸǝŏƸŊ-ƸŊĪżƣĜŊĪƫƸƣÿŏƫ-ƸŊǀƫ-ǀŲģĪƣŰŏŲĪģڗڝڗ

SűěŻűƷƢþƪƷ-ƷŻæƿܼƪ-Ʒ'nĩƪŎƪ܌-Ŏű-Ʒ'nĩ-ƷƢþűƪŎƷŎŻű-ƷŻ-Ʒ'nĩ-ܹŎůƟĩƢŎþŦܺ *Molihua*-ƢĩŁĩƢĩűěĩ-Ŏű-Ʒ'nĩ-ȀƢƪƷůŻǛĩment *Heaven*-ܣůů܌ܤڔڐڐܫړڐڐݑܒ-Ʒ'nĩ-ĢŎƪěƢĩƟþűěǢ-ĚĩƷǜĩĩű-Ʒ'nĩ-ĚĩŦŦܼƪ-'nþƢůŻűǢþűĢ-Ʒ'nĩþĚƢƿƟƷŦǢ-Żěcurring G major *tutti* chord is very obvious.

ȃĩ-ƟƢŻłƢþů-ŻŁ-Ʒ'nĩ-*®ǢůƟ'nŻűǢ*, subtitled *Heaven – Earth – Mankind*, also refers to the archaic ǜŻƢŦĢ-ŻŁ- Ʒ'nĩð'nŻƿ-'ǢűþƪƷǢܒ- ƪǢůĚŎŻƷŎě܌- ƷƢþűƪƟþƢĩűƷ܌þűĢ- ǴŦƿŎĢ-ƢĩŦþƷŎŻűƪ'nŎƟ- ĚĩƷǜĩĩű*tiandi* ܣ'nĩþǛĩűþűĢĩþƢƷ'n܌ǜ'nŎě'nƪǢůĚŻŦŎǬĩ-Ʒ'nĩĩűƷŎƢĩěŻƪůŻƪܤþűĢ*ren*-ܣ'nƿůþűţŎűĢܤ-ŎűĢĩĩĢ-ƟŦþǢƪþű- ĩƪƪĩűƷŎþŦ-ƟþƢƷ-Ŏű-Ʒ'nĩǜŻƢŦĢǛŎĩǜ-ŻŁþűěŎĩűƷ-'þŻŎƪůþƪ-ŎƷƿűŁŻŦĢĩĢ-ĢƿƢŎűł-Ʒ'nĩð'nŻƿ-'ǢűþƪƷǢܒȃŎƪ- worldview informed, among others, numerous religious practices, such as the worship of the ܹŻDzȀěŎþŦƪܺ-ŻŁ-'nĩþǛĩű-ܣ*tianguan*܌ܤĩþƢƷ'n-ܣ*diguan*܌ܤǜþƷĩƢ-ܣ*shuiguan*܌ܤþűĢ-'nƿůþűŎƷǢ-ܣ*renguan*ܒܤƿƷ- Ʒ'nĩ-ƷǜŻ-ŦŎűĩƪ-ĚǢ-Ʒ'nĩ-Ɵ'nŎŦŻƪŻƟ'nĩƢð'nƿþűłǬŎ-ܣěܒ-ڕڗڑܫژڕڒ- /ܤơƿŻƷĩĢ-ĚǢ-¼þű-'ƿűþƷ-Ʒ'nĩěŦŎůþǡ- of his *Song of Peace*, a short movement that serves as both introduction and coda to his *®Ǣů-Ɵ'nŻűǢ*, considerably distort the original meaning of the text.ڛڠښ-Sű-Ʒ'nĩěŻűƷĩǡƷ-ŻŁ-Ʒ'nĩ-ܹ'nĩƢŻŎěܺ-'- ůþŠŻƢ܌-ƷŻĩǛŻţĩƿűĩơƿŎǛŻěþŦþƪƪŻěŎþƷŎŻűƪǜŎƷ'n-Ʒ'nĩƪĩƷƷŎűł-ŻŁ-®ě'nŎŦŦĩƢܼƪ-*Ģĩ-¼ŻdŻǢ* in Beethoven's

ڽںڵ See Liang, *Music of the Billion*܉-ڑړܨڍړ

ڴڻڵ- -1/4ŊĪ- 'ƣĪĜżƣģŏŲŃżł-¼ÿŲܹƫǝżƣŤ-ŰÿģĪ-ǀƫĪżł-ƸŊĪżƣŏŃŏŲÿŧŧǣ-ĪǢĜÿǜÿƸĪģěƣżŲǭĪěĪŧŧƫĪƸ*ðĪŲŃŊżǀǣŏŏÿŲǭŊżŲŃ* un-ĪÿƣƸŊĪģŏŲ-܉ڔړڕڍǝŊŏĜŊ-ŊÿƫżƸŊĪƣǝŏƫĪěĪĪŲ-ŤĪƠƸ-ǀŲģĪƣŧżĜŤÿŲģ-ŤĪǣÿƸ-ƸŊĪ-NǀěĪŏrǀƫĪǀŰƫŏŲĜĪ-ƸŊĪ-Űŏģڌڔڕڍܫƫܔ- łżƣ-ƸŊĪ-ƠƣĪŰŏĪƣĪżŲ-ڍdǀŧǣ-ړڕڕڍÿŲģłżŧŧżǝܫǀƠ-ƠĪƣłżƣŰÿŲĜĪƫ܉ÿƣĪƠŧŏĜÿǝÿƫ-ǀƫĪģ-®ĪĪæǀ܉-ܶ1/4ǝż-£ƣÿĜƸŏĜĪƫ żŲłǀƫĪģŏŲ-ŲĪ żŰƠżƫŏƸŏżŲ܉ܷ-܉ړڑ-ڑڒ

ړڒ-܉Sěŏģ- -ڵڻڵ

ڶڻڵ- -RĪĪ-Gżżŏ܉-ܶrÿŤŏŲŃÿŲ-SģĪŲƸŏƸǣ܉ܷ- ŊÿƠƸĪƣ-ڏڑ

Ninth Symphony, the phrases "Heaven, Earth, and I are born together, the 10,000 things [that is, everything in existence] and I am one" confirm associations with an emphatic assertion of the unity of heaven, earth, and humanity."3 In Zhuangzi's chapter Qi wu lun (The Adjustment of Controversies), however, these two lines are followed by two questions and a brilliant paradoxical conclusion that totally challenges the first statement about unity or the very idea of unity:

Heaven, Earth, and I were produced together, and all things and I are one. Since they are one, can there be speech about them? But since they are spoken of as one, must there not be room for speech? One and Speech are two; two and one are three. Going on from this (in our enumeration), the most skilful reckoner cannot reach (the end of the necessary numbers), and how much less can ordinary people do so! Therefore from non-existence we proceed to existence till we arrive at three; proceeding from existence to existence, to how many should we reach? Let us abjure such procedure, and simply rest here.174

It is surely no coincidence that this passage does not find its way into Tan's representationalist music. The question of how to determine whether music represents cultural identity in an "essentialist" manner is answered in several ways by Tan's Symphony 1997. It characteristically abbreviates classical symbols of Chinese culture, neglecting their internal plurality, and this is a vivid example of an "affirmative" type of essentialism, which in this case also has strong political overtones."75 The "misunderstandings" of European exoticism and colonialism seem to be hardened in Tan's work, contrming its mésalliance with aftirmative nationalist Chinese symphonic works of the twentieth century.

Tan Dun was not afraid to resort to the melody in a musical setting analogous to the Symphony in the music he arranged jointly with the People Liberation Army's composer Wang Hesheng for the 302 medal ceremonies at the Beijing Olympics 2008, 76 and to characterize it as an "iconic piece," "almost a cultural symbol of China" and "a gift from the Chinese people to the world's athletes."17 The story of the melody took a turn when it was played in a version for solo violin by the American-Chinese violinist Lynn Chang at the ceremony for the awarding of the Nobel Peace Prize to the imprisoned dissident Liu Xiaobo in Oslo on 10 December 2010, 10 and especially shortly afterward, when, following the example of the anti-regime protests in Tunisia, there were also broad anti-government protests in China in February and March 2011 referred to as the "Jasmine Revolution" (molihua geming): the term "jasmine" came under internet censorship, and even trade in jasmine flowers was prohibited.179

<sup>173</sup> See ibid., 161-171.

<sup>174</sup> Zhuangzi, The Writings of Chuang Tzu.

<sup>175</sup> On political-cultural symbolism in the symphony and the reception of works in Hongkong, see Yu, "Two Practices Confused in One Composition."

<sup>176</sup> Cui, "Classical Piece Will Ring in Ears of Winners."

<sup>177</sup> Ibid.

<sup>178</sup> See The Nobel Peace Prize Award Ceremony 2010, http://www.nobelprize.org/mediaplayer/index.php?id=1405, 48:45.

<sup>179</sup> Chou, "From Nation's Favourite to Populist Poison" and Sheppard, "Puccini and the Music Boxes," 91–92.

### 4. Probing the Compositional Relevance of Cultural Difference: Key Tendencies of East Asian New Music Since the 1950s

The most obvious compositional articulation of culturally encoded forms of alterity is the immediate juxtaposition of idioms or structures that are clearly "culturally charged," accentuating their uniqueness, their fundamental difference, perhaps their incommensurability (+ 1.3). This model becomes particularly palpable if Western and non-Western instruments are placed in direct confrontation with one another – a tendency that has been mostly peripheral on a global scale since Toru Takemitsu's November Steps for shakuhachi, satsuma-biwa, and orchestra (1967), but should be accentuated all the more in the studies presented here. Tan Dun's Ghost Opera (1994) for pipa and string quartet offers a relevant example of "composed-out" alterity, as do many works by composers such as Toshio Hosokawa or Toshi Ichiyanagi (→ III.5, IV.1). As outlined already in Chapter II.6, there are two key works of modern European music theater in which an East Asian instrument assumes the extraterritorial function of the "Other": the Japanese shō mouth organ in Helmut Lachenmann's Das Mädchen mit den Schwefelhölzern (1990–96) and the Korean arched zither ajaeng in Hans Zender's Chief Joseph (2003) (→ II.6). Thus, the staging of cultural alterity through the dramaturgical use of musical instruments can be found among composers of different nationalities and is not limited to the Asian context.

Meanwhile, within globalized art music, a clearly ambiguous discourse of cultural difference has become established. On the one hand, many authors sympathize with approaches that aim at independence from the aesthetic criteria of Western modernism, understanding cultural difference as a medium of incommensurability and thus adopting a substantial achievement of aesthetic modernity by working against its consolidation as a norm. On the other hand, this dynamic has been picked up by Western-dominated markets, such that concert promoters and the public often expect traces of cultural difference in works by Asian, African, or Latin American composers (→ I.3). Concurrently, the unspoken norms and formats of new music sometimes leave little room for deviation. This paradoxical situation is further confused by often polemically accentuated phrases in music journalism - especially in German-speaking countries – that sometimes still derogate cultural heterogeneity, ambivalence, and hybridity with epithets such as "dilution," "touristic appropriation," or "pastiche."180

This chapter sketches some of the historical and aesthetic conditions under which the compositional relevance of cultural difference in the Asian context has steadily increased since the 1950s. In particular, it can be shown how cultural difference has become a central aesthetic metaphor for composition in situations of cultural upheaval. But the following case studies also demonstrate that attempts to impose a simple dualism between cultural difference and cultural Westernization usually fail. On the contrary, in all cases an essential impulse emanates from the aesthetics and critical thought of Western modernism or postmodernism, although their basic sociocultural basic requirements obviously cannot be transplanted to other cultural contexts without friction. The most prominent Asian composers of the 1960s and 70s, Isang Yun (1917–1995), José Maceda (1918–2004), Chou Wen-Chung (1923–2019), and Tōru Takemitsu (1930–1996), were explicitly aiming at a compositional expression or integration of the culturally difterent. Their works are unthinkable without the indissoluble entanglement of local or national discourses with the impression and influence of Western politics, art, and aesthetics. These played into detailed compositional decisions but also into the way these composers

<sup>180</sup> Examples can be found in abundance; see, for example, Häusler, "Begegnungswege," Boehmer, "Clobaliserung als heimischer Fetisch," and Nyffeler, "Der Reiz des Fremdgehens."

communicated their compositional ideas and techniques to both Western and non-Western audiences or readerships.

### Culturalist Polarization in Isang Yun's Music

This rings particularly true when the situation of migration is considered. The problem of (non-Western) national(ist) essentialism appears particularly troublesome when confronted with a (Western) cultural surrounding as the unsettling experience of otherness and alterity might be existentially perturbing or potentially traumatic.185 When considering this biographical context, it appears inevitable that Isang Yun (1917–1995), surely the most influential Korean composer worldwide to date, was concerned from the beginning of his stay in Europe (1956) with the problem of finding a compositional identity that can encompass both his Korean origin and past and his European/German present. The inescapable frame of reference of this search for identity can be tound in the discourses of contemporary European music from the 1950s to the 1990s, a frame of reterence of the highest importance for Yun's self-conception as a composer, as has been repeatedly shown.182 The cultural frame of reference during Yun's first 40 years in Korea, including his studies in Japan (1933–36 in Osaka, 1938–41 in Tokyo with Tomojirō Ikenouchi), on the contrary, was significantly more fragmented and inseparably linked to the modernization of East Asian societies oriented toward Western models, as well as repressive Japanese colonial rule in Korea. Against this background, I will first explore the question of how Yun constructed, polarized, or negotiated a cultural "self" and cultural "other." The basis of my reflections is Yun's music before 1975, works in which references to Korean or East Asian traditions tend to play a more significant role than in later works, giving them immediate relevance to the discussion of interculturality.

How did Yun resolve the question of a cultural self and cultural other? First of all, it is noticeable that he always drew a very sharp contrast in his writings between "East" and "West." One of the numerous statements that point in this direction is the following: "The West is more work-related, Asia more intuition-driven, with all the little colors, melismas, and ornaments. The West accentuates the structure and the form, the East the underlying vitality of the music."183 A similar juxtaposition, here transferred to the more specific contrast between Korean and European music, can be tound in the radio program "Musik und Instrumente des alten Korea"184 (Music and Instruments of Ancient Korea), which Yun made in 1963 for West German Radio in Cologne. Its main arguments are summarized in keywords in Table 3.5.

<sup>181</sup> See, among others, Gratzer and Grosch, Musik und Migration.

<sup>182</sup> See, among others, Eikemeier, "Ist Yun Isangs Musik koreanisch?" Howard, "Korean Tradition in Isang Yun's Composition Style," Sparrer, "Isang Yun und koreanische Tradition," Kim, "The Diasporic Composer," Utz, Neue Musik und Interkulturalität, 222–254, Yun, Zwischen zwei Musikwelten, Howard, Creating Korean Music, 129–135, 140-153, and Han, Interkulturalität in der neuen Musik Koreas.

<sup>183</sup> Yun, "Über meine Musik," 305 ("Der Westen ist mehr werkbezogen, Asien mehr von der Intuition getragen, mit all den kleinen Färbungen, Melismen und Verzierungen. Der Westen akzentuiert die Struktur und die Form, der Osten die tragende Lebendigkeit der Musik.").

<sup>184</sup> Yun, "Musik und Instrumente des alten Korea."

*¼þĚŦĩ-ښܘژܑ-£ŻŦþƢŎǬþƷŎŻű-ŻŁfŻƢĩþűþűĢ-/ƿƢŻƟĩþűůƿƪŎě-Ŏű-Sƪþűłæƿű݂ƪ-ƢþĢŎŻ-ƟƢŻłƢþů- ܿrƿƪŎţƿűĢ-SűƪƷƢƿůĩűƷĩ-ĢĩƪþŦƷĩűfŻƢĩþ݀-ܪژڛڞږܩ*


ȃĩƪǜĩĩƟŎűłűþƷƿƢĩ-ŻŁ-Ʒ'nŎƪěŻůƟþƢŎƪŻűěþƷě'nĩƪ-Ʒ'nĩĩǢĩܒȃĩ-Ʒ'nĩƪŎƪ܌-ŁŻƢĩǡþůƟŦĩ܌-Ʒ'nþƷ-Ʒ'nĩ-ƷŻűĩ- ŎűàĩƪƷĩƢűůƿƪŎě-ŎƪþŦǜþǢƪ-ܹĚŻƿűĢ-Ŏű-ŁƿűěƷŎŻűþŦěŻűƷĩǡƷƪܺ-ŁŻŦŦŻǜƪ-Ʒ'nĩ-'nŎł'nŦǢ-ŎűǴŦƿĩűƷŎþŦƪƷĩƢĩŻ-ƷǢƟĩ-Ʒ'nþƷ-ŁŻƢ-ܹþŦŦܺ-/ƿƢŻƟĩþűůƿƪŎěþƷ-ŦĩþƪƷƪŎűěĩĩĩƷ'nŻǛĩű܌-ŎŁűŻƷƪŎűěĩþě'n-ŻƢĩþƢŦŎĩƢ܌þţŎűĢ- ŻŁůƿƪŎěþŦ-ĢŎƪěƿƢƪŎǛŎƷǢěþű-ĚĩþƪƪƿůĩĢ-Ŏűǜ'nŎě'nĩþě'n-ƷŻűĩ-'nþƪþěŦĩþƢþűĢ-ĢĩȀűŎƷĩ- ŁƿűěƷŎŻű- Ŏű-Ʒ'nĩ-'nŎĩƢþƢě'nǢ-ŻŁ-Ʒ'nĩǜ'nŻŦĩܒȃŎƪƪƷĩƢĩŻƷǢƟĩǜþƪűŻƷ-ŦĩþƪƷĩƪƷþĚŦŎƪ'nĩĢ-ĚǢ-Ʒ'nĩ-NĩłĩŦܮþűĢtĩŻܮ fþűƷŎþűܮŎűǴŦƿĩűěĩĢ-GĩƢůþűܮŦþűłƿþłĩůƿƪŎě-Ʒ'nĩŻƢǢ-ŻŁ-Ʒ'nĩűŎűĩƷĩĩűƷ'něĩűƷƿƢǢ܌ǜ'nŎě'nǜþƪ-ŻŁten oriented almost exclusively toward Beethoven, and has most prominently resulted in the ŎĢĩþƪ-ŻŁ- ܹ'nþƢůŻűŎě- ŁƿűěƷŎŻűƪܺ-ܣNƿłŻ-¦Ŏĩůþűűܤ þűĢ- ܹŁŻƢůþŦ- ŁƿűěƷŎŻűƪܺ-ܣƢűŻŦĢ- ®ě'nŻĩűĚĩƢł܌- /ƢǜŎű-¦þƷǬڞڡښܒܤȃĩ-ŁþěƷ-Ʒ'nþƷůþűǢǜŻƢţƪ-ĚǢ-®ě'nƿĚĩƢƷ܌-Rě'nƿůþűű܌ĩƢŦŎŻǬ܌-ŻƢ-'ĩĚƿƪƪǢěþűűŻƷ- be adequately described according to such a concept was already recognized in the early twen-ƷŎĩƷ'něĩűƷƿƢǢ܌-ĚƿƷ-Ʒ'nŎƪ-ĢŎĢ-ŦŎƷƷŦĩ-ƷŻ-ŎůƟĩĢĩ-Ʒ'nĩ-ܹƪƿěěĩƪƪܺ-ŻŁ-Ʒ'nŎƪ-ŎĢĩþƿűƷŎŦ-ƷŻĢþǢܒæĩƷæƿűܼƪ-Ʒĩűdency toward stereotyping is even clearer in the statement that the Korean tone is "articulated ŎűűþŎǛĩ-ŠŻǢܒܺ-Sƪ-Ʒ'nĩƪŎűłŦĩ-ƷŻűĩ-ŎűfŻƢĩþűěŻƿƢƷůƿƪŎě-ܫæƿű-ƢĩŁĩƢƪ-'nĩƢĩ-Ŏű-ƟþƢƷŎěƿŦþƢ-ƷŻ-Ʒ'nĩǜĩŦŦܮ ţűŻǜű-ƟŎĩěĩ-*®ƿŠĩě'n݂Žű*ڟڡښ-ܫűŻƷĩơƿþŦŦǢ-ƟþƢƷ-ŻŁþƪƷƢƿěƷƿƢþŦ-ŁƢþůĩǜŻƢţ܌þűĩƷǜŻƢţ-ŻŁ-'nĩƷĩƢŻƟ'nŻnic lines that have a considerable complexity? Without delving into this question here, we can ƪþǢ- Ʒ'nþƷæƿűܼƪǜŻƢĢƪ-ĢĩůŻűƪƷƢþƷĩþ-ƟŻƪƷěŻŦŻűŎþŦ-ƟþƷƷĩƢű܋-'nŎƪ- ܹűþƷŎǛĩܺűŻűܮàĩƪƷĩƢű- ƷƢþĢŎƷŎŻű- represents the "feeling," the "naive," the "decorative," while the Western, on the contrary, aims at the "sense of the whole" and at "abstraction," and therefore at rationality. It is a small step from this position to the sweeping comparisons of nineteenth-century orientalism,ڠڡښ whose ĩǛþŦƿþƷŎŻűƪæƿű-ƢĩǛĩƢƪĩƪƪŎůƟŦǢ-ĚǢ-ƟŻƪŎƷŎǛĩŦǢ-ĢĩȀűŎűłþƷƷƢŎĚƿƷĩƪ-ŁŻƢůĩƢŦǢěŻűƪŎĢĩƢĩĢ-ĢĩȀěŎĩűƷܒ- ǛĩƢþŦŦ܌-ŎƷ-Ŏƪ-ŻĚǛŎŻƿƪ-Ʒ'nþƷæƿűěŻűƪƷƢƿěƷƪþ-ŦþƢłĩŦǢ-'nŻůŻłĩűĩŻƿƪ-ܹƪĩŦŁܺþűĢ-ܹŻƷ'nĩƢܒܺ

ڹڼڵ- --ĜƣŏƸŏƢǀĪżł-ƸŊĪŏģĪÿżł-ŰǀƫŏĜÿŧ-ܶłǀŲĜƸŏżŲƫܷŏƫŏŰƠŧŏĜŏƸŏŲ-ŰÿŲǣ-ĪŲĪƣŃĪƸŏĜÿŲģ-ƠŊĪŲżŰĪŲżŧżŃŏĜÿŧÿƠƠƣżÿĜŊĪƫ-Ƹż- ŰǀƫŏĜ-ƸŊĪżƣǣÿŲģÿŲÿŧǣƫŏƫ-ƸŊÿƸ-ƸĪŲģ-Ƹż-ŊŏŃŊŧŏŃŊƸ-ƸŊĪ-Ƣǀÿŧŏÿżł-ƠĪƣĜĪŏǜĪģƫżǀŲģÿƸŧĪÿƫƸŏŲ-ƠÿƣƸŏŲģĪƠĪŲģĪŲƸŧǣ- łƣżŰ-ƸŊĪŏƣłǀŲĜƸŏżŲÿŧŏƸǣǝŏƸŊŏŲÿŧÿƣŃĪƣłżƣŰżƣ-ĜżŲƸĪǢƸ-SƸŏƫƣĪŧĪǜÿŲƸŏŲ-ƸŊŏƫ-ĜżŲƸĪǢƸ-ƸŊÿƸæǀŲƣĪĜĪŏǜĪģŏŲƫƸƣǀĜ-ƸŏżŲƫ܉ÿŰżŲŃżƸŊĪƣƫ܉łƣżŰdżƫĪł-¦ǀłĪƣ܉ÿŲŏŲǵŧǀĪŲƸŏÿŧłżƣŰĪƣƫƸǀģĪŲƸżł-®ĜŊżĪŲěĪƣŃ܉ŏŲ-ĪƣŧŏŲŏŲ-ړڑڕڍǝŊżƫĪ- ěżżŤ-*Die Komposition mit zwölf Tönen*-ܡڎڑڕڍܠ-ŊĪ-ŊÿģƫƸǀģŏĪģŏŲdÿƠÿŲĪƫĪ-ƸƣÿŲƫŧÿƸŏżŲǝŊŏŧĪƫƸŏŧŧŏŲfżƣĪÿ-ܠRƠÿƣƣĪƣ܉- ܶSƫÿŲŃæǀŲܷܡ

ںڼڵ- æǀŲ܉-ܶrǀƫŏŤ-ǀŲģ-SŲƫƸƣǀŰĪŲƸĪģĪƫÿŧƸĪŲfżƣĪÿ܉ܷ-ڑڍ

ڻڼڵ- -RĪĪàŏŰŰĪƣ܉-ܶßżŰ-ÃŰŃÿŲŃ-ŰŏƸ-ŤǀŧƸǀƣĪŧŧĪŲ-'ŏdz łĪƣĪŲǭĪŲŏŲģĪƣ-£ŊŏŧżƫżƠŊŏĪܷ

Of course, it would also be completely misleading to deny that certain fundamental differences exist between traditional Korean and modern European music, even if such differences might have lost some of their sharpness as a result of the extensive process of renewal in both traditional Korean and twentieth-century Western-oriented music. The decisive factor, however, is the observation that Yun's music does not make these differences audible in the sense of a polarized tension. His works appear to be – possibly in contrast to traditional Korean music – quite spontaneously comprehensible, and were well-received within a European frame of reference. This is often explained with the argument that Yun "integrated" these differences into his personal style in the process of composing. This argument is evident in the tollowing assessment from the 1996 article "Korea" in the MGG encyclopedia:

In his music, Yun shows that Korean origin and identity can also become recognizable in the musical language of avant-garde sounds, not only superficially, by deploying traditional rhythms, scales, or ornaments, or by incorporating historical instruments, but rather by an aesthetic sensibility rooted in Eastern philosophies and intellectual contexts that lead to a distinctive style that is not Asian or European, but rather both at once. In this sense, Isang Yun became a teacher and role model for the following generation.188

On the face of it, this characterization seems plausible, yet I would like to draw attention to a point that strikes me as a key problem in the discussion of interculturality as a whole, namely the argument of a dualism between "surface" and "substance."189 The "surface" is supposedly "merely technical," here referring to elements from traditional Korean music or "historical" (meaning Korean) instruments. The "substance," meanwhile, lies in "aesthetic sensibility" and "intellectual contexts." In this simplistic separation of spirit and technique – a foundational discourse in the early reception of Western music in East Asia (→ III.1) – lies a core problem of intercultural reception generally. On closer examination, it quickly becomes clear that "surface" and "substance" in musical contexts are as difficult to separate as "mind" and "body" in the field of epistemology.

This becomes particularly obvious in light of traditional Korean instruments: instrumental "technique" cannot be separated from a particular mental attitude or condition with which the performers produce a sound; this becomes clear in aesthetic concepts such as mat ("delicateness") or mot ("taste").190 But conversely, the instruments themselves already contain the full potential of the (music) culture that produced and produces them (and which was and is produced by them), as evidenced, for example, by the connection between the construction of the instruments and the structural elements of the traditional repertoire, such as the varied heterophony based on constant inflection. One could turther specify this connection and ask how far the identity of Korean music can be communicated without its medium, the "historical instruments." Conversely, one might similarly pursue the question of how much of the "spirit"

<sup>188</sup> Bühler and Chu, "Korea" ("In seiner Musik zeigt Yun, dass koreanische Herkunft und Identität auch in der Musiksprache avantgardistischer Klänge erkennbar werden kann, nicht nur vordergründig durch Verwendung traditioneller Rhythmen, Skalen oder Ornamente, oder durch Einbeziehung historischer Instrumente, sondern durch ein in östlichen Philosophien verwurzeltes ästhetisches Empfinden und geistige Inhalte, die zu einem unverwechselbar eigenen Stil führen, der nicht asiatisch ist oder europäisch, sondern beides zugleich. In diesem Sinne wurde Isang Yun Lehrer und Vorbild für die nachfolgende Generation.")

<sup>189</sup> See, more specifically, Utz, Neue Musik und Interkulturalität, 43–49, 58–61.

<sup>190</sup> See Howard, "Different Spheres: Perceptions of Traditional Music and Western Music in Korea."

of Mozart's music is preserved in recordings of *Eine kleine Nachtmusik* by Japanese *koto* ensembles?ښڢښ ƿƷ- Ʒ'nŎƪ þƢłƿůĩűƷ ěþűűŻƷ- Ěĩ- ŦŎůŎƷĩĢ- ƷŻ- Ʒ'nĩ ơƿĩƪƷŎŻű- ŻŁ- Ʒ'nĩ- ŎűƪƷƢƿůĩűƷƪ þŦŻűĩ܋- Łƿű-ĢþůĩűƷþŦŦǢ܌-ŻűĩůƿƪƷơƿĩƪƷŎŻű-Ʒ'nĩ-ƟŻƪƪŎĚŎŦŎƷǢ܌-ŻǼ Ʒĩű-Ʒþţĩű-ŁŻƢłƢþűƷĩĢ܌-ŻŁ-ĚĩŎűłþĚŦĩ-ƷŻěŻůmunicate cultural "substance" musically, without recourse to its structurally *and* timbrally de-ȀűĩĢ-ŎĢŎŻůƪܒ-ÃŦƷŎůþƷĩŦǢ܌-Ʒ'nŎƪ-ĢŎƪěƿƪƪŎŻű-ƟŻŎűƷƪ-Ěþěţ-ƷŻ-Ʒ'nŻƪĩ-ƟŻŦþƢŎǬþƷŎŻűƪ-ĚĩƷǜĩĩűƪƷƢƿěƷƿƢĩ- and sound, or form and sound, that are deeply ingrained in nineteenth- and twentieth-century ůƿƪŎěܮþĩƪƷ'nĩƷŎě-ĢŎƪěŻƿƢƪĩ-ݑދܣSSڛڢښܒܤڐܒ

æƿűܼƪůŻǛĩ-ƷŻ-Ʒ'nĩþŦŦĩłĩĢŦǢ-ܹůŻƢĩƪƿĚƪƷþűƷŎþŦܺ-ŦĩǛĩŦ-ŻŁ-ƢĩěĩƟƷŎŻű-ŻŁ-ĚþƪŎě-Ɵ'nŎŦŻƪŻƟ'nŎěþŦþűĢ- aesthetic concepts, and his great reluctance about the use of concrete and recognizable Korean ƪŻƿƢěĩƪ-Ŏű-'nŎƪǜŻƢţƪ-ŎűþűǢěþƪĩ-ĢĩůŻűƪƷƢþƷĩƪ܌-Ŏűþ-ƟþƢƷŎěƿŦþƢŦǢěŦĩþƢǜþǢ܌- Ʒ'nþƷ-'nĩ-ŻƟĩƢþƷĩĢ- ǜŎƷ'nŎűþ-/ƿƢŻƟĩþű-ŁƢþůĩ-ŻŁ-ƢĩŁĩƢĩűěĩܒ-NŎƪ-ǛŎĩǜ-ܹĚþěţܺ-ŻűfŻƢĩþűþűĢ-/þƪƷƪŎþűěƿŦƷƿƢĩǜþƪ- ƟƢŻůŎűĩűƷŦǢ ƪ'nþƟĩĢ- ĚǢ þ- ܹƢĩłŎŻűþŦŎƪƷܺ- /ƿƢŻƟĩþű łþǬĩڜڢښܒȃĩ ƿűŎȀĩĢ-Ŏůþłĩ- Ʒ'nþƷ- 'nĩ- ǛĩƢĚþŦŦǢ- ƟþŎűƷĩĢ-ŻŁƪŎþþűĢ-/ƿƢŻƟĩ-ܣܹàĩƪŎþűƪ܌ܺ-ܹŎű-/ƿƢŻƟĩ܌ܺĩƷěܤڝڢښܒěŻƢƢĩƪƟŻűĢƪ-ƷŻ-Ʒ'nĩ-Ǜþłƿĩűĩƪƪ-ŻŁ- his compositional reception of Asian music and aesthetics from an ethnological perspective, ǜ'nŎě'nfĩŎƷ'n-NŻǜþƢĢ-'nþƪ-ĢŎƪěƿƪƪĩĢڞڢښ܋ the construction of basic aesthetic principles from arě'nþŎě܌-'þŻŎƪƷ܌ƿĢĢ'nŎƪƷ܌þűĢƪ'nþůþűŎƪƷŎě-ŎĢĩþƪþƪǜĩŦŦþƪ-ŁƢŻů-ĢŎDz ŁĩƢĩűƷ܌ƪěþƢěĩŦǢěŻůƟþƷŎĚŦĩ- Korean music genres, yields on closer examination a complex of strongly divergent references that are only provisionally held together under the mantle of the "Asian."

ȃŎƪƪŎƷƿþƷŎŻűƿűĢŻƿĚƷĩĢŦǢþŦƪŻůĩþűƪ-Ʒ'nþƷĩƷ'nűŻŦŻłŎěþŦþƿƷ'nĩűƷŎěŎƷǢǜþƪ-ŻŁƪĩěŻűĢþƢǢ-Ŏů-ƟŻƢƷþűěĩ-ƷŻæƿűܼƪěŻůƟŻƪŎűł܌ǜ'nŎě'n-ŻŁěŻƿƢƪĩǜþƪþŦƪŻþǜŎĢĩƪƟƢĩþĢþƷƷŎƷƿĢĩ-Ŏű-'nŎƪłĩűĩƢþƷŎŻűܒ-With a stronger emphasis on authenticity in the details, a substantial counterdiscourse to the ĢŻůŎűþűƷàĩƪƷĩƢűěŻűěĩƟƷ-ŻŁůƿƪŎěůŎł'nƷ-'nþǛĩ-ĢĩǛĩŦŻƟĩĢ-ܫ-ǢĩƷæƿűþǛŻŎĢĩĢ-Ʒ'nŎƪ-ƟŻƪƪŎĚŎŦŎƷǢ܌űŻƷ-ŦĩþƪƷ-Ʒ'nƢŻƿł'n-'nŎƪ-ŎűƪŎƪƷĩűěĩ-Żű-Ʒ'nĩĩůƟ'nþƷŎěěŻűěĩƟƷŎŻű-ŻŁ-Ʒ'nĩþƿƷŻűŻůŻƿƪůƿƪŎěþŦǜŻƢţ܌and perhaps also through the predominantly discursive macroformal design of his composi-ƷŎŻűƪܒ-SƷǜþƪűŻƷƿűƷŎŦ-Ʒ'nĩ-ڏڗژڐƪþűĢ-ڏژژڐƪ-Ʒ'nþƷƪƿě'nþěŻƿűƷĩƢěƿŦƷƿƢĩ-ƷŻŻţ-Żűþ-ĢŎƪƷŎűěƷƪ'nþƟĩ-Ŏű- ƪŻůĩǜŻƢţƪ-ĚǢ-ǢŻƿűłĩƢfŻƢĩþűþűĢ-ŻƷ'nĩƢ-/þƪƷƪŎþűěŻůƟŻƪĩƢƪ-ݑދܣSSSܒܤڔܒ

ȃŎƪ-ŎƪűŻƷ-Ʒ'nĩ-ƟŦþěĩ-ŁŻƢþ-ĢĩƷþŎŦĩĢůƿƪŎěþŦþűþŦǢƪŎƪ-ŻŁæƿűܼƪůƿƪŎě܌-ĚƿƷ-Żű-Ʒ'nĩ-ĚþƪŎƪ-ŻŁ-Ʒ'nĩ- previously discussed problems, some preconditions and objectives of such analyses may be ƪƿłłĩƪƷĩĢܒ-FŎƢƪƷ-ŻŁþŦŦ܌-ŎƷ-Ŏƪ-ŻĚǛŎŻƿƪ-Ʒ'nþƷ-ŻűŦǢþƪůþŦŦ-ܣƷ'nŻƿł'nƪƿƢĩŦǢƪŎłűŎȀěþűƷܤ-ƟþƢƷ-ŻŁ-Ʒ'nĩ-Ŏű-ƷĩƢěƿŦƷƿƢþŦ-ƢĩěĩƟƷŎŻű-ƟƢŻěĩƪƪĩƪ-Ʒ'nþƷ-ƟƢĩěĩĢĩĢ-Ʒ'nĩǜƢŎƷŎűł-ŻŁæƿűܼƪǜŻƢţƪþƢĩ-Ŏű-ŁþěƷ-ĢĩĢƿěŎĚŦĩ- ŁƢŻů-'nŎƪƪěŻƢĩƪܒ-ěŦŻƪĩƢƿűĢĩƢƪƷþűĢŎűł-ŻŁæƿűܼƪůƿƪŎě-Ʒ'nĩƢĩŁŻƢĩ-ƢĩơƿŎƢĩƪþ-ƢĩƪĩþƢě'nþƟƟƢŻþě'n- Ʒ'nþƷěŻűűĩěƷƪƪŻƿƢěĩܮŻƢŎĩűƷĩĢ-'nŎƪƷŻƢŎěþŦþűĢĩƷ'nűŻůƿƪŎěŻŦŻłŎěþŦţűŻǜŦĩĢłĩþƪĩơƿþŦ-ƟŻŦĩƪ-ŻŁ- þűþŦǢƪŎƪܒȃŎƪ-ŻŁěŻƿƢƪĩ-ƢĩơƿŎƢĩƪþůŻƢĩĩǡƷĩűƪŎǛĩþǛþŎŦþĚŎŦŎƷǢ-ŻŁǜƢŎƷƷĩűƪŻƿƢěĩƪ-ܣƷƢþűƪŦþƷŎŻű- ŻŁfŻƢĩþű ǜƢŎƷŎűłƪ- ĚǢ þűĢ þĚŻƿƷ æƿű܌-ŎűěƢĩþƪĩĢ ĩǡě'nþűłĩ-ŻŁàĩƪƷĩƢű þűĢfŻƢĩþű-ƢĩƪĩþƢě'n܌-

ڵڽڵ- -RĪĪ-¼ŊĪtĪǝfżƸż-/ŲƫĪŰěŧĪżł-¼żŤǣż܈ *Koto Mozart!*܉h£-ŲŃĪŧ-®ڏڑڑړڏܫ-܉ڔړڕڍܠ-ƸŊĪh£ÿŧƫżŏŲĜŧǀģĪƫżŲĪ*koto* arrange-ŰĪŲƸ żł- ƸŊĪ- ®ǣŰƠŊżŲǣ ŏŲ- G- ŰŏŲżƣ f- ܡڌڑڑ tǀŰĪƣżǀƫ ƫŏŰŏŧÿƣ- ƠƣżģǀĜƸŏżŲƫ- ŊÿǜĪ ÿƠƠĪÿƣĪģ܉ ƫǀĜŊ ÿƫ- ƸŊĪ- '- Samurai Chamber Orchestra: *Samurai Mozart*-ܠŏŲƫŏģĪżǀƸ-܉ܡړڌڌڎǝŊŏĜŊ-ĜżŲƸÿŏŲƫƫŏǢÿƣƣÿŲŃĪŰĪŲƸƫżł-*Eine kleine Nachtmusik*, among others for *koto* ensemble, *shamisen* ensemble, and *shakuhachi* ensemble.

ڶڽڵ See, among others, Janz, *Klangdramaturgie*܉-܉ڕڏܨڎڏ-RƸżŧŧěĪƣŃ܉-*Ohr und Auge – Klang und Form*܉ÿŲģ-ÃƸǭ܉-ܸܶhŏěĪƣÿ-ƸŏŲŃܹ-®żǀŲģÿŲģ-£ĪƣĜĪƠƸŏżŲ܉ܷ-ڌڏܨڍڎ

ڷڽڵ- -ܶæǀŲܹƫƫŏÿŲŏģĪŲƸŏƸǣ-ĪŰĪƣŃĪģŏŲ-/ǀƣżƠĪ܉ÿŲģǝÿƫÿƣĪÿĜƸŏżŲÿŲģÿĜĜżŰŰżģÿƸŏżŲ-Ƹż-Ŋŏƫ-ŰŏŃƣÿƸŏżŲŏŲƸżÿ-ŲĪǝ- ĜǀŧƸǀƣÿŧ-ĪŲǜŏƣżŲŰĪŲƸܷ-ܠNżǝÿƣģ܉-ܶfżƣĪÿŲ-¼ƣÿģŏƸŏżŲŏŲ-SƫÿŲŃæǀŲܹƫ żŰƠżƫŏƸŏżŲ-®ƸǣŧĪ܉ܷ-ړڒܡ-RĪĪÿŧƫżfŏŰ܉-ܶrŏŃƣÿ-ƸŏżŲŏŰàÿŲģĪŧܷÿŲģfŏŰ܉-ܸܶ/ǀƣżƠĪÿŲ-ŰǀƫŏĜܹżǀƸƫŏģĪ-/ǀƣżƠĪܐܷ-

ڸڽڵ- -RĪĪ܉łżƣ-ĪǢÿŰƠŧĪ܉æǀŲ܉-ܶÉěĪƣ-ŰĪŏŲĪrǀƫŏŤ܉ܷ-ڔڕڎ

ڹڽڵ- -Nżǝÿƣģ܉-ܶfżƣĪÿŲ-¼ƣÿģŏƸŏżŲŏŲ-SƫÿŲŃæǀŲܹƫ żŰƠżƫŏƸŏżŲ-®ƸǣŧĪ܉ܷ-ڐڔܨڏڔ

ěŻŦŦĩěƷŎŻűþűĢ-ƟƿĚŦŎěþƷŎŻű-ŻŁæƿűܼƪǜƢŎƷŎűłƪþűĢ-ŦĩƷƷĩƢƪܤڟڢښþƪǜĩŦŦþƪ-Ʒ'nĩ-ĢŻěƿůĩűƷþƷŎŻű-ŻŁ-ŻƢþŦ- 'nŎƪƷŻƢǢ-ܣƪǢƪƷĩůþƷŎě-ŎűƷĩƢǛŎĩǜƪ ǜŎƷ'n ěŻűƷĩůƟŻƢþƢǢ ǜŎƷűĩƪƪĩƪ܌ ĩƷěܒܤܒ- FŎűþŦŦǢ܌ þ- ƟƢĩěŎƪĩ- ƟƢĩƪĩű-ƷþƷŎŻű-ŻŁ-Ʒ'nĩ-ƟĩƢŁŻƢůþűěĩ-'nŎƪƷŻƢǢþűĢþƿĢŎĩűěĩ܌-ƟƢĩƪƪ܌þűĢƪě'nŻŦþƢŦǢ-ƢĩěĩƟƷŎŻű-ŻŁæƿűܼƪůƿƪŎě- in Germany and Korea, and an explanation of how these performance and reception histories ŎůƟþěƷĩĢæƿűܼƪǜŻƢţ܌ǜŻƿŦĢ-Ěĩ-ƢĩơƿŎƢĩĢܒ-

FŻƢþ ěŦŻƪĩ- ƢĩþĢŎűł-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦþƪƟĩěƷƪ-Ŏű æƿűܼƪǜŻƢţƪ܌-ŎƷ ƪĩĩůƪ űĩěĩƪƪþƢǢ- ƷŻ- ƟƿƷ- ƷŻܮ łĩƷ'nĩƢþ-ĢĩƷþŎŦĩĢě'nƢŻűŻŦŻłǢ-ŻŁæƿűܼƪĩűěŻƿűƷĩƢǜŎƷ'nàĩƪƷĩƢűþűĢfŻƢĩþű-ŻƢ-/þƪƷƪŎþűůƿƪŎě- þűĢěƿŦƷƿƢĩ܌-Ŏű-ŻƢĢĩƢ- ƷŻ-ĚĩþĚŦĩ- ƷŻĩƪƷþĚŦŎƪ'n-'nŎƪţűŻǜŦĩĢłĩþűĢ-ƟĩƢƪƟĩěƷŎǛĩƪ-ƢĩłþƢĢŎűł-Ʒ'nĩƪĩ- þƢĩþƪ-ĢƿƢŎűł-Ʒ'nĩěŻůƟŻƪŎƷŎŻű-ŻŁţĩǢǜŻƢţƪƪƿě'nþƪ-*Réak*-܌ܤڕڕژڐܣ-*Glissées* ܌ܤڏږژڐܣ-*Piri*-܌ܤڐږژڐܣþűĢ- *Gagok* ڠڢښܒܤڑږژڐܣ-SƷþŦƪŻƪĩĩůƪ-ŎůƟĩƢþƷŎǛĩ-ƷŻ-ƢĩěŻűƪƷƢƿěƷ-Ʒ'nĩěƢĩþƷŎǛĩ-ƟƢŻěĩƪƪĩƪ-ŻŁƪƿě'nţĩǢǜŻƢţƪ- Ʒ'nƢŻƿł'něŦŻƪĩƢƪěƢƿƷŎűǢܒà'nþƷǜĩƢĩæƿűܼƪƪŻƿƢěĩƪ-ƟƢŎŻƢ-ƷŻ܌þűĢ-ĢƿƢŎűł܌-Ʒ'nĩƪĩěŻůƟŻƪŎƷŎŻűƪܓ-Sű- ǜ'nþƷǜþǢƪ-ĢŎĢ-ŎűŁŻƢůþƷŎŻűþĚŻƿƷfŻƢĩþű-ܣŻƢ-ŻƷ'nĩƢƪŎþűܤůƿƪŎěþŦłĩűƢĩƪ-ǴŦŻǜ-ŎűƷŻ-Ʒ'nĩƪĩǜŻƢţƪ܌þűĢ-'nŻǜ-ĢŎĢæƿű-ĚƢŎűł-Ʒ'nŎƪţűŻǜŦĩĢłĩ-ƷŻłĩƷ'nĩƢǜŎƷ'něŻůƟŻƪŎƷŎŻűþŦ-Ʒĩě'nűŎơƿĩƪ-Ʒ'nþƷ-'nĩþƟƟƢŻ-ƟƢŎþƷĩĢ-Ŏű-/ƿƢŻƟĩ-ܣƪĩƢŎþŦ-Ʒĩě'nűŎơƿĩ܌ĩƷěܓܤܒ

Similar issues could be proposed for research on other dominant Asian composers of æƿűܼƪłĩűĩƢþƷŎŻűǜ'nŻƪŎłűŎȀěþűƷŦǢěŻűƷƢŎĚƿƷĩĢ-ƷŻ-Ʒ'nĩ-ŎĢĩþ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦěŻůƟŻƪŎƷŎŻűƪ-ŁƢŻů- Ʒ'nĩ- ڏڔژڐƪ þűĢ- ڏڕƪ- Żű܌ þůŻűł- Ʒ'nĩů- 'nŻƿ àĩűܮ 'nƿűł܌-1/4 ƔƢƿ- ¼þţĩůŎƷƪƿ܌ þűĢ dŻƪĪ rþěĩĢþܒ-While much has been written about their aesthetic approaches and, importantly, close analyses ŻŁ-Ʒ'nĩŎƢţĩǢǜŻƢţƪ-'nþǛĩ-Ěĩĩű-ƟƿĚŦŎƪ'nĩĢ܌þ-ƟƢĩěŎƪĩ-Ɵ'nŎŦŻŦŻłŎěþŦþěěŻƿűƷ-ŻŁ-Ʒ'nĩŎƢěŻůƟŻƪŎƷŎŻűþŦ- processes that sheds light on the preconditions and dynamics of their intercultural reception process remains a profound challenge for a future global music historiography – especially since such a philological approach could substantially transform certain tropes and currently ŻűĩܮƪŎĢĩĢþƪƪĩƪƪůĩűƷƪ-ŻŁ-Ʒ'nĩŎƢǜŻƢţܒ

rŻƢĩ-Ʒ'nþű-ȀǼ ƷǢ-ǢĩþƢƪþǼ ƷĩƢæƿűܼƪ-*Réak*܌űƿůĩƢŻƿƪěŻůƟŻƪĩƢƪ-ŻŁ-ǛþƢŎŻƿƪ-ĚþěţłƢŻƿűĢƪƪƷŎŦŦ- face the problem that the dominance of the Western cultural and aesthetic frame of reference ŎűűĩǜůƿƪŎě-Ŏƪ-ĢŎDzȀěƿŦƷ-ƷŻĩƪěþƟĩ܌þűĢ-Ʒ'nþƷ-Ʒ'nĩ-ƟŻƷĩűƷŎþŦ-ŁŻƢþ-Ʒ'nŻƢŻƿł'nłŻŎűł-ĢŎDz ŁĩƢĩűƷŎþƷŎŻű- ŻŁůƿƪŎěþŦ-ܹŦþűłƿþłĩƪܺ-Ŏű-Ʒ'nĩěŻűƷĩǡƷ-ŻŁěƿŦƷƿƢþŦłŦŻĚþŦŎǬþƷŎŻű-Ŏƪ-ŁþƢ-ŁƢŻůĩǡ'nþƿƪƷĩĢܒȃŎƪ-ƟƢŻblem becomes pressing when composers aim to materialize aspects of fragmented or hybrid identities musically or – from the elementary experiential space of migration – feel the necesƪŎƷǢ-ŻƢěŻůƟƿŦƪŎŻű-ƷŻþĢĢƢĩƪƪ-Ʒ'nĩů-ݑދܣSܒܤڑܒæƿűůþǢ-'nþǛĩłƿĩƪƪĩĢůƿě'n-ŻŁ-Ʒ'nŎƪǜ'nĩű-'nĩǜƢŻƷĩ܋

àĪƫŏÿŲƫƫƸÿǣĪģŏŲżǀƣ-ƸƣÿģŏƸŏżŲłżƣ-ŰǀĜŊŧżŲŃĪƣěĪĜÿǀƫĪǝĪǝĪƣĪƫÿƸŏƫǿĪģ܉ÿŲģ-ŲżǝǝĪÿƣĪ- ÿƠƠƣżÿĜŊŏŲŃ-/ǀƣżƠĪܹƫ-ƸƣÿģŏƸŏżŲÿŧ-ŰǀƫŏĜŏŲÿ-ŊǀƣƣŏĪģÿŲģ-ĜÿƣĪŧĪƫƫǝÿǣ-ǀƸƫŊżǀŧģ-ƸŊŏƫ-ĜżŲƸŏŲǀĪ܉żƣ-ĜÿŲǝĪ-ŲżƸǿŲģƫżŰĪƸŊŏŲŃŏŲżǀƣżǝŲ-ŰǀƫŏĜÿŧ-ĜżƫŰżƫǝŏƸŊǝŊŏĜŊǝĪ-ĜÿŲ-ĪŲƣŏĜŊ-ƸŊĪǝżƣŧģڞڟڗܐ

ںڽڵ- -FŏƣƫƸƫƸĪƠƫ-ŊÿǜĪěĪĪŲ-ƸÿŤĪŲŏŲ-ƸŊĪǿǜĪǜżŧǀŰĪƫżł-ƸŊĪ-*Ssi-ol Almanach* of the Berlin Internationale Isang Yun GeƫĪŧŧƫĜŊÿǽ Ƹ-ܠŊƸƸƠƫܕܕ܈ǣǀŲܫŃĪƫĪŧŧƫĜŊÿǽ ƸģĪܕģŏĪܫŃĪƫĪŧŧƫĜŊÿǽ ƸܕěǀĪĜŊĪƣܡÿŲģŏŲ-ƸŊĪƫĜŊżŧÿƣŧǣǝżƣŤƫ-ŰĪŲƸŏżŲĪģŏŲłżżƸ-ŲżƸĪ-ڎڔڍ--ŰÿšżƣƫƸĪƠłżƣÿŲ-ǀƠģÿƸĪģǜŏĪǝżŲæǀŲܹƫěŏżŃƣÿƠŊǣ-ŊÿƫƣĪĜĪŲƸŧǣěĪĪŲ-ƠƣżǜŏģĪģěǣàÿŧƸĪƣܫàżŧłŃÿŲŃ- ®ƠÿƣƣĪƣܹƫ-ƸƣŏŧŏŲŃǀÿŧ-ŰżŲżŃƣÿƠŊżŲæǀŲܹƫ-ܶhŏłĪÿŲģàżƣŤŏŲ-£ŏĜƸǀƣĪƫܷ-ܠRƠÿƣƣĪƣ܉-*Isang Yun. Leben und Werk im Bild*ܡ

ڻڽڵ- - ǀƣƣĪŲƸŧǣ܉-ƸŊĪƣĪÿƣĪƫŏŃŲŏǿĜÿŲƸÿŲÿŧǣƫĪƫżłÿŧŧ-ƸŊĪƫĪǝżƣŤƫ܉ěǀƸ܉żǝŏŲŃ-ƸżÿŧÿĜŤżłģżĜǀŰĪŲƸÿƣǣƫżǀƣĜĪƫ܉-ƸŊĪǣ- ƣĪŰÿŏŲŧÿƣŃĪŧǣƫƠĪĜǀŧÿƸŏǜĪǝŏƸŊƣĪŃÿƣģ-Ƹż-ƸŊĪżěšĪĜƸŏǜĪƫƣÿŏƫĪģ-ŊĪƣĪ-®ĪĪ܉-ŰżƫƸŏŰƠżƣƸÿŲƸŧǣ܉fÿěŏƫĜŊ܉-ܶfŧÿŲŃ܉- ¼żŲ܉-GĪƣďǀƫĜŊ܉-/ǢŤǀƣƫ܉ܷ- Ŋżŏ܉-ܶ*Réak*-܉ܡڒڒڕڍܠܷfŏŰ܉-ܶrǀƫŏĜÿŧ-®ǣŲĜƣĪƸŏƫŰŏŲ-SƫÿŲŃæǀŲܹƫ-*Gasa*܉ܷ-Nżǝÿƣģ܉-ܶ*P'iri*: Isang æǀŲܹƫ- ĜżŰƠżƫŏƸŏżŲ ÿŲģ- ƸŊĪ fżƣĪÿŲ żěżĪ܉ܷ ÿŲģ- ¼ǀƣŲĪƣ܉- ܶ£ĪƣłżƣŰŏŲŃ- ǀŧƸǀƣÿŧ- NǣěƣŏģŏƸǣ ŏŲ- SƫÿŲŃ æǀŲܹƫ-*Glissées* ƠżǀƣǜŏżŧżŲĜĪŧŧĪƫĪǀŧ-ܡڌړڕڍܠܷ

ڼڽڵ- æǀŲ܉-ܶÉěĪƣ-ŰĪŏŲĪrǀƫŏŤ܉ܷ-ڌڌڏ-ܠܶàŏƣƫŏÿƸĪŲƫŏŲģǜŏĪŧŧďŲŃĪƣŏŲ-ǀŲƫĪƣĪƣ-¼ƣÿģŏƸŏżŲ-ŃĪěŧŏĪěĪŲ܉ǝĪŏŧǝŏƣǭǀłƣŏĪģĪŲ- ǝÿƣĪŲ܉-ǀŲģšĪƸǭƸ-ŲďŊĪƣŲǝŏƣ-ǀŲƫƫĪŊƣ-ĪŏŧŏŃ-ǀŲģ-ǀŲǜżƣƫŏĜŊƸŏŃģĪƣ-ĪǀƣżƠďŏƫĜŊĪŲ-ƸƣÿģŏƸŏżŲĪŧŧĪŲrǀƫŏŤěģÿƫÿěĪƣ- ƫżǝĪŏƸĪƣŃĪŊĪŲƫżŧŧżģĪƣżěǝŏƣ-ŲŏĜŊƸģżĜŊŏŲ-ǀŲƫĪƣĪŰ-ŰǀƫŏŤÿŧŏƫĜŊĪŲfżƫŰżƫ-ĪƸǝÿƫǿŲģĪŲ-ŤƇŲŲĪŲ܉ǝżŰŏƸǝŏƣ- ģŏĪàĪŧƸǭǀěĪƣĪŏĜŊĪƣŲǜĪƣŰƇŃĪŲܐܷܡ

### *November Steps* **(1967),** *Distance***ƪŭŵųŮƫƜv®S¹ÀËSv§ÈÃËƺîvȮȳ¨ÈÀÈâ**

Sű-/þƪƷƪŎþ܌-ŎƷ-ĚĩěþůĩþƟƟþƢĩűƷþŦƢĩþĢǢ-ĢƿƢŎűł-Ʒ'nĩ-ŦþƷĩ-ڏڔژڐƪ-Ʒ'nþƷ܌þǼ ƷĩƢþŦůŻƪƷþ-'nƿűĢƢĩĢ-ǢĩþƢƪ- ŻŁ-ƟĩƢůĩþƷŎŻű-ĚǢàĩƪƷĩƢűůŻĢĩŦƪ-ݑދܣSSS܌ܤڐܒ-ŎƷǜþƪűŻ-ŦŻűłĩƢ-ƟŻƪƪŎĚŦĩ-ƷŻěŻűƪƷƢƿěƷþƪŎůƟŦĩ-ŻƟƟŻƪŎƷŎŻű-ĚĩƷǜĩĩűàĩƪƷĩƢűþűĢ-/þƪƷƪŎþű-ĢŎƪěŻƿƢƪĩƪ-ŻŁůƿƪŎěþŦþĩƪƷ'nĩƷŎěƪþƪ-ƷǜŻ-'nŻůŻłĩűĩŻƿƪ- ƪǢƪƷĩůƪܒ-1/4þţĩůŎƷƪƿܼƪůŻƪƷ-ŁþůŻƿƪǜŻƢţ܌-*November Steps*, demonstrates a special awareness of Ʒ'nŎƪƪŎƷƿþƷŎŻűܒȃĩěŻůƟŻƪĩƢǜþƪ-ŎűǴŦƿĩűěĩĢ-ŻǛĩƢůþűǢ-ǢĩþƢƪ-ĚǢ- Ʒ'nĩ-ŎűƷĩƢěƿŦƷƿƢþŦþĩƪƷ'nĩƷŎěƪ- of John Cage, which was of great importance for a number of Japanese composers following łƿĩƪƷ-ƟĩƢŁŻƢůþűěĩƪ-ĚǢ þłĩþűĢ-'þǛŎĢ-¼ƿĢŻƢ-ŎűdþƟþű-Ŏű-ڑڕژڐ-ܫþŦƷ'nŻƿł'n-ƢĩƪĩþƢě'nƪŻůĩƷŎůĩƪ- ŻǛĩƢĩůƟ'nþƪŎǬĩƪ-Ʒ'nŎƪ-ŎűǴŦƿĩűěĩڢڢښܒ Cage's "tactic" was to erase the cultural meaning of musical material in the process of composition – that is, to alter it beyond recognition, completely "deidiomizing" it until a "culture-free space" is reached, outside of cultural dialects and attributions, a position Cage supported by adopting the Huayan Buddhist principle of "unimpededűĩƪƪþűĢ-ŎűƷĩƢƟĩűĩƷƢþƷŎŻűܺ-ދܣ-SSܒܤڕܒȃŎƪ-ƷþěƷŎěůþĢĩþŦŦĩƟŻě'nƪþűĢěƿŦƷƿƢĩƪƪĩĩůŎűłŦǢěŻĩǡŎƪƷ- on an unlimited continuum of sound and silence, which the composer ultimately only had to ܹěþƟƷƿƢĩܺþűĢ-ĢĩƟŎěƷ-Ŏű-'nŎƪůƿƪŎě܌þƪ þłĩ-ƢŎłŻƢŻƿƪŦǢþƷƷĩůƟƷĩĢ-Ŏű-'nŎƪ-ܹƪŎŦĩűƷǜŻƢţܺ-*ژژڙ*-ܒܤڑڔژڐܣ

àĩƪĩĩ-Ʒ'nĩ-ŎűǴŦƿĩűěĩ-ŻŁ þłĩ-Żű-Ʒ'nĩěŻűěĩƟƷŎŻű-ŻŁ-*November Steps* above all in the goal of avoiding an overly obvious interaction between Western orchestra and Japanese solo instruments (*satsuma-biwa* and *shakuhachi*ܗܤ- Ʒ'nĩěŻűěĩƢű-Ŏƪ- ŁŻƢ dþƟþűĩƪĩþűĢàĩƪƷĩƢűƪŻƿűĢƪ- ƷŻěŻĩǡŎƪƷǜŎƷ'nŻƿƷþěŻűƪƷƢƿěƷĩĢ-ƢĩŦþƷŎŻűƪ'nŎƟ܌ǜŎƷ'nŻƿƷþěŻůƟŻƪŎƷŎŻűþŦŦǢ-ܹŁŻƢěĩĢܺþƪƪŻěŎþƷŎŻűܒȃĩ- intention to *ĩű'nþűěĩ-Ʒ'nĩ-ĢŎDZŁĩƢĩűěĩ-*ĚĩƷǜĩĩűàĩƪƷĩƢűþűĢƪŎþű-ƟƢŎűěŎƟŦĩƪǜþƪţĩǢ- ƷŻůþűǢ-ŻŁ- ¼þţĩůŎƷƪƿܼƪǜŻƢţƪ-ŁƢŻů-Ʒ'nĩ-ڏڕژڐƪþűĢ-ڏږژڐƪ܌þűĢ-'nŎƪůƿƪŎěþŦ-Ʒ'nŎűţŎűł-Ʒ'nƿƪƪ'nŻǜƪěŦĩþƢ-ƷƢþěĩƪ- ŻŁ- Ʒ'nĩ ƪǢƪƷĩůþƷŎě ƪĩƟþƢþƷŎŻű- ŻŁ- ĚŻƷ'n- ƷƢþĢŎƷŎŻűƪ ƪŎűěĩ- Ʒ'nĩrĩŎŠŎ ĩƢþ-ݑދܣ SSSܒܤڐܒ-1/4 þţĩůŎƷƪƿ ěŻůůĩűƷƪ-Żű-'nŎƪěŻűěĩƟƷ-ŻŁěƿŦƷƿƢþŦþŦƷĩƢŎƷǢ܋

àĪ-ŊÿǜĪ-ƸżƫƠĪŲģ-ŰǀĜŊ-ƸŏŰĪŏŲ-ǀŲģĪƣƫƸÿŲģŏŲŃ-ĪÿĜŊ-ĜǀŧƸǀƣĪ-ŲģŏƸƫĪĪŰƫ-Ƹż-ƸÿŤĪÿŧŰżƫƸŏŲǿŲŏƸĪ- ƸŏŰĪ-¼ŊĪƣĪłżƣĪ܉ƣÿƸŊĪƣ-ƸŊÿŲƣĪƫżŧǜŏŲŃ-ƸŊĪ-ĜżŲƸƣÿģŏĜƸŏżŲ-S-ŊÿǜĪŏŲ-Űǣ-ŰŏŲģ܉-SǝżǀŧģŧŏŤĪ-ƸżƫƠĪŲģÿ- ŧżŲŃ-ƸŏŰĪ-ŰÿŤŏŲŃŏƸ-ŃƣĪÿƸĪƣ܉-ĪǢƠÿŲģŏŲŃŏƸ-ǀŲƸŏŧŏƸěĪĜżŰĪƫ-Űǣ-ƠĪƣƫżŲÿŧǝÿǣżłƣĪƠƣĪƫĪŲƸÿƸŏżŲږږژ

And, with reference to *November Steps*܌-1/4þţĩůŎƷƪƿǜƢŻƷĩ܋


A detailed analysis of the score does indeed show the subtle and carefully planned connection of both cultural layers in timbre, melodic design, and energy, and how logically and "organically" they merge with or evolve from each other.ڛڙڛȃĩ-ĢĩƪŎƢĩĢ-ƢĩƟƢĩƪĩűƷþƷŎŻű-ŻŁ-ĢŎDz ŁĩƢĩűěĩ-Ʒ'nƿƪ-

ڽڽڵ- -RĪĪ-®ÿǝÿěĪ܉-*Neue Musik in Japan*܉-܉ڔڎڍܨڏڌڍ-GÿŧŧŏÿŲż܉*æƕŃÿŤǀ*܉-܉ڔڏڎܨڍڎڎÿŲģ-ĪƫƠĪĜŏÿŧŧǣ-ƸŊĪ-ŰżƣĪģĪƸÿŏŧĪģ-ŊŏƫƸżƣŏĜÿŧ- ÿŲÿŧǣƫŏƫŏŲ-FǀŤǀŲÿŤÿ܉-ܶ¦ĪܫƫŏƸǀÿƸŏŲŃdÿƠÿŲܹƫ-£żƫƸܫàÿƣrǀƫŏĜÿŧǜÿŲƸܫGÿƣģĪ-ƸŊƣżǀŃŊ-¦ĪܫƫŏƸǀÿƸŏŲŃÿŃĪܷ

ڴڴڶ- -1/4ÿŤĪŰŏƸƫǀ܉-ܶrǀƫŏĜÿŲģ- ǀŧƸǀƣĪܷ-ܠƸƣÿŲƫŧÿƸŏżŲÿģÿƠƸĪģěǣ-ƸŊĪÿǀƸŊżƣܡ

ڵڴڶ- -1/4ÿŤĪŰŏƸƫǀ܉-ܶtżƸĪƫżŲtżǜĪŰěĪƣ-®ƸĪƠƫ܉ܷ-ړڔ

ڶڴڶ- -Fżƣ-ŰżƣĪģĪƸÿŏŧ܉ƫĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڕڕڎܨڒڕڎ-Fżƣ-ŰżƣĪ-ĜżŰƠƣĪŊĪŲƫŏǜĪÿŲÿŧǣƫĪƫżł-ƸŊŏƫ- ǝżƣŤ܉ƫĪĪ-ǀƣƸ܉-*1/4ŊĪrǀƫŏĜżł-¼ƕƣǀ-¼ÿŤĪŰŏƸƫǀ*܉-܉ڍڏڍܨڌڍڍhÿŲŃĪŲŤÿŰƠ܉-ܶ ŧżƫĪ-/ŲĜżǀŲƸĪƣƫżł-ŲżƸŊĪƣfŏŲģ܉ܷ-܉ڔڔڍܨڒڔڍ- and Menzel, *NƕŃÿŤǀ*܉-ڐڕڎܨړڔڎ-SŲ-ƸżƸÿŧ܉-1/4ÿŤĪŰŏƸƫǀ-ĜżŰƠżƫĪģƫĪǜĪŲ-ƠŏĪĜĪƫłĪÿƸǀƣŏŲŃdÿƠÿŲĪƫĪŏŲƫƸƣǀŰĪŲƸƫ܈-*Eclipse* ܡڒڒڕڍܠłżƣ*shakuhachi* and *biwa*, *November Steps* ܡړڒڕڍܠÿŲģ-*Autumn* ܡڏړڕڍܠłżƣżƣĜŊĪƫƸƣÿǝŏƸŊ*shakuhachi* and

tends to lead to a balanced synthesis that was meant to be avoided. The difficulty of translating cultural difference into musical structures - as outlined earlier, for example, in Zender's Fürin no kyo - becomes apparent. To be sure, unlike the radical "de-idiomaticization" of Cage, Takemitsu's aim was not a complete "abstraction" of cultural dialects, but their preservation in coexistent juxtaposition. The compositional sophistication of sonic rapprochement and connection in his music, however, at least partially obliterates the layers of meaning - not least those of the original sociocultural context – that might essentially underline a claim of the materials' cultural difference.

Takemitsu's work Distance for oboe and shō (1972) also explicitly addresses cultural alterity by the juxtaposition of instruments. The work shows comparable problems to November Steps, though its entirely pioneering character is beyond any doubt (it is probably one of the earliest works to use the sho as a solo instrument, → 4.1). That the composer gives the pragmatic option in the score's preface for the work to be performed without the shō part (i.e., as an oboe solo) makes it clear that the two instruments are not placed on the same compositional level. Whereas the European instrument is furnished with all the refinements of modern instrumental technique, thanks to the soloist and dedicatee Heinz Holliger, the shō is limited to an ebbing and flowing harmonic background. This seems to derive from the - simplistic and historically dubious (> IV.1) - traditional "background" tunction of the shō in the tōgaku repertoire of gagaku. The arrangement on stage also expresses this hierarchy: the sho soloist stands in the background, far from the oboist.203 Takemitsu's intention to use distinct Western and Asian categories by no means succeeds, as in November Steps. On the contrary, Asian and Western instruments are integrated into shared processes through clear relationships in pitch organization and Klangfarbenmelodie. For example, in the excerpt shown in Example 3.10, dissonant relationships (seconds and sevenths) between the pitches of oboe and shō (marked by arrows) predominate, creating musical tension that dissolves into unisons or octaves (marked by circles).

To what extent is cultural difference actually audible or comprehensible here? A critical analysis of interculturally conceived strata must, above all, problematize hidden hierarchies. The seemingly balanced coexistence of strata can prove to be a mere conceptual idea that is only tultilled by the compositional design in a rudimentary way. As a composition, Distance may well be quite convincing on its own terms. As an intercultural situation, however, Takemitsu's polarization remains questionable, above all because of the culturalist reduction to which both instruments are subjected, and the consequent hierarchization of their interactions.

biwa, Distance (1972) for oboe and shō, Voyage (1973) for three biwas, In an Autumn Garden (1973/79) for gagaku, and Ceremonial (1991) for shō and orchestra.

<sup>203</sup> See also corresponding stage arrangements in Toshio Hosokawa's Birds Fragments II (1990) for shō with percussion ad libitum, Birds Fragments III (1990) for shō and flute(s), and in Yūji Takahashi's Mimi no ho (1995) for shō, viola, and speaker (→ IV.1). We can assume, in all cases, a direct reference to Takemitsu. Yet the compositional conception of Hosokawa (which is also close to Takemitsu in terms of compositional aesthetics) and Takahashi (which starts from a fundamental critique of cultural essentialism) are to be regarded as clearly contradictory (-> III.5, IV.1).

Copyright © 1984 by Editions Salabert, Paris

Example 3.10: Tōru Takemitsu, Distance for oboe and shō, p. 5-6

### José Maceda's Sound Masses and the Search for an Anti-Causal Logic

The music of the Philippine composer José Maceda (1917–2004) creates unorthodox connections between aurality and written notation, a feature which evidences his double perspective as a composer-ethnomusicologist.204 Maceda's historical position might be considered even more anachronistic than Yun's or Takemitsu's, as he worked within a generation that was heavily involved in the formation of affirmative national music after independence in 1946, relying, as in almost all other Asian countries, on the vocabulary of Classical-Romantic symphonic music (> III.1). The Romantic idiom was enriched with folk melodies and rhythms, especially ones derived from the songs of the kundiman repertoire. 355 Remarkably, Maceda's resort to pre-colonial forms of Philippine music did not lead to his claiming that it was "untouched" or "authentic"." Rather, he tried to derive from these early practices general principles that he considered valid at least for Southeast Asian music, it not for Asian music as a whole. From these principles he sought to derive an anti-Aristotelian logic – as an explicit antithesis to cultural homogenization by Western standards, which was particularly noticeable in the Philippines after almost 400 years of colonial history.206 Maceda described the paradigms of this logic with the three key concepts of continuity, infinity, and indefiniteness.207

Maceda's turn – after training in Paris as a pianist – toward local forms of Philippine music was triggered by his discovery of the kubing jaw harp of the Hanunóo-Mangyan people on the West Philippine island of Mindoro during fieldwork in 1952. (Fourteen years later, in the composition Kubing [1966], this find was directly cast in a composition for five male voices, seven kubing, and other Philippine instruments.) As a result, Maceda studied the music of Southeast Asia in detail from 1957 to 1958 and from 1961 to 1963, graduating with a degree in ethnomusicology in the USA (PhD supervised by Mantle Hood at the University of California Los Angeles). 200

Like several other non-Western and Western composers who turned to political and social issues in the 1970s, Maceda's work was initially based on social situations related to the fragmented experiences of cultural difference, as documented in the question he asked himself during a tour of his homeland as a pianist in 1947: "What has all of this got to do with coconuts and

<sup>204</sup> The most important source for the understanding of Maceda's work, personality, and aesthetics is Tenzer, "José Maceda and the Paradoxes of Modern Composition in Southeast Asia," an article on which much of the following is based. Maceda's estate is catalogued by the UP Center for Ethnomusicology at the University of the Philippines, Quezon City (http://upethnom.com/jmcollection/index.php/josemaceda). In addition, the encyclopedia MGG Online published a new entry on Maceda in 2019 (Kartomi, "Maceda, José").

<sup>205</sup> See Samson, Die zeitgenössische Kunstmusik der Philippinen and Santos, "Art Music of the Twentieth Century."

<sup>206</sup> Magellan arrived in the archipelago in 1521, and Spanish colonial rule began in 1565, lasting 333 years until 1898. The Philippines was a US colony from 1898 to 1946.

<sup>207</sup> See Maceda, "A Concept of Time in a Music of Southeast Asia."

<sup>208</sup> A selection of the most important publications of José Maceda is listed here: "Chants from Sagada Mountain Province, Philippines," "Drone and Melody in Philippine Musical Instruments," "A Search for an Old and a New Music in Southeast Asia," "A Concept of Time in a Music of Southeast Asia (A Preliminary Account)," "In Search of a Source of Pentatonic Hemitonic and Anhemitonic Scales in Southeast Asia," "Acculturation and Internationalization: The Philippine Situation," "A Logic in Court Music of the Tang Dynasty," "Bipolarity and the Fifth Interval in Gamelan and Medieval European Music," "Counts of Four and the Fifth Interval," Congs and Bamboo. A Panorama of Philippine Musical Instruments, "Upland Peoples of the Philippines," as well as Maceda et al. "Philippines." Yūji Takahashi translated a selection of Maceda's articles into Japanese, published 1989 as Maceda, Doron to merodī / Drone and Melody.


*/ǡþůƟŦĩ-ږږܘژܑ-SþűűŎƪåĩűþţŎƪܒ-Pithoprakta-ŁŻƢƪƷƢŎűł-ŻƢě'nĩƪƷƢþܒ-ƷǜŻ-ƷƢŻůĚŻűĩƪܒþűĢ-ƟĩƢěƿƪƪŎŻűܒ-Ɵڕږݗܘ* żƠǣƣŏŃŊƸ-ޣ-ړڒڕڍěǣżżƫĪǣ-ޠ-NÿǝŤĪƫ܉hżŲģżŲ

rice?"ڢڙڛȃĩ ƪŻěŎŻƟŻŦŎƷŎěþŦ- ƢĩþŦŎƷǢ-ŻŁ- Ʒ'nĩ-£'nŎŦŎƟƟŎűĩƪ ƪĩĩůĩĢ-ŎűěŻůƟþƷŎĚŦĩǜŎƷ'n- Ʒ'nĩĩůƟ'nþƷŎě- þĩƪƷ'nĩƷŎěƪ-ŻŁ-Ʒ'nĩ- ŦþƪƪŎěþŦܮ¦ŻůþűƷŎěǜŻƢţ-ŻŁþƢƷܒ-NŎƪěŻůƟŻƪŎƷŎŻűþŦ-Ʒ'nŎűţŎűłǜþƪƪƿĚƪĩơƿĩűƷŦǢ- ěŦþƢŎȀĩĢ-Ʒ'nƢŻƿł'n-Ʒ'nĩĩǡþůŎűþƷŎŻű-ŻŁ-/ĢłþƢĢßþƢĸƪĩܼƪþűĢ-SþűűŎƪåĩűþţŎƪܼƪěŻűěĩƟƷ-ŻŁƪŻƿűĢ- masses, as well as through Parisian *musique concrète*܌ǜ'nŎě'n-'nĩĩűěŻƿűƷĩƢĩĢ-Ŏű-ܒڗڔژڐ-Sű-Ʒ'nĩþĩƪܮ Ʒ'nĩƷŎě-ĢĩƪŎłűƪ-ŻŁßþƢĸƪĩþűĢåĩűþţŎƪ܌rþěĩĢþƪþǜ܌-ŎűěŻűƷƢþƪƷ-ƷŻ-ƟþƢþůĩƷĩƢܮŻƢŎĩűƷĩĢ-ƟŻƪƷǜþƢ- ƪĩƢŎþŦŎƪů܌þ-ƟþƷ'n-Ʒ'nþƷ-ƟŻŎűƷĩĢ-ĚĩǢŻűĢ-Ʒ'nĩűþƢƢŻǜ-ŦŎůŎƷƪ-ŻŁ-/ƿƢŻƟĩþűůƿƪŎěڙښڛܒ

SűrþěĩĢþܼƪǜŻƢţƪ-ŻŁ- Ʒ'nĩ- ڏڕژڐƪþűĢ- ڏږژڐƪ܌-'nŎƪĩǡƟŦŻƢþƷŎŻű-ŻŁƪŻěŎþŦþűĢƪŻěŎĩƷþŦěŻűƷĩǡƷƪ- and the resulting compositions with large groups of performers converged with his interest Ŏű-Ʒ'nĩƪŻƿűĢůþƪƪĩƪ-ŻŁßþƢĸƪĩþűĢåĩűþţŎƪܒȃĩƪĩǜŻƢţƪþƢĩůŻƢĩ-ĢŎƢĩěƷŦǢ-ĚŻƿűĢ-ƷŻƪƟĩěŎȀě- ƟĩƢŁŻƢůþűěĩěŻűƷĩǡƷƪ-Ʒ'nþűrþěĩĢþܼƪ-ŦþƷĩƢ܌-ŎűěƢĩþƪŎűłŦǢ-ƟƢĩěŎƪĩŦǢ-ŁŻƢůƿŦþƷĩĢƪěŻƢĩƪܒȃĩƪĩĩþƢ-ŦŎĩƢǜŻƢţƪ-ŎűěŦƿĢĩ܌þĚŻǛĩþŦŦ܌-Ʒ'nĩ-ƢŎƷƿþŦůƿƪŎě-*Pagsamba*-ܣĢŻƢþƷŎŻű܌-ܤڗڕژڐ-ŁŻƢ-ڐړڑ-ƟĩƢŁŻƢůĩƢƪ܌ *þƪƪĩƷƷĩƪ-ڕڕږ*-ܤڐږژڐܣ-ŁŻƢ-Żűĩ-'nƿűĢƢĩĢ-ƷþƟĩ-ƢĩěŻƢĢĩƢƪþűĢ-Żűĩ-'nƿűĢƢĩĢ-ƟŦþǢĩƢƪ܌ *ÃłűþǢþű* (AtmoƪƟ'nĩƢĩƪ܌-ܤړږژڐ-ŁŻƢ-ڏڑ-ƢþĢŎŻƪƷþƷŎŻűƪ܌-*Udlot – Udlot*-ܣNĩƪŎƷþƷŎŻűƪ܌-ܤڔږژڐ-ŁŻƢƪĩǛĩƢþŦ-'nƿűĢƢĩĢ-ƟĩƢŁŻƢmers, and *Ading*-ܤڗږژڐܣ-ŁŻƢ-ƷǜŻ-'nƿűĢƢĩĢ-ƟĩƢŁŻƢůĩƢƪþűĢ-ƟƿĚŦŎě-ƟþƢƷŎěŎƟþƷŎŻűښښڛܒ

¼þţŎűłƿƟþű-ŎĢĩþ-ŁŻƢůƿŦþƷĩĢ-ĚǢrŎě'nþĩŦ-¼ĩűǬĩƢڛښڛ܌ it is constructive to compare three muƪŎěĩǡþůƟŦĩƪ-ƷŻĩǡƟŦŻƢĩrþěĩĢþܼƪůƿƪŎě܋-Ʒ'nĩ-ȀĩŦĢ-ƢĩěŻƢĢŎűł-ŻŁ-Ʒ'nĩ-NþűƿűżŻ*fþŦŎƟþǢ* celebration ůþĢĩ-ĚǢrþěĩĢþ-Ŏű-ڒڔژڐǜŎƷ'n-NþƢŻŦĢ- ܒ- ŻűţŦŎű܌-Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ-SþűűŎƪåĩűþţŎƪܼ-*Pithoprakta* ŁŻƢƪƷƢŎűł-ŻƢě'nĩƪƷƢþ܌-ƷǜŻ-ƷƢŻůĚŻűĩƪ܌þűĢ-ƟĩƢěƿƪƪŎŻű-܌ܤڕڔܫڔڔژڐܣþűĢ-Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ-Ʒ'nĩƪĩěŻűĢ- ƟþƢƷ-ܣܹGŦŻƢŎþݑ ܘ-*Luwalhati*ܺܤ-ŻŁrþěĩĢþܼƪ-*Pagsamba*. In all three examples one can hear transforůþƷŎŻűƪ-ĚĩƷǜĩĩűěŦĩþƢŦǢƪĩƟþƢþƷĩĢ-ܹƪŻƿűĢůþƪƪĩƪܺ-ŻƢƪŻƿűĢƪƷþƷĩƪ܋-Ŏű-Ʒ'nĩ-ȀĩŦĢ-ƢĩěŻƢĢŎűł-ŻŁ-Ʒ'nĩ- *fþŦŎƟþǢ*ěĩŦĩĚƢþƷŎŻű܌ǜĩěþű-'nĩþƢ-ĢŎDz ŁĩƢĩűƷ ƪŻƿűĢ ơƿþŦŎƷŎĩƪĩůĩƢłŎűł ƪƿěěĩƪƪŎǛĩŦǢ- ŁƢŻů- Ʒ'nĩ- ƢĩłƿŦþƢ-ĚþƪŎě-Ƣ'nǢƷ'nů܋-Ʒ'nĩłŻűł*agung*-ƟŦþǢĩĢǜŎƷ'nǜŻŻĢĩűůþŦŦĩƷƪ܌-Ʒ'nĩƪůþŦŦłƿŎƷþƢܮŦŎţĩ*ţƿĢǢþƟŎ*, þűĢ-Ʒ'nĩ-Ʒ'nƢĩĩܮƪƷƢŎűł-ȀĢĢŦĩƪ*gitgit* (possibly the highlighting of these instrumental parts might Ěĩ-Ģƿĩ-ƷŻ-Ʒ'nĩ-ƢĩěŻƢĢŎűł-ƢĩƪĩþƢě'nĩƢƪůŻǛŎűł-ŎűܮĚĩƷǜĩĩű-Ʒ'nĩłƢŻƿƟƪ-ŻŁůƿƪŎěŎþűƪܒܤ-SűåĩűþţŎƪܼƪ- ŦþƢłĩ-ŻƢě'nĩƪƷƢþŦ-ƷĩǡƷƿƢĩƪ܌-Żűĩ-ȀƢƪƷ-'nĩþƢƪþěŻűƷŎűƿŻƿƪþłłŦŻůĩƢþƷŎŻű-ŻŁ-ŦŻǜ-ƟŎǬǬŎěþƷŻƪŻƿűĢƪ܌- þűĢ-Ʒ'nĩűþűĩǛĩű-ƷƢþűƪŁŻƢůþƷŎŻű-ŎűƷŻƪ'nŻƢƷ-ĚŻǜĩĢłŦŎƪƪþűĢŎǜŎƷ'nƪŎłűŎȀěþűƷě'nþűłĩƪ-ŻŁ-ƢĩłŎƪƷĩƢܒ- ȃŎƪ-Ŏƪ-ŁŻŦŦŻǜĩĢ-ĚǢ-ƷǜŻůŻƢĩƪŻƿűĢ-ȀĩŦĢƪ܌-ȀƢƪƷ-'nŎł'n-ƟŎǬǬŎěþƷŻ-ƟŎƷě'nĩƪ-Ŏű-'nŎł'n-ĢĩűƪŎƷǢ-ܣ/ǡܒ-܌ܤڐڐܒڒ- Ʒ'nĩűƪƿƪƷþŎűĩĢ-'nŎł'n-'nþƢůŻűŎěƪ܌-ŻǛĩƢǜ'nŎě'nǜĩ-'nĩþƢrŻƢƪĩܮěŻĢĩܮŦŎţĩ-ƟƿŦƪĩƪ-ŻŁǜŻŻĢĚŦŻěţƪþűĢ- pizzicati. Maceda's *Pagsamba*܌þ þƷ'nŻŦŎěůþƪƪƪĩƷ-Ŏű-Ʒ'nĩ-£'nŎŦŎƟƟŎűĩ-Ŧþűłƿþłĩ-¼þłþŦŻł-ܣŻƢŎłŎűþŦŦǢ- þ-ŦŻěþŦ-Ŧþűłƿþłĩ-ŻŁ- Ʒ'nĩrþűŎŦþþƢĩþ- Ʒ'nþƷ-ŦþƷĩƢƪĩƢǛĩĢþƪ- Ʒ'nĩ-ĚþƪŎƪ- ŁŻƢ- Ʒ'nĩ-ŻDzȀěŎþŦűþƷŎŻűþŦ-Ŧþűܮ łƿþłĩ܌- FŎŦŎƟŎűŻ܌ܤ-Ŏƪ ƪěŻƢĩĢ- ŁŻƢ-ڐړڑ- ƟĩƢŁŻƢůĩƢƪܒȃĩ- ܹGŦŻƢŎþܺ-ܣ/ǡݑܒ ܤڑڐܒڒ-ŻƟĩűƪǜŎƷ'nþ ƪůþŦŦ-ƟŻŦǢ-

ڽڴڶ- -¥ǀżƸĪģŏŲ-¼ĪŲǭĪƣ܉-ܶdżƫīrÿĜĪģÿÿŲģ-ƸŊĪ-£ÿƣÿģżǢĪƫżłrżģĪƣŲ żŰƠżƫŏƸŏżŲŏŲ-®żǀƸŊĪÿƫƸƫŏÿ܉ܷ-ڐڕ

ڕڕܨړڕ-܉ŏěŏģ-ĪĪ®- -ڴڵڶ

ڵڵڶ- -1/4ż-ƸŊĪěĪƫƸżł-Űǣ-ŤŲżǝŧĪģŃĪ܉-ƸŊĪ-ŰżƫƸ-ĜżŰƠƣĪŊĪŲƫŏǜĪ-ĜÿƸÿŧżŃǀĪżłdżƫīrÿĜĪģÿܹƫǝżƣŤƫ-ĜÿŲěĪłżǀŲģŏŲ-ƸŊĪ- ܶhŏǜŏŲŃ żŰƠżƫĪƣƫ-£ƣżšĪĜƸܷěǣ-'ÿŲŧěĪƣƸƫżŲÿƸ-ŊƸƸƠܕܕ܈ǝǝǝĜżŰƠżƫĪƣƫڍڎĜżŰܕĜżŰƠģżĜƫܕŰÿĜĪģÿšŊƸŰ (upģÿƸĪģ-܉ܡړڍڌڎܕڍڌܕڎڌƫĪĪÿŧƫż-ܶàĪƣŤǜĪƣǭĪŏĜŊŲŏƫdżƫīrÿĜĪģÿܷ-*MusikTexte*-Ųż-ڎڌڍ-܉ܡڐڌڌڎܠ-ڑړ-SƸƫŊżǀŧģěĪÿģģĪģ- ƸŊÿƸŏƸŏƫ-ĪǢƸƣĪŰĪŧǣģŏdz ǿĜǀŧƸÿƸ-ƠƣĪƫĪŲƸ-Ƹż-ĜżŲƫǀŧƸrÿĜĪģÿܹƫƫĜżƣĪƫłżƣƫƸǀģǣ-ƠǀƣƠżƫĪƫ܉ÿƫ-ƸŊĪǣ-ŊÿǜĪ-ŲżƸěĪĪŲ- ĪģŏƸĪģěǣÿ-ŰǀƫŏĜ-ƠǀěŧŏƫŊĪƣÿŲģ-ƸŊĪÿģŰŏŲŏƫƸƣÿƸŏżŲżł-ƸŊĪ-ĪƫƸÿƸĪŏƫ-ĜǀƣƣĪŲƸŧǣ-ǀŲÿěŧĪ-Ƹż-ƠĪƣłżƣŰƫǀĜŊ-ƸÿƫŤƫ- Ƹ- ƸŊŏƫ- ƠżŏŲƸ܉- S ǝżǀŧģ ŧŏŤĪ- Ƹż- ƸŊÿŲŤ- ¦ÿŰżŲݎ £-R ÿŲƸżƫ ÿŲģ dżŲÿƫÿĪƫ łżƣ- ƠƣżǜŏģŏŲŃ- ĪǢĜĪƣƠƸƫ ÿŲģ- ĜżƠŏĪƫ łƣżŰ- rÿĜĪģÿܹƫǝżƣŤƫ

ڶڵڶ- -RĪĪ-¼ĪŲǭĪƣ܉-ܶdżƫīrÿĜĪģÿÿŲģ-ƸŊĪ-£ÿƣÿģżǢĪƫżłrżģĪƣŲ żŰƠżƫŏƸŏżŲŏŲ-®żǀƸŊĪÿƫƸƫŏÿ܉ܷ-ڏڌڍܨڌڌڍ


*/ǡþůƟŦĩ-ڗږܘژܑdŻƪĪrþěĩĢþܒ-Pagsamba-ŁŻƢ-ږڙڗ-ƟĩƢŁŻƢůĩƢƪܒ-SSܘ-ܿGŦŻƢŎþܞݗ-Luwalhatiܒ݀-ƟĩűŎűł*

 żƠǣƣŏŃŊƸ-ޣ-ڔڒڕڍěǣdżƫīrÿĜĪģÿ܉rÿŲŏŧÿ

phonic setting in male choirs ("Luwalhati sa Diyos so kaitaasan" / Glory to God in the highest), followed suddenly by a large tutti outburst ("At so lupa ay kapayapaan at sa anga taong may mabuting kalooban" / and on Earth peace, good will toward men), after which the duct flutes ongiyong (Huagao) and calling choir voices can be heard, then the buzzers balingbing (Kalinga, Luzon), passing into the rattles palakpak (Tagalog) and the wooden sticks bangibang (Huagao), with which the voices mingle again. At the end of the first section, the texture transforms into agung gongs (hanging nipple gongs, Maguindanao province) and gandingan (narrow-rimmed nipple gongs, also from Maguindanao) and back to the low male voices of the beginning. The sound masses are thus organized according to quasi-ethnomusicological classificatory principles. The performers are distributed in a circle around the audience, following an exact plan of the original performance space, the large circular building of the Catholic church Parish of the Holy Sacrifice in Quezon City. This aspect of the staging refers to the social component of Maceda's concept and thus to the ritual functions of pre-colonial music in the Philippines. The 241 performers are scattered around the auditorium according to a detailed floor plan313 and located in the midst of the audience. Each of the one hundred instrumentalists uses five different bamboo instruments: in addition to the aforementioned duct flutes, buzzers, rattles, and wooden sticks, these instruments also include tagutok (Maranao) bamboo scrapers. There are one hundred vocalists, five quintets of male voices, and two gong groups of eight agung and gandingan respectively.

In Maceda's work, cultural difference is conceptualized as having a dual function: on the one hand, the ethnomusicologist Maceda tries to find a new musical "grammar" through a comparative analysis of different local and superregional Asian genres, which is very deliberately opposed to a paradigmatic Western concept of art and at the expense of a certain essentializing tendency. On the other hand, the composer Maceda refers to the sound masses of Varese and Xenakis, thus adopting a compositional technique of material organization that is decisively shaped by Western modernity and that must be understood, in the Philippine and Asian contexts, as a counterdiscourse to nationalist trends.

Maceda relates the participation of large groups of people to a special Javanese and Balinese concept of nature: "The participation of thousands of people in music-making in the open air is like their identification with nature, a concept manifest in Javanese and Balinese paintings, where men, plants, and animals are all treated as part of the jungle that envelops them."24 This perhaps naïve desire of Maceda's to include a harmonious interaction of man and nature in his music must surely be seen as the result of his ethnological research, which was accompanied by a critique of the otten hasty and unreflecting form of Westernized cultural development in the region. On this basis, Maceda in 1984 formulated three basic principles of his ethnomusicological research, which can also be directly related to his compositional procedures:255


<sup>213</sup> The floor plan appears on the cover of the CD José Maceda: Gongs and Bamboos, Tzadik TZ 7067 (2001).

<sup>214</sup> Maceda, "A Search for an Old and a New Music," 167.

<sup>215</sup> Maceda, "A Concept of Time in a Music of Southeast Asia." This text is based on Maceda's 1984 Charles Seeger Memorial Lecture for the Society for Ethnomusicology.

### */ǡþůƟŦĩ-ژږܘژܑdŻƪĪrþěĩĢþܒ-Udlot-Udlot ŁŻƢ-ܒڛ-ܒڕڛ-ڕڕڛ-ŻƢůŻƢĩ-ƟĩƢŁŻƢůĩƢƪ*


ǢĩůƟ'nþƪŎǬŎűłƪƿě'nłĩűĩƢþŦ-ƟƢŎűěŎƟŦĩƪ܌rþěĩĢþƪŻƿł'nƷ- ƷŻ-ȀűĢþƪŻŦƿƷŎŻű- ƷŻ- Ʒ'nĩěŻűǴŦŎěƷ-Ěĩܮ ƷǜĩĩűűþƷŎŻűþŦŎƪů-ŻƢ-ŦŻěþŦŎƪůþűĢěƿŦƷƿƢþŦàĩƪƷĩƢűŎǬþƷŎŻűܒȃĩěŻűŁƢŻűƷþƷŎŻűǜŎƷ'n-ĢƢŻűĩ܌-ŻƪƷŎܮ nato, and a system in which timbres have more weight than pitch organization led to a com-ƟŻƪŎƷŎŻűþŦþĩƪƷ'nĩƷŎěěŻűěĩƟƷ-Ʒ'nþƷþěěĩűƷƿþƷĩƪěŻűƷŎűƿŎƷǢ܌-ŎűȀűŎƷǢ܌þűĢ-ŎűĢĩȀűŎƷĩűĩƪƪܒrþěĩĢþ- ĩǡƟþűĢƪ-Żű-Ʒ'nŎƪěŻűěĩƟƷ-Ŏű-'nŎƪĩǡƷĩűƪŎǛĩþƢƷŎěŦĩ-ܹ- ŻűěĩƟƷ-ŻŁ-¼Ŏůĩ-ŎűþrƿƪŎě-ŻŁ-®ŻƿƷ'nĩþƪƷƪŎþ- ܣ-£ƢĩŦŎůŎűþƢǢěěŻƿűƷ܌ܤܺ-Ŏűǜ'nŎě'n-Ʒ'nĩěŻűƪƷƢƿěƷŎŻű-ŻŁþ-ܣRŻƿƷ'nĩþƪƷܤƪŎþűěŻűěĩƟƷ-ŻŁ-ƷŎůĩþűĢ- þ-ܣRŻƿƷ'nĩþƪƷܤƪŎþű-ŦŻłŎě܌ěŦĩþƢŦǢ-ƷĩűĢŎűł-ƷŻǜþƢĢĩƪƪĩűƷŎþŦŎƪů܌-ĢĩƢŎǛĩƪþ-ŁƿűĢþůĩűƷþŦŦǢ-ƟŻƪƷěŻ-ŦŻűŎþŦ-ĢŎƪěŻƿƢƪĩ-ŁƢŻůůƿƪŎěþŦƪƷƢƿěƷƿƢĩƪ܋

[...] the music of Southeast Asia fills time along notions of continuity, infinity and indefiniteness in a non-secular metaphysical world, and hierarchy in a secular world. The musical techniques used in musical forms prefer melodic ambiguity, repetition and diffusion to identification and isolation of things as these are brought about by a system of logic known as causality.266

Maceda considers causal logic manifested in the hierarchy of major-minor tonality,217 though here he implies, perhaps subliminally, the overly functional and reductionist interpretation of tonality by (the earlier writings of) Hugo Riemann.208 In addition, Maceda also claims to recognize a causal logic based on polarities in postwar serialism23 – a certainly contestable interpretation, since parameter-based serialism is ultimately not based on polarities, but on gradations of all parameters. Overall, Maceda's juxtaposition of Western/causal and Asian/ anti-causal logic seems too dualistic and simplistic. His argumentation is more convincing elsewhere, when he applies principles of Southeast Asian traditions to his own music, which he ultimately describes as distilling a substance that he as an ethnologist cannot easily put into words and therefore intends to reflect in his music:

I have spoken of elements such as repetition, drone, nature, time, the universe, scales, shamanism, rituals, timbre as fundamental musical elements, and of a thinking of what music may be – as these are present in the music cultures in the Philippines and Southeast Asia. These elements make up an imaginary world which is felt and understood by a village inhabitant, but they are too deep for words and therefore are unexplainable by himself, a village guru, an anthropologist or by an ethnomusicologist. This world may be captured in a sound structure or in music, just as an eighteenth-century enlightenment is crystallized in the music of Bach, and the clarity and discipline in Chinese thought are manifest in the music of a South Chinese ensemble. 220

What do these principles imply for the creative process and the notation of Maceda's scores? In the 1970s, the principles of continuity, infinity, and indefiniteness could still be clearly derived from action scores, which describe sound constellations in a very precise manner, but ultimately leave the musical detail to the dynamic interaction between performers. In Udlot-Udlot (1975), more than 800 students performed three different ostinato patterns (Ex. 3.13, left column): percussionists repeat a five-part ostinato, to which they walk in rhythmic steps in a circle; the instrumentalists sitting in the center superimpose different timbres in the proportions 5:7, 5:9, 7:9, 7:11, etc. (middle columns); the chorus is set up in groups that sing long sustained notes followed by glissandi (right column).

In the 1980s, Maceda's notation became more precise. Rhythmic complexity became a necessity because it was the only way to realize the desired transcendence of a causal time structure in compositional terms, while microtonal melodic fluctuations are often left to the players. Whereas the open concept of Maceda's scores is obvious in the earlier works, his later attempts to treat the ensembles compositionally as a "body of sound" over longer periods seem to require

<sup>216</sup> lbid., 46.

<sup>217</sup> lbid., 47.

<sup>218</sup> One might argue that recent neo-Riemannian theories of tonality have contributed to an increasingly complex image of tonality as an expansive network-like system, in which linear causality plays an increasingly subordinate role as the system transforms into late and post-tonal areas.

<sup>219</sup> Maceda, "A Concept of Time in a Music of Southeast Asia," 47–48.

<sup>220</sup> Maceda, "A Search for an Old and a New Music," 166–167.

Example 3.14: José Maceda, Suling, Suling, mm. 266-269

a more systematic and more prescriptive approach to notation. In Suling, Suling (1984) for ten suling bamboo flutes or ten (Western transverse) flutes, ten pakkung / balingbing buzzers or tagutok scrapers, and ten gangsa (flat gongs), the exact flute types and pitches of the gongs are left to the performers, but the rhythmic framework is precisely written out and can only be performed with a conductor (Ex. 3.14). A constant that connects these works with the earlier concepts is the organization of the music in sound surfaces or masses, as can easily be seen from the score example.

The slow transformations of the 22-minute musical textures of Suling, Suling are not far removed from the ongoing transitional states developed by Morton Feldman and Giacinto Scelsi during the same period. Maceda's compositional discoveries have created a variety of "lessness" (see the section on Takahashi below) that, because of its complex ethno-philosophical background, is unique, but also converges with tendencies within the new music of the West that resulted from a liberation from the linear, teleological time frame formulated by different composers, often independently of each other, including Varese, Xenakis, Feldman and Scelsi as well as Charles Ives, John Cage, György Ligeti, and Bernd Alois Zimmermann. 24

Maceda's work ultimately shows that cultural difference need not be articulated as a conflict of materials within a composition. Rather, it may attain significance in far more fundamental layers of compositional methodology. Cultural difference influences the instruments and languages used, the highly qualified significance of writing, and the tendency to eliminate the separation between audience and performer.

### Ge Ganru's Yi Feng (1983) and the Liberation from Culturalist Categories

In Maceda's case we can observe sharply that ideas derived from Western musical modernism serve as a principal means in re-inventing local practices, putting them into a new context, and thus countering simplified and affirmative notions of musical as well as political nationalism. The following example demonstrates perhaps even more clearly how a confrontation with Western modernism might cause massive conflicts as well as provoke liberation. Confrontation may lead in productive directions toward the articulation of the culturally different.

Ge Ganru (b. 1954) belongs to the xinchao generation of Chinese composers who were severely restricted in their development by the Cultural Revolution. Later, this group of composers developed very independently at breathtaking speed, under a lasting impression of Europe's early musical modernism (→ II.3).222 During the Cultural Revolution, Ge secretly learned to play the violin. Then he was sent to Chongming Island for agricultural labor from 1971 to 1974, where, despite the extreme living conditions, he founded an ensemble that played variants and excerpts from the "model works" (yangbanxi, → III.1). Already in 1974, he was admitted to the violin class of the Shanghai Conservatory and began studying composition there in 1977. After he had acquired Arnold Schoenberg's twelve-tone method, stimulated by the important guest seminar with Alexander Goehr in Beijing in 1980, Ge fell into a compositional crisis. He felt an unbridgeable gap between his fragmented musical biography and the coherence of twelve-tone music.

Ge's Yi Feng (Lost Style, 1983) for violoncello solo was a radical move toward liberation and transformed the characteristics of Chinese music in a most unusual way, such as by tocusing on the timbral and microtonal shading of a single note and colorations of unpitched noise. The percussive performance techniques and free rhythms are based on traditional drum ensembles such as those from Chinese opera (→ III.5). Yet Ge aimed for a purely imaginary archaic style (to which the title refers), a style intended to lie beyond clear culturalist identities. The instrument's strings are tuned in fourths and up to one octave lower than the original tuning (Ft1-B1-E2-A2), thus also greatly expanding the possibilities of playing behind the bridge. The score is notated on six staves (Ex. 3.15). At the time of the composition, Ge hardly knew any works of Western new music atter 1945, except for isolated pieces by John Cage, Toru

<sup>221</sup> See Utz, "Paradoxien musikalischer Temporalität in der neueren Musikgeschichte."

<sup>222</sup> Mittler, Dangerous Tunes, 173–177, provides biographical details and an overview of Ge's works up to the early 1990s. See also Kouwenhoven, "Mainland China's New Music (III)," 109–111.

¼þţĩůŎƷƪƿ܌ þűĢ- GĩŻƢłĩ- ƢƿůĚܒ ȃŻƿł'n- Gĩܼƪ ǜŻƢţ ůþǢ- ƢĩůŎűĢ þű- ܹŎűŁŻƢůĩĢܺ- ŦŎƪƷĩűĩƢ- ŻŁ- hþě'nĩűůþűűܼƪ- *Pression*- ܌ܤژڕژڐܣ- Gĩ- ƢĩůþŎűĩĢ ƿűþǜþƢĩ- ŻŁ- NĩŦůƿƷ hþě'nĩűůþűűܼƪ ƞƿǛƢĩ ƿƟ- ƷŻ ڜڛڛܒڕڏڏڑ

ÃŦƷŎůþƷĩŦǢ܌-Ŏű-Gĩܼƪěþƪĩ܌-ŎƷǜþƪűŻƷƪŻůƿě'nþůþƷƷĩƢ-ŻŁ-ܹěŻƿűƷĩƢŎűłܺþůþƪƪŎǛĩàĩƪƷĩƢű-Ŏű-ǴŦƿĩűěĩ-ĚǢþ-ܹěƿŦƷƿƢþŦŦǢ-ĢŎDz ŁĩƢĩűƷܺ-ŻĚŠĩěƷþƪ-ŻŁ-ƟƢĩƪĩƢǛŎűł܌-ŻƢĩǛĩűłþŎűŎűł܌þƪƷþĚŦĩþƢƷŎƪƷŎě-ƟŻƪŎ-ƷŎŻűþƷþŦŦǜŎƷ'nŎű- 'nŎűþܼƪĩǡƷƢĩůĩŦǢþůĚŎłƿŻƿƪ-ĢŎƪěŻƿƢƪĩƪþǼ ƷĩƢ- Ʒ'nĩ ƿŦƷƿƢþŦ-¦ĩǛŻŦƿƷŎŻűܒȃĩ- ěƿŦƷƿƢþŦ-ŻƟĩűŎűłƿƟ-ŻŁ-Ʒ'nĩ-ڏڗژڐƪ܌-ŁŻŦŦŻǜŎűł-Ʒ'nĩĩǡƷƢĩůĩ-ƢĩƪƷƢŎěƷŎŻűƪ-ĚĩƷǜĩĩű-ڕڕژڐþűĢ-܌ڕږژڐǜþƪ- accompanied by a continuity of repressive discourses around suspected over-individualism, culminating in two so-called "Anti-Spiritual Pollution Campaigns" (*Qingchu jingshen wuran*ܤ-Ŏű- ڒڗژڐþűĢ-ږڗژڐ-ݑދܣSSSڝڛڛܒܤڒܒ *Yi Feng*-Ŏƪ܌þĚŻǛĩþŦŦ܌þ-ƢĩůþƢţþĚŦĩ-ĢŻěƿůĩűƷ-ŻŁƿƟ'nĩþǛþŦ-Ŏű-ƢĩěĩűƷ- 'nŎܮ nese music history, because it did not bow to those repressions. In the process, the characteristics of traditional instruments such as *erhu*, *pipa*, or *qin*-ܣǜ'nŎě'nǜĩƢĩěŦþƪƪŎȀĩĢþƪ-ĢĩȀěŎĩűƷ-ĚǢ- Ʒ'nĩ-ŻǛĩƢǜ'nĩŦůŎűłůþŠŻƢŎƷǢ-ŻŁ- 'nŎűĩƪĩůƿƪŎěůþţĩƢƪܤ-ƟƢŻǛŎĢĩĢ-ǛþŦƿĩܒȃĩŎƢ-ĚŦƿƢƢŎűłþűĢűŻŎƪĩ܌- þűĢ-Ʒ'nƿƪ-Ʒ'nĩŎƢěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ-ŁƢŻů-Ʒ'nĩƪƷþűĢþƢĢŎǬþƷŎŻű-ŻŁàĩƪƷĩƢű-ŎűƪƷƢƿůĩűƷƪ܌-ƢĩǛĩþŦĩĢ- łƢĩþƷěƢĩþƷŎǛĩ-ƟŻƷĩűƷŎþŦܒ-ÃŦƷŎůþƷĩŦǢ܌-Ʒ'nŎƪěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ-Ŏű-GĩܼƪǜŻƢţƪĩƢǛĩĢþƪ-Żűĩ-ŻŁƪĩǛĩƢþŦ- means of shaping an imaginary musical space beyond cultural and political categorization.

### fѦSv§vvÃƝÈÈ®ÈÛ4ÃÈ®®v®O³v¨\*®ÈÀvȳ®

¼Ż þƟƟƢŻþě'n- Ʒ'nĩ ěŻůƟŻƪŎƷŎŻűþŦ ěŻűƷĩǡƷƪ- ŻŁ- Ʒ'nĩ dþƟþűĩƪĩ ěŻůƟŻƪĩƢ þűĢ- ƟŎþűŎƪƷ æǕŠŎ- ¼þţþܮ 'nþƪ'nŎ-ܣĚ܌ܤڗڒژڐݑܒ-Ʒ'nĩ-ĢĩůþűĢ-ŁŻƢþƷƷĩűƷŎǛĩ-ŦŎƪƷĩűŎűłþűĢ-'nĩþƢŎűł܌ǜ'nŎě'n-Ʒþţĩƪ-ŻűþěĩűƷƢþŦ-ƟŻƪŎƷŎŻű- Ŏű-¼þţþ'nþƪ'nŎܼƪěŻűěĩƟƷŎŻű܌ůŎł'nƷ-ĚĩĩǡĩůƟŦŎȀĩĢ-ĚǢ-ƢĩŁĩƢĩűěĩ-ƷŻ-ƷǜŻ-ŎĢŎŻƪǢűěƢþƷŎěǜŻƢţƪ܋-*Koto nado asobi*-ܤڏڏڏڑܣ-ŁŻƢ*koto* and string quartet and *Tori mo tsukai ka*-ܤڒژژڐܣ-ŁŻƢ*shamisen* and orchestra ƪĩĩů-ƷŻ-ĢĩƪŎłűþůƿƪŎě-Ʒ'nþƷţűŻǜƪűŻ-ƟƢŻłƢĩƪƪŎŻű-ŻŁ-ƷŎůĩܒ-SűƷĩƢƪĩěƷŎűł܌-ƟƢĩƪĩűƷŎƪƷ܌-ƢþƷ'nĩƢ-Ʒ'nþű- processual, sounds combine in an apparently free sequence, in varying character and density, not necessarily diverging, but moving as if in a free continuum in which they meet each other, seemingly incidentally. In his research on the music of Morton Feldman and John Cage, Martin /ƢĢůþűű-ŎűƷƢŻĢƿěĩĢ-Ʒ'nĩĩěţĩƷƷŎþűěŻűěĩƟƷ-ŻŁ-ܹŦĩƪƪűĩƪƪ܌ܺڞڛڛ which seems to me to be very suitþĚŦĩ-ŁŻƢěþƟƷƿƢŎűłþěƢƿěŎþŦơƿþŦŎƷǢ-ŻŁ-¼þţþ'nþƪ'nŎܼƪ-ƷǜŻǜŻƢţƪ܋-ܹŦĩƪƪűĩƪƪܺƿűĢĩƢƪƷŻŻĢþƪ-Ʒ'nĩþĚsence of clear, quasi-causal connections, conclusiveness, consequence, stringency – principles developed again and again in various ways in a range of new music during the twentieth century.

Sű-ŁþěƷ܌-1/4þţþ'nþƪ'nŎܼƪþƟƟƢŻþě'n-ܫƪŎůŎŦþƢ-ƷŻrþěĩĢþܼƪ-ܫěŻƿűƷĩƢƪ-Ʒ'nĩěŻűěĩƟƷ-ŻŁ-ĢŎƪěƿƢƪŎǛĩůƿƪŎěþŦ-ŦŻłŎě-Ʒ'nþƷ-'nþƪ-'nþĢþ-ŦþƪƷŎűł-ŎůƟþěƷ-Żű-/ƿƢŻƟĩþűůƿƪŎěƪŎűěĩ-Ʒ'nĩůĩĢŎĩǛþŦ*musica theorica*. ¼Ż-'nĩþƢ-'nŎƪůƿƪŎěĩǡěŦƿƪŎǛĩŦǢþƪþěŻƿűƷĩƢĢŎƪěŻƿƢƪĩ- ƷŻàĩƪƷĩƢűþĩƪƷ'nĩƷŎě-ƟƢŎűěŎƟŦĩƪ܌-'nŻǜĩǛĩƢ܌-

ڷڶڶ- -ܶSǝÿƫ-ŲżƸÿǝÿƣĪżłÿŲǣ-ŲżƸÿƸŏżŲƫŧŏŤĪǝŊÿƸ-Sģŏģłżƣ-*Yi Feng*ǝŊĪŲ-S-ĜżŰƠżƫĪģ-ƸŊÿƸ-ƠŏĪĜĪ܉ÿƫ- ŊŏŲÿǝÿƫÿ-ĜŧżƫĪģ- ƫżĜŏĪƸǣÿƸ-ƸŊÿƸ-ƸŏŰĪ-£ƣŏżƣ-Ƹż-ƸŊŏƫ-ƠŏĪĜĪ܉-SłżĜǀƫĪģÿŧŧ-Űǣ-ĪŲĪƣŃǣżŲ-ƸǝĪŧǜĪܫƸżŲĪ-ŰǀƫŏĜ-S-ŊÿģżŲŧǣ-ŊĪÿƣģdżŊŲ- ÿŃĪܹƫ-ƠŏÿŲż-ŰǀƫŏĜżŲĜĪ܉ƫÿǝ-GĪżƣŃĪ ƣǀŰěܹƫƫĜżƣĪżŲĜĪǽ ƸĪƣ-ĜżŰƠŧĪƸŏŲŃ-*Yi Feng*܉-S-ŊĪÿƣģ-¼ÿŤĪŰŏƸƫǀܹƫ-*November Steps*-¼ŊĪƫĪ-ƸŊƣĪĪǝĪƣĪ-ƸŊĪżŲŧǣÿǜÿŲƸܫŃÿƣģĪ-ĜżŰƠżƫĪƣƫ-S-ŤŲĪǝżłǝŊĪŲ-SǝÿƫŏŲ- ŊŏŲÿ-FżƣŃŏǜĪ-ŰǣŏŃŲżܫ ƣÿŲĜĪ܉-ǀƠ-Ƹż-Ƹżģÿǣ܉-SƫƸŏŧŧģżŲܹƸ-ŤŲżǝǝŊż-NĪŧŰǀƸhÿĜŊĪŲŰÿŲŲŏƫ-¼ŊĪÿěżǜĪàĪƫƸĪƣŲ-ĜżŲƸĪŰƠżƣÿƣǣ-ŰǀƫŏĜ-Űÿ-ƸĪƣŏÿŧƫ-S-ŊÿģÿĜĜĪƫƫ-ƸżǝĪƣĪŧĪǽ ƸŏŲ- ŊŏŲÿěǣƫżŰĪàĪƫƸĪƣŲĪƣƫǝŊż-ĜÿŰĪ-ƸżǜŏƫŏƸ-¼ŊĪǣ-ܞǝĪƣĪܟ-ĪŏƸŊĪƣšǀƫƸƫĜżƣĪƫżƣ- ƸÿƠĪƫ܉-ŲĪǜĪƣěżƸŊ-ǀƣ-ǀŲģĪƣƫƸÿŲģŏŲŃżłǝŊÿƸǝÿƫ-ŊÿƠƠĪŲŏŲŃżǀƸƫŏģĪżł- ŊŏŲÿǝÿƫǜĪƣǣ܉ǜĪƣǣŧŏŰŏƸĪģܷ-ܠ/ܫŰÿŏŧ- ܡڒڌڌڎܕڌڍܕڌڍ-܉ÿǀƸŊżƣ-ƸŊĪ-Ƹż

ڸڶڶ See, among others, Mittler, *Dangerous Tunes*܉-܉ڕڕ-ڐڎڍܨڏڎڍ

ڹڶڶ- -RĪĪ-/ƣģŰÿŲŲ܉-ܶðǀƫÿŰŰĪŲŊÿŲŃ-ǀŲģhżƫŏŃŤĪŏƸܷÿŲģ-/ƣģŰÿŲŲ܉-ܶàĪěĪƣŲ-ǀŲģ ÿŃĪ܈ðǀƣ-GĪŲĪƫĪģĪƣ ÿŃĪƫĜŊĪŲ- hżƫŏŃŤĪŏƸܷ-¼ŊĪ-GĪƣŰÿŲ-ƸĪƣŰ-ܶhżƫŏŃŤĪŏƸܷ-ĜżŰĪƫłƣżŰ-/ŧŰÿƣ-¼żƠŊżǜĪŲܹƫ-GĪƣŰÿŲ-ƸƣÿŲƫŧÿƸŏżŲżł-®ÿŰǀĪŧ-ĪĜŤĪƸƸܹƫ- experimental text *sans*-܉ڕڒڕڍܠ-/ŲŃŧŏƫŊǜĪƣƫŏżŲ܈-*Lessness*-ܡڌړڕڍ-ĪĜŤĪƸƸܹƫ-ƸĪǢƸŏƫěÿƫĪģżŲ-ĜŊÿŲĜĪ-ƠƣżĜĪģǀƣĪƫÿŲģ- ǝÿƫŏŲƫƠŏƣĪģ܉ÿŰżŲŃżƸŊĪƣƫ܉ěǣ-ƸŊĪ-ŰǀƫŏĜżłdżŊŲÿŃĪ

would be an ultimately ethnocentric and culturally essentialist understanding that fails to recognize how intensively Takahashi has been working since the late 1980s on a conceptual liberation from the Western/non-Western cultural dualism. Relying on elementary phenomena of hearing, music-making, and practice, working directly from the organology of the instruments and corresponding performance methods or from models of interaction between the performers, he opens up not only transcultural, but often also wide historical, societal, and social spaces. His basic attitude is already clear from the instructions in the score of Koto nado asobi:

Stay out of tune as [sic] possible. Instruments don't tune together. Don't play self-assertively. Sounds are uncertain, ambiguous, faltering, transient, and a little out of control. Listen attentively but at ease to your own sound, how it begins, sustains and ends.226

Copyright © 2000 by Yūji Takahashi, Tokyo

The music consists of two score pages for koto solo (koto) and a page with instructions for an ensemble of any instruments (nado asobi) (Ex. 3.16, 3.17). The koto score contains five different models, consisting of mnemonic syllables from koto practice, which date back to shamisen practice and are called kuchi-jamisen ("mouth shamisen"). In the Japanese version of the score (Ex. 3.16, lett), model A appears in three columns: on the left are the kuchi-jamisen syllables in the katakana alphabet, in the middle the plucked string numbers in kanji, and on the right the Japanese transliteration of a Sanskrit Dhārani (mantra) which the performer recites. In the English version (Ex. 3.16, right), the kuchi-jamisen syllables are rendered in Romanized form and additionally transcribed onto five-line staff. Takahashi prescribes an irregular scale that deviates slightly from the traditional scales, and the performer is asked to decide "by ear" how large the microtonal deviations should be. The individual sounds or figures can either be fragmented, that is, framed by silence, or executed as repetitive loops. Similarly, the ensemble's instrumentalists respond very carefully to the sounds they hear, either adding slight microtonal alterations, playing in a distinct pitch register, or freely following the graphic symbols (Ex. 3.17).

<sup>226</sup> Takahashi, Koto nado asobi, preliminary remarks.

### Example 3.17: Yūji Takahashi, Koto nado asobi; "-- nado asobi" for any instruments; models

Melody instruments use the following three modes of playing:

Mode 1. A long tone slightly off pitch from what you heard. No accent, no attack.

No tonguing and varying amount of breath and changing the mouth cavity for wind instruments.

Loose bow rolling between normal and col legno positions for strings with changing speed.

Mode 2. A different pitch than what you heard.

Short tone must be without intention like a child dropping an object in his hand.

	- Repeat any number of times. Change the fragment at will. Play unsteadily.

Copyright © 2000 by Yūji Takahashi, Tokyo

In Tori mo tsukai ka (1993), the anti-teleological conception of time is also achieved by superimposing fundamentally independent parts, with listening attention again playing a major role. The stanza-like traditional form of the shamisen part is superimposed on models for the orchestra (Ex. 3.18), which are freely developed by the musicians in individual groups following the signs of the conductor. Takahashi here refers to a dense, irregular canonic texture derived from gagaku: this structure is found in the concentration of lines at the end of the introductory netori section in some pieces from the komagaku repertoire240 and in the extended introduction to the bugaku repertoire called chōshi, in which the styles omeribuki are known as forms of free or strict imitation.248 Due to the narrow, but not exactly fixed intervals between the voices, heterophonic structures arise in different density and arrangement. The desired blurring is reflected in the type of notation in which dashed lines indicate heterophony. The resulting sound is described by Takahashi as follows:

And so I am using a conventional ensemble with a conductor and a soloist but their functions are completely different. The music should be like a rolling wave. The sound comes up to the surface and then goes down. The players shouldn't try to be soloists, but contribute their sounds,

<sup>227</sup> See Malm, Japanese Musical Instruments, 103. In the chōshi introduction, the imitation is strict among the shō players who enter first, whereupon the hichiriki players imitate another musical figure. An extended version of the chōshi designs an A-B-A' form with kakebuki – netori (solo by the ryūteki flute) – oibuki, whereby in the oibuki the distances between the imitative entries are denser than in the kakebuki. Takahashi pointed out (correspondence with the author) that he understands kakebuki as glissando appoggiatura notes on the ryūteki, while he considers omeribuki and oibuki as free and strict forms of canonic imitation in gagaku.

<sup>228</sup> See Garfias, Music of a Thousand Autumns, 76.

ŧŏƫƸĪŲŏŲŃ- Ƹż- ܞƸŊĪܟ ǝŊżŧĪ- ĪŲƫĪŰěŧĪ܉- ŲżƸ- ĜżŰƠĪƸŏŲŃ܉ ěǀƸ ÿŧŧżǝŏŲŃżƸŊĪƣƫ- Ƹż- ĜżŰĪ- ǀƠ ÿǽ ƸĪƣ- ƸŊĪŏƣ- żǝŲ ƫżǀŲģ- Ŋÿƫ ěĪĪŲ- ŊĪÿƣģ- ¼ŊĪǣ- ŰǀƫƸ ÿŧƫż ƣĪƫŏƫƸ- ƸŊĪ ŏŰƠǀŧƫĪ- ƸżƫǣŲĜŊƣżŲŏƫĪ܉ ěĪĜÿǀƫĪ ŏƸ ŏƫ ÿ- ŲÿƸǀƣÿŧ-ƸĪŲģĪŲĜǣڟژژ

*/ǡþůƟŦĩ-ڝږܘژܑæǕŠŎ-¼þţþ'nþƪ'nŎܒ-Tori mo tsukai kaܒ-ŻƢě'nĩƪƷƢþůŻĢĩŦ-ږ*

®Ŏűěĩ- Ʒ'nĩ- ŦþƷĩ- ڏڗژڐƪ܌-1/4 þţþ'nþƪ'nŎܼƪ- ȀűĩŦǢ ěþŦŎĚƢþƷĩĢ ěŻůƟŻƪŎƷŎŻűƪ- 'nþǛĩ- Ěĩĩű- ƟƢŻĢƿěĩĢůþŎűŦǢ- for a small circle of musician friends, with whom the targeted social-communicative experiůĩűƷƪěŻƿŦĢ-Ěĩþě'nŎĩǛĩĢůŻƢĩĩþƪŎŦǢ-Ʒ'nþűǜŎƷ'n-ŎűƪƷŎƷƿƷŎŻűþŦŎǬĩĢ-ŦþƢłĩƢĩűƪĩůĚŦĩƪܒ-1/4þţþ'nþƪ'nŎ- ƟƢŻĚþĚŦǢ-ƢĩěĩŎǛĩĢ-ŦþƪƷŎűł-ŎűǴŦƿĩűěĩƪ-ŁƢŻů-ƢĩŦþƷĩĢůŻĢĩŦƪþűĢ-ŎűƷĩŦŦĩěƷƿþŦěŻűƪƷĩŦŦþƷŎŻűƪ-Ŏű-Ʒ'nĩ- ůƿƪŎěþŦěŻűěĩƟƷƪ-ŻŁ- ŻƢűĩŦŎƿƪ þƢĢĩǜ-ܤڐڗژڐܫڕڒژڐܣþűĢ- 'nƢŎƪƷŎþűàŻŦDz Ł-ܣĚܤړڒژڐݑܒ-ܫǜŎƷ'nǜ'nŻů- 'nĩþŦƪŻƪ'nþƢĩĢ-ŁƿűĢþůĩűƷþŦ-ƟŻŦŎƷŎěþŦěŻűǛŎěƷŎŻűƪ-ܫ-ĚƿƷ܌-ƷŻůǢţűŻǜŦĩĢłĩ܌-Ʒ'nŎƪ-ŎűǴŦƿĩűěĩ-ŎƪűŻƷ- ǢĩƷƪƿDzȀěŎĩűƷŦǢ-ĢŻěƿůĩűƷĩĢܒ-1/4Ż-ƟŻƢƷƢþǢ-Ʒ'nĩ-ĚþěţłƢŻƿűĢ-ŻŁ-¼þţþ'nþƪ'nŎܼƪþƟƟƢŻþě'nůŻƢĩƪǢƪƷĩůܮ þƷŎěþŦŦǢ܌-'nŎƪ-ƢŎłŻƢŻƿƪěƢŎƷŎơƿĩ-ŻŁ-ƟŻƪƷěŻŦŻűŎþŦŎƪůþűĢ-ƟŻŦŎƷŎěþŦ-ƟŻǜĩƢƪƷƢƿłłŦĩƪƪŎűěĩ-Ʒ'nĩ-ڏږژڐƪ- Ŏƪ-ŁƿűĢþůĩűƷþŦܒ-Sű-ڕږژڐ-1/4þţþ'nþƪ'nŎþƢłƿĩĢ-Ʒ'nþƷ-ܹ®Ż-ŦŻűłþƪěŻŦŻűŎþŦŎƪůĩǡŎƪƷƪ-ƟŻŦŎƷŎěþŦŦǢ܌ĩěŻűŻmically, and culturally, music cannot be a universal language."ڙڜڛ-'ĩƪƟŎƷĩƪŻůĩ-Ɵ'nþƪĩƪ-ŻŁƪƿƪtained politicization,ښڜڛ-1/4þţþ'nþƪ'nŎ-'nþƪþŦǜþǢƪ-ƢĩƪƟŻűĢĩĢ-ƷŻþűþDzȀƢůþƷŎǛĩ-ƟŻŦŎƷŎěŎǬŎűłůƿƪŎěþŦ- ƷŻűĩǜŎƷ'nƪţĩƟƷŎěþŦĩǢĩƪþűĢĩþƢƪܒ-Nĩ-'nþƪ-ȀƢůŦǢ-ƢĩŠĩěƷĩĢþ-ܹůƿƪŎě-ŁŻƢ-Ʒ'nĩĩűƷŎƢĩ-'nƿůþű-Ƣþěĩܺ-ŻƢ- a "music for everyone," as dictated by populist politics and the mass media.ڛڜڛ Instead, he has ĢĩůþűĢĩĢþƪţĩƟƷŎěþŦþƷƷŎƷƿĢĩ-ƷŻǜþƢĢůĩĢŎþþĚƿƪĩ܋

rǀƫŏĜěĪŃŏŲƫěǣģżǀěƸŏŲŃƫżǀŲģƫ-ŲĪ-ƸĪÿƣƫżŲĪƫĪŧłÿǝÿǣłƣżŰ-ƸŊĪ-ĜŊÿƣŰżłƫżǀŲģƫ܉żŲĪ-ĜǀƸƫ- ƸŊĪƫƸƣĪÿŰěǣ-ĜżŰŏŲŃ-ƸżģĪƠĪŲģ-ǀƠżŲ-ŰǀƫŏĜÿŧ-ĪŧĪŰĪŲƸƫ-ƸŊÿƸÿƣĪ-ŲżƸ-ƸŏŰĪܫƣĪŧÿƸĪģ-/ŧŏŰŏŲÿƸĪÿŧŧ-

żƠǣƣŏŃŊƸ-ޣ-ڏڕڕڍěǣæǖšŏ-¼ÿŤÿŊÿƫŊŏ܉-1/4żŤǣż

ڽڶڶ- -1/4ÿŤÿŊÿƫŊŏ܉-ܶĪƸǝĪĪŲ-GżżģÿŲģ-/ǜŏŧ܉ܷ-ڌڍ

ڴڷڶ- -1/4ÿŤÿŊÿƫŊŏ܉-ܶFƣżŰàżƣģƫ-ƸżrǀƫŏĜ܉ܷ-ڑڒ

ڵڷڶ- -SŲ-ڔړڕڍ-1/4ÿŤÿŊÿƫŊŏłżǀŲģĪģ-ƸŊĪ-ŃƣżǀƠ-*®ǀŏŃǣǖ*-ܠàÿƸĪƣ-ǀdz łÿŧż܉ܡǝŏƸŊǝŊŏĜŊ-ŊĪƫÿŲŃ-/ÿƫƸƫŏÿŲ-ƠżŧŏƸŏĜÿŧ-ƠƣżƸĪƫƸ- songs. See Galliano, *æƕŃÿŤǀ*܉-܉ڐڏڎÿŲģ-¼ÿŤÿŊÿƫŊŏ܉-ܶ1/4ŊĪ-¦ĪƫŏƫƸÿŲĜĪżł-ƸŊĪƫŏÿŲrÿƫƫĪƫÿŲģ-¼ŊĪŏƣ-ǀŧƸǀƣĪܷ

ڶڷڶ- -1/4ÿŤÿŊÿƫŊŏ܉-ܶFƣżŰàżƣģƫ-ƸżrǀƫŏĜ܉ܷ-ړڒܨڒڒ

unnecessary information and learn new techniques; repeat one thing again and again instead of indulging in the traditional dramas of time.233

Nonetheless, Takahashi's work in the 1970s and 1980s focused on projects with distinctly political themes. These themes contributed to the increasingly transparent texture of his scores. His well-known piano piece Kwangju, May 1980 (1980), for example, combines remembrance of the victims of the South Korean Kwangju uprising in May 1980 with echoes of various Korean folk songs, which, like the clearly referenced Saeya, saeya, have very specific coded meanings in the Korean context (→ III.5, VI.3).334 The Song of the Blue Sword (1980) also explicitly refers to a political theme; in this work, the political parable Forging the Sword (Zhu jian, 1926) by the Chinese writer Lu Xun (1881–1936) is performed by a choir of approximately two hundred students, implicitly referring to Maceda's mass settings. 355 Freedom in the design of the individual parts of the score, which is determined only in its basic features and based largely on French-Chinese number notation (Ex. 3.19, → III.1), and the request for the participants' initiative, were part of Takahashi's conception as well as the spatial disposition in which a larger group of choir singers on stage was supplemented by a second group, which was placed at the corners of the hall.

There seems to be a clear distance between the political actions of these years and the introversion of the later works. Yet both periods are connected by a rigorous effort to find sensitive compositional solutions that avoid simplistic extremes. In addition, the later works can surely claim an implicit political dimension in a similar sense to what Luigi Nono claimed of his late works. 266 This dimension is evident in the works of the 1990s, which show an intense engagement with traditional Japanese and other Asian genres, based on continued collaboration with soloists of Japanese instruments.237 In this context, Takahashi's critical approach received a precisely formulated ethnological and performative accent. Even in earlier reflections, aspects and paradoxes of instrumental practice – as pointed out in his article "Bach as a Failure" (1976) (> I.1) - had been an important starting point for compositional considerations, and now they assumed primary importance: learning and deepening through the repetition of models – especially in the mold of traditional Asian learning methods – and ultimately the liberation of such models in their free combination, crucially determine Takahashi's approach to Japanese genres and instruments. A close long-term cooperation with the instrumentalists is a fundamental prerequisite for such an approach and also has an effect on how the results of these working processes are laid down in musical notation. This approach also implies a tendency to reach beyond nationally defined traditions in a manner not dissimilar to Maceda's:

Instead of basing one's music on aesthetic or philosophical ideas or metaphors or a vague teeling of "Japaneseness," we can start directly from traditional techniques which are transmitted orally. You copy your teacher's playing, so it is a transmission from one body to another. And this is a very strong kind of memory, compared to intellectual understanding and transmission through

<sup>233</sup> Ibid., 67.

<sup>234</sup> Saeya, saeya was the signature song of the revolutionary Tonghak movement in the nineteenth century – the most important of many movements against authoritarian systems in modern Korean history (→ III.5).

<sup>235</sup> See Reynolds, "A Jostled Silence: Contemporary Japanese Musical Thought (Part Two)."

<sup>236</sup> See, for example, Metzger, "Wendepunkt Quartett?"

<sup>237</sup> The musicians Takahashi has worked with regularly since the late 1980s include the shamisen soloists Kazuko Takada and Yumiko Tanaka, the shō soloist Kō Ishikawa, as well as Yoko Nishi (koto) and Keiko Kanda (percussion).


 żƠǣƣŏŃŊƸ-ޣ-ڌڔڕڍěǣæǖšŏ-¼ÿŤÿŊÿƫŊŏ܉-1/4żŤǣż

> ÿěƫƸƣÿĜƸ-ŰĪÿŲƫ܉ƫǀĜŊÿƫ-ŲżƸĪƫżŲ-ƠÿƠĪƣżƣÿģŏƫĜǀƫƫŏżŲżł-ƸŊĪżƣǣ-¼ŊĪƣĪÿƣĪ-ĜĪƣƸÿŏŲÿƫƠĪĜƸƫżł- ǀƫŏŲŃŏŲƫƸƣǀŰĪŲƸƫǝŊŏĜŊÿƣĪěƣżÿģĪƣ-ƸŊÿŲżŲĪ-ƸƣÿģŏƸŏżŲżł-ŰǀƫŏĜ-SŲ-ƸƣÿĜŏŲŃ-ƸŊĪƫĪ-ƸĪĜŊŲŏƢǀĪƫ- ěÿĜŤ-Ƹż-ƸŊĪżƣŏŃŏŲÿŧ-ĜżŲĜĪƠƸƫǝĪ-ĜÿŲǿŲģƫżŰĪƸŊŏŲŃ-ŊŏģģĪŲŏŲ-ƸŊĪƫĪÿƠƠÿƣĪŲƸŧǣǜĪƣǣģŏdz łĪƣĪŲƸ- ƸƣÿģŏƸŏżŲƫżłƫŏÿÿŲģ-ܞƸŊĪܟ-£ÿĜŏǿĜƣĪŃŏżŲ-ܟ܊ܞ

> SܹŰŏŲƸĪƣĪƫƸĪģ-ƸżƫƸÿƣƸłƣżŰ-Ŋżǝǣżǀ-ƠƣżģǀĜĪ-ƸŊĪƫżǀŲģ܉ŏŲƫƸĪÿģżł-Ŋżǝǣżǀ-Ĝŧÿƫƫŏłǣ-ƸŊĪƫżǀŲģ- æżǀ-ŰÿŤĪƫżǀŲģěǣ-ĜżŲƸÿĜƸŏŲŃÿŲŏŲƫƸƣǀŰĪŲƸ-ƸŊƣżǀŃŊǣżǀƣ-ŊÿŲģ܉ǿŲŃĪƣżƣěƣĪÿƸŊ-¼ŊĪŲ-ƸŊĪƣĪ- ŏƫ ÿ- ŰżǜĪŰĪŲƸ܉ ÿ- ƠÿƸƸĪƣŲĪģ- ŰżǜĪŰĪŲƸ܉ ÿŲģ ǣżǀ- ĜÿŲ ƫƸÿƣƸ- Ƹż- ĜżŰěŏŲĪ- ƸŊżƫĪ- ŰżǜĪŰĪŲƸƫ ŏŲƸż- ŧÿƣŃĪƣ-ǀŲŏƸƫ-ܟ܊ܞ

> hĪƸܹƫ-ŃżěÿĜŤ-Ƹż-ƸŊĪŧĪÿƣŲŏŲŃżł-ŰǀƫŏĜ܉-ƸŊĪ-ƸĪÿĜŊĪƣÿŲģƫƸǀģĪŲƸ܉ÿżŲĪܫƸżܫżŲĪƫŏƸǀÿƸŏżŲ-¼ŊĪ-ƸĪÿĜŊܫ Īƣ-Ơŧÿǣƫÿ-ƠŊƣÿƫĪ܉-ƸŊĪƫƸǀģĪŲƸ-ƠŧÿǣƫěÿĜŤÿ-ƠŊƣÿƫĪ-¼ŊĪǣ-Ơŧÿǣ-ƸżŃĪƸŊĪƣ-¼Ŋŏƫŏƫÿ-ĜżƠǣŏŲŃ܉ÿƫǣŲ-ĜŊƣżŲŏǭÿƸŏżŲżł-ƸŊĪ-ŰżǜĪŰĪŲƸżł-Ƹǝżģŏdz łĪƣĪŲƸŏŲƫƸƣǀŰĪŲƸƫ-ŲżƸŊĪƣ-ƠƣŏŲĜŏƠŧĪŏƫƣĪƫƠżŲƫĪ-ܨǣżǀ-

play that and I play this in response. This is also a learning process which can be developed into the next phase, as in gamelan, for example […] .238

usually my approach to the traditional instruments is not from the written materials about register, timbres, playing method, etc., but through the actual collaboration with performers studying the hand movements, traditional disciplines. […] i am trying to go back to the origin by changing the habitual playing methods accumulated through traditions. you may call it […] anti-training. this is difficult without the cooperation of the performers for some period. also you cannot notate this part of the training on paper and send it […] to the performers wherever they live in the world.239

These quotations make it clear how much the observational and ethnological approach helped Takahashi break away from the precarious polarities of cultural nationalism and cultural Westernization (to some degree represented by the position of the gendai hogaku and preceding developments → III.1) as well as to liberate Japanese instruments from the widespread bias that assigns them a purely coloristic role: through careful observation and study of traditional performance practice, composer and performers reconstruct a kind of "physical archeology." The performative approach becomes more concrete in that standardized sequences of body movements (kata) in instrumental practice and the resulting sounds are considered complementary to each other. The confrontation with the most important musical instruments of bourgeois Edo culture (1600–1867), the arched zither koto and the long-necked lute shamisen, was the center of Takahashi's attention for many years. Especially for Kazuko Takada (who died in 2007), and later also for Yumiko Tanaka and Yoko Nishi, a large number of works, for both solo instruments and chamber music ensembles emerged. 440 Takahashi wrote that the shamisen was his preferred model because it was least suited for "modernization."44 Through a tactile, sensualistic approach to sound production, Takahashi tried to overcome a fixed harmonic or tonal frame. His works, of course, do not spell out traditional forms. In Sangen sanju for shamisen solo (1992), for example, materials are eclectically combined from a variety of different genres to constitute the fictional genre "sanju" (the name refers to the well-known Korean semi-improvisational genre sanjo → III.5). With the help of a computer algorithm, Takahashi combined melodic variants of the koto repertoire, ji melodies from the narrative genre jōruri (→ V.1), elements from the repertoires of gagaku and gamelan as well as rāga and taqsīm models.242 The result does not sound eclectic at all, but suggests a close association of the traditional genres jiuta or nagauta with the shamiser's

<sup>238</sup> Takahashi, "Between Good and Evil," 7-9.

<sup>239</sup> Correspondence with the author, 16/06/2001 (original orthography has been retained).

<sup>240</sup> Takahashi's compositions for or with Takada include Kaze ga omote de yonde iru (The Wind is Calling Me Outside, 1986/94) for shamisen and voice, Sangen sanju for shamisen (1992), Nasuno ryōjō for shamisen and computer (1992), Nasuno kasane for shamisen, violin, and piano (1997) (→ 11.5), and Torimo tsukai ka for shamisen and chamber orchestra (1993, see above). Takahashi's other works with Japanese instruments include While I Am Crossing the Bridge (1984), Thread Cogwheels (1990), Bosatsu kangen dennōdate (1992), Yume, Tori mo tsukita, Kagehime no michiyuki (1993), Mimi no ho (1994 → IV.1), Ongaku no Oshie (1995), Mono-Gatari, Insomnia (1996), Samushiro, Ne monogatari, Kanashimi o sagasu ut, Sōjō rinzetsu (1997 → IV.1), Three Pieces for Ichigenkin, Ware wo tanomete konu wotoko, Momoka momoyo, Tsuginepu to itte mita, Oinarushi no monogatari (1998), Aki no utau (1999), Aomori gaeru, Sangen, Koto nado asobi (2000, see above), Palindrome (2001), To-i (2007), Hanggtami 1 (2008), Ariake (2009), Tabibito ka herazu (2010), Yūgao no ie, Kasuka ni (2013), and Bai gui yexing huijuan (2014).

<sup>241</sup> Takahashi, "Two Statements on Music," 148.

<sup>242</sup> See Takahashi, Tori no asobi.

Example 3.20: Yūji Takahashi, Sangen sanju for shamisen, beginning

Copyright © 1992 by Yūji Takahashi, Tokyo

"incommensurable" timbre, which is hardly challenged by crosscultural melodic references (Ex. 3.20).

2772

In addition, Takahashi has taken a radical "ethnological" approach to some instruments and their repertoire based on critical source study, as exemplified by his sho duo Sōjō rinzetsu (1997), in which he implicitly criticized nationalist tendencies in Japanese music research (→ IV.1). The great potential of Takahashi's basic attitude unfolds in his five works for archaic instruments, which were reconstructed in the context of a project led by Toshirō Kido (National

Theater Tokyo).243 The interest in archaic instruments is consistent with Takahashi's basic approach: it enables him to (re-)construct an instrumental idiom from instrumental movements for instruments whose playing practice has not been handed down to today through an unbroken tradition.244 In Unebiyama (1992) for five-string zither and incantation, for example, various stages of a "discovery" of the instrument by the musician are composed out (→ V.1): starting from elementary movements of the hand and fingers – the individual strings are explored one after the other in a caretul tactile manner – the arpeggio over all five strings is suddenly "discovered" as a combination of these individual sounds, and the player is led into a trance-like state - a reference to the shamanistic context of the original instrument.

For all his concentration on concrete aspects of performance practice, Takahashi's composition is, on the whole, rather pluralistic. This is evident not least in the variety of contexts invoked by his music: his cautious treatment of the re-composition of European and Asian music and text materials, his intense engagement with Buddhist philosophy and practice in the 1990s, as well as his identification with artists such as José Maceda, Ossip Mandelstam, Pier Paolo Pasolini, or Sofia Gubaidulina, with whom aesthetic affinities are visible and to whom Takahashi dedicated works.

The multifaceted relationship between aural tradition and writing in Takahashi's œuvre, the complexity and originality of his intercultural references, and his negation of the simplifications of cultural essentialism assign him a prominent role within an intercultural history of twentieth-century music. Not least, his procedures make it clear how complex the task can be to place non-written components or various juxtaposed forms of transcription in a balanced and appropriate relationship to one another in an intercultural context. His scores mix elements of traditional Japanese notation with hve-line staff notation and various verbal and graphic instructions in hybrid score forms in which the prescriptive element of conventional notation takes a back seat in favor of a documentary, descriptive, or physical-haptic iconography. This implies an adequately "informed" interpretation with reference to the "aural practice" thematized by the composer.

### Discussion

The examples discussed in this chapter point us to the insight that a break with an ethnocentric and one-sided historiographic model is inevitable in the analysis of social and music-historical developments in Asia - and has to be re-applied to the West as well, possibly following the model of entangled histories (→ II.1). Recourse to cultural difference, however, can be risky in this context, or even misleading for historiographical analysis, it based solely on stereotypes and an essentialist, post-nationalist concept of (music) culture. In contrast to Takemitsu's essentialization of musical sounds (to some degree characteristic of his generation), the construction of an imaginary archaic by Ge Ganru (in an entirely different context, less shaped by long-term entanglements with Western modernism) suggests a possible way of rejecting such stereotyping – along with other approaches to intercultural musical composition that we will

<sup>243</sup> See Kido, Reconstructed Music Instruments of Ancient East Asia. Takahashi's works for reconstructed instruments include Zanshi no kyoku (Gauze-Silk-Chant, 1988) for the twenty-five-stringed Chinese and recitation, Dream of Heaven (1989) for se, Unebiyama (Mount Unebi, 1992) for five-stringed zither and incantation, Tori no asobi (Birds' Play, 1993) for seven-stringed instrument, and Mangalasutta (1996) for an ensemble of archaic instruments and voices. See also Takahashi, Astray Among Decayed Strings.

<sup>244</sup> For more detail, see Takahashi, "Two Statements on Music."

ĩűěŻƿűƷĩƢ-Ŏű-Ʒ'nĩ-ŁŻŦŦŻǜŎűłě'nþƟƷĩƢƪ-ދܣ-SSS܌ڕܫڔܒ-Sß܌ßܒܤ-1/4Ż-ĚĩƪƿƢĩ܌-Ʒ'nĩěŻůƟŻƪŎƷŎŻűþŦ-ƢĩŦĩǛþűěĩ- ŻŁěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩěþűűŻƷ-Ěĩ-ĢĩűŎĩĢܒƿƷǜĩűĩĩĢ-ƷŻ-ĚĩþǜþƢĩ-Ʒ'nþƷěƿŦƷƿƢþŦŦǢěŻĢĩĢ-ŎĢŎŻůƪ܌-ŎűƪƷƢƿůĩűƷƪ܌-ŻƢ-ǛŻŎěĩƪþƢĩƪƿĚŠĩěƷ-ƷŻ-'nŎƪƷŻƢŎěþŦ܌-ƟŻŦŎƷŎěþŦ܌þűĢƪŻěŎþŦě'nþűłĩ܋-Ʒ'nĩǢþƢĩƿűƪƷþĚŦĩ܌and the form in which they confront us must always be open to discussion. For both Western þűĢűŻűܮàĩƪƷĩƢűěŻůƟŻƪĩƢƪ܌-Ʒ'nĩ-ƢĩŦĩǛþűěĩ-ŻŁěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ-Ŏƪ-ŎűƪĩƟþƢþĚŦǢ-ŦŎűţĩĢ-ƷŻþ-Ƣĩܮ ǴŦĩěƷŎŻű-Żű-Ʒ'nĩ-ŎűűĩƢ-'nŎƪƷŻƢŎěŎƷǢ܌þůĚŎłƿŎƷǢ܌þűĢ-ƟƢŻǛŎƪŎŻűþŦűþƷƿƢĩ-ŻŁůƿƪŎěþŦěƿŦƷƿƢĩƪܒ

 ĩƢƷþŎűŦǢ܌þű-ŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎě-'nŎƪƷŻƢǢěþűűŻƷ-ŎłűŻƢĩþěƷŻƢƪ-ŦŎţĩ-¼þţþ'nþƪ'nŎ-ŻƢrþěĩĢþܒȃĩŎƢ ěŻűěĩƟƷƪ þƢĩ ě'nþƢþěƷĩƢŎǬĩĢ- ĚǢ ěŻůƟŦĩǡ-ŎűƷĩƢǛĩűƷŎŻűƪ-Ŏű- Ʒ'nĩŻƢǢ þűĢ- ƟƢþěƷŎěĩ þŎůŎűł þƷ- þ- ƢĩǴŦĩěƷŎŻű-ŻŁ- ƟĩƢŁŻƢůþűěĩ ƪŎƷƿþƷŎŻűƪ-Ŏű- Ʒ'nĩ ěŻůƟŻƪŎƷŎŻűþŦ- ƟƢŻěĩƪƪܒ- FƿƢƷ'nĩƢ ƪŎůŎŦþƢŎƷŎĩƪ-Ŏű- Ʒ'nĩþƟƟƢŻþě'nĩƪ-ŻŁ- Ʒ'nĩ- ƷǜŻěŻůƟŻƪĩƢƪůþǢ-'nþǛĩ-ĚĩěŻůĩĩǛŎĢĩűƷ܋- Ʒ'nĩ-ŎůƟŻƢƷþűěĩþƷƷþě'nĩĢ- ƷŻ- ŁƿűĢþůĩűƷþŦĩƷ'nűŻůƿƪŎěŻŦŻłŎěþŦþƢĩþƪ-ܫþŦƷ'nŻƿł'n-ǛĩƢǢ-ĢŎDz ŁĩƢĩűƷŦǢþěěĩűƷƿþƷĩĢ-ܫƪƿě'nþƪ-Ʒ'nĩ- practice of instrumental performance, the categorization of timbres, or the cultural encoding ŻŁƪŻƿűĢƪþűĢ-ŎűƪƷƢƿůĩűƷƪܒȃŎƪ-ŦĩþĢƪ-ĚŻƷ'něŻůƟŻƪĩƢƪ-ƷŻþű-ŎűƷĩűƪŎǛĩĩǡþůŎűþƷŎŻű-ŻŁ-Ʒ'nĩ-Ƣĩ-ŦþƷŎŻűƪ'nŎƟ- ĚĩƷǜĩĩűůƿƪŎěþűĢ ƪŻěŎĩƷǢ܌- ƢĩǴŦĩěƷĩĢ-Ŏű- 'nŎł'nŦǢ-ŎűĢŎǛŎĢƿþŦ ěŻůƟŻƪŎƷŎŻűþŦ- ƟƢŻŠĩěƷƪ- and approaches, and to the rejection of simplistic compositional solutions such as references ƷŻ-ŁŻŦţŦŻƢŎƪƷŎěůþƷĩƢŎþŦܒ

æĩƷ܌-ĢŎDz ŁĩƢĩűěĩƪ-Ŏű-Ʒ'nĩŎƢ-ƟƢŻěĩĢƿƢĩƪ-'nþǛĩ-ĚĩěŻůĩěŦĩþƢܒȃĩ-ƟƢŎůþƢǢ-ĢŎDz ŁĩƢĩűěĩƪĩĩůƪ-ƷŻ-Ěĩ- Ʒ'nþƷ-¼þţþ'nþƪ'nŎƿŦƷŎůþƷĩŦǢ-ƢĩŠĩěƷƪ-Ʒ'nĩ-ƟƢŎűěŎƟŦĩ-ŻŁěƿŦƷƿƢþŦĩƪƪĩűƷŎþŦŎƪůþƪþǜ'nŻŦĩþűĢ-ĢŎƢĩěƷƪ- 'nŎƪþƷƷĩűƷŎŻű-ƷŻ-ǛĩƢǢƪƟĩěŎȀě-ĢĩƷþŎŦ-Ɵ'nĩűŻůĩűþ܌ǜ'nŻƪĩ-ƟþƢƷŎěƿŦþƢŎƷǢ-'nĩ-ŦĩþǛĩƪƿűƷŻƿě'nĩĢܒ-Ǣ- contrast, Maceda certainly claims a supra-regional, if not universal substance in an attempt to ěŻƿűƷĩƢ-Ʒ'nĩěþƿƪþŦ-ŦŻłŎě-ŻŁàĩƪƷĩƢűůƿƪŎěܒȃŎƪ-ĢŎDz ŁĩƢĩűěĩůþǢ-ĚĩĩǡƟŦþŎűĩĢ-ĚǢþ-ĢŎDz ŁĩƢĩűěĩ-ŻŁ- þłĩ܌-ĚƿƷěĩƢƷþŎűŦǢþŦƪŻ-ĚǢ-Ʒ'nĩ-ǛĩƢǢ-ĢŎDz ŁĩƢĩűƷƪŻěŎþŦƪŎƷƿþƷŎŻűƪ-Ŏű-Ʒ'nĩ-£'nŎŦŎƟƟŎűĩƪþűĢdþƟþű܋rþěĩĢþܼƪ-ƟŻƪƷěŻŦŻűŎþŦ-ĢŎƪěŻƿƢƪĩ-Ŏƪ-ŎŦŦƿůŎűþƷĩĢ-ĚǢ-¼þţþ'nþƪ'nŎ-ŁƢŻůþ-ƟŻƪƷůŻĢĩƢű-ƟĩƢƪƟĩěƷŎǛĩ܌þƪ- ŎƷǜĩƢĩ-ܫþ-ܹƟŻƪƷůŻĢĩƢűŎƪůܺ-Ʒ'nþƷ-Ěĩłþű-ŎűdþƟþűĩƪĩěƿŦƷƿƢþŦěƢŎƷŎěŎƪů-ĢƿƢŎűł-Ʒ'nĩ-ڏڕژڐƪ܌-ŎŁűŻƷ- ĩþƢŦŎĩƢܒȃĩ-ĢŎǛĩƢƪŎƷǢþűĢ-ƟþƢƷŎěƿŦþƢŎƪů-ŻŁ-¼þţþ'nþƪ'nŎܼƪƞƿǛƢĩůþǢƪĩĩůþűþŦŻłŻƿƪ-ƷŻrþƪþŻ- rþƢƿǢþůþܼƪþűþŦǢƪŎƪ-ŻŁdþƟþűĩƪĩ-ŎűƷĩŦŦĩěƷƿþŦ-'nŎƪƷŻƢǢܒ-Sű-܌ڐڕژڐrþƢƿǢþůþþűþŦǢǬĩĢ-Ʒ'nĩ-'nŎƪƷŻƢǢ- of thought in Japan, in opposition to the widespread construction of essential Japanese peculiarities, as an extremely plural discourse that "failed to form a spiritual tradition serving as a point of crystallization or coordinate axis," and thus brought about a situation in which a variety of "ideas, modes of thought, and worldviews remain historically unstructured side by side."ڞڝڛ SűěŻűƷƢþƪƷ܌-Ʒ'nĩƿűĢĩƢƪƷþűĢŎűł-ŻŁdŻƪĪrþěĩĢþþƪþ-ܹűþƷŎŻűþŦܺ-FŎŦŎƟŎűŻþƢƷŎƪƷ-ƷŻ-Ʒ'nŎƪ-ĢþǢƪ'nŻǜƪ- that his attempt to construct such a coordinate axis, however open and complex, necessarily ƢŎƪţƪ-ƟŻƟƿŦþƢŎǬŎűłþ-ŦĩǛĩŦŎűł-ŻƿƷ-ŻŁ-ĢŎDz ŁĩƢĩűěĩƪ-Ʒ'nƢŻƿł'něƿŦƷƿƢþŦĩƪƪĩűƷŎþŦŎƪůڟڝڛܒ

It has become clear once again that an intercultural music history can no longer be satis-ȀĩĢǜŎƷ'něŻűǛĩűƷŎŻűþŦůĩƷ'nŻĢƪ-ŻŁůƿƪŎěþŦþűþŦǢƪŎƪ-ŎŁ-ŎƷ-Ŏƪ-ƷŻ-ĢĩþŦǜŎƷ'nƪƟĩěŎȀě-ƟƢŻĚŦĩůƪƪƿě'n- as the relationship between aural and textual components of the compositional process. An ĩǡěŦƿƪŎǛĩŦǢ-ܹŎůůþűĩűƷþűþŦǢƪŎƪܺ-ŻŁ-Ʒ'nĩǜŻƢţƪ-ƟƢĩƪĩűƷĩĢ-'nĩƢĩůƿƪƷěŦĩþƢŦǢ-ƢĩůþŎű-ŎűƪƿDzȀěŎĩűƷ܌-

ڹڸڶ- rÿƣǀǣÿŰÿ܉-*Denken in Japan*܉-܉ڏڎ-ڐڎ-ܠܶSŲdÿƠÿŲ-ŊÿƸƫŏĜŊ-ŤĪŏŲĪÿŧƫfƣŏƫƸÿŧŧŏƫÿƸŏżŲƫƠǀŲŤƸżģĪƣfżżƣģŏŲÿƸĪŲÿĜŊƫĪ- ģŏĪŲĪŲģĪ-ŃĪŏƫƸŏŃĪ-¼ƣÿģŏƸŏżŲǭǀěŏŧģĪŲǜĪƣŰżĜŊƸܷܔ-ܶSģĪĪŲ܉-'ĪŲŤłżƣŰĪŲ-ǀŲģàĪŧƸÿŲƫĜŊÿǀǀŲŃĪŲ-ŊŏƫƸżƣŏƫĜŊ-ǀŲƫƸƣǀŤƸǀƣŏĪƣƸ-ŲĪěĪŲĪŏŲÿŲģĪƣěĪƫƸĪŊĪŲěŧĪŏěĪŲܷܡ-RĪĪdÿŲǭ܉-ܶrǀŧƸŏƠŧĪrǀƫŏĜÿŧrżģĪƣŲŏƸŏĪƫܐܷłżƣÿ-ĜżŲƸĪǢƸǀÿŧŏǭÿ-ƸŏżŲżłrÿƣǀǣÿŰÿܹƫ-ƸŊżǀŃŊƸǝŏƸŊ-/ŏƫĪŲƫƸÿģƸܹƫ-ƸŊĪżƣǣżł-ܶŰǀŧƸŏƠŧĪ-ŰżģĪƣŲŏƸŏĪƫܷ-ݎވܠSSܡڍ

ںڸڶ- -RĪĪ-ƸŊĪÿĜĜżŰƠÿŲǣŏŲŃ-ƸĪǢƸ-Ƹż-ƸŊĪß '-*Kuwadro – José Monserrat Maceda, National Artist for Music* (Cultural Cen-ƸĪƣżł-ƸŊĪ-£ŊŏŧŏƠƠŏŲĪƫ܉-܉ܡڎڌڌڎŏŲǝŊŏĜŊ܉ÿǽ ƸĪƣÿƫŊżƣƸ-ƠƣĪƫĪŲƸÿƸŏżŲżłrÿĜĪģÿܹƫ-ĜżŰƠżƫŏƸŏżŲÿŧÿŲģ-ĪƸŊŲżŰǀƫŏ-ĜżŧżŃŏĜÿŧÿĜŊŏĪǜĪŰĪŲƸƫ܉żŲĪ-ĜÿŲƣĪÿģ܈-ܶSŲÿŧŧ-ƸŊĪƫĪ܉ǿĪƣĜĪŧǣ-ŲÿƸŏżŲÿŧŏƫƸŏĜÿĪƫƸŊĪƸŏĜƫ-ƠĪƣǜÿģĪƫ-ƸŊĪƫƠŏƣŏƸżł-ƸŊŏƫ- ŰǀƫŏĜǜŏƫŏżŲÿƣǣ܉łżƣǝÿƣģܫŧżżŤŏŲŃÿŲģ-ĜżŲǿģĪŲƸ܉ěǀƣŲŏŲŃǝŏƸŊÿěƣĪÿƸŊżłŧŏłĪŏŲƸżÿŲŏģĪÿŧƫƠƣŏŲŃŏŲŃłżƣƸŊłƣżŰ- the soul of the Filipino."

since, as we have seen, the musical text is often merely a documentary or mnemonic sketch, or represents an intermediate stage or plan (though sometimes quite precisely formulated) for execution. In addition, both composers very consciously and in a complex way manipulate cultural codes and meanings that can be deduced only through a correspondingly culturally "informed" hearing from the sounding result. For this music, new techniques of a "contextual analysis" must be found. There is no question that the works and conceptions of Takemitsu, Ge, Maceda, or Takahashi, and many other composers working on similar interfaces of cultural categorization, are decisive touchstones for alternative music historiographies.

### 5. Intercultural Narrativity in East Asian Art Music since the 1990s

Can art music actually create such a high degree of differentiation between questions of recognition, alterity, or hybridity, as outlined in the first chapter (→ I.3)? Caution is generally advised when applying social, political, and literary concepts to musical contexts. The increasing difficulty for art music to claim social relevance was already mentioned at the beginning of this book (→ I.2). In contrast to more semantically and semiotically constricted literature and the symbolic reception processes instigated by visual arts, the communication of multi-coded messages seems fundamental to the medium of music and sound. Lawrence Kramer once described this quality of music as a "semantic chameleon."44 Even more recent tendencies of topic theory or research into musical metaphoricism rarely posit unambiguous principles of musical communication.40 Such ambiguity initially seems an advantage in the field of interculturality. In the sense of a conception of music (prominently described by Kramer) as a "cultural practice" (→ I.2), it should be emphasized that this ambiguity is limited through reception history and other mechanisms by a wealth of "meta-musical" dimensions such as genre conventions, their topoi, and connotation. These contexts may allow a construction of musical narrativity, which of course is always to be weighed critically against alternative cognitive processes and cultures of hearing, since they are profoundly socioculturally and historically encoded.

Robert Samuels – following Jean-Jacques Nattiez – distinguished between two basic assumptions that allow, or even require, speaking of musical narrativity: on the one hand, a musical process must describe a continuous, irreversible change over time, and on the other hand, it must bring together identifiable musical characters to create an overarching meaning. This meaning cannot be reduced to individual components.249 In this chapter, I will present some striking case studies of works by East Asian composers since the 1990s for whom these criteria of musical narrativity undoubtedly apply. By tocusing on works that combine Asian and European instruments, the tollowing analyses to some degree reinforce associations of these instruments

<sup>247</sup> Kramer, "Hercules' Hautboys," 149.

<sup>248</sup> Zbikowski, Conceptualizing Music, Thorau, Vom Klang zur Metapher, and Mirka, The Oxford Handbook of Topic Theo-

<sup>249</sup> Samuels, "When Must One Speak of Narrativity in Music?" with reference to Nattiez, "Can One Speak of Narrativity in Music?" and Abbate, Unsung Voices. Narratological concepts have received a great deal of attention in recent years, particularly in the interpretation of music from the nineteenth and twentieth centuries, though hardly ever in reference to newer music, with the exception of the remarkable dissertation Meelberg, New Sounds, New Stories. Foundational studies from the past years include Maus, "Narratology, Narrativity" Samuels, "Narrative Form and Mahler's Musical Thinking," Imberty, "Narrative, Splintered Temporalities and the Unconscious in 20th Century Music," and Almén, A Theory Of Musical Narrative.

with "characters." This should not be understood in the sense of a naïve programmatic dramaturgy, but instead in such a way that the semantic connotations of the "acting" instruments or instrumental groups are not only accepted by the composers, but often also reinforced by compositional decisions. Most of these examples introduce the separation, rapprochement, or even indistinguishability of "Western" and "Asian" instruments or sounds in a more nuanced manner than the works discussed in the preceding chapters. This increasing differentiation of narrative threads probably has to do with how these works are less tied to specific genres in European or Asian music, such as the solo concerto or symphony. This work emerged from significant activities among the younger generation of Asian instrumental soloists from the 1980s onward, which aligned with a continuously pursued traditional practice. Their activities were aimed specifically at a collaboration with composers of contemporary music, not least with the intention of developing a new repertoire for their instruments and thus aiming to avoid falling into an overly small niche in the economically oriented East Asian societies. These soloists have a high degree of specialization in, and familiarity with, the techniques of contemporary music, yet the collaboration with composers, who are usually educated exclusively in Western music, comes into – more or less productive – conflict in the structure and sonority of the works produced. Although some of the following examples have been composed, performed, and discussed outside of Asia, and may thus only indirectly be relevant for analyzing processes of music history in the respective East Asian countries of the composers, 300 the following discussion is organized around national music discourses, providing to some extent an opposing perspective on the transnational entanglements discussed in many other parts of this book.

### New Chinese Music Between Essentialism and Cultural Conflict

The Tiananmen square massacre on 4 June 1989 and the already worsening political atmosphere before that proved a decisive turning point, following tentative signs of political liberalization in China during the post-Maoist period and the renewed efforts at an internationalization of Chinese music that this development implied. 251 Although more attention has commonly been paid to expatriates such as Tan Dun (b. 1957) or Chen Yi (b. 1953), several composers deliberately chose to remain in or, from the late 1990s, return to China. Certainly, as elsewhere, there may be talk of increasing aesthetic pluralism among Chinese composers. The problems created by China's state-controlled capitalism, however, and the aggressive nature of the market economy in general certainly have not only been advantageous for independent Chinese art forms. Art music is considered a "luxury item," the composer's situation is largely one of isolation and often limited to activities within the academy. 23 It may also be this partial isolation from international trends that, during the late 1990s and early 2000s, encouraged certain tendencies to-

<sup>250</sup> It would surely be inadequate to continue claiming composers such as Tan Dun, Chen Yi, or Chen Qigang exclusively as "Chinese" composers, with their music considered in the framework of a (national) "Chinese music history" some thirty or more years after they have permanently left China for the United States or France. Rather, their unique contributions to North American or European music histories should be acknowledged. As they retain a prominent influence and exemplary function for both the more official cultural policies and the younger generations of composers in China, however, their cases evidently enforce a transnational approach as outlined in Chapter II.1.

<sup>251</sup> A comprehensive historical overview of recent music history in China, Taiwan, and Hong Kong can be found in Utz, "China/Taiwan/Hongkong."

<sup>252</sup> Guo Wenjing, e-mail to the author, 03/01/2002. See also Guo, "Traditional Music as Material."

ǜþƢĢþ-ƢþĢŎěþŦŎǬĩĢĩůƟ'nþƪŎƪ-ŻűěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩܒ-1/4Ż-ĚĩƪƿƢĩ܌-ŎűůþűǢ-ŻŁ-Ʒ'nĩƪĩűĩǜĩƢ- 'nŎűĩƪĩ- ǜŻƢţƪ܌-Ʒ'nĩƢĩ-Ŏƪþƪ'nþƢƟ-ĢŎƪƷŎűěƷŎŻű-ŁƢŻů-Ʒ'nĩþĩƪƷ'nĩƷŎě-ƢĩơƿŎƢĩůĩűƷƪ-ŻŁ-Ʒ'nĩàĩƪƷĩƢűþǛþűƷܮłþƢĢĩ܌-ĚƿƷǜŎƷ'nŻƿƷűĩěĩƪƪþƢŎŦǢ-ŦþƟƪŎűł-Ěþěţ-ŎűƷŻ-Ʒ'nĩ-¦ŻůþűƷŎěŎƪů-ŻŁ-Ʒ'nĩ-ŻŦĢĩƢłĩűĩƢþƷŎŻű܌þƪ-¼þű-'ƿű- did in his *®ǢůƟ'nŻűǢ-ڜڞڞږ*-ݑދܣSSSܒܤڒܒ- 'nþƢþěƷĩƢŎƪƷŎě-ŁĩþƷƿƢĩƪ-Ŏű-Ʒ'nĩƪĩůŻƢĩ-ƢĩěĩűƷǜŻƢţƪ-ŎűěŦƿĢĩþ- ƢĩƟŦþěĩůĩűƷ-ŻŁ-ƟŻŦǢƟ'nŻűǢǜŎƷ'n-'nĩƷĩƢŻƟ'nŻűǢ܌þ-ŁŻěƿƪĩĢƿƪĩ-ŻŁůŎěƢŻƷŻűĩƪþűĢ-ŎűǴŦĩěƷŎŻűƪ܌-Ʒ'nĩ- deployment of Chinese texts and textures, structural references to Chinese or Asian genres, þűĢ܌űŻƷ-ŦĩþƪƷ܌-Ʒ'nĩ-ŎűűŻǛþƷŎǛĩƿƪĩ-ŻŁ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪܒȃŎƪ-ƟŦƿƢþŦŎƷǢ-ŻŁþƟƟƢŻþě'nĩƪ-ŎƪűŻƷ- ƪǢűƷ'nĩƪŎǬĩĢ-ŎűƷŻþűþDzȀƢůþƷŎǛĩƿűŎƷǢ-ŻŁ-Ʒ'nĩůƿƪŎě܌-ĚƿƷ-ƢþƷ'nĩƢůþĢĩþƿĢŎĚŦĩþƪþěŻĩǡŎƪƷĩűěĩ-ŻŁ- ĢŎƪƷŎűěƷơƿþŦŎƷŎĩƪܒrƿƪŎěþŦ-ŎĢĩűƷŎƷŎĩƪþƢĩƪĩŦŁܮƢĩǴŦĩǡŎǛĩ-'nĩƢĩþƪþ-ƢĩŁƢþěƷĩĢĩǡƟĩƢŎĩűěĩ܌þűĢűŻƷ- forced into the mold of violent cultural optimism.

### Polarizing Essentialism: Tan Dun

ȃĩƪŎůƟŦŎƪƷŎě-ƢĩěŻƿƢƪĩ-ƷŻěƿŦƷƿƢþŦŎƪƷƪƷĩƢĩŻƷǢƟĩƪ-ŻŁþű-ŎůþłŎűþƢǢ- 'nŎűþ-Ŏű-¼þű-'ƿűܼƪ-*®Ǣů-Ɵ'nŻűǢ- ڜڞڞږ*-ݑދܣ SSSܤڒܒƪĩĩůƪ-ƟþƢƷŎěƿŦþƢŦǢ-ƟƢĩěþƢŎŻƿƪþűĢƪǢůƟƷŻůþƷŎě-ŻŁþ-ĚƢŻþĢĩƢƪŻěŎĩƷþŦ- Ʒĩűdency of a resurgence of nationalist currents in the People's Republic of China. As a result of targeted party politics, since the early 1990s, this nationalism has provided a welcome distrac-ƷŎŻű-ŁƢŻůĩǛĩƢǢţŎűĢ-ŻŁ-ŦŻŻůŎűłƪŻěŎþŦěŻűǴŦŎěƷڜڞڛܒ

ŁěŻƿƢƪĩ܌űŻƷĩǛĩƢǢ-ƷƿƢű-ƷŻǜþƢĢ-Ŏƪƪƿĩƪ-ŻŁ- 'nŎűĩƪĩ-ŎĢĩűƷŎƷǢƪ'nŻƿŦĢ-Ěĩ-ŎűƷĩƢƟƢĩƷĩĢþƪ-Ʒ'nĩ-Ƣĩsult of this neo-nationalism, especially since many composers began to engage with culturally ěŻĢĩĢ-ŎĢŎŻůƪþƪĩþƢŦǢþƪ-Ʒ'nĩ-ŦþƷĩ-ڏږژڐƪܒ-Sű-Ʒ'nĩěþƪĩ-ŻŁ-¼þű-'ƿű܌-'nŻǜĩǛĩƢ܌-ŎűþǜŻƢţƪƿě'nþƪ-*Ghost ƟĩƢþ*-ܤړژژڐܣ-ŁŻƢ*pipa* and string quartet, one can clearly identify a "tamed" idiom compared to Ʒ'nĩĩű'nþűěĩĢůŻĢĩƢűŎƪƷůþűŎŁĩƪƷþƷŎŻűƪ-ŻŁ-ŦŻěþŦŎƪů-Ŏű-'nŎƪǜŻƢţƪ-ŻŁ-Ʒ'nĩ-ڏڗژڐƪ-ݑދܣSS܋ܤڒܒ-'nĩƢĩ܌-ĚŻƷ'n- /ƿƢŻƟĩþűþűĢ- 'nŎűĩƪĩěƿŦƷƿƢĩ-ĚĩěŻůĩþƪŻƢƷ-ŻŁƪŻǼ ƷƪŻƿǛĩűŎƢܒ-¥ƿŻƷþƷŎŻűƪ-ŁƢŻůdŻ'nþűű-®ĩĚþƪtian Bach's Prelude in CůŎűŻƢàß-ژړڗ-ܣ*ȄĩàĩŦŦܴ¼ĩůƟĩƢĩĢ- ŦþǛŎĩƢ*܌-ǛŻŦܒ-܌ܤڐ-ƢĩĢƿěĩĢ-ƷŻþ-Ʒ'nƢĩĩܮ ƟþƢƷƪţĩŦĩƷŻű܌þűĢ-ŁƢŻů-®'nþţĩƪƟĩþƢĩܼƪ-*Ȅĩ-¼ĩůƟĩƪƷ*ƪƷþűĢ-ŁŻƢ-/ƿƢŻƟĩþű-ƷƢþĢŎƷŎŻűƪ܌ǜ'nŎŦĩ-Ʒ'nĩ-ŁŻŦţ- song *Xiao bai cai*-ܣhŎƷƷŦĩǜ'nŎƷĩěþĚĚþłĩ܌þ*xiaodiao*-ŁŻŦţƪŻűł-ŁƢŻů-Ʒ'nĩ-ƟƢŻǛŎűěĩ-ŻŁ-NĩĚĩŎܤþűĢ-Ʒ'nĩ- ƢŎƷƿþŦŎƪƷŎě܌- ŁŻŦţܮ'þŻŎƪƷ- ܹł'nŻƪƷ-ŻƟĩƢþܺƪƷþűĢ- ŁŻƢ- 'nŎűĩƪĩ- ƷƢþĢŎƷŎŻűƪڝڞڛܒ But the juxtaposition of àĩƪƷĩƢűěŻůƟŦĩǡŎƷǢ-ܣƟŻŦǢƟ'nŻűǢ܌-ŦŎűłƿŎƪƷŎě-ŎůþłĩƢǢܤþűĢ- 'nŎűĩƪĩƪŎůƟŦŎěŎƷǢ-ܣƪŎůƟŦĩƿűþűŎůŎƷǢܤ- ŻƢěŻƢƟŻƢĩþŦŎƷǢ-ܣƢŎƷƿþŦƪƟŎƢŎƷƿþŦŎƷǢܤƪĩĩůƪ-ƷŻ-ŻǛĩƢŦǢ-ŻĚŦŎłĩěƿŦƷƿƢþŦŎƪƷƪƷĩƢĩŻƷǢƟĩƪܒ-

/ǛĩűůŻƢĩ-ƟƢŻĚŦĩůþƷŎěþŦŦǢ܌- Ʒ'nĩůƿƪŎěþŦůþƷĩƢŎþŦƪþƢĩ-ĢĩƟƢŎǛĩĢ-Ŏű- Ʒ'nĩŎƢ-ǛĩƢǢ-ȀƢƪƷþƟƟĩþƢܮ ance of precisely those components that are undoubtedly crucial for the formation of their "cul-ƷƿƢþŦ-ŎĢĩűƷŎƷǢܺ܋-ŻǜŎűł- ƷŻ- Ʒ'nĩ- Ʒ'nƢĩĩܮƟþƢƷ- ƷĩǡƷƿƢĩ-ŻŁ- Ʒ'nĩ-ŻƢŎłŎűþŦŦǢ- ŁŻƿƢܮƟþƢƷþě'n-ƟƢĩŦƿĢĩ܌-'nþƢmony notes are omitted several times, and the ornaments written out in the original, which łŎǛĩƪ'nþƟĩ-ƷŻ-Ʒ'nĩ-ŎůŎƷþƷŎǛĩ-ƟŻŦǢƟ'nŻűǢ܌þŦƪŻ-ĢŎƪþƟƟĩþƢ-Ŏű-¼þűܼƪ-ƢĩűĢĩƢŎűłڞڞڛܒȃĩůĩŦŻĢǢ-*Xiao bai* 

ڷڹڶ- -/ƫƠĪĜŏÿŧŧǣƫǣŰƠƸżŰÿƸŏĜżł-ƸŊŏƫŏƫ-ƸŊĪ-ƠǀěŧŏĜÿƸŏżŲżł-ƸŊĪěżżŤ-*China Can Say NO!* (*ðŊżŲŃŃǀż-ŤĪǣŏƫŊǀżěǀ*-ܔܡڒڕڕڍ- ƸŊĪ-ŰżƣĪƣĪĜĪŲƸÿŲƸŏܫàĪƫƸĪƣŲ-ŲÿƸŏżŲÿŧŏƫŰ-ŃżĪƫěÿĜŤ܉ÿŰżŲŃżƸŊĪƣƫ܉-Ƹż-ƸŊĪ- £ܹƫ-ڍڕڕڍ-ĜÿŰƠÿŏŃŲżł-ƠÿƸƣŏżƸŏĜ- education (*Aiguozhuyi Jiaoyu Yundong*܉ܡ ǝŊŏĜŊ- ƠżƣƸƣÿǣĪģ- ŊŏŲÿܹƫ ƫŏƸǀÿƸŏżŲ ÿƫ ÿ ƣĪƫǀŧƸ żł àĪƫƸĪƣŲ żƠƠƣĪƫƫŏżŲ܈- ܶ¼ŊĪżdz ǿĜŏÿŧrÿżŏƫƸ-ܸǜŏĜƸżƣǣ-ŲÿƣƣÿƸŏǜĪ܉ܹǝŊŏĜŊǝÿƫƫǀƠĪƣƫĪģĪģěǣÿ-ŲĪǝ-ܸǜŏĜƸŏŰŏǭÿƸŏżŲ-ŲÿƣƣÿƸŏǜĪܹ-ƸŊÿƸěŧÿŰĪƫ- ƸŊĪàĪƫƸłżƣ- ŊŏŲÿܹƫƫǀdz łĪƣŏŲŃܷ-ܠàÿŲŃ܉-ܶtÿƸŏżŲÿŧ-NǀŰŏŧŏÿƸŏżŲ܉-NŏƫƸżƣǣ-/ģǀĜÿƸŏżŲ܉ÿŲģ-ƸŊĪ-£żŧŏƸŏĜƫżł-NŏƫƸżƣŏ-ĜÿŧrĪŰżƣǣ܉ܷ-ܡڎڕړ-RĪĪÿŧƫżÿƣŰī܉-ܶ1/4ż-®ĜƣĪǝ-FżƣĪŏŃŲĪƣƫ-Sƫ-£ÿƸƣŏżƸŏĜܷ-SŲ-ƠÿƣƸŏĜǀŧÿƣ܉-ƸŊŏƫ-ŲĪǝ-ŲÿƸŏżŲÿŧŏƫŰ-Ŋÿģÿ- ƫŏŃŲŏǿĜÿŲƸŏŰƠÿĜƸżŲ-ƠżƠ-ŰǀƫŏĜŏŲ-ƸŊĪłżƣŰżłǝÿǜĪƫżł-ŲżƫƸÿŧŃŏÿÿŲģ-ƠżƠǀŧÿƣŏǭÿƸŏżŲżł-ܶƣĪǜżŧǀƸŏżŲÿƣǣܷƫżŲŃƫ- ܠܶ¦Īģ-®żŲŃƫܷ܉ܡƫĪĪ-®ƸĪĪŲ܉-ܶßżŏĜĪƫżł-ƸŊĪrÿŏŲƫƸƣĪÿŰܷ

ڸڹڶ- -1/4Ŋŏƫ-ĪǢÿŰƠŧĪŏƫÿŧƫżģŏƫĜǀƫƫĪģŏŲ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڎڑڐܨڕڐڐ-RĪĪÿŧƫżæżǀŲŃ܉-ܶ¦ĪĜżŲƫŏģĪƣŏŲŃ- ǀŧƸǀƣÿŧ-£żŧŏƸŏĜƫŏŲ-ƸŊĪ-Ųÿŧǣƫŏƫżł żŲƸĪŰƠżƣÿƣǣ- ŊŏŲĪƫĪrǀƫŏĜܷÿŲģ-ƸŊĪ-ĪǢƸĪŲƫŏǜĪÿŲÿŧǣƫŏƫŏŲ-Gżżŏ܉-ܶrÿŤŏŲŃ- ڕڏڍܨڑڍڍܷ-܉SģĪŲƸŏƸǣÿŲ

ڹڹڶ- -1/4ŊĪ fƣżŲżƫ- ¥ǀÿƣƸĪƸ- Ơŧÿǣƫ- ƸŊĪ ÿĜŊ- ƠÿƫƫÿŃĪƫ żŲ- ƸŊĪ- ' ƣĪĜżƣģŏŲŃ- ܠtżŲĪƫǀĜŊ- ܉ڎܫڑڐڐڕړܫڕڑڑړ- ܡړڕڕڍ ÿŲģ ŏŲ ŧŏǜĪ- ĜżŲĜĪƣƸƫǝŏƸŊÿ-¦żŰÿŲƸŏĜ-ĪŰƠŊÿƫŏƫ-ƸŊÿƸŧÿĜŤƫÿŲǣ-ŊŏƫƸżƣŏĜÿŧƫĪŲƫŏƸŏǜŏƸǣ

cai, in turn, loses the harmonic ambiguity of the pentatonic scale through the added drone in the viola; the characteristic inflections of the singing voice in Chinese vocal practice are hardly taken into account. Instead, string portamenti producing conventional sighing motifs are added in the instrumental repetition of the melody (third movement, rehearsal number B, first violin) that have nothing in common with traditional Chinese vocal or instrumental practice. Tan Dun's narrative of opposing materials, which enter into a dialogue in a supposedly "natural" manner, is therefore hindered from the very beginning by his failure to recognize precisely those delicate asymmetries between these materials on which his conception claims to rely.

### Pluralistic Essentialism: Qin Wenchen and Guo Wenjing

Many other composers by no means discarded cultural essentialism, but the concept has become more nuanced and pluralized through the more diverse experiences of younger generations. An example of this extension of the idea can be found in Qin Wenchen's (b. 1966) He-Yi (Merging, 1999) for the Chinese arched zither zheng, six Western instruments, and percussion. Qin's "pluralistic essentialism" is characterized by an ethnographically consciously "imprecise" hybridity that merges source elements from different genres of Chinese traditional music with a sufficiently abstract atonal pitch structure. Like many other Chinese composers since the early 1990s, Qin draws on the mnemonic syllables of luogu dianzi, the "gong and drum patterns" of the Beijing Opera percussion music wuchang,265 but here combines the resulting evocation of Chinese opera with the withdrawn literary world of the zheng and the quasi-shamanistic singing of the zheng soloist (Ex. 3.21). This purposetully inaccurate form of intermingled reference to different Chinese genres and aesthetics seeks to find a general "Chinese tone":

The vocal lines […] [at rehearsal number 14] all resemble the speech voice of Chinese opera. The different vocal parts all follow different lines, and every part is enhanced with different ornaments and slides that are characteristic of operatic singing style. The cellist here strikes a Chinese opera gong (jingluo) and changes between soft and hard strokes. All this conveys the atmosphere of Chinese opera without actually quoting or imitating a certain piece of music.257

Qin's work also places special emphasis on a feature that characterizes much of newer East Asian music, described by Barbara Mittler as "radicalization"285: certain aspects of traditional East Asian musical practice are driven to extremes with the intention of highlighting their specific characteristics (Tan Dun explained that Chinese folk music often appeared insufficiently harsh to him, not "folky" enough, so he must exaggerate it all the time255). In He-Yi, for example, the sound-syllables of the luogu dianzi are structurally condensed in a way that would never happen in traditional wuchang ensembles.

While Qin Wenchen takes a middle position between abstraction and concretion, Tan Dun (b. 1957) and Guo Wenjing (b. 1956) can certainly be considered the two Chinese composers most explicitly associated with traditional non-Western, not necessarily exclusively Chinese material, with Tan Dun producing a particularly broad variety of compositional techniques

<sup>256</sup> See Rao, "The Tradition of Luogu Dianzi," Rao, "Chinese Opera Percussion from Model Opera to Tan Dun," and Utz, Neue Musik und Interkulturalität, 468–470 for further examples of the use of luogu dianzi in contemporary Chinese music.

<sup>257</sup> Qin, "On Diversity," 145.

<sup>258</sup> Mittler, Dangerous Tunes, 323–357.

<sup>259</sup> See Tan and Utz, "Tan Dun's Art for a New Generation," 148–149, Utz, New Musik und Interkulturalität, 490.

Copyright © 1999 by Qin Wenchen/Sikorski Musikverlage Hamburg

*/ǡþůƟŦĩڗڗܘژݗܑ-GƿŻàĩűŠŎűłܒ-Ye Yanܒ-Rěĩűĩ-ܒږĩűƷƢþűěĩþƢŎþ-ŻŁ-NŻűłð'nƿ-ܩƪŻƟƢþűŻܒܪþěěŻůƟþűŎĩĢ-ĚǢ-Ʒ'nĩ-ƟŎƟþ*

 żƠǣƣŏŃŊƸ-ޣ-ڔڕڕڍěǣ-ÃŲŏǜĪƣƫÿŧrǀƫŏĜ-£ǀěŧŏƫŊŏŲŃ-¦ŏĜżƣģŏ-ܨrŏŧÿŲ܉-SƸÿŧǣ

ĢĩĢŎěþƷĩĢ-ƷŻƪƿě'něŻůĚŎűþƷŎŻűƪƿűƷŎŦ-ڙڟڛܒڕژژڐ An important one is the aforementioned use of ܹűŻűܮŻƢŎłŎűþŦܺůþƷĩƢŎþŦ-ŎűƪƷĩþĢ-ŻŁơƿŻƷþƷŎŻűƪ܌ǜ'nĩƢĩþơƿŎƷĩ-ĢĩŦŎĚĩƢþƷĩĩDz ŁĩěƷ-Ŏƪ-ƷŻ-ŦƿƢĩ-Ʒ'nĩ-ŦŎƪƷĩűܮ ĩƢ-ŻűƷŻ-Ʒ'nĩ-ܹǜƢŻűł-ƷƢþěţܺ܋-Ʒ'nĩ-ŎĢĩþ-ŻŁ-Ʒ'nĩ-ŎĢŎŻůþƷŎě-Ŏƪ-ƢĩůŻǛĩĢ-ŁƢŻůþűþDzȀƢůþƷŎǛĩě'nþƢþěƷĩƢ-ƷŻ- an ambiguous, sometimes ironic context.

Guo Wenjing, in his second opera *Ye Yan*-ܣtŎł'nƷ-ĚþűơƿĩƷ܌-܌ܤڗژژڐ-ƷŻŻţ-Ʒ'nĩ-ƷƢĩþƷůĩűƷ-ŻŁƪƿě'n- "quasi-traditional" Chinese material to extremes.ښڟڛ With long stretches of only one unaccompanied musical line and the sound of the four-string lute *pipa*, the music is based on inter-ŦŻěţŎűł-ƟĩűƷþƷŻűŎěůŻĢĩƪܒȃĩƢĩĚǢ-GƿŻěƢĩþƷĩƪþűþŦůŻƪƷƿűĚƢŻţĩű- ܹ 'nŎűĩƪĩűĩƪƪܺ-ŎĢŎŻůþƷŎěþŦŦǢě'nþƢþěƷĩƢŎǬĩĢ-ĚǢþƪƟĩěŎþŦƪŎůƟŦŎěŎƷǢþűĢĩěŻűŻůǢ-ܣ/ǡܤڑڑܒڒݑܒþűĢ-ŻűŦǢ-ƷĩůƟŻƢþƢŎŦǢ-ĚƢŻţĩű- up by sharply contrasting percussive *tutti*ĩűƪĩůĚŦĩƪܒȃŎƪ-ĢĩŦŎĚĩƢþƷĩŦǢ-ܹ 'nŎűĩƪĩܺě'nþƢþěƷĩƢ-Ŏƪ܌-ŻŁěŻƿƢƪĩ܌þěŻűƪƷƢƿěƷŎŻű-Ʒ'nþƷěþű-ŻűŦǢ-Ěĩ-ŠƿƪƷŎȀĩĢǜŎƷ'n-ƢĩŁĩƢĩűěĩ-ƷŻþ-ǛĩƢǢ-ƢĩƪƷƢŎěƷĩĢƪĩŦĩěƷŎŻű- of Chinese musical forms, in particular the literary *wenren* aesthetic associated with the *pipa*, related to an idyllic concept of nature from which Guo has explicitly distanced himself.ڛڟڛæĩƷ܌-ŎűþĢĢŎƷŎŻű-ƷŻ-Ʒ'nŎƪƪƷƢŻűł-ŎĢĩűƷŎȀěþƷŎŻűǜŎƷ'nþ- 'nŎűĩƪĩůƿƪŎěþŦ-Ŧþűłƿþłĩ-ĢŎDz ŁĩƢĩűƷ-ŁƢŻůàĩƪƷܮ ĩƢűůƿƪŎě܌ǜĩěþűþŦƪŻƪĩĩþ-ĢĩłƢĩĩ-ŻŁƪĩŦŁܮƢĩǴŦĩǡŎǛĩ-ŎƢŻűǢ-Ŏű-Ʒ'nĩǜŻƢţ܌ǜ'nŎě'nþƷ-ƷŎůĩƪƪĩĩůƪ- ƷŻěƢĩþƷĩþűĩěĩƪƪþƢǢ-ĢŎƪƷþűěĩ-ŁƢŻů-ŎƷƪþƟƟþƢĩűƷĩƪƪĩűƷŎþŦŎƪůܒȃŎƪ-ƷĩűĢĩűěǢěþű-Ěĩ-ŎĢĩűƷŎȀĩĢ܌-ŁŻƢĩǡþůƟŦĩ܌-Ŏű-Ʒ'nĩƪŦŎł'nƷ܌-ĚþƢĩŦǢ-ƟĩƢěĩƟƷŎĚŦĩ܌ƪ'nŎǼ Ʒƪ-Ŏű-ƟĩűƷþƷŻűŎěůŻĢĩƪ܌-ŻƢ-ŁƢŻůþƿĚŎơƿŎƷŻƿƪ- ܹłƢŻƷĩƪơƿĩܺ- ŎűƪƷƢƿůĩűƷþƷŎŻű- Ʒ'nþƷ- ƢĩůŎűĢƪ ƿƪ- ŻŁ- 'ůŎƷƢŎ- ®'nŻƪƷþţŻǛŎě'nܼƪ ǜƢŎƷŎűł- ŁŻƢ ǜŎűĢ- Ŏűܮ ƪƷƢƿůĩűƷƪܒȃĩƪĩ-ƟŎĩƢěŎűłƪŻƿűĢƪþƟƷŦǢěŻůůƿűŎěþƷĩǜŎƷ'n-Ʒ'nĩěŻűƪƷþűƷ-ƟƢĩƪĩűěĩ-ŻŁ-ƟĩƢěƿƪƪŎŻű- ĩűƪĩůĚŦĩƪ-Ʒ'nþƷ-'nĩƢĩ܌þƪ-Ŏű-¥Ŏűܼƪ-*He-Yi* and ůþűǢĩþƢŦŎĩƢ-ƟŎĩěĩƪ-ĚǢ-GƿŻ-ݑދܣSS܌ܤڒܒĩůĩƢłĩ-ŁƢŻů-Ʒ'nĩ- percussion patterns of *jingju*-ܣĩŎŠŎűł-ƟĩƢþܤþűĢ*chuanju*-ܣRŎě'nƿþű-ƟĩƢþܒܤ

ڴںڶ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڍڔڐܨڏڎڏ

ڵںڶ See Guo, "Traditional Music as Material."

ڶںڶ See ibid.

### Interaction: Chen Xiaoyong

For many East Asian composers whose music was originally more strongly based on the compositional techniques of European modernism, the encounter and longer-term cooperation with Chinese instrumentalists led to an intensive examination of the problems associated with culturally hybrid ensembles. Works such as The Prospect of Colored Desert (Mo motu, 2000) by Jia Daqun (b. 1956) for sheng (mouth organ), pipa, violin, violoncello, and percussion, written for Yo Yo Ma's Silk Road Ensemble, or Vacuité/Consistance (1996) by Xu Shuya (b. 1961) for zheng, pipa, and chamber ensemble prove that such works do not necessarily have to represent "traditional" or essentialist aesthetics, but that the East Asian instruments are at once more than merely unusual sound generators for otherwise "Western" structures. This polarity is broken up in particular by the considerable influence the performers usually exercise on the sounding result. For example, Chen Qigang's (b. 1951) famous Poème Lyrique II (1991) for baritone and chamber ensemble, 463 an important work for the international recognition of the xinchao generation, would be difficult to imagine without Shi Kelong's "performative" realization of the highly precisely notated vocal part. Chen Xiaoyong's (b. 1955) zheng solo Circuit (1996), in turn, was developed in close collaboration with the soloist Xu Fengxia, who contributed not only a wide range of vocal colors but also experiences of free improvisation – qualities that are also clearly manifest in the zheng part of Qin Wenchen's He-Yi, which was also written for Xu.

This is all the more remarkable in the case of Chen Xiaoyong, who studied with György Ligeti after graduating in Beijing in 1989, as Chen originally distanced himself from explicit references to Chinese traditions. A tendency toward abstraction and play with abstracted "cultural" colors is certainly still recognizable in a later work such as Invisible Landscapes (1998): in the final cadenza, the three solo instruments zheng, piano, and percussion, facing a small chamber ensemble of six instruments, attempt almost systematically to continue the piano's line along with drumming and zheng harmonics. These parts are only partially synchronized at first, and the passage takes on the character of an experimental arrangement through the alternation of different types of Western and Chinese drums and ever-changing, "evasive" rhythmic figures. As in Chen's earlier works, the tocus is less on culturally specific musical idioms than on a persistent attempt to fathom the closeness and distance between the various instrumental timbres (Ex. 3.23).

Chen's works from the turn of the millennium show an increasing "looseness," motivated not least, by an intensified collaboration with Chinese improvising musicians including, besides Xu Fengxia, the sheng soloist Wu Wei (→ II.6). In addition, there is an increased conceptual orientation toward the enigmatic and often paradoxical formulations of archaic Daoist traditions of Chinese thought. Yang Shen for soprano, zheng/xun (Chinese ocarina), and small chamber ensemble from 2002, for example, develops a reading of the poem Bei feng bo zhou from the Shijing (Book of Songs, c. 600 BCE). The poem's linguistic sounds are mixed with fragments of texts by the "classical" philosophers Laozi, Liezi, and Confucius in German translation, as well as instrumental sounds colored with unpitched noise. The Chinese and German speech sounds (all instrumentalists also act as vocalists) as well as Chinese and European instrumental sounds approach one another.

This concept continues to develop in Chen's Speechlessness, Clearness and Ease (Yin, xi, yi, 2004) for a larger ensemble of seven Chinese, eight European instruments, and percussion. The ensemble forms a multi-layered sound field that, by adjusting the positions, playing techniques, and articulations, minimizes the tonal, gestural, and cultural differences of the instruments; a dense

<sup>263</sup> See particularly Rao, "The Role of Language in Music Integration in Chen Qigang's Poème Lyrique II."

Example 3.23: Chen Xiaoyong, Invisible Landscapes for zheng, piano, percussion and ensemble, m. 42

Copyright © 1998 by Chen Xiaoyong/Sikorski Musikverlage Hamburg

ƪĩơƿĩűěĩ-ŻŁ-ŎĢĩűƷŎȀþĚŦĩ-ƟŎƷě'nĩƪþűĢě'nþƢþěƷĩƢŎƪƷŎěűŻŎƪĩƪŻűŻƢŎƷŎĩƪěƢĩþƷĩƪþěŻůƟŦĩǡ-ŻǛĩƢþŦŦƪǢƪ-Ʒĩůܒ-FƢĩơƿĩűƷŦǢ܌- 'nŎűĩƪĩþűĢàĩƪƷĩƢű-ŎűƪƷƢƿůĩűƷƪ-ŎűƷĩƢůŎűłŦĩ-ƷŻ-ŁŻƢů-'nǢĚƢŎĢ-ƷŎůĚƢĩƪ-ܣǴŦƿƷĩܘ *sheng*ůů܌ڔڒܘڗڑݑܒ-ĢŻƿĚŦĩ-Ěþƪƪܘ*erhu*ůů܌ژڒܫڕڒݑܒ-ƟŎþűŻܘ*ǢþűłơŎű*ů܌ڕڒݑܒ*ruan*ܘƷƢŻůĚŻűĩܘǛŎŻŦŎűů܌ژڒݑܒ- ĩƷě܌ܒƪĩĩ-/ǡܒܤړڑܒڒݑܒ-1/4ŻǜþƢĢ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩ-ȀƢƪƷƪĩěƷŎŻű܌-Ʒ'nĩěŻűƷŻƿƢƪþƢĩ-ŎűěƢĩþƪŎűłŦǢ-ƢĩƪŻŦǛĩĢ-ĚǢ- Ʒ'nĩ-'nŎƪƪŎűłűŻŎƪĩƪþŦƢĩþĢǢ-'nĩþƢĢþƷ-Ʒ'nĩ-ĚĩłŎűűŎűł-ܣůůܗܤږڑܫڐݑܒ-ŎűƪƷƢƿůĩűƷܮƪƟĩěŎȀěƪŻƿűĢĩDz ŁĩěƷƪ- accelerate this process (*col legno*, rubbing of the *zheng* strings, *jiaoxian*܋-ŻǛĩƢŦþƟƟŎűł-ŻŁ-Ʒ'nƢĩĩ*pipa* ƪƷƢŎűłƪǜŎƷ'nþůĩƷþŦŦŎěܮƪŻƿűĢŎűł- ƢĩƪƿŦƷ܌ůƿƷĩĢ- ƟŎþűŻ ƪƷƢŎűłƪܒܤ-SűţĩĩƟŎűłǜŎƷ'n- Ʒ'nĩ ơƿŻƷþƷŎŻű- ŁƢŻů-Ʒ'nĩ-Ʒ'nŎƢƷǢܮȀǼ Ʒ'ně'nþƟƷĩƢ-ŻŁhþŻǬŎܼƪ-'þŻŎƪƷěŦþƪƪŎě-*Daodejing*܋-ܹűĩ-ŦŻŻţƪ-ŁŻƢ-ŎƷþűĢ-ĢŻĩƪűŻƷ- see it" (*shi zhi bu zu jian*܌ܤڝڟڛ-Ʒ'nĩěŻůƟŻƪĩƢǜþűƷƪ-ƷŻ-ƟŦþěĩ-Ʒ'nĩ-ŦŎƪƷĩűĩƢ-Ŏűþ-ƟþƢþĢŻǡŎěþŦƪŎƷƿþƷŎŻű- ܹĚĩƷǜĩĩű-ĢĩŦƿƪŎŻűþűĢ-ƢĩþŦŎƷǢ܌-ĚĩƷǜĩĩűƪŻƿűĢƪþűĢűŻŎƪĩƪ܌-ĚĩƷǜĩĩű-ƢĩþŦþűĢþƢƷŎȀěŎþŦǜŻƢŦĢƪ-ŻŁ- sound."ڞڟڛȃĩ-ܹěƿŦƷƿƢþŦ-ŎĢĩűƷŎƷŎĩƪܺ-ŻŁ-ŎűƪƷƢƿůĩűƷþŦƪŻƿűĢƪ-Ŏű-Ʒ'nŎƪ-ŎűƷĩƢþěƷŎǛĩþƢĩþþƢĩ-ƢĩĢƿěĩĢ-ƷŻ- þůŎűŎůƿů܌-ŎŁűŻƷþĚþűĢŻűĩĢþƷþŦŦܒ-1/4ŻƪŻůĩ-ĢĩłƢĩĩ܌-'nŻǜĩǛĩƢ܌ƪƿě'nþ-ƟŻƷĩűƷŎþŦ-ŦĩǛĩŦŎűł-ŻŁ-ŎĢĩűtities seems to diminish the intelligibility of Chen's narrative of a paradoxical world experience.

### Stratification and Conflict: Zhu Jian'er

ð'nƿdŎþűܼĩƢ-ŎůƟƢĩƪƪŎǛĩƪǢůƟ'nŻűŎěƞƿǛƢĩ܌-ŎűƷƢŻĢƿěĩĢĩþƢŦŎĩƢ-ݑދܣSSS܌ܤڐܒ-ŻűŦǢěŻƢƢĩƪƟŻűĢƪ-ƷŻ- the *xinchao* generation's achievements in some ways, but retains a distinct position in which a more pronounced independence from Western modes of reception is apparent. While the ěŦþŎů ǜþƪ- ƟƿƷ- ŁŻƢǜþƢĢ-Ŏű- 'nþƟƷĩƢ- SSڔܒ- Ʒ'nþƷ ěŻůƟŻƪĩƢƪ ƪŎűěĩ- Ʒ'nĩ-ڏڔژڐƪ- 'nþǛĩ-ŎűěƢĩþƪŎűłŦǢ þĢܮ ĢƢĩƪƪĩĢ-Ʒ'nĩŎƢǜŻƢţ-ƷŻǜþƢĢþ-ƟŻƷĩűƷŎþŦŦǢłŦŻĚþŦ-ƟƿĚŦŎě܌-Ʒ'nĩ-ǛĩƢǢ-ƢĩþŦ-ƟƢŻěĩƪƪ-ŻŁěƢĩþƷŎűłþ-ƟþƢƷŎěƿŦþƢǜŻƢţ-ŁŻƢþ-ƟƢĩůŎĩƢĩþƷþƪƟĩěŎȀě-ŦŻěþƷŎŻű-ŁŻƢþƪƟĩěŎȀě-ŦŻěþŦþƿĢŎĩűěĩƪƿƢĩŦǢ-'nþƪ-ŎůƟŦŎěþ-ƷŎŻűƪ-ŁŻƢůþűǢ-ŻŁ-Ʒ'nĩűþƢƢþƷŎǛĩƪþĢĢƢĩƪƪĩĢƪŻ-ŁþƢܒð'nƿܼƪ-®ŎǡƷ'n-ܤړژܫڑژژڐܣþűĢ-¼ĩűƷ'n-ܤڗژژڐܣ-RǢů-Ɵ'nŻűŎĩƪ-ŠƿǡƷþƟŻƪĩ-ȀĩŦĢþűĢƪƷƿĢŎŻ-ƢĩěŻƢĢŎűłƪ-ŻŁ-ƷƢþĢŎƷŎŻűþŦ- 'nŎűĩƪĩůƿƪŎěǜŎƷ'n-Ʒ'nĩƪǢůƟ'nŻűǢ- ŻƢě'nĩƪƷƢþ܌-ƟŦþǢĩĢ- Ʒ'nƢŻƿł'n-ŦŻƿĢƪƟĩþţĩƢƪڟڟڛܒȃĩ-¼ĩűƷ'n-®ǢůƟ'nŻűǢ- ŁĩþƷƿƢĩƪþ- ŁƢĩĩě'nþűƷ܌-ƢĩěþŦ-ŦŎűł-Ʒ'nĩƪƷþłĩƪƷǢŦĩƪ-ŻŁĩŎŠŎűł-ƟĩƢþ܌þűĢ-ƢĩěŻƢĢĩĢ-ŁƢþłůĩűƷƪ-ŻŁ-Ʒ'nĩ-ŦŎƷĩƢþƷŎ-ǬŎƷ'nĩƢ*qin*, mostly in *senza tempo*ƪĩěƷŎŻűƪ-Ʒ'nþƷþŦƷĩƢűþƷĩǜŎƷ'nůĩƷƢŎěþŦŦǢƪƷþĚŦĩ-ŻƢě'nĩƪƷƢþŦƪĩěƷŎŻűƪܒȃĩ-Ʒ'nƢĩĩܮůŻǛĩܮ ment Sixth Symphony, by contrast, creates a complex combination of orchestral sounds and þ-ƟŦĩƷ'nŻƢþ-ŻŁ-ĢŎDz ŁĩƢĩűƷ-ƢĩłŎŻűþŦƪƷǢŦĩƪ-ƟŦþǢĩĢ-Ěþěţþƪ-ƢĩěŻƢĢŎűłƪ܌-ƟƢŎůþƢŎŦǢ-ŻŁůŎűŻƢŎƷŎĩƪ-ŁƢŻů- South-Western China.ڠڟڛȃĩ- Ʒ'nŎƢĢůŻǛĩůĩűƷ-Ŏƪ-ŎűŎƷŎþŦŦǢ-ĢŻůŎűþƷĩĢ-ĚǢþůŻűŻƟ'nŻűŎě-Ģþűěĩ

ڸںڶ- -1/4ŊĪ-ĜżŰƠŧĪƸĪ-ƠÿƫƫÿŃĪ-ƢǀżƸĪģłƣżŰ- ŊÿƠƸĪƣ-ڑڏƣĪÿģƫ܈-ܞ䚃ѻࠪਓˈ␑Ѿަ❑ણˈܟ㿆ѻн䏣㾻ˈ㚭ѻн䏣㚎ˈ ⭘ѻн䏣ᰒ-ܞܠ*dao zhe chu kou, tan he qi wu wei,*ܟ*shi zhi bu zu jian, ting zhi bu zu wen, yong zhi bu zu ji*ܔܡ-ܶܞǀƸ-ƸŊżǀŃŊ- ƸŊĪ- 'ÿż ÿƫ ŏƸ- ĜżŰĪƫ łƣżŰ- ƸŊĪ- ŰżǀƸŊ܉ ƫĪĪŰƫ ŏŲƫŏƠŏģ ÿŲģ- Ŋÿƫ- Ųż ǵŧÿǜżǀƣܟ܉- ƸŊżǀŃŊ ŏƸ ƫĪĪŰƫ- ŲżƸ ǝżƣƸŊ ěĪŏŲŃ- ŧżżŤĪģÿƸżƣŧŏƫƸĪŲĪģ-Ƹż܉-ƸŊĪ-ǀƫĪżłŏƸŏƫŏŲĪǢŊÿǀƫƸŏěŧĪܷ-ܠhÿżǭŏ܉-*The Tao Te Ching*ܔ-ƸŊĪěƣÿĜŤĪƸĪģ-ƠÿƣƸǝÿƫ-ŲżƸ-ǀƫĪģ- ŏŲ- ŊĪŲܹƫǝżƣŤܡ- ŊĪŲÿŧƫż-ƢǀżƸĪƫ-ƸŊĪ-ƸǝżěÿƫŏĜ-ĜżŲĜĪƠƸƫżł-ƸŊĪ*Daodejing ziran*-ܠŲÿƸǀƣĪܡÿŲģ*wuwei*-ܠŲżŲܫģżŏŲŃܡ- ÿƫǝĪŧŧÿƫ-ƸŊĪǿƣƫƸƫĪŲƸĪŲĜĪżł-ƸŊĪƫŏǢƸĪĪŲƸŊ-ĜŊÿƠƸĪƣ܈ 㠤㲋ᾥˈᆸ䶌㈔ (*zhi xu ji, shou jing du)*܉-ܶ1/4ŊĪ-ܠƫƸÿƸĪżłܡ- ǜÿĜÿŲĜǣƫŊżǀŧģěĪěƣżǀŃŊƸ-Ƹż-ƸŊĪ-ǀƸŰżƫƸģĪŃƣĪĪ܉ÿŲģ-ƸŊÿƸżłƫƸŏŧŧŲĪƫƫ-ŃǀÿƣģĪģǝŏƸŊ-ǀŲǝĪÿƣǣŏŲŃǜŏŃżǀƣܷ-ܠSěŏģܡ- ¼ŊƣżǀŃŊżǀƸ-ƸŊĪ-ƠŏĪĜĪ܉żŲŧǣ-ƸŊĪŏŲŏƸŏÿŧƫżłƫǣŧŧÿěŧĪƫǝŏƸŊżǀƸ-ŰŏģܫǜżǝĪŧƫżƣǿŲÿŧƫżǀŲģƫÿƣĪ-ǀƫĪģ

ڹںڶ- - ŊĪŲ܉-ܶRƠĪĪĜŊŧĪƫƫŲĪƫƫ܉ ŧĪÿƣŲĪƫƫÿŲģ-/ÿƫĪ܉ܷ-ڑڔڎ-ܠܶǭǝŏƫĜŊĪŲ-¼ďǀƫĜŊǀŲŃ-ǀŲģàŏƣŤŧŏĜŊŤĪŏƸ܉ǭǝŏƫĜŊĪŲfŧďŲŃĪŲ- ǀŲģ-GĪƣďǀƫĜŊĪŲ܉ǭǝŏƫĜŊĪŲƣĪÿŧĪŲ-ǀŲģ-ŤdžŲƫƸŧŏĜŊĪŲfŧÿŲŃǝĪŧƸĪŲܷܡ

ںںڶ- -RĪĪrÿż܉-ܶdŏÿŲǢŏðŊżŲŃŃǀż-ǢŏŲÿŲģŏƢǀ-ŰŏŲǭǀǣŏŲǣǀĪƫǀĜÿŏܷÿŲģæŏ܉-ܶtÿƸŏżŲÿŧ- ǀŧƸǀƣÿŧrĪŰżƣǣŏŲhÿƸĪܫ1/4ǝĪŲ-ƸŏĪƸŊܫ ĪŲƸǀƣǣ-/ÿƫƸƫŏÿŲżŰƠżƫŏƸŏżŲܷ

ڻںڶ- -ƫƸÿƣƸŏŲŃ-ƠżŏŲƸƫŏŰŏŧÿƣ-ƸżðŊǀܹƫƫǣŰƠŊżŲǣŏƫłżǀŲģŏŲ-¼ÿŲ-'ǀŲܹƫ-*The Map*-ܡڎڌڌڎܠłżƣǜŏżŧżŲĜĪŧŧż܉żƣĜŊĪƫƸƣÿÿŲģ- ǜŏģĪż-ƠŧÿǣěÿĜŤ-¼ŊĪǝżƣŤšǀǢƸÿƠżƫĪƫǜŏģĪżǿĪŧģƣĪĜżƣģŏŲŃƫżł-ŰŏŲżƣŏƸǣ-ŰǀƫŏĜŏŲ-NǀŲÿŲ-£ƣżǜŏŲĜĪǝŏƸŊ-ƸŊĪ-ĜĪŧŧż- ƫżŧżŏƫƸÿŲģ-ƸŊĪàĪƫƸĪƣŲƫǣŰƠŊżŲǣżƣĜŊĪƫƸƣÿ-SŲ-ƸŊĪǿǽ ƸŊ-ŰżǜĪŰĪŲƸ-*Feige*, for example, a girl from the Miao ŰŏŲżƣŏƸǣÿƠƠĪÿƣƫżŲ-ƸŊĪǜŏģĪżÿŲģ-ƸŊĪ-ĜĪŧŧŏƫƸŏŰŏƸÿƸĪƫ-ŊĪƣƫŏŲŃŏŲŃ-¼żěĪƫǀƣĪ܉-1/4ÿŲ-'ǀŲܹƫ-ĜżŲĜĪƠƸ܉-ǀŲŧŏŤĪðŊǀܹƫ- ƫǣŰƠŊżŲǣ܉ƫƸƣŏǜĪƫłżƣÿ-ĜżŲǵŧŏĜƸܫłƣĪĪ-ĜżŰƠŧĪŰĪŲƸÿƸŏżŲÿŲģÿŲ-ĪdzłĪĜƸŏǜĪ܉ǜŏƣƸǀżƫŏĜŏŲƸĪƣÿĜƸŏżŲÿŲģŏŲƸĪŃƣÿƸŏżŲ- żłżƠƠżƫŏƸĪƫ܉ǝŊŏĜŊ-ƠŧÿĜĪƫ-ƸŊĪ-ĜżŰƠżƫĪƣŏŲ-ƸŊĪ-ƠÿƣÿģżǢŏĜÿŧģżǀěŧĪƣżŧĪżłěżƸŊ-ŤĪĪƠĪƣżłŧżĜÿŧ-ƸƣÿģŏƸŏżŲÿŲģ-

Example 3.24: Chen Xiaoyong, Speechlessness, Clearness and Ease, mm. 32-39

Copyright © 2004 by Sikorski Musikverlage Hamburg

Example 3.25: Zhu Jian'er, Sixth Symphony, third movement, left: after rehearsal number 15; right: before rehearsal number 19; Tape I: upper system: song of the Yi girls; lower system: Naxi song (above: women, below: men)

ƪŻűł-ŻŁæŎůŎűŻƢŎƷǢłŎƢŦƪڡڟڛǜ'nŻƪĩƪŎůƟŦĩ-ܮڗܘڕůĩƷĩƢĩĢƪŎűłŎűł-ŎƪþěěŻůƟþűŎĩĢ-ŻƢþűƪǜĩƢĩĢ-Ŏű þű-ŎůŎƷþƷŎǛĩůþűűĩƢ-ĚǢ-Ʒ'nĩ-ŻƢě'nĩƪƷƢþܒ-1/4ŻǜþƢĢ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩůŻǛĩůĩűƷ܌-'nŻǜĩǛĩƢ܌ǜĩĩǡƟĩƢŎܮ ence a considerable compression and complication of the structure. At the movement's turning ƟŻŎűƷ܌-Ʒ'nĩ-ŦþǢĩƢ-ŻŁæŎ-ǛŻěþŦƪ-ŎƪěŻůƟŦĩůĩűƷĩĢ-ĚǢþ-ƢĩěŻƢĢŎűł-ŻŁ-Ʒ'nĩǜĩŦŦܮţűŻǜű-*Worere* song of Ʒ'nĩtþǡŎůŎűŻƢŎƷǢ-ܣþŦƪŻ-ŁƢŻů-®ŻƿƷ'nܮàĩƪƷĩƢű- 'nŎűþڢڟڛܒܤ-SƷ-ŎƪƪƿƟĩƢŎůƟŻƪĩĢ-Żű-Ʒ'nĩæŎłŎƢŦƪܼ-Ģþűěĩ- ƪŻűł܌ǜ'nŎě'n-'nþƪůĩþűǜ'nŎŦĩ-Ěĩĩű-ƟŦþěĩĢ-Ŏű-ړܘړůĩƷĩƢ܌þűĢ-ƷƢŎłłĩƢƪþű-ŻƢě'nĩƪƷƢþŦ-ƷĩǡƷƿƢĩ-Ʒ'nþƷ-ƢþƟŎĢܮ ŦǢ-ŎűěƢĩþƪĩƪ-Ŏű- ĢǢűþůŎěƪþűĢ- ĢĩűƪŎƷǢ-ܣ/ǡݑܒ ܌ڔڑܒڒ-ŦĩǼ Ʒܒܤȃĩƪĩ- ƢĩěŻƢĢĩĢtþǡŎ ƪŻűłƪþƢĩ ƿƪƿþŦŦǢ- ƪƿűłþƷ-ŁƿűĩƢþŦƪ܌ǜŎƷ'n-Ʒ'nĩ-ŁĩůþŦĩ-ǛŻŎěĩƪůŎůŎěţŎűł-Ʒ'nĩ-ĚŦĩþƷŎűł-ŻŁƪ'nĩĩƟǜ'nŎŦĩ-Ʒ'nĩ-ƟþƢƷ-ŻŁ-Ʒ'nĩ- male voices consists of loud, rhythmically free exclamations.ڙڠڛȃĩ-ƟƢĩǛŎŻƿƪŦǢƿűþůĚŎłƿŻƿƪ- metric structure collapses, and ultimately the recordings are crudely drowned out by a violent orchestral *tutti*-ܣ/ǡ܌ڔڑܒڒݑܒ-ƢŎł'nƷܒܤ-

Sű- Ʒ'nĩ ěŻűƷĩǡƷ- ŻŁ ð'nƿܼƪ ƪǢůƟ'nŻűŎĩƪ܌ þűþŦŻłŻƿƪ- ƷŻ- Ʒ'nĩ- ®ĩěŻűĢ þűĢ- FŻƿƢƷ'n- ®ǢůƟ'nŻűŎĩƪ- ݑދܣ SSS܌ܤڐܒþű-ŎűƷĩƢƟƢĩƷþƷŎŻű-Ŏű- Ʒ'nĩƪĩűƪĩ-ŻŁþű-ŻƟƟƢĩƪƪŎǛĩ- ŁŻƢěĩ-ŻŁ- Ʒ'nĩěŻŦŦĩěƷŎǛĩ- ƷŻǜþƢĢ- Ʒ'nĩ-Ŏű-ĢŎǛŎĢƿþŦ-ŻƢ-Ʒ'nĩůŎűŻƢŎƷǢ-Ŏƪ-ŎűĢĩĩĢ-ŻĚǛŎŻƿƪ-Ŏű-Ʒ'nŎƪ-ܹþűƷŎܮȀűþŦĩܒܺȃĩ-ŻǛĩƢþŦŦƪŻƿűĢ-ŎƪƪƷƢþƷŎȀĩĢ- ŁƢŻů-Ʒ'nĩ-ĚĩłŎűűŎűł܋-ĢĩƪƟŎƷĩþƷƷĩůƟƷƪþƷþěþƢĩŁƿŦƪƷƢƿěƷƿƢþŦ-ŎűěŻƢƟŻƢþƷŎŻű-ŻŁ-ƷþƟĩ-ƢĩěŻƢĢŎűłƪ- þűĢ-ŻƢě'nĩƪƷƢþŦǜƢŎƷŎűł܌-Ʒ'nĩ-ĢŎDz ŁĩƢĩűƷƪŻƿűĢơƿþŦŎƷŎĩƪ-ŻŁ-ŻƢě'nĩƪƷƢþþűĢ-ȀĩŦĢ-ƢĩěŻƢĢŎűłƪűĩǛĩƢ-ƢĩþŦŦǢůĩƢłĩ-ܣƷ'nŎƪƪƷƢþƷŎȀěþƷŎŻű-ŎƪűŻƷ-ŻűŦǢ-Ģƿĩ-ƷŻ-Ʒ'nĩ-ƟŻŻƢƪŻƿűĢơƿþŦŎƷǢ-ŻŁ-Ʒ'nĩ-ƢĩěŻƢĢŎűłƪ܌ܤǜŎƷ'n- Ʒ'nĩƪĩ- ƷǜŻ-ŦþǢĩƢƪ-ĚƢĩþţŎűłþƟþƢƷ-ŎűþůŻůĩűƷ-ŻŁ-ȀűþŦěƢŎƪŎƪܒȃĩ-ŎĢǢŦŦŎěłŦŻƢŎȀěþƷŎŻű-ŻŁ- Ʒ'nĩþŦܮ leged closeness to nature in the music of China's minorities has long been idealized among Han Chinese (especially among composersܒܤښڠڛȃĩ-ܹűþƷŎŻűþŦŎƪƷܺþƪƟŎƢþƷŎŻűƪ-ŻŁ-ĚƢŎűłŎűłůŎűŻƢŎ-ƷǢůƿƪŎě-ŎűƷŻþƪǢůƟ'nŻűŎěǜŻƢţ܌þƪ-Ŏű-'Ŏűł-®'nþűĢĩܼƪ-ƟƢŻƷŻƷǢƟŎěþŦ*hŻűłrþƢě'n-®ǢůƟ'nŻűǢ*-ݑދܣSSS܌ܤڐܒþƢĩěŻƿűƷĩƢþěƷĩĢűŻƷ-ŻűŦǢ-ĚǢ-Ʒ'nĩ-ܹþƢƷŎȀěŎþŦŎƷǢܺ-ŻŁ-Ʒ'nĩ-ƢĩěŻƢĢŎűłƪ܌-ĚƿƷþŦƪŻ-ĚǢ-Ʒ'nĩ-ŁþŎŦƿƢĩ-ŻŁ-Ʒ'nĩ- ƪǢűƷ'nĩƪŎƪ ǜŎƷ'n- Ʒ'nĩ- ŻƢě'nĩƪƷƢþܒ- 'nþƢþěƷĩƢŎƪƷŎěþŦŦǢ܌ ƪŻůĩ- 'nŎűĩƪĩ-ƢĩƪĩþƢě'nĩƢƪ- ŦþƢłĩŦǢ- ŻǛĩƢŦŻŻţ- this musical-narratological collapse, interpreting the symphony as a "search for roots" and as þűþDzȀƢůþƷŎǛĩþĢ'nĩƢĩűěĩ-ƷŻ-Ʒ'nĩĩƷ'nűŎěě'nþƢþěƷĩƢ-ŻŁěƿŦƷƿƢþŦ-ŎĢĩűƷŎƷǢ܋

¼ŊĪ- ĜżŲĜĪƠƸƫ ŏŲ ðŊǀ dŏÿŲܹĪƣܹƫ ǝżƣŤ ÿƣĪ ÿ- ŲĪĜĪƫƫÿƣǣ ƣĪƫǀŧƸ żł ÿŲ ÿǝÿƣĪŲĪƫƫ żł- ƸŊĪ- ĜǀƣƣĪŲƸ ģĪĪƠ- Ĝƣŏƫŏƫżł-ƠĪżƠŧĪܹƫ-ĜǀŧƸǀƣĪ-£ƣĪĜŏƫĪŧǣěĪĜÿǀƫĪðŊǀƫĪŲƫĪƫ-ƸŊĪ-ܶŧżƫƫܷżł-ƸƣÿģŏƸŏżŲÿŧǜÿŧǀĪƫǣƫƸĪŰƫÿŲģ- ƸŊĪ-ŰĪƸÿƠŊǣƫŏĜÿŧǝżƣŧģ܉-ŊĪǝÿŲƸƫÿŧŧ-ƸŊĪ-ŰżƣĪ-ƸżƫĪĪŤ-ƸŊĪƣżżƸƫ-ܞ*xungen*܉ܟ-Ƹż-ĜŧÿŏŰ-ƸŊĪŏģĪŲƸŏƸǣżł- ƸŊĪ-ƸƣÿģŏƸŏżŲÿŧ-ĜǀŧƸǀƣĪ܉ÿŲģŏŲģżŏŲŃƫż-ŊĪ-ĪƫƠĪĜŏÿŧŧǣ-ĪŰƠŊÿƫŏǭĪƫ-ƸŊĪ-ŲÿƸŏżŲÿŧ-ĜŊÿƣÿĜƸĪƣ-ܞ*minzuxing*ܟÿŲģ-ƸŊĪ-ĜǀŧƸǀƣÿŧ-ŊĪƣŏƸÿŃĪƫÿŲżǀƸƫƸÿŲģŏŲŃƣĪƠƣĪƫĪŲƸÿƸŏǜĪżł- ŊŏŲĪƫĪƫǣŰƠŊżŲŏƫŰ܉-ŊĪŏƫ- łǀŲģÿŰĪŲƸÿŧŧǣ-ŃǀŏģĪģěǣ-ƸŊĪ-ŰŏƫƫŏżŲ-Ƹż-ŊĪŏŃŊƸĪŲ-ŲÿƸŏżŲÿŧƫĪŧłܫĪƫƸĪĪŰÿŧŧ-ƸŊĪ-ŰżƣĪ܉-ƸŊĪ-ŃƣĪÿƸĪƣ- ƸŊŏƫ-ŃĪŲĪƣÿŧ-Ĝƣŏƫŏƫżł-ƠĪżƠŧĪܹƫ-ĜǀŧƸǀƣĪěĪĜżŰĪƫژڝژ

®ƿě'nþ-ǛŎƪƿþŦŎǬþƷŎŻű-ŻƢůþţŎűłþƿĢŎĚŦĩ-ŻŁěƿŦƷƿƢþŦěŻűǴŦŎěƷ-Ʒ'nƢŻƿł'n-Ʒ'nĩ-'nĩƷĩƢŻłĩűĩŎƷǢ-ŻŁƪŻƿűĢ- ŦþǢĩƢƪ-Ŏƪ- ŻǼ Ʒĩű- ǛŎĩǜĩĢ ǜŎƷ'n ƪƿƪƟŎěŎŻű þƪ- ƷþţŎűł þ ƪƿƟĩƢȀěŎþŦ þƟƟƢŻþě'n- ƷŻůƿƪŎěþŦ- Ɵ'nĩűŻůĩna, while conversely, coherent musical surfaces are presumed to contain an "internal struc-

ƫǣŰƠŊżŲŏĜŏŲŲżǜÿƸżƣ-®ĪĪæżǀŲŃ܉-ܶ1/4ŊĪßżŏĜŏŲŃżł-ƸŊĪßżŏĜĪŧĪƫƫŏŲ-¼ÿŲ-'ǀŲܹƫ-*The Map*" and Yang, "Musical Phantasmagoria in the Globalized Age."

<sup>ܷ</sup>ܡÿܠ-ܡŏܠ-ڑ-ƸƣÿģŏƸŏżŲƫhŏǜŏŲŃ-܈Sßޢ-܉ŊŏŲÿ -ܶ܉ĪĪƫ¦- -ڼںڶ

ڽںڶ- -¦ĪĪƫ܉-*Echoes of History*.

ڴڻڶ- -RĪĪŏěŏģ܉-ڕڑ-1/4ŊĪģÿŲĜĪƫżŲŃŏƫ-ĜÿŧŧĪģ-*O ssei sseil*ŏŲ-ƸŊĪtÿǢŏŧÿŲŃǀÿŃĪÿŲģŏƫÿŧƫż-ŤŲżǝŲÿƫ-*Remeicuo*.

ڵڻڶ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڎڑڏ-1/4ŊĪ-ŊŏŃŊŧǣ-ƠżŧŏƸŏĜŏǭĪģ-ĜżŲƸĪǢƸżł- ŊŏŲĪƫĪ-ŰǀƫŏĜěĪƸǝĪĪŲ-ڕڐڕڍÿŲģ- ڕڔڕڍ-Űÿǣ-ŊÿǜĪƫǀƫƸÿŏŲĪģ-ƸŊĪŏģĪÿżł-ƸŊĪ-ܶƠǀƣŏƸǣܷÿŲģ-ŲÿƸŏǜĪŲĪƫƫżł-ŰŏŲżƣŏƸǣ-ŰǀƫŏĜƫ

ڶڻڶ- rÿż܉-ܶdŏÿŲǢŏðŊżŲŃŃǀż-ǢŏŲÿŲģŏƢǀ-ŰŏŲǭǀǣŏŲǣǀĪ܉ܷ-ڔڎ-ܠƸƣÿŲƫŧÿƸŏżŲěǣ-ƸŊĪÿǀƸŊżƣܡ

ture" that should guide the reception process. 373 It is obvious that this is an overly crude and, in many ways, questionable dichotomy. After all, there are probably two tendencies in almost every interculturally oriented musical concept: the desire for audible, comprehensible connecting threads, for elements that allow linking disparities as well as searching for the incompatible, incommensurable, different, for the residue that cannot be forced into synthesis. Perhaps Zhu's symphony is in some ways also a proof that - especially against the ambivalent background of nationalist tendencies in recent Chinese music – only a confrontation between heterogeneous, largely incommensurable elements can oppose the affirmative phrases of (national or artistic) unity, without having to abandon reterences to specific sounds from Chinese music.

### New Korean Music: New Exemptions

In South Korea, in the late 1950s, after the turmoil of the Korean War and under the restrictions of an autocratic military government, the internationalization of musical life was only gradually beginning. In 1960 the western-trained composer Hoegap Chong (1923–2013) was commissioned by the Korean Air Force Orchestra to write a first concert for the Korean arched zither kayagum and orchestra. 274 This "Theme and Variations" (Chujewa Pyŏnjugok) for kayagăm and orchestra (1960–61) largely resulted from the impetus of the then 24-year-old kayagüm player Byungki Hwang (b. 1936), who performed the solo part and subsequently became a key figure in Korean new music history.275 The following year, Hwang assisted the American composer Alan Hovhaness (1911–2000) in his remarkable Symphony no. 16 for kayagüm, an ensemble of Korean instruments, and string orchestra (1962), as well as playing the solo part in the Seoul premiere. Hovhaness, who undertook extensive research trips to Asia from 1959 to 1963, had already encouraged young Japanese colleagues in Tokyo in 1960 to keep East Asian music away from the "violence and destruction" of Western music206 and was now celebrating traditional Korean music in Korea as "the most expressive, sublime and free in the world."" In addition to Henry Cowell (→ II.4, II.5), the idealization of Asian music as an "antidote" to European influences was mainly spread by Dane Rudhyar (1895–1985) from France, who had lived in the USA since 1916 and had considerable influence on his composer colleagues.208 In any case, such impulses were decisive for the young kayagüm innovator Hwang, and he subsequently emerged with increasingly confident pieces for Korean instruments, developing the movement of ch'angjak kugak in analogy to contemporary tendencies in Japan ("Traditional Korean Contemporary Music," see gendai hōgaku → III.1).

During the same period, Isang Yun's lite situation as a migrant (since 1956 in Europe, since 1957 in the Federal Republic of Germany) meant that he was much more directly confronted with Western tendencies. Yun had already gained recognition as a composer in his adopted home (→ III.4) when he was kidnapped by the South Korean secret service from Germany in 1967 and accused of acting as an agent, following a trip to North Korea in 1963 and his contacts with North Koreans in East Berlin. After torture and a life sentence, Yun was released under pres-

<sup>273</sup> Utz, Neue Musik und Interkulturalität, 43–44, 58–62.

<sup>274</sup> A detailed and updated historical overview on Korean new music can be found in Lee, "Korea."

<sup>275</sup> See Killick, Hwang Byungki.

<sup>276</sup> Quoted in Fukunaka, "Re-situating Japan's Post-War Musical Avant-Garde through Re-situating Cage," 192.

<sup>277</sup> Hovhaness, "Korean Music is the Most Expressive, Sublime and Free in the World," 29.

<sup>278</sup> See Ertan, Dane Rudhyar and Utz, "Klang als Energie in der Musik seit 1900."

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ڽڻڶ See the extensive documentation in Sparrer, *®ƫŏܯżŧܓŧŰÿŲÿĜŊ-ڑڐܙڐڐڐڒģĪƣ-SŲƸĪƣŲÿƸŏżŲÿŧĪŲ-SƫÿŲŃæǀŲ-GĪƫĪŧŧƫĜŊÿǼ Ƹ*, ڔڐڎܨڕڏڍ

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ڵڼڶ- - Ŋżŏ܉-ܶðǀƣ-¦ĪǭĪƠƸŏżŲģĪƫ-¢ǀǜƣĪƫǜżŲ-SƫÿŲŃæǀŲŏŲģĪƣ-¦ĪƠǀěŧŏŤfżƣĪÿ܉ܷ-ڎڒڍ

ڶڼڶ- -Nżǝÿƣģ܉-ܶfżƣĪÿŲ-¼ƣÿģŏƸŏżŲŏŲ-SƫÿŲŃæǀŲܹƫ żŰƠżƫŏƸŏżŲ-®ƸǣŧĪ܉ܷ-ڔڕ

ڷڼڶ- ŧƣĪÿģǣŏŲ-܉ڔڑڕڍ-SƫÿŲŃæǀŲ-ŊÿģŏŲĜżƣƠżƣÿƸĪģ-ƸŊŏƫ-ŰĪŧżģǣŏŲÿƣĪŧÿƸĪģƫĪŲƫĪŏŲ-Ŋŏƫ-*Fünf Stücke für Klavier*. See Lim, ܶSģĪŲƸŏƸǣ-£ĪƣłżƣŰÿŲĜĪÿŲģ-£ĪƣłżƣŰŏŲŃ-SģĪŲƸŏƸǣ܉ܷ-ڐڍڎܨڏڍڎ

ڸڼڶ- -RĪĪhĪĪ܉-ܶ¦ĪĜżŲƫŏģĪƣŏŲŃ-¼ƣÿģŏƸŏżŲÿŧßżĜÿŧ-£ƣÿĜƸŏĜĪƫŏŲ żŲƸĪŰƠżƣÿƣǣfżƣĪÿŲrǀƫŏĜ܉ܷ-ړڏڍܨڒڏڍ

As in other cultural contexts, it was above all "multiculturally" competent performers, such as the singer Sin-Cha Hong (b. 1940), who nonetheless enabled substantial forms of intercultural hybrid-ity at an early stage.285

### Sublation of Traditional Practice: Eun-Hye Kim, Jin-Hi Kim

An explicit focus on the idioms of traditional Korean music since the 1990s could refer to nuanced scholarly investigations and publications and, at the same time, increasingly rely on a circle of younger musicians of Korean instruments open to collaboration with composers. These musicians most notably came from the school of Byungki Hwang.286

Eun-Hye Kim's (b. 1956) composition Kayagum (2000) for soprano, 17-string kayagim and changgo (Korean hourglass drum) could hardly have been created without this context. Kim uses the vocal technique of the aristocratic genre kagok (sung by a soprano trained in European vocal technique) as well as two rhythmic models changdan from the well-known improvisation genre sanjo, where the patterns are further developed and varied in density and tempo as in the original sanjo, but in a complex way that is only possible through (Western) compositional and notational practice (Ex. 3.26).The composer, however, changes the rhythmic structure so much that only the basic character but not the shape of the changdan remains recognizable. For example, the strong accent at the beginning of a cycle (hap changdan) largely disappears in Kim's score, so that the sonic result has a high degree of idiomatic resemblance to sanjo and kagok, yet remains clearly recognizable as an independent compositional articulation. The precise and complex notation, which limits the dramatic emphasis of traditional kagok singing and draws more attention to structural detail compared to the improvised sanjo, also contributes to this feature of the music.

Kim's approach shows a focus on "fake traditions" that she shares with several composers of her generation. There is a demonstrative distancing from musical nationalism of any kind. At the same time, it remains unmistakable that we are dealing here with an intense examination of idioms that differ sharply from all facets of European music. Of course, it is only through compositional models from European modernism that one can reach a position from which the decades-old pitfalls of the discourse on "Koreanness"287 can be avoided.

Musicians such as the kayagăm soloist Ji-Young Yi²88 or the taegǔm (bamboo flute) soloist Jeong-Seung Kim have made a decisive contribution to shaping such a journey beyond polarizing extremes with the Contemporary Music Ensemble of Korea. The most renowned composer-performer in this field is the New York-based komun'go (six-string arched zither) player Jin-Hi Kim (b. 1957). In contrast to the aforementioned composers, Kim has undergone extensive training in traditional Korean music and has made a basic principle of East Asian music - albeit in a specifically Korean accentuation - a "trademark" of her playing and composing: "Living Tones,"48° the detailed design of melodic lines in traditional Korean/East Asian music through techniques summarized as ssigimsae:

<sup>285</sup> See ibid., 143.

<sup>286</sup> See especially Killick, Hwang Byungki and Han, Interkulturalität in der neuen Musik Koreas.

<sup>287</sup> See, among others, Lee, "Korean Music Culture" and Howard, "Different Spheres: Perceptions of Traditional Music and Western Music in Korea."

<sup>288</sup> YiJi-Young has proven her exceptional position not least through her systematic study Contemporary Gayageum Notation for Composers, Seoul 2011.

<sup>289</sup> See above all Howard, Creating Korean Music, 143–147.

### */ǡþůƟŦĩڛڗܘژݗܑ-/ƿűܴNǢĩfŎůܒ-Kayagumܒ-SSSܒůůڙږݗܘܱڞږ-*

 żƠǣƣŏŃŊƸ-ޣ-ڌڌڌڎěǣ-/ǀŲܫNǣĪfŏŰ܉-RĪżǀŧ

rǣěŏܫĜǀŧƸǀƣÿŧ-ĜżŰƠżƫŏƸŏżŲÿŧ-ĜżŲĜĪƠƸ-ܶhŏǜŏŲŃ-¼żŲĪƫܷŏƫěÿƫĪģżŲÿƫĪŲƫĪżł-ƸŏŰŏŲŃǝŊŏĜŊŏƫģŏłłĪƣĪŲƸłƣżŰàĪƫƸĪƣŲ-ŰǀƫŏĜ-ܶhŏǜŏŲŃ-¼żŲĪƫܷłǀŲĜƸŏżŲěĪƫƸŏŲÿƫŧżǝ-ƸĪŰƠżǝŊĪƣĪ-ĪŲżǀŃŊƫƠÿĜĪŏƫ- ÿǜÿŏŧÿěŧĪ-ƸżƫŊÿƠĪ-ŲżƸĪƫ܉ǝŊŏĜŊģżĪƫ-ŲżƸǝżƣŤǝĪŧŧŏŲÿƫƸƣŏĜƸ-ƸŏŰĪłƣÿŰĪ܉ƫǀĜŊÿƫŏŲàĪƫƸĪƣŲ-ĜŧÿƫƫŏĜÿŧ-ŰǀƫŏĜ-¼ŊĪƣĪłżƣĪ܉-Sģż-ŲżƸ-ĜżŰƠżƫĪ-ƠŏĪĜĪƫǝŏƸŊěÿƣƫܔƣÿƸŊĪƣ܉-SǿŲŏƫŊ-ƸŊĪǝŊżŧĪ-ƠŏĪĜĪǝŏƸŊżǀƸ- ĜżǀŲƸŏŲŃ- ƸŊĪ ěĪÿƸƫ ÿŲģ- ƸŊĪŲ- S ÿģģ ěÿƣƫ- Ƹż łÿĜŏŧŏƸÿƸĪ- ƠĪƣłżƣŰÿŲĜĪ- ¼ŊĪ- ĪŲƫĪŰěŧĪ ƫżǀŲģ ǵŧżǝƫ- ŊżƣŏǭżŲƸÿŧŧǣǝŏƸŊŏŲÿ-ŊĪƸĪƣżƠŊżŲŏĜ-ŰĪŧżģǣŏŲǝŊŏĜŊ-ĪÿĜŊŏŲģŏǜŏģǀÿŧŏŲƫƸƣǀŰĪŲƸ-ĜƣĪÿƸĪƫŏƸƫżǝŲ- ŲǀÿŲĜĪƫÿŲģƫƠĪĜŏǿĜÿƣƸŏĜǀŧÿƸŏżŲŧŧ-ƸŊŏƫŏƫ-ŊÿƠƠĪŲŏŲŃƫŧżǝŧǣÿŲģǝŏƸŊŏŲÿ-ĜÿŧŰƫƠÿĜĪ-ܶhŏǜŏŲŃ- ¼żŲĪƫܷ-ŲĪĪģ-ƸŏŰĪ-Ƹż-ƸÿŤĪƫŊÿƠĪ-'ǀƣŏŲŃ-ƸŊĪƣĪŊĪÿƣƫÿŧƫżł-Űǣ-ƠŏĪĜĪƫ-SƣĪĜżŰŰĪŲģ-ƸŊÿƸ-ƸŊĪ-ƠĪƣłżƣŰĪƣƫ-ǀƫĪ-ƸŊĪƫĜżƣĪ܉-ŲżƸ-ƸŊĪ-ƠÿƣƸƫ-/ǜĪƣǣ-ƠĪƣłżƣŰĪƣƫŊżǀŧģŧŏƫƸĪŲ-ĜÿƣĪłǀŧŧǣ-Ƹż-ƸŊĪżƸŊĪƣ-ƠÿƣƸƫږڟژ

Although Kim's concept has many essentialist traits and is in some ways reminiscent of the muƪŎěþŦěŻűěĩƟƷƿþŦŎǬþƷŎŻű-ŻŁfŻƢĩþ-ĚǢ-Sƪþűłæƿű-Ʒ'nƢĩĩ-ĢĩěþĢĩƪĩþƢŦŎĩƢ-ݑދܣSSS܌ܤړܒþűĢĩǛĩű-Ʒ'nŻƿł'n- one of Kim's most important methods is the use of traditional Korean performance practice on /ƿƢŻƟĩþű-ŎűƪƷƢƿůĩűƷƪ-ܫþěŻűěĩƟƷĩǡƟŦŎěŎƷŦǢěƢŎƷŎěŎǬĩĢ-ĚǢ-ŻƷ'nĩƢěŻůƟŻƪĩƢƪ-ŻŁ-Ʒ'nĩƪþůĩłĩűĩƢþ-ƷŎŻűƪƿě'nþƪ-ŻűƿfŻŻ-ܣƪĩĩ-ĚĩŦŻǜܤ-ܫ-'nĩƢþƟƟƢŻþě'něƢĩþƷĩƪ-ŎűĢĩƟĩűĢĩűƷůƿƪŎěþŦűþƢƢþƷŎǛĩƪ-Ʒ'nþƷ- ĩŦƿĢĩþűǢ-ŁŻƢů-ŻŁƪƷĩƢĩŻƷǢƟŎűłܒȃĩţĩǢǜŻƢţ-ŎůƟŦĩůĩűƷŎűłfŎůܼƪ-ܹhŎǛŎűł-¼Żűĩƪܺ-Ŏƪ-'nĩƢ-*Nong Rock*-ܤڑژژڐܣ-ŁŻƢ*ţŽůƿű݂łŻ*þűĢƪƷƢŎűłơƿþƢƷĩƷ܌ǜ'nŎě'nǜþƪ-ƢĩþŦŎǬĩĢǜŎƷ'n-Ʒ'nĩfƢŻűŻƪ-¥ƿþƢƷĩƷܒȃĩ- structures of the *kagok*łĩűƢĩ-Ŏű-Ʒ'nĩ-ȀƢƪƷ-ƟþƢƷ-ܣ*Nong*܌ůůܤڏړܫڐݑܒþƢĩ-ƷƢþűƪŁĩƢƢĩĢ-ƢĩŦþƷŎǛĩŦǢ-ƟƢĩܮ ěŎƪĩŦǢ- ƷŻ- Ʒ'nĩ- 'nǢĚƢŎĢ- ŎűƪƷƢƿůĩűƷþƷŎŻű- ܣ/ǡݑܒ ܌ܤږڑܒڒ ǜ'nĩƢĩ- ܹtŻűłܺ- ƢĩŁĩƢƪ- ƷŻ- Ʒ'nĩ ě'nþƢþěƷĩƢŎƪƷŎě- vibrato *űŻűł'nǢŽű*-ܣǛŎĚƢþƷŎűł-ŻƢƪŦŎĢŎűł-ĚǢ-ĢĩƟƢĩƪƪŎűł-Ʒ'nĩƪƷƢŎűłǜŎƷ'n-Ʒ'nĩ-ŦĩǼ Ʒ-'nþűĢþǼ ƷĩƢ-ƟŦƿěţŎűł- ǜŎƷ'n-Ʒ'nĩ-ƢŎł'nƷ-'nþűĢܒܤ-Sű-Ʒ'nĩƪĩěŻűĢƪĩěƷŎŻű-ܣ*Rock*܌ůů܌ܤژڑڐܫڐړݑܒ-Ʒ'nŎƪ-ĚþƪŎěƪƷƢƿěƷƿƢĩ-Ŏƪ-ĢĩǛĩŦŻƟĩĢ-

ڔڎڍܨړڎڍܷ-܉żŲĪƫ¼hŏǜŏŲŃ-ܶ܉fŏŰ- -ڴڽڶ

Example 3.27: Jin-Hi Kim, Nong Rock for komun'go and string quartet, I. Nong, mm. 1–5

Copyright © 1992 by Living Tones, ASCAP

into a more improvisational and energetic situation, with individual instruments, especially the komun'go, now increasingly appearing as soloists. The starting point for the conception of this work were Kim's observations while she participated in a traditional kagok performance:

In a kagok song the kŏmun'go is a leading instrument and accompanies the vocal line together with other instruments, such as the se-piri (double-reed instrument), taegйт (horizontal bamboo flute), tanso (vertical bamboo flute), haegйт (fiddle) and changgo (hour-glass shaped drum). When I played a kagok suite, I had the feeling that the instrumental ensemble and the singer sounded separately. The instrumental parts have their own characteristic and function beyond accompanying the voice, and I thought that it would be wonderful to listen to the instrumental ensemble without the singer. Also, at first I had difficulties in counting the beats, because the komun'go somehow does not directly follow the singer's beats. However, once I had memorized both the rhythmic cycle and the vocal part, I was able to play with the singer. I also heard that the changgo drummer did not keep absolute tempo. He was following the singer, so that the overall time was very flexible. These experiences were an important motivation to compose Nong Rock. 291

Not all types of ssigimsae are recorded in traditional music sources, and Kim's score can therefore be understood to some degree as the translation of an aural practice into a largely fixed form of notation. Naturally, a complementary aspect is even more significant: the performers are repeatedly called upon to listen to one another and to react in the course of the piece, and the imitation of the komun'go techniques regularly extends the conventional string sounds.

The tendency to idiomatically "imitate" a traditionalism reduced to the supposedly "essential" is certainly most evident in Kim's approach. It may also be the distance from the home culture and its politically charged discussions, as in the case of some Chinese immigrant composers, that fosters such fundamental cultural essentialism – at the risk of simplification and stereotyping. Kim's performance experience and practice, however, convincingly counters such skepticism on stage. In addition, the example of Eun-Hye Kim shows that even in today's

<sup>291</sup> Jin-Hi Kim, e-mail to the author, 8/1/2003.

fŻƢĩþ܌ǜŎƷ'nƪƿDzȀěŎĩűƷƪţŎŦŦþűĢűƿþűěĩ܌þ-ܹfŻƢĩþűܺ-ŎĢŎŻůþƷŎěŎƪůěþű-ĚĩƪƿĚŦþƷĩĢ-ܣŎű-Ʒ'nĩ-NĩłĩŦŎþű-ĢŎþŦĩěƷŎěþŦƪĩűƪĩܤ-ŎűűĩǜůƿƪŎěǜŎƷ'nŻƿƷĩǛŻţŎűłþűǢ-ŁŻƢů-ŻŁűþƷŎŻűþŦŎƪƷ-ƟþƷ'nŻƪܒ

### Liberation from Culturalism: Bonu Koo, Kunsu Shim

ȃĩ-ŎűěŻƢƟŻƢþƷŎŻű-ŻŁfŻƢĩþű-ƷƢþĢŎƷŎŻűƪ-ŎűƷŻǜŻƢţƪ-ŻŁ-Ʒ'nĩ-ܹȃŎƢĢ-GĩűĩƢþƷŎŻű܌ܺǜ'nŎě'n-Ŏű-ƟþƢƷ- appears naïve when compared to later generations, was criticized in particular by Bonu Koo ܣĚܒܤڗڔژڐݑܒfŻŻ-ƢĩŠĩěƷĩĢþ-ܹě'nĩþƟ-ŎůŎƷþƷŎŻűܺ-ŻŁfŻƢĩþűůƿƪŎěþŦ-ŎĢŎŻůƪþűĢ-Ʒĩě'nűŎơƿĩƪ܌þƪ-'nĩ-ƟƿƷ- ŎƷ܌þűĢǜþƪĩơƿþŦŦǢƪţĩƟƷŎěþŦ-ŻŁ-Ʒ'nĩ-ܣǜŎĢĩƪƟƢĩþĢܤ-ƷĩűĢĩűěǢ-ƷŻǜþƢĢ-ƷŎůĚƢþŦþűĢ-Ʒĩě'nűŎěþŦ-ŎůŎƷþ-ƷŎŻű-ŻŁfŻƢĩþű-ŎűƪƷƢƿůĩűƷƪ-ĚǢ-/ƿƢŻƟĩþű-ŎűƪƷƢƿůĩűƷƪ-ܣŻƢ-ǛŎěĩ-ǛĩƢƪþڛڢڛܒܤ Koo, who studied with /Ƣ'nþƢĢfþƢţŻƪě'nţþþƷ- Ʒ'nĩ-®ƷƿƷƷłþƢƷěþĢĩůǢ-ŻŁrƿƪŎě- ŁƢŻů- ړڗژڐ- ƷŻ- ڏژژڐþűĢǜŻƢţĩĢþƷ- Ʒ'nĩ- SűƪƷŎƷƿƷĩ-ŁŻƢ-£ƪǢě'nŻþěŻƿƪƷŎěƪþűĢ-/ŦĩěƷƢŻűŎěrƿƪŎě-ܣS£/rܤ-Ŏű-G'nĩűƷ-Ŏű-܌ڏژژڐ-ŻƟƟŻƪĩƪƪƿě'n-Ʒĩűdencies with a psychoacoustically informed structuralism that avoids culturally encoded musical vocabulary by concentrating on the acoustic properties of the sounds employed and their ěŻůƟŻƪŎƷŎŻűþŦŦǢƪƷƢƿěƷƿƢĩĢěŻűǛĩƢłĩűěĩþűĢܘŻƢ-ĢŎǛĩƢłĩűěĩܒ--ǛŎǛŎĢĩǡþůƟŦĩ-ŻŁ-Ʒ'nŎƪ-Ŏƪ-ŻDz ŁĩƢĩĢ- ĚǢ-'nŎƪǜŻƢţ*nah/fern* for *ţþǢþłǁů*þűĢƪƷƢŎűł-ƷƢŎŻ-܋ܤڗژژڐܣ

àŊÿƸ-S-ƸŊĪŲ-ƸżżŤÿƫÿ-ƠżŏŲƸżłģĪƠÿƣƸǀƣĪłżƣ-ĜżŰƠżƫŏŲŃ-ƸŊŏƫǝżƣŤǝÿƫ*sound*-S-ƸƣŏĪģ-ƸżÿŲÿŧǣǭĪ- ÿŲģ-ĜżŰƠÿƣĪ-ƸŊĪ-ƢǀÿŧŏƸǣżłƫżǀŲģ-ƠƣżģǀĜƸŏżŲěǣ-ƸŊĪ-*ŤÿǣÿŃǂŰ* and the Western strings. I found ƸŊÿƸ ÿ- ƠŏǭǭŏĜÿƸż żł- ƸŊĪ ƫƸƣŏŲŃƫ ÿŲģ ÿ- ƠŧǀĜŤĪģ- ƸżŲĪ żł- ƸŊĪ-*ŤÿǣÿŃǂŰ*- ŰżƫƸ ģŏdz łĪƣ ŏŲ- ƸŊĪŏƣ ƣĪŧĪÿƫĪ- ƠŊÿƫĪÿŲģ-ƸŊĪƣĪłżƣĪÿ-ŰǀƸĪģ-ƸżŲĪ-ܠƸŊÿƸ-Ŋÿƫ-ŲżżƣżŲŧǣÿǜĪƣǣƫŊżƣƸƣĪŧĪÿƫĪܡ-ŰÿŤĪƫŏƸ-ƠżƫƫŏěŧĪ-Ƹż- ŧĪƸ-ƸŊĪŰƫżǀŲģ-ŰżƣĪÿŧŏŤĪ-¼Ŋŏƫǝÿƫ-Ŋżǝ-S-ĜżŲĜĪŏǜĪģ-ƸŊĪ-ƸŏƸŧĪ-ܶŲÿŊܕłĪƣŲܷ-ܠĜŧżƫĪܕłÿƣ܈ܡŏƸŏƫ-ƠżƫƫŏěŧĪ- to let the instruments come close to each other, but it is also possible for either side to retain its ŏģĪŲƸŏƸǣhÿƸĪƣŏŲ-ƸŊĪ-ƠŏĪĜĪ-ƸŊŏƫ-ŊÿƠƠĪŲƫǝŊĪŲ-ƸŊĪ-*ŤÿǣÿŃǂŰ* "emancipates" itself from the West-ĪƣŲƫƸƣŏŲŃƫǝŏƸŊ-ƸŊĪƣĪƫǀŧƸżłƫżŰĪƸŊŏŲŃŧŏŤĪÿ-ܶłÿŤĪģ-ƸƣÿģŏƸŏżŲܷڙڟژ

ȃĩ-ĢŎDz ŁĩƢĩűěĩ-Ŏű-Ʒ'nĩ-ĢĩěþǢ-Ɵ'nþƪĩ-ĚĩƷǜĩĩű-Ʒ'nĩ-ƷǜŻ-ŎűƪƷƢƿůĩűƷ-ƷǢƟĩƪ-ŎƪĩǡƟŦŻƢĩĢ-ĚǢfŻŻ-ŎűþƪǢƪ-ƷĩůþƷŎě܌þŦůŻƪƷ-ĢĩƷĩƢůŎűŎƪƷŎě܌ůþűűĩƢþƷ-Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ-Ʒ'nĩǜŻƢţ-ܣ/ǡ܋ܤڗڑܒڒݑܒ-Ʒ'nĩ*ţþǢþłǁů* and Ʒ'nĩ-ƟŎǬǬŎěþƷŻ-ƟŦƿěţĩĢ ƪƷƢŎűłƪ-ƟĩƢŁŻƢů-ĢǢþĢƪ- ŁƢŻůǜ'nŎě'n-ŎűĢŎǛŎĢƿþŦűŻƷĩƪþƢĩ łƢþĢƿþŦŦǢ-ƟƢŻܮ ŦŻűłĩĢ܌-ȀƢƪƷþŦůŻƪƷ-ŎůƟĩƢěĩƟƷŎĚŦǢ-ĚǢ-Ʒ'nĩ*ţþǢþłǁů*-ܣůůܤڔܫڒݑܒþűĢ-Ʒ'nĩű-ĚǢ-Ʒ'nĩ*ţþǢþłǁů*-ܣůůܤژܫږݑܒ- þűĢƪƷƢŎűłƪ-ܣěĩŦŦŻů܌ڏڐݑܒ-ŻƷ'nĩƢƪƷƢŎűłƪ-ŁƢŻůůܒܤڐڐݑܒfŻŻܼƪ-ŎűƷĩűƷŎŻű-ƷŻĩƢþƪĩ-Ʒ'nĩ-ĢŎDz ŁĩƢĩűěĩƪ-Ŏű-Ʒ'nĩ- timbre of the two instrument types at the beginning is apparent, the "identities" of the instruments only gradually surfacing.

ƷþţĩǢ-ƟŻŎűƷ-ŦþƷĩƢ-Ŏű- Ʒ'nĩǜŻƢţ܌þƪ-ĢĩƪěƢŎĚĩĢ-ĚǢfŻŻ܌- Ʒ'nĩ*ţþǢþłǁů* abruptly falls into an ŎĢŎŻůþƷŎě- ƟŦþǢŎűł ƪƷǢŦĩ܌- ŎĢĩűƷŎȀþĚŦĩ- ĚǢ- Ʒ'nĩ ě'nþƢþěƷĩƢŎƪƷŎě ƪƷƢŻűł- ǛŎĚƢþƷŻ *űŻűł'nǢŽű*, which ĩǛŻţĩƪþƪƪŻěŎþƷŎŻűƪǜŎƷ'n- Ʒ'nĩ*shinawi* genre. At the same time, the three string instruments play an almost pitchless pizzicato, hinting at a percussion pattern in the style of the Korean hourglass drum *changgo*܌ƪŻ-Ʒ'nþƷþ-ܹŁþţĩ-ƷƢþĢŎƷŎŻűܺěþű-ŎűĢĩĩĢ-ĚĩĩǡƟĩƢŎĩűěĩĢ-ŁŻƢþ-ŁĩǜƪĩěŻűĢƪ- ܣ/ǡܒܤژڑܒڒݑܒ- SůůĩĢŎþƷĩŦǢþǼ ƷĩƢ- Ʒ'nþƷ܌-'nŻǜĩǛĩƢ܌- Ʒ'nĩ*ţþǢþłǁů*- ƢĩŎűƷƢŻĢƿěĩƪþţŎűĢ-ŻŁƪŻűŎě- ܹ'nŎĢĩܮ þűĢܮƪĩĩţܺǜŎƷ'n-Ʒ'nĩ-Ʒ'nƢĩĩƪƷƢŎűłƪ-Ŏűǜ'nŎě'n-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷƪ-ƷĩűĢ-ƷŻůþƪţ-ŻűĩþűŻƷ'nĩƢܒ

űĩůŎł'nƷþƢłƿĩ-Ʒ'nþƷěŻ'nĩƢĩűěĩþűĢ-ĢŎƪƪŻěŎþƷŎŻűůĩĩƷ-'nĩƢĩ-ŻűþůŎěƢŻܮŦĩǛĩŦܒà'nþƷ-ĢŻůܮ inates is a rationalized, "psychoacoustic" approach (sound production and acoustic envelope, ƟŦƿěţĩĢ-Ǜƪܒ-ĚŻǜĩĢűŻƷĩƪ܌- ŁŻěƿƪ-ŻűƪŎűłŦĩűŻƷĩƪþűĢůŎűŎůþŦ- ŁƢĩơƿĩűěǢ-ĢĩǛŎþƷŎŻűƪ܌ĩƷěܤܒ- Ʒ'nþƷ- aims to avoid any "cultural" association. With this approach, Koo resolves the dilemma of try-Ŏűł- ƷŻ ĩǡƟŦŻƢĩ þůƿƪŎěþŦ- ƟŻƪŎƷŎŻű- ƢĩŦĩǛþűƷ- ƷŻ ěŻűƷĩůƟŻƢþƢǢ fŻƢĩþű ƪŻěŎĩƷǢ ǜŎƷ'nŻƿƷůþţŎűł-

ڐڏڍܹܷ-܉SŰŏƸÿƸŏżŲƫ-ŊĪÿƠ -ܸĪǣżŲģ-ܶ܉fżż- -ڶڽڶ

Example 3.28: Bonu Koo, nahffern for kayagăm (upper system) and string trio, mm. 1–14

Copyright © 1998 by Bonu Koo, Seoul

Example 3.29: Bonu Koo, nah/fern for kayagǔm (upper system) and string trio, mm. 154–160

Copyright © 1998 by Bonu Koo, Seoul

use of an affirmative "traditionalism." The "illumination" of the traditional idiom is perhaps comparable to the role played by marches or folk songs in Gustav Mahler's symphonies, or to the German national anthem in Helmut Lachenmann's Tanzsuite mit Deutschlandlied (1979–80): the presence of the traditional material is perceived, on the one hand, as "foreign matter," as incompatible with the basic tone of the work, but, on the other hand, appears as a result of a consistently developed structural-narrative gesture.

A radicalized variant of this structuralist strategy is the conception of "synthesis by nothing," which may be described as a basis of John Cage's concept of musical interculturality (> II.6).29 On the basis of a sound-silence continuum, the attempt is made here to arrive at a hierarchy-free and "culture-free" form of music by turning to individual sounds and silences as basic elements – an attempt at liberation from conventional concepts of culture as a whole,

<sup>294</sup> Utz, Neue Musik und Interkulturalität, 112, 115.

cello/hören I

l

l

I

IV

III

IV

드

# Copyright © 1997 by Kunsu Shim, Düsseldorf

### 256


I

15

14

where "sounds are nothing but sounds." Undoubtedly, this project brings to the fore the paradoxes that are already apparent in structuralism, as they are only understandable in the light of specific tropes in North American cultural history of the twentieth century.205 The massive implied skepticism toward culturally encoded musical idiomatics, however, has been influential for a great diversity of artistic approaches beyond the immediate American context.

The scores of Kunsu Shim (b. 1958) surely endorse this principle most rigorously. Cello/hören for solo cello (1997), tor example, consists of two sets of 45 minimal actions on two cello strings, each lasting two seconds, followed by six seconds of silence (Ex. 3.30). The player adopts the attitude of a listener; their movements are reduced to the bare essentials and follow an intuitively understandable action notation. In his essay "Richtungslosigkeit oder Denken der unbegrenzten Gegenwart," Shim meanders from Gilles Deleuze to Laozi, from Marina Abramović to the Korean poet Chi-Ha Kim, from Friedrich Nietzsche to John Cage, to outline this presence-focused sound perception.296

Shim's Luftrand (2000) for string trio (Ex. 3.31), which is to be played "placidly, with inner warmth and lightness,"997 consists, like most of the works of this period, of shorter sounds in both sections; sounds lasting three seconds each are followed by long silences (lasting for about six seconds in part A). After tuning down the strings by roughly an octave, part B introduces sound actions of flexible duration that the performers should carry out "with the idea that the sounds occur for themselves in a timeless space: one should hear them instead of playing them."28 Again, the sound events are indicated through action notation, which also specifies fine nuances in the performers' movements.

The strict temporal isolation of sound events stems from Shim's view of the perception of music as analogous to a non-intentional listening to the acoustic environment of the natural world and everyday life. Silence, as the basis of sonority, is particularly important in this respect: it sharpens the perception of the smallest details and can contribute to the experience of the "things of life" beginning to speak. Prerequisites for this are patience, a willingness to play with one's memory and expectation, as well as a curiosity about an "in-between" time-space beyond everyday goal-directed thinking.299

Shim repeatedly refers to the traditional Asian, especially Japanese, theory of art. Among other sources, he quotes an anonymous short poem that also plays a prominent role in a standard text of 1930s nationalist Japanese aestheticism, Jun'ichiro Tanizaki's essay In Praise of Shaaows (In'ei Raisan, 1933); Tanizaki quotes the poem in order to illustrate the fascination of the continuous changing of the elements in nature:

<sup>295</sup> See ibid., 112-116.

<sup>296</sup> See Shim, "Richtungslosigkeit oder Denken der unbegrenzten Gegenwart."

<sup>297</sup> Shim, Luftrand, score, Edition EarPort 2000, 2 ("gelassen, mit innerer wärme und leichtigkeit").

<sup>298</sup> Ibid., 1 ("mit der vorstellung, daß die klänge für sich selbst in einem zeitlosen raum auftauchen: man höre sie, anstatt sie zu spielen").

<sup>299</sup> See Leliwa and Stahl, leise, frei. der komponist kunsu shim.

 żƠǣƣŏŃŊƸ-ޣ-ڌڌڌڎěǣfǀŲƫǀ-®ŊŏŰܕ/ģŏƸŏżŲ-/ÿƣ£żƣƸ܉-'džƫƫĪŧģżƣł

ƸŊĪěƣǀƫŊǝżżģ- ǝĪ-ŃÿƸŊĪƣ-ܨƫƸÿĜŤŏƸ-ƸżŃĪƸŊĪƣ܉- ŏƸ-ŰÿŤĪƫÿ-ŊǀƸܔ- pull it apart, ÿǿĪŧģżŲĜĪ-ŰżƣĪږږڙ

¼Ż-ĚĩƪƿƢĩ܌-R'nŎů-ĢŻĩƪűŻƷƪƷŻƟþƷþűþŕǛĩűþƷƿƢþŦŎƪů܌-ĚƿƷƪĩĩƪűþƷƿƢþŦűĩƪƪþűĢþƢƷŎȀěŎþŦŎƷǢþƪ-ŎűƷĩƢĢĩƟĩűĢĩűƷܗĩǛĩű-Ʒ'nĩ-ŎĢĩþ-ŻŁ-Ʒ'nĩ-ܹþƢƷŎȀěŎþŦܺ-Ŏƪ-ƷŻ-'nŎů܌-ƟþƢþĢŻǡŎěþŦŦǢ܌þ-ĚþƪŎě-ƟƢĩěŻűĢŎƷŎŻűfor imagining the natural.

ŁěŻƿƢƪĩ܌ƪƿě'nþěŻűƷŎűƿƿů-ĚĩƷǜĩĩűƪŻƿűĢþűĢƪŎŦĩűěĩ܌-ĢĩƢŎǛĩĢ-ŁƢŻůűþƷƿƢĩþűĢƪŻƿűĢ- ecology, is strongly oriented toward the legacy of the American avant-garde, as evidenced by fƿűƪƿ-®'nŎůܼƪ-ƟĩƢŁŻƢůþűěĩƪ܌ǜ'nŎě'n- ƷþţĩƿƟĩŦĩůĩűƷƪ-ŻŁ-FŦƿǡƿƪ-ŎűþěŻűěĩűƷƢþƷĩĢ܌-ƢŎƷƿþŦŎƪƷŎě- form. Shim's provocations of perception are constructively condensed with the utmost precision, and in their dramaturgy they pursue precisely conceived experimental arrangements. His ǜŻƢţƪþƢĩþŎůĩĢþƷþěƢŎƷŎěþŦůŻůĩűƷǜ'nĩű-Ʒ'nĩ-ƟĩƢěĩƟƷƿþŦܮűþƢƢþƷŎǛĩůŻĢĩƪ-ŻŁ-'nĩþƢŎűł܌ǜþŎƷŎűł܌-

ڴڴڷ- -1/4ÿŲŏǭÿŤŏ܉-*In Praise of Shadows*܉-ڌڏܨڕڎ-RĪĪ-®ŊŏŰ܉-ܶģŏĪ-ŤǀŲƫƸ-ܨǜĪƣěǀŲģĪŲ-ǀŲģÿǀǵŧƇƫĪŲ܉ܷ-ڍڑ-ܠܶÿƫƸǝĪƣŤܕݎ܉ǭǀƫÿŰ-ŰĪŲŃĪƸƣÿŃĪŲ-ǀŲģǜĪƣěǀŲģĪŲܕݎ܈-ĪŏŲĪƣĪŏƫŏŃŊdžƸƸĪܕݎÿǀłŃĪŧƇƫƸ܈ǝŏĪǭǀǜżƣܕݎǝŏĪģĪƣģŏĪǝŏŧģŲŏƫܷ-®ŊŏŰ-ƢǀżƸĪƫłƣżŰ- ƸŊĪ-GĪƣŰÿŲ-ĪģŏƸŏżŲ-¼ÿŲŏǭÿŤŏ܉-*Lob des Schattens*܉-ܡڐڑܨڏڑ

remembering, and forgetting all come into conflict with one another. His reference to Agnes Martin's structuralist constructivism,30 which is endowed with extremely subtle subversive elements, describes an essential aspect of Shim's own concept of form. An archetype of his composition, as clearly demonstrated in Sense of Measure for four percussionists (1999), is found in a critical moment when the continuum of sounds and silences is abruptly interrupted by a very long pause at a certain point. After this pause, the continuum returns as a reminiscence of earlier material, but now suddenly new sound qualities "come to light." A central theme in Shim's music becomes particularly evident here: waiting and remembering.

### Tendencies in Japanese Music Around the Millenium: Affirmation and Critique of the Essentialist Heritage

In Japan, too, the construction of an essentialist Japanese aesthetic, prominently elaborated, for example, in Toru Takemitsu's middle period, intluenced many Japanese composers, sometimes lacking critical (self-) reflection on this essentialism and the associated culturalist polarization (→ III.4). Takemitsu himself thought deeply about this problem, but after a series of works with Japanese instruments between 1966 and 1973, finally became more and more involved in a tonally or modally oriented idiom, which suggested an institutional gravity of a Western-dominated international music business and discourse – the framework in which Takemitsu's works increasingly appeared (in and outside Japan).302

It is obvious that new Japanese music from the 1960s to the 80s cannot be reduced to a simplistic culturalist essentialism with national or nationalist resonances. Starting with Mayuzumi, a considerable number of Japanese composers have aimed at a transnational (or pan-) Asian idiom, with sources adopted from Southeast Asian musics (Akira Nishimura, Minoru Miki, Yūji Takahashi), while others have turned to particular variants of minimalism (Jō Kondō, Somei Satoh, Mamoru Fujieda). The internationalization of Japanese music was considerably promoted by transnational performance and ensemble activities that involved composers such as Maki Ishii (1936–2003) or Makoto Shinohara (b. 1931) from the 1960s and 70s onwards. It is also evident that since the 1980s and 90s, younger composers in particular increasingly no longer felt a need to face any issues of "Japaneseness" or employ material from traditional music – a kind of international "normalization" (if not standardization) that can be considered a broader characteristic of younger generations, and was discussed already in Chapter I (→ I.2).

Nevertheless, it should be noted that in Japan, since the beginning of the 1990s, a number of composers have still been very active in facing the challenges of the tension between European and Asian music cultures. The range of possibilities to act within this discourse cannot be addressed at adequate length here, and will instead be outlined in a brief comparison between the approaches of Toshio Hosokawa (b. 1955, → IV.1) and Yūji Takahashi (b. 1938, → III.4), whose work is discussed more comprehensively in other chapters of this book. The approaches of Hosokawa and Takahashi appear as two incompatible approaches to intercultural composition, yet in the sounding materiality of their works may not ultimately differ as dramatically as this conceptual divergence might suggest.

In a work representative of Hosokawa's music, such as Landscape V (1993) for sho and string quartet (→ IV.1), one can easily make out the essential characteristics of his composing that tend

<sup>301</sup> See Shim, "die kunst-verbunden und auflösen."

<sup>302</sup> Utz, Neue Musik und Interkulturalität, 282—306.

*/ǡþůƟŦĩڗژܘژݗܑ-1/4Żƪ'nŎŻ-NŻƪŻţþǜþܒ-Koto-Uta for singer and kotoܒ-Ƣĩ'nĩþƢƪþŦűƿůĚĩƢ-ڙ*

 żƠǣƣŏŃŊƸ-ޣ-ڕڕڕڍěǣ-®ĜŊżƸƸdÿƠÿŲ żŰƠÿŲǣhƸģ

ƷŻƪŻŦŎĢŎŁǢ-ŎűƷŻþ-ܹƪƷǢŦĩܺ܋-Ʒ'nĩƪŦŎł'nƷŦǢ-ƢŻƿł'nĩűĩĢƪŻƿűĢƪƿƢŁþěĩ܌-ŁŻƢĩǡþůƟŦĩ܌-ŎƪěŻůƟŻƪĩĢǜŎƷ'n- the concept of *sawari*-ŎűůŎűĢ܌ǜ'nŎě'n-¼þţĩůŎƷƪƿþŦƢĩþĢǢƪŎűłŦĩĢ-ŻƿƷþƪþ-ƟþƢƷŎěƿŦþƢŦǢ-쯳ĩűƷĩŦĩment of traditional Japanese music aesthetics,ڜڙڜ and which can be experienced in the buzzing sounds of the *shamisen* or *biwa*ܗþƷ-Ʒ'nĩƪþůĩ-ƷŎůĩ܌-NŻƪŻţþǜþܼƪƪŻƿűĢ-ȀĩŦĢƪ-ƢĩěþŦŦ-Ʒ'nĩƪƿƪƷþŎűĩĢ *aitake* chords of the *ƪ'nƔ* in *gagaku* ݑދܣSßܒܤڐܒ-R'nþƢƟ-ܹǛĩƢƷŎěþŦܺþěěĩűƷƪþƢĩěƿƷ-ŎűƷŻ-Ʒ'nŎƪƪůŻŻƷ'nƪƿƢ-Łþěĩ܌þűþŦŻłŻƿƪŦǢ-ƷŻ-Ʒ'nĩ-ĚĩþƷƪ-ŻŁ-Ʒ'nĩ-ƔƷƪƿǬƿůŎ-ĢƢƿů-Ŏű*űƔ* theater, in which the *ma*, that is, the gap between silence and sound, materializes clearly before the beat.ڝڙڜ *Ma* exists, as it were, Ŏű-Ʒ'nĩƪƟþěĩ-ĚĩƷǜĩĩű-Ʒ'nĩ-'nþűĢƪþűĢ-Ʒ'nĩ-ĢƢƿůƪƿƢŁþěĩܒ-Sűƪ'nŻƢƷ܌-Ʒ'nĩƢĩŁŻƢĩ܌-NŻƪŻţþǜþþŎůƪ-ƷŻ- ěŻűǛĩǢþűþĚƪƷƢþěƷŎŻű-ŻŁ-ƟƢŎűěŎƟŦĩƪ-ŁƢŻů-ĢŎDz ŁĩƢĩűƷdþƟþűĩƪĩłĩűƢĩƪǜŎƷ'n-Ʒ'nĩ-ŎůƟŦŎěŎƷěŦþŎů-ŻŁ- conveying a "core" of Japanese aesthetics.

Sű-ĢŻŎűłƪŻ܌-NŻƪŻţþǜþܼƪǜŻƢţƪ-ƢĩǛĩþŦþěŻűěĩƟƷ-ŻŁ-ƷŎůĩ-Ʒ'nþƷ-ŎƪěŦĩþƢŦǢ-ĢĩƢŎǛĩĢ-ŁƢŻůdþƟþűĩƪĩ- ƷƢþĢŎƷŎŻűþŦůƿƪŎě܌-ŎűǛŻŦǛŎűłůƿě'n-ܹĚŦþűţܺƪƟþěĩ-ĚĩƷǜĩĩűƪŻƿűĢĩǛĩűƷƪ܌-Ěĩ-Ʒ'nĩǢ-Ŏű-Ʒ'nĩ-ŁŻƢů-ŻŁ- static textures, as in *Landscape V*܌-ŻƢěŻůƟŦĩƷĩƪŎŦĩűěĩܒ-Sű-'nŎƪǜŻƢţƪ-ŁŻƢdþƟþűĩƪĩ-ŎűƪƷƢƿůĩűƷƪ- in particular, this results partly in an overt idiomatic proximity to traditional Japanese genres, which is reinforced through collaboration with Japanese performers. In *Koto-Uta*- ܤژژژڐܣ- ŁŻƢ- voice and *koto*܌- ŁŻƢĩǡþůƟŦĩ܌-NŻƪŻţþǜþĩǡƟŦŎěŎƷŦǢ-ƢĩŁĩƢƪ- ƷŻ- Ʒ'nĩ- ƷƢþĢŎƷŎŻűþŦ*koto-kumiuta* (vocal suites with *koto*þěěŻůƟþűŎůĩűƷܤþűĢ-ƷƢŎĩƪ-ƷŻ-ŎůŎƷþƷĩ-Ʒ'nĩŎƢłĩƪƷƿƢĩƪ܌ƪƿě'nþƪþ-'nĩƷĩƢŻƟ'nŻűǢ-Ěĩܮ

ڷڴڷ- -1/4ÿŤĪŰŏƸƫǀ܉-ܶrǣ-£ĪƣĜĪƠƸŏżŲżł-¼ŏŰĪܷ-®ĪĪrŏǣÿŰżƸż܉-*Klang im Osten*܉-܉ڎڏڍܨڍڏڍ-ǀƣƸ܉-*1/4ŊĪrǀƫŏĜżł-¼ƕƣǀ-¼ÿŤĪŰŏƸƫǀ*, ܉ڌڐڎܨڔڏڎ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-܉ڎڕڎܨڔڔڎÿŲģtǀƫƫ܉-ܶNĪÿƣŏŲŃ-ܸdÿƠÿŲĪƫĪ܉ܹ-ŊĪÿƣŏŲŃ-¼ÿŤĪŰŏƸƫǀܷ

ڸڴڷ- -RĪĪ-NżƫżŤÿǝÿܹƫģŏƫĜǀƫƫŏżŲżł*ma*-ƢǀżƸĪģŏŲ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڐڍڏܨڏڍڏ

tween voice and instrument as well as a loosely bound musical form (Ex. 3.32) that the composer compares to a walk in a Japanese garden, picking up another metaphor favored by Takemitsu. 365

It is striking in Hosokawa's conception how he synthesizes Japanese thinking and contemporary Western aesthetics of composition so easily and without conflict. By contrast, Yuji Takahashi's music, which, as shown in Chapter III.4, has also frequently featured Japanese instruments since the late 1980s, develops more critical and "unruly" methods in order to fundamentally oppose both the essentialist Japanese discourse and the standardizing Western discourse. In his works for reconstructed archaic instruments and for shamisen, for example, Takahashi has recreated an imaginary performance practice or imaginary genres by going back to elemental performance movements and instrumental practices (→ III.4; IV.1).30 In another concept, he has "overlaid" original traditional music, such as the shamisen and vocal parts of Yamada Kengyō's (1757–1817) classic Nasuno (written around 1800) in Nasuno kasane (Nasuno overlaid, 1997) for shamisen/voice, violin, and piano, which is based on Nasuno ryojio (Nasuno surrounded, 1992) for shamisen/voice and computer. Takahashi adds extensions, irritations, and inserts around Yamada's original shamisen and vocal lines, and creates a dense simultaneity full of unexpected interrelations (Ex. 3.33). In the instrumental version, the computer part is transcribed for violin and piano. The piano and violin parts are sometimes connected to the original layer, but also proceed independently at times. Wave-like emergence and retreat create a wider perspective on the original, simultaneously expressing closeness and distance.

As discussed earlier, the conceptualization of one's own cultural difference and uniqueness, including gross exaggeration and self-exoticization, has a long tradition in Japan,307 and seems inextricably linked to the speed and perfection in the appropriation and consolidation of Western models of civilization in Japanese society since the Meiji restoration of 1868 (→ I.2, III.1). 308 Japanese composers were often receptive to these conceptualizations of Japanese culture, so much so that many developed a great interest in Tsunoda Tadanobu's abstruse pseudo-physiological theory of a supposedly "Japanese brain" that would be more receptive to noise-suffused sounds, as represented by the shamisen's or biwa's sawari timbre.399 In Japanese modernity, orthodox Japanese aesthetics, with the key concepts of ma, sawari, sabi, or yugen, were frequently employed by cultural figures (as in the case of Toshirō Mayuzumi, → II.5) for right-wing nationalist political purposes. Takahashi, in contrast, was strongly committed to the left during the 1970s and 80s. As a consequence, he increasingly made social communication the subject of his composing, and developed a fundamental compositional critique of this new Japanese culturalism (→ III.4). Against this background, we can sense that the way in which Japanese composers contributed to the history and techniques of intercultural composition cannot be reduced to simplistic forms of appropriation, but is rather entangled in a web of cross-relations with political and cultural tropes within and beyond discourses on "Japaneseness."

<sup>305</sup> Hosokawa, "Koto-uta." See particularly Takemitsu, "Dream and Number."

<sup>306</sup> See Takahashi, "Two Statements on Music."

<sup>307</sup> See, among others, Hijiya-Kirschnereit, Das Ende der Exotik, 13-16.

<sup>308</sup> See Shimada, Grenzgänge – Fremdgänge.

<sup>309</sup> Tsunoda, The Japanese Brain. See Nuss, "Hearing 'Japanese,' hearing Takemitsu."

Example 3.33: Yūji Takahashi, Nasuno kasane, excerpt

Copyright © 1997 by Yūji Takahashi, Tokyo

### Conclusion: The Limitations of Musical Narrative in an Intercultural Context

The models of intercultural musical narrativity derived from the analytical snapshots discussed here seem generally plausible at the level of the musical "foreground": we hear "gestural types,"10 which are combined to form a chain of (pseudo-)causalities and thus narrative threads in an intercultural field of tension: tone color fusion or divergence, balanced dialogues or independent monologues, harmonization, conflict, or even aggression between the instrumental or sound groups are comprehensible, and are extrapolated to more general cultural dimensions, often due to a bi- or multi-cultural instrumentation. We derive these mean-

<sup>310</sup> See Hatten, Interpreting Musical Gestures and Gritten and King, Music and Gesture.

ings above all from our "extra-opus" experiences with comparable gestural types in other works of Western or Asian music. The extent to which these meanings have to be conveyed or "translated" can hardly be answered in general terms. In our examples, the composers seem to want to ensure that the "gestural" narrative threads that are spun remain largely unequivocal. Yet the objection could be formulated that the semanticizations of musical material through structural abstraction and condensation (Qin Wenchen, Bonu Koo, Eun-Hye Kim), montage (Tan Dun, Zhu Jian'er, Yuji Takahashi), sound-silence enactment (Kunsu Shim, Toshio Hosokawa), or sound-noise boundaries (Chen Xiaoyong) cannot be called interculturally "narrative" to the same extent as purely gestural levels. This is countered by the cognitive principle that listening to music tends to correlate heterogeneous signals in an act of synthesis rather than recognizing a fundamental difference between them. This cognitive reasoning can also be extended to the question of aural-cultural hierarchies: a listening process without the formation of hierarchies between weaker and stronger "signals" is almost unthinkable, a phenomenon that the psychology of music classifies as "salience." While attempts to question cultural hierarchies in most of the works discussed here may be successful at first glance, this cannot prevent the new work, its key events, and its arrangement of sound elements from building new hierarchical environments that obscure the narrative threads of cultural identities to a considerable extent. This raises the question of whether harmonic, tonal, and rhythmic models, which refer to certain listening and intellectual traditions – such as contemporary, classical, traditional or popular Chinese/Korean/Japanese or Western music – do not, in turn, tend to establish new hierarchical discourses of power and exclusion (→ V.3, VI.4).

### 6. The Impact of Traditional Music on Composition in Taiwan since the Postwar Period

### The General Conditions of Contemporary Music in Taiwan and the Implications of its Historical Development since 1950

During the frequently cited "Taiwan Miracle" of the 1970s (called "Ilha Formosa" by Portuguese seafarers in 158341 and shaped by a changeable history since then) a huge wave of Westernization hit Taiwan. In light of the previous modernization during Japanese colonial rule (1895– 1945) and under the Western-oriented Guomindang (Kuomintang; Chinese National Party; KMT) since 1945, this "miracle" is mostly described today as a simple consequence of a state-controlled economic infrastructure.342 Although there was serious conflict after 1945 between new "immigrants" from mainland China and "Taiwanese" (Han Chinese living in Taiwan before 1945 and their descendants) as well as the aboriginal peoples, the pro-Western attitude of the government was never seriously questioned in Taiwan, and was consolidated by Cold War politics in sharp contrast to the mainland's isolationism during the 1960s and early 1970s. As a result, American (pop) culture has been especially influential since the beginning of the postwar pe-

<sup>311</sup> Weggel, Die Geschichte Taiwans, 5.

<sup>312</sup> General representations of Taiwan's history are provided by Weggel, Die Geschichte Taiwans and Rubinstein, Taiwan: A New History.

ƢŎŻĢ܌űŻƷ-ŦĩþƪƷ-ŻǜŎűł-ƷŻ-Ʒ'nĩƪƟĩěŎȀěƪƷƢþŎűĩĢ-ƟŻŦŎƷŎěþŦƪŎƷƿþƷŎŻű-Ŏű-¼þŎǜþű-ĢƿƢŎűł-Ʒ'nĩ- ŻŦĢàþƢ-ƟĩƢŎŻĢݑ܋ŎƷƪ-ĢŎƢĩěƷþűĢ-ŎƢƢĩěŻűěŎŦþĚŦĩěŻűŁƢŻűƷþƷŎŻűǜŎƷ'n-Ʒ'nĩ-ƟŻŦŎƷŎěþŦƪǢƪƷĩů-ŻŁ-Ʒ'nĩůþŎűŦþűĢڜښڜܒ

ȃĩĩůƟ'nþƪŎƪ-ŻűþůþƢţĩƷĩěŻűŻůǢ܌-Ʒ'nĩƿƷŎŦŎƷþƢŎþű-ĢŎƢĩěƷŎŻű-ŻŁłŻǛĩƢűůĩűƷ-ƟŻŦŎěŎĩƪ܌þűĢ- þűþŦŦܮĩűěŻůƟþƪƪŎűł-ĚƿƪŎűĩƪƪܮŦŎţĩ-ŦŎŁĩƪƷǢŦĩ-'nþǛĩƪŻůĩƷŎůĩƪůþĢĩ-ŎƷ-ĢŎDzȀěƿŦƷ-ŁŻƢěŻűƷĩůƟŻƢþƢǢ- þűĢ-ƷƢþĢŎƷŎŻűþŦ-¼þŎǜþűĩƪĩþƢƷƪ-ƷŻ-ƟƢŻƪƟĩƢܒ-ŦƷ'nŻƿł'nþƪůþŦŦűƿůĚĩƢ-ŻŁ-¼þŎǜþűĩƪĩþƢƷŎƪƷƪ-ܫ-ƟƢŎůþƢŎŦǢ-ȀŦů-ĢŎƢĩěƷŻƢƪ-ŦŎţĩ-NŻƿ-NƪŎþŻܮNƪŎĩű-ܣNŻƿåŎþŻǡŎþűܤþűĢhĩĩűł ܣhŎűܤor choreographĩƢƪ ƪƿě'nþƪ hŎű-NǜþŎܮrŎű܌þűĢ- ƷŻ ƪŻůĩ ĩǡƷĩűƷþŦƪŻǜƢŎƷĩƢƪ-ŦŎţĩ-Ż æþűłþűĢ hŎűł-ܫ- 'nþǛĩ- found aƟƟƢĩěŎþƷŎŻű-Żű- Ʒ'nĩ-ŎűƷĩƢűþƷŎŻűþŦ ƪěĩűĩ܌-1/4þŎǜþűĩƪĩþƢƷůƿƪŎě-'nþƪ- Ěĩĩű-Ŏűþ-Ŧĩƪƪ-ƟƢŎǛŎܮ leged situation from the beginning.ڝښڜȃŎƪ-Ŏƪ-ƟþƢƷŦǢ-Ģƿĩ-ƷŻ-Ʒ'nĩ-ĢŎDz ŁĩƢĩűěĩ-ĚĩƷǜĩĩű-ƟĩƢŁŻƢůþűěĩ- ůŻĢĩƪ-ŻŁěŻűƷĩůƟŻƢþƢǢůƿƪŎěþűĢ-ƷƢþĢŎƷŎŻűþŦůƿƪŎě-Ŏű-¼þŎǜþűĩƪĩěƿŦƷƿƢĩ-ܣłĩűƢĩƪ-ŻŁ-ƷƢþĢŎƷŎŻűܮ þŦůƿƪŎě þƢĩůŻƪƷŦǢ- ŻŁ- Nþű- 'nŎűĩƪĩ- ŻƢŎłŎű܌ܤ ǜ'nĩƢĩůƿƪŎě łĩűĩƢþŦŦǢ- 'nþĢ þ ƪŎłűŎȀěþűƷ ƪŻěŎþŦ܌-ƢĩŦŎłŎŻƿƪ܌-ŻƢƪƟŎƢŎƷƿþŦ-ŁƿűěƷŎŻű-Ŏű-ĢþŎŦǢ-ŦŎŁĩܒȃŎƪłþƟþƟƟĩþƢƪ-ƷŻ-ĚĩůŻƢĩƪŎłűŎȀěþűƷ-Ʒ'nþű-Ʒ'nĩ- changes between traditional painting, poetry, or prose and their modern, Westernized successors.

Such considerations may shed light on why the visual arts and literature did not have the ƪþůĩ- ƟƢŻĚŦĩůƪ þƷƷƢþěƷŎűł- ƟƿĚŦŎě- ŎűƷĩƢĩƪƷ þƪ űĩǜ- ¼þŎǜþűĩƪĩ ůƿƪŎě܌- ĢĩƪƟŎƷĩ þ łĩűĩƢþŦ- ƟƿĚ-ŦŎěƪţĩƟƷŎěŎƪů-ƷŻǜþƢĢůŻĢĩƢűŎƪů-Ŏű-Ʒ'nĩþƢƷƪ-ĢƿƢŎűł-Ʒ'nĩ-ƟŻƪƷǜþƢ-ĢĩěþĢĩƪƿƟ-ƷŻ-Ʒ'nĩ-ڏژژڐƪܒ-Ł- course, the "isolation" of new music is a social phenomenon that – partly in a targeted manner but partly also exaggerated in some researchڞښڜ – has shaped the situation of advanced music ǜŻƢŦĢǜŎĢĩƪŎűěĩ-܌ڔړژڐ-ŎűěŦƿĢŎűł-Ŏű-Ʒ'nĩàĩƪƷܒűĢ-ǢĩƷƪŻůĩƪƟĩěŎȀěƪ-ŻŁ-Ʒ'nĩƪŎƷƿþƷŎŻű-Ŏű-¼þŎǜþű- can be pinpointed, which will become evident in the course of the following discussion.


ڷڵڷ- --ƠƣĪĜŏƫĪÿŲÿŧǣƫŏƫżł-¼ÿŏǝÿŲܹƫ-ƠżƫƸǝÿƣ-ĜǀŧƸǀƣÿŧģĪǜĪŧżƠŰĪŲƸÿŲģ-ĜǀŧƸǀƣÿŧŏŲǵŧǀĪŲĜĪƫżŲ-¼ÿŏǝÿŲ-ĜÿŲěĪłżǀŲģŏŲ- àŏŲĜŤŧĪƣ܉-ܶ ǀŧƸǀƣÿŧ-£żŧŏĜǣŏŲ-£żƫƸǝÿƣ-¼ÿŏǝÿŲܷ

ڸڵڷ- -Fżƣ-ŰżģĪƣŲ-¼ÿŏǝÿŲĪƫĪŧŏƸĪƣÿƸǀƣĪÿŲģǿŧŰ܉ƫĪĪrÿƣƸŏŲ܉-*The History of Taiwanese Literature*, Martin, *Taiwanesische Literatur* and Widmer and Wang, *From May Fourth to June Fourth: Fiction and Film in Twentieth Century China*.

ڹڵڷ See Custodis, *Die soziale Isolation der neuen Musik*.

ںڵڷ See Mittler, *Dangerous Tunes*܉-܉ڔڒڎܨڒڎڍ-Nƫǀ܉-ܶ¦ĪƠǀěŧŏĜżł- ŊŏŲÿ܉ܷÿŲģhŏÿż܉-ܶNīƣŏƸÿŃĪƫ-ĜǀŧƸǀƣĪŧƫ-ĪƸ-ƠĪŲƫīĪ-ŰżģĪƣŲĪ܉ܷ-ڌڎڏܨړڌڏ

Table 3.5: Three generation groups of Taiwanese composers

Although the history of Western-influenced Taiwanese music certainly began early in the twentieth century during Japanese colonization, one can probably only speak of "new music" in Taiwan from the late 1960s onwards. 37 Its early key figure is Hsu Tsang-Houei (1929–2001), who returned from his studies in Paris in 1959 and quickly became the defining personality of Taiwanese musical life. In Taiwan, the 1950s were long regarded as a "lost decade" in terms of cultural development which, of course, might also be said of developments in China and other Asian countries to some extent; the polemical term of the "cultural desert" (wenhua shamo) was only later included in the public discussion, 38 but dates from this period.

The activities of Hsu Tsang-Houei, who had studied in Paris with André Jolivet and Olivier Messiaen (1954–59), were decisive for the establishment of a Taiwanese musical identity. Deux Poemes for soprano and chamber ensemble op. 5, which Hsu wrote in 1958 while still studying in Paris, demonstrates this search for an identity between Japanese, Chinese, and French cultures through the use of texts by a Chinese and a Japanese poet (Chen Xiaoxi and Yumiko Takada). The polymodal structure in the second song "En revenant de la mer, hier" (Zuori haishang lai | Kinō umi kara) is, given the tabula rasa in Taiwan's modern music at that point, a daring experiment that can be traced back to Messiaen's polymodal techniques. The soloist is entwined with a fluctuating modal network in the string quartet.

That even such a "sott" modernism led to some small scandals in the early 1960s (see below) demonstrates that Taiwan had, at that point, hardly been touched by modernist thought. Hsu subsequently gave decisive impulses for younger composers by organizing groups of compo-

<sup>317</sup> For basic studies on the history of Taiwan's twentieth-century music, see Mittler, Dangerous Tunes, 187–229, Mittler, "Mirrors and Double Mirrors," Liu, A Critical History of New Music in China, 545–566, Lee, "Taiwan" ["V. Musikpflege seit dem Ende des 19. Jahrhunderts"], Han, "4. Western art music," Chang, "Taiwan 'yinyue' 1945-1995," Hsu, Taiwan yinyueshi chugao, Lü, Taiwan yinyueshi, 149-207, 497-517, and especially Liao, "Héritages culturels et pensée moderne."

<sup>318</sup> The writer Chen Ruoxi coined this polemical formulation in the 1960s before she remigrated to China during the Cultural Revolution (Martin, Taiwanesische Literatur, 55). It was already widespread in the 1950s, however (Winckler, "Cultural Policy in Postwar Taiwan," 31).

ƪĩƢƪ- ĚþƪĩĢ- Żű- Ʒ'nĩ dþƟþűĩƪĩůŻĢĩŦ þűĢ ĩƪƷþĚŦŎƪ'nŎűł þ- ¼þŎǜþűĩƪĩ ĩƷ'nűŻůƿƪŎěŻŦŻłǢܒȃĩ ěŻů-ƟŻƪĩƢƪܼłƢŻƿƟƪǜĩƢĩ-ĚþƪĩĢ-ŻűƪŎůŎŦþƢþŦŦŎþűěĩƪ-ŻŁ-ǢŻƿűł-¼þŎǜþűĩƪĩ-ƟþŎűƷĩƢƪƪƿě'nþƪ-*Dongfang huahui*-ܣ/þƪƷĩƢű-£þŎűƷĩƢƪܤ-ŻƢ*àƿ-Ǣƿĩ-'nƿþ'nƿŎ-*ܣ£þŎűƷĩƢƪ-ŻŁrþǢܒܤȃĩůŻƪƷ-ŎůƟŻƢƷþűƷěŻůƟŻƪĩƢƪܼgroups emerging in this period were *ð'nŎ-ǢƿĩǡŎþŻ-ŠŎ*-ܣ ŻůƟŻƪĩƢƪܼ-FŻƢƿů܌-܌ܤڑږܫڐڕژڐ*àƿ-Ƣĩű-Ǣƿĩji*-ܣFŎǛĩܮrþűrƿƪŎě-GƢŻƿƟ܌- ܌ܤږڕܫڔڕژڐ*åŎű-Ǣƿĩě'nƿ-ǬŻƿ*-ܣrƿƪŎě-£ƢĩůŎĩƢĩ܌- ܌ܤڑڕܫڐڕژڐ*dŎþűłŦþű-ǢƿĩŠŎ* ܣdŎþűłŦþűłrƿƪŎě-GƢŻƿƟ܌- ܌ܤڔڕܫڒڕژڐþűĢ*åŎþűłƢŎţƿŎ-Ǣƿĩ'nƿŎ*-ܣRƿűǴŦŻǜĩƢ-GƢŻƿƟ܌- ܒܤڐږܫڗڕژڐ-ĚŻǛĩ- þŦŦ܌-Ʒ'nĩ- ŻůƟŻƪĩƢƪܼ-FŻƢƿůĩűþĚŦĩĢ-ǢŻƿűłĩƢěŻůƟŻƪĩƢƪ-ƷŻ-ƟƢĩƪĩűƷ-Ʒ'nĩŎƢǜŻƢţƪ-ƷŻþ-ŦŎůŎƷĩĢ-ƟƿĚܮ ŦŎě-Ŏű- Ʒ'nĩ- ڏڕژڐƪþűĢĩþƢŦǢ- ڏږژڐƪܒȃĩůƿƪŎěěŻůƟŻƪĩĢ܌-'nŻǜĩǛĩƢ܌ǜþƪƪƷŎŦŦ-ŦþƢłĩŦǢ-ĢĩȀűĩĢ-ĚǢþ- Romantic orchestral and song style seasoned with pentatonicism, oriented toward the prewar ƪƷǢŦĩƪ-ŻŁěŻůƟŻƪĩƢƪƪƿě'nþƪåŎþŻæŻƿůĩŎ-ܤڏړژڐܫړڗڗڐܣþűĢ-NƿþűłðŎ-܌ܤڗڒژڐܫړڏژڐܣǜ'nŎě'n-'nþĢ-Ěĩĩű- ܹŎůƟŻƢƷĩĢܺ-ĚǢůþŎűŦþűĢ- 'nŎűĩƪĩůƿƪŎěŎþűƪ-Ŏű-ڢښڜܒژړژڐ

NŻǜƪƿƪƷþŎűþĚŦĩ- Ʒ'nĩþƢƷŎƪƷŎěþűĢ-ŎűƪƷŎƷƿƷŎŻűþŦ-ĢĩǛĩŦŻƟůĩűƷ-ŻŁ- Ʒ'nĩ- ڏڕژڐƪǜþƪěþű-ĚĩůĩþƪƿƢĩĢ- ĚǢ þ ěŻůƟþƢŎƪŻű- ƷŻ ǜŻƢţƪ- ŻŁ- Ʒ'nĩ ĩþƢŦǢ- ڏږژڐƪܒ- /Dz ŁŻƢƷƪ- ƷŻ- ŁŻƢłĩ- ŦŎűţƪ ǜŎƷ'n- ŦŻěþŦ- ƷƢþĢŎܮ ƷŎŻűƪ-ƟŦþǢĩĢþű-ŎűěƢĩþƪŎűłŦǢ-ŎůƟŻƢƷþűƷ-ƟþƢƷ-ĢƿƢŎűł- Ʒ'nĩ- ڏڕژڐƪܒű-ŎůƟŻƢƷþűƷ-ƟƢĩƢĩơƿŎƪŎƷĩ- ŁŻƢ- Ʒ'nĩƪĩűĩǜ-ŦŎűţƪǜþƪ-Ʒ'nĩ-ȀĩŦĢǜŻƢţěŻűĢƿěƷĩĢ-ĚǢ-Ʒ'nĩěŻůƟŻƪĩƢƪ-Nƪƿ-¼ƪþűłܮNŻƿĩŎþűĢ-®'nŎàĩŎܮ hŎþűł-ܤږږژڐܫڔڑژڐܣ-Ŏű- ܒږڕܘڕڕژڐȃĩŎƢ ǜŻƢţ ǜþƪ- ƟþƢƷ- ŻŁ- Ʒ'nĩ*rŎűłĩ ěþŎŠŎ- ǢƿűĢŻűł*-ܣܹFŻŦţ- ®Żűł- ŻŦ-ŦĩěƷŎŻűrŻǛĩůĩűƷܺ܌ܤǜ'nŎě'n-ƟŦþěĩĢþƪƟĩěŎþŦ-ŁŻěƿƪ-Żű-Ʒ'nĩůƿƪŎě-ŻŁ-ŎűĢŎłĩűŻƿƪ-ƟĩŻƟŦĩƪ-ŁŻƢ-Ʒ'nĩ- ȀƢƪƷ- ƷŎůĩ ƪŎűěĩ dþƟþűĩƪĩ ěŻŦŻűŎþŦ- ƢƿŦĩܒ-Nƪƿܼƪ-ŻűłŻŎűł-ŎűǴŦƿĩűěĩþƪþ- Ʒĩþě'nĩƢþƷ- Ʒ'nĩtþƷŎŻűþŦ- ¼þŎǜþűtŻƢůþŦ-ÃűŎǛĩƢƪŎƷǢ-ܣ*Guoli Shifan Daxue*ܤþűĢ-®'nŎܼƪ- ŁŻƿűĢŎűł-ŻŁ- Ʒ'nĩ*åŎþűĢþŎ-ǢƿĩŁƿ* (Mo-ĢĩƢűrƿƪŎěƿƢĩþƿܤ-Ŏű-܌ڒږژڐǜ'nŎě'nþŎůĩĢ-ƷŻěŻůĚŎűĩ-ƷƢþĢŎƷŎŻűþŦþűĢěŻűƷĩůƟŻƢþƢǢůƿƪŎě܌ǜĩƢĩ- crucial for promoting these activities further.ڙڛڜȃĩ*åŎþűĢþŎ-ǢƿĩŁƿ* – established while Shi was ěŻűĢƿěƷŻƢ-ŻŁ-Ʒ'nĩ-¼þŎǜþű-£ƢŻǛŎűěŎþŦ-®ǢůƟ'nŻűǢ-Ƣě'nĩƪƷƢþ-ܣ*1/4þŎǜþűƪ'nĩűł-ŠŎþŻǡŎþűł-ǢƿĩƷƿþű*ܤþűĢ- űþůĩĢþǼ ƷĩƢ-Ʒ'nĩ-ŁþůŻƿƪůƿƪŎě-ĢĩƟþƢƷůĩűƷþƷ-Ʒ'nĩ- 'nŎűĩƪĩ-ŎůƟĩƢŎþŦěŻƿƢƷ-ŻŁ-Ʒ'nĩ-Nþű-'ǢűþƪƷǢ- ڕڏڑܣ- /ڏڑڑܫ- /ܤ-ܫĩǡƟŦŎěŎƷŦǢĩűěŻƿƢþłĩĢ- 'nŎűĩƪĩþűĢ-¼þŎǜþűĩƪĩ-ƷŻ-ŎűěŻƢƟŻƢþƷĩůƿƪŎěþŦ-ƷƢþĢŎܮ tions into the compositional process. Although the music performed by the *åŎþűĢþŎ-ǢƿĩŁƿ* probably did not depart much from the more conservative style of the time,ښڛڜ it had some impact ŻűƪƿĚƪĩơƿĩűƷ-ĢĩǛĩŦŻƟůĩűƷƪ܋-ŎƷƪĩƢǛĩĢþƪ-Żűĩ-ŻŁ-Ʒ'nĩƪƷþƢƷŎűł-ƟŻŎűƷƪ-ŁŻƢ-Ʒ'nĩě'nŻƢĩŻłƢþƟ'nĩƢhŎű- NǜþŎܮrŎű-ܣĚܤږړژڐݑܒ-ƷŻ-ŁŻƿűĢ-'nŎƪ-Ģþűěĩ-ƷƢŻƿƟĩ- ŦŻƿĢ-GþƷĩȃĩþƷĩƢ-ܣ*Yunmen wuji*ܤþƷ-Ʒ'nĩĩűĢ-ŻŁ- ڛڛڜܒڒږژڐ In the following years, the dance productions of this group made it possible for a small þǛþűƷܮłþƢĢĩþƢŻƿűĢěŻůƟŻƪĩƢƪƪƿě'nþƪhĩĩ-¼þŎܮNƪŎþűł-ܤړڐڏڑܫڐړژڐܣþűĢ-Nƪƿ-£Żܮæƿű-ܣĚܤړړژڐݑܒ-ƷŻ- ƟĩƢŁŻƢů-ŦþƢłĩƢܮƪěþŦĩǜŻƢţƪþƷþ-ƷŎůĩǜ'nĩűƪƿě'n-ŻƟƟŻƢƷƿűŎƷŎĩƪǜĩƢĩƪƷŎŦŦ-ǛĩƢǢ-ŦŎůŎƷĩĢܒ

ȃĩůŻƢĩĩǡƟĩƢŎůĩűƷþŦƪƟŎƢŎƷ-ŻŁ-Ʒ'nŎƪ-ƟĩƢŎŻĢǜþƪƪƿƟƟŻƢƷĩĢűŻƷ-ŦĩþƪƷ-ĚǢ-Ʒ'nĩ-ƢŎƪĩ-ŻŁ-*Xiangtu wenxue*-ܣtþƷŎǛŎƪƷhŎƷĩƢþƷƿƢĩڜڛڜ܌ܤǜ'nŎě'něþŦŦĩĢ-ŁŻƢþ-ƢĩǴŦĩěƷŎŻű-Żűþ-ŦŻěþŦ-¼þŎǜþűĩƪĩ-ŎĢĩűƷŎƷǢ-ŁŻŦŦŻǜܮ

ڽڵڷ- - ŊÿŲŃ܉-ܶ1/4ÿŏǝÿŲ-ܸǢŏÿŲģÿŏǣŏŲǣǀĪܹ-܉ڑڕڕڍܨڑڐڕڍܷ-ڌڕڏ-ŲåŏÿżæżǀŰĪŏÿŲģ-NǀÿŲŃðŏƫĪĪrĪŧǜŏŲÿŲģ ÿŏ܉-*Rhapsody*  ڑڍڍܨڎڕ-܉*Red in*

ڴڶڷ- -RŊŏàĪŏܫhŏÿŲŃƣĪƸǀƣŲĪģ-Ƹż-¼ÿŏǝÿŲŏŲ-ڒڒڕڍłƣżŰƫƸǀģŏĪƫŏŲßŏĪŲŲÿÿŲģ-®ƸǀƸƸŃÿƣƸ-NƫǀܹƫÿŲģ-®Ŋŏܹƫ-Īdz łżƣƸƫ-Ƹżģż-ĜǀŰĪŲƸ- ¼ÿŏǝÿŲĪƫĪ łżŧŤ ƫżŲŃƫ ǝĪƣĪ ŏŲŏƸŏÿŧŧǣ ƫǀƠƠżƣƸĪģ- ƠƣŏǜÿƸĪŧǣěǣ- FÿŲ- ŊŏܫæǀŲ܉ ÿƫ- ƸŊĪ- ŃżǜĪƣŲŰĪŲƸ- Ŋÿģ ƣĪܫ fused to fund the project (Mittler, *Dangerous Tunes*܉- ܡڎڕڍ- Nƫǀ ÿŲģ- ®Ŋŏ łżǀŲģĪģ- ƸŊĪ- ®żĜŏĪƸǣ łżƣ- ŊŏŲĪƫĪ- FżŧŤ- rǀƫŏĜ-¦ĪƫĪÿƣĜŊ-ܠ*ðŊżŲŃŃǀż-ŰŏŲǭǀǣŏŲǣǀĪǣÿŲšŏǀƫŊĪ*ܡŏŲ-ړڒڕڍÿŲģƫǀěƫĪƢǀĪŲƸŧǣ-ĜżŧŧĪĜƸĪģ-ŰżƣĪ-ƸŊÿŲ-ڌڌڌ܉ڎƫżŲŃƫ- ܠ ŊÿŲŃ܉-ܶ1/4ÿŏǝÿŲ-ܸǢŏÿŲģÿŏǣŏŲǣǀĪܹ-܉ڑڕڕڍܨڑڐڕڍܷ-ܡڑڕڏܨڐڕڏ--ĜżǀƣƫĪŏŲ-ĪƸŊŲżŰǀƫŏĜżŧżŃǣǝÿƫǿƣƫƸ-ĪƫƸÿěŧŏƫŊĪģÿƸ- 'żŲŃŊÿŏ-ÃŲŏǜĪƣƫŏƸǣŏŲ-ڍړڕڍ

ڵڶڷ Criticism of the *Xiandai yuefu*ܹƫǿƣƫƸ-ĜżŲĜĪƣƸŏŲdǀŧǣ-ڏړڕڍŏƫ-ŰĪŲƸŏżŲĪģŏŲæżǀ܉-ܶ1/4ÿŏǝÿŲšŏŲƫÿŲƫŊŏ-ŲŏÿŲ-ܸǢŏÿŲģÿŏ- ǣŏŲǣǀĪܹłÿǭŊÿŲ܉ܷ-ڐڕÿŲģrŏƸƸŧĪƣ܉-*Dangerous Tunes*܉-ڎڌڎܨڍڌڎæżǀÿŧƫż-ƠƣżǜŏģĪƫ-ŃĪŲĪƣÿŧŏŲłżƣŰÿƸŏżŲżŲ-ƸŊĪ-*Xiandai yuefu* ܠܶ1/4ÿŏǝÿŲšŏŲƫÿŲƫŊŏ-ŲŏÿŲ-ܸǢŏÿŲģÿŏǣŏŲǣǀĪܹłÿǭŊÿŲ܉ܷ-ܡڎڌڍܨڍڕ

ڑڕڏܷ-܉ڑڕڕڍܨڑڐڕڍܹǣŏŲǣǀĪ-ǢŏÿŲģÿŏ-ܸÿŏǝÿŲ¼-ܶ܉ŊÿŲŃ - -ڶڶڷ

ڷڶڷ See Martin, *Taiwanesische Literatur*.

ing the "Nixon Shock" in 1971 and the exclusion of Taiwan from the United Nations. For this reason, a distinction between Western and Chinese cultural models was increasingly sought. Writers such as Wang Tuoh (1944–2016) and Huang Chun-Ming (b. 1935) opposed the repression of the authoritarian KMT and developed an aesthetic alternative to the conservative "Cultural Renewal Movement" (Wenhua fuxing yundong) of the KMT government from 1966 and the restrictive cultural policy of the 1960s. Yet other groups, such as the Cloud Gate Dance Theater, tried to counteract polarization by highlighting similarities between archaic Chinese and contemporary Taiwanese culture.

In the realm of art music, however, it seems that the impact of the xiangtu movement was not as marked as is sometimes assumed. References to "indigenous" Taiwanese culture (as opposed to Mainland Chinese and Western culture) in compositions dating from the 1970s are very rare. Instead, there are frequent references to the legacy of (mainland) Chinese culture, most often to its much-revered archaic periods (for example, in Hsu Po-Yun's Han shi or in Lee Tai-Hsiang's Da shenji, see below). This tendency was partly due to the specific topics selected by Cloud Gate and other performance groups, which did, however, occasionally include more specific Taiwanese themes as well. 24 On the threshold of songwriter and pop culture, by contrast, "root-seeking" led to a new wave of songs sung in the Taiwanese dialect that became very popular.

In any case, music in Taiwan was certainly a political matter during the 1970s. In particular, the use of folk songs from both China (suspected of communist sympathy) and Taiwan (interpretable as support for Taiwanese independence) was viewed with suspicion by the powerful. The Yayin opera group, which had set itself the goal of reforming Beijing Opera, was accused of imitating the model works of the Chinese Cultural Revolution.355 But the nervous energy that was set free at that time (peaking after the Formosa incident in 197936) and the increasingly open criticism of authoritarian governmental rule had some effects on contemporary music. Among the results were the performance series New Environment of Asian Music (Yazhou yinyue de xin huanjing) by Hsu Po-Yun in 1977, and the Tradition and Prospect concert series (Chuantong yu zhanwang, 1978–90) organized by Lee Tai-Hsiang.

The establishment of state and private music institutions in the 1980s was a sign of increasing cultural responsibility and prosperity, which, however, did not necessarily improve the situation of new music immediately. These included the State Council of Cultural Planning and Development (CCPD, 1982; today Council for Cultural Affairs;30 cultural agendas had previously been taken over by the Ministry of Education), the National Institute of the Arts (Guoli yishu xueyuan, 1982; today: Taibei yishu daxue/Taipei National University of the National Cultural Center (1987), and the Taiwanese section of the ISCM (International Society for Contemporary Music), founded in 1989 by Pan Hwang-Long (b. 1945, see below). The National

<sup>324</sup> Chang, "Taiwan 'xiandai yinyue' 1945—1995," 394—395.

<sup>325</sup> Mittler, Dangerous Tunes, 191.

<sup>326</sup> The "Formosa incident," also known as the "Kaohsiung incident," refers to events that occurred in 1979 as a result of a demonstration by the non-partisan political opposition (dangwai). Activists from the dangwai- founded Formosa magazine in May 1979 and demonstrated against martial law and human rights violations on International Human Rights Day (10/12/1979). Three days after this demonstration, 152 exponents of the dangwai movement were arrested, including many of the later leaders of the DPP (Democratic Progressive Party); see Weggel, Die Geschichte Taiwans 205–207 as well as Reinhardt, Politische Opposition in Taiwan 1947–1988.

<sup>327</sup> The Council of Cultural Affairs consists of a number of foundations, of which the National Culture and Arts Foundation (Guojia wenhua yishu jijinhui) is the most important.

 ŻűěĩƢƷ-NþŦŦþűĢ-Ʒ'nĩtþƷŎŻűþŦȃĩþƷĩƢ܌-ƢĩƟƢĩƪĩűƷþƷŎǛĩűĩǜ-ĚƿŎŦĢŎűłƪ-Ŏű-ƷƢþĢŎƷŎŻűþŦ- 'nŎűĩƪĩþƢě'nŎƷĩěƷƿƢĩ-Ŏű-Ʒ'nĩěĩűƷĩƢ-ŻŁ-Ʒ'nĩěþƟŎƷþŦ-¼þŎƟĩŎ܌ǜĩƢĩ-ŻƟĩűĩĢ-Ŏű-܌ږڗژڐþŦƷ'nŻƿł'nþƷ-ȀƢƪƷ-Ʒ'nĩǢ-ĢŎĢűŻƷ- ƟƢŻǛŎĢĩƪƿDzȀěŎĩűƷ-ƟƢŻłƢþůůŎűł-ŻƢþƿĢŎĩűěĩþƷƷƢþěƷŎŻűƪڡڛڜܒ While new radio programs and a growing number of composition commissions were beginning to stabilize the situation of new þƢƷůƿƪŎě-Ŏű-Ʒ'nĩ-ŦþƷĩ-ڏڗژڐƪ܌-ŎƷ-ƢĩůþŎűĩĢƪŻěŎþŦŦǢůþƢłŎűþŦŎǬĩĢܒ

### Problems of Taiwanese Cultural Identity and the Two-Pronged Discourse of Traditional and Contemporary Music

ȃŎƪ-ĚƢŎĩŁ-'nŎƪƷŻƢŎěþŦƪƿƢǛĩǢƪ'nŻǜƪ-Ʒ'nþƷ-Ʒ'nĩơƿĩƪƷŎŻű-ŻŁěƿŦƷƿƢþŦ-ŎĢĩűƷŎƷǢ-'nþƪ-ƟŦþǢĩĢþű-ŎůƟŻƢƷþűƷ- ƟþƢƷ- ŁŻƢůŻƪƷ- ¼þŎǜþűĩƪĩ þƢƷŎƪƷƪ- ŁƢŻů- Ʒ'nĩ- ĚĩłŎűűŎűł܌ þűĢ- Ʒ'nþƷ-ŎƷ- 'nþƪ- ĢŻűĩ ƪŻ-Ŏű- ǛþƢŎŻƿƪ- ĢŎƪ-ƷŎűěƷǜþǢƪܒȃŎƪơƿĩƪƷŎŻű-Ŏƪě'nþƢłĩĢǜŎƷ'n-ƷĩűƪŎŻűƪ-ŁŻƢþűƿůĚĩƢ-ŻŁ-ƢĩþƪŻűƪܒű-Ʒ'nĩ-Żűĩ-'nþűĢ܌- Ʒ'nĩǢ-ƢĩƪƿŦƷ-ŁƢŻů-Ʒ'nĩůŎűłŦŎűł-ŻŁĩƷ'nűŎěþűĢƪŻěŎþŦłƢŻƿƟƪ-Ŏű-¼þŎǜþű܌-ŎűěŦƿĢŎűł-Ʒ'nĩþĚŻƢŎłŎűþŦ- peoples of Austronesian origin (*ǢƿþűǬ'nƿůŎű*܌ܤ- Ʒ'nĩ- ܹ¼þŎǜþűĩƪĩܺ-ܣNþű- ƟĩŻƟŦĩǜ'nŻ-ŦŎǛĩĢ-Ŏű- ¼þŎǜþű-ĚĩŁŻƢĩ-܌ܤڔړژڐ-Ʒ'nĩ-ܹ 'nŎűĩƪĩܺ-ܣrþŎűŦþűĢ- 'nŎűĩƪĩǜ'nŻůŻǛĩĢ-ƷŻ-¼þŎǜþű-ŁƢŻů-ڔړژڐ-Żű܌þ-ŦþƢłĩ- űƿůĚĩƢ-ŻŁ-Ʒ'nĩů-ܫþƢŻƿűĢ-ŻűĩůŎŦŦŎŻű-ܫ-Ŏű-܌ژړژڐþŦŻűłǜŎƷ'n- 'nŎþűłfþŎܮ 'nĩţܼƪ-ƷƢŻŻƟƪ܌ǜ'nŻ-ǴŦĩĢ- ěŻůůƿűŎƪƷ-ƷƢŻŻƟƪþǼ ƷĩƢ-Ʒ'nĩŎƢ-ĢĩŁĩþƷ-Ŏű-Ʒ'nĩěŎǛŎŦǜþƢ܌ܤþűĢ-Ʒ'nĩ-Nþţţþ-ܣ*Kejia*ܒܤà'nŎŦĩ-Ʒ'nĩƪƟĩěŎȀě- ŎĢĩűƷŎƷǢþűĢƿűŎơƿĩ-ƷƢþŎƷƪ-ŻŁ-Ʒ'nĩþĚŻƢŎłŎűþŦþűĢ-NþţţþůŎűŻƢŎƷŎĩƪ-ܣŻǼ ƷĩűůŻƢĩ-Ŏű-Ʒ'nĩŻƢǢ-Ʒ'nþű- Ŏű-ŁþěƷܤ-'nþƪ-ĚĩěŻůĩ-ŦþƢłĩŦǢþěěĩƟƷĩĢ܌-Ʒ'nĩěŻűǴŦŎěƷ-ĚĩƷǜĩĩű-ܹ¼þŎǜþűĩƪĩܺþűĢ-ܹ 'nŎűĩƪĩܺłƢŻƿƟƪ-Ŏƪ- ƿűƢĩƪŻŦǛĩĢ܌-ĢþƷŎűł-Ěþěţ-ƷŻ-Ʒ'nĩ-ܹܮڗڑڑŎűěŎĢĩűƷܺ-ŻŁ-܌ږړژڐ-Ŏűǜ'nŎě'nůŻƢĩ-Ʒ'nþű-ڏڏڏ܌ڏڐűþƷŎǛĩ-¼þŎǜþűĩƪĩǜĩƢĩţŎŦŦĩĢ-ĚǢ- 'nŎűĩƪĩ-ŁŻƢěĩƪڢڛڜܒ Subsequently, there have been decades of authoritarian ƢĩƟƢĩƪƪŎŻű-ŻŁþƪƟĩěŎȀě-¼þŎǜþűĩƪĩěƿŦƷƿƢĩþűĢ-Ŧþűłƿþłĩ-ĚǢ-Ʒ'nĩfr¼łŻǛĩƢűůĩűƷ܌ǜ'nŎě'n-ƢƿŦĩĢ- ƪŻŦĩŦǢ-ĚǢ-ܹůþƢƷŎþŦ-Ŧþǜܺ-ŁŻƢ-ڗڒ-ǢĩþƢƪ܌-ŁƢŻů-ڗڐrþǢ-ژړژڐ-ƷŻ-ړڐdƿŦǢ-ܒږڗژڐ-ŦƷ'nŻƿł'n-Ʒ'nĩƢĩƪĩĩů-ƷŻ-Ěĩ- ƪŎłűƪ-ŻŁ-ƢĩěŻűěŎŦŎþƷŎŻű܌-Ʒ'nŎƪěŻűǴŦŎěƷƪƷŎŦŦěƿƷƪþěƢŻƪƪ-¼þŎǜþűĩƪĩƪŻěŎĩƷǢ-ƷŻĢþǢþűĢěŻűƪŎĢĩƢþĚŦǢ- ěŻůƟŦŎěþƷĩƪ-Ʒ'nĩơƿĩƪƷŎŻű-ŻŁ-¼þŎǜþűĩƪĩ-ŎĢĩűƷŎƷǢ܌-ƟƢŎůþƢŎŦǢ-Ěĩěþƿƪĩ-ŻŁ-ŎƷƪ-ŎűƪƷƢƿůĩűƷþŦŎǬþƷŎŻű- ĚǢ-ƟŻŦŎƷŎěþŦ-ƟþƢƷŎĩƪ܌-ƢĩłƿŦþƢŦǢ-ŁƿĩŦĩĢ-ĚǢ-Ʒ'nĩůþŎűŦþűĢܼƪ-ܹűĩܮ 'nŎűþ-ƟŻŦŎěǢܺþűĢ-Ʒ'nƢĩþƷƪ-ƷŻ-Żěěƿ-ƟǢ-¼þŎǜþű-ĚǢůŎŦŎƷþƢǢ-ŁŻƢěĩܒ

SƷ-Ŏƪ ěŦĩþƢ- Ʒ'nþƷ þłþŎűƪƷ- Ʒ'nŎƪ- ĚþěţłƢŻƿűĢ܌ þűǢŻűĩ ǜ'nŻ ƪĩĩţƪ- ƷŻ- ĢĩȀűĩ- ܹƷƢþĢŎƷŎŻűþŦůƿƪŎěܺĩűěŻƿűƷĩƢƪ-ĢŎDzȀěƿŦƷŎĩƪܒ-ǛĩƢǛŎĩǜƪůþţĩ-ŎƷěŦĩþƢ-Ʒ'nþƷ܌ǜŎƷ'n-Ʒ'nĩĩǡěĩƟƷŎŻű-ŻŁ-Ʒ'nĩůƿƪŎě-ŻŁ-Ʒ'nĩ- ŎűĢŎłĩűŻƿƪłƢŻƿƟƪ܌ǜ'nŎě'n-'nþƪěþƿƪĩĢþƪƷŎƢ-Ŏű-Ʒ'nĩ-ȀĩŦĢ-ŻŁĩƷ'nűŻůƿƪŎěŻŦŻłǢþƷ-ŦĩþƪƷƪŎűěĩ-Ʒ'nĩ- ěŻƟǢƢŎł'nƷ-ŦþǜƪƿŎƷþłþŎűƪƷ-Ʒ'nĩ-ƟŻƟłƢŻƿƟ-/űŎłůþڙڜڜ܌þŦŦůƿƪŎěłĩűƢĩƪ-ƟƢþěƷŎěĩĢ-Ŏű-¼þŎǜþű-'nþǛĩ- come from mainland China at some point over the centuries. ŁěŻƿƢƪĩ܌łĩűƢĩƪƪƿě'nþƪ*beiguan*, *nanguan*, *gezaixi*-ܣ1/4þŎǜþűĩƪĩ-ƟĩƢþ܌ܤ-ŻƢ*jingju*-ܣĩŎŠŎűł-ƟĩƢþܤ-'nþǛĩ-ĢĩǛĩŦŻƟĩĢơƿŎƷĩ-ĢŎDz ŁĩƢĩűƷŦǢ- ŁƢŻů- Ʒ'nĩŎƢůþŎűŦþűĢěŻƿűƷĩƢƟþƢƷƪ-ĢƿƢŎűł- Ʒ'nĩ-ƟþƪƷ-ڏږ-ǢĩþƢƪܗ-ŻűĩěŻƿŦĢ ƪƿƢĩŦǢþƢłƿĩ- Ʒ'nþƷ- Ʒ'nĩ- ǜþǢ-Ʒ'nĩǢþƢĩ-ƟĩƢŁŻƢůĩĢűŻǜ-Ŏƪ-ܹƷǢƟŎěþŦŦǢܺ-¼þŎǜþűĩƪĩܒȃĩþĚŻǛĩܮůĩűƷŎŻűĩĢ-ƟƢŻĚŦĩůƪ-ŻŁƪŻěŎþŦ- ůþƢłŎűþŦŎǬþƷŎŻű܌-'nŻǜĩǛĩƢ܌ĩơƿþŦŦǢþƟƟŦǢ-ƷŻůŻƪƷ-ŁŻƢůƪ-ŻŁ-ƷƢþĢŎƷŎŻűþŦůƿƪŎě܋-Ʒ'nĩǢ-ĢŻűŻƷ-ȀƷ-ŎűƷŻ- Ʒ'nĩĩěŻűŻůŎěþŦŦǢ-ĢŻůŎűþƷĩĢ-¼þŎǜþűĩƪĩƪŻěŎĩƷǢ܌þűĢ-Ʒ'nĩŎƢ-ŁƿƷƿƢĩþƪ-ƟþƢƷ-ŻŁþ-¼þŎǜþűĩƪĩ-ŎĢĩűƷŎƷǢ- therefore is not secure at all. It is also unclear whether the growing institutionalization of traditional music can counteract this or is rather part of this marginalization process.

łþŎűƪƷ-Ʒ'nŎƪ-ĚþěţłƢŻƿűĢ܌-ŻűĩůŎł'nƷþƪƪƿůĩ-Ʒ'nþƷűĩǜþƢƷůƿƪŎěþűĢ-ƷƢþĢŎƷŎŻűþŦůƿƪŎě-Ŏű- ¼þŎǜþű܌-Ŏű-Ʒ'nĩŎƢ-ŎűěŻůůĩűƪƿƢþĚŎŦŎƷǢþűĢþŦƷĩƢŎƷǢ-Ŏű-ƢĩŦþƷŎŻű-ƷŻ-ƟƢŻěĩƪƪĩƪ-ŎűƪŻěŎĩƷǢþűĢ-ƷŻ-Ŏű-

ڼڶڷ Mittler, *Dangerous Tunes*܉-ڒڕڍ

ڽڶڷ Weggel, *Die Geschichte Taiwans*܉-ڔڕܨڑڕ-ÃŲģĪƣ-ƸŊĪ-ŃżǜĪƣŲŰĪŲƸżł-ƸŊĪ-'ĪŰżĜƣÿƸŏĜ-£ƣżŃƣĪƫƫŏǜĪ-£ÿƣƸǣ-ܠ'££ܡÿŲģ- £ƣĪƫŏģĪŲƸ- ŊĪŲ-®ŊǀŏܫŏÿŲ-܉ܡڔڌڌڎܨڌڌڌڎܠ-ڔڎ-FĪěƣǀÿƣǣǝÿƫģĪĜŧÿƣĪģÿ-ŲÿƸŏżŲÿŧ-ŊżŧŏģÿǣÿŲģÿ-ĜǀŧƸǀƣĪżłƣĪŰĪŰěƣÿŲĜĪěĪŃÿŲ-Ƹż-ĪƫƸÿěŧŏƫŊÿ-ĜżŧŧĪĜƸŏǜĪ-ŰĪŰżƣǣżł-ƸŊŏƫ-ĪǜĪŲƸ

ڴڷڷ- -RĪĪ-ŰżƣĪģĪƸÿŏŧŏŲ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڔڏܨڏڏ

dustrially marketed music forms, perform the critical function of a counterdiscourse. It must be taken into account here, of course, that a "pure" or "authentic" form cannot be constructed in either area, but that both – together with their more popular variants – are involved in a process of continued recontextualization and reinterpretation of musical-cultural artifacts, and they inevitably, owing to their institutionalization,33 interact with societal processes as a whole. Mixed forms in particular are often under commercial pressure, and thus create a broad forum for, for example, aesthetically questionable arrangements of traditional music in a neo-Romantic guise, as evident from the tradition of the Chinese orchestra since its inception (> III.1).

Baldly "conservative" arguments from both areas of course fall short. One cannot "preserve" a local performance tradition or a self-referential avant-garde idiom, because neither ever existed in a pure form. The advice to return to one's "roots" and to study one's "own" traditions was thus only sporadic among the composers born in the 1950s – a skepticism toward any form of instrumentalization of "tradition" prevailed as, in Taiwan, this term had been used too often as a nostalgic reminder of the Chinese "motherland" during the decades of the Cold War.

Against this background, it becomes clear that aesthetically independent art music can only be produced in this situation by a small avant-garde, which ultimately frees itself to some degree from local cultural-political and market-oriented needs without having to pay homage to an illusory concept of musical autonomy. Although the term "avant-garde" was dismissed in an earlier chapter of this book (→ II.1), it may have a certain relevance to the situation in Taiwan in the 1970s if one steps back to some degree from its transnational contexts: the term can be used to describe a form of musical creativity that self-confidently emancipates from dominant cultural discourses, a kind of creativity that - though often with limited international impact - eloquently challenges the global dominance of Western music as well as simplified forms of nationalist or folkloristic aesthetics.

### Taiwan's Small Avant-Garde During the 1970s and After -The Works of Lee Tai-Hsiang, Hsu Po-Yun, and Pan Hwang-Long

Undoubtedly, some of the most remarkable connections between new and traditional music emerged in Taiwan during the 1970s, though this phase should certainly not be idealized, 332 as the avant-garde achievements in this period faced massive social resistance, even among composer colleagues. I will examine the paradigmatic developments of Lee Tai-Hsiang, Hsu Po-Yun, and Pan Hwang-Long, who all began their careers in the 1970s. Despite their very different backgrounds, some of their works share the quality of exposing traces of the historical moment in a special way in their sound structures.

For Lee Tai-Hsiang 333 a member of the aboriginal Ami people, his relationship to the bentu culture, the local culture of Taiwan, has evidently been of great importance from the outset.

<sup>331</sup> See ibid., 31-33.

<sup>332</sup> Chang Chi-Jen's excellent investigation (Chang, "Taiwan 'xiandai yinyue' 1945–1995") sometimes tends to do this.

<sup>333</sup> Basic information in this section comes from an in-depth personal conversation between the author and Lee Tai-Hsiang in Taipei (23/05/2000). An extensive biographical presentation in Chinese appeared in 2002: Chiou, Li Taixiang. For Lee Tai-Hsiang see also Mittler, "Mirrors and Double Mirrors," 16-17, Mittler, Dangerous Tunes, 205–213, Mittler, "Li Taixiang," Ka, "Gaoshan liushui," and You, "Taiwan jin sanshi nian 'xiandai yinyue' fazhan," 48–49, 157–165. Extensive information and documents about Lee are available as part of the National

ŦƷ'nŻƿł'n-'nŎƪ-ŁþůŎŦǢůŻǛĩĢ-ŁƢŻů-¼þŎĢŻűł-ƷŻ-¼þŎƟĩŎǜ'nĩű-'nĩǜþƪ-ŻűŦǢ-ŁŻƿƢ-ǢĩþƢƪ-ŻŦĢ܌-'nĩ-Ƣĩłƿlarly met *gezaixi* and *budaixi*-ܣƟƿƟƟĩƷƪ'nŻǜܤ-ƟĩƢŁŻƢůĩƢƪ܌þűĢ-Ʒ'nĩŎƢƪŻƿűĢƪþűĢ-Ŧþűłƿþłĩ-ŁŻƢůĩĢ þűþƷƿƢþŦ-ƟþƢƷ-ŻŁ-'nŎƪě'nŎŦĢ'nŻŻĢܼƪþěŻƿƪƷŎěĩűǛŎƢŻűůĩűƷܒàĩƪƷĩƢűůƿƪŎě-ĢŻůŎűþƷĩĢ-'nŎƪ-ǢŻƿƷ'n܋- he was a talented violin player and received early support from his teacher Chen Ching-Gang. Ǽ ƷĩƢłƢþĢƿþƷŎŻű-'nĩ-ĚĩěþůĩěŻűěĩƢƷůþƪƷĩƢ-ŻŁ-Ʒ'nĩ-¼þŎƟĩŎ-®ǢůƟ'nŻűǢ܌þűĢ-ŁƢŻů-ژڕژڐ-ƷŻ-ڐږژڐ-'nĩ- was conductor of the *¼þŎǜþűƪ'nĩűł-ŠŎþŻǡŎþűł-ǢƿĩƷƿþű*-ܣ1/4þŎǜþű-£ƢŻǛŎűěŎþŦ-®ǢůƟ'nŻűǢ-Ƣě'nĩƪƷƢþܒܤ

űŦǢǜ'nĩű-'nĩǜþƪ-ږڐ-ǢĩþƢƪ-ŻŦĢ-ĢŎĢ-'nĩ-ƢĩƷƿƢű-ƷŻ-¼þŎĢŻűłþűĢěŻűƪěŎŻƿƪŦǢ-ŦŎƪƷĩű-ƷŻůŎůƿƪŎěܒ-Ʒ-Ʒ'nþƷ-ƷŎůĩ܌-'nĩþŦƪŻĩűƷĩƢĩĢ-Ʒ'nĩtþƷŎŻűþŦěþĢĩůǢ-ŻŁ-Ʒ'nĩ-ƢƷƪ-ܣ*GƿŻŦŎ-ǢŎƪ'nƿ-Ǭ'nƿþűţĩǡƿĩǡŎþŻ*, today named *GƿŻŦŎ-¼þŎǜþű-ǢŎƪ'nƿ-Ģþǡƿĩ*ܘtþƷŎŻűþŦ-¼þŎǜþű-ÃűŎǛĩƢƪŎƷǢ-ŻŁ-Ʒ'nĩ-ƢƷƪܤ-ƷŻƪƷƿĢǢ-ƟƢŎűƷůþţܮ ing and, later, composition. His earliest compositions were stylistic copies of Corelli, Mozart, ®ě'nƿĚĩƢƷ܌þűĢ-Ƣþ'nůƪܒ-Sű-ړڕژڐ-'nĩ-'nþĢþěƢƿěŎþŦĩűěŻƿűƷĩƢǜŎƷ'n-Nƪƿ-¼ƪþűłܮNŻƿĩŎ܌ǜ'nŻĩƪƪĩűܮ ƷŎþŦŦǢ-ƷŻŦĢ-'nŎů-ƷǜŻ-Ʒ'nŎűłƪ܋-ȀƢƪƷ܌-'nĩƪ'nŻƿŦĢ-ĢƢþǜ-'nŎƪůƿƪŎě-ŁƢŻů-'nŎƪ-Żǜű-ŻƢŎłŎűƪܗƪĩěŻűĢ܌-'nŎƪůƿƪŎěƪ'nŻƿŦĢ-Ěĩ-ܹůƿě'nűĩǜĩƢ܍ĩǛĩűűĩǜĩƢ-Ʒ'nþűþƢƷżţܒܺڝڜڜƪþ-ƢĩƪƿŦƷ܌hĩĩܼƪƪĩƢŎĩƪ-ŻŁǜŻƢţƪ-*Long Wu*-ܤڑږܫڏږژڐܣǜþƪǜƢŎƷƷĩű-ŁŻƢ-ǛþƢŎŻƿƪ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪ܌þ-ȀƢƪƷ܌ƪƷŎŦŦơƿŎƷĩƪŎůƟŦĩþƷƷĩůƟƷ-ƷŻ- use these traditional "sound media." A more mature step to incorporate traditional elements can be found in the short piano trio *Yunxing sanbian*-ܣ/ǛŻŦƿƷŎŻű܋ȃƢĩĩ- 'nþƟƷĩƢƪ܌ܤěŻůƟŻƪĩĢ-Ŏű- ڐږژڐþűĢ-ŦþƷĩƢ-ŎűƷĩłƢþƷĩĢ-ŎűƷŻþ-ƟĩƢŁŻƢůþűěĩþƷ-Ʒ'nĩ- ŦŻƿĢ-GþƷĩȃĩþƷĩƢڞڜڜܒȃĩǜŻƢţěþƟƷŎǛþƷĩƪ- the listener with the multitude of extended, "performative" playing techniques (playing inside Ʒ'nĩ-ƟŎþűŻ܌-ĚĩþƷŎűłþűĢƪěƢþƷě'nŎűł-Ʒ'nĩƪƷƢŎűłƪ܌-ܹƷŻűĩŦĩƪƪܺƪŻƿűĢƪ܌ĩƷě܌ܤܒǜ'nŎě'nǜĩƢĩþűŻǛĩŦƷǢ-Ŏű- Ʒ'nĩ-¼þŎǜþűĩƪĩěŻűƷĩǡƷܒȃĩ-ŁþěƷ-Ʒ'nþƷhĩĩ-ƷƢŎĩĢ-ƷŻěŻůĚŎűĩ-Ʒ'nĩƪĩ-Ʒĩě'nűŎơƿĩƪǜŎƷ'nþűþĢþƟƷþƷŎŻű- of the *luogu dianzi*-ƟþƷƷĩƢűƪ-ŁƢŻů-Ʒ'nĩĩŎŠŎűł-ƟĩƢþ-ĢƢƿůĩűƪĩůĚŦĩ-ܣ*wuchang*ܤ ƪ'nŻǜƪ-ܤړܒSSSݑދ) ڟڜڜ how consciously he was striving at the time for a synthesis of Western avant-garde and Chinese ƷƢþĢŎƷŎŻűܒ-Sű-Ʒ'nĩ-Ʒ'nŎƢĢ-ƟþƢƷ-ŻŁ-Ʒ'nĩ-ƷƢŎŻ-ܣ/ǡ܌ܤړڒܒڒݑܒhĩĩ-ĢĩǛĩŦŻƟƪþ-ƟþƷƷĩƢű-ĚþƪĩĢ-Żű-Ʒ'nĩƪĩơƿĩűěĩ- of *jingju* percussive syllables *cang*-ܣþ-ȀƢů-ĚĩþƷ-Żű-Ʒ'nĩ*daluo* large gong, *xiaoluo* small gong, and *ba*ěǢůĚþŦƪܤþűĢ*qi*-ܣþ-ȀƢůěŦþƪ'n-ŻŁ-Ʒ'nĩěǢůĚþŦƪ܌ܤ-ƷƢþűƪŁŻƢůĩĢ-ŎűƷŻ-ƢĩƟĩþƷĩĢě'nŻƢĢƪ-ܣƟŎþűŻ܌-ŦþƷĩƢ- ǛŎŻŦŎűܤþűĢƪƷƢƿěƷƿƢĩĢ-ĚǢ-ŎƢƢĩłƿŦþƢþěěĩűƷƪ-ŁƢŻů-Ʒ'nĩ-ŻƷ'nĩƢ-ŎűƪƷƢƿůĩűƷƪܒ

à'nŎŦĩhĩĩþƪƪŻěŎþƷĩĢ-Ʒ'nĩƪěþƷƷĩƢĩĢƪŻƿűĢƪ-ƟƢŻĢƿěĩĢ-ĚǢĩǡƷĩűĢĩĢ-ƟŦþǢŎűł-Ʒĩě'nűŎơƿĩƪǜŎƷ'n- the calligraphic principle of *liu bai* (white space within and between the drawn lines is considĩƢĩĢ-Ʒ'nĩĩƪƪĩűěĩ-ŻŁ-Ʒ'nĩěþŦŦŎłƢþƟ'nŎěþƢƷǜŻƢţ܌ܤ-Ʒ'nĩůĩŦŻĢŎě-ĢĩƪŎłű-Ŏű-Ʒ'nĩ-ȀƢƪƷůŻǛĩůĩűƷ-ܣ/ǡܤڔڒܒڒݑܒ- ƪƿłłĩƪƷƪ- Ʒ'nĩ- ǛŻěþŦ- ŎűǴŦĩěƷŎŻűƪ- ŻŁ ĩŎŠŎűł- ƟĩƢþܼƪ ƪƟŻţĩű þűĢ- ŁƢĩơƿĩűƷŦǢ ƪŦŎĢŎűł- ǛŻěþŦ ƪƷǢŦĩ- ܒܤڐܒßݑދܣ*-ǢƿűĚþŎ*

hĩĩܼƪ-ƷƢŎŻěþű-Ěĩ-ĢĩƪěƢŎĚĩĢþƪþ-ƢĩůþƢţþĚŦĩĩǡƟĩƢŎůĩűƷěŻűƪŎĢĩƢŎűł-Ʒ'nĩ-'nŎƪƷŻƢŎěþŦƪŎƷƿþƷŎŻű- Ŏűǜ'nŎě'n-ŎƷþƟƟĩþƢĩĢܒȃĩ-ƷŎůĩ-ŁƢŻů-ڒږژڐ-ƷŻ-ڔږژڐǜþƪ-ĢĩěŎƪŎǛĩ-ŁŻƢhĩĩܼƪůƿƪŎěþŦ-ĢĩǛĩŦŻƟůĩűƷܒ-Nĩ- ĢĩǛĩŦŻƟĩĢ-'nŎƪ-ƟƢŎűěŎƟþŦþĩƪƷ'nĩƷŎě-ŎĢĩþƪ-ĚþƪĩĢ-ŻűþƿűŎơƿĩěŻůĚŎűþƷŎŻű-ŻŁůĩƢŎěþűܮŎűǴŦƿĩűěĩĢ- ĩǡƟĩƢŎůĩűƷþŦþƢƷþűĢ-ƷƢþĢŎƷŎŻűþŦ- 'nŎűĩƪĩ-Ɵ'nŎŦŻƪŻƟ'nǢܒ-RƿƟƟŻƢƷĩĢ-ĚǢþłƢþűƷ-ŁƢŻů-Ʒ'nĩ-¦ŻěţĩŁĩŦ-ŦĩƢ-FŻƿűĢþƷŎŻű-Ŏű-܌ړږܘڒږژڐhĩĩ-ĢĩŦǛĩĢ-ŎűƷŻ-Ʒ'nĩĩǡƟĩƢŎůĩűƷþŦþƟƟƢŻþě'n-ĢƿƢŎűłþƪƷþǢþƷ-Ʒ'nĩ ĩűƷĩƢ- ŁŻƢrƿƪŎě-/ǡƟĩƢŎůĩűƷ-ܣ r/ܤþƷ-Ʒ'nĩ-ÃűŎǛĩƢƪŎƷǢ-ŻŁ þŦŎŁŻƢűŎþ܌-Rþű-'ŎĩłŻ܌ǜ'nŎě'nǜþƪ-ŁŻƿűĢĩĢ-Ŏű- ڑږژڐþűĢ-ĢŎƢĩěƷĩĢ-ĚǢ-¦ŻłĩƢ-¦ĩǢűŻŦĢƪ-ŁƢŻů-ڑږژڐ-ƷŻ-ڠڜڜܒڔږژڐ-NĩƢĩ܌hĩĩ-ƷŻŻţ-ƟþƢƷ-ŎűǜĩĩţŦǢ-Ƣĩ'nĩþƢ-

<sup>&#</sup>x27;ŏŃŏƸÿŧƣĜŊŏǜĪƫ-£ƣżŃƣÿŰ܉-1/4ÿŏǝÿŲ܈-ŊƸƸƠܕܕ܈ŧƸŊĪܫŧŏěŲĜƸǀĪģǀƸǝܕĪŲܕěŏżڍܫŊƸŰ. See also ŊƸƸƠܕܕ܈ŰǀƫŏĜŏÿŲƸǝŲĜǽ Ƹÿ ŃżǜƸǝܕŧŏƫƸÿƫƠǢܐĜޠڐݰƠݰrڌڎڌ and ŊƸƸƠܕܕ܈ěÿŏŤĪěÿŏģǀĜżŰܕǜŏĪǝړڍڔړڌڍڍܕŊƸŰ.

ڌڌڌڎܕڑܕڏڎ-܉ÿŏƠĪŏ¼-܉ĜżŰŰǀŲŏĜÿƸŏżŲ-ĪƣƫżŲÿŧ-£ -ڸڷڷ

ڹڷڷ- æżǀ܉-ܶ1/4ÿŏǝÿŲšŏŲƫÿŲƫŊŏ-ŲŏÿŲ-ܸǢŏÿŲģÿŏǣŏŲǣǀĪܹłÿǭŊÿŲ܉ܷ-ܔڑڒڍܨړڑڍrŏƸƸŧĪƣ܉-*Dangerous Tunes*܉-ڕڌڎܨڔڌڎ

ںڷڷ On the reception of the *luogu dianzi*ěǣ- ŊŏŲĪƫĪ-ĜżŰƠżƫĪƣƫ܉ƫĪĪ-¦ÿż܉-ܶ1/4ŊĪ-¼ƣÿģŏƸŏżŲżł-*Luogu Dianzi*."

ڻڷڷ- -1/4ŊĪ r/ǝÿƫłżǀŲģĪģŏŲ-ڎړڕڍÿƫ-£ƣżšĪĜƸłżƣrǀƫŏĜ-/ǢƠĪƣŏŰĪŲƸÿŲģƣĪŲÿŰĪģ- ĪŲƸĪƣłżƣrǀƫŏĜ-/ǢƠĪƣŏŰĪŲƸ-ܠ r/ܡ- ŏŲ-ܔڏړڕڍŏƸǝÿƫŏŲŏƸŏÿŧŧǣłǀŲģĪģěǣ-ƸŊĪ-¦żĜŤĪłĪŧŧĪƣ-FżǀŲģÿƸŏżŲ-SŲ-ڏڕڕڍŏƸǝÿƫƣĪŲÿŰĪģ-ƸŊĪ- ĪŲƸĪƣłżƣ-¦ĪƫĪÿƣĜŊ- ŏŲ żŰƠǀƸŏŲŃÿŲģ-ƸŊĪƣƸƫ-ܠ ¦ ܡàŏƸŊŏŲ-ƸŊĪ r/܉ÿŰżŲŃżƸŊĪƣƫ܉-ƸŊĪ-®Ƹǀģŏżłżƣ-/ǢƸĪŲģĪģ-£ĪƣłżƣŰÿŲĜĪ܉-ƸŊĪ-

Example 3.34: Lee Tai-Hsiang, Yunxing sanbian, III, staff systems 1–2

Example 3.35: Lee Tai-Hsiang, Yunxing sanbian, I, staff system 6

Copyright © 1973 by Lee Tai-Hsiang, Taipei

ƪþŦƪþűĢ-ƟĩƢŁŻƢůþűěĩƪ-ŻŁűĩǜǜŻƢţƪ܌-ŎűěŦƿĢŎűł-'nŎƪ-Żǜű܌þűĢ܌-Ŏű-ŦŎűĩǜŎƷ'n-Ʒ'nĩ-ƷƢĩűĢ-ŻŁ-Ʒ'nĩ-ƷŎůĩ܌-ĢĩþŦƷǜŎƷ'nĩŦĩěƷƢŻűŎěůƿƪŎě܌-SűĢŎþűþűĢ-¼ŎĚĩƷþűůƿƪŎě܌ůĩĢŎƷþƷŎŻű܌-Ģþűěĩ܌-Ɵ'nŻƷŻłƢþƟ'nǢ܌þűĢ- multimedia performance concepts.

Sű-ŦŎűţŎűł- Ʒ'nĩƪĩ-ŎůƟƢĩƪƪŎŻűƪ- Ěþěţ- ƷŻ- Ʒ'nĩ- ƷĩƢůŎűŻŦŻłǢ-ŻŁ- Ʒ'nĩ- 'nŎűĩƪĩ- Ɵ'nŎŦŻƪŻƟ'nŎěþŦ- ƷƢþĢŎtion, he developed a compositional approach that he characterized with the terms *kenengxing* ܣƟŻƷĩűƷŎþŦŎƷǢ܌ܤ *budingxing*- ܣŎűĢĩƷĩƢůŎűþěǢ܌ܤ þűĢ *kebianxing*- ܣǛþƢŎþĚŎŦŎƷǢܒܤ űŻƷ'nĩƢ ţĩǢ ĩǡƟĩƢŎܮ ĩűěĩǜþƪ-ƢĩþĢŎűłþűþƢƷŎěŦĩ-ĚǢ-Ʒ'nĩdþƟþűĩƪĩěŻůƟŻƪĩƢþűĢ-ƟŎþűŎƪƷæǕŠŎ-¼þţþ'nþƪ'nŎ-ݑދܣSSSܤړܒ-Ʒ'nþƷ- hĩĩƪþŎĢ-'nĩ-ƢĩþĢ-Ŏű-*Time*-Ŏű-'ĩěĩůĚĩƢ-ڡڜڜܒړږژڐ-1/4þţþ'nþƪ'nŎܼƪþƢƷŎěŦĩůþĢĩ-'nŎů-ƢĩþŦŎǬĩ-Ʒ'nþƷ-'nĩǜþƪ- ŦŻŻţŎűł- ŁŻƢ þű- ܹþĚƪƷƢþěƷŎŻűܺ-ŻŁ- 'nŎƪ-Żǜű- ƷƢþĢŎƷŎŻű܌- Ʒ'nþƷ- Ʒ'nĩ ěŻŦŻƢŎƪƷŎě- ƢĩƟƢĩƪĩűƷþƷŎŻű-ŻŁ- ƷƢþĢŎ-ƷŎŻűݑ܌ěƢŎƷŎěŎǬĩĢ-ĚǢ-¼þţþ'nþƪ'nŎ܌þŦƪŻþƟƟĩþƢĩĢ-ƷŻ-ĚĩƿűƪþƷŎƪŁþěƷŻƢǢþűĢ-ŎűƪƿDzȀěŎĩűƷ-ƷŻ-'nŎůܒhĩĩ- believed that Chinese or Japanese instruments should not be used because of their special "color" or by simply transferring modern playing techniques originally developed for Western ŎűܮƪƷƢƿůĩűƷƪ-ŻűƷŻ-Ʒ'nĩůܗ-ƢþƷ'nĩƢ܌-'nĩ-ŎűƪŎƪƷĩĢ-Ʒ'nþƷěŻůƟŻƪĩƢƪ-ƷƢƿŦǢþƟƟƢĩěŎþƷĩ-Ʒ'nĩůþűĢƪƷƿĢǢ- Ʒ'nĩŎƢ-ƟƢŻƟĩƢ-ƷƢþĢŎƷŎŻűƪܒhĩĩƪþǜ-Ʒ'nĩ-ƟþƢƷŎěƿŦþƢŎƷŎĩƪ-ŻŁ- 'nŎűĩƪĩĩŦĩůĩűƷƪ-Ŏű-Ʒ'nĩ-ŁþěƷ-Ʒ'nþƷ-Ʒ'nĩǢþƢĩ- able to express the aesthetic concepts of *Ǣƿű*-ܣƢ'nǢůĩ܌-Ɵ'nƢþƪĩ܌-ŎűǴŦĩěƷŎŻűܤþűĢ*kongjian* (empty ƪƟþěĩ܌ܤƪŻ-Ʒ'nþƷ-Ʒ'nĩǢƿŦƷŎůþƷĩŦǢ-ŦĩþĢ-ƷŻ*ǡƿ-ǢŎű*-ܣĩůƟƷǢƪŻƿűĢ܌ܤ-ƷŻƪŎŦĩűěĩܒ-*Yun*-ȀűĢƪ-ŎƷƪůŻƪƷěŻűcrete manifestation in the ideal of a steadily changing pitch and tone color inherent in almost þŦŦłĩűƢĩƪ-ŻŁ- 'nŎűĩƪĩůƿƪŎěܒȃĩ- ܹůƿƪŎě-ŻŁ- Ʒ'nĩ-ǛŻŎĢܺůĩþűǜ'nŎŦĩƪĩƢǛĩƪþƪ- Ʒ'nĩ- ŁŻƿűĢþƷŎŻű-Żű- which all "real, continuous sounds" (*ƪ'nŎ-ǢŎű*ܤ-ƢĩƪƷ܌þűĢ-Ʒ'nĩǢůƿƪƷ-Ʒ'nĩƢĩŁŻƢĩ-Ěĩ-ƟĩƢěĩŎǛĩĢþƪƪǢů-ĚŻŦƪ-ŻŁěŻƪůŎě-ŁŻƢěĩƪܒȃĩ-ŎĢĩþ-Ʒ'nþƷþŦŦƪŻƿűĢƪ܌-ŻƢ-ĚþƪŎěþŦŦǢþŦŦþěŻƿƪƷŎě-Ɵ'nĩűŻůĩűþ܌þƢĩþ-ƢĩƟƢĩƪĩűƷþƷŎŻű-ŻŁþűþƷƿƢþŦěŻƪůŎě-ƟƢŎűěŎƟŦĩþěěŻƢĢŎűł-ƷŻhĩĩǜþƪþěƢƿěŎþŦţĩǢ-ƷŻƿűĢĩƢƪƷþűĢŎűł-Ʒ'nĩ- 'nŎűĩƪĩ-ƟĩƢěĩƟƷŎŻű-ŻŁůƿƪŎě܌ĩƪƟĩěŎþŦŦǢþƪ-ƷƢþűƪůŎƷƷĩĢ-Ŏű-'þŻŎƪƷþĩƪƷ'nĩƷŎěƪܒ

*Yu – Chan – Ximen ding*-ܣ¦þŎű-ܫðĩű-ܫåŎůĩűrþƢţĩƷ܌- ܌ܤڔږژڐ-*Da Shenji* ܣGƢĩþƷ-¦ŎƷƿþŦ܌- ܌ܤڔږژڐ- and *¼þŎǡƿǢŎű*-ܣRŻƿűĢ-ŻŁ-Ʒ'nĩ-GƢĩþƷ-߯ŎĢ܌-܌ܤږژܘژږژڐhĩĩ-¼þŎܮNƪŎþűłܼƪţĩǢǜŻƢţƪ-ŻŁ-Ʒ'nĩ-ڏږژڐƪ܌-ƟƢŻĚþbly represent his most successful and ambitious attempts to synthesize these two major start-Ŏűł-ƟŻŎűƷƪ܌-Ʒ'nĩĩǡƟĩƢŎůĩűƷþŦþǛþűƷܮłþƢĢĩþűĢ-'þŻŎƪƷ-Ʒ'nŻƿł'nƷܒ-*Yu – Chan – Ximen ding* is a rare ĩǡþůƟŦĩ-ŻŁ-¼þŎǜþűĩƪĩ*musique concrète*, and accentuates dynamic and atmospheric contrasts ĚǢěŻůĚŎűŎűłƪŎŦĩűěĩ-Ŏű-Ʒ'nĩƪĩěŻűĢůŻǛĩůĩűƷ-ܣܹðĩűܺܤǜŎƷ'n-Ʒ'nĩűŻŎƪǢþěŻƿƪƷŎěĩűǛŎƢŻűůĩűƷ-ŻŁ- ¼þŎƟĩŎܼƪ-*Ximen*-ĢŎƪƷƢŎěƷ-Ŏű-Ʒ'nĩ-Ʒ'nŎƢĢܒȃĩ-ƟŎĩěĩěþƿƪĩĢěŻűŁƿƪŎŻű-Ŏű-Ʒ'nĩþƿĢŎĩűěĩþƷ-Ʒ'nĩĩǛĩűƷŁƿŦ- ¼þŎƟĩŎ-ƟĩƢŁŻƢůþűěĩ-ŻŁ- ܌ڔږژڐƪ'nŻƢƷŦǢþǼ ƷĩƢhĩĩܼƪ-ƢĩƷƿƢű- ŁƢŻů- Ʒ'nĩî܌- ŁĩþƷƿƢŎűł- ŁŻƿƢ- ƷþƟĩůþě'nŎűĩƪ܌- ƷǜŻ-ǛŻěþŦŎƪƷƪ܌þűĢþŦƪŻ- Ʒ'nĩ-ŎŦŦƿƪƷƢþƷŎŻű-ŻŁ- ƢþŎű-ܣȀƢƪƷůŻǛĩůĩűƷܤ-ĚǢ- Ʒ'nƢŻǜŎűł- ƷŻƢűܮƿƟ- newspapers into the audience.ڢڜڜ

ȃĩ-ŦþƢłĩܮƪěþŦĩǜŻƢţ-*Da Shenji*ǜþƪěŻůůŎƪƪŎŻűĩĢ-ĚǢ-Ʒ'nĩ- ŦŻƿĢ-GþƷĩ-'þűěĩȃĩþƷĩƢ-ŁŻƢ-Ʒ'nĩ- production *Wu Feng*-ܒܤڕږژڐܣ-SƷěŦĩþƢŦǢƪ'nŻǜƪhĩĩܼƪĩűłþłĩůĩűƷǜŎƷ'nůĩƢŎěþűůŎűŎůþŦŎƪů܋-Ʒ'nĩ- ܹłþůĩŦþűܮŦŎţĩܺ-ŎűƪƷƢƿůĩűƷþƷŎŻűþűĢƪƷƢƿěƷƿƢĩ-ŻǛĩƢŦþƟƪ*ostinati*-ŻŁ-ĢŎDz ŁĩƢĩűƷ-ŦĩűłƷ'nƪ܌ǜ'nŎě'nþƢĩ- ĚþƪĩĢ-Żű-ĢŎDz ŁĩƢĩűƷ-ĚþƪŎě-ƷŎůĩ-ǛþŦƿĩƪ-ܣ/ǡܒܤڕڒܒڒݑܒ

While the dominance of the percussion ensemble and the mostly "shouting" voices establish þłĩűĩƢþŦ-ܹƷƢŎĚþŦܺþƷůŻƪƟ'nĩƢĩ܌-Ʒ'nĩ-ŎűƷĩƢŦŻěţĩĢ-ĢŎþŦŻłƿĩƪ-ŻŁƪŻŦŻ-ǛŻŎěĩƪþűĢě'nŻŎƢ܌ǜŎƷ'n-Ʒ'nĩŎƢ-ŁƢĩ-

<sup>/</sup>ǢƸĪŲģĪģßżĜÿŧ-¼ĪĜŊŲŏƢǀĪƫ-/ŲƫĪŰěŧĪ-ܠ/ß¼/܉ܡÿŲģ-ƸŊĪfSß-SŰƠƣżǜŏƫÿƸŏżŲ-/ŲƫĪŰěŧĪǝĪƣĪłżǀŲģĪģ-SŲ-܉ړړڕڍÿ- ģĪƠÿƣƸŰĪŲƸłżƣ-ĜżŰƠǀƸĪƣ-ŰǀƫŏĜǝÿƫżƠĪŲĪģ-ǀŲģĪƣ-ƸŊĪģŏƣĪĜƸŏżŲżł-£ÿǀŧŏŲĪŧŏǜĪƣżƫ-®ĪĪ-ŊƸƸƠƫܕܕ܈ŧŏěƣÿƣǣǀĜƫģ .ڎړڌڒڏڕڌڍěěܕĜżŧŧĪĜƸŏżŲܕģĜܕĪģǀ

ڼڷڷ- -£ĪƣƫżŲÿŧ-ĜżŰŰǀŲŏĜÿƸŏżŲǝŏƸŊ-ƸŊĪÿǀƸŊżƣ܉-1/4ÿŏƠĪŏ܉-ڌڌڌڎܕڑܕڏڎ-1/4ÿŤÿŊÿƫŊŏ-ŊÿģƣĪƸǀƣŲĪģ-ƸżdÿƠÿŲłƣżŰÿ-ŲŏŲĪܫǣĪÿƣ- ƫƸÿǣŏŲ-ƸŊĪî܉ǝŊĪƣĪ-ŊĪ-Ŋÿģ-ĜżŲƸÿĜƸǝŏƸŊ-¦żŃĪƣ-¦ĪǣŲżŧģƫ܉ÿŰżŲŃżƸŊĪƣƫ܉ÿŲģ-/ǀƣżƠĪ-'ǀƣŏŲŃ-ƸŊŏƫ-ƠĪƣŏżģ܉- ¼ÿŤÿŊÿƫŊŏ-ĪģŏƸĪģ-ƸŊĪ-ŰÿŃÿǭŏŲĪ-*TransSonic*-ܡڒړܨڐړڕڍܠ-Sǝÿƫ-ǀŲÿěŧĪ-ƸżǜĪƣŏłǣ-ƸŊĪÿƣƸŏĜŧĪŏŲ-*Time*.

ڌڍڎ-܉*Tunes Dangerous*-܉rŏƸƸŧĪƣ-܉ڐܨڏܷ-܉ŧŏǀƫŊǀŏ-GÿżƫŊÿŲ-ܶ܉fÿ- -ڽڷڷ

*Example 3.36: Lee Tai-Hsiang, Da Shenji, II, Chengren li-ܩSűŎƷŎþƷŎŻű-¦ŎƷƿþŦܒܪůůܘ-ڜژܱښڙ*

 żƠǣƣŏŃŊƸ-ޣ-ڒڔڕڍěǣhĪĪ-¼ÿŏܫNƫŏÿŲŃ܉-1/4ÿŏƠĪŏ

*/ǡþůƟŦĩ-ڜژܘژܑhĩĩ-¼þŎܴNƪŎþűłܒ-Da Shenji, III, Qi ge-ܩàŻƢƪ'nŎƟܒܪ-ǛŻŎěĩƪܒůůܘ-ښښܱژڛ*


 żƠǣƣŏŃŊƸ-ޣ-ڒڔڕڍěǣhĪĪ-¼ÿŏܫNƫŏÿŲŃ܉-1/4ÿŏƠĪŏ

ơƿĩűƷŦǢ ƪţŎƟƟŎűłþűĢ ƪŦŎĢŎűł ơƿþŦŎƷŎĩƪ܌- ĢĩůŻűƪƷƢþƷĩ hĩĩܼƪþƷƷĩůƟƷ- ƷŻ-ŎűěŻƢƟŻƢþƷĩ ƪƷƢƿěƷƿƢĩƪ- ŁƢŻůůŎůƿƪŎě-Ŏű-Ʒ'nĩ-Ʒ'nŎƢĢůŻǛĩůĩűƷ-ܣ/ǡܒܤږڒܒڒݑܒ

hĩĩ-¼þŎܮNƪŎþűłܼƪƪěŻƢĩƪ-ŻǼ Ʒĩű-ƢĩƪĩůĚŦĩƪţĩƷě'nĩƪܗ-*1/4þŎǡƿǢŎű*-ܤژږژڐܣůþŎűŦǢěŻűƪŎƪƷƪ-ŻŁłƢþƟ'nܮ Ŏě űŻƷþƷŎŻű þűĢ- ǛĩƢĚþŦ-ŎűƪƷƢƿěƷŎŻűƪ܌ǜ'nŎě'n þŦƪŻ- ƢĩŦþƷĩ- ƷŻ ě'nŻƢĩŻłƢþƟ'nŎě ĩŦĩůĩűƷƪܒȃĩ- ĚĩłŎűűŎűł-ŻŁ- Ʒ'nĩ ǜŻƢţ ěƢĩþƷĩƪ- ǛŻěþŦ ƪŻƿűĢ- ŁƢŻů- ĚƢĩþƷ'n þűĢ- ĚƿǬǬŎűł űŻŎƪĩƪڙڝڜܒ- £ĩƢŁŻƢůĩƢƪ-ŻŁ hĩĩ- ¼þŎܮNƪŎþűłܼƪůƿƪŎěěŻűȀƢů-Ʒ'nþƷ-'nŎƪǜŻƢţƪ-ĢĩǛĩŦŻƟ-ƟƢŻłƢĩƪƪŎǛĩŦǢ-ĢƿƢŎűł-Ƣĩ'nĩþƢƪþŦƪ܌ĩǛĩűǜ'nĩű- Ʒ'nĩƢĩ-ŎƪþůŻƢĩ-ȀǡĩĢƪěŻƢĩþƷ-Ʒ'nĩ-ĚĩłŎűűŎűłܒ

ȃĩ-ƟƢĩĢŻůŎűþűěĩ-ŻŁůŎűŎůþŦŎƪƷ-ƟþƷƷĩƢűƪ-Ŏű-*Da Shenji* and *¼þŎǡƿǢŎű*ěþű-ƟƢŻĚþĚŦǢ-Ěĩ-ŦŎűţĩĢ- ƷŻ-Ʒ'nĩě'nŻƢĩŻłƢþƟ'nǢ-ŻŁ-Ʒ'nĩ- ŦŻƿĢ-GþƷĩ-'þűěĩȃĩþƷĩƢܒȃĩƪĩ-ŎűǴŦƿĩűěĩƪůþţĩþƢĚþƢþrŎƷƷŦĩƢܼƪ- ěŦþŎů-Ʒ'nþƷhĩĩ-ܹŎűěŻƢƟŻƢþƷĩĢܺښڝڜůŎůƿƪŎě-Ŏű-Ʒ'nĩƪĩǜŻƢţƪ-ƢþƷ'nĩƢơƿĩƪƷŎŻűþĚŦĩܒȃĩůƿƪŎě-ŻŁ-Ʒ'nĩ-

ڴڸڷ- -RĪĪrŏƸƸŧĪƣ܉-ܶrŏƣƣżƣƫÿŲģ-'żǀěŧĪrŏƣƣżƣƫ܉ܷ-ړڍ

<sup>16. .,</sup>Ibid ڵڸڷ

### 274 9ËÃv¨³½³Ãȳ®®È³®Èáȳ%¨³v¨çvȳ®

Ami actually contains few repetitive patterns and is characterized by its free and complex form of polyphony, which hardly allows for such minimalist music to be derived from it.ڛڝڜhĩĩ-'nŎůƪĩŦŁþĢůŎƷƷĩĢ-Ʒ'nþƷ-Ʒ'nĩůŎ-ŎűǴŦƿĩűěĩ-ŎƪűŻƷƪƿĚƪƷþűƷŎþŦ-Ŏű-Ʒ'nĩƪĩǜŻƢţƪܒ-Nĩ-ŁĩŦƷ-Ʒ'nþƷ-ŎƷ-Ŏƪůƿě'n- ůŻƢĩ-ĢŎDzȀěƿŦƷ- ƷŻƪǢűƷ'nĩƪŎǬĩůŎ- ƷƢþĢŎƷŎŻűþűĢàĩƪƷĩƢűěŻůƟŻƪŎƷŎŻű- Ʒ'nþű- ƷŻƪǢűƷ'nĩƪŎǬĩ- 'nŎܮ űĩƪĩþűĢàĩƪƷĩƢűþĩƪƷ'nĩƷŎěƪܒȃĩƢĩ-ŎƪűŻ-ĢŻƿĚƷ܌-'nŻǜĩǛĩƢ܌-Ʒ'nþƷƪŻůĩƷ'nŎűł-ŻŁ-Ʒ'nĩ-ܹþƷůŻƪƟ'nĩƢĩܺ- ŻŁůŎůƿƪŎě-Ŏƪ-ƟƢĩƪĩƢǛĩĢ-Ŏűhĩĩܼƪ-Ʒ'nŎűţŎűłþűĢůƿƪŎěþŦǜƢŎƷŎűł܌þƪ-Ʒ'nĩ-ŎűƷƢŻĢƿěƷŻƢǢ-ƷĩǡƷ-ŁŻƢ- the second part of *¼þŎǡƿǢŎű*-ܤږژژڐܣ-ƟƿƷƪ-ŎƷ܋

¼Ŋŏƫ-ĜżŰƠżƫŏƸŏżŲŏƫłǀŲģÿŰĪŲƸÿŧŧǣÿŲ-ĪŲżƣŰżǀƫƫżŲŃ

¼ŊĪ-ĪǢƠƣĪƫƫŏżŲżł-ƸŊĪƫżŲŃ-ĜżŲƫŏƫƸƫżłŧŏŲŃǀŏƫƸŏĜŧŏŲĪÿƣŏƸǣ܉ÿěżƣŏŃŏŲÿŧƫŏŲŃŏŲŃ܉ÿŲģǜÿƣŏżǀƫ-ĪǢƠƣĪƫƫŏżŲƫ-ƠƣżŃƣĪƫƫŏŲŃŏŲģŏdz łĪƣĪŲƸ-ƠÿƸƸĪƣŲƫ

¼ŊŏƫǝżƣŤżƣŏŃŏŲÿƸĪƫŏŲ- ŊŏŲĪƫĪŧŏƸĪƣÿƸǀƣĪÿŲģ-ƠÿŏŲƸŏŲŃ܉ǝŏƸŊ-ƸŊĪ-ŰǀƫŏĜǵŧżǝŏŲŃ-ĪŲģŧĪƫƫŧǣŧŏŤĪÿ- ŧÿŲģƫĜÿƠĪÿŲģ-ƸŊĪ-ĜÿŧŧŏŃƣÿƠŊŏĜƫƸƣżŤĪƫŏŲÿ- ŊŏŲĪƫĪÿƣƸ-ŰÿƫƸĪƣƠŏĪĜĪ

The composition is based on the structure of movement, and there are no architectural limits żƣłƣÿŰĪƫżłƣĪłĪƣĪŲĜĪ-SƸģĪƫĜƣŏěĪƫ-ƸŊĪ-ĜżŲƸŏŲǀżǀƫ-ŰżǜĪŰĪŲƸżłÿŏƣǵŧżǝÿŲģ-ƸŊĪ-ƠŊĪŲżŰĪŲÿżł- ƫĪŧłܫƠƣĪƫĪƣǜÿƸŏżŲÿŲģƫĪŧłܫģĪƫƸƣǀĜƸŏżŲܔ-ƸŊĪŧżŲŃĪƣ-ƸŊĪ-ƠĪƣłżƣŰÿŲĜĪ܉-ƸŊĪŧÿƣŃĪƣ-ƸŊĪ-ĜżŰƠżƫŏƸŏżŲ

SƸģĪƫĜƣŏěĪƫƣĪŧÿƸŏǜŏƸǣƣÿƸŊĪƣ-ƸŊÿŲÿěƫżŧǀƸĪŲĪƫƫ

¼ŊĪÿǀģŏĪŲĜĪŏƫǝĪŧĜżŰĪ-Ƹż-ƠÿƣƸŏĜŏƠÿƸĪģǀƣŏŲŃ-ƸŊĪ-ƠĪƣłżƣŰÿŲĜĪ

Sł-ŰżƣĪ-ĪŧĪŰĪŲƸƫÿƣĪÿģģĪģŏŲ-ĪÿĜŊ-ƠĪƣłżƣŰÿŲĜĪ܉-ƸŊĪżǀƸĜżŰĪڙښڙ܊

hĩĩ þŦƪŻ- ƢĩþŦŎǬĩĢ ƪŎůŎŦþƢ- ƟƢŻŠĩěƷƪ- Ŏű- 쯯ƟĩƢþƷŎŻű ǜŎƷ'n- Ʒ'nĩ ůĩƢŎěþű- ƟĩƢěƿƪƪŎŻűŎƪƷ rŎě'nþĩŦ- ¦þűƷþ-ܣĚ܌ܤڑړژڐݑܒǜ'nŻ-'nþĢǜŻƢţĩĢǜŎƷ'nfþƢŦ'nĩŎűǬ-®ƷŻěţ'nþƿƪĩű܌dĩþűܮ ŦþƿĢĩ-/ŦŻǢ܌þűĢ-NĩŦůƿƷ- hþě'nĩűůþűű܌þűĢ-ŦŎǛĩĢ-Ŏű-¼þŎǜþű-ŁŻƢƪĩǛĩű-ǢĩþƢƪ-ڝڝڜܒܤژږܫڒږژڐܣ-¦þűƷþƪƿĚƪĩơƿĩűƷŦǢ-ŎűǛŎƷĩĢhĩĩ- ¼þŎܮNƪŎþűł-ƷŻ-GĩƢůþűǢ܌ǜ'nĩƢĩhĩĩ-ƟþƢƷŎěŎƟþƷĩĢ-ŎűþěŻűěĩƢƷ-ŎűßŦŻƷ'nŻ-ŎűěƷŻĚĩƢ-ژږژڐþűĢ-Ƣĩþlized *Huanjing san zhang*-ܣȃƢĩĩ-FþűƷþƪǢhþűĢƪěþƟĩƪ܌-ܤژږژڐ-ŁŻƢ-ǛŻŎěĩƪ܌- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪ܌þűĢ- percussion together with Ranta.ڞڝڜ

hĩĩ-'nþĢþŦƢĩþĢǢ-ĚĩłƿűǜƢŎƷŎűł-ƟŻƟƪŻűłƪ-Ŏű-Ʒ'nĩůŎĢڏڕژڐܮƪ-ƷŻ-ܹě'nþűłĩ-Ʒ'nĩþƷůŻƪƟ'nĩƢĩ-Ŏű- society," to "raise the level of popular music," and to "build a bridge to serious music."ڟڝڜ In Ʒ'nĩƪĩ-ƟŻƟƪŻűłƪ܌ǜ'nŎě'něþű-Ěĩƪĩĩűþƪ-ƟþƢƷ-ŻŁþ-ܹƪŻűłǜƢŎƷĩƢůŻǛĩůĩűƷܺþƷ-¼þŎǜþűĩƪĩƿűŎǛĩƢƪŎ-ƷŎĩƪ܌-Ʒ'nĩƢĩ-ŎƪűŻǜþůƿě'nůŻƢĩěŻűƪěŎŻƿƪěŻűƪƷƢƿěƷŎŻű-ŻŁ-ŦŻěþŦ-¼þŎǜþűĩƪĩ-ŎĢĩűƷŎƷǢܒ-Sű-Ʒ'nĩ-ڏږژڐƪ܌- ƪŻůĩ-ŻŁ-Ʒ'nĩƪĩƪŻűłƪěþƿƪĩĢ-ƟŻŦŎƷŎěþŦěŻűƷƢŻǛĩƢƪǢ܌-ŁŻƢĩǡþůƟŦĩ-ĚĩěþƿƪĩhĩĩƿƪĩĢ-Ʒ'nĩ-Ŏůþłĩ-ŻŁ- the sun in *Yi tiao riguang dadao*-ܣ-RƿűĚĩþů-£þƷ'n-ŎűƷŻ-Ʒ'nĩ-FƿƷƿƢĩ܌ܤǜ'nŎě'nǜþƪ-'nĩþǛŎŦǢ-ŦŻþĢĩĢþƪ- þƪǢůĚŻŦ-ŻŁ- 'nŎűþܼƪrþŻðĩĢŻűł-ƟƢŻƟþłþűĢþڠڝڜܒ His most famous song *Ganlanshu*-ܣŦŎǛĩ-¼Ƣĩĩ܌-

ڶڸڷ- hżŊ܉-ܶ1/4ƣŏěÿŧrǀƫŏĜżł-¼ÿŏǝÿŲ܉ܷżdz łĪƣƫÿłǀŲģÿŰĪŲƸÿŧƫƸǀģǣżł-Űŏ-ŰǀƫŏĜ

ڷڸڷ- hĪĪ-¼ÿŏܫNƫŏÿŲŃ܉-ƠƣżŃƣÿŰěżżŤŧĪƸ܉rÿƣĜŊ-ܔڔڕڕڍhĪĪ-¼ÿŏܫNƫŏÿŲŃ-£ƣŏǜÿƸĪƣĜŊŏǜĪƫ܉-ƸƣÿŲƫŧÿƸŏżŲěǣ-ƸŊĪÿǀƸŊżƣ

ڸڸڷ- -RĪĪ-¦ÿŲƸÿ܉-ܶðĪŏƸŃĪŲƇƫƫŏƫĜŊĪrǀƫŏŤŏŲƫƸÿƫŏĪŲ-ܨǜŏĪƣ-¦ĪŃŏżŲĪŲ܉ܷ-܉ڕڏܨڔڏ-ڐڐܨڎڐ

ڹڸڷ- - ƣĪĜżƣģŏŲŃ żł- ƸŊĪ- ƸŊŏƣģ- ŰżǜĪŰĪŲƸ ǝÿƫ- ƠǀěŧŏƫŊĪģ żŲ- ƸŊĪ h£-*Weltmusik – Resonanz*- ܠFĪĪģěÿĜŤܔ-1/4 ĪŧĪłǀŲŤĪŲ- ܕ- ܡڌڔڕڍ-ĪĜĜÿ'

ںڸڷ- fÿ܉-ܶGÿżƫŊÿŲŧŏǀƫŊǀŏ܉ܷ-ڏܨڎ-1/4ƣÿŲƫŧÿƸĪģěǣ-ƸŊĪÿǀƸŊżƣ

ڻڸڷ Mittler, "Mirrors and Double Mirrors," 16.

ܤڕږژڐǜþƪěƢŎƷŎěŎǬĩĢ-ŁŻƢ-ŎƷƪ-ܹűŻűþDzȀƢůþƷŎǛĩܺ-Ŧþűłƿþłĩڡڝڜܒ-/Ǜĩű-ŎŁ-Ʒ'nĩ-ĚŻƿűĢþƢŎĩƪ-ĚĩƷǜĩĩűhĩĩܼƪ- ƟŻƟƪŻűłƪþűĢ-'nŎƪ-ܹƪĩƢŎŻƿƪܺůƿƪŎěƪĩĩůĩĢ-ƷŻ-Ěĩ-ŦþƢłĩŦǢ-ĚŦƿƢƢĩĢ܌-Ʒ'nĩƪ'nŎǼ Ʒ-ƷŻǜþƢĢƪŻűłǜƢŎƷŎűł- ŦĩĢ-ƷŻþƪŎłűŎȀěþűƷ-ĢĩěŦŎűĩ-ŎűhĩĩܼƪþǛþűƷܮłþƢĢĩěŻůƟŻƪŎƷŎŻűƪܒhĩĩ܌ǜ'nŻűĩǛĩƢ-'nĩŦĢþűþěþĢĩůŎě- ƟŻƪŎƷŎŻű܌-ŠƿƪƷŎȀĩĢ-Ʒ'nŎƪě'nþűłĩűŻƷ-ŦĩþƪƷ-ĚǢĩěŻűŻůŎěűĩěĩƪƪŎƷǢ܌ǜ'nŎě'nǜþƪþŦƪŻ-ƢĩǴŦĩěƷĩĢ-Ŏű-'nŎƪ- þěƷŎǛŎƷŎĩƪþƪþ-ȀŦůůƿƪŎěěŻůƟŻƪĩƢڢڝڜܒ

Nƪƿ-£Żܮæƿűڙڞڜ grew up in a cosmopolitan environment and was involved in internationally oriented cultural-political activities early on. He was active in the composers' groups of the ڏڕژڐƪþűĢ- ŁŻƿűĢĩĢþűƿůĚĩƢ-ŻŁěƿŦƷƿƢþŦ-ŻƢłþűŎǬþƷŎŻűƪ܌-Ŏű-ƟþƢƷŎěƿŦþƢ- Ʒ'nĩtĩǜƪƟĩěƷ ƿŦƷƿƢܮ þŦ þűĢ- /ĢƿěþƷŎŻűþŦ- FŻƿűĢþƷŎŻű-ܣ*Xin xiang wenjiao jijinhui*܌- ܗܤڗږژڐ- 'nĩ ǜþƪ þŦƪŻ-ŎűǛŻŦǛĩĢ-Ŏű- Ʒ'nĩ- ŁŻƿűĢŎűł-ŻŁ-Ʒ'nĩƪŎþű- ŻůƟŻƪĩƢƪhĩþłƿĩ-ܣ hܤ-Ŏű-ڒږژڐ-Ŏű-NŻűłfŻűł-ƷŻłĩƷ'nĩƢǜŎƷ'n-Nƪƿ-¼ƪþűłܮ NŻƿĩŎþűĢ-ŁŻƿƢ-ŻƷ'nĩƢěŻůƟŻƪĩƢƪ-ŁƢŻů-¼þŎǜþűܒ-Nĩ-'nþƪ-ƷƢþǛĩŦĩĢĩǡƷĩűƪŎǛĩŦǢǜŎƷ'nŎűƪŎþƪŎűěĩ-Ʒ'nĩ- ĩþƢŦǢ-ڏږژڐƪܒłþŎűƪƷ-Ʒ'nŎƪ-ĚþěţłƢŻƿűĢ܌-'nŎƪ-ƷĩűĢĩűěǢ-ƷŻǜþƢĢ-ƟþűܮƪŎþűþĩƪƷ'nĩƷŎěƪ-Ʒþţĩƪ-ŻűþěŦĩþƢ- autobiographical dimension.

Nƪƿ-£ŻܮæƿűܼƪǜŻƢţƪ܌-ŦŎţĩ-Ʒ'nŻƪĩ-ŻŁhĩĩ-¼þŎܮNƪŎþűł܌-ƢĩơƿŎƢĩþěŦŻƪĩ-ŁŻƢů-ŻŁěŻŦŦþĚŻƢþƷŎŻű-Ěĩܮ Ʒǜĩĩű-Ʒ'nĩěŻůƟŻƪĩƢþűĢ-ƟĩƢŁŻƢůĩƢܗ-ŎűěŻűƷƢþƪƷ-ƷŻ-Ʒ'nĩ-ƟƢĩěŎƪŎŻű-ŻŁƪĩƢŎþŦ-ŻƢ-ƟŻƪƷƪĩƢŎþŦƪěŻƢĩƪ܌-Ʒ'nĩ- ŻǼ Ʒĩű ƪţĩƷě'nܮŦŎţĩ- ĢĩƪŎłű ƿƪƿþŦŦǢ- ŦĩþǛĩƪ ƪŻůĩ- ƢŻŻů- ŁŻƢ- ŎűƷĩƢƟƢĩƷþƷŎŻű܌ ǜ'nŎě'n ƪ'nŻƿŦĢ- ŻŁ- ěŻƿƢƪĩ-Ěĩ-ܹěƿŦƷƿƢþŦŦǢ-ŎűŁŻƢůĩĢܒܺłþŎűƪƷ-Ʒ'nŎƪ-ĚþěţłƢŻƿűĢ܌-Nƪƿ-ŎűƪĩƢƷĩĢþ-ǛþƢŎĩƷǢ-ŻŁ-ƢĩŁĩƢĩűěĩƪ- to Asian vocal models, including details that are rendered in a precisely notated approximation, ŁŻƢĩǡþůƟŦĩ-ĚǢůŻŦĢŎűł-Ʒ'nĩƪƟĩĩě'nůĩŦŻĢǢůĩƷŎěƿŦŻƿƪŦǢǜŎƷ'nłƢþƟ'nŎě-ŦŎűĩƪ-ܣƪĩĩ-/ǡܒܤژڒܒڒݑܒ-SƷ-Ŏƪ- ě'nþƢþěƷĩƢŎƪƷŎě-Ʒ'nþƷ-Ʒ'nĩ-ŎĢĩűƷŎƷǢěŻűǴŦŎěƷ-ŁŻƢ-Nƪƿ܌ǜ'nŻǜþƪ-ĚŻƢű-ŎűdþƟþűþűĢ-ĚĩěþůĩþěơƿþŎűƷĩĢ- ǜŎƷ'n-ĢŎDz ŁĩƢĩűƷůƿƪŎěþŦ-ƷƢþĢŎƷŎŻűƪ-ŎűƪŎþþƷþűĩþƢŦǢþłĩ܌-ƢĩƪŻŦǛĩƪ-ŎƷƪĩŦŁ-Ŏűþ-ĢĩěŎĢĩĢŦǢ-'nǢĚƢŎĢ- conception. As sources of inspiration for his vocal style – which he also transfers to the inƪƷƢƿůĩűƷþŦ-ŦĩǛĩŦ-ܫ-'nĩűþůĩƪĩŎŠŎűł-ƟĩƢþ-ܣ'nŎƪ-ŁþƷ'nĩƢǜþƪ-ŎűěŦŻƪĩěŻűƷþěƷǜŎƷ'n-Ʒ'nĩ-ŦĩłĩűĢþƢǢ- ĩŎŠŎűł- ƟĩƢþ þěƷŻƢ rĩŎ hþűŁþűł܌ܤ- Ʒ'nĩ- ŦŻěþŦ- ¼þŎǜþűĩƪĩ łĩűƢĩƪ *beiguan* and *nanguan*, the Japanese *űƔ* theater, Korean *Ɵ݂þűƪŻƢŎ*, Indonesian *kecak*܌þűĢrŻűłŻŦŎþű-ƢŎƷƿþŦě'nþűƷƪ܋

Fżƣ-ĪǢÿŰƠŧĪ܉ǣżǀǝŏŧŧǿŲģ-ƸŊĪ-ƸǣƠŏĜÿŧłĪÿƸǀƣĪżłÿƫƸĪÿģŏŧǣƫŧŏģŏŲŃǜżŏĜĪŏŲ-*Ųƕ*ÿƫǝĪŧŧÿƫŏŲ*p'ansori*. ¼ŊĪŧÿƸƸĪƣŏƫģŏƫƸŏŲŃǀŏƫŊĪģěǣǜĪƣǣƫŊÿƣƠ*ƫDzDzłǭ*ܫÿƸƸÿĜŤƫłżŧŧżǝĪģěǣÿ*subito piano*. As a composer, SłĪĪŧłƣĪĪ-Ƹż-ƠŧÿǣǝŏƸŊ-ƸŊĪƫĪģŏdz łĪƣĪŲƸ-ĪŧĪŰĪŲƸƫ܉ÿŲģǝŊŏŧĪ-ĜżŰƠżƫŏŲŃ-S-ƸŊŏŲŤżł-ŰǣƫĪŧłěĪŏŲŃ- ÿŲÿĜƸżƣżŲ-ƸŊĪƫƸÿŃĪ-SŲ-ƸŊĪ-ƠƣżĜĪƫƫżłÿ-ĜżŰƠżƫŏƸŏżŲ-ŊżǝĪǜĪƣ܉-Sģż-ŲżƸÿƸƸĪŰƠƸ-Ƹż-ĜżƠǣ-ƸŊĪƫĪ- ĪŧĪŰĪŲƸƫ܉ěǀƸ-ƸżģĪƣŏǜĪƫżŰĪƸŊŏŲŃ-ŲĪǝÿŲģżƣŏŃŏŲÿŧłƣżŰ-ƸŊĪŰڗڛڙ

ŁěŻƿƢƪĩ܌-NƪƿþŦƪŻěŻůĚŎűĩƪ-Ʒ'nŎƪ-Ʒ'nŎűţŎűłǜŎƷ'něŻůƟŻƪŎƷŎŻűþŦ-Ʒĩě'nűŎơƿĩƪ-ŻŁàĩƪƷĩƢű-ƟƢŻǛĩűþűěĩܒ-£þƢƷŦǢƪĩŦŁܮƷþƿł'nƷ܌-'nĩ-ƷŻŻţěŻƿƢƪĩƪ-ŎűůƿƪŎě-Ʒ'nĩŻƢǢþűĢþűþŦǢƪŎƪǜŎƷ'n-Nƪƿ-¼ƪþűłܮNŻƿĩŎ- ŁŻƢþ- ƷŎůĩ-Ŏű- ܒڏڕژڐ-RŎűěĩ- Ʒ'nĩĩþƢŦǢ- ڏږژڐƪ܌-'nĩ-'nþƪ-ŻƢłþűŎǬĩĢůƿŦƷŎůĩĢŎþ-ƟƢŻŠĩěƷƪǜŎƷ'nhĩĩ-¼þŎܮ NƪŎþűłþűĢǜŻƢţĩĢǜŎƷ'n-Ʒ'nĩ- ŦŻƿĢ-GþƷĩ-'þűěĩȃĩþƷĩƢþűĢ-ŻƷ'nĩƢ-ƟĩƢŁŻƢůþűěĩłƢŻƿƟƪܒ--ƢĩůþƢţþĚŦĩƪĩƢŎĩƪ-ŻŁǜŻƢţƪĩůĩƢłĩĢ-Ŏű- Ʒ'nĩůŎĢڏږژڐܮƪ-܌ܤڔږܫڒږژڐܣþǼƷĩƢǜ'nŎě'n-'nĩ-ŦþƢłĩŦǢłþǛĩƿƟ- ěŻůƟŻƪŎűł-Ŏű-ŁþǛŻƢ-ŻŁ-'nŎƪĩǡƷĩűƪŎǛĩǜŻƢţþƪþěƿŦƷƿƢþŦůþűþłĩƢܒ

ȃĩ-ŁĩǜǜŻƢţƪ-ĚǢ-Nƪƿ-ŁƢŻů-Ʒ'nŎƪ-ƟĩƢŎŻĢ܌-'nŻǜĩǛĩƢ܌þƢĩěĩƢƷþŎűŦǢþůŻűł-Ʒ'nĩůŻƪƷƪƿěěĩƪƪŁƿŦ- þƷƷĩůƟƷƪ- ƷŻþƟƟƢŻþě'n-ŎĢĩűƷŎƷǢ- ƷĩűƪŎŻűƪ- ƟƢŻĢƿěƷŎǛĩŦǢ-Ŏű- ¼þŎǜþűܒ-Sű-*Zhongguo xiqu mingxiang* ܣrĩĢŎƷþƷŎŻű-Żű- 'nŎűĩƪĩȃĩþƷĩƢ܌-ܤڒږژڐ-'nĩ-ƷƢþűƪŁĩƢƪ-Ʒ'nĩ-ǛŻěþŦě'nþƢþěƷĩƢŎƪƷŎěƪ-ŻŁ-Ʒ'nĩƪŎþűłĩűƢĩƪ-

<sup>.</sup>Ibid ڼڸڷ

ڐܷ-܉ŧŏǀƫŊǀŏ-GÿżƫŊÿŲ-ܶ܉fÿ- -ڽڸڷ

ڴڹڷ- -Ų-Nƫǀ-£żܫæǀŲƫĪĪrŏƸƸŧĪƣ܉-ܶrŏƣƣżƣƫÿŲģ-'żǀěŧĪrŏƣƣżƣƫ܉ܷ-܉ڕڎܨڔڎrŏƸƸŧĪƣ܉-*Dangerous Tunes*܉-܉ړڌڎܨڒڌڎ-܉ړڏڏܨڒڏڏ- ÿŲģrŏƸƸŧĪƣ܉-ܶåǀżǣǀŲܷ

ڵڹڷ- -£ĪƣƫżŲÿŧ-ĜżŰŰǀŲŏĜÿƸŏżŲǝŏƸŊ-ƸŊĪÿǀƸŊżƣ܉-1/4ÿŏƠĪŏ܉-ڔڕڕڍܕڏܕڔڍ

### */ǡþůƟŦĩ-ڝژܘژܑ-Nƪƿ-£Żܴæƿűܒ-Zhongguo xiqu mingxiangܒ-Ɵڜڗݗܘ*

 żƠǣƣŏŃŊƸ-ޣ-ڏړڕڍěǣ-Nƫǀ-£żܫæǀŲ܉-1/4ÿŏƠĪŏ

detailed in the above quotation to the "abstract" surface of a piano quintet. Similarly to what hĩĩ-¼þŎܮNƪŎþűłþě'nŎĩǛĩĢþƷ-Ʒ'nĩƪþůĩ-ƷŎůĩ-Ŏű-'nŎƪ-ƟŎþűŻ-ƷƢŎŻ܌-NƪƿƿƪĩƪþǜŎĢĩ-Ƣþűłĩ-ŻŁþĢǛþűěĩĢ- ƟŦþǢŎűł-Ʒĩě'nűŎơƿĩƪ-ĚƿƷ-ŎűƷĩłƢþƷĩƪ-Ʒ'nĩů-ŎűƷŻþ-ŁþƢůŻƢĩ-ĢƢþůþƷŎě-ƟƢŻěĩƪƪ-ŻŁ-ŁŻƢůþŦƪ'nþƟŎűłܒȃĩ- ǛŻěþŦůŻĢĩŦƪ-ŦĩþĢ-ƷŻþ-ŦþƢłĩűƿůĚĩƢ-ŻŁłŦŎƪƪþűĢŻ-ǛþƢŎþűƷƪ܌-ŻǼ ƷĩűěŻůĚŎűĩĢǜŎƷ'nþĚƢƿƟƷ-ĢǢűþůŎěěŻűƷƢþƪƷƪ-ܣ/ǡܒܤڗڒܒڒݑܒ

*Han shi*-ܣ ŻŦĢ-FŻŻĢ܌-ܤړږژڐ-ŁŻƢůþŦĩ-ǛŻŎěĩþűĢě'nþůĚĩƢĩűƪĩůĚŦĩ܌-ĚþƪĩĢ-ŻűþǜĩŦŦܮţűŻǜű-ŦĩłĩűĢ-ŁƢŻů-Ʒ'nĩ-®ƟƢŎűłþűĢƿƷƿůű-£ĩƢŎŻĢ-ڐڗړܫڑڑږܣ- /܌ܤ-Ʒ'nĩűþƟƟŦŎĩƪ-Ʒ'nĩƪĩ-ƟƢŎűěŎƟŦĩƪ-ĢŎƢĩěƷŦǢ- to the human voice, and the singer moves between toneless whispers and forceful calls within þ-'nŎł'nŦǢ-ĢƢþůþƷŎǬĩĢ-ŎűƪƷƢƿůĩűƷþŦĩűǛŎƢŻűůĩűƷ-ܣ/ǡܒܤژڒܒڒݑܒȃĩ-ŎűƪƷƢƿůĩűƷƪþƢĩƿƪĩĢƪƟþƢŎűłŦǢ- ĚƿƷ-ĚƿŎŦĢƿƟ-ŦŻěþŦŦǢ-ŎűƷĩűƪŎȀĩĢ-ƷĩǡƷƿƢĩƪܒȃĩ-ƢĩƪƿŦƷŎűłůŻŻĢ-ŻŁ-ƢŎƷƿþŦþűĢ-Ʒ'nĩþƢě'nþŎě܌þě'nŎĩǛĩĢ- ĚǢ-ƢĩĢƿěŎűł- Ʒ'nĩþƢƷŎƪƷŎěůĩþűƪ܌-ƟƢĩȀłƿƢĩĢ- Ʒ'nĩþƟƟƢŻþě'n- Ʒþţĩű-ĚǢ- 'nŎűĩƪĩěŻůƟŻƪĩƢƪ-ŻŁ- Ʒ'nĩ- *xinchao*-ܣtĩǜàþǛĩܤ-Ŏű-Ʒ'nĩ-ڏڗژڐƪ-ܣ1/4þű-'ƿű܌-¥ƿåŎþŻƪŻűł܌-ݑދSSܗڒܒ-SSSܤڔܫړܒůŻƢĩ-Ʒ'nþű-Ʒĩű-ǢĩþƢƪ- in advance.

Hsu's *Pipa suibi*-ܣ£ŎƟþ-/ƪƪþǢ܌- ܤڔږژڐ- ŁŻƢ- Ʒ'nĩ- 'nŎűĩƪĩ*pipa* is based on the principle of an in-ƷĩƢƢƿƟƷĩĢ- ƟƿŦƪĩ܌ ǜ'nŎě'n-Ŏƪ łĩűĩƢþƷĩĢ- ĚǢ łƿŎƷþƢܮŦŎţĩ- ƢþƷ'nĩƢ- Ʒ'nþű-ƷƢþĢŎƷŎŻűþŦ *pipa* playing techniques.ڛڞڜȃŎƪěƢĩþƷĩƪþűþƷůŻƪƟ'nĩƢĩ-ŻŁ-ƢĩƪƷŦĩƪƪűĩƪƪěŻůƟþƢþĚŦĩ-ƷŻ-Ʒ'nĩ-ƷƢþĢŎƷŎŻűþŦ-ƢĩƟĩƢƷŻŎƢĩ-ŻŁ- the *wu* genre,ڜڞڜ whose most famous repertoire piece is *Shimian maifu*-ܣůĚƿƪ'n-ŁƢŻů-¼ĩű-®ŎĢĩƪ܌-܌ܤڗڐڗڐ-ĚƿƷǜŎƷ'nŻƿƷơƿŻƷþƷŎŻűƪþűĢ-ĚþƪĩĢ-Żűþ-ܹƢĩŎűǛĩűƷŎŻűܺ-ŻŁ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷܒ-ŦƷ'nŻƿł'n-Nƪƿ- argues that he used the classical three-part form of the *daqu* (*xu – po – ji*ܤ-ŁƢŻů-Ʒ'nĩěĩƢĩůŻűŎþŦ- music *ǢþǢƿĩ*-ƟĩƢŁŻƢůĩĢþƷ-Ʒ'nĩ-ŎůƟĩƢŎþŦěŻƿƢƷ-ŻŁ-Ʒ'nĩ-¼þűł-'ǢűþƪƷǢ-܌ܤږڏژܫڗڐڕܣ-ŎƷ-Ŏƪ-ƟŻƪƪŎĚŦǢůŻƢĩ-

ڶڹڷ- -RĪĪ-Nǀ܉-ܶðǀƣrǀƫŏŤģĪƣ-£ŏƠÿŏŰ-ڌڎdÿŊƣŊǀŲģĪƣƸ܉ܷ-ڒڏڍܨڎڏڍÿŲģrŏƸƸŧĪƣ܉-*Dangerous Tunes*܉-ړڐڏ

ڷڹڷ Traditional *pipa*-ĜżŰƠżƫŏƸŏżŲƫÿƣĪ-ŰżƫƸŧǣěÿƫĪģżŲ-ƠƣżŃƣÿŰŰÿƸŏĜ-ĜżŲĜĪƠƸƫÿŲģ-ǀƫǀÿŧŧǣ-ĪŲƸŏƸŧĪģǝŏƸŊÿ*timu* ܠŰżƸƸżܫŧŏŤĪ ƫǀěšĪĜƸܡ- Ų ŏŲĜƣĪÿƫŏŲŃŧǣ ǜŏƣƸǀżƫŏĜ- ƠĪƣłżƣŰÿŲĜĪ- ƠƣÿĜƸŏĜĪ ģĪǜĪŧżƠĪģ ŏŲ- ƸŊĪ- ŲŏŲĪƸĪĪŲƸŊ- ĜĪŲƸǀƣǣ- £ÿƣƸŏĜǀŧÿƣŧǣ-ŲżƸŏĜĪÿěŧĪÿƣĪżŲżŰÿƸżƠżĪŏĜ-ŲżŏƫĪ-Īdz łĪĜƸƫ܉ǝŊŏĜŊżĜĜǀƣ-ƠÿƣƸŏĜǀŧÿƣŧǣŏŲ-ƸŊĪ-ƠŏĪĜĪƫżł-ƸŊĪ-ܶǝÿƣƣĪpertoire" (*wu*ܡ-ܠĪŃ܉-ƸŊĪ-ĜŧŏŲŤŏŲŃżłǝĪÿƠżŲƫżƣ-ƸŊĪƣĪŰżǜÿŧżłÿƣŰżƣ܉ܡƫǀĜŊÿƫŏŲ-*Shimian maifu*-¼ŊĪŧŏƸĪƣÿƣǣ*wen* ƣĪƠĪƣƸżŏƣĪ܉żŲ-ƸŊĪżƸŊĪƣ-ŊÿŲģ܉ģĪǜĪŧżƠĪģ-ŃĪŲƸŧĪƣƫżŲżƣŏƸŏĪƫÿŲģŏƫżǽ ƸĪŲÿƫƫżĜŏÿƸĪģǝŏƸŊģĪƫĜƣŏƠƸŏżŲƫżł-ŲÿƸǀƣĪ- and landscapes.

### Example 3.39: Hsu Po-Yun, Han Shi, p. 2

adequate, due to the mere nine-minute duration, to conceive the form of the piece as a single continuous process.

Finally, Sheng - si (Life - Death, 1974) can be described as Hsu's principal work. With a duration of over 30 minutes, the piece not only uses an variety of instrumental groups (including the Chinese instruments xiao, zheng, huqin, yangqin, sheng, and xun, as well as nine Western string instruments and four Western wind instruments), but also features an electronic soundtrack that can be considered advanced in the historical context. Even if Hsu claims that only simple technical means were available (including an echo unit and a wave oscillator), the development of the electronic part leads to spectacular sound situations, especially in the first part of the piece. Despite the large-scale setting, the structure is kept simple, with the last section focusing on an intensification of events. As in his other pieces, Hsu's international professionalism here takes priority over any form of localist identity construction.

Pan Hwang-Long, born in 1945 in Nantou County, is a significantly different case compared to Lee and Hsu. 354 He stayed in Europe from 1974 to 1982 and had apparently been little involved with the spirit of optimism during the early 1970s. This was probably due to the fact that he had not belonged to the "inner circle" around Hsu Tsang-Houei. He had studied at the National Taiwan Normal University with Liu Te-I ("Pietro," 1929-1991), who came from the Chinese province of Hebei and had studied in Germany with Paul Hindemith, Harald Genzmer, and Gün-

Copyright © 1974 by Hsu Po-Yun, Taipei

<sup>354</sup> An extensive discussion of Pan's music is provided by Sung, Pan Hwang-long and Sung, "Interkulturelles Komponieren in der zeitgenössischen Kunstmusik." Further basic information on Pan is provided in Liu, A Critical History of New Music in China, 554–556, Mittler, "Pan Huanglong" Lee, "Pan Hwang-Long," Zhao, "Renshi women de zuoqujia: Pan Huanglong," and Lo, Gu jin xiangsheng yinyue meng.

ther Bialas.ڞڞڜ-£þűǜþƪƪƷƢŻűłŦǢ-ŎűǴŦƿĩűěĩĢ-ĚǢ-'nŎƪƪƷƿĢŎĩƪǜŎƷ'n-NĩŦůƿƷhþě'nĩűůþűű-Ŏű-NþűŻǛĩƢ- ĚĩƷǜĩĩű-ڕږژڐþűĢ-ܒڗږژڐ-SűƷĩűƪĩ-ƟĩƢƪŻűþŦƪĩƪƪŎŻűƪ-ƷĩůƟŻƢþƢŎŦǢ-ƢĩƪƿŦƷĩĢ-ŎűþěŦŻƪĩ-ƟƢŻǡŎůŎƷǢ-ƷŻ- hþě'nĩűůþűűܼƪůƿƪŎěþŦěŻűěĩƟƷŎŻűܒ-£þűܼƪ-®ƷƢŎűł-¥ƿþƢƷĩƷűŻܒ-ڑ-܌ܤږږژڐܣěƢĩþƷĩĢ-Ŏű-Ʒ'nĩƪƟŎƢŎƷ-ŻŁhþě'nĩűůþűű܌ěþƿƪĩĢ-ƟƿĚŦŎě-ƟƢŻƷĩƪƷƪþƷ-Ʒ'nĩ-ƟƢĩůŎĩƢĩ-Ŏű-NþűŻǛĩƢ-Żű-ڕڑdþűƿþƢǢ-ڟڞڜܒڗږژڐȃĩ-ǢŻƿűł- composer here followed the principle of *musique concrèteinstrumentale*܌ǜ'nŎě'nhþě'nĩűůþűű-'nþĢ- Ěĩĩű-ĢĩǛĩŦŻƟŎűłƪŎűěĩ-Ʒ'nĩ-ŦþƷĩ-ڏڕژڐƪܒȃĩ-Ɵ'nǢƪŎěþŦěŻűĢŎƷŎŻűƪ-ŻŁƪŻƿűĢ-ƟƢŻĢƿěƷŎŻűþƢĩĩǡƟŻƪĩĢ- ěŻůƟŻƪŎƷŎŻűþŦŦǢ܌þűĢ-Ʒ'nĩƢĩĚǢƿűĢĩƢůŎűĩĩƪƷþĚŦŎƪ'nĩĢ-ŦŎƪƷĩűŎűł-'nþĚŎƷƪܒȃĩ-ĚþƢƢĩűƪƷƢƿěƷƿƢĩ-Ŏű- £þűܼƪƪƷƢŎűłơƿþƢƷĩƷ-Ŏƪ-ĢŻůŎűþƷĩĢ-ĚǢ-ŦþƢłĩŦǢ-ŎƪŻŦþƷĩĢűŻŎƪĩƪŻƿűĢƪܒ-Sű-Ʒ'nĩ-ŦþƷĩƢ-®ƷƢŎűł-¥ƿþƢƷĩƷ- űŻܒ-ڒ-܌ܤڒڗܫڐڗژڐܣþłĩűƷŦĩƢ܌ůŻƢĩěŻűƷĩůƟŦþƷŎǛĩ-ŎĢŎŻů-ŎƪþŦƢĩþĢǢ-'nŎűƷĩĢþƷ܌ǜŎƷ'nŻƿƷ-ĢŎƪþǛŻǜŎűł- Ʒ'nĩþĩƪƷ'nĩƷŎě-ŻŁ-Ʒ'nĩĩþƢŦŎĩƢǜŻƢţܒȃĩ-ŁŻƿƢƷ'n-ƟþƢƷ-ĢĩǛĩŦŻƟƪþěŻűěĩűƷƢþƷĩĢƪƷƿĢǢ-Ŏű*col legno* techűŎơƿĩƪþűĢ-'nþƢůŻűŎěƪ܌-ƢĩƪƿŦƷŎűł-ŎűþűĩǡěĩƟƷŎŻűþŦŦǢ-ƢŎě'nƪŻƿűĢƪƟĩěƷƢƿů-ܣ/ǡܒܤڏړܒڒݑܒ

Pan was aware that he had reached an extreme point with his second quartet, and subsequently turned, certainly encouraged by the far more moderate approach of his next teacher Sƪþűłæƿű܌ǜŎƷ'nǜ'nŻů-'nĩƪƷƿĢŎĩĢþƷ-Ʒ'nĩĩƢŦŎű-ÃűŎǛĩƢƪŎƷǢ-ŻŁ-Ʒ'nĩ-ƢƷƪ-܌ܤڏڗܫڗږژڐܣ-ƷŻǜþƢĢ-Ʒ'nĩþƢě'nþŎěƪŎþűþűĢ-'þŻŎƪƷ-Ʒ'nŻƿł'nƷ-ƷŻǜ'nŎě'næƿű-'nþĢ-ƢĩƟĩþƷĩĢŦǢ-ƢĩŁĩƢƢĩĢ-ݑދܣSSSܒܤڐܒàŎƷ'n-*Wandlungsphasen* for eight performers (*Wu xing sheng ke*܌-܌ܤڏڗܫژږژڐ-£þű-ĢĩǛĩŦŻƟĩĢþěŻůƟŻƪŎƷŎŻűþŦěŻűěĩƟƷ- ŻŁ-ƷĩűƪŎŻűþűĢ-ƢĩƪŻŦƿƷŎŻű-Ʒ'nþƷ-ƢĩŁĩƢƪ-Ěþěţ-ƷŻ-Ʒ'nĩþƢě'nþŎě- 'nŎűĩƪĩ-Ʒĩþě'nŎűł-ŻŁ-Ʒ'nĩ-ȀǛĩĩŦĩůĩűƷƪ- (*wu xing*܋ůĩƷþŦ܌ǜþƷĩƢ܌ǜŻŻĢ܌-ȀƢĩ܌ĩþƢƷ'nܤ-Ʒ'nþƷěŻűƷŎűƿŻƿƪŦǢ-ĢĩƪƷƢŻǢþűĢ-ƢĩܮěƢĩþƷĩ-ŻűĩþűŻƷ'nĩƢܒȃĩ-ĢĩƪŎłű-ŻŁůƿƪŎěþŦ- ƷĩűƪŎŻűþűĢ-ƢĩƪŻŦƿƷŎŻű-ƟŦþěĩƪłƢĩþƷĩůƟ'nþƪŎƪ-Żű- ƷŎůĚƢĩܒȃĩ-ĚþƪŎƪ- ŁŻƢ- this is Pan's idea of a "sound cadence" (*ǢŎűǡŎþűł-Ǭ'nŻűłǬ'nŎƪ'nŎ*܌ܤ-ƟƢŻĚþĚŦǢ-ŦŎűţĩĢ-ƷŻhþě'nĩűůþűűܼƪ- sound typology, from which the principle of "sound content" (*ǢŎűǡŎþűł-ǢŎŠŎűł*ܤ-ŦþƷĩƢĩůĩƢłĩƪþƪ- a central principle of composition.ڠڞڜ In *Transformation*-ŁŻƢ-ǴŦƿƷĩ܌ěŦþƢŎűĩƷ܌-ƟĩƢěƿƪƪŎŻű܌þűĢ-ƷǜŻ- cellos (*Hudie meng*- ܡƿƷƷĩƢǴŦǢ-'Ƣĩþů܌ܢ-܌ܤژږژڐ-£þűþƟƟŦŎĩƪƪŎůŎŦþƢ-ƟƢŎűěŎƟŦĩƪ-ƷŻ-Ʒ'nĩ-ŁþůŻƿƪ-ĚƿƷ-ƷĩƢǴŦǢ-ƟþƢþĚŦĩ-ŻŁ-Ʒ'nĩ-'þŻŎƪƷ-Ɵ'nŎŦŻƪŻƟ'nĩƢð'nƿþűłǬŎܒð'nƿþűłǬŎܼƪ-Ɵ'nŎŦŻƪŻƟ'nǢƪƿĚƪĩơƿĩűƷŦǢłþŎűĩĢ- ƪƟĩěŎþŦƪŎłűŎȀěþűěĩ-ŁŻƢ-£þűܗ-ŎƷǜþƪ-ŁƿűĢþůĩűƷþŦ-ƷŻþǜ'nŻŦĩƪĩƢŎĩƪ-ŻŁǜŻƢţƪ-ŁƢŻů-Ʒ'nĩţĩǢ-ǢĩþƢ- ܌ژږژڐ-ŎűěŦƿĢŎűł-*Ursache und Wirkung* (*Yinguo sanzhongzou* ܡ þƿƪĩþűĢ-/Dz ŁĩěƷ܌ܤܢ-*Kausalnexus* (*Yinguo muguan sichongzou* ܡ þƿƪþŦtĩǡƿƪ܌ܤܢþűĢ-*Erleuchtung* (*Qishilu* ܡSŦŦƿůŎűþƷŎŻű܌ܤܢþŦŦƪěŻƢĩĢ-ŁŻƢ- ƪůþŦŦě'nþůĚĩƢĩűƪĩůĚŦĩƪǜŎƷ'n-Ʒ'nƢĩĩ-ƷŻ-ȀǛĩ-ŎűƪƷƢƿůĩűƷƪܒ

þěţ-Ŏű- ¼þŎǜþű܌- £þű- Ěĩěþůĩ- ƟƢŻŁĩƪƪŻƢ-ŻŁ ěŻůƟŻƪŎƷŎŻű þƷ- Ʒ'nĩ űĩǜŦǢ- ŁŻƿűĢĩĢtþƷŎŻűþŦ- SűƪƷŎƷƿƷĩ-ŻŁ- Ʒ'nĩ-ƢƷƪþűĢǜþƪ-Ŏűě'nþƢłĩ-ŻŁ- Ʒ'nĩ-¼þŎǜþűĩƪĩƪĩěƷŎŻű-ŻŁ- Ʒ'nĩ-S® r- ŁƢŻů-ڔڗژڐ- ƷŻ-ܒژڗژڐ- Although his wide-ranging international activities were now beginning, his compositional ŎĢŎŻů܌ǜ'nŎě'n-'nĩĩƪƷþĚŦŎƪ'nĩĢþƢŻƿűĢ- ܌ڏڗܘژږژڐ-ĢŎĢűŻƷ- ŁƿűĢþůĩűƷþŦŦǢě'nþűłĩܒ-NĩěŻűƷŎűƿĩĢ- ƷŻ- adapt concepts from Chinese thought, such as in his *ǢŎűܴǢþűł*ěǢěŦĩ-ܣŁƢŻů-ܒܤڑژژڐ-FƢŻů-Ʒ'nĩůŎĢĢŦĩ- ŻŁ-Ʒ'nĩ-ڏږژڐƪ-Żű܌-£þűƪƷþƢƷĩĢ-ŻƢłþűŎǬŎűł-'nŎƪǜŻƢţƪ-ŎűěǢěŦĩƪ܌-Żűĩ-ŻŁ-Ʒ'nĩůŻƪƷĩǡƷĩűƪŎǛĩ-ĚĩŎűł-Ʒ'nĩ- *rŎłŻűł-ĢþŻǢþŻǢŻƿ-*(*hþĚǢƢŎűƷ'n-*– *Promenade*ܤěǢěŦĩ-Ěĩłƿű-Ŏű-܌ڗڗژڐǜ'nŎě'nƪŻ-ŁþƢ-ŎűěŦƿĢĩƪůŻƢĩ-Ʒ'nþű- ȀǼ ƷǢ-ĢŎDz ŁĩƢĩűƷě'nþůĚĩƢůƿƪŎě-ƟŎĩěĩƪܒ-Sű-Ʒ'nŎƪěǢěŦĩ܌-£þű-ƟƿƢƪƿĩƪěŻűěĩƟƷƪ-ŻŁþůŻĚŎŦĩ-ŁŻƢů܌-ŦĩþǛܮ ing the elaboration of the score to the performers, who can select from several predetermined sections.

Although Pan grew up in a very traditional environment and even played the *xiao* and *dizi* ǜ'nŎŦĩƪƷŎŦŦþě'nŎŦĢ܌-'nĩ-ŻűŦǢƪƷþƢƷĩĢ- ƷŻǜƢŎƷĩ- ŁŻƢ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪ-ŦþƷĩ-Żűܒ-NĩǜŻƢţĩĢǜŎƷ'n- the ensemble *Caifeng Yuefang*-ܣ 'nŎűþ-FŻƿűĢrƿƪŎěàŻƢţƪ'nŻƟ-¼þŎƟĩŎ܌-ƷŻĢþǢ܋- 'nþŎ-FŻƿűĢrƿƪŎě-

ڕڕڍ-܉*Tunes Dangerous* ,Mittler ڹڹڷ

ںڹڷ See Sung, *Pan Hwang-Long*, 44.

ڻڹڷ- -RĪĪ-£ÿŲ܉-ܶæŏŲǢŏÿŲŃǣŏšŏŲŃǣŏŲǣǀĪ-ĜŊǀÿŲŃǭǀżģĪŧŏŲŏÿŲܷ

Example 3.40: Pan Hwang-Long, String Quartet no. 3, IV, mm. 144-147

Copyright © 1983 by Pan Hwang-Long, Taipei

Workshop Taipei³39). This ensemble specialized in new works for the Chinese sizhuyue ensemble359 (silk and bamboo music). Of course, this also led to a more intensive examination of specific musical aspects of the Chinese-Taiwanese traditions in Pan's works. Previously, Pan had only employed highly indirect allusions, such as hints of nanguan melody in the two orchestral works Taiwan fengjing hua (Formosa Landscape, 1987–95). Pan states that the literary and musically refined genre nanguan\*0 played a key role for him, not least because he was familiar with it since childhood. The first work for Caifeng was the five-movement sextet Shi - Dao - Ru (Dialogue, 1991), in which Pan deals with the relationship between traditional and modern culture, alluding to the Confucian form of learned dialogue. What function should

<sup>358</sup> Further information on this still active ensemble, which was frequently hosted in Europe, can be found at http://cfmw.com.tw.

<sup>359</sup> Sizhu music is the predominant ensemble form of traditional music practice in southern China and is still cultivated in teahouses by amateur ensembles. Since the fourteenth century it has been irreplaceable for the accompaniment of opera music, musical dramas, chants, and dance theaters, but above all it has increasingly spread as an independent ensemble. The most common forms of sizhu music today are Jiangnan sizhu (in the area of Shanghai), Guangdong yinyue (Canton), and Fujian nanqu (Fujian, Taiwan). For a thorough study of Jiangnan sizhu, see Witzleben, "Silk and Bamboo" Music in Shanghai.

<sup>360</sup> The genres nanguan and beiguan, which were brought to Taiwan with the Holo population from the southern Chinese province of Fujian about three hundred years ago, have received particular attention in Taiwan from the very beginning, also in ethnomusicological research. The Taiwan entries in Grove Music Online and MGG Online provide basic information: Lü and Lu, "3. Han Chinese traditional music" and Lee, "Taiwan" ["III. Volksmusik der Han-Chinesen"].

traditional instruments serve today? How could a music sound that brings out the qualities of ƷƢþĢŎƷŎŻűþŦ-¼þŎǜþűĩƪĩþűĢ- 'nŎűĩƪĩůƿƪŎě-ǢĩƷþŦƪŻ-ƟþƢƷŎěŎƟþƷĩƪ-Ŏű-ŎűƷĩƢűþƷŎŻűþŦ-ĢĩǛĩŦŻƟůĩűƷƪܓ- £þű-ŦŎƪƷƪƪĩǛĩƢþŦ-Ʒĩě'nűŎơƿĩƪ-'nĩƿƪĩƪ-ƷŻ-ȀűĢ-Ʒ'nĩþűƪǜĩƢƪ-ƷŻ-Ʒ'nĩƪĩơƿĩƪƷŎŻűƪ܋-ȀƢƪƷ܌-Ʒ'nĩƿƪĩ-ŻŁƪŎűܮ łŦĩűŻƷĩƪþƪþű-ŎůƟƿŦƪĩ-ŁŻƢ-Ʒ'nĩĩűƷŎƢĩůƿƪŎěþŦ-ĢĩǛĩŦŻƟůĩűƷܗƪĩěŻűĢ܌-Ʒ'nĩ-ŻƟƟŻƪŎƷŎŻűƪ-ŻŁĩůƟƷŎűĩƪƪþűĢ-ƢĩþŦŎƪů܌ůŻǛĩůĩűƷþűĢƪŻŦŎĢŎȀěþƷŎŻű܌-ŦŎł'nƷþűĢ-ĢþƢţ܌ĩƷěܒþƪþǜþǢ-ƷŻěŦþƢŎŁǢ-Ʒ'nĩ-ŎűĢŎ-ǛŎĢƿþŦŎƷǢþűĢ-Ʒ'nĩƪŎůŎŦþƢŎƷŎĩƪ-ŻŁ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷƪܗ-Ʒ'nŎƢĢ܌-Ʒ'nĩěŻűƷƢþƪƷ-ĚĩƷǜĩĩű-ȀǡĩĢƪƷƢƿěƷƿƢĩƪ- ܣůŻǛĩůĩűƷƪ-܌ڐ-܌ڒ-ܤڔþűĢůŻĚŎŦĩƪƷƢƿěƷƿƢĩƪ-ܣůŻǛĩůĩűƷƪ-܌ڑ-ܒܤړȃĩ-Ʒ'nƢĩĩ- 'nŎűĩƪĩě'nþƢþěƷĩƢƪ-ŻŁ-Ʒ'nĩ- title stand for the three great philosophical-religious traditions of Asia and the potential for Ʒ'nĩŎƢ-ŎűƷĩƢƟĩűĩƷƢþƷŎŻű܋ƿĢĢ'nŎƪů-ܣ*shi*܌ܤ-'þŻŎƪů-ܣ*dao*܌ܤþűĢ- ŻűŁƿěŎþűŎƪů-ܣ*ru*ܒܤ

In his quartet *Wujing*, *ơŎűłŠŎűłܒ-ǢŎŠŎűł*-ܣrþƷƷĩƢ܌-/ǡƟƢĩƪƪŎŻű܌-RƿĚƪƷþűěĩ܌-ܤڕژܫڔژژڐ-ŁŻƢ*dizi*, *pipa*, *erhu*, and percussion instruments, the writing for the Chinese instruments seems more con-ȀĢĩűƷþűĢ-ŎĢŎŻůþƷŎě-ܣ/ǡݑܒ ܒܤڐړܒڒ- £þűþłþŎű- ƢĩŁĩƢƪ- ƷŻþ-ܣŎű- Ʒ'nŎƪ ěþƪĩ-ŦĩƪƪĩƢܮţűŻǜűܤ- ƷŻƟŻƪ- ŁƢŻů- classical Chinese aesthetics, the balance sought in Buddhism between matter (*wujing*܌ܤ ĩǡpression (*qingjing*܌ܤþűĢƪƿĚƪƷþűěĩ-ܣ*ǢŎŠŎűł*܌ܤþƪěŻűěĩŎǛĩĢ-Ŏűþ-ƟŻĩů-ŁƢŻů-Ʒ'nĩ-¼þűł-'ǢűþƪƷǢ-ĚǢ- àþűł- 'nþűłŦŎűł-ܒܤڕڔږܫژڗڕܣ- Ǣ þŦƷĩƢűþƷŎűł ƪƷþűĢþƢĢ űŻƷþƷŎŻű þűĢ- ǛþƢŎþĚŦǢ űŻƷþƷĩĢ ƪĩěƷŎŻűƪ- (developing the mobile principles from the *rŎłŻűł-ĢþŻǢþŻǢŻƿ* ƪĩƢŎĩƪ܌ܤ-£þűþŎůƪþƷ- ǴŦƿŎĢ܌ ěŻű-ƷŎűƿŻƿƪ-ƷƢþűƪŎƷŎŻűƪ-ĚĩƷǜĩĩű-ܹƪƟŎƢŎƷƿþŦþűĢ-ƢĩþŦܺþűĢ-ĚĩƷǜĩĩű-ܹŦŎůŎƷĩĢþűĢ-ŦŎůŎƷŦĩƪƪܒܺhŎţĩhĩĩ- ¼þŎܮNƪŎþűł܌-£þűþŦƪŻěŎƷĩƪ-Ʒ'nĩþĩƪƷ'nĩƷŎě-ƷŻƟŻƪ-ŻŁ*ơŎǢƿű*, which he associates with a "light, intro-ǛĩƢƷĩĢě'nþƢþěƷĩƢ܌ƪŻůĩƷŎůĩƪ-ĚƢŻţĩűǜŎƷ'nþ-Ʒ'nƿűĢĩƢŎűłƪƷƢĩűłƷ'nܒܺښڟڜ

Sű-Ʒ'nĩ- ŻűěĩƢƷŻ-ŁŻƢßŎŻŦŻűěĩŦŦŻþűĢ-Ƣě'nĩƪƷƢþ-܌ܤږژܫڕژژڐܣ-£þű-ƷƢŎĩĢ-ƷŻ-ƷƢþűƪŁĩƢ-Ʒ'nĩĩǡƷƢĩůĩŦǢ- ƪŻƟ'nŎƪƷŎěþƷĩĢ-ƟŦƿěţŎűł-Ʒĩě'nűŎơƿĩƪ-ŻŁ-Ʒ'nĩ- 'nŎűĩƪĩ*qin*-ǬŎƷ'nĩƢ-ƷŻ-Ʒ'nĩ-/ƿƢŻƟĩþűƪŻŦŻ-ŎűƪƷƢƿůĩűƷ܌while the binary rhythmic structure in *East and West* (*Dong nan xi bei*-ܡ/þƪƷ܌-RŻƿƷ'n܌àĩƪƷ܌tŻƢƷ'n܌ܢ-܌ܤڗژژڐ-£þűܼƪ-ȀƢƪƷǜŻƢţ-ŁŻƢůŎǡĩĢ- 'nŎűĩƪĩܮàĩƪƷĩƢű-ŎűƪƷƢƿůĩűƷþƷŎŻű܌þŦŦƿĢĩƪ-ƷŻ-Ʒ'nĩěĩƢĩůŻűŎþŦ- court music *ǢþǢƿĩ*-ŻŁ-Ʒ'nĩ-¼þűł-'ǢűþƪƷǢþƪǜĩŦŦþƪ-Ʒ'nĩ-/ƿƢŻƟĩþű-ƷŻűþŦůƿƪŎěþŦ-ƷƢþĢŎƷŎŻűܒ

In all these approaches, it is always clear that Pan assumes an even stronger abstraction ŻŁ-ƷƢþĢŎƷŎŻű-Ʒ'nþűhĩĩ-ŻƢ-Nƪƿܒ-SűþĢĢŎƷŎŻű܌-ŎƷ-ĚĩěŻůĩƪþƟƟþƢĩűƷ-Ʒ'nþƷ܌ůƿě'n-ŦŎţĩ-Ʒ'nĩƪĩ-ƷǜŻěŻŦܮ Ŧĩþłƿĩƪ܌- 'nĩ űĩǛĩƢ- ƷƢŎĩƪ- ƷŻ ěŻűƪƷƢƿěƷ þ ƪƟĩěŎȀě܌-ŦŻěþŦ- ¼þŎǜþűĩƪĩ-ŎĢĩűƷŎƷǢ܌- ĚƿƷ- ƢþƷ'nĩƢ-ŻƟĩƢþƷĩƪ- mainly on the – politically safe – terrain of ancient Chinese thought. Pan's approach is thus characteristic of an internationally oriented professionalism that was gradually established ŁƢŻů-Ʒ'nĩĩþƢŦǢ-ڏژژڐƪþůŻűł-¼þŎǜþűĩƪĩěŻůƟŻƪĩƢƪ܌ǜ'nŻǜĩƢĩǜĩŦŦþǜþƢĩ-ŻŁ-Ʒ'nĩ-ĢŎƪƷŎűěƷűĩƪƪþűĢ- ơƿþŦŎƷŎĩƪ-ŻŁ- 'nŎűĩƪĩþűĢ-¼þŎǜþűĩƪĩ-ܣůƿƪŎěܤ-ƷƢþĢŎƷŎŻűƪ܌-ĚƿƷ-ƢþƢĩŦǢłþǛĩ-Ʒ'nĩůþ-ƟƢŻůŎűĩűƷ-ƢŻŦĩ- in the musical structure.

ȃĩ-ƟþƷ'n-ŻŁ-ĢĩǛĩŦŻƟůĩűƷ-Ʒþţĩű-ĚǢhĩĩ܌-Nƪƿ܌þűĢ-£þűƪŎűěĩ-Ʒ'nĩ-ڏږژڐƪþŦƪŻůþţĩƪ-ŎƷěŦĩþƢ-Ʒ'nþƷ- Ʒ'nĩ-ܹþǛþűƷܮłþƢĢĩܺ-ƷĩűĢĩűěŎĩƪ-ŻŁ-Ʒ'nĩŎƢĩþƢŦǢǜŻƢţǜĩƢĩűŻƷůþŎűƷþŎűĩĢ܌-ĢĩƪƟŎƷĩþě'nþűłŎűłþűĢ- gradually liberalizing cultural and political climate. In this process, all three became personal-ŎƷŎĩƪ-Ŏű-¼þŎǜþűĩƪĩěƿŦƷƿƢþŦ-ŦŎŁĩ-Ŏű-ĢŎDz ŁĩƢĩűƷǜþǢƪþűĢ܌űŻƷ-ŦĩþƪƷ܌-ŎůƟŻƢƷþűƷěƿŦƷƿƢþŦ-ܹþůĚþƪƪþ-ĢŻƢƪܺþűĢůĩĢŎþƷŻƢƪ-ŁŻƢ-¼þŎǜþű-Żű-Ʒ'nĩ-ŎűƷĩƢűþƷŎŻűþŦƪƷþłĩܒ

ڵںڷ Pan, "*Wujing*, *ơŎűłŠŎűłܒ-ǢŎŠŎűł*܉ܷ-ڌڕ-ܠܶ'ŏĪ-ǀŲŃĪƣÿģǭÿŊŧŏŃĪŲěƫĜŊŲŏƸƸĪǜĪƣǝĪŲģĪŲǜÿƣŏÿěŧĪtżƸÿƸŏżŲ-ǀŲģ-ŊÿěĪŲ- ĪŏŲĪŲŧĪŏĜŊƸĪŲ܉ŏŲƸƣżǜĪƣƸŏĪƣƸĪŲ- ŊÿƣÿŤƸĪƣ܉ÿě-ǀŲģǭǀģǀƣĜŊěƣżĜŊĪŲǜżŲ-ĪŏŲĪƣģżŲŲĪƣŲģĪŲ-®ƸďƣŤĪ܉-ĪƣłdžŧŧƸ-ŰŏƸ- ģĪƣƫƸŊĪƸŏŤģĪƫÿěƫƸƣÿŊŏĪƣƸĪŲ-¦ĪŏŰƫ-ܠ*ơŎǢƿű*ܡ-ܟ܊ܞ-'ÿƫ-ŃÿŲǭĪ-®ƸdžĜŤǜĪƣĪŏŲƸƫżŰŏƸŏŲƫŏĜŊģÿƫ-GĪŏƫƸŏŃĪ-ǀŲģģÿƫ- ¦ĪÿŧĪ܉ģÿƫ-ĪŃƣĪŲǭƸĪ-ǀŲģģÿƫ-GƣĪŲǭĪŲŧżƫĪ-ܟ܊ܞܡ

Example 3.41: Pan Hwang-Long, Wujing, qingjing, yijing, mm. 27-29

Copyright © 1996 by Pan Hwang-Long, Taipei

### Conservatism and Reinvention of Traditions since the 1980s

An avoidance of significant connections to "sounding" traditional music is unmistakable among the composers of the following generations, often accompanied by a conservatism brought back from academic education in the USA. Although traditional music was included as a compulsory subject in the training (also for composers) at several Taiwanese universities, 362 it rarely seems to have had a far-reaching impact on the compositional work, not least because of the lack of informal, non-academic contact with traditional music genres and their performers. In the 1980s, a growing number of Taiwanese composers were trained in the USA, where an clear departure from the "experimental tradition" of Ives, Cowell, Cage, Partch, or Tenney had taken place since the late 1970s (anticipated early on by some of their representatives, for example in Henry Cowell's late work), involving increasing trends of popularization and commercialization. The institutionalization of compositional training at universities, the frequent isolation of academic composers from social, cultural, or political discourses, and the orientation toward the repertoire of early musical modernism, as evidenced by the success and spread of Allen Forte's set theory since the publication of The Structure of Atonal Music (1973), led most of the Taiwanese composers who were trained in the USA in the 1980s to return to Taiwan with an idiom that was technically advanced but lacked striking or visionary dimensions.

The slow political liberalization of Taiwan, which led to the abolition of martial law in 1987, seems to have been largely accompanied, at least temporarily, by a growing lack of interest in questions of cultural identity and an often uncritical adaptation to Western standards – in contrast, for example, to the filmmaking of Taiwanese directors. The issues of the Xiangtu movement were increasingly brought into the center of society by the political opposition, but seem to have influenced art music discourse only in few cases. The decline in personal, direct contact with traditional music practice, which was associated with the progressive urbanization and institutionalization of traditional music genres, had ramifications for Taiwan's mu-

<sup>362</sup> Lee, "Taiwan" ["IV. Musikpflege seit dem Ende des 19. Jahrhunderts"].

ƪŎěþŦ-ܹŦþűĢƪěþƟĩ܌ܺþƪhĩĩ-¼ǬǢǢܮR'nĩűł-ܣĚ܌ܤڔڕژڐݑܒ-Żűĩ-ŻŁ-Ʒ'nĩ-ŦĩþĢŎűł-¼þŎǜþűĩƪĩěŻůƟŻƪĩƢƪ-ŻŁ-Ʒ'nĩ- ěƿƢƢĩűƷůŎĢĢŦĩłĩűĩƢþƷŎŻűǜ'nŻƪƷƿĢŎĩĢǜŎƷ'n-GĩŻƢłĩ- ƢƿůĚ܌þůŻűł-ŻƷ'nĩƢƪ܌þƢłƿĩƪ܋

¼ŊĪÿŧŏĪŲÿƸŏżŲżł-ƸŊĪǣżǀŲŃ-ŃĪŲĪƣÿƸŏżŲłƣżŰ- ŊŏŲĪƫĪżƣ-¼ÿŏǝÿŲĪƫĪ-ƸƣÿģŏƸŏżŲƫŏƫƣĪŧÿƸŏǜĪŧǣƫƸƣżŲŃ- ǀƣ-ĪģǀĜÿƸŏżŲŏƫÿŧŰżƫƸ-ĜżŰƠŧĪƸĪŧǣàĪƫƸĪƣŲܫżƣŏĪŲƸĪģ-'ǀƣŏŲŃ-ŰǣƫƸǀģŏĪƫÿƸ-ƸŊĪtÿƸŏżŲÿŧ-SŲƫƸŏ-ƸǀƸĪżł-ƸŊĪƣƸƫŏŲ-¼ÿŏƠĪŏǝĪ-ŊÿģƫżŰĪ-ܶÿŲƸŏģżƸĪܷŏŲ-ƸŊĪłżƣŰżł-ĜŧÿƫƫĪƫŏŲ-ƸƣÿģŏƸŏżŲÿŧ-ŰǀƫŏĜ-ǀƸ܉- ĪǢĜĪƠƸłżƣÿłĪǝ-ĜżŰƠżƫĪƣƫ܉-ŲżżŲĪǝÿƫŏŲƸĪƣĪƫƸĪģŏŲŏƸ-SłżǀŲģ-ĜżŲƫŏģĪƣÿěŧĪŏŲƫƠŏƣÿƸŏżŲŏŲ-ƸŊŏƫ- ƠƣĪżĜĜǀƠÿƸŏżŲ܉-ŊżǝĪǜĪƣ܉ÿŲģŏƸǝÿƫǜĪƣǣŏŲƫƠŏƣŏŲŃ-ƸżŧĪÿƣŲÿěżǀƸ-ƸŊĪƫĪ-ƸƣÿģŏƸŏżŲƫ-ܞ*nanguan* and *beiguan*ܟłƣżŰ-ƸŊĪżŧģ-ŰÿƫƸĪƣƫrǣ-ŰǀƫŏĜƫǀƣĪŧǣƫŊżǝƫƫżŰĪ-ƸƣÿŏƸƫżł-ƸŊŏƫłÿƫĜŏŲÿƸŏżŲ܉ěǀƸ-ŰżƫƸŧǣ- żŲŧǣÿƫÿ-ĜżŲĜĪƠƸǀÿŧěÿĜŤŃƣżǀŲģÿŲģ-ŲżƸŏŲÿǜĪƣǣ-ĪǢƠŧŏĜŏƸǝÿǣڙڜڙ

'ĩƪƟŎƷĩ-Ʒ'nĩ-ŦþƪƷ-ƢĩƪƷƢŎěƷŎŻű܌hĩĩ-¼ǬǢǢܮR'nĩűłܼƪ-*Wang guo shi I*-ܣ£Żĩů-Żű-Ʒ'nĩ- ŻƿűƷƢǢܼƪ-'ĩůŎƪĩ-S܌-ܤڐژژڐěŦĩþƢŦǢƪ'nŻǜƪ-'nŻǜ-Ʒ'nĩ-'nĩƷĩƢŻƟ'nŻűŎěƪƷƢƿěƷƿƢĩ-ĚĩƷǜĩĩűƪŻƟƢþűŻþűĢ-ŎűƪƷƢƿůĩűƷƪ-ܣ/ǡܤڑړܒڒݑܒ- relates to the characteristic structures of traditional Chinese practice, for example the com-ƟþƢþĚŦĩþĢŻƢűůĩűƷ-ŻŁ- Ʒ'nĩ-ǛŻěþŦ-ƟþƢƷƪ-ĚǢ- Ʒ'nĩţűĩĩ-ȀĢĢŦĩ-ܣ*jinghu*ܤ- Ʒ'nþƷ-ŦĩþĢƪ- Ʒ'nĩ-ŎűƪƷƢƿůĩűƷþŦ- ĩűƪĩůĚŦĩ-ŎűĩŎŠŎűł-ƟĩƢþ-ܣ*jingju*ܒܤ

hĩĩƿƪĩĢþ-ƟŻŦŎƷŎěþŦ- ƢĩŁĩƢĩűěĩ- ƢþƢĩŦǢ- ŁŻƿűĢþůŻűł-¼þŎǜþűĩƪĩěŻůƟŻƪĩƢƪǜŎƷ'nþěŦþƿƪƷƢŻܮ Ɵ'nŻĚŎěþŦŦǢƪƿłłĩƪƷŎǛĩǜŻƢţ-ŁŻƢ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪĩűƷŎƷŦĩĢ-*Mr. DE ---- ath*-܌ܤڏژژڐܣěŻůƟŻƪĩĢ- ŎűůĩůŻƢǢ-ŻŁ-Ʒ'nĩ-ǛŎěƷŎůƪ-ŻŁ-Ʒ'nĩ-¼ŎþűþűůĩűůþƪƪþěƢĩ-ŻŁ-ړdƿűĩ-ܒژڗژڐ-1/4ŻłĩƷ'nĩƢǜŎƷ'něŻůƟŻƪĩƢƪ- ƪƿě'nþƪàƿ-¼ŎűłܮhŎĩű-ܣĚܤڏڔژڐݑܒþűĢ-£þű-®'nǢ'nܮdŎ-ܣĚ܌ܤږڔژڐݑܒhĩĩ-¼ǬǢǢܮR'nĩűł-ĚĩŦŻűłƪ-ƷŻþłƢŻƿƟ-ŻŁ- ŻƿƷƪƷþűĢŎűłěŻůƟŻƪĩƢƪǜŎƷ'nůĩƢŎěþű-ƷƢþŎűŎűłǜ'nŻƪĩ-ŎĢŎŻůƪƪ'nŎǼ Ʒ-ĚĩƷǜĩĩűƪƷƢƿěƷƿƢþŦŎƪƷþűĢ- dramatic-performative dimensions but clearly point beyond mere academicism. However, at Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩ-ڏژژڐƪ܌ƪ'nŎǼ Ʒƪ-ƷŻǜþƢĢþůŻƢĩ-ƟŦĩþƪŎűł-ŎĢŎŻůþŦƪŻƪĩĩůƿűůŎƪƷþţþĚŦĩ-Ŏű-Ʒ'nŎƪłƢŻƿƟ܌as becomes apparent when comparing Pan Shyh-Ji's complex and strictly atonal *Quartet*-ܤڗڗژڐܣ- ŁŻƢłƿŎƷþƢþűĢƪƷƢŎűł-ƷƢŎŻǜŎƷ'n-'nĩƢƪŻǼ ƷěŻŦŻƢĩĢ-ŻƢě'nĩƪƷƢþŦƪţĩƷě'n-*Raining Night*-ܒܤژژژڐܣ

For many representatives of the younger generations, "traditional music" may be an abƪƷƢþěƷěŻűěĩƟƷ-ŁƢŻůþűŻƷ'nĩƢĩƢþܒ-NĩƢĩ-ƷŻŻ܌ĩǡěĩƟƷŎŻűƪěŻűȀƢů-Ʒ'nĩ-ƢƿŦĩ܌þűĢ-Ʒ'nŎƪ-ŎƪĩƪƟĩěŎþŦŦǢ- ƷƢƿĩ-ŁŻƢ-Ʒ'nŻƪĩěŻůƟŻƪĩƢƪǜ'nŻ-'nþǛĩ-ŦŎǛĩĢ-ŻƿƷƪŎĢĩ-¼þŎǜþű-ŁŻƢ-ŦŻűłĩƢ-ƟĩƢŎŻĢƪ-ŻŁ-ƷŎůĩ܌ƪŻůĩƷŎůĩƪ- ƟĩƢůþűĩűƷŦǢܒ-1/4ƿűł- 'nþŻܮrŎűł-ܣĚݑܒ ܤژڕژڐ-ŎƪƿűĢŻƿĚƷĩĢŦǢ-Żűĩ-ŻŁ- Ʒ'nĩůŻƪƷ-ŻƢŎłŎűþŦ- ƢĩƟƢĩƪĩűƷþtives of this generation. His personal "rediscovery" of native aboriginal music and Buddhist music at the end of the 1990s was accompanied by a light-footed synthesis somewhat indebted ƷŻ-Ʒ'nĩþƟƟƢŻþě'nĩƪ-ŻŁ-'nŎƪ-Ʒĩþě'nĩƢƪ-Ŏű-GĩƢůþűǢ܋-Ʒ'nĩ-ŎƢŻűǢ-ŻŁrþƿƢŎěŎŻfþłĩŦþűĢtŎěŻŦþƿƪ-ܒ-Nƿber's "critical composition." In *Formosa*-܌ܤژژژڐܣƪěŻƢĩĢ-ŁŻƢ-ƷǜŻ-ƟŎþűŎƪƷƪǜ'nŻ-ƟŦþǢ-ܹŎűþűĢ-Żűܺ-Ʒ'nĩ- ŎűƪƷƢƿůĩűƷ܌-1/4ƿűł-ĢĩǛĩŦŻƟƪƪƷƢŎţŎűłƪŻűŻƢŎƷŎĩƪƪƿě'nþƪþ-ܹƢĩŎűǛĩűƷŎŻűܺ-ŻŁ-Ʒ'nĩ-Šþǜ-'nþƢƟ-ܣ*lubung*ܤ- ŻŁ-Ʒ'nĩ-ƷþǢþŦþűĢƿűƿű-ŎűĢŎłĩűŻƿƪ-ƟĩŻƟŦĩþűĢ-Ʒ'nĩǜŻŻĢĩű-ƟĩƪƷŦĩ-ŻŁ-Ʒ'nĩƿűƿűþűĢ-¼þŻłƢŻƿƟƪ- in the second movement *Wudao*-ܣ'þűěĩܒܤű-ŎűƪŎƪƷĩűƷ-Ƣ'nǢƷ'nůþűĢþű-ŎűěƢĩþƪĩ-Ŏű- ƷĩůƟŻþűĢ- ĢĩűƪŎƷǢ-ŦĩþĢ-ƷŻþűĩěƪƷþƷŎě-ȀűþŦĩ-ܣ/ǡܒܤڒړܒڒݑܒ

ȃĩ-ȀƢƪƷůŻǛĩůĩűƷ܌-*Fangwu luocheng ge*-ܣRŻűł-ŁŻƢ-NŻƿƪĩǜþƢůŎűł܌ܤ-ƢĩŁĩƢƪ-Żű-Ʒ'nĩ-Żűĩ-'nþűĢ- ƷŻ-Ʒ'nĩůĩŦŻĢŎěƪƷƢƿěƷƿƢĩƪ-ŻŁ-Ʒ'nĩƪŻűł-ŁŻƢůůĩűƷŎŻűĩĢ-Ŏű-Ʒ'nĩ-ƷŎƷŦĩ-ŻŁ-Ʒ'nĩþĚŻƢŎłŎűþŦ-¼þŻ-ƟĩŻƟŦĩ- ܣŁŻƢůĩƢŦǢţűŻǜűþƪæþůŎܤǜ'nŻ-ŦŎǛĩ-Żű-Ʒ'nĩ-ŎƪŦþűĢ-ŻŁhþűǢƿ-ܣƢě'nŎĢ-SƪŦþűĢܤ-Żű-Ʒ'nĩ-/þƪƷěŻþƪƷ-ŻŁ- ¼þŎǜþűܗ-ĚƿƷ-Ʒ'nĩůƿƪŎě-'nĩƢĩþŦƪŻ-ƢĩǴŦĩěƷƪůŻƢĩłĩűĩƢþŦŦǢ-Ʒ'nĩ-ƟƢŻěĩƪƪ-ŻŁ-ŻƢþŦ-ƷƢþĢŎƷŎŻű܌þƪ-¼ƿűł- ĩůƟ'nþƪŎǬĩƪ-Ŏű-'nŎƪ-ŎűƷƢŻĢƿěƷŻƢǢűŻƷĩ܋

ǽ ƸĪƣłżĜǀƫŏŲŃłżƣÿŧżŲŃ-ƸŏŰĪżŲ-/ǀƣżƠĪÿŲ-ŰǀƫŏĜ-ĜǀŧƸǀƣĪ܉-SěĪŃÿŲ-Ƹż-ĪŲŃÿŃĪǝŏƸŊ-ƸŊĪ-ŰǀƫŏĜÿŧ- ƸƣÿģŏƸŏżŲżł-Űǣ-ŰżƸŊĪƣܹƫÿŲĜĪƫƸżƣƫ-ܨ-ƸŊĪ-ŲÿƸŏǜĪƫżł-¼ÿŏǝÿŲ-ܨÿŲģ-ƸżŧĪÿƣŲÿŲģÿŲÿŧǣǭĪ-ƸŊĪŏƣ-Űǀ-

ڷںڷ- -£ĪƣƫżŲÿŧ-ĜżŰŰǀŲŏĜÿƸŏżŲǝŏƸŊ-ƸŊĪÿǀƸŊżƣ܉-1/4ÿŏƠĪŏ܉-ڔڕڕڍܕڏܕڒڍ

Example 3.42: Lee Tzyy-Sheng, Wang guo shi I, mm. 80-83

Copyright © 1991 by Lee Tzyy-Sheng, Taipei

Example 3.43: Tung Chao-Ming, Formosa, II. Wudao, m. 63

Copyright © 1999 by Tung Chao-Ming, Taipei

sical thinking in order to be able to combine this with my own music. […] The four-handed piano piece Formosa […] consists of three parts and deals with the music of Taiwan, which was once called "Formosa" by the Portuguese. The first part is a representation of the [orally transmitted] ŰǀƫŏĜܫŰÿŤŏŲŃżł-ƸŊĪÿěżƣŏŃŏŲÿŧ-¼ÿŏǝÿŲĪƫĪ-¼ŊĪƫĪĜżŲģ-ƠŏÿŲŏƫƸ-ǀƫĪƫ-ƸŊĪģǀƣÿƸŏżŲżł-ƸŊĪŏƣěƣĪÿƸŊ- ƸżģĪƸĪƣŰŏŲĪ-ƸŊĪģǀƣÿƸŏżŲżł-ƸŊĪŏŲģŏǜŏģǀÿŧ-ƠŊƣÿƫĪƫ܉ƫż-ƸŊÿƸ-ƸŊĪǿƣƫƸ-ƠŏÿŲŏƫƸěĪĜżŰĪƫłÿŰŏŧŏÿƣ- ǝŏƸŊ-ƸŊĪ-ƠŊƣÿƫŏŲŃżł-ƸŊĪƫĪĜżŲģ-ƠŏÿŲŏƫƸ-ƸŊƣżǀŃŊƣĪƠĪÿƸĪģ-ܶƠƣÿĜƸŏĜĪ܉ܷÿŲģ-ƸŊǀƫ-ƸŊĪ-Ƹǝżżł-ƸŊĪŰ- ŰÿŤĪ-ŰǀƫŏĜ-ƸżŃĪƸŊĪƣښڜڙ

ȃŎƪ-ŎűƷĩƢþěƷŎǛĩþűĢěŻůůƿűŎěþƷŎŻűܮĚþƪĩĢƪĩƷƷŎűł܌ěŻůƟþƢþĚŦĩ- ƷŻæǕŠŎ-¼þţþ'nþƪ'nŎܼƪþƟƟƢŻþě'n- ƷŻƪŎþű-ŎűƪƷƢƿůĩűƷƪ-ݑދܣSSSܤړܒþűĢűŻƷƿűƢĩŦþƷĩĢ-ƷŻhĩĩܼƪ-ŻƢ-NƪƿܼƪƪĩůŎܮŻƟĩű-ŁŻƢůƪ-ŻŁ-Ʒ'nĩ-ڏږژڐƪ܌- leads to a cautious, fragile texture that builds up tension through the process of mutual listen-ŎűłþűĢ-ŎůŎƷþƷŎŻű-ܣ/ǡܒܤړړܒڒݑܒ-Ǣ-ŎűƷĩłƢþƷŎűł-Ʒ'nĩ-ŻƢþŦ-ƷƢþűƪůŎƪƪŎŻű-ƟƢŻěĩƪƪþűĢþƪƟĩěŎȀě-ƷŻűþŦŎƷǢ- ŎűƷŻ-Ʒ'nĩůƿƪŎěþŦƪƷƢƿěƷƿƢĩƪ܌-1/4ƿűłěŦĩþƢŦǢ-ƟŻŎűƷƪ-ĚĩǢŻűĢ-Ʒ'nĩƪŎůƟŦŎƪƷŎěěŻűƷƢþƪƷ-ĚĩƷǜĩĩű-ܹěŻŦŻristic" and "structuralist" appropriation.

*/ǡþůƟŦĩ-ڙڙܘژܑ-1/4ƿűł- 'nþŻܴrŎűłܒ-Formosa, I. Fangwu luocheng geܒ-Ɵڛݗܘ*

 żƠǣƣŏŃŊƸ-ޣ-ڕڕڕڍěǣ-¼ǀŲŃ- ŊÿżܫrŏŲŃ܉-1/4ÿŏƠĪŏ

ڸںڷ- -1/4ǀŲŃ܉-ܶFżƣŰżƫÿܷ-ܠܶtÿĜŊ-ĪŏŲĪƣŧÿŲŃĪŲ-£ŊÿƫĪģĪƣ-ĪƫĜŊďǽ ƸŏŃǀŲŃ-ŰŏƸģĪƣ-ĪǀƣżƠďŏƫĜŊĪŲrǀƫŏŤŤǀŧƸǀƣěĪŃÿŲŲŏĜŊ- ŰŏĜŊ-ŰŏƸģĪƣrǀƫŏŤƸƣÿģŏƸŏżŲģĪƣßżƣłÿŊƣĪŲ-ŰĪŏŲĪƣrǀƸƸĪƣ-ܨģĪƣ-ÃƣĪŏŲǝżŊŲĪƣ-¼ÿŏǝÿŲƫ-ܨÿǀƫĪŏŲÿŲģĪƣǭǀƫĪƸǭĪŲ- ǀŲģŏŊƣ-ŰǀƫŏŤÿŧŏƫĜŊĪƫ-'ĪŲŤĪŲǭǀŧĪƣŲĪŲ-ǀŲģǭǀÿŲÿŧǣƫŏĪƣĪŲ܉-ǀŰģŏĪƫĪƫ-ŰŏƸ-ŰĪŏŲĪƣ-ĪŏŃĪŲĪŲrǀƫŏŤǭǀƫÿŰŰĪŲěƣŏŲŃĪŲǭǀ-ŤƇŲŲĪŲ-ܟ܊ܞ-'ÿƫǜŏĪƣŊďŲģŏŃĪfŧÿǜŏĪƣƫƸdžĜŤ-*Formosa*-ܟ܊ܞěĪƫƸĪŊƸÿǀƫģƣĪŏ-¼ĪŏŧĪŲ-ǀŲģěĪƫĜŊďǽ ƸŏŃƸƫŏĜŊ- ŰŏƸģĪƣrǀƫŏŤ-¼ÿŏǝÿŲƫ܉ģÿƫǜżŲģĪŲ-£żƣƸǀŃŏĪƫĪŲ-ĪŏŲƫƸ-ܸFżƣŰżƫÿܹ-ŃĪŲÿŲŲƸǝǀƣģĪ-'Īƣ-ĪƣƫƸĪ-¼ĪŏŧŏƫƸ-ĪŏŲĪ-'ÿƣƫƸĪŧŧǀŲŃ-ܞģĪƫżƣÿŧ-ƸƣÿģŏĪƣƸĪŲܟrǀƫŏǭŏĪƣĪŲƫģĪƣ-ƸÿŏǝÿŲĪƣ-ÃƣĪŏŲǝżŊŲĪƣ-'ĪƣǭǝĪŏƸĪ-£ŏÿŲŏƫƸěĪƫƸŏŰŰƸģǀƣĜŊƫĪŏŲĪ- ĪŏŃĪŲĪ-ƸĪŰŧďŲŃĪģŏĪ-'ÿǀĪƣģĪƣ-ĪŏŲǭĪŧŲĪŲ-£ŊƣÿƫĪŲ܉ƫżģÿƫƫģĪƣ-ĪƣƫƸĪ-£ŏÿŲŏƫƸģǀƣĜŊ-ŰĪŊƣŰÿŧŏŃĪƫ-ܸÉěĪŲܹģŏĪ- £ŊƣÿƫŏĪƣǀŲŃģĪƫǭǝĪŏƸĪŲ-£ŏÿŲŏƫƸĪŲ-ŤĪŲŲĪŲŧĪƣŲƸ܉-ǀŲģƫżŰŏƸěĪŏģĪǭǀƫÿŰŰĪŲ-ŰǀƫŏǭŏĪƣĪŲܷܡ

Example 3.45: Tung Chao-Ming, Die Gesichter des Buddha, p. 20

Copyright © 2001 by Tung Chao-Ming, Taipei

In Die Gesichter des Buddha (The Faces of Buddha, 2001) for an ensemble of eight Chinese instruments, composed for Caifeng yuefang, Tung deepens this connection between structuralist and performative reception. The work is based on a structural treatment of the Daoist faqu melody Nishang yuyi qu (Song of the Rainbow Skirt and Plumage) from the Tang Dynasty." Whereas the melody notes in the first part are extremely drawn-out and colored by a dense network of noises inspired by the image of a "snoring Buddha," the melodic line in the second part (Ex. 3.45) gradually becomes more audible: Buddha awakes.

It is evident from the score and the sound result that the organization of this complex mixture of noise and pitched sound becomes an independent dimension in the first part, which develops its own dynamic from the underlying melodic and temporal organization. Culturally coded musical vocabulary is here secondary to concentrating on the acoustic properties of the instruments and sounds used, and increasingly gives way to a unique quality of sound.

The significantly growing number of female Taiwanese composers who are or were continuously active outside of Taiwan includes Wang Ming (b. 1963, based in Vienna), Wang Sue-Ya (b. 1965, temporarily based in Paris), Liao Lin-Ni (b. 1977, based in Paris), and Li Yuan-Chen (b. 1980, based in Chicago and Portland). They are often more respected on the international stage than in Taiwan, where patriarchal structures still shape many parts of academic life today.366 Wang Ming was trained as a performer of Chinese instruments (zheng, pipa) at the Chi-

<sup>365</sup> The imperial music group Liyuan (Pear Garden) was founded under the Emperor Xuanzhong (reigned 713–755) and was under the direct command of the music-loving emperor, who primarily used it to study the "magical music" called faqu. The faqu was also part of the great court music called daqu.

<sup>366</sup> See Liao, "Héritages culturels et pensée moderne," 140-141.

űĩƪĩ ƿŦƷƿƢĩ-ÃűŎǛĩƢƪŎƷǢ܌-1/4þŎƟĩŎ-ܣ*Wenhua daxue*ܤ-ĚĩŁŻƢĩƪƷƿĢǢŎűłěŻůƟŻƪŎƷŎŻűþűĢĩŦĩěƷƢŻþěŻƿƪ-ƷŎěƪþƷ-Ʒ'nĩßŎĩűűþěþĢĩůǢ-ŻŁrƿƪŎěܒ-FƢŻů-Ʒ'nĩ-ĚĩłŎűűŎűł܌ƪ'nĩǜŻƢţĩĢěŦŻƪĩŦǢǜŎƷ'n-'nĩƢ-ŁĩŦŦŻǜƪƷƿdents from *þŎŁĩűł-ǢƿĩŁþűł*þűĢ-ŻǼ ƷĩűěŻůƟŻƪĩĢ-ŁŻƢ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪ܌-ŁŻƢĩǡþůƟŦĩ-Ŏű-'nĩƢ-Ƣĩܮ ůþƢţþĚŦĩǜŻƢţ-*Ballade*-ܒܤژژژڐܣ-R'nĩƪĩþƢě'nĩƪ-ŁŻƢěŻűűĩěƷŎŻűƪ-ĚĩƷǜĩĩű-Ʒ'nĩ-ƟĩƢŁŻƢůþűěĩƪŎƷƿþƷŎŻű܌- natural elements, and autonomous musical structures, and combines these levels with a sensitive use of electronic media.

ȃĩěŻůƟŻƪĩƢܮůƿƪŎěŻŦŻłŎƪƷhŎþŻhŎűܮtŎƪƷƿĢŎĩĢ܌þůŻűł-ŻƷ'nĩƢ-Ʒĩþě'nĩƢƪ܌ǜŎƷ'n-Ʒ'nĩ-£þƢŎƪܮĚþƪĩĢdþƟþűĩƪĩěŻůƟŻƪĩƢæŻƪ'nŎ'nŎƪþ-¼þŎƢþ-܌ܤڔڏڏڑܫږڒژڐܣǜ'nŻ܌ƪŎűěĩ-Ʒ'nĩ-ڏڕژڐƪ܌-'nþĢ-ĢĩǛĩŦŻƟĩĢþ-ǛĩƢǢ- ŎűĢŎǛŎĢƿþŦƪǢűƷ'nĩƪŎƪ-ŻŁdþƟþűĩƪĩþűĢ-FƢĩűě'nƪƷƢƿěƷƿƢĩƪþűĢƪŻűŻƢŎƷŎĩƪܒhŎþŻ-'nþƪěƢĩþƷĩĢþƪĩƢŎĩƪ- ŻŁǜŻƢţƪĩůĩƢłŎűł- ŁƢŻůƪǢűĩƪƷ'nĩƷŎěĩǡƟĩƢŎĩűěĩƪǜ'nŎě'nƪ'nĩ-'nþƪþŦƪŻ-ĢŎƪěŻǛĩƢĩĢ-Ŏű-ƟŻĩůƪ-ĚǢ- /ůŎŦǢ-'ŎěţŎűƪŻű-ܒܤڕڗڗڐܫڏڒڗڐܣȃĩ-ŦþƷƷĩƢܼƪ-ŦþƷĩĩűǛĩŦŻƟĩ-ƟŻĩůƪ-ƟƢŻǛŎĢĩĢþƪƷþƢƷŎűł-ƟŻŎűƷ-ŁŻƢ-Ʒ'nĩ- trio *one bird, one tree*܍-ܤږڐڏڑܣ-ŁŻƢ*erhu*܌þěěŻƢĢŎŻű܌þűĢ-ƟŎþűŻ܌þƪĩƷ-ŻŁ-ȀǛĩ*bagatelles* to be played in any selection and order. As in earlier pieces, poetic language is transformed into spatialized ƪŻƿűĢ܌łƿŎĢĩĢ-ĚǢ-ŎůƟƢĩƪƪŎŻűƪ-ŻŁ-ŦŎł'nƷþűĢƪ'nþĢŻǜܒhŎþŻܼƪ-*¼Ŏůĩ-ŻŁ-¼Ƣĩĩƪ-SS*ܤږڐڏڑܣ*ݗ*-ŁŻƢ-ȀűłĩƢłĩƪܮ ƷƿƢĩƪ-ĚǢ-ƷǜŻ-ƟŎþűŎƪƷƪ܌ƪ'nþĢŻǜƪ܌þűĢƪŻƿűĢ-ŎűƪƷþŦŦþƷŎŻű܌þłþŎűěŻűƪŎƪƷŎűł-ŻŁ-ȀǛĩ*bagatelles*, is ĚþƪĩĢ-Żűþě'nŻƢĩŻłƢþƟ'nǢ-ŻŁ- Ʒ'nĩ-ƟŎþűŎƪƷƪܼ-'nþűĢƪĩůĩƢłŎűł- ŁƢŻůþě'nܼƪ- ܹGŻŦĢĚĩƢłßþƢŎþƷŎŻűƪܒܺ-®ŻƿűĢܘƪŎŦĩűěĩþűĢ-ŦŎł'nƷܘƪ'nþĢŻǜþƢĩěŻűěĩŎǛĩĢþƪ-ŎűƪĩƟþƢþĚŦĩ܌-Ʒ'nĩ-ƟŎþűŻƪܼƪŻƿűĢ܌-ŎűƷĩƢůŎűłŦĩĢ- with prerecorded "tree sounds," creates constantly changing audio-visual situations.

Ǽ ƷĩƢěŻůƟŦĩƷŎűłþǜĩŦŦܮŎűŁŻƢůĩĢþűĢǜĩŦŦܮƢĩƪĩþƢě'nĩĢ-ĢŎƪƪĩƢƷþƷŎŻű-ŻűěŻűƷĩůƟŻƢþƢǢ-¼þŎwanese music at the Sorbonne in 2011,ڠڟڜ hŎþŻĩůĚþƢţĩĢ-Żűþ- ƢĩůþƢţþĚŦĩ-ŎűƷĩƢűþƷŎŻűþŦþƢƷƪܮ based research project into the Chinese and Japanese mouth organs (*sheng* and *ƪ'nƔ*ܤþűĢ-Ʒ'nĩŎƢ- applicability in contemporary music, in cooperation with IRCAM and other prestigious French research institutions.ڡڟڜ Such transnational and interdisciplinary contexts provide increasing-ŦǢ-ƟŻǜĩƢŁƿŦůĩþűƪ- ŁŻƢ- Ʒ'nĩ-ǢŻƿűłĩƢ łĩűĩƢþƷŎŻű- ƷŻĩůþűěŎƟþƷĩ-ŎƷƪĩŦŁ- ŁƢŻů-¼þŎǜþűĩƪĩěƿŦƷƿƢþŦ- impasses and polarizations and to contribute substantially to an internationalized new music community.

űþƷƿƢþŦþěěĩűƷƿþƷŎŻű-ŻŁěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ܌þƪ-ĢĩǛĩŦŻƟĩĢ-ĚǢ-¼ƿűł- 'nþŻܮrŎűł܌-'nþƪůĩþűǜ'nŎŦĩ-ĚĩěŻůĩ-ŎűěƢĩþƪŎűłŦǢ-ƢþƢĩ-Ŏű-¼þŎǜþű-ŎƷƪĩŦŁܒ-ŦƷ'nŻƿł'n-Ʒ'nĩƢĩ-ŎƪűŻƪ'nŻƢƷþłĩ-ŻŁěþƪĩƪ-Ŏűǜ'nŎě'n܌- ĢĩƟĩűĢŎűł-Żű-Ʒ'nĩěŻűƷĩǡƷ܌-ĚƢŻþĢŦǢ- 'nŎűĩƪĩ-ŻƢ-ŦŻěþŦ-¼þŎǜþűĩƪĩěŻűěĩƟƷƪ܌-Ŧþűłƿþłĩƪ܌-ŻƢůƿƪŎěþŦ- ŎĢŎŻůƪþƢĩ-ŎűěŻƢƟŻƢþƷĩĢ-ŎűƷŻ-Ʒ'nĩǜŻƢţƪ-ŻŁěŻůƟŻƪĩƢƪ-ŻŁþŦŦłĩűĩƢþƷŎŻűƪ܌-Ʒ'nŎƪ-ŎűěŻƢƟŻƢþƷŎŻű-Ŏƪ- generally conceptualized and "hidden" to a far greater degree than with some mainland ChiűĩƪĩěŻŦŦĩþłƿĩƪ-ܫ-Ʒ'nŻƿł'n-Ʒ'nĩƪŎƷƿþƷŎŻű-'nþƪěŦĩþƢŦǢě'nþűłĩĢþűĢ-ĢŎǛĩƢƪŎȀĩĢ-Ŏű- 'nŎűþ-ƷŻŻƪŎűěĩ- the neo-traditionalist concepts of the *xinchao*-ĢƿƢŎűł-Ʒ'nĩ-ڏژژڐƪ-ݑދܣSSSܒܤړܒ

### Outlook

ȃĩ-ƢĩŦþƷŎŻűƪ'nŎƟ-ĚĩƷǜĩĩű-ĚƢþŎű-ĢƢþŎűþűĢ-ĚƢþŎűěŎƢěƿŦþƷŎŻű-Ŏƪ܌-Ŏű-Ʒ'nĩěŻůƟŦĩǡ-ŎűƷĩƢƪĩěƷŎŻűǜŎƷ'n- ůŎłƢþƷŎŻű܌- ƢĩƟƢĩƪƪŎŻű܌ þűĢ ěƿŦƷƿƢþŦ ěƢŎƷŎěŎƪů܌ ţĩǢ- ƷŻ ƿűĢĩƢƪƷþűĢŎűł ěŻůƟŻƪŎƷŎŻűþŦ ǜŻƢţ- Ŏű- ƷǜĩűƷŎĩƷ'nܮěĩűƷƿƢǢ- 'nŎűþܒàŎƷ'nƪŻůĩůŻĢŎȀěþƷŎŻűƪ܌- Ʒ'nŎƪěþűþŦƪŻ-ĚĩƪþŎĢ-ŻŁ- Ʒ'nĩƪŎƷƿþƷŎŻű-Ŏű- ¼þŎǜþű܌ǜ'nŎě'n-'nþƪ-ĚĩěŻůĩ-Ʒ'nĩůŻĢĩŦ-ĢĩůŻěƢþěǢ-ŻŁƪŎþþŦŻűłƪŎĢĩ-®ŻƿƷ'nfŻƢĩþܒȃĩůŎłƢþƷŎŻű- ŻŁ- Ʒ'nĩ- ĚĩƪƷůŎűĢƪþůŻűł ěŻůƟŻƪĩƢƪþűĢůƿƪŎěŎþűƪ- ƷŻ-ܣàĩƪƷĩƢűܤ- ŁŻƢĩŎłű ěŻƿűƷƢŎĩƪ-'nþƪ-ŦŻűł- ƪŎűěĩ- ĚĩěŻůĩþ- ĚƢþŎű ěŎƢěƿŦþƷŎŻű- Ʒ'nƢŻƿł'nǜ'nŎě'n-ŎűƷĩƢűþƷŎŻűþŦĩǡƟĩƢŎĩűěĩ-ŎƪƿƪĩĢĩDz ŁĩěƷŎǛĩŦǢ- ƷŻĩƪƷþĚŦŎƪ'nþěŻűƷĩůƟŻƢþƢǢůƿƪŎě-ŦŎŁĩ-Ŏű- Ʒ'nĩŎƢ-ŻǜűěŻƿűƷƢǢܒtĩǛĩƢƷ'nĩŦĩƪƪ܌-ŎűƪŻůĩ- ƢĩƪƟĩěƷƪ- an "internal" brain drain remains, shaped by the danger of drying out independent creative

<sup>.</sup>Ibid ڻںڷ

ڼںڷ ŊƸƸƠܕܕ܈ǝǝǝƸƠŰĜܫƠÿƣŏƫĜżŰܕƫŊĪŲŃܫƣĪƫĪÿƣĜŊ.

forces in a somewhat utilitarian, economically oriented society – a tendency increasingly felt in many areas of the West as well. In addition to the need to support and champion new art in general, the preservation of aesthetic independence and the development of culture-critical compositional concepts seem to be decisive in this context. Despite all trends in society as a whole, the diversity of traditional musical forms in Taiwan continues to play an important part. The examples discussed here, often in a generation-based manner and sometimes with a certain hesitance and caution, show the great potential of a connection between specifically local Taiwanese, Chinese, Asian, and international ways of thinking, listening and composing, in the best case resulting in art music of the highest international standing, but with unmistakable individual qualities beyond cultural stereotypes. From this perspective, Taiwan's cultural and ethnic diversity appears as a unique opportunity, not just a source of never-ending social conflict.

Even if a difficult situation has continued to the present day owing to international political isolation and internal identity dispute, the idea of Taiwan as a "cultural desert" is definitely a thing of the past (leaving aside the fact that this was an ideologically charged phrase in the first place369). In the 1990s, Taiwan gradually discovered important ways to free itself from a long history of suftering through (cultural) imperialism, authoritarian state power, and decades of political censorship, economic commercialization, and nepotism, turning into a vibrant and largely well-functioning democracy.300 Against this background, it becomes clear that advanced art music must also function as an indicator of political liberalism and international connectivity. Thus the responsibility of cultural policymakers to continue supporting the representatives of Taiwan's vibrant musical life in building an infrastructure is obvious. Taiwan's music from the 1960s to the present must be seen as a small but valuable piece in the mosalc of cultural diversity in which global and local tendencies are constantly intertwined.

<sup>369</sup> See footnote 318.

<sup>370</sup> Winckler, "Cultural Policy in Postwar Taiwan," 41.

### IV. The shō Context

### 1. Transformation and Myth Criticism in Works for the Japanese Mouth Organ

In Chapter 1, "intercultural composition" and related terms were understood as a reflection on the basic question of identity formation in the conflict zone of cultural "hypolepsis" (> 1.3): how is a balanced reference to a globalized cultural memory possible when caught in the tension between diverse musical cultures, and to what extent do the incommensurable cultural idiomatics of those cultures allow for interchange among themselves or intermediate action spaces? Hypolepsis, in the ancient theory of rhetoric, is the connection of a statement to a previous speaker's words and their free development; transferred to intercultural contexts, it can signify the further development and (inter-)cultural transformation of texts and practices. We will use a concrete example to study this concept in practice, and we find an excellent case study in recent works for the Japanese mouth organ, the shō is a particularly apt example when debating these issues, because its sound is culturally coded like no other and it is therefore an excellent measure of the narrow gap between "culture-free" sound and simplistic culturalism, between incommensurability and the potential for hybridity. One might ask: where and how do composers continue to write about cultural memories while engaging with this instrument? What role is played by the construction of a "canonic" or "classical" tradition that is connected to this instrument (that Jan Assmann separates from the hypoleptic process → I.3)? How are the symbolic-connotative elements of the shō, what we could call the myth of the instrument, approached in newly written compositions? And what significance can be ascribed to a – possibly historicocritically-based – ethnomusicological expert knowledge in the compositional process?

### The Japanese Mouth Organ in the Traditional Context

The multitude of new works with shō created since the 1980s is due in large part to the activities of soloist Mayumi Miyata, who, since 1983, has presented the sho as a solo instrument on the international concert stage. Her former student, Kō Ishikawa, has also helped to promote the instrument considerably since the early 2000s. All works discussed below were premiered either by Miyata or Ishikawa. Before I discuss individual compositional approaches, I will briefly outline the mythological content, history, and manner of playing of this instrument.

The sho consists of 17 bamboo pipes embedded in a circular wind chamber. Metal reeds vibrate when the finger holes are covered and produce 15 mostly diatonic pitches between A4 and F % (the 13 pitches of the A major scale with G5 and C6added, Ex. 4.1) - two pipes remain mute

and contain no reeds.<sup>ښ</sup> rŻĢĩƢű-ŎűƪƷƢƿůĩűƷƪ-ܫ-Ʒ'nĩůþŠŻƢŎƷǢ-ŻŁ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷƪ-ŁŻƿűĢ-ŎűǜŻƢţƪ- þǼ ƷĩƢ-ڏژژڐ-ܫ-'nþǛĩ-ƢĩĩĢƪþĢĢĩĢ-ƷŻ-ĚŻƷ'n-Ʒ'nĩůƿƷĩĢ-ƟŎƟĩƪǜ'nŎě'n-ƟƢŻĢƿěĩ-Ʒ'nĩ-ƟŎƷě'nĩƪ-Fڔ-ܣ*ůƔ*ܤþűĢ- BKڔ-ܣ*Ǣþ*ܒܤȃĩůĩƷþŦ-ƢĩĩĢƪ-ŎűƪŎĢĩ-Ʒ'nĩ-ĚþůĚŻŻ-ƟŎƟĩƪ-ǛŎĚƢþƷĩ-ĢƿƢŎűł-ĚŻƷ'nĩǡ'nþŦþƷŎŻűþűĢ-Ŏű'nþŦþtion, so that it is characteristic for the *ƪ'nƔ* to produce a continuous stream of sound.

*/ǡþůƟŦĩ-ږܘڙܑ-£ŎƷě'nĩƪ-ƟŦþǢþĚŦĩ-Żű-Ʒ'nĩƪ'nƔܝ-Ʒ'nĩ-ĢŎþůŻűĢűŻƷĩ'nĩþĢƪ-ŎűĢŎěþƷĩ-Ʒ'nĩ-ƟŎƷě'nĩƪ-Ʒ'nþƷþƢĩ-ŻűŦǢ- available on the modern instrument and are not used in traditional music.*

ȃĩ*ƪ'nƔ* came to Japan as a court music instrument in the eighth century during the Chinese ¼þűł-'ǢűþƪƷǢ-ږڏژܫڗڐڕܣ- /ܒܤ-SƷƪ- 'nŎűĩƪĩ-ƟƢĩěƿƢƪŻƢ܌-Ʒ'nĩ*sheng*, was an ancient instrument that ěþű-Ěĩ-ƷƢþěĩĢþƪ-ŁþƢ-Ěþěţþƪ-Ʒ'nĩ-ƟŎěƷŻłƢþůƪ-ŻŁ-Ʒ'nĩ-®'nþűł-'ǢűþƪƷǢ-ڑڑڐڐܫڕڕږڐܣ- /ܤ-ݑދܣSSܒܤڕܒȃĩ- construction of the instrument is mythologically attributed to a goddess at the beginning of time, and it was supposedly played by an "immortal" at the foot of a mountain on a moonlit <sup>ڛ</sup>.night ȃĩě'nþƢþěƷĩƢ-ㅉ (Chin. *sheng*, Jap. *ƪ'nƔ*ܤěŻűƪŎƪƷƪ-ŻŁ-Ʒ'nĩ-ĚþůĚŻŻ-ƢþĢŎěþŦþűĢ-Ʒ'nĩě'nþƢþěƷĩƢ- ŁŻƢ-ܹƷŻ-Ěĩ-ĚŻƢűܒܺ-1/4ŻłĩƷ'nĩƢ-Ʒ'nĩǢƪǢůĚŻŦŎǬĩĩůĩƢłĩűěĩ܌-ĚĩěŻůŎűł܌þűĢ-ƟþƪƪŎűłþǜþǢܒ-SƷ-ŎƪþƪƪŻciated with the mythological bird, the phoenix, which is reborn from its own ashes. Also, the character's shape and construction are modeled on the phoenix. In an archaic Chinese classi-ȀěþƷŎŻű܌-Ʒ'nĩ-ŻƢĢĩƢŎűł-ŻŁ-Ʒ'nĩĩŎł'nƷƪŻƿűĢƪ܌-*Ěþ-ǢŎű*, the *sheng*-Ŏƪ-ŦŎţĩǜŎƪĩþƷƷƢŎĚƿƷĩĢ-ƷŻþ-ƟƢŻěĩƪƪ܌namely the transition from winter to spring.<sup>ڜ</sup> ȃĩ-ƷƿűŎűł-ŻŁ-Ʒ'nĩ*ƪ'nƔ* is based on a cycle of pure ȀǼ Ʒ'nƪ܌ǜ'nŎě'něþű-Ěĩ-ƷƢþěĩĢ-Ěþěţ-ƷŻ-Ʒ'nĩþűěŎĩűƷ- 'nŎűĩƪĩ-ƷƢĩþƷŎƪĩ *Guanzi*-ܣGƿþűð'nŻűł܌-ĢŎĩĢ-ڔړڕ- ܗܤ-Ʒ'nĩĩŦĩǛĩű*aitake*, the *ƪ'nƔ*'s basic chords in the *ƷƔłþţƿ* repertoire of the Japanese court music genre of *gagaku*܌þƢĩěŻűƪƷƢƿěƷĩĢ-ŁƢŻůƪƿƟĩƢŎůƟŻƪĩĢ-ȀǼ Ʒ'nƪ-ܣ/ǡڝܒܤڑܒړݑܒ

By the middle of the nineteenth century, in the early era of Meiji restoration, for political reasons, the current form of the *ƷƔłþţƿ*- ƢĩƟĩƢƷŻŎƢĩǜþƪƿűŎȀĩĢþűĢěŻĢŎȀĩĢ܌ůþţŎűł*gagaku*  ůƿƪŎě-ܫůŻƪƷ-ŻǼ Ʒĩű-ƢĩƟƢĩƪĩűƷĩĢ-ĚǢ-Ʒ'nĩ-*ƷƔłþţƿ* repertoire – the principal representative of Japan's "traditional music."<sup>ڞ</sup> From the same period, *gagaku* was actively promoted to Western þƿĢŎĩűěĩƪ-ܣƪƷþƢƷŎűłǜŎƷ'n-ƟƢĩƪĩűƷþƷŎŻűƪþƷ-Ʒ'nĩ-£þƢŎƪǜŻƢŦĢĩǡ'nŎĚŎƷŎŻűƪ-Ŏű-ږڕڗڐþűĢ-܌ܤڗږڗڐ-ŎƷƪ-ƢĩƟܮ ertoire repeatedly being transcribed into Western notation.<sup>ڟ</sup> With the exception of the free introductory sections, *ě'nƔƪ'nŎ* and *netori*, which resulted from tuning into the mode and partly ěŻűƷþŎűěþűŻűŎě-Ʒĩě'nűŎơƿĩƪ-ݑދܣSSS܌ܤړܒ-Ʒ'nĩ*ƪ'nƔ*-ƟþƢƷ-Ŏű-Ʒ'nŎƪűĩǜŦǢěŻĢŎȀĩĢ-ƢĩƟĩƢƷŻŎƢĩǜþƪ-ŦŎůŎƷĩĢ-

ڹ- -RĪĪ܉ÿŰżŲŃżƸŊĪƣƫ܉-1/4ƫǀŤÿŊÿƣÿ܉-ܶƫƠĪĜƸƫżł*gagaku*ŏŲ-ƸŊĪhÿƸĪtŏŲĪƸĪĪŲƸŊÿŲģ-/ÿƣŧǣ-¼ǝĪŲƸŏĪƸŊ-ĪŲƸǀƣŏĪƫܷ

ڵ- -1/4ŊĪ-ŰǀƸĪ-ƠŏƠĪƫǝĪƣĪżƣŏŃŏŲÿŧŧǣ-ܠģǀƣŏŲŃ-ƸŊĪtÿƣÿ-ƠĪƣŏżģ܉-ڐڕړܨڑڐڒ- /ܡÿŧƫżǿƸƸĪģǝŏƸŊƣĪĪģƫÿŲģǝĪƣĪŏŲƸĪƣĜŊÿŲŃĪܫ ÿěŧĪܔ-ƸŊĪǣǝĪƣĪÿěŧĪ-Ƹż-ƠƣżģǀĜĪ-ǀƠ-Ƹżłżǀƣ-ŰżƣĪ-ƠŏƸĜŊĪƫ܈*ya*-ܠG܉ܡڐ-*Űƕ* (D܉ܡڑÿƫǝĪŧŧÿƫ*to* (BKܡڐÿŲģ*boku*-ܠF܉ܡڑƫĪĪ-Harich-Schneider, *A History of Japanese Music*܉-ڔڎڍܨڒڎڍ

ڍڏڍ-܉ŏěŏģ-܉ĪĪ®- -ڶ

ڷ In the *ba yin*-ĜŧÿƫƫŏǿĜÿƸŏżŲ܉-ƸŊĪ*sheng*ŏƫÿƫƫżĜŏÿƸĪģǝŏƸŊ-ƸŊĪ-ŰÿƸĪƣŏÿŧ*pao*-ܠĜÿŧÿěÿƫŊܡłƣżŰǝŊŏĜŊ-ƸŊĪǝŏŲģ-ĜŊÿŰěĪƣ- ǝÿƫżƣŏŃŏŲÿŧŧǣ-ŰÿģĪ܉ÿƫǝĪŧŧÿƫ-ƸŊĪģŏƣĪĜƸŏżŲ-ŲżƣƸŊĪÿƫƸrżƣĪżǜĪƣ܉-ƸŊĪ*sheng*ǝÿƫ-ĜżŲƫŏģĪƣĪģÿƫǣŰěżŧżł*yin*. See Liang, *Music of the Billion*܉-ڌړܨڐڒÿŲģ-®ĜŊǝƇƣĪƣܫfżŊŧ܉-ܶrǀŲģżƣŃĪŧ܉ܷ-ړڍڒ

ڸ- -RĪĪ-Gÿƣǿÿƫ܉-*Music of a Thousand Autumns*܉-ڒڒܨڑڒ

ں- -RĪĪ-¼ƫǀŤÿŊÿƣÿ܉-ܶRƸÿƸĪ- ĪƣĪŰżŲǣÿŲģrǀƫŏĜŏŲrĪŏšŏܫĪƣÿdÿƠÿŲܷ

exclusively to eleven different chords, known as aitake 合竹 (literally "united bamboo"). The aitake's "central pitches" (marked with black noteheads in the first row of Example 4.2; with the exception of the jū- and the hi-chords they are always the lowest note) follow the melodic scaffold of the tōgaku pieces which were heterophonically elaborated in on all other melody instruments, particularly the dominant reed oboe hichiriki and the bamboo flute ryūteki. In these pieces, the characteristic micro-glissandi embai were used extensively in the other wind instruments to connect the pitches of the basic melodic line."

Example 4.2: Schematic presentation of the eleven aitake chords of the shō in traditional tōgaku repertoire; the black noteheads (row 1) represent the basic pitches of the numbers above the first row describe the interval structure of the chord in semitones; the second row breaks the chords up by the system of pitch-class set analysis; row 3 represents the (partly incomplete) underlying sequences of fifths

In the utterly characteristic manner in which the shō (usually three shō perform in a group) is used in the tōgaku repertoire (which emerged from the court music of the Chinese Tang Dynasty), the mythological symbolism is aptly reflected. The swelling and receding of the aitake are strictly regulated (Ex. 4.3). Some 90 changes of position, as well as the corresponding changes of breath (ikigahe) must first be memorized by the shō pupil (as mentioned, the reeds vibrate during in- and exhalation, creating a continuous sound).

<sup>7</sup> See Garfias, Music of a Thousand Autumns, 112-113, 131.

*/ǡþůƟŦĩ-ژܘڙܑ-Ȅĩ-ĚĩłŎűűŎűł-ŻŁ-Ʒ'nĩƪ'nƔ-ƟþƢƷ-Ŏű-Ʒ'nĩ-ŁþůŻƿƪ-ƟŎĩěĩ-Etenraku-ܩŎű-Ʒ'nĩůŻĢĩ-'nǢƔŠŻܪ- ŁƢŻů-Ʒ'nĩ-ƷƔłþţƿ-ƢĩƟĩƢƷŻŎƢĩǜŎƷ'n-Ʒ'nĩě'nþƢþěƷĩƢŎƪƷŎě-ƟŻƪŎƷŎŻűě'nþűłĩƪţűŻǜűþƪ-ƷĩܴƿƷƪƿƢŎ- ܪڞڜ-ܒ'nƔłþţţŎtŎ'nŻű-ܒrŎţŎܩ*

ȃĩě'nþƢþěƷĩƢ-ŻŁ*gagaku*܌- ŁƢĩơƿĩűƷŦǢ-ĢĩƪěƢŎĚĩĢþƪ- ܹƿűůŎƪƷþţþĚŦǢ dþƟþűĩƪĩ܌ܺ-ŎƪƪŎłűŎȀěþűƷŦǢ-Ŏűdebted to the slow swelling and receding curve of the *ƪ'nƔ* part within the slow basic tempo, which is common today. *Gagaku* music thus appears particularly suitable to illustrate essential Japanese aesthetic principles, such as the sadness of transience (*mono no aware*ܤ-ŻƢ-Ʒ'nĩ-ƢƿƪƷĩĢ- austerity of old things (*sabi*ܒܤű-Ʒ'nĩ-ŻƷ'nĩƢ-'nþűĢ܌-Ʒ'nĩƢĩ-Ŏƪ-Ʒ'nĩ-ŻĚŠĩěƷŎŻű-Ʒ'nþƷ*gagaku*, as it was genĩƢþŦŦǢƿűĢĩƢƪƷŻŻĢþűĢěŻűěĩƟƷƿþŦŎǬĩĢ-ܣŎűdþƟþűþűĢ-Ŏű-Ʒ'nĩàĩƪƷܤƿűƷŎŦ-ƢĩěĩűƷŦǢ܌-Ŏƪ-Ʒ'nŻƢŻƿł'nŦǢ- a result of Japanese nationalist sentiment since the nineteenth century and, as such, must be considered a product (rather than an *a priori*ůŻĢĩŦܤ-ŻŁƪƿě'nþěƿŦƷƿƢþŦŎƪƷþĩƪƷ'nĩƷŎěܒ-Sű-Ʒ'nĩ-NĩŎþű- £ĩƢŎŻĢ-ڔڗڐڐܫړژږܣ- /܌ܤűŻƷ-ŻűŦǢǜþƪ-Ʒ'nĩ-ĚþƪŎě-ƷĩůƟŻ-ŻŁ*gagaku* music presumably substantially ŁþƪƷĩƢ-ܣþƢłƿþĚŦǢþƢŻƿűĢĩŎł'nƷ- ƷŻ- ڕڐ- ƷŎůĩƪ- ŁþƪƷĩƢܤ- Ʒ'nþű-ŎűůŻƪƷůŻĢĩƢű-ƟĩƢŁŻƢůþűěĩ-ƟƢþěƷŎěĩ܌- but the *ƪ'nƔ* was also a leading melodic instrument alongside the lute *biwa* and zither *gakuso*, and its character was not at all limited to today's "solemn" manner. Its performance practice ǜþƪ-ŦŎţĩŦǢƪŎůŎŦþƢ-ƷŻ-ƷŻĢþǢܼƪ*ě'nƔƪ'nŎ* sections with the enlargement of a basic melody through parþŦŦĩŦ-ȀǼ Ʒ'nƪ-ŻƢ-ŁŻƿƢƷ'nƪڡܒ Also during the Heian Period, the vocal genres *saibara* and *ƢƔĩŎ* began to include the *ƪ'nƔ*þƪ-Ʒ'nĩůþŎűůĩŦŻĢŎě-ŎűƪƷƢƿůĩűƷ-ƟŦþǢŎűł-Ŏű-'nĩƷĩƢŻƟ'nŻűǢǜŎƷ'n-Ʒ'nĩ-ǛŻěþŦ-ŦŎűĩܒȃĩ- critical revision of the popular understanding of *gagaku* music as Japan's "cultural legacy," as a ƟŎǛŻƷþŦĩŦĩůĩűƷ-Ŏű-Ʒ'nĩþƿƷ'nŻƢŎƷǢ-ŻŁdþƟþűĩƪĩþűƷŎơƿŎƷǢ܌þűĢþƪĩǛŎĢĩűěĩ-ŻŁþűƿűĚƢŻţĩű-ƷƢþĢŎƷŎŻű- of Japanese identity provides a central subject of debate for current *gagaku*-ƢĩƪĩþƢě'n-ݑދܣSSڢܒܤڕܒ

ڼ- -£ŏĜŤĪŲÿŲģàżŧƠĪƣƸ܉-ܶrżǀƸŊܫƣŃÿŲÿŲģhǀƸĪ-£ÿƣƸƫżł-*ƸƕŃÿŤǀ*ÿŲģ-¼ŊĪŏƣ-SŲƸĪƣƣĪŧÿƸŏżŲƫŊŏƠƫܷÿƫǝĪŧŧÿƫ-ŲǀŰĪƣżǀƫ- żƸŊĪƣ-ĪƫƫÿǣƫżŲ- ƸŊĪŏŲƸĪƣƠƣĪƸÿƸŏżŲ żł żŧģ*gagaku* ƫżǀƣĜĪƫěǣ- £ŏĜŤĪŲ ÿŲģ- Ŋŏƫ ƫĜŊżżŧ܉ ÿŰżŲŃżƸŊĪƣƫ܉ ŏŲ- ƸŊĪƫĪƣŏĪƫ- *Music from the Tang-Court,* ĪģhÿǀƣĪŲĜĪ-/-¦-£ŏĜŤĪŲÿŲģtżĶŧdtŏĜŤƫżŲ܉ǜżŧ-ڍ-܉ܡڍڔڕڍܠǜżŧ-ڏܕڎ-܉ܡڑڔڕڍܠǜżŧ-ڑܕڐ-܉ܡڌڕڕڍܠ- ǜżŧ-ڒ-܉ܡړڕڕڍܠǜżŧ-ړ-܉ܡڌڌڌڎܠ ÿŰěƣŏģŃĪ-ڌڌڌڎܨڍڔڕڍ-£ŏĜŤĪŲܹƫ-¼ÿŲŃrǀƫŏĜ-£ƣżšĪĜƸ-ƠƣżǜŏģĪģ-ƸŊĪěÿƫŏƫłżƣ-ƸŊĪƣĪĜżŲܫ ƫƸƣǀĜƸŏżŲƫżł- ŊŏŲĪƫĪ-ĜżǀƣƸ-ŰǀƫŏĜżł-ƸŊĪ-¼ÿŲŃ-'ǣŲÿƫƸǣ-ǀŲģĪƣ-ƸŊĪģŏƣĪĜƸŏżŲżł- ŊŏŲĪƫĪ-ŰǀƫŏĜƫĜŊżŧÿƣ- ŊĪŲæŏŲŃƫŊŏ- ܠƠǀěŧŏƫŊĪģŏŲ-ڕڔڕڍżŲ-ƸŊĪ- '*ðŊżŲŃŃǀż-ƸÿŲŃǣǀĪ*ܡ

ڽ See the contributions to the round table "*Gagaku* and Studies on *Gagaku*ŏŲ-ƸŊĪ-ڌڎƸŊ-ĜĪŲƸǀƣǣܶÿƸ-ƸŊĪ International żŲŃƣĪƫƫżł-ƸŊĪrǀƫŏĜżŧżŃŏĜÿŧ-®żĜŏĪƸǣżłdÿƠÿŲŏŲ-®ŊŏǭǀżŤÿ-܈ڎڌڌڎ-1/4ƫǀŤÿŊÿƣÿ܉-ܶƫƠĪĜƸƫżł*gagaku* in the Late Nine-ƸĪĪŲƸŊÿŲģ-/ÿƣŧǣ-¼ǝĪŲƸŏĪƸŊ- ĪŲƸǀƣŏĪƫ܉ܷrÿƣĪƸƸ܉-ܶ1/4ŊĪ-£ƣĪƫĪŲƸ-®ƸÿƸĪżł-¦ĪƫĪÿƣĜŊżŲ-/ÿƣŧǣtżƸÿƸŏżŲƫ܉ܷ-/Ųģƕ܉" The ¦ĪǜŏǜÿŧżłhżƫƸ-¦ĪƠĪƣƸżŏƣĪ܉ܷÿŲģ-¼ĪƣÿǀĜŊŏ܉-ܶFǀƸǀƣĪ-£ĪƣƫƠĪĜƸŏǜĪƫ܈tĪǝ-£żƫƫŏěŏŧŏƸŏĪƫŏŲ-¦ĪƫĪÿƣĜŊżŲ*gagaku*."

### The Reception of the sho in Contemporary Music

Despite all historiographical criticism of essentialist discourses on identity, it is easy to understand why the shō (and, increasingly, the Chinese sheng → II.6) have become popular media for interculturally accentuated composition in the West and in Asia. It is hard to negate the aura of these instruments' sound and it seems to be the ideal embodiment of the auratic component of compositional material, to which Helmut Lachenmann attributed essential functions in new music as the "bearer of familiar experiences of existential reality"® (it is no coincidence that one of the earliest new instruments, produced at the beginning of the nineteenth century on the model of the sheng – which was first sent to Europe by the Jesuit Joseph-Marie Amiot in 1777 - was called "Aura"). Added to this are particular instrumental techniques that provoke compositional thinking: the limitation of available pitches on the instrument and the unorthodox finger positions based on a largely fixed assignment of the seven active fingers to individual holes/pitches (Ex. 4.4; → IV.2, Ex. 4.13). These limitations allow only a reduced number of sound combinations between one and six or seven pitches (→ VI.2) and condition the peculiar changes of finger positions, te-utsuri. A further characteristic is the high degree of fusion between chord notes, due to the richness of overtones and the high register of the instrument. It is precisely these idiosyncratic properties of the shō that pose extraordinary compositional challenges: at first glance, they seem to leave little room for "interventions" by composers. Nevertheless, some fundamentally distinct approaches to these characteristics and the traditional contexts of the shō can be identified in the tension between myth reception and myth criticism.

Example 4.4: Fingering table of the 17-pitched shō (Kō Ishikawa)

<sup>10</sup> Lachenmann, "Vier Grundbestimmungen des Musikhörens," 61 ("Trägerin von vertrauten Erfahrungen der existentiellen Wirklichkeit").

<sup>11</sup> The mouth-blown Aura (with 15 steel tongues) was designed by Christian Friedrich Ludwig Buschmann in Berlin in 1821 and was a direct forerunner of the accordion, which was patented in Vienna in 1829 by Cyril Demian (1772–1847), see Harrington and Kubik, "Accordion" and Schwörer-Kohl, "Mundorgel."

### Myth and Aura

ŁěŻƿƢƪĩ܌-Ʒ'nĩ-ƢĩěĩƟƷŎŻű-ŻŁ*gagaku*ůƿƪŎěƪŎűěĩ-Ʒ'nĩ-ڏڗژڐƪ-ŎƪűŻƷǜŎƷ'nŻƿƷ-'nŎƪƷŻƢŎěþŦ-ƟƢĩěĩĢĩűƷƪܗ- composers attracted by the *ƪ'nƔ* before this period ŎűěŦƿĢĩĩűŠþůŎű-ƢŎƷƷĩű܌-ŦŎǛŎĩƢrĩƪƪŎþĩű܌fþƢŦ'nĩŎűǬ-®ƷŻěţ'nþƿƪĩű܌dĩþűܮ ŦþƿĢĩ-/ŦŻǢ܌þűĢþłƢŻƿƟ-ŻŁdþƟþűĩƪĩěŻůƟŻƪĩƢƪǜ'nŻ-'nþĢ-Ěĩłƿű- ƷŻ-ŦŎűţěƿƢƢĩűƷůƿƪŎěþŦ-ĢĩǛĩŦŻƟůĩűƷƪǜŎƷ'nƪƷƢƿěƷƿƢþŦþűĢ-ƷŻűþŦþƪƟĩěƷƪ-ŻŁ-Ʒ'nĩ*gagaku* as early þƪ- Ʒ'nĩ- ڏڒژڐƪ-ݑދܣ SSܗړܒ- SSSܒܤڐܒ-ƢŎƷƷĩű܌ǜ'nŻ- 'nþĢ- ĚƢŻƿł'nƷþ*ƪ'nƔ*- ŁƢŻů- 'nŎƪ- ƷƢŎƟ- ƷŻ dþƟþű- ƷŻ-/űłŦþűĢ- Ŏű-܌ڕڔژڐƿƪĩƪþě'nþůĚĩƢ-ŻƢłþű-Ŏű-'nŎƪě'nƿƢě'n-ƟþƢþĚŦĩ-*Curlew River*-ܤړڕژڐܣ-ƷŻĩǛŻţĩ܌ĩƪƟĩěŎþŦŦǢ-Ŏű- the frame parts, the aura, structure, and function of *ƪ'nƔ* chords in *ƷƔłþţƿ*, which are sometimes quoted verbatim.ڛښ-ŦŎǛŎĩƢrĩƪƪŎþĩű܌-Ŏű- Ʒ'nĩ- ŁŻƿƢƷ'nůŻǛĩůĩűƷ-ŻŁ-'nŎƪ-*Sept Haïkaï*-܌ܤڑڕژڐܣlimits himself largely to a timbral reproduction of the *ƪ'nƔ* sound (eight solo violins imitate the chords of the *ƪ'nƔ*܌ܤǜ'nŎŦĩ-Ƣ'nǢƷ'nůþűĢ-ƟŎƷě'n-ŻƢłþűŎǬþƷŎŻű-ƢĩůþŎűĩűƷŎƢĩŦǢǜŎƷ'nŎűrĩƪƪŎþĩű߳ƪƪǢƪtematic approach.ڜښ-RƷŻěţ'nþƿƪĩűơƿŻƷĩĢ-Ʒ'nĩ-ĚĩƪƷܮţűŻǜű*gagaku* piece *Etenraku* several times ŎűþűĩŦĩěƷƢŻűŎě-ƟŎĩěĩǜƢŎƷƷĩű-Ŏű-¼ŻţǢŻ܌-Ʒ'nĩƿűŎǛĩƢƪþŦŎƪƷ-*Telemusik*-܌ڕڕژڐܣůŻůĩűƷƪ-܌ڒ-܌ڕ-܌ڏڑ-ܤڐڒ- ݑދܣSSܤڑܒþűĢþƷƷĩůƟƷĩĢ܌-ĚǢĩŦĩěƷƢŻűŎěłŦŎƪƪþűĢŻĩDz ŁĩěƷƪ-ƟƢŻĢƿěĩĢ-ĚǢþ-ܹ*gagaku* circuit," a double ring modulation, to transform characteristic microtonal slides in *gagaku* melody by electronic means.ڝښ-RƷŻěţ'nþƿƪĩűþŦƪŻǜƢŻƷĩ-*Der Jahreslauf*-ܤږږژڐܣ-ŁŻƢþěŻůƟŦĩƷĩ*gagaku* ensemble that was later included in *Dienstag aus Licht* and met with harsh criticism in Japan.ڞښdĩþűܮ ŦþƿĢĩ-/ŦŻǢ- ŦŎţĩǜŎƪĩěŻůƟŻƪĩĢþűĩǡƷĩűƪŎǛĩǜŻƢţ-ŁŻƢ*gagaku* orchestra, augmented by *bugaku* dancers and the Buddhist chanting style *ƪ'nƔůǢƔ* (*-Ŧ߹þƟƟƢŻě'nĩ-Ģƿ-ŁĩƿůĪĢŎƷþűƷ*܌-܌ڒڗژڐ-ĢƿƢþƷŎŻű܋-ڏڔڐůŎűƿƷĩƪܒܤ- /ŦŻǢ߳ƪěĩűƷƢþŦǜŻƢţ-Ŏƪ-Ʒ'nĩ-ŁŻƿƢܮ'nŻƿƢ*űē'nþƷþ-SܱSSS*-ܤڏژܫڕڗژڐܣ-ŁŻƢƪŻŦŻŎƪƷŎě*ƪ'nƔ*, *hichiriki*, *ƢǢǕƷĩţŎ*, two *ƪ'nƔůǢƔ* singers, *ĚŻűƪ'nƔ*-ܣdþƟþűĩƪĩ- ƷĩůƟŦĩ-ĚĩŦŦƪ܌ܤþűĢĩŦĩěƷƢŻűŎěƪܒ-ŻƷ'nǜŻƢţƪĩǡƿĢĩþ-ƟƢŻnounced ritualistic character and incorporate the "stretched" concept of time of *gagaku*ܒ-/ŦŻǢܼƪ- ůĩƷ'nŻĢƪþƢĩ- ĚþƪĩĢ-Żű ĩǡƷĩűƪŎǛĩţűŻǜŦĩĢłĩ-ŻŁ- ƷƢþĢŎƷŎŻűþŦůƿƪŎě- ƟƢþěƷŎěĩ܌þűĢ- 'nĩ- ĢĩǛĩŦŻƟĩĢ- special forms of notation in collaboration with the *ƪ'nƔůǢƔ* singers.ڟښ

ȃĩ- ŁŻŦŦŻǜŎűł- ƟþƢƷ- ŻŁ- Ʒ'nŎƪ ě'nþƟƷĩƢ- ŁŻěƿƪĩƪ- Ŧĩƪƪ- Żű *gagaku* music in general than on concepts that place the *ƪ'nƔ* as a solo instrument at the center of the compositional interest.ڠښ-1/4ƔƢƿ- ¼þţĩůŎƷƪƿܼƪ-ƟŎŻűĩĩƢŎűłǜŻƢţ-*Distance* for oboe and *ƪ'nƔ*-ܤڑږژڐܣþěƷƪþƪþƪƷþƢƷŎűł-ƟŻŎűƷ-ŁŻƢþƪŻloistic treatment of the *ƪ'nƔ*-ݑދܣSSSܒܤړܒ-RŎůŎŦþƢŦǢ-ŎůƟŻƢƷþűƷþƢĩ-¼þţĩůŎƷƪƿ߳ƪǜŻƢţƪ-*In an Autumn Garden*-ܤژږܘڒږژڐܣ- ŁŻƢ*gagaku* orchestra and *Ceremonial*-ܤڐژژڐܣ- ŁŻƢ*ƪ'nƔ*þűĢ-ܣàĩƪƷĩƢűܤ-ŻƢě'nĩƪƷƢþڡښܒ ¼Żƪ'nŎŻ-NŻƪŻţþǜþþŦƪŻ-ƟƢŻǛŎĢĩƪþ-ƟþƢƷŎěƿŦþƢǜĩþŦƷ'n-ŻŁǜŻƢţƪ-ŁŻƢ*ƪ'nƔ*, ڢښ which were performed

ڶڵ- -RĪĪ żżŤĪ܉-*Britten and the Far East*܉-܉ڕڔڍܨڎڍڍ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-܉ڒڏڍܨڒڍڍÿŲģ ƣŏŧŧǣ܉-ܶ1/4ŊĪƣĪܹƫtż- ¼ŊĪÿƸƣĪŧŏŤĪtżŊ-¼ŊĪÿƸƣĪ܊ܷ

ڷڵ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڔڔڍܨړڔڍÿŲģŏƫƠż܉-ܶŧŏǜŏĪƣrĪƫƫŏÿŲܹƫ-®ĪƠƸ-NÿŖŤÿŖܷ

ڸڵ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-܉ڑڒڍܨڏڑڍfżŊŧ܉-ܶRĪƣŏÿŧ żŰƠżƫŏƸŏżŲ܉-RĪƣŏÿŧ-FżƣŰ܉ÿŲģ-£ƣżĜĪƫƫŏŲfÿƣŧ-ŊĪŏŲǭ-®ƸżĜŤŊÿǀƫĪŲܹƫ-*Telemusik*܉ܷÿŲģ-/ƣěĪ܉-ܶfÿƣŧŊĪŏŲǭ-®ƸżĜŤŊÿǀƫĪŲƫ-ܸ¼ĪŧĪŰǀƫŏŤܹܷ

ڹڵ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڏڑڍܨڍڑڍÿŲģ-®ŊŏŰŏǭǀ܉-ܶRƸżĜŤŊÿǀƫĪŲ-ǀŲģdÿƠÿŲܷ

ںڵ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڌڌڎܨڑڕڍ

ڻڵ- ŧƫż܉-ŲĪǝǝżƣŤƫłżƣ*gagaku*-ĪŲƫĪŰěŧĪÿƣĪ-ŲżƸģŏƫĜǀƫƫĪģěĪŧżǝ܉ƫŏŲĜĪ-ŊĪƣĪ-ƸŊĪ*ƫŊƕ*ŏƫƫƸƣżŲŃŧǣŏŲǵŧǀĪŲĜĪģłƣżŰ-ƸŊĪ- żǀƸƫĪƸěǣŏƸƫ-ĜżŲƸĪǢƸǝŏƸŊŏŲ-ƸŊĪ-ĪŲƫĪŰěŧĪ-¼ŊĪ-ŊǀŃĪ-ŲǀŰěĪƣżł-ŲĪǝ-ĜżŰƠżƫŏƸŏżŲƫłżƣ*gagaku* ensemble could ŊÿƣģŧǣěĪÿģĪƢǀÿƸĪŧǣģĪÿŧƸǝŏƸŊŏŲ-ƸŊŏƫ-ĜŊÿƠƸĪƣ-Fżƣ-ƸŊĪ-ĜżŰƠżƫŏƸŏżŲÿŧƣĪĜĪƠƸŏżŲżł-ƸŊĪ*gagaku*ƫĪĪ-ĪƫƠĪĜŏÿŧŧǣ- Everett, "Mirrors of West and Mirrors of East" and Menzel, *NƕŃÿŤǀ*܉-܉ڕڍڍܨڌڌڍ-ڐڕڍܨڍڔڍ-

ڼڵ See Burt, *¼ŊĪrǀƫŏĜżł-¼ƕƣǀ-¼ÿŤĪŰŏƸƫǀ*܉-܉ڍڐڍܨڕڏڍ-܉ړڒڍܨڌڒڍ-ڑڎڎܨڐڎڎ

ڽڵ- -1/4ŊĪłżŧŧżǝŏŲŃǝżƣŤƫěǣ-NżƫżŤÿǝÿƣĪƢǀŏƣĪÿ*ƫŊƕ*܈-ƸŊĪǝżƣŤƫłżƣ*gagaku*-ĪŲƫĪŰěŧĪ-ܠƠÿƣƸŧǣǝŏƸŊ*ƫŊƕŰǣƕ*ǜżĜÿŧƫܡ-*Tokyo ڕژڙڑ*-܉ܡڑڔڕڍܠ-*Seeds of Contemplation (Mandala)*-܉ܡڒڔڕڍܠ-*New Seeds of Contemplation (Mandala)*-܉ܡڑڕڕڍܠÿŲģ-*Garden at First Light*-ܔܡڏڌܕڎڌڌڎܠ-*Utsurohi*-ܡڒڔڕڍܠłżƣ-ŊÿƣƠÿŲģ*ƫŊƕ*, *Utsurohi-Nagi*-ܡڒڕܕڑڕڕڍܠłżƣ*ƫŊƕ*ÿŲģƫƸƣŏŲŃżƣĜŊĪƫƸƣÿǝŏƸŊ-ŊÿƣƠ܉-ĜĪ-

by Mayumi Miyata throughout, and composed partly under the unmistakable influence of Takemitsu.20 Especially since the 1990s, Hosokawa has taken the reference to orthodox Japanese aesthetics, following Takemitsu, to an extreme, referring in almost every one of his works to the relationship between sound, breath, nature, and silence, as well as pointing to central culturalist concepts like ma, sawari, or principles of calligraphy, gardening, or landscape painting.21 His characterization of the shō remains firmly and seamlessly attached to the mythical aura of the instrument:

The mouth organ shō is a wonderful instrument. When it starts to play, its sound spreads out and fills the whole room, and one does not know where the sounds come from. The actual melody, as the pattern of this music, is immersed in the chords of the background sounds, and is forgotten. This means that one does not clearly recognize its boundaries. These sounds make me think of the way cicada sounds penetrate the world.22

Hosokawa calls the shō chords in gagaku the "mother's womb" or the "mother's chord" from which the lines of the hichiriki and ryūteki develop.23 Hosokawa also transfers this relationship of chord and line to cosmology and compares it to the relationship between humans and nature. His works with shō are characterized by the constant flow of inhaling and exhaling and draw directly on the gagaku model sketched above. In particular, earlier pieces rely almost exclusively on this model of inhalation. Particularly elementary in this regard, for example, is a work for shō solo "Wie ein Atem im Lichte" ("Like a Breath in the Light," 2002), whose title is borrowed from a poem by Rudolf Steiner. The religiously tempered natural mystique of the poem seems to find a logical equivalent in the harmonies based on quintal/quartal chords reminiscent of the choshi introductory parts of tōgaku (Ex. 4.5). The aitake chords are quoted throughout, sometimes in complete form and sometimes fragmented: the sonority E5-A5-B5-E6 at rehearsal number 1 contains the basic structure of the chords kotsu, bo, and otsu; rehearsal number 2, with D5-E5-F5-A5-B5-E6, features five of the six pitches of the bo chord (with F5 replacing the original E\$5); rehearsal number 3 introduces G#5-A5-C6-E#6, an exact quotation of the bi chord, and rehearsal number 4 quotes the ge chord with the pitches F5-F#5-G#5-A5-D6-F#6. At rehearsal number 7, the quintal harmony is pointedly brought to the foreground and the fifth F#5-C#6 is twice repeated ff. Some more dissonant passages

lesta, and percussion; Birds Fragments II (1990) for shō with drums ad libitum, Birds Fragments III (1990) for shō and f lute(s), Brds Fragments IV (1991) for violoncello, percussion, and sho; Landscape V (1993) for sho and string quarter; Cloudscapes – Moonlight (1998) for shō and accordion; "Wie ein Atem im Lichte" (2002) for shō solo; Cloud and Light for shō and orchestra (2008); Sakura für Otto Tomek for shō solo (2008); Two Japanese Folk Songs, arrangements for mixed chorus and percussion with/without sho (2008).

<sup>20</sup> One can assume that all three of Takemitsu's works with shō had a great influence on Hosokawa; in particular, compare Distance with Utsurohi and the Birds Fragments, In an Autumn Garden with New Seeds of Contemplation (Mandala) and Garden at First Light, and Ceremonial with Utsurohi-Nagi. See also Hosokawa's notes on Takemitsu's Distance in Hosokawa, "Aus der Tiefe der Erde," 52.

<sup>21</sup> See particularly Hosokawa and Sparrer, Stille und Klang, Schatten und Licht.

<sup>22</sup> Hosokawa, "Aus der Tiefe der Erde," 51. ("Die Munderbares Instrument. Wenn sie zuspielen anfängt, breitet sich ihr Klang aus und füllt den ganzen Raum, und man weiß nicht, woher die Töne kommen. Die eigentliche Melodie als das Muster dieser Musik wird in die Klänge der aitake eingetaucht, in die Klänge als Hintergrund und gerät in Vergessenheit. So kommt es dazu, dass man ihre Grenzlinie nicht deutlich erkennt. Ich stelle mir bei diesen Klängen die Art und Weise vor, wie die Zikadenstimmen die Welt durchdringen.")

<sup>23</sup> See ibid. ("Mutterschoß," "Mutterakkord.")

eventually lead to the remaining highest pitch F܌ڕ- ĚĩŁŻƢĩþ- ƢĩƟƢŎƪĩܮŦŎţĩ- ƢĩƷƿƢűþƷ- Ƣĩ'nĩþƢƪþŦ- űƿůĚĩƢ-܌ڑڐǜ'nĩƢĩ-Ʒ'nĩ-ȀǼ Ʒ'n-ܫړ/ڔ-ǴŦŻǜƪ-ŎűƷŻ-Ʒ'nĩ-ȀǼ Ʒ'n-ܫڔ/܌ڕþű-ŻěƷþǛĩ-'nŎł'nĩƢܒ

*/ǡþůƟŦĩښܘڙݗܑ-1/4Żƪ'nŎŻ-NŻƪŻţþǜþܒ-ܿWie ein Atem im Lichte" ŁŻƢƪ'nƔ solo, opening*

 żƠǣƣŏŃŊƸ-ޣ-ڎڌڌڎěǣ-®ĜŊżƸƸdÿƠÿŲ żŰƠÿŲǣhƸģ

ȃĩ*ƪ'nƔ*ůǢƷ'n-'nĩƢĩ-ƷĩűĢƪ-ƷŻ-ƷƿƢű-ŎűƷŻþ-ƢĩłƢĩƪƪŎǛĩ-ŎĢĩŻŦŻłǢ-ŻŁűþƷƿƢĩܒȃĩűþŕǛĩ-ĢĩǛŻƷŎŻű-ƷŻ-Ʒ'nĩ- ŻƢĢĩƢ-ŻŁűþƷƿƢĩěƿŦůŎűþƷĩƪ-Ŏűþ-ȀǼ Ʒ'nܮŻěƷþǛĩ-'nþƢůŻűǢ-Ŏűǜ'nŎě'n-Ʒ'nĩ-Łĩǜ-ܹǜƢŻűłűŻƷĩƪܺþƟƟĩþƢþƪ- mere "decoration." Above all, this appears to be a development of the early 2000s, as an analysis ŻŁ- Ʒ'nĩ-'nþƢůŻűǢ-ŻŁ-NŻƪŻţþǜþܼƪĩþƢŦŎĩƢ*ƪ'nƔ*ǜŻƢţƪƪ'nŻǜڝڛܒ *Landscape V*-ܤڒژژڐܣ- ŁŻƢ*ƪ'nƔ* and string ơƿþƢƷĩƷ-ݑދܣSSSܤڔܒĩůþűþƷĩƪ-ŁƢŻů-Ʒ'nĩůŎěƢŻƷŻűþŦŦǢěŻŦŻƢĩĢ-ƷĩƷƢþě'nŻƢĢ-Gܫڔܫڔܫڔ'ڕ-ܣþƪƿĚƪĩƷ- of the *ge* and *bi aitake*ě'nŻƢĢ܌ܤǜ'nŎě'n܌þƪþ-ܹůŻƷ'nĩƢě'nŻƢĢ܌ܺ-ƟĩƢǛþĢĩƪůŻƪƷ-'nþƢůŻűŎě-ŁŻƢůþƷŎŻűƪ- Ŏű-Ʒ'nĩ-ƟŎĩěĩ-ܣ/ǡܒܤڕܒړݑܒȃĩ-ܹǛĩƢƷŎěþŦܺěƿƷƪ-ܣƷ'nĩ-ƟƢŎűěŎƟŦĩ-ŻŁ-Ʒ'nĩ-ܹǛĩƢƷŎěþŦܺ-ŁŻƢ-NŻƪŻţþǜþ-Ŏƪ-ĚþƪĩĢ܌þůŻűł-ŻƷ'nĩƢƪ܌-Żű-Ʒ'nĩĩűĩƢłĩƷŎě-ƟƢĩƟþƢþƷŎŻűƪ-ŻŁƪƷƢŻţĩƪ-ŻŁ-Ʒ'nĩ-ĢƢƿů-*ƔƷƪƿǬƿůŎ* in *űƔ* theaterܤڞڛþƷ-

ڸڶ *Cloudscapes – Moonlight*-ܡڔڕڕڍܠłżƣ*ƫŊƕ*ÿŲģÿĜĜżƣģŏżŲżĜĜǀƠŏĪƫÿŲŏŲƸĪƣŰĪģŏÿƸĪ-ƠżƫŏƸŏżŲǝŊĪƣĪ-ƸŊĪƣĪƫƸƣŏĜƸŏżŲżł- ŏŲŊÿŧÿƸŏżŲÿŲģ-ĪǢŊÿŧÿƸŏżŲŏƫŧŏŤĪǝŏƫĪ-ǀŲěƣżŤĪŲÿŲģ-ĪǢĜŧǀƫŏǜĪ܉ěǀƸ-ƸŊĪ-ŊÿƣŰżŲǣŏƫ-ŰżƣĪƫŏŰŏŧÿƣ-Ƹż-*Landscape V*, in that it is much rougher and more dissonant.

ڹڶ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڑڍڏܨڏڍڏ

Ƣĩ'nĩþƢƪþŦűƿůĚĩƢƪ-ړڐþړڐܘĚ܌-ĢŎǛŎĢŎűł-Ʒ'nĩěŻůƟŻƪŎƷŎŻű-ŎűƷŻ-ƷǜŻ-'nþŦǛĩƪ܌ƪƟƢĩþĢ-Ʒ'nĩ-ŁƢþůĩ-ŎűƷĩƢ-ǛþŦƪ-ŁƢŻůþűþƢƢŻǜ-ƟŻƪŎƷŎŻű-ŻŁěŻűƷŎűƿŻƿƪŦǢ-ŎűěƢĩþƪŎűł-ŎűƷĩƢǛþŦƪ-ڒܫڑܫڐܣƪĩůŎƷŻűĩƪ܌-ƟŎƷě'nܮěŦþƪƪ- ƪĩƷ-ܤڕڒڐڏ-ƷŻĩǡƷƢĩůĩ-ƢĩłŎƪƷĩƢƪþƷ-Ʒ'nĩ-ǛĩƢǢĩűĢ-ܣƢĩ'nĩþƢƪþŦűƿůĚĩƢƪ-ܒܤڏڑܘژڐȃĩěŻůƟŦĩǡƪƷƢƿěƷƿƢĩ- of the intervening development can be consistently traced to the mother chord and reveals its ƟŻƷĩűƷŎþŦ-Ŏű-Ʒ'nĩĩǡƷĩűƪŎŻű-ŻŁþƪĩůŎƷŻűĩܮǜ'nŻŦĩܮƷŻűĩƪĩơƿĩűěĩ-ƷŻ-Ʒ'nĩůŻĢŎȀĩĢ-ŻěƷþƷŻűŎěƪěþŦĩ- ܣƢĩ'nĩþƢƪþŦűƿůĚĩƢƪ-܌ڒڐ-ړڐĚܒܤűŦǢ-Ŏű-Ʒ'nĩ-ǛĩƢǢ-ŦþƪƷƪŻƿűĢ-ȀĩŦĢ-Ŏƪ-Ʒ'nĩƢĩþěŻůƟŦĩƷĩ*aitake* chord attained, embedded in a complex spectrum (and it hardly seems by chance that it is just that *bi*-*aitake*܌þƪþűĩǡěĩƢƟƷ-ŁƢŻů-ŎƷ-'nþĢþŦƢĩþĢǢþƟƟĩþƢĩĢ-Ŏű-Ʒ'nĩ-ܹůŻƷ'nĩƢě'nŻƢĢܺܒܤ

NŻƪŻţþǜþ߳ƪůƿƪŎě- Ʒ'nƿƪƪ'nŻǜƪ- Ʒ'nþƷ- Ʒ'nĩǜŻƢŦĢ-ŻŁ- Ʒ'nĩ*ƪ'nƔ* can develop considerable compositional density while also demonstrating the aesthetic pitfalls to which an unconditional surrender to the "*ƪ'nƔ*ůǢƷ'nܺěþű-ŦĩþĢܒ-ŦŦ-ŎűþŦŦ܌-NŻƪŻţþǜþ܌-ƷŻ-ƢĩƷƿƢű-ƷŻhþě'nĩűůþűűܼƪǜŻƢĢƪ- ݑދܣ S܌ܤڒܒ-ŻűŦǢěŻůůƿűŎěþƷĩƪ- Ʒ'nĩ- ܹěŻűŠƿƢĩĢůþłŎěܺ-ŻŁ*ƪ'nƔ*ůƿƪŎě܌- ĚƿƷ-'nþƢĢŦǢ-ŎƷƪ- ܹĚƢŻţĩűůþłŎěܒܺæĩƷ-NĩŦůƿƷhþě'nĩűůþűű-'nŎůƪĩŦŁƪĩĩůƪ-ƷŻƿƪĩ-Ʒ'nĩ*ƪ'nƔ* in the penultimate scene of his "music with images" *Das Mädchen mit den Schwefelhölzern*-ܣȃĩhŎƷƷŦĩrþƷě'n-GŎƢŦ܌-ܤڕژܫڏژژڐĩǡěŦƿƪŎǛĩŦǢ- ƷŻĩǛŻţĩþƪƷþƷĩ-ŻŁůǢƷ'nŎěþŦ-ƢþƟƷƿƢĩ܌þ-ĢŎůĩűƪŎŻű-Ʒ'nþƷ-Ʒ'nĩƪŻűŎěƪƷƢƿěƷƿƢĩ-ŻŁ-Ʒ'nĩ-ƷǜŻܮ'nŻƿƢůƿƪŎě- ŻƷ'nĩƢǜŎƪĩ-ƢþƢĩŦǢþƟƟƢŻþě'nĩƪ-ݑދܣSßܒܤڑܒ

Sű-Ʒ'nŎƪ-ƢĩłþƢĢ܌þƪ'nŻƢƷěŻůƟþƢŎƪŻű-ŻŁ-NŻƪŻţþǜþ߳ƪǜŻƢţƪ-ŁŻƢ*ƪ'nƔ* with a seemingly contradic-ƷŻƢǢǜŻƢţ-ŻŁþƢƷ-ŦŎţĩrþƷƷ'nĩǜþƢűĩǢ߳ƪ-ȀŦů-*'ƢþǜŎűł-¦ĩƪƷƢþŎűƷ-ڞ*-܌ܤڕڏܫڔڏڏڑܣƪ'nŻƷ-Żű-Ʒ'nĩdþƟþűĩƪĩ- ǜ'nþŦŎűłƪ'nŎƟtŎƪƪ'nŎűrþƢƿ܌ůŎł'nƷ-Ěĩ-ƢĩǛĩþŦŎűłܒȃĩůƿƪŎěƿƪĩĢ-Ŏű-Ʒ'nŎƪ-ȀŦůǜþƪ-ƟƢŻĢƿěĩĢ-ĚǢ- ŠƆƢţ܌þűĢ-Ʒ'nĩ*ƪ'nƔ* occupies a dominant role in three pieces (played by Mayumi Miyata, who also þƟƟĩþƢƪ-Ŏű-Ʒ'nĩ-ȀŦůܒܤű-Ʒ'nĩ-Żűĩ-'nþűĢ܌-Ʒ'nĩ-ȀŦůěŻƿŦĢĩþƪŎŦǢþƟƟĩþƢþƪůĩƢĩŦǢþűŻƷ'nĩƢĩǡþůƟŦĩ-ŻŁ- the much-cited post-exotic Western fascination with Japan, but on the other hand, it may also achieve a hybrid in its sometimes abstruse mixture of *shinto* rituals, bathing culture, rebirth, *űƔ* theater, and *ƪ'nƔ*ůƿƪŎě-ܫþ-'nǢĚƢŎĢơƿþŦŎƷǢ-Ʒ'nþƷ-NŻƪŻţþǜþ߳ƪůŻűŎƪƷŎěƪŻƿűĢ-ĚŦŻěţƪƪŻůĩƷŎůĩƪ- ƪĩĩů-ƷŻ-ŦþěţܒěěŻƢĢŎűł-ƷŻ-Ʒ'nĩ-ȀŦů߳ƪ-ƟƢĩƪƪ-ƢĩŦĩþƪĩ܌-ܹƷ'nĩ-ƟĩƢŁŻƢůþűěĩ-ƟƢþěƷŎěĩ-ŻŁ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷ- ŎƷƪĩŦŁ-ƢĩǴŦĩěƷƪ-Ʒ'nĩ-ŻƢłþűŎǬŎűł-Ʒ'nĩůþƷŎě-ŻŁ-*'ƢþǜŎűł-¦ĩƪƷƢþŎűƷ-*܋*ڞ*-Ʒ'nĩ-ƢĩŦþƷŎŻűƪ'nŎƟ-ĚĩƷǜĩĩűěƢĩþƷŎǛܮ ity and resistance."ڟڛ

### From Myth to Myth Criticism

ŁěŻƿƢƪĩ܌-Ʒ'nĩƢĩþƢĩþŦƪŻþűƿůĚĩƢ-ŻŁěŻůƟŻƪŎƷŎŻűþŦǜþǢƪ-ƷŻ-ĢĩþŦǜŎƷ'n-Ʒ'nĩůǢƷ'nþűĢěþűŻű-ŻŁ- the *ƪ'nƔ* in a "critical" way, implicitly or explicitly. Klaus Huber's *black plaint*-ܤڔژژڐܣ-ŁŻƢ*ƪ'nƔ* and percussion may perhaps go the furthest in terms of an organological "reinvention" of the inƪƷƢƿůĩűƷ܋-ƷǜĩŦǛĩ-ŻŁ-Ʒ'nĩ-ږڐ-ƟŎƟĩƪþƢĩ-ƢĩƷƿűĩĢ-ƷŻƪŎǡƷ'nܮ-ŻƢ-Ʒ'nŎƢĢܮƷŻűĩƪڠڛ܌ǜ'nŎě'n-Ŏƪ-ǛĩƢǢ-ĢŎDzȀěƿŦƷ-Ģƿĩ- ƷŻ-Ʒ'nĩ-ŁƢþłŎŦĩ-ĢĩƪŎłű-ŻŁ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷܒàŻƢţŎűłǜŎƷ'n-Ʒ'nŎƢĢƷŻűĩþűĢ-Ʒ'nƢĩĩܮơƿþƢƷĩƢƷŻűĩ-ƷƿűŎűłƪ- 'nþƪ-'nþĢþ-ŦþƪƷŎűł-ŎůƟþěƷ-Żű-NƿĚĩƢܼƪǜŻƢţ ƪŎűěĩ- Ʒ'nĩ- ڏژژڐƪ܌ǜŎƷ'nþű-ŎűƷĩƢĩƪƷ-Ŏű-ŻŦĢ-/ƿƢŻƟĩþű- ƷƿűŎűłƪǢƪƷĩůƪ-ܣĩƪƟĩěŎþŦŦǢ-ܮژڐƷŻűĩ-ĢŎǛŎƪŎŻűƪ-ŻŁ-Ʒ'nĩ-ŻěƷþǛĩ-ŁƢŻů-Ʒ'nĩƪŎǡƷĩĩűƷ'něĩűƷƿƢǢܤþűĢ-Ʒ'nĩ- *ůþơþůēƷ*-Ŏű-ƢþĚůƿƪŎě-ݑދܣSSڡڛܒܤڕܒ-ŁěŻƿƢƪĩ܌-Ŏű-Ʒ'nĩ-ƷƢþĢŎƷŎŻűþŦŦǢ-£ǢƷ'nþłŻƢĩþűܮƷƿűĩĢ*ƪ'nƔ*, such a ƢĩܮƷƿűŎűł-'nþƪ-Ŧĩƪƪ-ŻŁþűþƢě'nþŎǬŎűł܌-ĚƿƷ-ƢþƷ'nĩƢþƪƷƢŻűłŦǢþŦŎĩűþƷŎűłĩDz ŁĩěƷܒ-SűěŻűƷƢþƪƷ-ƷŻ-Ʒ'nŎƪ- ĚƢĩþţǜŎƷ'nþ-ܹƷƢþĢŎƷŎŻűþŦŎƪƷܺþƟƟƢŻþě'n-ܣNƿĚĩƢƪƷþƷĩƪ-Ʒ'nþƷ-'nĩǜþűƷĩĢ-ƷŻěƿƷ-ŻDz Ł-Ʒ'nĩ-ܹƷƢþĢŎƷŎŻű-ŻŁ- Japanese music," as it were܌ܤڢڛ-Ʒ'nĩłĩƪƷþŦƷþűĢ-Ʒ'nĩþƷůŻƪƟ'nĩƢŎěěŻűěĩűƷƢþƷŎŻű-Żű-Ʒ'nĩ-Ŏű'nþŦþƷŎŻű- and exhalation are strongly related to a *ƷƔłþţƿ*ܮŻƢŎĩűƷĩĢůŻĢĩŦܒȃĩ-ȀǛĩܮűŻƷĩ*ƪ'nƔ* chords were

ںڶ ŊƸƸƠܕܕ܈ěšżƣŤŲĪƸÿŧƸĪƣǜŏƫƸÿżƣŃܕƣĪƫƸżƣĪģܕģƣڕ.

ڻڶ- -NǀěĪƣÿŲģrÿŊŲŤżƠł܉*ßżŲðĪŏƸǭǀðĪŏƸ*܉-ڑڕ

ڼڶ- -RĪĪ܉ÿŰżŲŃżƸŊĪƣƫ܉fŲŏƠƠĪƣ܉-ܶ1/4żŲƫǣƫƸĪŰĪŏŰ-ŤżŰƠżƫŏƸżƣŏƫĜŊĪŲ-®ĜŊÿdz łĪŲǜżŲfŧÿǀƫ-NǀěĪƣܷ

ڽڶ- -NǀěĪƣÿŲģrÿŊŲŤżƠł܉*ßżŲðĪŏƸǭǀðĪŏƸ*܉-ڑڕ

created by a permutative principle and are blended into one another using te-utsuri-like techniques: Huber emphasizes the richness of detail of these transitions by a notation reminiscent of Robert Garfias' transcription of the te-utsuri on four staves39 (Ex. 4.7). An extremely slow basic tempo ( = c. 32), continuous pianissimo, and the quasi-ritual conception of the drum part (the instruments include the shoko gong and the kakko coordinating drum from the tōgaku orchestra as well as the rin temple bell in addition to a stone slab and a roof tile) reinforce a quasi-ritualistic archaic atmosphere. This evocation of "shadows of millennia-old backdrops cast into the barbarism of our century"31 is further supported by the two performers' quiet recitation of two mourning poems from the oldest Japanese poetry anthology Man'yoshu (Collection of 10,000 Leaves, Nara Period, c. 759), as well as fragments from the Hiroshima novel Black Rain (Kuroi ame, 1965) by Masuji Ibuse. In addition, characters from the texts are inscribed with mallets on the instruments and even carved into the stone slab. Clearly, the authority of the archaic is conceptualized as an "unspeakable" that is ideally opposed to the political and social conflicts of modernity. Especially in the alignment of the third-tone system (which refers to the history of European music) with the "Japanese" basic structure of sound composition, tempo, and color, Huber's work can be understood as an attempt to migrate into a global cultural memory beyond an explicit hybridization, but also with a clear recourse to mythologizing discourses.

Example 4.7: Klaus Huber, black plaint for shō and percussion, p. 8

Copyright © 1995 by G. Ricordi & Co, München

An atmospheric archaism was also a promising middle ground for many Asian composers, as shown in several examples in this book (→ III.4, III.6, V.1). This middle ground helped to keep nationalist tendencies at arm's length while retaining a degree of cultural and personal independence from the European mainstream. Of course, as already discussed (→ I.3, II.6), the archaic discourse can always turn into an uncritically mythologizing one. Gerhard Stabler, who, like Huber, Lachenmann, and many others, strongly relied on the politically committed

<sup>30</sup> See Garfias, Music of a Thousand Autumns, 48, 177-188.

<sup>31</sup> Huber, "Black Plaint" ("Schatten jahrtausendealter Hintergründe, geworfen in die Barbarei unseres Jahrhunderts").

tradition of "critical composition" that had emerged since the late 1960s, clearly addressed this boundary when he introduced his 33-minute shō solo Palast des Schweigens (1992–93) by writing that the world of shō had remained "strangely alien" to him, "perhaps because in the traditional music of Japan it musically traces phases of becoming and decaying – as if following nature. This style of music does not seem to cope with impurities, external disturbances, worldly' interventions."32 Stäbler consequently sought "rough and chapped, sometimes even aggressively and intrusively charged" sounds in an attempt to "renounce" traditions.33 As a study for Stäbler's Christa Wolf opera CassandraComplex (1994), the isolated, harshly juxtaposed blocks of sound in Palast des Schweigens are also to be understood as a musical correspondence to Wolf's archaic language and a reflection on different forms of silence in the novel. 34

Also, in more recent works by Stäbler for shō, an analogy between archaic Greek and Asian elements forms an important starting point for the conception. In JLIFE[ (2004) for shō, hichiriki (the short doubled-reed oboe that leads the tōgaku orchestra), and glass chimes, the shō and hichiriki soloists alternately whisper tragments of Sappho, while the other instrument unfolds strictly monophonic lines. The underlying scale B-D-E-F#-A, to which later C# and G# are added, can be understood both in the context of tōgaku modality and as an allusion to archaic Greek scales. Especially in the third movement, analogously to the earlier solo work, extremes of dynamics are increasingly sought, culminating in a dense series of aitake chords at high volume. Example 4.8 shows the aitake ku, otsu, ge, jū, kotsu, and jū (second version without F/5) in the second system as well as the aitake ku (the missing D5 is added by the hichiriki) and bi (with D6 instead of D5) in the fourth system. Atter a distant hichiriki line grows out of the last chord of the second system, the last Sappho fragment is whispered ("with a bright voice") along with bright glass sounds. For the two closing aitake sounds in the sho, the hichiriki is pushed "beyond its limits." In contrast to the uncompromising criticism of tradition in Palast des Schweigens, the peak of Stäbler's "anti-traditionalism" here translates into a quotation of traditional harmony, which, of course, extends almost "shamanistically" and thus appears in a refracted form.

The basic idea of an unbridgeable gap, which is related to this concept, is at the center of Chaya Czernowin's Die Kreuzung (1995). The composer starts from the paradox of constructing a "super instrument"3 out of an u mouth organ (a bass shō, pitched an octave lower), an alto saxophone, and a double bass, the instruments being related to one another only as opposites and by the curious attraction of the basically incompatible. As in Franz Kafka's short prose fragment "A Crossbreed" [Eine Kreuzung] (1917) about an animal that is half-cat and half-sheep, the mix-ture of repulsion and attraction results in a "net of impossible relationships between the micro and macro levels."36 Czernowin exacerbates these kinds of relationships through the extensive fragmentation of the structural building blocks of the piece (→ V.3): the fragmented structures are layered and coupled in an unsystematic way. Especially in the first part of the work (sections A-C), this can easily

<sup>32</sup> Stäbler, "Palast des Schweigens," 8 ("seltsam fremd"; "vielleicht weil sie mir zu eng mit der des kaiserlichen Hofes liert schien, wahrscheinlich aber mehr, weil sie in der traditionellen Musik Japans – gleichsam der Natur folgend – Bögen des Werdens und Vergehens musikalisch nachzeichnet; ein Musizierstil, der Unreinheiten, äußere Störungen, 'weltliche' Eingriffe nicht zu verkraften scheint.")

<sup>33</sup> Ibid., 8–9 ("rauh und rissig, manchmal sogar aggressiv und aufdringlich," "Traditionen zu kündigen").

<sup>34</sup> lbid., 9-10.

<sup>35</sup> This is a very probably a conscious reference to Helmut Lachenmann, who has repeatedly spoken (especially with reference to his Second String Quartet) of producing a "super instrument" in the process of composing (Lachenmann, "Uber mein Zweites Streichquartett," 232).

<sup>36</sup> Czernowin, "Die Kreuzung."

Example 4.8: Gerhard Stäbler, JLIFE[ for shō, hichiriki and glass chimes, III, ending

Example 4.9: Chaya Czernowin, Die Kreuzung for ū, alto saxophone, and double bass, beginning of section C

Copyright © 1995 by Chaya Czernowin

Ěĩ-Ƣĩ쯳űŎǬĩĢ-Ŏű-Ʒ'nĩƪěŻƢĩ܋þěŻűƪƷþűƷþŦƷĩƢűþƷŎŻű-ŻŁ-'nŻůŻƢ'nǢƷ'nůŎěþűĢ-ƟŻŦǢƢ'nǢƷ'nůŎě-Ɵþƪƪþłĩƪ܌- ŁƢĩơƿĩűƷě'nþűłĩƪ-Ŏű-ƷĩůƟŻ܌þűĢěŻűƷŎűƿþŦŦǢě'nþűłŎűł-ȀłƿƢĩƪĩǡƟƢĩƪƪƪþůĩűĩƪƪ-Ʒ'nƢŻƿł'n-ĢŎDz ŁĩƢܮ ĩűěĩܒ-SűƪƷƢƿůĩűƷܮƪƟĩěŎȀěĩǡƷƢĩůĩƪ-ŻŁ-Ʒĩě'nűŎěþŦ-ƟŻƪƪŎĚŎŦŎƷŎĩƪƪĩĩů-ƷŻ-Ěĩ-Ʒ'nĩ-ŻĚŠĩěƷ-ŻŁ-Ʒ'nĩǜŻƢţ܌-Ŏű- dynamics (*Ǖ*܌ܤ-ƢĩłŎƪƷĩƢƪ-ܣĢŻƿĚŦĩ-Ěþƪƪ܌ܤþűĢ-ƷŎůĚƢĩ-ܣþŦƷŻƪþǡŻƟ'nŻűĩܒܤȃĩ-ĢĩűƪŎƷǢ-Ʒ'nƿƪþě'nŎĩǛĩĢ-Ŏű- ƪĩěƷŎŻű- -ܣ/ǡܤژܒړݑܒþűĢ-Ʒ'nĩ-ǛŎƢƷƿŻƪŎƷǢ-ŻŁ-Ʒ'nĩ-*Ǖ*-ƟþƢƷ-ŦþěţþűǢ-ƢĩŁĩƢĩűěĩ-ƷŻ-Ʒ'nĩůǢƷ'nŎěþŦܮěþűŻűŎěþŦ- *ƪ'nƔ*- ƷƢþĢŎƷŎŻűܒȃĩ ěƿŦƷƿƢþŦ-ŎĢĩűƷŎƷǢ-ŻŁþŦŦ- Ʒ'nƢĩĩ-ŎűƪƷƢƿůĩűƷƪ ƪĩĩůƪ- ƷŻ- Ěĩ- ƢĩĢƿěĩĢ- ƷŻ- Ʒ'nþƷůŎűŎůƿů-Ʒ'nþƷƿŦƷŎůþƷĩŦǢ-ĢŻĩƪþŦŦŻǜ-ŁŻƢþěŻűűĩěƷŎŻű-ŻŁ-Ʒ'nĩŎƢ-ĢŎDz ŁĩƢĩűěĩ܌ěŻƿűƷĩƢþěƷŎűł-Żű-Ʒ'nĩ-ܹłþƟܺ- between their contexts and, in this way, repeatedly tending toward leveling and neutralization.

ȃĩ- ĚƢĩþţ ǜŎƷ'n- Ʒ'nĩůǢƷ'n- ŻŁ- Ʒ'nĩ*ƪ'nƔ* is attainable here only at the expense of a complete ܹþűƷŎܮŎĢŎŻůþƷŎěŎǬþƷŎŻűܺ-ŻŁ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷܒ--ĢŎDz ŁĩƢĩűƷþƟƟƢŻþě'n-ƷŻůǢƷ'něƢŎƷŎěŎƪů-Ŏƪ-ŁŻƿűĢ-Ŏű- dŻ'nű þłĩ߳ƪěŻůƟŻƪŎƷŎŻű*űĩڞ* -ܤڐژژڐܣ-ŁŻƢƪŻŦŻ*ƪ'nƔ*܌-Żűĩ-ŻŁ-Ʒ'nĩ-ŦþƷĩ-ܹtƿůĚĩƢ-£Ŏĩěĩƪܒܺڠڜ In order to determine the selection of chords within the time windows, Cage started from a table of all ƟŻƪƪŎĚŦĩ ě'nŻƢĢƪþűĢůþĢĩþ- ƢþűĢŻů ƪĩŦĩěƷŎŻű-ܣĚĩƷǜĩĩű-ŻűĩþűĢ ƪĩǛĩűűŻƷĩƪ܌ܤǜ'nŎě'n ěþű- Ěĩ- repeatedڡڜ and may contain *aitake*ě'nŻƢĢƪþƪǜĩŦŦþƪůþŠŻƢ-ŻƢůŎűŻƢ-ƷƢŎþĢƪڢڜ܋

 ÿŃĪÿƠƠƣżÿĜŊĪģ-ĜżŰƠżƫŏƸŏżŲěǣģĪƸĪƣŰŏŲŏŲŃÿ-ŲǀŰěĪƣżł-ƠżƫƫŏěŏŧŏƸŏĪƫłżƣÿŲŏŲƫƸƣǀŰĪŲƸÿŲģ- ƸŊĪŲ-ǀƫŏŲŃ-ĜŊÿŲĜĪ-ƸżƫĪŧĪĜƸǝŊŏĜŊżł-ƸŊĪƫĪ-ƠżƫƫŏěŏŧŏƸŏĪƫǝżǀŧģÿƠƠĪÿƣ܉ÿŲģÿƸǝŊÿƸ-ƠżŏŲƸŏŲ-ƸŊĪ- ĜżŰƠżƫŏƸŏżŲ- ŰżŲŃ- Ŋŏƫ- ŰǀƫŏĜÿŧ ƫŤĪƸĜŊĪƫ ÿƣĜŊŏǜĪģ ÿƸ- ƸŊĪ tĪǝ æżƣŤ- £ǀěŧŏĜ hŏěƣÿƣǣ ÿƣĪ- ĜżƠŏżǀƫ- notes indicating all individual notes and clusters (*aitake*ܡ-ƸŊÿƸ-ƸŊĪ*ƫŊƕ*-Ĝżǀŧģ-Ơŧÿǣ܉ěżƸŊłÿŰŏŧŏÿƣÿŲģ- ǀŲłÿŰŏŧŏÿƣݎǀģŏĪŲĜĪƫÿŲģ-ƠĪƣłżƣŰĪƣƫżł-Ŋŏƫ-ŰǀƫŏĜǝŊżÿƣĪŏŲƸŏŰÿƸĪŧǣÿĜƢǀÿŏŲƸĪģǝŏƸŊ-ƸŊĪ*ƪ'nƔ* ǝżǀŧģƫǀƣĪŧǣƣĪĜżŃŲŏǭĪƫżŰĪżł-ƸŊĪƫĪ-ĜżŰěŏŲÿƸŏżŲƫ܉ěǀƸ-ƸŊĪ-ǀŲǀƫǀÿŧżŲĪƫǝżǀŧģģĪłÿŰŏŧŏÿƣŏǭĪ- ƸŊĪżŧģĪƣ-ĜŊżƣģƫÿŲģÿŧŧżǝ-ƸŊĪŰ-ƸżěĪ-ĪǢƠĪƣŏĪŲĜĪģÿƫłƣĪƫŊÿŲģ-ŲżǜĪŧƫżǀŲģƫŏŲ-ƸŊĪŏƣżǝŲƣŏŃŊƸږښ

ȃƢŻƿł'n-ƟþƿƪĩƪþűĢěþĩƪƿƢþƪ܌-Ʒ'nĩ-ǴŦŻǜ-ŻŁƪŻƿűĢƪ-Ŏƪ-ĚƢŻţĩűþłþŎűþűĢþłþŎű-ܫþűĢ-Ʒ'nƿƪ-Ʒ'nĩůƿƪŎě- maintains a clear distance from traditional *ƪ'nƔ*performance practice. Sounds and silences are ěŻűƷþŎűĩĢ-Ŏűþű-ŎűȀűŎƷĩěŻűƷŎűƿƿů-Ʒ'nþƷ þłĩ-ĢĩƪŎłűĩĢ-Ŏű-Ʒ'nĩĩþƢŦǢ-ڏڔژڐƪ܌-ĚþƪĩĢ-Żű-Ʒ'nĩůþǡŎů-ŻŁ- ܹƿűŎůƟĩĢĩĢűĩƪƪþűĢ-ŎűƷĩƢƟĩűĩƷƢþƷŎŻűܺ-ĢĩƢŎǛĩĢ-ŁƢŻů-NƿþǢþűƿĢĢ'nŎƪů-ݑދܣSSܒܤڕܒ-ŁěŻƿƢƪĩ܌-Ʒ'nŎƪ- form of myth *negation*-ܣƷŻƪƟĩþţ-ŻŁůǢƷ'něƢŎƷŎěŎƪůǜŻƿŦĢþƢłƿþĚŦǢ-Ěĩ-ŎűþƟƟƢŻƟƢŎþƷĩ-'nĩƢĩܤ-Ŏƪě'nþ-ƢþěƷĩƢŎǬĩĢ-ĚǢþƪ'nþƢƟ-ƟþƢþĢŻǡܒ-ǢůþţŎűł-ŎűƪƷƢƿůĩűƷþŦ-Ʒĩě'nűŎơƿĩ܌-Ʒ'nĩ-ƟŦþǢþĚŦĩƪŻƿűĢƪþƪ-ĢĩŦŎűĩþƷĩĢ-ĚǢ-ƷƢþĢŎƷŎŻűþŦ-ȀűłĩƢŎűł܌-Ʒ'nĩƪŻŦĩ-ĚþƪŎƪ܌ þłĩ-ƢĩƟŦþěĩƪ-Ʒ'nĩěþűŻűŎěþŦůǢƷ'n-ŻŁ-Ʒ'nĩ*ƪ'nƔ* with Ʒ'nĩ-ŁþěƷƿþŦůǢƷ'n-ŻŁ-ƟŦþǢŎűł-Ʒĩě'nűŎơƿĩ܋-ܹȃĩěŻůƟŻƪĩƢ-ŁŻŦĢƪ-'nŎƪ-'nþűĢƪ-Ŏű-ŁƢŻűƷ-ŻŁ-'nŎƪƪŻƿűĢƪ-ܢ܍ܡܺ-– "[…] the mythology that in play was expelled as semblance is more than ever reproduced […]."ښڝ

ڴڸ- -NÿƫŤŏŲƫ܉-ܶ1/4ŊĪ-/ǢƸƣÿżƣģŏŲÿƣǣżŰŰżŲƠŧÿĜĪܷ

ڻڷ- żǀƠŧĪģǝŏƸŊ-*One9* is *Two3*-܉ܡڍڕڕڍܠǝŊŏĜŊ-ĜżŰěŏŲĪƫ-ƸŊĪ*ƫŊƕ* part of *One9*ǝŏƸŊÿ-ƠÿƣƸłżƣ-ĜżŲĜŊƫŊĪŧŧƫܔŏŲ-*Two4*-ܡڍڕڕڍܠ- for violin and *ƫŊƕ*, the *ƫŊƕ*-ƠÿƣƸŏƫ-ŲĪǝŧǣ-ĜżŰƠżƫĪģ-ܠǝŊĪƣĪěǣ-ƸŊĪ*ƫŊƕ*-ĜÿŲÿŧƫżěĪƣĪƠŧÿĜĪģěǣÿ-ƠŏÿŲżܡ-SŲÿģģŏƸŏżŲ܉- *One9*-ĜÿŲěĪ-ĜżŰěŏŲĪģǝŏƸŊ-*108*łżƣŧÿƣŃĪżƣĜŊĪƫƸƣÿ-ܡڍڕڕڍܠ-RżŰĪěÿƫŏĜŏŲłżƣŰÿƸŏżŲÿěżǀƸ-ƸŊĪƫĪ-ƠŏĪĜĪƫŏƫ-ƠƣżǜŏģĪģ- ěǣ-NÿƫŤŏŲƫ܉-ܶ1/4ŊĪ-/ǢƸƣÿżƣģŏŲÿƣǣ żŰŰżŲƠŧÿĜĪܷÿŲģ-'ƣǀƣǣ܉-ܶßÿƣŏÿƸŏżŲ-£ŏƸĜŊ-®ƸƣǀĜƸǀƣĪ-¼ŏŰĪܷ-¼żƫŊŏż-NżƫżŤÿǝÿ- also mentions Cages *Two4*ŏŲ-NżƫżŤÿǝÿ܉-ܶǀƫģĪƣ-¼ŏĪłĪģĪƣ-/ƣģĪ܉ܷ-ڏڑ-Fżƣ ÿŃĪߴƫtǀŰěĪƣ-£ŏĪĜĪƫŏŲ-ŃĪŲĪƣÿŧƫĪĪ- NÿƫŤŏŲƫ܉-*Anarchic Societies of Sounds*.

ڼڷ- żŰƠÿƣĪ܉łżƣ-ĪǢÿŰƠŧĪ܉-ƸŊĪƫĪǜĪŲƸŊ-ĜŊżƣģÿǽ ƸĪƣ-ڑڐ܈ڐŏŲ-Ųż-ڒǝŏƸŊ-ƸŊĪǿƣƫƸ-ĜŊżƣģÿǽ ƸĪƣ-ڌڌ܈ڎŏŲ-Ųż-ڍ

ڽڷ Examples of *aitake* ĜŊżƣģƫÿƣĪ-ƸŊĪǿƣƫƸ-ĜŊżƣģÿǽ ƸĪƣ-ڌڌ܈ڐŏŲ-Ųż-ڎ-ܠ*ku*ܡżƣ-ƸŊĪłżǀƣƸŊ-ĜŊżƣģÿǽ ƸĪƣ-ڑڐ܈ړŏŲ-Ųż-ڎ-ܠ*šǖ*, ƫĪĜżŲģǜÿƣŏÿŲƸܡ-1/4ŊĪǿƣƫƸ-Űÿšżƣ-ƸƣŏÿģÿƠƠĪÿƣƫÿƫ-ƸŊĪłżǀƣƸŊ-ĜŊżƣģÿǽ ƸĪƣ-ڌڌ܈ڌŏŲ-Ųż-ڏ

ڵڸ- ģżƣŲż܉-ܶŲƸżŲǜżŲàĪěĪƣŲ܉ܷ-ڎڎڍ-ܠܶ'ĪƣfżŰƠżŲŏƫƸłÿŧƸĪƸǜżƣƫĪŏŲĪŲ-¼ƇŲĪŲ-ܟ܊ܞÿŲěĪƸĪŲģģŏĪ-NďŲģĪܷܔܡģżƣŲż܉- *Philosophy of New Music*-ܠܶŏŰ-®ƠŏĪŧƣĪƠƣżģǀǭŏĪƣƸƫŏĜŊ-ܟ܊ܞ-ĪƣƫƸƣĪĜŊƸšĪŲĪrǣƸŊżŧżŃŏĪ܉ģŏĪ-ŰÿŲÿŧƫ-®ĜŊĪŏŲǜĪƣƸƣŏĪěĪŲ- hat." Adorno, *Philosophie der neuen Musik*܉-ړڒŲܡ-1/4ŊĪƫĪƫƸÿƸĪŰĪŲƸƫ܉ŏŲǝŊŏĜŊżŲĪ-ĜżǀŧģƫĪĪ-ƸŊĪ-ĪƫƫĪŲĜĪżłģżƣŲżܹƫ- ĜƣŏƸŏƢǀĪżł-ƸǝĪŧǜĪܫƸżŲĪ-ƸĪĜŊŲŏƢǀĪ܉-ĪƫƠĪĜŏÿŧŧǣŏŲŏƸƫÿƠƠŧŏĜÿƸŏżŲěǣŧÿƸĪàĪěĪƣŲ܉-ŰŏŃŊƸ-ŰÿŤĪÿłǀŲģÿŰĪŲƸÿŧÿƠżƣŏÿżł ÿŃĪܹƫÿĪƫƸŊĪƸŏĜƫǜŏƫŏěŧĪ

Example 4.10: Yūji Takahashi, Mimi no ho, score pages shō (left) and viola (right); under the instructions for the viola player (section C) one finds the final shō glissandi with which the piece ends


Copyright © 1994 by Yūji Takahashi, Tokyo

A probably more productive form of myth criticism via recourse to the physical-technical basics of sho performance practice is offered by Yūji Takahashi's Mimi no ho (Sails of the Ears, 1994) for shō, viola, and speaker. In many of his works, Takahashi "twists and turns" (Western and Asian) performance traditions back to their elementary beginnings through close observation and study of traditional performance practice (→ III.4). To be sure, Takahashi's goal is neither a historical reconstruction of tradition nor its negation, but the almost playful discovery of a place beyond these extremes. These techniques, however, are by no means limited to Japanese instruments, but open up new possibilities of intercultural rapprochement, such as in the transfer of the kinaesthetic, haptic treatment of shō and viola in Mimi no ho. Just as the 15 or 17 sounding pipes of the shō, which are not arranged in a scale (see Ex. 4.4), require a specific haptic orientation from the player, the fretless fingerboard of the viola is predestined to connect pitches by sliding lines. This is particularly elaborated in Section B, where the viola repeats a model several times, each time setting it a little higher, but maintaining the "physical" distance of the first played figure, creating slightly "stretched" intervals (Ex. 4.10, viola part). In Mimi no ho, as in many of Takahashi's other works, these two distinct performance modes, resulting in two fundamentally independent textures, are superimposed in a mode of attentive listening to one another. To this situation, the speaker adds a recitation of an early poem by Ossip Mandelstam that welcomes emptiness ("Sluh chutkij parus naprjagaet…," [Ears stretch sensitive sails...,] 1910). The final section is held together by a drone on A4 in the viola part, above which

Shō

目の帆(1994)

the viola follows the pitches of the shō in a free manner, connecting them with glissandi. The glissando gesture is in turn taken up by the shō in a concluding gesture, creating a model of subtle communication between the two soloists.

If in Mimi no ho the "organological" dimension of the instrument, its physical properties and their implied gestural performativity, is the starting point for overcoming its "canon," Takahashi, in Sōjō rinzetsu (1997) for one or two shō, takes the path of a more philologically accentuated myth criticism, not least against the background of an intensive study of old

*gagaku* manuscripts.ڛڝȃĩěŻůƟŻƪĩƢƿƪĩƪĩŦĩůĩűƷƪ-ŻŁ-Ʒ'nĩþƢě'nþŎěűŻƷþƷŎŻű-Ŏű-Ʒ'nŎƪǜŻƢţ-ܣ/ǡ܌ܤڐڐܒړݑܒǜ'nŎě'něŻűƷþŎűĩĢƪƟĩěŎþŦƪŎłűƪ-ŁŻƢþĢĢŎűłþűĢ-ƢĩůŻǛŎűł-ŎűĢŎǛŎĢƿþŦ-ȀűłĩƢƪ-ƢĩǛĩþŦŎűłþ-ܹ'nþƟƷŎěܺplaying logic increasingly lost in modern notation,ڜڝþűĢ-'nĩþŦƪŻ-ƟŎěţƪƿƟ-ŻűþƪƟĩěƷƪ-ŻŁ-Ʒ'nĩþƢě'nþŎěƪƷǢŦĩ- Ʒ'nþƷhþƿƢĩűěĩ-/ܒ-£ŎěţĩűþűĢ-'nŎƪěŻŦŦĩþłƿĩƪ-'nþǛĩ- ƢĩěŻűƪƷƢƿěƷĩĢܒȃĩ- Ʒ'nĩƪŎƪ-ŻŁ- Ʒ'nĩ- researchers, among others, was that, in the context of early *ƷƔłþţƿ*, the *ƪ'nƔ* was not required to play those contemplative sound surfaces of the interlacing chords *aitake*-ŁŻƢǜ'nŎě'n-ŎƷ-ŎƪţűŻǜű- today. Rather, together with the *biwa*, it was used as a melodic instrument and integrated into a heterophonic structure.ڝڝ In addition, the melodies were supposedly played at a much faster tempo than today.

*/ǡþůƟŦĩ-ږږܘڙܑæǕŠŎ-¼þţþ'nþƪ'nŎܒ-RƔŠƔ-ƢŎűǬĩƷƪƿ-ŁŻƢ-Żűĩ-ŻƢ-ƷǜŻƪ'nƔܒ-ƟþƢƷ-ܝڗ-ƢŎł'nƷܑ-ƷƢþűƪěƢŎƟƷŎŻű-ŎűàĩƪƷĩƢű- űŻƷþƷŎŻű-ĚǢ-Ʒ'nĩěŻůƟŻƪĩƢ*

 żƠǣƣŏŃŊƸ-ޣ-ړڕڕڍěǣæǖšŏ-¼ÿŤÿŊÿƫŊŏ܉-1/4żŤǣż

ڶڸ- -1/4ŊĪƫżǀƣĜĪƫ-ǀƫĪģěǣ-¼ÿŤÿŊÿƫŊŏÿƣĪ܉ÿŰżŲŃżƸŊĪƣƫ܉-*1/4ÿŏŃĪŲƫŊƕ*-܉ܡڎڍڑڍܠ-Īģ-¼żǣżŊÿƣÿ-ŲżrǀŲĪÿŤŏ܉ÿŲģ-*Gaku ka roku*, ĪģěĪ-Ųż-®ǀĪŊŏƫÿ-܉ܡڌڕڒڍܠÿƫǝĪŧŧÿƫÿ-ĜżŰƠÿƣŏƫżŲżł-ƸŊĪ-ƸŊƣĪĪƫżǀƣĜĪƫ-*®ŊŏŲƫĪŲƫŊƕƸĪŤŏłǀ*-܉ܡڎڌڏڍܠ-*Kofu ritsu ryokan*  ܉ܡڍڌڎڍܠ-Īģ-¼żƫŊŏÿŤŏ-¼żǣżŊÿƣÿ܉ÿŲģ-*NƕƫŊƕƣǣżƣŏƸƫǀ-ŤÿŲ-*܉ܡڑڐڏڍܠ-Īģ-¼ÿƸƫǀÿŤŏ-¼żǣżŊÿƣÿ-ܡܐڌڏڒڍܠěǣ-ƸŊĪ*ƫŊƕ*ƫżŧżŏƫƸfƕ- SƫŊŏŤÿǝÿ-¼ÿŤÿŊÿƫŊŏÿŧƫż-ĪǢƠŧŏĜŏƸŧǣƣĪłĪƣƫ-Ƹż-ƸŊĪƣĪƫĪÿƣĜŊ-ƸƣÿģŏƸŏżŲżł-ƸŊĪhÿǀƣĪŲĜĪ-/-£ŏĜŤĪŲƫĜŊżżŧ-NĪƫƸǀģŏĪģ܉- among others, volumes 4 to 6 of the series *Music from the Tang-Court*ÿŲģ-ĪƫƫÿǣƫěǣŧŧÿŲrÿƣĪƸƸÿŲģ-®ƸĪǜĪŲtĪŧƫżŲ܉-ĪƫƠĪĜŏÿŧŧǣŏŲ-ĜżŲŲĪĜƸŏżŲǝŏƸŊ-Ŋŏƫ-ĜżŰƠżƫŏƸŏżŲ*żƫÿƸƫǀ-ŤÿŲŃĪŲģĪŲŲƕģÿƸĪ* (Computerized Music for a BodhiƫÿƸƸǜÿܡłżƣ*gagaku*-ĪŲƫĪŰěŧĪ-ǀŲģ-ĪŧĪĜƸƣżŲŏĜƫ-ܡڎڕڕڍܠ żƣƣĪƫƠżŲģĪŲĜĪǝŏƸŊ-ƸŊĪÿǀƸŊżƣ-ڒڌڌڎܕڏܕڍڎ

ڷڸ- -1/4ÿŤÿŊÿƫŊŏ-Ĝÿŧŧƫ-ƸŊŏƫÿ-ܶģŏŃŏƸÿŧܷ-ŲżƸÿƸŏżŲ-ŰĪƸŊżģ܉ŏŲ-ƸŊĪģżǀěŧĪƫĪŲƫĪżł-ƸŊĪǝżƣģ܉ÿŧŧǀģŏŲŃ-Ƹż-ƸŊĪhÿƸŏŲ-ƸĪƣŰłżƣ- ǿŲŃĪƣ܉-ܶģŏŃŏƸǀƫܷ-ܠ żƣƣĪƫƠżŲģĪŲĜĪǝŏƸŊ-ƸŊĪÿǀƸŊżƣ-ڒڌڌڎܕڏܕڍڎܡ

ڸڸ See, for example, the transcription of *Sendai-en*ŏŲàżŧƠĪƣƸ܉-ܶ1/4ŊĪrĪŲƫǀƣÿŧtżƸÿƸŏżŲ܉ܷ-ڕڎڍܨڔڎڍ

¼þţþ'nþƪ'nŎܼƪ-*®ƔŠƔ-ƢŎűǬĩƷƪƿ* is surely more than a mere historical reconstruction of the *ƷƔłþţƿ* style ĢƿƢŎűł-Ʒ'nĩ-NĩŎþű-ŻƢfþůþţƿƢþ-£ĩƢŎŻĢƪܒ-NĩþŦƪŻ-ƷƢŎĩƪ-ƷŻ-ŎűěŦƿĢĩĩŦĩůĩűƷƪ-ŻŁ-ŻƢþŦ-ƷƢþĢŎƷŎŻű-Ŏű-'nŎƪ- score (to which the second term of the title "*rinzetsu*" refers,ڞڝ while *ƪƔŠƔ* merely indicates the [G-] ůŻĢĩ-ŻŁ-Ʒ'nĩ-ƟŎĩěĩܒܤ-Sű-Ʒ'nĩƪĩěŻűĢ-ƟþƢƷ-ŻŁ-Ʒ'nĩ-ƟŎĩěĩ܌-1/4þţþ'nþƪ'nŎĩǡƷĩűĢƪ-Ʒ'nĩ-'nŎƪƷŻƢŎěŻܮłĩŻłƢþƟ'nܮ ical scope of his references to southwest China. Here he refers to a tradition of the Chinese Miao minority,ڟڝ possibly dating to an early historical period, in which the *lusheng* mouth organ is played by young men during courtship dances. It is no coincidence that this social practice ƪƷþűĢƪ-ŎűƪƷþƢţěŻűƷƢþƪƷ-ƷŻ-Ʒ'nĩƪŻŦĩůűŎƷǢ-ŻŁ-Ʒ'nĩěŻƿƢƷŦǢ-*ƷƔłþţƿ*þƪǜĩţűŻǜ-ŎƷ-ƷŻĢþǢܒ

ȃĩ-ƟƪĩƿĢŻܮþƢě'nþŎěűŻƷþƷŎŻű-ĢĩƢŎǛĩĢ-ŁƢŻů-Ʒ'nĩƪƷƿĢǢ-ŻŁþűěŎĩűƷ*ƪ'nƔ* manuscripts here helps to reconstruct a *ƪ'nƔ* style in which the instrument shows a way of playing that has at best survived in the *ě'nƔƪ'nŎ* introductions of the *ƷƔłþţƿ*܌-ĚƿƷ-Ŏƪ-'nĩƢĩ-ŎűƷƢŻĢƿěĩĢ-Ŏű-ĢŎDz ŁĩƢĩűƷ-ƷĩůƟŎþűĢ- ĩűƢŎě'nĩĢ- ĚǢ-ŻƢűþůĩűƷþŦ łĩƪƷƿƢĩƪܒȃĩ-ƟþƢþĢŻǡŎěþŦĩDz ŁĩěƷ-ŻŁ-*®ƔŠƔ- ƢŎűǬĩƷƪƿ* lies in the fact that the authority of the archaic attributed to the *ƪ'nƔ*, especially in the nineteenth and twentieth centuries, is overcome precisely by a meticulous, source-critical philological reconstruction of archaic *ƪ'nƔ*ůƿƪŎěܒ-1/4þţþ'nþƪ'nŎ߳ƪěŻůƟŻƪŎƷŎŻű-ŎƪěĩƢƷþŎűŦǢůŻƢĩ-Ʒ'nþűůĩƢĩþƢě'nĩŻŦŻłǢ܌þƪ-'nĩ- refers above all to those improvisational parts of *ƪ'nƔ* performance that do not appear in the ǜƢŎƷƷĩűƪŻƿƢěĩƪܒȃƿƪ-¼þţþ'nþƪ'nŎþŦƪŻĩǡƟŦŎěŎƷŦǢěƢŎƷŎěŎǬĩƪ-Ʒ'nŻƪĩűþƷŎŻűþŦŎƪƷěƿƢƢĩűƷƪ-ŻŁdþƟþűĩƪĩ- ĩƷ'nűŻůƿƪŎěŻŦŻłǢ-Ʒ'nþƷ-'nþĢűĩłþƷĩĢƪƿě'nþ-ǛŎĩǜ-ŻŁ-Ʒ'nĩ-ܣĩþƢŦǢܤ-'nŎƪƷŻƢǢ-ŻŁ-Ʒ'nĩ*ƪ'nƔ* for a long time.

"Music begins by doubting sounds"܋ڠڝ-1/4þţþ'nþƪ'nŎܼƪǜŻƢţþƟƷŦǢě'nþƢþěƷĩƢŎǬĩƪ-Ʒ'nĩ-ŁþƢܮƢĩþě'nŎűł- and complexly transformative approach that the composer has developed on the subject of ěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩܒ- ŻűěĩűƷƢþƷŎűł-ŻűƪƟĩěŎȀěěþƪĩƪƷƿĢŎĩƪþűĢ-'nŎƪƷŻƢŎěþŦƪŻƿƢěĩƪ܌-'nĩ-ƢĩŁƢþŎűƪ- from any sort of pseudo-authentic historicism. Rather, his music permits the transformational and unpredictable on a large scale, which also manifests in the fact he gives much space to the ƟĩƢƪŻűþŦ-ƢĩƪƟŻűƪŎĚŎŦŎƷǢ-ŻŁ-Ʒ'nĩ-ƟĩƢŁŻƢůĩƢƪܒȃŎƪþƟƟƢŻþě'něþű-ŦĩþĢ-ƷŻ-ŎűĢŎǛŎĢƿþŦŎǬĩĢƪŎƷƿþƷŎŻűƪ- Ŏűǜ'nŎě'nĩƪƪĩűƷŎþŦŎƪƷ܌-ƟŻŦŎƷŎěþŦ܌-ŻƢ-ŎĢĩŻŦŻłŎěþŦ-ĢĩȀűŎƷŎŻűƪ-ŻŁěƿŦƷƿƢĩ-ĚĩěŻůĩ-ǴŦƿŎĢܒ

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tĩǜůƿƪŎě-ŁŻƢ*ƪ'nƔ*-ŎƪůŻƢĩ-Ʒ'nþűþěŻůƟŻƪŎƷŎŻűþŦěŻűŁƢŻűƷþƷŎŻű-ŻƢþƟƟƢŻƟƢŎþƷŎŻű-ŻŁþűŻǛĩŦܘþűěŎĩűƷ-ŎűƪƷƢƿůĩűƷǜŎƷ'nűŻǛĩŦܘþƢě'nþŎěƪŻƿűĢƪܗ-ŎƷ-ŎƪþŦǜþǢƪĩƪƟĩěŎþŦŦǢþ-ĢĩůŻűƪƷƢþƷŎŻű-ŻŁþ-ܹǜŻƢŦĢ-

ڹڸ- -ܶS-ĜżŲƫŏģĪƣ-ƸŊżƫĪżŧģ-ŲżƸÿƸŏżŲƫ-ܞÿܟ-ƠĪƣƫżŲÿŧ-ŰĪŰżƣÿŲģǀŰěǣÿŰÿƸĪǀƣƫżƣƫƸǀģĪŲƸƫżłżƣÿŧ-ƸƣÿŲƫŰŏƫƫŏżŲƫģĪǜżŏģ- żł-ĪǢƸĪŰƠżƣĪǜÿƣŏÿƸŏżŲƫÿŲģżƣŲÿŰĪŲƸƫ܉ƣÿƸŊĪƣŧŏŤĪƫżŰĪƣĪĜżŲƫƸƣǀĜƸĪģ-ƠĪƣłżƣŰÿŲĜĪƫżł-/ǀƣżƠĪÿŲrĪģŏĪǜÿŧ- ģÿŲĜĪ-ƸǀŲĪƫܷ-ܠ żƣƣĪƫƠżŲģĪŲĜĪǝŏƸŊ-ƸŊĪÿǀƸŊżƣ-ڒڌڌڎܕڒܕړܡ-ĜĜżƣģŏŲŃ-Ƹż-¼ÿŤÿŊÿƫŊŏ܉*rinzetsu* refers to improvisational practices in the context of the historical *gagaku*rżƣĪ-ĜżŰŰżŲŧǣ-ƸŊĪ-ƸĪƣŰģĪƫŏŃŲÿƸĪƫÿłƣĪĪƣ-ĜżŰƠżƫŏƸŏżŲ- ƫƸǣŧĪǝŏƸŊŏŲ-ƸŊĪ*koto*-ƸƣÿģŏƸŏżŲ܉ǝŊŏĜŊģÿƸĪƫěÿĜŤ-Ƹż-ƸŊĪƣĪƠĪƣƸżŏƣĪżłæÿƸƫǀŊÿƫŊŏܫƣǣǖżłæÿƸǀŊÿƫŏ-ܠæÿƸƫǀŊÿƫŊŏܡ- fĪŲŃǣƕ

ںڸ The *lusheng*-ܠÿŰżŲŃ-ƸŊĪrŏÿżŏŲ-GǀŏǭŊżǀÿŲģ-GǀÿŲŃǢŏܡÿŲģ*hulusheng* (among the Yi, Lahu, and other minorities ŏŲæǀŲŲÿŲܡ-ŰÿǣěĪ-ƸŊĪģĪƫĜĪŲģÿŲƸƫżłżŲĪżł-ƸŊĪżŧģĪƫƸģĪŰżŲƫƸƣÿěŧĪłżƣŰƫżł-ƸŊĪ- ŊŏŲĪƫĪ-ŰżǀƸŊżƣŃÿŲ*sheng*. ¼ŊŏƫǝżǀŧģƫǀƠƠżƣƸ-ƸŊĪ-ƸŊĪżƣǣ-ƸŊÿƸ-ƸŊĪ-ŰżǀƸŊżƣŃÿŲżƣŏŃŏŲÿƸĪģŏŲ-ƸŊĪ-®żǀƸŊĪÿƫƸƫŏÿƣĪŃŏżŲŏŲģĪƠĪŲģĪŲƸŧǣ܉żƣ- ĪǜĪŲěĪłżƣĪ܉-ĜĪŲƸƣÿŧ- ŊŏŲĪƫĪǜÿƣŏÿŲƸƫ-ܠƸŊŏƫƫŏŰŏŧÿƣŧǣÿƠƠŧŏĪƫ-Ƹż-ƸŊĪ-ŰżǀƸŊżƣŃÿŲ*khaen*ŏŲhÿżƫÿŲģ-¼ŊÿŏŧÿŲģܡ-Fżƣ- ģĪƸÿŏŧƫżł-ƸŊĪ-ŊŏƫƸżƣǣżł-ƸŊĪ-ŰżǀƸŊżƣŃÿŲ܉ƫĪĪ-®ĜŊǝƇƣĪƣܫfżŊŧ܉-ܶrǀŲģżƣŃĪŧܷ

ڻڸ- -ܶrǀƫŏĜěĪŃŏŲƫěǣģżǀěƸŏŲŃƫżǀŲģƫ-ŲĪ-ƸĪÿƣƫżŲĪƫĪŧłÿǝÿǣłƣżŰ-ƸŊĪ-ĜŊÿƣŰżłƫżǀŲģƫ܉żŲĪ-ĜǀƸƫ-ƸŊĪƫƸƣĪÿŰěǣ- ĜżŰŏŲŃ-ƸżģĪƠĪŲģ-ǀƠżŲ-ŰǀƫŏĜÿŧ-ĪŧĪŰĪŲƸƫ-ƸŊÿƸÿƣĪ-ŲżƸ-ƸŏŰĪܫƣĪŧÿƸĪģ-/ŧŏŰŏŲÿƸĪÿŧŧ-ǀŲŲĪĜĪƫƫÿƣǣŏŲłżƣŰÿƸŏżŲÿŲģ- ŧĪÿƣŲ-ŲĪǝ-ƸĪĜŊŲŏƢǀĪƫܔƣĪƠĪÿƸżŲĪ-ƸŊŏŲŃÿŃÿŏŲÿŲģÿŃÿŏŲŏŲƫƸĪÿģżłŏŲģǀŧŃŏŲŃŏŲ-ƸŊĪ-ƸƣÿģŏƸŏżŲÿŧģƣÿŰÿƫżł-ƸŏŰĪܷ- ܡړڒܷ-܉rǀƫŏĜ-Ƹżàżƣģƫ-FƣżŰ-ܶ܉ÿŤÿŊÿƫŊŏ¼ܠ

view" - a word that appears repeatedly in Toshio Hosokawa's statements with good reason."6 But not only that extensive reference to the canon and myth of the shō, designed by Hosokawa's own music, produces a worldview, the term also applies to the myth-critical counter-positions described above, especially to those that implicitly pretend to have overcome the dimension of worldviews entirely, such as John Cage's Number Pieces, instead submitting to the facts of the sounds in the attempt to escape the myth.

A way out of this polarization between a reproduction of canonized repertoire or mythological aura on the one hand, and the mythology of a "pure sound" on the other, is suggested by those reflective positions outlined here, which critically take up the myth of the shō but neither negate its cultural historicity nor absolutize it aesthetically. Of course, it is inevitable that they, too, internalize the "myth" of the instrument, historically shaped in the unification of the gagaku repertoire since the mid-nineteenth century and its aestheticist essentialization. What is decisive, however, is that they allow this myth to be experienced in perspective, while deforming, perhaps distorting previous practice, continuing to rethink and transform the shō in a "hypoleptic" manner. Perhaps this is a measure of intercultural composition as a whole, which is certainly attained by the following, more thoroughly discussed example of shō reception.

### 2. The shō as a Medium of Alterity and Self-Referentiality in Helmut Lachenmann's Music

### Aura and Alterity

When the chords of the Japanese sho sound in the penultimate scene of Helmut Lachenmann's Das Mädchen mit den Schwefelhölzern (The Little Match Girl, 1990–96), or when we hear the breathy wind chords in the final section of his large ensemble work Concertini (2004-05), these moments undoubtedly bring about what the composer has often described in his listening phenomenology: a conscious hearing-in ("Hin-Horen") takes place, a moment that makes the act of listening conscious and makes it possible, perhaps even inescapable, to listen sensuously for the sake of listening itself, to break out of the "listening grammar" that seemed unproblematic a few seconds earlier. When hearing-in, one questions the rules of this grammar, and with it the aesthetic and cultural agreements on which it is based (→ I.1).49

Such an overt break with the directly preceding sound world refers in particular to that auratic component of the musical material, which Lachenmann accords a central position as the

<sup>48 &</sup>quot;And to paint or sing this vivid line - I always need that mother chord and it can be like a very tight silence. – And for me this is like a worldview: there must always be something in the background and there must be two different layers. That can be silence, that can be flowing sounds – and a line. Analogously, one can call these layers: universe and human, nature and human." ("Und um diese lebendige Linie zu malen oder zu singen – dazu brauche ich immer diesen Mutterakkord und der kann auch wie ein sehr dichtes Schweigen sein. – Und das ist für mich wie eine Weltanschauung: Es muss auch im Hintergrund immer etwas da sein, und es müssen zwei verschiedene Schichten entstehen. Das kann Schweigen sein, das können fließende Klänge sein – und eine Linie. Analog kann man diese Schichten nennen: Universum und Mensch." Hosokawa quoted in Sparrer, "Toshio Hosokawa," 8.)

<sup>49</sup> A theory of "hearing-in" as an oscillation between metaphorical listening has been developed by Andy Hamilton in correspondence to Richard Wollheim's theory of "seeing-in" (see Hamilton, Aesthetics and Music, 95-111 and Hamilton, "The Sound of Music," 171).

"bearer of familiar experiences in existential reality,"ڙڞǜ'nŻƪĩƪŎłűŎȀěþűěĩ-ŁŻƢ-'nŎƪǜŻƢţ-'nĩĩůܮ Ɵ'nþƪŎǬĩĢĩþƢŦǢ-Żű-ݑދܣSßܒܤڐܒ-Sű-'nŎƪƪƷƿĢŎĩƪ-Żű-ܹĩǛĩűƷþűĢþƿƢþ܌ܺ-'ŎĩƷĩƢrĩƢƪě'n-'nþƪƪ'nŻǜű-Ʒ'nþƷþ- ƟĩƢěĩƟƷŎŻű-ŻŁ-Ʒ'nĩþƿƢþƷŎě-Ŏű-Ʒ'nĩþƢƷƪ-ŎƪěŦŻƪĩŦǢ-ŦŎűţĩĢ-ƷŻ-Ʒ'nĩ-ƟƢŎűěŎƟŦĩ-ŻŁþŦƷĩƢŎƷǢ-ݑދܣSܤڒܒþƪ-ĢĩǛĩŦŻƟܮ ĩĢ-ĚǢ-/ůůþűƿĩŦhĪǛŎűþƪ܌þůŻűł-ŻƷ'nĩƢƪښڞܒrĩƢƪě'nþƷƷĩůƟƷƪ-ƷŻƿűĢĩƢƪƷþűĢþƿƢþƷŎěþŦŦǢơƿþŦŎȀܮ þĚŦĩ-ƟƢŻěĩƪƪĩƪ-ŻŁ-ƟĩƢěĩƟƷŎŻű-ĚǢþű-ܹĩţܮƪƷþƷŎěܺ-ĚþƪŎě-ƟƢŎűěŎƟŦĩ܌-ĚǢ-ܹĩűěŻƿűƷĩƢŎűłþű-ܻŻƿƷƪŎĢĩ-ŻŁ- ůĩ܌ܼǜ'nŎě'n-Ŏƪ-ƟþƢƷ-ŻŁ-Ʒ'nĩ-ƷĩűĢĩűěǢ-ƷŻ-ŦŎůŎƷ-ŻƢěŻűŁƿƪĩůǢěŻűěĩƟƷƪþűĢƪŎłűŎȀěþƷŎŻűƪě'nĩůþƷþ- and to overthrow them."ڛڞ It is thus central to this understanding that, on the basis of the priněŎƟŦĩ-ŻŁþŦƷĩƢŎƷǢ܌- Ʒ'nŎƪ- ŁŻƢů-ŻŁ-ƟĩƢěĩƟƷŎŻű- ƢĩƷþŎűƪþ- ŁƿűĢþůĩűƷþŦ- ƢŎĢĢŦĩܮě'nþƢþěƷĩƢ-ܣŎűhĪǛŎűþƪ܋- ܹĩűŎłůþܺ܌ܤ-Ʒ'nĩƢĩĚǢ-ܹŦĩƷƷŎűł-Ʒ'nĩ-ŁŻƢůƪƿƪƟĩűĢ-ŎƷƪĩŦŁ-Ŏű-ŁþǛŻƢ-ŻŁ-Ʒ'nĩþěƷ-ŻŁþƟƟĩþƢþűěĩܒܺڜڞ

ȃŎƪěŻűűĩěƷŎŻű-ĚĩƷǜĩĩű-ĚƢĩþţŎűłǜŎƷ'nþűĩƪƷþĚŦŎƪ'nĩĢþűĢ-ĢŻůŎűþűƷƪƷþƷĩ܌-Ʒ'nĩ-ƢĩƪƿŦƷŎűł-ĢŎƪܮ continuity, and the categorial otherness of the newly emerging state can be experienced again þűĢþłþŎű-Ŏű hþě'nĩűůþűűܼƪůƿƪŎěþűĢ ƪĩƢǛĩƪ- Ʒ'nĩ ěŻůƟŻƪĩƢþƪþůĩþűƪ-ŻŁþĢǛþűěŎűł- ƷŻ- Ʒ'nĩ- concrete utopia of a "liberated perception."ڝڞ-SƷơƿŎěţŦǢ-ĚĩěŻůĩƪþƿĢŎĚŦĩþűĢ-ǛŎƪŎĚŦĩ-Ʒ'nþƷ܌-'nŻǜܮ ĩǛĩƢ-Ʒ'nŎƪþŦƷĩƢŎƷǢ-ŎƪĩűþěƷĩĢ-ܣĩܒł܌ܒ-Ʒ'nƢŻƿł'nůƿƪŎěþŦƪƷƢƿěƷƿƢĩ܌-ƷŎůĚƢĩ܌-ƷĩůƟŻ܌-ƟŻŦǢƟ'nŻűǢܘĢĩűƪŎƷǢ܌ƪŻƿűĢܮƷŻܮƪŻƿűĢ- ƢĩŦþƷŎŻűƪ'nŎƟƪ܌ěƿŦƷƿƢþŦþűĢűþƢƢþƷŎǛĩěŻűƷĩǡƷƪ܌ܤ-ƟŻŦþƢŎƷŎĩƪ- Ʒ'nþƷ-ŎűŎƷŎþŦŦǢƪĩĩů- ܹŎűěŻůƟþƷŎĚŦĩܺ ĩůĩƢłĩþƪ- ܹĢŎþŦĩěƷŎěþŦܺ-Ŏű- Ʒ'nĩ- ŁƿƢƷ'nĩƢ ƿűŁŻŦĢŎűł-ŻŁ ĩǛĩűƷƪܒȃƿƪ- Ʒ'nĩþƪƟĩěƷ-ŻŁ- Ʒ'nĩþƿƢþƷŎěþűĢůþłŎěþŦ-ŎƪƪƿěěĩƪƪŎǛĩŦǢěþƟƷƿƢĩĢ-ĚǢ-ƢĩŁƢþěƷŎŻűƪþűĢěƢŎƷŎơƿĩ-Ʒ'nþƷhþě'nĩűůþűű- ěŻűƪŎĢĩƢƪţĩǢ-ƷŻþűƿűĢĩƢƪƷþűĢŎűł-ŻŁ-Ʒ'nĩ-/ƿƢŻƟĩþűěŻűěĩƟƷ-ŻŁþƢƷڞڞܒtŻƷ-ŦĩþƪƷ܌-Ʒ'nĩƪĩ-ŁŻƢůƪ-ŻŁ- mediation presuppose the awareness and the possibility of musical self-referentiality, in which ůƿƪŎěþŦ-ŦþűłƿþłĩƪţŎŦŦƪěŻűƪƷþűƷŦǢơƿĩƪƷŎŻű-Ʒ'nĩůƪĩŦǛĩƪ-ƢþƷ'nĩƢ-Ʒ'nþű-ĚĩŎűłƪŎůƟŦǢ-ܹƪĩƷܒܺڟڞ So it is hardly coincidental that, in *ȄĩhŎƷƷŦĩrþƷě'n-GŎƢŦ*'s *ƪ'nƔ* scene, the initially "solemnly" enacted ƿűĚƢŻţĩű ƪŻƿűĢ-ȀĩŦĢ-ܣƪƷƢĩƷě'nĩĢ- ƷŻ-ڕږ ơƿþƢƷĩƢűŻƷĩƪܤ-ܫþƷǜ'nŻƪĩěĩűƷĩƢ-Ŏƪ- Ʒ'nĩ-ƟĩƢŁĩěƷ- ŁŻƿƢƷ'n- ܫړ/ڔ-ܫ-ŎƪěŻűƷƢþĢŎěƷĩĢ-Ŏű-Ʒ'nĩƪĩěŻűĢ-'nþŦŁ-ŻŁ-Ʒ'nĩƪěĩűĩ-ĚǢ-ŎƷƪ-ܹűĩłþƷŎǛĩ܌ܺþƪŻƿűĢ-ȀĩŦĢ-Ʒ'nþƷ-Ŏƪ- only two quarters longer in length, in which the *ƪ'nƔ* is completely silent and which is dominated exclusively by "perforated" string sounds created by increased bowing pressure. Similarly, it can be argued that the music of this scene from the beginning is subjected to a double (cultural þűĢ-'nŎƪƷŻƢŎěþŦܤěŻĢŎűł܌þűĢ-Ʒ'nĩƢĩŁŻƢĩ-Ʒ'nĩůƿƪŎěþŦůþƷĩƢŎþŦ܌-ŎűþĢĢŎƷŎŻű-ƷŻþěŻűƪƷþűƷƪĩŦŁܮŎűƷĩƢ-ƢŻłþƷŎŻű-ܣŻű-Ʒ'nĩ-ܹŎűƷƢþܮŻƟƿƪܺ-ŦĩǛĩŦ܌ܤěŻűƷŎűƿŻƿƪŦǢ-ƢĩŁĩƢƪ-ƷŻ-ĢŎDz ŁĩƢĩűƷěŻűܮƷĩǡƷƪ-ܣŻƢ-ܹĩǡƷƢþܮŻƟƿƪܺ-ŦĩǛĩŦƪڠڞܒܤȃĩƢĩŁŻƢĩ܌-Ʒ'nŎƪůƿƪŎě-ĢĩŦŎĚĩƢþƷĩŦǢ-ĚǢƟþƪƪĩƪþƪŎůƟŦŎƪƷŎěěŻűƪƷƢƿěƷŎŻű-ŻŁþŦƷĩƢŎƷǢܒ


ڴڹ- hÿĜŊĪŲŰÿŲŲ܉-ܶßŏĪƣ-GƣǀŲģěĪƫƸŏŰŰǀŲŃĪŲģĪƫrǀƫŏŤŊƇƣĪŲƫ܉ܷ-ڍڒ-ܠܶ1/4ƣďŃĪƣŏŲǜżŲǜĪƣƸƣÿǀƸĪŲ-/ƣłÿŊƣǀŲŃĪŲÿǀƫģĪƣ- ĪǢŏƫƸĪŲƸŏĪŧŧĪŲàŏƣŤŧŏĜŊŤĪŏƸܷܡ

ڵڹ Mersch, *Ereignis und Aura*܉-܉ڑڍܨڐڍ-܉ڎڑܨڌڑÿƫǝĪŧŧÿƫhīǜŏŲÿƫ܉-*Alterity and Transcendence*.

ڶڹ Mersch, *Ereignis und Aura*܉-ړڎ-ܠܶĪŃĪŃŲǀŲŃ-ŰŏƸ-ĪŏŲĪŰ-ܸǀƷĪƣܫŰŏƣܹ܉ģÿƫŏŲģĪƣ-¼ĪŲģĪŲǭƫƸĪŊƸ܉-ŰĪŏŲĪ-ĪŃƣŏdz łĪ-ǀŲģ- ®ŏŃŲŏǿŤÿƸŏżŲƫƫĜŊĪŰÿƸÿǭǀ-ĪŲƸŃƣĪŲǭĪŲżģĪƣǭǀǜĪƣǝŏƣƣĪŲ-ǀŲģ-ǀŰǭǀƫƸdžƣǭĪŲܷܡ

ڷڹ- -Sěŏģ܉-ڍڑܨڌڑ-ܠܶǝżƫŏĜŊģŏĪ-FżƣŰǭǀŃǀŲƫƸĪŲģĪƫ-/ƣƫĜŊĪŏŲĪŲƫƫĪŧěƫƸƫǀƫƠĪŲģŏĪƣƸܷܡ-RĪĪhīǜŏŲÿƫ܉-ܶ£ŊĪŲżŰĪŲżŲÿŲģ- Enigma."

ڸڹ- hÿĜŊĪŲŰÿŲŲ܉-ܶðǀŰ-£ƣżěŧĪŰģĪƫ-®ƸƣǀŤƸǀƣÿŧŏƫŰǀƫ܉ܷ-ڌڕ-ܠܶěĪłƣĪŏƸĪàÿŊƣŲĪŊŰǀŲŃܷܡ-RĪĪÿŧƫżhÿĜŊĪŲŰÿŲŲ܉-GÿģĪŲƫƸďƸƸĪƣ܉ÿŲģ-ÃƸǭ܉-ܶfŧÿŲŃ܉rÿŃŏĪ܉-RƸƣǀŤƸǀƣ܉ܷ-ڕڍ

ڹڹ- -RĪĪhÿĜŊĪŲŰÿŲŲ܉-GÿģĪŲƫƸďƸƸĪƣ܉ÿŲģ-ÃƸǭ܉-ܶfŧÿŲŃ܉rÿŃŏĪ܉-RƸƣǀŤƸǀƣ܉ܷ-ڔڎܨړڎÿŲģhÿĜŊĪŲŰÿŲŲ܉-ܶ/ÿƫƸ-ŰĪĪƸƫàĪƫƸ܉ܐܷ- ڌڕܨړڔ

ȃĩ- ܹƪƷþłŎűłܺ-ŻŁ- Ʒ'nĩ dþƟþűĩƪĩ-ŎűƪƷƢƿůĩűƷ- ŁŻŦŦŻǜƪþłĩűĩƢþŦþƿƢþŦ-ĢƢþůþƷƿƢłǢ- Ʒ'nþƷhþě'nĩűmann has repeatedly implemented and developed in a wide variety of situations and with the ůŻƪƷ- ĢŎǛĩƢƪĩ ƪŻƿűĢ- ƢĩƪŻƿƢěĩƪܒȃƿƪ- Ʒ'nĩ ƪƷþłŎűł ƪĩĩůƪ܌ þƷ- ȀƢƪƷ܌- ƷŻ- 'nþǛĩ- ŦŎƷƷŦĩ- ƷŻ- ĢŻ ǜŎƷ'n- Ʒ'nĩ- ŁþěƷ- Ʒ'nþƷ- Ʒ'nĩ-ŎűƪƷƢƿůĩűƷ- 'nþƪ þ- ĢŎDz ŁĩƢĩűƷ ěƿŦƷƿƢþŦ ěŻűƷĩǡƷ-ܣdþƟþűĩƪĩ *gagaku* ěŻƿƢƷůƿƪŎěܤ- Ʒ'nþű- ŻƷ'nĩƢ- ŎűƪƷƢƿůĩűƷƪ þűĢ- ǛŻŎěĩƪ- ܣŻŁ- /ƿƢŻƟĩþű- ŻƢŎłŎűܤ- ܹĢĩěŻűƪƷƢƿěƷĩĢܺ- ĚǢ hþě'nĩűůþűűܒ- Ʒ- ȀƢƪƷ- sight, this assessment is supported by several statements made by the composer in recent ǢĩþƢƪ܌ǜ'nŎě'n-ĢĩůŻűƪƷƢþƷĩĢþƪƿƪƷþŎűĩĢþűĢ-ŁƿűĢþůĩűƷþŦƪţĩƟƷŎěŎƪůþĚŻƿƷ-Ʒ'nĩ-ƟŻƪƪŎĚŎŦŎƷŎĩƪ-ŻŁ- ůƿƪŎěþŦ- ܹŎűƷĩƢěƿŦƷƿƢþŦŎƷǢܺ-ݑދܣS܌ڒܒ-SSڡڞܒܤڕܒhĩłŎƷŎůþƷĩ-ĢŻƿĚƷƪ܌-'nŻǜĩǛĩƢ܌ěþű-Ěĩ-ƢþŎƪĩĢþłþŎűƪƷ- Ʒ'nĩ- assumption that the treatment of the *ƪ'nƔ* here is little more than a tried and tested means of ĩǡƷƢþěƷŎűłþűĩǜ- ܹĩDz ŁĩěƷܺ-ǛŎþ hþě'nĩűůþűűܼƪ- ŁƿűĢþůĩűƷþŦ ƪƷƢþƷĩłǢ-ŻŁ- ܹƢĩŁƢþěƷŎŻű܌ܺ ƪƿƟƟŻƪĩĢŦǢ- merely serving as the negation of the negation of a sound ideal, which can be represented very þƟƷŦǢ-ĚǢ-Ʒ'nĩƿűĚƢŻţĩű܌-ܹƟƿƢĩ܌ܺ-ŁƿƪŎűłƪŻƿűĢ-ŻŁ-Ʒ'nĩ*ƪ'nƔ*ܒ-Sű-ŁþěƷ܌hþě'nĩűůþűű-'nŎůƪĩŦŁ-'nŎűƷĩĢ-Ʒ'nþƷ- he had resorted to the "scale" of the *ƪ'nƔ* not only in his "opera" but also at the end of his ensem-ĚŦĩǜŻƢţ-*Concertini*, ڢڞ implying that connections with traditional repertoire and the performance ƟƢþěƷŎěĩ-ŻŁ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷ-ݑދܣSßܤڐܒ-ܫþűĢűŻƷ-ŠƿƪƷþěĩŦĩĚƢþƷŎŻű-ŻŁ-ŎƷƪƪŻƿűĢŎűłþƿƢþ-ܫþƢĩ-ŎűƷĩűĢĩĢܒ

łþŎűƪƷ-Ʒ'nŎƪ-ĚþěţłƢŻƿűĢ܌-Ʒ'nŎƪě'nþƟƷĩƢ-ƟƿƢƪƿĩƪ-Ʒ'nĩłŻþŦ-ŻŁþűþŦǢƷŎěþŦŦǢ-ƢĩěŻűƪƷƢƿěƷŎűłƪƷƢƿětural and narrative contexts in which the principles of alterity and self-referentiality, as well as ܹĩǡƷƢþܮŻƟƿƪܺþűĢ-ܹŎűƷƢþܮŻƟƿƪܺ-ƢĩŁĩƢĩűěĩƪ܌ůþƷĩƢŎþŦŎǬĩ-Ŏű-Ʒ'nĩ-ȀűþŦƪƷþłĩƪ-ŻŁ-*ȄĩhŎƷƷŦĩrþƷě'n-GŎƢŦ* and the ending of *Concertini*ܒȃĩ-ĢŎƪěƿƪƪŎŻű-ŁŻŦŦŻǜƪþƪĩƢŎĩƪ-ŻŁƪ'nŻƢƷ܌-ŦŻŻƪĩŦǢ-ŎűƷĩƢěŻűűĩěƷĩĢ- ƢĩǴŦĩěƷŎŻűƪ-Żű- ܹƪŻƿűĢ-ŻƢłþűŎǬþƷŎŻű܌ܺ- ܹƪƟŦŎƷƪŻƿűĢþűĢƪƷƢƿěƷƿƢþŦƪŻƿűĢ܌ܺ- ܹƷĩůƟŻƢþŦƪĩěƷŎŻűƪ܌ܺ-"narrativity," and "interculturality."

### Sound Organization

Sű-Ʒ'nĩ-ڏږژڐƪ܌hþě'nĩűůþűűěƢŎƷŎěþŦŦǢ-ƢĩůþƢţĩĢ-Ʒ'nþƷ-Ʒ'nĩ-ĢŎþŦĩěƷŎě-ĚĩƷǜĩĩűěŻűƪŻűþűěĩþűĢ-ĢŎƪƪŻűþűěĩǜþƪ-ܹŎűȀűŎƷĩŦǢĩǡƟþűĢþĚŦĩ܌ܺþűĢ-Ʒ'nþƷ-ŎƷǜŻƿŦĢ-Ěĩ-ƟŻƪƪŎĚŦĩ-Ʒ'nþƷ

ÿŲǣ-ŰǀƫŏĜÿŧ-ĪǢƠĪƣŏĪŲĜĪ܉-ĪǜĪŲŏłŏƸŏƫ-ĜżŰƠŧĪƸĪŧǣÿŧŏĪŲ܉-ĜÿŲěĪÿƸƸƣŏěǀƸĪģ-Ƹż-ƸŊĪ-ƸżŲÿŧ-ƠƣŏŲĜŏƠŧĪÿƫ- ÿŲ-ĪǢƠĪƣŏĪŲĜĪżłģŏƫƫżŲÿŲĜĪǝŊżƫĪ-ĪǢĜŏƸĪŰĪŲƸŏŲĜƣĪÿƫĪƫÿƫŏƸ-ŰżǜĪƫÿǝÿǣłƣżŰ-ƸŊĪ-ƸżŲÿŧ-Űŏģܫ ģŧĪ-ƸżǝÿƣģǝŊÿƸĪǜĪƣ-ƠĪƣŏƠŊĪƣǣ-SŲżƸŊĪƣǝżƣģƫ܉-ƸŊĪƣĪŏƫ-ŲżƸŊŏŲŃ-ƸŊÿƸ-ĜÿŲŲżƸěĪ-ŃƣÿƫƠĪģǝŏƸŊ-ƸŊĪ- ĜÿƸĪŃżƣŏĪƫżł-ƸżŲÿŧŏƸǣÿŲģŏƫ-ĜżƣƣĪƫƠżŲģŏŲŃŧǣ-ǀƫÿěŧĪږڜ

SűěŻůƟŻƪŎƷŎŻűþŦ-ƷĩƢůƪ܌hþě'nĩűůþűű-'nþƪþĢĢƢĩƪƪĩĢ-Ʒ'nŎƪ-ܹěŦþŎů-ƷŻ-ƷŻƷþŦŎƷǢܺ-ŻŁ-Ʒ'nĩěŻűěĩƟƷ-ŻŁ- ƷŻűþŦŎƷǢ-ĚǢĩűƷĩƢŎűł-Ʒ'nĩ-ܹŦŎŻűܼƪ-ĢĩűܺþűĢěŻűƪƷþűƷŦǢ-ƟŎěţŎűłƿƟ܌-ĢĩěŻűƪƷƢƿěƷŎűł܌þűĢ-ƢĩŎűǛĩűƷŎűł- genres, style characteristics, pitch structural models, and music-theoretical fundamentals of tonal music – analogously to the "traditionalism" in the institutional contexts of his composing ܣě'nþůĚĩƢůƿƪŎě܌-ŻƢě'nĩƪƷƢþ܌-ŻƟĩƢþܒܤ-Sű-Ʒ'nĩƪþůĩ-ǛĩŎű܌-'þűŎĩŦfƆƷƷĩƢ-'nþƪƪ'nŻǜű-'nŻǜ܌-Ŏű-*ȄĩhŎƷƷŦĩ- Match Girl*܌ƪƷþƢƷŎűł-ŁƢŻůþ-ĢŎƪƷþűěĩĢ܌ơƿþƪŎܮơƿŻƷþƷŎŻűþŦ-ƷƢĩþƷůĩűƷ-ŻŁ-Ʒ'nĩ-ܹĢĩĚƢŎƪ-ȀĩŦĢܺ-ŻŁ-ƷŻűþŦ-

ƸŊÿƸŏƫ܉-Ƹż-ŰżƣĪżƣŧĪƫƫ-ĜżŲƫĜŏżǀƫƣĪłĪƣĪŲĜĪłżƣŰÿƸŏżŲƫŏŲ-ƸŊĪ-ĜżŲƸĪǢƸżł-ƸŊĪ-ĜżŰƠżƫŏƸŏżŲÿŧ-ƠƣżĜĪƫƫ-®ĪĪ-ÃƸǭ܉-ܶ'ÿƫ- ǭǝĪŏłĪŧŲģĪ-GĪŊƇƣܷ

ڼڹ- -RĪĪ-ƠÿƣƸŏĜǀŧÿƣŧǣhÿĜŊĪŲŰÿŲŲ܉-ܶ/ÿƫƸ-ŰĪĪƸƫàĪƫƸܐܷ

ڐڔ-܉Sěŏģ- -ڽڹ

ڴں- hÿĜŊĪŲŰÿŲŲ܉-ܶßŏĪƣ-GƣǀŲģěĪƫƸŏŰŰǀŲŃĪŲģĪƫrǀƫŏŤŊƇƣĪŲƫ܉ܷ-ڑڑ-ܠܶšĪŃŧŏĜŊĪrǀƫŏŤĪƣłÿŊƣǀŲŃ܉-ǀŲģƫĪŏƫŏĪ-ŲżĜŊƫż- łƣĪŰģÿƣƸŏŃ܉ģĪŰ-ƸżŲÿŧĪŲ-£ƣŏŲǭŏƠǭǀǭǀżƣģŲĪŲÿŧƫ-'ŏƫƫżŲÿŲǭĪƣłÿŊƣǀŲŃ܉ģĪƣĪŲ-®ƠÿŲŲǀŲŃƫƣĪŏǭŏŲģĪŰrÿƷ-ŲżĜŊ- ǭǀŲŏŰŰƸ܉ǝŏĪƫŏĪƫŏĜŊǜżŲģĪƣ-ƸżŲÿŧĪŲrŏƸƸĪǝĪŃŏŲǝĪŧĜŊĪ-£ĪƣŏƠŊĪƣŏĪŲÿǀĜŊŏŰŰĪƣ-ĪŲƸłĪƣŲƸ-ŲģĪƣƫ-ŃĪƫÿŃƸ܈-/ƫ- ŃŏěƸ-ŲŏĜŊƸƫ܉ǝÿƫ-ŰŏƸģĪŲfÿƸĪŃżƣŏĪŲģĪƣ-¼żŲÿŧŏƸďƸ-ŲŏĜŊƸ-ĪƣłÿƷěÿƣ-ǀŲģ-ĪŲƸƫƠƣĪĜŊĪŲģ-ŲǀƸǭěÿƣǝďƣĪܷܡ

*/ǡþůƟŦĩڗږܘڙݗܑ-ĚŻǛĩܑ-ĚĩłŎűűŎűł-ŻŁ-Ʒ'nĩƪ'nƔ-ƟþƢƷ-ŻŁ-Etenraku ܩŎű-Ʒ'nĩ-'nǢƔŠƔůŻĢĩܝ-ƷƢþűƪěƢŎƟƷŎŻűþǽƷĩƢ- rŎţŎܒtŎ'nŻűłþţţŎ-'nƔܒ-ܝܪڞڜ-ĚĩŦŻǜܑ-NĩŦůƿƷhþě'nĩűůþűűܒ-Das Mädchen mit den Schwefelhölzern, ڛښښܱڙڙښ-ܘůů-ܒƟþƢƷƪ'nƔ-ܒ'nƔ ®23: scene*

ܹǴŦŻƷƪþů܌ܺĩŦĩůĩűƷƪ-ŁƢŻů-Ʒ'nĩǜŻƢŦĢ-ŻŁ-ƷŻűþŦŎƷǢ-ĚĩěŻůĩůŻƢĩþűĢůŻƢĩ-ܹƪĩŦŁܮĩǛŎĢĩűƷůĩþűƪ-ŻŁ- composition."ښڟhþě'nĩűůþűű-'nþƪĩůƟ'nþƪŎǬĩĢ-Ŏű-Ʒ'nŎƪěŻűƷĩǡƷ-Ʒ'nþƷ-'nŎƪ-ĚþƪŎěěŻůƟŻƪŎƷŎŻűþŦ-Ʒĩě'nniques of such a game of culturally familiar material layers, such as musical intervals ordered þěěŻƢĢŎűł-ƷŻěŻűƪƷþűƷ-ܣĩơƿŎĢŎƪƷþűƷ܌ܤěŻűƷŎűƿŻƿƪ-ܣƪƿěěĩƪƪŎǛĩŦǢ-ŎűěƢĩþƪŎűł܌ܤ-ŻƢěǢěŦŎěþŦ-ܣƪǢůůĩ-ƷƢŎěþŦܤ- ƟƢŎűěŎƟŦĩƪ܌ǜĩƢĩ- ĢĩǛĩŦŻƟĩĢ þƪ ĩþƢŦǢ þƪ- Ʒ'nĩ- ڏڕژڐƪڛڟܒàŎƷ'n- 'nŎƪ- ܹfþĢĩűǬţŦþűłܺ-ܣěþĢĩűƷŎþŦ- ƪŻƿűĢ܌ܤ hþě'nĩűůþűű- Ěþƪĩƪ-'nŎƪ- ܹƪŻƿűĢ- ƷǢƟĩƪ܌ܺěŻűěĩŎǛĩĢ-Ŏű- ܌ڕڕܫڒڕژڐ-ŻűþůƿƪŎěþŦþƢě'nĩƷǢƟĩ- whose simple progression from calm to motion to calm, in addition to the acoustic transientdecay process, also associates common "primordial models" of tonality, as developed, among ŻƷ'nĩƢƪ܌-ĚǢ-ĢŻŦŁĩƢű'nþƢĢrþƢǡ-ŻƢ-/ƢűƪƷfƿƢƷ'nڜڟܒ In contrast to the monistic concept of tonali-ƷǢ܌hþě'nĩűůþűűܼƪ-ƟŻƪƷܮƪƷƢƿěƷƿƢþŦěŻƪůŻƪ-ŻŁůƿƪŎě܌-ŻŁěŻƿƢƪĩ܌ěŻűƪƷþűƷŦǢě'nþűłĩƪ-Ʒ'nĩƪǢƪƷĩů- of reference and thus the imaginary "middle ground" from which movement emerges, and to ǜ'nŎě'n-ŎƷ-ǴŦŻǜƪ-Ěþěţܒ

ڵں- fƇƸƸĪƣ܉-ܶ'ŏĪ-SƣƣĪłdžŊƣǀŲŃģĪƣ-ƠĪƣ܉ܷ-ڑڐ-ܠܶ1/4ƣdžŰŰĪƣłĪŧģ܉ܷ-ܶNƇƣƣĪƫƸĪ܉ܷ-ܶƫĪŧěƫƸǜĪƣƫƸďŲģŧŏĜŊĪܟܞrŏƸƸĪŧܟܞģĪƣfżŰƠżƫŏƸŏżŲܷܡ

ڒڐܷ-܉ƸƣǀŤƸǀƣ®-܉rÿŃŏĪ-܉fŧÿŲŃ-ܶ܉ÃƸǭÿŲģ-܉GÿģĪŲƫƸďƸƸĪƣ-܉hÿĜŊĪŲŰÿŲŲ- -ڶں

ڷں- -RĪĪhÿĜŊĪŲŰÿŲŲ܉-ܶfŧÿŲŃƸǣƠĪŲģĪƣtĪǀĪŲrǀƫŏŤ܉ܷ-ܔڔܨڍrÿƣǢ܉ *Die Lehre von der musikalischen Komposition*܉ǜżŧ܉ڍݎ- ܔڏڎfǀƣƸŊ܉-*Grundlagen des linearen Kontrapunkts*܉-ڏڐżƸŊ-ƸŊĪżƣŏƫƸƫƫƸÿƣƸłƣżŰ-ƸŊĪ-ŰÿšżƣƫĜÿŧĪ-Ƹż-ĪǢĪŰƠŧŏłǣ-ƸŊĪŏƣ- ŰżģĪŧ żł- ŰżƸŏżŲ- SŲ rÿƣǢ܉- ƸŊĪ żĜƸÿǜĪ- ܠĪŃ܉- ܨڏ ܡڐ ƣĪƠƣĪƫĪŲƸƫ- ƸŊĪ- ƠƣŏŲĜŏƠŧĪ żł- ĜÿŧŰ܉- ƸŊĪ ŏŲƸĪƣŰĪģŏÿƸĪ ƫƸÿŃĪƫ- ܠĪŃ܉-'ܫ/ܫFܫGܫܫܡ-ƸŊĪ-ƠƣŏŲĜŏƠÿŧżł-ŰżƸŏżŲ-FżƣfǀƣƸŊ܉ǝŊżƫǀěģŏǜŏģĪƫ-ƸŊĪżĜƸÿǜĪŏŲƸż-ƸŊĪ-ƸĪƸƣÿĜŊżƣģƫ- ܫFÿŲģ- Gܫ ܉-FƣĪƠƣĪƫĪŲƸƫÿǿƣƫƸ-ƸÿƣŃĪƸÿŲģƣĪƫƸŏŲŃ-ƠżŏŲƸ܉ÿŲƸŏĜŏƠÿƸĪģěǣ-ƸŊĪŏŲƸĪƣŰĪģŏÿƸĪŧĪÿģŏŲŃ-ƸżŲĪ-/ܔǝŏƸŊ-G܉ÿ-ŲĪǝ- ÿƫĜĪŲƸěĪŃŏŲƫǜĪƣÿŧŧ܉-ƸŊĪ-ǀƠƠĪƣ-ƸĪƸƣÿĜŊżƣģŏƫ-ŰżƣĪ-ƸĪŲƫĪ-ƸŊÿŲ-ƸŊĪŧżǝĪƣ-ƸĪƸƣÿĜŊżƣģłżƣfǀƣƸŊěĪĜÿǀƫĪżł-ƸŊĪ- leading tone B.

In the *ƪ'nƔ* scene, one of these systems of reference is undoubtedly the instrument itself, whose uniqueness is underlined not least by the fact that it does not appear once in any of the ƟƢĩěĩĢŎűł-ڑڑƪěĩűĩƪܒ-SƷ-ŎƪƿűůŎƪƷþţþĚŦĩ-Ʒ'nþƷhþě'nĩűůþűűƪƷþƢƷƪ-ŁƢŻů-Ʒ'nĩ-ƷƢþĢŎƷŎŻűþŦ-ƟŦþǢŎűł- ƪƷǢŦĩ-ŻŁ-Ʒ'nŎƪ-ŎűƪƷƢƿůĩűƷ܋-Ʒ'nĩłĩűƷŦĩ-ƢŎƪĩþűĢ-ŁþŦŦ-ŻŁ-Ʒ'nĩƪŻƿűĢ-ŁŻŦŦŻǜƪ-Ʒ'nĩ-Ƣ'nǢƷ'nů-ŻŁ-Ʒ'nĩ-ĚƢĩþƷ'n܌as in the *ƷƔłþţƿ* repertoire of *gagaku*ܒȃƿƪ܌hþě'nĩűůþűű-ĚƢŎűłƪþƪŎłűŎȀěþűƷ-ŻƢłþűŻŦŻłŎěþŦě'nþƢܮ acteristic of the *ƪ'nƔ* to the listener's awareness – its ability to create an uninterrupted sound ȀĩŦĢܒ- Ʒ- Ʒ'nĩ ƪþůĩ- ƷŎůĩ܌ þű- ܹŎűƷƢþܮŻƟƿƪܺ- ŦþǢĩƢ-Ŏƪ ĩůƟ'nþƪŎǬĩĢ܌-Ŏű- Ʒ'nþƷ- Ʒ'nŎƪ ěŻűƷŎűƿŻƿƪ ƪŻƿűĢ- ƷþţĩƪƿƟ-Ʒ'nĩůŻĢĩŦ-ŻŁþ-ܹƟŻƷĩűƷŎþŦŦǢ-ŎűȀűŎƷĩƪŻűłܺ-Ʒ'nþƷǜþƪ-ŎűƷƢŻĢƿěĩĢ-Ŏű-ƟƢĩǛŎŻƿƪƪěĩűĩƪ܌-Ŏű- particular by the soloistic vocal parts.ڝڟ

ȃĩ-ȀűłĩƢ-ƟŻƪŎƷŎŻűě'nþűłĩƪ-ܣ*te-utsuri*ܤ-ĚĩƷǜĩĩű-Ʒ'nĩě'nŻƢĢƪþűĢ-Ʒ'nĩě'nþűłĩƪ-ĚĩƷǜĩĩű-Ŏű'nþling and exhaling (*ikigahe*ܤ-Ŏű-ƷƢþĢŎƷŎŻűþŦ*ƪ'nƔ-*ƟĩƢŁŻƢůþűěĩ-ƟƢþěƷŎěĩƪƷƢŎěƷŦǢ-ŁŻŦŦŻǜěŻĢŎȀĩĢ-ƢƿŦĩƪ܌þƪƪ'nŻǜűþĚŻǛĩ-ݑދܣSßܒܤڐܒ-ěŻůƟþƢŎƪŻű-ŻŁ-Ʒ'nĩ*ƪ'nƔ* part from the most famous *ƷƔłþţƿ* piece – *Etenraku*-ܫǜŎƷ'nþ ƪĩěƷŎŻű-ŻŁ hþě'nĩűůþűűܼƪ*ƪ'nƔ*- ƟþƢƷ-ܣůůܒ- ܤڕڔڔܫړړڔ ěŦĩþƢŦǢ- ƢĩǛĩþŦƪþƪþ ěŻůůŻű- principle the successive addition or removal of individual tones during the swelling and decay ƟƢŻěĩƪƪ-ܣ/ǡܒܤڑڐܒړݑܒ-ܹ þĢĩűƷŎþŦƪŻƿűĢܺþűĢ-ƷƢþĢŎƷŎŻűþŦ*ƪ'nƔ* phrasing thus here form a double co-ĢŎűł-ŻŁhþě'nĩűůþűűܼƪƪŻƿűĢ-ĢĩƪŎłűܒ

While the changes of color – and thus the chords – in *ƷƔłþţƿ* are intimately connected with Ʒ'nĩěŻůƟŦŎěþƷĩĢþƢƢþűłĩůĩűƷ-ŻŁ- Ʒ'nĩ- ڔڐ-ƟŎƷě'nĩƪ-Żű- Ʒ'nĩ-ŎűƪƷƢƿůĩűƷþűĢ- Ʒ'nĩ- ƷƢþĢŎƷŎŻűþŦŦǢěŻĢŎ-ȀĩĢþƪƪŎłűůĩűƷ-ŻŁ-ȀűłĩƢƪ-ƷŻ-ƷŻűĩƪ-ܫĩǛĩƢǢ*te-utsuri*-change seems to emerge from this haptic ƟĩƢŁŻƢůþűěĩ-ŁĩĩŦ-ݑދܣSßܤڐܒ-܌ܫhþě'nĩűůþűű-'nþƪ-ŻĚǛŎŻƿƪŦǢ-Ʒþţĩű-ŦŎƷƷŦĩþěěŻƿűƷ-ŻŁ-Ʒ'nĩ-ƷƢþĢŎƷŎŻűþŦ- ȀűłĩƢŎűł-Ʒĩě'nűŎơƿĩ-ŎűěŻűƪƷƢƿěƷŎűł-'nŎƪƪŻƿűĢƪ܌þƪþěŻűǛĩƢƪþƷŎŻűǜŎƷ'nƪŻŦŻŎƪƷrþǢƿůŎrŎǢþƷþ- ěŻűȀƢůĩĢڞڟܒ-/ǡþůƟŦĩ܌ڒڐܒړݑ-ƷŻƟ-ŦŎűĩ܌ƪ'nŻǜƪ-Ʒ'nĩƪĩơƿĩűěĩ-ŻŁ-Ʒ'nĩě'nŻƢĢƪ*otsu*-*ĚƔ*-*ŠǕ*-*ge*-*otsu* from *Etenraku*-ŎűěŦƿĢŎűłþƪě'nĩůþƷŎě-ƢĩƟƢĩƪĩűƷþƷŎŻű-ŻŁ-Ʒ'nĩƿűĢĩƢŦǢŎűł-ȀűłĩƢŎűł܌þűĢ-Ʒ'nĩ-ĚŻƷƷŻů-ŦŎűĩ- ƪ'nŻǜƪhþě'nĩűůþűűܼƪ*ƪ'nƔ*ě'nŻƢĢƪ-ŎűůĩþƪƿƢĩƪ-ڕڐڔ-ƷŻ-ڗڐڔþűĢ-ڟڟܒڏړڔ-1/4Ż-ƟŦþǢ-Ʒ'nĩƪĩě'nŻƢĢƪ܌rþǢƿůŎ- rŎǢþƷþűĩĩĢĩĢ-ƷŻ-ƢĩƟŦþěĩ-Ʒ'nĩ- ܮڕƷŻűĩ-ĚþůĚŻŻ-ƷƿĚĩ-ƷŻ-'nþǛĩǜ'nþƷ-ŎƪűŻƢůþŦŦǢþű-ŎűƪŎĢĩ-'nŻŦĩ-Żű- Ʒ'nĩ-ŻƿƷƪŎĢĩ-ŻŁ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷ܌þƪǜĩŦŦþƪ-ĢĩǛĩŦŻƟŎűłůþűǢƿűěŻűǛĩűƷŎŻűþŦ-ȀűłĩƢŎűł-Ʒĩě'nűŎơƿĩƪ܌-ŎűěŦƿĢŎűł-Ʒ'nĩűŻűܮƪƷþűĢþƢĢěŻǛĩƢŎűł-ŻŁƪĩǛĩƢþŦ-'nŻŦĩƪǜŎƷ'n-Ʒ'nĩƪþůĩ-ȀűłĩƢܒhþě'nĩűůþűűěþŦŦƪ- for a similarly radical change in the playing habits of the Japanese instrument as he usually ĢŻĩƪ-ŁŻƢ-/ƿƢŻƟĩþű-ŎűƪƷƢƿůĩűƷƪ܌-ĚƿƷ-ŦĩþǛĩƪ-ŎƷƪ-ŁþůŎŦŎþƢ-ƷƢþĢŎƷŎŻűþŦ-ƷŎůĚƢĩ-ŎűƷþěƷܒ

ȃĩ-£ǢƷ'nþłŻƢĩþű- ƷƿűŎűł-ŻŁ- Ʒ'nĩ*ƪ'nƔ*-Ŏƪ-ĚþƪĩĢ-ŻűþěǢěŦĩ-ŻŁ-ƟĩƢŁĩěƷ-ȀǼ Ʒ'nƪ܌ǜ'nŎě'nþŦƪŻ- ŁŻƢůƪ- the structural basis for the *aitake*ě'nŻƢĢƪ-ݑދܣSßܒܤڐܒ-ƪƷƢƿěƷƿƢþŦ-ƢĩĢƿěƷŎŻű-ŻŁ-Ʒ'nĩ*ƪ'nƔ* sounds in hþě'nĩűůþűűܼƪ ěŻůƟŻƪŎƷŎŻű-ܣ/ǡݑܒ ܤړڐܒړ þŦƪŻ- ƢĩǛĩþŦƪ űƿůĩƢŻƿƪ ơƿþƢƷþŦ þűĢ ơƿŎűƷþŦ ƪƷƢƿěƷƿƢĩƪ- ܣƪ'nþĢĩĢ-ŎűłƢþǢ܌ܤěƿŦůŎűþƷŎűł-Ŏű-Ʒ'nĩþŁŻƢĩůĩűƷŎŻűĩĢ-ܹěĩŦĩĚƢþƷĩĢܺ-ŁŻƿƢƷ'n-ܮړ/ڔ-ܣůůܒ-܌ܤڑڒڔܫڗڐڔ-Ŏűǜ'nŎě'n-ŻĚŻĩƪ܌-ǛŎŻŦþƪ-ܣŦþƷĩƢěŦþƢŎűĩƷƪܤþűĢ-ƷƢƿůƟĩƷƪþƢĩþĢĢĩĢ-ƷŻ-Ʒ'nĩ*ƪ'nƔ*ܒȃŎƪ-ŁŻƿƢƷ'nþěơƿŎƢĩƪ- ƪƟĩěŎþŦůĩþűŎűł܌ƪŎűěĩ-ŎƷ-Ŏƪ-ƟŦþǢĩĢ-ŁŻƢ-ږڔơƿþƢƷĩƢűŻƷĩƪǜŎƷ'nŻƿƷþűǢþěěŻůƟþűŎůĩűƷܒhþƷĩƢ܌-Ʒ'nĩ- quintal-quartal structures even allow a purely pentatonic chord to emerge that can be regarded as a slightly "compressed" variant of the *ĚƔ*-*aitake*-ܣů܌ڑڑڕݑܒ-ĚþƪĩĢ-Żű-Ʒ'nĩ-ƟĩűƷþƷŻűŎěƪěþŦĩ- ܮڕ ܮړܮړGܮړF ƿƪĩƪ hþě'nĩűůþűű -܌ܢ*aitake*-*ĚƔ*ܡ -ڕFܮڕ/ܮڔܮڔܮڔ/ܮڔ'-ŻŁ-ŎűƪƷĩþĢ-ܗC-B-G-Fܮ/ /ܮڕFܒܤڕȃŎƪ-ƟĩűƷþƷŻűŎě-'nþƢůŻűǢ܌-ŎűƷƢŻĢƿěĩĢþǼ ƷĩƢ-Ʒ'nĩþŁŻƢĩůĩűƷŎŻűĩĢĩǡƟþűĢĩĢ-ȀĩŦĢ-ŻŁ-ܹƟĩƢ-

ڸں- -RĪĪfƇƸƸĪƣ܉-ܶ'ŏĪ-SƣƣĪłdžŊƣǀŲŃģĪƣ-ƠĪƣ܉ܷ-ڍڐ

ڹں- -£ĪƣƫżŲÿŧ-ĜżŲǜĪƣƫÿƸŏżŲǝŏƸŊrÿǣǀŰŏrŏǣÿƸÿ܉-1/4żŤǣż܉-ڔڌڌڎܕڏܕڕڎ

ںں- -1/4ŊĪǿŲŃĪƣŏŲŃƫÿƣĪ-ŃŏǜĪŲěǣ-ŰĪÿŲƫżł-ƸŊĪ-ǀƫǀÿŧÿěěƣĪǜŏÿƸŏżŲƫŧ܈ڍŧĪǽ Ƹ-ƸŊǀŰě܉ŧ܈ڎŧĪǽ ƸƣŏŲŃǿŲŃĪƣ܉-ĪƸĜ-®ŰÿŧŧǜĪƣ-ƸŏĜÿŧÿƣƣżǝƫ-ŲĪǢƸ-Ƹż-ƸŊĪǿŲŃĪƣƫǣŰěżŧƫŏŲģŏĜÿƸĪƣÿŏƫĪģǿŲŃĪƣ-ŊżŧĪƫƣƣżǝƫěĪƸǝĪĪŲǿŲŃĪƣƫǣŰěżŧƫƣĪƠƣĪƫĪŲƸ- ƸŊĪǿŲŃĪƣ-ŰżǜĪŰĪŲƸłƣżŰ-ƸŊĪ-ƠƣĪĜĪģŏŲŃ-ĜŊżƣģ-ܠ*Etenraku*ܡ-'ÿƫŊĪģłƣÿŰĪģǿŲŃĪƣƫǣŰěżŧƫģĪŲżƸĪǿŲŃĪƣŏŲŃƫ- ŏŲǝŊŏĜŊƫĪǜĪƣÿŧ-ŊżŧĪƫ-ŰǀƫƸěĪ-ĜżǜĪƣĪģěǣ-ƸŊĪƫÿŰĪǿŲŃĪƣ-ܠhÿĜŊĪŲŰÿŲŲܡ-1/4ŊĪěÿŰěżż-ƸǀěĪłżƣ-ƸŊĪ-ƸżŲĪ- ܉ڒ- ǝŊŏĜŊŏƫ-ƸżěĪƣĪƠŧÿĜĪģģǀĪ-Ƹż-ƸŊĪǿŲŃĪƣŏŲŃƫƸƣǀĜƸǀƣĪŏŲ-ƸŊĪ-ĜŊżƣģƫżłhÿĜŊĪŲŰÿŲŲ܉ŏƫÿŧƫżƫŊżǝŲŏŲ-ƸŊĪģŏÿŃƣÿŰ

Example 4.13: Above: chord progression otsu-bo-ju-ge-otsu from Etenraku, Das Mädchen mit den Schwefelhölzern, sene 23: Shō, shō chords, mm. 516–518, 540, each with a graphic representation of the fingerings and fingering changes */ǡþůƟŦĩڙږܘڙݗܑ-NĩŦůƿƷhþě'nĩűůþűűܒ-Das Mädchen mit den Schwefelhölzern, scene 23: ®'nƔܒþűþŦǢƪŎƪ-ŻŁ-Ʒ'nĩƪ'nƔܴƪŻƿűĢȁĩŦĢƪܝƿƟƟĩƢ-ŦŎűĩܑě'nŻƢĢ-ƟƢŻłƢĩƪƪŎŻű-ܩłƢþǢ-'nŎł'nŦŎł'nƷƪܑơƿþƢƷþŦܞơƿŎűƷþŦƪƷƢƿěƷƿƢĩƪܝܪ-ŦŻǜĩƢ-ŦŎűĩܑþűþŦǢƪŎƪ-ŻŁ-Ʒ'nĩƪŻƿűĢƪþěěŻƢĢŎűł-ƷŻ-ƟŎƷě'nܴěŦþƪƪƪĩƷƪ-ܩǜ'nŎƷĩűŻƷĩ'nĩþĢƪܑǜ'nŻŦĩ-ƷŻűĩƪĩłůĩűƷƪܪ*

forated sounds," which entirely dispenses with the sound of the *ƪ'nƔ*-ŻǛĩƢþ-ƷŻƷþŦ-ŻŁ-ڗږơƿþƢƷĩƢűŻƷĩƪ܌-'nþƪþƪƟĩěŎþŦþƿĢŎƷŻƢǢܮƟƪǢě'nŻŦŻłŎěþŦƪŎłűŎȀěþűěĩܒ

In addition, one can detect formations of interval structure in the *ƪ'nƔ* chords and in the orě'nĩƪƷƢþě'nþƢþěƷĩƢŎƪƷŎě-ŻŁhþě'nĩűůþűűܼƪ-'nþƢůŻűǢ-ĢƿƢŎűł-Ʒ'nĩ-ڏڗژڐƪþűĢ-ڏژژڐƪڠڟ܌ such as triadic ƪƷƢþƷŎȀěþƷŎŻűƪþƷ-Ʒ'nĩ-ŎűƷĩƢǛþŦ-ŻŁ-Ʒ'nĩ-ܣůþŠŻƢ-ŻƢůŎűŻƢܤƪĩěŻűĢ-ŻƢ-ƷƢŎƷŻűĩ-ܣŎűĢŎěþƷĩĢ-Ŏű-ĚƢþěţĩƷƪ- ƿűĢĩƢ- Ʒ'nĩ ě'nŻƢĢƪ-Ŏű-/ǡþůƟŦĩݑ ܌ܤړڐܒړ- ܹěŻűƷŎűƿþűƷƪܺ-ܣěŻűƷŎűƿŻƿƪ- ڑܮڒܮړܮڔ ƪĩůŎƷŻűĩƪ-ŎűůĩþƪƿƢĩ- ܌ܤڑڒڔ- ܹěŻűƪƷþűƷƪܺ- ܣƪƿě'n þƪ- Ʒ'nĩ űƿůĩƢŻƿƪ- ŁƢþłůĩűƷƪ- ŻŁ- Ʒ'nĩ ǜ'nŻŦĩܮƷŻűĩ ƪěþŦĩ܌ ůþƢţĩĢ- Ŏű- Ʒ'nĩ- ƪěŻƢĩĩǡþůƟŦĩ-ĚǢǜ'nŎƷĩűŻƷĩ'nĩþĢƪ܌ܤþűĢěǢěŦŎě-ŎűƷĩƢǛþŦþƢƢþűłĩůĩűƷƪ-ڑܮڒܮڑܮڒܮڑܣ-ŎűůĩþƪƿƢĩ-ܒܤڑڑڕ-®ƿě'něŻűȀłƿƢþƷŎŻűƪěþűþŦƢĩþĢǢ- Ěĩ-ƟþƢƷŎþŦŦǢ- ŁŻƿűĢ-Ŏű- Ʒ'nĩ*aitake*ě'nŻƢĢƪ-ݑދܣ Sß܌ڐܒ-/ǡܒ-ܒܤڑܒړ- FŻƢ- example, continuous interval sequences are found in the chord *ge*-ܤړܮڒܮڑܮڐܮڑܣþűĢ-Ʒ'nĩě'nŻƢĢ*bi* ړܮܢڑܮڐܡܮڑܮڐܣ-ܗܤܢړܮڒܮڑܮڐݑދܡ-Ʒ'nĩě'nŻƢĢƪ*łǢƔ*-ܤڑܮڑܮڒܮڑܣþűĢ*hi*-ܤڑܮڑܮڑܮڐܮڑܣěŻűƷþŎűǜ'nŻŦĩ-ƷŻűĩƪĩłůĩűƷƪܗ- triads superimposed by seconds are contained in the chords *ŠǕ*-ܣ'ݑůþŠŻƢܘ/ݑůŎűŻƢܤþűĢ*hi*-ܣݑůŎűŻƢܘůŎűŻƢܗܤþűĢþěǢěŦŎěþŦƪƷƢƿěƷƿƢĩ-Ŏű-ƟþƢƷŎěƿŦþƢěþű-Ěĩ-ŁŻƿűĢ-Ŏű-Ʒ'nĩě'nŻƢĢ-*ĚƔ*-ڡڟܒܤڑܮڔܮڑܮڔܮڑܣ In Ʒ'nĩ-'nþƢůŻűŎěƪƷƢƿěƷƿƢĩƪ܌-Ʒ'nĩƢĩŁŻƢĩ܌-ŻűĩěþűĩơƿþŦŦǢƪƟĩþţ-ŻŁƿűůŎƪƷþţþĚŦĩ-ĢŻƿĚŦĩěŻĢĩƪ-Ʒ'nþƷ- ƟĩƢůŎƷ-ƷǜŻ-ŻƢůŻƢĩ-ĢŎDz ŁĩƢĩűƷ-ŎűƷĩƢƟƢĩƷþƷŎŻűƪܒ

ȃŎƪþůĚŎłƿŎƷǢ-ŻŁƪŻƿűĢ-ĢĩƪŎłű-Ŏƪ-ŎűƷĩűƪŎȀĩĢ-ŎŁ-Żűĩ-ŎűěŦƿĢĩƪ-Ʒ'nĩ-ŻƢě'nĩƪƷƢþŦ-ƟþƢƷ-Ŏű-Ʒ'nĩþűþŦܮ ǢƪŎƪ܌ǜ'nŎě'n܌þěěŻƢĢŎűł-ƷŻhþě'nĩűůþűű܌-ŁŻƢůƪþ-ܹܻěŻƿƢƷܼþƢŻƿűĢ-Ʒ'nĩƪŎŦǛĩƢǢ-ƢĩůŻǛĩĢƪŻƿűĢ-ŻŁ- Ʒ'nĩ-ܻ®'nƔܼܺڢڟ and is to be understood as complex, quasi-spectral extension of the *ƪ'nƔ*ƪŻƿűĢƪܒȃĩ- ŻƢě'nĩƪƷƢþþŦƪŻĩƪƷþĚŦŎƪ'nĩƪþűĩě'nŻܮŦŎţĩƪŻƿűĢ-ƟƢŻěĩƪƪĩƪěŻűƷŎűƿŎűł-ŁƢŻů-Ʒ'nĩ-ƟƢĩěĩĢŎűłƪěĩűĩ- ܣűŻܒ-܋ڑڑ-*Himmelfahrt*- ܡƪěĩűƪŎŻűܤܢþűĢ܌-ƷŻǜþƢĢ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩƪěĩűĩ܌ǜ'nĩƢĩ-ŎűěƢĩþƪŎűłŦǢűŻŎƪǢ- ƪƷƢƿěƷƿƢĩƪþƢĩ-ĢĩǛĩŦŻƟĩĢ܌-ƷƢþűƪŁŻƢůƪ-ŎűƷŻ-Ʒ'nĩƪƟþƢƪĩƪŻűŻƢŎƷǢ-ŻŁ-Ʒ'nĩ-ȀűþŦƪěĩűĩ-ܣűŻܒ-܋ړڑ-*Epilog ܧܿĚĩƢ-Ŏű-ĢĩƢţþŦƷĩűrŻƢłĩűƪƷƿűĢĩ݀ܨ*-ܘ-/ƟŎŦŻłƿĩ-ܡܹƿƷ-Ŏű-Ʒ'nĩěŻŦĢ-Ģþǜűܺܒܤܢ-Sű-Ʒ'nĩ-ŎűƷĩƢƟŦþǢ-ŻŁ*ƪ'nƔ* þűĢ-ŻƢě'nĩƪƷƢþ܌-Ŏű-ƟþƢƷŎěƿŦþƢƿűƷŎŦþƢŻƿűĢůĩþƪƿƢĩ-܌ڗڏڕ- Ʒ'nĩƢĩ-ŎƪþűþĚƿűĢþűěĩ-ŻŁþĢĢŎƷŎŻűþŦ- 'nþƢůŻűŎě-ŦþǢĩƢƪ-ŻŁůĩþűŎűł-ܣ/ǡܒܤږڐܒړܫڔڐܒړݑܒ

ǢþĢĢŎűł-Ʒ'nĩ-ŻƢě'nĩƪƷƢþ܌-Ʒ'nĩ-ȀƢƪƷƪŻƿűĢ-ȀĩŦĢ-ŻŁ-Ʒ'nĩ*ƪ'nƔ*-ܣůůܒ-ܤژڏڔܫڗڏڔ-Ŏƪ-ŎűƷĩƢƟƢĩƷĩĢ-Ŏű-Ʒ'nĩ- ƪĩűƪĩ-ŻŁþ-'ůþŠŻƢěþĢĩűǬþ-ܣܮܤږܣ'܌ܤǜ'nŎŦĩ-Ʒ'nĩƪĩěŻűĢƪŻƿűĢ-ȀĩŦĢ-ܣůůܒ-ܤړڐڔܫڐڐڔ-Ŏƪě'nþƢþěƷĩƢŎǬĩĢ ĚǢþű-ŎűƷĩƢƷǜŎűĩĢƪĩơƿĩűěĩ-ŻŁ-ȀǼ Ʒ'nƪ-ܮܤږܣ/ܮ-ܣ/ǡܒܤڔڐܒړݑܒ-Ʒ- Ʒ'nĩƪþůĩ- ƷŎůĩ܌-'nŻǜĩǛĩƢ܌- Ʒ'nĩƪĩ-ŻƢě'nĩƪƷƢþŦþĢĢŎƷŎŻűƪþƢĩ-ƷŻ-ĚĩƿűĢĩƢƪƷŻŻĢþƪ-ĢĩŁŻƢůĩĢ-ŻǛĩƢƷŻűĩƪƟĩěƷƢþ܌-ŎűţĩĩƟŎűłǜŎƷ'nþűŻƷ'nĩƢ- ĚþƪŎě-'nþƢůŻűŎě-Ʒĩě'nűŎơƿĩ-ŁƢĩơƿĩűƷŦǢƿƪĩĢ-ĚǢhþě'nĩűůþűűܒȃĩ-ŁŻŦŦŻǜŎűłĩű'nþƢůŻűŎěþŦŦǢܮůĩĢܮ iated (G-AK܌-'ܮ/Kܤĩě'nŻ-ŻŁ-ƷǜŻơƿþƢƷþŦě'nŻƢĢƪ- ܮFܮKܘݑ-/K-AKܮ'K-ܣůů܌ܤڕڐڔܫڒڐڔݑܒƪƷƢþƷŎȀĩĢþƷ- þ-ĢŎƪƷþűěĩ-ŻŁþůŎűŻƢ- Ʒ'nŎƢĢ܌-ƟŻŎűƷƪ- ƷŻ- Ʒ'nĩ-ŦþƢłĩơƿþƢƷþŦ-ȀĩŦĢ- ŁƢŻůůĩþƪƿƢĩ-ڗڐڔ-ܣƷ'nĩ- ŁŻƿƢƷ'n-Ŏƪ- probably the most conspicuous interval from the beginning, since the second *ƪ'nƔ* phrase enters Żű-Ʒ'nĩ-ŁŻƿƢƷ'n-FܮڔK܌ڔů܌ڐڐڔݑܒþűƷŎěŎƟþƷĩĢ-ĚǢ-Ʒ'nĩ-ƟŎþűŻ-Ŏű-Ʒ'nĩƪþůĩ-ŻěƷþǛĩ܌ůܒܤژڏڔݑܒȃĩ-ŁŻƿƢƷ'n- AKܮڔ'Kڕ-Ŏű-Ʒ'nĩ*ƪ'nƔ*܌ǜ'nŎě'nůþƢţƪ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩơƿþƢƷþŦ-ȀĩŦĢ-ŎűůĩþƪƿƢĩ-܌ڑڒڔ-Ʒ'nƿƪ-ƢĩŁĩƢƪ-Ěþěţ-ƷŻ- Ʒ'nĩĩě'nŻ-ŻŁůĩþƪƿƢĩƪ-ܒڔڐڔܫڒڐڔȃĩ-ƢĩƪŻűþűěĩƪ-ŻŁ-ĚŻǜĩĢěǢůĚþŦƪ-ܣůů܌ܤژڐڔܫړڐڔݑܒǜ'nŎě'nþƟƟĩþƢ- ŁŻƢ- Ʒ'nĩ- ȀƢƪƷ- ƷŎůĩ ǜŎƷ'n- Ʒ'nþƷ ĩě'nŻ܌ þŦƪŻ- ƢĩƷƿƢű- 'nĩƢĩ þűĢ þĢĢ þ-ŦŻűł- ĢĩěþǢ- ƷŻ- Ʒ'nĩ ơƿþƢƷþŦ- ȀĩŦĢ- ܒܤڏړڔܫڑڒڔݑܒůůܣ

ڻں- -RĪĪ܉ÿŰżŲŃżƸŊĪƣ܉ðŏŲŤ܉-ܶRƸƣǀŤƸǀƣĪŲ܉ܷ ڍڐܨڕڏÿŲģ ÿǜÿŧŧżƸƸŏ܉-*'ŏDzłĪƣĪŲǭĪŲ*܉-ڐڎڍܨڐڍڍ-RĪĪÿŧƫżłżżƸŲżƸĪ-ڎڒ

ڼں- -SŲƸĪƣǜÿŧģÿƸÿ-ŊĪƣĪÿŲģƫǀěƫĪƢǀĪŲƸŧǣÿƣĪ-ƠƣżǜŏģĪģŏŲƫĪŰŏƸżŲĪƫ

ڽں Lachenmann, "A Musical Plot," 16 (see the section *Narrativity*ěĪŧżǝܡ

SűůĩþƪƿƢĩ-ڏړڔ-ܣ/ǡܤڕڐܒړݑܒ-Ʒ'nĩěǢůĚþŦ-ƢĩƪŻűþűěĩƪ-ƷƢþűƪŁŻƢů-ŎűƷŻþ- ڗ-Ŏű-Ʒ'nĩ-ǛŎŻŦŎűƪ܌ǜ'nŎě'n- remains as a reference pitch over 20 measures and frames a series of descending interval ƪĩơƿĩűěĩƪ܌ ƪƷþƢƷŎűł- ŁƢŻů- Ʒ'nĩ- ŎůƟƿŦƪŎǛĩ- Fݑ ůþŠŻƢܘFݑ ůþŠŻƢܘGݑ ůþŠŻƢ- ƟƢŻłƢĩƪƪŎŻű ĩǡƟŻƪĩĢ- Ŏű- the *ƪ'nƔ*ܒȃĩƪĩ- ĢĩƪěĩűĢŎűł-ŎűƷĩƢǛþŦ ě'nþŎűƪ-Ŏű ěĩŦĩƪƷþ܌ ĩŦĩěƷƢŎě-ŻƢłþű܌ þűĢ- ǛŎĚƢþƟ'nŻűĩ þƢĩ- ƟƢĩܮ ȀłƿƢĩĢ-Ŏű- Ʒ'nĩ- ƟƢĩěĩĢŎűł ƪěĩűĩ- ܌ڑڑ ƪƷþƢƷŎűł þłþŎű- ŁƢŻů-ŎűƷĩƢǛþŦƪ- ŻŁ þ- ŁŻƿƢƷ'n-ܣȀƢƪƷ- FܮږKږ-Ŏű- ůĩþƪƿƢĩ-܌ړړڔþ-ƢĩůŻƷĩĩě'nŻ-ŻŁ-Ʒ'nĩ-ŁŻƿƢƷ'n-FܮڔKڔ-ŎűůĩþƪƿƢĩƪ-ژڏڔþűĢ-ܤڐڐڔþűĢƪǜŎƢŦŎűł-ĢŻǜűܮ ward in a cyclical sequence twice at the beginning, before the intervals gradually decrease, ƪƷþƢƷŎűł-ŁƢŻů-Ʒ'nĩůŎĢĢŦĩ-ƟŻƪŎƷŎŻű܌-ĢŻǜű-ƷŻ-Ʒ'nĩ-'nþƢƟܼƪ-ŦŻǜܮƟŎƷě'nĩĢűŻŎƪĩܮŦŎţĩƪĩěŻűĢ-1-C2. ȃŎƪ ƪĩěŻűĢ- ƢĩƪŻűþƷĩƪ-Ŏű- Ʒ'nĩ- ƢĩŁĩƢĩűěĩ- ƷŻűĩ- ŦŻǜĩƢĩĢ- ƷŻ- ܤڔܣ-ܣßŎŻŦþܤ þűĢ- Ʒ'nĩű-Ŏű- Ʒ'nĩ- ƷŻűĩŦĩƪƪ- ƪƷƢŎűłƪܒȃĩĩűƷŎƢĩ-ƟƢŻłƢĩƪƪŎŻű-ŎƪĩůĚĩĢĢĩĢ-ŎűěŻűƷŎűƿŻƿƪŦǢűþƢƢŻǜŎűł-ŎűƷĩƢǛþŦƪĩơƿĩűěĩƪڙڠ܋ -ܘ -ڗړڔܫړړڔ -ܒůů -ܗڐܢܮڐܮܡڑܢܮڐܮܡڒܢܮڐܮܡړܢܮڐܮܡڔܢܮڐܮܡړܢܮڐܮܡڔܢܮڐܮܡ -ܘܘ -ړܢܮڐܮܡڒܢܮڐܮܡړܢܮڐܮܡڔܢܮڐܮܡ -ܘܘ -ړܢܮڐܮܡڒܢܮڐܮܡړܢܮڐܮܡڔ ڑڔڔܫژړڔ-ܘ-ܒܤڐڕڔܫڕڔڔȃĩ-ȀǼ Ʒ'nƪŻƿűĢ-ȀĩŦĢ-ŻŁ-Ʒ'nĩ*ƪ'nƔ*-ܣůůܤڕڔڔܫړړڔݑܒƪĩƷƪƿƟþ-'nŎł'nŦǢěŻůƟŦĩǡ-'nþƢůŻűŎě-ƢĩŦþƷŎŻűƪ'nŎƟǜŎƷ'n-Ʒ'nĩ-ƢĩŁĩƢĩűěĩ-ƟŎƷě'n- ܌ڗ-Ʒ'nĩþŎƢ-ƢĩƪŻűþűěĩƪ-ŻŁ-Ʒ'nĩ-ĚƢþƪƪ-ܣǜ'nŎě'nþěěŻƢĢܮ ing to the score are to be "exactly synchronized with the *ƪ'nƔ*ܺ܌ܤþűĢ-Ʒ'nĩ-ŎűƷĩƢǛþŦě'nþŎűƪ-ŻŁ-Ʒ'nĩ- ĚĩŦŦܮŦŎţĩ-ŎűƪƷƢƿůĩűƷþŦƪŻƿűĢƪܒȃƿƪ܌-ŁŻƢĩǡþůƟŦĩ܌-Ʒ'nĩ-ŎűƷĩƢǛþŦŦŎěƪƷƢƿěƷƿƢĩ-ŻŁ-Ʒ'nĩ*ƪ'nƔ*'s six-note ě'nŻƢĢěŻůƟŦĩƷĩĢ-ŎűůĩþƪƿƢĩ-ژړڔ-ܫ-ڔܮڑܮڐܮڐܮړ-ܣŻƢ-ŎűěŦƿĢŎűł-Ʒ'nĩěĩŦĩƪƷþܼƪ-ܮڔ'ڕ-ܤړܮڐܢܮڑܮڐܡܮڐܮړ-ܫůþǢ- Ěĩ-ŎűƷĩƢƟƢĩƷĩĢ þƪ þ- ǛþƢŎþűƷ- ŻŁ- Ʒ'nĩ ƪǢůůĩƷƢŎěþŦ-ŎűƷĩƢǛþŦ ě'nþŎű- ړܮڐܮڒܮڐܮړ- ŻŁ- Ʒ'nĩ ěĩŦĩƪƷþ łƢŻƿƟܗ- and the second six-note chord of the *ƪ'nƔ*ěŻůƟŦĩƷĩĢ-ŎűůĩþƪƿƢĩ-ڑڔڔ-Ʒ'nƿƪůþǢþƟƟĩþƢþƪþěŻůܮ pressed variant of this interval chain (**2**ܮڐܮڒܮڐܮ**2** vs. **4**ܮڐܮڒܮڐܮ**4**܌ܤ ǜŎƷ'n- Ʒ'nĩ ěĩŦĩƪƷþܼƪ- Ʒ'nŎƢĢ- /ܮڔGڔ- ܣůܤڐڔڔݑܒ-ĚĩŎűł-ŎůƟŦŎĩĢ-Ŏű-Ʒ'nĩ*ƪ'nƔ*'s harmony.

űěĩþłþŎűþ-ƟƿŦƪþƷŎűł܌-ƢþƟŎĢƪĩơƿĩűěĩ-ŻŁ-ƷƢŎþĢƪ-ŎűůĩþƪƿƢĩ-ڔڕڔ-ܣGݑůþŠŻƢܘFݑůþŠŻƢ܌ǜŎƷ'n- Ʒ'nĩ-ƷƢŎþĢܼƪ-Ʒ'nŎƢĢƪƪƿƟƟŦŎĩĢ-ĚǢ-Ʒ'nĩ-ǴŦƿƷĩƪܤ-ƢƿƟƷƿƢĩƪ-Ʒ'nĩůƿƪŎě܌-ŻƟĩűŎűłƿƟ-ŎűƷŻ-Ʒ'nĩłŦþƢŎűł-'nŎł'n- ŁŻƿƢƷ'n- ܮڕF܌ڕ- ƟƢŻĚþĚŦǢþƪþűĩě'nŻ-ŻŁ- Ʒ'nĩ-ŦþƪƷ- Ɵ'nƢþƪĩƪ-ŻŁ- Ʒ'nĩ-ǛŻěþŦ ƪŻŦŻ- ƟþƢƷƪ- ŁƢŻů- Ʒ'nĩ-ƟƢĩǛŎ-

ڴڻ- ƣÿĜŤĪƸĪģ ŏŲƸĪƣǜÿŧƫ ŏŲģŏĜÿƸĪ- ƸŊĪ ƫƸĪƠ- Ƹż- ƸŊĪ- ŲĪǢƸ ŏŲƸĪƣǜÿŧ܉- ڐܟܫڍܫܞڑ ģĪŲżƸĪƫ ÿ łżǀƣƸŊ łżŧŧżǝĪģ ěǣ ÿ- Űÿšżƣ- ƸŊŏƣģ܉ǝŊĪƣĪ-ƸŊĪ-ǀƠƠĪƣ-ƠŏƸĜŊżł-ƸŊŏƫ-Űÿšżƣ-ƸŊŏƣģŏƫÿ-ŰŏŲżƣƫĪĜżŲģěĪŧżǝ-ƸŊĪŧżǝĪƣ-ŲżƸĪżł-ƸŊĪ-ƠƣĪĜĪģŏŲŃłżǀƣƸŊ

ous scene, in which a high F6 had been reached the first and only time (no. 22: Himmelfahrt, mm. 465-466: B-D#/E-G#/A-C/Db-F or measure 477 unison F6 in fff). From this impulse, the fourth Bb4-Eb5 emerges, with the pitch Eb5 (later Eb6) remaining as a new reference pitch over the following 17 measures. The high F echo returns in the oboe a few measures later (m. 572), accompanied by rustling wind sounds played from the tape. The complex seventh sound field

Example 4.16: Helmut Lachenmann, Das Mädchen mit den Schwefelhölzern, scene 23: Shō, simplified score reduction, mm. 540-582

 żƠǣƣŏŃŊƸ-ޣ-ڍڌڌڎěǣƣĪŏƸŤżƠł-ޠ-NďƣƸĪŧ܉àŏĪƫěÿģĪŲ

of the *ƪ'nƔ*-ܣůůܤږږڔܫڏږڔݑܒþłþŎű-ĚƢŎűłƪ-ŎűƷĩƢƷǜŎűĩĢěŻůĚŎűþƷŎŻűƪ-ŻŁ-ŁŻƿƢƷ'nƪ-ܣFܮڔK܌ڔ-Gܮڔ ܌ڕ-ܒܤړڐܒړݑܒǡ-/þŦƪŻƪĩĩ-܌ڔܮڔ-/܌ڕK'ܮڔK-܌ڕ ܮڔG

SűůĩþƪƿƢĩ-ڒڗڔ-ܣ/ǡܤږڐܒړݑܒǜĩ-'nĩþƢ܌-ŁŻƢ-Ʒ'nĩ-ȀƢƪƷ-ƷŎůĩ܌þ-ŦŻűłþűĢƪƿƪƷþŎűĩĢ-ŦŻǜ-ƟĩĢþŦ-ƷŻűĩ- (BKڑ-ŎűěŻűƷƢþĚþƪƪŻŻűþűĢ-ƷƢŻůĚŻűĩƪ܌ܤ-ŁŻŦŦŻǜĩĢ-ĚǢůŻƢĩ-ƟĩĢþŦ-ƷŻűĩƪ-ŎűůĩþƪƿƢĩƪ-ڏڏڕ-ƷŻ-ڒڏڕ- (BK܌ڑ-ĢŻƿĚŦĩ-ĚþƪƪěŦþƢŎűĩƷܤþűĢ-ڕڏڕ-ƷŻ-ڗڏڕ-ܣ܌ڑ-ƟŎþűŻþűĢ-ƷƿĚþ܌ܤþƪ-ŎŁ-ŎƷǜĩƢĩþƪŎłűþŦ-ŻŁ-Ʒ'nĩ-ŻǛĩƢܮ all pitched sound passing completely into noise. Consequently, the next triad impulse of the *ƪ'nƔ*-ܣůů܌ܤژڗڔܫڗڗڔݑܒ-Ʒ'nŎƪ-ƷŎůĩǜŎƷ'nƪƷƢŎűłƪþűĢ-ƟŎþűŻþĢĢĩĢ-ܣ*ƪ'nƔ*܋-'KݑůþŠŻƢܘ ݑůŎűŻƢܗ-ŻƢě'nĩƪƷƢþ܋- AKݑůþŠŻƢܘ'ݑůþŠŻƢ܌-GݑůþŠŻƢܘ'KݑůþŠŻƢ܌ܤ-Ŏƪ-ŁŻŦŦŻǜĩĢ-ŻűŦǢ-ĚǢ-ƢĩƪŻűþűěĩƪ-ŻŁ-Ʒ'nĩ-ƢƿĚĚĩĢdþƟþűĩƪĩ- temple bells (*rin*ܤ-ŎűƪƷĩþĢ-ŻŁ-ŁƿƢƷ'nĩƢ-ƟŎƷě'n-ƟƢŻěĩƪƪĩƪښڠ܌-ŻǛĩƢǜ'nŎě'n-Ʒ'nĩ-ƟŦþŎű-ȀǼ Ʒ'nƪ܌-ŁŻƿƢƷ'nƪ܌þűĢ- triads of the *ƪ'nƔ*ܼƪ- ƷĩűƷ'n ƪŻƿűĢ-ȀĩŦĢþƢĩƿűŁƿƢŦĩĢ-ܣůů܌ږژڔܫڒژڔݑܒ- ݑůþŠŻƢܘKݑůþŠŻƢܘ'ůŎűŻƢܒܤȃŎƪěŻůĩƪ-ĚĩŁŻƢĩ܌-ŎűůĩþƪƿƢĩ-܌ڏڏڕ-Ʒ'nĩ-ܹƟĩƢŁŻƢþƷĩĢܺƪƷƢŎűłƪĩűƷĩƢƪŎůƿŦƷþűĩŻƿƪŦǢǜŎƷ'n-Ʒ'nĩĩŦĩǛܮ enth *ƪ'nƔ* ƪŻƿűĢ- ȀĩŦĢܒȃĩ*ƪ'nƔ* seems to react to this new sonority with sharper second- and ƷƢŎƷŻűĩܮĢŻůŎűþƷĩĢƪŻƿűĢƪ-ܣĚǢůĩþűƪ-ŻŁ-Ʒ'nĩƪǢůůĩƷƢŎě-ŎűƷĩƢǛþŦƪƷƢƿěƷƿƢĩ-ܒܤڕܮڔܮܢڑܮړܡڕ

ڵڻ The resonances through continuous circular rubbing of the *rin*ěĪŧŧƫǝĪƣĪǿƣƫƸ-ǀƫĪģěǣhÿĜŊĪŲŰÿŲŲŏŲ-*Air* for a ƠĪƣĜǀƫƫŏżŲŏƫƸÿŲģżƣĜŊĪƫƸƣÿ-ܔܡڕڒܨڔڒڕڍܠƫĪĪhÿĜŊĪŲŰÿŲŲ܉-ܶ/ÿƫƸ-ŰĪĪƸƫàĪƫƸ܉ܐܷ-ڐڔ

ȃĩ-ŦŻűł-ĢĩěþǢŎűł-ŁŻƿƢƷ'n- ܮڔFڕþǼ ƷĩƢ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩ-ŦþƢłĩ-ƟĩƢŁŻƢþƷŎŻű-ȀĩŦĢ-ܣůů܌ܤڐڑڕܫڗڏڕݑܒechoing the three large "Ritsch"ڛڠƪěĩűĩƪ-ŻŁ-Ʒ'nĩǜŻƢţ-܌ڑڐܣ-ڕڐþ܌-ڏڑþ܌ܤ-ƢĩƷƿƢűƪ-ƷŻłĩƷ'nĩƢǜŎƷ'n-Ʒ'nĩ- þŁŻƢĩůĩűƷŎŻűĩĢ-ƟĩűƷþƷŻűŎě-ƷǜĩŦǼ Ʒ'n*ƪ'nƔ*ƪŻƿűĢ-ȀĩŦĢ-Ŏű-Ʒ'nĩ-ǛŻěþŦĩűƪĩůĚŦĩþűĢ-ŻƢě'nĩƪƷƢþܒ-NĩƢĩ- the fourth CܫړFږ-ŎƪƪƟƢĩþĢ-ŻƿƷĩǛĩű-ŁƿƢƷ'nĩƢ-ܣůů܌ܤړڑڕܫڑڑڕݑܒǜ'nŎě'nƿűŁŻŦĢƪþ-ƟŻǜĩƢŁƿŦ-ƢĩƪŻűþƷŎűłĩDz ŁĩěƷþűĢůþƢţĩĢŦǢ-ĚƢĩþţƪǜŎƷ'n-Ʒ'nĩ-ƟĩƢŁŻƢþƷŎŻű-ȀĩŦĢܒȃĩ-F܌ڕǜ'nŎě'n-ƢĩůþŎűƪþƪþ-ƢĩŁĩrence pitch, leads to a quasi-symmetrical *ƪ'nƔ*-'nþƢůŻűǢ-ܣůů܌ܤڏڒڕܫڕڑڕݑܒǜ'nŻƪĩƪĩěŻűĢ-ŎűƷĩƢǛþŦƪ܌- analogous to the eleventh *ƪ'nƔ*ƪŻƿűĢ-ȀĩŦĢ-ܣůܒ-ڏڏڕ-ŻűǜþƢĢƪ܌ܤűŻǜ-ŎűŎƷŎþƷĩþ-ŁþĚƢŎě-ŻŁ-ܹƷŻűĩŦĩƪƪܺƪŻƿűĢƪǜŎƷ'n-ŎűƷĩłƢþƷĩĢrŻƢƪĩܮěŻĢĩܮŦŎţĩ-ŎůƟƿŦƪĩƪ-ŻŁ-Ʒ'nĩ-ƷǜŻ-'nŎł'nĩƪƷ-ƟŎþűŻţĩǢƪ-ƟŦþǢĩĢ*ppp*ܗƿű-ƷŎŦ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩƪƿĚƪĩơƿĩűƷ-ȀűþŦƪěĩűĩ-ܣűŻܤړڑݑܒ-Ʒ'nŎƪ-ƷĩǡƷƿƢĩĩǡƷĩűĢƪ-ŎűƷŻþ-ܮږږůĩþƪƿƢĩ-ƟĩƢůƿtative structure designed by mechanical means.ڜڠȃĩ-ŦþƪƷ-ƷǜŻĩǡƷƢĩůĩŦǢƪ'nŻƢƷ*ƪ'nƔ*ƪŻƿűĢ-ȀĩŦĢƪ- ƟƢŻĢƿěĩĩě'nŻܮŦŎţĩ-ƢĩůŎűŎƪěĩűěĩƪ܌ǜ'nĩƢĩĚǢ-Ʒ'nĩěŦŻƪŎűł-ŻěƷþǛĩ-'ܮڔ'ڕůþǢ-'nþǛĩþű-ܹŎůþłŎűþƢǢܺresolution function in relation to the opening octave Cܮڔ ܒڕ

®ŎłűŎȀěþűƷ-Ŏű-ƷĩƢůƪ-ŻŁ-Ʒ'nĩ-ƟŎƷě'n-ƢĩŦþƷŎŻűƪƪ'nŻǜű-Ŏƪ-Ʒ'nĩƢĩŁŻƢĩ-Ʒ'nĩŎƢůƿŦƷŎƟŦĩ-ƢĩŁĩƢĩűƷŎþŦŎƷǢܒ- ȃĩ-ܹŎűƷƢþܮŻƟƿƪܺ-ĢŎůĩűƪŎŻű-ƟŦþǢƪ-Ŏű-ƟþƢƷŎěƿŦþƢǜŎƷ'n-ƢĩŁĩƢĩűěĩƪ-ƷŻƪěĩűĩƪ-ڑڑþűĢ-ړڑ-Ʒ'nþƷ-ŁƢþůĩ- the *ƪ'nƔ*ƪěĩűĩ܋-ŁƢŻů-Ʒ'nĩ-ĚĩłŎűűŎűł-ƷŻ-Ʒ'nĩ-ŻĚŻĩܼƪ-ƟŎĩƢěŎűł-Fڕ-ŎůƟƿŦƪĩƪ܌-Ʒ'nĩƪŻűŻƢŎƷǢþűĢ-ĢŻǜűܮ ward direction of the *Ascension*- ƢĩƪŻűþƷĩ-ŎűůþűǢ ǜþǢƪܒ ƪ þ- ƢĩƪƿŦƷ- ŻŁ- Ʒ'nĩ- ƟĩƢŁŻƢþƷŎŻű- ȀĩŦĢ܌ĩƪƟĩěŎþŦŦǢ-ŁƢŻůůĩþƪƿƢĩ-܌ڕڑڕ-Ʒ'nĩ-ܹƷŻűĩŦĩƪƪܺƪƷƢƿěƷƿƢĩ-ŻŁ-Ʒ'nĩ-ȀűþŦƪěĩűĩþűĢ-Ʒ'nĩ-ƟĩƢůƿƷþƷŎŻű- ƪĩơƿĩűěĩ-Żű-Ʒ'nĩ-ƷǜŻ-'nŎł'n-ƟŎþűŻţĩǢƪ-ĚĩłŎűܒȃŎƪ-ܹĩǡƷĩƢűþŦ-ŁƢþůĩǜŻƢţܺěŻƢƢĩƪƟŻűĢƪ-ƷŻ-Ʒ'nĩþűþŦܮ ŻłǢ- ĚĩƷǜĩĩű- Ʒ'nĩ- ƷǜŻ ěĩűƷƢþŦ ƪĩěƷŎŻűƪǜŎƷ'nŎű ƪěĩűĩ-܌ڒڑ- Ʒ'nĩ ơƿþƢƷþŦ-ȀĩŦĢþűĢ- Ʒ'nĩ- ƟĩƢŁŻƢþƷŎŻű- ȀĩŦĢ܌ǜ'nŎě'n-Żű-Ʒ'nĩ-ܹŎűƷƢþܮŻƟƿƪܺ-ŦĩǛĩŦ܌-'nŻǜĩǛĩƢ܌-'nþǛĩ-ƢþƷ'nĩƢ-ŻƟƟŻƪŎűł-ŁƿűěƷŎŻűƪ܋ǜ'nŎŦĩ܌-Ŏű-Ʒ'nĩ- ơƿþƢƷþŦ-ȀĩŦĢ܌-Ʒ'nĩ-'nþƢůŻűǢĩƪƷþĚŦŎƪ'nĩĢ-ĚǢ-Ʒ'nĩ*ƪ'nƔ* reaches its imaginary center and thus places

ڶڻ- -ܶ¦ŏƸƫĜŊ܋ܷ ŏƫ- ƸŊĪ żŲżŰÿƸżƠżĪƸŏĜ ǝżƣģ łżƣ- ƸŊĪ ŧŏŃŊƸŏŲŃ żł- ƸŊĪ- ŰÿƸĜŊĪƫ- ǀƫĪģ ěǣ- NÿŲƫ- ŊƣŏƫƸŏÿŲ- ŲģĪƣƫĪŲ ŏŲ- ƸŊĪ- łÿŏƣǣ-ƸÿŧĪżŲǝŊŏĜŊhÿĜŊĪŲŰÿŲŲܹƫǝżƣŤŏƫěÿƫĪģ-¼ŊŏƫƫżǀŲģŏƫ-ĪǢƠŧżƣĪģ-ƸŊƣżǀŃŊÿ-ƠÿƣƸŏĜǀŧÿƣÿěǀŲģÿŲĜĪżłżƣchestral-vocal constellations and timbres throughout the entire opera. Of the four scenes entitled *Ritsch*܉-Ųż܈ڐڍݎ- *Ritsch 2 "gedeckter Tisch / Hauswand 3*" ܞ¦ŏƸƫĜŊ-ڎ-ܕ-RĪƸ-¼ÿěŧĪ-ܕ-NżǀƫĪàÿŧŧ-ܟڏ-ĪǜĪŲƸǀÿŧŧǣǝÿƫ-ŲżƸ-ĜżŰƠżƫĪģěǀƸ-ŤĪƠƸ- ŏŲ-ƸŊĪżƣģĪƣżł-ƸŊĪƫĜĪŲĪƫ-ܠƫż-ƸŊÿƸ-ŲżڑڍݎÿŏŰŰĪģŏÿƸĪŧǣłżŧŧżǝƫ-Ųżܡڏڍݎ

ڷڻ- -RĪĪhÿĜŊĪŲŰÿŲŲ܉-GÿģĪŲƫƸďƸƸĪƣ܉ÿŲģ-ÃƸǭ܉-ܶfŧÿŲŃ܉rÿŃŏĪ܉-RƸƣǀŤƸǀƣ܉ܷ-܉ڎڒܨڍڒ-ƠÿƣƸŏĜǀŧÿƣŧǣ-ŲżƸĪ-ڏڒ

*/ǡþůƟŦĩڝږܘڙݗܑ-NĩŦůƿƷhþě'nĩűůþűűܒ-ConcertiniܑþűþŦǢƪŎƪ-ŻŁ-Ʒ'nĩěĩűƷƢþŦƪŻƿűĢƪ-Ŏű-Ʒ'nĩȁűþŦƪĩěƷŎŻűܝ- ȁƢƪƷ-ƢŻǜܑ-ƟŎƷě'nƪƿůǜŎƷ'n-ŎűƷĩƢǛþŦƪƷƢƿěƷƿƢĩ-ŎűƪĩůŎƷŻűĩƪܝƪĩěŻűĢ-ƢŻǜܑƪĩơƿĩűěĩ-ŻŁĩűƷƢŎĩƪ-ܩĚĩŦŻǜ-Ŏű- ĚƢþěţĩƷƪܑ-ŎűěŦƿĢĩĢ-ƷƢŎþĢƪ-ŻƢ-ŁŻƿƢܴűŻƷĩě'nŻƢĢƪܝܪ-Ʒ'nŎƢĢ-ƢŻǜܑ-ƟŎƷě'něŻűƷĩűƷ-ܩƟŎƷě'nܴěŦþƪƪƪĩƷƪܝܪ-ŁŻƿƢƷ'n-ƢŻǜܑ- ȁǽƷ'nܞŁŻƿƢƷ'nƪƷƢƿěƷƿƢĩƪ*

ŦþƪƷŎűłĩůƟ'nþƪŎƪ-Żű- Ʒ'nĩ-ƟƢŎűěŎƟŦĩ-ŻŁþŦƷĩƢŎƷǢ܌- Ʒ'nĩ-ƟĩƢŁŻƢþƷŎŻű-ȀĩŦĢ łŻĩƪ- ŁþƢ- Ěþěţ- ƷŻ- Ʒ'nĩ- Ʒ'nƢĩĩ- ܹ¦ŎƷƪě'nܺƪěĩűĩƪþűĢ-Ʒ'nƿƪþĢĢƪþ-ƟþƢƷŎěƿŦþƢŦǢ-ŦþƪƷŎűłƪĩŦŁܮƢĩŁĩƢĩűƷŎþŦĩůƟ'nþƪŎƪܒȃĩƪĩ-ƷǜŻ-ĚþƪŎě- ƢĩŁĩƢĩűƷŎþŦłĩƪƷƿƢĩƪěþűþŦƪŻ-ĚĩěŦĩþƢŦǢƿűĢĩƢƪƷŻŻĢ-Żű- Ʒ'nĩ- ܹĩǡƷƢþܮŻƟƿƪܺ-ŦĩǛĩŦ܋ǜ'nŎŦĩ- Ʒ'nĩůþűŎܮ fold references to musical layers that form the traditional context of the *ƪ'nƔ* introduce an element of categorial, cultural alterity, the music of this scene simultaneously remains understandable also as a phenomenon of "cultural self-referentiality," considering the deformations ŻŁ-/ƿƢŻƟĩþű-ƷŻűþŦŎƷǢ-ƷƢþěĩþĚŦĩ-Ŏű-Ʒ'nĩ*ƪ'nƔ*'s sound processes, which are generally characteristic ŻŁhþě'nĩűůþűűܼƪ-'nþƢůŻűŎě-ĢĩƪŎłűܒ

hþě'nĩűůþűűƪƿłłĩƪƷƪ-Ŏű-'nŎƪĩƪƪþǢ-ŻűƪŻƿűĢ-ƷǢƟĩƪ-Ʒ'nþƷ-ܣƟŻƪƷܤܮƷŻűþŦůŻĢĩŦƪƪƿě'nþƪ-Ʒ'nĩ-ܹěþdential sound" can be decisive not only in the compositional microstructure, but also for largescale formal trajectories.ڝڠȃŎƪ-Ʒ'nŻƿł'nƷ-'nþƪ-Ěĩĩű-ƷþţĩűƿƟ-ǛþƢŎŻƿƪŦǢ-Ŏű-Ʒ'nĩĩǡĩłĩƪŎƪ-ŻŁ-'nŎƪǜŻƢţƪܒłþŎűƪƷ-Ʒ'nŎƪ-ĚþěţłƢŻƿűĢ܌-ŎƷ-Ŏƪ-ƟŻƪƪŎĚŦĩ-ƷŻ-ĢĩƢŎǛĩ-ŁþěƷŻƢƪ-ŁƢŻů-Ʒ'nĩěŦŻƪĩƪƷƢƿěƷƿƢþŦ-ŦŎűţþłĩ-ŻŁ-Ʒ'nĩ- last three scenes of *ȄĩhŎƷƷŦĩrþƷě'n-GŎƢŦ*, which allow us to interpret this series of scenes as a ěŦŻƪŎűłěþĢĩűěĩ-ܫþěþĢĩűƷŎþŦƪŻƿűĢ-ܫ-ŻŁ-Ʒ'nĩĩűƷŎƢĩ-ƷǜŻܮ'nŻƿƢ-ܹrƿƪŎěǜŎƷ'n-Sůþłĩƪܒܺ-/ǛŎĢĩűěĩ-ŁŻƢ- Ʒ'nŎƪ-ŎűƷĩƢƟƢĩƷþƷŎŻűěþű-Ěĩ-ŁŻƿűĢ܌-ŁŻƢĩǡþůƟŦĩ܌-Ŏű-Ʒ'nĩ-ŁƿűĢþůĩűƷþŦŦǢ-ܣƪĩŦŁܤܮƢĩŁĩƢĩűƷŎþŦě'nþƢþěƷĩƢ- ŻŁ-Ʒ'nĩ-ƟŎƷě'n-ƟƢŻěĩƪƪĩƪƪ'nŻǜű܌-ĚƿƷþŦƪŻ-Ŏű-Ʒ'nĩĩǡƷƢĩůĩěŻűƷƢþƪƷ-ĚĩƷǜĩĩűƿűĚƢŻţĩű܌ƪĩĩůŎűłŦǢ- "elevated" sound magic and an extremely barren "toneless" – or at least "pitchless" – environůĩűƷ-Żű-Ʒ'nĩ-Ʒ'nƢĩƪ'nŻŦĢ-ŻŁƪŎŦĩűěĩܒ-Sű-ܹěþĢĩűěŎűł܌ܺþǼ ƷĩƢþŦŦ܌-Ʒ'nĩƪĩ-ƟƢŻƟĩƢƷŎĩƪ-ƟƢĩƪĩűƷ-Ʒ'nĩĩűƷŎƢĩ- diversity of sounds in this "opera" once again in condensed form.

hþě'nĩűůþűűܼƪ-ŦþƢłĩĩűƪĩůĚŦĩǜŻƢţ-*Concertini*-ƟƿƢƪƿĩƪþƪŻůĩǜ'nþƷ-ƢĩŦþƷĩĢ-ŁŻƢůþŦůŻĢĩŦ܋- ĚƢŻþĢĩǡƟŻƪŎƷŎŻűܮŦŎţĩþƢĩþƪ-ܣůů܌ܤڔږڑܫڐݑܒ-Ŏűǜ'nŎě'n-ĚŻƷ'n-Ʒ'nĩĩűƪĩůĚŦĩþƪþěŻŦŦĩěƷŎǛĩþűĢ-ŎűĢŎǛŎ-ĢƿþŦ-ܹěŻűěĩƢƷþűƷĩ-ŎűƪƷƢƿůĩűƷƪܺƪƿě'nþƪ-ƷƢŻůĚŻűĩ-ܣůů܌ܤژڐܫږݑܒłƿŎƷþƢ-ܣůůܒ-܌ܤژڏڑܫڗږڐþűĢ-'nþƢƟ-

ڸڻ- -RĪĪhÿĜŊĪŲŰÿŲŲ܉-ܶfŧÿŲŃƸǣƠĪŲģĪƣtĪǀĪŲrǀƫŏŤ܉ܷ-ڌڎ

ܣůůܒ-ܤڔږڑܫڏڐڑþƢĩþěƷŎűł-Ŏűþ-ܹƪŻŦŻŎƪƷŎěܺůþűűĩƢܒȃƢĩĩ-ŎűƷĩűƪŎȀĩĢ-ǬŻűĩƪ-ŁŻŦŦŻǜ܌-ĢĩƷĩƢůŎűĩĢ-ĚǢ- þű-ŎűěƢĩþƪŎűłƿƢłĩ-ƷŻůŻǛĩůĩűƷܗ-ƢĩƟĩþƷĩĢŦǢ-ŎűƷĩƢƢƿƟƷĩĢ-ܣůů܌ږڐړܫڕږڑݑܒ-܌ژڗړܫڗڐړ-܌ܤړڐڕܘڏڐڕܫڏژړ- Ʒ'nĩƪĩ-ǬŻűĩƪþƢĩě'nþƢþěƷĩƢŎǬĩĢ-ĚǢ-ŻƪƷŎűþƷŻ-ȀłƿƢþƷŎŻűƪ܌ě'nþűłĩƪ-ŻŁ-ƷĩůƟŻ܌þűĢłĩűĩƢþŦ-Ɵþƿƪĩƪ- Ʒ'nþƷƪĩƢǛĩþƪƪƷƢƿěƷƿƢþŦůþƢţĩƢƪܒ-Ǽ ƷĩƢ-Ʒ'nŎƪƪĩơƿĩűěĩ-ŻŁ-ŎűƷĩűƪŎŁǢŎűł-ǬŻűĩƪ-Ʒ'nĩƢĩ-Ŏƪ܌þűþŦŻłŻƿƪly to the formal model of the *Little Match Girl*܌þ-ĚƢŻþĢ-ܹěþĢĩűěŎűłܺƪĩěƷŎŻű-ܣůů܌ܤڐڏږܫڔڐڕݑܒ-ŦþƪƷܮ ing about a quarter of the total duration, characterized by a distinctly slower tempo (ܤڗڒݑݳݑ- than the basic tempo that initially dominated for a long time (ܒܤڕڔݑݳݑ-Sű-Ʒ'nŎƪ-ܹěþĢĩűƷŎþŦƪŻƿűĢܺþ- ܹǛĩƢƷŎěþŦŎǬþƷŎŻűܺ-ŻƢěþŦůŎűł-ŻŁ- Ʒ'nĩůƿƪŎěþŦ- ƷĩǡƷƿƢĩ-ŎƪĩǛŎĢĩűƷܗ-ŻűŦǢþ- Łĩǜ-ŎƪŻŦþƷĩĢ-ǛŎƢƷƿŻƪŻ- ȀłƿƢĩƪ-ƢĩůŎűŎƪěĩűƷ-ŻŁ-Ʒ'nĩ-ƟƢĩěĩĢŎűłƪĩěƷŎŻűƪ-ƢĩůþŎűܒ

Ʒ-Ʒ'nĩ-ܹ'nþƢůŻűŎěܺ-ŦĩǛĩŦ܌-Ʒ'nŎƪ-ȀűþŦƪĩěƷŎŻű-ŁƿŦȀŦŦƪ-ŎƷƪěþĢĩűƷŎþŦ-ŁƿűěƷŎŻű-ŎűƪŻŁþƢþƪ-Ʒ'nĩ-ƟŎƷě'n- ěŻűȀłƿƢþƷŎŻűƪƪěþƷƷĩƢĩĢ-ŻǛĩƢ-Ʒ'nĩĩűƷŎƢĩ-ĢƿƢþƷŎŻű܌ƿƪƿþŦŦǢ-ŁƢþłůĩűƷþƢŎŦǢ-ĢŎƪƷƢŎĚƿƷĩĢ܌-ĚƿŎŦĢŎűł- ƿƟ-Żűþ-ƟŎƷě'n-ŻƢłþűŎǬþƷŎŻű-Ʒ'nþƷ-ĚþƪŎěþŦŦǢłƢŻǜƪ-ŻƿƷ-ŻŁ-ĚĩþƷŎűłƪĩěŻűĢƪ܌þƢĩěŻűƪŻŦŎĢþƷĩĢܫݑ-ŎŁ- ŻűŦǢ-ƷĩůƟŻƢþƢŎŦǢܫݑ-Ŏű-ƷǜŻ-ŻƢ-Ʒ'nƢĩĩ-ܹěþĢĩűƷŎþŦܺƪŻűŻƢŎƷŎĩƪ܌-ƟŻƷĩűƷŎþŦŦǢ-ǛĩƢŎŁǢŎűłhþě'nĩűůþűűܼƪ- statement that the "tone scale" of the *ƪ'nƔ*-'nþĢ-Ěĩĩű-ŎůƟŻƢƷþűƷ-ŁŻƢ-Ʒ'nŎƪǜŻƢţ-ܣƪĩĩþĚŻǛĩܒܤ-NĩƢĩ܌-ƷŻŻ܌-Ʒ'nĩ-ƟƢŎűěŎƟŦĩ-ŻŁƪƿƟĩƢŎůƟŻƪĩĢ-ȀǼ Ʒ'nƪ-Ŏƪ-ŁƿűĢþůĩűƷþŦ-ܣ/ǡ܌ڗڐܒړݑܒ-ŁŻƿƢƷ'n-ŦŎűĩ܌ܤþŦŻűłǜŎƷ'n-ƷƢŎþ-ĢŎě-ܣ/ǡ܌ڗڐܒړݑܒƪĩěŻűĢ-ŦŎűĩܤþƪǜĩŦŦþƪěŻűƷŎűƿŻƿƪþűĢĩơƿŎĢŎƪƷþűƷ- ŁŻƢůþƷŎŻűƪܒȃĩěŻűěĩƟƷƿþŦ- ƪƷþƢƷŎűł-ƟŻŎűƷěŻƿŦĢ-'nþǛĩ-Ěĩĩű-Ʒ'nĩĩŎł'nƷܮűŻƷĩ-ȀűþŦƪŻűŻƢŎƷǢ-Ʒ'nþƷƪǜĩŦŦƪ-ŎűƷŻþ*fortissimo* (mm. ܌ڐڏږܫژژڕ-/ǡ܌ܤژڐܒړݑܒěƢĩþƷŎűłþěŻůƟŦĩƷĩƪĩơƿĩűěĩ-ŻŁ-ȀǼ Ʒ'nƪǜŎƷ'n-Gܮ'ܮܮ/ܘܮF-C-G and inter-ŦĩþǛŎűłƪŎǡ-ĢŎDz ŁĩƢĩűƷůþŠŻƢþűĢůŎűŻƢ-ƷƢŎþĢƪ-ŎűěŦŻƪĩ-ƟŻƪŎƷŎŻűܒȃŎƪ-ܹȀűþŦěþĢĩűěĩܺ-Ŏƪ-ĚþŦþűěĩĢ- ŻƿƷ-ĚǢ-Ʒ'nĩƪĩěŻűĢěĩűƷƢþŦƪŻƿűĢ-ŁƢŻů-Ʒ'nĩ-ŎűŎƷŎþŦ-Ɵ'nþƪĩ-ŻŁ-Ʒ'nĩ-ȀűþŦƪĩěƷŎŻű-ܣůů܌ܤړړڕܫڐړڕݑܒ-Ŏű- ǜ'nŎě'n-ŻűŦǢ-Ʒ'nĩ--ŻŁþƪĩǛĩűܮƟþƢƷě'nþŎű-ŻŁ-ȀǼ Ʒ'nƪ-ŎƪůŎƪƪŎűł܌-ĚƿƷǜ'nŎě'n-ܫ-ŎűěŻűƷƢþƪƷ-ƷŻ-Ʒ'nĩ-ȀűþŦ- sound – is built around a quartal chord (G-C-Fܤ-ܣƷ'nĩ-ŁŻƿƢƷ'n-'nĩƢĩþŦƪŻþƟƟĩþƢƪþƪþěĩűƷƢþŦ- ŎűƷĩƢǛþŦ-Ŏű-Ʒ'nĩ-ƟŎþűŻ-ƟþƢƷ܌ǜ'nŎě'n-ĚƢŎűłƪþ-ǛŎƢƷƿŻƪŻ-ȀłƿƢþƷŎŻű-ŻŁ-ƟþƢþŦŦĩŦ-ŁŻƿƢƷ'nƪܒܤ

Sű-ŻƷ'nĩƢěŻűȀłƿƢþƷŎŻűƪ-Ŏű-Ʒ'nŎƪƪĩěƷŎŻű-ƷŻŻ܌-ŁŻƿƢƷ'nþűĢ-ȀǼ Ʒ'n-'nþƢůŻűŎě-ŦþǢĩƢƪ-ƢĩǛĩþŦþ-'nŎĢĢĩű- ƟƢŎűěŎƟŦĩ-ܣ/ǡܒܤڗڐܒړݑܒ-ŁěĩűƷƢþŦ-ŎůƟŻƢƷþűěĩ-Ŏƪ-Ʒ'nĩ-ŁŻƿƢƷ'n-/KܮړKړ-ŎűůĩþƪƿƢĩƪ-ڕڕڕ-ƷŻ-܌ڒږڕǜ'nŎě'n- is illuminated by various components in a constantly changing "crypto-tonally" shaded manűĩƢ܌-ŁŻƢ-ŎűƪƷþűěĩ-ĚǢþ-ǴŦŻþƷŎűł--ܣƢĩƪƿŦƷŎűł-ŁƢŻůþű-/ůþŠŻƢƪĩěŻűĢ-ŎűǛĩƢƪŎŻűě'nŻƢĢ܌ܤ-Ʒ'nĩ-ŎűŎƷŎþŦ- ĢŻůŎűþűƷƪĩǛĩűƷ'ně'nŻƢĢ-Żű- -ܣƷƿĚƿŦþƢ-ĚĩŦŦƪ܌ů܌ܤڕڕڕݑܒ-ŻƢ-Ʒ'nĩě'nƢŻůþƷŎěþŦŦǢ-ĢĩƪěĩűĢŎűł-ƷƿĚþ-ŦŎűĩ- ܣGܮڐ/K܌ڐůůܒܤڏږڕܫژڕڕݑܒ-SűþĢĢŎƷŎŻű-ƷŻ-Ʒ'nĩƪĩ-Ʒ'nƢĩĩ-ƟŎŦŦþƢܮŦŎţĩ-ܹěþĢĩűƷŎþŦƪŻƿűĢƪ܌ܺ-Ʒ'nĩ-ŻƷ'nĩƢ-'nþƢůŻűŎě- ŁŻƢůþƷŎŻűƪ-ŻŁ- Ʒ'nĩ-ȀűþŦ ƪĩěƷŎŻű- ƢĩůþŎű-ŻŁ ƪĩěŻűĢþƢǢ-ŎůƟŻƢƷþűěĩܒȃĩǢ ěþű- Ěĩ- ƢĩŦþƷĩĢ- either to *Concertini*ܼƪ-ŻǛĩƢþŦŦ- ܹĚĩþƷŎűłůŎěƢŻƪěŻƟǢܺ-ܣŁŻƢĩǡþůƟŦĩ܌- Ʒ'nĩ-ĚĩłŎűűŎűł܋ůů܌ڔڒڕܫڔڐڕݑܒ-ŻƢůů܌ܤژڗڕܫړږڕݑܒĩě'nŻܮŦŎţĩ-ŁƢþłůĩűƷƪ-ŻŁ-Ʒ'nĩ-ŦŻűłƪŻŦŻ-Ɵþƪƪþłĩƪ-ŁƢŻů-Ʒ'nĩ-ƟƢĩěĩĢŎűłƪĩěƷŎŻűƪ- ܣĩƪƟĩěŎþŦŦǢ-Ŏű-Ʒ'nĩ-'nþƢƟþűĢ-ƟŎþűŻ-ŁƢŻůůĩþƪƿƢĩƪ-܌ڕړڕ-܌ژڔڕ-ŻƢ-܌ܤړږڕ-ŻƢþƢĩ-ƷŻŻ-ǴŦĩĩƷŎűł-ƷŻ-ƟĩƢŁŻƢů- þ-ƷƢƿŦǢƪƷƢƿěƷƿƢŎűł-ŁƿűěƷŎŻű-ܣþƪ-ŎűůĩþƪƿƢĩƪ-ڐڔڕþűĢ-ܒܤڐڕڕ

ŁěŻƿƢƪĩ܌- Ʒ'nĩơƿþƢƷþŦܘơƿŎűƷþŦ-'nþƢůŻűǢěŻűƷŎűƿĩƪ- ƷŻĩǡƟþűĢ-ŎűƷŻ- Ʒ'nĩƪĩ- ŁƢþłůĩűƷþƢǢ- ŁŻƢmations, such that the "cadencing" sounds redeem something that the more complex processes ĚĩƷǜĩĩű-Ʒ'nĩůƪƿłłĩƪƷ܋-Ʒ'nĩ-ƷǜŻ-ŁƢþůŎűł-'nþƢůŻűŎĩƪ܌-Ŏű-ƟþƢƷŎěƿŦþƢ܌þƢĩþŦƪŻ-ĚƿŎŦƷþǼ ƷĩƢ-Ʒ'nĩ-ƷƢþűsient decay model of the cadential sound or *ƪ'nƔ*þƢě'nĩƷǢƟĩƪܗ- Ʒ'nĩ-'nŎł'nǜŎűĢĩűƪĩůĚŦĩƿűĩơƿŎ-ǛŻěþŦŦǢƪĩĩţƪþƪŻűŻƢŻƿƪþƟƟƢŻþě'n-ƷŻ-Ʒ'nĩ*ƪ'nƔ*ƪŻƿűĢܗþűĢ-ܫůŻƪƷűŻƷþĚŦǢ-ܫþŦŦ-ƟŎƷě'nĩƪ-Ŏű-Ʒ'nĩƪĩ- sounds are indeed based on the "tone scale" of the Japanese instrument (although, of course, þƷ-ŦĩþƪƷ- Ʒ'nĩ-ȀűþŦ ƪŻűŻƢŎƷǢ-ܫ ĩǛĩűǜŎƷ'nþ- 'nŎł'nŦǢ ƿűěŻűǛĩűƷŎŻűþŦ-ȀűłĩƢŎűł-ܫǜŻƿŦĢ- 'nþƢĢŦǢ- Ěĩ- playable, such that a "utopian" *ƪ'nƔ*-ĚĩěŻůĩƪþƿĢŎĚŦĩ-Ŏű-ŎƷܒܤ-SƷěþű-Ʒ'nĩƢĩŁŻƢĩ-ĚĩěŻűěŦƿĢĩĢ-Ʒ'nþƷ-Ʒ'nĩ ȀűþŦƪĩěƷŎŻű-ŻŁ-*Concertini*-'nþƪþƪŎůŎŦþƢŦǢěŻűěĩűƷƢþƷŎűł܌-ܹěþĢĩűƷŎþŦܺ-ŁƿűěƷŎŻűþƪƪěĩűĩ-ڒڑ-Ŏű-*Ȅĩ- Little Match Girl*ܒ-'ĩěŎƪŎǛĩ-ŁŻƢ-Ʒ'nŎƪ-ŁƿűěƷŎŻű-Ŏƪ-Ʒ'nĩ-ĢĩůŻűƪƷƢþƷĩĢƪŎůƿŦƷþűĩŎƷǢ-ŻŁþŦƷĩƢŎƷǢþűĢƪĩŦŁܮ ƢĩŁĩƢĩűƷŎþŦŎƷǢ܌ǜ'nŎě'n܌-ŎűþĢĢŎƷŎŻű-ƷŻþű-ŻĚǛŎŻƿƪ-ܹĚƢĩþţܺǜŎƷ'nǜ'nþƷ-ƟƢĩěĩĢĩƪ-ŎƷ܌þŦƪŻ-ĢĩǛĩŦŻƟƪþ- ƪǢűƷ'nĩƪŎǬŎűłþűĢ-ܹƿűĚƢŻţĩűůþłŎěþŦܺůþłűĩƷŎěĩDz ŁĩěƷ-Ŏűǜ'nŎě'n-'nĩƷĩƢŻłĩűĩŻƿƪ-ܹƪŻƿűĢ-ŁþůŎŦŎĩƪܺ-ĚƢŎĩǴŦǢěŻůĩ-ƷŻłĩƷ'nĩƢ-Ŏűþ-ǴŦĩĩƷŎűł-ܹƪŻűŻƢŻƿƪƿűŎƷǢܒܺ

*ږڕڜܱڜڞڛݗܘůů-ܒConcertini-ܒhþě'nĩűůþűű-NĩŦůƿƷܑ-ڞږܘڙݗǡþůƟŦĩ/*

 żƠǣƣŏŃŊƸ-ޣ-ڑڌڌڎěǣƣĪŏƸŤżƠł-ޠ-NďƣƸĪŧ܉àŏĪƫěÿģĪŲ

### Split Sound and Structural Sound

ȃĩ- ܹěþĢĩűƷŎþŦܺ- ŁƿűěƷŎŻű- ŻŁ- Ʒ'nĩ ĩǡƷĩűĢĩĢ- ȀűþŦ ƪĩěƷŎŻű- ŻŁ- *Concertini* certainly appears most strongly in the last chord. In this twelve-voice sound played by wind instruments, consisting ŻŁĩŎł'nƷ-ĢŎDz ŁĩƢĩűƷ-ƟŎƷě'nܮěŦþƪƪĩƪ܌þűƿűŎűƷĩƢƢƿƟƷĩĢƪƷƢþƷŎȀěþƷŎŻű-ŻŁ-ȀǼ Ʒ'nƪ-Ŏƪ-ƢĩþŦŎǬĩĢ-ŁŻƢ-Ʒ'nĩ-ȀƢƪƷ- ƷŎůĩ܌ǜ'nŎě'n-ƟƢŻĢƿěĩƪþű-ŎűƷĩƢǛþŦƪƷƢƿěƷƿƢĩ-ŻŁ-ڑܮڑܮڐܮړܮڐܮڐܮڐܮڑܮڑܮڐܮڑƪĩůŎƷŻűĩƪ-ŎűěŦŻƪĩ-ƟŻƪŎƷŎŻű- ܣ/ǡܒܤڏڑܒړݑܒ-RŎůŎŦþƢ-ƷŻ-Ʒ'nĩ-ƟƢĩǛŎŻƿƪþǡŎþŦ-'nþƢůŻűŎĩƪ܌-Ʒ'nŎƪ-ȀűþŦě'nŻƢĢ-ŎƪĩůĚĩĢĢĩĢ-ŎűþűĩǡƷƢþordinarily complex sound spectrum composed of clusters of strings interleaved with the wind ě'nŻƢĢ܌-ƢĩƪŻűþűěĩƪ-ŻŁ-Ʒ'nĩ-ƷƿĚƿŦþƢ-ĚĩŦŦƪ܌þűĢþƪƷƢŎţŎűł-ƟŎþűŻłŦŎƪƪþűĢŻܒ

Example 4.20: Helmut Lachenmann, Concertini, mm. 697-701, reduction of instrumental groups

Here a sone-based spectral analysis" will be used to gain a deeper insight into the relationship between the sound of the sho and the final sound of Lachenmann's Concertini. In the spectrum of the traditional shō chord bō with the basic pitches D5-E5-A5-B5-E6-F\$6 (Ex. 4.21), based on the fifth structure D-A-E-B-F#, the impression is confirmed that the individual pitches tend to merge into a cluster-like sound: The fundamental tones recede into the background in contrast to dominating overtones such as the fifth partial of E5 (G#7) or the seventh partial of D5 (a C8 lowered by 31 cents). The auditory impression is thus characterized not only by a high degree of blending, which can be partly explained by the tendency of the Pythagorean tuning of the instrument as well as the high position, but also by a diffuse "textural character" (in the sense of Lachenmann's definition of "textural sound"), in which it is difficult to isolate or identify individual sound components owing to the strong presence of partials in relation to the fundamental pitches.

Example 4.21: Spectral analysis of the traditional sho chord bo, ordered according to loudness of the spectral components (duration of the sound: 5.532 seconds; source: CD of Miki, Nihon gakki ho); values above the notes denote the loudness in sone (average over the entire duration of the sound)

<sup>75</sup> This analysis was realized with the software MUSE [later re-named CTPSO] by Dieter Kleinrath in 2009. For the functionality and programming aspects of the software, as well as for further analytical applications, see Utz and Kleinrath, "Klang und Wahrnehmung bei Varèse, Scelsi und Lachenmann," 84–89.

*/ǡþůƟŦĩڗڗܘڙݗܑ-RƟĩěƷƢþŦþűþŦǢƪŎƪ-ŻŁ-Ʒ'nĩȁűþŦě'nŻƢĢ-ŻŁhþě'nĩűůþűű݂ƪ-Concertini-ܩůܒܪڞڞڛݗܘěŻůƟþƢŎƪŻű- ŻŁ-Ʒ'nĩ-ƢĩěŻƢĢŎűłƪ-ĚǢ-/űƪĩůĚŦĩrŻĢĩƢű-ܒڛڕڕڗܩþĚŻǛĩܪþűĢfŦþűłŁŻƢƿůàŎĩű-ܒڞڕڕڗܩ-ĚĩŦŻǜܝܪűŻƷþƷŎŻű- þƢƢþűłĩĢþěěŻƢĢŎűł-ƷŻ-ŦŻƿĢűĩƪƪ-ŻŁƪƟĩěƷƢþŦěŻůƟŻűĩűƷƪ-ܩǛþŦƿĩƪ-ŎűƪŻűĩܝܪ-Ʒ'nĩþűþŦǢǬĩĢƪĩěƷŎŻűƪ-ŻŁ-Ʒ'nĩ- ƪŻƿűĢěŻůƟƢŎƪĩ-Ʒ'nĩơƿþƪŎܴƪƷþƷŎŻűþƢǢ-ƟþƢƷ-ĚĩƷǜĩĩű-Ʒ'nĩ-ĚĩþƷƪ-ژܘڗþűĢ-ڙܘژ-ŻŁůĩþƪƿƢĩ-ڞڞڛ-ܩĢƿƢþƷŎŻűܑ- /űƪĩůĚŦĩrŻĢĩƢűܑ-ڞڕڛܘږƪĩěŻűĢƪܒfŦþűłŁŻƢƿůàŎĩűܑ-ڕڞڝܘژƪĩěŻűĢƪܪ*

ȃĩƪƟĩěƷƢþŦþűþŦǢƪŎƪ-ŻŁhþě'nĩűůþűűܼƪ-ȀűþŦě'nŻƢĢ-Ŏƪ-ĚþƪĩĢ-ŻűþěŻůƟþƢŎƪŻű-ŻŁ-ƷǜŻ-ĢŎDz ŁĩƢĩűƷ-ƢĩěŻƢĢŎűłƪ-ŻŁ-Ʒ'nĩǜŻƢţ-ĚǢ-/űƪĩůĚŦĩrŻĢĩƢűþűĢfŦþűłŁŻƢƿůàŎĩűڟڠ-ܣ/ǡܒܤڑڑܒړݑܒ-ŻƷ'n-ƢĩěŻƢĢŎűłƪ- reveal – in contrast to the *ĚƔ* chord – a spectrum dominated by the lower fundamental pitches ŻŁ-Ʒ'nĩě'nŻƢĢƪ-܌ړ-'܌ڔ-/܌ڔ-G܌ڔǜ'nŎŦĩ-Ʒ'nĩ-ǛŻŦƿůĩ-ܣþűĢ-ŎűƷŻűþƷŎŻűܤ-ŻŁ-Ʒ'nĩ-ƢĩůþŎűŎűłűŻƷĩƪ-Ŏű-Ʒ'nĩ- ƷǜŻ- ƢĩěŻƢĢŎűłƪ-ǛþƢŎĩƪǜŎĢĩŦǢܒȃĩ-ƟƢĩƪĩűěĩ-ŻŁ- Ʒ'nĩ-ŻƷ'nĩƢ- ŁƿűĢþůĩűƷþŦ-ƟŎƷě'nĩƪ-ŎƪƪŎłűŎȀěþűƷŦǢ- łƢĩþƷĩƢ-Ŏű-Ʒ'nĩfŦþűłŁŻƢƿů-ƢĩěŻƢĢŎűł܌ǜ'nŎě'n܌-ƷŻłĩƷ'nĩƢǜŎƷ'nƪŎłűŎȀěþűƷŦǢ-ŦŻǜĩƢůŎěƢŻƷŻűþŦ-Ģĩviations in the individual spectral components, seems to indicate a more precise intonation. In addition, the stronger dynamic contrasts within the chord in the Klangforum recording are ƪƷƢŎţŎűłþűĢþŦƪŻěŻűƷƢŎĚƿƷĩ-ƷŻþůŻƢĩ-ƟƢŻűŻƿűěĩĢůŻƢƟ'nŻŦŻłŎěþŦ-ƟƢŻȀŦĩ܋-Ʒ'nĩ-ƟĩƢěĩŎǛĩĢ-ŦŻƿĢűĩƪƪ-ŻŁ-Ʒ'nĩƪĩǛĩűƷ'nܮŦŻƿĢĩƪƷěŻůƟŻűĩűƷ-ܣܤڔ-ŎƪþŦƢĩþĢǢ-ŻűŦǢþĚŻƿƷ-'nþŦŁ-Ʒ'nþƷ-ŻŁ-Ʒ'nĩ-ŦŻƿĢĩƪƷ-ܣܗܤړ- Ŏű-Ʒ'nĩ-/űƪĩůĚŦĩrŻĢĩƢű-ƢĩěŻƢĢŎűł܌-Ʒ'nĩěŻƢƢĩƪƟŻűĢŎűł-ƟŎƷě'n-Ŏƪ-ŻűŦǢ-Ŏű-ړڐƷ'n-ƟŦþěĩ܌ƪŻ-Ʒ'nĩ-ŻǛĩƢþŦŦ- dynamics of the pitches are more balanced here.

ںڻ Helmut Lachenmann, *Concertini*܈- /ŲƫĪŰěŧĪ rżģĪƣŲ܉ żŲģǀĜƸżƣ܈ ƣÿģ hǀěŰÿŲ܉- /r® '- ڍڌڌ- ܔܡڒڌڌڎܠ fŧÿŲŃłżƣǀŰàŏĪŲ܉ żŲģǀĜƸżƣ܈dżŊÿŲŲĪƫfÿŧŏƸǭŤĪ܉fÿŏƣżƫ-ڎڑڒڎڍڌڌfS-ܡڕڌڌڎܠ

Lachenmann brings about this concentration on the fundamental pitches by having the lower eight notes of the chord played throughout on low wind instruments in (partly very) high position (two horns, two bass clarinets, two bass flutes, bass trumpet, trombone). Also, the oboes in the high position bring out the fundamental tones. As with the shō, masking effects occur; in both cases, the highest note (F#6) is largely obscured by the adjacent sine tone components (see Ex. 4.21 for the low loudness of the F#6 fundamental in the shō spectrum).

If we now try to evaluate the results of the spectral analysis with some caution from the perspective of the composer's aesthetics, we find, perhaps surprisingly, that despite the great spectral complexity, the individual (tundamental) pitches of the chord in the spectrum remain as distinct as possible, not least when Lachenmann's chord is set in contrast to the spectral characteristics of the traditional shō chord, in which the intensity of the partials contributes to a maximum sound fusion and a diffusion of the fundamental tones. It could thus be concluded that even where Lachenmann presents a seemingly "conventional" type of blended sound, its internal structure shows essential characteristics of a "split sound" or "structural sound."" Even though the perception of Lachenmann's final sound undoubtedly "switches" perception into a "global" mode, an oscillation between such a global impression and the singling out of individual components seems to be a perfectly plausible description of the auditory process invoked. Lachenmann's important idea is that in certain situations, structural and textural sounds can easily merge into one another, "tilt" into the other state. 18 This is supported by the highly differentiated instrumentation of the chord and its surroundings. In the terminology of Albert Bregman's Auditory Scene Analysis, one could argue that a "natural assignment," in which an unambiguous identification of the sound sources is possible, and a "chimeric assignment," in which such identification is impossible, fluctuate here in a micro-temporal process (→ VI.4). 9) In one moment, individual instruments seem to emerge as identifiable, in the next they have disappeared in the global sound event, the "texture."

It should be pointed out that the technical method of rationalized analytical methodology, which has been "aggravated" here by spectral analysis, is insufficient for conveying the wealth of connotations or describing the implicit meanings of sounds that emerge. Lachenmann's conviction that musical sound to a considerable degree unfolds "magic" and leads to a high level of identification and a merging of listener and sound, but that magic can exist today only in the context of its negation as "broken magic," illuminates the inner connection between the "magic" of the diffuse textural character of the traditional bo chord and the "broken" "structuralist," fundamental-based character of Lachenmann's Concertini chord.

<sup>77</sup> See Schering, "Nationale und historische Klangstile." Schering interpreted the history of music here as a constant change between the ideal of the "Verschmelzungsklang" (blended sound), dominant in vocal polyphony of the fifteenth and sixteenth centuries as well as in symphonic music from Haydn to Mahler, and the "Spaltklang" (split sound), dominant in the music of the Middle Ages, linear Baroque counterpoint, and modern music. Of course, Schering's "Spaltklang" (split sound) and Lachenmann's "Structural sound) should not simply be equated here; a more nuanced discussion would have to weigh commonalities and differences in terms. One possibly significant aspect might be that both terms seem to be based on a consistently polyphonic model (→ VI.4).

<sup>78</sup> Lachenmann, "Klangtypen des Neuen Musik," 20.

<sup>79</sup> Bregman, Auditory Scene Analysis, 459-460.

### Temporal Sections

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¼ŊĪŏŰƠżƣƸÿŲĜĪżłƫŤĪƸĜŊƣĪƫĪÿƣĜŊłżƣ-ƸŊĪÿŲÿŧǣƫŏƫżł-ܶtĪǝrǀƫŏĜܷƫŊżǀŧģ-ŲżŧżŲŃĪƣěĪŏŲ-ƢǀĪƫ-ƸŏżŲ-Ƹżģÿǣ-ܟ܊ܞ-ܶtĪǝrǀƫŏĜܷŏŲĜƣĪÿƫŏŲŃŧǣģĪǿŲĪģŏƸƫĪŧł܉łżƣ-ƸŊĪ-ŰżƫƸ-ƠÿƣƸ܉-ƸŊƣżǀŃŊ-ƸŊĪ-ĜżŰƠżƫĪƣܹƫ- żǝŲƣǀŧĪƫ܉ƣǀŧĪƫ-ƸŊÿƸģŏdz łĪƣĪģŏŲ-ĪÿĜŊǝżƣŤ܉-ŰĪÿŲŏŲŃ-ƸŊÿƸƫżǀƣĜĪƣĪƫĪÿƣĜŊŏƫżǽ ƸĪŲÿŲŏŲģŏƫƠĪŲƫܫ able aid to understanding the most important structures and technical principles.ږڞ

Sű- Ʒ'nĩ ěþƪĩ-ŻŁ hþě'nĩűůþűű܌ ƪŻƿƢěĩ ƪƷƿĢŎĩƪ- ƢĩǛĩþŦ þ- ƢŎłŻƢŻƿƪŦǢ þűƷŎܮƪǢƪƷĩůþƷŎě܌ þűþƢě'nŎě űĩgation of regular, automated structures that are the exact opposite of a common concept of ܹƪƷƢƿěƷƿƢĩܒܺhþě'nĩűůþűűܼƪƪƷƢƿěƷƿƢþŦłƢŎĢƪþƢĩ-Ʒ'nƿƪþůĩĢŎƿů-Ʒ'nþƷ܌-Żű-Ʒ'nĩ-Żűĩ-'nþűĢ܌ĩűþĚŦĩƪ- an "almost complete pre-ordering of the material" and, on the other hand, includes the option of "freely editing all parts of a composition."ښڡ- Sűhþě'nĩűůþűűܼƪůƿƪŎě܌ƪƷƢƿěƷƿƢĩ-ĚĩěŻůĩƪþ- ůĩþűƪ-ŻŁþƢƷŎěƿŦþƷŎŻű-ŻűŦǢ-Ʒ'nƢŻƿł'něŻűǴŦŎěƷ܌-ŁƢŎěƷŎŻű܌-ŻƢƪǢűĩƢłǢǜŎƷ'nþű-Ʒ'nĩƢ܌ǜŎƷ'nþ-ƟƢŎűěŎƟŦĩ- ŻŁ-ƷŻűþŦ܌ƪĩűƪƿþŦ܌ĩǡŎƪƷĩűƷŎþŦ܌-ŻƢěƿŦƷƿƢþŦþŦƷĩƢŎƷǢ-ŻƢ-Ʒ'nƢŻƿł'n-ܹŎůƟŦŻĢŎűłܺěŻűǴŦŎěƷƪǜŎƷ'n-ŎƷƪƪĩŦŁܮ created preconditions.

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ڴڼ Cavallotti, *'ŏDzłĪƣĪŲǭĪŲ*܉-ڏڍܨڎڍ-ܠܶ'ŏĪ-ĪģĪǀƸǀŲŃģĪƣ-®ŤŏǭǭĪŲłżƣƫĜŊǀŲŃłdžƣģŏĪ-ŲÿŧǣƫĪģĪƣ-ܶtĪǀĪŲrǀƫŏŤܷģdžƣǽ ƸĪ- ŊĪǀƸĪ-ŲŏĜŊƸ-ŰĪŊƣǭǀƣ-'ĪěÿƸƸĪƫƸĪŊĪŲ-ܟ܊ܞ-ܸtĪǀĪrǀƫŏŤܹ-ŤżŲƫƸŏƸǀŏĪƣƸĪƫŏĜŊǭǀŰ-ŃƣżƷĪŲ-¼ĪŏŧŏŰŰĪƣ-ŰĪŊƣdžěĪƣǜżŰ- fżŰƠżŲŏƫƸĪŲƫĪŧěƫƸǜżƣŃĪŃĪěĪŲĪ-ǀŲģŏŲšĪģĪŰàĪƣŤÿŲģĪƣƫŧÿǀƸĪŲģĪ-¦ĪŃĪŧŲ܉ƫżģÿƷģŏĪ-¥ǀĪŧŧĪŲłżƣƫĜŊǀŲŃżǽ Ƹ- ĪŏŲĪ-ǀŲĪƣŧďƷŧŏĜŊĪ-NŏŧłĪǭǀŰßĪƣƫƸďŲģŲŏƫģĪƣǝŏĜŊƸŏŃƫƸĪŲ-®ƸƣǀŤƸǀƣĪŲ-ǀŲģ-ƸĪĜŊŲŏƫĜŊĪŲ-£ƣŏŲǭŏƠŏĪŲģÿƣƫƸĪŧŧƸܷܡ

ڵڼ- -Sěŏģ܉-ڒڎڍ-ܠܶłÿƫƸǜżŧŧƫƸďŲģŏŃĪßżƣżƣģŲǀŲŃģĪƫrÿƸĪƣŏÿŧƫܔܷ-ܶÿŧŧĪ-¼ĪŏŧĪ-ĪŏŲĪƣfżŰƠżƫŏƸŏżŲłƣĪŏǭǀěĪÿƣěĪŏƸĪŲܷܡ

ڶڼ- -SŲżƸŊĪƣǝżƣŤƫěǣhÿĜŊĪŲŰÿŲŲ܉ƫĪŧĪĜƸĪģƣŊǣƸŊŰŏĜƫƸƣǀĜƸǀƣĪƫ܉-Ơżƫƫŏěŧǣÿŧƫż-ƠŏƸĜŊ-ƠƣżĜĪƫƫĪƫ܉-ŊÿǜĪ-ĜĪƣƸÿŏŲŧǣěĪĪŲ- ģĪǜĪŧżƠĪģ-ǀƫŏŲŃ-ƸŊĪ-FŏěżŲÿĜĜŏƫĪƣŏĪƫ-Fżƣ-ĪǢÿŰƠŧĪ܉-ƸŊĪ-ĪŲƸƣǣģŏƫƸÿŲĜĪƫżł-ƸŊĪłżǀƣƫżǀŲģłÿŰŏŧŏĪƫƫǀƠĪƣŏŰƠżƫĪģ- at the end of *Mouvement (– vor der Erstarrung)* łżƣ-ĪŲƫĪŰěŧĪ-ܡڐڔܨڎڔڕڍܠ-ܠłƣżŰ-Ű-ܡڏڔڐłżŧŧżǝ-ƸŊĪƫĪƢǀĪŲĜĪ-ܫڏܫڑܫڔ ڑܫڏܫڎܫڍܫڎ-ĪŏŃŊƸŊƫ-®ĪĪÿŧƫż-£ŏĪŲĜŏŤżǝƫŤŏ܉-ܶFdžŲł-ĪŏƫƠŏĪŧĪ܉ܷ ڕڌڍ-1/4ŊĪ-ƠƣżƠżƣƸŏżŲżł-ƸŊĪ-GżŧģĪŲ-®ĪĜƸŏżŲ-ܠѐ܉ܡ-ŤŲżǝŲ- ƫŏŲĜĪÿŲĜŏĪŲƸ-ƸŏŰĪƫ܉ŏƫƣżǀŲģĪģ-Ƹż-ڍڕڔڕڏڏڌڔڍڒ-1/4ŊĪ-ܶFŏěżŲÿĜĜŏƫĪƣŏĪƫ܉ܷ-ŲÿŰĪģÿǽ ƸĪƣ-ƸŊĪ-ŰÿƸŊĪŰÿƸŏĜŏÿŲhĪżŲÿƣģż- żł-£ŏƫÿ܉-ĜÿŧŧĪģ-FŏěżŲÿĜĜŏ-ܠĜ-ܨڌړڍڍĜ-܉ܡڌڑڎڍŏƫÿŲŏŲƸĪŃĪƣÿƠƠƣżǢŏŰÿƸŏżŲ-Ƹż-ƸŊŏƫ-ƠƣżƠżƣƸŏżŲ-Fżƣ-ƸŊĪÿƠƠŧŏĜÿƸŏżŲżł-ƸŊĪ- ƠƣżƠżƣƸŏżŲŏŲ-ŰǀƫŏĜÿŧ-ĜżŲƸĪǢƸƫƫĪĪÿŰżŲŃżƸŊĪƣƫrƇŧŧĪƣ܉-ܶGżŧģĪŲĪƣ-®ĜŊŲŏƸƸܷ and Baltensperger, *Iannis Xenakis*.


*¼þĚŦĩ-ږܘڙܑ-NĩŦůƿƷhþě'nĩűůþűűܒ-Das Mädchen mit den Schwefelhölzern, scene 23: ®'nƔܒþűþŦǢƪŎƪ-ŻŁ-ƷĩůƟŻƢþŦ-ĢŎǛŎƪŎŻűƪ*


ƪŻƿűĢ-ȀĩŦĢ-ڗܐ- ƷŻ- Ʒ'nĩĩűĢ-ŻŁ- Ʒ'nĩƪěĩűĩƪǢůůĩƷƢŎěþŦŦǢ-ݯݑܢږܫڔܫڔܡږڐܣ-ڗ-ު-**19.5**-ު- ݯݑܢڒڐܫړܡږڐ-܌ܤܢڑܫڕܡڗ- ǜŎƷ'n-Ʒ'nĩ-ƟĩƢŁŻƢþƷŎŻű-ȀĩŦĢ-ܤڔܒژڐܣ-ŁŻƢůŎűł-Ʒ'nĩþǡŎƪ-ŻŁƪǢůůĩƷƢǢܒ-ŦƪŻ-Ŏű-Ʒ'nĩ-ȀƢƪƷ-ƟþƢƷ-ŻŁ-Ʒ'nĩƪěĩűĩ܌- Ʒ'nĩ-ƟƢŻƟŻƢƷŎŻű-ڔڑ-ȀłƿƢĩƪ-ƟƢŻůŎűĩűƷŦǢþűĢ܌-Ŏű-ƟþƢƷŎěƿŦþƢ܌-ŦŎűţƪ-Ʒ'nĩ*ƪ'nƔ*ƪŻƿűĢ-ȀĩŦĢƪ-ڑܐþűĢ-܌ڒܐ- þƪǜĩŦŦþƪ-ړܐþűĢ-ܒڔܐȃĩƢĩþƢĩþŦƪŻůƿŦƷŎƟŦŎěþƷŎǛĩþƢƢþűłĩůĩűƷƪܒ-FŻƢĩǡþůƟŦĩ܌-Ʒ'nĩ-ĢƿƢþƷŎŻű-ŻŁ- *ƪ'nƔ*ƪŻƿűĢ-ȀĩŦĢ-ڒܐ-ܤړڑܣěþű-ĚĩĩǡƟŦþŎűĩĢþƪþůƿŦƷŎƟŦŎěþƷŎŻű-ŻŁ-Ʒ'nĩ-ĢƿƢþƷŎŻűƪ-ڕ-ܣƪŻƿűĢ-ȀĩŦĢ-ܤڑܐ- þűĢ-ړ-ܣƪŻƿűĢ-ȀĩŦĢ-ܤړܐƪƿƢƢŻƿűĢŎűł-ŎƷܗĩơƿþŦŦǢ܌-Ʒ'nĩ-ĢƿƢþƷŎŻű-ŻŁ-Ʒ'nĩ*ƪ'nƔ*ܼƪƪŻƿűĢ-ȀĩŦĢ-ڐڐܐþűĢ-Ʒ'nĩ- ŁŻŦŦŻǜŎűł-ƟĩƢŁŻƢþƷŎŻű-ȀĩŦĢ-ܤڔܒږڑܣůŎł'nƷ-ĚĩþƟƟƢŻǡŎůþƷĩĢþƪþůƿŦƷŎƟŦŎěþƷŎŻű-ŻŁ-Ʒ'nĩƪƿƢƢŻƿűĢŎűł- ܒܤړܣ-ڑڐܐþűĢ-ܤږܣ-ڏڐܐ-ȀĩŦĢƪƪŻƿűĢ*ƪ'nƔ*

However consciously such time relationships may be constructed, they always create a ěŦĩþƢ-ĢŎƪƷŎűěƷŎŻű-ĚĩƷǜĩĩű-Ʒ'nĩěŦĩþƢŦǢůþƢţĩĢ*ƪ'nƔ*ƪŻƿűĢ-ȀĩŦĢƪ-܌ړܐ-܌ڕܐ-܌ژܐ-܌ڐڐܐ-܌ڒڐܐþűĢ-܌ړڐܐǜ'nŎě'n- open up wide-ranging "lingering" sound states of the orchestra (here, the length of these orchestral "echoes" clearly outweighs the *ƪ'nƔ*ܼƪ-ƟƢĩěĩĢŎűłƪŻƿűĢ-ȀĩŦĢ܌ܤþűĢ- Ʒ'nĩ- ƢĩůþŎűŎűł*ƪ'nƔ* sound ȀĩŦĢƪ܌-Ŏűǜ'nŎě'n-Ʒ'nĩ-ŻƢě'nĩƪƷƢþ-ŎűĢĩĩĢþěƷƪ-ƟƢŎůþƢŎŦǢþƪþ-ŁƢþůĩþűĢܘŻƢ-ƢĩƪŻűþűěĩ-ŻŁ-Ʒ'nĩ*ƪ'nƔ* in the foreground. In addition, the time-span organization reveals an analogy between the quasi-


*¼þĚŦĩ-ڗܘڙܑ-NĩŦůƿƷhþě'nĩűůþűűܒ-ConcertiniܒȁűþŦƪĩěƷŎŻűܒþűþŦǢƪŎƪ-ŻŁ-ƷĩůƟŻƢþŦ-ĢŎǛŎƪŎŻűƪ*

ƪǢůůĩƷƢŎěþŦŦǢþƢƢþűłĩĢ܌-ƟĩƢěĩƟƷƿþŦŦǢ-'nŎł'nŦǢƪŎłűŎȀěþűƷ-ŦþƢłĩ- ܹȀĩŦĢƪ-ŻŁþŦƷĩƢŎƷǢܺ-ܣơƿþƢƷþŦ-ȀĩŦĢ- þűĢ- ƟĩƢŁŻƢþƷŎŻű-ȀĩŦĢ܌ܤǜ'nŻƪĩ ƪƟĩěŎþŦþƿƢþŦĩDz ŁĩěƷ-Ŏƪ ƿűĢĩƢŦŎűĩĢ- ĚǢ- Ʒ'nĩ- ܹĢŎƪƟƢŻƟŻƢƷŎŻűþŦŎƷǢܺ-ŻŁ- their durations.ڜڡ-ÃűĢŻƿĚƷĩĢŦǢ܌-Ŏű-ĚŻƷ'něþƪĩƪ-Ʒ'nĩƪĩþƢĩůŻůĩűƷƪ-Ŏűǜ'nŎě'nþ-ܹƢŎƟĩƷĩƢĩþĢ-ŦŎĚŎƷƿůܺcould be prescribed to designate the points of contemplation that the composer has described as ĩƪƪĩűƷŎþŦ-ŁŻƢůþŦ-ƟŎǛŻƷƪ-Ŏű-'nŎƪǜŻƢţƪڝڡܒȃĩþűþŦŻłǢ-ŻŁ-Ʒ'nĩƪĩƪŻƿűĢƪƷþƷĩƪěŻƢƢĩƪƟŻűĢƪ-ƷŻþűþűþŦܮ ŻłǢ-ŻŁ-Ʒ'nĩ-ƷƢþűƪŁŻƢůþƷŎŻű-ȀĩŦĢƪþƷ-Ʒ'nĩ-ĚĩłŎűűŎűłþűĢþƷ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩƪěĩűĩ܌ǜ'nŎě'n-ƢĩŁĩƢ-ƷŻ-Ʒ'nĩ- ŁƢþůŎűłƪěĩűĩƪ-ܣűŻڑڑݑܒþűĢűŻܒ-ܤړڑ-Ŏűþű-ܹŎűƷƢþܮŻƟƿƪܺůþűűĩƢܒȃĩ-ĢŎDz ŁĩƢĩűƷ-ŦĩűłƷ'n-ŻŁ-Ʒ'nĩĩě'nŻĩƪ- ŁƢŻůűŻ܋ڑڑݑܒ-*Himmelfahrt* Ŏű-Ʒ'nĩ-ȀƢƪƷ-ƷǜŻ*ƪ'nƔ*ƪŻƿűĢ-ȀĩŦĢƪ-ŻŁűŻڒڑݑܒ-ܣůů܌ڔڐڔܫڗڏڔݑܒ-ݳݑڕݯڔ-ڐڐ-ƟƢŻ-ƟŻƢƷŎŻű-ǛþŦƿĩƪܤþűĢ-Ʒ'nĩ-ƟƢĩůþƷƿƢĩĩűƷƢǢ-ŻŁ-Ʒ'nĩ-ܹƷŻűĩŦĩƪƪܺĩƟŎŦŻłƿĩƪƷƢƿěƷƿƢĩþƷ-Ʒ'nĩĩűĢ-ŻŁűŻڒڑݑܒ- ܣůůܒ-܋ڔړڕܫڕڑڕ-ڐڑݑݳݑڑݯڕݯڒڐ-ƟƢŻƟŻƢƷŎŻű-ǛþŦƿĩƪܤůþǢ-ĚĩĩǡƟŦþŎűĩĢ-ĚǢþ-ŦþƢłĩܮƪěþŦĩ-ƷĩűĢĩűěǢǜŎƷ'nŎű- the scene toward the momentum of the echoes and their emancipation from the *ƪ'nƔ*ƪŻƿűĢ-ȀĩŦĢƪܒ

ÃűĢŻƿĚƷĩĢŦǢ܌-Ʒ'nĩ-ĢĩŦŎĚĩƢþƷĩ-ĢĩƪŎłű-ŻŁ-Ʒ'nĩ-ƷĩůƟŻƢþŦ-ƟƢŻƟŻƢƷŎŻűƪþŦƪŻ-ƢĩƟƢĩƪĩűƷƪþ-ƟĩƢěĩƟ-ƷƿþŦŦǢþűĢ- ƟƪǢě'nŻŦŻłŎěþŦŦǢ- ƢĩŦĩǛþűƷ ěþƷĩłŻƢǢ܌ ƪŎűěĩ- Ʒ'nĩ ĩǛĩƢܮƢĩěŻűȀłƿƢŎűł- ƢĩŦþƷŎŻűƪ- ĚĩƷǜĩĩű- *ƪ'nƔ*ƪŻƿűĢ-ȀĩŦĢƪþűĢĩě'nŻĩƪ-ŁŻƢůþ-ĢĩěŎƪŎǛĩěƢŎƷĩƢŎŻű-ŁŻƢ-Ʒ'nĩ-ŦŎƪƷĩűŎűł-ŻƢŎĩűƷþƷŎŻűܒ--ƢĩŦĩǛþűƷ- approach applicable to further interpret this scene in its larger context is the connection between a "saturated" listening situation, in which the expectation of change in the musical structure becomes increasingly "urgent" due to a permanently evaded closure, and the experience of musical coherence as developed in the music-theoretical discourse on expectancy and ڞڡ.implication

ڷڼ- ŧƸŊżǀŃŊ-ƸŊĪ-ƠƣżƠżƣƸŏżŲƫżł-ڕڍÿŲģ-ڕڍڑ-ĜżǀŧģěĪƣĪŃÿƣģĪģÿƫ-ƠÿƣƸƫżł-ƸŊĪ-ܶÿŧƸĪƣŲÿƸŏǜĪܷ-FŏěżŲÿĜĜŏƫĪƣŏĪƫ-ܫڎڍܫړܫڑܫڎ ܉ڕڍ-ƸŊŏƫģżĪƫ-ŲżƸ-ĪǢƠŧÿŏŲ-ƸŊĪ-ĜżŰěŏŲÿƸŏżŲǝŏƸŊ-ƸŊĪ-ƠƣżƠżƣƸŏżŲÿŧ-ŲǀŰěĪƣ-ڔŏŲ-ƸŊĪ-ĜÿƫĪżł-ƸŊĪ-ƠĪƣłżƣÿƸŏżŲǿĪŧģ- ŧƫż܉ŏŲ-ƸŊĪ-ĜÿƫĪżł-ƸŊĪ-ƢǀÿƣƸÿŧǿĪŧģ܉-ƸŊĪ-ƠƣżƠżƣƸŏżŲżł-ڕڍ܈ڑǝżǀŧģ-ŊÿǜĪ-ƸżěĪ-ĜżŲƫƸƣǀĜƸĪģǝŏƸŊ-ƸŊĪŧĪƫƫ-Ơŧÿǀƫŏܫ ěŧĪżŰŏƫƫŏżŲżł-ƸŊĪ-ŲǀŰěĪƣƫ-ړÿŲģ-ڎڍ-1/4ŊĪƣĪłżƣĪ܉ŏƸƫĪĪŰƫ-ŰżƣĪ-ĜżŲƫŏƫƸĪŲƸ-ƸżƣĪŃÿƣģěżƸŊǿĪŧģƫÿƫ-ĜżŲƫĜŏżǀƫŧǣ- ƫƸƣĪƸĜŊĪģ-ܶƫżǀŲģƫƸÿƸĪƫܷ-ƸŊÿƸěƣĪÿŤżǀƸżł-ƸŊĪ-ƠƣżƠżƣƸŏżŲÿŧƫƸƣǀĜƸǀƣĪ

ڒڍܷ-܉ƸƣǀŤƸǀƣ®-܉rÿŃŏĪ-܉fŧÿŲŃ-ܶ܉ÃƸǭÿŲģ-܉GÿģĪŲƫƸďƸƸĪƣ-܉hÿĜŊĪŲŰÿŲŲ- -ڸڼ

ڹڼ- hĪżŲÿƣģݎݎrĪǣĪƣŏŲƸƣżģǀĜĪƫ-ƸŊĪ-ĜżŲĜĪƠƸżł-ܶƫÿƸǀƣÿƸŏżŲܷŏŲ-ƸŊĪ-ĜżŲƸĪǢƸżł-ŊŏƫěÿƫŏĜ-ĜżŲĜĪƠƸƫżł-ܶĜżŰƠŧĪƸŏżŲܷÿŲģ- ܶĜŧżƫǀƣĪܷ܈-ܶǿŃǀƣĪǝŊŏĜŊŏƫƣĪƠĪÿƸĪģżǜĪƣÿŲģżǜĪƣÿŃÿŏŲÿƣżǀƫĪƫÿƫƸƣżŲŃ-ĪǢƠĪĜƸÿƸŏżŲżł-ĜŊÿŲŃĪěżƸŊěĪĜÿǀƫĪ- ĜżŲƸŏŲǀÿƸŏżŲŏƫŏŲŊŏěŏƸĪģÿŲģěĪĜÿǀƫĪ-ƸŊĪǿŃǀƣĪŏƫ-ŲżƸÿŧŧżǝĪģ-ƸżƣĪÿĜŊ-ĜżŰƠŧĪƸŏżŲܷ-ܠrĪǣĪƣ܉-*Emotion and Meaning in Music*܉-ڑڏڍܡ

FŻƢ-Ʒ'nĩ-ȀűþŦƪĩěƷŎŻű-ŻŁ-*Concertini* one could probably develop a similar argument. Here, too, Ʒ'nĩ-ŻǛĩƢþŦŦ-ƟƢŻƟŻƢƷŎŻűƪ-ܣ1/4þĚŦĩ-ܤڑܒړƪ'nŻǜþűƿůĩƢŎěþŦŦǢ-ǛĩƢǢěŦĩþƢƪƷƢƿěƷƿƢĩ-Ŏűǜ'nŎě'nþŦŦ-Ʒ'nƢĩĩ- ܹěþĢĩűƷŎþŦƪŻƿűĢƪܺ-ܣƪŻƿűĢ-ȀĩŦĢƪ-܌ڑܐ-܌ڔܐþűĢ-ܤڗܐþƢĩ-ƟƢĩěĩĢĩĢ-ĚǢ-ŦŻűłĩƢƪĩěƷŎŻűƪ-ŻŁþŦůŻƪƷĩǡþěƷŦǢ- Ʒ'nĩƪþůĩ-ĢƿƢþƷŎŻű-ܣ'nĩƢĩ-Ʒ'nĩ-ƟƢŻƟŻƢƷŎŻűþŦűƿůĚĩƢ-ڔڑ-ŻƢ-Ʒ'nĩ-ĢƿƢþƷŎŻű-ŻŁ-ڏڏڐơƿþƢƷĩƢƪþŦƪŻ-ŁŻƢů- Ʒ'nĩ ůĩþű- ǛþŦƿĩ܋ܤ- ܫڔږܒڔڑ**4**–21–**7**–21–**3** ܣǜŎƷ'n- Ʒ'nĩ- Ʒ'nƢĩĩ ěþĢĩűƷŎþŦ ƪŻƿűĢƪ- Ŏű- ĚŻŦĢܒܤ- SűƷĩƢƟƢĩƷĩĢ- ŁƢŻůþ-ĢŎDz ŁĩƢĩűƷþűłŦĩ܌-ŻűĩěþűƪþǢ-Ʒ'nþƷ-Ʒ'nĩƢĩþƢĩĩǡþěƷŦǢ-Ʒ'nĩƪþůĩ-ĢŎƪƷþűěĩƪ-ĚĩƷǜĩĩű-Ʒ'nĩ-Ʒ'nƢĩĩ- ěþĢĩűƷŎþŦƪŻƿűĢƪ܌þűĢ-ĚĩƪŎĢĩƪ-Ʒ'nĩƪƿů-ŻŁ-Ʒ'nĩ-ƷǜŻ-ŁƢþůŎűłƪŻƿűĢƪܼ-ĢƿƢþƷŎŻűƪ-ڑܐܣþűĢ-ܤڗܐłŎǛĩƪ- Ʒ'nĩ-ĢƿƢþƷŎŻű-ŻŁ-Ʒ'nĩěĩűƷƢþŦ-ŁŻƿƢƷ'n-/KܮړKړ-܋ܤڔܐܣ-**4**–21–**7**]**4+3**–[21–**3**ܒȃĩĩƟ'nĩůĩƢþŦűþƷƿƢĩ-ŻŁ-Ʒ'nĩ- Ʒ'nƢĩĩěþĢĩűƷŎþŦƪŻƿűĢƪ܌ǜ'nŎě'nƪĩĩů-ƷŻ-ǴŦþƪ'nƿƟ-ŎűƪƷþűƷþűĩŻƿƪŦǢ-ŁƢŻůþƪĩþ-ŻŁ-ĢŎDz ŁĩƢĩűěĩƪ܌łŎǛĩƪ- Ʒ'nŎƪ-ȀűþŦƪĩěƷŎŻűþůŻƢĩ-ŁƢþłůĩűƷþƢǢě'nþƢþěƷĩƢǜ'nĩűěŻůƟþƢĩĢ-ƷŻ-Ʒ'nĩ-Ʒ'nƢĩĩ-ȀűþŦƪěĩűĩƪ-ŻŁ-Ʒ'nĩ- ܹŻƟĩƢþܒܺűĩůŎł'nƷþƢłƿĩ-Ʒ'nþƷ܌-Ŏű-Ʒ'nĩ-ŦŻűł-ܹěŻĢþܺ-ŻŁ-*Concertini*܌-Ʒ'nĩƪþůĩţŎűĢ-ŻŁ-ĢŎƪŎűƷĩłƢþƷŎŻű- Ʒ'nþƷ-ŎűěƢĩþƪĩƪěŻűƪƷþűƷŦǢ-Ŏűƪěĩűĩƪ-ڑڑ-ƷŻ-ړڑ-ŻŁ-*ȄĩhŎƷƷŦĩrþƷě'n-GŎƢŦ* up to the "toneless" barrenness of the epilogue prevents a stabilization of the musical structure from the outset.

### Narrativity

hþě'nĩűůþűűܼƪ-ƷĩǡƷ-ܹ/ŎűĩůƿƪŎţþŦŎƪě'nĩ-NþűĢŦƿűłܺ-ܣܹrƿƪŎěþŦ-£ŦŻƷܺ܌ܤǜ'nŎě'nþěěŻůƟþűŎĩƪ-*Ȅĩ- Little Match Girl*-ŎűƪƷĩþĢ-ŻŁþ-ŦŎĚƢĩƷƷŻ-ŻƢƪǢűŻƟƪŎƪ܌-ŎűŎůŎƷþĚŦǢ-ŦŎűţƪ-Ʒ'nĩ-Ʒĩě'nűŎěþŦܮƟŻĩƷŎě-ĢĩƪěƢŎƟtion of musical processes, references to the underlying texts of Hans Christian Andersen, Gud-Ƣƿű-/űƪƪŦŎű܌ þűĢ hĩŻűþƢĢŻ- ĢþßŎűěŎ܌ þűĢůƿƪŎěþŦ- ƢĩŁĩƢĩűěĩƪ- ƷŻ- 'nŎƪ-ŻǜűǜŻƢţƪ þűĢ- Ʒ'nŻƪĩ-ŻŁ- ŻƷ'nĩƢƪܒȃĩ-ĢŎƪěƿƪƪŎŻű-Ʒ'nþƷ-'nþƪ-ĚĩĩűłŻŎűł-Żű-ŁŻƢƪŻůĩ-ƷŎůĩ-ŎűůƿƪŎěŻŦŻłǢþƪ- ƷŻ-'nŻǜůƿƪŎě܌- especially instrumental music, might perform narrative functions or in which cases it is ap-ƟƢŻƟƢŎþƷĩ܌-ŻƢĩǛĩűűĩěĩƪƪþƢǢ܌-ƷŻþƟƟŦǢ-Ʒ'nĩěŻűěĩƟƷ-ŻŁűþƢƢþƷŎǛŎƷǢ-ƷŻůƿƪŎě-ݑދܣSSS܌ܤڔܒƪĩĩůƪ-ƷŻ-Ěĩ- þűƪǜĩƢĩĢ-ĚǢ-Ʒ'nŎƪ-ƷĩǡƷ-ŎűþƪƷƢŎţŎűłŦǢƪƷƢþŎł'nƷŁŻƢǜþƢĢůþűűĩƢ܋

®ŊĪģÿƣĪƫ-ŲżƸƣĪƸǀƣŲ-ŊżŰĪ-¼ŊĪ-Ĝżŧģ-ŃƣÿģǀÿŧŧǣěĪĜżŰĪƫ-ŰżƣĪÿŃŃƣĪƫƫŏǜĪ܉ƣĪÿĜŊŏŲŃłżƣ-ŊĪƣrǀƫŏĜ܉ÿƫŏƸƫŏŰÿŃĪ܉ěĪĜżŰĪƫƫŊƣŏŧŧ܉ǜŏżŧĪŲƸżŲĜĪÿŃÿŏŲŏŲÿģŏdz łĪƣĪŲƸ-ŰÿŲŲĪƣ܉ŏŲǜżŤŏŲŃ-ƸżƣƠżƣÿŲģ- ƸƣĪŰěŧŏŲŃ-ŰżƣƸÿŧłĪÿƣżł-ŃƣżǝŏŲŃ-ĜżŧģżŲĪƫĪŧł-ܟ܊ܞ

¼ŊĪ-Ńŏƣŧ-ĜżŰĪƫ-ƸżÿŃÿŏŲŏŲ-ƸŊĪ-ŊĪŧģƫĪĜżŲģÿŲģǿŲÿŧŧǣÿŃÿŏŲ-ƸŊĪ-ܶ®ĜƣÿƸĜŊ܋ܷ-GƣĪÿƸĪƫƸƫżǀŲģ-ƠĪƣłżƣÿƸŏżŲżłÿŧŧ܈ƣŏǽ ƸÿĜƣżƫƫ-ƸŊĪǜĪƣƸĪěƣÿĪżł-ƸŊĪ-ƠŏÿŲżƫƸƣŏŲŃƫ܉šǀƫƸÿƫ-ƸŊĪ-ƠÿƸƸĪƣŏŲŃ-ƠŏǭǭŏĜÿƸżÿƣƠĪŃ-Ńŏżƫ܉-ƠŧÿǣĪģǝŏƸŊ-ƠŧĪĜƸƣǀŰƫěĪŊŏŲģ-ƸŊĪěƣŏģŃĪżł-ƸŊĪƫƸƣŏŲŃŏŲƫƸƣǀŰĪŲƸƫ܉-ƸƣÿŲƫŏƸŏżŲ-ƸŊƣżǀŃŊǜŏÿÿ- ŊÿŰŰĪƣŏŲŃǝżżģĪŲƫƸŏĜŤ-Ƹż-ƸŊĪÿƠƠĪÿƣÿŲĜĪżł-ƸŊĪ-GƣÿŲģrżƸŊĪƣ܉-ŊĪƣ-ŃŏÿŲƸ-ĜżŲƸżǀƣƫƫŤĪƸĜŊĪģŏŲ- żŲĪǜżŏĜĪěǣ-ƸŊĪżƣĜŊĪƫƸƣÿÿƫ-Ƣǀÿƫŏ-ƠĪģÿŧŧĪģ-ǀŲŏƫżŲżŧŏŲĪ-ܠܶ*Her grandmother had never appeared so large, so beautiful"*ܡ ڜڞ

rƿě'n-'nþƪþŦƢĩþĢǢ-ĚĩĩűƪþŎĢþĚŻƿƷ-Ʒ'nĩƪƟĩěŎȀě-ƟŎěƷŻƢŎþŦě'nþƢþěƷĩƢ-ŻŁhþě'nĩűůþűűܼƪůƿƪŎě܌þűĢ- ĢŎDz ŁĩƢĩűěĩƪ-ŁƢŻůěŻűǛĩűƷŎŻűþŦěŻűěĩƟƷƪ-ŻŁůƿƪŎěþŦűþƢƢþƷŎǛŎƷǢ-'nþǛĩ-Ěĩĩű-ŎĢĩűƷŎȀĩĢ-Ŏű-Ʒ'nĩ-Łƿű-

ںڼ- hÿĜŊĪŲŰÿŲŲ܉-ܶrǀƫŏĜÿŧ-£ŧżƸ܉ܷ-ڑڍܨڐڍ-ܠƸƣÿŲƫŧÿƸŏżŲÿģÿƠƸĪģܡ-ܠܶRŏĪǝÿŃƸ-ŲŏĜŊƸ-ŲÿĜŊ-NÿǀƫĪǭǀ-ŃĪŊĪŲ-'ŏĪfďŧƸĪǝŏƣģ- ǭǀŲĪŊŰĪŲģÿŃŃƣĪƫƫŏǜ܉-ŃƣĪŏǽ Ƹ-ŲÿĜŊŏŊƣrǀƫŏŤ܉ÿŧƫŏŊƣěěŏŧģ܉-ŃĪƣďƸ-ŲżĜŊŰÿŧƫÿǀłÿŲģĪƣĪàĪŏƫĪŏŲƫ-®ĜŊƣŏŧŧĪ܉-GĪǝÿŧƸƫÿŰĪ܉ěĪƫĜŊǝƇƣƸǭǀŃŧĪŏĜŊ-/ƣƫƸÿƣƣǀŲŃ-ǀŲģǭŏƸƸĪƣŲģĪ-¼żģĪƫÿŲŃƫƸǜżƣģĪŰ-ĪŏŃĪŲĪŲ-/ƣŤÿŧƸĪŲ-ܟ܊ܞ-'ÿƫrďģ-ĜŊĪŲ-ŤżŰŰƸǝŏĪģĪƣǭǀƫŏĜŊŏŰ-ŃĪŊÿŧƸĪŲĪŲ-®ĪŤǀŲģŤŧÿŲŃ-ǀŲģƫĜŊŧŏĪƷŧŏĜŊģÿƫ-ĪƣŲĪǀƸĪ-ܸ¦ŏƸƫĜŊ܋ܹ-GƣƇƷƸĪ-GĪƣďǀƫĜŊ-ƠĪƣłżƣÿƸŏżŲ܈-¦ŏƫƫdžěĪƣģŏĪàŏƣěĪŧģĪƣfŧÿǜŏĪƣƫÿŏƸĪŲ܉-ĪěĪŲƫżǝŏĪ-ƠƣÿƫƫĪŧŲģĪ-ƠŏǭǭŏĜÿƸżܫƣƠĪŃŃŏĪŲ܉ÿǀƫŃĪłdžŊƣƸ-ŰŏƸ- £ŧĪŤƸƣĪŲ-ŊŏŲƸĪƣŰ-®ƸĪŃģĪƣ-®ƸƣĪŏĜŊĪƣ܉-ÉěĪƣŃÿŲŃģǀƣĜŊ-ŊďŰŰĪƣŲģĪŲ-NżŧǭƫƸÿěǭǀƣ-/ƣƫĜŊĪŏŲǀŲŃģĪƣ-GƣżƷrǀƸƸĪƣ܉- ŏŊƣĪ-¦ŏĪƫĪŲŤżŲƸǀƣǜżŰƣĜŊĪƫƸĪƣ-ĪŏŲƫƸŏŰŰŏŃ-ŃĪǭĪŏĜŊŲĪƸÿŧƫ-Ƣǀÿƫŏ-ƠĪģÿŧŏƫŏĪƣƸĪ-ÃŲŏƫżŲżܫhŏŲŏĪ-*('Die Großmutter war noch nie so schön, so groß gewesen.')*ܷ-ܠhÿĜŊĪŲŰÿŲŲ܉-ܶ/ŏŲĪ-ŰǀƫŏŤÿŧŏƫĜŊĪ-NÿŲģŧǀŲŃ܉ܷ-܉ڐ-ܡڒ

ĢþůĩűƷþŦþůĚŎłƿŎƷǢ-ŻŁ-Ʒ'nĩ-ܹŎůþłĩƪܺƿűěŻǛĩƢĩĢ-ĚǢ-'nŎƪůƿƪŎěܒ-/Ǜĩű-Ʒ'nŻƿł'nhþě'nĩűůþűűܼƪ-ܹŦŎƪtening guide" seems to suggest rather unambiguous assignments, this fundamental ambigui-ƷǢ-ƢĩƪƿŦƷƪ-ŁƢŻů-Ʒ'nĩ-ŁþěƷ-Ʒ'nþƷþűǢěŻűǛĩűƷŎŻűþŦƪĩůþűƷŎěƪ-Ŏű'nĩƢĩűƷ-Ŏű-Ʒ'nĩƪŻƿűĢƪ-Ŏƪ-ȀƢƪƷ-ŻŁþŦŦ- compositionally deconstructed by what the composer has called *musique concrète instrumentale*, ǜ'nŎě'nƿűěŻǛĩƢƪ-Ʒ'nĩ-Ɵ'nǢƪŎěþŦěŻűĢŎƷŎŻűƪ-ŻŁƪŻƿűĢ-ƟƢŻĢƿěƷŎŻűþűĢůþţĩƪ-ŎƷ-Ʒ'nĩ-ƷŻƟŎě-ŻŁěŻůƟŻsition.ڠڡ Similarly, the semantic character of the music may be deconstructed by means of the ܹěƢǢƟƷŻܮƷŻűþŦܺ- Ʒĩě'nűŎơƿĩƪ-ŻŁ-ƟŎƷě'n-ŻƢłþűŎǬþƷŎŻű-ĢŎƪěƿƪƪĩĢþĚŻǛĩܒ-FŻƢhþě'nĩűůþűű܌- Ʒ'nĩƢĩŁŻƢĩ܌there is no contradiction between the demand for structurally oriented listening and the ex-ƟŻƪŎƷŎŻű-ŻŁ-ƟŎěƷŻƢŎþŦþƪƪŻěŎþƷŎŻűƪܒȃŎƪěŦþƢŎȀĩƪ-'nŎƪƪƷþƷĩůĩűƷ-Ʒ'nþƷ- ܹƟƢĩěŎƪĩŦǢ- ܻƪƷƢƿěƷƿƢþŦŦǢܼ-ĢŎrected listening, that is, an observing perception of the immediate sounds and the connections acting in them, is connected to internal images and sensations that by no means distract from that observation process, but remain inseparably connected to it and even lend it a special characteristic intensity."ڡڡ-Sű-Ʒ'nĩěŻűƷĩǡƷ-ŻŁƪƿě'nþ-ܹƟŎěƷŻƢŎþŦܺűþƢƢþƷŎŻűþƪĩǛŻţĩĢ-ĚǢůƿƪŎě܌-Ʒ'nĩ-ƷŻnal quality and symbolism of body gestures and movements, such as trembling or the igniting of a match, are of particular importance, since they converge with a repertoire of noise sounds Ʒ'nþƷhþě'nĩűůþűű-'nþƪěŻűƷŎűƿŻƿƪŦǢ-ƢĩȀűĩĢþűĢĩǡƟþűĢĩĢƪŎűěĩ-Ʒ'nĩ-ڏڕژڐƪܒ

£ĩƢ'nþƟƪ- Ʒ'nĩ ěŻűƷƢþĢŎěƷŎŻű- ĚĩƷǜĩĩű- Ʒ'nĩ ƿűþůĚŎłƿŻƿƪűĩƪƪ- ŻŁ hþě'nĩűůþűűܼƪůƿƪŎěþŦŎǬĩĢ- prose in the "Musical Plot" and the demand for an openness to pictorial associations could be ƢĩƪŻŦǛĩĢ-ĚǢ- ƷþţŎűł- Ʒ'nŎƪ- ܹŦŎƪƷĩűŎűłłƿŎĢĩܺþƪ-ŻűŦǢ-Żűĩ-ƟŻƪƪŎĚŦĩ܌-ĚǢűŻůĩþűƪ-ĚŎűĢŎűłůƿƪŎěþŦܮ űþƢƢþƷŎǛĩ ƪƷƢƿěƷƿƢĩܒȃŎƪ ěþű ĩþƪŎŦǢ- Ěĩ ƿűĢĩƢƪƷŻŻĢ- ŁƢŻů- Ʒ'nĩ- ȀűþŦ ƪěĩűĩƪ- ĢŎƪěƿƪƪĩĢ- 'nĩƢĩܒ- Sű- hþě'nĩűůþűűܼƪ- ƷĩǡƷ-ܣþűĢƪěŻƢĩ܌ܤ- Ʒ'nĩ-ȀƢƪƷƿƪĩ-ŻŁ- Ʒ'nĩ*ƪ'nƔ* coincides with the arrival of the little łŎƢŦ-Ŏű-'nĩþǛĩű܌ůþƢţĩĢ-ĚǢűĢĩƢƪĩűܼƪ-Ɵ'nƢþƪĩ-ܹƪŎĩǜþƢĩű-ĚĩŎ-GŻƷƷܺ-ܣܹƷ'nĩǢǜĩƢĩǜŎƷ'n-GŻĢܺܒܤ-FŻƢ- hþě'nĩűůþűű܌-Ʒ'nĩ-ܹƪŎŦǛĩƢǢ-ƢĩůŻǛĩĢƪŻƿűĢ-ŻŁ-Ʒ'nĩ-ܻ®'nƔܼ-ܢ܍ܡ-Ŏű-Ʒ'nĩ-'nþƟƟǢܮŦŎĚĩƢþƷĩĢƪĩűƪĩܺ-ŁŻƢůƪþ- "'comfortless' medium of the transcendent," then "returning seamless[ly]" to the "cold morning 'nŻƿƢܺ-ŻŁ-Ʒ'nĩ-ȀűþŦƪěĩűĩ-ڢڡܒړڑ

Sű-Ʒ'nĩěŻűƷĩǡƷ-ŻŁhþě'nĩűůþűűܼƪűþƢƢþƷŎǛĩƪƷƢƿěƷƿƢĩ܌ƪěĩűĩ-ڒڑ-Ʒ'nƿƪĩƪƪĩűƷŎþŦŦǢƪĩƢǛĩƪ-ƷŻěŻűcretize the celestial as a *musica coelestis* or *musica mundana*, which earlier music theory considered largely inaudible, but not actually sonically realizable. As outlined above, the *ƪ'nƔ*, already in its earlier form as the Chinese *sheng*, was associated with the mythical phoenix owing to ŎƷƪƪ'nþƟĩƪŎűěĩ-ǛĩƢǢĩþƢŦǢ-ƷŎůĩƪ-ݑދܣSßܤڐܒþűĢ-ŎƷƪƪŻƿűĢ-ŎƪþŦƪŻěŦŻƪĩŦǢ-ŦŎűţĩĢ-ƷŻ-Ʒ'nĩ-ĚĩƪƷܮţűŻǜű- *ƷƔłþţƿ* repertoire piece *Etenraku*, literally "music of heaven." Moreover, due to its high position and overtone-rich, strongly fused sonority, it seems predestined for such a musical-narrative ŁƿűěƷŎŻűܒ-Sűhþě'nĩűůþűűܼƪ-*Das Mädchen*܌-'nŻǜĩǛĩƢ܌-ŎƷ-Ŏƪ-ŦŎűţĩĢ-ƷŻ-Ʒ'nĩ-Ʒ'nƢĩþĢƪ-ŻŁ-Ʒ'nĩěŻůƟŦĩƷĩ- ǜŻƢţ-ǛŎþƪŻƿűĢ-ŻƢłþűŎǬþƷŎŻű܌-ƷŎůŎűł܌þűĢþŦƪŻ-ĚǢ-Ʒ'nĩěŻůƟŦĩǡůþűűĩƢ-ŻŁ-ŎƷƪƪŎŦĩűěŎűłܒ-Sű-ŎƷƪ- "structurality," it refutes the obvious assumption that it is only an easily accessible means of

ڻڼ- -RĪĪtżŲŲĪŲŰÿŲŲ܉-ܶrǀƫŏŤ-ŰŏƸŏŧģĪƣŲܷܔfÿŧƸĪŲĪĜŤĪƣ܉-ܶRǀěƸƣÿŤƸŏżŲ-ǀŲģ-SŲŤÿƣŲÿƸŏżŲ܉ܷÿŲģfÿŧƸĪŲĪĜŤĪƣ܉-ܶrǀƫŏƢǀĪ- concrète instrumentale."

ڼڼ- hÿĜŊĪŲŰÿŲŲ܉-ܸܶݎ܊ǭǝĪŏ-GĪłdžŊŧĪ܊ݎܹܷ-ܠܶܟ܊ܞ-ŃĪƣÿģĪģÿƫ-ܸƫƸƣǀŤƸǀƣĪŧŧܹ-ŃĪƣŏĜŊƸĪƸĪ-NƇƣĪŲ܉ģÿƫ-ŊĪŏƷƸģÿƫěĪżěÿĜŊƸĪŲģĪ- àÿŊƣŲĪŊŰĪŲģĪƫ-ǀŲŰŏƸƸĪŧěÿƣfŧŏŲŃĪŲģĪŲ-ǀŲģģĪƣģÿƣŏŲǝŏƣŤĪŲģĪŲðǀƫÿŰŰĪŲŊďŲŃĪ܉-ܞŏƫƸܟǜĪƣěǀŲģĪŲ-ܟ܊ܞ-ŰŏƸ- ŏŲŲĪƣĪŲŏŧģĪƣŲ-ǀŲģ-/ŰƠǿŲģǀŲŃĪŲ܉ģŏĪǜżŲšĪŲĪŰ-ĪżěÿĜŊƸǀŲŃƫƠƣżǭĪƫƫ-ŤĪŏŲĪƫǝĪŃƫÿěŧĪŲŤĪŲ܉ƫżŲģĪƣŲ-ǀŲ-ƸƣĪŲŲěÿƣ-ŰŏƸŏŊŰǜĪƣěǀŲģĪŲěŧĪŏěĪŲ-ǀŲģŏŊŰƫżŃÿƣ-ĪŏŲĪěĪƫżŲģĪƣĪ-ĜŊÿƣÿŤƸĪƣŏƫƸŏƫĜŊĪ-SŲƸĪŲƫŏƸďƸǜĪƣŧĪŏŊĪŲܷܡ

ڽڼ- hÿĜŊĪŲŰÿŲŲ܉-ܶrǀƫŏĜÿŧ-£ŧżƸ܉ܷ-ڒڍ-ܠƸƣÿŲƫŧÿƸŏżŲÿģÿƠƸĪģܡ-ܠƫĪĪ-ƸŊĪƫĪĜƸŏżŲ-*Sound Organization*ÿěżǜĪܡ-ܠܶ'Īƣ-ŲżĜŊ- ǜĪƣěŧĪŏěĪŲģĪ-SŲƫƸƣǀŰĪŲƸÿŧÿƠƠÿƣÿƸěŏŧģĪƸ-ĪŏŲĪŲ-Nżł-ǀŰģĪŲƫŏŧěĪƣŲܫĪŲƸƣdžĜŤƸĪŲfŧÿŲŃģĪƫ-ܸ®Ŋƀܹ-܈ܟ܊ܞŏŰ-ŃŧdžĜŤŧŏĜŊܫ ěĪłƣĪŏƸĪŲ- ®ŏŲŲĪ- ܸƸƣżƫƸŧżƫĪƫܹ rĪģŏǀŰ ģĪƫ- ¼ƣÿŲƫǭĪŲģĪŲƸĪŲ܉ ěƣǀĜŊŧżƫ- ŊŏŲdžěĪƣܫ ěǭǝ ǭǀƣdžĜŤłdžŊƣĪŲģ ŏŲ ģŏĪ- ܸŤÿŧƸĪ- ܡڒ ܷ܉NÿŲģŧǀŲŃ-ŰǀƫŏŤÿŧŏƫĜŊĪŏŲĪ-ܶ/܉hÿĜŊĪŲŰÿŲŲܠܷ-ܟ܊ܞܹrżƣŃĪŲƫƸǀŲģĪ

łĩűĩƢþƷŎűłþƿƢþܗ-ƢþƷ'nĩƢ-ŎƷƪĩĩůƪ܌þƪ-Ʒ'nĩ-ƷŎůĩƪƟþűþűþŦǢƪŎƪƪ'nŻǜĩĢ܌-ƷŻ-ĚĩěŻűűĩěƷĩĢ-ƷŻþěŻűܮ struction-based "celestial mechanics."

űĩůŎł'nƷěŻűěŦƿĢĩ-ŁƢŻů-Ʒ'nŎƪěŻűƪƷĩŦŦþƷŎŻű-ŻŁ-ŎĢĩþƪ-Ʒ'nþƷ-Ʒ'nĩƢĩ-Ŏƪþ-ܹ'nþƢůŻűŎǬŎűłܺ-ŁƿƪŎŻű-ŻŁ- *ƪ'nƔ*þűĢ-ŻƢě'nĩƪƷƢþ-Ŏűƪěĩűĩ-ڒڑ-ĚþƪĩĢ-Żű-Ʒ'nĩ-'nǢĚƢŎĢěŻůĚŎűþƷŎŻű-ŻŁ-ĢĩěŻűƪƷƢƿěƷĩĢ-ܹ/ƿƢŻƟĩþűܺþűĢ- "Japanese" harmonies. Analogously to the course of Andersen's narrative structure, this harmonization of opposites seems to appear only temporarily intact, designed as pure hallucination, þűĩƪěþƟŎƪƷ-ŁþűƷþƪǢ-ŎűĩǛŎƷþĚŦǢ-ŁŻŦŦŻǜĩĢ-ĚǢ-Ʒ'nĩ-ܹ'nþƢĢ-ŁþěƷƪܺ-ŻŁǜŻƢŦĢŦǢ-ƢĩþŦŎƷǢܒȃĩ-Ŏůþłĩ-ŻŁ-Ʒ'nĩ- little girl's corpse, understood as an indictment not only of the society that shares responsibility for her death, but also of those who delight in the sentimentality of this image, appears to result in questions that cannot be answered by the hybrid sound formations of the *ƪ'nƔ*ƪěĩűĩܗ-ŻűĩůŎł'nƷ- even argue that this scene completely fails in its futile attempt to conjure up an "idyll."ڙڢ

hþƢłĩŦǢ-ŎűĢĩƟĩűĢĩűƷŦǢ-ŻŁ-Ʒ'nĩƪĩơƿĩƪƷŎŻűƪ܌-Ʒ'nĩĩǡƷƢþƷĩƢƢŎƷŻƢŎþŦě'nþƢþěƷĩƢ-ŻŁ-Ʒ'nĩ*ƪ'nƔ* sound reůþŎűƪþű-ŎůƟŻƢƷþűƷűþƢƢþƷŎǛĩ-ĚþƪŎě-ȀłƿƢĩ-Ŏű-*ȄĩhŎƷƷŦĩrþƷě'n-GŎƢŦ*that updates the topos of spa-ƷŎþŦ-ĢŎƪƷþűěĩ-ܫþěĩűƷƢþŦþĩƪƷ'nĩƷŎě-ȀłƿƢĩ-ŻŁűŎűĩƷĩĩűƷ'nܮþűĢ-ƷǜĩűƷŎĩƷ'nܮěĩűƷƿƢǢůƿƪŎě-ŁĩþƷƿƢĩĢ- perhaps most prominently in Gustav Mahler's music. In *Concertini* and its spatial disposition, in which the ensemble of soloists is placed around the audience in six heterogeneous groups, this topos becomes a basic element of the temporal-spatial narrative. Proximity and distance are here not only a question of individual listening position, but inscribed in extremely sharp ĢǢűþůŎěþűĢ łĩƪƷƿƢþŦěŻűƷƢþƪƷƪ-ŻűĩǛĩƢǢ-Ɵþłĩ-ŻŁ- Ʒ'nĩ ƪěŻƢĩܒűŦǢ-Ŏű- Ʒ'nĩ łƢĩþƷĩƢ- ŁŻěƿƪ-ŻŁ- Ʒ'nĩ- ȀűþŦ ƪĩěƷŎŻű- ĢŻĩƪ- Ʒ'nĩůƿƪŎě ƪĩĩů- ƷŻ ǜŎƷ'nĢƢþǜ-ŎűƷŻ- Ʒ'nĩ ěŻƢűĩƢƪ- ŻŁ- Ʒ'nĩ- ƢŻŻů- Ʒ'nƢŻƿł'n- ĢǢűþůŎěܮłĩƪƷƿƢþŦ-ƢĩþƪƪƿƢþűěĩܒ-£þƢƷŎěƿŦþƢŦǢ-Ŏű- Ʒ'nĩ- ǴŦĩĩƷŎűł-ǢĩƷƪŻĚĩƢ- ܹěþĢĩűƷŎþŦƪŻƿűĢƪ܌ܺ- Ʒ'nþƷ-ƟŎěţ- up the narrative thread of the *ƪ'nƔ*from the *Little Match Girl*'s ending, the topos of distance is formed into presence, an experienced moment. In its "utopian" harmony there is an inherent Ŧþǜǜ'nŎě'něþűűŻƷ-ĚĩěŻůƟŦĩƷĩŦǢ-ŎűƷĩłƢþƷĩĢ-ŎűƷŻ-Ʒ'nĩ-'nþƢůŻűŎěůþƷƢŎǡ-ŻŁ-Ʒ'nĩǜŻƢţþűĢ-Ʒ'nƿƪűĩłþƷĩƪþěŻűǛĩűƷŎŻűþŦěþĢĩűƷŎþŦ-ŁƿűěƷŎŻű܌þƪ-ŎƷ-ĢŻĩƪ-Ŏű-Ʒ'nĩ-ܹŻƟĩƢþܒܺhþě'nĩűůþűűܼƪůƿƪŎěþŦűþƢƢþtivity reveals its ambiguity, especially in its open endings.

### Interculturality

ȃĩþűþŦǢƪĩƪ-ƟƢĩƪĩűƷĩĢ-'nĩƢĩ-'nþǛĩþƷƷĩůƟƷĩĢ܌þŦĚĩŎƷ-Ŏű-ŁƢþłůĩűƷþƢǢ-Łþƪ'nŎŻű܌-ƷŻ-ƟƢĩƪĩűƷ-ĢŎDz ŁĩƢĩűƷ- ƟŻŎűƷƪ-ŻŁ-ǛŎĩǜ-Żű-Ʒ'nĩơƿĩƪƷŎŻű-ƟŻƪĩĢþƷ-Ʒ'nĩ-ĚĩłŎűűŎűł܌űþůĩŦǢ܌-'nŻǜhþě'nĩűůþűűܼƪůƿƪŎě-Ƣĩܮ alizes the simultaneity of an "irrupting" auratic alterity and dialectical mediation in the overall context in terms of compositional technique and aesthetics. With regard to the cultural con-ƷĩǡƷƿþŦŎǬþƷŎŻű-ŻŁ-Ʒ'nĩ-ܣƢĩþŦþűĢ-ŎůþłŎűþƢǢܤ*ƪ'nƔ* sounds, I have repeatedly referred to their "double coding," which evades simplistic culturalist assignments (in the sense, for example, that the *ƪ'nƔ*ǜŻƿŦĢ-ƟƢŻĢƿěĩ-ŻűŦǢ-ܹdþƟþűĩƪĩܺƪŻƿűĢƪþűĢ-Ʒ'nĩ-ŻƢě'nĩƪƷƢþ-ŻűŦǢ-ܹ/ƿƢŻƟĩþűܺ-ŻűĩƪܒܤȃĩůŻƢĩ- complex picture emerging from this interpretive model ultimately also raises questions about the historicity of the soloistic instrument and its repertoire.

£ŎĩƷƢŻ þǛþŦŦŻƷƷŎ- 'nþƪ ƪ'nŻǜű- 'nŻǜ hþě'nĩűůþűűܼƪ- ܹĢĩěŻűƪƷƢƿěƷŎŻűܺ-ŻŁ ěƿŦƷƿƢþŦ܌ ƪŻěŎþŦ܌ ƪĩŦŁܮ created conventions, automatisms, and structural plans presupposes a comprehensive critique of the notion of structure, a substantial parallel to the philosophical poststructuralism of dþěơƿĩƪ-'ĩƢƢŎĢþ܌-GŎŦŦĩƪ-'ĩŦĩƿǬĩ܌þűĢ-ŻƷ'nĩƢƪښڢܒ It is therefore not surprising that the term "interěƿŦƷƿƢþŦŎƷǢܺǜþƪƪŎůŎŦþƢŦǢĩǡƷĩűƪŎǛĩŦǢ-ܹĢĩěŻűƪƷƢƿěƷĩĢܺþűĢ-ƟƢŻĚŦĩůþƷŎǬĩĢ-ĚǢhþě'nĩűůþűű-Ŏűþ- ŦĩěƷƿƢĩþƷ-Ʒ'nĩ-ڕڏڏڑ-'þƢůƪƷþĢƷ-®ƿůůĩƢ- ŻƿƢƪĩ-ƟƿĚŦŎƪ'nĩĢ-Ŏű-܋ڗڏڏڑ

ڴڽ- -RĪĪ-NŏĪŤĪŧ܉-ܶSŲƸĪƣŤǀŧƸǀƣÿŧŏƸďƸÿŧƫ-ĪǢŏƫƸĪŲƸŏĪŧŧĪ-/ƣłÿŊƣǀŲŃ܉ܷ-ڑړ

ڵڽ Cavallotti, *'ŏDzłĪƣĪŲǭĪŲ*.

¼ŊĪ- ƸĪƣŰ- ܶŏŲƸĪƣĜǀŧƸǀƣÿŧܷ ŏƫ܉- ŲżƸ ǝŏƸŊżǀƸ šǀƫƸŏǿĜÿƸŏżŲ܉ ƫǀƫƠĪĜƸĪģ żł ģŏƫŃǀŏƫŏŲŃ żƣ- ĜżƫŰĪƸŏĜÿŧŧǣ- ŰÿƫŤŏŲŃ ǝŊÿƸ- Ĝżǀŧģ żƸŊĪƣǝŏƫĪ ěĪ ģĪƫĜƣŏěĪģ ģŏdz łĪƣĪŲƸŧǣ܉- ŲÿŰĪŧǣ ÿƫ- ƠÿƣÿƫŏƸŏĜ- ĪǢƠŧżŏƸÿƸŏżŲ܉ ƣĪǜܫ ĪƣĪŲƸŏÿŧżƣ-ǀŲƣĪƠĪŲƸÿŲƸ܉ŧżǜŏŲŃżƣ-ĜŧĪǜĪƣŧǣŏģǣŧŧŏĜ-ǀƫĪżłÿĪƫƸŊĪƸŏĜÿŧŧǣ-ܶŏŲƸĪƣĪƫƸŏŲŃܷěĪĜÿǀƫĪ-ǀŲܫ touched, "fresh," even "authentic" sources of fascination of "other," non-European or non-Central /ǀƣżƠĪÿŲ܉ěǀƸŏŲƸĪƣŲÿŧŧǣܨݎƫƸŏŧŧ-ܨŏŲƸÿĜƸ-ŊÿěŏƸÿƸƫ܉-ƸŊÿƸŏƫ܉-ĜǀŧƸǀƣĪƫ܈łƣĪƫŊ-ŰĪÿƸłżƣÿ-ƸŏƣĪģ-ĜǀŧƸǀƣĪ- ĪǢŊÿǀƫƸĪģÿŲģģƣÿŏŲĪģěǣÿ-ŃǣŰŲÿƫƸŏĜƫżłƣĪǵŧĪĜƸŏżŲÿŲģ-ƠĪƣƠĪƸǀÿŧ-ŊżƣŏǭżŲܫĜƣżƫƫŏŲŃ܉ÿŲģ-ƸŊĪ- ĜżŰƠżƫŏƸŏżŲÿŧ-ƠƣÿĜƸŏĜĪ-ƸƣÿƠƠĪģŏŲŏƸŏŲ-ƸŊŏƫ-ƠÿƣƸżł-ƸŊĪǝżƣŧģ-ܟ܊ܞ

SÿŰ-ŃŧÿģÿŲģŏƸŏƫŏŰƠżƣƸÿŲƸ-ƸŊÿƸ-ƸŊĪƣĪÿƣĪƫĪƣŏżǀƫŧǣŏŲŏƸŏÿƸĪģ-ܶŏŲƸĪƣĜǀŧƸǀƣÿŧܷ-ĪŲĜżǀŲƸĪƣƫ܉-ŲżƸżŲŧǣ- ŏŲ-ŰǀƫŏĜÿŲģ-ŲżƸżŲŧǣŏŲ-ƸŊĪżƸŊĪƣÿƣƸƫ܈ěǀƸ-ĪǜĪŲ-ƸŊĪǜĪƣǣŏģĪÿżł-ܶĪŲĜżǀŲƸĪƣܷƫƸƣŏŤĪƫ-ŰĪÿƫÿżŲĪܫ ƫŏģĪģŧǣàĪƫƸĪƣŲ-ƠƣżƠżƫŏƸŏżŲ-ܟ܊ܞ-1/4ŊŏŲŤŏŲŃŏŲ-/ǀƣżƠĪÿŲ-ƸĪƣŰƫ܉-ƸŊĪŏŲƸĪŧŧĪĜƸ܉-ŊżǝĪǜĪƣŏƸżƠĪƣÿƸĪƫ܉- ŰǀƫƸŧĪÿƠěĪǣżŲģŏƸƫżǝŲ-ŊżƣŏǭżŲ܉ěżƸŊŏŲŏŲƸĪƣĜǀŧƸǀƣÿŧģŏƫĜżǀƣƫĪÿŲģŏŲģĪÿŧŏŲŃǝŏƸŊŏƸƫĪŧł-SƸ- ÿĜƸǀÿŧŧǣƫĪĪŰƫƣĪÿģǣłżƣ-ƸŊŏƫŏŲŧǀĜŏģ-ŰżŰĪŲƸƫ܉łżƣ-ƸŊĪÿƫƠĪĜƸżł-ƸƣÿŲƫŃƣĪƫƫŏżŲŏƫÿ-ĜƣǀĜŏÿŧ-ƠÿƣƸ- żłŏƸƫ-ƸƣÿģŏƸŏżŲ-ܟ܊ܞ

¼ŊĪ-ŰǣƫƸĪƣǣÿŲģ-ƸŊĪ-ŰÿŃŏĜÿŲģ-ƸŊĪěĪÿǀƸǣżł-ƸƣÿģŏƸŏżŲÿŧdÿƠÿŲĪƫĪ-ĜżǀƣƸ-ŰǀƫŏĜ-ܟ܊ܞ-ŰÿǣłÿƫĜŏŲÿƸĪ- ǀƫÿĪƫƸŊĪƸŏĜÿŧŧǣ܉ŏŲƸĪƣĪƫƸ-ǀƫ܉żƣ-ĪǜĪŲ-ƸżǀĜŊƫżŰĪƸŊŏŲŃģĪĪƠǝŏƸŊŏŲ-ǀƫܨݎ-ŲĪǜĪƣƸŊĪŧĪƫƫ܉ŏƸƫƸƣŏŤĪƫ-ŰĪ- ÿƫ-ƠƣżěŧĪŰÿƸŏĜÿŲģ-ŰŏƫŧĪÿģŏŲŃ-ƸżƫƠĪÿŤżłƫǀĜŊÿŲ-ĪǢƠĪƣŏĪŲĜĪ܉-ŊżǝĪǜĪƣ-ƠƣĪĜŏżǀƫ܉ŏŲ-ƸŊĪƫÿŰĪ- ěƣĪÿƸŊÿƫÿ-ƸǣƠŏĜÿŧŧǣ-/ǀƣżƠĪÿŲÿƣƸŏƫƸŏĜ-ĪǢƠĪƣŏĪŲĜĪ-ܟ܊ܞ-£ĪƣŊÿƠƫŏƸŏƫŏŲǿŲŏƸĪŧǣƫǀƠĪƣŏżƣŏŲŏƸƫÿǀܫ ƸŊĪŲƸŏĜŏƸǣÿŲģƣŏƸǀÿŧŏŲƸĪŃƣŏƸǣ-ǀƸÿƫÿŲżěšĪĜƸżłŏŰƠżƣƸŏŲżǀƣàĪƫƸĪƣŲƣĪĜĪƠƸŏżŲ-ƠƣÿĜƸŏĜĪ܉ŏƸ- ƫżżŲěĪĜżŰĪƫÿŲ-ĪǢżƸŏĜŏģǣŧŧ܉ŏŲƫżłÿƣÿƫŏƸƫÿĪƫƸŊĪƸŏĜÿƠƠĪÿƣÿŲĜĪ܉ŏƸƫ-ƠĪƣĜĪŏǜĪģżǀƸĪƣƫŤŏŲ܉ƫż-Ƹż- ƫƠĪÿŤ܉-ĪŲƸĪƣƫ-ƸŊĪ-ŰĪģŏÿƸŏŲŃ-ŰĪĜŊÿŲŏƫŰƫżłżǀƣěżǀƣŃĪżŏƫÿƣƸܫżěƫĪƫƫĪģƣĪĜĪƠƸŏżŲƣŏƸǀÿŧƫ܈ŏŲ-ƸŊĪ- ĜżŲĜĪƣƸ-Ŋÿŧŧ܉żƣǝŊÿƸĪǜĪƣƣĪƠŧÿĜĪƫżƣƫǀƠƠŧĪŰĪŲƸƫŏƸ-Ƹżģÿǣ܉ƫƸżƣĪģżŲƫżǀŲģ-ŰĪģŏÿÿŲģ-Īÿƫŏŧǣ- accessible artifacts, in the musical request program on the radio.ژڟ

ȃĩ-ĢŻƿĚƷƪþĚŻƿƷěƿŦƷƿƢþŦŦǢĩűěŻĢĩĢůƿƪŎěþŦ-ŎĢŎŻůþƷŎƪůþƪþǜ'nŻŦĩ܌-Ʒ'nĩ-ŦĩłþěǢ-ŻŁ-Ʒ'nĩ-ŦŎűłƿŎƪƷŎě- ěƢŎƷŎơƿĩ-ŻŁ-Ʒ'nĩ-ƟŻƪƷǜþƢþǛþűƷܮłþƢĢĩ܌-ŎƪěŻůĚŎűĩĢ-'nĩƢĩǜŎƷ'n-Ʒ'nĩ-ŻDz ŁĩƢ-ƷŻ-ƟþƢƷŎěŎƟþƷĩ-ܫ-Ʒ'nƢŻƿł'n-

ڶڽ- hÿĜŊĪŲŰÿŲŲ܉-ܶ/ÿƫƸ-ŰĪĪƸƫàĪƫƸ܉ܐܷ-܉ڐڔ-܉ړڔ-ڌڕ-ܠܶ'Īƣ-ĪŃƣŏdz łģĪƫ-SŲƸĪƣŤǀŧƸǀƣĪŧŧĪŲƫĪƸǭƸƫŏĜŊ܉-ŲŏĜŊƸǭǀ-ÃŲƣĪĜŊƸ܉ģĪŰ- ßĪƣģÿĜŊƸÿǀƫ܉-ĪƸǝÿƫǭǀǜĪƣƫĜŊŧĪŏĪƣŲěǭǝ-ŤżƫŰĪƸŏƫĜŊǭǀ-ŰÿƫŤŏĪƣĪŲ܉ǝÿƫÿǀĜŊÿŲģĪƣƫěĪǭĪŏĜŊŲĪƸǝĪƣģĪŲ-ŤƇŲŲ-ƸĪ܈-ŲďŰŧŏĜŊÿŧƫ-ƠÿƣÿƫŏƸďƣĪ-ǀƫěĪǀƸǀŲŃ܉-ĪŊƣłǀƣĜŊƸƫǜżŧŧĪżģĪƣ-ĪŊƣłǀƣĜŊƸƫŧżƫĪ܉ŧŏĪěĪǜżŧŧĪżģĪƣƫĜŊŧÿǀŏģǣŧŧŏƫŏĪƣĪŲģĪ- tǀƸǭǀŲŃǜżŲďƫƸŊĪƸŏƫĜŊ-ܸŏŲƸĪƣĪƫƫÿŲƸĪŲܹ܉ǝĪŏŧ-ǀŲěĪƣdžŊƣƸ-ܸłƣŏƫĜŊĪŲܹ܉-Ńÿƣ-ܸÿǀƸŊĪŲƸŏƫĜŊĪŲܹ-FÿƫǭŏŲżƫÿ-ܸÿŲģĪƣĪƣܹ܉ÿǀƷĪƣ-ĪǀƣżƠďŏƫĜŊĪƣěǭǝÿǀƷĪƣŰŏƸƸĪŧĪǀƣżƠďŏƫĜŊĪƣ܉ǝŏĪÿǀĜŊŏŰŰĪƣŏŲƫŏĜŊ-ܨ-ŲżĜŊ-ܨŏŲƸÿŤƸĪƣhĪěĪŲƫƣďǀŰĪ܉ƫƠƣŏĜŊfǀŧ-ƸǀƣĪŲ܈-FƣŏƫĜŊǵŧĪŏƫĜŊłdžƣ-ĪŏŲĪ-ƠĪƣ-¦ĪǵŧĪǢŏżŲƫܫ-ǀŲģłżƣƸŃĪƫĪƸǭƸĪƣ-NżƣŏǭżŲƸdžěĪƣƫĜŊƣĪŏƸǀŲŃƫŃǣŰŲÿƫƸŏŤĪŲ-ĪƣƫĜŊƇƠł-ƸĪ܉-ŰdžģĪ܉ÿǀƫŃĪŧÿǀŃƸĪfǀŧƸǀƣ-ǀŲģŏŲŏŊƣ-ŃĪłÿŲŃĪŲĪŲ-ܞ*sic*ܟfżŰƠżŲŏĪƣƠƣÿǢŏƫ-ŊŏĪƣǭǀŧÿŲģĪ-ܟ܊ܞ-SĜŊěŏŲłƣżŊģÿƣdžěĪƣ- ǀŲģ-ĪƫŏƫƸǝŏĜŊƸŏŃ܉ģÿƫƫ-Īƫ-ĪƣŲƫƸŊÿǽ ƸŏŲģŏĪàĪŃĪ-ŃĪŧĪŏƸĪƸĪ-ܸŏŲƸĪƣŤǀŧƸǀƣĪŧŧĪܹ-ĪŃĪŃŲǀŲŃĪŲ-ŃŏěƸ܉-ŲŏĜŊƸ-ŲǀƣŏŲģĪƣ- rǀƫŏŤ-ǀŲģ-ŲŏĜŊƸ-ŲǀƣŏŲģĪŲÿŲģĪƣĪŲfdžŲƫƸĪŲ܈ěĪƣƫĜŊżŲģŏĪ-SģĪĪģĪƣ-ܸĪŃĪŃŲǀŲŃܹƫĪŧěƫƸƫĜŊĪŏŲƸ-Űŏƣ-ĪŏŲ-ĪŏŲƫĪŏƸŏŃ- ǝĪƫƸŧŏĜŊ-ŃĪƠƣďŃƸĪƫ-ŲƫŏŲŲĪŲǭǀƫĪŏŲ-ܟ܊ܞ-'ÿƫ-ĪǀƣżƠďŏƫĜŊ-ŃĪƠƣďŃƸĪ-'ĪŲŤĪŲ܉ģĪƣǝŏĪÿǀĜŊŏŰŰĪƣģĪŲŤĪŲģżƠĪƣŏĪƣĪŲģĪ-SŲƸĪŧŧĪŤƸ-ŰǀƫƫģÿěĪŏŏŰŏŲƸĪƣŤǀŧƸǀƣĪŧŧĪŲ-'ŏƫŤǀƣƫ-ǀŲģǭǀŃŧĪŏĜŊŏŰ-ÃŰŃÿŲŃ-ŰŏƸƫŏĜŊƫĪŧěƫƸ-ĪŏŲĪŲ-®ƠƣǀŲŃ- džěĪƣģĪŲ-ĪŏŃĪŲĪŲ-NżƣŏǭżŲƸ-ŰÿĜŊĪŲ-/ƣƫĜŊĪŏŲƸŏŲŧŏĜŊƸĪŲrżŰĪŲƸĪŲ-ƸÿƸƫďĜŊŧŏĜŊģÿǭǀěĪƣĪŏƸ܉ģĪŲŲ-ŃĪƣÿģĪģÿƫ- rżŰĪŲƸģĪƣ-ÉěĪƣƫĜŊƣĪŏƸǀŲŃ-ŃĪŊƇƣƸǭǀƫĪŏŲĪƣ-¼ƣÿģŏƸŏżŲ-ܟ܊ܞ-'ÿƫ-GĪŊĪŏŰŲŏƫ-ǀŲģģĪƣðÿǀěĪƣ-ǀŲģģŏĪ-®ĜŊƇŲŊĪŏƸ- ĪŏŲĪƣ-ƸƣÿģŏƸŏżŲĪŧŧĪŲšÿƠÿŲŏƫĜŊĪŲ-NżłŰǀƫŏŤ-ܟ܊ܞ-ŰÿŃ-ǀŲƫ-ܟ܊ܞďƫƸŊĪƸŏƫĜŊłÿƫǭŏŲŏĪƣĪŲ܉ŏŲƸĪƣĪƫƫŏĪƣĪŲżģĪƣÿǀĜŊ-ƸŏĪłŏŲ- ǀŲƫĪƣĪŰ-SŲŲĪƣŲěĪƣdžŊƣĪŲ-ܨģĪŲŲżĜŊ܉-ĪƫƫĜŊĪŏŲƸ-Űŏƣ-ƠƣżěŧĪŰÿƸŏƫĜŊ-ǀŲģŏƣƣĪłdžŊƣĪŲģ܉-ĪŏŲƫżŧĜŊĪƫ܉ǝŏĪÿǀĜŊŏŰŰĪƣ- ŤżƫƸěÿƣĪƫ܉-/ƣŧĪěŲŏƫŏŲ-ĪŏŲĪŰ-ƸĪŰǭǀ-ŲĪŲŲĪŲ-ŰŏƸ-ĪŏŲĪŰfǀŲƫƸܫ/ƣŧĪěŲŏƫ-ĪǀƣżƠďŏƫĜŊĪƣ-£ƣďŃǀŲŃ-ܟ܊ܞßŏĪŧŧĪŏĜŊƸŏƫƸ- šĪŲĪƫŏŲƫĪŏŲĪƣ-ǀƸŊĪŲƸŏǭŏƸďƸ-ǀŲģƣŏƸǀĪŧŧĪŲ-ÃŲŃĪěƣżĜŊĪŲŊĪŏƸģŏĪƫĪŰ-ǀŲĪŲģŧŏĜŊdžěĪƣŧĪŃĪŲěĪƣÿŧƫ-SŰƠżƣƸŃĪŃĪŲƫƸÿŲģŏŲ-ǀŲƫĪƣĪƣǝĪƫƸŧŏĜŊĪŲ-¦ĪǭĪƠƸŏżŲƫƠƣÿǢŏƫżǢǣģŏĪƣƸ-Īƫÿŧƫěÿŧģǭǀƣ-ĪǢżƸŏƫĜŊĪŲ-SģǣŧŧĪ܉ŏŲƫżłĪƣŲƫĪŏŲĪďƫƸŊĪƸŏƫĜŊĪ- /ƣƫĜŊĪŏŲǀŲŃ܉ƫżǭǀƫÿŃĪŲƫĪŏŲĪǝÿŊƣŃĪŲżŰŰĪŲĪ-ǀƷĪŲŊÿǀƸ܉ŏŲģŏĪßĪƣŰŏƸƸŧǀŲŃƫŰĪĜŊÿŲŏƫŰĪŲ-ǀŲƫĪƣĪƣědžƣŃĪƣŧŏĜŊĪŲ-ŤǀŲƫƸěĪǵŧŏƫƫĪŲĪŲ-¦ĪǭĪƠƸŏżŲƫƣŏƸǀÿŧĪ-ŃĪƣďƸ܈ŏŰfżŲǭĪƣƸƫÿÿŧżģĪƣǝÿƫŏŰŰĪƣŏŊŲ-ŊĪǀƸĪ-ĪƣƫĪƸǭƸżģĪƣ-ĪƣŃďŲǭƸ܉- ÿǀł-¼żŲƸƣďŃĪƣŲ-ŃĪƫƠĪŏĜŊĪƣƸ-ǀŲģěĪƢǀĪŰǭǀŃďŲŃŧŏĜŊ-ŰÿĜŊƸ܉ŏŰàǀŲƫĜŊŤżŲǭĪƣƸ-ĪŏŲĪƣ-¦ǀŲģłǀŲŤƫĪŲģǀŲŃܷܡ

a leap beyond one's own horizon – in a compositional-existential way in intercultural processĩƪ܌-Ʒ'nŻƿł'n-ŎƷ-Ŏƪ-'nþƢĢŦǢƪƟĩěŎȀĩĢǜ'nĩƢĩþűĢ-'nŻǜĩǡþěƷŦǢ-Ʒ'nĩ-ĚŻƿűĢþƢǢ-ĚĩƷǜĩĩűþ-ܣƪƿƟĩƢȀěŎþŦܤ- ܹĩǡƟŦŻŎƷþƷŎŻűܺþűĢþ-ܣƪƿĚƪƷþűƷŎþŦܤ-ܹƪĩŦŁܮþĢůŎƷƷŎűłܺ-ƷŻþű-ܹƷ'nĩƢܺǜŻƿŦĢ-Ěĩ-ĢƢþǜű-ݑދܣS܌ڑܒ-Sܒܤڒܒ-Ǣ- contrast, in his conceptualization of the *ƪ'nƔ*܌ hþě'nĩűůþűű ƪĩĩůƪ- ƷŻ- Ʒþţĩ þ-Ŧĩƪƪ- ĢƿþŦŎƪƷŎě þƟ-ƟƢŻþě'nܒ-RŎűěĩ-Ʒ'nĩ-ŎűŎƷŎþŦŦǢ-ĢĩƪěƢŎĚĩĢ-ȀƢƪƷ-ƟĩƢěĩƟƷŎŻű-ŻŁ-Ʒ'nĩěþƷĩłŻƢŎþŦþŦƷĩƢŎƷǢ-ŻŁ-Ʒ'nĩdþƟþűĩƪĩ- ŎűƪƷƢƿůĩűƷ-Ŏű-Ʒ'nĩěŻƿƢƪĩ-ŻŁƪěĩűĩ-ڒڑ-ĚĩěŻůĩƪþű-ŎűƷĩłƢþŦ-ƟþƢƷ-ŻŁþűĩǡƟþűĢĩĢþĩƪƷ'nĩƷŎě-'nŻƢŎǬŻű- ǜ'nŎŦĩůþŎűƷþŎűŎűłþűĩǡƷƢĩůĩŦǢěŻůƟŦĩǡűĩƷǜŻƢţĩĢůĩĢŎþƷŎŻű-Ŏű-Ʒ'nĩěŻƪůŻƪ-ŻŁhþě'nĩűůþűűܼƪ- ƪŻƿűĢ-ƷƢþűƪŁŻƢůþƷŎŻű܌þű-ŎƢƢĩƪŻŦǛþĚŦĩěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ-Ŏƪ-ƢĩǛĩþŦĩĢ܌ǜŎƷ'nŻƿƷ-ĢĩłƢþĢŎűł-Ʒ'nĩ- *ƪ'nƔ*-ƷŻþůĩƢĩ-ܹƷƢĩþƪƿƢĩܒܺ-SƷƪĩĩůƪĩƪƪĩűƷŎþŦ-Ʒ'nþƷhþě'nĩűůþűű-'nþƢĢŦǢ-ƷŻƿě'nĩƪ-Ʒ'nĩ-ƷŎůĚƢþŦ-Ɵĩěƿ-ŦŎþƢŎƷŎĩƪ-ŻŁ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷܒȃŎƪ-ĚĩěŻůĩƪ-ƟþƢƷŎěƿŦþƢŦǢěŦĩþƢǜ'nĩű-ŻűĩěŻůƟþƢĩƪhþě'nĩűůþűűܼƪ- approach with other compositions in which far stronger interventions are made in the *ƪ'nƔ*'s peculiar sound space, for example in Chaya Czernowin's trio *Die Kreuzung* ܌ڔژژڐܣ-ݑދSß܌ܤڐܒǜ'nĩƢĩ- the cultural identity of all instruments is reduced to a minimum through noise structures and great virtuosity in order to implicitly point at the "gap" between their traditional contexts, or in Gene Coleman's *Yago* for *ƪ'nƔ*, *hichiriki*, *ƢǢǕƷĩţŎ*, saxophone quartet, live electronics and video ܌ܤڒڏڏڑܣ-Ŏűǜ'nŎě'n-Ʒ'nĩ*ƪ'nƔ* and the other *gagaku* instruments are integrated into semi-improvisa-ƷŻƢǢűŻŎƪĩƪƷƢƿěƷƿƢĩƪܒà'nŎŦĩ-ĚŻƷ'něŻůƟŻƪŎƷŎŻűƪ-ܫƪƿĚƪƷþűƷŎþŦŦǢ-ŎűǴŦƿĩűěĩĢ-ĚǢhþě'nĩűůþűűܼƪ- method of sonic alienation – try to shatter the myth of the instrument in almost didactic clari-ƷǢ܌hþě'nĩűůþűűܼƪ-ŻǜűþƟƟƢŻþě'n-Ŏƪě'nþƢþěƷĩƢŎǬĩĢ-ĚǢůƿě'nƪƿĚƷŦĩƢ-ŎűƷĩƢůĩĢŎþƷĩƪƷþłĩƪܒ

®ŻůĩƷ'nŎűł ƪŎůŎŦþƢůþǢþƟƟŦǢ- ƷŻ hþě'nĩűůþűűܼƪ- ƢĩěĩƟƷŎŻű-ŻŁ- Ʒ'nĩ-Ɵ'nŎŦŻƪŻƟ'nǢ-ŻŁ- Ʒ'nĩfǢŻƷŻ- ƪě'nŻŻŦ܌ǜ'nŎě'n-'nþƪþŦƢĩþĢǢ-Ěĩĩű-ƷƢĩþƷĩĢ-Ŏű-ĢĩƷþŎŦ-ĚǢdƆƢű-£ĩƷĩƢ-NŎĩţĩŦڜڢ܋ If the problematic his-ƷŻƢŎěþŦܮƟŻŦŎƷŎěþŦěŻűƷĩǡƷ-ŻŁ- Ʒ'nŎƪƪě'nŻŻŦܼƪ- Ʒ'nŻƿł'nƷ-ŎƪűŻƷůþĢĩĩǡƟŦŎěŎƷ-ĚǢhþě'nĩűůþűű-ݑދܣ SS܌ܤڕܒ- especially connections between philosophical rhetoric, nationalism, and militarism during the Second World War period,ڝڢ hþě'nĩűůþűűܼƪ ƪĩűƪŎƷŎǛĩ- ܹƪĩþƢě'nŎűłůŻǛĩůĩűƷƪ܌ܺǜ'nŎě'n ƿƪĩ- Ʒ'nĩ- ƷĩǡƷƪ-ŻŁtŎƪ'nŎĢþ܌tŎƪ'nŎƷþűŎ܌-ÃĩĢþ܌þűĢ-¼ĩŎƷþƢŻ-®ƿǬƿţŎ-Ěĩěþƿƪĩ-Ʒ'nĩǢ-ܹƷƢǢ-ƷŻ-ŎŦŦƿůŎűþƷĩ-Ʒ'nĩűŻűܮ ƪĩűƪŎĚŦĩ܌ĩǛĩű-Ʒ'nĩƿűƷ'nŎűţþĚŦĩǜŎƷ'n-Ʒ'nĩ-'nĩŦƟ-ŻŁ-ĢŎƪěƿƢƪŎǛĩŦǢ-ŻƟĩƢþƷŎűł-Ŧþűłƿþłĩ܌ܺڞڢ successful-ŦǢþǛŻŎĢƪŎůƟŦĩþƷƷƢŎĚƿƷŎŻűƪǜŎƷ'nŻƿƷƪŦŎƟƟŎűł-ŎűƷŻ-Ʒ'nĩþƢĚŎƷƢþƢǢ-ŻƢůǢƪƷŎŁǢŎűłܒűĩƪŎłűŎȀěþűƷ- element seems to be a hitherto seldom discussed connection between the Kyoto school's and hþě'nĩűůþűűܼƪ-ܣŎű-'nŎƪ-ŦþƷĩƢǜŻƢţƪܤ-ŎűěƢĩþƪŎűłŦǢþěěĩűƷƿþƷĩĢ-ŎůƟƿŦƪĩ- ƷŻǜþƢĢþ- ܹŦŎĚĩƢþƷĩĢ- ƟĩƢception."ڟڢ-Sű-Ʒ'nĩǜŻƢĢƪ-ŻŁfĩŎŠŎtŎƪ'nŎƷþűŎ܋

What the Japanese call *mono no aware*-ܠܶƸŊĪ-ƠÿƸŊżƫżł-ƸŊŏŲŃƫܷܡŏŲģŏĜÿƸĪƫ-ƸŊĪ-ƠżŏŲƸǝŊĪƣĪŧǀƫƸÿŲģ- šżǣÿƣĪżŲĪǝŏƸŊÿƫÿģŲĪƫƫżǜĪƣ-ƸŊĪłĪĪŧŏŲŃżłŏŰƠĪƣŰÿŲĪŲĜĪ-SŲżƸŊĪƣǝżƣģƫ܉-ƸŊĪ-ƠŊƣÿƫĪƫŏŃŲŏǿĪƫ- ƸŊÿƸǝŊĪƣĪ-ƸŊĪěĪŏŲŃżł-ŰÿŲ܉ÿƫƫżŰĪƸŊŏŲŃěżǀŲģ-Ƹż-ƸŊŏŲŃƫŏŲ-ƸŏŰĪ܉ƣŏƫĪƫ-ƸżÿǝÿƣĪŲĪƫƫ-ܶƠĪƣłǀŰܫ ĪģܷǝŏƸŊ-ƸŊĪłĪĪŧŏŲŃżłǝżƣŧģÿŲģ-ƸŏŰĪÿŲģ-ǀŲģĪƣ-ƸŊĪ-FżƣŰżłŏŲǿŲŏƸǣ܉-ƸŊĪƣĪÿŧƫż-ƸŊĪ-ĪƫƫĪŲƸŏÿŧ- ŏŰƠĪƣŰÿŲĪŲĜĪżłÿŧŧ-ƸŊŏŲŃƫ܉żƣƫŊĪĪƣěĪŏŲŃܫŏŲܫƸŊĪܫǝżƣŧģ܉ŏƫ*þĩƪƷ'nĩƷŎěþŦŦǢ*łĪŧƸ-Ƹż-ƸŊĪ-ƢǀŏĜŤ-ܨŏŲ-ƸŊĪ- fŏĪƣŤĪŃÿÿƣģŏÿŲƫĪŲƫĪżł-ܶÿĪƫƸŊĪƸŏĜ-ĪǢŏƫƸĪŲĜĪܷ-SƸ-ŰĪÿŲƫ-ƸŊÿƸÿŧŧ-ƸŊĪ-ƸŊŏŲŃƫżł-ƸŊĪǝżƣŧģÿŲģ-ƸŊĪ- ƫĪŧłŏƸƫĪŧłÿƣĪƣĪÿŧŏǭĪģ-ƸżŃĪƸŊĪƣÿĪƫƸŊĪƸŏĜÿŧŧǣ܉ŏŲ-ƸŊĪżƣŏŃŏŲÿŧ-ĜżǀŲƸĪŲÿŲĜĪżł-ƸŊĪŏƣ-ŰÿŲŏłĪƫƸÿƸŏżŲڝڟ

ڷڽ- -RĪĪ-NŏĪŤĪŧ܉-ܶSŲƸĪƣŤǀŧƸǀƣÿŧŏƸďƸÿŧƫ-ĪǢŏƫƸĪŲƸŏĪŧŧĪ-/ƣłÿŊƣǀŲŃܷ

ڸڽ- -RĪĪ-ƠÿƣƸŏĜǀŧÿƣŧǣ-NĪŏƫŏŃÿŲģrÿƣÿŧģż܉-*Rude Awakenings.*

ڹڽ- hÿĜŊĪŲŰÿŲŲ܉- ܶ/ÿƫƸ- ŰĪĪƸƫ àĪƫƸ܉ܐܷ- ڒڔ- ܠܶ1/4ĪǢƸĪ- ĪŏŲĪƫ tŏƫŊŏģÿ܉- ĪŏŲĪƫ tŏƫŊŏƸÿŲŏ܉- ÃĪģÿ܉-1/4 ĪŏƸÿƣż- ®ǀǭǀŤŏ܉- ܞģŏĪܟ ģÿƫ- tŏĜŊƸƫÿŃěÿƣĪ܉-ŃÿƣģÿƫtŏĜŊƸģĪŲŤěÿƣĪ-ŰŏƸ-NŏŧłĪģĪƣģŏƫŤǀƣƫŏǜżƠĪƣŏĪƣĪŲģĪŲ-®ƠƣÿĜŊĪÿŲǭǀŧĪǀĜŊƸĪŲǜĪƣƫǀĜŊĪŲܷܡ

ںڽ- -Fżƣ-ƸŊĪěƣżÿģĪƣ-ŊŏƫƸżƣŏĜÿŧÿŲģÿĪƫƸŊĪƸŏĜ-ĜżŲƸĪǢƸżłhÿĜŊĪŲŰÿŲŲܹƫ-ĜżŲĜĪƠƸżł-ܶŧŏěĪƣÿƸĪģ-ƠĪƣĜĪƠƸŏżŲܷƫĪĪ-ÃƸǭ܉-ܶǀł- ģĪƣ-®ǀĜŊĪ-ŲÿĜŊ-ĪŏŲĪƣěĪłƣĪŏƸĪŲàÿŊƣŲĪŊŰǀŲŃ܉ܷ-ڌڐܨڕڏ

ڻڽ Nishitani, *Religion and Nothingness*܉-ړڐڎ

# **V. New Music and Beyond: Music-Historical and Cultural Entanglements**

ȃŎƪě'nþƟƷĩƢ-ŁŻěƿƪĩƪ-Żű-Ʒ'nƢĩĩ-ŎűƷĩƢěƿŦƷƿƢþŦěŻűƷĩǡƷƪ-Ŏű-ƢþƷ'nĩƢ-ŦŻŻƪĩƪĩơƿĩűěĩ-ܣƷ'nŻƿł'nþƢƢþűłĩĢ- ƢŻƿł'nŦǢě'nƢŻűŻŦŻłŎěþŦŦǢܤ- Ʒ'nþƷůþǢƪ'nþƢĩƪŻůĩ-ŻǛĩƢþƢě'nŎűł- Ʒ'nĩůĩƪþűĢ-ŦŎűĩƪ-ŻŁ-ĢĩǛĩŦŻƟůĩűƷܒ- Beside the inevitable confrontation with cultural essentialism, questions of political and social function and communicability of new music are foregrounded along with aspects that have not ǢĩƷ-Ěĩĩű-ĢŎƪěƿƪƪĩĢƪƿDzȀěŎĩűƷŦǢ-ŻƢ-Ŏű-ĢĩƷþŎŦ܌-ŎűěŦƿĢŎűł-Ʒ'nĩ-ƢĩŦĩǛþűěĩ-ŻŁ-ǛŻŎěĩ܌-ĚŻĢǢ܌þűĢůŻǛĩůĩűƷ þƪ ǜĩŦŦ þƪ ơƿĩƪƷŎŻűƪ- ŻŁ- ƟĩƢěĩƟƷŎŻű þűĢůĩƷþƟ'nŻƢŎěþŦ- 'nĩþƢŎűłܒ-' ĩǛŎþƷŎűł- ŁƢŻů- Ʒ'nĩ ĩůܮ Ɵ'nþƪŎƪ-ƟŦþěĩĢĩŦƪĩǜ'nĩƢĩ-Żű-Ʒ'nĩ-/þƪƷƪŎþűƪƟþěĩ܌-ƟƢŻĚŦĩůƪ-ŻŁ-Ʒ'nĩěŻűěĩƟƷŎŻűþűĢěŻůƟŻƪŎƷŎŻűþŦ- ƢĩěĩƟƷŎŻű-ŻŁ-ŁƢŎěþű-Ƣ'nǢƷ'nůŎěƪƷƢƿěƷƿƢĩƪþłþŎűƪƷ-Ʒ'nĩ-ĚþěţłƢŻƿűĢ-ŻŁƪǢƪƷĩůþƷŎěþűĢ-'nŎƪƷŻƢŎěþŦ- þƪƟĩěƷƪ-ŻŁ- ƟŻŦǢůĩƷĩƢþƢĩ-ŻƿƷŦŎűĩĢ-Ŏű- ƟþƢƷ-ڑ-ŻŁ- Ʒ'nĩ ě'nþƟƷĩƢ܌- ƟƢŻěĩĩĢŎűł- ŁƢŻů-GǢƆƢłǢ hŎłĩƷŎܼƪ- much-discussed Piano Concerto. All three parts might also be understood as case studies for an entangled transnational music history as discussed in Chapter II.1.

### **1. The Rediscovery of Presence: Intercultural Passages Through Vocal Spaces Between Speech and Song**

### The Voice in Twentieth- and Twenty-First Century Music

ǜŎűł-ƷŻ-ŎƷƪůǢƷ'nŎěþŦþűĢůþłŎěþŦ-ŎůƟŦŎěþƷŎŻűƪþűĢ-ŎƷƪěŦŻƪĩ-ƢĩŦþƷŎŻű-ƷŻƪƟĩĩě'nþűĢ-Ŧþűłƿþłĩ܌- the human voice has always been a crucial hinge between musical and social, spiritual, religious experience. It has also been a medium of sound that from the beginning was considered highly capable of communicating meanings, ideas, and ideologies. Researchers of evolutionary musicology and linguistic anthropologists have suggested that human language originated from symbolic patterns of vocalization and singing. A naive genealogy that attributes speech þűĢƪŎűłŎűł-ƷŻþěŻůůŻű-ŻƢŎłŎű-'nþƪ-ĚĩěŻůĩơƿĩƪƷŎŻűþĚŦĩþƷ-ŦĩþƪƷƪŎűěĩdþěơƿĩƪ-'ĩƢƢŎĢþܼƪ-Ģĩconstruction of Jean-Jacques Rousseau's */ƪƪþŎ ƪƿƢ-Ŧ݂ŻƢŎłŎűĩ-Ģĩƪ-Ŧþűłƿĩƪ*܌þƢłƿŎűł- Ʒ'nþƷƪƟĩþţŎűł- and singing have always already deviated from each other.<sup>ښ</sup>

ڵ Derrida, *Of Grammatology*܉- ڕڕڍ-¦ żǀƫƫĪÿǀܹƫ-*Essai*- ܠǝƣŏƸƸĪŲ ŏŲ- ܉ڑڑړڍ- ƠǀěŧŏƫŊĪģ- ƠżƫƸŊǀŰżǀƫŧǣ ŏŲ- ܡڍڔړڍ ÿƣŃǀĪƫ- ƸŊÿƸ- ƫƠĪĪĜŊÿŲģƫżŲŃǝżǀŧģ-ŊÿǜĪěĪĪŲ-ŲżƸŊŏŲŃ-ŰżƣĪ-ƸŊÿŲŧÿŲŃǀÿŃĪŏƸƫĪŧłŏŲÿ-ƠƣĪŊŏƫƸżƣŏĜ-Īƣÿ-ܠƫĪĪ-¦żǀƫƫĪÿǀ܉-ܶ/ƫƫÿǣżŲ- ƸŊĪƣŏŃŏŲżłhÿŲŃǀÿŃĪƫܷܡ-¦żǀƫƫĪÿǀŏŲƸĪŲģĪģ-Ƹż-ƠƣżǜĪ-ƸŊÿƸ-ŰĪŧżģǣ܉-ŲżƸ-ŊÿƣŰżŲǣ܉ƫŊżǀŧģ-ĜŧÿŏŰ-ƠƣŏżƣŏƸǣŏŲ-ƸĪƣŰƫ-

If one considers anthropological theses about the origin of language through the formation of semiotic patterns in archaic vocal music, however, 4 it also becomes apparent that, on the one hand, a complete "desemanticization" of the human voice, as was sometimes rigorously sought in twentieth-century music, soon reaches its limits: speaking and singing, even non-verbal forms, generate meaning. On the other hand, it is also clear that the apparently "most neutral" forms of organization of language, such as the standardized voices of newsreaders, contain a subversive, sonically autonomous element that cannot be grasped using structural-syntactic language models. Nevertheless, in musical and linguistic environments – which often tend to stress this autonomy of vocal sonority – the voice is embedded in structural and cultural frameworks or codes that may both restrict and expand this sonorous presence and thus influence or multiply its connotations. These meanings are usually more ambiguous in performed language and vocal musical structures than in everyday language, and often intentionally so.

If the level of musical globalization comes into view regarding such ambiguity, understood as a constantly procedurally shifting constellation of homogenizing and differentiating movements (→ I.2–3), it becomes clear that the voice may reinforce both movements – cultural convergences or hybridizations as well as the articulation of local, regional, or national identities.3 Furthermore, it has become clear in the extensive studies on the aesthetics and cultural history of the voice in recent years® that collective models of voice use and articulation are reflected in a highly complex manner in individual voices through personal appropriation or musical training, so that it seems impossible to separate or isolate them. Indeed, it is precisely the pluralistic variety of vocal characters and techniques that enables storytellers, singers of traditional narrative genres, opera singers, avant-garde vocalists, or theater actors to switch between different moods and characters in the shortest possible time. In contrast to such vocal "role play," deep psychological approaches aim at a "liberation" of the voice from the formalized "masks" and conventions of the daily use of voice, an approach pursued by the vocal pioneers Alfred Wolfsohn and Roy Hart? as well as in the musical avant-garde since the 1960s by Dieter Schnebel, Peter Maxwell Davies, or Jani Christou.

Maybe it was precisely this tendency toward more or less subconscious articulation of a not only culturally but also historically "charged" sonority of human singing voices that, in twentieth-century music, temporarily led to a widespread eschewal of the vocal element – a point Dieter Schnebel made rather clear:

of music and music theory, since it imitates the accents of language and, in its own linguistic similarity, would be superior to mere speech (see also Berger, "Harmonie' und 'mélodie'").


<sup>2 &</sup>quot;Vocal music might have been the evolutionary laboratory in which early humans developed complex syntactic patterns and a system of multifaceted discrete contrasts that allowed them to these patterns their preexisting symbolic abilities and thus to establish a stable speechlike system." (Richmann, "Did Human Speech Originate in Coordinated Vocal Music?" 244.) This argument has also been taken up in more recent research: "Performative functions associated with oral sound-making provided initial pressures for vocal communication by promoting rank and relationships. These benefits, I suggest, facilitated conflict avoidance and resolution, collaboration, and sharing of needed resources." (Locke, "Rank and Relationships in the Evolution of Spoken Language," 37, Abstract.)

®Īƣŏÿŧ- ŰǀƫŏĜ ǝÿƫ- ĜżŲĜĪŏǜĪģ ÿƫ ÿŲ ÿěƫƸƣÿĜƸ- ŰǀƫŏĜ܉ ŧŏŤĪ ÿěƫƸƣÿĜƸ-ƠÿŏŲƸŏŲŃ܉- ŲżŲƣĪƠƣĪƫĪŲƸÿƸŏżŲÿŧ- ƠÿŏŲƸŏŲŃ àĪ- ܞƸŊĪ- ĜżŰƠżƫĪƣƫܟ ÿŧƫż ǝżƣŤĪģ- Ƹżǝÿƣģ- ƸŊŏƫ- ¼ŊĪƣĪ ǝĪƣĪ- ĜżŲƫƸƣǀĜƸŏżŲƫ ÿŲģ- ĜĪƣƸÿŏŲ- łżƣŰƫ- ƸŊÿƸ ǝĪ ƫŏŰƠŧǣ ƣĪšĪĜƸĪģ àĪ ģŏģŲܹƸ ǝÿŲƸ- Ƹż ǝƣŏƸĪ ƫǣŰƠŊżŲŏĪƫ àĪ ģŏģŲܹƸ ǝÿŲƸ- Ƹż ǝƣŏƸĪ- żƠĪƣÿƫßżĜÿŧ-ŰǀƫŏĜÿŧƫżǝÿƫÿŧŰżƫƸ-Ƹÿěżż܉ěĪĜÿǀƫĪǜżĜÿŧ-ŰǀƫŏĜÿŧǝÿǣƫ-Ŋÿƫÿ-ƸĪǢƸ܉ÿŲģ-ƸŊĪ-ƸĪǢƸ- ƠƣżǜŏģĪƫÿŲ-ĪŰżƸŏżŲÿŧ-ƠŧÿŲ-¼ŊĪ-ƸĪǢƸ-ŊÿƫŏƸƫżǝŲ-ƠƣżŃƣĪƫƫŏżŲżłƫżǀŲģ܉ěǀƸǝĪǝÿŲƸĪģ-Ƹż-ĜżŰ-ƠżƫĪ-ƸŊĪƫżǀŲģƫ-ƸŊĪŰƫĪŧǜĪƫ-Fżƣ-ƸŊŏƫƣĪÿƫżŲǝĪ-ƸǀƣŲĪģ-Ƹż-ƸŊĪ-ƠŊżŲĪƸŏĜƫĜƣŏƠƸ܉ěĪĜÿǀƫĪǝĪ-Ŋÿģ- ƸŊĪ-ƠżƫƫŏěŏŧŏƸǣ-Ƹż-ŲżƸÿƸĪ-ŰŏŲǀƸĪģŏdz łĪƣĪŲƸŏÿƸŏżŲƫǝŏƸŊŏŲ-ƸŊĪ-ܞǜżĜÿŧܟƫżǀŲģƫڜ

Where the voice did appear, it was sometimes approached radically in an instrumental idiom, ƟĩƢ'nþƟƪ-ŻƢŎĩűƷĩĢ-ƷŻǜþƢĢƪŻůĩ-ŻŁűƷŻűàĩĚĩƢűܼƪ-ǛŻěþŦǜŻƢţƪܒȃŎƪ-ĢŎĢűŻƷ-ƟƢĩěŦƿĢĩ܌-ŎűǜŻƢţƪ- such as Pierre Boulez's *Le marteau sans maître* ܤږڔܫڒڔژڐܣ-ŻƢhƿŎłŎtŻűŻܼƪ-*Il canto sospeso* ܌ܤڕڔܫڔڔژڐܣ- þƪƟĩěŎȀěĩǡƟƢĩƪƪŎǛŎƷǢ-ƢĩƪƿŦƷŎűł-ŁƢŻůþűƿűƢĩƪŻŦǛĩĢ-ŁƢŎěƷŎŻű-ĚĩƷǜĩĩű-Ʒ'nĩůƿƪŎěþŦƪƷƢƿěƷƿƢĩþűĢ- Ʒ'nĩ-ǛŻěþŦܮƟ'nǢƪŎěþŦƪŻűŻƢŎƷŎĩƪܒű-Ʒ'nĩƪƿĚŠĩěƷ-ŻŁ-'nŎƪůþłűƿů-ŻƟƿƪ-*Das Mädchen mit den Schwefelhölzern*-ܣȃĩhŎƷƷŦĩrþƷě'n-GŎƢŦ܌-܌ڕژܫڏژژڐ-ދ-Sß܌ܤڑܒ-NĩŦůƿƷhþě'nĩűůþűű-ܣƢĩŁĩƢƢŎűł-ƷŻ-'nŎƪ-Żǜű- ƞƿǛƢĩ܌-ĚƿƷþŦƪŻůþţŎűłþłĩűĩƢþŦ-ƟŻŎűƷܤ-ܣƪĩŦŁܤܮěƢŎƷŎěþŦŦǢ-ĢŎƪěƿƪƪĩĢ-Ʒ'nŎƪ-ƷĩűĢĩűěǢ-ƷŻǜþƢĢþű-ܹĩǡěŦƿƪŎŻűܺ-ŻŁ-Ʒ'nĩ-ǛŻŎěĩ܋

S-ŊÿǜĪÿŧǝÿǣƫ-ƠÿŏģƫƠĪĜŏÿŧÿƸƸĪŲƸŏżŲ-ƸżłÿŰŏŧŏÿƣ-ŰǀƫŏĜÿŧ-ŃĪŲƣĪƫܨݎŏŲÿ-ƠÿƣÿģŏŃŰÿƸŏĜÿŧŧǣ-ŰżģŏǿĪģ- ĜżŲƸĪǢƸ܉ƫż-ƸżƫƠĪÿŤł-ĜżǀƣƫĪ܉-ƸŊŏƫÿŧƫżÿƠƠŧŏĪƫ-ƸżÿŲƫǝĪƣŏŲŃ-ƸŊĪ-ƢǀĪƫƸŏżŲ܈-ܶNżǝģżǣżǀłĪĪŧ- ÿěżǀƸ ƫŏŲŃŏŲŃܐܷ-1/4 ż- ƸŊŏƫ ģÿǣ܉- ƸŊŏƫ- ƢǀĪƫƸŏżŲ- Ŋÿƫ ƣĪŰÿŏŲĪģ- ƸƣÿǀŰÿƸŏĜ łżƣ- ŰĪ- ¼ŊĪƣĪ ŏƫ ƫżŰĪƸŊŏŲŃ- ǝƣżŲŃ ǝŏƸŊ ÿ- ŲżƸŏżŲ żł- ŰǀƫŏĜ- ƸŊÿƸ ÿǜżŏģƫ- ƸŊĪ ǜżŏĜĪ܉ żƣ- ĪǜĪŲ ƫŊǀƸƫ żǀƸ ƫŏŲŃŏŲŃ- ܟ܊ܞ- ܞrǣ żƠĪƣÿ- *The Little Match Girl*ܟ-ĜÿŲ-ŲżƸŧĪÿƫƸěĪÿƸƸƣŏěǀƸĪģ-ƸżÿŲ-ܨ-ǀŲǿŲŏƫŊĪģ-ܨ-ĪǢÿŰŏŲÿƸŏżŲżł-ƸŊĪƫŏŲŃŏŲŃ- ڝܟ܊ܞǜżŏĜĪ

hþě'nĩűůþűű-'nþƪĩǡƟŦþŎűĩĢ-ŁƿƢƷ'nĩƢ-Ʒ'nþƷ-'nŎƪěŻůƟŻƪŎƷŎŻűþŦ-ƟƢþěƷŎěĩ܌-ĢĩǛĩŦŻƟĩĢ-Ŏű-Ʒ'nĩ-ŦþƷĩ-ڏڔژڐƪ- þűĢĩþƢŦǢ-ڏڕژڐƪ܌-ĚǢ-ĢĩȀűŎƷŎŻűĩǡěŦƿĢĩĢ-Ʒ'nĩ-ŻƟƷŎŻű-ŻŁƪŎůƟŦǢ-ܹƢĩěƿƟĩƢþƷŎűłܺĩƪƷþĚŦŎƪ'nĩĢůŻĢĩƪ- ŻŁ-ǛŻěþŦþűĢ-ŎűƪƷƢƿůĩűƷþŦĩǡƟƢĩƪƪŎŻű-ĚǢĩůƟŦŻǢŎűł-ܹƢĩ쯳űŎǬþĚŦĩĩůŻƷŎŻűþŦłĩƪƷƿƢĩƪܒܺ-FŻƢhþchenmann, compared to instrumental music, vocal music particularly relies on such gestures ƪŎűěĩ-ܹƪŎűłŎűłǜŎƷ'nŻƿƷ-ƟƢĩěŻűěĩŎǛĩĢĩůƟ'nþƪŎƪ-Ŏƪ-ŎůƟŻƪƪŎĚŦĩܗܺþ-ܹƪŎűłĩƢěþűűŻƷ-ܢ܍ܡ-ĢĩŦŎǛĩƢ-Ʒ'nĩŎƢ- ƷŻűĩ-ŁƢŻůþ-ĢŎƪƷþűěĩ܌-ĚƿƷůƿƪƷłŎǛĩ-Ʒ'nĩůƪĩŦǛĩƪ܌-ŎĢĩűƷŎŁǢ-Ʒ'nĩůƪĩŦǛĩƪܒȃþƷ-Ŏƪǜ'nǢ-Ʒ'nĩƪƿűł-ƷŻűĩ- ƷŻĢþǢ܌-ŦŎţĩ-ڏڏڔ-ǢĩþƢƪþłŻ܌-ŎƪþůþłŎěþŦĩǛĩűƷܒܺڡ -Sű-'nŎƪ-Łĩǜ-ǛŻěþŦǜŻƢţƪ܌hþě'nĩűůþűűěŻűƪŎƪƷĩűƷŦǢ-

ں- -RĜŊŲĪěĪŧ܉-ƠĪƣƫżŲÿŧ-ĜżŰŰǀŲŏĜÿƸŏżŲ܉-܉ڒڌڌڎܕڑڌܕڑڎ-ƢǀżƸĪģŏŲ-GĪĪ܉-ܶ1/4ŊĪtżƸÿƸŏżŲÿŲģ-ÃƫĪżł-ƸŊĪßżŏĜĪŏŲtżŲܫƫĪŰܫ ÿŲƸŏĜ żŲƸĪǢƸƫ܉ܷ-ڌڔڍ-ܠܶ'ŏĪƫĪƣŏĪŧŧĪrǀƫŏŤƫżŧŧƸĪ-ĪŏŲĪÿěƫƸƣÿŤƸĪrǀƫŏŤƫĪŏŲ܉ǝŏĪÿěƫƸƣÿŤƸĪrÿŧĪƣĪŏ܉-ŃĪŃĪŲƫƸÿŲģƫŧżƫĪ- rÿŧĪƣĪŏ- ÃŲģ ģÿƫ- ŊÿěĪŲ ǝŏƣ ÿǀĜŊ ÿŲŃĪƫƸƣĪěƸ- /ƫ- Ńÿě fżŲƫƸƣǀŤƸŏżŲĪŲ- ǀŲģ ěĪƫƸŏŰŰƸĪ- FżƣŰĪŲ܉ ģŏĪ ǝŏƣ- ĪŏŲłÿĜŊ- ÿěŃĪŧĪŊŲƸ-ŊÿěĪŲàŏƣǝżŧŧƸĪŲ-ŤĪŏŲĪ-®ǣŰƠŊżŲŏĪŲƫĜŊƣĪŏěĪŲàŏƣǝżŧŧƸĪŲ-ŤĪŏŲĪ-ƠĪƣŲƫĜŊƣĪŏěĪŲßżŤÿŧŰǀƫŏŤǝÿƣ- ÿǀĜŊłÿƫƸǜĪƣƠƇŲƸàĪŏŧßżŤÿŧŰǀƫŏŤŏƫƸšÿŏŰŰĪƣ-ŰŏƸ-¼ĪǢƸ܉-ǀŲģģĪƣ-¼ĪǢƸŧŏĪłĪƣƸ-ĪŏŲĪŲ-ĪŰżƸŏżŲÿŧĪŲěŧÿǀł-'Īƣ-¼ĪǢƸ- ŊÿƸÿǀĜŊƫĪŧěĪƣ-ĪŏŲĪŲfŧÿŲŃÿěŧÿǀł܉ÿěĪƣǝŏƣǝżŧŧƸĪŲģŏĪfŧďŲŃĪƫĪŧěĪƣ-ŤżŰƠżŲŏĪƣĪŲ-'ĪƫǝĪŃĪŲƫŏŲģǝŏƣÿǀĜŊÿǀł- ģŏĪ-ƠŊżŲĪƸŏƫĜŊĪ-®ĜŊƣŏǽ Ƹ-ŃĪŤżŰŰĪŲ܉ǝĪŏŧǝŏƣģÿģŏĪrƇŃŧŏĜŊŤĪŏƸ-ŊÿƸƸĪŲ܉ģŏĪfŧďŲŃĪƫĪŊƣģŏdz łĪƣĪŲǭŏĪƣƸǭǀ-ŲżƸŏĪƣĪŲܷ-GĪĪ܉-ܶ1/4ŊĪ-¦ĪŧÿƸŏżŲƫŊŏƠżłtżŲܫRĪŰÿŲƸŏĜßżĜÿŧrǀƫŏĜ-Ƹż-ƸŊĪ-SŲƸĪƣŲÿƸŏżŲÿŧ-£ŊżŲĪƸŏĜŧƠŊÿěĪƸ܉ܷ-ڍڔڎܡ

ڻ- hÿĜŊĪŲŰÿŲŲ܉-ܸܶfŧďŲŃĪƫŏŲģtÿƸǀƣĪƣĪŏŃŲŏƫƫĪ܉ܹܷ-ڏڏ-ܠܶRż-ŃŏŲŃ-Īƫ-ŰŏƣŏŰŰĪƣǝŏĪģĪƣ-ǀŰģŏĪ-ǀƫĪŏŲÿŲģĪƣƫĪƸǭǀŲŃ-ŰŏƸ- ģĪŲ ǜĪƣƸƣÿǀƸĪŲ àĪƣŤŃÿƸƸǀŲŃĪŲ- ܨ ƫżǭǀƫÿŃĪŲ ŏŲ- ƠÿƣÿģŏŃŰÿƸŏƫĜŊ ǜĪƣǝÿŲģĪŧƸĪŰ ðǀƫÿŰŰĪŲŊÿŲŃ ðǀŰ- ĪŏƫƠŏĪŧ- ŲÿƸdžƣŧŏĜŊÿǀĜŊ-ǀŰģŏĪ-ĪÿŲƸǝżƣƸǀŲŃģĪƣ-FƣÿŃĪ܈-ܸàŏĪ-ŊďŧƸƫƸ-'ǀܹƫ-ŰŏƸģĪŰ-GĪƫÿŲŃܐܹŏƫ-ŊĪǀƸĪŏƫƸłdžƣ-ŰŏĜŊģŏĪƫĪ- FƣÿŃĪ-ƸƣÿǀŰÿƸŏƫĜŊ-ŃĪěŧŏĪěĪŲ-/ŏŲrǀƫŏŤěĪŃƣŏdz ł܉ģĪƣģĪƣ-®ƸŏŰŰĪÿǀƫǝĪŏĜŊƸ܉-ŃÿƣģĪŲ-GĪƫÿŲŃÿǀƫƫƠĪƣƣƸ܉ěĪŏģĪŰ- ƫƸŏŰŰƸŏƣŃĪŲģĪƸǝÿƫ-ŲŏĜŊƸ-ܟ܊ܞ-ܞ*Das Mädchen mit den Schwefelhölzern* ǜĪƣģÿŲŤƸܟƫŏĜŊ-ŲŏĜŊƸǭǀŧĪƸǭƸģĪƣ-ŲżĜŊ-ŲŏĜŊƸ- ěĪĪŲģĪƸĪŲ-ǀƫĪŏŲÿŲģĪƣƫĪƸǭǀŲŃ-ŰŏƸģĪƣƫŏŲŃĪŲģĪŲ-®ƸŏŰŰĪ-ܟ܊ܞܷܡ

ڼ- -ܶNĪŧŰǀƸhÿĜŊĪŲŰÿŲŲŏŰ-GĪƫƠƣďĜŊ܉ܷ-RF-܉ڑڌڌڎ-܉ڕڒ-ƢǀżƸĪģŏŲrĪǣĪƣܫfÿŧŤǀƫ܉-ܶRƸŏŰŰĪ-ǀŲģ-ƸĪŰƫǣŲƸÿǢ܉ܷ-ڑڌڍ-ܠܶǜżƣÿě-ĪŏŲŃĪłdžŊƣƸĪ-ǀƫģƣǀĜŤƫƣĪŃŏƫƸĪƣģĪƣßżŤÿŧܫ-ǀŲģģĪƣ-SŲƫƸƣǀŰĪŲƸÿŧŰǀƫŏŤ-ŰŏƸǝŏĪģĪƣĪƣŤĪŲŲěÿƣĪŲ-ĪŰżƸŏżŲÿŧĪŲ-

understood the voice as physical materiality that is made to sound on the basis of an anti-rhetorical "breathing syntax" whereby the instrumental approach of the musique concrète instrumentale is transferred to the vocal medium.10

Whether such developments are traced back to the music-aesthetic primacy of instrumental music in the nineteenth century or are thought of in combination with the radical criticism of conventional ideas of similarity between linguistic and musical elements in the period after the Second World War (→ 1.2), it is clear that the voice in works such as Arnold Schoenberg's Erwartung (1909) or Dieter Schnebel's glossolalie (1959-60, a concept work for which the composer made a fully-notated performance score, Glossolalie 61, 1961-65) breaks into situations that threaten the credibility of the language-character of music, and with it the presence of the human voice with a kind of atavistic, eruptive force. Last but not least, the incommensurability of these works can be identified in the way the vocal protagonists assume a new responsibility that significantly encroaches on the monological authority of the composer." In Erwartung or glossolalie, neither the performer's nor the composer's voice communicates a stable identity any longer; rather, they articulate (deliberately) futile attempts at constructing coherence, which is clearly shown by their non-linear, anti-narrative formal design.

If the voice in European music after 1945 and until Lachenmann was deployed at all, it did not necessarily act as a medium for the articulation of linear and meaningtul expressive content that had generally become questionable: an intact musical-vocal representation of texts seemed to be meaningless. Also in music composed outside of Western contexts, the vocal element was often used with great caution from the postwar period on – a turn surely indebted to Cold War aesthetics, in which the enthusiastic endorsement of vocal music during the prewar and wartime periods, for example in Japan (→ II.4), appeared problematic.12 Moreover, instrumental works seemed easier to convey to a global audience (an audience comprising a majority accustomed to Western music) than vocal music, not least because it allowed the composer to avoid primary language and phonetic problems. Against this background, it is again no coincidence that – contrary to this tendency – in what was perhaps the most important period of Asian music in the twentieth century - the emergence of young Chinese composers since the early 1980s - the vocal element played a key role (→ II.3., III.5).13 In the space between the vocal

Gesten einfach abzurufen;" "Singen [ist] ohne […] vorgelagerte Emphase unmöglich;" "Ein Sänger kann nicht […] seinen Ton aus der Distanz abliefern, sondern er muß sich selbst dabei geben, muß sich identifizieren. Darum ist der gesungene Ton, heute wie vor 500 Jahren, ein magisches Ereignis.")

9 See ibid.


13 See, for more detail, Utz, Neue Musik und Interkulturalität, 315–316.

modernism represented by Schoenberg's *Pierrot lunaire*-ܤڑڐژڐܣþűĢ-Ʒ'nĩþŦůŻƪƷ-Ŏűĩǡ'nþƿƪƷŎĚŦĩ-Ƣĩƪܮ ervoir of Chinese local and national vocal genres, a "third space" with great potential opened ƿƟ-ܣƪĩĩ-ĚĩŦŻǜܒܤ

 ƪƟĩěŎþŦ ě'nþƢþěƷĩƢŎƪƷŎě-ŻŁ- ǛŻěþŦůƿƪŎě- 'nþƪþŦǜþǢƪ- Ěĩĩű- Ʒ'nĩ- ĢŎDzȀěƿŦƷǢ-ŻŁ űŻƷþƷŎűł-ŎƷܒȃĩ- ǛŻŎěĩěĩƢƷþŎűŦǢ-ƢĩǴŦĩěƷƪ-Ʒ'nĩ-ƷĩűƪŎŻű-ĚĩƷǜĩĩűþƿƢþŦ܌-ƟĩƢŁŻƢůþƷŎǛĩþűĢǜƢŎƷƷĩű܌-ĢĩűŻƷþƷŎǛĩ-ŦþǢĩƢƪ- ŻŁůƿƪŎěþŦ-ƟƢþěƷŎěĩ-Ŏűþ-ƟþƢƷŎěƿŦþƢŦǢ-ŁƿűĢþůĩűƷþŦůþűűĩƢܒȃŎƪ-ƷĩűƪŎŻű-ŎƪĩơƿþŦŦǢ-ŁþůŎŦŎþƢ-ŁƢŻů- ethnomusicologyڝښþűĢěŻűƷĩůƟŻƢþƢǢůƿƪŎěܒȃĩůŎűŎůþŦ-ǛþƢŎþƷŎŻűƪ-Ŏű-ƟŎƷě'n܌-ǛŻěþŦěŻŦŻƢŎűł܌- dynamics, and register changes that constitute an individual vocal sound can hardly ever be recorded in notation without omissions. In new music, this resulted on the one hand in overdetermined forms of notation, which, as in the aesthetics of Brian Ferneyhough, were some-ƷŎůĩƪ-ŦŎűţĩĢ-ƷŻ-Ʒ'nĩ-ŎĢĩþ-ŻŁ-Ʒ'nĩ-ǛŻěþŦ-ŻƢłþűþƪþ-ܹƢĩƪŻűþƷŻƢܺ-ƷŻ-'nĩŦƟ-ȀŦƷĩƢ-ŻƿƷþűĢ-ŎűĢŎǛŎĢƿþŦŎǬĩ- the notational complexity.ڞښȃŎƪěŻűƷƢþƪƷƪ-ƷĩűĢĩűěŎĩƪ-ŻŁǜŻƢţƪ-Ʒ'nþƷ-'nþǛĩ-ĚĩĩűěƢĩþƷĩĢ-ŎűěŦŻƪĩ- ěŻŦŦþĚŻƢþƷŎŻű-ĚĩƷǜĩĩűěŻůƟŻƪĩƢƪþűĢ-ǛŻěþŦƪŻŦŻŎƪƷƪ-ƢĩŦǢŎűł-Żű-Ʒ'nĩŎƢ-ǛĩƢǢƪƟĩěŎȀě-ǛŻěþŦƪţŎŦŦƪ- þűĢ ěŻŦŻƢƪ-ܫ-ŎűěŦƿĢŎűł- ǛŻěþŦ- ܹěŻůƟŻƪĩƢܮƟĩƢŁŻƢůĩƢƪܒܺ- Sű ƪƿě'n ěŻŦŦþĚŻƢþƷŎŻűƪ܌ űŻƷþƷŎŻű-ŻǼ Ʒĩű- 'nþƪþůĩƢĩŦǢƪƿƟƟŦĩůĩűƷþƢǢ-ƢŻŦĩþƪþůűĩůŻűŎě-ĢĩǛŎěĩ܌ĩƪƷþĚŦŎƪ'nŎűłþţŎűĢ-ŻŁ-ܹŻƢþŦ-ƷƢþĢŎƷŎŻűܺěŻůƟþƢþĚŦĩ- ƷŻůþűǢ- ǛŻěþŦ łĩűƢĩƪ-Ŏű- ƷƢþĢŎƷŎŻűþŦůƿƪŎěܒ- /Ǜĩű- Ʒ'nŻƿł'n ƪŻůĩ-ŻŁ- Ʒ'nĩƪĩ- ĢĩǛĩŦŻƟůĩűƷƪěþűþŦƪŻ-Ěĩ-ŻĚƪĩƢǛĩĢ-Ŏű-Ʒ'nĩ-ȀĩŦĢ-ŻŁ-ŎűƪƷƢƿůĩűƷþŦěŻůƟŻƪŎƷŎŻű܌-Ʒ'nĩ-'nŎł'nŦǢ-ŎűĢŎǛŎĢƿþŦþűĢ- peculiar vocal colors and possibilities of the singers led in many cases to particularly strongly ƟĩƢŁŻƢůĩƢܮěĩűƷĩƢĩĢěŻűěĩƟƷƪܒȃĩƪĩ-ŎűěŦƿĢĩ-£ĩƷĩƢrþǡǜĩŦŦ-'þǛŎĩƪܼƪ-*Eight Songs for a Mad King* ܌ܤژڕژڐܣǜƢŎƷƷĩű-ŁŻƢ-¦ŻǢ-NþƢƷܼƪ-ܹƟŻŦǢƟ'nŻűŎěܺ-ǛŻěþŦþƢƷŎƪƷƢǢ܌þǜŻƢţ-ƢĩǴŦĩěƷŎűł-Ʒ'nĩþűƷŎܮƟƪǢě'nŎþƷƢŎě- ĢĩĚþƷĩ-Ŏű-Ʒ'nĩ-Ãf-ĢƿƢŎűł-Ʒ'nĩ-ŦþƷĩ-ڏڕژڐƪڟښ܌-Ʒ'nĩ-ŦþƢłĩűƿůĚĩƢ-ŻŁǜŻƢţƪěƢĩþƷĩĢ-ŁŻƢ܌ǜŎƷ'n܌þűĢ-ĚǢ- Cathy Berberian, including John Cage's *Aria*-܌ܤڗڔژڐܣhƿěŎþűŻĩƢŎŻܼƪ-*Sequenza III*-܌ܤڕڕژڐܣþűĢĩƢberian's *®ƷƢŎƟƪŻĢǢ*-ڠښ܌ܤڕڕژڐܣþƪǜĩŦŦþƪ-GŎþěŎűƷŻ-®ěĩŦƪŎܼƪǜŻƢţƪ-ŁŻƢƪŻŦŻ-ǛŻŎěĩ܌ĩƪƟĩěŎþŦŦǢ-Ʒ'nĩ-*Canti del Capricorno*-ܗܤڑږܫڑڕژڐܣrŎě'nŎţŻ-NŎƢþǢþůþ-ƟŦþǢĩĢþěƢƿěŎþŦ-ƟþƢƷ-Ŏű-Ʒ'nĩěƢĩþƷŎǛĩ-ƟƢŻěĩƪƪ of the *Canti*, also adding connections to traditional Japanese vocal practices.ڡښ In several cases, such ěŻŦŦþĚŻƢþƷŎŻűƪ-ƷŻƿě'n-ŻűơƿĩƪƷŎŻűƪ-ŻŁþƿƷ'nŻƢƪ'nŎƟ܌ƪŎűěĩ-Ʒ'nĩ-ƟĩƢŁŻƢůĩƢƪ-ŻǼ Ʒĩű-ƷŻŻţ-Żű-Ʒ'nĩ-ƢŻŦĩ-ŻŁ- a "co-composer."ڢښ In the globalized context, such close collaborations between composer and ǛŻěþŦƪŻŦŻŎƪƷ-ƢĩǴŦĩěƷþłƢŻǜŎűł-ŎůƟŻƢƷþűěĩ-ŻŁ-ŦŻěþŦěŻűƷĩǡƷƪ܌ǜ'nŎě'n-ŻǼ Ʒĩű-ŎűǛŻŦǛĩűĩǜ-ŁŻƢůƪ-ŻŁ- global connectivity.ڙڛ

ڸڵ See Nettl, *The Study of Ethnomusicology*܉-ڍڕܨڐړ

ڹڵ- -ܶܞ£ܟĪƣłżƣŰĪƣƫÿƣĪ-ŲżŧżŲŃĪƣ-ĪǢƠĪĜƸĪģ-ƸżłǀŲĜƸŏżŲƫżŧĪŧǣÿƫżƠƸŏŰÿŧŧǣ-Īdz ǿĜŏĪŲƸƣĪƠƣżģǀĜĪƣƫżłŏŰÿŃŏŲĪģƫżǀŲģƫܔ- ƸŊĪǣÿƣĪÿŧƫż-ƸŊĪŰƫĪŧǜĪƫ-ܸƣĪƫżŲÿƸżƣƫܹŏŲÿŲģ-ƸŊƣżǀŃŊǝŊŏĜŊ-ƸŊĪŏŲŏƸŏÿŧŏŰƠĪƸǀƫ-ƠƣżǜŏģĪģěǣ-ƸŊĪƫĜżƣĪŏƫÿŰƠŧŏǿĪģ- ÿŲģ-ŰżģǀŧÿƸĪģŏŲ-ƸŊĪ-ŰżƫƸǜÿƣŏĪģǝÿǣƫŏŰÿŃŏŲÿěŧĪܷ-ܠFĪƣŲĪǣŊżǀŃŊ܉ܶÃŲŏƸǣ ÿƠƫǀŧĪ܉ܷ-ڌڌڍܡ

ںڵ- àŏŧŧŏÿŰƫ܉-ܶrÿģŲĪƫƫŏŲ-ƸŊĪrǀƫŏĜ-¼ŊĪÿƸƣĪàżƣŤƫżł-£ĪƸĪƣrÿǢǝĪŧŧ-'ÿǜŏĪƫ܉ܷ-ڐڔܨڏڔ

ڻڵ- -RĪĪ-NĪƣǭłĪŧģܫRĜŊŏŧģ܉-ܶRƸǀģŏĪŲǭǀ ÿƸŊǣ-ĪƣěĪƣŏÿŲƫ-ܸtĪǝßżĜÿŧŏƸǣܹܷ

ڼڵ- -RĪĪ܉ÿŰżŲŃżƸŊĪƣƫ܉fŏƣĜŊĪƣƸ܉-ܶĪƸǝĪĪŲàżƣŧģƫ܉ܷ-NŏƣÿǣÿŰÿ܉-ܸܶrÿĜŊܹƫǝŏĪ-'ǀ-ĪƫłdžŊŧƫƸ܉ܹܷ-1/4żƣƸżƣÿ܉*ßżĜĪ-ĜżŰĪƫżDzǾż܍- Voce come gesto*܉ÿŲģ-NŏĪŤĪŧ܉-ܶ/ƫĜÿƠĪģłƣżŰ-£ÿƣÿģŏƫĪ܉ܐܷ-ڐڒڍܨڍڒڍ-NŏƣÿǣÿŰÿ܉-ŊżǝĪǜĪƣ܉-ĪŰƠŊÿƫŏǭĪģ-ƸŊÿƸƫŊĪ-Ŋÿģ- ŲżƫżǀŲģ-ŤŲżǝŧĪģŃĪżł-ƸƣÿģŏƸŏżŲÿŧdÿƠÿŲĪƫĪǜżĜÿŧ-ŰǀƫŏĜ-ܠNŏƣÿǣÿŰÿ܉-ܶܞrŏĜŊŏŤż-NŏƣÿǣÿŰÿŏŲ żŲǜĪƣƫÿƸŏżŲǝŏƸŊ- ܡړڍܨڒڍܷ-܉ܟfÿŲżŧģddžƣŃĪŲ

ڽڵ- -RĪĪ-ĪƫƠĪĜŏÿŧŧǣrĪĪŊÿŲ܉-ܶtżƸdǀƫƸÿ-£ƣĪƸƸǣßżŏĜĪܷ

ڴڶ- -1/4Ŋŏƫ-ŰĪÿŲƫ܉łżƣ-ĪǢÿŰƠŧĪ܉-ƸŊÿƸ-ƸŊĪƫĪ-ĜżŧŧÿěżƣÿƸŏżŲƫżǽ ƸĪŲģĪǜĪŧżƠżǜĪƣÿŧżŲŃĪƣ-ƠĪƣŏżģżł-ƸŏŰĪÿƸÿ-ĜĪƣƸÿŏŲŧżĜÿ-ƸŏżŲ-ܨżǽ ƸĪŲ-ƠƣŏǜÿƸĪŧǣ-ܨěǀƸÿƸ-ƸŊĪƫÿŰĪ-ƸŏŰĪŏŲƸĪŃƣÿƸĪ-ƸŊĪ-ĪǢƠĪƣŏĪŲĜĪƫżłÿŧŧ-ƸŊżƫĪŏŲǜżŧǜĪģżŲ-ƸŊĪ-Ńŧżěÿŧ-ܶƫƸÿŃĪܷ- See also Tomlinson, *Globalization and Culture*܉-ڍڏܨڍ

### Articulation and Codification of the Voice: Thresholds and Interactions Between Speech and Song

Analogously to the limitations of vocal notation, it was shown that even a tool designed as uni-ǛĩƢƪþŦŎƪƷŎěþŦŦǢþƪ- Ʒ'nĩ- SűƷĩƢűþƷŎŻűþŦ-£'nŻűĩƷŎě-ŦƟ'nþĚĩƷ-ܣS£܌ܤ-ĢĩƪƟŎƷĩ-ŎƷƪ-'nŎł'n-ĢĩłƢĩĩ-ŻŁ-ĢŎDz ŁĩƢܮ entiation, ultimately cannot capture many phonetic structures, for example, where a voice gradƿþŦŦǢě'nþűłĩƪ-ĚĩƷǜĩĩű-ĢŎDz ŁĩƢĩűƷ-Ɵ'nŻűĩƷŎě- ƷǢƟĩƪ-ŻƢěþƷĩłŻƢŎĩƪښڛܒ An interculturally accentuatĩĢ-'nŎƪƷŻƢŎŻłƢþƟ'nǢ-ދܣ SSܤڐܒ- Ʒ'nþƷěƢŎƷŎěþŦŦǢþĢĢƢĩƪƪĩƪ- Ʒ'nĩěƢŎƷĩƢŎŻű-ŻŁǜƢŎƷŎűłůƿƪƷƪĩĩþěĩűƷƢþŦ- Ʒþƪţ-ƟƢĩěŎƪĩŦǢ-Ŏű-Ʒ'nĩěŦþƢŎȀěþƷŎŻű-ŻŁƪƿě'n-ƷĩűƪŎŻűƪ-ĚĩƷǜĩĩűűŻƷþƷŎŻűþűĢ-ƟĩƢŁŻƢůþűěĩ܌ǜƢŎƷŎűł- and sound. Indeed, it is the transitional areas between established vocal categories and vocal ƪƷǢŦĩƪ܌þƪ-ƢĩǴŦĩěƷĩĢ-Ŏű-Ʒ'nĩ-ƟƢŻĚŦĩů-ŻŁþĢĩơƿþƷĩűŻƷþƷŎŻű܌-Ʒ'nþƷ-'nþǛĩ-ƢĩƟĩþƷĩĢŦǢ-ĚĩěŻůĩþ-ŁŻěþŦ- point of particular importance for vocal music of the most varied historical and cultural pro-Ǜĩűþűěĩ܌ĩƪƟĩěŎþŦŦǢ-Ŏű-Ʒ'nĩ-ƷǜĩűƷŎĩƷ'nþűĢ-ƷǜĩűƷǢܮȀƢƪƷěĩűƷƿƢǢܒ-Rƿě'n-Ɵþƪƪþłĩƪڛڛ-ĚĩƷǜĩĩűƪƟĩþţܮ ing and singing voices are traced below using selected case examples from Japanese, Chinese, þűĢ-/ƿƢŻƟĩþűěŻűƷĩǡƷƪܒȃĩĩǡƟŦŻƢþƷŎŻű-ŻŁ-Ʒ'nĩþƢĩþƪ-ĚĩƷǜĩĩűƪƟĩþţŎűłþűĢƪŎűłŎűłƪĩĩţƪ-ƷŻ- question the relationship between voice and musical meaning, whereby structural and socioěƿŦƷƿƢþŦ-ĢŎůĩűƪŎŻűƪ-ŻŁ-ǛŻěþŦůƿƪŎěþƢĩ-ŎűƷĩƢƢĩŦþƷĩĢܒ-1/4Ż-Ʒ'nŎƪĩűĢ܌-Ʒ'nĩ-ŎűƷĩƢþěƷŎŻű-ĚĩƷǜĩĩű-ܹþƢ-ƷŎěƿŦþƷŎŻűܺþűĢ-ܹěŻĢŎȀěþƷŎŻűܺ-Ŏƪ-ƟŦþěĩĢþƷ-Ʒ'nĩěĩűƷĩƢ-ŻŁþƷƷĩűƷŎŻűܒ-ܹƢƷŎěƿŦþƷŎŻűܺ-Ŏƪ-'nĩƢĩƿűĢĩƢܮ ƪƷŻŻĢűŻƷ-ŻűŦǢ-Ŏű-Ʒ'nĩ-Ʒĩě'nűŎěþŦ-ŻƢ-Ɵ'nŻűĩƷŎěƪĩűƪĩ܌-ĚƿƷþĚŻǛĩþŦŦþŦƪŻůĩƷþƟ'nŻƢŎěþŦŦǢ܋-Ʒ'nĩ-'nƿůþű- voice "articulates" itself as an independent "agent" in a musical context where the vocal sound forms an autonomous psychophysical presence, while it might at the same time appear as one ܹǛŻŎěĩܺ þůŻűł ƪĩǛĩƢþŦ-Ŏű- Ʒ'nĩ ƪƷƢƿěƷƿƢĩ-ŻŁ- Ʒ'nĩ ěŻůƟŻƪŎƷŎŻűܒ-R ŎůŎŦþƢŦǢ܌- ܹěŻĢŎȀěþƷŎŻűܺ-Ŏƪ ƿűĢĩƢܮ ƪƷŻŻĢűŻƷ-ŻűŦǢ-Ŏű-Ʒ'nĩ-ŻĚǛŎŻƿƪƪĩűƪĩþƪþűŻƷþƷŎŻű-ŻŁƪŻƿűĢŎűł-ǛŻŎěĩܣƪ܌ܤ-ĚƿƷþŦƪŻþƪþ-ƷĩƢů-ŁŻƢ- those sound-immanent and language-discursive means for the constitution of cultural and historical "codes" in which a vocal sound is received and understood.

ȃĩ-Ɵþƪƪþłĩƪ-ĚĩƷǜĩĩűƪƟĩþţŎűłþűĢƪŎűłŎűłěþű-Ěĩ-Ʒĩě'nűŎěþŦŦǢ-ĢĩƪěƢŎĚĩĢ-Ŏűþ-ǛþƢŎĩƷǢ-ŻŁǜþǢƪܒ- ¼ǜŻěƿŦƷƿƢþŦŦǢ-ĢŎDz ŁĩƢĩűƷ-ܹůþƟƟŎűłƪܺ-ŻŁ-Ʒ'nŎƪ-ȀĩŦĢǜŎŦŦ-Ěĩ-ĢŎƪěƿƪƪĩĢ-'nĩƢĩ܌ƪŻůĩ-ƟþƢƷƪ-ŻŁǜ'nŎě'nǜŎŦŦ- ƪĩƢǛĩþƪþ-ƢĩŁĩƢĩűěĩ-Ŏű-Ʒ'nĩ-ŁŻŦŦŻǜŎűłþűþŦǢƪĩƪܒƪĩþƢŦǢþƪ-܌ڒڕژڐƪƷŎŦŦƪŻůĩǜ'nþƷ-ŎűĢĩĚƷĩĢ-ƷŻ-Ʒ'nĩ- ƷƢþĢŎƷŎŻű-ŻŁ-ܹ ŻůƟþƢþƷŎǛĩrƿƪŎěŻŦŻłǢ܌ܺ-GĩŻƢłĩhŎƪƷěƢĩþƷĩĢþůþƟěŻűěĩŎǛĩĢ-ŎűþűƿűþůĚŎłƿܮ ously universalist manner, based on a very wide number of traditional and new singing and ƪƟĩþţŎűł ƪƷǢŦĩƪ-ܣ1/4þĚŦĩݑ ڜڛܒܤڐܒڔȃĩ ĩǡþůƟŦĩƪ-ŎűěŦƿĢĩàĩƪƷĩƢűƿƪƷƢþŦŎþűtǢþűłƿůþƷþ*wangka* ƪƟĩĩě'n܌-NŻƟŎtþƷŎǛĩůĩƢŎěþűܼƪ-*ŦþǛÿǢŎ*-ܣƪƟĩĩě'n܌ܤ*táwi*-ܣƪŻűł܌ܤþűĢ*tí:ngava* ("announcing," a chant Żű-ƷǜŻ-ƢĩŁĩƢĩűěĩ-ƟŎƷě'nĩƪ܌ܤþűĢ-Ʒ'nĩtĩǜðĩþŦþűĢrþŻƢŎܼƪ*koorero*-ܣƪƟĩĩě'n܌ܤ*karakia*-ܣƢŎƷƿþŦě'nþűƷ܌ܤ*waiata*-ܣƪŻűł܌ܤþűĢ*haka*-ܣűþƢƢþƷŎǛĩ-ŁŻƢůǜŎƷ'nůŎǡĩĢƪƷǢŦĩƪܒܤ-SűþĢĢŎƷŎŻű܌hŎƪƷ-ĢŎƪěƿƪƪĩƪ-ŁŻƢůƪ-ŻŁ- 'nĩŎł'nƷĩűĩĢƪƟĩĩě'n-ŎűþĢǛĩƢƷŎƪŎűłƪƟĩþţĩƢƪ܌àĩƪƷĩƢűƪƟŻţĩű-ĢƢþůþ܌þűĢ-ŠƿůƟŎűł-ƢŻƟĩ-Ƣ'nǢůĩƪ܌-

ڵڶ- -RĪĪ-GĪĪ܉-ܶ1/4ŊĪ-¦ĪŧÿƸŏżŲƫŊŏƠżłtżŲܫRĪŰÿŲƸŏĜßżĜÿŧrǀƫŏĜ-Ƹż-ƸŊĪ-SŲƸĪƣŲÿƸŏżŲÿŧ-£ŊżŲĪƸŏĜŧƠŊÿěĪƸ܉ܷ-ڑڒڎ

ڶڶ- -SŲÿǝŏģĪܫƣÿŲŃŏŲŃ-Īƫƫÿǣ܉rÿƣƸŏŲðĪŲĜŤ-ƠƣĪƫĪŲƸĪģ-ƸŊĪ-ƠżƸĪŲƸŏÿŧżł-ƸŊĪ-ƸĪƣŰ-ܶƠÿƫƫÿŃĪܷÿƫŏƸŏƫ-ǀƫĪģ-ŊĪƣĪ܉-ŊŏƫƸżƣŏ-Ĝÿŧŧǣ-ƠƣżŰŏŲĪŲƸŧǣŏŲƸƣżģǀĜĪģěǣàÿŧƸĪƣ-ĪŲšÿŰŏŲŏŲ-*The Arcades Project* (*Das Passagen-Werk*ܡðĪŲĜŤ-ƸŊĪŰÿƸŏǭĪƫ- ƸżƠżŃƣÿƠŊŏĜÿŧܫĜǀŧƸǀƣÿŧǿĪŧģƫ-ܠƠÿƫƫÿŃĪƫěĪƸǝĪĪŲ-ŃĪżŃƣÿƠŊŏĜ-ĜǀŧƸǀƣĪƫżƣƣĪŃŏżŲƫ܉ܡŏŲƸĪƣĜǀŧƸǀƣÿŧǿĪŧģƫ-ܠƠÿƫƫÿŃĪƫ- ÿƫŏŲƸĪƣÿĜƸŏżŲƫěĪƸǝĪĪŲ-ĜǀŧƸǀƣĪƫ܉ܡ-ƠŊŏŧżƫżƠŊŏĜÿŧǿĪŧģƫ-ܠƠÿƫƫÿŃĪƫěĪƸǝĪĪŲ-ƠŊǣƫŏĜÿŧÿŲģ-ŰĪƸÿƠŊǣƫŏĜÿŧŧĪǜĪŧƫÿŲģ- ĜżŲĜĪƠƸƫ܉ܡÿŲģÿĪƫƸŊĪƸŏĜǿĪŧģƫ-ܠƠÿƫƫÿŃĪƫÿƫ-ĜƣżƫƫŏŲŃƫÿŲģ-ƸƣÿŲƫŃƣĪƫƫŏżŲƫżłěżǀŲģÿƣŏĪƫܡ-1/4ŊĪƫĪǿĪŧģƫÿƣĪÿŧƫż- ÿƫƫżĜŏÿƸĪģǝŏƸŊ-ŰǀƫŏĜܫƫƠĪĜŏǿĜ-ŰĪÿŲŏŲŃƫżł-ƸŊĪ-ƠÿƫƫÿŃĪ-ĜżŲĜĪƠƸ-ܠƸƣÿŲƫŏƸŏżŲƫÿƫ-ƠÿƣƸżł-ŰǀƫŏĜÿŧƫǣŲƸÿǢÿŲģłżƣŰ܉- ĜżŲƸŏŲǀżǀƫ-ƸƣÿŲƫŏƸŏżŲÿƫÿ-ƠƣŏŲĜŏƠŧĪŏŲ-ŲĪǝ-ŰǀƫŏĜ܉-ĪƸĜܡ-ĜĜżƣģŏŲŃ-ƸżðĪŲĜŤ܉-ƠÿƫƫÿŃĪƫ-ƸŊÿƸ-ܶŧĪÿģżǜĪƣ-ƸŊƣĪƫŊżŧģƫܷ- ƫżŰĪƸŏŰĪƫÿƠƠƣżǢŏŰÿƸĪ-ƸƣÿŲƫŃƣĪƫƫŏżŲƫŏŲǝŊŏĜŊěżƣģĪƣƫÿƣĪǜŏżŧĪŲƸŧǣ-ƸżƣŲģżǝŲ-ܶěĪĜÿǀƫĪ-ƸŊŏƫŏƫ-ƸŊĪżŲŧǣǝÿǣ- Ƹż-Ĝƣżƫƫ-ƸŊĪŰܷ-ܠðĪŲĜŤ܉-ܶðǀ-ĪŏŲĪƣ-ŤǀŧƸǀƣǝŏƫƫĪŲƫĜŊÿǽ ƸŧŏĜŊĪŲ-¼ŊĪżƣŏĪģĪƣ-ܸ£ÿƫƫÿŃĪ܉ܹܷ-܉ڌڏ-ܶdžěĪƣ-®ĜŊǝĪŧŧĪŲłdžŊƣĪŲ܉ܷ- ܶǝĪŏŧ-ŲǀƣƫżŏŊƣĪ-ÉěĪƣƫĜŊƣĪŏƸǀŲŃ-ŰƇŃŧŏĜŊ-ĪƣƫĜŊĪŏŲƸܷܡ

ڷڶ- hŏƫƸ܉-ܶ1/4ŊĪżǀŲģÿƣŏĪƫżł-®ƠĪĪĜŊÿŲģ-®żŲŃ܉ܷ-ڕ

Table 5.1: Gradation of the areas between spoken voice and singing by George List with placement of the examples discussed by List. 1: heightened speech (Western drama); 2: jump rope rhymes (USA); 3: Palau women song (Micronesia); 4: type of Thai Buddhist chant; 5: Schoenberg, Pierrot lunaire; Maori: haka; Chinese opera recitative (not specified); 6: tobacco "auctioneering" (USA); 7: Hopi Native Americans (Arizona): announcement; 8: aboriginal Australians (songs); 9: songs of black Americans; 10: bi-, tri-, tetratonic chants (Vedda: children's songs, folk songs)

forms of recitation from Palau (Micronesia), Thailand, songs of black Americans, Schoenberg's Sprechstimme, and Chinese opera "recitative." The presupposed assumption of comparability within this sociologically and geographically exceptionally broad spectrum naturally leads to the question of how far the "technical" aspects of the voices gathered here can be isolated from the sociocultural conditions of their production and their emic concepts – a familiar argument from the broad criticism of comparative ethnomusicology since the 1960s. The meaningfulness of this map must certainly be limited to the "technical" dimension, which should not prevent us from using it as an aid to the following analyses. The pitches, which are less profiled in the everyday speaking voice than in the singing voice, gain clearer contours in more stylized declamation or in "half-sung" forms (List places Schoenberg's Sprechstimme in this area, center left). In contrast, pitch organization in the form of monotone recitation is increasingly narrowed

*¼þĚŦĩ-ڗܘښܑ-GƢþĢþƷŎŻűƪ-ĚĩƷǜĩĩűƪƟĩĩě'nþűĢƪŻűł-Ŏű-Ʒ'nĩ-ŁŻƿƢůŻƪƷ-ŎůƟŻƢƷþűƷ-ǛŻěþŦłĩűƢĩƪ-ƷƢþĢŎƷŎŻűþŦdþƟþűĩƪĩůƿƪŎěƿƪŎűł-NŎƢþűŻ݂ƪěŦþƪƪŎȁěþƷŎŻű-ŻŁłŎűƪ'nƔ, ƢƔƪ'nƔ, and ĩŎƪ'nƔ*

*ŻŁ-*

ĢŻǜű-ƷŻþƪŎűłŦĩűŻƷĩ-ܣěĩűƷĩƢ-ƢŎł'nƷ܌ܤ-ŻǼ Ʒĩű-Ŏű-ƢŎƷƿþŦěŻűƷĩǡƷƪܒ-¦ĩěŎƷþƷŎǛĩƪƷǢŦĩƪþƢĩ-ŻǼ Ʒĩűě'nþƢþěterized by repetitions of sound, such as the *parlando*-ŻŁ-ŻƟĩƢþ-ĚƿDz Łþܒű-ŎűěƢĩþƪŎűłƪƷþĚŎŦŎǬþƷŎŻű- of the pitch or an expansion of scalar structures then leads to forms that are generally referred to as "singing."

/Ǜĩű-Żűþ-ƟƿƢĩŦǢ-Ʒĩě'nűŎěþŦ-ŦĩǛĩŦ܌hŎƪƷܼƪůþƟ-ŻĚǛŎŻƿƪŦǢ-ŻűŦǢ-ƟƢŻǛŎĢĩƪþ-ƢĩŦþƷŎǛĩŦǢ-ƢŻƿł'nłƢŎĢܒrŻƢĩ-ĢĩƷþŎŦĩĢěþƷĩłŻƢŎĩƪþƢĩ-ƢĩơƿŎƢĩĢ-ƷŻ-ĢĩƪěƢŎĚĩƪƟĩěŎȀě-ŁŻƢůƪ-ŻŁ-ǛŻěþŦ-ĢĩŦŎǛĩƢǢܒ-Sű-ƷƢþĢŎƷŎŻűܮ þŦdþƟþűĩƪĩ-ǛŻěþŦůƿƪŎě܌-Ɵþƪƪþłĩƪ-ĚĩƷǜĩĩűƪƟĩþţŎűłþűĢƪŎűłŎűł-'nþǛĩ-ƢĩěĩŎǛĩĢƪƟĩěŎþŦþƷƷĩű-ƷŎŻűþűĢ-'nþǛĩ-Ěĩĩű-ĢŎDz ŁĩƢĩűƷŎþƷĩĢ-ŎűƷŻěŻůƟŦĩǡěþƷĩłŻƢŎĩƪǜŎƷ'nŎű-Ʒ'nĩ-ƟƢþěƷŎěĩ-ŻŁ-Ʒ'nĩ-ŎűĢŎǛŎĢƿþŦ- łĩűƢĩƪܒ-1/4þĚŦĩ-ڑܒڔƪĩĩţƪ-ƷŻƪ'nŻǜ-Ʒ'nĩƪĩěþƷĩłŻƢŎĩƪ-ŁŻƢ-Ʒ'nĩ-ǛŻěþŦƪƷǢŦĩƪ-ŁƢŻů-*'nĩŎţǢŻţƿ-*(epic narrative singing accompanied by the lute *biwa*܌ܤ*łŎĢþǢǕܴĚƿƪ'nŎ-*(vocal style accompanying the puppet theater *bunraku*܌ܤ*űƔ-*(archaic music theater employing male voices exclusively in both solo and ě'nŻŎƢ- ŁŻƢůþƷƪ܌ܤþűĢ*ƪ'nƔůǢƔ*-ܣƢŎƷƿþŦƿĢĢ'nŎƪƷě'nþűƷܤ-Ŏűþ-ƢĩƟƢĩƪĩűƷþƷŎŻűƿƪŎűłþű-ŻǛĩƢþƢě'nŎűł- three-level typology based on research by Kenji Hirano on *katarimono*, an umbrella term for language-oriented traditional Japanese vocal genres.ڝڛ Hirano distinguishes between *łŎűƪ'nƔ* ܣĢĩěŦþůþƷŎŻű-Ʒ'nþƷůŻǛĩƪěŦŻƪĩ-ƷŻ-Ʒ'nĩƪƟŻţĩű-Ŧþűłƿþłĩ܌ܤ-*ƢƔƪ'nƔ* (syllabic recitation at regular time ŎűƷĩƢǛþŦƪǜŎƷ'n-ƟŎƷě'n-ƢĩƟĩƷŎƷŎŻűƪ-Żű-Żűĩ-ŻƢþ-Łĩǜ-ƟŎƷě'něĩűƷĩƢƪ܌ܤþűĢ*ĩŎƪ'nƔ* (recitation tending toward singing, employing changing time intervals, with sustained notes alternating with faster űŻƷĩƪ-ŻŁ-ĢŎDz ŁĩƢĩűƷ-ƟŎƷě'nĩƪܒܤ

ȃĩ-ǛŻěþŦ-ĢĩŦŎǛĩƢǢ-Ʒĩě'nűŎơƿĩƪ-ŦŎƪƷĩĢ-Ŏű-¼þĚŦĩ-ڑܒڔþƢĩ-ĚǢűŻůĩþűƪěŻůƟŦĩƷĩ܌-'nŻǜĩǛĩƢ܌þűĢ- their assignment to the three categories is somewhat arbitrary, especially in *'nĩŎţǢŻţƿ* and *łŎĢþǢǕܴĚƿƪ'nŎ*܌ǜ'nŎě'n- 'nþǛĩþűĩǡƷƢþŻƢĢŎűþƢŎŦǢ-ŦþƢłĩűƿůĚĩƢ-ŻŁ- ĢŎDz ŁĩƢĩűƷ łƢþĢþƷŎŻűƪ܌þŦƷ'nŻƿł'n- Ʒ'nĩŎƢĩǡþěƷ-ƢĩŦĩǛþűěĩ-Ŏű-ƟƢþěƷŎěĩ-ŻǼ Ʒĩű-ƢĩůþŎűƪþůĚŎǛþŦĩűƷþűĢƪƷƢŻűłŦǢ-ĢĩƟĩűĢĩűƷ-ŻűþĢĢŎƷŎŻűܮ al factors such as the aural conventions of the respective schools.ڞڛ-Ǽ ƷĩƢþŦŦ܌-Ŏű-Ʒ'nĩ-Ʒ'nƢĩĩ-ƷƢþűƪěƢŎƟƷŎŻűƪƪ'nŻǜű-Ŏű-/ǡþůƟŦĩ-ڐܒڔ-ܣ*shirakoe*, *kudoki*, *ƪþűŠǕ*ܤ-ŁƢŻů-Ʒ'nĩ-*'nĩŎţǢŻţƿ*piece *Suzuki*, one can recognize the three categories *łŎűƪ'nƔ*, *ƢƔƪ'nƔ*, and *ĩŎƪ'nƔ* in a relatively pure form.

ȃĩ-ǛŻěþŦ-ĢĩŦŎǛĩƢǢ-Ʒĩě'nűŎơƿĩƪ-Ŏű-*'nĩŎţǢŻţƿ* are generally referred to as *ţǢŻţƿƪĩƷƪƿ*ڟڛ) alteration, ě'nþűłĩ܌ůĩŦŻĢŎě-ŁŻƢůƿŦþ܌ܤþűĢ-Ŏű*łŎĢþǢǕܴĚƿƪ'nŎ*as *senritsukei*ڠڛ-ܣůĩŦŻĢǢ-ƷǢƟĩܒܤ-'ĩƟĩűĢŎűł-Żű-Ʒ'nĩ- context, these terms may designate vocal techniques in the narrower sense but also melodic contours, lines, or even certain individual pitches.ڡڛ *GŎĢþǢǕܴĚƿƪ'nŎ* includes particularly numerous transitory styles that are used to switch between the main styles *kotoba*-ܣƪƟĩĩě'n܌ܤ*iro* (reci-ƷþƷŎŻű܌ܤþűĢ*ji*-ܣě'nþűƷ܌ܤƪƿě'nþƪ*kotoba-nori*, *ji iro*, or *kakari*ܒ þĢĩűƷŎþŦ-ȀłƿƢĩƪ܌ůĩŦŻĢŎě-ƟþƷƷĩƢűƪ܌þűĢơƿŻƷþƷŎŻűƪ-ŻŁƪƟĩěŎȀěůĩŦŻĢŎĩƪþƢĩ-ŠƿǡƷþƟŻƪĩĢ-ƷŻ-Ʒ'nĩƪĩůþŎűƪƷǢŦĩƪ܌-ƢĩƪƿŦƷŎűł-Ŏűþ-ŦþǢĩƢĩĢ- complexity that is inwardly connected to the process of oral transmission.ڢڛ

ڸڶ- -RĪĪ-NŏƣÿŲż܉-ܶĪǭŏĪŊǀŲŃĪŲǭǝŏƫĜŊĪŲ-®ƠƣÿĜŊĪ-ǀŲģrǀƫŏŤŏŰ*katarimono*."

ڹڶ- -ÃƠģÿƸĪģŏŲƸƣżģǀĜƸŏżŲƫŏŲƸż-ƸŊĪ-Ƹǝż-ŃĪŲƣĪƫ-ĜÿŲěĪłżǀŲģŏŲfżŰżģÿ܉-ܶ1/4ŊĪrǀƫŏĜÿŧtÿƣƣÿƸŏǜĪżł-*The Tale of the Heike*" and Yamada, "*GŏģÿǣǖܯěǀƫŊŏ*: Music of the *bunraku* Puppet Theatre."

ںڶ- fżŰżģÿ܉-ܶ1/4ŊĪrǀƫŏĜÿŧtÿƣƣÿƸŏǜĪżł-*The Tale of the Heike*܉ܷ-ڐڔ-RżŰĪƸŏŰĪƫ-ƸŊĪ-ƸĪƣŰ*onsetsu*-ܠƫǣŧŧÿěŧĪܡŏƫ-ǀƫĪģŏŲܫ stead of *kyokusetsu*-ܠƫĪĪrÿǣĪģÿ܉-ܶÉěĪƣģŏĪ*ƫÿŲšǖ*-Abschnitte im *heikyoku*܉ܷ-ܡڐړڍ

ڻڶ Yamada, "*GŏģÿǣǖܯěǀƫŊŏ*: Music of the *bunraku*-£ǀƠƠĪƸ-¼ŊĪÿƸƣĪ܉ܷ-ڑڌڎ

ڼڶ- -1/4ŊĪ-ǀƫĪżł-ƸŊĪƫĪ-ƸĪƣŰƫŏƫ-ŲżƸ-ǀŲŏłżƣŰŏŲƣĪƫĪÿƣĜŊÿŲģŏƫ-ŲżƸŧŏŰŏƸĪģ-Ƹż-ƸŊĪ-Ƹǝż-ŃĪŲƣĪƫ܈-ܶܞ*kyokusetsu*ܟ-ƸĪŲģƫ-Ƹż- ŏŲģŏĜÿƸĪŧżŲŃĪƣ-ƠÿƫƫÿŃĪƫżłƫĪĜƸŏżŲŧĪŲŃƸŊ܉ǝŊŏŧĪ-ܞ*senritsukei*ܟ-ܟ܊ܞƣĪłĪƣƫ-ƸżƫŊżƣƸĪƣ-ƠŊƣÿƫĪƫܷ-ܠ1/4żŤŏƸÿÿŲģ-NǀŃŊĪƫ܉- ܶ żŲƸĪǢƸÿŲģ- ŊÿŲŃĪŏŲdÿƠÿŲĪƫĪrǀƫŏĜ܉ܷ-ܡڐڎ

ڽڶ" All *katarimono* żł- ƠƣĪܫŰżģĪƣŲ- ƠƣżǜĪŲÿŲĜĪ ƫƸĪŰ łƣżŰ żƣÿŧ- ƠƣÿĜƸŏĜĪƫ ŏŲ ǝŊŏĜŊ- ƸĪǢƸ ÿŲģ- ŰǀƫŏĜ ǝĪƣĪ- ƠƣżģǀĜĪģ- ěǣ-ƸĪĜŊŲŏƢǀĪƫżłżƣÿŧ-ĜżŰƠżƫŏƸŏżŲ-/ǜŏģĪŲĜĪłżƣżƣÿŧ-ĜżŰƠżƫŏƸŏżŲŏŲƫǀĜŊ-ƸƣÿģŏƸŏżŲƫŏƫģĪŰżŲƫƸƣÿěŧĪ-ƸŊƣżǀŃŊ- ÿŲÿŧǣƫĪƫģĪǜĪŧżƠĪģłƣżŰ-ƸŊĪ-ƠƣŏŲĜŏƠŧĪƫżłżƣÿŧܫłżƣŰǀŧÿŏĜ-ƸŊĪżƣǣܷ-ܠFĪƣƣÿŲƸŏ܉-ܶ1/4ƣÿŲƫŰŏƫƫŏżŲÿŲģ-¼ĪǢƸǀÿŧŏƸǣŏŲ-ƸŊĪ- Narrative Traditions of Blind *Biwa*-£ŧÿǣĪƣƫ܉ܷ-܉ڍڐڍ-ŲżƸĪ-ڎڎܡ

*/ǡþůƟŦĩ-ږܘښܑ-Ȅĩ-Ʒ'nƢĩĩ-ǛŻěþŦ-ĢĩŦŎǛĩƢǢ-Ʒĩě'nűŎơƿĩƪƪ'nŎƢþţŻĩܒţƿĢŻţŎܒþűĢƪþűŠǕ-Ŏű-ƷƢþűƪěƢŎƟƷŎŻűƪ-ŻŁ-Ʒ'nĩ- 'nĩŎţǢŻţƿ-ƟŎĩěĩ-Suzuki ܩƟĩƢŁŻƢůĩƢܑ-¼ƪƿƷŻůƿ-SůþŎܝ-ƷƢþűƪěƢŎƟƷŎŻűܑfŻůŻĢþܒ-NĩŎţĩűŻ-Żűłþţƿܒ-ڙڕڙܱܪڜږڙ-*

 żƠǣƣŏŃŊƸ-ޣ-ڏڌڌڎěǣ-NÿƣǀŤżfżŰżģÿܕ'ÿŏŏĜŊŏ-®Ŋżěƕ-¼żŤǣż

Hirano particularly highlights the intersections and transitions between the three main categories, which show a tendency toward hybrid formation. For example, a *kotoba* recitation in *łŎĢþǢǕܴĚƿƪ'nŎ* can tend to stabilize pitches in the manner of *ƢƔƪ'nƔ* practice, motivated by drama-ƷŎě܌-Ɵ'nŻűĩƷŎě܌-ŻƢƪǢůĚŻŦŎěěŻűƷĩǡƷƪܒȃĩ*hiroi* technique in *'nĩŎţǢŻţƿ*, in turn, can be extended both to the regions of *ĩŎƪ'nƔ* and *łŎűƪ'nƔ*. Furthermore, as both traditions are transmitted orally, ƟĩƢŁŻƢůþűěĩƪƷǢŦĩƪƪƟĩěŎȀě-ƷŻþěĩƢƷþŎűƪě'nŻŻŦþűĢܘŻƢ-ŎűĢŎǛŎĢƿþŦ-ƟĩƢŁŻƢůĩƢƪůþǢ-ŦĩþĢ-ƷŻƪƿĚƪƷþűƷŎþŦŦǢ-ĢŎDz ŁĩƢĩűƷ-ŎűƷĩƢƟƢĩƷþƷŎŻűƪ-ŻŁ- Ʒ'nĩƪþůĩ- Ʒĩě'nűŎěþŦ- ƷĩƢůƪܒàĩěþű-Ʒ'nƿƪ-ŎűŁĩƢ-Ʒ'nþƷĩǛĩű- Ʒ'nĩůŻƪƷ-ƢĩȀűĩĢ-ƷǢƟŻŦŻłŎĩƪ-ĢŻűŻƷ-ƟƢŻǛŎĢĩƪƿDzȀěŎĩűƷ-ƷŻŻŦƪ-ƷŻłƢþƪƟ-Ʒ'nĩƪƟĩěŎȀěůþűűĩƢþűĢ- criteria of transformation between speech and song inherent to many elaborate vocal styles. ȃŎƪ-ŻĚǛŎŻƿƪƪ'nŻƢƷěŻůŎűł-ŎůƟŦŎĩƪ-Ʒ'nþƷ-Ʒ'nĩ-ŎűƷĩƢþěƷŎŻűþűĢ-ƷƢþűƪŁŻƢůþƷŎŻű-ĚĩƷǜĩĩűƪƟĩĩě'nþűĢ- ƪŻűłůƿƪƷ-ĚĩþűþŦǢǬĩĢěŻůƟþƢþƷŎǛĩŦǢ-Ŏűþ-ǛþƢŎĩƷǢ-ŻŁƪƟĩěŎȀěěŻűƷĩǡƷƪܒ

### **Fragmentation and Montage** (*vâÑưËÃ*, **Tan Dun, Schoenberg)**

A detailed analysis of a section from *łŎĢþǢǕܴĚƿƪ'nŎ* will initially show how its "hybrid formation" of vocalizations is achieved practically. *GŎĢþǢǕܴĚƿƪ'nŎ*-ŎƪþƪƟĩěŎȀě-ǛŻěþŦƪƷǢŦĩ-ŻŁ- Ʒ'nĩűþƢƢþƷŎǛĩ- genre *ŠƔƢƿƢŎ* used in Japanese *bunraku*-ƟƿƟƟĩƷ-Ʒ'nĩþƷĩƢþűĢ-ĢĩǛĩŦŻƟĩĢ-ĚǢ-GŎĢþǢǕ-¼þţĩůŻƷŻ-ܫڐڔڕڐܣ ܤړڐږڐ-ŎűƪþţþþƢŻƿűĢ-ܒړڗڕڐȃĩþůĚŎǛþŦĩűěĩƪþűĢěŻůƟŦĩǡŎƷǢ-ŻŁ-Ʒ'nŎƪƪƷǢŦĩƪĩĩů-ƷŻůĩ-ƷŻþŦŦŻǜ- particularly vivid passages to other types of vocal articulation. *GŎĢþǢǕܴĚƿƪ'nŎ* is performed by a reciter (*ƷþǢǕ*܌űþƢƢþƷŻƢܤþűĢþ-ƟŦþǢĩƢ-ŻŁ-Ʒ'nĩ-Ʒ'nƢĩĩܮƪƷƢŎűł-ŦŻűłܮűĩěţĩĢ*futozao shamisen* (a bass *shamisen*, usually tuned in *'nŻűě'nƔƪ'nŎ*ǜŎƷ'n-Ʒ'nĩ-ܡƢĩŦþƷŎǛĩܢ-ƟŎƷě'nĩƪ-ܫڒ/ܫړܒܤړȃĩ-*ƷþǢǕ* acts as the narrator of the story and simultaneously lends his voice to all puppet characters acting on the stage. His vocal timbre is based on a strong chest voice and diaphragmatic breathing and is of a rough and throaty quality, which is guided by the aesthetic ideal *ibushi*-ܣŻǡŎĢþƷŎŻűڙڜܤ and closely ŦŎűţĩĢ- ƷŻ- Ʒ'nĩ-ĚƿǬǬŎűł*sawari* timbre of the *futozao shamisen*ܒȃĩ*shamisen* contributes to the

ڔڐڍܷ-܉*Bunraku*-ܶ܉ĪĪƫΦ- -ڴڷ

ĩǡƟƢĩƪƪŎŻű-ŻŁ-Ʒ'nĩ-ƷĩǡƷ-ĚǢ-ƟŦþǢŎűł-ȀűĩŦǢƪƟƿű-'nĩƷĩƢŻƟ'nŻűŎě-ŦŎűĩƪþƢŻƿűĢ-Ʒ'nĩ-ƢĩěŎƷĩƢܼƪ-ƟþƢƷþűĢ- bridging gaps between sections with solo melodies (*ůĩƢŎǢþƪƿ*ܒܤȃĩěŻűƷŎűƿŎűłě'nþűłĩƪ-Ŏű-Ʒ'nĩ- reciter's vocal character can only inadequately be inferred from the sparse original notation, which merely consists of a few instructions noted down in the *ƷþǢǕ*ܼƪ-ĚŻŻţ-ƷŻ-Ʒ'nĩ-ƢŎł'nƷ-ŻŁ-Ʒ'nĩ- column with the lyrics.ښڜ

/ǡþůƟŦĩ-ڑܒڔƪ'nŻǜƪ- Ʒ'nĩ- ƷƢþűƪěƢŎƟƷŎŻű-ŻŁþƪĩěƷŎŻű- ŁƢŻů- Ʒ'nĩƪěĩűĩ *Yama no dan* (Mountain ®ěĩűĩܤ-ŁƢŻů-*SůŻƪĩǢþůþ-Żűűþ-ƷĩŎţŎű*-ܣrŻƿűƷ-SůŻþűĢrŻƿűƷ-®ĩ܋--£þƢþĚŦĩ-ŻŁ-FĩůþŦĩßŎƢƷƿĩ܌-ܤڐږږڐþ- *bunraku*-ĢƢþůþǜƢŎƷƷĩű-ĚǢ-NþűŠŎ- 'nŎţþůþƷƪƿ-ܒܤڒڗږڐܫڔڑږڐܣȃŎƪƪĩěƷŎŻűłŎǛĩƪþłŻŻĢƿűĢĩƢƪƷþűĢܮ Ŏűł-ŻŁ-Ʒ'nĩůŻƪþŎěܮŦŎţĩůŎěƢŻƪƷƢƿěƷƿƢĩ-Ʒ'nþƷ-ŎƪƪŻě'nþƢþěƷĩƢŎƪƷŎě-ŻŁ*łŎĢþǢǕܴĚƿƪ'nŎ*, in that the vocal ĢĩŦŎǛĩƢǢě'nþűłĩƪǜŎƷ'nĩǛĩƢǢ-ŦŎűĩ-ŻŁ-ƷĩǡƷ܌-ŻƢ-ŻǼ ƷĩűĩǛĩűǜŎƷ'nŎű-Ʒ'nĩƪþůĩ-ŦŎűĩڛڜܒȃĩ-ŦǢƢŎěþŦ-Ɵþƪ-

*/ǡþůƟŦĩ-ڗܘښܑ-NþűŠŎ- 'nŎţþůþƷƪƿܒ-Imoseyama onna teikin (Mount Imo and Mount Se. A Parable of FĩůþŦĩßŎƢƷƿĩܘܪ-RĩěƷŎŻű-ŁƢŻů-Ʒ'nĩƪěĩűĩ-Yama no dan-ܩrŻƿűƷþŎű-®ěĩűĩܒܪ-ĚþƪĩĢ-Żűþ-ƟĩƢŁŻƢůþűěĩ-ĚǢ- ®ƿůŎƷþǢǕ-¼þţĩůŻƷŻܒ-ƢĩěŎƷþƷŎŻűܒþűĢfŎǬþĩůŻűtŻǬþǜþܒ-ŁƿƷŻǬþŻƪ'nþůŎƪĩű-ܩƷƢþűƪěƢŎƟƷŎŻűܑrþŦůܒ- ܿrƿƪŎěþŦűþŦǢƪŎƪ-ŻŁ-݁ȄĩrŻƿűƷþŎűƪ-®ěĩűĩܒ݂݀-ڝڜܱܝڞڜ-Ʒ'nĩ-ƷƢþűƪěƢŎƟƷŎŻű-ŁŻŦŦŻǜƪ-Ʒ'nĩěŻűǛĩűƷŎŻű-ŻŁ- űŻƷþƷŎűł-Ʒ'nĩ-ŻƟĩűƪƷƢŎűłƪ-ŻŁ-Ʒ'nĩ-ŁƿƷŻǬþŻƪ'nþůŎƪĩűǜŎƷ'n-Ʒ'nĩ-ƟŎƷě'nĩƪ-ژܱ/ڙܱܝڙ-Ŏű-Ʒ'nĩ-ƢĩěŻƢĢŎűł-ŻŁ-Ʒ'nĩ- ƪěĩűĩþƷƷþě'nĩĢ-ƷŻrþŦů݂ƪþűþŦǢƪŎƪܒ-Ʒ'nĩ-ƟŎƷě'nĩƪþƢĩþĚŻƿƷþůŎűŻƢ-Ʒ'nŎƢĢ-ŦŻǜĩƢܒƪŻ-Ʒ'nĩ-ŻƟĩűƪƷƢŎűłƪ-ŻŁ-Ʒ'nĩ- ŁƿƷŻǬþŻƪ'nþůŎƪĩűþƢĩþƷ-Gژܖܱ ڙܖܱGڙܖ*

 żƠǣƣŏŃŊƸ-ޣ-ڌڕڕڍěǣ- ĪŲƸĪƣłżƣdÿƠÿŲĪƫĪ-®ƸǀģŏĪƫ܉-1/4ŊĪ-ÃŲŏǜĪƣƫŏƸǣżłrŏĜŊŏŃÿŲ

ڵڷ See Yamada, "*GŏģÿǣǖܯěǀƫŊŏ*: Music of the *bunraku* £ǀƠƠĪƸ-¼ŊĪÿƸƣĪ܉ܷ-ڑڌڎܨڐڌڎ

ڶڷ- -RĪĪrÿŧŰ܉-ܶrǀƫŏĜÿŧ-Ųÿŧǣƫŏƫżł-ܸ¼ŊĪrżǀŲƸÿŏŲƫ-®ĜĪŲĪܹܷ ÿŲģ-SŲżěĪ܉-ܶ¦ĪÿģŏŲŃ-ܸ¼ŊĪrżǀŲƸÿŏŲƫ-®ĜĪŲĪܹÿƫrǀƫŏĜܷ

sage belonging to the overarching category *ji*þƷ-Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ-ƷĩǡƷ-ŦŎűĩ-ړړ-ܣƷ'nŎƢĢƪǢƪƷĩů-Żű- Ʒ'nĩ-ŦĩǼ Ʒܤ-Ŏƪ-ĢĩƪŎłűþƷĩĢǜŎƷ'n-Ʒ'nĩ-ƷĩƢů*nagaji*, which symbolizes elegance, and is subdivided by Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ-Ʒ'nĩ-ĢŎƢĩěƷƪƟĩĩě'n-ŻŁ-Ʒ'nĩ-ǢŻƿűł-NŎűþĢŻƢŎ܌ůþƢţĩĢ-ĚǢ-Ʒ'nĩǜŻƢĢ-ܹţŻŎƪ'nŎܺ-ܣܹĢĩþƢܮ ĩƪƷ- ܡůŎƪƪĩĢ fŻłþűŻƪƿţĩܢܺ܌ܤ ǜ'nŎě'n-Ŏƪ ěŦĩþƢŦǢ- ĢŎƪƷŎűłƿŎƪ'nĩĢ- ŁƢŻů-Ʒ'nĩ- ƟƢĩǛŎŻƿƪ ƪŻűł- ĚǢ ƪƟĩþţܮ ŎűłܒȃĩůĩŦŻĢǢ-Ʒ'nĩű-Ƣĩþě'nĩƪþůĩŦŻĢŎěþűĢĩůŻƷŎŻűþŦěŦŎůþǡǜŎƷ'n-Ʒ'nĩ-ړ-ܣ*kami*ܤ-Żű-Ʒ'nĩǜŻƢĢ- ܹþűþƷþܺ-ܣܹǢŻƿܺܒܤȃĩ-ƷŻƟűŻƷĩ܌-܌ړ-ƢĩƷƿƢűƪþƷ-Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ-Ʒ'nĩ-ŁŻŦŦŻǜŎűł-ŦŎűĩ-Żű-Ʒ'nĩǜŻƢĢ-ܹţŎŎƷþܺ-ܣܹSþƪţĩĢ-ܡůǢůŻƷ'nĩƢ-ƷŻ-ŦĩƷůĩłŻܢܺ܌ܤ-ĚƿƷǜŎƷ'nƪŦŎł'nƷŦǢ-Ŧĩƪƪ-ŎűƷĩűƪŎƷǢþűĢ-ŎűþƪĩůŎܮƪƟŻţĩű-ǛŻŎěĩ܌ůþƢţĩĢ-ĚǢ-Ʒ'nĩ-ǛŻěþŦ-ĢĩŦŎǛĩƢǢ-Ʒĩě'nűŎơƿĩ*iro*ܒȃĩ-ܹŻƟĩűĩűĢܺ-ŻŁ-Ʒ'nĩƪƿűł-Ɵ'nƢþƪĩ-Żű-F܌ړ-Ʒ'nĩƿƟƟĩƢ- ƪĩěŻűĢþƢǢűŻƷĩ-ŻŁ-Ʒ'nĩ-ƟŎƷě'něĩűƷĩƢ-/܌ړ-ŁþěŎŦŎƷþƷĩƪ-Ʒ'nĩ-ƷƢþűƪŎƷŎŻű-ƷŻþű-ŎűŎƷŎþŦŦǢ-'nþŦŁܮƪƟŻţĩű܌-Ʒ'nĩű- ƟƿƢĩŦǢƪƟŻţĩű-Ɵþƪƪþłĩ-ܣěþƷĩłŻƢǢ܋*kotoba*ܗܤþűŻƷ'nĩƢ-ƷƢþűƪŎƷŎŻűþŦ-ƟþƪƪþłĩĩůƟŦŻǢŎűł-Ʒ'nĩ-ƢĩěŎƷþƷŎŻű- technique *kakari*܌-Ŏűǜ'nŎě'n- Ʒ'nĩ-Fړ-Ŏƪ- ƷþţĩűƿƟþłþŎű܌-ȀűþŦŦǢ-ŦĩþĢƪ-Ěþěţ- ƷŻ- Ʒ'nĩƪŎűłŎűł- ƷǢƟĩ*ji*. NŎűþĢŻƢŎܼƪ-ĢŎƢĩěƷƪƟĩĩě'něŻűƷŎűƿĩƪ-ĢƿƢŎűłþŦŦ-Ʒ'nĩƪĩě'nþűłĩƪ-Ŏű-Ʒ'nĩ-ǛŻěþŦþƢƷŎěƿŦþƷŎŻűܗ-Ʒ'nĩ-ŁŻƢůƪ- of vocal delivery are thus not synchronized with the narrative-dramatic sectional structure of the text.

ȃĩ-ƷƢþűƪŎƷŎŻűƪ-ĚĩƷǜĩĩűƪƿűłþűĢƪƟŻţĩű-ƟþƪƪþłĩƪþƢĩ-ŻƢłþűŎǬĩĢ-ĢŻǜű-ƷŻ-Ʒ'nĩ-ŦþƪƷ-ĢĩƷþŎŦ- and at the same time with great variability, whereby pitch, timbre, and the interaction between ǛŻŎěĩ þűĢ- ŎűƪƷƢƿůĩűƷ ěŻűƷŎűƿŻƿƪŦǢ- ŎűǴŦƿĩűěĩ- Żűĩ þűŻƷ'nĩƢ܌- ܹĚŦƿƢƢŎűłܺ- Ʒ'nĩ- ǛŻěþŦ- Ʒĩě'nűŎơƿĩƪܒ- ǜŎűł- ƷŻþ-'nŎł'nűƿůĚĩƢ-ŻŁ-ƢĩƟĩþƷĩĢ-ƟŎƷě'nĩƪ܌ůŻƪƷ-ŦǢƢŎěþŦ-Ɵþƪƪþłĩƪ-ܣ*ji*ܤěŻűƷþŎű-ƢĩŁĩƢĩűěĩƪ- ƷŻ- stylized speech (in Hirano's terms, it is a mixture of *ƢƔƪ'nŻ* and *ĩŎƪ'nƔ*܌ܤǜ'nŎŦĩěŻűǛĩƢƪĩŦǢƪƟŻţĩű- passages (*kotoba*ܤ-ƢĩƷþŎűěŦĩþƢŦǢ-ƟƢĩƪĩűƷůĩŦŻĢŎě-ŁŻƢůƪ-ܣŎܒĩ܌ܒ-Ʒ'nĩǢůĩĢŎþƷĩ-ĚĩƷǜĩĩű*łŎűƪ'nƔ* and *ƢƔƪ'nŻ*ܗܤ-ƢĩŁĩƢĩűěĩƪ-ƷŻłĩűĢĩƢ܌ěŦþƪƪ܌-ŻƢþłĩ-ŻŁ-Ʒ'nĩě'nþƢþěƷĩƢƪ܌-ŻƢ-ƷŻ-Ʒ'nĩ-ĢƢþůþƷŎěƪŎƷƿþƷŎŻűþƢĩĩűcoded in these gradations. We therefore cannot reduce the complex relationships between melodic form, melodic patterns, the meaning of the words, and the phonetic structure to simple ƪě'nĩůþƷþ-ŻƢ-ƢƿŦĩƪܒȃĩ-ƢĩƪƿŦƷŎűł-'nŎł'n-ŦĩǛĩŦ-ŻŁ-ŁƢþłůĩűƷþƷŎŻű-ŎƪþűþŦŻłŻƿƪ-ƷŻ-Ʒ'nĩ-ǴŦĩǡŎĚŎŦŎƷǢǜŎƷ'n- ǜ'nŎě'n-Ʒ'nĩ-ƟĩƢŁŻƢůĩƢƪ-ƷƢþűƪŦþƷĩ-Ʒ'nĩ-ƷƢþĢŎƷŎŻűþŦ-ƟĩƢŁŻƢůþűěĩ-ŎűƪƷƢƿěƷŎŻűƪ-ŎűƷŻƪŻƿűĢܗ-Ʒ'nĩ-ŎűŁŻƢmation in the notation is formed by the reciter and the singular timbre of his voice into a strong vocal presence whose fragmentary microstructure is shaped into an ever-changing continuum.

 ŻůƟþƢþĚŦĩ-ŁŻƢůƪ-ŻŁ-ǛŻěþŦŎǬþƷŎŻű-Ʒ'nþƷěŻűƷŎűƿþŦŦǢě'nþűłĩ-ĚĩƷǜĩĩű-ĢŎDz ŁĩƢĩűƷþƢƷŎěƿŦþƷŎŻű- types can be found in numerous Asian dramatic and narrative genres, though only a few show a degree of fragmentation in the microstructure similar to *łŎĢþǢǕܴĚƿƪ'nŎ*ܒȃĩ- ǛŻěþŦ þƢƷŎěƿŦþ-ƷŎŻű-ŎűĩŎŠŎűł-ƟĩƢþ-ܣ*jingju*܌ܤǜ'nŎě'n-ŎƪƿƪƿþŦŦǢƪƿůůþƢŎǬĩĢǜŎƷ'n-Ʒ'nĩ-ŻǛĩƢþƢě'nŎűłěþƷĩłŻƢŎĩƪ-ŻŁ- *sangzi*-ܣǛŻŎěĩܤ-ŻƢ*changbai*-ܣƪŎűłŎűłþűĢƪƟĩþţŎűł܌ܤĩűěŻůƟþƪƪĩƪþ-ŦþƢłĩűƿůĚĩƢ-ŻŁ-ŁŻƢůþŦŎǬĩĢ- łƢþĢþƷŎŻűƪ܌ĩǛĩű-ŎŁ-Ʒ'nĩƪĩ-ŻǼ Ʒĩű-ǛþƢǢ-ŎůƟĩƢěĩƟƷŎĚŦǢ-Ŏű-ƟƢþěƷŎěĩ܋-ܹĩěþƿƪĩ-Ʒ'nĩƪþůĩ-ĚþƪŎě-Ʒĩě'nűŎques of vocal production are used for all types of vocal performance, there is no feeling that a ě'nþƢþěƷĩƢƪƿĢĢĩűŦǢƪƷŻƟƪ-ƷþŦţŎűłþűĢƪƷþƢƷƪƪŎűłŎűł܌-ŻƢƪƷŻƟƪƪŎűłŎűłþűĢ-ĚĩłŎűƪ-ƷþŦţŎűłܗ-ܻþ-ǛĩƢǢ- smooth transition from speech to song and vice versa [is achieved], contributing to the unity of a whole play.'"ڜڜ

SűþĢĢŎƷŎŻű-ƷŻ-Ʒ'nĩ- 'nŎűĩƪĩ-ŁŻŦţƪŻűł-ƷǢƟĩ*ƪ'nþű݂łĩ*-ܣܹůŻƿűƷþŎűƪŻűłƪܺ܌ܤ-'þŻŎƪƷ-ƢŎƷƿþŦůƿƪŎě܌þűĢ-®ě'nŻĩűĚĩƢłܼƪ-ܹƪƟĩĩě'n-ǛŻŎěĩ܌ܺ-Ʒ'nĩƪŎűłŎűłƪƷǢŦĩƪ-ŻŁĩŎŠŎűł-ƟĩƢþěŻűƪƷŎƷƿƷĩþţĩǢĩŦĩůĩűƷ- ŻŁ-Ʒ'nĩ-ǛŻěþŦƪƷǢŦĩ-ĢĩǛĩŦŻƟĩĢ-ĚǢ-Ʒ'nĩ- 'nŎűĩƪĩůĩƢŎěþűěŻůƟŻƪĩƢ-¼þű-'ƿűܒ- ŻůƟþƢþĚŦĩ-ƷŻůþűǢ- ŻƷ'nĩƢ- 'nŎűĩƪĩěŻůƟŻƪĩƢƪ-ŻŁ-'nŎƪłĩűĩƢþƷŎŻűƪƿě'nþƪ-¥ƿåŎþŻƪŻűł-ܣĚ܌ܤڑڔژڐݑܒàĩű-'ĩơŎűł-ܣĚ܌ܤڗڔژڐݑܒ-ŻƢrŻàƿƟŎűł-܌ܤڒژژڐܫڗڔژڐܣ-1/4þű-'ƿűěƢĩþƷĩĢ-Ʒ'nŎƪ-ĢŎƪƷŎűěƷŎǛĩƪƷǢŦĩ-ƟƢŎůþƢŎŦǢ-Żű-Ʒ'nĩ-ĚþƪŎƪ-ŻŁ-'nŎƪ- Żǜű-ǛŻŎěĩþűĢ-ĢƿƢŎűł-Ʒ'nĩ-ڏڗژڐƪěŻűƪĩơƿĩűƷŦǢ-ŻǼ ƷĩűþěƷĩĢþƪþ-ǛŻěþŦƪŻŦŻŎƪƷ-ŻŁ-'nŎƪ-ŻǜűǜŻƢţƪܒ-Starting with the early *Fu, Fu, Fu*-ܤڑڗژڐܣ-ƷŻ*ű-¼þŻŎƪů*-ܤڔڗژڐܣþűĢ-*Nine Songs*-܌ܤژڗژڐܣ-Ʒ'nĩůĩƷþƟ'nŻ-ƢŎěþŦƪþǢŎűł-ŻŁ-ܹȀűĢŎűł-Żűĩܼƪ-Żǜű-ǛŻŎěĩܺěþű-ĚĩƿűĢĩƢƪƷŻŻĢ-ŦŎƷĩƢþŦŦǢ-Ŏű-¼þűܼƪěþƪĩܒ-/ƪƷþĚŦŎƪ'nŎűł-

ڷڷ Wichmann, *Listening to Theatre*܉-܉ړړڍ-ƢǀżƸŏŲŃ-NǝÿŲŃ܉-ܶ£ĪŤŏŲŃ-ƠĪƣÿ܉ܷ-ڌڎڎ

*/ǡþůƟŦĩ-ژܘښܑ-1/4þű-'ƿűܒ-Silk Road-ŁŻƢƪŻƟƢþűŻþűĢ-ƟĩƢěƿƪƪŎŻűܒ-ܒژƪǢƪƷĩůƪ-ڗݵږ*

þű-ܹŻƢþŦ-ƷƢþĢŎƷŎŻűܺ-ŻŁ-ŎƷƪ-Żǜű܌-1/4þűƪƿĚƪĩơƿĩűƷŦǢ-ƟþƪƪĩĢ-Żű-Ʒ'nŎƪƪƷǢŦĩ-ƷŻ-ŻƷ'nĩƢƪŎűłĩƢƪǜ'nŻ-ܣǜŎƷ'n- Ʒ'nĩĩǡěĩƟƷŎŻű-ŻŁĩŎŠŎűł-ƟĩƢþ ƪŎűłĩƢþűĢ-ĢŎƢĩěƷŻƢ- 'nĩű-®'nŎܮð'nĩűłܤǜĩƢĩƿƪƿþŦŦǢ- ƷƢþŎűĩĢ-Ŏű- /ƿƢŻƟĩþű-ǛŻěþŦ-Ʒĩě'nűŎơƿĩܒȃĩůĩƢŎěþűƪŻƟƢþűŻ-®ƿƪþű-ŻƷƷŎ-ܣĚ܌ܤڑڕژڐݑܒ-ŁŻƢĩǡþůƟŦĩ܌ǜŻƢţĩĢ- ǜŎƷ'n-¼þű-'ƿű-ŻűþűƿůĚĩƢ-ŻŁ-ƟƢŻŠĩěƷƪ-Ŏű-Ʒ'nĩ-ڏڗژڐƪþűĢ-ڏژƪܒű-ŎůƟŻƢƷþűƷƪƷĩƟ-Ŏű-Ʒ'nŎƪ-쯯ƟĩƢþtion was *Silk Road*-ŁŻƢƪŻƟƢþűŻþűĢ-ƟĩƢěƿƪƪŎŻű-ڝڜܒܤژڗژڐܣ-/ǡþůƟŦĩ-ڒܒڔƪ'nŻǜƪþƪĩěƷŎŻű-ŻŁ-Ʒ'nŎƪǜŻƢţ- Ŏűǜ'nŎě'n-Ʒ'nĩ-ǛŻŎěĩþŦƷĩƢűþƷĩƪ-ƢĩłƿŦþƢŦǢ-ŻűþŦůŻƪƷĩǛĩƢǢ-ĚĩþƷ-ĚĩƷǜĩĩű-¼þűܼƪ-ܹƢĩłŎƪƷĩƢűŻƷþƷŎŻű܌ܺůþƢţĩĢ-ĚǢþ-ܹƢĩłŎƪƷĩƢţĩǢ܌ܺǜ'nŎě'n-ĢŎƪƷŎűłƿŎƪ'nĩƪ-ȀǛĩ-ƢĩłŎƪƷĩƢƪ܌þűĢþƪƟĩĩě'n-ǛŻŎěĩ܌ůþƢţĩĢ-ĚǢ- cross-shaped noteheads and notated in chromatic pitch degrees.

ȃĩ ƪĩěƷŎŻűƪ- Ŏű- ƢĩłŎƪƷĩƢ űŻƷþƷŎŻű ěŻűűĩěƷ- Ʒ'nĩ- ŎűĢŎǛŎĢƿþŦ ƪǢŦŦþĚŦĩƪ- ĚǢ ůĩþűƪ- ŻŁ ƪŦŎĢŎűł- lines whose shapes are precisely prescribed, the falsetto and breast voice constantly merging into one another, as is characteristic of the *ǢƿűĚþŎ* ƪƷǢŦĩ-ŻŁ-ĢĩěŦþůþƷŎŻű-ŎűĩŎŠŎűł-ƟĩƢþ܌-Ŏű- ǜ'nŎě'nƪƷǢŦŎǬĩĢ- 'nŎűĩƪĩƪƟĩĩě'n-ƷŻűĩƪþƢĩěŻűűĩěƷĩĢ-ƷŻþůĩŦŻĢŎěěŻűƷŻƿƢ-Ʒ'nƢŻƿł'nłŦŎƪƪþűĢŎܒȃĩ- relative pitches in*-ǢƿűĚþŎ* follow the conventions of *ð'nŻűłǬ'nŻƿ-Ǣƿű*-ܣð'nŻűłǬ'nŻƿ-Ƣ'nǢůĩ܌-ĚþƪĩĢ- Żű þ- ĢŎþŦĩěƷ-ŻŁ- Ʒ'nĩ- ĢŎƪƷƢŎěƷ-ŻŁ ð'nŻűłǬ'nŻƿ܌-Nĩűþű- ƟƢŻǛŎűěĩ-Ŏű- Ʒ'nĩ- ƷĩűƷ'n- ƷŻ- ŁŻƿƢƷĩĩűƷ'n ěĩűƷƿ-ƢŎĩƪ܌ܤþƪƷǢŦĩ-ĢŎƪƷŎűěƷ-ŁƢŻů-ܹĩŎŠŎűł-ĢŎþŦĩěƷܺ-ܣrþűĢþƢŎűܤǜ'nŎě'n-ŎƪþŦƪŻƿƪĩĢ-ŎűĩŎŠŎűł-ƟĩƢþڞڜܒ In ¼þű-'ƿűܼƪþĢŻƟƷŎŻű܌-ĚŻƷ'n-ƷǢƟĩƪ-ŻŁ-ǛŻěþŦþƢƷŎěƿŦþƷŎŻű܌-Ʒ'nĩ-ܹě'nƢŻůþƷŎěܺě'nþűƷŎűł-Ŏű-Ʒ'nĩ-®ě'nŻĩűܮ bergian speech voice style and the glissando-laden *ǢƿűĚþŎ* style, which is only roughly designed melodically according to registers, are combined in a way that minimizes their conceptual dif-ŁĩƢĩűěĩ܌űŻƷ-ŦĩþƪƷ-ĚǢþƪƪŎłűŎűł-Ʒ'nĩů-ƷŻ-Ʒ'nĩƪþůĩ-ƟĩƢŁŻƢůĩƢþűĢ-Ʒ'nƿƪ-ĚǢ-ŦŎűţŎűł-Ʒ'nĩů-Ʒ'nƢŻƿł'n- a constant timbre.

ܟ£ Rܞ-SŲĜ-܉ĜŊŏƣŰĪƣ®-Gěǣ-ڕڔڕڍ-ޣżƠǣƣŏŃŊƸ

ڸڷ- -ǿƣƫƸǜĪƣƫŏżŲżł-*Silk Road*ǝÿƫ-ƠƣĪƫĪŲƸĪģěǣdżÿŲhÿÿƣěÿƣÿżŲ-܉ڕڔڕڍܕڐڌܕڍڌěǀƸƫǀěƫĪƢǀĪŲƸŧǣ-ƸŊĪǝżƣŤǝÿƫ-ƠĪƣłżƣŰĪģěǣ-®ǀƫÿŲżƸƸŏÿŲģƣĪĜżƣģĪģżŲ- 'ěǣ-ŊĪƣ-®ĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڔڕڏܨړڕڏÿŲģ-ڕڎڐܨڏڎڐ- ܠÿģĪƸÿŏŧĪģģĪƫĜƣŏƠƸŏżŲżł-¼ÿŲ-'ǀŲܸƫ-ĜżŰƠżƫŏƸŏżŲƫǝŏƸŊǜżŏĜĪ-ǀƠ-Ƹż-ƸŊĪǣĪÿƣƫ-ڒڕڕڍ-Ƹż-ܡڔڕڕڍ-

ڹڷ Wichmann, *Listening to Theatre*܉-ڍڍڎܨڐڌڎ

In his opera *Marco Polo*-܌ܤڔژܫڐژژڐܣ-1/4þű-'ƿű-Ʒ'nĩű-ƢĩŁĩƢƢĩĢ-ƷŻ-Ʒ'nĩ-*ǢƿűĚþŎ* style much more extensively and, in this context, expanded the concept of stylistically hybrid voices suggested in *Silk Road*ܒȃĩ-ƷǢƟĩ-ŻŁ-ǛŻŎěĩ-ƷƢĩþƷůĩűƷ-ŁŻƢ-Ʒ'nĩ-ƢŻŦĩàþƷĩƢ܌-ŁŻƢĩǡþůƟŦĩ-ܣ/ǡ܌ܤړܒڔݑܒǜ'nŎě'nĩůĩƢłĩĢ- ŁƢŻů-Ʒ'nĩ-ŦŻűłܮƪƷþűĢŎűł-쯯ƟĩƢþƷŎŻűǜŎƷ'n-®ƿƪþű-ŻƷƷŎ-ܣƷ'nĩƪŻŦŻŎƪƷ-ŻŁ-Ʒ'nĩ-ƟƢĩůŎĩƢĩ܌ܤƪ'nŻǜƪƪƿě'n- þ-'nǢĚƢŎĢě'nþƢþěƷĩƢ-Ŏűþ-ƟþƢƷŎěƿŦþƢŦǢƪƿƪƷþŎűþĚŦĩůþűűĩƢܒȃĩ-ǛŻěþŦƪƷƢƿěƷƿƢĩþƟƷŦǢůŎƢƢŻƢƪ-Ʒ'nĩ- symbolism of the Water-role in the opera as a mediator between geographical areas (water as þ- ƷƢþűƪƟŻƢƷůĩĢŎƿůܤþűĢ-ĚĩƷǜĩĩű- Ʒ'nĩ-ŻƟĩƢþܼƪƪƟŎƢŎƷƿþŦþűĢ-Ɵ'nǢƪŎěþŦ-ŦþǢĩƢƪ-ܣǜþƷĩƢþƪþ- ƷƢþűƪ-ŁŻƢůþƷŎǛĩůĩĢŎƿůܒܤ-ŦƷ'nŻƿł'n-¼þű-'ƿűܼƪĩŦþĚŻƢþƷŎŻű-ŁŻƢþŦŦ-ǛŻŎěĩƪ-Ŏű-*Marco Polo* refers to the ƷƢþĢŎƷŎŻűþŦ ƪŎűłŎűł- Ʒĩě'nűŎơƿĩ-ŻŁ- Ʒ'nĩ ĩŎŠŎűł-ƟĩƢþ܌- ĢŎDz ŁĩƢĩűƷŎþƷŎűł- ĚĩƷǜĩĩű- Ʒ'nƢĩĩ- Ɵ'nþƪĩƪ-ŻŁ- sound production – head (*tou*܌ܤ-ĚĩŦŦǢ-ܣ*fu*܌ܤþűĢ-ƷþŎŦ-ܣ*wei*ܤ-ܫþěěŻƢĢŎűł-ƷŻ-Ʒ'nĩ-ŎűŎƷŎþŦ܌ůŎĢĢŦĩ܌þűĢ-Ȁnal sounds of the Chinese syllable,ڟڜ-Ʒ'nŎƪě'nþƢþěƷĩƢŎƪƷŎěþűĢ-Ʒ'nĩ-ƢĩƪƿŦƷŎűł-ŎűǴŦĩěƷŎŻű-Ʒĩě'nűŎơƿĩƪ- ƪƿůůþƢŎǬĩĢ-Ŏű-¼þűܼƪ-ƷĩƢů-ܹǛŻěþŦěþŦŦŎłƢþƟ'nǢܺþƢĩ-ƟþƢƷŎěƿŦþƢŦǢ-ŁŻƢůþƷŎǛĩ-ŁŻƢ-Ʒ'nĩàþƷĩƢܮƟþƢƷڠڜܒ SűþĢĢŎƷŎŻű܌-Ʒ'nŎƪ-ƟþƢƷ-Ŏƪě'nþƢþěƷĩƢŎǬĩĢ-ĚǢþůŻűƷþłĩܮŦŎţĩ܌-ƟþƢþƷþěƷŎěƪƷƢƿěƷƿƢĩ-Ʒ'nþƷěŻűƪƷþűƷŦǢ- ě'nþűłĩƪ- ĚĩƷǜĩĩűþŦŦƿƪŎŻűƪ- ƷŻĩŎŠŎűł-ƟĩƢþ- ǛŻěþŦ ơƿþŦŎƷŎĩƪ܌-ŎűěŦƿĢŎűł- Ʒ'nĩ- 'nŎł'nƷĩűĩĢ ƪƟĩĩě'n- (*ǢƿűĚþŎ*ܤþűĢěŻŦŦŻơƿŎþŦƪƟĩĩě'n-ܣ*nianbai*܌ܤþƪǜĩŦŦþƪ- ƷŻ- Ʒ'nĩƪŎűłŎűłƪƷǢŦĩ-ŻŁ- 'nŎűĩƪĩůŻƿűƷþŎű- songs (*ƪ'nþű݂łĩ*ܤþűĢþ-ܣàĩƪƷĩƢűůƿƪŎě-ĚþƪĩĢܤ-ŦǢƢŎěþŦ-'nŎł'nƪŻƟƢþűŻ-ƢĩłŎƪƷĩƢǜŎƷ'něŻűƷƢŻŦŦĩĢ-ǛŎĚƢþ-ƷŻܒ-NĩƢĩ-ƷŻŻ܌-Ʒ'nĩ-ƷŎůĚƢĩ-ŻŁ-Ʒ'nĩ-ǛŻěþŦ-ƟĩƢŁŻƢůĩƢ-ŦĩűĢƪ-Ʒ'nŎƪ-ŁƢþłůĩűƷĩĢůŻƪþŎěܮŦŎţĩƪƷƢƿěƷƿƢĩþ- ěĩƢƷþŎű-ƷŎůĚƢþŦƿűŎƷǢܒ-Sű-ŁþěƷ܌-Rƿƪþű-ŻƷƷŎܼƪ-ƟĩƢŁŻƢůþűěĩþƪ-ƢĩěŻƢĢĩĢ-Żű- '-ĢŻĩƪűŻƷƪĩĩů-ƷŻ-Ěĩ- essentially informed by Asian singing traditions,ڡڜ so that the structural analytical impression of hybridity to some degree appears questionable in the result.

ܟ£ Rܞ-SŲĜ-܉ĜŊŏƣŰĪƣ®-Gěǣ-ړڕڕڍ-ޣżƠǣƣŏŃŊƸ

ںڷ- -Fżƣ-ŰżƣĪģĪƸÿŏŧƫƫĪĪŏěŏģ܉-ڕڕڍܨڐڕڍ

ڻڷ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*, ړڎڐܨڏڎڐ

ڼڷ Vgl. Tan Dun, *Marco Polo: An Opera within an Opera*܉-RżŲǣ ŧÿƫƫŏĜÿŧ-®ڎf-ڎڍڕڎڒ-܉ܡړڕڕڍܠ-' -܉ڍ-1/4ƣÿĜŤ-ڍڍ

It becomes clear from the examples discussed so far that "vocal styles" that are linked in such hybrid contexts are almost infinitely differentiable and "fragmentable" in themselves. And this perspective can be further condensed if one includes a historical dimension that, for example in the case of the Beijing Opera, would have to take into account all those local and national singing styles from which a specific singing style emerged.39 The same applies, of course, to what is probably the best known form of vocal hybridization in the twentieth century - Arnold Schoenberg's Sprechstimme, as introduced by the composer in Pierrot lunaire op. 21 (1912). An interpretation of Schoenberg's Sprechstimme as hybrid, as a montage from fragments of different voice concepts, could initially point to the wealth of its actual and potential sources, 40 including post-Wagnerian styles of vocal declamation, for example in Hugo Wolf's songs 4 or in Engelbert Humperdinck's short experiment with Sprechgesang, as well as contemporary forms of heightened speech in theater and literature, prominently embodied in Karl Kraus's readings or in the speech art of the legendary Burgtheater actor Josef Kainz, in which the melodic ambitus was stretched far beyond what is common today. 44 Last but not least, the Sprechstimme concept in Pierrot lunaire is linked to the aesthetics of a "tonal freedom" of vocal articulation, as demanded in a 1920 treatise by Albertine Zehme,43 the soloist in the premiere of Pierrot lunaire in 1912 and the commissioner of the work – even if one has to assume that there was ultimately no consensus between Schoenberg and Zehme regarding the degree of this "freedom." It is clear, however, that Schoenberg wanted to go beyond a simple imitation of the fin-de-siècle trend of "pathetic speaking" when, in his foreword written in 1914, he stated that the vocal performer "must always be on guard against falling into a 'singing' manner of speech," and that he disagreed with Zehme's increasing "tonal freedom" in the performances following the premiere.45

The microstructural fragmentation of the vocal part in Pierrot can be traced not only in terms of cultural history, but also in terms of the compositional structure. The peculiarity was pointed out in the literature several times that in no. 3 of Pierrot (Der Dandy) in addition to the general Sprechstimme as employed in all movements of the cycle, no less than six other different types of vocal articulation are explicitly distinguished (Ex. 5.5): tonlos geflüstert (whispered tonelessly), tonlos (toneless), gesprochen (spoken), mit Ton gesprochen (spoken with tone), halb gesungen (half sung), and gesungen (sung). One can find comparable instructions for the

<sup>39</sup> The main styles converging in the Beijing Opera are xipi and erhuang, the styles of local operas in the Chinese provinces of Anhui and Hubei. See Li, The Soul of Beijing Opera, 18–24, Schönfelder, Die Musik der Peking-Oper, and Mackerras, The Rise of the Peking Opera 1770-1870.

<sup>40</sup> See, in addition to countless other contributions, Brinkmann, "Kritischer Bericht," Stephan, "Sprechgesang," Meyer-Kalkus, Stimme und Sprechkünste im 20. Jahrhundert, 299–318, Cerha, "Zur Interpretation der Sprechstimme in Schönbergs Pierrot lunaire," and Byron, "The Test Pressings of Schoenberg Conducting Pierrot lunaire"

<sup>41</sup> See Kravitt, "The Influence of Theatrical Declamation upon Composers of the Late Romantic Lied."

<sup>42</sup> See Cerha, "Zur Interpretation der Sprechstimme in Schönbergs Pierrot lunaire" and Nöther, Als Bürger leben, als Halbgott sprechen.

<sup>43</sup> See Zehme, Die Grundlagen künstlerischen Sprechens und Singens.

<sup>44</sup> Schönberg, "Vorwort" ("sich sehr davor hüten [muss], in eine 'singende' Sprechweise zu verfallen"), translation after Byron, "The Test Pressings of Schoenberg Conducting Pierrot lunaire" 2.6; see Nöther, Als Bürger leben, als Halbgott sprechen, 131.

<sup>45</sup> Meyer-Kalkus, Stimme und Sprechkünste im 20. Jahrhundert, 308–309.

*/ǡþůƟŦĩ-ښܘښܑ-'ŎDZŁĩƢĩűƷ-ŎűƪƷƢƿěƷŎŻűƪ-ŁŻƢ-ǛŻŎěĩþƢƷŎěƿŦþƷŎŻű-Ŏű-ƢűŻŦĢ-®ě'nŻĩűĚĩƢł݂ƪ-Pierrot lunaire ږژܱڕژ-ܒڕڗܱښږ-ܒږږܱڛݗܘůů-ܒDandy Derܑ-ژ-ܘűŻ-ܒږڗ-ܘŻƟ*

 żƠǣƣŏŃŊƸ-ޣ-܉ڐڍڕڍ-ڍڐڕڍěǣ-ÃŲŏǜĪƣƫÿŧ-/ģŏƸŏżŲ--G܉àŏĪŲܕÃ/-ڒڏڏڑ

ǛŻŎěĩ-ŻűŦǢ-Ŏű-ȀǛĩ-ŻƷ'nĩƢůŻǛĩůĩűƷƪ-ŻŁ-Ʒ'nĩěǢěŦĩ܌-ŻűŦǢ-Ŏű-Żűĩ-ƟŦþěĩĩþě'nڟڝܒ While this on the one 'nþűĢƪƿƢĩŦǢ-ƟƢŻǛĩƪ-Ʒ'nþƷ-Ʒ'nĩ-ŁþűěŎűĩƪƪ-ŻŁ-Ʒ'nŎƪůŻǛĩůĩűƷ-ܣþűĢ-Ʒ'nĩ-ƟŻƢƷƢþǢĩĢě'nþƢþěƷĩƢܤǜþƪ-ŻŁ- particular importance to Schoenberg, I would suggest that the continuous change between ĢŎDz ŁĩƢĩűƷűƿþűěĩƪ-ŻŁ-*Sprechstimme* here only prescribes a performance practice in particular ĢĩƷþŎŦ-Ʒ'nþƷěþű-ܣěþƿƷŎŻƿƪŦǢܤ-Ěĩ-ƷƢþűƪŁĩƢƢĩĢ-ƷŻ-Ʒ'nĩ-ŻƷ'nĩƢůŻǛĩůĩűƷƪþƪǜĩŦŦܒ-

ȃŎƪ-ǛŎĩǜƟŻŎűƷ-ƟĩƢ'nþƟƪ-ƟƢŻǛŎĢĩƪþűĩǜ-ƟĩƢƪƟĩěƷŎǛĩ-Żű-Ʒ'nĩůƿě'nܮĢŎƪěƿƪƪĩĢ-ƟƢŻĚŦĩů-ŻŁ-Ʒ'nĩ- interpretation of the *Sprechstimme* in *Pierrot lunaire*܋-Rě'nŻĩűĚĩƢłܼƪþůĚŎłƿŻƿƪ-ŎűŁŻƢůþƷŎŻű-Żű- the performance of the vocal part in the score, to which he added further, no less contradictory, ƢĩƪƷƢŎěƷŎŻűƪþűĢěŦþƢŎȀěþƷŎŻűƪ܌ƿűŎűƷĩűƷŎŻűþŦŦǢ-ŻƟĩűĩĢþƪƟþěĩ܌þ*passage* for the collaboration between the composer and the vocal soloist. He consistently notated clear chromatic levels for the *Sprechstimme* but at the same time – also in performances he directed himself – apparently þŦŦŻǜĩĢ-ŎűƷĩƢƟƢĩƷþƷŎŻűƪ-ܣŻƢĩǛĩű-ƟƢĩŁĩƢƢĩĢ-Żűĩƪܤ-Ŏűǜ'nŎě'n-Ʒ'nĩƪƿűłܮƪƟŻţĩű-ƟŎƷě'nĩƪ-ĢŎDz ŁĩƢĩĢƪŎł-

ںڸ Four times it is a short "sung" phrase (*gesungen*܉ܡ-ƸŊĪ-ĪŲģżłǝŊŏĜŊŏƫ-ŰÿƣŤĪģěǣ-ƸŊĪŏŲƫƸƣǀĜƸŏżŲ*gesprochen* (spo-ŤĪŲ܉ܡƫĪĪ-Ųż-ڐ-ܠ*Eine blasse Wäscherin*܉ܡ-ŰŰ܉ڑڍܕڐڍݎ-Ųż-ڔ-ܠ*Die Nacht*܉ܡ-ŰŰ܉ڍڍܕڌڍݎ-Ųżڕݎ-ܠ*Gebet an Pierrot*܉ܡ-ŰŰ܉ڐڍܕڏڍݎ- Ųżڍڍݎ-ܠ*Rote Messe*܉ܡ-ŰŰڑڎܕڐڎݎ-SŲ- Ųżڌڍݎ-ܠ*Raub*܉ܡ-ŰŰ܉ڌڍܕڕݎ-ƸŊĪǜżŏĜĪÿŧƸĪƣŲÿƸĪƫěĪƸǝĪĪŲ*tonlos* ܠƸżŲĪŧĪƫƫ܉ܡ-ŊĪƣĪ- ŏŲģŏĜÿƸĪģěǣƫƠĪĜŏÿŧ-ŲżƸĪŊĪÿģƫ-ƸŊÿƸżĜĜÿƫŏżŲÿŧŧǣÿƠƠĪÿƣǝŏƸŊżǀƸ-ĜżŰŰĪŲƸŏŲŧÿƸĪƣ-ŰżǜĪŰĪŲƸƫ܉ÿŲģ*ton* ܞܠǝŏƸŊܟ- ܡƸżŲĪ

nificantly from those specified in the score.47 The artistic process initiated by Schoenberg can therefore neither be described as a license for "self-assumed musical reciters" nor as an unambiguous product of a "radical aesthetic of the work."8 With this passage between speaking and singing Schoenberg also opened one between writing and orality. His concept of Sprechstimme "resists the view of music as solely the composer's sound which needs to be reproduced by passive performers"9 and thus opens a space of negotiation between notation and orality, between compositional intentionality and performative presence.

There are key moments in Pierrot lunaire in which the voice moves to extreme registers, such as in some phrases of Nacht (no. 8), where an extremely low register symbolizes blackness, darkness, or in Die Kreuze (no. 14), where ascending leaps of over two octaves are contained within a structural cross symbolism. In these moments, the ecstatic potential of the voice can be experienced abruptly, it transcends the meaning of the word just as it goes beyond a simple illustration of rhythmized text declamation.50 Indeed, it is probably these moments when the fragmentary microstructure is most sustainably absorbed in the presence of the voice and can be filtered by the performer into a new unity – similarly to what has been described above for the voice in gidayu-bushi. In all the examples discussed so far, there is this tension between fragmentation, particularity, a tendency to disintegrate into individual articulations and their connection in the act of an overarching vocal representation by the performer.

### Incantation, Prosody, Ritual (Shimoyama, Takahashi, Peri, Sciarrino)

Such moments of vocal presence, immediacy, even ecstasy, were exploited most extensively in the twentieth century as a key subject of vocal composition. Some Western composers such as Dieter Schnebel, Giacinto Scelsi, or Jani Christou, encountered this field mainly through "psychoanalytic" and ritualistic approaches, and it is hardly coincidental that the attraction of the voice's presence resulted from the extreme fragmentation or parameterization in serial and postserial music.

<sup>47</sup> See Byron, "The Test Pressings of Schoenberg Conducting Pierrot lunaire," 4.1–4.12. On the problems of whether the vocal part in Pierrot should respect the notated pitches or not, a broad discussion has continued for decades. Recently, Lukas Dorfegger made detailed transcriptions of the vocal part in three recordings (Erika Stiedry-Wagner/Arnold Schoenberg 1940, Anne-Lise Berntsen/Christian Eggen 1994, Christine Schäfer/Pierre Boulez 1998) and summarized that while the more recent recordings surely respected the pitches more than the earlier ones, "the demand to sing each pitch exactly is basically hardly feasible and thus is cannot become the most important criterion for a good performance of Pierrot lunaire." (Dorfegger, "Praktische und theoretische Uberlegungen zur Ausführung der Sprechstimme in Pierrot lunaire op. 21 von Arnold Schönberg," 32; "die Forderung […], jeden einzelnen Ton genau anzusingen, [ist] praktisch kaum ausführbar ist und [kann] daher auch nicht zum wichtigsten Kriterium für eine gute Aufführung von Pierrot lunaire werden […].")

<sup>48</sup> Meyer-Kalkus, Stimme und Sprechkünste im 20. Jahrhundert, 309 ("musikalisch sich dünkende Rezitatoren" "radikale[] Werkästhetik").

<sup>49</sup> Byron, "The Test Pressings of Schoenberg Conducting Pierrot lunaire," 4.6.

<sup>50</sup> Some research (e.g., Rapoport, "On the Origins of Schoenberg's Sprechgesang") argues that the melodic contours of Schoenberg's Sprechstimme basically follow the model of intonation in spoken language in an almost literal manner, and the musical result is "alienated" through structural procedures such as reversal or octave transposition. Even though I doubt that the "melody" in Pierrot actually came about in such an analogical way, it is by no means unreasonable to assume that spoken intonation could have been essential for the melodic and rhythmic design of the vocal part.

Against a comparable background, vocal works by Hifumi Shimoyama (b. 1930)5 and Yūji Takahashi can be cited from the Japanese context, in which a countercurrent to the cases discussed so far becomes apparent: the starting point is less a variety of fragmented vocal techniques than a single reference articulation that is eroded in several ways. Since the 1970s, Japanese composers have responded to the simplistic combinations of "Western" structure and "Japanese" color, as sought in some parts of Japanese postwar music, by turning to ritualistic simplicity (> III.1).

Shimoyama's vocal works generally use text material from Buddhist ritual music as it can be found in shōmyō or nō, specifically relying on the Japanese transliteration of archaic Sanskrit, in which the textual meaning dissolves into auratically conceptualized sequences of sounds.23 Shimoyama explains that the meaning of these texts, if they can be reconstructed at all, has no relevance for his compositions.33 Rather, he focuses on the magical implications of individual words or phrases. This attitude is also reflected in his approach to archaic Japanese words, which are no longer part of everyday language today but can still be found in the local Tsugaru dialect of his home prefecture Aomori and also in the vocal aesthetics of the narrative genre tsugaru-jamisen, 4 which is little known in or outside of Japan. Shimoyama hears these magical dimensions of words and phonemes in this genre and in the ancient Tsugaru language, in gidayu-bushi, as well as in no singing.

His Monolog (1991) for shamisen-playing vocalist, written for Kazuko Takada, and Breath for three voices, two drummers, and piano (1971/77), written for Michiko Hirayama (who, as mentioned above, is noted for her performance and co-creation of Scelsi's Canti del Capricorno), vividly illustrate the type of vocal presence in Shimoyama's vocal works. The reference technique in both works is an almost pure variant of the rōshō type, which suggests Buddhist recitation; it consists of rapid repetitions of a single, not precisely defined pitch. In Monolog (Ex. 5.6) fragments are arranged around this reference model, which deepen into the auratic qualities of individual phonemes and describe interrelations between voice and instrument as familiar from numerous traditional genres. The Buddhist text is taken from the no play Funa Benkei (Benkei on the Ship), where it is presented as a prayer to guardian deities.

Breath introduces a "multiplication" of Hirayama's voice into three parts, two of which were pre-recorded by the soloist.55 The text material is compiled from the three different no pieces Okina, Aoi no ue [The Court Lady Aoi], and Atumori (from which a prayer of the Nenbutsu sect is used). All vocal textures are based on the same roshō model, which occurs in at least five different forms of articulation (Ex. 5.7), including a microtonally layered recitation tone with

<sup>51</sup> Shimoyama belongs to the large group of Japanese composers who are hardly known in the West. He was born in the same year as Toru Takemitsu and, after graduating from Hirosaki University (Aomori Prefecture), studied with Yoritsune Matsudaira in Tokyo from 1955. In an international context, his works were presented primarily at the festivals of the International Society for Contemporary Music (ISCM).

<sup>52</sup> This transliteration tries to imitate the pronunciation of Sanskrit using the syllables or morphemes available in Japanese, but without linguistic meaning; it is a purely onomatopoetic procedure. See Nelson, "Court and Religious Music (2)," 67-68.

<sup>53</sup> Personal communication with the author, Tokyo, 26/2/2008.

<sup>54</sup> See Groemer, The Spirit of Tsugaru.

<sup>55</sup> Breath was premiered by Hirayama in Rome in 1974 and revised by the composer in summer 1977. In 1978 the revised version was premiered at the ISCM festival in Helsinki. The live recording of this performance is published on CD. In addition to a performance by a live vocal soloist and two pre-recorded vocal parts, which are played on tape, a performance by three live soloists is also possible.

Copyright © 2003 by Mother Earth Company Ltd. Tokyo, Japan

crescendo [a], also occurring in a whispered variant [b] and in a variant with "pressed" voice [c], which Shimoyama associates with gidayu-bushi36 but in the score refers to with the (original German) word "sprech-stimme." In addition, there is a texture of sustained notes performed with "larynx articulation" [d], which can be seen as a much slower variant of the roshō model, as well as mixed polyphonic textures [e] that also contain vocal inserts by the instrumentalists, comparable to the kakegoe-calls of the drummers in no theater.37

Yūji Takahashi's works since the late 1980s were introduced in Chapter III as remarkable examples of an anti-essentialist approach to traditional Asian musical practices, informed by long-term composer-performer collaborations (→ III.4). The vocal style in Takahashi's Unebiyama (1992) for a reconstructed archaic five-string zither and chant is mainly derived from vocal practices in shamanistic genres. Although there are still a few female shamans (fujo) practicing in Japan's northern Aomori Prefecture, Takahashi's work primarily reters to shamanistic music from Southeast Asian regions, particularly to "hidden traditions" that are hardly documented and which Takahashi encountered through field recordings. More specifically, the

<sup>56</sup> Personal communication with the author, Tokyo, 26/2/2008.

<sup>57</sup> A detailed description of the function and content of these calls, which can be associated with the cries (katsu) of masters of Zen Buddhism during meditation, is provided in Tamba, The Musical Structure of No, 228–229.

Example 5.7: Hifumi Shimoyama, Breath for three voices, two percussionists, and piano, five vocal articulations (a-e) from pages 3, 13, 11, 2, 7 of the score

x)a speak(sprech-stimme) by the extremely pressed vocal chord

\*) immediataly

x)c at the same time

 żƠǣƣŏŃŊƸ-ޣ-ڎڔڕڍěǣ-NŏłǀŰŏ-®ŊŏŰżǣÿŰÿ܉-1/4żŤǣż

ěŻůƟŻƪĩƢ-ŎĢĩűƷŎȀĩĢůƿƪŎě-ĚǢƪ'nþůþűƪ-ŁƢŻů-Ʒ'nĩ-¼ĩůŎþƢĩƷ'nűŎěłƢŻƿƟ-ŎűàĩƪƷĩƢűrþŦþǢƪŎþþƪone of his main sources.ڡڞ

ȃĩ-ŻƢłþűŻŦŻłǢþűĢěŻűƪƷƢƿěƷŎŻű-ŻŁ- Ʒ'nĩ-ȀǛĩܮƪƷƢŎűłĩĢ-ǬŎƷ'nĩƢ-ܣŦĩűłƷ'n܋- ڔڐڐěůܤþűĢĩƷ'nűŻŦŻłŎěþŦĩǛŎĢĩűěĩ-ŁŻƢůþűŻƷ'nĩƢ-ŎůƟŻƢƷþűƷ-ĚþěţłƢŻƿűĢ-ŻŁ-Ʒ'nŎƪǜŻƢţܒȃĩ-ŎűƪƷƢƿůĩűƷ-ĢþƷŎűł-ŁƢŻů- Ʒ'nĩ-ȀǼ Ʒ'něĩűƷƿƢǢ- ǜþƪ-ĢŎƪěŻǛĩƢĩĢ-ڗږژڐ-Ŏűþ-ƷŻůĚ-ŻŁ-Ʒ'nĩrþƢơƿŎƪæŎ-ŻŁðĩűł-Ŏű-NƿĚĩŎ-£ƢŻǛŎűěĩ܌-China.ڢڞtŻƷůƿě'n-ŎƪţűŻǜűþĚŻƿƷ-Ʒ'nĩ-ŻƢŎłŎűþŦűþůĩ-ŻƢƿƪþłĩ-ŻŁ-Ʒ'nŎƪ-ŎűƪƷƢƿůĩűƷܒ-1/4þţþ'nþƪ'nŎ- argues that, based on iconographic evidence, it may have been used in shamanistic rituals.ڙڟ Nĩ-Ʒƿűĩƪ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷ-ŎűþůŻĢŎȀĩĢ܌-ܹŻĚŦŎơƿĩܺ-ƟĩűƷþƷŻűŎěƪǢƪƷĩů-ܣ'܌ڑ-ŦŻǜĩƢĩĢ-/܌ڑ-܌ڑ-'܌ڒ-ƢþŎƪĩĢ- ܤڒ-Ʒ'nþƷ-ĚĩþƢƪƪŻůĩ-ƢĩƪĩůĚŦþűěĩ-ƷŻ-Ʒ'nĩ-ƟŻƟƿŦþƢdþƟþűĩƪĩůŻĢĩ*ůŎǢþţŻĚƿƪ'nŎ*-ݑދܣSSܤړܒ*.*ȃĩ- ƪƷƢŎűłƪþƢĩ-ƟŦƿěţĩĢǜŎƷ'nþ-ŦŻűł-ƟŎěţůþĢĩ-ŁƢŻů-Ʒ'nĩ-'nŻƢű-ŻŁþǜþƷĩƢ-ĚƿDz ŁþŦŻܒ-RŎűěĩ-ŎƷ-ŎƪþŦůŻƪƷ- ŎůƟŻƪƪŎĚŦĩ-ƷŻ-ĢĩƟƢĩƪƪ-Ʒ'nĩƪƷƢŎűłƪ܌-1/4þţþ'nþƪ'nŎܼƪěŻůƟŻƪŎƷŎŻűěŻűƪŎƪƷƪþŦůŻƪƷĩǡěŦƿƪŎǛĩŦǢ-ŻŁ-ŻƟĩű- strings, with the repeated patterns enhancing the impression of ritual music.

ڼڹ- -£ĪƣƫżŲÿŧ-ĜżŰŰǀŲŏĜÿƸŏżŲǝŏƸŊ-ƸŊĪÿǀƸŊżƣ܉-1/4żŤǣż܉-ڔڌڌڎܕڎܕڎڎ-1/4ŊĪ-¼ĪŰŏÿƣěĪŧżŲŃ-Ƹż-ƸŊĪ-®ĪŲżŏ-ŃƣżǀƠżł-ƸŊĪŏŲģŏŃĪnous *orang asli*-ƠĪżƠŧĪ-®ĪĪ-¦żƫĪŰÿŲ-ĪƸÿŧ܉-ܶ1/4ŊĪ-SŲģŏŃĪŲżǀƫ-£ĪżƠŧĪƫ-ܠ*Orang Asli*ܡżł-ƸŊĪrÿŧÿǣ-£ĪŲŏŲƫǀŧÿܷ

ڽڹ- fŏģż܉-*Reconstructed Music Instruments of Ancient East Asia*܉-ڏڏڍܨڒڎڍ

ڴں- -1/4ÿŤÿŊÿƫŊŏ܉-*Astray Among Decayed Strings*܉-ڕ

*/ǡþůƟŦĩ-ڝܘښܑæǕŠŎ-¼þţþ'nþƪ'nŎܒ-Unebiyama-ŁŻƢȁǛĩܴƪƷƢŎűł-ǬŎƷ'nĩƢþűĢ-ŎűěþűƷþƷŎŻűܒ-Ɵܘ-ږ*

 żƠǣƣŏŃŊƸ-ޣ-ڎڕڕڍěǣæǖšŏ-¼ÿŤÿŊÿƫŊŏ܉-1/4żŤǣż

ȃĩ-ǛŻŎěĩ-ƷþţĩƪƿƟ-Ʒ'nĩ-ƟŎƷě'nĩƪ-ŻŁ-Ʒ'nĩ-ȀǛĩ-ŻƟĩűƪƷƢŎűłƪ-ܣ/ǡܒܤڗܒڔݑܒȃĩ-ŎűƪƷƢƿěƷŎŻűƪ-Ŏű-Ʒ'nĩƪěŻƢĩěþŦŦ- for a voice that combines "muttering" (*ƷƪƿĚƿǢþţŎ*ܤþűĢ-ܹǜ'nŎƪƟĩƢŎűłܺ-ܣ*ƪþƪþǢþţŎ*ܒܤȃĩ-ƷĩǡƷ-Ŏƪ-ĚþƪĩĢ- on the Japanese creation story *Kojiki*-ܣěŻůƟŎŦĩĢþƢŻƿűĢ-ڑڐږ- /-ĚǢ-űŻæþƪƿůþƢŻܤþűĢěþű-Ěĩ- ŦŎűţĩĢ-ƷŻ-Ʒ'nĩ-ĢƢþłŻű-ŎěŻűŻłƢþƟ'nǢ-ŻŁ-Ʒ'nĩ-ŻƢŎłŎűþŦ-ŎűƪƷƢƿůĩűƷ-ǛŎþ-Ʒ'nĩƪǢůĚŻŦŎƪů-ŻŁǜþƷĩƢþűĢ- ěŦŻƿĢƪܒȃĩƪĩŦĩěƷĩĢ-ƟŻĩů-ĚĩŦŻűłƪ-ƷŻ-Ʒ'nĩěþƷĩłŻƢǢ-ŻŁ*wakauta*, songs that handed down oracles sung by young virgins who warned of political crises.ښڟ-SƷ-ŎƪþƷƷƢŎĚƿƷĩĢ-ƷŻ-SƪƿţĩǢŻƢŎ'nŎůĩ܌-Ʒ'nĩ- wife of the mythical emperor Jinmu.ڛڟ

<sup>11. .,</sup>Ibid ڵں

ڶں- -1/4ŊĪƣĪŏƫ܉-ŊżǝĪǜĪƣ܉-ŲżƸÿěŧǣ-Ųż-ĪǢƠŧŏĜŏƸƣĪłĪƣĪŲĜĪŏŲ-¼ÿŤÿŊÿƫŊŏܹƫǝżƣŤ-Ƹż-ƸŊĪÿƣĜŊÿŏĜƣĪĜŏƸÿƸŏżŲƫƸǣŧĪ-ƸŊÿƸŏƫ-ǀƫǀÿŧŧǣ- ÿƫƫżĜŏÿƸĪģǝŏƸŊ-ƸŊĪ-*Kojiki*-¼ŊŏƫƫƸǣŧĪǝÿƫ-ƠƣÿĜƸŏĜĪģěǣƫŏŲŃĪƣƫ-ĜÿŧŧĪģ*kataribe* and is considered the origin of the Japanese *katarimono*-ܠģƣÿŰÿƸŏĜ-ŲÿƣƣÿƸŏǜĪ-ĜŊÿŲƸƫ܉ƫĪĪÿěżǜĪܡ-NŏƣÿŲż-ĜżŲŲĪĜƸƫ-ƸŊŏƫƫƸǣŧĪ-Ƹż-ŃĪŲƣĪƫ-ƠƣÿĜƸŏĜĪģěǣ- ƸŊĪŏŲǀÿŲģ-ŤŏŲÿǝÿ-ƠĪżƠŧĪƫ-ܠ*ǣǖŤÿƣÿ*, *omoro*ܔƫĪĪ-NŏƣÿŲż܉-ܶĪǭŏĪŊǀŲŃĪŲǭǝŏƫĜŊĪŲ-®ƠƣÿĜŊĪ-ǀŲģrǀƫŏŤŏŰ*katarimono*܉ܷ-ړڑܡ


ȃĩűŻƷþƷŎŻű-ĢĩǛĩŦŻƟĩĢ-'nĩƢĩ-Ŏƪ-ĚþƪĩĢ-Żű-Ʒ'nĩěŻůƟŻƪĩƢܼƪ-ƢĩǴŦĩěƷŎŻűƪ-Żű-Ʒ'nĩ-ĢŎDz ŁĩƢĩűěĩ-ĚĩƷǜĩĩű- Ʒ'nĩűŻƷþƷŎŻűůĩƷ'nŻĢƪ-ŁŻƢ-ǛŻěþŦþűĢ-ŎűƪƷƢƿůĩűƷþŦůƿƪŎě-Ŏű-Ʒ'nĩ-ƷƢþĢŎƷŎŻűþŦůƿƪŎě-ŻŁdþƟþű܋ǜ'nŎŦĩ- music for instruments is usually recorded in a form of tablature that indicates the position of Ʒ'nĩ-ȀűłĩƢƪ܌-Ʒ'nĩƪƷƢŎűł܌ĩƷě܌ܒþűĢ-Ŏƪ-ƟĩƢůĩþƷĩĢǜŎƷ'n-ŎűƪƷƢƿůĩűƷþŦ-ƟþƷƷĩƢűƪ-ŦĩþƢűĩĢ-ĚǢůűĩůŻűܮ ics, the notation of vocal music is based on gestural analogies between writing and sound as in the notation forms *hakase* (e.g., in the Buddhist chant *ƪ'nƔůǢƔ*ܤ-ŻƢ*gomaten* (in *űƔ*-Ʒ'nĩþƷĩƢڝڟܒܤ FŻƢ-¼þţþ'nþƪ'nŎ܌-Ʒ'nĩƪĩ-ĢŎDz ŁĩƢĩűƷ-ƟþƢþĢŎłůƪěŻűǛĩǢ-Ʒ'nĩůŻƢĩ-ƷĩůƟŻƢþŦơƿþŦŎƷǢ-ŻŁ-ǛŻěþŦůƿƪŎě܌-Ŏű- which the sounds are continuously "stretched" over time, compared to the more spatial, punc-ƷƿþƷŎűłě'nþƢþěƷĩƢŎƪƷŎěƪ-ŻŁ-Ʒ'nĩ-ܣŻǼ Ʒĩű-ƟŦƿěţĩĢ-ŻƢƪƷƢƿěţܤ-ŎűƪƷƢƿůĩűƷþŦ-ŎůƟƿŦƪĩƪܒ

űĩůĩƷ'nŻĢ- ĚǢǜ'nŎě'n-®'nŎůŻǢþůþþűĢ-¼þţþ'nþƪ'nŎěŎƢěƿůǛĩűƷ- Ʒ'nĩ- ƷĩűĢĩűěǢ- ƷŻǜþƢĢ- ŁƢþłůĩűƷþƷŎŻű-Ŏƪ- ƷŻěŻűƪěŎŻƿƪŦǢ- ƢĩŁƢþŎű- ŁƢŻů ƪƟĩěŎŁǢŎűł-ƟŎƷě'nĩƪ-ŻƢ-Ʒ'nĩŎƢěŻűƪƷþűƷ-ŎűǴŦĩěƷŎŻűþűĢ- ǴŦƿěƷƿþƷŎŻű-Ŏűþű-ŻǼ Ʒĩű-Ǜþłƿĩ-ܣƢĩłŎƪƷƢþŦܤþƢĩþܒƪƪ'nŻǜű܌-Ʒ'nŎƪůĩƷ'nŻĢěþű-ĚĩěŦŻƪĩŦǢ-ƢĩŦþƷĩĢ-ƷŻ- linguistic articulation or corresponding forms of notation in traditional Japanese music.

SűþěŻůƟŦĩƷĩŦǢ-ĢŎDz ŁĩƢĩűƷ-'nŎƪƷŻƢŎěþŦܮěƿŦƷƿƢþŦěŻűƷĩǡƷ܌-ƢĩŦþƷĩĢůĩƷ'nŻĢƪ-ŁŻƢ-ĢĩƢŎǛŎűł-ĢŎDz ŁĩƢĩűƷ- degrees of vocal pitch determination from linguistic particularities can be observed. In his preface to *hĩůƿƪŎě'nĩܒƪŻƟƢþ-Ŧ݂/ƿƢŎĢŎěĩ*-܌ܤڐڏڕڐܣdþěŻƟŻ-£ĩƢŎ-܌ܤڒڒڕڐܫڐڕڔڐܣƪŎűłĩƢ܌ěŻůƟŻƪĩƢþűĢþţĩǢ-ȀłƿƢĩ- in the *nuove musiche*þƢŻƿűĢ-܌ڏڏڕڐ-ƢĩŁĩƢƪ-ƷŻ-Ʒ'nĩþűěŎĩűƷ-ĢŎƪƷŎűěƷŎŻű-ĚĩƷǜĩĩű-ܹĢŎþƪƷĩůþƷŎěܺþűĢ- ܹěŻűƷŎűƿŻƿƪܺ-ǛŻěþŦþƢƷŎěƿŦþƷŎŻűܒȃŎƪ-ĢŎƪƷŎűěƷŎŻűěþű-Ěĩ-ƷƢþěĩĢ-Ěþěţ-ƷŻþƢŻƿűĢ-ڏڏڔ- /܌ǜ'nĩű-Żĩthius adopted it from Aristoxenus's *Elementa Harmonica*, while describing a mixed type of vocal articulation for the presentation of "heroic poems."ڞڟ Peri developed a theory of Italian speech þűĢ-ŎűƷŻűþƷŎŻű-ƟþƷƷĩƢűƪ-ŁƢŻů-Ʒ'nĩƪĩěþƷĩłŻƢŎĩƪ܌ěŻűǛĩǢĩĢ-ĚǢ-GŎƢŻŦþůŻrĩŎþűĢßŎűěĩűǬŻ-GþŦŎŦĩŎ܌whereby clearly intoned speech sounds were assigned to a consonance or a change of harmony, whereas the syllables in between could be free and independent of the bass part.

An intercultural passage can therefore by opened in relating to the spatial characteristic of Ʒ'nĩ-ŎűƪƷƢƿůĩűƷþŦƪŻƿűĢƪþěěĩűƷƿþƷĩĢ-ĚǢ-¼þţþ'nþƪ'nŎ-ܣ£ĩƢŎܼƪ-ܹĢŎþƪƷĩůþƷŎěܺ-ǛŻěþŦƪƷǢŦĩěŻƿƟŦĩĢ-ƷŻ- ě'nþűłĩ-ŻŁ-'nþƢůŻűǢܤþűĢ-ƷĩůƟŻƢþŦ-ǛŻěþŦþƢƷŎěƿŦþƷŎŻű-ܣ£ĩƢŎܼƪ-'nþƢůŻűǢܮŎűĢĩƟĩűĢĩűƷ-ܹěŻűƷŎűƿŻƿƪܺ-ǛŻěþŦƪƷǢŦĩܒܤ-£ĩƢŎ܌ǜ'nŻ܌-ŦŎţĩ-'nŎƪ-ƢŎǛþŦ-GŎƿŦŎŻ þěěŎűŎ܌ǜþƪ- ƷƢþŎűĩĢ-ŎűƪƷƢŎěƷěŻƿűƷĩƢƟŻŎűƷ܌ůƿƪƷ- 'nþǛĩ-ĚĩĩűþǜþƢĩ-ŻŁ-Ʒ'nĩ-ƟƢŻǛŻěþƷŎǛĩĩDz ŁĩěƷ-ŻŁƪƿě'nþůƿƪŎěþŦƪƷƢƿěƷƿƢĩܒȃĩűŻƷþĚŦĩ-ĢŎƪƪŻűþűƷ- Ɵþƪƪþłĩƪ-ŁƢŻů-'þƟ'nűĩܼƪƪƟĩĩě'n-Ŏű-£ĩƢŎܼƪ-*Euridice* are not merely constructed according to the ƷĩǡƷܼƪ- ƟƢŻƪŻĢǢ܌-ŻŁ ěŻƿƢƪĩ܌- ĚƿƷ- ĢƢŎǛĩű- ƟƢŎůþƢŎŦǢ- ĚǢ- Ʒ'nĩ-ܣűĩłþƷŎǛĩܤþDz ŁĩěƷ-ŻŁ- Ʒ'nĩǜŻƢĢƪ-ܣܹűłƿĩ- ěƢƿĢŻĩƪƟŎĩƷþƷŻ܌ܺ-ܹěŻűƪŎůþŦŎłűŻ-ĢĩűƷĩܺڟڟܒܤȃĩ-ŁƢĩĩĢŻů-Ŏű-Ʒ'nĩþƢƷŎěƿŦþƷŎŻű-ŻŁ-Ʒ'nĩƿűƪƷƢĩƪƪĩĢ- ƪǢŦŦþĚŦĩƪ-ƟƢŻůƟƷƪþűŻǛĩŦůƿƪŎěþŦ-ŁŻƢů܋-Ʒ'nĩ-ƢĩěŎƷþƷŎǛĩܒ


ڷں- ǽ ƸĪƣ-¼ÿŤÿŊÿƫŊŏ܉-*Astray Among Decayed Strings*, 11 (English translation based on *A Waka Anthology*܉ǜżŧ܈ڍݎ-*The Gem-Glistening Cup*-¼ƣÿŲƫŧÿƸĪģěǣ-/ģǝŏŲ- ƣÿŲƫƸżŲ-®ƸÿŲłżƣģ܈-RƸÿŲłżƣģ-ÃŲŏǜĪƣƫŏƸǣ-£ƣĪƫƫ܉-ܡڏڕڕڍ

ڸں- -£ĪƣƫżŲÿŧ-ĜżŰŰǀŲŏĜÿƸŏżŲǝŏƸŊ-ƸŊĪÿǀƸŊżƣ-ڔڌڌڎܕڎܕڎڎ-Fżƣÿ-ŃżżģŏŲƸƣżģǀĜƸŏżŲ-Ƹż-ƸŊĪ-ŲżƸÿƸŏżŲłżƣŰƫżł-ƸƣÿģŏƸŏżŲܫ al Japanese music see Malm, *Traditional Japanese Music*.

ڹں See Palisca, *Studies in the History of Italian Music and Music Theory*܉-ړڑڐܨڒڑڐ

ںں See ibid., 460.

*Nuove musiche*-ܒܤڑڏڕڐܣ þěěŎűŎƿƪĩĢþţĩǢěŻűěĩƟƷ-ŻŁ-Ʒ'nĩ-'nŎł'n-¦ĩűþŎƪƪþűěĩ-ƷŻ-ĢĩƪěƢŎĚĩ-Ʒ'nĩ-ŦŎł'nƷness of these phrases, *sprezzatura*-ܡܣűŻĚŦĩܢűĩłŦŎłĩűěĩ܋ܤ-ܹSű-Ʒ'nŎƪůþűűĩƢ-ŻŁƪŻűł܌-SƿƪĩĢþěĩƢƷþŎű- negligence that I valued as having a noble quality, for it seemed to me that with it I approached natural speech that much more."ڠڟ

Sű-Ʒ'nĩ-ǢĩþƢƪþǼ ƷĩƢ-܌ڏڏڕڐ-Ʒ'nĩƢĩǜþƪþ-ƟþƢþĢŻǡŎěþŦ-ĢĩǛĩŦŻƟůĩűƷܒȃĩ-ƢĩŁĩƢĩűěĩ-ƷŻƪƟŻţĩű-Ŧþűłƿþłĩ-'nĩŦƟĩĢ-ƷŻ-ŁƢĩĩƪŻűł-ŁƢŻů-Ʒ'nĩ-Ƣ'nǢƷ'nůŎě-ƢŎłŻƢ-ŻŁƪƟĩĩě'nܮĚþƪĩĢ-ĢĩěŦþůþƷŎŻűܒȃƿƪ-ǛŎƢƷƿŻƪŻ-ܹȀŻƢþƷƿƢŎܺþűĢ-ܹƟþƪƪþłŎܺ-ŎűěƢĩþƪŎűłŦǢ-ƢĩƟŦþěĩĢ-Ʒ'nĩþƪěĩƷŎěĩþƢŦǢƪǢŦŦþĚŎěƪƷǢŦĩ܌ƪŻ-Ʒ'nþƷ-Ŏű-ړڐڕڐ- Caccini consistently applied the term "sprezzatura" to the execution of these "passagi" and no ŦŻűłĩƢ-ƟƢŎůþƢŎŦǢ-ƷŻþ-ǛŻěþŦƪƷǢŦĩěŦŻƪĩ-ƷŻƪƟĩĩě'n܋

*Sprezzatura* ŏƫ-ƸŊÿƸ-ŃƣÿĜĪłǀŧŲĪƫƫ-ĜżŲłĪƣƣĪģ-ǀƠżŲƫŏŲŃŏŲŃěǣ-ƠÿƫƫŏŲŃ-ƸŊƣżǀŃŊÿ-ŲǀŰěĪƣżł-ĪŏŃŊƸŊ- ŲżƸĪƫÿŲģƫŏǢƸĪĪŲƸŊƫżǜĪƣǜÿƣŏżǀƫ-ŲżƸĪƫ-ܞżł-ƸŊĪěÿƫƫ܉ܟ-ƸŊƣżǀŃŊǝŊŏĜŊ܉ǝŊĪŲģżŲĪŏŲ-ƸŏŰĪ܉ƣĪŰżǜܫ ŏŲŃłƣżŰ-ƸŊĪƫŏŲŃŏŲŃÿ-ĜĪƣƸÿŏŲěÿƣĪ-ƠżǜĪƣƸǣÿŲģģƣǣŲĪƫƫ܉ŏƸŏƫƣĪŲģĪƣĪģ-ƠŧĪÿƫŏŲŃ܉-ǀŲŊŏŲģĪƣĪģ܉ÿŲģ- ڞڜ܊ÿŏƣǣ

ȃĩ-SƷþŦŎþűěŻůƟŻƪĩƢ-®þŦǛþƷŻƢĩ-®ěŎþƢƢŎűŻ-ܣĚܤږړژڐݑܒ-'nþƪ-ĢĩƪěƢŎĚĩĢ-'nŎƪ-ǛŻěþŦƪƷǢŦĩƿƪŎűł-Ʒ'nĩ-ƷĩƢů- ܹƪŎŦŦþĚþǬŎŻűĩƪěŎǛŻŦþƷþܺ-ܣܹƪŦŎĢŎűłƪǢŦŦþĚŎěþƢƷŎěƿŦþƷŎŻűܺ܌ܤþűĢ-Żűĩěþű-Ƣĩ쯳űŎǬĩ-Ŏű-ŎƷƪŻůĩƷ'nŎűł- þţŎű- ƷŻþƪ'nþĢŻǜ-ŻŁ-£ĩƢŎܼƪ-ƢĩěŎƷþƷŎǛĩ܌-ŎűƷĩƢƪƟĩƢƪĩĢǜŎƷ'nƪŻůĩĩŦĩůĩűƷƪ-ŻŁ þěěŎűŎܼƪ- ܹƟþƪƪþłŎܒܺ-®ěŎþƢƢŎűŻ- ƢĩŁĩƢƪ- ƷŻ ƪƟŻţĩű- Ŧþűłƿþłĩ- Ŏű þ ǜþǢ ěŦŻƪĩŦǢ- ƢĩŦþƷĩĢ- ƷŻ- £ĩƢŎܼƪ- Ʒ'nĩŻƢǢ܌ ĩůƟ'nþƪŎǬŎűł- Ʒ'nĩ- ܹƪěŎŻŦƷĩǬǬþܺ-ܣܹŦŎł'nƷűĩƪƪܺܤ-ŻŁĩǛĩƢǢĢþǢ-ŦþűłƿþłĩþƪþůŻĢĩŦ-ŁŻƢ- Ʒ'nĩ-ǛŻěþŦ- ƟĩƢŁŻƢůĩƢƪܒűĢ- ĚǢěŻůĚŎűŎűłƪƿƪƷþŎűĩĢ܌-ܹĢŎþƪƷĩůþƷŎě܌ܺƪƷƢĩƪƪĩĢƪǢŦŦþĚŦĩƪܘűŻƷĩƪǜŎƷ'nƪĩǛĩƢþŦĩǡƷƢĩůĩŦǢƪ'nŻƢƷ܌-ܹěŻűƷŎűƿŻƿƪ܌ܺ ƿűƪƷƢĩƪƪĩĢ- Żűĩƪ܌-R ěŎþƢƢŎűŻܼƪ ǜŻƢţƪ þŦƪŻ ƿƪĩ þ ůƿƪŎěþŦ þƟƟƢŻþě'n þűþŦŻłŻƿƪ- ƷŻ- £ĩƢŎܼƪ-ܣ/ǡܒܤژܒڔݑܒ-RěŎþƢƢŎűŻűŻƷĩƪ- Ʒ'nþƷ- Ʒ'nĩ-ŎűƷŻűþƷŎŻű-ŻŁ- Ʒ'nĩěŦŻƪŎűł-ȀłƿƢĩƪ܌ěŻűƪŎƪƷŎűł-ŻŁƪ'nŻƢƷ- notes, should not be rendered precisely and need not be equally tempered, meaning that "the űƿþűěŎűł-ŻŁűŻűܮƷĩůƟĩƢĩĢ-ŎűƷĩƢǛþŦƪ܌þƪ-ŎƪěƿƪƷŻůþƢǢǜ'nĩűƪƟĩþţŎűł܌ܺ-Ŏƪ-ƟŻƪƪŎĚŦĩڢڟܒ

/ǡþůƟŦĩ-ژܒڔƪ'nŻǜƪ-ǛþƢŎþűƷƪ-ŻŁ-Ʒ'nĩ-ܹƪŎŦŦþĚþǬŎŻűĩƪěŎǛŻŦþƷþܺ-ŁƢŻů-®ěŎþƢƢŎűŻܼƪ-ŻƟĩƢþ-*Luci mie traditrici*-ܤڗژܫڕژژڐܣ-Ŏűǜ'nŎě'n- Ʒ'nĩƪƷǢŦŎǬþƷŎŻűþűĢ-ǛþƢŎþƷŎŻű-ŻŁ- Ʒ'nĩ-ŎűƷĩƢǛþŦƪƷƢƿěƷƿƢĩ- ܡþ܌-Ě܌ܢ- Ʒ'nĩ- ĚƢĩþţŎűłܮƿƟ-ŻŁ-Ʒ'nĩ-ŦŎűĩƪǜŎƷ'n-ƢĩƪƷƪ-ܣƪǢůĚŻŦƪ-ŁŻƢ-'nĩƪŎƷþƷŎŻű-ܡĚ܌ܢ-ŁþŎűƷŎűł-ܡě܌ܢ-ĢĩþƷ'n-ܡĩ܌ܤܢþűĢ-Ʒ'nĩŎƢ- ĢŎƪƪŻŦƿƷŎŻű-ŎűƷŻ-ĢĩƪěĩűĢŎűłůŎěƢŻܮłŦŎƪƪþűĢŎ-ܡĚ܌ě܌ĩܢ-ŻƢůŻűŻƷŻűŻƿƪŦǢƪƟŻţĩű-Ɵ'nƢþƪĩƪ-ܡĢܢþƢĩ- clearly recognizable. In fact, the formal process of the entire opera can be seen as an increasing ƢĩĢƿěƷŎŻű-ŻŁ-ŎűƷŻűþƷŎŻű܌ ěƿŦůŎűþƷŎűł-Ŏű- Ʒ'nĩ-ĢþƢţ-ȀűþŦ ƪěĩűĩ܌-Ŏűǜ'nŎě'nþŦŦþƢƷŎěƿŦþƷŎŻű- ƷǢƟĩƪ- ĩǡƷĩűĢŎűł-ƷŻĩǡƷƢĩůĩ-ŎűƷĩƢǛþŦ-ŠƿůƟƪ-ܡĢܢ-ƢĩěƿƢ-Ŏűþ-ܣűŎł'nƷůþƢŎƪ'nܤ-ƢĩůŎűŎƪěĩűěĩڙڠܒ

### Articulation – Codification – Presence – Passage

ȃĩ-ĢŎƪěƿƪƪŎŻű-ƟƢĩƪĩűƷĩĢ-'nĩƢĩþƷƷĩůƟƷĩĢ-ƷŻƪ'nŻǜ-'nŻǜ-ĢŎDz ŁĩƢĩűƷ-ŁŻƢůƪ-ŻŁþƢƷŎěƿŦþƷŎŻűþűĢěŻĢŎ-ȀěþƷŎŻű-ĚĩƷǜĩĩűƪƟĩþţŎűłþűĢƪŎűłŎűł-ǛŻŎěĩƪ-ܫ-ŎűƪŎƷƿþƷŎŻűƪǜŎƷ'nƪƷƢŻűłŦǢ-ĢŎǛĩƢłĩűƷ-'nŎƪƷŻƢŎěþŦ- and cultural conditions – are organized in a related manner and performatively transformed into a presence of the voice. Finally, three main threads of this discussion will now be high-ŦŎł'nƷĩĢþűĢ-ŦŎűţĩĢ܋

ڻں Giulio Caccini, *L'Euridice composta in musica in stile rappresentativo*- ܉ܟڌڌڒڍܞ ģĪģŏĜÿƸŏżŲ- Ƹż- GŏżǜÿŲŲŏ ÿƣģŏ܉- ƢǀżƸĪģ- ڏڒڐ-܉ŏěŏģłƣżŰ

ڼں Giulio Caccini, *Nuove musiche e nuova maniera di scribere*-܉ܟڐڍڒڍܞ-ƠƣĪłÿĜĪ܉-ƢǀżƸĪģłƣżŰŏěŏģ܉-ڑڒڐܨڐڒڐ

ڽں Sciarrino and Petazzi,ܶ®ÿŧǜÿƸżƣĪ-®ĜŏÿƣƣŏŲżŏŰ-GĪƫƠƣďĜŊ܉ܷ ړڏ-ܠܶģŏĪtǀÿŲĜŏĪƣǀŲŃ-ŲŏĜŊƸ-ƸĪŰƠĪƣŏĪƣƸĪƣ-SŲƸĪƣǜÿŧŧĪ܉ǝŏĪ- ģŏĪƫěĪŏŰ-®ƠƣĪĜŊĪŲdžěŧŏĜŊŏƫƸܷܡ

ڴڻ- -RĪĪ܉łżƣ-ŰżƣĪģĪƸÿŏŧ܉-ÃƸǭ܉-ܶRƸÿƸŏƫĜŊĪŧŧĪŃżƣŏĪ-ǀŲģ-ܸ®żŃģĪƣðĪŏƸܹܷ

Example 5.9: Salvatore Sciarrino, Luci mie traditrici, variants of the "sillabazione scivolata": [a]–[c] scene 1, Il Malaspina (baritone), mm. 15, 17, 29–30; [d], [e] scene 8, La Malaspina (soprano)/Il Malaspina (baritone), mm. 67–69, 83

Copyright © 1998 by Universal Music Publishing Ricordi – Milan, Italy [NR 138034]


materiality'; […] where the melody really works at the language, […] explores how the language works"11 - to the point, of course, that they obscure or even destroy the language. And by ultimately provoking - for all the inspiration they derive from the spoken language – conflicts with conventional forms of prosody, linguistic intonation and declamation instead of following these structures, they probably represent far more suitable examples of the "grain of the voice" than those Barthes himself tried to grasp (which tend toward a culturalist stereotyping of French and German song traditions that has become increasingly dubious72).

3. Carolyn Abbate's narratological expansion of the concept of the voice as part of an "aural vision of music animated by multiple, decentered voices localized in several invisible bodies," the conception of "voices" of different origins that support musical structures, but can also counteract them and thus destabilize the composer's monological authority, can be assumed for all the examples presented here. Yet the "codification" of the vocal articulation can neither be reduced to the type of written notation nor to the gestural-performative presence of its actual rendering but arises from the interaction of these two "voices" with those of cultural memory and reception history. The passages between speech and song explored here seem to exhibit a particular, obvious tendency toward the divergence of written and performed voices, resulting in an unfolding of composition, terminology, and categorization on the one hand and vocal practice on the other. The nature of this divergence, as is equally evident in gidayü-bushi, in Schoenberg's Pierrot, Peri's Euridice, or Sciarrino's "sillabazione scivolata," allows a specification of the vocal medium, and thus a differentiation from Abbate's metaphor of "multiple voices" applicable to both instrumental and vocal music alike.

Seen in this way, an intercultural history of the voice could appear as a process of condensation in which such contradictions, divergences between individual voices in the conception, written codification, sounding event, and perception are made visible, and physical and metaphorical levels of the phenomenon are envisaged. The outline undertaken here can at best be understood as a first attempt in this direction.

<sup>71</sup> Barthes, "The Grain of the Voice," 269.

<sup>72</sup> See Meyer-Kalkus, Stimme und Sprechkünste im 20. Jahrhundert, 427—444.

<sup>73</sup> Abbate, Unsung Voices, 13.

### **2. Space-Time Movements in György Ligeti's Piano Concerto: Polymeter and Conflicting Meter in Historical and Intercultural Perspective**

### György Ligeti's "Space-Time" and the "Generalized Hemiola"

ȃĩ-ƟŻŦǢłŦŻƷ܌-ĚŻƿűĢþƢǢܮĢĩŁǢŎűłěŻűěĩƟƷŎŻűƪ-ŻŁ-GǢƆƢłǢhŎłĩƷŎ܌-ĢƢŎǛĩű-ĚǢþƢƷŎƪƷŎěěƿƢŎŻƪŎƷǢ܌-'nþǛĩ- ĚĩĩűǜŎĢĩŦǢ-ƟƢþŎƪĩĢ܌þűĢ-'nŎƪěŻŦŦĩěƷĩĢǜƢŎƷŎűłƪ-ƟƿĚŦŎƪ'nĩĢ-Ŏű-GĩƢůþű-ƟŻƪƷ'nƿůŻƿƪŦǢ-Ŏű-ږڏڏڑ- ŎůƟƢĩƪƪŎǛĩŦǢ- ĢĩůŻűƪƷƢþƷĩ- Ʒ'nĩ- Ƣ'nŎǬŻůĩܮŦŎţĩ- ƢþůŎȀěþƷŎŻűƪ- ŻŁ- 'nŎƪ- Ʒ'nŎűţŎűł- Ŏű þűĢ þĚŻƿƷ ůƿsic, as also aptly demonstrated by the polymorphic vividness of the structures in his music since *Apparitions*-ܒܤژڔܫڗڔژڐܣ-FƢŻů-Ʒ'nĩ-ǛĩƢǢ-ĚĩłŎűűŎűł܌hŎłĩƷŎ܌-Ŏű-'nŎƪ-ŻǜűĩűĩƢłĩƷŎěůþűűĩƢ܌þĚܮ ƪŻƢĚĩĢ-ŎůƟƿŦƪĩƪ-ŁƢŻů-ŻǼ Ʒĩű-'nĩƷĩƢŻłĩűĩŻƿƪþƢĩþƪ-ŻŁ-Ʒ'nĩþƢƷƪþűĢƪěŎĩűěĩƪ܌þűĢ-ŎĢŎŻƪǢűěƢþƷŎěþŦly interwove them into an asymmetrical, open maze of sounds and thoughts. Still, it should ĚĩĩůƟ'nþƪŎǬĩĢ-'nŻǜ-ŎűƷĩűƪŎǛĩŦǢ܌-ĚƿƷþŦƪŻ-ܹþƢƷܮƷǢƟŎěþŦŦǢܺhŎłĩƷŎĩűłþłĩĢǜŎƷ'nƪěŎĩűƷŎȀě-Ʒ'nŎűţŎűł܌ĩƪƟĩěŎþŦŦǢƪŎűěĩ- Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ- Ʒ'nĩ- ڏڗژڐƪ܌- ŁŻƢĩǡþůƟŦĩ-Ŏű- Ʒ'nĩþƢĩþƪ-ŻŁě'nþŻƪ- Ʒ'nĩŻƢǢ܌- ŁƢþěƷþŦ- łĩŻůĩƷƢǢ܌þűĢþƢƷŎȀěŎþŦ-ŎűƷĩŦŦŎłĩűěĩܒ-Ʒ- Ʒ'nĩ- ĚĩłŎűűŎűł-ŻŁ- 'nŎƪ ĩƪƪþǢ- ܹ£þƢþĢŎłůĩűǜĩě'nƪĩŦ- ĢĩƢ- þě'nƷǬŎłĩƢdþ'nƢĩܺ-܌ܤڗڗژڐܣhŎłĩƷŎĩůƟ'nþƪŎǬĩƪ-Ʒ'nþƷ-'nĩ-ĢŻĩƪűŻƷǜƢŎƷĩ-ܹܻƪěŎĩűƷŎȀěܼůƿƪŎě܌-ĢŻܡĩƪܢűŻƷ- use calculations, nor algorithms […], realize[s] only [his] own ideas, but deal[s] with analogous ideas from other areas. Complexity or complex patterns have always attracted [him]."ڝڠtŻƷ- ŦĩþƪƷ܌ hŎłĩƷŎܼƪ- ǛŎĩǜ-ŻŁ-/ƿƢŻƟĩþű-ŻƢ-ŎűĢĩĩĢ- ܹłŦŻĚþŦܺůƿƪŎě- 'nŎƪƷŻƢǢǜþƪ łŎǛĩű űĩǜ-ŎůƟĩƷƿƪ- ĚǢ- these search movements (for example, through the discovery of the *ars subtilior*ܤþűĢþűŻ-Ŧĩƪƪ- consequential turn toward music genres from Africa, Java, Bali, Melanesia, China, and Korea, ǜŎƷ'n-Ʒ'nĩŎƢƪƟĩěŎȀěƪƷƢƿěƷƿƢĩƪþűĢƿűĢĩƢŦǢŎűłǜþǢƪ-ŻŁ-Ʒ'nŎűţŎűłڞڠܒ

ȃĩ-ƢĩěĩƟƷŎŻű-ŻŁƪƿĚܮRþ'nþƢþű-ŁƢŎěþűłĩűƢĩƪ܌ǜ'nŎě'n-ŎűěŦƿĢĩ-Ʒ'nĩĩűƪĩůĚŦĩƪ-ŻŁ*ongo* horns of Ʒ'nĩ ĩűƷƢþŦ-ŁƢŎěþűþűĢþhŎűĢþ܌ƪŻűłƪ-ŻŁ-Ʒ'nĩţþ-ƟǢłůŎĩƪ܌-Ʒ'nĩ*kiganda* music of the *amadinda* ǡǢŦŻƟ'nŻűĩƪ-Ŏű-ÃłþűĢþþƪǜĩŦŦþƪ-Ʒ'nĩ*mbira*-ŦþůĩŦŦŻƟ'nŻűĩůƿƪŎě-ŻŁ-Ʒ'nĩ-®'nŻűþ-ŎűðŎůĚþĚǜĩ܌-ŁŻƢů- ŠƿƪƷ-Żűĩ-ŦþǢĩƢ-ŎűþűĩěŦĩěƷŎěě'nþŎű-ŻŁþƪƪŻěŎþƷŎŻűƪ-ŎűhŎłĩƷŎܼƪ-Ʒ'nŎűţŎűłþűĢěŻůƟŻƪŎƷŎŻűƪ-Ŏű-Ʒ'nĩ- ڏڗژڐƪܒƪ-ŻƿƷŦŎűĩĢĩþƢŦŎĩƢ-Ŏű-Ʒ'nŎƪ-ĚŻŻţ܌-ŎűƷĩƢěƿŦƷƿƢþŦ-ƢĩěĩƟƷŎŻű-ƟƢŻěĩƪƪĩƪ-Ŏű-/ƿƢŻƟĩþűůƿƪŎě-ŻŁ- Ʒ'nĩ-ƷǜĩűƷŎĩƷ'nþűĢ-ƷǜĩűƷǢܮȀƢƪƷěĩűƷƿƢŎĩƪ-'nþǛĩ-ŻǼ Ʒĩű-Ěĩĩű-ܣþűĢƪƷŎŦŦþƢĩܤ-ŎűƷĩłƢþƷĩĢ-ŎűƷŻěŻůƟþ-ƢþĚŦǢƿűŎǛĩƢƪþŦŎƪƷþĩƪƷ'nĩƷŎěܮěŻűěĩƟƷƿþŦ-ĢĩƪŎłűƪ܌-Ƣĩþě'nŎűł-ŻƿƷ-ŎűþƪĩŦŁܮƢĩǴŦĩǡŎǛĩþűĢěŻůƟŦĩǡ- manner in the most diverse directions and determining a reception model that I have attemptĩĢ-ƷŻě'nþƢþěƷĩƢŎǬĩǜŎƷ'n-Ʒ'nĩ-ƷĩƢů-ܹŎűƷĩƢƟĩűĩƷƢþƷŎŻűܺ-ݑދܣSSܒܤڕܒ-Rƿě'n-ƢĩěĩƟƷŎŻűƪƷƢþƷĩłŎĩƪ-ƟƢŻěĩĩĢ- structurally, associatively, and transformatively and are based on analogous formations and ěƢŻƪƪܮěŻűűĩěƷŎŻűƪ-ĚĩƷǜĩĩű-ĢŎDz ŁĩƢĩűƷěŻűƷĩǡƷƪþűĢ-ĢŎƪěŻƿƢƪĩƪ-ܫƪŻůĩƷ'nŎűł-Ʒ'nþƷ-Ŏƪ-ƟþƢƷŎěƿŦþƢŦǢ- ě'nþƢþěƷĩƢŎƪƷŎě-ŻŁhŎłĩƷŎܼƪþƟƟƢŻþě'nܒ

Sű-Ʒ'nĩěþƪĩ-ŻŁƪƿĚܮRþ'nþƢþűůƿƪŎě܌hŎłĩƷŎܼƪ-ƟþƢƷŎěƿŦþƢ-ŎűƷĩƢĩƪƷǜþƪ-ŎűłĩƪƷþŦƷ-ƟþƢþĢŻǡĩƪþűĢ- ŎŦŦƿƪŎŻűþƢǢĩDz ŁĩěƷƪ܌ǜ'nŎě'nþƢĩþŦƪŻ-ƢĩǴŦĩěƷĩĢ-Ŏű-ŁƢþěƷþŦłĩŻůĩƷƢǢ-ŻƢrܒ- ܒ-/ƪě'nĩƢܼƪ-ǛŎƪƿþŦ-ƟþƢþdoxes, such as the waterfall or staircase, which seem to be constantly falling or rising but in

ڸڻ- hŏŃĪƸŏ܉-ܶ£ÿƣÿģŏŃŰĪŲǝĪĜŊƫĪŧģĪƣÿĜŊƸǭŏŃĪƣdÿŊƣĪ܉ܷ-ڒڍڍ-ܠܶŤĪŏŲĪ-ܸǝŏƫƫĪŲƫĜŊÿǽ ƸŧŏĜŊĪܹrǀƫŏŤ܉ǜĪƣǝĪŲģĪ-ŤĪŏŲĪfÿŧŤdžŧĪ܉- ŤĪŏŲĪŧŃżƣŏƸŊŰĪŲ-܉ܟ܊ܞǜĪƣǝŏƣŤŧŏĜŊĪ-Ųǀƣ-ܞƫĪŏŲĪܟ-ĪŏŃĪŲĪŲßżƣƫƸĪŧŧǀŲŃĪŲ܉ģżĜŊěĪƫĜŊďǽ ƸŏŃĪ-ܞĪƣƫŏĜŊܟ-ŰŏƸÿŲÿŧżŃĪŲ- ßżƣƫƸĪŧŧǀŲŃĪŲŏŲÿŲģĪƣĪŲ-ĪƣĪŏĜŊĪŲfżŰƠŧĪǢŏƸďƸěĪǭŏĪŊǀŲŃƫǝĪŏƫĪ-ŤżŰƠŧĪǢĪrǀƫƸĪƣ-ܞŊďƸƸĪŲŏŊŲܟŏŰŰĪƣÿŲ-ŃĪǭżŃĪŲܷܡ

ڹڻ- -Ų hŏŃĪƸŏܹƫ ƣĪĜĪƠƸŏżŲ żł łƣŏĜÿŲ- ŰǀƫŏĜ ƫĪĪ- ĪƫƠĪĜŏÿŧŧǣ hŏŃĪƸŏÿŲģ żǀŧŏÿŲĪ܉- ܶRƸŏŧŏƫŏĪƣƸĪ- /ŰżƸŏżŲ܉ܷ-1/4 ÿǣŧżƣ܉- ܶhŏŃĪƸŏ܉- łƣŏĜÿÿŲģ-£żŧǣƣŊǣƸŊŰ܉ܷ-RĜŊĪƣǭŏŲŃĪƣ܉-ܶGǣƇƣŃǣhŏŃĪƸŏÿŲģ-ƸŊĪ-Ťÿ-£ǣŃŰŏĪƫ-£ƣżšĪĜƸ܉ܷ-RĜŊĪƣǭŏŲŃĪƣ܉-ܶ¦ĪŰÿƣŤƫżŲÿ- ®ŤĪƸĜŊżł-GǣƇƣŃǣhŏŃĪƸŏ܉ܷÿŲģ-¼ÿǣŧżƣ܉-ܶNĪŰŏżŧÿrÿǢŏŰÿŧ-/ǜĪŲŲĪƫƫÿŲģrĪƸƣŏĜ-ŰěŏŃǀŏƸǣŏŲhÿƸĪhŏŃĪƸŏܷhŏŃĪƸŏܹƫ- ƣĪŧÿƸŏżŲ-Ƹż-ŰĪŲƫǀƣÿŧżƣŃÿŲŏǭÿƸŏżŲŏŲǝżƣŤƫěǣ*ars subtilior*-ĜżŰƠżƫĪƣƫŏƫ-ŰĪŲƸŏżŲĪģŏŲ-GdžŲƸŊĪƣ܉-ܶ'ŏĪƣƫƫǀěƸŏŧŏżƣܷ- ÿŲģ-ĪǢƠŧżƣĪģŏŲ-®ĜŊdžƸǭ܉-ܶàŏĪģĪƣŃĪěǀƣƸģĪƣƣƫƫǀěƸŏŧŏżƣܐܷ

fact always return to their starting points. Comparable musical phenomena include above all "inherent patterns," as described in detail in *amadinda*ůƿƪŎě- ĚǢ-GĩƢ'nþƢĢ fƿĚŎţڟڠ܋ phenomeűþĩůĩƢłŎűł-ŎűþƿƢþŦ-ƟĩƢěĩƟƷŎŻű-ŎűþţŎűĢ-ŻŁ-ƢĩŦŎĩŁ- ŁƢŻů-ŎűƷĩƢŦŎűţĩĢ-Ƣ'nǢƷ'nůŎěܮůĩŦŻĢŎě-ŦŎűĩƪܒ- Starting from other African contexts, Steve Reich's music had already been crucial to exploring ƪƿě'n-ƟþƷƷĩƢűƪ-ܣŦþĚĩŦĩĢ- ܹƢĩƪƿŦƷŎűł-ƟþƷƷĩƢűƪܺ-ĚǢ-¦ĩŎě'nܤ-ŻǛĩƢ- Ʒĩű-ǢĩþƢƪĩþƢŦŎĩƢ-ݑދܣSSڠڠܒܤڕܒ Gerhard fƿĚŎţܼƪþűĢ- ®Ŏů'nþ-ƢŻůܼƪ ƪƷƢƿěƷƿƢþŦŎƪƷþűĢ- 쯳űŎƷŎǛĩĩƷ'nűŻůƿƪŎěŻŦŻłŎěþŦþƟƟƢŻþě'nĩƪ- 'nþĢþ- ƪŎłűŎȀěþűƷ-ŎůƟþěƷ-ŻűhŎłĩƷŎܒ-ŻƷ'n-ƢĩƪĩþƢě'nĩƢƪþƪƪƿůĩþ-ŁƿűĢþůĩűƷþŦþŦƷĩƢŎƷǢ-ĚĩƷǜĩĩű-ŁƢŎěþű- þűĢ-/ƿƢŻƟĩþűůƿƪŎě܌-Ƣ'nǢƷ'nů܌þűĢ-Ʒ'nĩƿűĢĩƢŦǢŎűłǜþǢƪ-ŻŁ-Ʒ'nŎűţŎűł-ܫþű*a priori* assumption of ethnomusicology as a whole that had remained unquestioned for decades but has been harsh-ŦǢ ěƢŎƷŎěŎǬĩĢ- ŁŻƢ ƪŻůĩ- ƷǜĩűƷǢ- ǢĩþƢƪ- ŁƢŻů- ƟŻƪƷěŻŦŻűŎþŦ- ƟĩƢƪƟĩěƷŎǛĩƪܒȃĩ ěĩűƷƢþŦþƢłƿůĩűƷ-Ŏű- fŻȀ łþǜƿܼƪ ěƢŎƷŎěŎƪů܌- ŁŻƢ-ŎűƪƷþűěĩ܌-Ŏƪ- Ʒ'nþƷ- ƢĩƪĩþƢě'n ěŻůůŎƷƷĩĢ- ƷŻàĩƪƷĩƢű ţűŻǜŦĩĢłĩ- ĢŎƪcourse has construed "African rhythm" as extraordinarily complex in order to categorize it as ƪŻůĩƷ'nŎűłěþƷĩłŻƢŎěþŦŦǢ-ĢŎDz ŁĩƢĩűƷ-ŁƢŻů-/ƿƢŻƟĩþű-Ƣ'nǢƷ'nůŎě-Ɵ'nĩűŻůĩűþܒ-SűĩǛŎƷþĚŦǢ܌-'nŻǜĩǛĩƢ܌- this almost completely obscures the rhythmic complexity of Western music in the twentieth century.ڡڠłþǜƿěŻűěŦƿĢĩƪ܋

 ģĪƸĪƣŰŏŲĪģ ƣĪƫĪÿƣĜŊĪƣ- Ĝżǀŧģ- Īÿƫŏŧǣ ƫŊżǝ- ƸŊÿƸ- ƸŊĪ ƫǀŰ żł ŏƫżŧÿƸĪģ- ĪǢƠĪƣŏŰĪŲƸƫ ŏŲ ƣŊǣƸŊŰŏĜ- żƣŃÿŲŏǭÿƸŏżŲ łżǀŲģ ŏŲ ƫżܫĜÿŧŧĪģ àĪƫƸĪƣŲ- ŰǀƫŏĜ- ƠƣżģǀĜĪƫ ÿ- ƠŏĜƸǀƣĪ żł łÿƣ- ŃƣĪÿƸĪƣ- ĜżŰƠŧĪǢŏƸǣ- ƸŊÿŲÿŲǣƸŊŏŲŃ-ƸŊÿƸłƣŏĜÿŲƫ-ŊÿǜĪ-ƠƣżģǀĜĪģƫżłÿƣ-ĪŏƸŊĪƣƫŏŲŃŧǣżƣ-ĜżŧŧĪĜƸŏǜĪŧǣ-ŲĪ-Ĝżǀŧģ܉ŏŲƫŊżƣƸ܉- ƢǀŏƸĪ-ĪÿƫŏŧǣŏŲǜĪŲƸ-ܶ/ǀƣżƠĪÿŲƣŊǣƸŊŰܷڟڝ

hŎłĩƷŎ-ƟŻŎűƷƪ-ŻƿƷfƿĚŎţܼƪ-ŎűƷĩƢƟƢĩƷþƷŎŻű-ŻŁƪƿĚܮRþ'nþƢþűůƿƪŎěþŦ-ƟƢþěƷŎěĩƪþƪ-ƟþƢƷŎěƿŦþƢŦǢƪŎłűŎ-ȀěþűƷ-ŁŻƢ-'nŎƪ-ƢĩŻƢŎĩűƷþƷŎŻű-Ŏű-Ʒ'nĩ-ڏڗژڐƪ܌ƪþǢŎűł-Ʒ'nþƷ-ŎƷ-ŦĩĢ-'nŎů-ƷŻ-ĢĩǛĩŦŻƟþűþűþŦŻłŻƿƪěŻűěĩƟ-ƷŎŻű-ŻŁůƿƪŎěþŦƪƟþƷŎþŦŎƷǢ-Ŏű-'nŎƪ-ŻǜűǜŻƢţ܋

GĪƣŊÿƣģfǀěŏŤ-ŊÿƫƫŊżǝŲ-ƸŊÿƸ܉ŏŲÿŲżƸŊĪƣ-ĜǀŧƸǀƣĪ܉-ĜÿƸĪŃżƣŏĪƫżłżǀƣ-/ǀƣżƠĪÿŲǝÿǣƫżł-ƸŊŏŲŤŏŲŃ- ÿƣĪ-ŲżƸǜÿŧŏģ܉-ƸŊÿƸ-ƸŊĪƣĪŏƫÿ-ĜżŰƠŧĪƸĪŧǣģŏdz łĪƣĪŲƸǝÿǣżł-ĪǢƠĪƣŏĪŲĜŏŲŃ-ƸŏŰĪ܉ƫƠÿĜĪ܉ÿŲģłżƣŰ-¼Ŋŏƫ- ŏƫÿǝÿǣżł-ƸŊŏŲŤŏŲŃŏŲ-ĜĪƣƸÿŏŲ-ƠÿƸƸĪƣŲƫ-ƸŊÿƸÿƣŏƫĪłƣżŰ-ŰżǜĪŰĪŲƸƫ܉ÿ-ĜǀŧƸǀƣĪŏŲǝŊŏĜŊ-ŰżǜĪŰĪŲƸ܉- ŧÿŲŃǀÿŃĪ܉ ģÿŲĜĪ܉ ÿŲģ ÿŧƫż ƫƠÿƸŏÿŧ- ĜżŲǿŃǀƣÿƸŏżŲƫ ÿƣĪ- ĜżŲĜĪŏǜĪģ ģŏdz łĪƣĪŲƸŧǣ- ƸŊÿŲ ŏŲ- /ǀƣżƠĪÿŲ- culture.

àŊÿƸ-ƸŊŏƫǝÿǣżł-ƸŊŏŲŤŏŲŃƫŊÿƣĪƫǝŏƸŊ-ŰǣǝżƣŤŏƫ-ƸŊĪŏģĪÿżłÿ-ǀŲŏƸǣżł-ƸŏŰĪÿŲģƫƠÿĜĪ-ܟ܊ܞ-S-ƸŊŏŲŤ- ŏŲ- ŰǀƫŏĜÿŧ ƫƸƣǀĜƸǀƣĪƫ ÿŲģ łżƣŰƫ ŏŲ ǝŊŏĜŊ- ƸŊĪ- ƸĪŰƠżƣÿŧ ŏƫ ÿĜƸǀÿŧŧǣ- ĜżŲĜĪŏǜĪģ ƫƠÿƸŏÿŧŧǣ- ܨ ÿƫ ŏł- ĪǜĪƣǣƸŊŏŲŃǝĪƣĪ-ƠƣĪƫĪŲƸÿƸ-ƸŊĪƫÿŰĪ-ƸŏŰĪ-SŲ-ƸŊĪƫĪĜżŲģ-ŰżǜĪŰĪŲƸżł-Űǣ-*Requiem*, in the Piano żŲĜĪƣƸż܉ÿŲģÿŧƫżŏŲ-ƸŊĪ- Īŧŧż żŲĜĪƣƸż܉-ƸŊĪƣĪÿƣĪłżƣŰÿƸŏżŲƫ-ƸŊÿƸ-ĜÿŲŲżƸěĪ-ĜżŰƠÿƣĪģǝŏƸŊ-

ںڻ- -RĪĪ܉ÿŰżŲŃżƸŊĪƣƫ܉fǀěŏŤܹƫ-Īƫƫÿǣƫ-ܶ¼ŊĪ-£ŊĪŲżŰĪŲżŲżł-SŲŊĪƣĪŲƸ-¦ŊǣƸŊŰƫŏŲ-/ÿƫƸÿŲģ- ĪŲƸƣÿŧłƣŏĜÿŲ-SŲƫƸƣǀ-ŰĪŲƸÿŧrǀƫŏĜ܉ܷ-ܶ'ŏĪ-ŰÿģŏŲģÿܫrǀƫŏŤǜżŲ-ǀŃÿŲģÿ܉ܷ-ܶfżŃŲŏƸŏǜĪ-GƣǀŲģŧÿŃĪŲÿłƣŏŤÿŲŏƫĜŊĪƣrǀƫŏŤ܉ܷÿŲģ-ܶ¼ŊĪżƣŏĪ܉- ǀdz łdžŊƣǀŲŃƫƠƣÿǢŏƫ- ǀŲģ fżŰƠżƫŏƸŏżŲƫƸĪĜŊŲŏŤĪŲ ģĪƣ- NżłŰǀƫŏŤ ǜżŲ- ǀŃÿŲģÿܷ fǀěŏŤ ƣĪłĪƣƫ ŏŲ ģĪƸÿŏŧ- Ƹż- hŏŃĪƸŏܹƫ- ĜżŰƠżƫŏƸŏżŲÿŧ- ƸĪĜŊŲŏƢǀĪƫ ŏŲ- ĜżŲǜĪƣƫÿƸŏżŲ ǝŏƸŊ- ƸŊĪ ÿǀƸŊżƣ ŏŲ fǀěŏŤ ÿŲģ- ÃƸǭ܉- ܶǀł- /ŲƸģĪĜŤǀŲŃƫƣĪŏƫĪ- ģǀƣĜŊƫ-ÃŲŏǜĪƣƫǀŰܷ-®ĪĪÿŧƫżƣżŰ܉-'ǀĜŊĪƫŲĪÿǀ܉ÿŲģrÿƣǢ܉-ܶfŏŲƫŊŏƠ-FżƣĪƫĪĪŲܷ

ڻڻ- -Fżƣ-ŰżƣĪģĪƸÿŏŧ܉ƫĪĪ-¦ĪŏĜŊܹƫ-Īƫƫÿǣƫ-ܶGÿŊǀ-ܨ--'ÿŲĜĪżł-ƸŊĪ-/ǝĪ-¼ƣŏěĪŏŲ-GŊÿŲÿܷÿŲģ-ܶtżŲܫàĪƫƸĪƣŲrǀƫŏĜÿŲģ-ƸŊĪ- Western Composer."

ڼڻ- -RĪĪ-ĪƫƠĪĜŏÿŧŧǣ-Ńÿǝǀ܉-ܶ1/4ŊĪ-SŲǜĪŲƸŏżŲżł-ܸłƣŏĜÿŲ-¦ŊǣƸŊŰ܉ܹܷÿŲģ-Ńÿǝǀ܉-*Representing African Music*. An updated ÿŲģ-ĜżŲĜŏƫĪ-ŊŏƫƸżƣŏĜÿŧÿĜĜżǀŲƸżŲÿƣƸ-ŰǀƫŏĜŏŲłƣŏĜÿ-ƸŊÿƸŏƫ-ŰǀŧƸŏƠŧǣŏŲģĪěƸĪģ-ƸżłżƣŰƫżłƣŊǣƸŊŰŏĜ-ĜżŰƠŧĪǢŏƸǣ܉- ĜÿŲěĪłżǀŲģŏŲ-®ĜŊĪƣǭŏŲŃĪƣ܉-ܶƣƸrǀƫŏĜŏŲÿ ƣżƫƫܫ ǀŧƸǀƣÿŧ żŲƸĪǢƸܷÿŲģ-®ĜŊĪƣǭŏŲŃĪƣ܉-ܶłƣŏŤÿܷ

ڽڻ- -Ńÿǝǀ܉-ܶ1/4ŊĪ-SŲǜĪŲƸŏżŲżł-ܸłƣŏĜÿŲ-¦ŊǣƸŊŰ܉ܹܷ-ڒڔڏ

ƸŊĪ-ƸƣÿģŏƸŏżŲÿŧ-ĜżŲĜĪƠƸƫżł-ŰĪŧżģǣ܉-ŊÿƣŰżŲǣ܉ÿŲģƣŊǣƸŊŰ-¼ŊĪǣÿƣĪǜĪƣǣģŏdz łĪƣĪŲƸŧǣ-ĜżŲĜĪŏǜĪģ܉ƫƸÿƸŏĜłżƣŰƫ-¼ŊĪǣƫĪĪŰ-ƸżƫƸÿŲģŏŲłƣżŲƸżł-ǀƫÿƫŏł-ƸŊĪǣǝĪƣĪżěšĪĜƸƫÿŲģģŏģ-ŲżƸ-ǀŲłżŧģŏŲ-ƸŏŰĪږڞ

ȃŎƪ-ܹŁƢŻǬĩű-ƷƿƢĚƿŦĩűěĩܺښڡ ěþűþěƷƿþŦŦǢ-ĚĩĩǡƟĩƢŎĩűěĩĢþłþŎűþűĢþłþŎű-ŎűhŎłĩƷŎܼƪůƿƪŎě܌-Ʒ'nŻƿł'n- the aforementioned characterization of an "annihilation" of the temporal dimension could easi-ŦǢ-Ěĩ-ƢĩŁƿƷĩĢ-ĚǢþ- ŁŻƢůþŦþűþŦǢƪŎƪ-ŻŁƪƟĩěŎȀěǜŻƢţƪ܌ƪŎűěĩ- Ʒ'nĩ-ŻǼ Ʒĩű- ܹƪƟŎƢþŦܮŦŎţĩܺ-ƟƢŻěĩƪƪĩƪ-Ŏű- hŎłĩƷŎܼƪǜŻƢţƪ܌-ŎűěŦƿĢŎűł-Ʒ'nĩ-ŁþůŻƿƪ*fǢƢŎĩ* of the *Requiem*-ܤڔڕܫڒڕژڐܣ-ƢĩŁĩƢƢĩĢ-ƷŻ-ĚǢhŎłĩƷŎ܌þűĢ- ĩǛĩűůŻƢĩěŦĩþƢŦǢ-Ʒ'nĩ-ƟþƢþĢŎłůþƷŎěǜŻƢţƪ-ŻŁ-Ʒ'nĩ-ڏڗژڐƪƪƿě'nþƪ-Ʒ'nĩ-ȀƢƪƷ-ŻƢƪŎǡƷ'n-£ŎþűŻ-/ƷƿĢĩƪ- ܌ܤڔڗژڐܣ-ŁŻƢůþŦŦǢ-ƟŻŎűƷ-ƷŻǜþƢĢěĩűƷƢþŦůŻůĩűƷƪ-ŻŁěŻűǴŦŎěƷ܌ǜ'nŎě'n-ĢŻĩƪ-ŎűĢĩĩĢ-ŎůƟŦǢþ-ĢĩěŎƪŎǛĩ- temporal, sometimes almost deterministic, strategy.ڛڡ So perhaps it would be more accurate ƷŻ ƪþǢ- Ʒ'nþƷ hŎłĩƷŎܼƪůƿƪŎě- ƟŦþǢƪ-ŻƿƷ-ŎűþůƿƪŎěþŦ- ܹƪƟþěĩܮƷŎůĩܺ-Ŏűǜ'nŎě'n ƪƟþƷŎþŦþűĢ- ƷĩůƟŻƢþŦ- characteristics – state and process – are formative for our reception of the music, constantly re-orienting ourselves in the ever-changing mixtures of not exclusively present-oriented or goal-oriented states.

àŻƢţƪ-Ŏűǜ'nŎě'n-Ʒ'nĩƪĩě'nþƢþěƷĩƢŎƪƷŎěƪþƟƟĩþƢ-Ŏűþ-ƟþƢƷŎěƿŦþƢŦǢůþƷƿƢĩþűĢ-ǛþƢŎĩĢůþűűĩƢþƢĩ- Ʒ'nĩ-Ʒ'nƢĩĩ-ǛŻŦƿůĩƪ-ŻŁhŎłĩƷŎܼƪ-£ŎþűŻ-/ƷƿĢĩƪ-ڜڡܤږژܫړڗژڐܣþűĢ-'nŎƪ- ŻűěĩƢƷŻ-ŁŻƢ-£ŎþűŻþűĢ-Ƣě'nĩƪ-ƷƢþ-ڝڡܒܤڗڗܫڔڗژڐܣ-FŻŦŦŻǜŎűł-Żű- ŁƢŻůƪŻůĩ-Ɵþƪƪþłĩƪ-ŻŁ- Ʒ'nĩ-£ŎþűŻ- ŻűěĩƢƷŻ܌hŎłĩƷŎܼƪěŻűűĩěƷŎŻű- ŻŁ-'nŎƪƷŻƢŎěþŦܮ/ƿƢŻƟĩþűþűĢ-ŁƢŎěþű- ŁŻƢůþƷŎŻűƪ-ŻŁ-ƟŻŦǢƢ'nǢƷ'nů܌-ƟŻŦǢůĩƷĩƢ܌ěŻűǴŦŎěƷŎűłůĩƷĩƢ܌þűĢ-Ʒ'nĩŎƢ-ĢŎDz ŁĩƢĩűƷ-ĢŎůĩűƪŎŻűƪǜŎŦŦ-ĚĩþĢĢƢĩƪƪĩĢþűĢĩǡƟþűĢĩĢƿƟŻűǜŎƷ'n-Ʒ'nĩþŎů-ŻŁƪ'nŻǜŎűł- þƢĩþƪ-ŻŁ-ŁƢŎěƷŎŻű-ŎűhŎłĩƷŎܼƪ-ŻƢŎłŎűþŦ-ŁŻƢůƪ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦþűĢ-'nŎƪƷŻƢŎěþŦ-ƢĩěĩƟƷŎŻűܒ

ȃĩ-ƢĩŦþƷŎŻűƪ'nŎƟ-ĚĩƷǜĩĩűhŎłĩƷŎܼƪƪƟþƷŎþŦůĩƷþƟ'nŻƢŎěŎƪůþűĢ-Ʒ'nĩěŻůƟŻƪŎƷŎŻűþŦƪŎłűŎȀěþűěĩ- ŻŁěŻűǴŦŎěƷŎűłůĩƷĩƢƪ-ŎƪěŦĩþƢŦǢ-ĢĩůŻűƪƷƢþƷĩĢ-ĚǢƪŻůĩ-Ɵþƪƪþłĩƪ-ŁƢŻů-Ʒ'nĩ-Ʒ'nŎƢĢůŻǛĩůĩűƷ-ŻŁ-Ʒ'nĩ- £ŎþűŻ- ŻűěĩƢƷŻ܌ǜ'nŎě'nhŎłĩƷŎ-ĢĩƪěƢŎĚĩĢþƪ-ܹƷ'nĩůŻƪƷƪƿěěŎűěƷĩǡþůƟŦĩ-ŻŁ-ŎŦŦƿƪŎŻűþƢǢ-Ƣ'nǢƷ'nů- and illusionary melody so far."ڞڡȃŎƪ-ŎƪĩþƪǢ-ƷŻƪĩĩþƷ-Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ-Ʒ'nĩůŻǛĩůĩűƷ-ܣ/ǡܤڏڐܒڔݑܒ þűĢ܌-Ʒ'nþűţƪ-ƷŻþěŦĩþƢ-ĢŎDz ŁĩƢĩűěĩ-ŎűěŻŦŻƢ܌-ŎƷ-ŎƪűŻƷ-ĢŎDzȀěƿŦƷ-ƷŻłƢþƪƟ-ƟĩƢěĩƟƷƿþŦŦǢ-'nŻǜƪƿěěĩƪƪŎǛĩ-

ڵڼ- hŏŃĪƸŏÿŲģżǀŧŏÿŲĪ܉-ܶRƸŏŧŏƫŏĪƣƸĪ-/ŰżƸŏżŲ܉ܷ-ڍڒ-ܠܶŃĪłƣżƣĪŲĪ-¼ǀƣěǀŧĪŲǭܷܡ

ڴڼ- hŏŃĪƸŏ܉-ܶ£ÿƣÿģŏŃŰĪŲǝĪĜŊƫĪŧģĪƣÿĜŊƸǭŏŃĪƣdÿŊƣĪ܉ܷ-ڔڍڍܨړڍڍ-ܠܶGĪƣŊÿƣģfǀěŏŤ-ŊÿƸ-ŃĪǭĪŏŃƸ܉ģÿƷŏŲ-ĪŏŲĪƣÿŲģĪƣĪŲfǀŧ-ƸǀƣfÿƸĪŃżƣŏĪŲ-ǀŲƫĪƣĪƣ-ĪǀƣżƠďŏƫĜŊĪŲ-'ĪŲŤǝĪŏƫĪ-ŤĪŏŲĪ-GdžŧƸŏŃŤĪŏƸ-ŊÿěĪŲ܉ģÿƷ-Īƫ-ĪŏŲĪ-ŃÿŲǭÿŲģĪƣĪàĪŏƫĪ-ŃŏěƸ܉- ðĪŏƸ܉-¦ÿǀŰ-ǀŲģ-FżƣŰǭǀ-ĪƣŧĪěĪŲ-'ŏĪƫŏƫƸ-ĪŏŲ-'ĪŲŤĪŲŏŲěĪƫƸŏŰŰƸĪŲrǀƫƸĪƣŲ܉ģŏĪÿǀƫ-ĪǝĪŃǀŲŃĪŲ-ĪŲƸƫƸĪŊĪŲ܉- ĪŏŲĪfǀŧƸǀƣ܉ŏŲģĪƣ-ĪǝĪŃǀŲŃ܉-RƠƣÿĜŊĪ܉-1/4ÿŲǭ-ǀŲģÿǀĜŊ-¦ÿǀŰŤżŲǿŃǀƣÿƸŏżŲĪŲÿŲģĪƣƫÿǀłŃĪłÿƷƸǝĪƣģĪŲÿŧƫŏŲģĪƣ- ĪǀƣżƠďŏƫĜŊĪŲfǀŧƸǀƣ-GĪŰĪŏŲƫÿŰ-ŰŏƸ-ŰĪŏŲĪƣƣěĪŏƸŏƫƸģÿƣŏŲģŏĪßżƣƫƸĪŧŧǀŲŃ-ĪŏŲĪƣ-/ŏŲŊĪŏƸǜżŲðĪŏƸ-ǀŲģ-¦ÿǀŰ- ܟ܊ܞ-SĜŊģĪŲŤĪŏŲ-ŰǀƫŏŤÿŧŏƫĜŊĪŲ-®ƸƣǀŤƸǀƣĪŲ-ǀŲģ-FżƣŰĪŲ܉ŏŲģĪŲĪŲģÿƫðĪŏƸŧŏĜŊĪ-ĪŏŃĪŲƸŧŏĜŊƣďǀŰŧŏĜŊ-ŤżŲǭŏƠŏĪƣƸ- ŏƫƸ-ܨƫżÿŧƫżěÿŧŧĪƫ-ŃŧĪŏĜŊǭĪŏƸŏŃÿŲǝĪƫĪŲģǝďƣĪ-SŰǭǝĪŏƸĪŲ-®ÿƸǭ-ŰĪŏŲĪƫ-*Requiems*܉ŏŰfŧÿǜŏĪƣŤżŲǭĪƣƸ܉ÿǀĜŊŏŰ- ĪŧŧżŤżŲǭĪƣƸ-ŃŏěƸ-Īƫ-FżƣŰÿƸŏżŲĪŲ܉ģĪŲĪŲ-ŰÿŲ-ŰŏƸģĪŲ-ŊĪƣŤƇŰŰŧŏĜŊĪŲ-ĪŃƣŏdz łĪŲrĪŧżģŏĪ܉-NÿƣŰżŲŏĪ܉-¦ŊǣƸŊ-Űǀƫ-ŲŏĜŊƸěĪŏŤżŰŰƸ-/ƫƫŏŲģ-ŃÿŲǭÿŲģĪƣƫ-ŃĪģÿĜŊƸĪ܉ƫƸÿƸŏƫĜŊĪ-FżƣŰĪŲ-®ŏĪƫĜŊĪŏŲĪŲǜżƣ-ǀŲƫǭǀƫƸĪŊĪŲ܉ÿŧƫżěƫŏĪ- ěšĪŤƸĪǝďƣĪŲ-ǀŲģƫŏĜŊ-ŲŏĜŊƸŏŲģĪƣðĪŏƸ-ĪŲƸłÿŧƸĪŲǝdžƣģĪŲܷܡ

ڶڼ- -RĪĪ܉łżƣ-ĪǢÿŰƠŧĪ܉-NÿÿƠÿŰÿŤŏ܉-ܶƣģĪƣŏŲ-*Désordre*܉ܷ-ڐڐܨڌڐ

ڷڼ- -ŲÿŧǣƸŏĜÿŧ-ĪǢÿŰŏŲÿƸŏżŲƫżł-ƸŊĪ-ƠŏÿŲż-ĪƸǀģĪƫ-ĜÿŲěĪłżǀŲģŏŲżǀŧŏÿŲĪ܉-ܶSŰÿŃŏŲďƣĪ-ĪǝĪŃǀŲŃ܉ܷàŏŧƫżŲ܉-ܶSŲƸĪƣ-ŤǀŧƸǀƣĪŧŧĪ-FÿŲƸÿƫŏĪŲ܉ܷ-¦żƸŊŤÿŰŰ܉-ܶƣģŲǀŲŃŏŲģĪƣ-ÃŲżƣģŲǀŲŃ܉ܷ-RĜŊĪƣǭŏŲŃĪƣ܉-ܶGǣƇƣŃǣhŏŃĪƸŏÿŲģ-ƸŊĪ-Ťÿ-£ǣŃ-ŰŏĪƫ-£ƣżšĪĜƸ܉ܷ-NÿÿƠÿŰÿŤŏ܉-ܶƣģĪƣŏŲ-*Désordre*܉ܷÿŲģ-£żŧƸŊ܉-ܸܶŲŏĜŊƸ-ƸżŲÿŧ-ǀŲģ-ŲŏĜŊƸÿƸżŲÿŧܹܷ-®ĪĪÿŧƫż-ƸŊĪ-ĜżŰƠżƫĪƣܹƫ- ŲżƸĪƫŏŲhŏŃĪƸŏ܉-ܶ0ƸǀģĪƫ-Ơżǀƣ-ƠŏÿŲż܉ܷ-ܶ0ƸǀģĪƫ-Ơżǀƣ-ƠŏÿŲż-ܨ-£ƣĪŰŏĪƣŧŏǜƣĪ܉ܷÿŲģ-ܶ0ƸǀģĪƫ-Ơżǀƣ-ƠŏÿŲż-ܨ-'ĪǀǢŏĹŰĪ- livre."

ڸڼ- -ŲÿŧǣƸŏĜÿŧƫƸǀģŏĪƫżł-ƸŊĪ-£ŏÿŲż żŲĜĪƣƸżÿƣĪ-ƠƣżǜŏģĪģěǣàŏŧŧŰÿŲŲ܉-ܶGĪěÿŲŲƸĪðĪŏƸ܉ܷ-RƸĪŏŲŏƸǭ܉-ܶ-Ƣǀŏ-ǀŲ-ŊżŰ-ŰÿŃĪ܉ܐܷÿŲģ-NǀěĪƣ܉-*Das zeitgenössische Klavierkonzert*܉-ڐڏڍܨڑڔ-RĪĪÿŧƫż-ƸŊĪ-ĜżŰƠżƫĪƣܹƫ-ŲżƸĪƫŏŲhŏŃĪƸŏ܉-ܶðǀ-ŰĪŏ-ŲĪŰfŧÿǜŏĪƣŤżŲǭĪƣƸܷÿŲģ-ܶðǀŰfŧÿǜŏĪƣŤżŲǭĪƣƸܷ

ڹڼ- hŏŃĪƸŏ܉-ܶðǀ-ŰĪŏŲĪŰfŧÿǜŏĪƣŤżŲǭĪƣƸ܉ܷ-ڔڕڎ-ܠܶģÿƫěŏƫŧÿŲŃ-ƠƣďŃŲÿŲƸĪƫƸĪ-ĪŏƫƠŏĪŧłdžƣ-SŧŧǀƫŏżŲƫƣŊǣƸŊŰŏŤ-ǀŲģ-SŧŧǀƫŏżŲƫ-ŰĪŧżģŏŤܷܡ

pulse layers enter. First the sixteenth-notes in the piano are established, indicating the smallĩƪƷ-ĚþƪŎě-Ƣ'nǢƷ'nůŎě-ǛþŦƿĩ-Żűǜ'nŎě'n-Ʒ'nĩ-ŻƷ'nĩƢ-ƟƿŦƪĩƪþƢĩ-ĚƿŎŦƷܒ-SűůĩþƪƿƢĩ-ڑ-Ʒ'nĩ-ŦĩǼ Ʒ-'nþűĢþĢĢƪ- ĢŻƷƷĩĢĩŎł'nƷ'nƪ܌ǜ'nŎě'nþƢĩ-Ŏű-ƷƿƢűþĢŻƟƷĩĢ-ĚǢ-Ʒ'nĩ-ǴŦƿƷĩ-ŎűůĩþƪƿƢĩ-ܒڔ-SűůĩþƪƿƢĩ-܌ڕþ-ĢĩƪěĩűĢŎűł- melodic movement appears in the right hand in values of seven sixteenths, and in measure 9 Ʒ'nĩ-ǛŎŻŦþ-ŠŻŎűƪ-ŎűǜŎƷ'nƪƷƢþŎł'nƷơƿþƢƷĩƢܮűŻƷĩƪ܌-ƢĩƪƿŦƷŎűł-Ŏűþ-ƢþƷŎŻ-ŻŁ-ܒږ܋ړ܋ڒ܋ڐ

ȃĩƪƟĩěŎþŦűþƷƿƢĩ-ŻŁ-Ʒ'nĩƪƟþěĩܮƷŎůĩƪƷƢƿěƷƿƢĩƪ-ŎűhŎłĩƷŎܼƪǜŻƢţƪƪŎűěĩ-Ʒ'nĩĩþƢŦǢ-ڏڗژڐƪůþǢ- ǜĩŦŦ-Ěĩƪĩĩű-Ŏű-'nŎƪþƷƷĩůƟƷ-ƷŻěƢĩþƷĩþƪĩűƪĩ-ŻŁ-ŦĩǛŎƷþƷŎŻű-ŻƢ-ܹŦŎǼ ƷܮŻDz Łܺ-ĚǢƪƿƟĩƢŎůƟŻƪŎűł-ǛþƢŎŻƿƪ- ƟƿŦƪþƷŎŻűƪþűĢþěěĩűƷƪ܋

Sł-ƸŊŏƫ-ŰǀƫŏĜŏƫ-ƠŧÿǣĪģ-ĜżƣƣĪĜƸŧǣ܉ÿƸ-ƸŊĪƣŏŃŊƸƫƠĪĪģÿŲģǝŏƸŊ-ƸŊĪƣŏŃŊƸÿĜĜĪŲƸǀÿƸŏżŲǝŏƸŊŏŲ-ƸŊĪŏŲģŏǜŏģǀÿŧŧÿǣĪƣƫ܉ÿǽ ƸĪƣÿ-ĜĪƣƸÿŏŲ-ƸŏŰĪŏƸǝŏŧŧ-ܶŧŏǽ Ƹżdz łܷŧŏŤĪÿ-ƠŧÿŲĪÿǽ ƸĪƣ-ƸÿŤĪܫżdz ł܈-ƸŊĪƣŊǣƸŊŰŏĜ-ĪǜĪŲƸ܉-Ƹżż-ĜżŰƠŧĪǢ-ƸżěĪłżŧŧżǝĪģŏŲģĪƸÿŏŧ܉-ŊżǜĪƣƫÿěżǜĪ-ǀƫڜڞ

Such a situation undoubtedly occurs at the moment of greatest density in the same movement. /ǡþůƟŦĩ-ڐڐܒڔƪ'nŻǜƪþƪě'nĩůþƷŎě-ƢĩƟƢĩƪĩűƷþƷŎŻű-ŻŁ-Ʒ'nŎƪ-Ɵþƪƪþłĩ܌-Ŏűǜ'nŎě'n-Ʒ'nĩ-ƢþƷŎŻ-ڐڐ܋ژ܋ږ܋ڕ܋ڔ܋ړ܋ڐ- Ŏƪ-ŁŻƢůĩĢܒ-ŦŦƪĩǛĩű-ŦþǢĩƢƪþƟƟĩþƢ-Ŏű-Ʒ'nĩ-ƟŎþűŻ-ƟþƢƷ-ܣƷ'nĩ-ŻƢě'nĩƪƷƢþůĩƢĩŦǢ-ĢŻƿĚŦĩƪ-Ʒ'nĩ-ڕڐܘژ-ŦþǢĩƢ܌ܤ-ŎűĢŎěþƷŎűł-ƢĩŦþƷĩĢ-Ʒĩě'nűŎơƿĩƪ-Ŏű-Ʒ'nĩǜŻƢţƪ-ŁŻƢƪŻŦŻ-ƟŎþűŻ܌-Ʒ'nĩ-£ŎþűŻ-/ƷƿĢĩƪ܌ǜ'nŻƪĩ-ȀƢƪƷ-ĚŻŻţ- ǜþƪǜƢŎƷƷĩű-ŎůůĩĢŎþƷĩŦǢ-ƟƢŎŻƢ-ƷŻ-ܣþűĢ-ƟþƢƷŦǢ-ƟƢŻĚþĚŦǢ-Ŏű-ƟþƢþŦŦĩŦǜŎƷ'nܤ-Ʒ'nĩěŻűěĩƢƷŻܒ

hŎłĩƷŎ ƪƿůůþƢŎǬĩĢ- Ʒ'nĩƪĩ ěŻůƟŻƪŎƷŎŻűþŦ- ƟƢŻěĩĢƿƢĩƪ ǜŎƷ'n- Ʒ'nĩ- ƷĩƢů-ܹłĩűĩƢþŦŎǬĩĢ- 'nĩůŎŻŦþܺþűĢ-ĢĩƪěƢŎĚĩĢ-Ʒ'nĩŎƢ-'nŎƪƷŻƢŎěþŦþűĢěƿŦƷƿƢþŦ-ƢĩŁĩƢĩűěĩ-ƟŻŎűƷƪůŻƪƷĩǡƷĩűƪŎǛĩŦǢ-Ŏű-܌ږڗژڐ-ŎűþěŻű-ǛĩƢƪþƷŎŻűǜŎƷ'n-'ĩűǢƪ-ŻƿŦŎþűĩ-ƟƿĚŦŎƪ'nĩĢ-Ŏű-ڠڡܒژڗژڐhŎłĩƷŎ-ƷƢþěĩƪþǜŎĢĩþƢě-ŁƢŻů-Ʒ'nĩ-ĚþƪŎě-ĢĩŁܮ inition of the "hemiola," that is, the rhythmic ratio of three against two, to its extension from 'nŻƟŎű-ƷŻ-'ĩĚƿƪƪǢ܌-Ʒ'nĩ-ĢŎƪěŻűƷŎűƿŻƿƪƪƿƟĩƢŎůƟŻƪŎƷŎŻű-ŻŁ-ĢŎDz ŁĩƢĩűƷ-ܹƟƿŦƪĩƪܺ-Ŏű-'nŎƪ-ŻǜűƪŎǡƷ'n- £ŎþűŻ-/ƷƿĢĩ܌ĩǡþůƟŦĩƪ- ŁƢŻůrŻǬþƢƷ܌-RěƢŎþĚŎű܌-SǛĩƪ܌rĩƪƪŎþĩű܌þűĢ-®ƷŻěţ'nþƿƪĩű܌- ƷŻ-Ʒ'nĩ-ŁƢŎěþűþűĢþhŎűĢþþűĢ-Ʒ'nĩůƿƪŎě-ŻŁ-Ʒ'nĩţþ-£ǢłůŎĩƪܒhŎłĩƷŎ-ܣþƪĩůĩƢłĩƪ-ŁƢŻů-ƢŻůܼƪ-ŎűǛĩƪƷŎłþܮ ƷŎŻűƪܤƪĩĩƪ-Ʒ'nĩ-ƟĩěƿŦŎþƢŎƷǢ-ŻŁ-Ʒ'nĩ-Ƣ'nǢƷ'nůŎě-ŻƢłþűŎǬþƷŎŻű-Ŏű-Ʒ'nĩ-ŁƢŎěþűłĩűƢĩƪ܌-ŎűěŻůƟþƢŎƪŻű-ƷŻ- Ʒ'nĩĩǡƟŦŎěŎƷƪŎůƿŦƷþűĩŎƷǢ-ŻŁ-ĢŎDz ŁĩƢĩűƷůĩƷĩƢƪ-ŎűrŻǬþƢƷܼƪ-ܹSůĚƢŻłŦŎŻܺ-ܣƷ'nĩ-ŁþůŻƿƪƪƿƟĩƢŎůƟŻƪŎܮ ƷŎŻű-ŻŁ-Ʒ'nƢĩĩ-ĢþűěĩƪǜŎƷ'n-ĢŎDz ŁĩƢĩűƷůĩƷĩƢ-Ŏű-*Don Giovanni*܌ܤ- 'nþƢŦĩƪ-SǛĩƪܼƪ-*Ȅĩ-FŻƿƢƷ'n-ŻŁdƿŦǢ*, or fþƢŦ'nĩŎűǬ-®ƷŻěţ'nþƿƪĩűܼƪ-*Gruppen*, in the fact that they do not describe polymeter, but rather a ƟŻŦǢƢ'nǢƷ'nů-Ŏűǜ'nŎě'n-ܹĢŎDz ŁĩƢĩűƷ-Ƣ'nǢƷ'nůŎě-ƟþƷƷĩƢűƪěþű-ĚĩþěěŻůůŻĢþƷĩĢ-ܢ܍ܡ-Ŏű-Ʒ'nĩƪþůĩ-ĚþƪŎě- pulse,"ڡڡǜ'nĩƢĩþƪ- ܹƷ'nĩƢĩ-Ŏƪ űŻ ƪŎůƿŦƷþűĩŎƷǢ-ŻŁ- ĢŎDz ŁĩƢĩűƷůĩƷĩƢƪܒܺڢڡ hŎłĩƷŎ ƿƪĩƪ-ŦŁŻűƪ-'þƿĩƢܼƪ- term *Nennwert*ڙڢ-ܣűŻůŎűþŦ-ǛþŦƿĩܗ- ƷŻĢþǢܼƪůŻƢĩěŻůůŻű- ƷĩƢůƪ- ŁŻƢ- Ʒ'nŎƪ-Ɵ'nĩűŻůĩűŻűþƢĩ-ܹ/Ŧĩ-

ںڼ Ligeti, quoted in Dibelius, *György Ligeti*܉-ڐڏڎ-ܠܶàĪŲŲģŏĪƫĪrǀƫŏŤƣŏĜŊƸŏŃ-ŃĪƫƠŏĪŧƸǝŏƣģ܉ÿŧƫżŏŲƣŏĜŊƸŏŃĪƣ-GĪƫĜŊǝŏŲģŏŃŤĪŏƸ-ǀŲģ-ŰŏƸƣŏĜŊƸŏŃĪƣ-ŤǭĪŲƸǀŏĪƣǀŲŃŏŲŲĪƣŊÿŧěģĪƣ-ĪŏŲǭĪŧŲĪŲ-®ĜŊŏĜŊƸĪŲ܉ǝŏƣģƫŏĪ-ŲÿĜŊ-ĪŏŲĪƣ-ŃĪǝŏƫƫĪŲðĪŏƸ- ܸÿěŊĪěĪŲܹǝŏĪ-ĪŏŲ-FŧǀŃǭĪǀŃ-ŲÿĜŊģĪŰ-®ƸÿƣƸ܈-'ÿƫƣŊǣƸŊŰŏƫĜŊĪ-GĪƫĜŊĪŊĪŲ܉ģÿǭǀ-ŤżŰƠŧĪǢ܉-ǀŰŏŰ-/ŏŲǭĪŧŲĪŲǜĪƣłżŧŃƸǭǀǝĪƣģĪŲ܉-ŃĪŊƸŏŲ-ĪŏŲ-®ĜŊǝĪěĪŲdžěĪƣܷܡ

ڻڼ- hŏŃĪƸŏ ÿŲģ żǀŧÿŏŲĪ܉- ܶRƸŏŧŏƫŏĪƣƸĪ- /ŰżƸŏżŲܷ- ܠĜżŲǜĪƣƫÿƸŏżŲ łƣżŰ- ܡړڔڕڍܕړڌܕڔڌ- ÃŲłżƣƸǀŲÿƸĪŧǣ܉- ƸŊŏƫ- ŊŏŃŊŧǣ ŏŲłżƣŰÿܫ ƸŏǜĪÿŲģƣŏĜŊ-ĜżŲǜĪƣƫÿƸŏżŲǝÿƫ-ŲżƸŏŲĜŧǀģĪģŏŲ-ƸŊĪ-ĪģŏƸŏżŲżłhŏŃĪƸŏܹƫ-*GĪƫÿŰŰĪŧƸĪ-®ĜŊƣŏǼ ƸĪŲ*.

ڼڼ- -Sěŏģ܉-ڎڑ-ܠܶǜĪƣƫĜŊŏĪģĪŲĪƣŊǣƸŊŰŏƫĜŊĪ-£ÿƸƸĪƣŲƫ-ܟ܊ܞŏŰƫĪŧěĪŲ-GƣǀŲģƠǀŧƫ-ǀŲƸĪƣěƣŏŲŃĪŲܷܡ

ڽڼ- -Sěŏģ܉- ڏڑ- ܠܶǝĪŏŧ- Īƫ- ܟ܊ܞ- ŤĪŏŲĪ- GŧĪŏĜŊǭĪŏƸŏŃŤĪŏƸ ǜżŲ ǜĪƣƫĜŊŏĪģĪŲĪŲ rĪƸƣĪŲ- ŃŏěƸܷܡ-1/4 Ŋŏƫ ƣĪšĪĜƸŏżŲ żł- ƸŊĪ- ĜżŲĜĪƠƸ- żł- ƠżŧǣŰĪƸĪƣ- ĜÿŲ- Ơżƫƫŏěŧǣ- ĜƣĪģŏƸĪģ- Ƹż hŏŃĪƸŏܹƫ- ĪǢĜŊÿŲŃĪ ǝŏƸŊ- ®ŏŰŊÿ ƣżŰ ǝŊżŰ hŏŃĪƸŏ- ŰĪƸ łżƣ- ƸŊĪ ǿƣƫƸ- ƸŏŰĪ- ÿƣżǀŲģ- ڑڔڕڍ ǝŊĪŲ- ƸŊĪ żƣŏŃŏŲÿŧ- FƣĪŲĜŊ- ĪģŏƸŏżŲ żł ƣżŰܹƫ ěżżŤ żŲ- ĪŲƸƣÿŧ łƣŏĜÿŲ- ŰǀƫŏĜ ÿƠƠĪÿƣĪģ- ܠƫĪĪ ƣżŰ܉- 'ǀĜŊĪƫŲĪÿǀ܉ÿŲģrÿƣǢ܉-ܶfŏŲƫŊŏƠ-FżƣĪƫĪĪŲܷܡƣżŰģĪŲŏĪƫ-ƸŊĪ-ĜżŲĜĪƠƸżł-ƠżŧǣŰĪƸĪƣłżƣłƣŏĜÿŲ-ŰǀƫŏĜ܉ŏŲżƠƠżsition to earlier ethnomusicological approaches such as that of Arthur Morris Jones (*Studies in African Music*ܡÿŲģ- dedicates an entire chapter to this question (Arom, *African Polyphony and Polyrhythm*܉-ܡڎڍڎܨڕړڍ

ڴڽ- -RĪĪ-'ÿǀĪƣ܉-ܶrǀƫŏŤŧÿŲģƫĜŊÿǽ ƸĪŲŏŲłƣŏŤÿܷ

Example 5.10: György Ligeti, Concerto for Piano and Orchestra, third movement, nm. 1-9 ( Copyright © 1986 by Schott Music G. Mainz)

*/ǡþůƟŦĩ-ږږܘښܑ-GǢƆƢłǢhŎłĩƷŎܒ-Concerto for Piano and Orchestraܒ-Ʒ'nŎƢĢůŻǛĩůĩűƷܒůůܘ-ژڝܱܒښڝ-ŦþǢĩƢƪ*

mentarpulsation"ښڢ] elementary pulsation] or "density referent"ܤڛڢ þűĢ- ĢĩƪěƢŎĚĩƪ- Ʒ'nŎƪ ěƢƿěŎþŦ- aspect of African music in detail in his foreword to Simha Arom's seminal study *ŁƢŎěþű-£ŻŦǢ-Ɵ'nŻűǢþűĢ-£ŻŦǢƢ'nǢƷ'nů*܋

Fżƣ-ĜżŰƠżƫŏƸŏżŲ܉-ܞRŏŰŊÿƣżŰܹƫłǀŲģÿŰĪŲƸÿŧǝżƣŤܟżƠĪŲƫ-ƸŊĪģżżƣŧĪÿģŏŲŃ-Ƹżÿ-ŲĪǝǝÿǣżł-ƸŊŏŲŤܫ ŏŲŃ ÿěżǀƸ- ƠżŧǣƠŊżŲǣ܉ żŲĪ ǝŊŏĜŊ ŏƫ- ĜżŰƠŧĪƸĪŧǣ ģŏdz łĪƣĪŲƸ łƣżŰ- ƸŊĪ- /ǀƣżƠĪÿŲ- ŰĪƸƣŏĜ ƫƸƣǀĜƸǀƣĪƫ܉- ěǀƸ-ĪƢǀÿŧŧǣƣŏĜŊ܉żƣ-ŰÿǣěĪ܉-ĜżŲƫŏģĪƣŏŲŃ-ƸŊĪ-ƠżƫƫŏěŏŧŏƸǣżł-ǀƫŏŲŃÿ-ƢǀŏĜŤ-ƠǀŧƫĪÿƫÿ-ܶĜżŰŰżŲģĪŲż-ŰŏŲÿƸżƣܷ-ǀƠżŲǝŊŏĜŊǜÿƣŏżǀƫ-ƠÿƸƸĪƣŲƫ-ĜÿŲěĪ-ƠżŧǣƣŊǣƸŊŰŏĜÿŧŧǣƫǀƠĪƣŏŰƠżƫĪģ܉-ĪǜĪŲƣŏĜŊĪƣ-ƸŊÿŲ- the European tradition.ڙڟ

ßþƢŎŻƿƪůĩƷƢŎě-ȀłƿƢĩƪ-Ʒ'nþƷěþű-Ěĩ-ƢĩŦþƷĩĢ-ƷŻþ-ǛĩƢǢ-ƢþƟŎĢ-ĚþƪŎě-ƟƿŦƪĩþƢĩěŦĩþƢŦǢþƿĢŎĚŦĩ-Ŏű-Ʒ'nĩ- third movement of the Piano Concerto, as shown above. All rhythmic processes here are based Żűþ-ǛĩƢǢ-ŁþƪƷ-ĚþƪŎě-ƟƿŦƪĩþƪþ-ܹěŻůůŻű-ĢĩűŻůŎűþƷŻƢܺ܋-Ʒ'nĩƪŎǡƷĩĩűƷ'nƪ-ŻŁ-Ʒ'nĩ-ƟŎþűŻ-ܣþƷ-Ʒ'nĩƪƷþƷĩĢ- ƢþƷĩ܌þƪŎǡƷĩĩűƷ'nܮűŻƷĩƪ'nŻƿŦĢ-Ěĩ-ƟŦþǢĩĢþƷþ-ƷĩůƟŻ-ŻŁ-ڑڔڔ-ĚƟů܌ǜ'nŎě'něŻƢƢĩƪƟŻűĢƪ-ƷŻ-ڑܒژþƷƷþěţƪ-

ڵڽ- ßŃŧfǀěŏŤ܉-ܶ/ŏŲŏŃĪ-GƣǀŲģěĪŃƣŏdz łĪ-ǀŲģ-ܫŤżŲǭĪƠƸĪģĪƣÿłƣŏŤÿŲŏƫĜŊĪŲrǀƫŏŤłżƣƫĜŊǀŲŃ܉ܷ-ڐړܨڎړ

ڶڽ- -RĪĪtŤĪƸŏÿ܉-*The Music of Africa*܉-ڕڏڍܨړڎڍ-1/4ŊĪ-ƠƣżěŧĪŰżłŏŲĜżŊĪƣĪŲƸ-ƸĪƣŰŏŲżŧżŃǣ-ŊÿƫěĪĪŲ-ŲżƸĪģÿŲģģĪěÿƸĪģÿŧƫż- ŏŲƣĪĜĪŲƸƣĪƫĪÿƣĜŊżŲłƣŏĜÿŲƣŊǣƸŊŰ܉ƫĪĪ-£żŧÿŤ܉dÿĜżěǣ܉ÿŲģhżŲģżŲ܉-ܶfǀŧƸǀƣĪŧŧĪ-'ŏǜĪƣƫŏƸďƸŏŲģĪƣ-ĪŰƠŏƣŏƫĜŊĪŲ- ڎڏ-ŲżƸĪ-܉ڒڌڎܷ-܉ŊǣƸŊŰǀƫłżƣƫĜŊǀŲѦ

Ǣǜŏŏŏܷ-܉FżƣĪǝżƣģ-ܶ܉hŏŃĪƸŏ- -ڷڽ

Example 5.12: György Ligeti, Concerto for Piano and Orchestra, third movement, mm. 71–76, piano solo/xylophone

Copyright © 1986 by Schott Music GmbH & Co. KC, Mainz

Pr

per second and a pulse duration of about 10.86 ms"). Of course, the different periodicities that sound at the same time might also be perceived as a superimposition of tempo layers and less as an overlaying of different rhythms or meters – an aspect that Ligeti himself has reflected

<sup>94</sup> Here too, one can see a reference to the African genres. Ligeti describes in detail that the basic pulse can here be even faster than ten attacks per second: "The fastest piano-tremolo that we can perform consists of 13, 14 attacks per second, that is a bit faster, but the Central Africans are building incredibly complex polyphony on such frantically fast pulses." (Ligeti and Boulaine, "Stilisierte Emotion," 53; "Das schnellste Klaviertremolo, das wir ausführen können, besteht aus 13, 14 Anschlägen pro Sekunde, das ist zwar etwas schneller, doch die Zentralafrikaner bauen eine unglaublich komplexe Polyphonie auf solch rasend schnellen Pulsen.").


*¼þĚŦĩ-ژܘښܑ-GǢƆƢłǢhŎłĩƷŎܒ-Concerto for Piano and Orchestraܒ-Ʒ'nŎƢĢůŻǛĩůĩűƷܒůůܘ-ږڜܱڛڜܑ- ƟƿŦƪĩ-ŦþǢĩƢƪܒ-ĢþƷþ-ŎűƪŎǡƷĩĩűƷ'nűŻƷĩ-ǛþŦƿĩƪ-ݹݗ܍ܩ-ŻDZŁƪĩƷܒܪ-ŻƪƷŎűþƷŻ-ƟƿŦƪĩƪůþƢţĩĢ-Ŏűbold*

with the term "polytempo."ڞڢȃĩ-ŻƢŎĩűƷþƷŎŻű-ŻŁ- Ʒ'nĩ-ŦŎƪƷĩűĩƢ-Ŏƪ-ĢĩǴŦĩěƷĩĢþǜþǢ- ŁƢŻů- Ʒ'nĩ-ĚþƪŎě- ůƿƪŎěþŦ-ŁƢþůĩǜŻƢţ܌-Ʒ'nĩƪŎǡƷĩĩűƷ'n-ƟƿŦƪĩ܌-ƷŻ-ĢŎDz ŁĩƢĩűƷ-ƟƿŦƪĩ-ƢþƷĩƪ-ŻƢ-ƟĩƢŎŻĢŎěŎƷŎĩƪ܌ǜ'nŎě'nþƢĩþƷ- ȀƢƪƷěŦĩþƢŦǢ-ĢŎƪƷŎűłƿŎƪ'nþĚŦĩ-ŁƢŻů-ŻűĩþűŻƷ'nĩƢ܌-ĚƿƷ-ŦþƷĩƢ-ŎűěƢĩþƪŎűłŦǢ-ĚŦƿƢ-ŎűƷŻ-ƷĩǡƷƿƢĩþűĢ-Ʒ'nƿƪ- produce a "destabilization" of cognitive interpretation. It remains to be noted, then, that the distinction between "polyrhythm," "polymeter" and "polytempo" is by no means trivial and requires a more detailed discussion.

ȃĩ-ƢĩŦþƷŎŻű-ŻŁƪƿě'n-ŦþǢĩƢŎűł-ƷŻ-Ʒ'nĩþƪƟĩěƷ-ŻŁ-Ʒ'nĩ-ŎŦŦƿƪŎŻűþƢǢěþű-Ěĩ-ĢŎƪěƿƪƪĩĢ-Ŏű-ƢĩŁĩƢĩűěĩ-ƷŻ- another passage from the same movement in which, over six measures, a xylophone part joins Ʒ'nĩƪŻŦŻ-ƟŎþűŻþűĢ-ŎűƷĩƢŦŻěţƪǜŎƷ'n-ŎƷ܌űŻ-ĢŻƿĚƷ-ŁŻŦŦŻǜŎűł-Ʒ'nĩůŻĢĩŦ-ŻŁ*amadinda*ůƿƪŎě-ܣ/ǡܗڑڐܒڔݑܒ- Ʒ'nŎƪƪĩƷƷŎűłþűĢ-ƢĩŁĩƢĩűěĩþƢĩ-ƷþţĩűƿƟþłþŎűþƷ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩ-ȀǼ Ʒ'nůŻǛĩůĩűƷ ܒܤڟڢ-ǢþƿĢŎƷŻƢǢ- streaming, notes in the same registers in the listener's interpretation are connected to form common patterns,ڠڢ so that rhythmic-melodic shapes – "inherent patterns" – arise that none of

ںڽ- hŏŃĪƸŏ܉-£ŏÿŲż żŲĜĪƣƸż܉ǿǽ ƸŊ-ŰżǜĪŰĪŲƸ܉-ŰŰܔڐڔܨڕړݎƫĪĪdĪŲÿ܉-ܶ¦ÿǀŰ-ǀŲģðĪŏƸŏŲģĪƣtĪǀĪŲrǀƫŏŤ܉ܷ-ڒړܨڎڑ

ڹڽ- -Sěŏģ܉-ڎڑ-ܠܶ£żŧǣƸĪŰƠŏŤܷ-ܨ-1/4ŊĪ-ƸĪƣŰŏƫ-ŊĪƣĪƫǀŃŃĪƫƸĪģěǣżǀŧŏÿŲĪܡhŏŃĪƸŏ-ģĪǜĪŧżƠĪģ-ƸŊŏƫ-ĜżŲĜĪƠƸżł-ܶƠżŧǣƸĪŰƠżܷ- ÿŧƣĪÿģǣŏŲ-܉ڐړڕڍ-ǀƫŏŲŃ-ƸŊĪ-ĪǢÿŰƠŧĪżł-SǜĪƫܹƫ-ŰǀƫŏĜ܈-ܶSǜĪƫ-ŲĪĪģĪģ-ƸŊĪ-ĪǢÿĜƸ-ƸżŲÿŧģĪǿŲŏƸŏżŲżł-Ŋŏƫ-ƢǀżƸĪģ-ŰÿƸĪƣŏÿŧƫ- ŏŲżƣģĪƣ-ƸżƫĪƸ-ƸŊĪŰÿƠÿƣƸ-ĜŧĪÿƣŧǣłƣżŰ-ƸŊĪ-ĜżŲƸĪǢƸ܉ǝŊŏĜŊżǽ ƸĪŲģĪƫĜƣŏěĪģÿģŏdz łĪƣĪŲƸ-ƸżŲÿŧŏƸǣ-¼ŊĪ-ƠżŧǣƸżŲÿŧŏƸǣ- ŏƫšżŏŲĪģěǣ-ƠżŧǣƣŊǣƸŊŰ܉-ƠżŧǣŰĪƸĪƣÿŲģ-ܨżŲĪǝżǀŧģÿĜƸǀÿŧŧǣ-ŊÿǜĪ-ƸżŏŲƸƣżģǀĜĪ-ƸŊŏƫ-ƸĪƣŰ-ܨ-ƠżŧǣƸĪŰƠż-£żŧǣŰĪ-ƸĪƣÿŧƣĪÿģǣ-ĪǢŏƫƸĪģŏŲrżǭÿƣƸܹƫ-*Don Giovanni*-SŲ-SǜĪƫ܉-ŊżǝĪǜĪƣ܉ģŏdz łĪƣĪŲƸ-ŰĪƸƣŏĜ-ƠƣżĜĪƫƫĪƫƫżŰĪƸŏŰĪƫÿŧƫż-ŊÿǜĪ- ģŏdz łĪƣĪŲƸ-ƸĪŰƠŏܷ-ܠhŏŃĪƸŏ܉-ܶðǀƣ żŧŧÿŃĪƸĪĜŊŲŏŤěĪŏrÿŊŧĪƣ-ǀŲģ-SǜĪƫ܉ܷ-ܔڕڔڎ-ܶSǜĪƫěƣÿǀĜŊƸĪģŏĪ-ĪǢÿŤƸĪ-ƸżŲÿŧĪ-ĪƫƸŏŰ-ŰǀŲŃƫĪŏŲĪƣǭŏƸŏĪƣƸĪŲrÿƸĪƣŏÿŧŏĪŲ܉-ǀŰƫŏĪģĪǀƸŧŏĜŊ-ŃĪŃĪŲģĪŲfżŲƸĪǢƸ܉ģĪƣżǽ Ƹ-ĪŏŲĪÿŲģĪƣĪ-¼żŲÿŧŏƸďƸěĪƫĜŊƣŏĪě܉- ÿěƫĪƸǭĪŲǭǀ-ŤƇŲŲĪŲðǀƣ-£żŧǣƸżŲÿŧŏƸďƸ-ŃĪƫĪŧŧĪŲƫŏĜŊ-£żŧǣƣŊǣƸŊŰŏŤ܉-£żŧǣŰĪƸƣŏŤ-ǀŲģ-ܨ-ŰÿŲ-ŰdžƷƸĪ-ĪŏŃĪŲƸŧŏĜŊģŏĪƫĪŲ-ĪŃƣŏdz ł-ĪŏŲłdžŊƣĪŲ-ܨ-£żŧǣƸĪŰƠŏŤ-£żŧǣŰĪƸƣŏŤ-Ńÿě-ĪƫšÿƫĜŊżŲŏŲrżǭÿƣƸƫ-*Don Giovanni*. Bei Ives jedoch haben ģŏĪ-ŰĪƸƣŏƫĜŊǜĪƣƫĜŊŏĪģĪŲĪŲěŧďǀłĪ-ŰŏƸǀŲƸĪƣÿǀĜŊǜĪƣƫĜŊŏĪģĪŲĪ-¼ĪŰƠŏܷܡ

ڻڽ- -£ŊĪŲżŰĪŲÿżłÿǀģŏƸżƣǣƫƸƣĪÿŰŏŲŃżƣƫƸƣĪÿŰƫĪŃƣĪŃÿƸŏżŲ-ŊÿǜĪƣĪĜĪŏǜĪģěƣżÿģÿƸƸĪŲƸŏżŲŏŲ-ŰǀƫŏĜ-ƠƫǣĜŊżŧżŃǣ܉- ÿŲģÿƣĪ-ŰżƫƸ-ƠƣżŰŏŲĪŲƸŧǣģĪƫĜƣŏěĪģŏŲƣĪŃŰÿŲ܉-*Auditory Scene Analysis*܉-ڎڍڎܨړڐ

Ʒ'nĩ-ƷǜŻƪŻŦŻŎƪƷƪþŦŻűĩ-ƟŦþǢƪ-ܣhŎłĩƷŎ-'nþƪ-ƢĩƟĩþƷĩĢŦǢƿƪĩĢ-ŁŻƢůƿŦþƷŎŻűƪ-ĚǢ-GĩƢ'nþƢĢfƿĚŎţþŦůŻƪƷ-ǛĩƢĚþƷŎů-ƷŻ-ĢĩƪěƢŎĚĩ-Ʒ'nŎƪĩDz ŁĩěƷܒܤڡڢ

How do the levels of rhythm, meter, tempo, and melody relate to each other in this situa-ƷŎŻűܓ-Sű-ŻƢĢĩƢ-ƷŻþűƪǜĩƢ-Ʒ'nŎƪơƿĩƪƷŎŻű܌-ŎƷ-ŎƪþĢǛŎƪþĚŦĩ-ȀƢƪƷ-ƷŻěŻűƪŎĢĩƢ-Ʒ'nĩ-ŎűĢŎǛŎĢƿþŦƪƷƢþƷþ-Ŏű- ŎƪŻŦþƷŎŻűܗ-ŻűĩơƿŎěţŦǢƪĩĩƪ-Ʒ'nþƷ-Ʒ'nĩƢĩþƢĩĩƪƪĩűƷŎþŦŦǢ-ŁŻƿƢ-ƟƿŦƪĩ-ŦþǢĩƢƪ܌þŦŦ-ŻŁǜ'nŎě'n-'nþǛĩ-ĢŎDz ŁĩƢĩűƷ- ě'nþƢþěƷĩƢŎƪƷŎěƪ܌-ŻƢ-ܹƷĩůƟŻƪܒܺhŎłĩƷŎűŻƷþƷĩƪ-Ʒ'nĩ-Ɵþƪƪþłĩ-Ŏű-ړܘڕ-ƷŎůĩ܌ǜŎƷ'nĩþě'nůĩþƪƿƢĩ-ĢŎǛŎĢĩĢ- Ŏű-Ʒ'nĩůŎĢĢŦĩ-ĚǢ-Ģþƪ'nĩĢ-ŦŎűĩƪ-Ŏű-ڑǡڒơƿþƢƷĩƢƪ-ܣƷ'nĩƪĩ-'nþŦŁܮůĩþƪƿƢĩƪþƢĩ-ŎűĢŎěþƷĩĢ-ĚǢþĢĢŎűłþ- þűĢ-Ě-ƷŻ-Ʒ'nĩůĩþƪƿƢĩűƿůĚĩƢƪ-ĚĩŦŻǜܒܤȃĩ-ړڑƪŎǡƷĩĩűƷ'nƪ-ŻŁþůĩþƪƿƢĩěþű-Ěĩ-ĢŎǛŎĢĩĢ-ŎűƷŻ-Ʒ'nĩ- ..\*ܘ\*-ڑ܋ڒþűĢ-܌.ܘ-ړ܋ڕ-܌.LܘL-ڗ܋ڑڐ-܌ ܘ -ڕڐ܋ړڑ-ܫ-ŦĩǛĩŦƪ-ŁŻƿƢþƷ-ڑ܋ڒ-ƢþƷŎŻ-'nĩůŎŻŦŎě

ŦƢĩþĢǢ-Ŏű-Ʒ'nĩ-ƷƢþűƪŎƷŎŻű-ŁƢŻůůĩþƪƿƢĩƪ-ڐږ-ƷŻ-܌ڑږ-ĚŻƷ'n-'nþűĢƪ-ŻŁ-Ʒ'nĩ-ƟŎþűŻþĢĢþƪŎǡƷĩĩűƷ'n- űŻƷĩ-ƷŻ-Ʒ'nĩ-ƢĩłƿŦþƢ-ڑڐݯڑڐƪŎǡƷĩĩűƷ'n-ƟþƷƷĩƢű܌-Ʒ'nƿƪěƢĩþƷŎűłþ-ŁƢŎěƷŎŻűǜŎƷ'n-Ʒ'nĩ-ƢĩłƿŦþƢůĩƷĩƢ-ŻŁ- Ʒ'nĩǡǢŦŻƟ'nŻűĩ܌ǜ'nŎě'n-ƢĩƷþŎűƪ-Ʒ'nĩ-ڒܮڑܮڒܮړ-ĢŎǛŎƪŎŻű-ŁƢŻůůĩþƪƿƢĩ-ڐږ-ܣ1/4þĚŦĩܒܤڒܒڔݑűƪŎǡƷĩĩűƷ'n-ĚĩþƷ- ڑږþ܌ږܒ-ŻƪƷŎűþƷŻ- ƟƿŦƪĩƪ- ĚĩłŎű-Ŏű- Ʒ'nĩ- ƟŎþűŻþƷ-܌ڕ- Ʒ'nĩű- ݑږ ƪŎǡƷĩĩűƷ'nƪ-ܣƢŎł'nƷ- 'nþűĢܤþƪǜĩŦŦþƪ-ݑڔ ƪŎǡ-ƷĩĩűƷ'nƪ-ܣŦĩǼ Ʒ-'nþűĢ܌ܤǜ'nŎě'n-ŁƢŻů-Ʒ'nĩĩűĢ-ŻŁůĩþƪƿƢĩ-ړږþƢĩƪƿƟƟŦĩůĩűƷĩĢ-ĚǢþűŻƷ'nĩƢ-ŦþǢĩƢ-Ŏű-Ʒ'nĩ- ƢŎł'nƷ-'nþűĢ-ݑڒܣƪŎǡƷĩĩűƷ'nƪܒܤ-ǢůĩþƪƿƢĩ-ڒږĚþƷ-Ʒ'nĩ-ŦþƷĩƪƷ܌-ŻűĩǜŻƿŦĢ-'nþǛĩ-ƷŻƪƟĩþţ-ŻŁþěŻűƷŎűƿĩĢ- ܹłĩűĩƢþŦŎǬĩĢܺ-'nĩůŎŻŦþǜŎƷ'n-Ʒ'nĩþěěĩűƷƪ-ŻűŦǢ-ƢĩþŦŎłűŎűłþƷ-Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁůĩþƪƿƢĩ-ܒږږȃŎƪůŻůĩűƷ-ŻŁƪǢűě'nƢŻűŎǬþƷŎŻű-Ŏƪ-ƟƢĩƟþƢĩĢ܌-Ŏű-ƟþƢƷŎěƿŦþƢ܌-ĚǢ-Ʒ'nĩ-ƢĩłƿŦþƢ-ŎƪŻě'nƢŻűŻƿƪ-ڒþűĢ-ړ-ĢŎǛŎƪŎŻűƪ- ŁƢŻůůĩþƪƿƢĩƪ-ڔږþűĢ-܌ڕږěŻűƪŻŦŎĢþƷŎűł-Ʒ'nĩłŎǛĩűůĩƷĩƢܗ-Ʒ'nŎƪ-ƢĩłƿŦþƢŎƷǢ܌-'nŻǜĩǛĩƢ܌ěŻűƷŎűƿĩƪ-ƷŻ- Ěĩ-ĢŎƪƷƿƢĚĩĢ-ĚǢþűþěěĩűƷƪ'nŎǼ Ʒ-ŻŁ-ŻűĩƪŎǡƷĩĩűƷ'n-Ŏű-Ʒ'nĩǡǢŦŻƟ'nŻűĩ-ŦþǢĩƢܒ

®Ż-ŁþƢ܌-S-'nþǛĩěŻűƪěŎŻƿƪŦǢ-ƢĩƪƷƢŎěƷĩĢ-Ʒ'nĩ-ĢĩƪěƢŎƟƷŎŻű-ƷŻ-Ʒ'nĩ-ƷĩƢůƪ-ܹƟƿŦƪĩƪܺþűĢ-ܹþěěĩűƷƪܒܺȃĩ- extent to which these also constitute *meter*ěþű-ŻűŦǢ-ĚĩěŦþƢŎȀĩĢ-ĚǢ-ĢŎƪěƿƪƪŎűłǜ'nĩƷ'nĩƢ-Ʒ'nĩƪĩ- pulses in themselves or in their interaction have superior salient properties that give rise to metric periodicities. For this purpose, I extracted all accented notes from the musical text and ǜƢŻƷĩ-Ʒ'nĩů-Żű-Ʒ'nƢĩĩƪƷþǛĩƪ-ܣ܌-܌- ܤƪĩƟþƢþƷĩĢ-ĚǢ-ƢĩłŎƪƷĩƢ-ܣ/ǡܒܤڒڐܒڔݑܒȃŎƪ-ƢĩĢƿěƷŎŻűůþţĩƪěŦĩþƢ- Ʒ'nþƷ-ƢĩłŎƪƷĩƢƪ-þűĢ- -ĢĩƪěƢŎĚĩþűƿƟǜþƢĢůŻǛĩůĩűƷ-ƷŻ-Ʒ'nĩ-'nŎł'nĩƪƷ-ƟŎþűŻţĩǢ- ڗ-ŎűůĩþƪƿƢĩƪ- ڒږþűĢ-܌ړږþűĢ-Ʒ'nĩűþ-ĢŻǜűǜþƢĢůŻǛĩůĩűƷǜ'nŎě'něþűþŦƪŻ-Ěĩ-ŻĚƪĩƢǛĩĢ-Ŏű-ƢĩłŎƪƷƢþŦ-ŦþǢĩƢ-ĩűܮ ƷĩƢŎűłƪ'nŻƢƷŦǢ-ĚĩŁŻƢĩůĩþƪƿƢĩ-ܒڔږ-

ȃĩǡǢŦŻƟ'nŻűĩ-ƟþƢƷ܌ůþƢţĩĢ-Ŏű-/ǡþůƟŦĩ-ڒڐܒڔ-ĚǢǜĩĢłĩƪ-ܣþěěĩűƷƪ-ƷŻłĩƷ'nĩƢǜŎƷ'n-ƟŎþűŻܤ-ŻƢěŎƢܮ ěŦĩƪ-ܣǡǢŦŻƟ'nŻűĩþěěĩűƷƪǜŎƷ'nŻƿƷ-ƟŎþűŻ܌ܤ-ŠƿůƟƪ-ĚĩƷǜĩĩűþŦŦ-Ʒ'nƢĩĩ-ƢĩłŎƪƷĩƢƪ܌-ƷƢþűƪŁŻƢůŎűł-Ʒ'nĩ-ŦþƢłĩܮ ly periodic layers of the piano into changing "inherent patterns." It can be assumed that the ƪ'nþƢĩĢþěěĩűƷƪ-ܣǜĩĢłĩƪܤþƢĩ-ƟþƢƷŎěƿŦþƢŦǢĩůƟ'nþƷŎěůþƢţĩƢƪ܌ƪŻ-Ʒ'nþƷ-Ʒ'nĩ-ȀƢƪƷ-ƟƿŦƪĩƪ-ŻŁ-Ʒ'nĩůĩþܮ ƪƿƢĩƪ-ڐږþ܌-ڐږĚ܌-ڑږĚ܌-ڒږþ܌-ڒږĚþƢĩěŦĩþƢ-ŎűĢŎěþƷŎŻűƪ-ŻŁůþƢţŎűł-Ʒ'nĩłŎǛĩűůĩƷĩƢ-܌ړܘڕܣƪƿĚĢŎǛŎĢĩĢ-Ŏű- ڑǡڒ-ŁŻƿƢƷ'nƪ-ŻƢ-ڑǡڑڐƪŎǡƷĩĩűƷ'nƪ܌ܤǜ'nŎě'n-ŎƪþŦƪŻƪƿƟƟŻƢƷĩĢ-ĚǢ-'nŎł'nŦŎł'nƷĩĢ-ƢĩłŎƪƷĩƢ-Ɵĩþţƪ-ܣƷ'nŎƪ-Ƣĩsults in an overarching aural stream of BKܮڕܘڕ ܡܮږ'ܮږ/ܢܮږFܮږGܡܮږGܢܮږKږ-Ŏű-ŦþǢĩƢ-ܗ-Ʒ'nĩƢĩþǼ ƷĩƢ- þŦůŻƪƷűŻěŻůůŻűþěěĩűƷƪ-ŻěěƿƢܒȃĩþŦƷĩƢűþƷŎǛĩ-ƟƢĩƪĩűƷþƷŎŻű-Ŏű-¼þĚŦĩ-ړܒڔ-ǛŎǛŎĢŦǢ-ĢĩůŻűƪƷƢþƷĩƪ- Ʒ'nĩěŻůƟƢĩƪƪŎŻű-ƟƢŻěĩƪƪ-ŦĩþĢŎűł-ƷŻůĩƷƢŎě-ŦĩǛĩŦŎűłþűĢ-ĢĩƪƷþĚŎŦŎǬþƷŎŻű܋ǜ'nĩƢĩþƪůĩþƪƿƢĩƪ-ڐږ-ƷŻ- ڒږěŻűƷþŎű-ĚĩƷǜĩĩű-ȀǛĩþűĢƪĩǛĩűþěěĩűƷƪ-Żű-ƷǜĩŦǛĩ-ŁƿűĢþůĩűƷþŦ-ƟƿŦƪĩƪ-Ŏűĩþě'n-'nþŦŁܮůĩþƪƿƢĩ܌-Ʒ'nŎƪűƿůĚĩƢ-ƢŎƪĩƪ-ĚĩƷǜĩĩűůĩþƪƿƢĩƪ-ړږþűĢ-ڕږ-ƷŻĩŎł'nƷþűĢ-ƷĩűþěěĩűƷƪ-ƟĩƢ-'nþŦŁܮůĩþƪƿƢĩܒ

ȃĩ-ƢĩŦþƷŎǛĩůĩƷƢŎěƪƷþĚŎŦŎƷǢ-ŻŁůĩþƪƿƢĩƪ-ڐږ-ƷŻ-ڒږ-ŎƪþŦƪŻ-ĢĩůŻűƪƷƢþƷĩĢ-ĚǢþűŻƷ'nĩƢ-ŎŦŦƿƪƷƢþ-ƷŎŻű-Ŏűǜ'nŎě'n-Ʒ'nĩ-ƢĩƪƿŦƷŎűł-Ƣ'nǢƷ'nůŎě-ȀłƿƢĩƪ-ŻŁ-ŦþǢĩƢƪ-þűĢ-ݯ þƢĩ-ƟŦþěĩĢ-Żűĩ-ĚĩŦŻǜ-Ʒ'nĩ-ŻƷ'nĩƢ- ŎűþƪŎůƟŦŎȀĩĢůþűűĩƢ-ܣ/ǡܒܤړڐܒڔݑܒ-NĩƢĩ-ŎƷ-Ŏƪ-ŻĚǛŎŻƿƪ-'nŻǜ܌-ŁƢŻůůĩþƪƿƢĩ-ړږ-ŻűǜþƢĢ܌-Ʒ'nĩ-ŎűŎƷŎþŦŦǢ- ěŦĩþƢ-ƟĩƢŎŻĢŎěŎƷǢ-ŻŁ-Ʒ'nĩ-ƢĩƪƿŦƷŎűł-ƟþƷƷĩƢűƪƪĩƢŎŻƿƪŦǢ-ĢŎƪŎűƷĩłƢþƷĩƪܒȃŎƪ-ĚĩěŻůĩƪþƟƟþƢĩűƷ-ƢĩŦþ-ƷŎǛĩŦǢ-ŦþƷĩ-Ŏű-ŦþǢĩƢ-܌-Ŏűǜ'nŎě'n-Ʒ'nĩþěěĩűƷƪǜŎƷ'nŎű-Ʒ'nĩ-ȀƢƪƷ-Ʒ'nƢĩĩĩŎł'nƷ'nƪ-ŻŁĩþě'n-'nþŦŁܮůĩþƪƿƢĩþƢĩ- ƪ'nŎǼ ƷĩĢ-ŻűŦǢ-ŎűůĩþƪƿƢĩ-ڔږĚܒ-NĩƢĩ܌þƪǜĩŦŦþƪ-ŎűůĩþƪƿƢĩ-ڕږþ܌űĩǜ-ܣŻDz ŁܮůĩƷĩƢܤ-ƟĩƢŎŻĢŎěŎƷŎĩƪþƢĩ- ŁŻƢůĩĢ-ĚǢ-Ʒ'nĩƪ'nþƢĩĢþěěĩűƷƪ-ŻŁ-ƟŎþűŻþűĢǡǢŦŻƟ'nŻűĩܒ-Sű-ƢĩłŎƪƷĩƢƪ- þűĢ-܌-Ʒ'nĩ-ƟƢŻěĩƪƪƿþŦƪ'nŎǼ Ʒ-

ڼڽ- żŰƠÿƣĪ܉łżƣ-ĪǢÿŰƠŧĪhŏŃĪƸŏ܉-ܶðǀŰfŧÿǜŏĪƣŤżŲǭĪƣƸ܉ܷ-܉ڍڌڏǝŏƸŊfǀěŏŤ܉-ܶrǀƫŏŤŃĪƫƸÿŧƸǀŲŃŏŲłƣŏŤÿ܉ܷ-ڕڏ

*/ǡþůƟŦĩ-ژږܘښܑ-GǢƆƢłǢhŎłĩƷŎܒ-Concerto for Piano and Orchestraܒ-Ʒ'nŎƢĢůŻǛĩůĩűƷܒůůܘ-ږڜܱܒڛڜþěěĩűƷ- ŦþǢĩƢƪ-Ŏű-Ʒ'nƢĩĩ-ƢĩłŎƪƷĩƢƪ-ܒ-þűĢ- ܝǜĩĢłĩƪܑěŻůůŻűþěěĩűƷƪ-ƟŎþűŻþűĢǡǢŦŻƟ'nŻűĩܝěŎƢěŦĩƪܑþěěĩűƷƪ- ǡǢŦŻƟ'nŻűĩ-ܩǜŎƷ'nŻƿƷ-ƟŎþűŻܪ*

ĚĩłŎűƪĩþƢŦŎĩƢ܌ǜŎƷ'n-ƟþƢƷŎěƿŦþƢĩůƟ'nþƪŎƪ-Żű-Ʒ'nĩ-ĢĩǛĩŦŻƟůĩűƷ-ŻŁ-Ʒ'nĩ-ȀłƿƢĩ܌ǜ'nŎě'nþƷ-ȀƢƪƷƪĩĩůƪ- ƷŻ-ĚĩěŦĩþƢŦǢƪǢűěŻƟþƷĩĢþƷ-ƟŻƪŎƷŎŻűƪ-ڐږþڗܒþűĢ-ڐږþܒڏڐܒȃĩƪĩ-ƟŻƪŎƷŎŻűƪ-ƢĩůþŎűƪƷþĚŦĩƿűƷŎŦůĩþƪƿƢĩ-ڒږþ܌-Ʒ'nƿƪěŻűƷƢŎĚƿƷŎűłƪŎłűŎȀěþűƷŦǢ-ƷŻþű-ܹŎűƷþěƷܺůĩƷƢŎě-ƟĩƢŎŻĢŎěŎƷǢ܌ǜ'nŎŦĩþǼ ƷĩƢǜþƢĢ-Ʒ'nĩǢ- ůŻǛĩůŻƢĩþűĢůŻƢĩ-ܹƷŻ-Ʒ'nĩ-ŦĩǼ Ʒ܌ܺƪǜŎƷě'nŎűł-ĚĩƷǜĩĩű-ŦþǢĩƢƪ- þűĢ--ܫþ-ƟƢŻěĩƪƪ-ŻŁěŻűǛĩƢłĩűěĩ- ŎƪěŻůƟŦĩƷĩĢ-Ʒ'nþƷƪŎůƿŦƷþűĩŻƿƪŦǢ-ĚŦĩűĢƪ-Ʒ'nĩ-ƟŎƷě'n-ƢĩłŎƪƷĩƢƪ-ŻŁ-Ʒ'nĩƪĩ-ƷǜŻ-ŦþǢĩƢƪ-ܣƪĩĩ-/ǡܒܤڒڐܒڔݑܒ

à'nŎŦĩůĩþƪƿƢĩƪ-ڐږ-ƷŻ-ڒږěþűƪƷŎŦŦ-Ěĩ-ƟĩƢěĩŎǛĩĢþƪůĩƷƢŎě-ĢĩƪƟŎƷĩ-Ʒ'nĩŎƢěŻůƟŦĩǡŎƷǢ܌þűĢǜŎƷ'nŎű- Ʒ'nŎƪ-ĚþƪŎěůĩƷĩƢ܌-Ʒ'nĩ-ĢĩǛŎþƷŎŻű-ŻŁ-Ʒ'nĩ-ƟŎþűŻþěěĩűƷƪܼƪ'nþƟĩ-ŎűůĩþƪƿƢĩ-ڑږþěþűěŦĩþƢŦǢ-Ěĩ-ŎĢĩű-ƷŎȀĩĢþƪþěŻűǴŦŎěƷŎűłůĩƷƢŎě-ŦþǢĩƢ܌- Ʒ'nĩ- ŁŻŦŦŻǜŎűł- Ʒ'nƢĩĩůĩþƪƿƢĩƪ܌ǜŎƷ'n- Ʒ'nĩ ƪĩǛĩűܮƪŎǡƷĩĩűƷ'nƪ- ŻƪƷŎűþƷŻ-ƟƿŦƪĩƪ-ŻŁ-Ʒ'nĩƿƟƟĩƢ-ƟŎþűŻ-ƢĩłŎƪƷĩƢ܌-Ʒ'nĩþĢĢŎƷŎŻű-ŻŁþ-Ʒ'nŎƢĢ-ƢĩłŎƪƷĩƢ܌þűĢþƪ'nŎǼ Ʒ-Ŏű-Ʒ'nĩ-Ƣĩsulting salient patterns, eliminate almost any sense of meter, although new stabilizing factors ěŻƿűƷĩƢþěƷ-Ʒ'nŎƪ-ƟƢŻěĩƪƪ-ܣƪƿě'nþƪ-Ʒ'nĩ-ܮڒƪŎǡƷĩĩűƷ'nþűĢ-ܮړƪŎǡƷĩĩűƷ'n-ƟƿŦƪĩƪܒܤǜŎűł-ƷŻ-Ʒ'nĩ-ŻǛĩƢþŦŦ- compression, these pulses also tend toward a dissociation of meter – ten accents on twelve ĚþƪŎě-ƟƿŦƪĩƪ܌ƪƿě'nþƪ-ŎűůĩþƪƿƢĩ-ړږĚ܌-'nþƢĢŦǢþŦŦŻǜƿƪ-ƷŻƪƟĩþţ-ŻŁþ-ƢĩŁĩƢĩűěĩůĩƷƢŎě-ŦþǢĩƢþűǢܮ ůŻƢĩܒ-1/4 Ŏůĩ- ĚĩěŻůĩƪ ƪƟþěĩ܌ ƪƷƢƿěƷƿƢĩ- ĚĩěŻůĩƪ- ƷĩǡƷƿƢĩ-ܫ þ- ƟþƢþĢŎłůþƷŎě- ƟƢŻěĩƪƪ-Ŏű hŎłĩƷŎܼƪ- ŦþƷĩƢǜŻƢţƪ-Ʒ'nþƷěþű-ĚĩĩơƿþŦŦǢ-ŻĚƪĩƢǛĩĢ-Ŏű-£ŎþűŻ-/ƷƿĢĩƪ-܌ڐ-܌ڕ-܌ڑڐ-ŻƢ-܌ڒڐþƪǜĩŦŦþƪ-Ŏű-Ʒ'nĩ-ȀƢƪƷ܌-ŁŻƿƢƷ'n܌þűĢ-ȀǼ Ʒ'nůŻǛĩůĩűƷƪ-ŻŁ-Ʒ'nĩ-£ŎþűŻ-ŻűěĩƢƷŻܒ

*¼þĚŦĩ-ڙܘښܑ-GǢƆƢłǢhŎłĩƷŎܒ-Concerto for Piano and Orchestraܒ-Ʒ'nŎƢĢůŻǛĩůĩűƷܒůůܘ-ږڜܱܒڛڜþěěĩűƷ- ŦþǢĩƢƪ-Ŏű-Ʒ'nƢĩĩ-ƢĩłŎƪƷĩƢƪ-ܒ-þűĢ- ܒ-ƢĩƟƢĩƪĩűƷĩĢ-Żű-Ʒ'nĩ-ĚþƪŎƪ-ŻŁþűþĢþƟƷĩĢ-¼ŎůĩܴÃűŎƷ-Żǡ-®ǢƪƷĩů- ܩ1/4îܒܪ-ĢĩǛĩŦŻƟĩĢ-ĚǢ-£'nŎŦŎƟ-NþƢŦþűĢ-*


Example 5.14: György Ligeti, Concerto for Piano and Orchestra, third movement, mm. 71–76, resulting rhythms of layers A (left) and C/B (right); accents: common accents piano/xylophone; circles: impulses xylophone

### Summation Meter and Metric Dissonance

hĩƷƿƪűŻǜ-ƷƢǢ-ƷŻĩǡƟþűĢ-Ʒ'nŎƪþűþŦǢƷŎěþŦþƟƟƢŻþě'n-ƷŻhŎłĩƷŎܼƪ-ܹłĩűĩƢþŦŎǬĩĢ-'nĩůŎŻŦþܺƪŻůĩǜ'nþƷ- more systematically. It seems necessary to problematize the arguably inadequate distinction ĚĩƷǜĩĩű-ƟŻŦǢƢ'nǢƷ'nůþűĢ-ƟŻŦǢůĩƷĩƢ-ŎűhŎłĩƷŎܼƪ-Ʒ'nĩŻƢĩƷŎěþŦ-ƟĩƢƪƟĩěƷŎǛĩ܌ǜ'nŎě'něŻƢƢĩƪƟŻűĢƪ-ƷŻþ- ƪŎůŎŦþƢ-Ŧþěţ-ŻŁ-ĢŎƪƷŎűěƷŎŻű-ŎűƪŻůĩþƟƟƢŻþě'nĩƪ-ŎűůƿƪŎě-Ʒ'nĩŻƢǢ܌ůƿƪŎě-ƟƪǢě'nŻŦŻłǢ܌þűĢĩƷ'nűŻmusicology.

ȃĩ-Ɵ'nĩűŻůĩűŻű-ŻŁůĩƷĩƢěþű܌þƪþŦƢĩþĢǢƪ'nŻǜű-Ŏű-Ʒ'nĩþĚŻǛĩþűþŦǢƪŎƪ܌ƿƪƿþŦŦǢ-ĚĩĩǡƟŦþŎűĩĢ- as periodically recurring salient signals within regular pulse sequences, that is, dynamic or register-based emphases, accents, patterns, or events, which can be eliminated when the meter ŎƪĩƪƷþĚŦŎƪ'nĩĢ܌ƪŻ-Ʒ'nþƷůĩƷĩƢěþűűŻƷ-ĚĩłĩűĩƢþŦŦǢ-ĢĩȀűĩĢ-Żű-Ʒ'nĩ-ĚþƪŎƪ-ŻŁ-ܹþěěĩűƷƪ܌ܺþƪ-'nþƪ-ŦŻűł- Ěĩĩű-Ʒ'nĩűŻƢůܒű-Ʒ'nĩěŻűƷƢþƢǢ܌þ-ĢŎƪƷŎűěƷŎŻűůƿƪƷ-ĚĩůþĢĩ-ĚĩƷǜĩĩű-ܹěŻůůĩƷƢŎěܺþűĢ-ܹěŻű-ƷƢþůĩƷƢŎěܺþěěĩűƷƪ܌þűĩěĩƪƪŎƷǢǜ'nŎě'n-ĚĩěŻůĩƪ-ǛĩƢǢěŦĩþƢ܌-ŁŻƢĩǡþůƟŦĩ܌-ŁƢŻůůĩþƪƿƢĩƪ-ڐږ-ƷŻ-ڒږ- of the example discussed above.ڢڢ

In research, there has been a tendency only to recognize those musical contexts as "metric," ǜ'nĩƢĩůĩƷĩƢěþűþŦƪŻ-Ěĩ-ŎĢĩűƷŎȀĩĢ-ĚǢþű-ܹĩǡƟĩƢŎĩűěĩĢ-ŦŎƪƷĩűĩƢܒܺrĩƷĩƢ-'nþƪ-Ʒ'nƿƪ-Ěĩĩű-ĢĩƪěƢŎĚܮ ĩĢ þƪ þű ĩƪƪĩűƷŎþŦŦǢ- 쯳űŎƷŎǛĩ- Ɵ'nĩűŻůĩűŻű܌- ŻǼ Ʒĩű- Ŏű ĩǡƟŦŎěŎƷ ěŻűƷƢþƪƷ- ƷŻ- Ƣ'nǢƷ'nůڙڙښܒ In this context, the existence of polymeter was repeatedly questioned, since it was only possible to ƟĩƢěĩŎǛĩ-ĢŎDz ŁĩƢĩűƷůĩƷƢŎěƪ'nþƟĩƪƪŎůƿŦƷþűĩŻƿƪŦǢ-ƷŻþ-ŦŎůŎƷĩĢĩǡƷĩűƷښڙښܒű-Ʒ'nĩěŻűƷƢþƢǢ܌-ŎƷ-'nþƪ- been stated that the term "rhythm" today says "much and yet almost nothing anymore."ڛڙښűĩ- ěŻƿŦĢ-ŠƿƪƷŎȀþĚŦǢþƪƪĩƢƷ- Ʒ'nþƷ- Ʒ'nĩ- ƷĩƢů- ܹƟŻŦǢƢ'nǢƷ'nůŎěܺ-Ŏƪ܌-Żű ěŦŻƪĩƢ ĩǡþůŎűþƷŎŻű܌- ƷþƿƷŻŦŻłŎěþŦ- þűĢ-Ʒ'nĩƢĩŁŻƢĩƿűƿƪþĚŦĩ܌ƪŎűěĩěŻƿűƷŦĩƪƪ-ƷǢƟĩƪþűĢ-ŁŻƢůƪ-ŻŁůƿƪŎěþƢĩěŻůƟŻƪĩĢ-ŻŁ-ĢŎDz ŁĩƢĩűƷ- ƪŎůƿŦƷþűĩŻƿƪ-ܹƢ'nǢƷ'nůƪ܌ܺǜ'nŎŦĩ-Ʒ'nĩƪŎůƿŦƷþűĩŎƷǢ-ŻŁ-ĢŎDz ŁĩƢĩűƷ*metric* periodicities constitutes a ŁþƢůŻƢĩƪƟĩěŎȀě-ŁŻƢů-ŻŁƪƿƟĩƢƟŻƪŎƷŎŻűڜڙښܒ

ƷþűǢ-ƢþƷĩ܌-ŎƷƪĩĩůƪ-ƟƢŻĚŦĩůþƷŎě-ƷŻůþţĩþ-ܣűþƢƢŻǜŦǢĩůƟŎƢŎěþŦŦǢ-ĢĩȀűĩĢܤ-쯳űŎƷŎǛĩ-ŦĩǛĩŦ- Ʒ'nĩƪŻŦĩ-ƟƢĩƢĩơƿŎƪŎƷĩ- ŁŻƢþ-ĢĩȀűŎƷŎŻű-ŻŁůĩƷĩƢܒ-FŻƢ- Ʒ'nĩƢĩþƢĩ-ܫűŻƷ-ŻűŦǢ-Ŏű- Ʒ'nĩ- ƷǜĩűƷŎĩƷ'nþűĢ- ƷǜĩűƷǢܮȀƢƪƷěĩűƷƿƢŎĩƪ-ܫůƿƪŎěþŦěŻűƷĩǡƷƪþűĢěŻůƟŻƪŎƷŎŻűþŦ-ƟƢŻěĩƪƪĩƪ-Ŏűǜ'nŎě'n-Ʒ'nĩěŻűǴŦŎěƷƪ- ĚĩƷǜĩĩűþůĩƷƢŎě-Ěþƪĩ-ŦþǢĩƢþűĢ-Ʒ'nĩþěƷƿþŦ-ŁŻƢůþƷŎŻűƪ-ŎűůƿƪŎěþŦłƢŻƿƟŎűłƪ܌-ŻƢěŻűǴŦŎěƷƪ-Ěĩܮ Ʒǜĩĩűƪƿě'nƿűŎƷƪ܌þƢĩěƢƿěŎþŦ-ŁþěƷŻƢƪ-ŻŁ-Ʒ'nĩƪƷƢƿěƷƿƢĩǜ'nŎě'nþƢĩűŻƷþŎůĩĢþƷþěŦĩþƢ-ŎĢĩűƷŎȀěþ-ƷŎŻű-ŻŁ-Żűĩ-ŻƢůŻƢĩůĩƷĩƢƪ܌-ĚƿƷþƢĩƪƷŎŦŦĩƪƪĩűƷŎþŦ-ŁŻƢěŻůƟŦĩǡþűĢ-ŻǼ ƷĩűþůĚŎłƿŻƿƪůþűűĩƢƪ-

ڽڽ- fżŧŏŲƫŤǣ܉-ܶ ƣżƫƫܫ ǀŧƸǀƣÿŧ-ƠƠƣżÿĜŊ-ƸżrĪƸƣżܫ¦ŊǣƸŊŰŏĜ-£ÿƸƸĪƣŲƫ܉ܷ-ړڕڐ

ڴڴڵ- -RĪĪhżŲģżŲ܉-ܶ¦ŊǣƸŊŰ܉ܷ-Sڍ-1/4ŊĪ-'ŏƫƸŏŲĜƸŏżŲ-ĪƸǝĪĪŲ-¦ŊǣƸŊŰÿŲģrĪƸƣĪ-¼ŊŏƫģŏƫƸŏŲĜƸŏżŲ-ĪƫƫĪŲƸŏÿŧŧǣ-ŃżĪƫěÿĜŤ- Ƹż-ƸŊĪƣŊǣƸŊŰÿŲģ-ŰĪƸĪƣ-ƸŊĪżƣŏĪƫżłhĪƣģÿŊŧÿŲģdÿĜŤĪŲģżdz ł܉-*A Generative Theory of Tonal Music*. See also London, *Hearing in Time*܉-ڒړܨڑڒ

ڵڴڵ- -RĪĪ- 'ƣÿŤĪ ÿŲģ- £ÿƣŲĜǀƸƸ܉- ܶ£ƫǣĜŊżŧżŃǣ żł rǀƫŏĜ܉ܷ- SS- £ĪƣĜĪƠƸŏżŲ ÿŲģ żŃŲŏƸŏżŲ܉- ڎ-¦ ŊǣƸŊŰܔ hżŲģżŲ܉-*Hearing in*  ړڒ-܉*Time*

ڶڴڵ- -RĪŏģĪŧ܉- ܶ¦ŊǣƸŊŰǀƫ܉ rĪƸƣǀŰ܉-1/4 ÿŤƸ܉ܷ- S ðǀƣ- 'ĪǿŲŏƸŏżŲ ģĪƫ- £ƣŏŲǭŏƠƫ- ܠܶNĪǀƸĪ ěĪǭĪŏĜŊŲĪƸݎ*Rhythmus*ݎ ÿŧŧĪƫ܉ ǝÿƫ ŏƣ-ŃĪŲģǝŏĪ-ŰŏƸģĪƣ-®ƸƣǀŤƸǀƣżģĪƣģĪŰěŧÿǀłģĪƣ-ŰǀƫŏŤÿŧŏƫĜŊĪŲðĪŏƸ܉żǽ ƸÿǀĜŊ܉ǝÿƫ-ŰŏƸŏŧģܫ-ǀŲģ-¦ÿǀŰěĪǝĪŃǀŲ-ŃĪŲǭǀ-ƸǀŲ-ŊÿƸ-'ÿƫàżƣƸƫÿŃƸǜŏĪŧĪƫ-ǀŲģģżĜŊłÿƫƸ-ŲŏĜŊƸƫ-ŰĪŊƣܷܡ-

ڷڴڵ- ƣżŰ-ƸƣŏĪƫ-Ƹż-ĜŏƣĜǀŰǜĪŲƸ-ƸŊŏƫ-ƠƣżěŧĪŰěǣģĪǿŲŏŲŃ-ƠżŧǣƣŊǣƸŊŰÿƫ-ܶģŏdz łĪƣĪŲƸ-ƠÿƸƸĪƣŲƫżłÿĜĜĪŲƸ-ܟ܊ܞƫǀƠĪƣƠżƫĪģ- ŏŲ-ƸŊĪƫÿŰĪǝżƣŤܷ-ܠƣżŰ܉-*African Polyphony and Polyrhythm*܉-ܡڑڌڎ-1/4żÿƫƫżĜŏÿƸĪƣŊǣƸŊŰ-ܠƣÿƸŊĪƣ-ƸŊÿŲ-ŰĪƸĪƣܡǝŏƸŊ- ܶƠÿƸƸĪƣŲƫżłÿĜĜĪŲƸܷ-ŰŏŃŊƸ܉żł-ĜżǀƣƫĪ܉ÿƠƠĪÿƣ-ƢǀŏƸĪ-ƠƣżěŧĪŰÿƸŏĜƣżŰܹƫƣĪšĪĜƸŏżŲżł-ƸŊĪ-ĜżŲĜĪƠƸżł-ƠżŧǣŰĪƸĪƣ- łżƣłƣŏĜÿŲ-ŰǀƫŏĜŏƫ-ĜżŲƫĪƢǀĪŲƸŧǣěÿƫĪģżŲÿǜĪƣǣ-ŲÿƣƣżǝģĪǿŲŏƸŏżŲżł-ܶŰĪƸĪƣܷ܈-ܶSłǝĪ-ƸÿŤĪ-ܸŰĪƸƣĪܹŏŲŏƸƫ-ƠƣŏŰÿƣǣ- sense of *metrum* ܠƸŊĪ-ŰĪƸƣĪěĪŏŲŃ-ƸŊĪ-ƸĪŰƠżƣÿŧƣĪłĪƣĪŲĜĪ-ǀŲŏƸ܉ܡ-ܸƠżŧǣŰĪƸƣŏĜܹǝżǀŧģģĪƫĜƣŏěĪ-ƸŊĪƫŏŰǀŧƸÿŲĪżǀƫ- ǀŲłżŧģŏŲŃżłƫĪǜĪƣÿŧ-ƠÿƣƸƫŏŲÿƫŏŲŃŧĪǝżƣŤÿƸģŏdz łĪƣĪŲƸ-ƸĪŰƠżƫ *so as not to be reducible to a single metrum.* This ŊÿƠƠĪŲƫŏŲƫżŰĪ-ŰżģĪƣŲ-ŰǀƫŏĜ܉ƫǀĜŊÿƫƫżŰĪżł- ŊÿƣŧĪƫ-SǜĪƫܹƫǝżƣŤƫ܉-/ŧŧŏżƸƸ ÿƣƸĪƣܹƫ-*Symphony,* ݎðŏŰŰĪƣ-ŰÿŲŲܹƫżƠĪƣÿ-*Die Soldaten,* ÿŲģ-£ŏĪƣƣĪżǀŧĪǭܹƫ-*Rituel.*ܷ-ܠŏěŏģܡ

*/ǡþůƟŦĩ-ښږܘښܑ-E Juba – beginning of a popular song from South Sudan ܩƷƢþűƪěƢŎƟƷŎŻűܑ-GĩƢ'nþƢĢfƿĚŎţܝ- fƿĚŎţܒ-ܿrƿƪŎţłĩƪƷþŦƷƿűł-Ŏű-ŁƢŎţþܒ݀-ܪڛژ-*

 żƠǣƣŏŃŊƸ-ޣ-ڏڔڕڍěǣ-GĪƣŊÿƣģfǀěŏŤܕRƸÿÿƸŧŏĜŊĪrǀƫĪĪŲ-£ƣĪǀƷŏƫĜŊĪƣfǀŧƸǀƣěĪƫŏƸǭ-ĪƣŧŏŲ

ŻŁłĩƪƷþŦƷ-ƟĩƢěĩƟƷŎŻűܒhŎłĩƷŎܼƪůƿƪŎě-Ŏƪþ-ƟƢŻůŎűĩűƷĩǡþůƟŦĩ-ŻŁ-Ʒ'nŎƪܒ-ŁěŻƿƢƪĩ܌-Ʒ'nĩ-ƟƢŻĚŦĩů-ܣŻƢ- ŎűĢĩĩĢ-Ʒ'nĩ-ŎůƟŻƪƪŎĚŎŦŎƷǢܤ-ŻŁ-ƟƢŻǛŎĢŎűłþƪƿěěŎűěƷ-ĢĩȀűŎƷŎŻű-ŻŁ-ܹƢ'nǢƷ'nůܺþűĢ-ܹůĩƷĩƢܺþěěŻůůŻ-ĢþƷŎűłűŻƷ-ŻűŦǢ-ĢŎDz ŁĩƢĩűƷ-ƟĩƢŎŻĢƪ-ŻŁàĩƪƷĩƢűůƿƪŎě-'nŎƪƷŻƢǢ-ĚƿƷþŦƪŻůƿƪŎěþŦ-ƷŎůĩƪƷƢƿěƷƿƢĩƪ- on a global scale is far beyond what can be achieved here and would require a monograph on its own (as presented for the Western context, most notably, by Christopher Hastyܒܤڝڙښ-/ƪƟĩܮ cially when we turn to the richly imaginative and thorough treatment that the relationships ĚĩƷǜĩĩű-Ƣ'nǢƷ'nů܌ůĩƷĩƢ܌þűĢ-ƷĩůƟŻ-'nþǛĩ-ƢĩěĩŎǛĩĢ-Ŏű-ƷǜĩűƷŎĩƷ'nܮþűĢ-ƷǜĩűƷǢܮȀƢƪƷܮěĩűƷƿƢǢůƿsic, it seems inevitable to conceive of a complex model in which the interrelation of these concepts or areas is maintained and highlighted.ڞڙښ

/ǡþůƟŦĩƪ-ڔڐܒڔþűĢ-ڕڐܒڔþűĢ-¼þĚŦĩƪ-ڔܒڔ-ƷŻ-ڗܒڔƪ'nŻǜ-ƟŻŦǢůĩƷƢŎěƪŎƷƿþƷŎŻűƪ-Ŏű-ŁƢŎěþűěŻűƷĩǡƷƪ- ĚþƪĩĢ-Żű-Ʒ'nĩƪƷƿĢŎĩƪ-ŻŁfƿĚŎţ܌ǜ'nŎě'nhŎłĩƷŎţűĩǜ܌þűĢǜŎƷ'nŻƿƷ-ƷþţŎűł-ŎűƷŻþěěŻƿűƷ-Ʒ'nĩĩǡƷĩűƪŎǛĩ- more recent research on African rhythm, which has undergone much further development.ڟڙښ Although to what extent a concept such as "meter" can be appropriate for African designs of

ڸڴڵ- -NÿƫƸǣ܉-*Meter as Rhythm*-¼ŊĪ-ĜżŲĜĪƠƸƫżł-ƠżŧǣƣŊǣƸŊŰżƣ-ƠżŧǣŰĪƸĪƣÿƣĪ-ŲżƸģŏƫĜǀƫƫĪģŏŲ-NÿƫƸǣܹƫěżżŤǝŊŏĜŊżƸŊĪƣܫ ǝŏƫĪżdz łĪƣƫÿŲ-ǀŲƫǀƣƠÿƫƫĪģŧǣ-ŲǀÿŲĜĪģģŏƫĜǀƫƫŏżŲżł-ƸŊĪƣĪŧÿƸŏżŲěĪƸǝĪĪŲƣŊǣƸŊŰÿŲģ-ŰĪƸĪƣ-

ڹڴڵ- -RĪĪ-ÃƸǭÿŲģtżŲŲĪŲŰÿŲŲ܉-ܶ¦ŊǣƸŊŰǀƫ܉rĪƸƣǀŰ܉-1/4ĪŰƠżܷłżƣÿ-ĜżŰƠƣĪŊĪŲƫŏǜĪżǜĪƣǜŏĪǝżłģĪǿŲŏƸŏżŲƫÿŲģ-ĜżŰ-ƠżƫŏƸŏżŲÿŧÿƠƠƣżÿĜŊĪƫŏŲ-ƸǝĪŲƸŏĪƸŊܫÿŲģ-ƸǝĪŲƸǣܫǿƣƫƸܫĜĪŲƸǀƣǣ-ŰǀƫŏĜ-®ĪĪÿŧƫż-'ĪŧÿĪƣĪ܉-ܶ1/4ĪŰƠż܉rĪƸƣĪ܉-¦ŊǣƸŊŰܷ

ںڴڵ- -£żŧÿŤ܉dÿĜżěǣ܉ÿŲģhżŲģżŲ܉-ܶfǀŧƸǀƣĪŧŧĪ-'ŏǜĪƣƫŏƸďƸŏŲģĪƣ-ĪŰƠŏƣŏƫĜŊĪŲ-¦ŊǣƸŊŰǀƫłżƣƫĜŊǀŲŃܷ-ƠƣżǜŏģĪƫÿŲ-ĪǢĜĪŧlent example.

*/ǡþůƟŦĩ-ڛږܘښܑ-1/4þű݂Ě݂ŻŦŻţŻƪĩܙ-ܱƪŻűł-ŁƢŻůþ-ŁþŎƢǢ-ƷþŦĩ-ŻŁ-Ʒ'nĩæŻƢƿĚþܒàĩƪƷ-ŁƢŎěþ- ܩƷƢþűƪěƢŎƟƷŎŻűܑ-GĩƢ'nþƢĢfƿĚŎţܝfƿĚŎţܒ-ܿrƿƪŎţłĩƪƷþŦƷƿűł-Ŏű-ŁƢŎţþܒ݀-ܪڜژ-*

 żƠǣƣŏŃŊƸ-ޣ-ڏڔڕڍěǣ-GĪƣŊÿƣģfǀěŏŤܕRƸÿÿƸŧŏĜŊĪrǀƫĪĪŲ-£ƣĪǀƷŏƫĜŊĪƣfǀŧƸǀƣěĪƫŏƸǭ-ĪƣŧŏŲ

music at all remains controversial in ethnomusicology, there is broad agreement that most Af-ƢŎěþűůƿƪŎěŎþűƪ-Ʒ'nŎűţ-Ŏű-ŦþƢłĩƢ܌-ŁƢĩơƿĩűƷŦǢ-ƢĩěƿƢƢŎűł܌-Ƣ'nǢƷ'nůŎěܮůĩŦŻĢŎě-ŁŻƢůƿŦþƪ܌þűĢ-Ʒ'nƿƪ-Ŏű- ƟĩƢŎŻĢŎěŎƷŎĩƪǜ'nŻƪĩ-ƢĩŦþƷŎŻűƪ'nŎƟ-ƷŻ-/ƿƢŻƟĩþűěŻűěĩƟƷƪ-ŻŁůĩƷĩƢ-'nþƪ-ƟŻƪƪŎĚŦǢűŻƷ-ǢĩƷ-Ěĩĩű-ŁƿŦŦǢ- explored.ڠڙښ-Sű-/ǡþůƟŦĩ-܌ڔڐܒڔfƿĚŎţƿƪĩƪþ-ƟŻƟƿŦþƢƪŻűł-ŁƢŻůƪŻƿƷ'nĩƢű-®ƿĢþű-ƷŻƪ'nŻǜ-'nŻǜ-ŁŻƿƢ- ĢŎDz ŁĩƢĩűƷ-ƟĩƢŎŻĢŎěŎƷŎĩƪþƢĩƪƿƟĩƢŎůƟŻƪĩĢڡڙښܒȃĩǢěŻůƟƢŎƪĩ-܌ڕ-܌ژ-܌ڑڐþűĢ-ڗڐ-ƟƿŦƪĩƪ-ƟĩƢ-ܹƪƿůůþ-ƷŎŻűůĩƷĩƢܺ-ŻŁ-ڕڒ-ĚþƪŎě-ƟƿŦƪĩƪ- ƢĩþĢ- ŁƢŻů- ƷŻƟ- ƷŻ-ĚŻƷƷŻů-ܣƪě'nĩůþƷŎě- ƢĩƟƢĩƪĩűƷþƷŎŻűƪ-Ŏű-¼þĚŦĩƪ- ڔܒڔþűĢ-ܒܤڕܒڔȃĩűƿůĚĩƢƪ-܌ڕ-܌ڑڐþűĢ-ڗڐþƢĩ-ĢŎǛŎƪŎĚŦĩ-ĚǢ-ĚŻƷ'n-ڑþűĢ-܌ڒ-Ʒ'nƿƪþŦŦŻǜŎűłěŻűƪƷþűƷŦǢ- ě'nþűłŎűłůĩƷƢŎě-ƢĩŁĩƢĩűěĩƪܒ-SűþĢĢŎƷŎŻű܌þ-ƟĩƢŎŻĢŎěþŦŦǢ-ƢĩěƿƢƢŎűł-ǛŻěþŦůĩŦŻĢǢěŻůƟƢŎƪŎűł-ڕڒ- ĚþƪŎě-ƟƿŦƪĩƪ܌ǜ'nŎě'n-Ŏƪƪ'nŎǼ ƷĩĢ-ĚǢ-ƷǜŻ-ĚþƪŎě-ƟƿŦƪĩƪǜŎƷ'n-ƢĩƪƟĩěƷ-ƷŻ-Ʒ'nĩ-Ƣ'nǢƷ'nůŎěłƢŻƿƟłĩűĩƢþƷĩƪ- an additional quasi-canonic metric displacement.

ڻڴڵ- -£żŧÿŤ܉ dÿĜżěǣ܉ ÿŲģ hżŲģżŲ܉ łżƣ- ĪǢÿŰƠŧĪ܉ ÿƣŃǀĪ܈- ܶàĪ- ĜżŲĜǀƣǝŏƸŊ ÿǀƸŊżƣƫ ǝŊż ƫǀƠƠżƣƸ ÿŲ ÿƠƠŧŏĜÿƸŏżŲ żł- ƸŊĪ- ĜżŲĜĪƠƸżł-ŰĪƸĪƣŏŲłƣŏĜÿŲ-ŰǀƫŏĜƣĪƫĪÿƣĜŊܔ-ŊżǝĪǜĪƣ܉ǝĪ-ĪŰƠŊÿƫŏǭĪ-ƸŊĪ-ŲĪĜĪƫƫŏƸǣ-Ƹż-ŤĪĪƠ-ƸŊĪ-ƸŊĪżƣĪƸŏĜÿŧģĪǿ-ŲŏƸŏżŲżł-ƸŊĪ-ĜżŲĜĪƠƸżł-ܸŰĪƸĪƣܹżƠĪŲܷ-ܠSěŏģ܉-ܔڔڕڍ-ܶàŏƣłżŧŃĪŲ-ǀƸżƣ܄ŏŲŲĪŲ܉ģŏĪ-ĪŏŲĪ-ŲǝĪŲģǀŲŃģĪƫrĪƸƣǀŰƫěĪŃƣŏdz łƫŏŲģĪƣÿłƣŏŤÿŲŏƫƸŏƫĜŊĪŲrǀƫŏŤłżƣƫĜŊǀŲŃěĪłdžƣǝżƣƸĪŲ܉ěĪƸżŲĪŲšĪģżĜŊ-ŃŧĪŏĜŊǭĪŏƸŏŃģŏĪtżƸǝĪŲģŏŃŤĪŏƸ܉- ģŏĪ-ƸŊĪżƣĪƸŏƫĜŊĪ-ĪƫƸŏŰŰǀŲŃģĪƫfżŲǭĪƠƸƫ-ܸrĪƸƣǀŰܹżdz łĪŲǭǀ-ŊÿŧƸĪŲܷܡ

ڒڏܷ-܉łƣŏŤÿŏŲrǀƫŏŤŃĪƫƸÿŧƸǀŲŃ-ܶ܉fǀěŏŤ- -ڼڴڵ

*¼þĚŦĩ-ښܘښܑ-¦ĩƟƢĩƪĩűƷþƷŎŻű-ŻŁ-/ǡþůƟŦĩ-ښږܘښ-Ŏű-Ʒ'nĩ-¼ŎůĩܴÃűŎƷ-Żǡ-®ǢƪƷĩů-ܩ1/4îܝܪůĩƷƢŎě-ƟĩƢŎŻĢŎěŎƷŎĩƪ- ŻŁ-Ʒ'nĩ-ƟþƷƷĩƢűƪþƢĩůþƢţĩĢ-ĚǢě'nþűłŎűłłƢþǢ-ŦĩǛĩŦƪ*



*¼þĚŦĩ-ڛܘښܑ-£ƿŦƪĩƪƟĩĩĢƪþűĢůĩƷƢŎě-ƟþƷƷĩƢűƪ-Ŏű-/ǡþůƟŦĩ-ښږܘښ*


ȃĩ-ĢŎDz ŁĩƢĩűƷ-ƟƿŦƪĩƪƟĩĩĢƪ܌-Żű-Ʒ'nĩ-Żűĩ-'nþűĢ܌þűĢ-Ʒ'nĩůĩƷĩƢǜŎƷ'nŎű-Ʒ'nĩ-Ʒ'nƢĩĩƪŻƿűĢ-ŦþǢĩƢƪ- ܣǛŻŎěĩ܌ěŦþƟƟŎűł܌-ƟĩƢěƿƪƪŎŻű܌ܤ-Żű-Ʒ'nĩ-ŻƷ'nĩƢ-'nþűĢ܌ƪ'nŻƿŦĢ-Ěĩ-ĢŎDzŁĩƢĩűƷŎþƷĩĢ-'nĩƢĩܒȃĩ-ƢĩƟƢĩƪĩűƷþ-ƷŎŻű-Ŏű-¼þĚŦĩ-ڔܒڔƪ'nŻǜƪěŦĩþƢŦǢ-Ʒ'nþƷ-ŻűŦǢǜŎƷ'n-Ʒ'nĩěŻůƟŦĩƷŎŻű-ŻŁþ-ŁƿŦŦ-ܮڕڒǛþŦƿĩĢƿűŎƷěþűþŦŦ-Ɵĩriodicities be synchronized again. It also becomes clear that the meter of the percussion layers ŁŻŦŦŻǜƪ-Ʒ'nþƷ-ŻŁ-Ʒ'nĩ-ǛŻŎěĩ-ܣǜŎƷ'nþ-'nĩůŎŻŦŎě-ĢŎƪƪŻűþűěĩ-ĚĩƷǜĩĩű-Ʒ'nĩ-ڐڐƷ'nþűĢ-ڑڑűĢ-ƟƿŦƪĩ܌ܤǜ'nŎŦĩ-Ʒ'nĩ- meter of clapping is canonically displaced by two fundamental pulses. Hemiolic overlays occur ĩǛĩűǜŎƷ'nŎű-Ʒ'nĩůĩƷƢŎě-ƟĩƢŎŻĢƪ-ŎűěŦþƟƟŎűłþűĢ-ƟĩƢěƿƪƪŎŻű-ŦþǢĩƢƪ-ڑ܋ڒܣþűĢ-ړ܋ڕ-ƟƿŦƪĩƪܒܤ

ȃĩ-ǛþŦƿĩƪ-ƷƢþűƪěƢŎĚĩĢþƪ-ƷƢŎƟŦĩƷƪ-ĚǢfƿĚŎţ-ĚĩƷǜĩĩű-Ʒ'nĩ-ژڑƷ'nþűĢ-Ʒ'nĩ-ڑڒűĢ-ƟƿŦƪĩ-ŻŁ-/ǡþůƟŦĩ- ڔڐܒڔƪĩĩů-ƷŻ-Ěĩþ-Ƣ'nǢƷ'nůŎěþŦŦǢ-ŁƢĩĩ-ܹƟ'nƢþƪŎűłܺ-ƟƢŻǛŻţĩĢ-ĚǢþƪƟĩĩě'nܮŻƢŎĩűƷĩĢ-ǛŻěþŦ-ŎűƷŻűþƷŎŻű܌-


*¼þĚŦĩ-ڜܘښܑ-¦ĩƟƢĩƪĩűƷþƷŎŻű-ŻŁ-/ǡþůƟŦĩ-ڛږܘښ-Ŏű-Ʒ'nĩ-¼ŎůĩܴÃűŎƷ-Żǡ-®ǢƪƷĩů-ܩ1/4îܝܪ- ůĩƷƢŎě-ƟĩƢŎŻĢŎěŎƷŎĩƪ-ŻŁ-Ʒ'nĩ-ƟþƷƷĩƢűƪþƢĩůþƢţĩĢ-ĚǢě'nþűłŎűłłƢþǢ-ŦĩǛĩŦƪ*


*¼þĚŦĩ-ڝܘښܑ-£ƿŦƪĩƪƟĩĩĢƪþűĢůĩƷƢŎě-ƟþƷƷĩƢűƪ-Ŏű-/ǡþůƟŦĩ-ڛږܘښ*


ǜ'nŎŦĩ-Ʒ'nĩěŻűƷŎűƿĩĢ-ƷƢŎƟŦĩƷ-ǛþŦƿĩƪ-Ŏű-/ǡþůƟŦĩ-ڢڙښڕڐܒڔ produce additional rhythmic-metric com-ƟŦĩǡŎƷǢܒþƪĩĢ-ŻűfƿĚŎţܼƪűŻƷĩ-ǛþŦƿĩƪ܌-ŻűĩůƿƪƷþƪƪƿůĩ-Ʒ'nþƷ-ƷƢŎƟŦĩƷƪŎǡƷĩĩűƷ'nƪþěƷþƪþěŻůůŻű- ŁƿűĢþůĩűƷþŦ-ƟƿŦƪĩ܌ƪŻ-Ʒ'nþƷþ-ܹƪƿůůþƷŎŻűůĩƷĩƢܺ-ŻŁ-ړڑ-ǛþŦƿĩƪ-Ŏƪ-ŻĚƷþŎűĩĢ-ܣ1/4þĚŦĩ-ܒܤږܒڔ- ŻűƷŎűƿing in the gong, the *omele*-ŁŻƢůƿŦþ-Ŏƪ-Żűĩ-ŻŁ-ŁƢŎěþܼƪ-ĚĩƪƷܮţűŻǜűƪƷƢƿěƷƿƢþŦĩŦĩůĩűƷƪ܌ěŻůůŻűŦǢ- þŦƪŻ-ƢĩŁĩƢƢĩĢ- ƷŻþƪ- ܹƷŎůĩܮŦŎűĩ-ƟþƷƷĩƢű܌ܺþűĢ-'nþƪ-ĚĩĩűǜŎĢĩŦǢ-ĢĩƟŦŻǢĩĢ-ĚǢhŎłĩƷŎþűĢ-ŻƷ'nĩƢƪڙښښܒ 'ƿĩ-ƷŻ-ŎƷƪ-ŎƢƢĩłƿŦþƢ-ĢŎǛŎƪŎŻűþěěŻƢĢŎűł-ƷŻ-Ʒ'nĩ-ƟƢŻƟŻƢƷŎŻűűܘڐܮűڐݯ-ږݯڔܣ-ƷƢŎƟŦĩƷܮĩŎł'nƷ'nƪ-ܫ-'nĩƢĩěŻƢ-

ڽڴڵ- -Sěŏģ܉-ړڏ

ڴڵڵ- -RĪĪ-®ĜŊĪƣǭŏŲŃĪƣ܉-ܶGǣƇƣŃǣhŏŃĪƸŏÿŲģ-ƸŊĪ-Ťÿ-£ǣŃŰŏĪƫ-£ƣżšĪĜƸ܉ܷ-ڐڐڎܨڌڐڎ-1/4ŊĪ*omele* formula has also been rela-ƸĪģ-Ƹż-®ƸĪǜĪ-¦ĪŏĜŊܹƫ-ƠÿƣÿģŏŃŰÿƸŏĜǝżƣŤƫ-*Drumming* ܡڍړܨڌړڕڍܠÿŲģ-*Clapping Music*-܉ܡڎړڕڍܠƫĪĪfŧĪŏŲ܉*ŧĪǢÿŲģĪƣðĪŰlinsky – Steve Reich: Alternative Moderne(n)*܉-ړڐڍܨڕڏڍÿŲģ żŧÿŲŲŏŲż܉-GŽŰĪǭ܉ÿŲģ-¼żǀƫƫÿŏŲƸ܉-ܶŲÿŧǣƫŏƫżł-/ŰĪƣŃĪŲƸ- ĪÿƸܫ ŧÿƫƫ-®ĪƸƫŏŲ-®ƸĪǜĪ-¦ĪŏĜŊܹƫ-ܸ ŧÿƠƠŏŲŃrǀƫŏĜܹܷ-

ƢĩƪƟŻűĢŎűł-ƷŻ-ړڐݯڏڐ-ŁƿűĢþůĩűƷþŦ-ƟƿŦƪĩƪܤþűĢ-Ʒ'nĩþĢĢŎƷŎŻűþŦěŻűƪƷþűƷě'nþűłĩ-ĚĩƷǜĩĩű-Ʒ'nƢĩĩܮþűĢ-ƷǜŻܮĢŎǛŎƪŎŻű-Ŏű-Ʒ'nĩƪŎűłŎűł-ǛŻŎěĩ-ܣŦĩþĢƪŎűłĩƢ܌ܤůĩƷƢŎě-ƷĩűƪŎŻű-ŎƪěƢĩþƷĩĢ-ŻűþƪŎůƿŦƷþűĩŻƿƪ- þűĢƪƿěěĩƪƪŎǛĩ-ĢŎůĩűƪŎŻű-ܣ1/4þĚŦĩ-ښښښܒܤڗܒڔ

ȃĩ-ŁƿűěƷŎŻű-ŻŁƪƿě'n-ŻǛĩƢŦþǢƪ-Ŏű-Ʒ'nĩ-ŁƢŎěþűěŻűƷĩǡƷ-ǛþƢŎĩƪܒ-SűƪŻůĩłĩűƢĩƪ-ܫþƪ-Ŏƪ-ŻǼ Ʒĩű-Ʒ'nĩ- ěþƪĩ܌-ŁŻƢĩǡþůƟŦĩ܌ǜŎƷ'n-Ʒ'nĩţþ-ƟǢłůŎĩƪ-Ŏű ĩűƷƢþŦ-ŁƢŎěþ-ܫ-Ʒ'nĩƪƷƢþƷþþƢĩłƢþĢƿþŦŦǢ-ĚƿŎŦƷƿƟ܌- and the increasing "polymeter" thus serves to increase the density of sounding events and is ŻǼ ƷĩűěŻƿƟŦĩĢǜŎƷ'nþű-ŎűƷĩűƪŎȀěþƷŎŻű-ŻŁ-ĢþűěĩůŻǛĩůĩűƷܒ-Sű-ŻƷ'nĩƢłĩűƢĩƪ܌-Ʒ'nĩůĩƷƢŎě-ŦþǢĩƢƪ- are established from the beginning, so that the complex mesh over time appears static and basically only the inherent patterns within a summation meter are perceived, as in the examples ĢŎƪěƿƪƪĩĢþĚŻǛĩܒ-SűłĩűĩƢþŦ܌-Ʒ'nĩƪƿƟĩƢƟŻƪŎƷŎŻű-ŻŁ-ĢŎDz ŁĩƢĩűƷ-ƟĩƢŎŻĢŎěŎƷŎĩƪ-ŎűűƿůĩƢŻƿƪłĩűƢĩƪ-ŻŁ- African music can be understood as the basic constant.

Sű ěŻűƷƢþƪƷ܌- Ʒ'nĩ ƪŎůƿŦƷþűĩŎƷǢ-ŻŁ- ĢŎDz ŁĩƢĩűƷůĩƷĩƢƪ-Ŏű-/ƿƢŻƟĩþűůƿƪŎě܌þƷ-ŦĩþƪƷǜŎƷ'nŎű- Ʒ'nĩ- ŁƢþůĩǜŻƢţ-ŻŁ- Ʒ'nĩěŻůůŻűܮƟƢþěƷŎěĩ- ƷŻűþŦŎƷǢ-ŻŁþĚŻƿƷ- ڏڏڕڐ- ƷŻ- ܌ڏڏژڐůŻƪƷ-ŻǼ Ʒĩű- ŁƿŦȀŦŦƪþ-ǛĩƢǢ- ƪƟĩěŎȀě-ŁŻƢůþŦ-ŁƿűěƷŎŻű܌űþůĩŦǢ-Ʒ'nþƷ-ŻŁþ*metric dissonance*ܒȃŎƪ-ĢŎƪƪŻűþűěĩ-ĢĩŦŎĚĩƢþƷĩŦǢ-ĢŎƪƷŎűguishes itself from the *metric consonance*-ŻŁ-ܣĩƪƷþĚŦŎƪ'nĩĢ-ŻƢ-ŎůþłŎűĩĢܤ-Ƣ'nǢƷ'nůŎěěŻűƪƷĩŦŦþƷŎŻűƪ- ƪƿƟƟŻƢƷŎűł-Ʒ'nĩ-ƟƢĩƪěƢŎĚĩĢůĩƷĩƢ܌ƪŻ-Ʒ'nþƷ-ŻűĩěþűůĩþűŎűłŁƿŦŦǢƪƟĩþţ-ŻŁ-ܹěŻűǴŦŎěƷŎűłůĩƷĩƢƪܺ-Ŏű-

ڵڵڵ See also Arom, *African Polyphony and Polyrhythm*܉-ڌڑڎܨڍڐڎ

Ʒ'nŎƪěŻűƷĩǡƷܒæĩƷ܌űƿůĩƢŻƿƪĩǡþůƟŦĩƪěþű-Ěĩ-ŁŻƿűĢ-ŎűůƿƪŎě-'nŎƪƷŻƢǢ܌-ƟþƢƷŎěƿŦþƢŦǢ-ĚĩŁŻƢĩ-ڏڏڕڐ- þűĢþǼ ƷĩƢ-܌ڏڏژڐ-Ŏűǜ'nŎě'něĩƢƷþŎűþDzȀűŎƷŎĩƪǜŎƷ'n-Ʒ'nĩ-ŁƢŎěþűůŻĢĩŦƪ-ĚĩěŻůĩ-ǛŎƪŎĚŦĩܒ

Following on from Harald Krebs, one can distinguish two basic types of metric dissonance ܣ1/4þĚŦĩ-ڛښښܒܤژܒڔ In a metric *grouping dissonance*-ܣŻƢƪŎůƿŦƷþűĩŻƿƪěŻűǴŦŎěƷŎűłůĩƷĩƢƪܤþěŻűƷŎűƿŻƿƪ- ƪ'nŎǼ Ʒ-Ŏű ĩůƟ'nþƪŎƪ-Ŏƪ- ĚƢŻƿł'nƷ þĚŻƿƷ- ĚǢ-ŻűłŻŎűł þűĢ- ƟŻƪƪŎĚŦǢ-ŎƢƢĩłƿŦþƢ ƪǢűěŻƟþƷŎŻű-ŻƢ þěěĩűtuation, while in a *displacement dissonance*-ܣŻƢƪƿěěĩƪƪŎǛĩěŻűǴŦŎěƷŎűłůĩƷĩƢƪܤ-ĢŎDz ŁĩƢĩűƷůĩƷƢŎě- łƢŻƿƟŎűłƪ-ŻƢþěěĩűƷƪþƢĩƪƿƟĩƢŎůƟŻƪĩĢ܌-ŦĩþĢŎűł-ƷŻþěŻűƷŎűƿŻƿƪƪ'nŎǼ Ʒ-ŻŁůĩƷƢŎěĩůƟ'nþƪŎƪڜښښܒ In ĩþě'něþƪĩ܌ƪƿĚěþƷĩłŻƢŎĩƪ-ŻŁ-ŎűěƢĩþƪŎűłěŻůƟŦĩǡŎƷǢþƢĩ-ƷŻ-Ěĩ-ĢŎDzŁĩƢĩűƷŎþƷĩĢ܌ǜŎƷ'n-'nǢĚƢŎĢƪ-ŻěěƿƢ-ƢŎűł-ŁƢĩơƿĩűƷŦǢܒ-/þě'n*displacement dissonance* is at the same time a metric *grouping dissonance* ƢĩŦþƷŎǛĩ-ƷŻ-Ʒ'nĩ-ܣƟŻƪƪŎĚŦǢ-ŎűþƿĢŎĚŦĩܤ-ƟĩƢŎŻĢŎěŎƷǢ-ŻŁ-Ʒ'nĩ-ƟƢĩƪěƢŎĚĩĢůĩƷĩƢܒ

ڶڵڵ See Yeston, *¼ŊĪ- ®ƸƣÿƸŏǾĜÿƸŏżŲ żł rǀƫŏĜÿŧ- ¦ŊǣƸŊŰ*܉ fƣĪěƫ܉- ܶ¦ŊǣƸŊŰŏƫĜŊĪ fżŲƫżŲÿŲǭ- ǀŲģ- 'ŏƫƫżŲÿŲǭ܉ܷ fƣĪěƫ܉- ܶ®żŰĪ-/ǢƸĪŲƫŏżŲƫżł-ƸŊĪ żŲĜĪƠƸƫżłrĪƸƣŏĜÿŧ żŲƫżŲÿŲĜĪÿŲģ-'ŏƫƫżŲÿŲĜĪܷÿŲģfƣĪěƫ܉-*Fantasy Pieces*. London, ܶ¦ŊǣƸŊŰŏŲ-¼ǝĪŲƸŏĪƸŊܫ ĪŲƸǀƣǣ-¼ŊĪżƣǣ܉ܷ-ڔڌړ-ƠƣżǜŏģĪƫÿ-ǀƫĪłǀŧƫǀŰŰÿƣǣ

ڷڵڵ- -1/4ŊŏƫģŏƫƸŏŲĜƸŏżŲŏƫ-ƠÿƣƸŏĜǀŧÿƣŧǣŧŏŲŤĪģ-Ƹż-ƸŊĪ-ƸĪƣŰŏŲżŧżŃǣǿƣƫƸģĪǜĪŧżƠĪģěǣfƣĪěƫŏŲ-ܶ¦ŊǣƸŊŰŏƫĜŊĪfżŲƫżŲÿŲǭ- und Dissonanz" and further developed in *Fantasy Pieces*܉-ڑڐܨڍڏfƣĪěƫÿĜŤŲżǝŧĪģŃĪƫ-ƸŊĪżƣŏŃŏŲżł-ƸŊĪƫĪ-ƸĪƣŰƫŏŲ- fÿŰŏŲƫŤǣ܉-ܶƫƠĪĜƸƫżł-NÿƣŰżŲǣ܉-¦ŊǣƸŊŰÿŲģ-FżƣŰŏŲ-®ĜŊǀŰÿŲŲܹƫ-*Papillons*, *Carnaval* and *Davidsbündlertanze*," ړڎ

Ł-Ʒ'nĩěþƷĩłŻƢŎĩƪþűĢĩǡþůƟŦĩƪ-ƟƢŻǛŎĢĩĢ-Ŏű-¼þĚŦĩ-܌ژܒڔ-Ʒ'nĩ-ĚþƪŎěůĩƷĩƢ-ƢĩůþŎűƪ-ŎűƷþěƷ-ŎűěþƷܮ egory 1a, but is subdivided by the dissonant combination of quarter and eighth triplets, which ěƢĩþƷĩƪþ-ǴŦŻþƷŎűłě'nþƢþěƷĩƢ-Ʒ'nþƷ-Ʒ'nĩůþƷ'nĩůþƷŎěþŦŦǢĩơƿŎǛþŦĩűƷűŻƷþƷŎŻű-ŻŁĩŎł'nƷ'nƪþűĢơƿþƢ-ƷĩƢƪ-Ŏűþ-ړܘڕůĩƷĩƢěŻƿŦĢƪƿƢĩŦǢűŻƷłĩűĩƢþƷĩܒȃŎƪ-ƟŻŎűƷƪ-ƷŻ-Ʒ'nĩ-ŎůƟŻƢƷþűƷ-ŁþěƷ-Ʒ'nþƷůĩƷƢŎě-ĢŎƪsonance can have profound implications for performance and is crucial for a particular aspect ŻŁ-ǛŎƢƷƿŻƪŎƷǢþűĢ-Ʒ'nĩ-ŎůƟƢĩƪƪŎŻű-ŻŁ-ܹŦĩǛŎƷþƷŎŻűܺ-Ŏű-¦ŻůþűƷŎě-ƟŎþűŻůƿƪŎěܒ-SűěþƷĩłŻƢǢ-ڐĚ܌-Ʒ'nĩ-ړܘڑ- łƢŻƿƟŎűł-Ŏű-Ʒ'nĩ-ŦĩǼ Ʒ-'nþűĢ-Łþěĩƪþ-ړܘڒłƢŻƿƟŎűł-Ŏű-Ʒ'nĩ-ƢŎł'nƷþűĢ-ĚŻƷ'nłƢŻƿƟŎűłƪ-ƢĩƷƿƢű-ƟĩƢŎŻĢŎěþŦŦǢþűĢ-Ʒ'nĩƢĩŁŻƢĩ-ƢĩþŦŎłűþǼ ƷĩƢ-ƷǜŻůĩþƪƿƢĩƪ܌-Ʒ'nþƷ-Ŏƪ܌-Ʒ'nĩǢƪŻƿűĢ-ƷŻłĩƷ'nĩƢþłþŎűþǼ ƷĩƢ-ڑǡڒܘڒǡڑ- pulses.ڝښښàĩ-ȀűĢþůŻƢĩěŻůƟŦĩǡěþƪĩ-ŎűěþƷĩłŻƢǢ-ڐě܌ǜ'nĩƢĩ-Ʒ'nĩ-ƟĩƢŎŻĢŎě-ړܘڑłƢŻƿƟŎűł-ŻŁ-Ʒ'nĩ- ŦĩǼ Ʒ-'nþűĢ-Ŏƪ-ŻǛĩƢŦþŎĢǜŎƷ'nþűþƟĩƢŎŻĢŎěƪĩơƿĩűěĩ-Ŏű-Ʒ'nĩ-ƢŎł'nƷ-'nþűĢܒȃĩłƢŻƿƟŎűł-ĢŎƪƪŻűþűěĩ-Ěĩܮ ěŻůĩƪƪŻ-ŎűƷĩűƪĩ-'nĩƢĩ-Ʒ'nþƷ-®ě'nƿůþűű-ŎűƪĩƢƷƪþ-ړܘړůĩþƪƿƢĩ-ܣűŻƷ-ŎűĢŎěþƷĩĢܤ-Ŏű-Ʒ'nĩ-Ʒ'nŎƢĢůĩþƪƿƢĩ- ŻŁ-Ʒ'nĩƪƟĩěŎȀĩĢƪĩěƷŎŻű-Ŏű-ŻƢĢĩƢ-ƷŻ-ƢĩܮƪǢűě'nƢŻűŎǬĩ-Ʒ'nĩ-ŦþǢĩƢƪǜŎƷ'n-Ʒ'nĩ-ƟƢĩƪěƢŎĚĩĢůĩƷĩƢ-ܫþůŻůĩűƷ-Ʒ'nþƷþěƷƿþŦŦǢþƟƷŦǢĩǡĩůƟŦŎȀĩƪþű-ŎűƷĩƢþěƷŎŻű-ŻŁłƢŻƿƟŎűłþűĢ-ĢŎƪƟŦþěĩůĩűƷ-ĢŎƪƪŻűþűěĩܒ

ȃĩƪĩěŻűĢ-ĚþƪŎě-ŁŻƢů-ŻŁůĩƷƢŎě-ĢŎƪƪŻűþűěĩ܌*displacement dissonance*, is illustrated here by ƷǜŻǜŎĢĩŦǢěŎƷĩĢĩǡþůƟŦĩƪ-ŁƢŻů-Ʒ'nĩ-ȀƢƪƷůŻǛĩůĩűƷ-ŻŁĩĩƷ'nŻǛĩűܼƪ-*Eroica*. In category 2a, the łƢŻƿƟ-ŦĩűłƷ'n-ŻŁ-Ʒ'nĩ-ĚþƪŎěůĩƷĩƢ-ړܘڒ-Ŏƪ-ƢĩƷþŎűĩĢ܌-ĚƿƷƪ'nŎǼ ƷĩĢ-ĚǢ-Żűĩ-ĚĩþƷ-ƷŻěƢĩþƷĩþƪǢűěŻƟþƷŎŻű- that turns into a continuing displacement of the metric grid, while in category 2b – analogously to the right hand in 1c – the grouping lengths change constantly, which increases the metric destabilization or the degree of metric dissonance. As frequently observed, harmonic and ůĩƷƢŎě-ĢŎƪƪŻűþűěĩƪ-'nĩƢĩ-ƢĩŎűŁŻƢěĩ-ŻűĩþűŻƷ'nĩƢ܌ůþƢţŎűłþěƢƿěŎþŦůŻůĩűƷ-Ŏű-Ʒ'nĩůŻǛĩůĩűƷܼƪ- formal process.

### Toward an Intercultural Theory of Musical Time and Its Historiographic Implications

I will refrain here from further exploring the history of polymeter in Western music, as I have done in earlier versions of this chapter.ڞښښ Much of this is familiar from a variety of studies and does not need to be repeated here at length.ڟښښȃĩ- ŎůƟŦŎěþƷŎŻűƪ- ŻŁ- 'nĩůŎŻŦŎě- ŻƢ- *sesquialtera*-ƟƢŻƟŻƢƷŎŻűƪ-ƷŻ-ƟƢŻǛŻţĩůĩƷƢŎěþůĚŎłƿŎƷŎĩƪůŎł'nƷ-Ěĩ-ƷƢþěĩĢ-Ěþěţ-ƷŻþűěŎĩűƷ-GƢĩĩţ- theory, where the term *'nĩůŎżŦŎŻű* is found in Pythagorean tuning theory and already trans-ŁĩƢƢĩĢ- ƷŻ- ȀǛĩܮĚĩþƷ- Ƣ'nǢƷ'nůŎě- ƟþƷƷĩƢűƪ- ĚǢ- ƢŎƪƷŻǡĩűƿƪڠښښܒ ȃĩ þůĚŎłƿŎƷǢ- Ŏƪ ůþĢĩ ĩǡƟŦŎěŎƷ- Ŏű- mensural notation where especially the coloring of notes can be associated with hemiolic re-

ڸڵڵ- -RĪĪfƣĪěƫ܉-*Fantasy Pieces*܉-ڏڏ

ڹڵڵ- żŰƠÿƣĪ-ƸŊŏƫ-ƠÿƣƸŏŲ-ƸŊĪ-GĪƣŰÿŲ-ĪģŏƸŏżŲżł-ƸŊĪ-ƠƣĪƫĪŲƸěżżŤ-ܠÃƸǭ܉-*Komponieren im Kontext der Globalisierung*, ܡڒڍڏܨڌڌڏǝŊŏĜŊŏƫ܉ÿƫ-ƸŊĪ-ĪŲƸŏƣĪ-ĜŊÿƠƸĪƣ܉ěÿƫĪģżŲÿŲ-ĪÿƣŧŏĪƣ-ڕڌڌڎ-ƠǀěŧŏĜÿƸŏżŲ-ݎވܠƠƠĪŲģŏǢܡ

ںڵڵ- -GƣżǜĪrǀƫŏĜ-ŲŧŏŲĪżdz łĪƣƫÿƣƸŏĜŧĪƫżŲ-ŊĪŰŏżŧÿÿŲģ-ƠƣżƠżƣƸŏżƫĪƫƢǀŏÿŧƸĪƣÿ-ܠƫĪĪ-¦ǀƫŊƸżŲ܉-ܶNĪŰŏżŧÿ܉ܷ-NŏŧĪǣ܉-RƸÿŲłżƣģÿŲģhÿŏƣģ܉-ܶRĪƫƢǀŏÿŧƸĪƣÿܷܡ-ƫǣƫƸĪŰÿƸŏĜƫƸǀģǣżł-ŊĪŰŏżŧǣƫŏƫÿŲģ-ƠżŧǣŰĪƸĪƣŏŲ-/ǀƣżƠĪÿŲ-ŰǀƫŏĜ-Ŋÿƫƫżłÿƣ- ƸÿŤĪŲ-ƠŧÿĜĪ-ŰÿŏŲŧǣżŲ-ƸŊĪěÿƫŏƫżłŏƫżŧÿƸĪģ-ĜÿƫĪƫƸǀģŏĪƫ-®ĪĪÿŰżŲŃżƸŊĪƣƫ-NÿŰ܉-ܶ-RĪŲƫĪżł-£ƣżƠżƣƸŏżŲ܈-1/4ŊĪ- Performance of Sesquialtera ca. ܨڑڍڑڍĜÿ܉ڑڒڑڍݎܷàŏŧŧŲĪƣ܉-ܶrĪƸƣŏĜÿŧ-'ŏƫƠŧÿĜĪŰĪŲƸÿŲģrĪƸƣŏĜÿŧŧǣ-'ŏƫƫżŲÿŲƸ-NĪ-Űŏżŧÿƫ܉ܷàŏŧŧŲĪƣ܉-ܶ1/4ŊĪ-¼ǝżܫhĪŲŃƸŊÿƣ-¦ĪǜŏƫŏƸĪģ܈-NÿŲģĪŧÿŲģ-ƸŊĪ-NĪŰŏżŧÿ܉ܷhĪǝŏŲ܉-ܶŲ-NÿƣŰżŲǣÿŲģrĪƸĪƣ- ŏŲƣÿŊŰƫܹƫ-Ơ-܉ڒړtż-܉ڔܷ żŊŲ܉-ܶ żŰƠŧĪǢ-NĪŰŏżŧÿƫ܉-RŤŏܫNŏŧŧ-GƣÿƠŊƫÿŲģrĪƸƣŏĜ-®ƠÿĜĪƫ܉ܷ żŊŲ܉-ܶrĪƸƣŏĜÿŲģ- NǣƠĪƣŰĪƸƣŏĜ-'ŏƫƫżŲÿŲĜĪŏŲ-ƸŊĪrĪŲǀĪƸƸżżłrżǭÿƣƸܹƫ-®ǣŰƠŊżŲǣŏŲ-G-ŰŏŲżƣ܉f܉ڌڑڑݎܷ żŊŲ܉-ܶ1/4ŊĪ-'ƣÿŰÿƸŏǭÿƸŏżŲ- żł-NǣƠĪƣŰĪƸƣŏĜ żŲǵŧŏĜƸƫŏŲ-ƸŊĪ-®ĜŊĪƣǭżżł-ĪĪƸŊżǜĪŲܹƫtŏŲƸŊ-®ǣŰƠŊżŲǣ܉ܷ-ĪƣŤƸżŧģ܉-ܶðǀƣ-®ÿƸǭƸĪĜŊŲŏŤģĪƣ-NĪ-ŰŏżŧĪŲěŏŧģǀŲŃŏŲfŧÿǜŏĪƣƫżŲÿƸĪŲrżǭÿƣƸƫ܉ܷÿŲģ-£ŧǣŲ܉-*Die Hemiole in der Instrumentalmusik von Johannes Brahms*. More general studies relevant in this area include the classic Apel, *¼ŊĪtżƸÿƸŏżŲżł-£żŧǣƠŊżŲŏĜrǀƫŏĜ܍-ڐڐږڑܬڐڐڙ-* ÿƫǝĪŧŧÿƫ-®ĜŊÿĜŊƸĪƣ܉-ܶ¦ŊǣƸŊŰÿŲģhŏŲĪÿƣ-Ųÿŧǣƫŏƫ܉ܷfƣÿŰĪƣ܉-*The Time of Music*܉-NÿƫƸǣ܉-*Meter as Rhythm*, Maurer ðĪŲĜŤ܉-*Vom Takt*, ÿŲģ-ƠÿƣƸŏĜǀŧÿƣŧǣrŏƣŤÿ܉-*Metric Manipulations in Haydn and Mozart.*

ڕڔڍܷ-܉SSżżŤ-܉ŊǣƸŊŰŏĜÿ¦ŧĪŰĪŲƸÿ-ܶ/܉ƣŏƫƸżǢĪŲżƫ- -ڻڵڵ

lationships, eventually resulting in prolonged phases of polymensural structures in music by Johannes Ciconia and his contemporaries. For Baroque music Channan Willner distinguishes between "cadential hemiolas," "contraction hemiolas," "expansion hemiolas," and "overlapping hemiolas" in Handel and Bach, thus making it clear how diverse and sometimes formative hemiolic structures could be in the eighteenth century.118 Further elaborations of hemiolas in the classical style and the nineteenth century arise from "dance" movements, particularly the courante and minuet, and eventually result in famous examples of metric dissonance in the Minuet from Mozart's Symphony G minor K. 550, the first and third movements of Beethoven's Eroica, Schumann's piano cycles, Chopin's Fourth Ballade, as well as Brahms's late Klavierstücke and the first movement of his Third Symphony.119

In the most complex of these examples, such as the Chopin, more than two metric layers are established, anticipating the subsequent practice of superimposing structures in differing meters in the twentieth century. More generally, one can distinguish two main tendencies in the unprecedented wealth of rhythmic-metric dimensions since 1900 that are conjoined in the late music of Ligeti. On the one hand, the metric organization might tend to increase in complexity by means of multiple superimpositions, up to the point at which they transform into a texture that we can no longer conceive of metrically in any specific sense. On the other hand, metric structures can be somewhat overemphasized, be it through clear tonal or registral structuring, that allows their friction, interaction, and internal dynamics to be perceived.120 In works such as Charles Ives's Fourth Symphony (1910–16)14 and Universe Symphony (1911–28), Karlheinz Stockhausen's Gruppen (1955–56), or Bernd Alois Zimmermann's Die Soldaten (1958–64), we can witness both tendencies in permanent interaction with the polyphony of meter and/or tempo exposed and concealed at irregular intervals. In the Universe Symphony, Ives conceived of a "basic unit," a macro-metric period symbolizing the "pulse of the universe," that is cyclically overlaid with ever new metric layers until a structure of twenty different layers is reached. The arrangement for percussion orchestra entitled Life Pulse by Larry Austin (1984) uses different tempo layers to realize this polymeter for practical reasons.12 The pulses are sent to the players via click track. In his Memos, Ives worked intensively on questions of the feasibility and perceptibility of such stratifications:

The listener, if he tries enough, will get the composite effect that's wanted, while each player concentrates on his particular meter, hearing the others as secondary sounds, at least while practising [sic] them. […] if the different meters are each played by groups of different sounding units, the effect is valuable, and I believe will be gradually found an important element in deepening and enriching all of the depths of music, including the emotional and spiritual."43

\*\*\*

<sup>118</sup> Willner, "The Two-Length Bar Revisited: Handel and the Hemiola."

<sup>119</sup> See Ligeti and Boulaine, "Stilisierte Emotion," 54. The passage from Chopin's Fourth Ballad (mm. 175–178) referred to by Liget is also dealt with in an essay by Douglas R. Hofstadter that obviously pointed Ligeti to the respective passage: Hofstadter, Metamagical Themas, 179 (the article first appeared in 1982 in Scientific American).

<sup>120</sup> See Utz and Nonnenmann, "Rhythmus, Metrum, Tempo" for an overview.

<sup>121</sup> See, among others, Gail, Charles E. Ives' Fourth Symphony, 308–434 and Gail, "Die 4. Symphonie von Charles Ives," 73-87, and Utz, "Bernd Alois Zimmermann und Charles Ives," 126-129.

<sup>122</sup> See Austin, "The Realization and First Complete Performances of Ives' Universe Symphony."

<sup>123</sup> lves, Memos, 125.

Both the systematic considerations of summation meter and metric dissonance as well as Ʒ'nĩ-'nŎƪƷŻƢŎěþŦĩǡþůƟŦĩƪ-ŻŁěŻűǴŦŎěƷŎűłůĩƷƢŎě-ŁŻƢůþƷŎŻűƪ-ŎűàĩƪƷĩƢűůƿƪŎěůþţĩ-ŎƷěŦĩþƢ-Ʒ'nþƷ- þěŻůƟŦĩǡ- ƢĩǴŦĩěƷŎŻű-ŻŁ- Ʒ'nĩƪŎůƟŦĩ-'nĩůŎŻŦŎě-ƟƢŎűěŎƟŦĩ-ŻŁ-ŠƿǡƷþƟŻƪĩĢ-ŻƢƪƿƟĩƢŎůƟŻƪĩĢůĩƷƢŎě- ƟĩƢŎŻĢŎěŎƷŎĩƪ-Ŏƪ- ŁŻƿűĢ-Ŏű-ǛþƢŎŻƿƪĩƢþƪþűĢěƿŦƷƿƢþŦěŻűƷĩǡƷƪܒȃĩƪĩ-ƟƢŻƟĩƢƷŎĩƪ- Ʒ'nƿƪěþű-ĚǢűŻ- ůĩþűƪ-ĚĩěŻűƪŎĢĩƢĩĢþƪƟĩěŎȀěþƪƟĩěƷ-ŻŁ-ƢĩěĩűƷůƿƪŎě܌þŦƷ'nŻƿł'n-ƷǜĩűƷŎĩƷ'nܮěĩűƷƿƢǢěŻůƟŻƪĩƢƪ܌-ŻǼ Ʒĩű-ŎűƪƟŎƢĩĢ- ĚǢ- ®ƷƢþǛŎűƪţǢþűĢþƢƷżţ܌-ŻDz ŁĩƢþű ĩǡƷƢþŻƢĢŎűþƢǢ- ǛþƢŎĩƷǢ-ŻŁ ĩǡþůƟŦĩƪܒrþűǢ- łĩűƢĩƪ-ŻŁ-ŁƢŎěþűůƿƪŎěƪĩĩů-ƷŻ-ŎůƟŦǢěŻůƟþƢþĚŦĩ-ƷǢƟĩƪ-ŻŁƪƿƟĩƢŎůƟŻƪŎƷŎŻű-ŻŁůĩƷĩƢܮŦŎţĩ-Ɵĩ-ƢŎŻĢŎěŎƷŎĩƪþƪþ-ŁƿűĢþůĩűƷþŦ-ƟƢĩƢĩơƿŎƪŎƷĩ-ŁŻƢůƿƪŎěůþţŎűł܌ĩǛĩű-Ʒ'nŻƿł'n-ĚŻƷ'n-Ʒ'nĩěŻűěĩƟƷƿþŦܮ ization of the performer and the perception of the listener may be more focused on the patterns resulting in the summation meter than on the superimposition itself. At this point, it seems important to stress that, in contrast to a strong focus on "emic" approaches, that is, on the musical structures as imagined and conceived by the performing musicians (and local audieněĩƪܤ-ŎűĩƷ'nűŻůƿƪŎěŻŦŻłǢ܌þű-ŎűƷĩƢěƿŦƷƿƢþŦþƟƟƢŻþě'nþŎůŎűłþƷłŦŻĚþŦ-'nŎƪƷŻƢŎěþŦþűĢ-Ʒ'nĩŻƢĩƷŎěþŦ- ƟĩƢƪƟĩěƷŎǛĩƪůƿƪƷłŻ-ĚĩǢŻűĢ-Ʒ'nĩƪĩ-ƢĩƪƷƢŎěƷŎǛĩ-ƟƢĩůŎƪĩƪ܌þƪrŎě'nþĩŦ-¼ĩűǬĩƢ-'nþƪůŻƪƷűŻƷþĚŦǢ- done in his essays exploring musical temporality by systematically referring to repertoire of ĢŎDz ŁĩƢĩűƷěƿŦƷƿƢĩƪþűĢ-'nŎƪƷŻƢŎěþŦ-ƟĩƢŎŻĢƪڝڛښܒà'nŎŦĩ-ŎƷ-ŎƪěŦĩþƢ-Ʒ'nþƷƪŻůĩ-ŻŁ-¼ĩűǬĩƢܼƪþƢłƿůĩűƷƪ- ƢŎƪţ-ŻǛĩƢłĩűĩƢþŦŎǬþƷŎŻű܌-'nŎƪ-ƷǢƟŻŦŻłǢ-ŻŁůƿƪŎěþŦ-ƷĩůƟŻƢþŦŎƷŎĩƪ-ܣƷ'nŻƿł'n-ŎƷěŻűƪƟŎěƿŻƿƪŦǢ-Ŧþěţƪþ- ƷǢƟĩ-Ʒ'nþƷěŻƿŦĢþƟƟŦǢ-ƷŻ-ƟŻŦǢůĩƷĩƢ-ŻƢ-ƟŻŦǢƷĩůƟŻܤǜŻƿŦĢƪƿƢĩŦǢůþţĩþłŻŻĢƪƷþƢƷŎűł-ƟŻŎűƷ-ŁŻƢ- ƢĩƷ'nŎűţŎűłůƿƪŎěþŦ-ƷŎůĩ-Ŏű-ĚƢŻþĢĩƢ-ƷĩƢůƪ-Ʒ'nþű-'nþƪ-Ěĩĩű-ĢŻűĩƿűƷŎŦűŻǜܒ

A dimension of polymeter that may be further explored in the intercultural universe is the idea of musical spatiality as it emerges particularly strongly in polymetric music of the twen-ƷŎĩƷ'něĩűƷƿƢǢǜŎƷ'n-SǛĩƪ܌rþ'nŦĩƢ܌ðŎůůĩƢůþűű܌-ŻƢhŎłĩƷŎ܌-ĚƿƷǜ'nŎě'nþŦƪŻ-ƢĩƪŻűþƷĩƪǜŎƷ'n-ŁƢŎěþű- łĩűƢĩƪ܌þƪ-Ʒ'nĩǢþƢĩ-ŻǼ Ʒĩűě'nþƢþěƷĩƢŎǬĩĢ-ĚǢþűþűƷŎܮƷĩŦĩŻŦŻłŎěþŦ܌ơƿþƪŎܮƪƟþƷŎþŦ-ĚþƪŎě-ƟƢŎűěŎƟŦĩڞڛښ ǜŎƷ'nǜ'nŎě'nhŎłĩƷŎܼƪ-ܹŁƢŻǬĩű-ƷƿƢĚƿŦĩűěĩܺ-'nþƪěŦŻƪĩþDzȀűŎƷŎĩƪܒ-/Ǜĩű-ŎűůŻƪƷ-ŻŁ-Ʒ'nĩ-ŻƷ'nĩƢĩǡþůƟŦĩƪ- discussed here, metric confusion produces a temporal delay, a congestion of energy, and sometimes a momentary stasis, which, however, is not always to be understood as a tension that ƢĩơƿŎƢĩƪ-ƢĩƪŻŦƿƷŎŻűܒȃƿƪ-Ʒ'nĩěŻűěĩƟƷ-ŻŁ-ܹůĩƷƢŎě-ĢŎƪƪŻűþűěĩܺƪ'nŻƿŦĢ-ƢĩþƪŻűþĚŦǢ-Ěĩ-ŦŎůŎƷĩĢ-ƷŻ- the three or so centuries of common-practice tonal music.

SűþűǢěþƪĩ܌-Żűĩěþű-Ʒþţĩ-Ʒ'nĩ-'nŎƪƷŻƢǢ-ŻŁ-ƟŻŦǢůĩƷĩƢþƪ-ƟƢŻŻŁ-ŻŁ-Ʒ'nĩ-Ʒ'nĩƪŎƪ-ƢĩƪƿŦƷŎűł-ŁƢŻů-Ʒ'nĩ- considerations in Chapter II.1 that music history, especially from an intercultural perspective, ŎƪűŻƷþ-ŦŎűĩþƢ-ƟƢŻłƢĩƪƪŎŻű- ŁƢŻůƪŎůƟŦĩ- ƷŻůŻƢĩěŻůƟŦĩǡ- ŁŻƢůƪܒű- Ʒ'nĩěŻűƷƢþƢǢ܌-ŎƷ-ĚĩěŻůĩƪ- ěŦĩþƢ-ŁƢŻů-Ʒ'nĩĩǡþůƟŦĩƪ-ĢŎƪěƿƪƪĩĢ-'nĩƢĩ-Ʒ'nþƷ-ܫþƪ-ŎűůþűǢ-ŻƷ'nĩƢþƢĩþƪ-ŻŁůƿƪŎě-ܫ-Ʒ'nĩ-ĢŎDz ŁĩƢĩűƷ- ěŻűěĩƟƷƪþűĢůƿƪŎěþŦěŻűƷĩǡƷƪ-ŻŁůĩƷƢŎěěŻűǴŦŎěƷþűĢ-ŻǛĩƢŦþǢƪ-ĢĩƪěƢŎĚĩþűĩƷǜŻƢţ-ŻŁ-ƢĩŁĩƢĩűěĩƪ- that embody the most diverse, sometimes unexpected and surprising connections as they were ĢƢþǜűþłþŎűþűĢþłþŎű-ĚǢěŻůƟŻƪĩƢƪƪƿě'nþƪhŎłĩƷŎ-Ŏű-Ʒ'nĩ-ƷǜĩűƷŎĩƷ'nþűĢ-ƷǜĩűƷǢܮȀƢƪƷěĩűƷƿƢŎĩƪܒ-It is more than a mere *bon mot*-ƷŻƪþǢ-Ʒ'nþƷ-ƟŻŦǢůĩƷĩƢěŻűƪƷŎƷƿƷĩƪþţŎűĢ-ŻŁ-ܹůĩƷƢŎě-ĢŎƪƪŻűþűěĩܺ-Ŏű- the structure of music history.

ڸڶڵ- -RĪĪ-¼ĪŲǭĪƣ܉-ܶ ƣżƫƫܫ ǀŧƸǀƣÿŧ-¼żƠżŧżŃǣżłrǀƫŏĜÿŧ-¼ŏŰĪܷÿƫǝĪŧŧÿƫ-ƸŊĪ-ĪÿƣŧŏĪƣ-ܶ¼ĪŰƠżƣÿŧ-¼ƣÿŲƫłżƣŰÿƸŏżŲƫŏŲ- Cross-Cultural Perspective."

ڹڶڵ See Arom, *African Polyphony and Polyrhythm*܉-ړڍ

### 3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning

A phenomenon crucial for the perception of new music, and which is featured prominently in Helmut Lachenmann's sound typology, is the transition between structure and texture: the more information is conveyed at once in a musical context, the more it is perceived in terms of "global" characteristics – that is, structure (conceived as an interaction of individual sound elements or "tamilies") morphs into texture (in which one global characteristic dominates) – and the reverse process is, of course, equally relevant. Although this principle was particularly wellknown and much explored in "sound composition" during the 1960s, it plays a certain role in listening to almost any polyphonic or multi-layered music. Complex and dazzling musical stratification was derived by many composers in the twentieth century from the legacy of Romantic orchestral magic (→ VI.1). Such a "dialogue" between layers can give rise to a morphological vividness that communicates itself directly, even without the framework of tonal harmony.

In the music that emerged from the fault lines of cultural globalization from the end of the nineteenth century, it was, as we have seen, a much-used procedure to conceptualize the differences between cultural idioms in the form of such a layered structure: groups of instruments and/or musical timbres were often arranged "culturally" (and usually differing compositional techniques applied to such groups mirrored this cultural segregation). In Tan Dun's Ghost Opera (1994), the string quartet was culturally "identified" by the C# minor prelude from volume 1 of Bach's Well-Tempered Clavier, the Chinese pipa by the Chinese folk song Xiao bai cai. The more such musically "cultural" layers are combined, the more they become "anonymized" in a global sound and dissolve into a "metacultural" texture, or else, if necessary, a "secondary" texture might develop out of hierarchies in which certain strata follow others or are clearly subordinate to them (→ III.5). A fundamental criticism of such processes could be made based on the argument that every stratification ultimately reflects a "politics of polarity" that Homi K. Bhabha sees overcome only by a "third space of articulations" in which cultural hybridity can arise (→ I.3).126 Is it possible to create such a "third space" in music?

### Chaya Czernowin's Excavated Dialogues - Fragments: Is Cultural Hybridity Musically Representable?

In Chaya Czernowin's Excavated Dialogues – Fragments (2003–04) for seven Chinese and nine Western instruments, cultural hybridity as a potential is presupposed, but at the same time deliberately limited. Using the compositional principle of fragmentation, the composer intends from the outset to leave no space for cultural idiomatics, even where it should appear unintentionally. The original cultural codes of the instruments can at best flash up as vague intuitions, characterized by instrument-specific performance gestures, for example. Czernowin's antiessentialist approach first appears in the division of the ensemble into three groups – wind instruments, plucked instruments, strings - each containing both Chinese and European instruments. Indeed, the instruments are not subject to any polarized categorial separation. The four movements of different lengths, with a total duration of about ten minutes, are based on various "dialogues" within these groups: in the first movement - hardly perceptible - between the mouth organ sheng and the bass trombone, in the second, the most complex and longest movement, initially between the high bamboo transverse flute bangai and the oboe as well as

<sup>126</sup> Bhabha, The Location of Culture, 38.

ĚĩƷǜĩĩű-Ʒ'nĩţűĩĩ-ȀĢĢŦĩ*erhu* and the violin, later between the dulcimer-zither *ǢþűłơŎű* and the ƟŎþűŻ܌-Ŏű-Ʒ'nĩ-Ʒ'nŎƢĢůŻǛĩůĩűƷ-ĚĩƷǜĩĩű-Ʒ'nĩ-ĚþůĚŻŻ-ǴŦƿƷĩ*dizi*þűĢ-Ʒ'nĩ-ܣàĩƪƷĩƢűܤ-ǴŦƿƷĩ܌-ŦþƷĩƢ-Ʒ'nĩ- trombone, and in the fourth movement again between *erhu* and violin.

It is obvious that Czernowin does not trust the concept of a balanced dialogue between equal partners and, consequently, cut and rearranged the dialogue sections during the compoƪŎƷŎŻűþŦ-ƟƢŻěĩƪƪܒłþŎűƪƷ-Ʒ'nŎƪ-ĚþěţłƢŻƿűĢ܌-Żűĩěþű-'nĩþƢþű-ŎűěƢĩþƪŎűł-ܹƷþŦţŎűłþƷěƢŻƪƪ-ƟƿƢƟŻƪĩƪܺ-Ŏű-Ʒ'nĩƪĩěŻűĢůŻǛĩůĩűƷ܋þƪĩŦŁܮěŻűƷþŎűĩĢ܌ĩŦĩłþűƷŦǢěŻůƟŦĩůĩűƷþƢǢ-ŻƟĩűŎűłěþĢĩűǬþ-ŻŁ- 'nŎűĩƪĩþűĢ-/ƿƢŻƟĩþűƪƷƢŎűł-ŎűƪƷƢƿůĩűƷƪ-ܣ*erhu*, *zheng*܌ƪƷƢŎűł-ƷƢŎŻ܌-/ǡږڐܒڔݑܒþܤ-Ŏű-Ʒ'nĩ-ȀƢƪƷ-Ʒ'nƢĩĩ- ůĩþƪƿƢĩƪ-ŎƪƪŻŻű-ŁŻŦŦŻǜĩĢ-ĚǢþǜŎűĢ-ŎűƪƷƢƿůĩűƷƪĩěƷŎŻű-ܣůů܌ژڑܫڐڐݑܒ-/ǡږڐܒڔݑܒĚܤ-Ŏűǜ'nŎě'n-Ʒ'nĩ- *bangdi* þűĢ- ŻĚŻĩ- ƷƢǢ- ƷŻ- ĢƢŻǜű ĩþě'n- ŻƷ'nĩƢ- ŻƿƷ- ŦŎţĩ- ܹþűłƢǢ ƪƟĩĩě'nܺ þűĢ ǜŎƷ'n- ܹþłłƢĩƪƪŎŻűܺ-ܣŎűܮ ƪƷƢƿěƷŎŻűƪ-Ŏű-Ʒ'nĩƪěŻƢĩ܌ů܌ܤڒڐݑܒ-ĚƿƷ-Ŏű-Ʒ'nĩĩűĢƪǢűě'nƢŻűŎǬĩ-Ŏűþ-ܹěþĢĩűěĩܮŦŎţĩܺ-Ɵ'nƢþƪĩܒȃĩ-ĢŎþܮ logue layer between the *ǢþűłơŎű* and the piano, starting *ppp* þƷůĩþƪƿƢĩ-܌ڏڑ-ȀűþŦŦǢ-ĢŎƪþƟƟĩþƢƪ- Ŏűþ-ȀĩŦĢ-ŻŁ-ƟƿƢĩƿűƟŎƷě'nĩĢƪƷƢŎűłűŻŎƪĩ-ĚĩŁŻƢĩ-ƢĩƪƿůŎűł-ŁƢŻůůĩþƪƿƢĩ-ڗڒ-ܣ/ǡږڐܒڔݑܒě܌ܤǜ'nĩƢĩ-Ʒ'nĩ- ŎűƪƷƢƿůĩűƷƪűŻǜ-ܹþłłƢĩƪƪŎǛĩŦǢܺ-ŎűƷĩƢƢƿƟƷ-ŻűĩþűŻƷ'nĩƢ-ܣűŻƷĩ-Ŏű-Ʒ'nĩƪěŻƢĩ܌ů܌ܤڗڒݑܒƪƿƢƢŻƿűĢĩĢ-ĚǢ- a "deafening" tutti chord that eventually silences everything.

Sű-Ʒ'nŎƪǜþǢ܌- ǬĩƢűŻǜŎűĩǡƟŦŎěŎƷŦǢ-ƷƢŎĩƪ-ƷŻ-ĢŎƪƢƿƟƷ-Ʒ'nĩ-ŎĢĩűƷŎƷǢ-ĢŎƪěŻƿƢƪĩ܋-ܹȃĩ-ĢŎDz ŁĩƢĩűƷ-ĢŎþlogues between alternating instruments merge into one another and decompose one another – as though they had been buried in the ground for a long time where they had lost their original separate identities."ڠڛښȃĩěŻůƟŻƪĩƢĩǡƟŦþŎűĩĢ-Ʒ'nþƷ-Ŏű-Ʒ'nŎƪ-ƟƢŻěĩƪƪ܌ƪ'nĩ-ĢĩŦŎĚĩƢþƷĩŦǢ-ŎłűŻƢĩĢ-Ʒ'nĩ- /þƪƷܮàĩƪƷěŻűǴŦŎěƷ-ƷĩůƟŻƢþƢŎŦǢ-Ŏű-ŻƢĢĩƢ-ƷŻĩůƟ'nþƪŎǬĩ-Ʒ'nĩ-ܹþĚǢƪƪܺ-ĚĩƷǜĩĩű-/þƪƷþűĢàĩƪƷ-Ŏű-Ʒ'nĩ- collision of the fragmented material.ڡڛښ-R'nĩƪĩĩůƪ-ƷŻǜþűƷ-ƷŻůþţĩ-ŎƷþƿĢŎĚŦĩ-Ŏű-Ʒ'nĩůƿƪŎě-Ʒ'nþƷ- 'nǢĚƢŎĢŎǬþƷŎŻű-ܫ-Ŏű-Ʒ'nĩƪĩűƪĩ-ŻŁ-£ĩƷĩƢƿƢţĩܼƪěƢŎƷŎơƿĩ-ŻŁ-Ʒ'nŎƪ-ƷĩƢů-ݑދܣSڢڛښܤڒܒ – contains an element of violence, and intends to let the seemingly neutral-objective observer position collapse, from ǜ'nŎě'n-Ʒ'nĩ-ŻƟƟŻƪŎƷĩƪþƟƟĩþƢ-ƷŻ-ǴŦŻǜ-ŎűƷŻĩþě'n-ŻƷ'nĩƢűþƷƿƢþŦŦǢܒ

ȃĩ- ƟĩƢěĩŎǛĩĢ ƪŻűŎě ĩǡƟĩƢŎĩűěĩƪ܌ űŻƷ- ŦĩþƪƷ- ĚþƪĩĢ- Żű- ܹłĩƪƷƿƢþŦ- ƷǢƟĩƪܺ- Ŏű- ¦ŻĚĩƢƷ- NþƷƷĩűܼƪ- senseڙڜښ-ݑދܣSSS܌ܤڔܒþƟƟĩþƢ-ƷŻ-ĚĩěŻűűĩěƷĩĢ-ŎűþěþƿƪþŦě'nþŎű܌ǜŎƷ'nƪǢűƷþěƷŎěěŻűƪĩơƿĩűěĩƪ܋-ƷŎů-ĚƢþŦ-ĚŦĩűĢŎűł܌-ĚþŦþűěĩĢ-ĢŎþŦŻłƿĩƪ܌-ŻƢ-ŎűĢĩƟĩűĢĩűƷůŻűŻŦŻłƿĩƪ܌-ĢŎǛĩƢłĩűěĩ܌ěŻűǴŦŎěƷƪ܌-ŻƢĩǛĩű- aggression between the instrumental or sound groups are detectable spontaneously and intuitively. Czernowin's archaeological idea of unearthing remnants of a former dialogic practice can be associated with the pre-linguistic character that Hatten presupposes for musical gestures as a whole and on which their immediacy rests.ښڜښ

űĩůþǢ-ŻĚŠĩěƷ-Ʒ'nþƷƪĩůþűƷŎěŎǬþƷŎŻűƪ-ŻŁůƿƪŎěþŦ-ŻƢłþűŎǬþƷŎŻű-Ʒ'nƢŻƿł'n-ŁƢþłůĩűƷþƷŎŻűþűĢ- ůŻűƷþłĩþƢĩűŻƷ-ĢŎƢĩěƷŦǢěŻůƟƢĩ'nĩűƪŎĚŦĩ-ƷŻ-Ʒ'nĩƪþůĩĩǡƷĩűƷþƪ-Ʒ'nĩłĩƪƷƿƢþŦ-ŦĩǛĩŦƪܒȃĩǢ-ƢĩƟƢĩƪĩűƷþěŻűěĩƟƷƿþŦƪƟ'nĩƢĩ-ŻŁþĚƪƷƢþěƷŎŻű܌þƷ-ŦĩþƪƷ-ŦŎůŎƷĩĢ-Ŏű-ŎƷƪĩDz ŁĩěƷŎǛĩűĩƪƪ-ĚǢ-Ʒ'nĩ-쯳űŎƷŎǛĩ-ƢĩŦܮ evance of hierarchically salient events. Although the attempt made by Czernowin to question ěƿŦƷƿƢþŦ-'nŎĩƢþƢě'nŎĩƪůþǢ-ĚĩƪƿěěĩƪƪŁƿŦþƷ-ȀƢƪƷƪŎł'nƷ܌-ŎƷěþűűŻƷ-ƟƢĩǛĩűƷ-Ʒ'nĩ-ƢĩƪƿŦƷŎűłǜŻƢţ܌-ŎƷƪţĩǢ- events, and its arrangement of sound elements building a new hierarchical environment that ŻǛĩƢŦþǢƪ-Ʒ'nĩěƿŦƷƿƢþŦŦǢ-'nǢĚƢŎĢƪƟþěĩ-ŻŁ-ŎĢĩűƷŎƷŎĩƪܒȃŎƪ-ƢþŎƪĩƪ-Ʒ'nĩơƿĩƪƷŎŻű-ŻŁǜ'nĩƷ'nĩƢ-'nþƢůŻűŎě܌tonal, and rhythmic models, which refer to certain listening and intellectual traditions (such þƪěŻűƷĩůƟŻƢþƢǢ܌ěŦþƪƪŎěþŦ܌- 'nŎűĩƪĩ܌-ŻƢ-ƟŻƟƿŦþƢůƿƪŎěܤ-ĢŻűŻƷþłþŎű-ƟƢŻĢƿěĩþűĩǜ-'nŎĩƢþƢě'nŎěþŦ-

ڻڶڵ- ǭĪƣŲżǝŏŲ܉-ܶ/ǢĜÿǜÿƸĪģ-'ŏÿŧżŃǀĪƫ-ܨ-FƣÿŃŰĪŲƸƫܷ

ڼڶڵ- ǭĪƣŲżǝŏŲ܉-ܶ'Īƣ-'ŏÿŧżŃÿŧƫ-ĪŏŲ-ŤżŰƠżƫŏƸżƣŏƫĜŊĪƫrżģĪŧŧ܉ܷ-ڌړڍܨڔڒڍ

ڑڑܨڐڑ-܉*Hybridity Cultural*-܉ǀƣŤĪ- -ڽڶڵ

ڴڷڵ See Hatten, *Interpreting Musical Gestures*.

ڌڍڍܨڔڌڍ-܉Sěŏģ- -ڵڷڵ

Example 5.17: Chaya Czernowin, Excavated Dialogues – Fragments, second movement, a. mm. 1–3 (string instruments); b. mm. 7–19 (bangdi/oboe); c. mm. 37–42 (tutti)

Copyright © 2004 by Schott Music GmbH & Co. KG, Mainz

discussion of power and exclusion. Without them, however, musical articulation is hardly possible - a productive paradox that also applies to the following example.

### Isabel Mundry's Ich und Du: Identity Riddle

Isabel Mundry sees her music as permeated by intangible layers of meaning characterized by blurriness, ambivalence, doubt, and suspension of time.133 In Mundry's music, meaning arises from fleeting, passing, and unfinished states of sound, time, and space. If this aesthetic stance seems to resist any signification of music in a sociopolitical sense, a tendency in twentieth-century music criticized by Susan McClary and many other scholars, 33 it nevertheless goes far beyond a simplistic ideal of autonomy. Mundry evokes Nelson Goodman's concept of metaphorical exemplification134 as a link to the desire in her music to open a horizon beyond "pure listening," to create musical situations that can be related to experiences, recollections, or emotions from everyday life. She quotes the piano accompaniment of the song Die Kräke from Schubert's Winterreise to illustrate this principle: the piano figure creates "an experiential correspondence between our sensory perception of the music and what we experience during a walk when birds circle above our heads."35 More formally than Mundry, Christian Thorau describes the transfer of Goodman's concept to musical contexts as a "mode of reference that is linked to the exhibited sensual properties of the sign, i.e., implanted in the music [Mundry's reference to Schubert's piano accompaniment], while at the same time transcending it in the manner of a metaphor [the correspondence between musical structure and the experience of circulating birds]."36 However, Mundry's intention is to relate to experiences of daily life without resorting to conventional musical gestures, figures, or topics such as Schubert's. Her attitude thus blends in with the image of numerous compositional approaches since the 1970s that combine a demand for their social relevance with the insistence on a certain degree of auto-referentiality (→ I.2).

The title of Mundry's 2008 composition Ich und Du for piano and orchestra clearly indicates her intention of referentiality. It stands for the construction and deconstruction of identity, the theme of the essay Watashi to nanji (I and You) by the Japanese philosopher Kitaro Nishida (1870-1945), first published in 1932, which Mundry references. 33 In his texts, Nishida, a princi-


<sup>132</sup> See Hiekel, "Uber Isabel Mundry."

<sup>133</sup> See McClary, "Terminal Prestige" and Born and Hesmondhalgh, "Introduction: On Difference, Representation, and Appropriation in Music."

<sup>134</sup> See Goodman, Languages of Art.

<sup>135</sup> Mundry, Resonanzverhältnis zwischen lch und Gesellschaft, 21 ("erzeugt […] eine Erfahrungskorrespondenz zwischen dem, was wir in der Musik sinnlich wahrnehmen, und dem, was wir von einem Spaziergang kennen, nämlich daß über unseren Köpfen Vögel kreisen.").

pal exponent of the Kyoto school, explores classical topics of Western philosophy such as logic, ƪƿĚŠĩěƷܮŻĚŠĩěƷ-ĢŎě'nŻƷŻůǢ܌ţűŻǜŦĩĢłĩ܌þűĢ-ŎĢĩűƷŎƷǢ܌ǜŎƷ'n-'nŎƪ-ŦþƷĩƢ-ƷĩǡƷƪ-ܣþǼ ƷĩƢ-*I and You*ܤ increas-ŎűłŦǢ-ƢĩǴŦĩěƷŎűł-ŻűěƢŻƪƪܮěƿŦƷƿƢþŦ-Ʒ'nŻƿł'nƷ-ȀłƿƢĩƪ-Ŏű-Ʒ'nĩƪĩ-ȀĩŦĢƪܒȃĩţĩǢ-ŎĢĩþƪ-ŻŁ-*I and You* are ƪƿěěŎűěƷŦǢƪƿůůþƢŎǬĩĢ-ĚǢ-¦ŻŦŁ-/ŦĚĩƢŁĩŦĢ܋

¼ŊĪ- ƢǀĪƫƸŏżŲ żł- ƸŊĪ ƣĪŧÿƸŏżŲƫŊŏƠ ěĪƸǝĪĪŲ- S ÿŲģ æżǀ ŏƫ ģĪÿŧƸ ǝŏƸŊ ÿƸ ģŏdz łĪƣĪŲƸ ŧĪǜĪŧƫ- ܞܟ-R ŏŲĜĪ- ǝĪ-ĪŲĜżǀŲƸĪƣ-ƸŊĪÿěƫżŧǀƸĪ-ŲĪŃÿƸŏżŲÿƸ-ƸŊĪěżƸƸżŰżłżǀƣƫĪŧłܫģĪƸĪƣŰŏŲÿƸŏżŲ܉ǝĪ-ĪŲĜżǀŲƸĪƣŏŲ- żǀƣƫĪŧǜĪƫ-ƸŊĪÿěƫżŧǀƸĪżƸŊĪƣ܉ǝŊĪƣĪÿæżǀżƣÿŲÿěƫżŧǀƸĪ-ƸŊĪƣŏƫÿŧƣĪÿģǣ-ŃŏǜĪŲǝŏƸŊŏŲ-ŰǣƫĪŧł܉ƫż-ƸŊÿƸ-ƸŊĪÿěƫżŧǀƸĪ-ƸŊĪƣŏŲ-ŰǣƫĪŧłżƠĪŲƫ-ǀƠÿĜĜĪƫƫ-Ƹż-ƸŊĪæżǀżł-ƸŊĪżƸŊĪƣ-ƠĪƣƫżŲ-¼ŊÿƸŏƫ܉-ƸŊĪ- ÿěƫżŧǀƸĪģŏdz łĪƣĪŲĜĪěĪƸǝĪĪŲ-SÿŲģæżǀěĪĜżŰĪƫÿŲŏŰÿƸĪģ܉ÿƫǝĪěżƸŊƣĪÿŧŏǭĪǝŏƸŊŏŲżǀƣƫĪŧǜĪƫ- the absolute Other, and thus I become I and You become You.ڞڙڗ

ȃƿƪ܌þƪ-Ŏű- ǬĩƢűŻǜŎűܼƪǜŻƢţ܌ěŻůƟŦĩǡ-Ɵ'nŎŦŻƪŻƟ'nŎěþŦܮþĩƪƷ'nĩƷŎě-ƟƢĩůŎƪĩƪþƢĩ-ŠƿǡƷþƟŻƪĩĢǜŎƷ'nþ- ƟƿƢĩŦǢ-ŎűƪƷƢƿůĩűƷþŦǜŻƢţ܌ǜ'nŎě'n܌-ŎűěŻűƷƢþƪƷ-ƷŻ-*Excavated Dialogues - Fragments*, is based on an ĩűƪĩůĚŦĩþűĢłĩűƢĩ-ܫ-Ʒ'nĩ-ƟŎþűŻěŻűěĩƢƷŻ-ܫǜŎƷ'nþ-ŦŻűłþűĢ-ŎűǴŦƿĩűƷŎþŦ-'nŎƪƷŻƢŎěþŦ-ĚþěţłƢŻƿűĢܒrƿűĢƢǢܼƪ-ŎűƷƢŻĢƿěƷŻƢǢ-ƷĩǡƷ-ƟŦþǢƪ-Ŏűþě'nþƢþěƷĩƢŎƪƷŎěǜþǢǜŎƷ'n-Ʒ'nŎƪ-ŎűƷĩƢŦŻěţŎűł-ŻŁ-Ɵ'nŎŦŻƪŻƟ'nŎěþŦܮƪĩůþűƷŎěþűĢůƿƪŎěܮŎůůþűĩűƷ-ŦĩǛĩŦƪ܋

ȃĩěŻůƟŻƪŎƷŎŻű-ŎƪűŻƷþĚŻƿƷþ-ĚŎŻłƢþƟ'nŎěþŦ-SþűĢæŻƿ܌-ĚƿƷ-ƢþƷ'nĩƢþĢĢƢĩƪƪĩƪ-Ʒ'nĩ-Sþƪþ-ƟŦþěĩ-ŻŁ- ěĩűƷĩƢĩĢ-ƟĩƢěĩƟƷŎŻűþűĢæŻƿþƪþ-ƟŦþěĩ-ŻŁ-ƟƢŻŠĩěƷŎŻűܒ-ܢ܍ܡȃĩ-ŁƢþůĩƪƿłłĩƪƷƪ-Ʒ'nŎűţŎűł-ŻŁ-Ʒ'nĩƪŻŦŻ- ŎűƪƷƢƿůĩűƷþƪ-Ʒ'nĩ-SþűĢ-Ʒ'nĩ-ŻƢě'nĩƪƷƢþþƪ-Ʒ'nĩæŻƿ܌-ĚƿƷ-Ʒ'nĩůƿƪŎě-ŎƪþĚŻƿƷƪ'nŎǼ ƷƪþűĢ-ƢĩŎűƷĩƢƟƢĩƷþtions, about demarcations, encroachments, attributions, or self-determination. In this respect, Ʒ'nĩ-ƟŎþűŻěþű-ĚĩěŻůĩæŻƿǜ'nŎŦĩ-Ʒ'nĩ-ŻƢě'nĩƪƷƢþƪƷþűĢƪ-ŻƿƷ-Ŏű-ŁƢŻűƷ-ŻŁ-ŎƷþƪþű-S܌-ŻƢ-ŎƷěþű-ĚĩěŻůĩ- alien to itself by mutating from intimate sound to an externally determined machinery.ڢڜښ

¼Ż þƟƟƢŻþě'n ƪƿě'n ůƿƪŎěþŦ- ƟƢŻěĩƪƪĩƪ܌ þ ůŻƢƟ'nŻƪǢűƷþěƷŎě þƟƟƢŻþě'nڙڝښ seems particularly þƟƟƢŻƟƢŎþƷĩ܋-Ʒ'nĩěŻűƷƢþƪƷ-ĚĩƷǜĩĩű-Ʒ'nĩěŻűěĩűƷƢþƷŎŻű-ŻŁ-Ʒ'nĩ-ŻǛĩƢþŦŦƪŻƿűĢ-ŻűþƪŎűłŦĩ-ƟŻŎűƷ-Ŏű- ƷŎůĩþűĢƪƟþěĩ܌þƪǜĩŦŦþƪ-Ʒ'nĩ-ܹĢƢŎǼ ƷŎűł-ŻƿƷܺ-ŻŁ-Ʒ'nĩƪŻƿűĢ-Ʒ'nƢŻƿł'n-Ʒ'nĩ-Ʒ'nƢĩĩþŦůŻƪƷ-ŎĢĩűƷŎěþŦ- ŻƢě'nĩƪƷƢþŦłƢŻƿƟƪ܌-Ʒþţĩ-Żű-Ʒ'nĩ-ŁŻƢěĩþűĢ-ƟƢĩěŎƪŎŻű-ŻŁ-Ɵ'nǢƪŎěþŦłĩƪƷƿƢĩƪܒȃĩěŻűűĩěƷŎŻű-ĚĩƷǜĩĩű- Ʒ'nĩƪĩ-ƷǜŻ-ĚþƪŎěĩǛĩűƷƪ܌ǜ'nŎě'nþŦƢĩþĢǢěŦĩþƢŦǢĩůĩƢłĩ-Żű-Ʒ'nĩ-ȀƢƪƷ-Ɵþłĩ-ŻŁ-Ʒ'nĩƪěŻƢĩ-ܣ/ǡ܌ܤڗڐܒڔݑܒ-Ŏƪ- completed by a third, which can be added to the other two events as an echo. Point, proliferation, and echo form an equally simple and productive material that almost forms the sole basis ŁŻƢ-Ʒ'nĩűĩþƢŦǢ-ܮڔڐůŎűƿƷĩǜŻƢţܒ

ڼڷڵ- -/ŧěĪƣłĪŧģ܉-ܶ/ŏŲŧĪŏƸǀŲŃ܉ܷ-ڍڍ-ܠܶ'ŏĪ-FƣÿŃĪ-ŲÿĜŊģĪŰßĪƣŊďŧƸŲŏƫǜżŲ-SĜŊ-ǀŲģ-'ǀǝŏƣģÿǀłǜĪƣƫĜŊŏĪģĪŲĪŲ-/ěĪŲĪŲěĪÿƣěĪŏƸĪƸ-ܟ܊ܞ-'ÿǝŏƣŏŰ-GƣǀŲģĪ-ǀŲƫĪƣĪƣ-®ĪŧěƫƸěĪƫƸŏŰŰǀŲŃÿǀłģŏĪÿěƫżŧǀƸĪtĪŃÿƸŏżŲƫƸżƷĪŲ܉-ƸƣĪdz łĪŲǝŏƣŏŲ-ǀŲƫ- ƫĪŧěƫƸÿǀłģÿƫÿěƫżŧǀƸ-ŲģĪƣĪ܉ǝżģǀƣĜŊŏŲ-ŰŏƣƫĪŧěĪƣěĪƣĪŏƸƫ-ĪŏŲ-'ǀěǭǝ-ĪŏŲÿěƫżŧǀƸ-ŲģĪƣĪƫ-ŃĪŃĪěĪŲŏƫƸ܉ƫż- ģÿƷƫŏĜŊģǀƣĜŊģĪŲÿěƫżŧǀƸ-ŲģĪƣĪŲŏŲ-ŰŏƣƫĪŧěƫƸ-ĪŏŲðǀŃÿŲŃǭǀŰ-'ǀģĪƣÿŲģĪƣĪŲ-£ĪƣƫżŲ-ĪƣƇdz łŲĪƸ-'ÿƫ-ŊĪŏƷƸ܉- ģŏĪÿěƫżŧǀƸĪ-'ŏdz łĪƣĪŲǭǭǝŏƫĜŊĪŲ-SĜŊ-ǀŲģ-'ǀǝŏƣģŧĪěĪŲģŏŃ܉ŏŲģĪŰǝŏƣěĪŏģĪŏŲ-ǀŲƫƫĪŧěĪƣģĪŲÿěƫżŧǀƸÿŲģĪƣĪŲ- ƣĪÿŧŏƫŏĪƣĪŲ-ǀŲģƫż-SĜŊ-SĜŊǝĪƣģĪ-ǀŲģ-'ǀ-'ǀǝŏƣƫƸܷܡ

ڽڷڵ- rǀŲģƣǣ܉-ܶ*Ich und Du*ܷ-ܠܶSŲģĪƣfżŰƠżƫŏƸŏżŲ-ŃĪŊƸ-Īƫ-ŲŏĜŊƸ-ǀŰ-ĪŏŲěŏżŃƣÿǿƫĜŊĪƫ-SĜŊ-ǀŲģ-'ǀ܉ƫŏĪ-ƸŊĪŰÿƸŏƫŏĪƣƸǜŏĪŧ-ŰĪŊƣģÿƫ-SĜŊÿŧƫ-ĪŏŲĪŲƣƸǭĪŲƸƣŏĪƣƸĪƣàÿŊƣŲĪŊŰǀŲŃ-ǀŲģģÿƫ-'ǀÿŧƫ-ĪŏŲĪŲƣƸģĪƣ-£ƣżšĪŤƸŏżŲ-ܟ܊ܞ-'ŏĪ-'ŏƫƠżƫŏ-ƸŏżŲŧĪŃƸ-ŲÿŊĪ܉ģÿƫ-®żŧżŏŲƫƸƣǀŰĪŲƸÿŧƫģÿƫ-SĜŊ-ǀŲģģÿƫƣĜŊĪƫƸĪƣÿŧƫģÿƫ-'ǀǭǀģĪŲŤĪŲ܉ģżĜŊģŏĪrǀƫŏŤ-ŊÿŲģĪŧƸ- ǜżŲ-ÃŰƫĜŊŏĜŊƸǀŲŃĪŲ-ǀŲģ-ÃŰģĪǀƸǀŲŃĪŲ܉ǜżŲ-GƣĪŲǭǭŏĪŊǀŲŃĪŲ܉-ÉěĪƣŃƣŏdz łĪŲ܉ðǀƫĜŊƣĪŏěǀŲŃĪŲżģĪƣ-®ĪŧěƫƸěĪƫƸŏŰŰǀŲŃĪŲ-SŲƫżłĪƣŲ-ŤÿŲŲģÿƫfŧÿǜŏĪƣǭǀŰ-'ǀǝĪƣģĪŲ܉ǜżƣģĪŰģÿƫƣĜŊĪƫƸĪƣƫŏĜŊÿŧƫ-ĪŏŲ-SĜŊÿěŊĪěƸ܉żģĪƣ- Īƫ-ŤÿŲŲƫŏĜŊƫĪŧěĪƣłƣĪŰģǝĪƣģĪŲ܉ŏŲģĪŰ-ĪƫǜżŰŏŲƸŏŰĪŲfŧÿŲŃǭǀƣłƣĪŰģěĪƫƸŏŰŰƸĪŲrÿƫĜŊŏŲĪƣŏĪ-ŰǀƸŏĪƣƸܷܡ

ڴڸڵ- -Fżƣ- ƸŊĪ łżǀŲģÿƸŏżŲƫ żł- ƸŊĪ- ŰżƣƠŊżƫǣŲƸÿĜƸŏĜ ÿŲÿŧǣƸŏĜÿŧ- ŰĪƸŊżģ܉ ƫĪĪ- ĪƫƠĪĜŏÿŧŧǣ- ÃƸǭ܉- ܸܶhŏěĪƣÿƸŏŲŃܹ- ®żǀŲģ ÿŲģ-£ĪƣĜĪƠƸŏżŲܷÿŲģ-ܶ¼ŏŰĪܬRƠÿĜĪ-/ǢƠĪƣŏĪŲĜĪŏŲàżƣŤƫłżƣ-®żŧż- ĪŧŧżěǣhÿĜŊĪŲŰÿŲŲ܉åĪŲÿŤŏƫÿŲģ-FĪƣŲĪǣŊżǀŃŊܷ

ȃĩěŻůƟŻƪĩƢ-ĢŎƪƷŎűłƿŎƪ'nĩƪ-ȀǛĩƪĩěƷŎŻűƪ-Ʒ'nþƷ-Ɵþƪƪ-Ʒ'nƢŻƿł'n-ܹSě'nܺþűĢ-ܹ'ƿܺ-Ŏű-ȀǛĩůŻĢĩƪ܋- ŎűƷĩƢƪĩěƷŎŻű܌ƪĩŦŁܮŎűƷĩƢƢŻłþƷŎŻű܌-ŦþűĢƪěþƟĩ܌þƷƷƢŎĚƿƷŎŻűܘŦŻƪƪ-ŻŁƪĩŦŁ܌þűĢ-ƟĩƢůĩþĚŎŦŎƷǢښڝښܒ Is this narrative thread plausible? From a morphosyntactic point of view, three phases in particular can be distinguished. Several times in the course of *Ich und Du*, a pizzicato impulse appears, þƪǢůĚŻŦ-ŻŁěŻ'nĩƢĩűěĩ܌ƪǢűě'nƢŻűŎěŎƷǢ܌þűĢ-ŎĢĩűƷŎȀěþƷŎŻű܌ǜ'nŎě'něþű-ĚĩþƪƪŎłűĩĢþűĩűĩƢłĩƷŎě- ܹƷƢŎłłĩƢܺ-ŁƿűěƷŎŻűܒȃĩ-ŻƟĩűŎűł-ƟŎþűŻ-ƟŎǬǬŎěþƷŻ-ܣG܌ړů܌ڐݑܒ-/ǡܤڗڐܒڔݑܒ-ȀƢƪƷ-ƷƢŎłłĩƢƪþƪĩơƿĩűěĩ-ŻŁ- ŁŻƿƢ-ŁƿƢƷ'nĩƢ-ƟŎǬǬŎěþƷŻ-ƟŻŎűƷƪ-ŻŁ-ŎűěƢĩþƪŎűł-ŎűƷĩűƪŎƷǢ-ܣůܘڑݑܒSSS܌ůܘڒݑܒS܋-ǛŦþ܌ܒ-Ǜě܌ܒþƢƷżţ-ƟŎǬǬŎěþƷŻ܌ůܘړݑܒS܌-ŦĩǼ Ʒ܋þƢƷżţ-ƟŎǬǬŎěþƷŻ-Ěĩ'nŎűĢ-Ʒ'nĩ-ĚƢŎĢłĩ܌ůܘڔݑܒSܫSSSݑ܋ƟŎǬǬŎěþƷŻ-Ŏű-'nŎł'n-ƟŻƪŎƷŎŻű܌ܤڛڝښ-Ʒ'nĩ-ŦþƷ-ƷĩƢ-ŻŁǜ'nŎě'n-ȀűþŦŦǢěþƿƪĩƪþ-ȀƢƪƷěþƪěþĢĩܮŦŎţĩ-ƟƢŻŦŎŁĩƢþƷŎŻű-ܣůܒܤڔݑܒ-Sű-Ʒ'nĩ-ȀƢƪƷ-Ɵ'nþƪĩ܌-Ʒ'nĩƪŻƿűĢ- ěþƪěþĢĩƪ-ĢĩƢŎǛĩĢ-ŁƢŻů-Ʒ'nĩ-ƟƢŻŦŎŁĩƢþƷŎŻű-ŎűůĩþƪƿƢĩ-ڔ-ĚĩěŻůĩ-ŎűěƢĩþƪŎűłŦǢ-Ģĩűƪĩ-ܣþǼ ƷĩƢþű-ŎűŎ-ƷŎþŦŦǢ-'nĩƪŎƷþűƷ-ƢĩŦĩþƪĩ-ŁƢŻůůĩþƪƿƢĩ-ܤڏڐþűĢ-ŁƢŻůůĩþƪƿƢĩ-ڐڔ-ĚŦĩűĢ-ŎűƷŻþěŻűƷŎűƿŻƿƪ-ǛŎƢƷƿŻƪŻ- ȀłƿƢþƷŎŻű-Ŏű-Ʒ'nĩƪŻŦŻ-ŎűƪƷƢƿůĩűƷ܌ƪ'nþĢĩĢ-ĚǢ-Ʒ'nĩ-ŻƢě'nĩƪƷƢþŦłƢŻƿƟƪ-ŎűþűĩǡƷƢĩůĩŦǢ-ŁƢþłůĩűƷĩĢ- ŎűƪƷƢƿůĩűƷþƷŎŻűܒȃŎƪ-ŎůƟƢĩƪƪŎŻű-Ŏƪ-ŻǼ Ʒĩű-ƢĩǛĩƢƪĩĢ܌þűĢ-Ʒ'nĩ-ƟŎþűŻþƟƟĩþƢƪþƪ-Ʒ'nĩƪ'nþĢŎűł-ŻŁ- þ-ĢŻůŎűþűƷ-ŻƢě'nĩƪƷƢþŦƪŻƿűĢ-ܫþěŻůƟŦĩǡ܌-ȀĩŦĢܮŦŎţĩƪŻƿűĢ-ƷƢþűƪŁŻƢůþƷŎŻű-Ŏűǜ'nŎě'nűŻƪ'nþƢƟ- ĢĩŦŎůŎƷþƷŎŻű-ŻŁ-ŎűĢŎǛŎĢƿþŦ-ܹƪŻƿűĢĩǛĩűƷƪܺěþű-Ěĩ-ŎĢĩűƷŎȀĩĢܒ

Ǽ ƷĩƢ-Ʒ'nŎƪ-ȀłƿƢþƷŎŻű-ŎƪƪŦŻǜĩĢ-ĢŻǜű-ĚǢơƿþƢƷĩƢܮűŻƷĩ-ƟƿŦƪĩƪůþƢţĩĢ-ĚǢě'nŻƢĢƪ܌-Ʒ'nĩƪĩěŻűĢ- Ɵ'nþƪĩ-ĚĩłŎűƪ-ŎűůĩþƪƿƢĩ-܌ڏړڐþłþŎűůþƢţĩĢ-ĚǢþ-ƟŎþűŻ-ƟŎǬǬŎěþƷŻ-ŎűůĩþƪƿƢĩ-ڑړڐ-ܣűŻǜ-Fܒܤړ-SƷ-Ŏƪ- ě'nþƢþěƷĩƢŎǬĩĢ-ĚǢ-ŦŻűł܌-ƢĩƪŻűþűƷƪŎűłŦĩ-ƷŻűĩƪ-ܣþűĢ-Ʒ'nƿƪ-ĚǢěŦĩþƢŦǢůþƢţĩĢƪŻƿűĢĩǛĩűƷƪܤ-ŻǛĩƢþ- űŻŎƪĩܮƪþƷƿƢþƷĩĢ-ĚþěţłƢŻƿűĢ܌-'nþƪþ-ƢĩǴŦĩǡŎǛĩě'nþƢþěƷĩƢ܌þűĢ-ƷƢþűƪŁĩƢƪ-Ʒ'nĩĩě'nŻ-ƟƢŎűěŎƟŦĩ-ŁƢŻů- Ʒ'nĩůŎěƢŻܮ-ƷŻ-Ʒ'nĩůþěƢŻŁŻƢůþŦ-ŦĩǛĩŦܒȃĩ-Ʒ'nŎƢĢ-Ɵ'nþƪĩ-ĚĩłŎűƪ-ŎűůĩþƪƿƢĩ-ږڕڐþłþŎűǜŎƷ'n-Ʒ'nĩ-ƟŎþűŻ-ƟŎǬǬŎěþƷŻ-ܣűŻǜ-ܤړþűĢ-Ŏƪě'nþƢþěƷĩƢŎǬĩĢ-ĚǢ-Ʒ'nĩþƷƷĩůƟƷ-ŻŁ-Ʒ'nĩ-ƟŎþűŻ-ƷŻ-ƟŎěţƿƟ-Ʒ'nĩěþƪěþĢŎűł- ȀłƿƢþƷŎŻűƪ-ŁƢŻů-Ʒ'nĩ-ȀƢƪƷ-Ɵ'nþƪĩþłþŎűܒ-SƷƪĩĩůƪĩƪƪĩűƷŎþŦ-Ʒ'nþƷ܌-Ŏű-Ʒ'nĩűŻǜůŻƢĩě'nþůĚĩƢܮůƿsical environment, the colors of the cimbalom and the vibraphone, which are "competing" with Ʒ'nĩ-ƟŎþűŻ-ܣů܌ܤړږڐݑܒþƢĩůŻƢĩ-ƟƢŻűŻƿűěĩĢ-Ʒ'nþű-Ŏű-Ʒ'nĩ-ƷƿƷƷŎěŻűƪƷĩŦŦþƷŎŻűƪ-ŻŁ-Ʒ'nĩ-ȀƢƪƷ-Ɵ'nþƪĩ܌þűĢ- the energetic gestures of the piano are increasingly deformed. With the expansions in meaƪƿƢĩƪ-ڒړڑ- ƷŻ-ړړڑþűĢ-ژړڑ- ƷŻ-ڏڔڑ- Ʒ'nĩůƿƪŎěĩűĢƪ-Ŏűþ-ŦŻűłěŻůƟŻƪĩĢܮŻƿƷĩě'nŻ-ܣůů܌ܤژڕڑܫڒڔڑݑܒthus again transferring this central morphological principle to the macroformal level.

SűěŻűŠƿűěƷŎŻűǜŎƷ'n-Ʒ'nĩ-ƷŎƷŦĩ-ŻŁ-Ʒ'nĩǜŻƢţ܌-ŎƷ-ŎƪƿűĢŻƿĚƷĩĢŦǢþƟƟĩþŦŎűł-ƷŻ-ƟŦþǢǜŎƷ'n-Ʒ'nĩ-ŎĢĩű-ƷŎƷŎĩƪłŎǛĩű-ĚǢrƿűĢƢǢþűĢtŎƪ'nŎĢþܼƪ-ƷĩǡƷ-Ŏű-ƢĩŦþƷŎŻű-ƷŻ-Ʒ'nŎƪůƿƪŎěþŦƿűŁŻŦĢŎűłܒűĩþƪƟĩěƷ-Ŏű- ƟþƢƷŎěƿŦþƢƪĩĩůƪ-ƷŻƪƷþűĢ-ŻƿƷ܋-Ʒ'nþƷ-ŻŁþůĚŎłƿŎƷǢܒ-FŻƢǜ'nĩƷ'nĩƢ-Ʒ'nĩ-ŎűƷĩƢŦŻěţŎűł-ƟƢŻŦŎŁĩƢþƷŎŻűƪ- ŻŁ- ƟŎþűŻþűĢ-ŻƢě'nĩƪƷƢþ-Ŏű- Ʒ'nĩ-ȀƢƪƷ- Ɵ'nþƪĩþƢĩ űŻǜ ƪĩĩűþƪůƿƷƿþŦŦǢ- ƢĩŎűŁŻƢěŎűł- Ʒ'nĩŎƢ- ƢĩƪƟĩěܮ ƷŎǛĩ-ŎĢĩűƷŎƷŎĩƪ-ܣŎű-Żűĩěþƪĩ-ܹSě'nܺܘƟŎþűŻ܌-ŎűþűŻƷ'nĩƢěþƪĩ-ܹ'ƿܺܘŻƢě'nĩƪƷƢþ-ܫ-ŻƢ-ǛŎěĩ-ǛĩƢƪþܤ-ŻƢ-Ʒ'nĩŎƢ- ĢŻƿĚƷƪ-Ŏű- Ʒ'nĩƪĩűƪĩ-ŻŁþ- ܹƟĩƢůĩþĚŎŦŎƷǢ܌ܺþƪrƿűĢƢǢ-ƟƿƷƪ-ŎƷ-ŻűŦǢ- ŁŻƢ- Ʒ'nĩĩűĢ-ŻŁ- Ʒ'nĩǜŻƢţ܌ěþű- certainly not be decided unequivocally. In any case, Mundry's identity discourse has found a ƪƿŎƷþĚŦĩþƢĩþ- ŁŻƢ- Ʒ'nĩěŻűěĩƟƷ-ŻŁůĩƷþƟ'nŻƢŎěþŦĩǡĩůƟŦŎȀěþƷŎŻű܌-Ŏűǜ'nŎě'n- ƢĩŁĩƢĩűƷŎþŦŎƷǢěþű-Ěĩ- 'nĩŦĢƪƿDzȀěŎĩűƷŦǢ-Ŏű-ŦŎůĚŻþűĢþű-ŻǛĩƢŦǢěŦĩþƢƪǢůĚŻŦŎěþƪƪŎłűůĩűƷ-ŻŁ-Ʒ'nĩůþƷĩƢŎþŦ-ŎƪþǛŻŎĢĩĢܒ

SƷ-ĢŻĩƪűŻƷƪĩĩůěŻŎűěŎĢĩűƷþŦ- Ʒ'nþƷȃŻƢþƿþŦƪŻĩǡƟŦþŎűƪ- Ʒ'nĩ- ܹƢĩŁĩƢĩűƷŎþŦěŻůƟŦĩǡŎȀěþƷŎŻűܺ-ŻŁůĩƷþƟ'nŻƢƪ-ŎűþƢƷ-Ʒ'nƢŻƿł'n-Ʒ'nĩ-ŎűƷĩƢŦŎűţŎűł-ŻŁ-ƢĩŁĩƢĩűěĩ-ŦĩǛĩŦƪ-ĚĩƷǜĩĩűþǜŻƢţܼƪ-ƷŎƷŦĩþűĢ-Ʒ'nĩ- musical structure.ڜڝښ An interpretation of Mundry's "piano concerto" – and *concertante* in the ƪĩűƪĩ-ŻŁ- ܹěŻůƟĩƷŎűłܺ-Ŏƪǜ'nþƷ- Ʒ'nĩ ƪŻŦŻ-ŎűƪƷƢƿůĩűƷþűĢ-ŻƢě'nĩƪƷƢþþƢĩþŦŦþĚŻƿƷ-Ŏű- Ʒ'nŎƪǜŻƢţ-ܫǜŻƿŦĢěĩƢƷþŎűŦǢ-ŦĩþĢ-Ŏű-ĢŎDz ŁĩƢĩűƷ-ĢŎƢĩěƷŎŻűƪǜŎƷ'nŻƿƷ-Ʒ'nĩ-ƷŎƷŦĩܒȃĩ-ƢþƷ'nĩƢĩƟ'nĩůĩƢþŦě'nþƢþěƷĩƢ-ŻŁ- rƿűĢƢǢܼƪ-ƢĩŁĩƢĩűƷŎþŦŎƷǢ-Ŏƪ-Ʒ'nƿƪ-ŁƿűĢþůĩűƷþŦŦǢ-ĢŎDz ŁĩƢĩűƷ-ŁƢŻů- ǬĩƢűŻǜŎűܼƪþƷƷĩůƟƷ-ƷŻěŻűǛĩǢ-

ڵڸڵ- rǀŲģƣǣ܉-ܶSĜŊ-ǀŲģ-'ǀܷ

ڶڸڵ- -¦żŰÿŲ-ŲǀŰĪƣÿŧƫģĪƫŏŃŲÿƸĪ-ƸŊĪ-ƸŊƣĪĪżƣĜŊĪƫƸƣÿŧ-ŃƣżǀƠƫ

ڷڸڵ Thorau, *Vom Klang zur Metapher*܉-ڑڌڎܨڍڌڎ-1/4Ŋżƣÿǀ-ŊĪƣĪģŏƫĜǀƫƫĪƫ-¦żěĪƣƸ-®ĜŊǀŰÿŲŲܹƫ-ƠŏÿŲż-ƠŏĪĜĪ-*Vogel als Prophet* from *Waldszenen*żƠڎڔݎ

Example 5.18: Isabel Mundry, Ich und Du, mm. 1–5

Copyright © 2008 by Breitkopf & Härtel, Wiesbaden

cultural conflict through a gesturally effective vocabulary. What is common to both compositional designs, however, is the effort to prioritize the emergence of musical meanings from an interplay between referential and transcendental levels, and with the help of morphosyntactically tangible musical elements.

### The Limits of Musical Signification

ȃĩěŻűƷƢþĢŎěƷŎŻűƪþƢŎƪŎűł-ĚĩƷǜĩĩű- Ʒ'nĩůƿƪŎěþŦěŻűƷĩǡƷƪ- Ʒ'nþƷĩůĩƢłĩ- ŁƢŻů- ǬĩƢűŻǜŎűܼƪþűĢ- rƿűĢƢǢܼƪƪŻƿűĢĩǛĩűƷƪþűĢ-Ʒ'nĩ-ƟŻƪƪŎĚŎŦŎƷŎĩƪ-ŻŁƪŎłűŎȀěþƷŎŻű܌-ŻŁ-ܹǜŻƢŦĢŦŎűĩƪƪ܌ܺڝڝښ demanded and approached by the composers, can generally become productive for a theory of intercultural ěŻůƟŻƪŎƷŎŻű-Ŏű-Ʒ'nĩ-ƷǜĩűƷŎĩƷ'nþűĢ-ƷǜĩűƷǢܮȀƢƪƷěĩűƷƿƢŎĩƪܒȃĩƪĩěŻűǴŦŎěƷŎűł-ŦŎűĩƪƪ'nŻƿŦĢűŻƷ-Ěĩ- ƪƿƢƟƢŎƪŎűł܌þƪ- Ʒ'nĩǢ-ƟŻŎűƷ- ƷŻþ- ŁƿűĢþůĩűƷþŦůƿƪŎěܮƪƟĩěŎȀěþůĚŎłƿŎƷǢþűĢþ-ƟĩƢƪŎƪƷĩűƷ-ƢŎĢĢŦĩ- ě'nþƢþěƷĩƢ-ŻŁ-Ʒ'nĩůƿƪŎěþŦǜŻƢţ-ŻŁþƢƷ܌ǜ'nŎě'nűŻěŦĩǛĩƢŦǢĩơƿŎƟƟĩĢ-Ʒ'nĩŻƢǢƪ'nŻƿŦĢ-ƷƢǢ-ƷŻ-ĢŎƪƪŻŦǛĩܒ- ȃĩěŻűƷĩǡƷ-ŻŁ-ƢĩǴŦĩǡŎǛĩłŦŻĚþŦŎǬþƷŎŻű-ݑދܣSܤڑܒþűĢ-Ʒ'nĩ-ƢĩŁĩƢĩűěĩƪ-ƷŻůĩƷþƟ'nŻƢ-Ʒ'nĩŻƢǢþűĢƪĩůŎŻ-ƷŎěƪþŦƪŻƪ'nŻǜ-Ʒ'nþƷƪƿě'nþ-Ʒ'nĩŻƢǢ-ŁþěĩƪơƿŎƷĩ-ĢŎDz ŁĩƢĩűƷě'nþŦŦĩűłĩƪ-Ʒ'nþű܌-ŁŻƢĩǡþůƟŦĩ܌þ-Ʒ'nĩŻƢǢ- ŻŁ ěŻůůŻű- ƟƢþěƷŎěĩ- ƷŻűþŦ- 'nþƢůŻűǢܒȃĩ-ŎűƷĩűƪŎȀĩĢ ěŻűěĩƢű-ŻŁůþűǢ ěŻůƟŻƪĩƢƪ- ŁŻƢ- ƟĩƢěĩƟ-ƷŎŻűþűĢůĩþűŎűłƪŎűěĩ-Ʒ'nĩ-ڏڗژڐƪ܌þƪǜĩŦŦþƪþű-ŎűƪŎƪƷĩűěĩ-Żű-Ʒ'nĩ-ܣůƿě'nܮĢĩĚþƷĩĢþűĢ-ĢŻƿĚƷĩĢܤ- ƪŻěŎþŦ-ƢĩŦĩǛþűěĩ-ŻŁěŻűƷĩůƟŻƢþƢǢůƿƪŎě܌-Ɵƿƪ'nĩƪ-Ʒ'nĩűĩěĩƪƪŎƷǢ-ŻŁ-ŎűƷĩƢĢŎƪěŎƟŦŎűþƢǢűĩƷǜŻƢţŎűł- into the foreground. It also becomes obvious that there can be no more "historically informed" analytical practice or theory, in the sense that recently emerged for music of the fourteenth to nineteenth centuries based on source criticism and period theory. For apart from a problema-ƷŎě-ƢĩĢƿěƷŎŻű-ƷŻþƿƷ'nŻƢŎþŦ-ƟĩƢƪƟĩěƷŎǛĩƪ-ݑދܣSS܌ܤڐܒ-Ʒ'nĩ-ܹƪŻƿƢěĩƪܺ-ŻŁ-Ʒ'nĩěŻůƟŻƪĩƢƪ܌-Ʒ'nĩ-ƷƢþěĩƪ-ŻŁ-Ʒ'nĩ- compositional process, however minutely they might be reconstructed, can always elucidate ŻűŦǢþƪůþŦŦ-ƟŻƢƷŎŻű-ŻŁ-Ʒ'nĩ-ƟƢŻěĩƪƪĩƪ-Ʒ'nþƷ-Ʒþţĩ-ƟŦþěĩ-Ŏű-Ʒ'nĩ-ŎűƷĩƢůĩĢŎþƷĩ-ĢŻůþŎű-ŻŁƪƷƢƿěƷƿƢĩ܌- perception, and meaning – domains increasingly emphasized as essential also by the compoƪĩƢƪ- Ʒ'nĩůƪĩŦǛĩƪܒtĩǛĩƢƷ'nĩŦĩƪƪ܌ ƪƷƢƿěƷƿƢþŦþűþŦǢƪŎƪǜŎŦŦěŻűƷŎűƿĩ- ƷŻ- ŁŻƢůþűĩƪƪĩűƷŎþŦěŻůƟŻűĩűƷ-Ŏű-Ʒ'nĩ-Ʒ'nĩŻƢǢ-ŻŁ-ƟŻƪƷܮƷŻűþŦůƿƪŎěܒhŎűţŎűł-ŎƷ-ƷŻůƿƪŎě-ƟƪǢě'nŻŦŻłǢ܌ĩƷ'nűŻůƿƪŎěŻŦŻłǢ܌þűĢ- ƢĩŦþƷĩĢ-ȀĩŦĢƪþƟƟĩþƢƪ-ƷŻ-Ěĩþ-ĢĩěŎĢŎűł-ŁþěƷŻƢ܌ĩűþĚŦŎűłþűĩǡƟþűĢĩĢ܌ěŻűƷĩǡƷƿþŦƿűĢĩƢƪƷþűĢŎűł- of new music in a global context.

ڸڸڵ See Wellmer, *Versuch über Musik und Sprache*܉-ڔڍڎܨڒڒڍ-ܠܶàĪŧƸŊÿŧƸŏŃŤĪŏƸܷܡ

# **VI. Reflections on My Own Composing as a Search for Traces in the In-Between**

In turning my attention toward my own attempts at composition, I in no way intend to hold Ʒ'nĩůƿƟþƪþűǢ-ŁŻƢů-ŻŁ-ܹůŻĢĩŦ܌ܺűŻƢ-ĢŻ-S-ŎűƷĩűĢ-ƷŻþƪěƢŎĚĩþűǢ-ܹ'nŎƪƷŻƢŎěþŦܺ-ǛþŦƿĩ-ƷŻůǢǜŻƢţܒ-SƷ- has been a long-standing fact for me that the musicological and compositional examination of ơƿĩƪƷŎŻűƪ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦ-ǴŦƿěƷƿþƷŎŻű܌-Ʒ'nĩ-ƟƢŻĚŦĩůƪ-ŻŁ-Ʒ'nĩ-ĢŎDzŁĩƢĩűƷěƿŦƷƿƢþŦŦǢěŻĢĩĢ-ŎĢŎŻůƪ܌- languages, listening styles, and sound producers, continue to run parallel to one another. It Ŏƪ- ĢŎDzȀěƿŦƷ- ŁƢŻůůǢ- ƟĩƢƪƟĩěƷŎǛĩ- ƷŻ-ŠƿĢłĩǜ'nĩƷ'nĩƢ܌þűĢ- 'nŻǜ܌þƢƷŎƪƷŎěþűĢ ƪě'nŻŦþƢŦǢþěƷŎǛŎƷŎĩƪ- ůþǢ-'nþǛĩ-ŎűǴŦƿĩűěĩĢ-ŻűĩþűŻƷ'nĩƢܒ-SűþűǢěþƪĩ܌-ŎƷǜþƪþŦǜþǢƪěŦĩþƢ-ܣþűĢůþűǢěŻůƟŻƪĩƢƪěþű- ěŻűȀƢů-Ʒ'nŎƪ-ŁƢŻů-Ʒ'nĩŎƢ-ŻǜűĩǡƟĩƢŎĩűěĩܤ-Ʒ'nþƷ-Ʒ'nĩŻƢĩƷŎěþŦþűĢ-'nŎƪƷŻƢŎěþŦţűŻǜŦĩĢłĩ-ܫĩǛĩű-Ŏű- the form of the quasi-ethnomusicological "competence" sometimes demanded in the previous ě'nþƟƷĩƢƪ-ܫþƢĩƿŦƷŎůþƷĩŦǢ-ŻŁ-ŦŎƷƷŦĩ-'nĩŦƟþƷ-Ʒ'nĩůŻůĩűƷ-ŻŁěŻůƟŻƪŎűł܌þűĢ-ŻǼ Ʒĩű-Ʒþţĩþ-ĚþěţƪĩþƷܒ- ¦þƷ'nĩƢ܌ůǢěŻůƟŻƪŎƷŎŻűþŦ-Ʒ'nŎűţŎűł-'nþƪłƢŻǜű-ŁƢŻůĩűěŻƿűƷĩƢƪǜŎƷ'n-ƟĩƢŁŻƢůĩƢƪ܌-ŁĩŦŦŻǜěŻůposers, and listeners, in discussions about crossing borders, drawing boundaries, possibilities, þűĢ-ĢĩþĢĩűĢƪ-ŻŁ-ĢŎþŦŻłƿĩܒ-SŁ-Ʒ'nĩƢĩ-Ŏƪþ-ĚþƪŎě-ŁĩþƷƿƢĩ-ŻŁůǢěŻůƟŻƪŎƷŎŻűþŦǜŻƢţ-Ʒ'nþƷ-ƢĩƪƿŦƷĩĢ- from these continuous interactions, then perhaps it is the principle of a "polyphony of meanings" outlined in the third and especially fourth sections of this chapter, which can be found in Ʒ'nĩůŻƪƷŦǢůƿŦƷŎŦþǢĩƢĩĢ܌-ܹůƿŦƷŎƷĩǡƷƿþŦܺǜŻƢţƪ-ƷŻ-Ěĩ-ĢŎƪěƿƪƪĩĢܒ-Ʒ-Ʒ'nŎƪ-ƟŻŎűƷ܌-ŎƷ-Ŏƪ-ƟþƢƷŎěƿŦþƢŦǢ- ŎůƟŻƢƷþűƷ-ŁŻƢůĩ-ƷŻ-ŻDz ŁĩƢ-Ʒ'nĩ-ƟŻƪƪŎĚŎŦŎƷǢ-ŻŁ-ƟĩƢěĩƟƷƿþŦĩǡƟŦŻƢþƷŎŻű܋-ƢĩěŻƢĢŎűłƪ-ŻŁþŦŦƪĩǛĩű-ŻŁůǢ- ŻǜűǜŻƢţƪ-ĢŎƪěƿƪƪĩĢ-ĚĩŦŻǜþƢĩþǛþŎŦþĚŦĩ-ŻűŦŎűĩښܒ

### **1. Layered Fabric, Intertextuality, and Cultural Context: From Striated to Open Space**

SƷůþǢ-ĚĩƪƿƢƟƢŎƪŎűł-Ʒ'nþƷ܌-ĢĩƪƟŎƷĩ-Ʒ'nĩ-ŻůűŎƟƢĩƪĩűěĩ-ŻŁþƪ'nŎǼ Ʒ-ƷŻǜþƢĢƪƷƢþƷŎȀĩĢ-Ʒ'nŎűţŎűł-Ŏűűĩǜ- music from its beginnings around 1900 until today, there have been only tentative attempts ƷŻþƟƟƢŻþě'nþ-Ʒ'nĩŻƢǢ-ŻŁůƿƪŎěþŦƪƷƢþƷŎȀěþƷŎŻűܒà'nŎŦĩ-Ʒ'nŎƪůþǢ-Ěĩ-ĚĩěþƿƪĩƪƷƢþƷŎȀěþƷŎŻűůĩƷ'nܮ ŻĢƪ-ŎűůƿƪŎě-Ʒ'nĩŻƢǢþűĢþűþŦǢƪŎƪþƢĩ-ŻǼ ƷĩűƪƿĚƪƿůĩĢƿűĢĩƢůŻƢĩěŻűǛĩűƷŎŻűþŦ-ƷĩƢůƪƪƿě'nþƪ- ƪƷƢƿěƷƿƢĩ-ŻƢ-ƟŻŦǢƟ'nŻűǢ܌-ŎƷůþǢþŦƪŻ-Ěĩ-Ģƿĩ-ƷŻ-Ʒ'nĩ-ŁþěƷ-Ʒ'nþƷ-Ʒ'nĩǢþƢĩƿƪƿþŦŦǢ-ĢŎDzȀěƿŦƷ-ƷŻłĩűĩƢܮ þŦŎǬĩ- ŻǜŎűł- ƷŻ ƪŻůĩ-Ŏű'nĩƢĩűƷ- ĚƢĩþě'nĩƪ- ŻŁ- ƢƿŦĩƪ þűĢ- ŦŎůŎƷƪܒ- - ĢŎƪƷŎűěƷŎŻű- ĚĩƷǜĩĩű ƪƷƢþƷŎȀěþtion methods and polyphonic methods would be established, for example, in the fact that a

ڵ https://soundcloud.com/chr\_utzܔ- ŊƸƸƠƫܕܕ܈ǝǝǝǣżǀƸǀěĪĜżŰܕǝÿƸĜŊܐǜڏݰdß' ڏƸŰģƫ àĪěŧŏŲŤƫ- Ƹż ŏŲģŏǜŏģǀÿŧ- ƠŏĪĜĪƫÿƣĪ-ƠƣżǜŏģĪģěĪŧżǝŏŲ-ƸŊĪƣĪƫƠĪĜƸŏǜĪƫĪĜƸŏżŲƫżł-ƸŊŏƫ-ĜŊÿƠƸĪƣ

'nŎł'nĩƢܮŦĩǛĩŦ-ƢƿŦĩ-ŻƢ-ƢĩŁĩƢĩűěĩƪǢƪƷĩů-ܣƪƿě'nþƪ-Ʒ'nĩ-ĢŎDz ŁĩƢĩűƷ-ƷǢƟĩƪ-ŻŁ-ƷŻűþŦŎƷǢ-ŻƢěŻƿűƷĩƢƟŻŎűƷ܌ܤǜ'nŎě'n-ŎƪþŦǜþǢƪƿűƪƟŻţĩű-Ŏű-Ʒ'nĩ-ŦþƷƷĩƢ܌ěþű-ǛĩƢǢĩþƪŎŦǢ-ĚĩƿűĢĩƢůŎűĩĢ-ĚǢ-Ʒ'nĩ-ŁŻƢůĩƢܒ-Sű-ŻƷ'nĩƢ- ǜŻƢĢƪ܌-ŻűĩěŻƿŦĢƪƟĩþţ-ŻŁ-ŦþǢĩƢĩĢ-Ɵ'nĩűŻůĩűþ-ŎűůƿƪŎěǜ'nĩű-ŎűĢŎǛŎĢƿþŦ-ŦĩǛĩŦƪĩůĩƢłĩ-ŁƢŻů-Ʒ'nĩ- structure of the music simultaneously as autonomous, individualized "personae," their heterogeneity can be heard, and their cross-relationship is not trivial, self-evident, or inherent in the ƪǢƪƷĩůܒȃĩ ěŻűƪƷþűƷ-ŻƪěŎŦŦþƷŎŻű- ĚĩƷǜĩĩű ƪƿě'n- ƟƢŻěĩƪƪĩƪ-ŻŁ ěŻűƷŻƿƢŎűł-ŎűĢŎǛŎĢƿþŦ ĩŦĩůĩűƷƪ- and the change in the textural impression of an overall sound is characteristic of many com-ƟŻƪŎƷŎŻűþŦ-ŦþǢĩƢŎűł-ƟƢŻěĩƪƪĩƪþűĢěþű-Ěĩ-ŦŎűţĩĢ-ƷŻ-NĩŦůƿƷhþě'nĩűůþűűܼƪ-ĢŎƪƷŎűěƷŎŻű-ĚĩƷǜĩĩű- ƪƷƢƿěƷƿƢþŦþűĢ-ƷĩǡƷƿƢþŦƪŻƿűĢܗhþě'nĩűůþűűܼƪĩůƟ'nþƪŎƪ-Żű-Ʒ'nĩ-ŎűƷĩƢŦŻěţŎűł-ŻŁ-ĢŎDz ŁĩƢĩűƷƪŻƿűĢ- types is especially relevant in this context.<sup>ڛ</sup> In the structural sound, the relationship between ĢĩƷþŎŦþűĢ-Ʒ'nĩǜ'nŻŦĩ-ŎƪűŻűܮŦŎűĩþƢþűĢ-ŻǛĩƢƪƿůůþƷŎǛĩ܌-Ʒ'nĩ-ŻǛĩƢþŦŦě'nþƢþěƷĩƢ-ŎƪűŻƷþ-ĚŦþűţĩƷ- quality, but something "virtually new" that "requires formal projection in a temporal space that allows a listener to feel their way through it."<sup>ڜ</sup> It is precisely this processual nature, allowing sonic and formal conceptions to coincide in the structural sound, that must also be þƪƪƿůĩĢ-ŁŻƢ-Ʒ'nĩƪƷƢþƷŎȀěþƷŎŻű-ƟƢŻěĩƪƪĩƪĩűǛŎƪþłĩĢ-'nĩƢĩܒà'nþƷ-ŎƪþŎůĩĢþƷþƢĩűŻƷƪŻůĩþƿƷŻůþƷĩĢ ƪě'nĩůĩƪ- ĚƿƷ űĩƷǜŻƢţƪ- Ʒ'nþƷ ĩűþĚŦĩ űŻǛĩŦ܌ ƪƿƢƟƢŎƪŎűł܌þűĢ űŻűܮŦŎűĩþƢ ěŻűűĩěƷŎŻűƪ-ܫþ- ĢŎůĩűƪŎŻű-Ʒ'nþƷhþě'nĩűůþűűܼƪǜĩŦŦܮţűŻǜű-ŁŻƢůƿŦþƷŎŻű-ŻŁƪƷƢƿěƷƿƢĩþƪþ-ܹƟŻŦǢƟ'nŻűǢ-ŻŁ-ŻƢĢĩƢܮ <sup>ڝ</sup>"ings ěþƟƷƿƢĩƪ-ŻűŦǢ-ŎűƪƿDzȀěŎĩűƷŦǢ܌ƪŎűěĩ-ŎƷ- ƷĩűĢƪ- ƷŻůþƢţþ- ƷĩƢƢŎƷŻƢŎþŦŎǬĩĢ܌- ܹƪƷƢŎþƷĩĢܺůƿƪŎěþŦ- <sup>ڞ</sup>,space űþůĩŦǢ-Ʒ'nĩ-ܣƟŻƷĩűƷŎþŦܤěŻűƷƢŻŦƪǢƪƷĩůƪ-ŻŁ-Ʒ'nĩ-ܹŻƢĢĩƢŎűłƪܺ-ŻƢłþűŎǬĩĢ-ĚǢůĩþűƪ-ŻŁ-ܹƟŻŦǢ-Ɵ'nŻűǢܒܺȃĩþŁŻƢĩůĩűƷŎŻűĩĢþƿƷŻűŻůǢ-ŻŁ-Ʒ'nĩ-ȀłƿƢĩƪ-ŻƢ-ܹƟĩƢƪŻűþĩܺ-ŦŎűţĩĢ-ĚǢůĩþűƪ-ŻŁěŻůƟŦĩǡ- layering techniques, on the other hand, can sometimes turn them into independent musical ƷĩǡƷƪ܌-ŻƢ-ܫ-ǛŎĩǜĩĢ-Ŏű-ƢĩǛĩƢƪĩ-ܫ-Ʒ'nĩ-ŎűƷĩűƷŎŻű-ƷŻ-ƟƿƷ-ĢŎDz ŁĩƢĩűƷůƿƪŎěþŦ-ƷĩǡƷƪ-ŻƢěŻűƷĩǡƷƪ-ŎűűŻűܮ ŦŎűĩþƢ-ƢĩŦþƷŎŻűƪ'nŎƟƪǜŎƷ'n-ŻűĩþűŻƷ'nĩƢěþű-ŦĩþĢ-ƷŻěŻůƟŦĩǡƪƷƢþƷŎȀěþƷŎŻű-ƟƢŻěĩĢƿƢĩƪ܌ĩǛĩűƷƿþŦŦǢ- ƢĩƪƿŦƷŎűł-Ŏűþ-ŁþƢܮƢĩþě'nŎűł-ĢĩƷĩƢƢŎƷŻƢŎþŦŎǬþƷŎŻű܌þű-ŻƟĩűůƿƪŎěþŦƪƟþěĩܒȃĩ-ŎűƷĩƢƷĩǡƷƿþŦŎƷǢ-Ʒ'nþƷ- þƢŎƪĩƪ-Ŏű-Ʒ'nŎƪƪƟþěĩƪƷþűĢƪ-ŻƿƷƪŎłűŎȀěþűƷŦǢ-ŁƢŻůůŻƢĩěŻűǛĩűƷŎŻűþŦþƪƪĩůĚŦþłĩ-ŻƢěŻŦŦþłĩ-ƟƢŻcesses but can temporarily adopt its vividness and alienation processes.

In this context, it is no coincidence that composers whose music developed "proliferating" ƷĩűĢĩűěŎĩƪ܌ þűĢ ǜþƪ- Ʒ'nƿƪ- ĢĩƷĩƢůŎűĩĢ- ĚǢ- ŎűěƢĩþƪŎűłŦǢ ěŻůƟŦĩǡ ƪƷƢþƷŎȀěþƷŎŻű- ƟƢŻěĩƪƪĩƪ܌ þƷ-ƷĩůƟƷĩĢ-ƷŻƪ'nþƢƟĩű-Ʒ'nĩěŻűƷŻƿƢƪ-ŻŁ-ƷĩůƟŻ܌ůĩƷƢŎě܌-ŻƢ-ƷŎůĚƢþŦƪƷƢþƷþ܌ǜ'nŎě'nþƢĩƿƪƿþŦŦǢ-ĢŎDzȀěƿŦƷ- for listeners to grasp, with extraterritorial quotations or related intertextual reference techni-

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ڷ- -Sěŏģ܉-ڔڍܨړڍ-ܠܶǜŏƣƸǀĪŧŧtĪǀĪƫܷܔ-ܞěĪģÿƣł-ĪŏŲĪƣܟ-ܶłżƣŰÿŧĪŲ-£ƣżšĪŤƸŏżŲŏŲ-ĪŏŲĪŲÿěǭǀƸÿƫƸĪŲģĪŲðĪŏƸܫ¦ÿǀŰܷܡ

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ڹ- -1/4ŊĪģŏƫƸŏŲĜƸŏżŲěĪƸǝĪĪŲ-ܶƫƸƣŏÿƸĪģܷÿŲģ-ܶƫŰżżƸŊܷƫƠÿĜĪƫ-ŃżĪƫěÿĜŤ-Ƹż-£ŏĪƣƣĪżǀŧĪǭܹƫ-'ÿƣŰƫƸÿģƸŧĪĜƸǀƣĪ-*Musikalische Technik*-܉ܡڌڒڕڍܠǝŊŏĜŊǝÿƫ-ƠǀěŧŏƫŊĪģŏŲ-ڏڒڕڍ-ܠƫĪĪżǀŧĪǭ܉-*Musikdenken heute I*܉-܉ڍڒܨڔڑ-ܡڏڔܨڎړ-1/4ŊĪ-Ƹǝż-ƸĪƣŰƫ- ǝĪƣĪ-ƸÿŤĪŲ-ǀƠŏŲ-GŏŧŧĪƫ-'ĪŧĪǀǭĪܹƫÿŲģ-FīŧŏǢ-GǀÿƸƸÿƣŏܹƫ-ܶŲżŰÿģżŧżŃǣܷÿŲģ-ĪǢƸĪŲģĪģ-Ƹż-ƸŊĪÿŲÿŧǣƫŏƫżł-ƸŊĪ-ŊŏƫƸżƣǣ- żł-ƸĪĜŊŲżŧżŃǣÿŲģ-ƠżǝĪƣŏŲ-ƸŊĪ-ƸǝĪŲƸŏĪƸŊ-ĜĪŲƸǀƣǣ-ܠ'ĪŧĪǀǭĪÿŲģ-GǀÿƸƸÿƣŏ܉-*A Thousand Plateaus*܉-܉ڌڌڑܨڐړڐǝŏƸŊ-ĪǢ-ƠŧŏĜŏƸƣĪłĪƣĪŲĜĪ-ƸżżǀŧĪǭ-ܡڔړڐܨړړڐżǀŧĪǭܹƫ-ƠżƫŏƸŏżŲŏƫ-ƠÿƣÿƠŊƣÿƫĪģƫǀĜĜŏŲĜƸŧǣěǣ-'ĪŧĪǀǭĪÿŲģ-GǀÿƸƸÿƣŏ܈-ܶSŲ-ƸŊĪ- ƫŏŰƠŧĪƫƸ-ƸĪƣŰƫ܉żǀŧĪǭƫÿǣƫ-ƸŊÿƸŏŲÿƫŰżżƸŊƫƠÿĜĪܫƸŏŰĪżŲĪżĜĜǀƠŏĪƫǝŏƸŊżǀƸ-ĜżǀŲƸŏŲŃ܉ǝŊĪƣĪÿƫŏŲÿƫƸƣŏÿƸĪģ- ƫƠÿĜĪܫƸŏŰĪżŲĪ-ĜżǀŲƸƫŏŲżƣģĪƣ-ƸżżĜĜǀƠǣ-NĪ-ŰÿŤĪƫ-ƠÿŧƠÿěŧĪżƣ-ƠĪƣĜĪƠƸŏěŧĪ-ƸŊĪģŏdz łĪƣĪŲĜĪěĪƸǝĪĪŲ-ŲżŲŰĪƸƣŏĜ- ÿŲģ-ŰĪƸƣŏĜ-ŰǀŧƸŏƠŧŏĜŏƸŏĪƫ܉ģŏƣĪĜƸŏżŲÿŧÿŲģģŏŰĪŲƫŏżŲÿŧƫƠÿĜĪƫ-NĪƣĪŲģĪƣƫ-ƸŊĪŰƫżŲżƣżǀƫżƣ-ŰǀƫŏĜÿŧ-ÃŲģżǀěƸܫ Īģŧǣ܉- Ŋŏƫ- ƠĪƣƫżŲÿŧ ǝżƣŤ ŏƫ- ĜżŰƠżƫĪģ żł- ƸŊĪƫĪ ƣĪŧÿƸŏżŲƫ܉- ĜƣĪÿƸĪģ żƣ ƣĪĜƣĪÿƸĪģ- ŰǀƫŏĜÿŧŧǣܷ- ܠŏěŏģ܉- ܡړړڐ- SŲ- ƸŊĪ łżŧŧżǝŏŲŃ܉ ŏŲƫƸĪÿģ żł- ƸŊĪ- ܶƫŰżżƸŊܷ- S ƫƠĪÿŤ żł- ƸŊĪ- ܶżƠĪŲܷ ƫƠÿĜĪ܉ ƫŏŲĜĪ- ƸŊĪ- ŰĪƸÿƠŊżƣ żł- ƸŊĪ- ܶƫŰżżƸŊܷ- ܨ ÿƠÿƣƸ łƣżŰ- ŃĪŲĪƣÿŧÿĪƫƸŊĪƸŏĜܫƠĪšżƣÿƸŏǜĪ-ĜżŲŲżƸÿƸŏżŲƫ-ܨǝżǀŧģ-ĜżŲƸƣÿģŏĜƸ-ƸŊĪ-ܶƠżŏŲƸƫżłłƣŏĜƸŏżŲܷŏŲ-ƸŊĪŧÿǣĪƣƫƸƣǀĜƸǀƣĪ-ƸŊÿƸ- are aimed for here.

ques.6 The background to this decision was the strong tendency toward texture that can be observed as a consequence of complex layering, for example in Bernd Alois Zimmermann's music. One problem with Zimmermann's quotation process could perhaps be seen in the deliberately decontextualized references to melodies and idioms that are forced into a rigorous structure and thus territorialized - their function is an affirmation, not a critique of the stratification structure. While their extraterritorial character becomes palpable within the basic idiom of Zimmermann's musical language, their system-disrupting potential is rarely fully established.

The relationship between stratification technique and intertextuality in the work of Charles Ives is even more ambiguous. Ives's witty musical puns create a paratactic, conflict-laden formal tension in which self-quotation, outside quotation, and pseudo-quotation become indistinguishable. The ambiguity of the references or fragments of quotes is primarily determined by the interlocking of symbolism and structure and thus leads to a unique proliferation, a constant tactile shifting of the musical space. The montage in the second movement of the Fourth Symphony (1910–16) at rehearsal number 8, consisting of a total of six hymn citations or allusions and a self-quotation, overlays the adagio material that started at rehearsal number 7 in 3/2 time, which symbolizes the march of pilgrims, with an allegro layer in 4/4 time, from which we hear the heavily altered Beulah Land anthem in the trumpets (mm. 43-45, G major), then in the trombones (mm. 47–50, F major). After eight measures, the allegro layer suddenly disappears by means of a sudden fade-out and the adagio layer of the pilgrims, who have had soot blown in their faces by the passing allegro railway (an orchestral rendering of real-world sounds that Ives labeled "take-off"), can continue: a multidimensional layering with connecting lines between and within the tempo layers, from which contoured figures emerge again and again with a programmatic context that can also be related to basic philosophical concepts (the flat, continuous adagio layer corresponds to the string layer in The Unanswered Question [1906] and stands for a transcendent, timeless principle; the rushing allegro layer stands for the fleeting frenzy of the world). Ives's unique form of intertextual stratification can only be grasped by acknowledging how all these factors, which lead to an "overdetermination" of the musical structure, work together.

As indicated, the transcendentalist symbolism presents itself as the decisive motivation for Ives's multipolar stratification processes, but at the same time tends to dissolve this multipolarity in the affirmative, emphatic transformation of heterogeneity into a hierarchical structure - turning an open space into a striated space - as in the finale of the Fourth Symphony, or at the end of many other works, when the archetypical, "transcendental" ground of music remains as the only layer of music symbolizing "purity." This indicates that the complexity of a layered fabric and intertextual cross-references alone do not guarantee an analogous polyphony of meaning. Rather, what is decisive are the formal processes, however symbolically connoted, that are triggered by them.

With Zimmermann and even more with Ives, one can also observe how the musical texts linked in the layering process often turn into musical-cultural contexts. This process of association is often deliberately provoked by the composers, in some cases even relying on the rather clumsy effect of blatantly obvious reterences. While a quotation can thus impose itself on the listener in such a way that it flattens the layered fabric as a whole, and consequently

<sup>6</sup> See on this and the following Utz, "Bernd Alois Zimmermann und Charles Ives."

<sup>7</sup> See Giebisch, Take-off als Kompositionsprinzip bei Charles Ives.

<sup>8</sup> Rathert, Charles Ives, 98 ("Uberdetermination").

<sup>9</sup> See Kramer, "Cultural Politics and Musical Form," 192-195.

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ƪĩǡƟŦŻƢĩĢ-Ŏű-ĢĩƷþŎŦ-Ŏű-Ʒ'nŎƪ-ĚŻŻţ܌-/þƪƷƪŎþűěŻůƟŻƪĩƢƪ-'nþǛĩ-Ěĩĩű-ŻĚƪĩƢǛŎűł-Ʒ'nŎƪƿƢłĩűƷ- ěƿŦƷƿƢþŦܮ'nŎƪƷŻƢŎěþŦ- ƷĩűĢĩűěǢþƷ-ŦĩþƪƷƪŎűěĩ-¼þţĩůŎƷƪƿܼƪ-*November Steps*܌ƪĩĩţŎűł- ƷŻěŻƿűƷĩƢþěƷ- Ʒ'nĩłƢþǛŎƷþƷŎŻűþŦĩDz ŁĩěƷþűĢþěěĩƟƷþűěĩ-ŻŁàĩƪƷĩƢűůƿƪŎě-ĢŎƪěŻƿƢƪĩǜŎƷ'nþƪƟĩěŎþŦĩůƟ'nþƪŎƪ-Żű- Ʒ'nĩěƿŦƷƿƢþŦűŻűܮěŻůůĩűƪƿƢþĚŦĩܒrĩþűǜ'nŎŦĩ܌-Żűĩ-'nþƪěŦĩþƢŦǢłŻűĩ-ĚĩǢŻűĢ-Ʒ'nĩ-ƟþƢþĢŻǡ-ŻŁ-¼þţĩܮ ůŎƷƪƿܼƪǜŻƢţ-ŻƿƷŦŎűĩĢĩþƢŦŎĩƢ-ݑދܣSSS܌ܤړܒǜŎƷ'n- Ʒ'nĩěŻůƟŻƪĩƢƪƷƢŎǛŎűł- ŁŻƢěŻĩǡŎƪƷĩűěĩ܌þ-ŦþǢĩƢŎűł- of Japanese solo instruments and Western orchestra, but ultimately composing a delicate web ŻŁƪŻǼ Ʒ-ƷƢþűƪŎƷŎŻűƪ-ĚĩƷǜĩĩű-Ʒ'nĩƪĩƪƿƟƟŻƪĩĢŦǢƪĩƟþƢþƷĩǜŻƢŦĢƪܒ-1/4þţĩůŎƷƪƿܼƪ-ƷƢþűƪŎƷŎŻűƪþƢĩ-ŦŎűܮ ĩþƢ܌ůŻĢƿŦþƷŎǛĩ܌-ƷƢþűƪŁŻƢůþƷŎǛĩ܌þűĢ-Ʒ'nƿƪ-ƢĩůþŎű-Ŏű-Ʒ'nĩ-ܹƪƷƢŎþƷĩĢܺƪƟþěĩܒȃĩǢ-Ŧþěţþ-ܹƪĩěŻűĢ- reality," a polylinear layered fabric that points beyond such simple connecting lines between polarized entities.

ȃŎƪ-ŎƪűŻƷ-ƷŻƪþǢ-Ʒ'nþƷ-Ʒ'nĩþƢƢþűłĩůĩűƷ-ŻŁƪƿě'nþ-ŁþĚƢŎěþŦŻűĩłƿþƢþűƷĩĩƪ-Ʒ'nĩ-ĢĩƪŎƢĩĢ-ŻƟĩűűĩƪƪ-ŻŁůƿƪŎěþŦƪƟþěĩܒű-Ʒ'nĩěŻűƷƢþƢǢ܌-Ʒ'nĩ-'nŎł'n-ĢĩűƪŎƷǢ-ŻŁ-Ʒ'nĩƪƿłłĩƪƷĩĢůŻĢĩŦƪĩĩůƪ-ƷŻěŻűtradict the *ǡŎĩǢŎ*and *liu bai* principles in Chinese calligraphy, the idea – broadly developed be-ǢŻűĢěŦþƪƪŎěþŦ-/þƪƷƪŎþűþĩƪƷ'nĩƷŎěƪ-ܫ-Ʒ'nþƷ-Ʒ'nĩěĩűƷĩƢ-ŻŁþƢƷŎƪƷŎěůĩþűŎűł-Ŏƪǜ'nĩƢĩ-Ʒ'nĩƢĩ-ŎƪűŻ- script, no materiality.ڙښ-NĩƢĩ܌-Żűĩƪ'nŻƿŦĢűŻƷ-ŻűŦǢ-ŦŻŻţ-ŁŻƢ-ĢĩűƪŎƷǢ-ŻƢůƿŦƷŎƟŻŦþƢŎƷǢþƪůþűŎŁĩƪƷ- Ŏű-Ʒ'nĩěŻůƟŦĩǡŎƷǢ-ŻŁþƪěŻƢĩܗěŻűěĩűƷƢþƷŎŻűěþűþŦƪŻ-Ěĩ-ŁŻƿűĢ-Ŏű-Ʒ'nĩƪƟþěĩƪ-ĚĩƷǜĩĩű-ƷǢƟĩƪ-ŻŁ- notation, oral instrumental traditions, and precise communication models, in a conceptual rather than a compositional layered fabric, as shown by the social-communicative experiments ŻŁæǕŠŎ-¼þţþ'nþƪ'nŎ-ŻƢdŻƪĪrþěĩĢþ-ݑދܣSSSܒܤړܒ-SűþĢĢŎƷŎŻű܌-Ʒ'nĩƢĩþƢĩþŦƪŻƪƿěěĩƪƪŁƿŦůþƷĩƢŎþŦŎǬĩĢ- ŎűƷĩƢěŻűƷĩǡƷƿþŦþűĢ-ŎűƷĩƢěƿŦƷƿƢþŦƪƷƢþƷŎȀěþƷŎŻűƪ܌-ŁŻƢĩǡþůƟŦĩ-Ŏű-Ʒ'nĩ-ĚĩƪƷǜŻƢţƪ-ĚǢ-¼þű-'ƿű-ŦŎţĩ- *Ƣě'nĩƪƷƢþŦ-ȄĩþƷƢĩ-Sܑåƿű*-ܤڏژژڐܣ-ŻƢƪŻůĩƪěĩűĩƪ-ŁƢŻů-*Marco Polo*-ښښ܌ܤڔژܫڐژژڐܣ-ŻƢ-Ŏű-¥Ŏűàĩűě'nĩűܼƪ- *He-Yi*-ܤژژژڐܣ-ŁŻƢ*zheng*þűĢě'nþůĚĩƢĩűƪĩůĚŦĩ-ݑދܣSSSܒܤڔܒȃĩěŻůůŻű-ĢĩűŻůŎűþƷŻƢ-ŻŁ-Ʒ'nĩƪĩǜŻƢţƪ- ěŻƿŦĢ-ƟĩƢ'nþƟƪ-Ěĩ-ŁŻƿűĢ-Ŏű-Ʒ'nĩ-ŁþěƷ-Ʒ'nþƷ-ĢŎDz ŁĩƢĩűƷ܌ůƿƷƿþŦŦǢ-'nĩƷĩƢŻłĩűĩŻƿƪ-ŎĢŎŻůƪþƢĩěŻűƪƷþűƷly present through their "tone," without ever being directly quoted, whereby constant transformations of a newly heard Chinese musical tradition into formally constitutive approaches ĢĩǛĩŦŻƟĩĢ-Ŏű-Ʒ'nĩþƢĩþ-ŻŁàĩƪƷĩƢűűĩǜůƿƪŎě-ݑܫþűĢ-ǛŎěĩ-ǛĩƢƪþ-ܫ-Ʒþţĩ-ƟŦþěĩܒ-1/4þű-'ƿűܼƪǜŻƢţƪ܌-ŻŁ- ěŻƿƢƪĩ܌þŦƪŻƪ'nŻǜ-'nŻǜ-Ȁűĩ- Ʒ'nĩ-ĚŻƿűĢþƢǢ-Ŏƪ-ĚĩƷǜĩĩűƪƿě'něŻůƟþěƷŎŻűƪþűĢ- Ʒ'nĩůŻůĩűƷƪþŦܮ ƢĩþĢǢ-ŻƿƷŦŎűĩĢþĚŻǛĩ܌-Ŏűǜ'nŎě'n-Ʒ'nĩ-ĢŎƢĩěƷűĩƪƪ-ŻŁ-Ʒ'nĩ-'nĩƷĩƢŻłĩűĩŻƿƪ-ƷĩǡƷƪůþţĩƪƪƷƢŎþƷĩĢþűĢ- ŻƟĩűƪƟþěĩƪěŻŦŦþƟƪĩ-ŦŎţĩþ-'nŻƿƪĩ-ŻŁěþƢĢƪ-ݑދܣSSSܒܤڒܒ

ȃŎƪ- ƟƢŻĚŦĩů þŦǜþǢƪ ěŻůĩƪ- ƷŻ- Ʒ'nĩ- ŁŻƢĩ ǜ'nĩű- Ʒ'nĩ ơƿŻƷĩĢ- ŎĢŎŻůƪ þƟƟĩþƢ- Ŏű þű ƿűůĩĢŎþ-ƷĩĢþűĢþDzȀƢůþƷŎǛĩ-ŁŻƢů-ݑܫǜ'nŎě'n-Ŏƪǜ'nǢ-Ʒ'nĩ-ĢþűłĩƢ-ŻŁƪŦŎƟƟŎűł-ƷŻǜþƢĢěƿŦƷƿƢþŦĩƪƪĩűƷŎþŦŎƪů- ܣǜ'nŎě'nůŎł'nƷþŦƪŻ-'nþǛĩþűþƷŎŻűþŦŎƪƷþěěĩűƷܤ-ŎƪűĩǛĩƢ-ŁþƢþǜþǢ-Ŏű-Ʒ'nĩ-ŎűƷĩƢěƿŦƷƿƢþŦěŻűƷĩǡƷܒàŎƷ'nܮ Ŏű-/ƿƢŻƟĩþűůƿƪŎě܌ƪƿě'nþűƿűơƿĩƪƷŎŻűŎűł-ƷƿƢű-ƷŻǜþƢĢþűþƟƟþƢĩűƷŦǢ-ܹƪĩěƿƢĩĢܺ-ƢĩƟĩƢƷŻŎƢĩ-ŻŁ-

ڴڵ- -RĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-܉ړڏڎܨڑڏڎ-ڌړڎܨڔڒڎłżƣÿƫǀŰŰÿƣǣżł-ƸƣÿģŏƸŏżŲÿŧ-/ÿƫƸƫŏÿŲÿĪƫƸŊĪƸŏĜƫ- ƣĪŧÿƸŏŲŃ- Ƹż-ĜÿŧŧŏŃƣÿƠŊǣ- /ŧĪŰĪŲƸƫ żł- ĜÿŧŧŏŃƣÿƠŊŏĜ- ƠƣÿĜƸŏĜĪ ÿŲģÿĪƫƸŊĪƸŏĜƫ- ŊÿǜĪěĪĪŲ- ƸÿŤĪŲ-ǀƠěǣ ÿŧÿƣŃĪ-ŃƣżǀƠ- żłěżƸŊ-/ÿƫƸƫŏÿŲÿŲģàĪƫƸĪƣŲ-ĜżŰƠżƫĪƣƫŏŲĜŧǀģŏŲŃ-SƫÿŲŃæǀŲ܉- ŊżǀàĪŲܫ ŊǀŲŃ܉-1/4ƕƣǀ-¼ÿŤĪŰŏƸƫǀ܉-1/4ÿŲ-'ǀŲ܉- ¼żƫŊŏż-NżƫżŤÿǝÿ܉ÿŲģ-NÿŲƫðĪŲģĪƣ-Fżƣ- ŊżǀàĪŲܫ ŊǀŲŃܹƫ-ĜÿŧŧŏŃƣÿƠŊǣܫŏŲłżƣŰĪģ-ĜżŰƠżƫŏƸŏżŲÿŧÿĪƫƸŊĪƸŏĜƫƫĪĪ- ĪƫƠĪĜŏÿŧŧǣ-/ǜĪƣĪƸƸ܉-ܶGĪƫƸǀƣĪÿŲģ ÿŧŧŏŃƣÿƠŊǣŏŲ-ƸŊĪrǀƫŏĜżł- ŊżǀàĪŲܫ ŊǀŲŃܷÿŲģhÿŏ܉-ܶ ÿŧŧŏŃƣÿƠŊǣÿŲģ-¼ĪǢƸǀƣĪ- ŏŲ- ŊżǀàĪŲܫ ŊǀŲŃܹƫrǀƫŏĜܷ

ڵڵ-R ĪĪ-ÃƸǭ܉-*Neue Musik und Interkulturalität*܉-ڐړڐܨڌڒڐ

musical signs or gestural types was already rejected in Brian Ferneyhough's criticism of the neotonal and neo-Romantic tendencies in European music during the early 1980s.22 Ferneyhough polemically referred to the faith in such a limited repertoire, aimed specifically at certain perceptual abilities of the listener, as "Pavlovian' semanticism."13 The authenticity of a musical dialect, according to Ferneyhough, cannot be reconstructed through references to such surface features, but rather requires a re-establishment of the connection between surface characteristics, subcutaneous driving forces, and a compositional attitude that becomes aware of the energetic potential of gestures.

Though we can certainly question whether Ferneyhough's own music always lives up to this standard in a convincing way, his picture of the musical surface and its inherent energetic potential points in a direction that now can lead to brief descriptions of my own works. My instrumental works for East Asian-European instrumentation, as discussed in parts 1, 2, and 4 of this chapter, tocus on the sonic concept of a large-scale, relief-like sound mass that – similarly to a kaleidoscope or computer animation - constantly dynamically changes its surface structure, its foreground and background, height, depth and "breadth." In all cases, the intention to create such three-dimensional situations necessitated a more intensive examination of the possibilities of interlocking layers, which ultimately also led to the inclusion of simple algorithmic formalizations.

### Interference: Contradictory Self-Identity

The challenge of finding music for piano and Chinese instruments initially drew my attention to cultural difference as outlined above: the contrast between the European and East Asian musical traditions embodied in the instruments and the "states of friction" this created were of primary interest. It would have been an obvious move to implement these in the form of a dichotomic layer structure, in which this difference between the piano as one layer and the Chinese ensemble as another is preserved or carefully reduced. Instead of building the music around such a polarization, however, I tried to create a musical situation where closeness and distance dissolve in a constantly oscillating energy state, influenced by the two concepts of "contradictory self-identity" (mujunteki jikodoitsu) and "discontinuity" (hirenzoku no renzoku) formulated by Kitarō Nishida (→ V.3), which Rolf Elberfeld explains as follows:

Neither identity nor the general take priority over difference or the individual, nor does the reverse relationship take precedence. Both are equally original and mutually determined. […]

Time is neither mere continuity nor a random series of moments. Rather, time is the dialectical simultaneity of continuity and discontinuity. At the same time, I and You are neither simply identical nor absolutely separate. Discontinuous continuity thus denotes an intermediate area that rejects extremes as false one-sidedness.14

<sup>12</sup> Ferneyhough, "Form - Figure - Style."

<sup>13</sup> Ibid. 23.

<sup>14</sup> Elberfeld, "Begriffserklärung," 308, 290 ("Weder hat die Identität bzw. das Allgemeine einen Vorrang über die Differenz bzw. das Einzelne noch besitzt das umgekehrte Verhältnis einen Vorrang. Beides ist gleichursprünglich und bestimmt sich gegenseitig. […] Zeit ist weder eine bloße Kontinuität noch eine zufällige Reihe von Augenblicken. Zeit ist vielmehr das dialektische Zugleich von Kontinuität. Zugleich sind Ich

ȃĩ- Ʒ'nƢĩĩܮůŻǛĩůĩűƷ- ŁŻƢůþŦ- ĢĩƪŎłű- ŻŁ- *Interference*- ڞښܤڐڏڏڑܣ- ĚƿŎŦĢƪ- Żű űƷŻű àĩĚĩƢűܼƪ ßþƢŎþܮ ƷŎŻűƪ-ŁŻƢ-ƟŎþűŻ-ŻƟܒ-ږڑ-܌ܤڕڒܫڔڒژڐܣǜ'nŎě'nþŦƪŻ-ŁŻƢů-Ʒ'nĩůþŎűƪŻƿƢěĩ-ŻŁ-Ʒ'nĩůƿƪŎěþŦůþƷĩƢŎþŦ-Ŏű-Ʒ'nĩ- ƟŎþűŻ-ƟþƢƷܒ-Sű-Ʒ'nĩ-ȀƢƪƷůŻǛĩůĩűƷ܌-Ʒ'nŎƪůþƷĩƢŎþŦ-Ŏƪ-ŎűěŻƢƟŻƢþƷĩĢ-ŎűƷŻþ-ƟƢŻěĩƪƪ-ŻŁþěěƿůƿŦþƷŎŻű- and reduction in the instrumentation, based on a *ƪŎǬ'nƿǢƿĩ* ensemble with *dizi*ܘ*xiao* (bamboo ǴŦƿƷĩƪ܌ܤ*sheng*-ܣůŻƿƷ'n-ŻƢłþű܌- ݑދ SS܌ܤڕܒ*huqin*-ܣţűĩĩ-ȀĢĢŦĩ܌þŦƷĩƢűþƷŎűł- ĚĩƷǜĩĩű*gaohu*, *gezaixian*, and *zhonghu*܌ܤ*pipa* ܣŦƿƷĩ܌ܤ*daruan*ܘ*zhongruan*-ܣůþűĢŻŦŎű܌ܤ*zheng* ܣþƢě'nĩĢ-ǬŎƷ'nĩƢ܌ܤþűĢ-*ǢþűłơŎű* (hamůĩƢĩĢ-ĢƿŦěŎůĩƢܒܤþƪĩĢ-Żű-Ʒ'nĩǜĩŦŦܮţűŻǜűůĩŦŻĢǢ-*Xing jie*-ܣRƷƢĩĩƷ-£ƢŻěĩƪƪŎŻűܤ from the *Jiangnan sizhu* repertoire, the Chinese instruments are carefully approximated to the piano, which ŎűŎƷŎþŦŦǢ-ƢĩůþŎűƪƪƷƢþűłĩŦǢ-ŎűĢŎDz ŁĩƢĩűƷܒ-ŦƷ'nŻƿł'n-ŎƷ-ŎƪƪƿƟƟŻƪĩĢŦǢ-Ŏű-ĢŎþŦŻłƿĩǜŎƷ'n-Ʒ'nĩ*zheng*, it űĩǛĩƢƷ'nĩŦĩƪƪƪƿƪƷþŎűƪþű-ŎűĢĩƟĩűĢĩűƷ-ŦĩǛĩŦþűĢ܌-ŦŎţĩ-Ʒ'nĩ*sheng* and the percussion, forms a selfěŻűƷþŎűĩĢƪƷƢƿěƷƿƢĩܒȃĩ*sheng*, which forms a constantly present sound band, analogous to the *ƷƔłþţƿ* repertoire of *gagaku*-ݑދܣSß܌ܤڐܒ-ŁŻŦŦŻǜƪþ-ƟƢŻłƢĩƪƪŎŻű-ŁƢŻů-ƷǜĩŦǛĩܮűŻƷĩ-ƷŻ-ƟĩűƷþƷŻűŎěě'nŻƢĢƪ- þűĢ- Ěþěţ- ܣ/ǡݑܒ ܒܤڐܒڕȃĩ- ĢƢƿů- ƟþƢƷ-Ŏƪ- ĚþƪĩĢ- Żű- ĚþƪŎě- Ƣ'nǢƷ'nůŎě- ƟþƷƷĩƢűƪ- ܣ*changdan*ܤ- ŁƢŻů- Ʒ'nĩ- Korean genre *Ɵ݂þűƪŻƢŎ*-ĢƿƢŎűłþŦŦ-Ʒ'nƢĩĩůŻǛĩůĩűƷƪ-ŻŁ-Ʒ'nĩǜŻƢţ܌þűĢ-Ʒ'nĩƪþůĩłĩűƢĩþŦƪŻ-ƟƢŻǛŎĢܮ ĩĢþůŻĢĩŦ-ŁŻƢ-Ʒ'nĩƪ'nŎǼ ƷŎűłþűĢĩűƷþűłŦŎűł-ŻŁƪŎůƿŦƷþűĩŻƿƪ-ƟƢŻěĩƪƪĩƪ܌ǜ'nŎě'n-ĚĩěŻůĩƪ-ƟþƢƷŎěƿlarly evident in the second and third movements.

*/ǡþůƟŦĩ-ږܘڛܑ- 'nƢŎƪƷŎþű-ÃƷǬܒ-InterferenceܒȁƢƪƷůŻǛĩůĩűƷܑě'nŻƢĢƪƷƢƿěƷƿƢĩ-ŻŁ-Ʒ'nĩƪ'nĩűł*

żƠǣƣŏŃŊƸ-ޣ-ڍڌڌڎěǣ-ÃƸǭrǀƫŏĜ£ƣŏŲƸƫ܉ßŏĪŲŲÿ

Sű- Ʒ'nĩƪĩěŻűĢůŻǛĩůĩűƷ܌þƪ-Ŏű- Ʒ'nĩƪĩěŻűĢůŻǛĩůĩűƷ-ŻŁàĩĚĩƢűܼƪßþƢŎþƷŎŻűƪ܌þłþůĩ-ŻŁ-ŎŦŦƿܮ ƪŎŻűƪ ǜŎƷ'n- ܹƪĩŦŁܮƪŎůŎŦþƢ þłłƢĩłþƷĩƪܺ- Ŏƪ- ƟƢŻǛŻţĩĢ܌- ŁŻƢěŎűł- Ʒ'nĩ- ƟŎþűŻ þűĢ- Ʒ'nĩ- 'nŎűĩƪĩ- ŎűƪƷƢƿments, repeatedly driven into noise-saturated sonorities here, into a shared gestural sequence. ȃĩ-Ʒ'nŎƢĢůŻǛĩůĩűƷ܌-Żű-Ʒ'nĩ-ŻƷ'nĩƢ-'nþűĢ܌ǜ'nŎě'nƿƪĩƪƪƿěěĩƪƪŎǛĩŦǢ-ŎűěƢĩþƪŎűł-ƷĩůƟŻƪ-Ŏűþ-'nŎł'nŦǢ- abstracted analogy to the Chinese suite form (*liuban*, *baban*܌ܤƿŦƷŎůþƷĩŦǢ-ŁŻƢěĩƪ-Ʒ'nĩƪŎůƿŦƷþűĩŎƷǢ- ŻŁ-ƟŎþűŻþűĢ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪ܌þŦƢĩþĢǢƪƿłłĩƪƷĩĢ-Ŏű-Ʒ'nĩ-ȀƢƪƷůŻǛĩůĩűƷ܌-ŎűƷŻþűĩǡƷƢĩůĩ- ŁŻƢů-ŻŁƿűƢĩŦþƷĩĢƪƿƟĩƢƟŻƪŎƷŎŻűܒȃĩĩŦĩǛĩű*aitake* chords that form the basic structure of the *ƷƔłþţƿ*-ƢĩƟĩƢƷŻŎƢĩ-ݑދܣSßܤڐܒěþűűŻǜ-Ěĩ-'nĩþƢĢ-Ŏű-Ʒ'nĩ*sheng*ܒȃĩ- 'nŎűĩƪĩ-ƷŎƷŦĩ-ŻŁ-Ʒ'nĩǜŻƢţ-*Jiao die sheng luan*-ܣƢŻƿł'nŦǢ-ƷƢþűƪŦþƷĩĢþƪ-ܹ ƢŻƪƪĩĢhþǢĩƢƪ-ܫ-RŻƿűĢ-ŻŁ-Ʒ'nĩ-£'nŻĩűŎǡܺܤ-ƢĩŁĩƢƪ-ƷŻ-Ʒ'nĩĩűĩƢłĩƷŎě-ƟƢŻěĩƪƪĩƪþƷ-Ʒ'nĩűŻĢĩ-ŻŁ-Ʒ'nĩǜŻƢţƪ'nŻƢƷŦǢ-ĚĩŁŻƢĩ-Ʒ'nĩĩűĢ-ܣ/ǡ܌ܤڑܒڕݑܒǜ'nŎě'n-Ŏű-Ʒ'nĩƪěŻƢĩ-Ŏƪ- ůþƢţĩĢůĩƷþƟ'nŻƢŎěþŦŦǢ-ĚǢ-Ʒ'nƢĩĩ- 'nŎűĩƪĩě'nþƢþěƷĩƢƪǜŎƷ'nƪŎůŎŦþƢ-ƟƢŻűƿűěŎþƷŎŻű-ܫ*luàn*-ܣě'nþŻƪ܌ܤ- *luán*-ܣƪƟþƪů܌ܤ*luán*-ܣƟ'nŻĩűŎǡܤ-ܫþůŻůĩűƷ-Ŏűǜ'nŎě'n-Ʒ'nĩěŻűǴŦŎěƷƪ-Ʒ'nþƷ-'nþǛĩ-ĚƿŎŦƷƿƟ-Ŏű-Ʒ'nĩěŻƿƢƪĩ- of the music dissolve in an ecstatic, cathartic booming and screaming. Finally, the *sheng* mouth ŻƢłþű-ܣƪǢůĚŻŦŎǬŎűł-Ʒ'nĩ-Ɵ'nŻĩűŎǡ܌-ݑދSßܤڐܒ-ĚĩěŻůĩƪþƿĢŎĚŦĩ܌ƿűĢĩƢŦþǢŎűłþƪƿěěŎűěƷěŻűěŦƿƪŎŻű-ܣþű- þűþŦŻłƿĩ-ƷŻ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩ-Ʒ'nŎƢĢůŻǛĩůĩűƷ-ŻŁàĩĚĩƢűܼƪßþƢŎþƷŎŻűƪܒܤ

ǀŲģ- 'ǀ ǝĪģĪƣ- ĪŏŲłÿĜŊ ŏģĪŲƸŏƫĜŊ- ŲżĜŊ ěŧżƷ ÿěƫżŧǀƸ ǜżŲĪŏŲÿŲģĪƣ- ŃĪƸƣĪŲŲƸ- 'ŏĪ ģŏƫŤżŲƸŏŲǀŏĪƣŧŏĜŊĪ fżŲƸŏŲǀŏƸďƸ- ěĪǭĪŏĜŊŲĪƸƫżŰŏƸ-ĪŏŲĪŲðǝŏƫĜŊĪŲěĪƣĪŏĜŊ܉ģĪƣģŏĪ-/ǢƸƣĪŰĪÿŧƫłÿŧƫĜŊĪßĪƣĪŏŲƫĪŏƸŏŃǀŲŃĪŲǭǀƣdžĜŤǝĪŏƫƸܷܡ

ڹڵ- -Ƹ-ƸŊĪǝżƣŧģ-ƠƣĪŰŏĪƣĪżł-*Interference*żŲ-ڎڍ-Ơƣŏŧ-܉ڍڌڌڎ-S-ĜżŲģǀĜƸĪģ-ƸŊĪ-¼ÿŏǝÿŲĪƫĪ-ĪŲƫĪŰěŧĪ- ŊŏŲÿ-ܠ Ŋÿŏܡ-FżǀŲģ- rǀƫŏĜàżƣŤƫŊżƠ-ݎވܠSSSܡڒÿƸ-'ĪǀƸƫĜŊŧÿŲģłǀŲŤ żŧżŃŲĪܔàĪŲܫ1/4ƫŏĪŲ-NżŲŃ-ƠŧÿǣĪģ-ƸŊĪ-ƠŏÿŲż-ƠÿƣƸ-¼ŊĪ-ĪģŏƸĪģƣĪĜżƣģŏŲŃżł-ƸŊŏƫǝżƣŧģ-ƠƣĪŰŏĪƣĪÿƠƠĪÿƣĪģżŲ-ƸŊĪ- '-*Christian Utz: Site*-ܠ żŰƠżƫĪƣƫƣƸhÿěĪŧ܉-Ĝÿŧ-܉ڎڍڌڏڍ-ܡڎڌڌڎÿŲģ-ĜÿŲ- be accessed at https://soundcloud.com/chr\_utz/christian-utz-interference.

Example 6.2: Christian Utz, Interference, third movement, p. 26

The layering principle aims for a dynamically changing, open sound space that alternates between different stages and levels of cultural coding, between repulsion and attraction. The English title Interference describes how the constant fluctuation of "contradictory self-identity" is transformed into music, but also contains the meaning "to interfere," suggesting an unwillingness to hold on to established categories.

### the wasteland of minds: Sound Layer Relief and Disintegration

This relief-like sonic concept first used in Interference became the central starting point for the wasteland of minds (2003-04) for two Chinese and four European instruments (sheng)xun [a Chinese ocarina], zheng, clarinet in A, accordion, violin, cello) and live electronics.46 An intricately

Copyright © 2001 by UtzMusicPrints, Vienna

<sup>16</sup> The premiere of the wasteland of minds was given on 24 January 2004 at the Wiener Konzerthaus by Wu Wei (sheng), Yeh Jiuan-Reng (zheng) and the ensemble on\_line (today PHACE) under Simeon Pironkoff. A studio recording appeared on CD with the same performers: Christian Utz: transformed. music for asian and western instruments 2001-2006, Spektral Records SRL4-08028, 2008; the recording can also be accessed at https://soundcloud.com/chr\_utz/the-wasteland-of-minds-2003.

*FŎłƿƢĩ-ږܘڛܑR ƷƢƿěƷƿƢþŦłƢŎĢ-ŻŁ-Ƣ'nǢƷ'nůŎě-ƟĩƢŎŻĢƪ-ŁŻƢ- 'nƢŎƪƷŎþű-ÃƷǬܒthe wasteland of mindsܒůůږݗܘܱڕڗ-*

ŦþǢĩƢĩĢ ƪƷƢƿěƷƿƢþŦ łƢŎĢ- ŻŁ- Ƣ'nǢƷ'nůŎě- ƟĩƢŎŻĢƪ- ܣFŎłݑܒ ܌ܤڐܒڕ ǜŻǛĩű- ĚǢ ůĩþűƪ- ŻŁ þ- ŁƢĩĩŦǢ ůþűþłĩĢ- ŁŻƢůþŦŎǬþƷŎŻű܌ ƪĩƢǛĩƪ þƪ þ ěþűǛþƪ- Ŏű- Ʒ'nŎƪ ǜŻƢţ- Żű ǜ'nŎě'n ěŻŦŻƢƪ þƢĩ ěŻűƪƷþűƷŦǢ- 'nŎł'nŦŎł'nƷĩĢ܌ƪěƢþƷě'nĩĢ-ŻDz Ł܌-ŻƢ- ƟþŎűƷĩĢ-ŻǛĩƢܒȃĩ- ĚŎűĢŎűł-ŻŁ-ŦþǢĩƢƪ- ƢĩƪƿŦƷƪ-ŎűþűĩǡƷƢĩůĩŦǢ ěŻůƟþěƷ܌- 'nŎł'nŦǢ- ĩűĩƢłĩƷŎě-ŻǛĩƢþŦŦ ƪŻƿűĢǜ'nŻƪĩ ƪƿƢŁþěĩ ƪƷƢƿěƷƿƢĩ-Ŏƪ ěŻűƪƷþűƷŦǢ ě'nþűłŎűłܒȃĩ- ŁŻƢĩłƢŻƿűĢþűĢ- ĚþěţłƢŻƿűĢþŦƷĩƢűþƷĩěŻűƷŎűƿŻƿƪŦǢþűĢěƢĩþƷĩůĩƢłŎűłƪ܌-ĢŎƪƪŻěŎþƷŎŻűƪ܌-ŻƢƪƟŦŎƷƪ-ŻŁ-ŎűƪƷƢƿůĩűƷþŦ- colors.

Ł-Ʒ'nĩ-ȀǛĩ-ĢŎDz ŁĩƢĩűƷ-Ƣ'nǢƷ'nůŎě-ŦþǢĩƢƪ܌ĩþě'n-'nþƪ-ƷǜŻƪƿĚŦþǢĩƢƪ-Ŏű-Ʒ'nĩ-ƢþƷŎŻ-܌ڗ܋ژǜŎƷ'n-Ʒ'nĩ-ȀǛĩ- ůþŎű-ŦþǢĩƢƪƪ'nŎǼ ƷĩĢ-ĚǢ-Ʒ'nĩ-ƢþƷŎŻ-ܒڑ܋ڒ܋ړ܋ڔ܋ڕȃŎƪƪĩƷƪ-ŎűůŻƷŎŻűþ-ƟƢŻěĩƪƪ-Ʒ'nþƷ-ŻűŦǢ-ƢĩƷƿƢűƪ-ƷŻ-ŎƷƪ- ƪƷþƢƷŎűł-ƟŻŎűƷþǼ ƷĩƢ-ڗړ-ܮړܘڕůĩþƪƿƢĩƪܣݑƷ'nĩ-ȀƢƪƷěݑܒȀǛĩܮůŎűƿƷĩ-Ɵ'nþƪĩ-Ŏűþ-ƷŻƷþŦ-ĢƿƢþƷŎŻű-ŻŁþƢŻƿűĢ- ڕڐůŎűƿƷĩƪܗܤ-Ŏű-Ʒ'nŎƪ-ȀƢƪƷ-Ɵ'nþƪĩ-Ʒ'nĩƢĩ-ŎƪþěŻűƪƷþűƷ-ŎűűĩƢ-ƷĩűƪŎŻű܌þ-ŁƢŎěƷŎŻűþŦĩűĩƢłǢ܌þű-ŎűűĩƢ- ĢǢűþůŎě-Ʒ'nþƷ-ŎƪĩǡƟŦŻƢĩĢěŻůƟŻƪŎƷŎŻűþŦŦǢܒȃŎƪěþű-Ěĩƪĩĩű܌-ŁŻƢĩǡþůƟŦĩ܌-Ŏű-Ʒ'nĩěŻűƪƷþűƷ-ǛþƢŎþ-ƷŎŻű-ŻŁůƿƪŎěþŦ-ĢĩƷþŎŦƪ܌ǜ'nŎě'něþű-Ěĩ-ƷƢþěĩĢ-Ěþěţ-ƷŻĩŎł'nƷ-ĚþƪŎěůŻĢĩŦƪܒȃĩƢĩ-ŎƪűĩǛĩƢþűǢůĩě'nþűŎěþŦ-ƢĩƟĩƷŎƷŎŻű-ŻŁƪƿě'nþůŻĢĩŦܗĩǛĩű-Ŏű-Ʒ'nĩƪƿĚƪƷƢƿěƷƿƢĩ܌-Ʒ'nĩƢĩþƢĩěŻűƷŎűƿŻƿƪ-ܹě'nþűłĩƪ-ŻŁ- ŎŦŦƿůŎűþƷŎŻűܒܺȃĩ-ŦŎǛĩĩŦĩěƷƢŻűŎěƪþƢĩþŦƪŻ-ŎűǛŻŦǛĩĢ-Ŏű-Ʒ'nŎƪ-ŎűƷĩƢƟŦþǢܗ-ŎƷěŻŦŻƢƪ-Ʒ'nŻƪĩ-ŎűƪƷƢƿůĩűƷƪ- Ʒ'nþƷ-ŁŻŦŦŻǜ-Ʒ'nĩƪŦŻǜĩƪƷ-ŦþǢĩƢ܌ěƢĩþƷŎűłþůƿƪŎěþŦ-ĚþěţłƢŻƿűĢ-Ʒ'nþƷ-ŎƪþŦǜþǢƪƪŦŎł'nƷŦǢ-ƢŻƿł'nĩűĩĢܒ

ȃĩěƿŦƷƿƢþŦ-ŎűƷĩƢěŻűƷĩǡƷƿþŦŎƷǢ-'nĩƢĩ-Ŏƪ-ŦŎůŎƷĩĢ-ƟƢŎůþƢŎŦǢ-ƷŻ-Ʒ'nĩ-'nþƢůŻűŎě-ŻƢłþűŎǬþƷŎŻű-Ģĩܮ ƢŎǛĩĢ-ŁƢŻů-Ʒ'nĩ-ŻƢłþűŻŦŻłǢ-ŻŁ-Ʒ'nĩ-ƷǜŻ- 'nŎűĩƪĩ-ŎűƪƷƢƿůĩűƷƪܒȃĩűŎűĩܮűŻƷĩěĩűƷĩƢþƷ-Ʒ'nĩ-ĚĩłŎűning requires a special microtonal tuning of the *zheng*, which is pentatonic in the traditionþŦěŻűƷĩǡƷܗþƪ-ŻǼ Ʒĩű-ŎűěŻűƷĩůƟŻƢþƢǢůƿƪŎě܌- Ʒ'nĩ-ĚƢŎĢłĩƪþƢĩůŻǛĩĢ- ƷŻþě'nŎĩǛĩþűĩǜ- ŁŻƢů-ŻŁ- ƟŎƷě'nƪǢƪƷĩůþƷŎǬþƷŎŻű܌-ƢĩǴŦĩěƷŎűł-Ʒ'nĩƪŻůĩƷŎůĩƪ-ǛĩƢǢ-ĢŎDz ŁĩƢĩűƷ-ƢĩłŎŻűþŦ-ƷƿűŎűłěŻűǛĩűƷŎŻűƪ-Ŏű- 'nŎűþܒȃĩþǡŎþŦ-ƟŎƷě'nĩƪ-ŻŁ-Ʒ'nŎƪ-ƷƿűŎűłþƢĩ-'܌ڑ- ܌ڒ-/K܌ړ- ܌ڔþűĢ-܌ڔ-Żűǜ'nŎě'n-ȀǛĩůŎěƢŻƷŻűþŦŦǢ-

spread variants of the traditional pentachord are built (all pentachords have the same sequence of microtonally modified intervals: lowered whole tone, raised fourth, semitone, raise whole tone, lowered semitone), and below that, F#1 appears as a further axial pitch (Ex. 6.3). In addition to these six pivot pitches, the three highest pitches of the A clarinet (F6), violin (A#6), and accordion (G7) accumulate to form a nine-note chord (covering the full chromatic aggregate without the pitch-classes E, G#, and A) (Ex. 6.4).

Example 6.3: Christian Utz, the wasteland of minds, tuning of the zheng. The accidentals marked with an arrow indicate a retuning of the pitch by 30 cents (higher/lower). In the score (see Ex. 6.5), the other parts with the same notation show a quartertone offset (+/- 50 cents).

Example 6.4: Christian Utz, the wasteland of minds, compositional sketches of the harmony

The other two pitch centers (see Ex. 6.4) were obtained from "maximum-pitched" chords of the sheng mouth organ, a 16-note chord (with eleven different pitch-classes, where only the pitch D is missing to complete the aggregate) and a twelve-note sound (containing all twelve pitchclasses). Pitches common to two out of the three chords (9-tone, 12-tone) are used for "modulation," with the principle of the (complementary) "negative" also playing an important role; for example, the pitch D can appear as a negative of the 16-note chord. Within the four large sections of the work, especially from the third section onward, increasing "decay processes" occur, which prompt an emancipation from the "striated" layer structure, especially in the "extraterritorial" solo of the Chinese ocarina xun at the beginning of the last section

ܣůůڠښܒܤڗڒڐܫڕڑڐݑܒƿƷ-Ʒ'nĩƢĩ-ŎƪþŦƢĩþĢǢþţŎűĢ-ŻŁ-ܹŎůƟŦŻƪŎŻűܺ-ŻŁ-ŦþǢĩƢƪ-Ŏű-Ʒ'nĩ-Ģĩűƪĩ-ȀƢƪƷƪĩěƷŎŻű܌-ŁŻŦŦŻǜĩĢ- ĚǢþűþĚƢƿƟƷ- ĚƢĩþţĢŻǜű-ܣ/ǡܒܤڔܒڕݑܒȃĩ- ŁŻƢůþŦ- ĢƢþůþƷƿƢłǢ-Ŏƪ-ŦŻŻƪĩŦǢ- ƢĩŦþƷĩĢ- ƷŻ- Ʒ'nĩ- four short poems *MISHIMA Skizzen*-ĚǢ-ƟĩƷƪě'nŎűţþ-ܣ/ĚĩƢ'nþƢĢ-£ĩƷƪě'nŎűţþ܌-Ěܤڒڔژڐݑܒ-ĚþƪĩĢ-Żű-Ʒ'nĩ- novel *ȄŎƢƪƷ-ŁŻƢhŻǛĩ* (*Ai no kawaki*܌-ܤڏڔژڐ-ĚǢæƿţŎŻrŎƪ'nŎůþ-ܒܤڏږژڐܫڔڑژڐܣrŎƪ'nŎůþܼƪűŻǛĩŦǜþƪ-Żűĩ- ŻŁ-Ʒ'nĩƪƷþƢƷŎűł-ƟŻŎűƷƪ-ŁŻƢ-Ʒ'nĩ-ܣƿűƢĩþŦŎǬĩĢܤůƿƪŎě-Ʒ'nĩþƷĩƢ-ƟƢŻŠĩěƷ*wüst.land*, which was conceived ĚǢ-ƟĩƷƪě'nŎűţþþűĢůǢƪĩŦŁ-Ŏű-ڒڏڏڑþűĢƪƟŻƢþĢŎěþŦŦǢ-ĢĩǛĩŦŻƟĩĢƿűƷŎŦ-ܒڕڏڏڑȃĩ-ƟƢŻŠĩěƷ܌-ĚþƪĩĢ-Żű- ƪƿě'nłŦŻĚþŦ-ƟŻŦŎƷŎěþŦěŻűǴŦŎěƷƪþƪ-Ʒ'nĩ-SƢþơàþƢ܌-ƢĩǴŦĩěƷĩĢ-ŻűơƿĩƪƷŎŻűƪ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦĩűěŻƿűƷĩƢ- ŁƢŻů-Ʒ'nĩ-ƟĩƢƪƟĩěƷŎǛĩ-ŻŁ-ĢĩĩƟ-ƟƪǢě'nŻŦŻłŎěþŦ-ĢŎůĩűƪŎŻűƪ-ŻŁ-ĢŎƪƪĩűƷ܌-ǛŎŻŦĩűěĩ܌þűĢǜþƢ-ܣůǢǜŻƢţ- *Glasakkord*ĩůĩƢłĩĢ-ŁƢŻů-Ʒ'nĩƪþůĩěŻűƷĩǡƷ܌-ݑދßSܒܤڑܒȃĩƢĩ-ŎƪþěĩƢƷþŎű-ƷƢþŎŦ-ŦĩþĢŎűł-ŁƢŻůƪěĩűĩƪ- ŎűrŎƪ'nŎůþܼƪűŻǛĩŦ-ܣŎűěŦƿĢŎűłƪƿĢĢĩűƪ'nŻěţĩDz ŁĩěƷƪƪƿě'nþƪ-Ʒ'nĩłƢƿĩƪŻůĩůƿƢĢĩƢěŻůůŎƷƷĩĢ- ĚǢ-Ʒ'nĩůþŎűě'nþƢþěƷĩƢ-/ƷƪƿţŻ-ƷŻǜþƢĢ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩ-ƟŦŻƷܤþűĢ-ƟĩƷƪě'nŎűţþܼƪþĢþƟƷþƷŎŻű-ŻŁ-Ʒ'nĩ- text to dramatic turns in the music, although there is no linear program or storyline running through the musical narrative.

In *the wasteland of minds*, the multi-contextual layered fabric creates a tension between ěŻűƪƷƢƿěƷŎŻűþűĢ-ƢĩþŦŎǬþƷŎŻű-ŎűƪŻƿűĢ-Ʒ'nþƷƪĩĩţƪ-ƷŻěŻűƪƷþűƷŦǢ-Ƣĩűĩǜ-Ʒ'nĩĩűĩƢłĩƷŎě-ƟŻƷĩűƷŎþŦ- of the musical process. Spontaneous compositional decisions are not hindered by the layered construction, but rather made possible, and here the oscillation between structure and tex-ƷƿƢĩ܌-ĚĩƷǜĩĩűƪŻǼ ƷěŻűűĩěƷŎǛŎƷǢþűĢ-ŁŻƢůþŦŎǬĩĢƪŎůƿŦƷþűĩŎƷǢ-Ʒþţĩƪ-ŻűþţĩǢ-ƟŻƪŎƷŎŻűܒtŎƪ'nŎĢþܼƪ- terms "contradictory self-identity" and "discontinuous continuity," of course, describe a vision Ʒ'nþƷůƿƪŎěěþű-ŻűŦǢ-ƷĩűƷþƷŎǛĩŦǢþƟƟƢŻþě'nܒȃĩƪþůĩþƟƟŦŎĩƪ-ƷŻ-Ʒ'nĩþĩƪƷ'nĩƷŎěƪ-ŻŁ-Ʒ'nĩ-ŻƟĩűůƿƪŎěþŦ- space laid out at the beginning. In contrast to the "striated," territorialized, hierarchized space ŻŁ-Ʒ'nĩěŎƷǢ܌-'ĩŦĩƿǬĩþűĢ-GƿþƷƷþƢŎ-ĢĩƪŎłű-Ʒ'nĩ-ܹƪůŻŻƷ'nܺ-ǛĩěƷŻƢþŦƪƟþěĩ-ŻŁ-Ʒ'nĩƪĩþ܌ǜ'nŎě'n-Ŏƪ-ĢŎDzȀcult to occupy.ڡښ-£ĩƢ'nþƟƪůǢ-ŎűƪƷƢƿůĩűƷþŦǜŻƢţ-Ŏű-Ʒ'nŎƪ-Ɵ'nþƪĩůþǢ-Ěĩ-ĢĩƪěƢŎĚĩĢþƪ-ĢŎǛŎűł-ŎűƷŻ- this marine space with no certain destination.

### **2. Stratification and Analysis**

ȃĩþĩƪƷ'nĩƷŎěþűĢơƿþƪŎܮƟŻŦŎƷŎěþŦ-ŎůƟƿŦƪĩ-ƷŻ-ƟƢĩƪĩƢǛĩ-ŎĢĩűƷŎƷǢ܌-ƟĩƢ'nþƟƪĩǛĩű-Ʒ'nĩ-ŎűěŻůůĩűƪƿrability of individual idioms, vocabulary, structures, and to avoid subjecting them to an imposed hierarchical order through a layered musical situation, appears to be a necessity in intercul-ƷƿƢþŦ-Ʒ'nŎűţŎűłܒ-ŁěŻƿƢƪĩ܌þƪ-'nŎűƷĩĢþƷþĚŻǛĩþűĢĩǡƟŦŻƢĩĢ-Ŏű-ŁƿƢƷ'nĩƢ-ĢĩƷþŎŦ-ĚĩŦŻǜ-ދܣ SSS܌ڔܒß܌ڒܒßS܌ܤړܒ-ŎƷ-Ŏƪ-'nþƢĢŦǢěŻűěĩŎǛþĚŦĩ-ƷŻěŻůƟŻƪĩ-ŎűþǜþǢ-Ʒ'nþƷěŻůƟŦĩƷĩŦǢ-ĢŎƪƪŻŦǛĩƪ-'nŎĩƢþƢě'nŎĩƪ-ܣþűĢ܌as has been shown on various occasions, they are usually very clearly preserved, even in John þłĩܼƪþƷƷĩůƟƷƪþƷůƿƪŎěþŦ-ܹþűþƢě'nǢܺܒܤ-Ʒ-ŦĩþƪƷ܌-Ʒ'nĩƿƷŻƟŎþ-ŻŁþ-'nŎĩƢþƢě'nǢܮŁƢĩĩƪƟþěĩůþǢƪƷŎŦŦ-Ěĩ- a good starting point for approaching intercultural situations musically. Complementary to ƪƷƢþƷŎȀěþƷŎŻű-Ŏƪ-Ʒ'nĩþűþŦǢƷŎěþŦ-ŎűƪŎł'nƷ-ŎűƷŻƪƟĩěŎȀě-ŁŻƢůƪ-ŻŁůƿƪŎěܒűþŦǢƪŎƪþŎůƪ-ŁŻƢƪŻůĩƷ'nŎűł- ĢŎƪƷŎűěƷŎǛĩ܋-ŎƷěþű-ƷƢǢ-ܫþƪƿƷŻƟŎþűþƪ-ŎƷůþǢƪĩĩů-ܫ-ƷŻ-ܹƪƿĚƷƢþěƷܺěƿŦƷƿƢþŦŎƪƷþƷƷƢŎĚƿƷŎŻűƪ-ŁƢŻů- the analyzed object by conceiving of it as something that cannot be subsumed, but at the same time is also provisional and changeable. In this way it approaches the "hypoleptic" discourse ݑދܣS܌ܤڒܒ-ĢĩűǢŎűłůƿƪŎěþŦ-ŻĚŠĩěƷƪþ-ܹůǢƷ'nŎěþŦܺ-ŻƢ-ܹěþűŻűŎěþŦܺƪƷþƷƿƪܒ--ŦŎűţ-ĚĩƷǜĩĩűƪƷƢþƷŎȀěþƷŎŻű- þűĢþűþŦǢƪŎƪ-Ŏƪ-ŻĚǛŎŻƿƪܗ-Ŏű-ŁþěƷ܌-Ʒ'nĩ-ƷǜŻƪƷƢþƷĩłŎĩƪƪĩĩů-ƷŻ-ĚĩůƿƷƿþŦŦǢ-ĢĩƟĩűĢĩűƷܒ

ڻڵ- -ƫŏŰŏŧÿƣłżƣŰÿŧłǀŲĜƸŏżŲŏƫƫĪƣǜĪģěǣ-ƸŊĪ-ĜżŲĜŧǀģŏŲŃ*xun* and *zheng*ƫżŧŏŏŲ-ŰǣǝżƣŤ*walls* for ensemble and elec-ƸƣżŲŏĜƫ-ܡڔڍڌڎܠ-ݎވܠßSܡڐ

ڼڵ Deleuze and Guattari, *A Tausend Plateaus*܉-ڍڔڐܨڔړڐ

Example 6.5: Christian Utz, the wasteland of minds, mm. 43–45 (end of the first section)

### **Symbolism and Implosion in** *Glasakkord*

In *Glasakkord* for *ƪ'nƔ*, *shakuhachi*܌-ĚþƪƪěŦþƢŎűĩƷ܌-ƷƿĚƿŦþƢ-ĚĩŦŦƪþűĢƪƷƢŎűł-ƷƢŎŻ-ڢښ܌ܤڕڏڏڑܣ I started developing the music from two almost hermetically opposed structures in the *ƪ'nƔ* and strings. ȃŎƪ- ŁŻƢůþƷŎŻű-ŻŁ-ŦþǢĩƢƪǜþƪűŻƷ-ĚþƪĩĢ-ŻűěƿŦƷƿƢþŦ-ƟþƢþĢŎłůƪ܌-'nŻǜĩǛĩƢ܌þűĢ-ŎƪůŻƢĩŻǛĩƢĩǡposed to a process of decay, which from the outset establishes an undeniable internal tension. ȃŎƪ-ĢŎDz ŁĩƢĩűƷŎþƷŎŻű-ĚĩƷǜĩĩű-ŦþǢĩƢƪƿűŁŻŦĢƪ-ĚǢůĩþűƪ-ŻŁ-Ʒ'nĩþűþŦǢƪŎƪ-ŻŁþű-ŎűƪƷƢƿůĩűƷþŦܮ'nþƟƷŎě- "internal logic" in the case of the *ƪ'nƔ* and the analysis of glass sound spectra in the case of the strings.

ȃĩ*ƪ'nƔ*-ƟþƢƷ-Ŏƪ-ĢĩȀűĩĢ-ĚǢþƪĩƢŎĩƪ-ŻŁƪĩǛĩűܮűŻƷĩě'nŻƢĢƪ܌ǜ'nŎě'nþƢĩěŻűűĩěƷĩĢ-ƷŻĩþě'n-ŻƷ'nĩƢ- ĚǢůĩþűƪ-ŻŁ-ƷǜŻ-ĢǢþĢƪþűĢƪ'nþƢĩĢ-ƟŎƷě'nĩƪ-ܣ/ǡܒܤڕܒڕݑܒȃĩ-ĚþƪŎěƪƷƢƿěƷƿƢĩ-ŎűěŦƿĢĩƪþŦŦ-ڔڒڐ-ƟŻƪƪŎĚŦĩ- ƪĩǛĩűܮűŻƷĩě'nŻƢĢƪ-Żű-Ʒ'nĩůŻĢĩƢű-ܮږڐűŻƷĩ*ƪ'nƔ*-ݑދܣSßܤڐܒþűĢþŦŦ-ږڐڐ-ƟŻƪƪŎĚŦĩ-ĢǢþĢƪ܌þűĢűŻě'nŻƢĢ-Ŏƪ- repeated.ڙڛȃĩƪĩ-ŦŎůŎƷþƷŎŻűƪ-ŻŁ-'nþƢůŻűǢ-ƢĩƪƿŦƷ-ŁƢŻů-Ʒ'nĩƪƟĩěŎȀě-ȀűłĩƢŎűł-ŦþǢŻƿƷ-ŻŁ-Ʒ'nĩ-ŎűƪƷƢƿůĩűƷ-ݑދܣSß܌ڐܒ-/ǡܒܤړܒړݑܒ-Ʒ-Ʒ'nĩƪþůĩ-ƷŎůĩ܌-Ʒ'nĩƪƷƢŎűł-ƷƢŎŻ-ŁŻŦŦŻǜƪþěŻůƟŦĩƷĩŦǢ-ŎűĢĩƟĩűĢĩűƷƪŻƿűĢ- ƟƢŻěĩƪƪ-ĢĩƢŎǛĩĢ-ŁƢŻůƪƟĩěƷƢþŦþűþŦǢƪĩƪ-ŻŁĩŎł'nƷ-ĢŎDz ŁĩƢĩűƷłŦþƪƪƪŻƿűĢƪ-ܣ/ǡ܌ܤږܒڕݑܒǜ'nŎě'nůĩƢłĩ- into one another continually to create new sequences. In this context, the glass symbolism is of ƟþƢƷŎěƿŦþƢ-ŎůƟŻƢƷþűěĩ܋-Ʒ'nĩƪŻƿűĢƪ-ŻŁ-Ʒ'nĩ-ܹłŦþƪƪƪƷƢŎűłƪܺþƢĩ-ŁƢþłŎŦĩ܌-ŁƢþłůĩűƷĩĢ܌ƿűƷĩůƟĩƢĩĢ܌-ŎűƷþűłŎĚŦĩ-ܫ-ŠƿƪƷ-ŦŎţĩ-ƷĩűƷþƷŎǛĩ-ܣþűĢƪŻůĩƷŎůĩƪƿűƪƿěěĩƪƪŁƿŦܤ-ŁŻƢůƪ-ŻŁ-ŎűƷĩƢěƿŦƷƿƢþŦĩűěŻƿűƷĩƢ܌ǜ'nŎě'nůþǢ-ŦĩþĢ-ƷŻěŻűǴŦŎěƷƪþűĢĩǛĩű-ǛŎŻŦĩűěĩښڛܒ

ŻƷ'n-ƟƢŻěĩƪƪĩƪþƢĩěŻűƷþŎűĩĢǜŎƷ'nŎűþ-ƟŻŦǢƟ'nŻűŎěűĩƷǜŻƢţ-ŻŁ-Ƣ'nǢƷ'nůŎě-ŦþǢĩƢƪ܌-ĚþƪĩĢ-Żű-Ʒ'nĩ- layered structure of *the wasteland of minds*-ݑދܣßSܒܤڐܒȃĩƪě'nĩůĩǜþƪ-ŁƢĩĩŦǢ-ƢĩǜŻƢţĩĢ-Ŏű-*Glasakkord*܋ƪŻůĩ-ŻŁ-Ʒ'nĩ-ȀǛĩ-ŦþǢĩƢƪǜĩƢĩűŻƷěŻűƪŎĢĩƢĩĢþƷþŦŦ܌-ĚƿƷűĩǜůŎěƢŻƟĩƢŎŻĢƪǜĩƢĩ-ŎűƷƢŻĢƿěĩĢ- (especially in the *ƪ'nƔ*þűĢƪƷƢŎűłƪ܌ܤ-ƢĩŦþƷĩĢ-ƷŻ-Ʒ'nĩ-ƟĩěƿŦŎþƢŎƷŎĩƪ-ŻŁ-Ʒ'nĩ-ƢĩƪƟĩěƷŎǛĩůþƷĩƢŎþŦ܌ǜŎƷ'n- *shakuhachi*܌-ĚþƪƪěŦþƢŎűĩƷ܌þűĢ-ƷƿĚƿŦþƢ-ĚĩŦŦƪ-ǴŦƿěƷƿþƷŎűł-Ŏű-Ʒ'nĩŎƢ-쯯ƢĢŎűþƷŎŻűǜŎƷ'n-Ʒ'nĩ*ƪ'nƔ* layer ŻƢ-Ʒ'nĩƪƷƢŎűł-ŦþǢĩƢܒ-Ʒ-Ʒ'nĩ-ĚĩłŎűűŎűł܌-Ʒ'nĩ-ƟĩƢŎŻĢ-ŻŁþ-ŦþǢĩƢ-ƟĩƢŎŻĢ-ŦþƪƷƪ-ڔږܒڒڒơƿþƢƷĩƢűŻƷĩƪ܌ƪŻ-Ʒ'nĩ-

ڽڵ- -1/4ŊĪǝżƣŧģ-ƠƣĪŰŏĪƣĪżł-*Glasakkord*-ƸżżŤ-ƠŧÿĜĪżŲ-ڏڎrÿƣĜŊ-ڒڌڌڎÿƸ-ƸŊĪrÿĪƣǭrǀƫŏŤ-FĪƫƸŏǜÿŧ-ܠĪƣŧŏŲĪƣ-FĪƫƸƫƠŏĪŧĪܔܡ- ŏƸǝÿƫ-ƠĪƣłżƣŰĪģěǣfƕ-SƫŊŏŤÿǝÿ-ܠ*ƫŊƕ*܉ܡ-1/4żŲǣ ŧÿƣŤ-ܠ*shakuhachi*܉ܡÿŲģ-ĪŲƫĪŰěŧĪżŲܗŧŏŲĪ-ܠƸżģÿǣ-£N /܉ܡģŏƣĪĜƸĪģ- ěǣ-®ŏŰĪżŲ-£ŏƣżŲŤżdz ł-ƫƸǀģŏżƣĪĜżƣģŏŲŃżł-ƸŊĪǝżƣŤǝŏƸŊ-ƸŊĪƫÿŰĪ-ƠĪƣłżƣŰĪƣƫ-ŊÿƫěĪĪŲƣĪŧĪÿƫĪģżŲ-ƸŊĪ- '-  *ŊƣŏƫƸŏÿŲ-ÃƸǭ܌-ƸƣÿŲƫłżƣŰĪģܓ-ŰǀƫŏĜłżƣÿƫŏÿŲÿŲģǝĪƫƸĪƣŲŏŲƫƸƣǀŰĪŲƸƫ-*܉*ږڐڐڒܬڑڐڐڒ*-RƠĪŤƸƣÿŧ-¦ĪĜżƣģƫ-®¦h܉ڔڎڌڔڌܫڐ-ڔڌڌڎ- (ŊƸƸƠƫܕܕ܈ƫżǀŲģĜŧżǀģĜżŰܕĜŊƣܗǀƸǭܕŃŧÿƫÿŤŤżƣģܫڒڌڌڎܫłżƣܫƫŊܡ ƫŏģĪ łƣżŰ-*Glasakkord*܉- S- ŊÿǜĪ żŲŧǣ- ĜżŰƠżƫĪģ żŲĪ- ŰżƣĪǝżƣŤłżƣdÿƠÿŲĪƫĪŏŲƫƸƣǀŰĪŲƸƫƫżłÿƣ܉-ŲÿŰĪŧǣ-*Site*-ܡڍڌڌڎܠłżƣ*gagaku* ensemble and live electronics, produc-ĪģŏŲ-ĜżŧŧÿěżƣÿƸŏżŲǝŏƸŊ-ƸŊĪàÿŤÿƸÿŤĪ-GÿŃÿŤǀ-®żĜŏĪƸǣæÿŰÿŃǀĜŊŏܕdÿƠÿŲÿŲģ-ƠƣĪŰŏĪƣĪģ-ڌڍܠrÿƣĜŊ-ܡڍڌڌڎÿƸ-ƸŊĪ- ĜżŲĜĪƣƸ-Ŋÿŧŧżł-ŤŏǣżƫŊŏģÿŏ-SŲƸĪƣŲÿƸŏżŲÿŧƣƸßŏŧŧÿŃĪ-®ŏŲĜĪ-ƸŊĪƫĪǝĪƣĪ-ŲżƸ-ƠƣżłĪƫƫŏżŲÿŧ-ŰǀƫŏĜŏÿŲƫ܉-ƸŊĪ-ĜżŰƠżƫŏƸŏżŲÿŧ-ĜżŲĜĪƠƸǝÿƫ-ŰÿŏŲŧǣŧŏŰŏƸĪģ-Ƹż-ƸŊĪ-ĪŧĪĜƸƣżŲŏĜ-ƸƣÿŲƫłżƣŰÿƸŏżŲżł-ƸƣÿģŏƸŏżŲÿŧƫżǀŲģ-ŰÿƸĪƣŏÿŧŏŲƸż-ŲÿƸǀƣÿŧ- ƫżǀŲģƫÿŲģ-ƸŊĪ-ĜżŲŲĪĜƸŏżŲǝŏƸŊ-ƸĪǢƸłƣÿŃŰĪŲƸƫłƣżŰfŏƸÿƣƕtŏƫŊŏģÿܸƫ-Īƫƫÿǣ*ěÿƫŊƕ*-ܠ£ŧÿĜĪ܉-܉ܡڒڎڕڍǝŊŏĜŊǝÿƫ-ƸŊĪ- source of the title. The edited recording of the premiere appeared on the CD *Christian Utz: Site* (Composers Art ܡڎڌڌڎ-܉ڎڍڌڏڍ-Ĝÿŧ-܉hÿěĪŧ

ڴڶ- ǝŏŲŃ-Ƹż-ƸŊĪÿƣƣÿŲŃĪŰĪŲƸżł-ƸŊĪǿŲŃĪƣƫ-ވܠ-Sß܉ڍ-/Ǣڐݎ܉ܡڐ-ƸŊĪ-ƠŏƸĜŊĪƫ-܉ڑ-܉ڑÿŲģ-FڑÿƣĪŏŲĜŧǀģĪģŏŲÿŧŧƫĪǜĪŲܫŲżƸĪ- ĜŊżƣģƫ܉ ƫŏŲĜĪ- ƸŊƣĪĪ żł- ƸŊĪ ƫĪǜĪŲ ǿŲŃĪƣƫ- ǀƫĪģ- ܠ¦܉ڐ h܉ڎ hܡڏ ÿƣĪ- ĪÿĜŊ ÿƫƫŏŃŲĪģ- ĪǢĜŧǀƫŏǜĪŧǣ- Ƹż żŲĪ żł- ƸŊĪƫĪ- ƸŊƣĪĪ- ŲżƸĪƫÿƫĪģżŲ-ŰǣŏŲłżƣŰÿƸŏżŲ܉àżŧłŃÿŲŃ-®ǀƠƠÿŲ-ŊÿƫģĪǜĪŧżƠĪģÿŲÿŧŃżƣŏƸŊŰ-ƸŊÿƸ-ĜÿŧĜǀŧÿƸĪģ-ƸŊĪ-ĪǢÿĜƸ-ŲǀŰěĪƣżł-ƠżƫƫŏěŧĪ-ĜŊżƣģƫ-ܠÿƫƫǀŰŏŲŃ-ƸŊÿƸ-ƸŊĪÿƫƫŏŃŲŰĪŲƸżł-ƸŊĪǿŲŃĪƣƫ-Ƹż-ƸŊĪŏŲģŏǜŏģǀÿŧ-ƠŏƠĪƫŏƫģĪǿŲĪģÿƫŏŲ-/ǢÿŰ-ƠŧĪ-ڐڐłƣżŰ- ŊÿƠƸĪƣ-ܔڐŏŲƫżŰĪ-ĜÿƫĪƫ܉-ƸŊĪƣĪ-ŰŏŃŊƸěĪ-ĜŊÿŲŃĪƫŏŲ-ƸŊĪƫĪÿƫƫŏŃŲŰĪŲƸƫ-ݎވܞSßܟڎ-ƸŊÿƸǝżǀŧģƣĪƫǀŧƸ- ŏŲ łǀƣƸŊĪƣ- ƠżƫƫŏěŧĪ- ĜżŰěŏŲÿƸŏżŲƫܡ- ĜĜżƣģŏŲŃŧǣ܉- ƸŊĪ łżŧŧżǝŏŲŃ- ƠŏƸĜŊ- ĜżŰěŏŲÿƸŏżŲƫ ÿƣĪ- ƠżƫƫŏěŧĪ܈- ړڍڍ ģǣÿģƫܔ- ڍڎڐ- ƸŊƣĪĪܫŲżƸĪ-ĜŊżƣģƫܔ-ڍڑڔłżǀƣܫŲżƸĪ-ĜŊżƣģƫܔ-ڏڒڕǿǜĪܫŲżƸĪ-ĜŊżƣģƫܔ-ړڒڑƫŏǢܫŲżƸĪ-ĜŊżƣģƫܔÿŲģ-ڑڏڍƫĪǜĪŲܫŲżƸĪ-ĜŊżƣģƫ

ڵڶ- -SŲƫŏŰŏŧÿƣƫĪŰÿŲƸŏĜ-ĜżŲƸĪǢƸƫ܉-ŃŧÿƫƫƫżǀŲģƫǝĪƣĪ-ǀƫĪģŏŲ-ƸŊĪłżŧŧżǝŏŲŃǝżƣŤƫżł-ŰŏŲĪ܈*ðĪƣƫƠŧŏƸƸĪƣǀŲŃ* for baritone, ƠŏÿŲż܉ÿŲģ-Ńŧÿƫƫ-ƠĪƣĜǀƫƫŏżŲ-ܡڎڌڌڎܠ-ݎވܠßSܡڏ*, specula*łżƣ-ƠĪƣĜǀƫƫŏżŲÿŲģŧŏǜĪ-ĪŧĪĜƸƣżŲŏĜƫ-܉ܡڑڌڌڎܠÿŲģ*vier epigramme* łżƣ-ƠĪƣĜǀƫƫŏżŲÿŲģŧŏǜĪ-ĪŧĪĜƸƣżŲŏĜƫ-ܡڒڌܨڑڌڌڎܠ-1/4ŊĪ-ĪŏŃŊƸ-ŃŧÿƫƫƫżǀŲģƫ-ܠ/ǢڒݎܡړƫƠĪĜƸƣÿŧŧǣÿŲÿŧǣǭĪģłżƣ-*Glasakkord* ǝĪƣĪ-ƸÿŤĪŲłƣżŰÿ-ĜżŲĜĪƣƸƣĪĜżƣģŏŲŃżł*specula*.

Example 6.6: Christian Utz, Glasakkord, mm. 1–17, shō part; chord progression: 7-2-2 pitches

Example 6.7: Christian Utz, Glasakkord; "glass chords" of the strings obtained by spectral analysis of glass sounds

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Copyright © 2006 by UtzMusicPrints, Vienna

ě'nþűłĩ-ŁƢŻů-Ʒ'nĩ-ȀƢƪƷłŦþƪƪě'nŻƢĢ-ܣ/ǡ܋ڗܒڕݑܒűŻܒ-ܤڕ-ƷŻ-Ʒ'nĩƪĩěŻűĢ-ܣűŻܒ-ܤڛڛڔ-Ʒþţĩƪ-ƟŦþěĩþǼ ƷĩƢ-ȀǛĩ-ړܘڕ- ůĩþƪƿƢĩƪþűĢ-ڔږܒڒơƿþƢƷĩƢƪܒȃĩ-Ʒ'nƢĩĩě'nŻƢĢþŦ-Ɵ'nþƪĩƪ-ܣƢĩŦþƷĩĢ-ƷŻ-Ʒ'nĩþěŻƿƪƷŎě-Ɵ'nþƪĩƪ-ŻŁþƷƷþěţ܌- ƪƿƪƷþŎű܌þ-ĢĩěþǢ-Ŏű-Ʒ'nĩ-ƢĩƪƟĩěƷŎǛĩƪƟĩěƷƢþŦþűþŦǢƪĩƪܤþƢĩ-'nĩƢĩ-ƢĩƟƢŻĢƿěĩĢǜŎƷ'n-Ʒ'nĩƪþůĩ-ĢƿƢþ-ƷŎŻűþƷ-ڔڑܒڐڐơƿþƢƷĩƢƪĩþě'n-ܣƪĩĩ-/ǡږܒڕݑܒþűĢ-ܒܤڗܒڕ

żƠǣƣŏŃŊƸ-ޣ-ڒڌڌڎěǣ-ÃƸǭrǀƫŏĜ£ƣŏŲƸƫ܉ßŏĪŲŲÿ

ȃĩěƢƿěŎþŦ-ƟŻŎűƷ-'nĩƢĩ-Ŏƪ- Ʒ'nþƷ- Ʒ'nŎƪ-ŦþǢĩƢĩĢƪƷƢƿěƷƿƢĩ-ĚǢűŻůĩþűƪ-ƢĩůþŎűƪ-ŎűƷþěƷ܌-ĚƿƷ-ŎƪěŻů-ƟŦĩƷĩŦǢ-ܹƷ'nƢŻǜű-ŻDz Ł-ƷƢþěţܺ-ĚǢ-ŎűƷĩƢƟŻŦþƷĩĢƪŻŦŻƪ-ŁƢŻů-Ʒ'nĩ*ƪ'nƔ* and *shakuhachi*, and later by vocal passages performed by these two soloists.ڜڛȃĩ-Ŧþěţ-ŻŁ ěŻűűĩěƷŎŻű- ĚĩƷǜĩĩű*ƪ'nƔ* and strings ĚĩěŻůĩƪ-ŎűěƢĩþƪŎűłŦǢ- ƟƢŻĚŦĩůþƷŎěܗ- Ʒ'nĩ-ŎűƷƢŎěþƷĩ ƪƷƢƿěƷƿƢĩ-Ŏƪ܌þƪ-ŎƷǜĩƢĩ܌- ܹĢĩěŻůƟŻƪĩĢܺ- ŁƢŻů- the inside – even more clearly than in *the wasteland of minds*ܒȃĩ-ĢƢþůþƷŎě-ƷĩǡƷƪ-ĚǢ-ƟĩƷƪě'nŎűţþڝڛ

ڶڶ- -1/4ŊĪ-ŲǀŰěĪƣŏŲŃżł-ƸŊĪ-ĜŊżƣģƫǝÿƫ-ĜżŲĜĪŏǜĪģÿƸÿ-ƠƣĪĜżŰƠżƫŏƸŏżŲÿŧƫƸÿŃĪÿŲģŏƫ-ŲżƸƣĪŧÿƸĪģ-Ƹż-ƸŊĪżƣģĪƣŏŲǝŊŏĜŊ- ƸŊĪ-ĜŊżƣģƫÿƠƠĪÿƣŏŲ-ƸŊĪǿŲŏƫŊĪģǝżƣŤ

ڷڶ- -SŲ- ĜżŲƸƣÿƫƸ- Ƹż- ƸŊĪ ŏŲǜÿƣŏÿěŧĪ- ƠǀŧƫĪ żł- ƸŊĪ ŧÿǣĪƣĪģ ƫƸƣǀĜƸǀƣĪ܉- ƸŊĪ- Ƹǝż ŏŲƫƸƣǀŰĪŲƸÿŧ ƫżŧŏ ÿƣĪ- ĜŊÿƣÿĜƸĪƣŏǭĪģ ěǣ ÿ- ܶƣĪĜżŰƠżƫŏƸŏżŲܷżł-ƸŊĪłƣĪĪܫǵŧżÿƸŏŲŃ-ƸĪŰƠżƣÿŧŏƸǣżł-ƸŊĪ-*ĜŊƕƫŊŏ* and *netori*ŏŲƸƣżģǀĜƸżƣǣ-ƠÿƣƸƫŏŲ*gagaku* (in the case of the *ƫŊƕ*ƫżŧż܉-ŰŰܡڕڎܨڔڎݎÿŲģ-ƸŊĪƫŏŰŏŧÿƣŧǣłƣĪĪŧǣ-ƸŏŰĪģ-ƸƣÿģŏƸŏżŲÿŧ*honkyoku* solo repertoire of the *shakuhachi* (*shakuhachi*ƫżŧż܉-Ű-ܡڐڒ-1/4ŊĪƫƸǣŧĪżł-ƸŊĪǿƣƫƸǜżĜÿŧ-ƠÿƫƫÿŃĪ-ܠŰŰ܉ܡڌڎڍܨړڍڍݎƫǀŲŃěǣ-ƸŊĪ*shakuhachi* soloist, is a free ƸƣÿŲƫłżƣŰÿƸŏżŲżłŧżǝܫƠŏƸĜŊĪģ-ǀģģŊŏƫƸ*ƫŊƕŰǣƕ*ǜżĜÿŧŏǭÿƸŏżŲ-SŲ-ƸŊĪƫĪĜżŲģ-ƠÿƫƫÿŃĪ-ܠŰŰ܉ܡڌڐڍܨړڏڍݎƫǀŲŃěǣ-ƸŊĪ *ƫŊƕ*soloist, a transcription of the song *Kashin* from the repertoire of the archaic vocal genre *ƣƕĪŏ* (recitation of ŊŏŲĪƫĪ-ƠżĪƸƣǣǝŏƸŊŏŲƫƸƣǀŰĪŲƸÿŧÿĜĜżŰƠÿŲŏŰĪŲƸ܉-NĪŏÿŲ-ƠĪƣŏżģ܉-ܡڑڔڍڍܨڐڕړŏƫƫŧŏŃŊƸŧǣ-ŰŏĜƣżƸżŲÿŧŧǣģŏƫƸżƣƸĪģ- ÿŲģ-ƠŧÿĜĪģ-ǀŲģĪƣ-ƠĪƸƫĜŊŏŲŤÿܹƫ-ƸĪǢƸ-ܠƫĪĪłżżƸŲżƸĪ-ܡڐڎ-1/4ŊĪ-ƠżƫŏƸŏżŲżł-ƸŊĪƫĪłżǀƣƫżŧżŏŲƫĪƣƸƫǝŏƸŊŏŲ-ƸŊĪżǜĪƣÿŧŧ- łżƣŰŏƫģĪƸĪƣŰŏŲĪģěǣ-ƸŊĪ-ƠƣżƠżƣƸŏżŲƫżł-ƸŊĪ-ŃżŧģĪŲƣÿƸŏż

ڸڶ- -1/4ŊĪ-ƸĪǢƸƫƫƠĪĜŏÿŧŧǣǝƣŏƸƸĪŲěǣ-ƠĪƸƫĜŊŏŲŤÿłżƣ-*Glasakkord*ÿƣĪ܈-ڍܠݎƣŏŃŏŲÿŧŧǣŏŲ-/ŲŃŧŏƫŊ܉ƫǀŲŃěǣ-ƸŊĪ*shakuhachi* soloŏƫƸ܈ܡ-ܶƸŊĪǣ-ĪŲƸĪƣĪģ-ƸŊĪ-ŰżƫƢǀĪŏŲěżżƸƫܕݎ-ƸŊĪǣ-ŊĪÿƣģÿƫŏŧĪŲƸǜżŏĜĪܕݎ-ܸŧżżŤżǜĪƣ-ƸŊĪƣĪ܋ǝŊÿƸ-ƸŊĪ-ŊĪŧŧŏƫ-ƸŊÿƸ܋ܐܹܕݎ-ƸŊĪǣ-

relating to the Iraq War, which can be heard in the two vocal passages, reveal the insistence on ěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ܌-Żűǜ'nŎě'n-Ʒ'nĩůƿƪŎěþŦƪƷƢþƷþþƢĩ-ŎűĢŎƢĩěƷŦǢ-ĚþƪĩĢ܌þƪþű-ŎůƟþƪƪĩܒȃĩƪǢƪƷĩů- ŻŁ-ŦþǢĩƢƪěŻŦŦþƟƪĩƪ܌-ŎůƟŦŻĢŎűł-Ʒ'nĩ-ƷĩűƪŎŻűłĩűĩƢþƷĩĢ-ĚǢ-Ʒ'nĩƪŻŦŎĢŎȀĩĢƪƷƢƿěƷƿƢĩ-ܣ/ǡܒܤژܒڕݑܒ

*-*

*ښښږܱږښږ-ܘůů-ܒGlasakkord-ܒÃƷǬ-'nƢŎƪƷŎþű ܑ-ڞܘڛǡþůƟŦĩ/*

¼Żǜ'nþƷĩǡƷĩűƷěþűǜĩþěƷƿþŦŦǢ-'nĩþƢþűĢěŻůƟƢĩ'nĩűĢ-Ʒ'nĩ-ƟƢŻěĩƪƪ-ĢĩƪěƢŎĚĩĢ-'nĩƢĩܓ-Sƪ-Ʒ'nĩ-ŎűŎƷŎþŦ- assemblage of two independent layers perceptible at all, or does the ear not listen out imme-ĢŎþƷĩŦǢ-ŁŻƢ-ƢĩŦþƷŎŻűƪ'nŎƟƪ܌ěŻűűĩěƷŎŻűƪ܌-ŁŻƢ-Ʒ'nĩƪǢűƷ'nĩƪŎƪ-ŻŁ-Ʒ'nĩ-ĢŎDz ŁĩƢĩűƷܓ--ƟƢŻĚŦĩůþƷŎǬþƷŎŻű-ŻŁ- hidden hierarchies has already been addressed when challenging the compositional relevance ŻŁěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ-ދܣ-SSSݑ܌ړܒßܒܤڒܒȃĩơƿĩƪƷŎŻű-ŻŁǜ'nŎě'n-ŁþěƷŻƢƪěŻűƷƢŎĚƿƷĩ-ƷŻþűþěƷƿþŦŦǢ-ƟĩƢěĩƟƷŎĚŦĩ-ĢŎDz ŁĩƢĩűěĩ-ĚĩƷǜĩĩűůƿƪŎěþŦ-ŦþǢĩƢƪ܌-ŻƢǜ'nĩƷ'nĩƢþ-ŦþǢĩƢĩĢ-ŁþĚƢŎě-ĢŻĩƪűŻƷůĩƢĩŦǢ-ƢĩƪƿŦƷ- Ŏűþ- ǴŦþƷƪŻƿűĢ- ƷĩǡƷƿƢĩ܌ěþű-'nþƢĢŦǢ-ĚĩƿűĢĩƢƪƷŻŻĢ- Ʒ'nƢŻƿł'nłĩűĩƢþŦŎǬþƷŎŻűܒȃĩ-ĢŎþŦĩěƷŎěþŦ-Ƣĩ-ŦþƷŎŻűƪ'nŎƟ-ĚĩƷǜĩĩűƪƷƢƿěƷƿƢþŦþűĢ-ƷĩǡƷƿƢþŦƪŻƿűĢ܌þƪhþě'nĩűůþűűܼƪƪŻƿűĢ-ƷǢƟĩƪĩƪƪþǢƪƷþƷĩƪ܌- ŎƪƪĩŦŁܮĩǛŎĢĩűƷ-ݑދܣßSܒܤڐܒ-SűěŻűűĩěƷŎŻűǜŎƷ'n-Ʒ'nĩěƿŦƷƿƢþŦěŻĢŎűł-ŻŁ-Ʒ'nĩůþƷĩƢŎþŦ܌-'nŻǜĩǛĩƢ܌-ŎƷ-Ěĩܮ ěŻůĩƪĩǛĩűěŦĩþƢĩƢ- Ʒ'nþƷ-Ŏű- ǴŦƿěƷƿþƷŎŻűƪ-ĚĩƷǜĩĩűƪƷƢƿěƷƿƢĩþűĢ- ƷĩǡƷƿƢĩ܌ƪĩěŻűĢܮŻƢĢĩƢ-'nŎĩƢþƢě'nŎĩƪþƪǜĩŦŦþƪ-Ʒ'nĩ-ŦĩǛĩŦŎűł-ŻŁ-ĢŎDz ŁĩƢĩűěĩěþű-ŎűĢĩĩĢ-ŻěěƿƢůŻƢĩơƿŎěţŦǢ-Ʒ'nþűĩǡƟĩěƷĩĢ-ݑދܣSSS܌ڔܒ- ܒܤړܒßS

ƫŊżƸ܉-ƸŊĪǣŧÿǀŃŊĪģÿŲģ-ƸŊĪǣǝĪƣĪǿŧŰĪģܕݎ-ܸÿŲǣěżģǣƫƸŏŧŧÿŧŏǜĪܐܹܷ-ڎܠݎƣŏŃŏŲÿŧŧǣ-GĪƣŰÿŲ܉ƫǀŲŃŏŲdÿƠÿŲĪƫĪěǣ-ƸŊĪ- *ƫŊƕ*ƫżŧżŏƫƸ܈ܡ-ܶŤŏƫżŤǀǝÿ-ŲÿżÿƣŏܕݎƫǀģĪ-Ųŏ-ƸżŤŤÿŲ-ŲÿƫŊŏܕݎŏƸÿŰŏǝÿ-ŊǀƸÿƸÿěŏܕݎ-ŲÿŲšŏ-Ųż-ŤÿżǝżǣǀŃÿŰĪƣǀŤżƸż-ŲÿƫŊŏܷ- ܞǣżǀÿƣĪƫƸŏŧŧěƣĪÿƸŊŏŲŃܕݎǣżǀÿƣĪ-ŲżŧżŲŃĪƣƫĜƣĪÿŰŏŲŃܕݎ-Ųż-ƠÿŏŲģŏƫƸżƣƸƫÿŲǣŰżƣĪܕݎǣżǀƣłÿĜĪܟܷ

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### *together//apart***: Reconstruction, Recomposition, and Irritation**

Sű ůǢ- ƟƢĩƟþƢþƷŻƢǢ ǜŻƢţ- ŁŻƢ *together//apart* (*'nþůţţĩܞܞƷƷŽƢŽŠǢŽ*ܤ- ŁŻƢ- Ʒ'nĩ fŻƢĩþű- ŎűƪƷƢƿůĩűƷƪ- *ţþǢþłǁů*-ܣþƢě'nĩĢ-ǬŎƷ'nĩƢ܌ܤ-*Ʒþĩłǁů*-ܣĚþůĚŻŻ-ǴŦƿƷĩ܌ܤ*saenghwang*-ܣůŻƿƷ'n-ŻƢłþű܌ܤþƪǜĩŦŦþƪ-ǛŎŻŦŻűěĩŦŦŻ܌-ƟŎþűŻ܌þűĢ-ŦŎǛĩĩŦĩěƷƢŻűŎěƪ-ڞڛ܌ܤڐڏڏڑܣ I analyzed in some detail the structure and sound ĩDz ŁĩěƷƪ-ŻŁþǜĩŦŦܮţűŻǜű-ƟŎĩěĩ-ŁƢŻů-Ʒ'nĩ-ƢĩƟĩƢƷŻŎƢĩ-ŻŁfŻƢĩþűěŻƿƢƷůƿƪŎě܋-*RþűłűǢŽűłƪþű* from the *æŽűłƪþű-'nŻĩƪþűł* suite. In addition, an extraction of the pitch organization from the seěŻűĢůŻǛĩůĩűƷ-ŻŁ-Sƪþűłæƿűܼƪ-ĢƿŻ*together*-ܤژڗژڐܣ-ŁŻƢ-ǛŎŻŦŎűþűĢ-ĢŻƿĚŦĩ-Ěþƪƪ܌-ƷŻǜ'nŎě'n-Ʒ'nĩ-ƷŎƷŦĩ- þŦƪŻ- ƢĩŁĩƢƪ܌- ƟŦþǢƪ þ- ƟþƢƷ-Ŏű- Ʒ'nĩůƿƪŎěþŦ ƪƷƢƿěƷƿƢĩܒȃĩ þƢě'nĩĢ- ǬŎƷ'nĩƢƪ *ţþǢþłǁů* and *ţŽůƿű݂łŻ* perform the main melody of *®þűłűǢŽűłƪþű*, which is elaborated heterophonically by the other instruments, whereby the lines become very independent from the start and combine to form þ-ŁþĚƢŎěܮŦŎţĩ-ƷĩǡƷƿƢĩ-ܣ/ǡܒܤڏڐܒڕݑܒȃĩůĩŦŻĢǢěŻůƟƢŎƪĩƪ-ŁŻƿƢƪƷþűǬþƪ-ŻŁ-Ʒ'nƢĩĩ܌-ŁŻƿƢ܌-ŁŻƿƢ܌þűĢƪŎǡ- phrases (*ţēţ*ܒܤ


ȃĩ-ĢĩěŎƪŎǛĩ-ŁþěƷŻƢ-ܫþűĢ-Ʒ'nŎƪ-ŎƪþűþűþŦŻłǢ-ƷŻ-*Glasakkord* – is not the "strutting" of these layers as such, but rather the molding process resulting from the internal tension thus generated. While the layered fabric initially eliminates the feeling of linear temporality, targeted þűĢ-ܹƟŎűƟŻŎűƷܺ-ƟƢŻěĩƪƪĩƪþƢĩłƢþĢƿþŦŦǢ-ŎűƷƢŻĢƿěĩĢܒű-Ʒ'nĩ-Żűĩ-'nþűĢ܌-ŁŻƿƢĩűƪĩůĚŦĩƪĩěƷŎŻűƪ- are interrupted by three solos (piano, violoncello, *ţþǢþłǁů*ܤ-Ʒ'nþƷþƢĩ-ŎűěƢĩþƪŎűłŦǢ-Ʒ'nĩþƷƢŎěþŦþűĢ- łĩƪƷƿƢþŦ܌-ĚƿƷ-Ʒ'nĩĩűƪĩůĚŦĩƪĩěƷŎŻűƪþŦƪŻ-ĢĩǛĩŦŻƟǜŎƷ'nŎű-Ʒ'nĩůƪĩŦǛĩƪܒű-Ʒ'nĩ-ŻƷ'nĩƢ-'nþűĢ܌-ŁƢŻů- the second ensemble section, there are more and more synchronized actions, such as a spiral-

ڹڶ- -1/4ŊĪ-ƠƣĪŰŏĪƣĪżł-ƸŊŏƫǝżƣŤ-ƸżżŤ-ƠŧÿĜĪÿŧŰżƫƸƫŏǢǣĪÿƣƫÿǽ ƸĪƣŏƸƫ-ĜƣĪÿƸŏżŲżŲ-ڌڍ-FĪěƣǀÿƣǣ-܉ړڌڌڎ-ƸŊÿŲŤƫ-ƸżÿŲŏŲǜŏƸÿƸŏżŲłƣżŰdÿĜŤżģǣ-Ƹż-ƠÿƣƸŏĜŏƠÿƸĪŏŲ-ƸŊĪƫŏÿ-£ÿĜŏǿĜ-FĪƫƸŏǜÿŧżł-ƸŊĪƫŏÿŲ żŰƠżƫĪƣƫhĪÿŃǀĪŏŲàĪŧŧŏŲŃƸżŲܕ tĪǝðĪÿŧÿŲģ-¼ŊĪ żŲƸĪŰƠżƣÿƣǣrǀƫŏĜ-/ŲƫĪŰěŧĪfżƣĪÿ-ܠ r/f܉-ވ-SSSܡڑÿŲģ-®ƸƣżŰÿ-ܠtĪǝðĪÿŧÿŲģ܉ܡģŏƣĪĜƸĪģěǣ- NÿŰŏƫŊrĜfĪŏĜŊ܉-ƠĪƣłżƣŰĪģ-ƣĪŰŏǢĪģŧŏǜĪƣĪĜżƣģŏŲŃżł-ƸŊŏƫ-ƠƣĪŰŏĪƣĪǝÿƫƣĪŧĪÿƫĪģżŲ-ƸŊĪ- '-*Christian Utz: ƸƣÿŲƫłżƣŰĪģܓ- ŰǀƫŏĜłżƣ ÿƫŏÿŲ ÿŲģǝĪƫƸĪƣŲ ŏŲƫƸƣǀŰĪŲƸƫ-* ܉*ږڐڐڒܬڑڐڐڒ*-R ƠĪŤƸƣÿŧ- ¦ĪĜżƣģƫ- ®¦h܉ڔڎڌڔڌܫڐ- ڔڌڌڎ- ܠhttps:// ƫżǀŲģĜŧżǀģĜżŰܕĜŊƣܗǀƸǭܕƸżŃĪƸŊĪƣܫÿƠÿƣƸܫłżƣܫŤÿǣÿŃܫŰܡ

Example 6.10: Sangnyongsan from the Yongsang suite (Korean court music): first verse, kāk 2-3 (Anthology of Korean Traditional Music, vol. 5, edited by National Classical Music Institute, Seoul, n. d.)

### */ǡþůƟŦĩ-ږږܘڛܑ- 'nƢŎƪƷŎþű-ÃƷǬܒtogether//apartܒůůڙݗܘܱڛ*

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ŎűłþƪěĩűĢŎűł-ȀłƿƢĩ-Ŏű-Ʒ'nĩ-*Ʒþĩłǁů* or tone repetitions, which give the sound more pronounced ěŻűƷŻƿƢƪܒȃŎƪ-ƟƢŻěĩƪƪ-ŻŁěŻűƷŻƿƢŎűł-Ŏƪ-ŎűƷĩűƪŎȀĩĢ-Ŏű-Ʒ'nĩ-Ʒ'nŎƢĢĩűƪĩůĚŦĩƪĩěƷŎŻű܌ǜ'nĩƢĩ-ŎűěƢĩþƪܮ ŎűłŦǢ-ĚŦŻěţܮŦŎţĩþłłŦŻůĩƢþƷŎŻűƪþűĢƪǢűě'nƢŻűŎěŎƷŎĩƪþƟƟĩþƢܒ-Sű-Ʒ'nĩ-ŦþƪƷƪĩěƷŎŻű܌þƟþƢƷ- ŁƢŻůþ- short insert, the polymetric grouping is completely removed, the music "tears itself free," and the previously largely "invisible" theatrical parts of the music forcefully push through the calls and bodily actions of the musicians to the surface, comparable to the cathartic moment in *Interference*-ݑދܣßSܤڐܒ-ܣ/ǡڟڛܒܤڑڐܒڕݑܒ

ȃĩěŻůƟŦĩǡŎƷǢ-ŻŁ- Ʒ'nĩ-ŦþǢĩƢŎűł- Ʒĩě'nűŎơƿĩþűĢ- Ʒ'nĩ-ŎűƷĩƢǜŻǛĩű-ŎűƷĩƢƷĩǡƷƿþŦ- ƢĩŁĩƢĩűěĩƪþƢĩ- thus not ends in themselves, but trigger concise formal processes. At the same time, the cultural context of Korean music can be placed in an open musical space without a direct quotation but is very close to an "original text." Here, "analysis" contributes to a transformative and abstract rewriting of a reference model while maintaining an idiomatic reference based on ůĩƷŎěƿŦŻƿƪ-ƢĩǜƢŎƷŎűłܒ-SƷ-Ŏƪ-ƟƢĩěŎƪĩŦǢ-Ʒ'nŎƪ-ŎűƪŎƪƷĩűěĩ-Żű-ܣþƿĢŎĚŦǢܤ-ĢĩůŻűƪƷƢþĚŦĩ-ŎĢŎŻůþƷŎě-ĢŎDz ŁĩƢܮ ence that can disorient the listener in the resulting music, pointing beyond the limits of purely conceptual integration.

ںڶ *Together//apart*-Ŋÿƫÿ-ܶƣĪĜżŰƠżƫĪģܷǜĪƣƫŏżŲłżƣƫĪǜĪŲ-ܠ/ǀƣżƠĪÿŲܡŏŲƫƸƣǀŰĪŲƸƫÿŲģŧŏǜĪ-ĪŧĪĜƸƣżŲŏĜƫ-ĪŲƸŏƸŧĪģ- *Unsichtbares Theater*-܉ܡڍڌڌڎܠǝŊŏĜŊǝÿƫ-ƠƣĪŰŏĪƣĪģżŲ-ڍڎtżǜĪŰěĪƣ-ڍڌڌڎěǣfŧÿŲŃłżƣǀŰàŏĪŲ-ܠģŏƣĪĜƸżƣ܈-/ģ- ®ƠÿŲšÿÿƣģܡÿƫ-ƠÿƣƸżł-ƸŊĪ-/ǀƣżƠĪÿŲrǀƫŏĜrżŲƸŊŏŲÿƫĪŧ

Example 6.12: Christian Utz, together//apart, mm. 84-87

Copyright © 2001 by UtzMusicPrints, Vienna

### 3. Intercultural and Multilingual Trajectories of the Human Voice

It makes sense to present my two vocal works Zersplitterung (2002) and telinga - mulut (2009) after the analyses of the four instrumental works with crosscultural instrumentation, since they demonstrate fully an aspect that was a factor in many of the previous arguments but hardly became explicit: the (inherent) coherence and ambiguity of the sounds creates a productive tension in relation to the singular, presumably "authentic" voice from which these sounds emanate. Already at the beginning of this book, it was suggested that the demand for a simple model of identity, in which one is expected "to speak with one's own voice" (→ I.2), poses almost insoluble problems in today's floating and evolving societies as well as in many musical discourses. It was also highlighted, however, that in a musical context, the voice always gains a communicative potential from the ambiguity of identities located in the sound structures, a potential that may directly "touch" the other, the listener, as explored with reference to the boundary between speaking and singing in the preceding chapter (→ V.1). Both works discussed below reveal this potential in the ways they address idiomatic alterity (Zersplitterung) or hybridity (telinga – mulut) against the background of multilingual conceptions (Korean)German/English and Indonesian/German/English). In particular, these two works seek to convey meaning on a multitude of levels and through different "channels," all of which are eventually transported through a single vocal persona (in both cases a baritone part, performed by Martin Lindsay). Political and historical problems in contemporary Korean and Indonesian societies also resonate in the often-conflicting lines of fracture of the text-music structures.

### Zersplitterung - Splintering of Voices

In Zersplitterung (pusŏjin chogak, Splintering) for baritone, piano, and glass percussion, I tried to approach the tension between contemporary and traditional Korean culture as I had experienced it both during my short visit to South Korea in 2001 and during my study of contemporary and traditional Korean music since 1998 (> III.4, III.5).20 After researching music in the Korean context for a tew years, I had written together//apart in 2001 for the Contemporary Music Ensemble Korea (CMEK). As explained above, this work emerged from the Korean court music piece Sangnyŏngsan from the suite Yŏngsan hoesang and from Isang Yun's Together (1989) for violin and double bass. My compositional method in this piece was based on detailed analyses of both works, and developed a "stratified" structure, in which these two materials coincided and were substantially transformed and contextualized (→ VI.2). This approach resulted, among other factors, from my research on Isang Yun's music and my criticism of simplified tendencies in his Asia-West dualism (→ III.4), but more importantly from a detailed study of Yuji Takahashi's non-essentialist reinvention of Asian instrumental practices (→ III.4) as well as conversations with Korean composers of a younger generation, mainly Bonu Koo (→ III.5). In our conversation, Koo reterred to Takahashi's concepts, a connection that Koo documented in his own works by quoting the Korean children's song Saeya, pahrang saeya (Bird, bird, blue bird), also mentioning the role of this melody in Takahashi's piano work Kwangju, May 1980 (1980):

Supporters of the late nineteenth-century Tonghak movement used this song as a key melody. Since the Tonghak movement was brutally suppressed, it soon became very dangerous to sing this song. Only children were allowed to sing it without repercussions. Meanwhile, it became a symbol of hope. The way Takahashi quoted this song was very moving and I felt that he had a deep understanding of Korean politics, for he connected the Tonghak movement and the Kwangju protests.28

As a tribute to Takahashi and Koo and a reference to politically charged Korean music and art discourses, a quotation from this song also appears in Zersplitterung, in the first interlude, whistled by the pianist (Ex. 6.13).

In Zersplitterung, Takahashi's tendency toward "raditionalism"® is reflected above all in the musical elaboration of the vocal part, which follows the principle of the traditional Korean vocal genre sijo and is closely modeled on the speech melody and rhythm of the spoken text. As in together//apart, the approach was rather "philological" in the beginning, guided by the idea that only a close understanding of and compositional intervention into the microstructure of a model would make it possible to bring its incommensurability to light during the compositional process. Furthermore, it was exactly such a method that I missed in a famous

<sup>27</sup> Zersplitterung was commissioned by the Rice & Bread music festival in 2002, whose focus was Korean-European musical cross-relations, organized by earPORT Duisburg/Gerhard Stäbler, Kunsu Shim). It was first performed by Martin Lindsay (baritone), Jong-Ah Yoon (piano), and Dirk Rothbrust (glass percussion) in Essen and Duisburg (two performances) on 22 June 2002. A more recent performance took place at the Salihara Festival in Jakarta, Indonesia on 14 July 2009 with Martin Lindsay (baritone), Hsin-Huei Huang (piano), and Berndt Thurner (glass-percussion). A recording of the 2009 performance can be accessed online: https://soundcloud. com/chr\_utz/zersplitterung-2002.

<sup>28</sup> Koo, "Beyond 'Cheap Imitations," 133-134.

<sup>29</sup> See Miller, "Radical Traditionalism."

*/ǡþůƟŦĩ-ژږܘڛܑ- 'nƢŎƪƷŎþű-ÃƷǬܒ-ZersplitterungܒȁƢƪƷ-ŎűƷĩƢŦƿĢĩ-ܩƟܘ-ܒܪښ-*

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appropriation of *sijo*܌-Sƪþűłæƿűܼƪ-FŻƿƢƷ'n-®ǢůƟ'nŻűǢ-*ܿSů-'ƿűţĩŦűƪŎűłĩű݀-*ڙڜ܌ܤڕڗژڐܣ to which I was ƪĩĩţŎűłþţŎűĢ-ŻŁěŻƿűƷĩƢůŻĢĩŦܒrǢůþŎűƪŻƿƢěĩƪ-ŁŻƢ-Ʒ'nĩƪƷƿĢǢ-ŻŁ*sijo* were a transcriptionښڜ ܣ/ǡܤړڐܒڕݑܒþűĢþ-ƢĩěŻƢĢŎűł-ŻŁþ*-ƟǢŽűłƪŎŠŻ* song.ڛڜ In preparation for the premiere, I played this ƢĩěŻƢĢŎűł-ƷŻ-Ʒ'nĩ-ǛŻěþŦ-ƟĩƢŁŻƢůĩƢ܌rþƢƷŎűhŎűĢƪþǢ܌þűĢ-ƷŻłĩƷ'nĩƢǜĩ-ĢĩǛĩŦŻƟĩĢ-ǛŻěþŦ-ƷŎůĚƢĩƪþűĢ- techniques in *Zersplitterung*-ĚþƪĩĢ-Żűþ-ƢþƷ'nĩƢ-ŎűƷƿŎƷŎǛĩłƢþƟ'nŎě-ǛŻěþŦűŻƷþƷŎŻű-ܣ/ǡܒܤڔڐܒڕݑܒ

Although the basic orientation of the vocal line around central pitches is derived from a similar structure in *sijo*܌ǜ'nĩƢĩ-ŻűŦǢ-Ʒ'nƢĩĩůþŎű-ƟŎƷě'nĩƪ܌ěŻűƪƷþűƷŦǢ-ŎűǴŦĩěƷĩĢþűĢ-ǛþƢŎĩĢ܌-ŁŻƢů- þ-ĢƢŻűĩܮŦŎţĩ-ƟŎƷě'nƪƟþěĩ܌ the highly expressive and contemplative *sijo* vocal style is not imitated, but rather expanded into extreme registers and experimental timbres that transcend stylistic ŦŎůŎƷþƷŎŻűƪܒȃŎƪ-ǛŻěþŦ-ŦŎűĩůĩƢłĩƪǜŎƷ'n-ŎƢƢĩłƿŦþƢ-ƢĩƟĩƷŎƷŎǛĩƪƷƢƿěƷƿƢĩƪ-Ŏű-Ʒ'nĩ-ܣĩǡƷĩűĢĩĢܤ-ƟŎþűŻ- þűĢ łŦþƪƪ-ƟĩƢěƿƪƪŎŻű-ŎűƷŻ- ܹ'nǢĚƢŎĢܺ ƪŻűŎěěŻűƪƷĩŦŦþƷŎŻűƪ-ܣƪĩĩ-/ǡܒܤڔڐܒڕݑܒȃĩ- ƷĩűƪŎŻűěƢĩþƷĩĢ- ĚǢ- the vocal-instrumental interaction and the dense structure set up by the superimposition of three interrelated ostinato cycles (in a much simpler way than in *the wasteland of minds*܌-ݑދßSܤڐܒ- is released in two interludes and a postlude that are written in unmetered time and include ܹƪƟĩěƷþěƿŦþƢܺłĩƪƷƿƢĩƪ܌ůŻƪƷ-ƟƢŻůŎűĩűƷŦǢ-Ʒ'nĩ-ĚƢĩþţŎűł-ŻŁþłŦþƪƪ-ƟŦþƷĩ-Ŏű-Ʒ'nĩƪĩěŻűĢ-ŎűƷĩƢŦƿĢĩ- Ʒ'nþƷůþƢţƪ-Ʒ'nĩěŦŎůþǡ-ŻŁ-Ʒ'nĩ-ƟŎĩěĩ-ܣ/ǡܒܤڕڐܒڕݑܒ-S-'nþĢþŦƢĩþĢǢ-ĢĩǛĩŦŻƟĩĢ-Ʒ'nŎƪ-ƷǢƟĩ-ŻŁƪŎůƟŦĩ-ƢŎƷŻƢűĩŦŦŻܮŦŎţĩ-ŦþƢłĩܮƪěþŦĩ-ŁŻƢů-ƟŦþű-ŎűůǢĩþƢŦŎĩƪƷ-ƟŎĩěĩƪǜŎƷ'n-ŎűƷĩƢěƿŦƷƿƢþŦěŻűƷĩűƷ܌ƪƿě'nþƪ*sheng – Ǣƿĩ-ܱ-ŦDž*-ܤږژژڐܣ-ŁŻƢ-ǛŻěþŦơƿþƢƷĩƷþűĢ܌ůŻƢĩ-ŎůƟŻƢƷþűƷŦǢ܌-Ŏű-*ĚƪƷƢþěƷ-߯Ǣþłĩ*-ܤڏڏڏڑܣ-ŁŻƢƪŻƟƢþűŻþűĢ- ƪƷƢŎűłơƿþƢƷĩƷܒȃĩƪĩƪŎůƟŦĩ-ŁŻƢůþŦůŻĢĩŦƪĩű'nþűěĩ-Ʒ'nĩ-ƢŎƷƿþŦŎƪƷŎěě'nþƢþěƷĩƢ-ŻŁ-Ʒ'nĩůƿƪŎěþűĢ- guide the listener through altered and ambiguous musico-lingual territories while ensuring a basic orientation in the formal architecture.

ȃĩ-ŁƢþłŎŦŎƷǢ-ŻŁłŦþƪƪůþƷĩƢŎþŦþƪþƪŻƿűĢƪŻƿƢěĩ-'nþƪ-Ěĩĩű-ŁƿƢƷ'nĩƢĩǡƟŦŻƢĩĢ-ŎűůþűǢ-ŻŁůǢ- ƪƿĚƪĩơƿĩűƷǜŻƢţƪƪƿě'n as *specula*-ܤڔڏڏڑܣþűĢ*vier epigramme*-ܤڕڏܫڔڏڏڑܣ-ŁŻƢ-ƟĩƢěƿƪƪŎŻűƪŻŦŻþűĢ- ŦŎǛĩĩŦĩěƷƢŻűŎěƪܒȃĩƪǢůĚŻŦŎěěŻűűĩěƷŎŻű-ĚĩƷǜĩĩű- Ʒ'nŎƪ- ŁƢþłŎŦŎƷǢþűĢ- Ʒ'nĩěŻűǴŦŎěƷܮŦþĢĩűþƷůŻsphere of particular cultural-political contexts established in *Zersplitterung* is further explored in *Glasakkord*, where spectral analyses of glass sounds serve as one of the main materials in a ƪƷƢþƷŎȀĩĢƪƷƢƿěƷƿƢĩǜŎƷ'nþƪƷƢŻűł-ƷĩűĢĩűěǢ-ƷŻǜþƢĢěŻŦŦþƟƪĩ-ݑދܣßSܒܤڑܒ

ڴڷ See Stephan, *Isang Yun: Die fünf Symphonien*܉-ڔڎڍܨڑڕÿŲģ- Ŋżŏ܉-*Einheit und Mannigfaltigkeit*܉-ړڌڎܨڑړڍ

ړڌڍܨڑڌڍܷ-܉fǀŲƫƸŧŏĪģĪƫģĪƫ-GÿƸƸǀŲŃĪŲ-ܶ܉ĪĪƫΦ- -ڵڷ

ڶڷ *Korean Traditional Music Vol. 1*-ܠ żǀƣƸrǀƫŏĜ-NŏŃŊŧŏŃŊƸƫ܉ܡ-1/4ŊĪtÿƸŏżŲÿŧ ŧÿƫƫŏĜÿŧrǀƫŏĜ-SŲƫƸŏƸǀƸĪ܉-Rf hŏŰŏƸĪģ܉-܉ړڔڕڍ- ڔƣÿĜŤ¼

*/ǡþůƟŦĩ-ڙږܘڛܑ-1/4ƢþűƪěƢŎƟƷŎŻű-ŻŁ-ƟǢŽűłƪŎŠŻ-ĚǢ- 'nþűł-®þܴ'nƿűܒ-ܿƢƷ-®Żűłܘ݀Sű-®ƿƢǛĩǢ-ŻŁfŻƢĩþű-ƢƷƪ-ܱ- ¼ƢþĢŎƷŎŻűþŦrƿƪŎěܒ-RĩŻƿŦ-ܒژڜڞږ-ڙڞږ-ܩơƿŻƷĩĢ-Ŏű-¦ĩĩƪĩܒ-ܿGþƷƷƿűłĩű-ĢĩƪfƿűƪƷŦŎĩĢĩƪܒ݀-ܪڛڕږ*

In the center of the text arrangement of *Zersplitterung* is the poem*- 'n݂Ŏůůƿłĩ-Ʒþĩ'nþǢŽ*-ܣRŎŦĩűěĩܤ- by Ko Åű-ܣĚ܌ܤڒڒژڐݑܒƪĩƷ-Ŏű-Ʒ'nĩ-ŻƢŎłŎűþŦfŻƢĩþű-ܣ1/4þĚŦĩ-ܒܤڐܒڕȃĩƪƷƢƿěƷƿƢĩ-ŻŁ-Ʒ'nŎƪ-ƟŻĩů-Ŏƪ-ŠƿǡƷþƟŻƪܮ ed with two further Korean poems, *fǁűþŦǁű*-ܡȃŎƪ-'þǢܢ-ĚǢ-®þűłĚǢŽűł- 'nܼŽű-ܤڒژژڐܫڏڒژڐܣ-Ŏű-Ʒ'nĩ- two interludes and a traditional *sijo* short poem by fŎů-Sű'nƿ-ܤڏڕڔڐܫڏڐڔڐܣ-Ŏű-Ʒ'nĩ-ƟŻƪƷŦƿĢĩܒȃĩ- "splintering," the fragmentation of traditional and modern culture in Korea, is analogous to the gap between silence and speech, political commitment and interiorization, as documented in Ʒ'nĩ-ƷǜŻěŻűƷĩůƟŻƢþƢǢ-ƟŻĩůƪܒȃĩǢůþţĩ-Ʒ'nĩƪƿDz ŁĩƢŎűłþűĢƪƿƟƟƢĩƪƪŎŻű-ŻŁfŻƢĩþű-ŎűƷĩŦŦĩěƷƿþŦƪ- ܣĚŻƷ'n-Ŏű-®ŻƿƷ'nþűĢtŻƢƷ'nfŻƢĩþܤþűŻƷ'nĩƢ-ŁþěĩƷ-ŻŁ-Ʒ'nŎƪ-ƟŎĩěĩܒ

In addition to dealing with the *sijo* vocal style, dealing with the sound and rhythm of the Koreþű-ŦþűłƿþłĩþűĢ-Ʒ'nĩ-ƟŻĩƷŎěƪƷǢŦĩ-ŻŁ-Ʒ'nĩ-ƟŻĩůƪ-ƟŦþǢĩĢþţĩǢ-ƟþƢƷ-Ŏű-Ʒ'nĩěŻůƟŻƪŎƷŎŻűþŦ-ƟƢŻěĩƪƪܒȃĩ- fŻƢĩþűŎƪƷrþƢŎŻű-/łłĩƢƷƪĩűƷůĩ-Ʒ'nĩ-ŻƢŎłŎűþŦfŻƢĩþű-ǛĩƢƪŎŻűƪ-ŻŁ-Ʒ'nĩ-ƟŻĩůƪ-Ʒ'nþƷ-S-'nþĢ-ŁŻƿűĢ-Ŏű-

*/ǡþůƟŦĩ-ښږܘڛܑ- 'nƢŎƪƷŎþű-ÃƷǬܒ-Zersplitterungܒ-ĚĩłŎűűŎűł-ŻŁ-Ʒ'nĩƪĩěŻűĢ-ƟþƢƷ-ܩƟܘ-ܪڛ-*

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*/ǡþůƟŦĩ-ڛږܘڛܑ- 'nƢŎƪƷŎþű-ÃƷǬܒ-ZersplitterungܒƪĩěŻűĢ-ŎűƷĩƢŦƿĢĩܝ-ĚƢĩþţþłĩ-ŻŁ-Ʒ'nĩłŦþƪƪ-ƟŦþƷĩ-ܩƟܘ-ܪږږ-*

 żƠǣƣŏŃŊƸ-ޣ-ڎڌڌڎěǣ-ÃƸǭrǀƫŏĜ£ƣŏŲƸƫ܉ßŏĪŲŲÿ

her compilation *Wind und Gras*, ڜڜþűĢ-Ʒ'nĩ-ƟŎþűŎƪƷþƷ-Ʒ'nĩ-ƟƢĩůŎĩƢĩ܌dŻűłܮ'næŻŻű܌-ƢĩěŎƷĩĢ-Ʒ'nĩ-ƟŻĩůƪ- ŁŻƢůĩ-Ŏű-Ʒ'nĩ-ŻƢŎłŎűþŦfŻƢĩþűܒȃĩ-Ƣ'nǢƷ'nůþűĢ-ĢĩƪŎłű-ŻŁ-Ʒ'nĩ-ǛŻěþŦ-ƟþƢƷþƢĩ-ĢĩƢŎǛĩĢ-ĢŎƢĩěƷŦǢ-ŁƢŻů- Ʒ'nĩƪƟĩĩě'n-Ƣ'nǢƷ'nůþűĢ-ŎűƷŻűþƷŎŻű-ŻŁ-Ʒ'nŎƪ-ƢĩþĢŎűłܗþłþŎű܌-SǜþƪűŻƷþŎůŎűł-ŁŻƢþű-ŎůŎƷþƷŎŻű܌-ĚƿƷ- ŎűƪŻůĩ-ƟŦþěĩƪ܌-ĚŦþƷþűƷĩǡþłłĩƢþƷŎŻűƪ-ŻŁ܌-ŻƢ-ܹěŻƿűƷĩƢܮĢĩƪŎłűƪܺ-ƷŻ܌æŻŻűܼƪ-ƢĩþĢŎűłǜĩƢĩ-ŎűěŦƿĢĩĢܒ

ڷڷ Eggert, *Wind und Gras*܉-ڑڕÿŲģ-ړڕܨڒڕ-1/4ŊĪżƣŏŃŏŲÿŧ-ƠżĪŰěǣfŏŰ-SŲŊǀÿŲģ-ƸŊĪ-/ŲŃŧŏƫŊ-ƸƣÿŲƫŧÿƸŏżŲǝĪƣĪ-ƸÿŤĪŲłƣżŰ- ƸŊĪ-ĜżŧŧĪĜƸŏżŲfŏŰ܉ *Classical Korean Poetry*܉-ڑڑ-ܠŲż-ܡڑڑڌڎ

Table 6.1: Christian Utz, Zersplitterung, (2002), Libretto, based on poems by Ko Ün (b. 1933), Ch'immuge taehayŏ (Silence); Sangbyŏng Ch'ŏn (1930–1993), Kŭ nalŭn (This Day); Inhư Kim (1510–1560), Ch'ongsanto (The Blue Hills) (words or verses in italics are not sung/spoken)

### baritone

modŭn ch'immuktŭra hanpantoe hǔťochin ch'immuktúra toraora oksusŭstae sakyŏinŭn paramsori sairo kangmuri hǔrǔun kosǔl kǒsǔllŏsŏ ŏcheoa talli irŭk'inŭn mulkyŏlsairo ssŏgǔn tuiŏm soke pakheinǔn kich'i sori sairo toraora {Ko Un, Ch'immuge taehayŏ}

How long ago might it have been since that day when it hit me like the shirt under the iron ...

How long ago might it have been since that day when in the house of horror a summer insect offered me a handshake ...

amu kŏtto ssŭchi mothanŭn hŭin chongi wie pamǔi pyŏrang kǔ pyŏrangŭi pawi t'ŭme namŭn ppurie kant'ŏnghanŭn amk'ŏttŭrŭi sal soge ani soriran sorirŭl ta ijŏbŏrin saramtŭrŭi cham soke inŭn ch'immuktŭra toraora toraoasŏ k'ŏdaran ch'immugŭro

ch'immugǔi ausŏngŭl tŭllyŏdao ŏttŏn ausŏngpodado musŏpke modǔn ch'immuktǔra toraora {Ko Ün, Ch'immuge taehayŏ}

Mein Fleisch und meine Knochen wissen es: Wahrhaftigkeit und Schmerz welches stärker ist ... An einem Rand des Himmels in mir reitet ein Vogel in jähem Schrecken die Flügel All you silences, Silences scattered on this island, come hack To the crackling of the wind in the blade of corn. Among those waves rebelling against the river, erected today differently from yesterday, to the cough that got stuck in the dung heap, come back.

i jen myŏ nyŏn i ŏ nŭn ga, a i ron mi wa i sya ŭ gat'i tang han kũ nar ũn ...

i jen myŏ nyŏn i ŏ nŭn ga, mu sŏ un chip ti ch'ang sa e yŏ rŭm kon ch'ung han ma ri ttam hul li nũn na e ge ak su rǔl ch'ong han kũ nar ǔn ... {Sangbyŏng Ch'ŏn, Kŭ nalŭn}

Over white paper refusing the writing the cliff of the night with roots left in the rocks, fornicating females and in their flesh the silences in the sleep of people who forgot the voiceless voice come back. Returned to a tremendous silence let the cry of silence be heard more terrible than any other outcry. All you silences, come back,

### pianist (whispered)

nae sal gwa ppyŏ nŭn al go i ta. chin sil gwa ko t'ong kǔ ǒ nǔ tchog i kang cha in ga rǔl ... nae ma ũm ha nũl han p'yŏn sa e sŏ sae nũn so sũ ra chi ge nal gae p'yŏn ta. {Sangbyŏng Ch'ŏn, Kŭ nalŭn}

\* My flesh and my bones know: / Truthfulness and pain / which is stronger ... / On one edge / of heaven in me / a bird spreads its wings in sudden terror

ŤǂƣŏŊÿǣž-ŊÿŲƠÿŲģżǂŏ-ĜŊܹŏŰŰżŃǂŧ-ŰżģǂŲ- - ƠÿģÿĪŤŤÿĜŊŏ-ƠܹÿŤǂƠŊÿƣÿ ŰżģǂŲ-ĜŊܹŏŰŰżŤƸǂƣÿ-ƸƸžŲÿĜŊŏ-Űÿŧܹŧÿ Ƹżƣÿżƣÿ-ŊÿŲ-ŤÿĪǂŏ-ĜŊܹŏŰŰǀŤǂŰ-ĜŊܹŏŰŰǀŤŏÿŲŏģÿ ŊÿŲ-ŤÿĪǂŏƫżƣŏŲǂŲƫżƣŏŏŲÿ ŰżģǂŲ-ĜŊܹŏŰŰǀŤƫżŃĪ ŤǂƫżƣŏŲǂŲƫÿƣÿŏƸÿ ŲÿĪƫžƣÿŃǂŏ-ŲÿŰǀŏƫÿĪģǂƣÿ ƸÿƸŊŏŲ-ŰǀŲ-ƸÿƸŊŏŲŏƠƸǂƣÿ ƫÿƣÿŰƸǂƣǂŏ-ŊÿŲÿŊÿŲÿǂŏ-ŲżǣĪĜŊžŤÿĪƫǀƸǂƣÿ Ƹżƣÿżÿƫž ĜŊܹŏŰŰǀŃǂƣż-ŰÿŲŲÿŃż ĜŊܹŏŰŰǀŃǂƣżŏƸƸÿŲŃǂŏ-ŰżģǂŲ- - ƠƠǣžģǂŧĪŤĪ-ĜŊĪƫÿƣǂŧ-ĜŊŏŲÿĪģÿż Ƹżƣÿżƣÿ-ƸżƣÿżƣÿÿĪŲǂŲ-Ťÿǂƣŏģÿ- ܜfż-ÅŲ܉- *ŊܽŏŰŰǀŃĪ-ƸÿĪŊÿǣž*}

*and carry the silence of Korea to the ends of the seas. All of you, don't go turn back. A single silence is not a silence. A single sound is a sound, in every silence lives this sound. You leaves of the mountain forest, locked doors, locked mouths you, slavish melancholy from person to person, come back and meet as silence. In silence, bow to every skeleton in this country. Come back, it is autumn.*

### **pianist (spoken)**


*The blue hills go the way they go, so do the green waters. Hills and waters go the way they go; and I follow between them. As I have grown up with both of them so will I grow old, following wherever they go.*

ȃĩ-ŎűƪƷƢƿůĩűƷþŦǜƢŎƷŎűłþěţűŻǜŦĩĢłĩƪ- Ʒ'nĩ- ƷĩűƪŎŻűƪ-Ŏű'nĩƢĩűƷ-Ŏű- Ʒ'nĩ-ǛŻěþŦ-ƟþƢƷܼƪ- ܹŻƢþŦŎƷǢܺ- ĚǢ- aiming at a balance between the unstable, sensitive fragility of sounds that are hard to control ܣŻǛĩƢƷŻűĩƪ-ƟƢŻĢƿěĩĢ-ĚǢ-ĚŻǜŎűłłŦþƪƪĩƪ-ŻƢ-ƟŎþűŻƪƷƢŎűłƪܤþűĢĩǡƟŦŻƪŎǛĩ-ǛŎŻŦĩűěĩě'nþƢłĩĢǜŎƷ'n- ůþǡŎůƿůĩűĩƢłǢ-ܣĚŻŻůŎűłþűĢ-ƟŎĩƢěŎűłĩDz ŁĩěƷƪ-ƟƢŻĢƿěĩĢ-ĚǢ-ĚŻƷƷŦĩƪ-Ŏű- Ʒ'nĩ-ƟŎþűŻ܌-ĚƢĩþţŎűł- ŻŁ- Ʒ'nĩłŦþƪƪ-ƟŦþƷĩ܌ěƢƿƪ'nŎűłłŦþƪƪƪƟŦŎűƷĩƢƪǜŎƷ'nþůŻƢƷþƢ܌ĩƷěܒܤܒȃĩƪĩƪŻƿűĢĩǛĩűƷƪ܌-'nŻǜĩǛĩƢ܌are not used as naïve illustrations of the poetic meanings. Instead, they can be understood as a consequence of the music's structural tendency toward fragments or "splinters." A tension ĚĩƷǜĩĩűěŻűěĩűƷƢþƷŎŻű܌ƪĩŦŁܮěŻűƷƢŻŦ܌þűĢ-Ʒ'nĩĩƢƿƟƷŎŻű-ŻŁǜŎƷ'n'nĩŦĢĩűĩƢłŎĩƪ-ŎƪþţĩǢþƪƟĩěƷ-Ŏű-Ʒ'nĩ- interaction of words and music in *Zersplitterung*.

### **Exploration of Tone Spaces and Political Narrativity in***Ȩ®vƲ˨ËÈ*

*Zersplitterung*-Ŏƪ-ƟŻƪƪŎĚŦǢ-Ʒ'nĩ-ŦþƪƷǜŻƢţ-Ŏűǜ'nŎě'n-S-ƟƿƢƪƿĩĢþűĩǡƟŦŎěŎƷŦǢ-ܹƟ'nŎŦŻŦŻłŎěþŦܺþƟƟƢŻþě'n- þŎůĩĢþƷþű-ŎűƷĩűƪŎȀěþƷŎŻű-ŻŁěƿŦƷƿƢþŦþűĢƪƷƢƿěƷƿƢþŦ-ŎűěŻůƟþƷŎĚŎŦŎƷŎĩƪܒ-SűþƪĩƢŎĩƪ-ŻŁĩűƪĩůĚŦĩ- ǜŻƢţƪǜƢŎƷƷĩű-ĚĩƷǜĩĩű-ڐڏڏڑþűĢ-܌ڕڏڏڑ-SěŻůĚŎűĩĢƪŎþűþűĢàĩƪƷĩƢű-ŎűƪƷƢƿůĩűƷƪ܌-ŻǼ ƷĩűǜŎƷ'n- the addition of live electronics,ڝڜ-Ŏű-ǛþƢǢŎűł-ŁŻƢůƪþűĢƪŎƷƿþƷŎŻűƪܒ-Sű-Ʒ'nĩƪĩǜŻƢţƪ܌-S-ƢĩƟŦþěĩĢ-Ʒ'nĩ-

ڸڷ- -SŲÿģģŏƸŏżŲ-Ƹż-ƸŊĪǝżƣŤƫģĪÿŧƸǝŏƸŊŏŲ- ŊÿƠƸĪƣƫßSڍÿŲģßSڎ-ܠ*Interference*, *together//apart*, *the wasteland of minds*, and *Glasakkord*ܡ-ƸŊŏƫƫĪƣŏĪƫżłǝżƣŤƫŏŲĜŧǀģĪƫ-*Kreise – Yuan* ܡڍڌڌڎܨڔڕڕڍܠłżƣƫżƠƣÿŲż܉*shakuhachi*܉ǵŧǀƸĪ܉ƫƸƣŏŲŃ-Ƹƣŏż܉and live electronics and *ƣĪƠĪƣĜǀƫƫŏżŲܓĜÿŰżǀǴŧÿŃĪܓƣĪƠżƣƸ*-ܡڏڌڌڎܠłżƣǵŧǀƸĪ܉-ƸƣżŰěżŲĪ܉*sheng*/*xun*, percussion, and live ĪŧĪĜƸƣżŲŏĜƫ-SŲ-܉ڕڕڕڍ-S-ĜżŰƠżƫĪģ-ŰǣǿƣƫƸǝżƣŤłżƣ-/ÿƫƸƫŏÿŲŏŲƫƸƣǀŰĪŲƸƫ܉-*Koinzidenzen* (*ouran yizhi*ܡłżƣƫŏǢ- Ŋŏܫ nese instruments (*xiao*, *sheng*, *erhu*, *pipa*, *zhongruan*, *zheng*ܡ

evocation and transformation of traditional pieces or genres with a more structuralist contextualization in which pitch and timbre constellations were, for instance, derived from the organology, the fingerings, or the string layouts of instruments, common registers, peak pitches, or hybrid timbres. A key aspect of Zersplitterung, the idea of a musical structure that is highly loaded with sometimes narrative, sometimes vaguely metaphorical, but usually ambiguous meaning, however, has been pursued further in my subsequent work, as already demonstrated in Glasakkord, and has become an important link between the structural design and the exploration of cultural conflict and encounter in subsequent works of mine (→ VI.4).

This principle of structural semantics (or semanticized structure) was taken to a new level in telinga - mulut [ears - mouths] for baritone, recorded female speaker, and four instruments (flute/bass flute, clarinet/bass clarinet, violin, violoncello) (2009), a work exploring the boundaries between concert and stage music. Commissioned by the Salihara Festival in Jakarta, telinga – mulut approaches the poem Suatu Cerita dari Negeri Angin [A Story from the Country of Hot Air, 1998] by the Indonesian poet Agus R. Sarjono.35 Sarjono's poem develops highly disturbing images of a village society dominated by suspicion, spying, and open violence, all triggered by the breaking of a dam (presumably linked to corruption among local officials). This is a dimension to which the title of the piece – ears – mouths – refers (Table 6.2): the villagers were once "required to become ears" (7649) – which I read as a metaphor for spying and mistrust –, but after they had unlearned listening "they are delighted to have become mouths" (78-79) - and they repeat the same, "long-winded and repetitive" story (92-93), possibly propaganda slogans of an authoritarian political regime. Telinga - mulut is thus loosely connected to Zersplitterung, as both pieces focus on highly political questions arising from cultural and social conflicts evident in the selected poetry, and these also leave their marks on the musical settings. Furthermore, both works pursue a multilingual conception in which Indonesian/ Korean, English, and German textual elements are crossrelated.

The setting of telinga - mulut, however, confronts this political impact of the words with a strict, conceptual musical organization that contrasts with the more explicitly expressive writing of the main vocal part in Zersplitterung. In telinga - mulut, music and words remain far more isolated, each leaving the other largely "without comment." No attempt was made to "musicalize" the text according to general musical principles or to shape musical gestures according to the language structure. This stems from my intention to give Sarjono's words, which are fraught with collective traumas from more recent Indonesian history, their own space. They are interspersed with enigmatic prose fragments by Franz Kafka which tell of a bridge equipped with human sensitivity that eventually collapses. Despite the obvious analogy between a breaking dam and a collapsing bridge, this insertion might be understood as a polyvalent comment on the musical structure, rather than Sarjono's words: it is not following the pitch organization in most other sections, which is based on two non-chromatic equidistant

<sup>35</sup> Telinga – mulut was premiered in Jakarta at Teater Salihara on 15 July 2009 by Martin Lindsay and ensemble on\_line (now PHACE), conducted by Simeon Pironkoft. An edited recording of this performance can be accessed online: https://soundcloud.com/chr\_utz/telinga-mulut-2009. I first encountered Sarjono's poems through a collection in Cerman translation (Agus R. Sarjono. Frische Knochen aus Banyuwangi. Berlin: Edition Galrev, 2002), that is opened by Suatu Cerita dari ("Eine Geschichte aus dem Land der heißen Luft," pp. 5-7). With the kind assistance of the translator Berthold Damshäuser, I contacted Sarjono personally and he provided me with the Indonesian original and an English translation by Toenggoel Siagian, which was slightly adapted for my setting.

<sup>36</sup> Numbers refer to the lines in the libretto provided in Table 6.2.

*Table 6.2: Christian Utz, telinga – mulut-ܩĩþƢƪ-ܱůŻƿƷ'nܪ-ܒܪڞڕڕڗܩhŎĚƢĩƷƷŻܒ-ĚþƪĩĢ-Żű-ƷĩǡƷƪ-ĚǢłƿƪ-¦ܘ- ®þƢŠŻűŻ-ܩĚܒܪڗڛڞږݗܘ-Suatu Cerita dari Negeri Angin-ܩ-RƷŻƢǢ-FƢŻů-Ʒ'nĩhþűĢ-ŻŁ-NŻƷ-ŎƢܒ-ܝڝڞڞږ-/űłŦŎƪ'n- ǛĩƢƪŎŻűþǽƷĩƢ-¼ŻĩűłłŻĩŦ-®ŎþłŎþű-ܱƪŦŎł'nƷŦǢůŻĢŎȁĩĢ-ĚǢ-Ʒ'nĩěŻůƟŻƪĩƢܪþűĢ-FƢþűǬfþdz ţþ-ژڝڝږܩܱܒܪڙڗڞږ- Die Brücke-ܒڜږڞږܩ-ŁƢþłůĩűƷƪ-ŁƢŻůþƪ'nŻƢƷ-ƟƢŻƪĩƪţĩƷě'nܪ-ܩǜŻƢĢƪ-ŻƢ-ǛĩƢƪĩƪ-Ŏű italics þƢĩűŻƷƪƿűłܞƪƟŻţĩűܪ*

### **baritone**

### ŏƣŰÿƸÿǣÿŲŃěĪƣƠǀŧǀŊ

*One morning the dam in my village built by a thousand hours of indoctrinations, a hundred ceremonies and ten bayonets started to rumble and collapsed.* 


### **tape (female speaker)**

### *Tears held back for decades*

ĪŲģǀŲŃÿŲģŏ-ŤÿŰƠǀŲŃŤǀǣÿŲŃģŏěÿŲŃǀŲ oleh seribu jam penataran, seratus upacara ģÿŲƫĪƠǀŧǀŊƫÿŲŃŤǀƣ܉-ƠÿģÿƫĪěǀÿŊƫǀěǀŊ ěĪƣģĪƣÿŤܫģĪƣÿŤģÿŲƣǀŲƸǀŊ-

*Bendungan di kampungku yang dibangun oleh seribu jam penataran, seratus upacara dan sepuluh sangkur, pada sebuah subuh berderak-derak dan runtuh. Airmata yang berpuluh tahun tertahan pecah menderas menyapu jalanan lalu berobah menjadi genangan darah. Orang-orang bergegas mengeramasi rambut dan ingatannya di sana. Mereka pun berkeliaran dengan kepala serupa labu dingin menyusuri pelosok-pelosok pedesaan sebagian bahkan menyamar sebagai pembunuh bayaran.* 

*Paman dan sepupuku yang memergokinya jadi penasaran. Mereka pecahkan kepala-kepala itu dengan batu atau parang, siapa tahu ada sebersit saja ingatan atau kenangan, ucapnya, semacam data misterius sebagai bahan gunjingan dikala ronda malam.* 

¼ÿƠŏ-ƸÿŤÿģÿÿƠÿܫÿƠÿģÿŧÿŰ-ŤĪƠÿŧÿܫŤĪƠÿŧÿŏƸǀ ŤĪĜǀÿŧŏ-ŃĪŧĪŰěǀŲŃƫÿěǀŲ܉ƫĪƠĪƣƸŏƫŏƫÿ-ƠĪŲĜǀĜŏÿŲ ǣÿŲŃ-ƸÿŤģŏěŏŧÿƫģĪŲŃÿŲ-ƸĪŧŏƸŏ-®ĪěÿŃŏÿŲ-ŰĪƣĪŤÿ ƫĪŃĪƣÿ-ŰĪŲŃÿƣÿŤ-ƠżƸżŲŃÿŲ-ŤĪƠÿŧÿŏƸǀ- ƫĪƠĪƣƸŏ-ŰĪŲŃÿƣÿŤŏŲŃÿƸÿŲǣÿŲŃ-ĜżŰƠÿŲŃܫĜÿŰƠŏŲŃ tentang sebuah saat sebuah musim ģŏƫĪěǀÿŊ-ŲĪŃĪƣŏǣÿŲŃ-ƠÿģÿƸ berisi angin.


SĜŊ ǝÿƣ ƫƸĪŏł- ǀŲģ- ŤÿŧƸ܉ ŏĜŊ ǝÿƣ- ĪŏŲĪ ƣdžĜŤĪ܉ džěĪƣ- ĪŏŲĪŰěŃƣǀŲģ ŧÿŃ ŏĜŊ- 'ŏĪƫƫĪŏƸƫ ǝÿƣĪŲ ģŏĪ- FǀƷƫƠŏƸǭĪŲ܉ šĪŲƫĪŏƸƫģŏĪ-NďŲģĪ-ĪŏŲŃĪěżŊƣƸ܉ŏŲěƣƇĜŤĪŧŲģĪŰhĪŊŰ-ŊÿěĪŏĜŊ- ŰŏĜŊ łĪƫƸŃĪěŏƫƫĪŲ- ܟ܊ܞ- GĪŃĪŲ ěĪŲģ ŏŰ- ®żŰŰĪƣ܉ģǀŲŤŧĪƣƣÿǀƫĜŊƸĪģĪƣÿĜŊ܉ģÿ-ŊƇƣƸĪŏĜŊ-ĪŏŲĪŲrÿŲŲĪƫƫĜŊƣŏƸƸ܋-ܟ܊ܞ

/ƣ-ŤÿŰ܉-ܟ܊ܞ-SŲ-ŰĪŏŲěǀƫĜŊŏŃĪƫ-NÿÿƣłǀŊƣ-Īƣ-ŰŏƸģĪƣ-®ƠŏƸǭĪ- ǀŲģŧŏĪƷƫŏĪ-ܟ܊ܞŧÿŲŃĪģƣŏŲŧŏĪŃĪŲ-'ÿŲŲÿěĪƣ-ܟ܊ܞƫƠƣÿŲŃ- Īƣ- ŰŏƸ ěĪŏģĪŲ- FdžƷĪŲ- Űŏƣ- ŰŏƸƸĪŲ ÿǀł ģĪŲ hĪŏě- SĜŊ- ĪƣƫĜŊÿǀĪƣƸĪŏŲǝŏŧģĪŰ-®ĜŊŰĪƣǭ܉-ܟ܊ܞģÿƫƸdžƣǭƸĪŏĜŊƫĜŊżŲ܉- ŏĜŊƫƸdžƣǭƸĪ܉-ǀŲģƫĜŊżŲǝÿƣŏĜŊǭĪƣƣŏƫƫĪŲ-ǀŲģÿǀłŃĪƫƠŏĪƷƸ- ǜżŲģĪŲǭǀŃĪƫƠŏƸǭƸĪŲfŏĪƫĪŧŲ܉ģŏĪ-ŰŏĜŊŏŰŰĪƣƫżłƣŏĪģlich aus dem rasenden Wasser angestarrt hatten.

### *Since then*






*Tetanggaku yang gemar cerita, pernah menangkap seorang pesulap yang entah mengapa sibuk mengendap-endap di ruang tidur kampungnya. Setelah dicekik dan ditebas lehernya, ternyata tak sebuah ceritapun mengalir dari kerongkongannya. Dari potongan urat lehernya, hanya gas yang memancar keluar diiringi denging sirine, semacam isyarat darurat dari sebuah kapal yang tengah karam.* 

### ®ĪšÿŤŏƸǀ-

ƠĪŲģǀģǀŤ-ŤÿŰƠǀŲŃŤǀƣÿŰÿŏܫƣÿŰÿŏ-ŰĪŧĪƠÿƫ ŤĪƠÿŧÿ-ŰĪƣĪŤÿģÿŲ-ŰĪŲŃŃÿŲƸŏŲǣÿ ģĪŲŃÿŲěǀÿŊ-ŤĪŧÿƠÿ܈-ŤĪƣÿƫģÿŲěĪƣÿŏƣ ǀÿƸ-ƠĪƣƫŏÿƠÿŲ܉-ǀĜÿƠ-ŰĪƣĪŤÿ܉šŏŤÿƫĪŧǀƣǀŊ ŤÿŰƠǀŲŃ-ŊÿŲŃǀƫ-ƸĪƣěÿŤÿƣ܉-ŤĪƠÿŧÿ-ŤÿŰŏ ŰÿƫŏŊěŏƫÿěÿƫÿŊ-ŰĪŲǣŏŰƠÿŲŏŲŃÿƸÿŲ ƸĪŲƸÿŲŃÿŲÿŤܫÿŲÿŤ-ƸĪƣƫÿǣÿŲŃǣÿŲŃ-ŰĪŲŃĪŰěÿƣÿ- ŤĪ-ŤżƸÿܫŤżƸÿ܉ěĪƣƫĪŤżŧÿŊÿƸÿǀěĪƣŃĪŧÿŲģÿŲŃÿŲ- mengais hari depan. Tiba-tiba ģŏƫǀÿƸǀ-ŰÿŧÿŰÿŲÿŤܫÿŲÿŤ-ŰĪƣĪŤÿěĪƣŰǀŲĜǀŧÿŲ- ģÿƣŏěÿŧŏŤ-ŃǀŰƠÿŧÿŲÿƫÿƠģÿŲ-ŃÿƫÿŏƣŰÿƸÿ ģĪŲŃÿŲ-ƸĪŲŃŤǀŤ-ƠĪŲǀŊ-ƠĪŧǀƣǀ-ŊŏŲŃŃÿƫĪŰǀÿěÿƠÿŤ ƸĪƣƫĪģÿŤģÿŲŏěǀ-ƸĪƣƫĪģǀ-ŤŊŏƣŲǣÿ܉ƫĪŧĪƠÿƫ-ŰǀƫŏŰ-ƠÿŲĪŲǣÿŲŃ-ŃÿŃÿŧ-ŤÿƣĪŲÿ-ŊÿŰÿģÿŲ-ĜǀÿĜÿěǀƫǀŤ ģĪŲŃÿŲƫÿěÿƣ-ŰĪƣĪŤÿ-ƸÿŲÿŰ-ŤĪŰěÿŧŏ- ÿŲÿŤܫÿŲÿŤ-ŰĪƣĪŤÿģŏ-ƸĪŲŃÿŊƫÿǝÿŊģÿŲŧÿģÿŲŃ


*Di sebuah pagi, entah bulan apa entah tahun berapa, seluruh kampung kami diwajibkan bergotong-royong membangun* 


### *For quite some time*





### àŊĪŲ-ƸŊĪǣěĪŃÿŲ-


### £ÿƸŏĪŲŧǣ܉-ƸŊĪǣ-ƸżżŤ

ڒڔ ÿŧŧ-ƸŊĪƫƸżƣŏĪƫ-ƸŊĪǣ-Ŋÿģ-ĜƣĪÿƸĪģÿŲģ-ƠŧÿŲƸĪģ

 ------


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*bendungan itu kembali. Segera mereka curahkan habis-habisan seluruh airmata mereka di sana sambil berharap-harap barangkali saja suatu hari kelak bisa mereka lepaskan kelapa, semangka atau labu dari atas leher mereka.* 

*Di bawah gerimis di sebuah sore entah bulan apa entah tahun berapa, penduduk kampung itu ramai-ramai memenuhi tepian bendungan untuk mengail dan mencari kembali kepala mereka.* 

Sungguh

ŧÿŰÿ-ŰĪƣĪŤÿƣŏŲģǀŤÿŲ-ŤĪƠÿŧÿǣÿŲŃěŏÿƫÿƫÿšÿ ŧĪŲŃŤÿƠģĪŲŃÿŲŏŲŃÿƸÿŲÿƸÿǀ-ŤĪŲÿŲŃÿŲ ƸĪŲƸǀŏǭŏŲ-ǀŲƸǀŤ-ŰĪŰÿŤÿŏŲǣÿ-ŤĪŰěÿŧŏ- ƫǀģÿŊ-ŰĪƣĪŤÿ-ǀƣǀƫěĪƣƫÿŰÿģŏ-ŤÿŲƸżƣ-ŤĪƠÿŧÿģĪƫÿǣÿŲŃ-ĪŲƸÿŊ-ŰĪŲŃÿƠÿ-ŤŏŲŏ-ƸÿŰƠÿŤ-ƸĪƣƫŏƠǀ- ģÿŲÿŃÿŤ-ŰÿŧǀģĪŲŃÿŲ-ŤĪƠÿŧÿěǀÿǣÿ- ǣÿŲŃƫĪŧÿŰÿŏŲŏ-ƸĪƣƠÿƫÿŲŃ-ĪŧżŤ- ģŏÿƸÿƫŧĪŊĪƣŲǣÿ

'ǀŧǀ܉ģŏ-ŤÿŰƠǀŲŃ-ŤÿŰŏƫĪŧǀƣǀŊ-ƠĪŲģǀģǀŤ- ģŏǝÿšŏěŤÿŲ-ŰĪŲšÿģŏ-ƸĪŧŏŲŃÿ- rĪƣĪŤÿ-ƸĪƣěŏÿƫÿ- menerima gelembung-gelembung sabun dari mulut licin para pengurus desa.

 fŏŲŏ-ŰĪƣĪŤÿěĪƣƫǀŤÿƣŏÿ bisa menjadi mulut.




### ¼ÿƸŤÿŧÿ-ŰĪƣĪŤÿ-Űǀŧÿŏ-ƠÿŲģÿŏ-

ŰĪŰěŏŤŏŲ-ĜĪƣŏƸÿ܉-ŰĪƣĪŤÿƠǀŲ-ŤĪĜĪǝÿ- ƸÿŤÿģÿŧÿŃŏǣÿŲŃěĪƣƫĪģŏÿ-ŰĪŲšÿģŏ-ƸĪŧŏŲŃÿ juga segala aparat desa hingga segala cerita baru ǣÿŲŃ-ŰĪƣĪŤÿƫǀƫǀŲŏƸǀ-ƸÿŤŧÿŃŏÿģÿǣÿŲŃ-ŰĪŲģĪŲŃÿƣŲǣÿ-


'ĪŲŃÿŲƫÿěÿƣ܉ƫĪŃÿŧÿ-ĜĪƣŏƸÿǣÿŲŃ-ŰĪƣĪŤÿƫǀƫǀŲ- ŰĪƣĪŤÿ-ƸÿŲÿŰģŏÿŰܫģŏÿŰģŏƫÿǝÿŊģÿŲŧÿģÿŲŃ- ƫÿŰěŏŧ-ŰĪŰěÿǣÿŲŃܫěÿǣÿŲŃŤÿŲ-ƸŏěÿŲǣÿ-ŰǀƫŏŰ-ƠÿŲĪŲ- ŤĪƸŏŤÿƫĪŰǀÿ-ƠżŊżŲ-ƸǀŰěǀŊģÿŲěĪƣěǀÿŊƣŏěǀÿŲ-ŤŏƫÿŊ-¼ÿƠŏƫÿŧÿŊƫÿƸǀŲǣÿ-ƸǀŰěǀŊ-ŤĪŧĪǝÿƸ-ĜĪƠÿƸ- ģÿŲěĪƣěǀÿŊ-ĜĪƣŏƸÿܫĜĪƣŏƸÿǣÿŲŃƫÿŰÿ܈-ƠÿŲšÿŲŃ- dan berulang.

ƪěþŦĩƪǢƪƷĩůƪ-ܣ/ǡܒܤږڐܒڕݑܒ-SűƪǢƪƷĩů-- Ʒ'nĩ-ŻěƷþǛĩ-Ŏƪ-ĢŎǛŎĢĩĢ-ŎűƷŻ- ƷĩűĩơƿþŦƪƷĩƟƪ-ܣŎܒĩ܌ܒ- ܮڏڑڐěĩűƷ- ƪƷĩƟƪ܌ܤþűĢ-ŎűƪǢƪƷĩů--Ʒ'nĩůŎűŻƢűŎűƷ'n-Ŏƪ-ĢŎǛŎĢĩĢ-ŎűƷŻƪĩǛĩűĩơƿþŦƪƷĩƟƪ-ܣŎܒĩ܌ܒěܒ-ܮڕڗڐěĩűƷƪƷĩƟƪܒܤȃĩěŻűȀűĩƪ-ŻŁ-Ʒ'nĩƪĩ-ƢŎłŎĢ-ƟŎƷě'nƪƷƢƿěƷƿƢĩƪþƢĩě'nþŦŦĩűłĩĢ-ĚǢ-ŎűǴŦĩěƷŎŻűƪ-ŎűƪĩěƷŎŻűƪǜ'nĩƢĩ-ƟŎƷě'nĩƪþƢĩěŻűƪŎƪƷĩűƷŦǢ-ĢĩƪƷþĚŎŦŎǬĩĢ܌ěƢĩþƷŎűł-ȀĩŦĢƪ-ŻŁ-ǛþƢǢŎűłűŻŎƪĩěŻűƷĩűƷ܌ĩƪƟĩěŎþŦŦǢ-ĢƿƢŎűł- Ʒ'nĩ-ŎűƪĩƢƷŎŻű-ŻŁ-Ʒ'nĩfþǴţþ-ŁƢþłůĩűƷ-Ŏű-®ĩěƷŎŻű- -ܣƪĩĩ-¼þĚŦĩ-ܒܤڒܒڕȃĩ-ƢŎłŎĢŎƷǢ-ŻŁ-Ʒ'nĩ-ƟŎƷě'nƪƷƢƿěture exhibits a tendency to "collapse" at a very sudden, unpredictable moment toward the end ŻŁ-Ʒ'nĩ-ƟŎĩěĩ-Ŏű-ƟþƢƷ-ړ-ܣƪĩĩ-¼þĚŦĩ-ܒܤڒܒڕ

tĩŎƷ'nĩƢ-ƟŎƷě'nƪǢƪƷĩůůþţĩƪþűǢ-ƢĩŁĩƢĩűěĩ-ƷŻ-Ʒ'nĩ-ŦŻǜĩƢ-ƟþƢƷƪ-ŻŁ-Ʒ'nĩ-'nþƢůŻűŎěƪĩƢŎĩƪ-ŻƢ-ŎƷƪ- proportions, and they are therefore not intended (in contrast to some proponents of spectral þƟƟƢŻþě'nĩƪ-Ŏű ěŻűƷĩůƟŻƢþƢǢůƿƪŎěܤ- ƷŻ-ŎůƟŦǢ- ܹƟƿƢĩܺ-ŎűƷĩƢǛþŦƪþƪ þű-ŎůƟŦŎěŎƷ ěƢŎƷŎěŎƪů-ŻŁ- Ʒ'nĩ- ĩơƿŎĢŎƪƷþűƷě'nƢŻůþƷŎěƪǢƪƷĩůܒ-SűƪƷĩþĢ܌-Ʒ'nĩǢþƢĩ-ƢĩƟƢĩƪĩűƷþƷŎǛĩ-ܣŠƿƪƷ-ŦŎţĩ-Ʒ'nĩě'nƢŻůþƷŎěƪěþŦĩ- ěŻůůŻűŦǢ ƿƪĩĢܤ-ŻŁþ- 'nŎł'nŦǢþƢƷŎȀěŎþŦ- ƢþƷŎŻűþŦŎǬþƷŎŻű-ŻŁ űŻƷĩ- ƢĩŦþƷŎŻűƪ'nŎƟƪþűĢůŎł'nƷ- Ěĩ ƿű-ĢĩƢƪƷŻŻĢþƪ-ƷŻűłƿĩܮŎűܮě'nĩĩţůƿƪŎűłƪ-Żű-Ʒ'nĩ-Ɵ'nĩűŻůĩűŻű-ŻŁ-ƷĩůƟĩƢĩĢ-ƟŎƷě'nƪǢƪƷĩůƪ-ܫܣǜ'nǢ- ěŻƿŦĢ-'nŎƪƷŻƢǢűŻƷþŦƪŻ-'nþǛĩ-ƟƢŻĢƿěĩĢƪǢƪƷĩůƪǜŎƷ'n-Ʒĩű܌-ŎűƪƷĩþĢ-ŻŁ-ƷǜĩŦǛĩ܌űŻƷĩƪ-ƟĩƢ-ŻěƷþǛĩܒܤܓ- ȃĩ- ƟĩƢŁŻƢůĩƢƪ þƢĩ܌- 'nŻǜĩǛĩƢ܌ ĩűěŻƿƢþłĩĢ- ƷŻ ƪƷƢĩƷě'n þűĢ űþƢƢŻǜ- Ʒ'nĩ- ŎűƷĩƢǛþŦƪ- ŎűƷƿŎƷŎǛĩŦǢ܌- Ʒ'nŻƿł'nǜŎƷ'nŻƿƷ-ƢĩƪŻƢƷŎűł-ƷŻ-Ʒ'nĩ-'nþĚŎƷƿþŦ-ƷǜĩŦǛĩܮƷŻűĩƪěþŦĩܒȃƿƪ܌-SłŎǛĩĩþě'nƪǢƪƷĩůþű-ŎűĢŎvidual sound space (in a similar way, intonation is always adjusted in more conventional pitch ƪǢƪƷĩůƪþěěŻƢĢŎűł- ƷŻƪƷǢŦĩ܌ěŻůƟŻƪĩƢ܌-ŻƢǜŻƢţܒܤȃŎƪ-ŎĢĩþ-ŻŁþ-ĢĩŦŎĚĩƢþƷĩƪƷƢĩƷě'nŎűłþűĢűþƢrowing of intervals also refers to the practice in some Indonesian *gamelan* ensembles of consciously detuning identical paired instruments in relation to each other in order to create beating and interference patterns.

Again, the overall formal design of *telinga – mulut* follows a very simple alternating scheme ǜŎƷ'nƪŦŎł'nƷ-ܹŎűƷĩƢƢƿƟƷŎŻűƪܺ-ܣ1/4þĚŦĩ-ܒܤڒܒڕ-SűþŦŦ-ݑƪĩěƷŎŻűƪ܌-RþƢŠŻűŻܼƪ-ƟŻĩů-Ŏƪ-ƢĩűĢĩƢĩĢ-ĚǢ-Ʒ'nĩ-ĚþƢŎܮ ƷŻűĩ-Ŏű-/űłŦŎƪ'n-ƷƢþűƪŦþƷŎŻű܌ǜ'nŎŦĩ-Ŏű-Ʒ'nĩ sections it is heard from tape recited by the female SűĢŻűĩƪŎþűƪƟĩþţĩƢ-£þŦƿƟŎàþƢþűþűŎűłƷǢþƪڠڜܒ-Sű-Ʒ'nĩ-ĚĩłŎűűŎűłþűĢ-ƷŻǜþƢĢ-Ʒ'nĩĩűĢ܌-/űłŦŎƪ'n- and Indonesian layers overlap.

In the A ƪĩěƷŎŻűƪ܌-Ʒ'nĩ-ĚþƢŎƷŻűĩ-ŎƪěŻűěĩŎǛĩĢþƪ-ƟþƢƷ-ŻŁþ-ĚþƪŎě-ȀǛĩܮƟþƢƷƪƷƢƿěƷƿƢĩ-Ŏűǜ'nŎě'n-Ʒ'nĩ- ǛŻŎěĩþűĢ-ŎűƪƷƢƿůĩűƷƪþěƷ-Żű-Ʒ'nĩƪþůĩ-'nŎĩƢþƢě'nŎěþŦ-ŦĩǛĩŦ܌ůŻŦĢĩĢ-ŎűƷŻ-ܹ'nŻůŻƟ'nŻűŎě-ȀĩŦĢƪܺ-Ʒ'nþƷ- łƢþĢƿþŦŦǢĩǡƟŦŻƢĩ-Ʒ'nĩƪěþŦĩþűĢ-ŎűƷĩƢǛþŦƪ-ŻŁƪǢƪƷĩů-ܒȃĩƪĩ-ȀĩŦĢƪþƢĩ-ŎűƷĩƢƢƿƟƷĩĢ-ĚǢ-Ʒ'nƢĩĩ-ƢĩěŎ-ƷþƷŎǛĩܮŦŎţĩ-ǛŻěþŦűþƢƢþƷŎǛĩƪ-Ŏű-®ĩěƷŎŻű-ڐ-Ŏűǜ'nŎě'n-Ʒ'nĩ-ĚþƢŎƷŻűĩ-Ʒþţĩƪ-Ʒ'nĩ-ƢŻŦĩ-ŻŁþƪƷŻƢǢƷĩŦŦĩƢ-ܫþ- ŁƿűěƷŎŻű-Ʒ'nþƷ-Ŏƪ-ŁƿƢƷ'nĩƢĩǡƟŦŻƢĩĢ-Ŏű-ĢƢþůþƷŎěƪěĩűĩƪ-Ŏű-®ĩěƷŎŻűƪ- þűĢ-ڒþűĢ-Ʒþţĩű-ƷŻƪƿƢƢĩþŦ- þűĢĩěƪƷþƷŎě-ŦĩǛĩŦƪܒ-Sű-ڑþűĢ-܌ړ-Ʒ'nĩ-'nŻůŻƟ'nŻűŎě-ȀĩŦĢƪ-ƷĩűĢ-ƷŻ-ĢŎƪƟĩƢƪĩ-ŎűƷŻ-ŁƢþłůĩűƷĩĢþűĢ܌ĩƪƟĩěŎþŦŦǢ-Ŏű-܌ړ-ŎűƷŻ- 'nĩƷĩƢŻƟ'nŻűŎě ƪƷƢƿěƷƿƢĩƪܒ-ŦŦ sections have been developed from the same basic model introduced at the beginning of A1, resulting in a large-scale variation struc-ƷƿƢĩܒ-/ǡþůƟŦĩ-ڗڐܒڕłŎǛĩƪþƪĩűƪĩ-ŻŁ-Ʒ'nĩ-ƷƢþűƪŁŻƢůþƷŎŻű-ƟƢŻěĩƪƪ-ƷþţŎűł-ƟŦþěĩ-ĢƿƢŎűł-Ʒ'nĩƪĩ-ŁŻƿƢ- ܹǛþƢŎþƷŎŻűƪܺ-ĚǢěŻůƟþƢŎűłþ-ŁĩǜůĩþƪƿƢĩƪ-ŁƢŻů-Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁĩþě'n-ݑƪĩěƷŎŻűܒ

ȃĩ ƪĩěƷŎŻűƪ-Ʒþţĩ-Ʒ'nĩƪƟĩĩě'n-Ƣ'nǢƷ'nů-ŻŁ-Ʒ'nĩ-ƟƢĩƢĩěŻƢĢĩĢ-SűĢŻűĩƪŎþű-ƷĩǡƷþƪþƪƷƢƿěƷƿƢþŦ- ůŻĢĩŦ-ŁŻƢƪŎǡěŻůƟŦĩůĩűƷþƢǢ-ĢƿŻƪ-ܣŎűěŦƿĢŎűł܌þƪ-ƷǜŻ-ǛþƢŎþűƷƪ܌þƪŻŦŻ-Ŏű-ڒþűĢþ*tutti*-Ŏű-ܒܤړ- "Complementary" here means that the live instruments punctuate the speech rhythm heard from tape. Similarly to the A sections, the pitch constellations are derived from a cautious exploration of pitch system -Ŏű-ŎƷƪƪěþŦĩþűĢ-ŎűƷĩƢǛþŦƪ-ܣ/ǡܒܤژڐܒڕݑܒ

ڻڷ- -£ÿŧǀƠŏàÿƣÿŲÿŲŏŲŃƸǣÿƫŏƫÿƫŏŲŃĪƣÿŲģÿĜÿģĪŰŏĜ-ƸĪÿĜŊŏŲŃÿƸ-ƸŊĪ-ÃŲŏǜĪƣƫŏƸÿƫ-®ĪěĪŧÿƫrÿƣĪƸ܉-RǀƣÿŤÿƣƸÿܕdÿǜÿܔ- ŊĪƣƣĪĜŏƸÿƸŏżŲżł-®ÿƣšżŲżܹƫ-ƠżĪŰǝÿƫƣĪĜżƣģĪģŏŲÿƸ-ƸŊĪ-ÃŲŏǜĪƣƫŏƸǣżłrǀƫŏĜŏŲ-Gƣÿǭ܉-ǀƫƸƣŏÿżŲ-ڒrÿǣ-܉ڕڌڌڎ- ǝŊĪƣĪrƫàÿƣÿŲÿŲŏŲŃƸǣÿƫ-ƠƣĪƫĪŲƸĪģÿ-ŃǀĪƫƸŧĪĜƸǀƣĪżŲǜżĜÿŧ-ŰǀƫŏĜ-ŃĪŲƣĪƫŏŲ-SŲģżŲĪƫŏÿ

*/ǡþůƟŦĩ-ڜږܘڛܑ- 'nƢŎƪƷŎþű-ÃƷǬܒtelinga – mulutܒ-ƷŻűĩƪǢƪƷĩůƪܑƪěþŦĩ--ĢŎǛŎĢĩƪ-Ʒ'nĩ-ŻěƷþǛĩ-ŎűƷŻ-ƷĩűĩơƿþŦ- ƪƷĩƟƪ-ܩŻűĩƪƷĩƟݹݗ-ڕڗږěĩűƷܪ-ŁƢŻů-*K*ܩږƷ'nĩ-ŦŻǜĩƪƷ-ŎűƪƷƢƿůĩűƷþŦ-ƟŎƷě'nƿƪĩĢ-Ŏű-Ʒ'nŎƪ-ƟŎĩěĩܝܪƪěþŦĩ--ĢŎǛŎĢĩƪ- Ʒ'nĩůŎűŻƢűŎűƷ'n-ŎűƷŻƪĩǛĩűĩơƿþŦƪƷĩƟƪ-ܩŻűĩƪƷĩƟݹݗ-ږڜܘښڝږěĩűƷܪ-ŁƢŻů- ڗ*

ȃĩůƿŦƷŎƟŦŎěŎƷǢ-ŻŁ- ƟĩƢƪƟĩěƷŎǛĩƪ-ŎűǛŻŦǛĩĢ-Ŏű- Ʒ'nĩ ěŻůƟŻƪŎƷŎŻűþŦ- ƟƢŻěĩƪƪ-ܣƟŎƷě'n ƪǢƪƷĩůƪ܌ ƪěþŦþƢ܌- intervallic, and timbral principles, phonetic, semantic, and rhythmic dimensions of the text, þűĢ- ƷĩǡƷܮůƿƪŎě-ŎűƷĩƢþěƷŎŻűܤůŎƢƢŻƢƪ- Ʒ'nĩěŻűŁƿƪŎűłĩDz ŁĩěƷ-ŻŁ- Ʒ'nĩůƿŦƷŎŦŎűłƿþŦ ƪĩƷƷŎűłܒȃĩ-Ģĩ-ŁŻƢůþƷŎŻűþűĢ-ĢĩƪƷþĚŎŦŎǬþƷŎŻű-ŻŁþŦŦ-ŦþǢĩƢƪ-ŎƪěŻűƪŎĢĩƢþĚŦǢĩű'nþűěĩĢþǼ ƷĩƢ-Ʒ'nĩƪƿĢĢĩűěŻŦŦþƟƪĩ- Ŏű-Ʒ'nĩĩƟ'nĩůĩƢþŦ-®ĩěƷŎŻű-܋ړ-Ʒ'nĩ-ȀűþŦěƢŎƪŎƪ-Ŏƪ-Ƣĩþě'nĩĢ-Ŏű-Ʒ'nĩ-ĚƢĩþƷ'nŦĩƪƪþŦƷĩƢűþƷŎŻű-ĚĩƷǜĩĩű- heterophonic fragments between baritone and instrumental ensemble and isolated snatches of Ʒ'nĩ-ƟƢĩƢĩěŻƢĢĩĢ-SűĢŻűĩƪŎþű-ƢĩěŎƷþƷŎŻű-Ŏű-®ĩěƷŎŻű-ڑܒړ-ܣ/ǡܒܤڏڑܒڕݑܒȃĩ-ƢŎłŎĢůƿƪŎěþŦƪƷƢƿěƷƿƢĩ- Ŏƪ- ƷƿƢűĩĢ ěŻůƟŦĩƷĩŦǢ-Żű-ŎƷƪ- 'nĩþĢ- ĚǢ- Ʒ'nĩƪĩ- ƢƿƟƷƿƢĩƪþűĢ- ĢĩǛĩŦŻƟƪ-ŎűƷŻþ ƪƷƢþűłĩ-ȀłƿƢþŦ-ȀĩŦĢ܌- ǜŎƷ'n-Ʒ'nĩ-'nŎł'n-ĚþƪƪěŦþƢŎűĩƷ-ƷþţŎűłƿƟ-Ʒ'nĩ-ŁþŦƪĩƷƷŻ-ƷŎůĚƢĩ-ŻŁ-Ʒ'nĩ-ĚþƢŎƷŻűĩ܌ǜ'nŻ-Ŏű-ƷƿƢűǜ'nŎƪƷŦĩƪ- þůĩŦŻĢŎě-ŁƢþłůĩűƷ-Ʒ'nþƷ-'nþƪĩůĩƢłĩĢ-ŻǛĩƢ-Ʒ'nĩěŻƿƢƪĩ-ŻŁ-Ʒ'nĩ-ƟŎĩěĩþƪþ-ȀǡĩĢ-ŎĢĩþǜŎƷ'nŎű-ƟŎƷě'n- ƪǢƪƷĩůݑ-ܣůůܒ-ܒܤړژڑܫژڗڑȃĩþƷůŻƪƟ'nĩƢĩ-'nþƪ-ƷƿƢűĩĢ-ŎűƷŻþ-ȀĩŦĢ-ŻŁůĩůŻƢǢ܌þ-ƢĩůĩůĚƢþűěĩ- Ʒ'nþƷłĩƷƪƪƷƿěţ-ƷŻǜþƢĢ-Ʒ'nĩĩűĢ-Ŏűþƪĩơƿĩűěĩ-ŻŁþĚƢƿƟƷŦǢ-Ƣ'nǢƷ'nůŎěŎǬĩĢ܌-ƟƢĩƪƪĩĢ-ĚŻǜ-ŎůƟƿŦƪĩƪ- ܣůůܒ-ܒܤڕژڑܫړژڑ-Sű-Ʒ'nĩĩűĢ܌-Ʒ'nĩƪŎűłĩƢþƟƟĩþƢƪ-ƷŻ-'nþǛĩ-ŦŻƪƷ-'nŎƪþĚŎŦŎƷǢ-ƷŻþƢƷŎěƿŦþƷĩ-ܣƪŻƿűĢŦĩƪƪ- ůŻǛĩůĩűƷƪ-ŻŁ-Ʒ'nĩůŻƿƷ'n-Ŏű-Ʒ'nĩ-ĚþƢŎƷŻűĩ-ƟþƢƷůþƢţ-Ʒ'nĩĩűĢ-ŻŁ-Ʒ'nĩ-ƟŎĩěĩܒܤ

### Toward a Polyphony of Meanings

ƪůĩűƷŎŻűĩĢþƷ- Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ- Ʒ'nŎƪě'nþƟƷĩƢ-ݑދܣßS܌ܤڐܒ- Ʒ'nĩěŻůƟŻƪŎƷŎŻűþŦþƟƟƢŻþě'nĩƪ- S-'nþǛĩ- ĢĩƪěƢŎĚĩĢ ƪ'nŻƿŦĢ űŻƷ- Ěĩ ƪĩĩű þƪ ĩǡĩůƟŦŎȀěþƷŎŻűƪ- ŻŁ þ- Ʒ'nĩŻƢǢ- ŻŁ- ŎűƷĩƢěƿŦƷƿƢþŦŎƷǢܒ rǢ ůƿƪŎě܌-'nŻǜĩǛĩƢ܌- ĢĩȀűŎƷĩŦǢ þŎůƪ- ƷŻ ĩűěŻůƟþƪƪ ěŻűěĩƟƷƪ- ŻŁ ěŻůƟŻƪĩĢ þŦƷĩƢŎƷǢ- ܫ ůƿƪŎěþŦ- ƟƢŻěĩƪƪĩƪ- which are rigorously separated from one another, and hypolepsis – musical processes that connect to one another both by negation and transformation. However, the music never really ܹƪƿěěĩĩĢƪܺ-ŎűţĩĩƟŎűł- Ʒ'nĩ-ŦþǢĩƢƪ-ŻƢ ƪĩěƷŎŻűƪ- ܹƟƿƢĩܺþűĢ ƪĩƟþƢþƷĩܗ- ƢþƷ'nĩƢ܌- ƟƢŻěĩƪƪĩƪ-ŻŁ ěŻűǛĩƢܮ gence or dissolution remind the listener that these layers constantly refer to one another and 'nþǛĩþěŻůůŻű-ĢĩƪƷŎűǢܒȃĩƢĩ-ŎƪűŻ-'nþƢůŻűŎŻƿƪ-ƢĩěŻűěŎŦŎþƷŎŻű-ŻŁ-Ʒ'nĩ-ƢĩþŦůƪþűĢ-ĢŎůĩűƪŎŻűƪ-ŻŁ- the music, but neither is there any insistence on negativity as the only way.

In *Zersplitterung* and *telinga – mulut,* the highly versatile nature of the human voice as a messenger between musical structure and meaning, in conjunction with the multilingual text ƪĩƷƷŎűłƪþűĢ-Ʒ'nĩƪƟĩěŎȀěơƿþŦŎƷŎĩƪ-ŻŁ-Ʒ'nĩ-Ŧþűłƿþłĩƪ-ŎűǛŻŦǛĩĢ܌-Ŏƪ-ŻŁ-ƟþƢƷŎěƿŦþƢƪŎłűŎȀěþűěĩ-ŁŻƢ-Ʒ'nĩ-

*Table 6.3: Christian Utz, telinga – mulutܒƪǢűŻƟƪŎƪܘhŎűĩűƿůĚĩƢƪ-ŁŻƢ-Ʒ'nĩ-ƟŻĩů-ƢĩŁĩƢ-ƷŻ-Ʒ'nĩ-/űłŦŎƪ'n- ƷƢþűƪŦþƷŎŻű-ܩƪĩĩ-¼þĚŦĩ-ܒܪڗܘڛþŦƷ'nŻƿł'n-Ʒ'nĩ-ǛĩƢƪĩƪƷƢƿěƷƿƢĩ-ĢŎDZŁĩƢƪ-ŁƢŻů-Ʒ'nþƷ-ŻŁ-Ʒ'nĩ-SűĢŻűĩƪŎþű-ŻƢŎłŎűþŦ-Ŏű- some instances.*



Example 6.18: Christian Utz, telinga – mulut, beginnings of sections A1 (mm. 1–6), A2 (mm. 72–79), A3 (mm. 186–192), A4 (mm. 238–243)

Example 6.19: Christian Utz, telinga – mulut, section B2, mm. 177–185

Example 6.20: Christian Utz, telinga – mulut, section A4.2, mm. 275-282

Copyright © 2009 by UtzMusicPrints, Vienna

overall effect of the music on the listener. Its chameleon-like interaction with the sound world of the instrumental layers – acting as subject, object, and an almost imperceptible element among equal voices in a global texture or structure – brings together dramatic, narrative, and purely structural dimensions.

Despite the politically loaded references and symbolism of the texts, both works refrain from making any authoritative statement about musical or political meaning. The polyphony of the compositional methods employed can be understood as an affinity for the metaphors of "polyphony" or "plurality of voices" in literary criticism as developed by Mikhail Bakhtin and Jacques Derrida, among others. Bakhtin describes the polyphonic novel as a situation in which an author or narrator no longer has control over the characters, but acts with them on the same hierarchical level:38 "There is no third person to bring unity to the confrontation between the two; they do not culminate in a stable 'I' which would be the 'I' of the monologic author."38 In my compositions, however, "polyphony" is not limited to the hierarchical balance of different musical and textual layers, but might also be connected to Derrida's idea of an inner polyphony within voices and single words:

Voice can betray the body to which it is lent, it can make it ventriloquize as if the body were no longer anything more than the actor or the double of another voice, of the voice of the other, even of an innumerable, incalculable polyphony. A voice may give birth […] to another body.10

Already when a word has several meanings – and this plurality is irreducible – you can hear in it, or it lets you hear even if you don't take the initiative, several meanings and thus several voices. There are several voices already in the word. One can give this plurality of voices in the word itself its freedom, more or less freedom.41

### 4. Composition as Polyphony: Creating, Performing, and Perceiving Music Non-Hierarchically

When we speak of "polyphony" in the context of this book, this naturally implies the idea of an "(inter)cultural polyphony," the idea of an "encounter" or "confrontation" between two (or more) different systems or understandings of sound and listening that may or may not have common features, common ground. Bhaktin's and Derrida's decentering of the subject as condensed into the metaphor of polyphony, outlined above, has profound musical implications. In contemporary music, however, the term "polyphony" has rarely been used after 1945, probably because of its close association with past musical epochs such as Renaissance or Baroque (not to mention "counterpoint," which, owing to its image as a narrowly rule-based and outdated method, has temporarily disappeared almost entirely from compositional discourse).44 A "radicalized" polyphony, a simultaneous occurrence of different musical layers or personae, however, is at the core of many new music poetics, as demonstrated in preceding chapters (→ V.3, VI.1).

<sup>38</sup> See Bakhtin, Problems of Dostoevsky's Poetics, 5-46.

<sup>39</sup> Kristeva, "The Ruin of a Poetics," 111.

<sup>40</sup> Derrida, Points... Interviews 1974-1994, 161.

<sup>41</sup> Ibid., 392-393

<sup>42</sup> See the detailed discussion of these terms and their applicability to new music in Kleinrath and Utz, "Harmonik/ Polyphonie."

dŻ'nű þłĩ-Ŏƪþű-ŻĚǛŎŻƿƪĩǡþůƟŦĩ܋-ŁƢŻů-Ʒ'nĩĩþƢŦǢ-ڏڔژڐƪ܌-'nĩěƢĩþƷĩĢůþűǢ-ƟŎĩěĩƪ-ŻƢěŻŦŦĩěƷŎŻűƪ- ŻŁ-ƟŎĩěĩƪ-Ʒ'nþƷěþű-Ěĩ-ƟĩƢŁŻƢůĩĢƪŎůƿŦƷþűĩŻƿƪŦǢ-ŎűþűǢěŻůĚŎűþƷŎŻű܌-ŻǼ ƷĩűǜŎƷ'nŻƿƷþűǢƪƟĩěܮ ŎȀĩĢ- ƢĩƪƷƢŎěƷŎŻűƪܒ- Sű- ܌ڐژژڐ ĩǡƟĩƢŎĩűěŎűł þ ěŻůƟŦĩƷĩ ƪŎůƿŦƷþűĩŻƿƪ- ƟĩƢŁŻƢůþűěĩ-ŻŁ þłĩܼƪ-*Ten ȄŻƿƪþűĢ-ȄŎűłƪ*܌þěŻŦŦĩěƷŎŻű-ŻŁƪŻŦŻ-ƟŎĩěĩƪ-ŁŻƢ-ƟŎþűŻ܌-ǛŎŻŦŎű܌-ƟĩƢěƿƪƪŎŻű܌þűĢƪƟĩþţĩƢěŻůƟŦĩƷĩĢ- ĚĩƷǜĩĩű-ڒڔژڐþűĢ-ڜڝ܌ڕڔژڐ was a revelation for me as a young composer. It motivated me to engage more self-consciously with the idea of simultaneous musical structures that would not be 쯯ƢĢŎűþƷĩĢ-ƟƢĩěŎƪĩŦǢ-ĚǢþƪěŻƢĩ܌-ĚƿƷ-ƢþƷ'nĩƢþŦŦŻǜ-ŁŻƢ-ĢŎDz ŁĩƢĩűƷ-ǛĩƢƪŎŻűƪþűĢ-ŎűƷĩƢěŻűűĩěƷŎŻűƪ- in each performance.

SƷƪĩĩůƪ-Ʒ'nþƷƪŻůĩ-ƢĩěĩűƷ-ĢĩǛĩŦŻƟůĩűƷƪ-ŎűěŻűƷĩůƟŻƢþƢǢþƢƷůƿƪŎě-ƷĩűĢ-ƷŻłŎǛĩƿƟ-Ʒ'nĩţŎűĢ- of pleasantly disorienting complexity that I associate with such an experience of musical simultaneity, and I feel that this leads to a certain dependence on "designed" but one-dimensioűþŦůƿƪŎěþŦƪƿƢŁþěĩƪܒ-ܣȃŎƪůþǢƪĩĩůþű-ŻǛĩƢŦǢłĩűĩƢþŦŎǬĩĢěƢŎƷŎěŎƪů܌-ĚƿƷ-ŎƷǜŎŦŦƪƿDzȀěĩ-'nĩƢĩ- to point to common experiences I might share with many colleagues in daily encounters with ܹþěþĢĩůŎěܺűĩǜůƿƪŎě܌-'nŻǜĩǛĩƢ-ĚƢŻþĢŦǢ-ĢĩȀűĩĢܤܒȃþƷ-Ŏƪǜ'nǢ-S-ŁĩĩŦþěĩƢƷþŎűűĩěĩƪƪŎƷǢ-ƷŻ-ŎűƪŎƪƷ- on "polyphony" as a fruitful component of a critical music of our time. In approaching this dyűþůŎě܌-SǜŎŦŦ-ƟƢŻěĩĩĢ-ĚǢ-ĢŎƪěƿƪƪŎűłþűƿůĚĩƢ-ŻŁůǢ-ŻǜűǜŻƢţƪ-ŁƢŻů-ƟĩƢěĩƟƷƿþŦ-ƟĩƢƪƟĩěƷŎǛĩƪ܌-ŦĩþĢŎűł-ŎűƷŻþ- Ʒ'nĩŻƢĩƷŎěþŦܮƟƪǢě'nŻŦŻłŎěþŦĩǡěƿƢƪƿƪþűĢěŦŻƪŎűłǜŎƷ'nþűþŦǢƷŎěþŦ-ƢĩůþƢţƪ-ŻűůǢ- ƢĩěĩűƷǜŻƢţ*walls*-ŁŻƢĩűƪĩůĚŦĩ-܌ܤڗڐڏڑܣ-ƟƢĩůŎĩƢĩĢ-ŎűĩŎŠŎűł-ŎűdƿŦǢ-ܒڗڐڏڑ

®ĩǛĩƢþŦ-ǢĩþƢƪþǼ ƷĩƢůǢ-ڐژژڐ-ܹ þłĩĩǡƟĩƢŎĩűěĩ܌ܺ-Ʒ'nĩ-ƟƢŻĚŦĩů-ŻŁƪŎůƿŦƷþűĩŻƿƪ-ŦþǢĩƢƪ-ƢĩŻěěƿƢ-ƢĩĢ-ŎűůǢůƿƪŎěǜ'nĩű-S-ƷƢŎĩĢ-ƷŻ-ȀűĢěŻůƟŻƪŎƷŎŻűþŦƪŻŦƿƷŎŻűƪ-ƷŻ-Ʒ'nĩě'nþŦŦĩűłĩ-ŻŁůƿƪŎěþŦ-ŎűƷĩƢěƿŦ-ƷƿƢþŦŎƷǢܒ-RŎůƿŦƷþűĩŎƷǢ-ŎűþűþƢƢŻǜĩƢƪĩűƪĩ܌ĩǡƟŦŻƢĩĢ-ƢĩƟĩþƷĩĢŦǢ-Ŏű-Ʒ'nŎƪ-ĚŻŻţ܌ƪĩĩůĩĢ-ƷŻ-Ěĩþ-ǛþŦŎĢ- ŻƟƷŎŻű-ŁŻƢěŻůĚŎűŎűł-/þƪƷƪŎþűþűĢàĩƪƷĩƢű-ŎűƪƷƢƿůĩűƷƪ-Ŏű-Ʒ'nĩƪþůĩĩűƪĩůĚŦĩ܌þƪƪƿłłĩƪƷĩĢ- ůŻƪƷ-ƟƢŻůŎűĩűƷŦǢ-ĚǢ-¼ƔƢƿ-¼þţĩůŎƷƪƿܼƪǜĩŦŦܮţűŻǜű-ܣþűĢ þłĩܮŎűǴŦƿĩűěĩĢܤǜŻƢţ-*November Steps* ŁƢŻů-ږڕژڐ-ݑދܣSSS܌ړܒßSܒܤڐܒƪĩŦþĚŻƢþƷĩĢĩþƢŦŎĩƢ܌-Ʒ'nĩěƿŦƷƿƢþŦĩƪƪĩűƷŎþŦŎƪů-Ŏű'nĩƢĩűƷ-Ŏűƪƿě'nþěŻűception appeared increasingly problematic to me. How, then, was it possible to put "Asian" and "Western" parts of an ensemble on the same footing without reducing them to a static image of associated local, national, or "cultural" traditions – but also without subsuming them under an þƿƷ'nŻƢŎƷþƷŎǛĩěŻůƟŻƪŎƷŎŻűþŦěŻűěĩƟƷ-Ʒ'nþƷ-ĢŻĩƪűŻƷþŦŦŻǜþűǢţŎűĢ-ŻŁ-ŎĢŎŻůþƷŎěƪ-ƷŻĩůĩƢłĩܓ-

ȃĩ-ƟƢĩěĩĢŎűłþűþŦǢƪĩƪþŎůĩĢ- ƷŻ-ĢĩůŻűƪƷƢþƷĩ- Ʒ'nĩþűƪǜĩƢƪ- ƷŻ- Ʒ'nŎƪ-ŎűƷƢŎěþƷĩěŻůƟŻƪŎƷŎŻűþŦ- problem that I have attempted to provide in a series of chamber music pieces composed be-Ʒǜĩĩű-ڐڏڏڑþűĢ-܌ڕڏڏڑ-Ŏűǜ'nŎě'nàĩƪƷĩƢű-ŎűƪƷƢƿůĩűƷƪůŎǡǜŎƷ'nfŻƢĩþű܌- 'nŎűĩƪĩ܌þűĢdþƟþűĩƪĩ-Ŏűܮ strumentsܒȃĩ-ƟƢŎűěŎƟþŦ-ŎĢĩþ-Żűǜ'nŎě'n-Ʒ'nĩƪĩǜŻƢţƪþƢĩ-ĚþƪĩĢůþǢ-ĚĩƿűĢĩƢƪƷŻŻĢþƪĩǛŻţŎűł-Ʒ'nĩ- Ŏůþłĩ-ŻŁþ-ĚƢŻþĢ-Ʒ'nƢĩĩܮĢŎůĩűƪŎŻűþŦƪŻűŎěþűĢ-ƷĩůƟŻƢþŦƪƟþěĩƪƿĚŠĩěƷĩĢ-ƷŻěŻűƪƷþűƷţþŦĩŎĢŻƪěŻ-ƟŎě-ƷƢþűƪŁŻƢůþƷŎŻű-ĢƿƢŎűł-Ʒ'nĩ-ŦŎƪƷĩűŎűł-ƟƢŻěĩƪƪܒȃĩƪĩǜŻƢţƪþŎůþƷþƪŻűŎěƪŎƷƿþƷŎŻű-Ŏűǜ'nŎě'n- ŁŻƢĩłƢŻƿűĢþűĢ-ĚþěţłƢŻƿűĢþƢĩ-ƟĩƢůþűĩűƷŦǢ-ƢĩěŻűȀłƿƢĩĢܗěƿŦƷƿƢþŦŦǢ-ĢĩȀűĩĢ-ŎĢŎŻůƪůþǢ-Ěĩ-Ŏűcorporated as inseparable parts of this sonorous environment, partly preserved, partly dissolved.

As we have seen, *Interference* and *together//apart* ŁƢŻů-ڐڏڏڑĩůƟŦŻǢěƿŦƷƿƢþŦŦǢ-ĢĩȀűĩĢƪƷƢƿě-ƷƿƢþŦ-ŦþǢĩƢƪþƪţĩǢůþƷĩƢŎþŦƪ܋àĩĚĩƢűܼƪ-ƟŎþűŻ-ǛþƢŎþƷŎŻűƪ-ŻƟ܌ږڑݑܒ *Xing jie* from the South Chinese ®ŎŦţܮþűĢܮþůĚŻŻ-ƢĩƟĩƢƷŻŎƢĩ-ܣ*ƪŎǬ'nƿǢƿĩ*܌ܤ-Ʒ'nĩfŻƢĩþűěŻƿƢƷůƿƪŎě-ƟŎĩěĩ-*®þűłűǢŽűłƪþű*, and Isang æƿűܼƪ-ĢƿŻ-*Together*. In many parts of *Interference*܌-Ʒ'nĩ-ĢŎDz ŁĩƢĩűƷůþƷĩƢŎþŦƪþƢĩƪƷŎŦŦ-Ƣĩ쯳űŎǬþĚŦĩ܌-ƢĩůþŎűŎűł-ĚƢŻþĢŦǢ-ŎűĢĩĚƷĩĢ-ƷŻ-¼þţĩůŎƷƪƿܼƪ-ŎĢĩþ-ŻŁĩű'nþűěĩĢěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ-ƟƢĩƪĩƢǛĩĢ-Ŏű- þůŻűƷþłĩܮŦŎţĩƪŎůƿŦƷþűĩŎƷǢ܌ĩƪƟĩěŎþŦŦǢ-Ŏű-Ʒ'nĩ-ȀƢƪƷ-ƟþƢƷ܌ǜ'nĩƢĩ-Ʒ'nĩůŻƪþŎěܮŦŎţĩƪƿƢŁþěĩěŻűƪŎƪƷƪ- ŻŁĩþƪŎŦǢ-ĢŎƪƷŎűłƿŎƪ'nþĚŦĩ-ŦþǢĩƢƪ-ݑދܣßSܒܤڐܒ-ŦƷ'nŻƿł'n- Ʒ'nĩƢĩþƢĩůƿŦƷŎƟŦĩ-ƟƢŻěĩƪƪĩƪ-ŻŁ-ŎűƷĩƢþěƷŎŻű- between these layers, most notably in a transformation of the *zheng* zither in the direction of Ʒ'nĩ-ƟŎþűŻܼƪàĩĚĩƢűŎþű-ŎĢŎŻů܌-Ʒ'nĩ-ŎĢĩþ-ŻŁĩű'nþűěĩĢěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩ-ŎƪĩǡƟƢĩƪƪĩĢ-Ŏűþ-ƢþƷ'nĩƢ-

ڷڸ See Pritchett, *The Music of John Cage*܉-ڏڌڍܨڑڕ

ěƢƿĢĩ ůŻűƷþłĩܮŦŎţĩ ƪŎůƿŦƷþűĩŎƷǢܒ-R ŎůŎŦþƢ- ƟƢŻěĩƪƪĩƪ- ŻƟĩƢþƷĩ- Ŏű- Ʒ'nĩ- ĚþěţłƢŻƿűĢ- ŻŁ *together// apart*, though here the original materials largely "disappear" in a dense polymetric and poly-ƷĩůƟŻƢþŦƪƷƢƿěƷƿƢĩܒȃĩ-ŦþǢĩƢŎűł-ŻŁůĩƷĩƢþűĢ-ƷĩůƟŻ-Ŏű-Ʒ'nŎƪǜŻƢţƪĩƢǛĩƪ-ƷŻěŻůůƿűŎěþƷĩþ-Ƣĩܮ ȀűĩĢ-ŁŻƢů-ŻŁ-'nĩƷĩƢŻƟ'nŻűǢ-ŻƢƪŦŎł'nƷ-ܹþƪǢűě'nƢŻűŎěŎƷǢܺ-Ŏű-ƢĩƪƟŻűƪĩ-ƷŻ-ƷƢþĢŎƷŎŻűþŦfŻƢĩþűĩűƪĩůble playing, resulting in a mode of performance that "collapses" toward the end and gives way ƷŻþůŻƢĩ-ƟƢŻƟƿŦƪŎǛĩĩűƪĩůĚŦĩƪƷƢƿěƷƿƢĩݑދܣݑßSܒܤڑܒ

ȃƢĩĩ-ƷŻ-ȀǛĩ-ǢĩþƢƪ-ŦþƷĩƢ܌-S-ŁƿƢƷ'nĩƢ-ƢþĢŎěþŦŎǬĩĢ-Ʒ'nĩ-ŎĢĩþ-ŻŁƪŎůƿŦƷþűĩŻƿƪ-ŦþǢĩƢŎűł-Ŏű*the wasteland of minds* and *Glasakkord*. Here, I increasingly associated the idea of simultaneity with con-ǴŦŎěƷþűĢ-ܹŎűěŻůƟþƷŎĚŎŦŎƷǢ܌ܺ-ƢĩƪƿŦƷŎűł-ŁƢŻůþůŻƢĩ-ܹƟĩƪƪŎůŎƪƷŎěܺ-ƟĩƢƪƟĩěƷŎǛĩ-Żű-ŎűƷĩƢěƿŦƷƿƢþŦŎƷǢ- Ŏű-Ʒ'nĩǜþţĩ-ŻŁ-ڐڐܘژþűĢ-Ʒ'nĩ-SƢþơàþƢܒȃĩ-Ģĩűƪĩ-ŦþǢĩƢŎűł-ŻŁ-ƟƢŻƟŻƢƷŎŻűþŦƪƷƢƿěƷƿƢĩƪ-ŻŁþƪǢűě'nƢŻnous and cyclical rhythmic layers is continuously transformed by live electronics in *the wasteland of minds* and destroyed by increasingly contrasting interruptions in *Glasakkord*.

In turning to my more recent research on the phenomenological and performative aspects of musical listening,ڝڝ-SǜŻƿŦĢ-ŦŎţĩ-ƷŻěŻűǛĩǢþƪŻůĩǜ'nþƷůŻƢĩ-ƟƢĩěŎƪĩ-ŎĢĩþ-ŻŁ-Ʒ'nĩĩǡƟĩƢŎĩűěĩ-ŻŁ- hearing sound structures as resulting from layered structures, as in *the wasteland of minds*-ݑދܣßS܌ڐܒ- /ǡܒܤڕܒڕܫڒܒڕݑܒ à'nþƷ-Ŏƪ-Ʒ'nĩþƿĢŎƷŻƢǢěŻűƪĩơƿĩűěĩ-ŻŁ-Ʒ'nŎƪţŎűĢ-ŻŁĩű'nþűěĩĢ-ŦþǢĩƢŎűłܓűĩůŎł'nƷ- ĩůƟ'nþƪŎǬĩ- Ʒ'nĩ- ĢŎǛĩƢƪŎƷǢ-ŻŁ- ƟĩƢěĩƟƷƿþŦ þƟƟƢŻþě'nĩƪ- Ʒ'nþƷ- Ʒ'nŎƪ-ŦþǢĩƢĩĢ ƪƷƢƿěƷƿƢĩ þDz ŁŻƢĢƪ܌ ƪŻůĩܮ Ʒ'nŎűł- Ʒ'nþƷůŎł'nƷ- Ěĩ-ĢĩƪěƢŎĚĩĢþƪ- ܹƟĩƢŁŻƢůþƷŎǛĩ-ŦŎƪƷĩűŎűłܺ܋- Ʒ'nĩ-ŻƟƷŎŻű- ƷŻ- ǴŦƿěƷƿþƷĩ-ŻƢ ƪǜŎƷě'n- ěŻűƪƷþűƷŦǢ-ܣŻƢƪĩŦĩěƷŎǛĩŦǢܤ-ĚĩƷǜĩĩű-ĢŎDz ŁĩƢĩűƷ-ܹŦŎƪƷĩűŎűłþƷƷŎƷƿĢĩƪܒܺ-SŁǜĩ-Ʒþţĩ-Ʒ'nĩ-ĚĩłŎűűŎűł-ŻŁ- *the wasteland of minds* ܣůů܌ܤڗܫڐݑܒ-ŎƷ-Ŏƪ-ŎűƷĩűĢĩĢ-ƷŻþŦŦŻǜ-ŁŻƢ-ܫþƷ-ŦĩþƪƷ-ܫ-ŁŻƿƢ-ĢŎDz ŁĩƢĩűƷþƷƷŎƷƿĢĩƪ- ŻŁ-ŦŎƪƷĩűŎűłܒtĩĩĢŦĩƪƪ-ƷŻƪþǢ܌-Ʒ'nĩƪĩþƷƷŎƷƿĢĩƪþƢĩűŻƷůƿƷƿþŦŦǢĩǡěŦƿƪŎǛĩ܌-ĚƿƷ-ƢþƷ'nĩƢ-ŻǛĩƢŦþƟ-ŻƢ- ěþű-ĚĩěŻűƪŎĢĩƢĩĢěŻůƟŦĩůĩűƷþƢǢ-ƷŻƪŻůĩ-ĢĩłƢĩĩ-ܣFŎł܋ܤڑܒڕݑܒ


ڸڸ- -RĪĪ܉ ÿŰżŲŃ żƸŊĪƣ- ƠǀěŧŏĜÿƸŏżŲƫ܉- ÃƸǭ܉- ܸܶhŏěĪƣÿƸŏŲŃܹ- ®żǀŲģ ÿŲģ- £ĪƣĜĪƠƸŏżŲܷ ÿŲģ- ÃƸǭ܉- ܶ1/4ŏŰĪܫRƠÿĜĪ- /ǢƠĪƣŏĪŲĜĪ ŏŲ- àżƣŤƫ łżƣ- ®żŧż- Īŧŧżܷ rǣ ƣĪƫĪÿƣĜŊ żŲ- ƠĪƣłżƣŰÿƸŏǜĪ ŧŏƫƸĪŲŏŲŃ ÿŲģ- ƠĪƣłżƣŰÿƸŏǜĪ ÿŲÿŧǣƫŏƫ- Ŋÿƫ ěĪĪŲ- ĜżŲģǀĜƸĪģ- ƫŏŲĜĪ-܉ڕڌڌڎģżĜǀŰĪŲƸĪģŏŲÿƣżǀŲģ-ƸǝĪŲƸǣÿƣƸŏĜŧĪƫ܉ÿŲģŏƫƫĪƸ-ƸżÿƠƠĪÿƣŏŲÿ-ŰżŲżŃƣÿƠŊŏŲ-ڍڎڌڎ

<sup>ܷ</sup>rżŰĪŲƸłżƣŰ-ܶ܉ƸżĜŤŊÿǀƫĪŲ®- -ڹڸ

*Figure 6.2: Christian Utz, the wasteland of mindsܒůůږݗܘܱܒڝƪŻűþłƢþůþűĢ-ƢƿĢŎůĩűƷþƢǢ- ƷƢþűƪěƢŎƟƷŎŻűܝ-Ʒ'nĩłƢþƟ'nŎěĩŦĩůĩűƷƪƪƿłłĩƪƷ-ŁŻƿƢ-ĢŎDZŁĩƢĩűƷůŻĢĩƪ-ŻŁ-ŦŎƪƷĩűŎűłܑ-ܿþűþŦǢƷŎěþŦ݀-ܩƪůþŦŦłƢþǢ- ĚŻǡĩƪþűĢ-ĢŻƷƷĩĢ-ŦŎűĩƪܒܪ-ܿ'nŻŦŎƪƷŎě݀-ܩŦþƢłĩ-ĚŦþěţ-ĚŻǡþƢŻƿűĢ-Ʒ'nĩĩűƷŎƢĩƪŻűþłƢþůĩǡěĩƢƟƷܒܪ-ܿěƿĩܴŻƢŎĩűƷĩĢ݀- ܩþƢƢŻǜƪþűĢ-ǛĩƢƷŎěþŦ-ŦŎűĩƪܒܪþűĢ-ܿƟƢĩƪĩűƷŎƪƷ݀-ܩůŎĢܴƪŎǬĩłƢþǢ-ĚŻǡĩƪܪ*

by Jonathan Kramer as "moment time"ڟڝ – a type of listening less reliant on memory and expectation than on a contemplation of the present moment.

ȃĩ-ƟŦþƿƪŎĚŎŦŎƷǢ-ŻŁ-Ʒ'nĩƪĩ-ŦŎƪƷĩűŎűłþƷƷŎƷƿĢĩƪƪƿƢĩŦǢě'nþűłĩƪþƪ-Ʒ'nĩ-ƟŎĩěĩ-ƟƢŻłƢĩƪƪĩƪܗ-ƷŻǜþƢĢ-Ʒ'nĩ- ĩűĢ-ŻŁ-Ʒ'nĩ-ȀƢƪƷ-Ɵ'nþƪĩ-ŻŁ-Ʒ'nĩ-ƟŎĩěĩ܌þǼ ƷĩƢþĚŻƿƷ-ȀǛĩůŎűƿƷĩƪ܌þ-ܹěŻŦŦþƟƪĩܺ-ŻŁ-Ʒ'nĩ-ŦþǢĩƢĩĢƪƷƢƿěƷƿƢĩ- ŻěěƿƢƪ܌-ƢĩƪƿŦƷŎűł-Ŏűþ-'nŎł'n-ĢĩűƪŎƷǢ-ŻŁěƿĩܮĚþƪĩĢ-ŁƢþłůĩűƷþƷŎŻű-Ʒ'nþƷ-ĢŎƪƢƿƟƷƪ-Ʒ'nĩ-ƷĩůƟŻƢþŦ-ǴŦŻǜ- þűĢěþűþŦƢĩþĢǢ-Ěĩ-ŎűŁĩƢƢĩĢ-ŁƢŻů-Ʒ'nĩƪěþƷƷĩƢĩĢ-ŎůƟƢĩƪƪŎŻű-ŻŁ-Ʒ'nĩƪěŻƢĩ-ݑދܣßS܌ڐܒ-/ǡܒܤڕܒڕݑܒ-

űŻƷ'nĩƢ-ƷǢƟĩ-ŻŁ-ŦŎƪƷĩűŎűłĩǡƟĩƢŎĩűěĩěþű-Ěĩ-ƷƢŎłłĩƢĩĢ-ŎŁǜĩ-ŠƿůƟ-ƷŻþ-ŦþƷĩƢƪƷþłĩ܋-ƢŻƿł'nŦǢ- six minutes into the piece, in the middle of its second phase, a more rigid and repetitive, less łĩƪƷƿƢþŦ-ǛĩƢƪŎŻű-ŻŁ-Ʒ'nĩ-ŦþǢĩƢĩĢƪƷƢƿěƷƿƢĩĩǛŻŦǛĩƪ܌ƪŻ-'nĩƢĩ-Ʒ'nĩ-ƷƢþűƪŁŻƢůþƷŎǛĩ܌-ܹ'nŻŦŎƪƷŎěܺþűĢܘŻƢ- presentist listening attitudes surely gain importance. In later stages of the piece, the dense and tightly layered model continuously disintegrates, giving way to more prominent soloistic articulations such as a solo by the Chinese ocarina *xun* performed by the *sheng* soloist, which is

ںڸ- fƣÿŰĪƣ܉-*The Time of Music*܉-ڌڎڎܨڍڌڎ

singled out in the listening act because of its unfamiliar and unique timbre as a prominent *cue*  in the large-scale formal process.

### A Map of Musical Simultaneities

®Żůĩ-ŻŁ-Ʒ'nĩ-ƷĩƢůŎűŻŦŻłǢ-S-'nþǛĩƿƪĩĢ-'nĩƢĩ-Ŏƪ-Ʒþţĩű-ŁƢŻů-ƟƪǢě'nŻŦŻłŎěþŦþűĢ-ƟƪǢě'nŻþěŻƿƪƷŎě-Ʒ'nĩŻ-ƢŎĩƪ-ŻŁ-ƟĩƢěĩƟƷŎŻű܌ƪƿě'nþƪ-Ʒ'nŻƪĩƪƿůůþƢŎǬĩĢ-Ŏű-ŦĚĩƢƷ-ƢĩłůþűܼƪůþŠŻƢ-ĚŻŻţ*ƿĢŎƷŻƢǢ-®ěĩűĩ- űþŦǢƪŎƪ* from 1990.ڠڝ I will now expand these categories as basic parameters of a "map of muƪŎěþŦƪŎůƿŦƷþűĩŎƷŎĩƪܺ-ܣFŎłܤڒܒڕݑܒþűĢĩǡƟŦþŎű-ĢŎDz ŁĩƢĩűƷěþƷĩłŻƢŎĩƪþűĢĩǡþůƟŦĩƪǜŎƷ'n-ƢĩŁĩƢĩűěĩ-ƷŻ- this map.

Musical perception might be described as building spatiotemporal relationships between ƪŻƿűĢƪܒȃŎƪ- ƟƢŻěĩƪƪ- ŎűǛŻŦǛĩƪ ůþűǢ- ƟƢĩěŻűĢŎƷŎŻűƪ܌ űŻƷ- ŦĩþƪƷ þű- ŎůƟŦŎěŎƷ þűĢ ĩǡƟŦŎěŎƷ ţűŻǜŦܮ edge of everyday and musical sounds, most of them acquired during our experience as lifelong ŦŎƪƷĩűĩƢƪܒ-/ƪƷþĚŦŎƪ'nŎűłƪƟþƷŎŻƷĩůƟŻƢþŦ-ƢĩŦþƷŎŻűƪ'nŎƟƪ-ĢƿƢŎűłůƿƪŎěþŦ-ƟĩƢěĩƟƷŎŻűůĩþűƪ-Ʒ'nþƷǜĩ- ŻƢłþűŎǬĩƪŻƿűĢ-Ŏűþ-ƷǜŻŁŻŦĢůþűűĩƢ܋ƪŻƿűĢƪ-ŻěěƿƟǢþű-ŎůþłŎűþƢǢƪƟþƷŎþŦ-ܹůþƟܺ-Żűǜ'nŎě'nǜĩ- ŦŻěþƷĩ ƪŻƿűĢ ĩǛĩűƷƪ þűĢ- ƟƢŻěĩƪƪĩƪ ƪŎůƿŦƷþűĩŻƿƪŦǢ þűĢ ƪĩơƿĩűƷŎþŦŦǢ- ŻƢ- ŦŎűĩþƢŦǢܒȃĩ ƪŎůƿŦƷþneous dimension might be described as a continuous space between segregation and fusion of sound layers or *streams*, while the linear dimension lets sound events appear either in isolation, ƟƢŻůƟƷŎűł-Ʒ'nĩůŻĢĩŦ-ŻŁþ-ŦþƢłĩܮƪěþŦĩþƢě'nŎƷĩěƷƿƢþŦ-ŁŻƢů-ŻŁ-ĢŎDz ŁĩƢĩűƷĩǛĩűƷƪ-Ŏű-ƷŎůĩ܌-ŻƢþƪ-ƟþƢƷ- of an ongoing process or continuity without clear-cut segmentation.ڡڝ

£ŦþěŎűłěŻűěĩƟƷƪ-ŻŁůƿƪŎěþŦƪŎůƿŦƷþűĩŎƷǢ-ŎűůƿƪŎě-Żű-Ʒ'nŎƪůþƟ-ȀƢƪƷ-ƢĩơƿŎƢĩƪ-ŦŻŻţŎűłþƷ-Ʒ'nĩ- ůŻƪƷěŻůůŻűěŻűěĩƟƷĩƪƷþĚŦŎƪ'nĩĢ-ŁŻƢ-Ʒ'nŎƪ-Ɵ'nĩűŻůĩűŻű-ŎűůƿƪŎě-Ʒ'nĩŻƢǢ܋-*ƟŻŦǢƟ'nŻűǢ*. Western polyphonic music might be grasped as an ensemble of independent voices, intertwined in a sonorous space, subject to a hierarchical system of note relations but appearing free and unique Ŏű- Ʒ'nĩŎƢůĩŦŻĢŎěěŻűƷŻƿƢþűĢ- ƢĩłŎƪƷƢþŦƪƟþěĩܒ-/ƢűƪƷfƿƢƷ'nܼƪ- ڗڐژڐ-ĢĩȀűŎƷŎŻű-ŻŁ-ƟŻŦǢƟ'nŻűǢěþƟܮ tures some of these features while notably emphasizing the priority of overall coherence over þű-ŎűĢĩƟĩűĢĩűěĩ-ŻŁ-ƟþƢƷƪ܋

¼ŊĪ-ŊŏŃŊĪƫƸŧÿǝżł-ƠżŧǣƠŊżŲŏĜƫƸƣǀĜƸǀƣĪŏƫ-ƸŊÿƸ-ƸŊĪ-ĜżŰƠŧĪǢżłǜżŏĜĪƫ-ŰǀƫƸÿŧǝÿǣƫÿƠƠĪÿƣÿƫÿ- ǀŲŏƸǣܔ-ƸŊĪ-ŰǀŧƸŏƠŧŏĜŏƸǣżłǜżŏĜĪƫ-ŲĪǜĪƣƫǀƠƠƣĪƫƫĪƫ-ƸŊĪƫĪŲƫĪżłÿ-ƸżƸÿŧŏƸǣŏŲƸżǝŊŏĜŊ-ƸŊĪŧŏŲĪƫÿƣĪ- ǝżǜĪŲ܉ÿŲģÿƸ-ƸŊĪƫÿŰĪ-ƸŏŰĪ܉żŰŏƸƸŏŲŃÿƫŏŲŃŧĪǜżŏĜĪǝżǀŧģ-ŲżƸżŲŧǣŧĪÿģ-ƸżÿƣĪģǀĜƸŏżŲżł-ƸŊĪ- ĜżŰƠŧĪǢżłŧŏŲĪƫěǀƸǝżǀŧģ-ŰĪÿŲŏƸƫżƣŃÿŲŏĜģŏƫƸżƣƸŏżŲڟښ

/ƪƷþĚŦŎƪ'nĩĢűŻƷŎŻűƪ-ŻŁ-ƟŻŦǢƟ'nŻűǢ-'nþĢ-Ěĩĩűě'nþŦŦĩűłĩĢþƪĩþƢŦǢþƪ-ڐڐژڐ-ܣƪŎǡ-ǢĩþƢƪ-ĚĩŁŻƢĩfƿƢƷ'nܼƪ- monograph *Grundlagen des linearen Kontrapunkts*ܤ-Ŏű- ƢűŻŦĢ- ®ě'nŻĩűĚĩƢłܼƪ-*ȄĩŻƢǢ- ŻŁ- NþƢůŻűǢ*, where harmony in modern music is described as a result of musical lines that are pursued with

ڻڸ Bregman, *Auditory Scene Analysis*-®ĪĪÿŧƫż-'ĪǀƸƫĜŊ܉-ܶGƣżǀƠŏŲŃrĪĜŊÿŲŏƫŰƫŏŲrǀƫŏĜܷÿŲģ-'ĪŧŏĹŃĪÿŲģrīŧĪŲ܉- ܶ ǀĪěƫƸƣÿĜƸŏżŲŏŲ-ƸŊĪ-¦ĪƠƣĪƫĪŲƸÿƸŏżŲżłrǀƫŏĜÿŧ-FżƣŰܷ

ڼڸ- -1/4ŊĪƣĪŏƫÿ-ŊǀŃĪ-ŲǀŰěĪƣżłƫƸǀģŏĪƫżŲ-ƸŊĪƫĪ-Ƹǝż-ĜżŲǵŧŏĜƸŏŲŃ-ĜżŲĜĪƠƸŏżŲƫżł-ŰǀƫŏĜÿŧŧŏƫƸĪŲŏŲŃÿŲģ-ŰǀƫŏĜÿŧłżƣŰ܉- ǝŊŏĜŊ-S-ŊÿǜĪƫǀŰŰÿƣŏǭĪģÿŲģ-ƸƣÿŲƫłżƣŰĪģŏŲƸżÿŲÿŧǣƸŏĜÿŧ-ƠĪƣƫƠĪĜƸŏǜĪƫżŲ-ŰǀƫŏĜłƣżŰ-'ǀłÿǣ-ƸżßÿƣĹƫĪŏŲ-ƸŊĪ- ĪǢƸĪŲģĪģÿƣƸŏĜŧĪ-ÃƸǭ܉-ܶ¦ďǀŰŧŏĜŊĪßżƣƫƸĪŧŧǀŲŃĪŲÿŧƫ-ܸGƣǀŲģłǀŲŤƸŏżŲĪŲģĪƫ-NƇƣĪŲƫܹܷ

ڽڸ- fǀƣƸŊ܉-*Grundlagen des linearen Kontrapunkts*܉-ڍڑڏ-ܠܶ'ÿƫżěĪƣƫƸĪ-GĪƫĪƸǭ-ƠżŧǣƠŊżŲĪƣ-®ƸƣǀŤƸǀƣěĪƫƸĪŊƸģÿƣŏŲ܉ģÿƷģĪƣ- ®ƸŏŰŰĪŲŤżŰƠŧĪǢƫƸĪƸƫÿŧƫ-ĪŏŲĪ-/ŏŲŊĪŏƸ-ĪƣƫĜŊĪŏŲƸܔ-ŲŏĪǜĪƣģƣďŲŃƸģŏĪ-NďǀłǀŲŃģĪƣ-®ƸŏŰŰĪŲģĪŲ-/ŏŲģƣǀĜŤ-ĪŏŲĪƣ- GĪƫÿŰƸŊĪŏƸ܉ǭǀģĪƣģŏĪhŏŲŏĪŲŏŲĪŏŲÿŲģĪƣŃĪǵŧżĜŊƸĪŲƫŏŲģ-ǀŲģÿŲģƣĪƣƫĪŏƸƫǝdžƣģĪģÿƫàĪŃŧÿƫƫĪŲ-ĪŏŲĪƣ-ĪŏŲǭŏŃĪŲ- ®ƸŏŰŰĪ-ŲŏĜŊƸ-ĪŏŲĪěŧżƷĪßĪƣģdžŲŲǀŲŃģĪƫhŏŲŏĪŲŤżŰƠŧĪǢĪƫģÿƣƫƸĪŧŧĪŲ܉ƫżŲģĪƣŲƫĪŏŲĪżƣŃÿŲŏƫĜŊĪðĪƣƫƸƇƣǀŲŃܷܡ

a particular degree of independence.50 Schoenberg elaborated on this point in the 1931 manuscript "Der lineare Kontrapunkt."51 Here, he insisted on the "carelessness" (Unbekümmertheit) of simultaneous lines and suggested avoiding all progressions that might remind one of tonal cadences or fundamental chord relationships.52

This perspective had far-reaching consequences: in dodecaphony and (proto-)serial music, note rows and aggregates are superimposed in a rigorous manner, as did, even earlier, the tunes of military bands, Protestant hymns, folk songs, and quotations of art music in the works of Charles Ives, testifying to a simultaneity of independent events or "personae" as a key experience of modernity (> V.3, VI.1). Many serialist approaches to musical structure were derived from radical interpretations of polyphony akin to Schoenberg's. In a 1955 radio program,

<sup>50 &</sup>quot;For it is apparent […] that we are turning to a new epoch of polyphonic style, and as in the earlier epochs, harmonies will be a product of the voice leading: justified solely by the melodic lines!" (Schoenberg, Theoryof Harmony, 389; "[…] anscheinend […] wenden wir uns einer neuen Epoche des polyphonen Stils zu, und wie in den früheren Epochen werden die Zusammenklänge Ergebnis der Stimmführung sein: Rechtfertigung durchs Melodische allein!" (Schönberg, Harmonielehre, 466.) In the preface to the third edition of his monograph from 1927, Kurth insisted that a "harmony-free patching together of pitch lines" ("harmoniefreie[s] […] Zusammenflicken von Tonlinien," Grundlagen des linearen Kontrapunkts, third edition, XVI) had in no way been implied in his use of the concept of linearity. He thus rejected the idea that his title "linear counterpoint" suggested a radicalization of linear independence to the point of making the resulting harmonies a byproduct of the complex of lines.

<sup>51</sup> Schoenberg, "Linear Counterpoint."

<sup>52</sup> Ibid., 291-292.

®ƷŻěţ'nþƿƪĩűǜþƪ-ƟþƢƷŎěƿŦþƢŦǢĩǡƟŦŎěŎƷþĚŻƿƷ-Ʒ'nĩěŻűƪĩơƿĩűěĩƪ-ŻŁ-ܣƟŻƪƷܤܮƪĩƢŎþŦěŻůƟŻƪŎƷŎŻű-ŁŻƢþ- űŻűܮ'nŎĩƢþƢě'nŎěþŦůƿƪŎěþŦ-ƟĩƢěĩƟƷŎŻű܋-

àĪ ŧŏƫƸĪŲ- Ƹż- ƸŊĪ ǝŊżŧĪ܉ ƣĪƸÿŏŲŏŲŃ ÿŲ żǜĪƣÿŧŧ ŏŰƠƣĪƫƫŏżŲ ŏŲ ǝŊŏĜŊ- ƸŊĪ ģĪƸÿŏŧƫ ÿƣĪ ģŏƫƸŏŲŃǀŏƫŊĪģ- łƣżŰżŲĪÿŲżƸŊĪƣƫǀdz ǿĜŏĪŲƸŧǣƫƸƣżŲŃŧǣ-Ƹż-ƠƣĪǜĪŲƸÿŲǣŏŲƸĪƣĜżŲŲĪĜƸŏżŲƫ-ƸŊÿƸ-ŰŏŃŊƸěĪĜżŰĪ-ŰżƣĪ- ŏŰƠżƣƸÿŲƸ-ƸŊÿŲżƸŊĪƣƫ-ܟ܊ܞƫłÿƣÿƫ-ƠżƫƫŏěŧĪ܉-ĪǜĪƣǣƸŊŏŲŃ-ĜżŰƠżƫĪģƫŊżǀŧģěĪ-ƠÿƣƸżł-ƸŊĪłżƣŰÿŧ- ƠƣżĜĪƫƫ܉- ŲżƸŊŏŲŃ ƫŊżǀŧģ ģżŰŏŲÿƸĪ- ܟ܊ܞ- ܟ܊ܞ- ƸŊĪ- ŰǀƫŏĜ ŏƫ ŏŲ ÿ ƫƸÿƸĪ żł- ĜżŲƫƸÿŲƸ ǵŧǀǢ- ܉ܟ܊ܞ ǝŏƸŊżǀƸ- ŧŏŲŃĪƣŏŲŃżŲ-ƸŊĪŏŲƫƸÿŲƸÿŲĪżǀƫ܉żŲ-ƸŊĪěĪÿǀƸŏłǀŧ-ŰżŰĪŲƸƫ-ܟ܊ܞڙڛ

FŻŦŦŻǜŎűłfƿƢƷ'nܼƪ܌-Rě'nŻĩűĚĩƢłܼƪ܌þűĢ-®ƷŻěţ'nþƿƪĩűܼƪ-ĢĩȀűŎƷŎŻűƪ܌ǜĩůŎł'nƷ-ƟŦþěĩ-Ʒ'nĩ-Ʒ'nƢĩĩěŻűěĩƟƷƪ-ŻŁ-ܣƷŻűþŦܤ-ƟŻŦǢƟ'nŻűǢ܌-ŦŎűĩþƢ-ܣƟŻƪƷܮƷŻűþŦܤ-ƟŻŦǢƟ'nŻűǢ܌þűĢƪƿƟĩƢŎůƟŻƪŎƷŎŻű-Żűþ-ĢŎþłŻűþŦ- ŦŎűĩ-Żű-ŻƿƢůþƟܒ-ŁěŻƿƢƪĩ܌-Ʒ'nĩƪĩþƢĩþƪ-Żű-Ʒ'nĩ-ĢŎþłŻűþŦþƢĩ-ƷŻƪŻůĩ-ĢĩłƢĩĩþƢĚŎƷƢþƢǢþűĢƪ'nŻƿŦĢ- Ěĩ-ƢĩłþƢĢĩĢþƪůŻǛþĚŦĩ܌þƷ-ŦĩþƪƷ-Ŏű- Ʒ'nĩ-'nŻƢŎǬŻűƷþŦܗ-ŎűłĩűĩƢþŦ܌- Ʒ'nĩ-ƢĩŦþƷŎŻűƪ'nŎƟ-ĚĩƷǜĩĩű-ƟŻŦǢphony and superimposition appears not as a categorial distinction but as a permeable relationship indicated by the dotted arrows on the map.

In John Cage's *ښڙ݂-ŁŻƢþ-®ƟĩþţĩƢ-*ŁƢŻů-܌ړڔژڐþěŻůƟŻűĩűƷ-ŻŁ-Ʒ'nĩ-*¼ĩű-ȄŻƿƪþűĢ-ȄŎűłƪ*, a radicalized form of superimposition is interpreted as a logical consequence of the decision to "give up ěŻƿűƷĩƢƟŻŎűƷܺ܋-ܹGŎǛŎűłƿƟěŻƿűƷĩƢƟŻŎűƷ-ŻűĩłĩƷƪƪƿƟĩƢŎůƟŻƪŎƷŎŻűþűĢ܌-ŻŁěŻƿƢƪĩ܌þ-ŦŎƷƷŦĩěŻƿű-ƷĩƢƟŻŎűƷěŻůĩƪ-Ŏű-ŻŁ-ŎƷƪ-ŻǜűþěěŻƢĢܒ-NŻǜ-SǜŻƿŦĢűܼƷţűŻǜܒܺڝڞFor Cage, non-hierarchical simultaneity is closely connected to the abandonment of "form" and leads to the model of presentist listening.

ȃĩ-ƷĩƢů-ܹƟŻŦǢƟ'nŻűǢܺ-ŎƪþŦƪŻƿƪĩĢ-ŎűþűŻƷ'nĩƢţĩǢěŻűěĩƟƷ-ŻŁůƿƪŎěþŦƪŎůƿŦƷþűĩŎƷǢ-Ʒ'nþƷůƿƪƷ- ěŻůƟŦĩůĩűƷ-ŻƿƢůþƟ܋-Ŏű- ܌ڒڕژڐűŎűĩ-ǢĩþƢƪþǼ ƷĩƢ þłĩܼƪ-*ښڙ݂-ŁŻƢþ-®ƟĩþţĩƢ*܌-NĩŦůƿƷhþě'nĩűůþűű- ȀƢƪƷ-ĢĩǛĩŦŻƟĩĢ-'nŎƪůƿě'nܮěŎƷĩĢƪŻƿűĢ-ƷǢƟŻŦŻłǢ-ŎűþƪĩƢŎĩƪ-ŻŁ-ŦĩěƷƿƢĩƪ-ݑދܣßSܒܤڐܒƪ-ŻƿƷŦŎűĩĢþĚŻǛĩ- ݑދܣßS܌ܤڐܒ-Ʒ'nŎƪ-ƷǢƟŻŦŻłǢ-ŎűƪŎƪƷƪ-Żű-Ʒ'nĩţĩǢůŻĢĩŦ-ŻŁ-ܹƪƷƢƿěƷƿƢþŦƪŻƿűĢܺ-ܣ*Strukturklang*ܤþƪþ-ܹ*ƟŻŦǢ-Ɵ'nŻűǢ* of orderings."ڞڞhþě'nĩűůþűűܼƪ-ŎĢĩþ-ŻŁƪƷƢƿěƷƿƢþŦƪŻűŻƢŎƷǢƪƿłłĩƪƷƪ-Ʒ'nþƷ-Ʒ'nĩ-ܹĢĩǛĩŦŻƟůĩűƷ- ŻŁĩþě'nĩŦĩůĩűƷ-Ŏƪ-ƷƢþěĩþĚŦĩ-ĚǢ-Ʒ'nĩ-ŦŎƪƷĩűĩƢܺ-ƢĩƪƿŦƷŎűł-Ŏű-ܹþƪŻƢƷ-ŻŁůŻűƷþłĩ-ŻŁ-ĢŎDz ŁĩƢĩűƷƪƷƢƿěܮ tures [that] actively dispels any sense of hierarchy or priority."ڟڞ

ȃĩůŻƪƷĩDzȀěŎĩűƷěŻůƟŻƪŎƷŎŻűþŦ-ƷŻŻŦhþě'nĩűůþűű-ŎűǛĩűƷĩĢ-Ŏű-ŻƢĢĩƢ-ƷŻ-ƢĩþŦŎǬĩƪƿě'n-ܹƪƷƢƿě-ƷƿƢĩƪܺ-Ŏƪ-Ʒ'nĩ-ŎĢĩþ-ŻŁ-ܹƪŻƿűĢ-ŁþůŎŦŎĩƪܒܺȃĩţĩǢ-ŁĩþƷƿƢĩ-ŻŁ-Ʒ'nŎƪ-ŎĢĩþ-Ŏƪ-Ʒ'nþƷ܌ƪŎůŎŦþƢ-ƷŻhƿĢǜŎłàŎƷƷłĩűƪƷĩŎűܼƪ-ŎĢĩþ-ŻŁ-ŁþůŎŦǢ-ƢĩƪĩůĚŦþűěĩ܌-ŁþůŎŦǢþDzȀŦŎþƷŎŻűƪþƢĩűŻƷĩǡěŦƿƪŎǛĩڠڞܒȃŎƪůĩþűƪ-Ʒ'nþƷ܌- ŁŻƢĩǡþůƟŦĩ܌-Ʒ'nĩ-ǴŦƿƷƷĩƢ-ƷŻűłƿĩ-ŻŁþ-ǴŦƿƷĩ-Ŏű-Ʒ'nĩůŎĢĢŦĩ-ƢĩłŎƪƷĩƢůŎł'nƷ-Ěĩ-ƟþƢƷ-ŻŁ-Ʒ'nƢĩĩ-ŁþůŎŦŎĩƪ- þƷ-Żűěĩ܋-Ʒ'nĩ-ŁþůŎŦǢ-ŻŁ-ǴŦƿƷĩƪŻƿűĢƪ܌-Ʒ'nĩ-ŁþůŎŦǢ-ŻŁůŎĢĢŦĩܮƢĩłŎƪƷĩƢ-ƟŎƷě'nĩĢƪŻƿűĢƪ܌þűĢ-Ʒ'nĩ-ŁþůŎŦǢ- ŻŁ-ܹƟĩƢŁŻƢþƷĩĢܺ-ƷƢĩůŻŦŻƪŻƿűĢƪܒ-ǜŻƢţ-ŦŎţĩhþě'nĩűůþűűܼƪ-ŻƢě'nĩƪƷƢþŦ-ƟŎĩěĩ-*Kontrakadenz*-ܤڏږژڐܣ-

ڷڹ- -RƸżĜŤŊÿǀƫĪŲ܉-ܶGƣǀƠƠĪŲŤżŰƠżƫŏƸŏżŲ܈fŧÿǜŏĪƣƫƸdžĜŤ-S܉ܷ-܉ڑڒ-ړڒ-ܠܶàŏƣ-ŊƇƣĪŲǜŏĪŧŰĪŊƣÿǀłģÿƫ-GÿŲǭĪ-ŊŏŲ܉ěĪŊÿŧƸĪŲ- ĪŏŲĪŲ ǭǀƫÿŰŰĪŲłÿƫƫĪŲģĪŲ- /ŏŲģƣǀĜŤ܉ ŏŲ ģĪŰ ģŏĪ- /ŏŲǭĪŧŊĪŏƸĪŲ ƫż- ŃŧĪŏĜŊ ƫƸÿƣŤ ÿǀƫĪŏŲÿŲģĪƣŃĪŊÿŧƸĪŲ ǝĪƣģĪŲ܉- ģÿƷ- ŤĪŏŲĪ ßĪƣěŏŲģǀŲŃĪŲ ÿǀǽ ƸÿǀĜŊĪŲ܉ ģŏĪ ǝŏĜŊƸŏŃĪƣ ÿŧƫ ÿŲģĪƣĪ ǝĪƣģĪŲ- ܟ܊ܞ rƇŃŧŏĜŊƫƸ ÿŧŧĪƫ fżŰƠżŲŏĪƣƸĪ ƫżŧŧ- ŃŧĪŏĜŊƫƸÿƣŤÿŰ-FżƣŰƠƣżǭĪƷěĪƸĪŏŧŏŃƸƫĪŏŲ܉-ǀŲģ-ŲŏĜŊƸƫƫżŧŧģżŰŏŲŏĪƣĪŲ-ܟ܊ܞ-ܟ܊ܞģŏĪrǀƫŏŤ-ܞěĪǿŲģĪƸܟƫŏĜŊƫƸďŲģŏŃ- ŏŰ-FŧǀƷ-܉ܟ܊ܞżŊŲĪģÿƫßĪƣǝĪŏŧĪŲǝżŧŧĪŲěĪŏŰ-ǀŃĪŲěŧŏĜŤŧŏĜŊĪŲ܉ěĪŏģĪŲƫĜŊƇŲĪŲ-®ƸĪŧŧĪŲ-ܟ܊ܞܷܡ

ڐڒڍܷ-܉ƠĪÿŤĪƣ®ÿłżƣܸ-ڑڐ-ܶ܉ÿŃĪ - -ڸڹ

ڹڹ- hÿĜŊĪŲŰÿŲŲ܉-ܶfŧÿŲŃƸǣƠĪŲģĪƣtĪǀĪŲrǀƫŏŤ܉ܷ-ڔڍ-ܠܶ£żŧǣƠŊżŲŏĪǜżŲ-ŲżƣģŲǀŲŃĪŲܔܷ-ĪŰƠŊÿƫŏƫŏƫ-ŰŏŲĪܡ

ڔڎܷ-܉żǀŲģƫ®hŏěĪƣÿƸŏŲŃ-ܶ܉NĪÿƸŊĜżƸĪ- -ںڹ

ڻڹ- -RĪĪ tĪǀǝŏƣƸŊ܉- ܶRƸƣǀŤƸǀƣĪŧŧ ǜĪƣŰŏƸƸĪŧƸĪ rÿŃŏĪ܉ܷ- ڎڔܨڕړ àŏƸƸŃĪŲƫƸĪŏŲܹƫ- ĜżŲĜĪƠƸ- Ŋÿƫ ěĪĪŲ- ƸŊżƣżǀŃŊŧǣ- ĪǢƠŧżƣĪģ- ÿŲģÿģżƠƸĪģłżƣ-ŰǀƫŏĜÿŧÿŲÿŧǣƫŏƫěǣ-'żƣÿ--NÿŲŲŏŲĪŲ-ܠܶƫƫżĜŏÿƸŏǜĪ-®ĪƸƫ܉ ÿƸĪŃżƣŏĪƫ܉ÿŲģrǀƫŏĜ-Ųÿŧǣƫŏƫ܉ܷ-ܨڌڒڍ ܡڏڒڍ

ĩǡĩůƟŦŎȀĩƪ-'nŻǜhþě'nĩűůþűűěƢĩþƷĩƪþƿűŎǛĩƢƪĩ-ŻŁ-ŎűƷĩƢþěƷŎűłþűĢƪƿƟĩƢŎůƟŻƪĩĢƪŻƿűĢƪ-ŁƢŻů-Ʒ'nŎƪ-ŁƢþůĩǜŻƢţڡڞܒ

Albert Bregman's distinction between "natural" and "chimeric" assignment is equally rele-ǛþűƷ-ƷŻþ-ŁƿƢƷ'nĩƢþűþŦǢƪŎƪ-ŻŁƪƿě'nƪŎƷƿþƷŎŻűƪ܌þűĢ-Ŏƪþű-ŎůƟŻƢƷþűƷþĢĢŎƷŎŻű-ƷŻ-ŻƿƢůþƟڢڞ܋ in the ěþƪĩ-ŻŁ-ܹűþƷƿƢþŦþƪƪŎłűůĩűƷܺ-ܣǜ'nŎě'n-S-ƟƢĩŁĩƢ-ƷŻ-ŦþĚĩŦ-ܹŻĚŠĩěƷܮŻƢŎĩűƷĩĢþƪƪŎłűůĩűƷܺ܌ܤ- Ʒ'nĩ-ŎĢĩű-ƷŎȀěþƷŎŻű-ŻŁ-Ʒ'nĩƪŻƿűĢƪŻƿƢěĩ-Ŏƪþ-ǛŎƷþŦ-ƟþƢƷ-ŻŁůƿƪŎěþŦĩǡƟĩƢŎĩűěĩ܌ěŻűűĩěƷŎűł-ŎƷǜŎƷ'nĩǛĩƢǢĢþǢ- audition where we are used to identifying sound sources. In many other musical cases, which Bregman labels "chimeric assignment," several sound sources create a composite timbre, or the ŻƢŎłŎűþƷŎűłƪŻƿűĢ-ŻĚŠĩěƷ-Ŏƪ-ŻĚƪěƿƢĩĢ-ŁŻƢ-ŻƷ'nĩƢ-ƢĩþƪŻűƪܒ-Sűhþě'nĩűůþűűܼƪ-*Kontrakadenz*, both ƷǢƟĩƪ-ŻŁþƪƪŎłűůĩűƷþƢĩěŦĩþƢŦǢěŻűƷƢŎĚƿƷŎűł-ƷŻ-Ʒ'nĩ-ŦŎƪƷĩűŎűłĩǡƟĩƢŎĩűěĩܗþƷ-Ʒ'nĩ-ĚĩłŎűűŎűł܌-ƢŻܮ ƷþƷŎűłůĩƷþŦ-ĢŎƪěƪþűĢ- ƷþĚŦĩ- ƷĩűűŎƪ- ĚþŦŦƪþƢĩ-ŎĢĩűƷŎȀĩĢþƪ- ܹűŻűܮůƿƪŎěþŦܺ ƪŻƿűĢƪƿűĩǡƟĩěƷĩĢ- in an orchestral piece, but they soon merge with other members of the sound family "accelerþƷŎűł-ŎůƟƿŦƪĩƪܺ-ŎűƷŻþě'nŎůĩƢŎěƪŎƷƿþƷŎŻűܒ-ÃŦƷŎůþƷĩŦǢ܌-ŎƷ-ĚĩěŻůĩƪěŦĩþƢ-Ʒ'nþƷůþűǢěŻůƟŻƪĩƢƪ- ܣŎűěŦƿĢŎűłůǢƪĩŦŁܤǜĩƢĩ-ŻƢþƢĩƪĩĩţŎűłůƿƪŎěþŦƪŎƷƿþƷŎŻűƪ-Ʒ'nþƷĩűþĚŦĩ-ƟĩƢěĩƟƷŎŻű-ƷŻ-ǴŦƿěƷƿþƷĩ- continuously between the whole and individual streams or segments, between "chimeric" and "object-oriented" listening situations.

### *walls***: Ongoing Processes of De- and Restabilization**

In order to contextualize these attempts to systematize polyphony and simultaneity in music Ŏűþ-ĚƢŻþĢĩƢ-ƢĩƪĩþƢě'něŻűƷĩǡƷ܌-ŻűĩůŎł'nƷ-ƢĩŁĩƢ-ƷŻ-Ʒ'nĩơƿĩƪƷŎŻű-ŻŁ-'nŎĩƢþƢě'nŎĩƪ-ŎűůƿƪŎěܒȃĩƪĩ- ůþǢ-ĚĩěŻűȀłƿƢĩĢ-Ŏű-ƷǜŻ-ĢŎDz ŁĩƢĩűƷǜþǢƪ܌þŦŻűł-Ʒ'nĩ-ƷǜŻþǡĩƪ-ŻŁ-ŻƿƢůþƟ-Ŏű-FŎłƿƢĩ-܋ڒܒڕ-


à'nŎŦĩ-ŎƷ-ŎƪěŦĩþƢ-Ʒ'nþƷ-ĚŻƷ'nţŎűĢƪ-ŻŁ-'nŎĩƢþƢě'nǢěþű-Ěĩ-ƢĩĢƿěĩĢ-ƷŻþůŎűŎůƿů܌ůƿƪŎěþŦĩǡƟĩƢŎĩűěĩ- ŎƪűĩǛĩƢĩűƷŎƢĩŦǢ-'nŎĩƢþƢě'nǢܮŁƢĩĩܒ--ǛþŦƿþĚŦĩþƢƷŎƪƷŎěþŎůůþǢ-Ʒ'nƿƪ-Ěĩ-ĢĩȀűĩĢþƪ-ĢĩǛĩŦŻƟŎűłěŻů-ƟŻƪŎƷŎŻűþŦ-ŎĢĩþƪ-Ʒ'nþƷ-ƢĩƪƿŦƷ-ŎűƪƟþƷŎŻƷĩůƟŻƢþŦěŻűƪƷĩŦŦþƷŎŻűƪ-Ʒ'nþƷþƢĩƪƿDzȀěŎĩűƷŦǢůƿŦƷŎǛþŦĩűƷ-ƷŻ- allow for both increasing and decreasing simultaneous and sequential hierarchies during the act of listening.

ȃĩƪĩ-ŎĢĩþƪǜĩƢĩ-ƷƢŎłłĩƢƪ-ŁŻƢůǢůŻƪƷ-ƢĩěĩűƷǜŻƢţ-ƷŻ-Ěĩ-ĢŎƪěƿƪƪĩĢ-'nĩƢĩ܌*walls* for chamber enƪĩůĚŦĩþűĢĩŦĩěƷƢŻűŎěƪ-܌ܤڗڐڏڑܣǜ'nŎě'n-Ŏƪ-ƟƢĩĢŻůŎűþűƷŦǢþ-ƟŎĩěĩ-ŁŻƢàĩƪƷĩƢűĩűƪĩůĚŦĩ܌-ŎűƷĩƢƢƿƟƷĩĢ- three times by electronic ritornellos accompanied by the instruments on stage – but eventually extending into the audience space, where two Chinese instruments (*zheng* and *xun*ܤþěƷþƪƪƿƢ-ƟƢŎƪŎűłþűĢƿűŁþůŎŦŎþƢ-ܹƪŻƿűĢƪ-ŁƢŻůþŁþƢܒܺȃĩůĩƷþƟ'nŻƢ-ŻŁ-ܹǜþŦŦƪܺűŻƷƿűŎűƷĩűƷŎŻűþŦŦǢ-ŎűǛŻţĩƪ- cultural and political references (the Great Wall of China, the Berlin wall, the wall built recently ĚĩƷǜĩĩű-Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪþűĢrĩǡŎěŻ܌-Ʒ'nĩ-ȀƢĩǜþŦŦěĩűƪŻƢŎűł-Ʒ'nĩ- 'nŎűĩƪĩ-ŎűƷĩƢűĩƷ܌ĩƷěܤܒ-ĚƿƷ-ŎƷ-

ڼڹ- -RĪĪ-ƸŊĪÿŲÿŧǣƫĪƫżł-ƸŊŏƫǝżƣŤŏŲtżŲŲĪŲŰÿŲŲ܉-*Angebot durch Verweigerung*܉-ړڏڍܨڌڔÿŲģ-ÃƸǭ܉-ܶǀłģĪƣ-®ǀĜŊĪ-ŲÿĜŊ- ĪŏŲĪƣěĪłƣĪŏƸĪŲàÿŊƣŲĪŊŰǀŲŃ܉ܷ-ڕڐܨڔڐ

ڽڹ See Bregman, *Auditory Scene Analysis*܉-ڌڒڐܨڕڑڐ

Example 6.21: Anton Webern, Symphonie op. 21, second movement, variation V; the structural model explored in Utz, walls for ensemble and electronics

Copyright © 1929 by Universal Edition

is also used and deconstructed in the compositional process. Imaginary "walls" are necessary in order to construct the two hierarchical concepts during listening, as explained above: simultaneous and sequential "walls" may help to distinguish formal sections or polyphonic layers.

In composing this piece, I once again used a preconceived structure, serving here as a representation of a "stable" system of walls: Variation 5 from the second movement of Anton Webern's Symphonie op. 21 (1928) (Ex. 6.21). In a complex conceptual transformation, this rhythmic canon was expanded to a duration of twenty minutes. Although I originally intended to preserve and continue this expanded canon until the end of the piece, it soon occurred to me that this would have resulted in an overly deterministic, overly even formal process. Thus, the stability of the "Webern wall" is continuously challenged and eroded by all sorts of "distur-

bances," most prominently by three loop-saturated sequences of electronic sound, using excerpts from one of my early electronic pieces (time freeze, 1996), which resonate with Webern's ostinato structures. The musicians initially attempt to "integrate" the electronic sounds, but the situation gets increasingly "out of control." The Chinese instruments zheng and xun enter from afar, completely denying the "controlled time" of the Western ensemble and introducing, among other things, allusions to the qin classic Guang ling san (Shen Qi Mi Pu, 1425). Thus, the music in walls moves from a clear and probably somewhat overemphasized focusing of perceptual attention (a single dodecaphonic sonority, repeatedly introduced, opens the piece, Ex. 6.22) to situations of changing, movable, transforming centers of perceptual attention. The "walls" in the music lose their stability, and an open space of conflicting layers gains prominence (Ex. 6.23).

The idea of simultaneity and non-hierarchy also has consequences for performance – indeed, the question of musical hierarchies is not least a question of performance in general. In the more recent performance practice of contemporary music, a brilliant, virtuosic, "philharmonic" sound has prevailed which tends to hierarchically separate foreground and background, and to accentuate formal segmentation even in cases where the musical score might be ambiguous in these respects. 60 Thus, the idea of rediscovering and polyphony might also provide inspiration for performers who seek to go beyond the harsh "synchronizing" effects of formal contrast. This is a point that cannot be elaborated upon here, as it has been explored quite extensively in recent studies on musical performance that aim to draw conclusions from both quantitative measurements of recorded performances and the aesthetic ideas guiding individual interpretations.64

Ultimately, the metaphor of fabric, in French "agencement," a key term in Gilles Deleuze's and Félix Guattari's Thousand Plateaus, seems an adequate model for the interaction between the different types of simultaneities, non-simultaneities, hierarchies, and non-hierarchies in music and elsewhere. In the rhizomatic "agencement" of Deleuze and Guattari, hierarchies are not resolved by compromise or consensus, but by a non-localization of things; this invokes a "perpendicular direction, a transversal movement that sweeps one and the other away, a stream without beginning or end that undermines its banks and picks up speed in the middle."

<sup>60</sup> I have critically described this tendency especially in the example of performance practice of Giacinto Scelsi's music; see Utz, "Scelsi hören," 166-169.

<sup>61</sup> See especially Cook, Beyond the Score.

<sup>62</sup> Deleuze and Guattari, A Thousand Plateaus, 25.

*Example 6.22: Christian Utz, walls-ŁŻƢĩűƪĩůĚŦĩþűĢĩŦĩěƷƢŻűŎěƪܒ-ŻƟĩűŎűłܒůůږݗܘܱڞ*

 żƠǣƣŏŃŊƸ-ޣ-ڔڍڌڎěǣ-ÃƸǭrǀƫŏĜ£ƣŏŲƸƫ܉ßŏĪŲŲÿ

Example 6.23: Christian Utz, walls for ensemble and electronics, beginning of the closing section, mm. 144–151

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# **Appendix**

### **Text Sources**


¦ĩƪĩþƢě'nƪƪŻěŎþƷŎŻűܒȃĩůþƷĩƢŎþŦǜþƪ-ȀƢƪƷ-ƟƢĩƪĩűƷĩĢ-Ŏűþ-ŦĩěƷƿƢĩ-Żű-ژڑtŻǛĩůĚĩƢ-ڑڏڏڑ-Żű- Ʒ'nĩ-ŻěěþƪŎŻű-ŻŁ-Ʒ'nĩ-ڔږƷ'nþűűŎǛĩƢƪþƢǢ-ŻŁ-Ʒ'nĩ-®'nþűł'nþŎ-ŻűƪĩƢǛþƷŻƢǢܒ


### **Publications**


## **Index**


*ajaeng*-ܣfŻƢĩþűþƢě'nĩĢ-ǬŎƷ'nĩƢ܌ژڒڐݑܤ-ڕڏڑ ţþ-£ǢłůŎĩƪ-ܣ ĩűƷƢþŦ-ŁƢŎěþűĩƷ'nűŎě- ڏڗڒܫژږڒ-܌ڕڕڒܫڔڕڒ-܌ڒڕڒ-܌ڗڒڐݑܤłƢŻƿƟ ţƿƷþłþǜþæþƪƿƪ'nŎږڑڐݑ *alap* (unmeasured introduction in Indian *Ƣēłþ*ůƿƪŎěڗڗݑܤ ڒڗݑSƪþþě-܌ŦĚĩűŎǬ ږڐڑݑþű'-܌ŦĚĩƢƷƪŻű ڒڕڐ-܌ڗڑڐ-܌ړڐڐݑþŦĩþƷŻƢŎěŎƪů ړژڒ-܌ڔڒڒ-܌ڑڗڑ-܌ژړڐ-܌ڑڕݑþŦŎĩűþƷŎŻű ŦŦŎþűěĩ-ƷŻ-£ƢŻůŻƷĩ-Ʒ'nĩtĩǜ-ƢĢĩƢ-Ŏű-Ʒ'nĩ- Musical World (*Gakudan shintaisei ƪŻţƿƪ'nŎű-ĢƔůĩŎ*ڒڏڐݑܤ -܌ڒڔڐܫڑڔڐ-܌ژڒڐ-܌ږڕ-܌ڕړ-܌ړړܫڑړ-܌ڕڒ-܌ړڒݑþŦƷĩƢŎƷǢ ܌ڗڕڑ-܌ڔڒڑ-܌ڒڐڑܫڑڐڑ-܌ږڏڑܫڕڏڑ-܌ڔڗڐ-܌ڕڕڐ-܌ڏڕڐ -܌ړڕڒ-܌ڔڒڒ-܌ڒڒڒ-܌ڏڒڒ-܌ڗڑڒ-܌ڒڑڒܫڑڑڒ-܌ڏڐڒܫڗڏڒ ڒڑړ-܌ڐڐړ þŦƷĩƢűþƷŎǛĩůŻĢĩƢűŎƷŎĩƪ-ދůŻĢĩƢűŎƷǢ ڏږڒ-܌ړڕڒܫڒڕڒ-܌ڗڒڐݑ*amadinda* ܌ڗڒڑ-܌ڔڒڑܫړڒڑ-܌ڐڑڑ-܌ژڔڐ-܌ڔڒڐܫړڒڐ-܌ڑڐݑþůĚŎłƿŎƷǢ -܌ڕژڒܫڔژڒ-܌ڑژڒ-܌ڏژڒ-܌ڑڗڒ-܌ڗڒڒ-܌ڒڒڒܫڑڒڒ-܌ړڐڒ ږڒړ-܌ڐڐړ ڗڗڒ-܌ڕړڒ-܌ڕڏڑ-܌ڑژ-܌ڔږ-܌ڔڔݑþůĚŎǛþŦĩűěĩ ڗژڐܫږژڐ-܌ڔژڐ-܌ڗڔݑàŎŦ'nĩŦůƿłƿƪƷ-܌ůĚƢŻƪ ůĩƢŎěþűrƿƪŎěŻŦŻłŎěþŦ-®ŻěŎĩƷǢ-ܣr®ڔژݑܤ ůŎ-ܣ1/4þŎǜþűĩƪĩ-ŎűĢŎłĩűŻƿƪ-ƟĩŻƟŦĩ܌ڏږڑܫژڕڑݑܤ-ړږڑܫڒږڑ ڒژڑݑrþƢŎĩܮdŻƪĩƟ'n-܌ůŎŻƷ ůƟŻ-£þěƷ-ܣ1/4ƢĩþƷǢ-ŻŁrƿƷƿþŦ- ŻŻƟĩƢþƷŎŻű- þűĢ-®ĩěƿƢŎƷǢ-ĚĩƷǜĩĩű-Ʒ'nĩ-ÃűŎƷĩĢ-®ƷþƷĩƪ- ژڑڐ-܌ڏڑڐ-ܤڏڕژڐ-܌dþƟþűþűĢ ڒڒڒܫڐڒڒ-܌ژڐڒݑ'nƢŎƪƷŎþű -Nþűƪ-܌űĢĩƢƪĩű ڑژݑƢűĩƪƷ-/܌űƪĩƢůĩƷ ڗڒڒܫږڒڒ-܌ڐڑڑ-܌ڕڑڐ-܌ڔږ-܌ڐڕ-܌ژڔݑþűƷ'nƢŻƟŻŦŻłǢ



ږږݑĩůŎƷŎƪů®ܮþűƷŎ Anti-Spiritual Pollution Campaigns (*Qingchu*  ڔڑڑ-܌ڐڏڑݑܤ*wuran jingshen Aoi no ue*ܣݑdþƟþűĩƪĩűƔ-ƟŦþǢܤ-ړڔڒ ŻůŻƢŎ-ܣdþƟþűĩƪĩ-ƟƢĩŁĩěƷƿƢĩڔڔڒܫړڔڒݑܤ *Apaches* ܣ£þƢŎƪěŻůƟŻƪĩƢƪܼłƢŻƿƟ܌ڒڗݑܤ-ڕڗܫڔڗ ڔږ-GĩŻƢłĩƪ-܌ƟĩƢł'nŎƪ ڗژڑ-܌ڒړڐ-܌ڔڑڐ-܌ڕژ-܌ږږݑůƿƪŎě-ƢþĚ -܌ږړڐ-܌ژڒڐ-܌ڕڒڐ-܌ڕڑڐ-܌ڏڗ-܌ږږ-܌ڔړ-܌ڏړ-܌ږڑݑþƢě'nþŎƪů -܌ږڕڑ-܌ڐڕڑ-܌ڐړڑ-܌ڒڒڑܫڑڒڑ-܌ڒڑڑ-܌ڏڐڑ-܌ړڏڑ-܌ژړڐ -܌ڔړڒ-܌ڗڒڒ-܌ږڏڒܫڕڏڒ-܌ڏڏڒܫڗژڑ-܌ڏژڑ-܌ڗږڑ-܌ڕږڑ ڕڏړ-܌ڗڔڒ-܌ڔڔڒܫړڔڒ ƢĩǬǬŻ܌-GƿŎĢŻ-ŻŁܗ-*Micrologus de musica*ړڔݑ ƢŎƪƷŻǡĩűŻƪܗ-*/ŦĩůĩűƷþ-NþƢůŻűŎěþ*ژڔڒ*ݗ* ƢŻů܌-RŎů'nþ܌ړڒڐݑ-ܗړڕڒ-*ŁƢŎěþű-£ŻŦǢƟ'nŻűǢþűĢ-* ڏڗڒ-܌ڔږڒ-܌ڗڕڒ-܌ڕڕڒݑ*ŻŦǢƢ'nǢƷ'nů£* ڒڕڒ-܌ڗڒڐ-܌ړڔݑ*subtilior ars* -܌ژړ-܌ڔړ-܌ڒړ-܌ڐړܫږڒ-܌ڔڒܫڐڒ-܌ژڑܫڔڑ-܌ڑڐݑůƿƪŎěþƢƷ -܌ڔڒڐ-܌ڕڐڐ-܌ڑڗ-܌ڗږܫږږ-܌ڒږ-܌ڔڕ-܌ڒڕ-܌ڐڕ-܌ژڔܫڗڔ-܌ڐڔ -܌ژڕڑܫږڕڑ-܌ڔڕڑܫړڕڑ-܌ڕڒڑܫڔڒڑ-܌ڕڏڑ-܌ڕړڐ-܌ڗڒڐ ڒڒړ-܌ژڑړ-܌ړڕڒ-܌ږڗڑ-܌ڐڗڑ ڒڒݑűƷŻűŎű-܌ƢƷþƿĢ þƢƷŎȀěŎþŦ-ŎűƷĩŦŦŎłĩűěĩڒڕڒݑ -܌ڔږ-܌ڑږ-܌ڗڕܫږڕ-܌ڏڔܫژړ-܌ڕڒܫړڒ-܌ڗڑܫڕڑ-܌ڑڐݑƪŎþ -܌ږڒڐ-܌ڒڑڐ-܌ڐڑڐ-܌ژڐڐ-܌ڕڐڐ-܌ڕژ-܌ڕڗ-܌ڒڗܫڑڗ-܌ڗږ -܌ژږڐ-܌ږڕڐܫڕڕڐ-܌ڒڕڐ-܌ڐڕڐ-܌ڗڔڐ-܌ڒڔڐ-܌ڏړڐܫژڒڐ -܌ڒڐڑܫژڏڑ-܌ږڏڑܫڕڏڑ-܌ڗژڐ-܌ړژڐ-܌ژڗڐ-܌ڒڗڐܫڑڗڐ -܌ژڔڑ-܌ژړڑ-܌ڗڒڑܫڔڒڑ-܌ڒڒڑ-܌ڏڒڑܫژڑڑ-܌ڐڑڑܫژڐڑ -܌ږڗڑܫڕڗڑ-܌ړڗڑ-܌ڏڗڑ-܌ڗږڑ-܌ڔږڑ-܌ږڕڑ-܌ڔڕڑܫڒڕڑ -܌ڑڐړ-܌ژژڒ-܌ڏڔڒ-܌ڗړڒ-܌ڏړڒ-܌ړڏڒ-܌ڏڏڒܫژژڑ-܌ڒژڑ -܌ڏڕ-܌ڒڔ-܌ژړ-܌ڏړܫژڒ-܌ڔڑƪŎþþƪƷ-/ܗژڑړ-܌ږڐړ -܌ږڔڐܫڔڔڐ-܌ڒڔڐ-܌ږړڐܫڕړڐ-܌ڑړڐ-܌ژڒڐ-܌ږڒڐ-܌ڗڐڐܫڕڐڐ -܌ڑڐڑܫژڏڑ-܌ږڏڑܫڕڏڑ-܌ڕڗڐ-܌ڑږڐ-܌ږڕڐܫڕڕڐ-܌ژڔڐ -܌ږڒڒ-܌ژڔڑ-܌ڐڔڑ-܌ژړڑ-܌ڐړڑ-܌ڗڒڑ-܌ڕڒڑܫڔڒڑ-܌ڗڑڑ -܌ڔڐڑƪŎþ-ŻƿƷ'nĩþƪƷ®-ܗژڑړ-܌ڗڐړ-܌ږژڒܫڕژڒ ڔڔڒ-܌ږڏڒ-܌ژڔڑ-܌ڐڑڑܫڏڑڑ ƪŎþ-£þěŎȀě-FĩƪƷŎǛþŦ-ڗڏړ ƪŎþű-ƢƷ-/űƪĩůĚŦĩڕړڐݑ ڗڏړ-܌ڔږڑ-܌ڑڐݑܤh ܣhĩþłƿĩ-ŻůƟŻƪĩƢƪ ƪŎþű ƪŎþű ƿŦƷƿƢĩhŎűţ-ڕړڐ ږږ-܌ڒڔܫڑڔݑþƪƪŎůŎŦþƷŎŻű ژڑݑŦĩŎĢþ-܌ƪƪůþűű ژڗڑ-܌ڑړܫڐړ-܌ڗڒ-܌ژڑݑdþű-܌ƪƪůþűű Association for Japanese Music Culture (*tŎ'nŻű-Żűłþţƿ-ĚƿűţþţǢƔţþŎ*ڒڏڐݑܤ ƷþǢþŦ-ܣ1/4þŎǜþűĩƪĩ-ŎűĢŎłĩűŻƿƪ-ƟĩŻƟŦĩڑڗڑݑܤ ƷŦþƪ-/űƪĩůĚŦĩڕړڐݑ





*bianzhong* (archaic Chinese bronze bell ړڏڑݑܤƪĩƷ ŎƢůþű܌rĩŎƢ-ܣrĩǢĩƢ-/ŦŎþƪ'nڑږڐݑܤ -܌ڑژڑ-܌ڐڕڑܫڏڕڑ-܌ڒڐڑ-܌ڕڕڐ-ܤŦƿƷĩdþƟþűĩƪĩܣ*biwa* ڑڐڑ-܌ڕڏڑݑ*biwa-satsuma*-ܗڔړڒ-܌ڕڏڒ ŠƆƢţܗ-*'ƢþǜŎűł-¦ĩƪƷƢþŎűƷ-ڞ*) see also Barney, ڗژڑݑܤrþƷƷ'nĩǜ ڏڑڐ-܌ڗڐڐݑŻƢŎƪ-܌Ŧþě'nĩƢ ŦþěţŎűł܌dŻ'nűܗڒڔܫڑڔݑ-*NŻǜrƿƪŎěþŦ-Sƪrþű*ڑڔݑ*ܙ* ڑڗ-܌ڑڕ-܌ڏڕ-܌ڗڔ-ƢűƪƷ-/܌ŦŻě'n ڕڔ-܌ڒڔݑƷĩƟ'nĩű®-܌Ŧƿů Żæþűłړڕڑݑ ڏڏڐ-܌ژڔݑFƢþűǬ-܌Żþƪ ڗڏړݑdþěţ-܌ŻĢǢ ŻĩƷ'nŎƿƪ܌űŎěŎƿƪrþűŦŎƿƪ-®ĩǛĩƢŎűƿƪژڔڒݑ ڕړڐݑdŻĵŦ-܌Żűƪ *ĚŻűƪ'nƔ*-ܣdþƟþűĩƪĩ-ƷĩůƟŦĩ-ĚĩŦŦƪ܌ږڑڐݑܤ-ړژڑ ڑڕ-GŎþűůþƢŎŻ-܌ŻƢŎŻ ڏڔڒܫژړڒݑƿƪþű®-܌ŻƷƷŎ -܌ڏږڐ-܌ڔڒڐ-܌ڔڐڐܫړڐڐ-܌ڕږܫړږ-܌ڑڕݑŎĩƢƢĩ-£܌ŻƿŦĩǬ ܗڒڔڒ-*Le marteau sans maître*ܗژڒڒݑ-*Musikalische Technik*ܗړژڒݑ-*Rituel*ܗڔږڒݑ-RĩěŻűĢ-£ŎþűŻ- ڒڒݑŻűþƷþ® ڏږڒ-܌ڕڕڒݑĩűǢƪ'-܌ŻƿŦŎþűĩ ŻǛĩƷ܌-FƢĩĢĩƢŎě-ܻFƢŎƷǬܼڏڏڑݑ ڒڗڒ-ڒݑܒűŻݑǢůƟ'nŻűǢ®-܌ڒڗڒݑ*cke-Klavierstü*-ܗڏږڑ-܌ڏڗڐ-܌ږږڐݑdŻ'nþűűĩƪ-܌Ƣþ'nůƪ ڐڑڐݑàŎŦŦǢ-܌ƢþűĢƷ ڏڒڐݑĩƢƷŻŦĢ-܌Ƣĩě'nƷ Ƣĩłůþű܌-ŦĚĩƢƷܗڔڒړݑ*ƿĢŎƷŻƢǢ-®ěĩűĩűþŦǢsis*܌ږڑڒݑ-܌ڏږڒ-ڑڒړ ړژڑݑ*River Curlew* ܗڔڑڐ-܌ڔږ-܌ڒڔݑĩűŠþůŎű-܌ƢŎƷƷĩű ږږݑdƿŦŎĩ-܌ƢŻǜű ڑڕڐݑrþǡ-܌Ƣƿě'n *budaixi*-ܣ1/4þŎǜþűĩƪĩ-ƟƿƟƟĩƷ-Ʒ'nĩþƷĩƢڏږڑݑܤ ڑږڑݑܤŎűĢĩƷĩƢůŎűþěǢܣ*budingxing bugaku*-ܣdþƟþűĩƪĩ-ƷƢþĢŎƷŎŻűþŦ-Ģþűěĩ܌ڗڑڐܫږڑڐݑܤ- ړژڑ-܌ږڑڑ-܌ړڒڐ ڑڏڐݑܤěŎǛŎŦŎǬþƷŎŻűܣ*bunmei bunraku* ܣdþƟþűĩƪĩ-ƟƿƟƟĩƷ-Ʒ'nĩþƷĩƢ܌ږڑڐݑܤ- ږړڒܫڔړڒ ƿűƿű-ܣ1/4þŎǜþűĩƪĩ-ŎűĢŎłĩűŻƿƪ-ƟĩŻƟŦĩڑڗڑݑܤ ڑڕĩƷĩƢ-£܌DžƢłĩƢ ƿƢŎþű܌-/ůŎŦ-FƢþűƷŎƮĩţڗژݑ ڕڗڒ-܌ڒړݑĩƷĩƢ-£܌ƿƢţĩ ڕژڐݑ'nþƢŦĩƪ -܌ƿƢűĩǢ ƿƪě'nůþűű܌- 'nƢŎƪƷŎþű-FƢŎĩĢƢŎě'nhƿĢǜŎłڒژڑݑ

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Confucian ritual music (see also *Jikong*  ږړڐݑܤ*dianli* ڏڗڑܫژږڑ-܌ڔڔڐ-܌ږړڐݑŻűŁƿěŎþűŎƪů ڐړڑݑŻűŁƿěŎƿƪ ŻűłƢĩƪƪ-ŁŻƢ ƿŦƷƿƢþŦ-FƢĩĩĢŻůܣݑ Fܤ- ڒڒڐ-܌ڒڑڐ-܌ڐڑڐܫڏڑڐ-܌ڗڐڐܫڔڐڐ ږڐڑݑܒ -NþƢŻŦĢ-܌ŻűţŦŎű ěŻűűĩěƷŎǛĩƪƷƢƿěƷƿƢĩژڑݑ ڑڏړ-܌ڐړڒ-܌ږڗڑݑěŻűűĩěƷŎǛŎƷǢ ڔڕڐ-܌ڒڔڐ-܌ږړڐݑƪƷǢŦĩěŻűƪĩƢǛþƷŻƢǢ constants (pitch collections of even-sized ړڐڒݑܤŎűƷĩƢǛþŦƪ ěŻűƷþŎűĩƢůŻĢĩŦڔڒݑ ŻűƷĩ-¦ŻƪƪŻژڕڐݑ ŻűƷĩůƟŻƢþƢǢrƿƪŎě-/űƪĩůĚŦĩfŻƢĩþ- ڑڐړ-܌ڗڏړݑܤf/r ܣ ěŻűƷĩůƟŻƢþƢǢåě'nþűłĩڕړڐݑ ڔڒڑ-܌ڒڔݑþűþŦǢƪŎƪěŻűƷĩǡƷƿþŦ continuants (pitch collections of steadily ŎűěƢĩþƪŎűł-ŎűƷĩƢǛþŦƪŎǬĩƪړڐڒݑܤ ŻűǛĩűƷŎŻű-ŻŁ-GĩűĩǛþڒڕݑ ŻűǛĩűƷŎŻű-ŻŁȃĩ-Nþłƿĩڒڕݑ -܌ڐڕڒ-܌ڗڒڒ-܌ړڔڑ-܌ڗڐڐ-܌ڒڐڐ-܌ڐڏڐ-܌ڒږ-܌ڕړݑěŻűǛĩƢłĩűěĩ ڒڑړ-܌ڑږڒ ŻŻţ܌tŎě'nŻŦþƪ܌ږړݑ-ܗږڑڐ *þůĚƢŎĢłĩ-NŎƪƷŻƢǢ-ŻŁ- ¼ǜĩűƷŎĩƷ'nܴ ĩűƷƿƢǢrƿƪŎě* (see also Pople, ژړݑܤűƷ'nŻűǢ ڏږڑݑƢěþűłĩŦŻ-܌ŻƢĩŦŦŎ ږڒڑݑěŻƢƟŻƢĩþŦŎƷǢ ڔږڑ-܌ژڕڐ-܌ړڕ-܌ژړݑěŻƪůŻƟŻŦŎƷþűŎƪů Żƿě'nŻƿĢ܌-£þƿŦܮhŻƿŎƪܗ*ƿȁŦ-Ģĩ-Ŧ݂ĩþƿ*ڐژݑ ŻƿűěŎŦ-ŁŻƢ ƿŦƷƿƢþŦ-Dz ŁþŎƢƪږڕڑݑ ŻƿűěŎŦ-ŻŁ ƿŦƷƿƢþŦ-£ŦþűűŎűłþűĢ-'ĩǛĩŦŻƟůĩűƷ-ܣ £'ږڕڑݑܤ ڏڐڑ-܌ڏڒݑěŻƿűƷĩƢěƿŦƷƿƢĩ -܌ڔڗڐ-܌ڏڗڐ-܌ژڕڐ-܌ږڒڐ-܌ڏڏڐ-܌ڔڔ-܌ڏڒݑěŻƿűƷĩƢƟŻŎűƷ ړڒړܫڒڒړ-܌ڗڑړ-܌ړژڒ-܌ژڔڒ-܌ږڑڒ-܌ڐڐڒ-܌ژڗڐܫږڗڐ -܌ړڐڐܫڑڐڐ-܌ڐڏڐܫڒژ-܌ڒڗܫڑڗ-܌ړږݑNĩűƢǢ-܌ŻǜĩŦŦ  *American*-ܗڐڗڑ-܌ژړڑ-܌ږڑڐܫڏڑڐ-܌ڗڐڐܫږڐڐ *rĩŦƷŎűł-£ŻƷ*ܗڗژ*ݗ*-*Amiable Conversation*ܗڕژݑ- *Atlantis*ܫږژݑ**99**ܗ-*Celtic Set*ܗڗژݑ- ŻűěĩƢƷŻ- ŁŻƢ-NþƢůŻűŎěþܗڒڑڐݑ- ŻűěĩƢƷŻ-ܡűŻܒ-ܢڐ-ŁŻƢ- ţ*oto*þűĢ-Ƣě'nĩƪƷƢþܗ- ŻűěĩƢƷŻűŻܒ-ڑ-ŁŻƢ- ţŻƷŻþűĢ-Ƣě'nĩƪƷƢþܗڒڑڐݑ-*Four Assorted Movements*ܗڗژݑ*rŻƪþŎě-¥ƿþƢƷĩƷ*ܗڗژ*ݗ*-*New*  -܌ږڑڐ-܌**126**ܫڒڑڐݑ*űłþţƿ*-ܗڔژݑ*Resources Musical* ܗړڒڐ*ƪƷŎűþƷŻ-£ŎþűŎƪƪŎůŻ*ܗڗژݑ-*£ĩƢƪŎþű-®ĩƷ*ܗڗژ*ݗ*-

*Pulse*ܗڗژݑ-*Rest*ܗڗژݑ-*Some Music*ܗڗژݑ-RǢůƟ'nŻűŎĩƪűŻڐڐݑܒ-ƷŻ-ܗڗژݑڔڐ-RǢůƟ'nŻűǢűŻܒ-ܗڗژݑڒڐ- *ȄĩtþƷƿƢĩ-ŻŁrĩŦŻĢǢ*ܗږژݑ-*Ȅĩ-ÃűŎǛĩƢƪþŦ- Flute*-ܗڒڑڐ-*United Quartet*-ܣRƷƢŎűł-¥ƿþƢƷĩƷ- ڒڐڐ-܌ڗژݑܤړݑܒűŻ ƢþǜŁŻƢĢܮRĩĩłĩƢ܌-¦ƿƷ'nܗ- *'nŎűþůþűhþƿűĢƢǢman*ڕژݑ ڏڑڐݑĩƷĩƢ-£܌NŻŦŦþűĢܮƢŻƪƪŦĩǢ ڑڗڑ-܌ڔڑڑ-܌ړږ-܌ڑڕݑGĩŻƢłĩ-܌ƢƿůĚ ěƿŦƷƿƢþŦ-ĢŎDz ŁĩƢĩűěĩދݑ-ĢŎDz ŁĩƢĩűěĩ ěƿŦƷƿƢþŦłŦŻĚþŦŎǬþƷŎŻűދݑłŦŻĚþŦŎǬþƷŎŻű ڐڔڒ-܌ڗڒڒ-܌ږڔڑ-܌ڒڕ-܌ژڔݑ'nŎƪƷŻƢǢěƿŦƷƿƢþŦ -܌ژژڑ-܌ژڗڑ-܌ڏڔڑ-܌ڑړܫڐړ-܌ژڑݑůĩůŻƢǢěƿŦƷƿƢþŦ ڑڕڒ ڒږ-܌ړڕ-܌ڐڔܫڏڔ-܌ڏڒ-ƟĩƪƪŎůŎƪůěƿŦƷƿƢþŦ ڔڒ-܌ژڑݑƟƢþěƷŎěĩěƿŦƷƿƢþŦ ěƿŦƷƿƢþŦ-ƢþěŎƪůڗڒݑ -܌ڕڕڐܫڔڕڐ-܌ڐڕڐ-܌ڗڔڐ-܌ڔڔڐ-܌ڗږݑĩǛŻŦƿƷŎŻű¦ƿŦƷƿƢþŦ ږڕڑ-܌ڔڑڑ-܌ڒڑڑ-܌ڏڏڑ-܌ڔڗڐ-܌ڔږڐ ڑڑڒ-܌ږڏڑ-܌ڏړ-܌ڗڒݑƪĩŦŁěƿŦƷƿƢþŦ ěƿŦƷƿƢþŦƪƷƿĢŎĩƪژڑݑ ژڗڑ-܌ڐڕڑ-܌ړڔڑ-܌ڒړݑěƿŦƷƿƢþŦŎƪů ړږ-ŦǛŎű-܌ƿƢƢþű ڏڑڐݑƢþłŻƷŎű'-܌ǛĩƷţŻ -ܗڑژڒ-܌ڏژڒܫژڗڒ-܌ږڗڒܫڔڗڒݑ'nþǢþ -܌ǬĩƢűŻǜŎű  *Excavated*-ܗڔڒڒ-܌ڒڏڒܫ-**302**܌ڏڏڒݑ*Kreuzung Die* ژڗڒ-܌-**387**܌ڔڗڒݑ*Fragments – Dialogues* ڗڔڐ-܌ڒڗݑßŎűěĩűƷ-܌SűĢǢܼ**D** ڕڐڐܫڔڐڐ-܌ڐڔݑþƢŦ -܌þ'nŦ'nþƿƪ' 'þŎ-NŻűłܮNƪƿþűڔڕڑݑ *'þŎűŎ'nŻűƪþţţǢŻţƿţþţǢƔţþŎ* (Great Japanese ƪƪŻěŎþƷŎŻű-ŻŁ- ŻůƟŻƪĩƢƪڑڏڐݑܤ *daluo*-ܣŦþƢłĩ- 'nŎűĩƪĩ-ŻƟĩƢþłŻűłڏږڑݑܤ ڗڐړݑĩƢƷ'nŻŦĢ-܌þůƪ'nĎƿƪĩƢ' 'þű-Sţƿůþږڑڐݑ

ڐڑڐܫڏڑڐݑŦþŎű-܌þűŎĪŦŻƿ' ڏڗڑ-܌ړڏڑݑþŻŎƪů' 'þŻŎƪƷ-ƢŎƷƿþŦůƿƪŎěڗړڒݑ *daqu*-ܣ 'nŎűĩƪĩ-¼þűłܮ'ǢűþƪƷǢěŻƿƢƷůƿƪŎěڕږڑݑܤ -܌ڔڕ-܌ڏڕ-܌ڔړ-܌ڒڒݑŻƿƢƪĩ ƿůůĩƢ®þƢůƪƷþĢƷ' ڒڒڒ-܌ڒڕڐ-܌ڕڐڐܫڔڐڐ *daruan*ݑދݑ*ruan* ڕڕڒ-܌ړڗڑݑŦŁŻűƪ-܌þƿĩƢ'

'þǛŎĩƪ܌-£ĩƷĩƢrþǡǜĩŦŦܗڗڒڒݑ-*Eight Songs for a Mad King*ڐړڒݑ


*Dongfang huahui*-ܣ/þƪƷĩƢű-£þŎűƷĩƢƪڕڕڑݑܤ ڒڒڒ-܌ڑڐڒݑěŻĢŎűł-ĢŻƿĚŦĩ 'ƢþĩłĩƢ܌-Nþűƪ-Nڏڑڐݑܒ ڗږڐ-܌ڔږڐݑŦŁƢĩĢ-܌ƢĩŎŁƿƶ' -܌ڗڒڑ-܌ڐڑڑܫژڐڑ-܌ڔڐڑ-܌ڒڐڐ-܌ڏڏڐ-܌ڑژ-܌ژڗܫڗڗݑĢƢŻűĩ ڒڐړ-܌ړڏڒ 'ƿàĩűܮNƿĩŎڔڕڑݑ ړڗڐ-܌ڐڗڐݑŎűłƷþŎ-£ƿþű' *dudka*-ܣ¦ƿƪƪŎþűƪ'nþǜůڕږݑܤ ڑڒړݑGƿŎŦŦþƿůĩ-܌ƿŁþǢ' *duikou chang* (Chinese antiphonal ژڔڐݑܤƪŎűłŎűł ڗڔڐݑþƿŦ-£܌ƿţþƪ'

*E Juba*ܣݑƟŻƟƿŦþƢƪŻűł-ŁƢŻů-®ŻƿƷ'n-®ƿĢþűܤ-ڕږڒ /þƪƷƪŎþދݑƪŎþ /þƪƷ-SűĢŎþ- ŻůƟþűǢ܌ڕڗݑ-ږژڐ /þƪƷܮàĩƪƷrƿƪŎě-/űěŻƿűƷĩƢ- ŻűŁĩƢĩűěĩþűĢ- ژڑڐ-܌ږڑڐ-܌ړڑڐ-܌ڑڑڐܫږڐڐ-ܤڐڕژڐ-ŻţǢݼܣ-FĩƪƷŎǛþŦ ڕڒڐݑÃůĚĩƢƷŻ-܌ěŻ/ /ĢŻ ƿŦƷƿƢĩڐڒڑݑ ڒڔڒݑ'nƢŎƪƷŎþű -܌łłĩű/ /łłĩƢƷ܌rþƢŎŻűܗړڐړݑ-*Wind und Gras*ڔڐړݑ ړږݑNĩűƢǢ-܌Ŏě'n'nĩŎů/ ړڐڐ-NĩƢĚĩƢƷ-܌ŎůĩƢƷ/ /Ŏűĩů܌-GŻƷƷŁƢŎĩĢ-ǛŻűڏڑڐݑ *ĩŎƪ'nƔ* (category of vocal delivery in traditioűþŦdþƟþűĩƪĩůƿƪŎě܌ڕړڒܫڔړڒݑܤ-ڗړڒ ږژڒ-܌ژڗڒ-܌ږڒڐ-܌ڑڒݑŻŦ٦-܌ŦĚĩƢŁĩŦĢ/ ĩŦĩěƷƢŻþěŻƿƪƷŎěůƿƪŎěڕڗڑݑ -܌ژڐڐ-܌ڐږܫڏږݑĩŦĩěƷƢŻűŎěƪܮŦŎǛĩ-ܘݑůƿƪŎěĩŦĩěƷƢŻűŎě -܌ڕڏڒ-܌ړژڑ-܌ڕڗڑ-܌ږږڑ-܌ڑږڑ-܌ړڔڑ-܌ڑڔڐ-܌ڔڒڐ-܌ږڑڐ -܌ږڐړ-܌ڒڐړ-܌ڏڐړ-܌ڗڏړ-܌ړڏړ-܌ڏڏړܫژژڒ-܌ڗڗڒ-܌ڔڒڒ ږڒړ-܌ڔڒړ-܌ڏڒړ *Elementarpulsation* (elementary pulsa-ƷŎŻűڗڕڒݑܤ /ŦŎƪŎŻű-/űƪĩůĚŦĩږړڐݑ /ŦŦŎƪ܌-ŦĩǡþűĢĩƢܗ-ܹű-Ʒ'nĩrƿƪŎěþŦ-®ěþŦĩƪ-ŻŁ- ßþƢŎŻƿƪtþƷŎŻűƪܺژڔݑ /ŦŻǢ܌dĩþűܮ ŦþƿĢĩ܌ړږݑ-܌ڔڑڐ-܌ڒړڐ-ܗړږڑ*--Ŧ݂þƟƟƢŻche du feu méditant*ܗړژڑݑ*űē'nþƷþ-SܱSSS*ړژڑݑ *embai*-ܣƪŦŎĢŎűł-ƷŻűĩƪ-Ŏű-ދ*gagaku*ڐژڑݑܤ ږژڒ-܌ړڗڒ-܌ڐڔڒ-܌ڒژڑ-܌ڗڑݑĩůĚŻĢŎůĩűƷ ړڗڒ-܌ڒړڒݑĩůŎě ژڏڒ-܌ڗڕڑݑܤłƢŻƿƟ-ƟŻƟܣűŎłůþ/ ڐڑڑ-܌ڗڕ-܌ڕڕ-܌ڗڔ-܌ژڑݑűŦŎł'nƷĩűůĩűƷ/ ڏڒ*ݗĩűűƿŎ*

ڕڑڒ-܌ڕړڐݑrŻĢĩƢűűƪĩůĚŦĩ/ ڗڐړ-܌ړڏړ-܌ژژڒݑ/ N-£ܘݑŦŎűĩܚŻűĩűƪĩůĚŦĩ ڐڒڒݑGƿĢƢƿű-܌űƪƪŦŎű/ -܌ڐڔ-܌ڕړ-܌ڒړ-܌ڒڐ-܌ڐڐ-'nŎƪƷŻƢŎĩƪ-ܘݑ'nŎƪƷŻƢǢĩűƷþűłŦĩĢ ږڒڒ-܌ڒڒڑ-܌ڔڒڐ-܌ږڐڐ-܌ڒڐڐ-܌ڑڗ-܌ڑڕܫڏڕ-܌ږڔ ڔڑڑݑrþƢƷŎű-܌ƢĢůþűű/ -܌ژړڐ-܌ږړڐ-܌ږڑݑܤȀĢĢŦĩܮţűĩĩ-'nŎűĩƪĩ ܣ *erhu* ڗڐړ-܌ڕڗڒ-܌ڕڗڑ-܌ڏڗڑ-܌ڒړڑ-܌ڔڑڑ-܌ږڔڐܫڕڔڐ /ƪě'nĩƢ܌rþƿƢŎƷǬ- ŻƢűĩŦŎƪڒڕڒݑ -܌ڔڏڑ-܌ڔږ-܌ږڕ-܌ڗړ-܌ڒړܫڑړ-܌ږڒܫڔڒݑĩƪƪĩűƷŎþŦŎƪů ěƿŦƷƿƢþŦ-ܗژڔڑ-܌ڏړڑ-܌ڗڒڑܫڕڒڑ-܌ڏڑڑ-܌ږڏڑ -܌ڗږ-܌ڐڕ-܌ڕړ-܌ژڒ-܌ږڒ-܌ڔڒ-܌ڏڒܫژڑݑĩƪƪĩűƷŎþŦŎƪů -܌ږڒڒ-܌ڒڔڑ-܌ڗڒڑ-܌ړڒڑܫڒڒڑ-܌ڒڐڑ-܌ڔڒڐ-܌ژڑڐܫڗڑڐ -ܗڗڒڑݑĩƪƪĩűƷŎþŦŎƪů-ƟŦƿƢþŦŎƪƷŎě-ܗژڑړ-܌ڕژڒ ƟŻŦþƢŎǬŎűłĩƪƪĩűƷŎþŦŎƪůږڒڑݑ ڑڒڒ-܌ڑڐڒܫڐڐڒ-܌ړژڑ-܌ڑژڑ-܌ڑژڐ-܌ړڕڐ-܌ڐڏڐݑ*Etenraku* ږڒ-܌ړڒ-܌ڐڒݑĩƷ'nűŎěŎƷǢ ڐڒܫڏڒݑĩƷ'nűŎěŎǬþƷŎŻű ڕړݑĩƷ'nűŻěĩűƷƢŎƪů -܌ڗڕڑ-܌ڕڕڑ-܌ڔڐڑ-܌ڏڕ-܌ڐڔܫڏڔ-܌ړڒݑĩƷ'nűŻůƿƪŎěŻŦŻłǢ ڑژڒ-܌ړڗڒ-܌ږږڒ-܌ڔږڒ-܌ړڕڒ-܌ڒړڒ-܌ڐړڒ-܌ږڏڒ /ƷŻfŎůŎŻڕڑڐܫڔڑڐݑ ژڔ-܌ڑڔݑƿƢŻěĩűƷƢŎƪů/ /ƿƢŻŦŻłŎěþŦ-ĢŎƪěŻƿƢƪĩڗڒݑ ڕژڒ-܌ړژڑ-܌ڐڐݑÃűŻæþǢŻŎ-܌ǛĩƢĩƷƷ/ ĩǛŻŦƿƷŎŻűþƢǢůƿƪŎěŻŦŻłǢږڒڒݑ ڐڐݑܒ-'nŎŦŎƟ-£܌ǜĩŦŦ/ ڏڔڑ-܌ړژڐ-܌ژڗڐ-܌ڑڗڐ-܌ڏږڐ-܌ڗڕڐܫږڕڐ-܌ڏڕڐ-܌ژڔݑĩǡŎŦĩ -܌ژڕ-܌ڑڕܫڐڕ-܌ڐڔ-܌ڒړ-܌ژڒ-܌ږڒܫڕڒ-܌ڏڒ-܌ږڑݑĩǡŻƷŎěŎƪů -܌ڗڔڐ-܌ږڒڐܫڕڒڐ-܌ڗڑڐ-܌ڗژ-܌ڕژ-܌ڗڗܫڕڗ-܌ڒڗܫڑڗ-܌ړږ ړڒڒ-܌ڗژڑ-܌ڐڕڑ-܌ڔڏڑ-܌ڐڏڑܫڏڏڑ-܌ڗژڐ-܌ڐژڐ ĩǡƟĩƢŎůĩűƷþŦůƿƪŎěڏڒڐݑ ڒڒݑĩǡƟƢĩƪƪŎŻűŎƪů ĩǡƷĩűĢĩĢ-ǛŻěþŦ-Ʒĩě'nűŎơƿĩܣƪ܌ڗژݑܤ-ڑږڑ

**F**þŦŦþ܌rþűƿĩŦ-Ģĩ܌ڒڗݑ-ܗڑڐڐ-*El amor brujo*ړڏڐݑ ڒڑړ-܌ژړڒݑŁþŦƪĩƷƷŻ ږڔڐݑܤܺƪƿĚǛĩƢƪŎŻűܹܣ*fanshen faqu*-ܣ 'nŎűĩƪĩ-¼þűłܮĢǢűþƪƷǢěŻƿƢƷůƿƪŎěڔڗڑݑܤ FþƢ-/þƪƷĩƢűdĩǜŎƪ'n ĩűƷƢþŦ-SűŁŻƢůþƷŎŻű- ƿƢĩþƿ-ܣ'hd/à S܌ژڕڐܫڗڕڐݑܤ-ڒږڐܫڑږڐ FþƢȀĩŦĢ-FŻƿűĢþƷŎŻűږڐڐݑ ږږ-܌ڔږ-܌ڒږ-܌ڗڔ-܌ڐڔݑŁþƪěŎƪů ڏڏڑ-܌ڗژڐ-܌ڔژڐݑĢŻþƢĢŻ-/܌þůŻƪƪŎ ܮFþƪƪŎűŎ ڏڒܫژڑݑűűĩłƢĩƷ-܌FþƿƪĩƢ ڗږڐܫږږڐݑƢǜŎű-/܌FĩŦĚĩƢ ڔڑڑ-܌ڒڑڑ-܌ڏڕݑrŻƢƷŻű-܌FĩŦĢůþű

ڐڒݑŁĩůŎűŎƪů FĩűłðŎěƿűږڔڐݑ ږژڒ-܌ڐړڒ-܌ڔڔܫړڔݑƢŎþű-܌FĩƢűĩǢ'nŻƿł'n ړڏڐݑěƷþǛĩܮŎĩƢƢĩ-£܌FĩƢƢŻƿĢ ڗڔݑdŻƪĩƟ'nܮFƢþűĞŻŎƪ-܌FĪƷŎƪ ړړݑþƿŦ-£܌FĩǢĩƢþĚĩűĢ ڏڒڒ-܌ڗڑڒݑƟƢŻƟŻƢƷŎŻűƪ-ܘݑƪĩƢŎĩƪ-FŎĚŻűþěěŎ FŎűě'nƿůܮRƿűł܌-NŎŦþƢǢßþűĩƪƪþڑڐݑ ړڑڐݑܒd-ܒ-/܌FŎűĢŦþǢ ڏڕڒ*ݗȁŻƢþƷƿƢŎ* FŎƪ'nhĩŻűł-ܣhŎþűłdŎűłƢƿܗܤ-*Wings of Love*܌ڔژڐݑ- 202 ږږڐ-܌ڒږڐݑƢƢŎłŻ-܌FŻþ -܌ڑڏڐ-܌ڏڗ-܌ڗږ-܌ڕږ-܌ڑڔ-܌ږڑݑƷƿűĩ-ŁŻŦţ-ܘݑƪŻűł-ŁŻŦţ -܌ڒڏڑܫڑڏڑ-܌ڗژڐ-܌ڕژڐܫړژڐ-܌ڑڗڐ-܌ژڔڐ-܌ژڒڐ-܌ڏڒڐ -܌ڔڗڒ-܌ڗړڒ-܌ڒړڒ-܌ڔژڑ-܌ږڕڑܫڕڕڑ-܌ڔڔڑ-܌ږڒڑ-܌ژڑڑ ڒڒړ -܌ړڒڑ-܌ڑڗڐ-܌ژڔڐ-܌ړڏڐܫڒڏڐ-܌ڔڕ-܌ڐڕ-܌ژڔݑŁŻŦţŦŻƢŎƪů ژڕڑ ڏڒڐܫژڑڐ-܌ږڑڐ-܌ڐڑڐ-܌ڗڐڐܫږڐڐݑFŻƿűĢþƷŎŻű-FŻƢĢ FŻƢţĩŦ܌dŻ'nþűűtŎţŻŦþƿƪ-ڗڔ FŻƢůŻƪþ-ŎűěŎĢĩűƷږڕڑݑ FŻƢƷĩ܌-ŦŦĩűܗږژڐݑ-*Ȅĩ-®ƷƢƿěƷƿƢĩ-ŻŁ-ƷŻűþŦrƿsic*ڐڗڑݑ FŻƿ-¼ƪƿűł-ܣFƿ- Żűłڗږڐݑܤ ړړ-܌ڐڒ-܌ژڑݑrŎě'nĩŦ-܌FŻƿěþƿŦƷ ڒڕڒ-܌ڗڒڐݑłĩŻůĩƷƢǢ-ŁƢþěƷþŦ ڗڕڐݑłűĩƪ-܌FƢþĩűţĩŦ ڗڕڐݑ'nŎŦŎƟƟ-£܌FƢþĩűţĩŦ ڏږڐ-܌ڗڕڐݑŻƪþ¦-܌FƢþĩűţĩŦ -܌ڏږڐ-܌ږڕڐݑ*Musik Afunktionelle*-ܗڐږڐݑ*promptus-Im* -*3*ܗړژڐܫږڕڐ-܌ڏڕڐݑàŻŦŁłþűł-܌FƢþĩűţĩŦ  *Der*-ܗږژڐ-܌ڔژڐ-܌ڑژڐݑ*Song Chinese*-ܗڗڗڐ-܌ڐڗڐ *brennende Dornbusch*ܗڏږڐݑ-*Der WegweiƪĩƢ*ܗڏږڐ*ݗ*-*'Ŏĩ-ܘڗڝ-RƿƢĩ-ĢĩƪfŻƢþű*ܗڐږڐܫڏږڐݑ- *'ƢĩŎ-Ƣě'nĩƪƷĩƢŦŎĩĢĩƢ*܌ڐژڐܫژڗڐݑ-**192–193**ܗ-*Drei*  -ܗ**190**ܫژڗڐ-܌ڑڗڐݑ*Praeludien zweistimmige* ܹGƢƿűĢƟƢŻĚŦĩůĩ-ĢĩƢtĩƿĩűrƿƪŎţܺܗڗڗڐݑ- *Hölle – Weg – Erde*ܗژڗڐݑ-*Music for String*  ݑܺܓĩǛĩŦŻƟůĩűƷ'ܮrƿƪŎě-ܹܗڏږڐݑ*Quartet* ܌ڔڗڐܫړڗڐ-ܗڗڗڐ*rƿƪŎţ-ŁDžƢłƢŻƶĩƪ-Ƣě'nĩƪ-ƷĩƢ*܌ڏږڐ*ݗ*-ܗژڗڐ-*Musik mit konzertanter Flöte*ܗڏږڐݑ*rƿƪŎţůŎƷ-ŻĚŦŎłþƷĩƢ-ĚŻĩ*ܗڏږڐݑ- *ůĚþě'nþ*܌ږږڐݑ-ܗڑژڐ-RŻűþƷþ-ŁŻƢßŎŻŦŎű-ܗڏږڐ- ®ŻűþƷþ-ŁŻƢßŎŻŦŻűěĩŦ-ŦŻ-ܗڏږڐ-*RǢůƟ'nŻűŎƪě'nĩ-* -ܗژڗڐ-ڒݑܒűŻݑǢůƟ'nŻűǢ®-ܗڏږڐݑ*Aphorismen* ®ǢůƟ'nŻűǢݑűŻܗژڗڐݑړݑܒ-*ȄƢĩĩrþƪţƪ* (*Im-*

*ƟƢŻǛŎƪþƷŎŻű-ŻűþdþƟþűĩƪĩ-Ȅĩůĩ*܌ږږڐݑܤ-ܗڑژڐ- *ßþƢŎþƷŎŻűĩűƿűĢ-FþűƷþƪŎĩű-DžĚĩƢĩŎű-Ȅĩůþ- ǛŻű-ƢűŻŦĢ-®ě'nƆűĚĩƢł*ڐږڐ*ݗ* -܌ڐړ-܌ڔڒ-܌ڐڒ-܌ڕڑ-܌ڒڐݑŁƢþłůĩűƷþƷŎŻű-ܘݑŁƢþłůĩűƷ -܌ڔڐڑ-܌ڒڐڑ-܌ڐڐڑ-܌ږڏڑ-܌ژڗڐ-܌ږڒڐ-܌ڏڗ-܌ڐږ-܌ڗڕ-܌ڏڔ -܌ړڐڒ-܌ڏڏڒܫژژڑ-܌ڔژڑ-܌ڒړڑ-܌ڐړڑ-܌ڕڑڑ-܌ڒڑڑ -܌ړڔڒܫڒڔڒ-܌ڐڔڒܫڏڔڒ-܌ڗړڒ-܌ڕړڒ-܌ڒڒڒ-܌ڐڒڒ-܌ڒڑڒ -܌ژڐړܫږڐړ-܌ړڐړ-܌ړڏړ-܌ڔژڒ-܌ڏژڒܫڔڗڒ-܌ڐڕڒ-܌ژڔڒ ڐڒړ-܌ڒڑړܫڑڑړ -܌ڕڒڑ-܌ڗژڐ-܌ړڐڐ-܌ڑڐڐ-܌ڔژ-܌ږڗ-܌ڒڗ-܌ڔږ-܌ڗڕ-܌ڔڕݑFƢþűěĩ ژړڑ FƢþűěŻܮFŦĩůŎƪ'nƪě'nŻŻŦړڔݑ ڐڗڐܫڏڗڐݑGŎƢŻŦþůŻ-܌FƢĩƪěŻĚþŦĢŎ FƢĩƿĢ܌-RŎłůƿűĢ܌ڐڒݑ-ܗڒړ-*Totem and Taboo*ڕږݑ *fu* ("belly," phase of vocal sound production ŎűĩŎŠŎűł-ƟĩƢþܤ-ڏڔڒ ژږڑ-܌ڕژڐܫڔژڐݑܤƢŻǛŎűěĩ-£'nŎűĩƪĩ ܣ-FƿŠŎþű FƿŠŎĩĢþrþůŻƢƿژڔڑݑ FƿŠŎŎfŎǢŻůŎڑڏڐݑ FƿŠŎţƿƢþ-'þŎڕڒݑ *fujo* ܣdþƟþűĩƪĩ-ŁĩůþŦĩƪ'nþůþűƪڔڔڒݑܤ

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ƟŦþǢړڔڒݑܤ

*Funa Benkei* ܣdþƟþűĩƪĩ-


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ڐڔڑ-܌ژړڑݑǢƿűłţŎ-Nǜþűł -܌ڐڕ-܌ړړܫڒړ-܌ڐړܫڏړ-܌ڗڒ-܌ڕڒ-܌ڑڒܫڐڒ-܌ڒڐݑ'nǢĚƢŎĢŎƷǢ -܌ڏړڐ-܌ړڒڐ-܌ژڑڐ-܌ږڑڐ-܌ڑڑڐ-܌ږژ-܌ڔژ-܌ڒژ-܌ڏڗ-܌ږږ -܌ڐړڑ-܌ڗڒڑ-܌ڔڒڑ-܌ڒڒڑ-܌ڐڐڑ-܌ڕڏڑ-܌ڒڔڐ-܌ژړڐ-܌ڑړڐ -܌ڕړڒ-܌ڒڒڒ-܌ڗژڑ-܌ژڗڑ-܌ڔږڑ-܌ڑڔڑܫڐڔڑ-܌ڒړڑ ڗڐړ-܌ڒڐړ-܌ڐڐړ-܌ڕڗڒܫڔڗڒ-܌ڐڗڒ-܌ڐڔڒܫڏڔڒ -܌ڕڑڐܫړڑڐ-܌ڑڑڐ-܌ڏڗ-܌ژړ-܌ڑړ-܌ڕڑݑ'nǢĚƢŎĢŎǬþƷŎŻű ڕڗڒ-܌ڐڕڒ-܌ڐڔڒ-܌ڗڒڒ-܌ژژڑ ړړ-܌ژڒݑ'nǢƟĩƢěƿŦƷƿƢþŦŎƷǢ ڒڑړ-܌ڑڏړ-܌ڗڏڒ-܌ژڗڑ-܌ڕړ-܌ڑړܫڐړ-܌ڗڒݑ'nǢƟŻŦĩƟƪŎƪ ړڏڐݑdþěơƿĩƪ-܌**I**ĚĩƢƷ SĚƿƪĩrþƪƿŠŎܗ *Black Rain* (*Kuroi ame*ژژڑݑܤ *ibushi*-ܣǛŻěþŦ-ƷŎůĚƢĩ-ŎűdþƟþűĩƪĩ-ދ*łŎĢþǢǕܴ* ڕړڒ-܌ڑړڐݑܤ*bushi* Sě'nŎǢþűþłŎ-¼Żƪ'nŎڕڏڑݑ -܌ړڕ-܌ڒڔ-܌ڔړ-܌ڒړܫڐړ-܌ژڒܫژڑ-܌ږڑ-܌ڔڑ-܌ڑڐݑŎĢĩűƷŎƷǢ -܌ږڕڐ-܌ڑڕڐܫڐڕڐ-܌ژڔڐ-܌ڔڔڐ-܌ړڒڐ-܌ړژ-܌ڑڗ-܌ڏڗ-܌ږڕ -܌ڐڐڑ-܌ژڏڑ-܌ږڏڑ-܌ڔڏڑܫڒڏڑ-܌ړژڐ-܌ژڗڐ-܌ڔږڐ-܌ڒږڐ -܌ڐڗڑܫڏڗڑ-܌ږږڑ-܌ڔږڑܫړږڑ-܌ڕڕڑܫڔڕڑ-܌ړڔڑ-܌ڒڑڑ -܌ڕڗڒܫڔڗڒ-܌ڏړڒ-܌ڗڒڒ-܌ڒژڑܫڑژڑ-܌ژڗڑ-܌ږڗڑ -܌ژڒ-܌ږڒܫڕڒ-܌ڐڒݑŎĢĩűƷŎƷǢěƿŦƷƿƢþŦ-ܗڗڒݑƷŎƷŎĩƪ-ŎĢĩűěŦƿƪƷĩƢ-ܗڐڐړ-܌ڑڏړ-܌ژژڒ-܌ږژڒ-܌ڏژڒܫڗڗڒ -܌ڐڗڑ-܌ڗڕڑ-܌ڒڕڑ-܌ڗړڑ-܌ڒړڑ-܌ږڒڑ-܌ڔڏڑܫړڏڑ-܌ږڐڐ ůƿŦƷŎƟŦĩ-ܗژڒ-܌ژڑݑŎĢĩűƷŎƷŎĩƪůŎǡĩĢ-ܗڔڒڒ-܌ڒڏڒ ŎĢĩűƷŎƷŎĩƪܗڗڒݑ-ƟþƷě'nǜŻƢţ-ŎĢĩűƷŎƷŎĩƪڗڒݑ SŁƿţƿĚĩţŎƢþ-ܗڒڏڐ*dþƟþűĩƪĩ-¦'nþƟƪŻĢǢ* (*Nihon ţǢƔƪ'nŎţǢŻţƿ*ړڏڐݑܤ SţĩűŻƿě'nŎ-¼ŻůŻŠŎƢƔږڏڑݑ *ikigahe*-ܣě'nþűłĩƪ-ŻŁ-ĚƢĩþƷ'n-ŎűdþƟþűĩƪĩ-ދ*ƪ'nƔ* ڑڐڒ-܌ڐژڑݑܤƟĩƢŁŻƢůþűěĩ SţţǢǕ-®ƔŠƿűڐړڐܫڏړڐݑ SůþŎ-¼ƪƿƷŻůƿ-ڕړڒ ڕڕڒݑ*imbroglio* ڕڗڒ-܌ڒڔڒ-܌ڗړڐ-܌ڐڔݑŎůůĩĢŎþěǢ ږڗڑ-܌ڒږڐ-܌ړڑڐ-܌ڕڕ-܌ړڕ-܌ڗڔ-܌ڒڔݑŎůƟĩƢŎþŦŎƪů -܌ڐړڑ-܌ڑژڐ-܌ږږڐ-܌ڒړڐ-܌ژڗܫڗڗ-܌ړڔݑŎůƟƢŻǛŎƪþƷŎŻű ڑږڑ-܌ڐڔڑ ږڔڑ-܌ږڐڑ-܌ڕړ-܌ڒړݑĚĩƷǜĩĩűܮŎű -܌ڒڐڐ-܌ڐڕ-܌ڕڔ-܌ڕړܫړړ-܌ڑړ-܌ړڒݑŎűěŻůůĩűƪƿƢþĚŎŦŎƷǢ ڑڐړ-܌ڑڏړ-܌ڏړڒ-܌ژڗڑ-܌ڗڕڑ-܌ژړڑ-܌ڑڒڑ-܌ڕڏڑ-܌ڒڔڐ -܌ڗژܫڔژ-܌ژڗܫڕڗ-܌ڒڗܫڑڗ-܌ڗڕ-܌ڐڔ-܌ڏړ-܌ړڒ-܌ږڑݑSűĢŎþ -܌ږږڐ-܌ژړڐ-܌ڕړڐ-܌ڗڒڐܫږڒڐ-܌ڒڑڐ-܌ڏڑڐܫژڐڐ-܌ڒڐڐ ڑږڑ-܌ږژڐ -܌ڔږڑ-܌ڕړڐ-܌ږڒڐ-܌ڒڑڐ-܌ژڐڐ-܌ڗژ-܌ڒڗݑSűĢŻűĩƪŎþ ڔڑړܫڑڑړ-܌ڗڐړ-܌ڑڐړܫڐڐړ ڏڗڒ-܌ڐږڒܫڏږڒ-܌ړڕڒݑƟþƷƷĩƢű-Ŏű'nĩƢĩűƷ


܌ڏږ-܌ږڕ-܌ڐڕ-܌ږڔ-܌ڔڔ-܌ڏڔܫژړ-܌ژڒܫڗڒ-܌ڔڒݑŎűƷĩłƢþƷŎŻű -܌ژڔڐ-܌ژڒڐܫڗڒڐ-܌ږڑڐ-܌ړڑڐ-܌ڐڏڐ-܌ږژ-܌ڏڗ-܌ږږ-܌ڒږ -܌ڕږڑ-܌ڏږڑ-܌ڒړڑ-܌ڒڐڑ-܌ژڏڑ-܌ڕڏڑ-܌ړڏڑ-܌ڕڕڐܫڒڕڐ ږڒړ-܌ڏڐړ-܌ڒڕڒ-܌ڔڒڒܫڒڒڒ-܌ڏڑڒ-܌ڕڏڒ-܌ړڗڑ ږڐڐ-܌ڒږ-܌ڕڕ-܌ڑڐݑŎűƷĩƢěŻűűĩěƷĩĢűĩƪƪ ŎűƷĩƢěƿŦƷƿƢþŦ-ĢŎþŦŻłƿĩދݑ-ĢŎþŦŻłƿĩ ŎűƷĩƢěƿŦƷƿƢþŦěŻůƟŻƪŎƷŎŻű-ދěŻůƟŻƪŎƷŎŻű ܌ڐڐڑܫژڏڑ-܌ڕړڐ-܌ڗڒڐܫڔڒڐݑƢĩěĩƟƷŎŻű-ŎűƷĩƢěƿŦƷƿƢþŦ ڒڕڒ -܌ڕڒ-܌ړڒ-܌ڑڒ-܌ږڑܫڕڑ-܌ڒڐܫڐڐݑŎűƷĩƢěƿŦƷƿƢþŦŎƷǢ -܌ڑڗ-܌ڔږ-܌ڑڕ-܌ږڔܫڕڔ-܌ڒڔ-܌ڐڔ-܌ڗړܫړړ-܌ڑړ-܌ڏړܫڗڒ -܌ړژڐ-܌ږڕڐ-܌ڒڔڐ-܌ژړڐ-܌ڕړڐ-܌ڒړڐ-܌ژڒڐܫړڒڐ-܌ژڑڐ-܌ڔژ -܌ڐڔڑ-܌ژړڑ-܌ڔڒڑܫڒڒڑ-܌ڒڐڑܫژڏڑ-܌ږڏڑ-܌ڒڏڑ-܌ڕژڐ -܌ڏڐڒ-܌ڗڏڒ-܌ړڏڒ-܌ڒژڑ-܌ژڗڑ-܌ڒڕڑܫڐڕڑ-܌ژڔڑ-܌ڔڔڑ -܌ڑڗڒ-܌ڔڕڒ-܌ڒڕڒܫڑڕڒ-܌ژڔڒ-܌ڑړڒ-܌ږڒڒ-܌ڔڒڒܫڒڒڒ -܌ڒڐړ-܌ڐڐړ-܌ړڏړ-܌ڑڏړ-܌ڕژڒ-܌ڒژڒܫڑژڒ-܌ڔڗڒܫړڗڒ ڏڒړܫژڑړ-܌ڒڑړ ڕڒڐݑŎűƷĩƢůŻĢƿŦþƷŎŻű ړڕܫڒڕݑܤĩěŻűĢ®-܌FŎƢƪƷܣ-SűƷĩƢűþƷŎŻűþŦ International Association for Cultural Free-ĢŻů-ܣS Fږڐڐݑܤ International Con gress of Composers and -܌ړڕ-ܤڗړژڐ-Ƣþłƿĩ£ܣĩěŻűĢ®-܌ƢŎƷŎěƪ rƿƪŎě ڕڐڐ SűƷĩƢűþƷŎŻűþŦ- ŻƿűěŎŦ-ŻŁàŻůĩűڒڕݑ International Institute of Comparative Music ®ƷƿĢŎĩƪþűĢ-'ŻěƿůĩűƷþƷŎŻű-ܣŎŎěůƪĢܤ-ڐڑڐ SűƷĩƢűþƷŎŻűþŦ-SűƪƷŎƷƿƷĩ-ŁŻƢ-¼ƢþĢŎƷŎŻűþŦrƿƪŎě- 121 SűƷĩƢűþƷŎŻűþŦ-£'nŻűĩƷŎě-ŦƟ'nþĚĩƷ-ܣS£܌ژڒڒݑܤ- ڑړڒ -܌ږڕڑ-܌ړڕڐ-܌ږڑڐ-܌ڑڐڐ-܌ڒڏڐ-܌ڑژ-܌ړڕݑܤr® SܣƪŎě-Mu Contemporary for Society International ړڔڒ-܌ڗږڑ *SűƷĩƢűþƷŎŻűþŦĩ-Sƪþűłæƿű-GĩƪĩŦŦƪě'nþǽƷ* (Isang ڐڐڑ-܌ڕړڐݑܤŻěŎĩƷǢ®æƿű -܌ڑڐڐ-܌ړڏڐ-܌ړژܫڒژ-܌ڒڗ-܌ڕڕܫڒڕݑŎűƷĩƢűþƷŎŻűþŦŎƪů ڗڐڐܫږڐڐ ڔڒړ-܌ڔڏڑ-܌ژڕݑŎűƷĩƢűĩƷ -܌ڑڐڑ-܌ڗڗڐ-܌ڑړڐ-܌ڗڒڐܫږڒڐ-܌ڔڒڐݑŎűƷĩƢƟĩűĩƷƢþƷŎŻű ڒڕڒ-܌ڒڏڒ-܌ڏڗڑ ڏڐړ-܌ڔژڒܫڒژڒ-܌ڔړݑŎűƷĩƢƷĩǡƷƿþŦŎƷǢ ږڔڐ-܌ڔږ-܌ڐڒݑƷƢþĢŎƷŎŻű-ŎűǛĩűƷĩĢ ڒڑڐ-܌ڗژݑSƢþű ڏڒړ-܌ږڏړ-܌ڑڏړàþƢ-SƢþơ SƢŎűŻæŻƪ'nŎƢƔܗ-*Music for Two Kotos*ڔڕڐݑ

*iro* (vocal delivery technique in Japanese ڗړڒ-܌ڔړڒݑܤ*Ěƿƪ'nŎܴłŎĢþǢǕ*-ދ ڗژڐܫږژڐ-܌ڔژڐݑǢŦĩƪ-/܌SƢǜŎű Sƪ'nŎŎ-GŻƢƔڑڏڐݑ Sƪ'nŎŎrþţŎژڔڑݑ ړڏړ-܌ڕڏڒ-܌ڒژڑ-܌ژڗڑݑfƔ-Sƪ'nŎţþǜþ ڒڕڑ-܌ڕڕ-܌ژڔ-܌ڒڒݑŎƪŻŦþƷŎŻűŎƪů ژړݑSƪƢþĩŦ ڗڔڒݑSƪƿţĩǢŻƢŎ'nŎůĩ ڐڕڒ-܌ڗژڐ-܌ږڑڐ-܌ڗڐڐܫږڐڐ-܌ڐڗ-܌ژږ-܌ڔږܫړږݑSƷþŦǢ SƷŻtŻĚŻƢƿڑڏڐݑ -ܗڒڒړ-܌ړڗڒܫڒڗڒ-܌ڔږڒ-܌ڏږڒ-܌ڐڗڑ-܌ڒڑڑݑ'nþƢŦĩƪ -܌SǛĩƪ *Life Pulse Prelude*ܗڒڗڒݑ-*Memos*ܗڒڗڒݑ-RǢů-Ɵ'nŻűǢݑűŻړݑܒ-܌ڒڗڒ-ܗڔژڒ-*Ȅĩ-FŻƿƢƷ'n-ŻŁdƿŦǢ*ܗڕڕڒ*ݗ*-*Ȅĩ-ÃűþűƪǜĩƢĩĢ-¥ƿĩƪƷŎŻű*ܗڔژڒݑ-*Universe*  ڒڗڒ*ݗǢůƟ'nŻűǢ®* ڕڔݑßŦþĢŎůŎƢ-܌**J**þűţĪŦĪǛŎƷě'n dþƟþű-£'nŎŦ'nþƢůŻűŎě-®ǢůƟ'nŻűǢ-Ƣě'nĩƪܮ ڏڑڐݑƷƢþ Japan Society for Contemporary Music ܣd® rܗ*tŎ'nŻűłĩűĢþŎ-ŻűłþţƿţǢƔţþŎ*ڒڏڐݑܤ -܌ڑژܫڐژ-܌ژڗ-܌ڕڗ-܌ڒڗ-܌ړږ-܌ڐږ-܌ڗڕ-܌ڔڒ-܌ږڑ-܌ڔڑݑdþƟþű -܌ڏڑڐܫژڐڐ-܌ږڐڐ-܌ڒڐڐܫڑڐڐ-܌ڕڏڐܫڐڏڐ-܌ڗژ-܌ڕژ -܌ڕڔڐܫڔڔڐ-܌ڕړڐ-܌ڏړڐ-܌ږڒڐܫڕڒڐ-܌ژڑڐ-܌ږڑڐܫڒڑڐ -܌ڑڐڑ-܌ږڏڑ-܌ڑڗڐ-܌ژږڐ-܌ړږڐܫڑږڐ-܌ړڕڐܫڑڕڐ-܌ژڔڐ -܌ړژڑ-܌ڑژڑ-܌ڏژڑ-܌ڔږڑ-܌ڑږڑ-܌ڐڕڑ-܌ژڔڑ-܌ژړڑ-܌ړڒڑ ړڏړ-܌ژڔڒ-܌ڔڔڒܫړڔڒ-܌ڏړڒ-܌ڏڏڒ-܌ڗژڑ-܌ڕژڑ Japanese harmony (*Nihonteki waseiron*ܗƪĩĩ- ړڕڐ-܌ڏڐڐ-܌ڕڏڐ-܌ړڏڐ-܌ڑڏڐݑܤ'nþƢůŻűǢþŦƪŻ dþƟþűĩƪĩ-®ǢůƟ'nŻűǢ-Ƣě'nĩƪƷƢþڐڏڐݑ ڐڕڑ-܌ژڔڑ-܌ژڑڑݑdþƟþűĩƪĩűĩƪƪ Jasmine Revolution (*molihua geming*ڔڏڑݑܤ ڑڑړ-܌ڒڕڒ-܌ژڐڑ-܌ږژ-܌ڕڗ-܌ڔڔ-܌ړڒ-܌ڏڒܫژڑݑdþǛþ dĩǜŎƪ'n- ŦƿĚ-ܣR'nþűł'nþŎږږڐݑܤ dĩǜŎƪ'n ƿŦƷƿƢþŦhĩþłƿĩ-ܣ*Kulturbund Deutscher Juden*܌ڗڕڐݑܤ-ڒږڐ ڕڗݑܤdþŎƟƿƢܣdĩǢƟŻƢĩ *ji* (vocal delivery technique in Japanese ڗړڒ-܌ڔړڒܫړړڒݑܤ*Ěƿƪ'nŎܴłŎĢþǢǕ*-ދ *ji iro* (vocal delivery technique in Japanese ڔړڒݑܤ*Ěƿƪ'nŎܴłŎĢþǢǕ*-ދ dŎþ-'þơƿűܗ*-Ȅĩ-£ƢŻƪƟĩěƷ-ŻŁ- ŻŦŻƢĩĢ-'ĩƪĩƢƷ* (*Mo*  ڐړڑݑܤ*motu* dŎþűłfƿŎڕڔݑ ڔڕڑ-܌ژڔڐݑàĩűǢĩdŎþűł dŎþűłðĩůŎűڏڏڑݑ

Jianglan yueji (Jianglang Music Group) 266 Jiangnan sizhu (South Chinese musical genre) 279, 398 Jiangsu (Chinese Province) 195-196, 198, 202—203 Jiangwan (district of Shanghai) 179–180 Jiangxi (Chinese Province) 159 jianzipu (Chinese cipher notation) 156, 196 jiaoxian (performance technique in Chinese pipa music) 243 Jikong dianli (Contucian shrine music) 147 jinghu (knee fiddle in Beijing Opera) 282 jingju (Beijing Opera) 49, 158, 161, 238, 240, 243, 267-268, 270, 275, 282, 348-351 Jinmu 358 jiuta (Japanese traditional music genre) 103, 231 Joachim, Joseph 173 Joachim, Otto 173 Joachim, Walter 173 Jodjana, Raden Mas 97 Johnson, Lyndon B. 96, 130, 133 Jolivet, André 62, 68, 265 jõruri (Japanese traditional music genre) 231, 346 Joseon Period (Korea, 1392-1910) 250 jumping rope rhymes 342 Juszkiewicz, Anton; Melodje ludowe litewskie 76 kabuki (Japanese traditional music drama) 163 Kafka, Franz 424; Die Brücke 419-420; Eine Kreuzung 300 Kagel, Mauricio 74, 282; Anagrama 135;

Exotica 136 kagok (Korean traditional music genre) 251-253 Kainz, Josef 351 Kaiser, Georg 189 kāk (musical phrase in Korean court music) 408 kakari (vocal delivery technique in Japanese → > gidayū-bushi) 345, 348 kakebuki (introductory section in Japanese → gagaku) 227

kakegoe (calls of the drummers in Japanese > no theater) 355 kakko (coordinating drum in Japanese → tōgaku) 299 Kalinnikov, Vasily 176 Kalipay (festival of the Philippine Hanunóo) 217 Kamakura Period (Japan, 1185–1333 CE) 307 Kambra, Karl 195, 197–198; Higho high-hau 197 kami (high pitch in Japanese → gidayūbushi) 348 Kandy (Ceylon / Sri Lanka) 86 Karajan, Herbert von 164 karakia (Maori ritual chant) 342 karawitan (Javanese gamelan composition) 34 Karkoschka, Erhard 254 Kashin (song from Japanese -> roei repertoire) 406 kata (sequence of body movements) 231 kataribe (archaic Japanese reciters) 358 katarimono (group of Japanese narrative musical genres) 345, 358 Kathakali Dance Group Kerala (India) 120 kayagǔm (Korean arched zither) 249, 251, 254, 408 kebianxing (variability) 272 kecak (Indonesian dance drama) 275 Kelemen, Milko 120 Kelly, Barbara L. 30 kenengxing (potentiality) 272 Kennan, George F. 133 Kennedy, John F. 130 Khan, Imdad; Jaunpuri Todika Alap 87-88 Khrennikov, Tikhon 64 Kido Toshiro 232 kiganda (→ amadinda xylophone music in Uganda) 363 Kim Chi-Ha 257 Kim Eun-Hye 253, 263; Kayagum 251-252 Kim Inhu 414; Ch'ŏngsanto (The Blue Hills) 416-417 Kim Jeong-Seung 251 Kim Jin-Hi 251; Nong Rock 252-253 Kindai Nippon sakkyokuka renmei (Modern Composers' Federation of Japan) 103 Kineya Rokeshiro 162 Kineya Sakichi IV 92

fŎűł܌rþƢƷŎűhƿƷ'nĩƢڒڒڐݑ fŎƟŦŎűł܌-¦ƿĢǢþƢĢܗ-*Jungle Book*ڔڔݑ fŎƷþǬþǜþrþƪþţƿűŎڏڑڐݑ fŎǢŻƪĩæþƪƿŠŎڒڏڐܫڑڏڐݑ fŎǢŻƪ'nŎfŻůþƷƪƿڒڏڐܫڑڏڐݑ ڒڐڑݑ*Klangfarbenmelodie* ڏڐړ-܌ڕڑڒ-܌ڕړڐݑàŎĩűfŦþűłŁŻƢƿů ڒړڐݑGDžűƷĩƢ-܌fŦĩŎűĩű ڒږڐܫڑږڐݑƷƷŻ-܌fŦĩůƟĩƢĩƢ fŦŎűĢǜŻƢƷ'nܮRě'nþƢǜĩűţþ- ŻűƪĩƢǛþƷŻƢǢڗڕڐݑ ڕڗݑƢŎƪƷþű¼-܌fŦŎűłƪŻƢ fŻ-Åűܗ- *'n݂Ŏůůƿłĩ-Ʒþĩ'nþǢŽ*-ܣRŎŦĩűěĩ܌ړڐړݑܤ- ږڐړܫڕڐړ ڑڗڐݑðŻŦƷÿű-܌fŻĢÿŦǢ fŻĩě'nŦŎű܌- 'nþƢŦĩƪܗ-*Deux pièces javanaises*ܗڕڗݑ- *Etudes antiques*ܗڔڗݑ-*Suite Javanaise*ڕڗݑ ڏږڐݑƪţþƢ-܌fŻţŻƪě'nţþ *ţŻţŻƪƿŎ*ދ*ݗ*űþƷŎŻűþŦĩƪƪĩűěĩ *ţŻţƿůŎűܴƪ'nŎţǢŻţƿ* (Japanese national tone ړڏڐݑܤƟŻĩůƪ *kokumin shugi* (Japanese nationalist political ژڑڐݑܤŎĢĩŻŦŻłǢ *ţŻţǢǕ*-ܣdþƟþűĩƪĩţűĩĩ-ȀĢĢŦĩܤ-ړڑڐ *komagaku*-ܣdþƟþűĩƪĩěŻƿƢƷůƿƪŎěłĩűƢĩ܌ڗڑڐݑܤ- ږڑڑ fŻůþƷƪƿ-NĩŎłŻƢƔڒڏڐܫڑڏڐݑ fŻůþƷƪƿfŎǢŻƪ'nŎڒڏڐܫڑڏڐݑ fŻůþƷƪƿfƔƪƿţĩ-ڒڏڐ *ţŽůƿű݂łŻ-*ܣfŻƢĩþűþƢě'nĩĢ-ǬŎƷ'nĩƢ܌ڒڔڑܫڐڔڑݑܤ-ڗڏړ fŻűĢƔ-NþţƿŠŎƢƔڑڏڐݑ fŻűĢƔdƔژڔڑݑ *kongjian* ܣ 'nŎűĩƪĩþĩƪƷ'nĩƷŎěěŻűěĩƟƷڑږڑݑܤ ڒږڐܫڑږڐ-܌ڐڏڐݑNŎĢĩůþƢŻfŻűŻĩ fŻűŻĩtþŻůþƢŻڐڏڐݑ ڏڑڐݑŦŁŻűƪ-܌fŻűƷþƢƪţǢ ڏڑڐݑŦŻǢƪ-܌fŻűƷþƢƪţǢ **255**ܫړڔڑݑ*fern/nah*-ܗڑڐړ-܌ڒڕڑ-܌ڑڔڑݑŻűƿfŻŻ *koorero*-ܣrþŻƢŎƪƟĩĩě'nڑړڒݑܤ -܌ڐڐڑ-܌ژڏڑܫږڏڑ-܌ڕړڐ-܌ړڑڐܫڒڑڐ-܌ڕڐڐ-܌ڗڕ-܌ڔڑݑfŻƢĩþ ږڐړ-܌ړڐړ-܌ڑڐړ-܌ڗڏړ-܌ڒڕڒ-܌ڕڗڑ-܌ړڔڑ-܌ڑڔڑܫژړڑ Korean court music (*a-ak*܌ڕڒݑܤ-܌ڗڏڑ-܌ژڏړܫڗڏړ- ژڑړ-܌ڑڐړ ژړڑ-܌ڒڑڐ-܌ڕڐڐàþƢfŻƢĩþű ڐڔڑݑfŻƢĩþűűĩƪƪ *koto*-ܣdþƟþűĩƪĩþƢě'nĩĢ-ǬŎƷ'nĩƢ܌ڕژݑܤ-܌ڔڑڐܫڒڑڐ- ږڏڒ-܌ڏڕڑ-܌ڐڒڑ-܌ڕڑڑܫڔڑڑ-܌ڏڐڑ-܌ڔڕڐܫڒڕڐ

*kotoba*-ܣǛŻěþŦ-ĢĩŦŎǛĩƢǢ-Ʒĩě'nűŎơƿĩ-Ŏű-ދ*łŎĢþǢǕܴ* ڗړڒ-܌ڕړڒܫڔړڒݑܤ*bushi kotoba-nori* (vocal delivery technique in ڔړڒݑܤ*Ěƿƪ'nŎܴłŎĢþǢǕ*-ދ *koto-kumiuta* (vocal suites with *koto* accom-ƟþűŎůĩűƷڏڕڑݑܤ ڏڐڒݑþűŎĩŦ'-܌fƆƷƷĩƢ fŻƿƪƪĩǛŎƷǬţǢ-FŻƿűĢþƷŎŻűڏڒڐݑ ڑڒړݑdŻűþƷ'nþű-܌fƢþůĩƢ ڔڒڑݑhþǜƢĩűěĩ-܌fƢþůĩƢ ږږڐݑdŻ'nű-܌fƢþƿƪ ڐڔڒݑfþƢŦ-܌fƢþƿƪ ڐڗڒݑNþƢþŦĢ-܌fƢĩĚƪ fƢŻűŻƪ-¥ƿþƢƷĩƷڑڔڑݑ ژږڒܫڕږڒ-܌ڐږڒ-܌ڔڕڒܫړڕڒݑGĩƢ'nþƢĢ-܌fƿĚŎţ *kubing*-ܣŠþǜ-'nþƢƟ-ŻŁ-Ʒ'nĩ-ދ-NþűƿűżŻܮ ڔڐڑݑܤrþűłǢþű *kuchi-jamisen* (mnemonic syllables from *koto* ڕڑڑݑܤƟƢþěƷŎěĩ *kudoki* (vocal delivery technique in Japanese ڔړڒݑܤ*'nĩŎţǢŻţƿ*-ދ *ţƿĢǢþƟŎ*-ܣłƿŎƷþƢܮŦŎţĩ-£'nŎŦŎƟƟŎűĩ-ŎűƪƷƢƿůĩűƷږڐڑݑܤ fƿ'nű܌ȃŻůþƪܗ-*Ȅĩ-®ƷƢƿěƷƿƢĩ-ŻŁ-®ěŎĩűƷŎȁě-* ړړݑ*Revolutions fƿŦƷƿƢĚƿűĢ-'ĩƿƷƪě'nĩƢdƿĢĩű*ދ*ݗ*dĩǜŎƪ'n ƿŦƷƿƢþŦ- hĩþłƿĩ *kundiman*-ܣ£'nŎŦŎƟƟŎűĩ-ǛŻěþŦůƿƪŎěłĩűƢĩڔڐڑݑܤ *kunqu*-ܣ 'nŎűĩƪĩ-ƷƢþĢŎƷŎŻűþŦ-ŻƟĩƢþ܌ږړڐݑܤ-ڑڕڐ *Künstlerhilfe der Jüdischen Gemeinde Berlin* (Association for the Support of Artists of Ʒ'nĩdĩǜŎƪ'n- ŻůůƿűŎƷǢڒږڐܫڑږڐݑܤ fƿŻ- 'nŎܮæƿþűڔڕڑݑ fƿŻ܌-1/4ŎDz ŁþűǢr܌ژڑڐݑܒ-ڒڒڐ *Kuomintang* ܣfr¼܌- 'nŎűĩƪĩtþƷŎŻűþŦ-£þƢ-ƷǢ܌ڒڕڑݑܤ-ڗڕڑܫږڕڑ -ܗړڒړ-܌ژڗڐܫڗڗڐ-܌ڑڗڐ-܌ڏږڐ-܌ڐڕڐݑƢűƪƷ-/܌fƿƢƷ'n *Bruckner*ܗڗڗڐݑ-*Grundlagen des linearen Kontrapunkts*܌ڏڗڐݑ-܌ڗڗڐ-܌ڐڐڒ-ܗڒڒړܫڑڒړ*rƿƪŎţƟƪǢchologie*ܗڗڗڐݑ-*Romantische Harmonik und ihre Krise in Wagners* ¼ƢŎƪƷþűڗڗڐݑ ڗڒڐݑĩþƷĩ-܌fƿƷƪě'nţĩ ڗڗڐݑܒ-FƢŎƷǬ-܌fƿƷƷűĩƢ *ţǢŻţƿƪĩƷƪƿ-*ܣǛŻěþŦ-ĢĩŦŎǛĩƢǢ-Ʒĩě'nűŎơƿĩƪ-Ŏű-ދ- ڔړڒݑܤ*'nĩŎţǢŻţƿ* ژڗڒ-܌ڔڒڒ-܌ږڒڐܫڕڒڐݑƪě'nŻŻŦfǢŻƷŻ

*La Jeune France*ڗڕݑ ڏږڐ-܌ڏڒڐݑܤrŎŦþűܣ-*Scala La* ڐڒݑdþěơƿĩƪ-܌hþěþű -܌ړږ-܌ڔړ-܌ڐړܫڏړ-܌ڑڒ-܌ڕڑݑNĩŦůƿƷ-܌hþě'nĩűůþűű -܌ڑڐڒܫڗڏڒ-܌ژژڑܫڗژڑ-܌ڒژڑ-܌ڗږڑ-܌ړږڑ-܌ږڒڐܫڕڒڐ ܫړڒړ-܌ږڏړ-܌ړژڒ-܌ڗڗڒ-܌ڔڗڒ-܌ڏړڒܫژڒڒ-܌ڔڒڒܫڑڑڒ -ܗژڐړܫڗڐړ-܌ڗڐڒ-܌ڕڐڒ-܌ژړڑ-܌ژڐڑ-܌ڑڔڐݑ*Air*-ܗڔڒړ -ܗڒڒڒ-܌ڐڒڒܫڏڒڒ-܌ڗڑڒܫڑڑڒ-܌ڏڐڒ-܌ڗڏڒݑ*Concertini Das Mädchen mit den Schwefelhölzern*-ܣȃĩ- **322**,**–**-**308**܌ڗژڑ-܌ڕڏڑ-܌ژڒڐݑܤGŎƢŦrþƷě'nhŎƷƷŦĩ ܗڔڒڒܫڗڑڒ-ܹ/ŎűĩůƿƪŎţþŦŎƪě'nĩ-NþűĢ-Ŧƿűłܺܗڑڒڒܫڐڒڒݑ-*Kontrakadenz*ܗڔڒړܫړڒړݑ- *rŻƿǛĩůĩűƷ-ܩܱ-ǛŻƢ-ĢĩƢ-/ƢƪƷþƢƢƿűł*ܗڗڑڒݑ*ܪ*-*Pression*ܗڔڑڑݑ-*Tanzsuite mit Deutschlandlied*ڔڔڑݑ ڕژݑþƢþƷ®-܌hþ'nŎƢŎ ڒژ-܌ژڗܫڕڗݑhþ'nŻƢĩ hþ'nƿ-ܣ 'nŎűĩƪĩůŎűŻƢŎƷǢږڏڒݑܤ hþŎ-'ĩ'nܮNŻڔڕڑݑ hþů-'ŻůŎűłܗ-*Insect World*ڗڔڐݑ hþűłhþűłږڑݑ ڒړڑݑ*Daodejing* ܗږڔڑ-܌ڐړڑݑhþŻǬŎ -܌ړژ-܌ڔڕ-܌ڒڔ-܌ڏڔܫژړ-܌ړڒ-܌ڗڑ-܌ڕڑݑůĩƢŎěþhþƷŎű ڕڏڑ-܌ڐڑڐ ږڒݑFƢĩĢĩƢŎěţ-܌hþƿ *ŦþǛÿǢŎ*-ܣƪƟĩĩě'n-ŻŁ-ދ-NŻƟŎtþƷŎǛĩůĩƢŎěþűƪڑړڒݑܤ ڔژݑŠþűĩ'-܌NĩƢǬܮhþǛŻŎĩ *Le festival de musique contemporaine* (Sappo-ƢŻړڏڐݑܤ hĩþłƿĩ-ŻŁ- ŻůƟŻƪĩƢƪړژݑ hĩþłƿĩ-ŻŁtþƷŎŻűƪړڕݑ ڏڏڐݑƷ'nþű-/܌hĩě'nűĩƢ hĩĩűł-ܣhŎűړڕڑݑܤ hĩĩ- 'nŎ'nܮ 'nƿűڔڕڑݑ hĩĩ-GĩŻűܮæŻűłܗ*-Ȅĩ-®Żűł-ŻŁ-Ʒ'nĩ-£ŦþŎű*ڏڔڑݑ -܌ڕږڑܫڐږڑ-܌ژڕڑ-܌ږڕڑܫڔڕڑݑNƪŎþűłܮþŎ¼hĩĩ *Ganlanshu*-ܗڒږڑܫڑږڑ-܌ږڕڑݑ*Shenji Da*-ܗڏڗڑ ܣŦŎǛĩ-¼Ƣĩĩܗړږڑݑܤ-*Huanjing san zhang*ܗړږڑݑ- *Long Wu*ܗڏږڑݑ-*1/4þŎǡƿǢŎű*ܗړږڑܫڑږڑݑ-*Yi tiao riguang dadao* (A Sunbeam Path into the FƿƷƿƢĩܗړږڑݑܤ-*Yu – Chan – Ximen ding*ܗڑږڑݑ *æƿűǡŎűłƪþűĚŎþű*ڐږڑܫڏږڑ*ݗ* hĩĩ-¼ǬǢǢܮR'nĩűłܗڔڕڑݑ-*Mr. DE –– ath*ܗڑڗڑݑ-*Wang guo shi* Sڒڗڑܫڑڗڑݑ ڑڒݑNþƢƢǢ-܌hĩ'nůþűű ڕڏڐܫڔڏڐhþƪƪĩ-܌hĩ'nƷŻűĩű hĩŎĚŻǜŎƷǬ܌-¦ĩűĪܗ*h݂þƢƷŎƪƷĩĩƷƪþěŻűƪěŎĩűěĩ*ڔڕݑ

hĩŻűþƢĢŻ-ĢþßŎűěŎ܌ڗڑڒݑ-ڐڒڒ hĩƢűĩƢ܌rƿƢƢþǢܗ-*From Mao to Mozart*ڔږڐݑ ژڏڒݑůůþűƿĩŦ-/܌hĪǛŎűþƪ ڏڔݑdĩƢƢŻŦĢ-܌hĩǛŎűƪŻű hŎűłړڕڑݑ ڐڗڐ-܌ڔږڐݑĩŦƿű'hŎ hŎdƿĩڔږڐݑ hŎtþŎěŻűłڐڗڐݑ hŎ-¼þŎܮŻܗ-ܹ/Ŏű-FŦƆƷĩűŦŎĩĢ-Ŏűhþƿܮæþűłܺ- ( *'nƿűǢĩhƿŻǢþűłǡŎű-ĢŎ*ڏژڐݑܤ ڏڗڐ-܌ږږڐ-܌ڔږڐݑàĩŎűŎűłhŎ hŎæŎűł'nþŎܗڐڗڐݑ-*Hanzu diaoshi hesheng* (Han 'nŎűĩƪĩrƿƪŎěþŦrŻĢĩƪþűĢ-NþƢůŻűŎĩƪܤ- ܣƪĩĩþŦƪŻàþűłð'nĩűǢþږڔڐݑܤ ڔڗڑ-܌ڔڕڑݑ'nĩű ܮæƿþűhŎ hŎð'nĩűłŁþűڑڏڑݑ hŎþŻhŎűܮtŎ܌ڔڕڑݑ-ܗڕڗڑܫڔڗڑ*one bird, one tree…*ܗڕڗڑݑ-*Time of Trees II*ڕڗڑݑ hŎþŻűŎűł-ܣ 'nŎűĩƪĩ-£ƢŻǛŎűěĩڕژڐܫڔژڐݑܤ ڐړڑݑhŎĩǬŎ -܌ږڕڒܫڒڕڒ-܌ږڒڒ-܌ڐړڑ-܌ڒڑڑ-܌ڗڒڐ-܌ڔڔݑGǢƆƢłǢ-܌hŎłĩƷŎ -ܗڒڕڒ*ݗƟƟþƢŎƷŎŻűƪ*-ܗړڗڒܫڒڗڒ-܌ژږڒ-܌ڕږڒܫژڕڒ *Aventures*ܗڔڒڐݑ- ŻűěĩƢƷŻ-ŁŻƢ-£ŎþűŻþűĢ-Ƣě'nĩƪƷƢþݑ**365–374**ܗ-0ƷƿĢĩƪ-ƟŻƿƢ-ƟŎþűŻܫڔڕڒݑ ܌ڕڕڒ-ܗڑږڒ-ܹ£þƢþĢŎłůĩűǜĩě'nƪĩŦ-ĢĩƢþě'nƷ-ǬŎłĩƢdþ'nƢĩܺ܌ڒڕڒݑ-ܗڔڕڒ-*¦ĩơƿŎĩů*ڔڕڒܫړڕڒ*ݗ* ڕڕڑ-܌ړڕڑݑrŎűܮNǜþŎhŎű hŎű-¼þŻܮR'nĩűłڔڕڑݑ ڏږڐݑþƿŦþ-£܌hŎűĢĚĩƢł ڗڐړ-܌ڒڐړܫڐڐړݑrþƢƷŎű-܌hŎűĢƪþǢ ŦŎűłƿŎƪƷŎěþűƷ'nƢŻƟŻŦŻłǢږڒڒݑ -܌ڐړڑ-܌ږڒڑ-܌ڏڕڐ-܌ڐړڐܫڏړڐ-܌ڐږ-܌ڔړ-܌ڐڒݑŦŎűłƿŎƪƷŎěƪ ڕڗڒ-܌ڑڕڒ-܌ژڔڒ-܌ڏړڒ-܌ڗڒڒܫږڒڒ-܌ړڒڒ-܌ړږڑ *líra*-ܣ¦ƿƪƪŎþű-'nƿƢĢǢܮłƿƢĢǢڕږݑܤ -ڒړڒܫڑړڒݑGĩŻƢłĩ-܌hŎƪƷ -܌ڒڒڐ-܌ڕڗ-܌ڒڗܫڑڗ-܌ڕڔ-܌ڏڔ-܌ږڒ-܌ڕڑܫڔڑ-܌ڒڐݑŦŎƪƷĩűŎűł -܌ږڗڑ-܌ړڗڑ-܌ڗږڑ-܌ڒڕڑ-܌ږڔڑ-܌ڗڑڑܫږڑڑ-܌ڔڑڑ-܌ڕړڐ -܌ڗڗڒ-܌ڕڗڒܫڔڗڒ-܌ڒڒڒܫڑڒڒ-܌ڏڒڒ-܌ژڏڒܫڗڏڒ-܌ړڏڒ -ŻŁůŻĢĩƪ-ܘݑþƷƷŎƷƿĢĩƪ-ܗڔڒړܫڗڑړ-܌ڗڐړ-܌ڒژڒ ڐڒړܫڏڒړݑŦŎƪƷĩűŎűł ڑڒڒ-܌ڔڑڑ-܌ڗڗ-܌ړڔݑ*Musica*-ܗtŎţŻŦþƿƪ-܌hŎƪƷĩűŎƿƪ ڗڔ-܌ږڑݑFƢþűǬ-܌hŎƪǬƷ *liu bai* (white space within and between lines ڕژڒ-܌ڏږڑݑܤěþŦŦŎłƢþƟ'nǢ-Ŏű hŎƿ-¼ĩܮSږږڑݑ ƪƷƿĢŎĩƪ-ܗڑژڐ-܌ڕڗڐ-܌ڕڕڐ-܌ڗڔڐܫڕڔڐݑŎþű'nƿþ¼hŎƿ

ڕڔڐ*ݗĩƢ'nƿ*-ދ-ŁŻƢ

ڔڏڑ-܌ڕڔڐݑåŎþŻĚŻhŎƿ hŎƿåŎþŻǬƿܗ-*Ci Luan*ܣݑǜŻŻĢěƿƷ-ƟƢŎűƷ܌-ܤڔڔڕڐ-ڔژڐ *liuban*-ܣ 'nŎűĩƪĩƪƿŎƷĩ-ŁŻƢůڗژڒݑܤ ŦŎǛĩܮĩŦĩěƷƢŻűŎěƪ-ދĩŦĩěƷƢŻűŎěůƿƪŎě hŎǛŎűł-¼Żűĩƪڑڔڑܫڐڔڑݑ *hŎǢƿþű*ܣݑ£ĩþƢ-GþƢĢĩű܌- 'nŎűĩƪĩ-¼þűłܮ'ǢűþƪƷǢ- ŎůƟĩƢŎþŦůƿƪŎěłƢŻƿƟܤ-ڔڗڑ ژڕڐݑƢŎĩƪƷŎűݼܮhŦŻǢĢ ږڒڑ-܌ڏڑڑ-܌ڑڗܫڏڗ-܌ڗږݑŦŻěþŦŎƪů -܌ړڒڑ-܌ڔڑڑ-܌ڐڑڑܫڏڑڑ-܌ڔڐڑ-܌ڕڒڐܫڔڒڐ-܌ږڗ-܌ڑڒݑŦŻłŎě ړڏړ-܌ژڗڒ-܌ڕڏڒ hŻűĢŻű-®ǢůƟ'nŻűǢ-Ƣě'nĩƪƷƢþڗڑݑ hŻƢĩűǬ܌-ŦŁƢĩĢܗ-*Abendländische Musikgeschich-Ʒĩ-Ŏů-¦'nǢƷ'nůƿƪ-ĢĩƢ-GĩűĩƢþƷŎŻűĩű*ڐڔݑ ڔڐڑ-܌ڏږڐ-܌ڗڕڐ-܌ڑڕڐ-܌ڐڑڐ-܌ڒژݑűłĩŦĩƪhŻƪ hƿ- 'nƿþűܮR'nĩűłڔڕڑݑ hƿ- 'nƿűŦŎűłږڔڐݑ hƿ-¥Ŏűłƪ'nƿþűłڕژڐݑ hƿàĩűܮ1/4Ǭĩڔڕڑݑ hƿåƿűܗ-*FŻƢłŎűł-Ʒ'nĩ-®ǜŻƢĢ-ܩð'nƿ-ŠŎþű*ژڑڑݑ*ܪ* hƿæĩűڔڕڑݑ *lubung* ܣŠþǜ-'nþƢƟ-ŻŁ-¼þŎǜþűĩƪĩ-ݑދƷþǢþŦþűĢ- ݑދƿűƿű-ŎűĢŎłĩűŻƿƪ-ƟĩŻƟŦĩƪڑڗڑݑܤ hƿŻð'nŻűłƢŻűłܗڏڗݑ-*She jiang cai furong*ڐڕڐݑ *luogu dianzi* ("gong and drum patterns" in ĩŎŠŎűł-ƟĩƢþ-ƟĩƢěƿƪƪŎŻűůƿƪŎě܌ڗڒڑݑܤ-ڏږڑ *lusheng* ܣůŻƿƷ'n-ŻƢłþű-ŻŁ-Ʒ'nĩ-ݑދrŎþŻůŎűŻƢŎƷǢ- ŎűƪŻƿƷ'nĩƢű- 'nŎűþږڏڒݑܤ hǢěĩƿůȃĩþƷƢĩ-ܣ*hþűǡŎű-ĢþǡŎ-Ǣƿþű*, Shang-'nþŎ܌ڒږڐݑܤ-ڗږڐܫڕږڐ ږړ-܌ڔړܫړړݑFƢþűĞŻŎƪܮdĩþű-܌hǢŻƷþƢĢ *ma*-ܣdþƟþűĩƪĩþĩƪƷ'nĩƷŎěěŻűěĩƟƷܤ-܌ڐڕڑܫڏڕڑ- ڔژڑ rþ-®'nƿŎܮhŻűłڔڕڑݑ ڕڗڐ-܌ڗږڐݑŎěŻűł®rþ rþ-®ŎܮNŻű-ܣrþ-®Ŏ'nŻűłڗږڐݑܤ rþ܌æŻæŻڐړڑݑ ږژڐܫڕژڐݑGĩŻƢłĩ-܌rþěþƢƷűĩǢ -܌ڐڐڑ-܌ڕڏڑ-܌ڏڑڐ-܌ڗږ-܌ڔږ-܌ڕڔ-܌ڔڒݑdŻƪĪ-܌rþěĩĢþ -ܗږڐڑݑ*Ading*-ܗڕژڒ-܌ڔڒڑܫڒڒڑ-܌ژڑڑ-܌ڔڑڑ-܌ڒڑڑܫږڐڑ *Cassettes* ܗږڐڑݑڏڏڐ-*Kubing*ܗڔڐڑݑ-*Pagsamba*܌ږڐڑݑ-**218**ܗ-*Suling, Suling* **222**ܗڒڑڑܫ-*Udlot-Udlot* **220**ܗڐڑڑܫ-*ÃłűþǢþű*ږڐڑݑ ڕړڐݑŎĩƷĩƢ'-܌rþěţ ڏږڐ-܌ڏڑڐ-܌ڗڐڐݑƢƿűŻ-܌rþĢĩƢűþ ڐڑڐ-܌ڗژܫږژ-܌ڗڗ-܌ڕڗݑܤ'nĩűűþŎ ܣrþĢƢþƪ

ڔڐڑ-FĩƢĢŎűþűĢ-܌rþłĩŦŦþű ڗڗݑrþ'nþĚþŦŎƟƿƢþů -܌ڔڒڑ-܌ڑڗڐ-܌ڒږڐ-܌ړڗ-܌ڗڔ-܌ڒڔ-܌ڔڑݑGƿƪƷþǛ-܌rþ'nŦĩƢ  *der von Lied Das*-ܗړڗڒ-܌ڏږڒ-܌ڒڒڒ-܌ږڑڒ-܌ڔڔڑ ڑڒڐ-ڑݑܒűŻݑǢůƟ'nŻűǢ®-ܗڏڏڑݑ*Erde* ژژڑ-܌ږڒڑ-܌ڔڗڐ-܌ڕڒڐ-܌ڗږ-܌ژړ-܌ږړݑůþŎűƪƷƢĩþů ږڔڒݑrþŦþǢƪŎþ ڕژڐ-܌ڑږڐ-܌ڑڕڐ-܌ڐڏڐrþűě'nƿƢŎþ ژړڒ-܌ڐڕڐݑܤ*putonghua* (Mandarin rþűĢĩŦƪƷþů܌ƪƪŎƟܗڒڒڑݑ-ܹRŦƿ'ně'nƿƷţŎŠ-ƟþƢƿƪ- űþƟƢŠþłþĩƷܺ-ܣ/þƢƪƪƷƢĩƷě'nƪĩűƪŎƷŎǛĩ- ړڏڒݑܤƪþŎŦƪ *rþű݂ǢƔƪ'nǕ-*ܣܹ ŻŦŦĩěƷŎŻű-ŻŁ-ڏڏڏ܌ڏڐhĩþǛĩƪܺ܌ڏڐڐݑܤ-299 ړږڑ-܌ڒڏڑ-܌ڐڗݑðĩĢŻűłrþŻ ږڒڑܫڕڒڑ-܌ڑڗڐ-܌ږڔڐ-܌ڕڐڐݑrþŻŎƪů ڒړڒܫڑړڒݑrþŻƢŎ ڗژڑ-܌ڒړڐݑܤůŻĢĩ-ƢþĚܣ*ůþơēů* rþƢěƿƪĩ܌-NĩƢĚĩƢƷܗڑڒݑ-ܹȃĩ-SűĢŎǛŎĢƿþŦ-Ŏű-Ʒ'nĩ- GƢĩþƷ-®ŻěŎĩƷǢܺڏڒڐݑ ڕڏڒ-܌ڑژڑݑŦŦþű-܌rþƢĩƷƷ ڗڕڑ-܌ڒڕ-܌ڐڕ-܌ژڑ-܌ڒڐݑůþƢłŎűþŦŎǬþƷŎŻű ږږڐܫڕږڐ-܌ڒږڐݑNĩűƢǢ-܌rþƢłŻŦŎűƪţŎ ژڔڑݑłűĩƪ-܌rþƢƷŎű ړڒڑ-܌ڒڐڐݑrþƪþŻrþƢƿǢþůþ rþƢǡ܌-ĢŻŦŁĩƢű'nþƢĢڐڐڒݑ ڒڕݑfþƢŦ-܌rþƢǡ ڗڕ-܌ڗڔ-܌ڐڒrþƢǡŎƪů *mat*-ܣfŻƢĩþűþĩƪƷ'nĩƷŎěěŻűěĩƟƷژڏڑݑܤ rþƷƪƿĢþŎƢþæŻƢŎƷƪƿűĩ܌ڑژݑ-܌ڑڏڐ-܌ژڑڐ-ܗړڔڒ-*Bugaku*ܗږڑڐݑ-*Drei Arien nach Gedichten aus der ܿGĩƪě'nŎě'nƷĩ-ǛŻů-£ƢŎűǬĩű-GĩűŠŎ݀*ܗڒڕڐݑ-*Genji Monogatari*ܗڒڕڐݑ-*£þƪƷŻƢþŦĩ*ܗړڏڐ*ݗ*-*Saibara ni ǢŻƢƿrĩƷþůŻƢŁƔǬƿ*ܗړڕڐݑ-RŻűþƷŎűĩ-ŁŻƢ-FŦƿƷĩ- þűĢ-£ŎþűŻܗړڕڐݑ-*ȄĩůĩþűĢßþƢŎþƷŎŻűƪ-ŁŻƢ- £ŎþűŻþűĢ-Ƣě'nĩƪƷƢþ*ܗڒڕڐ*ݗ U-Mai*ڒڕڐݑ May Fourth Movement (*åŎűǜĩű'nƿþ-ǢƿűĢŻűł* ڕڗڐ-܌ڕڔڐݑܤܢrŻǛĩůĩűƷƿŦƷƿƢĩ tĩǜܡ ڔڕݑNþűƪ-܌rþǢĩƢ -ܗڐڕڑ-܌ڑڑڐ-܌ڗڐڐܫږڐڐ-܌ڔږݑŻƪ'nŎƢƔ¼rþǢƿǬƿůŎ -ܗړڒڐ-܌**128**ܫږڑڐݑ*Bugaku*-ܗږڑڐ-܌ڗڐڐݑ*Bacchanale Bunraku*ܗږڑڐݑ-*Gĩţþ-ܩ£ƢþƷŎĢĩƪþűþܪ*) Public ŻűŁĩƪƪŎŻűܗږڑڐݑܤ*rþűĢþŦþ-®ǢůƟ'nŻűǢ*ܗږڑڐݑ- *tŎƢǛþűþ-®ǢůƟ'nŻűǢ*-ܣtĩ'nþűţŻţǢŻܮ ţǢŻţƿܗږڑڐܫڕڑڐݑܤ*ě'nŎƷþƢƿ-ƷĩűűǢŻ*ܗڐڏڐݑ-

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܌rþĩ'nĢĩƢ

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ړږڑܫڑږڑ-܌ژڔڑ-܌ڗڒڐ-܌ژڑڐݑůŎűŎůþŦŎƪů *minzoku shugi*-ܣܹěƿŦƷƿƢþŦ-ƷƢþĢŎƷŎŻűܺژڑڐݑܤ *minzuxing*-ܣűþƷŎŻűþŦě'nþƢþěƷĩƢڗړڑݑܤ rŎƪ'nŎůþæƿţŎŻܗژڑڐݑ-*Ai no kawaki*-ܣȃŎƢƪƷ-ŁŻƢ- ڑڏړݑܤhŻǛĩ Mitsubishi corporation 101 -܌ڏڐڐ-܌ڑڏڐܫڐڏڐ-܌ړڗܫڒڗݑ'nǕţŎě'nŎ®rŎƷƪƿţƿƢŎ -ܗڗڏڐܫڔڏڐ-܌ڒڏڐ*ݗţŎţƔƪ'nǕþƪ'nƔ*-ܗړڕڐ-܌ڒڐڐܫڑڐڐ *Sinfonietta* [*®'nƔţƔţǢƔţǢŻţƿ*ܗړڏڐݑܢ-RŻűþƷþ- ŁŻƢßŎŻŦŎűþűĢ-£ŎþűŻڕڏڐݑ ڒږڑ-܌ڔڕڐ-܌ڏړݑþƢĚþƢþ-܌rŎƷƷŦĩƢ ړڏڐ-܌ړڗݑƷƪƿƪ'nŎrŎƿƢþ Miyagi Mamoru 120 rŎǢþłŎrŎě'nŎŻ܌ڔڑڐݑ-܌ړڕڐ-ܗڕڕڐ-*Etenraku Variations*ڐڏڐݑ -܌ڑڏڐ-܌ڑژݑܤůŻĢĩ-ܘݑƪěþŦĩdþƟþűĩƪĩܣ*ůŎǢþţŻĚƿƪ'nŎ* ږڔڒ-܌ڔڑڐܫړڑڐ-܌ڏڐڐ-܌ڕڏڐܫڔڏڐ ڑڐڒ-܌ڗژڑ-܌ڔژڑ-܌ژڗڑ-܌ڕړڐݑrþǢƿůŎrŎǢþƷþ rŻàƿƟŎűłڗړڒݑ -܌ڒڑڑ-܌ڔږڐ-܌ڐڕڐ-܌ڗڔڐݑܤ*ǢþűłĚþűǡŎ*ܣǜŻƢţƪůŻĢĩŦ ږڕڑ -܌ژړ-܌ڕړ-ܤƟŻƪƷůŻĢĩƢűŎƪůþŦƪŻƪĩĩܣݑůŻĢĩƢűŎƪů -܌ڕڔڐ-܌ڗڒڐ-܌ژڑڐ-܌ڏڐڐ-܌ژڗ-܌ڒڗ-܌ڔڕ-܌ڒڕ-܌ڐڕ-܌ڗڔ-܌ڔڔ -܌ړژڐ-܌ژڗڐ-܌ږڗڐܫڕڗڐ-܌ڒڗڐܫڑڗڐ-܌ږڕڐ-܌ڐڕڐܫژڔڐ -܌ڔڕڑܫړڕڑ-܌ڐڔڑ-܌ڐړڑ-܌ږڒڑ-܌ڒڒڑ-܌ڒڑڑ-܌ڕڏڑ-܌ڏڏڑ ěþƟŎƷþŦŎƪƷ-ܗڐڕ-܌ڔڔůŻĢĩƢűŎƪůܮþűƷŎ-ܗڐړڒ-܌ڐڗڑ ڑڑڐ-܌ڒژƿŦƷƢþůŻĢĩƢűŎƪů-ܗڕڐڐůŻĢĩƢűŎƪů -܌ڑڕܫڐڕ-܌ږڔܫڔڔ-܌ڐڔ-܌ڕڒܫڔڒ-܌ڐڒܫڏڒ-܌ڐڐݑůŻĢĩƢűŎƷǢ -܌ڒڐڐܫڑڐڐ-܌ڐڏڐ-܌ڑژ-܌ڏڗ-܌ړږ-܌ژڕ-܌ږڕ-܌ڔڕܫړڕ -܌ڒږڐ-܌ڗڕڐ-܌ڕڕڐ-܌ژڔڐ-܌ڕڔڐܫڔڔڐ-܌ژڑڐ-܌ږڑڐܫڕڑڐ -܌ڐڕڑ-܌ړڒڑ-܌ژڐڑ-܌ڕڏڑ-܌ړژڐ-܌ړڗڐܫڑڗڐ-܌ڔږڐ -ܗږڔ-܌ڔڒůŻĢĩƢűŎƷŎĩƪþŦƷĩƢűþƷŎǛĩ-ܗڒڒړ-܌ژژڑ -܌ڒڐڐ-܌ڑڕ-܌ږڔ-܌ڐڔ-܌ڐڐůŻĢĩƢűŎƷŎĩƪůƿŦƷŎƟŦĩ ĩěŻűĢ®-ܗڔڒůŻĢĩƢűŎƷǢ-ƢĩǴŦĩǡŎǛĩ-ܗړڒڑ-܌ڕڔڐ ڔڒݑrŻĢĩƢűŎƷǢ -܌ڒڕڐ-܌ڗڔڐ-܌ڕڔڐ-܌ږړڐ-܌ڐڑڐ-܌ڐڏڐ-܌ڐڕݑůŻĢĩƢűŎǬþƷŎŻű ڒڕڑ-܌ڐڒڑ-܌ږڏڑ -܌ڏڐڐ-܌ڕڏڐܫڔڏڐ-܌ڑڏڐ-܌ڏڏڐ-܌ڑژ-܌ڗڗ-܌ڐڕ-܌ژڔݑůŻĢþŦŎƷǢ -܌ڏړڑ-܌ړڕڐܫڒڕڐ-܌ڐڕڐ-܌ږڔڐ-܌ڒړڐ-܌ږڑڐ-܌ڔڑڐ-܌ڒڐڐ ڔڕڑ-܌ڒژܫڑژ-ƟŻŦǢůŻĢþŦŎƷǢ-ܗڏڏڒ-܌ژڔڑ rŻDz ŁþƷ܌dƿŦŎĩڏړڐݑ ڗڕڐݑNþűƪ-܌rŻŦĢĩű'nþƿĩƢ *Molihua*-ܣdþƪůŎűĩ-FŦŻǜĩƢܤ-ܣƪĩĩþŦƪŻ *Xianhua*܌ڗژڐܫړژڐݑܤ-܌ڏڏڑ-ڔڏڑܫڑڏڑ *mono no aware* (Japanese aesthetic coněĩƟƷ܌ڑژڑݑܤ-ڔڒڒ ůŻűŻƷŻűŻƿƪ-ƢĩěŎƷþƷŎŻűڒړڒݑ

rŻƢŻŎrþţŻƷŻ-ڏڑڐ ڔڔڐ-܌ڐڑڐ-܌ڒڏڐ-܌ړڗ-܌ڔڒݑþĚƿƢƔ®rŻƢŻŎ *ůŽƷ*-ܣfŻƢĩþűþĩƪƷ'nĩƷŎěěŻűěĩƟƷژڏڑݑܤ ڗڏڒ-܌ڗژڑ-܌ڕژڑݑě'nŻƢĢůŻƷ'nĩƢ -܌ڗږڐܫږږڐ-܌ڔږڐݑůþĢĩƿƪàŻŦŁłþűł-܌rŻǬþƢƷ  *Eine*-ܗڏږڒ-܌ڕڕڒݑ*Giovanni Don*-ܗڒڗڒܫڑڗڒ-܌ڏږڑ *kleine Nachtmusik* (Serenade for Strings Ŏű-GůþŠŻƢfܒ-ܗڏڐڑݑܤڔڑڔ-RǢůƟ'nŻűǢ-Ŏű-G- ڏڐڑݑڏڔڔ-ܒfůŎűŻƢ ڐڔڑ-܌ڏڒڐ-܌ڗژ-܌ڒړ-܌ڗڒܫږڒݑůƿŦƷŎěƿŦƷƿƢþŦŎƪů ůƿŦƷŎƟŦĩůŻĢĩƢűŎƷŎĩƪ-ދůŻĢĩƢűŎƷǢ rƿűĢƢǢ܌-SƪþĚĩŦ܌ڔڗڒݑ-ܗڑژڒܫڗڗڒ-*Ich und*  **391**ܫڗڗڒ*ݗƿ'* rƿƢþƷþ-¼þţĩŻ-ڏڑڐ -܌ژڔܫږڔ-܌ڐڔܫڏڔ-܌ڗړܫږړݑ'nŎƪƷŻƢŎŻłƢþƟ'nǢůƿƪŎě ڐڐڑ-܌ړژڐ-܌ڕڔڐ-܌ڔڐڐ-܌ڑڗ-܌ږڕ-܌ڑڕ -܌ڗڔܫږڔ-܌ړڔܫڒڔ-܌ڐڔ-܌ژڒ-܌ړڒ-܌ڒڐ-܌ڐڐݑ'nŎƪƷŻƢǢůƿƪŎě -܌ڑڑڐ-܌ڗڐڐܫږڐڐ-܌ړڐڐܫڑڐڐ-܌ڗږ-܌ڗڕܫږڕ-܌ڑڕ-܌ڏڕ -܌ژړڑ-܌ڕڒڑ-܌ړڒڑ-܌ڔڑڑ-܌ڒڏڑ-܌ڗڗڐ-܌ږڕڐ-܌ڕڒڐܫڔڒڐ ړڗڒ-܌ڐڗڒ-܌ڕږڒ-܌ڒڕڒ-܌ږڒڒ ڕڏڑ-܌ڒڒ-܌ڑڐݑŠŻƿƢűþŦŎƪůůƿƪŎě ڔڒړ-܌ڑژڒ-܌ڔږڒ-܌ڏږڒݑƟƪǢě'nŻŦŻłǢůƿƪŎě -܌ژڒڐ-܌ړڑڐ-܌ڕڐڐ-܌ږژ-܌ڔژ-܌ږڕ-܌ڗړ-܌ڐڐݑƷ'nĩŻƢǢůƿƪŎě -܌ڔږڑ-܌ڗڏڑ-܌ڗڗڐ-܌ڏڗڐ-܌ړږڐ-܌ژڕڐܫڗڕڐ-܌ڒړڐ ڑڒړ-܌ڒژڒ-܌ڔږڒ-܌ڗڒڒ-܌ڑڒڒ-܌ڏڒڒ-܌ڏڐڒܫژڏڒ *musica coelestis*ڑڒڒݑ *musica mundana*ڑڒڒݑ *musica theorica*ڔڑڑݑ ڐژڒ-܌ڔڗڒ-܌ڐڕڒ-܌ڑړڒ-܌ڔژڐݑůĩþűŎűłůƿƪŎěþŦ ڔڔݑůƿƪŎěţŎűł -܌ړږ-܌ږڕ-܌ڐڕܫژڔ-܌ڕڔ-܌ڐڔܫژړ-܌ژڑ-܌ڑڐܫڐڐݑůƿƪŎěŻŦŻłǢ ڑړڒ-܌ږڒڒ-܌ڐڒڒ-܌ړڐڐ-܌ږژ ڑږڑ-܌ږڐڑ-܌ږڑڐݑ*concrète musique* ڏړڒ-܌ڑڒڒ-܌ڗږڑݑ*instrumentale concrète musique* ڔڏڒܫڒڏڒ-܌ڗژڑ-܌ڒژڑ-܌ژڗڑݑěƢŎƷŎěŎƪůůǢƷ'n ůǢƷ'nűĩłþƷŎŻűڒڏڒݑ ڒژڑ-܌ڏړݑƢĩěĩƟƷŎŻűůǢƷ'n ژژڑ-܌ژڒڐ-܌ږڒڐ-܌ڏړݑůǢƷ'nŻŦŻłŎǬþƷŎŻű ڐڑڐ-܌ڗڐڐtŎě'nŻŦþƪ-܌**N**þĚŻţŻǛ *nagaji* (vocal delivery technique in Japanese

ڗړڒݑܤ*Ěƿƪ'nŎܴłŎĢþǢǕ*-ދ *nagauta*-ܣdþƟþűĩƪĩůƿƪŎěþŦłĩűƢĩ܌ڒڕڐܫڑڕڐݑܤ- ڐڒڑ tþţþǢþůþ-®'nŎűƟĩŎڒڏڐݑ *nanguan*-ܣRŻƿƷ'n- 'nŎűĩƪĩþűĢ-¼þŎǜþűĩƪĩ- ڑڗڑ-܌ژږڑ-܌ڔږڑ-܌ڗڕڑݑܤłĩűƢĩůƿƪŎěþŦ

*tþűŠŎűłłƿŻŦŎ-ǢŎűǢƿĩ-Ǣƿþű*-ܣtþƷŎŻűþŦrƿƪŎě- ®ě'nŻŻŦtþűŠŎűłڏڗڐݑܤ tþűƷŻƿ-ܣ1/4þŎǜþűĩƪĩ-ĢŎƪƷƢŎěƷږږڑݑܤ ژژڑݑܤ/ -ړژږܫڔړڕ-܌dþƟþűܣĩƢŎŻĢ-£tþƢþ -܌ړڐڐ-܌ڏڕܫږڔ-܌ڏڔ-܌ڗړܫږړ-܌ژڒ-܌ڒڐݑűþƢƢþƷŎǛŎƷǢ -܌ڗڔڑ-܌ڔڔڑ-܌ڑڔڑ-܌ڒړڑ-܌ڗڒڑܫڔڒڑ-܌ڐڒڑ-܌ڔڕڐ-܌ڑړڐ -܌ڏړڒ-܌ڗڒڒ-܌ڒڒڒܫڐڒڒ-܌ړڐڒ-܌ڏڐڒܫژڏڒ-܌ڒڕڑܫڑڕڑ -܌ڑڏړ-܌ڏژڒ-܌ڗڔڒ-܌ړڔڒ-܌ڗړڒ-܌ڕړڒܫڔړڒ-܌ڑړڒ ڗڑړ-܌ړڑړ-܌ڑڑړ-܌ڗڐړܫږڐړ tþƷŎŻűþŦěþĢĩůǢ-ŻŁ-Ʒ'nĩ-ƢƷƪ-ܣ*GƿŻŦŎ-ǢŎƪ'nƿ-* ڏږڑݑܤþŎƟĩŎ¼ܣ-ܤ*xuexiao zhuanke* ڗړڑ-܌ږږ-܌ڑڒݑě'nþƢþěƷĩƢűþƷŎŻűþŦ -܌ړڒڒ-܌ڗڕڑ-܌ڑڐڐݑܤþŎƟĩŎ¼ܣ-NþŦŦ-ŻűěĩƢƷ tþƷŎŻűþŦ ړڏړ tþƷŎŻűþŦ ƿŦƷƿƢþŦ ĩűƷĩƢ-ܣ1/4þŎƟĩŎږڕڑݑܤ űþƷŎŻűþŦĩƪƪĩűěĩ-ܣ 'nŎűݑܒ*guocui*܌dþƟݑܒ*kokosui*ږڔڐݑܤ tþƷŎŻűþŦ-SűƪƷŎƷƿƷĩ-ŻŁ-Ʒ'nĩ-ƢƷƪ-ܣ*GƿŻŦŎ-ǢŎƪ'nƿ-* ڑڗڑ-܌ڗږڑ-܌ږڕڑݑܤþŎƟĩŎ¼ܣ-ܤ*ǡƿĩǢƿþű* ڐڏڑ-܌ڕڔڐݑƪě'nŻŻŦƪűþƷŎŻűþŦ -܌ڔڐڐܫړڐڐ-܌ڑڐڐ-܌ڔږ-܌ڑڔܫڐڔݑŻěŎþŦŎƪů®tþƷŎŻűþŦ ږڗڐ-܌ژڕڐ-܌ږڕڐ-܌ڏڕڐ tþƷŎŻűþŦ-¼þŎǜþűtŻƢůþŦ-ÃűŎǛĩƢƪŎƷǢ-ܣ*Guoli*  ږږڑ-܌ڕڕڑݑܤ*Daxue Shifan* tþƷŎŻűþŦ-¼þŎǜþű-ÃűŎǛĩƢƪŎƷǢ-ŻŁ-Ʒ'nĩ-ƢƷƪ-ܣ*Guoli ¼þŎǜþű-ǢŎƪ'nƿ-Ģþǡƿĩ*ܤ-ڏږڑ ڗڕڑ-܌ژڑڐݑܤþŎƟĩŎ¼ܣȃĩþƷĩƢtþƷŎŻűþŦ tþƷŎŻűþŦȃĩþƷĩƢ-¼ŻţǢŻژڑڐݑ tþƷŎŻűþŦ-߯ěþƷŎŻűþŦ-®ě'nŻŻŦ-ŁŻƢrƿƪŎě-ܣ*Guoli ǢŎűǢƿĩ-Ǭ'nƿþűţĩǡƿĩǡŎþŻ*ܤ-ژږڐ űþƷŎŻűþŦŎƪů-ܣƪĩĩþŦƪŻűĩŻܮűþƷŎŻűþŦŎƪůܫڏڒݑܤ -܌ږږ-܌ڔږ-܌ڗڕܫڒڕ-܌ژڔܫڗڔ-܌ڑڔ-܌ڏړܫڗڒ-܌ڔڒ-܌ڑڒ -܌ڕڐڐ-܌ڑڐڐ-܌ڏڐڐ-܌ڔڏڐ-܌ڑڏڐܫڐڏڐ-܌ړژ-܌ڕڗ-܌ڒڗܫڐڗ ܫڑڕڐ-܌ڗڔڐ-܌ڕڔڐܫڔڔڐ-܌ږڒڐ-܌ړڒڐ-܌ژڑڐܫڕڑڐ-܌ړڑڐ -܌ړڒڑܫڐڒڑ-܌ڒڑڑ-܌ڏڑڑܫژڐڑ-܌ڔڏڑ-܌ږڗڐܫڕڗڐ-܌ڒڕڐ -܌ڑژڑ-܌ژڕڑ-܌ڐڕڑ-܌ژڔڑ-܌ږڔڑ-܌ړڔڑ-܌ڐڔڑܫڗړڑ-܌ږڒڑ ڕژڒ-܌ڔڒڒ-܌ږڏڒ-܌ژژڑ ڔڒڑݑdþěơƿĩƪܮdĩþű-܌tþƷƷŎĩǬ ڔڒړ-܌ږڑڒݑþƪƪŎłűůĩűƷűþƷƿƢþŦ ڗړڑ-܌ڕړڑݑܤůŎűŻƢŎƷǢ-'nŎűĩƪĩ ܣtþǡŎ ڕڏڒݑƷĩǛĩű®-܌tĩŦƪŻű *Nennwert*-ܣűŻůŎűþŦ-ǛþŦƿĩڕڕڒݑܤ -܌ږڑڐ-܌ڗڐڐ-܌ڑڏڐ-܌ڏڏڐ-܌ڗږ-܌ڔږ-܌ڔڕ-܌ڑڒݑűĩŻěŦþƪƪŎěŎƪů ڏږڐ-܌ړڕڐܫڒڕڐ űĩŻܮűþƷŎŻűþŦŎƪů-ܣƪĩĩþŦƪŻűþƷŎŻűþŦŎƪů܌ڐڒݑܤ-܌ڗڒ-ږڒڑ-܌ړڒڐ-܌ژڑڐ-܌ږڑڐ-܌ږږ-܌ږڕ-܌ژڔ ږژڒ-܌ژڔݑűĩŻƷŻűþŦŎƷǢ

*netori* (introductory section in Japanese ڕڏړ-܌ڏژڑ-܌ږڑڑݑܤ*gagaku*ݑދ ړژ-ܤĩƢŦŎűܣݑ*rƿƪŎţłĩƪĩŦŦƪě'nþǽƷtĩƿĩ* tĩǜłĩڕڒڐݑ tĩǜƪƟĩěƷ ƿŦƷƿƢþŦþűĢ-/ĢƿěþƷŎŻűþŦ-FŻƿűdation (*Xin xiang wenjiao jijinhui*ڔږڑݑܤ tĩǜ- ŻůƟŦĩǡŎƷǢړڔݑ tĩǜ ƿŦƷƿƢĩrŻǛĩůĩűƷ-ދrþǢ-FŻƿƢƷ'n- Movement tĩǜ-'ĩŦ'nŎڕڗݑ tĩǜ-/űǛŎƢŻűůĩűƷ-ŻŁƪŎþűrƿƪŎě-ܣ*Yazhou ǢŎűǢƿĩ-ĢĩǡŎű-'nƿþűŠŎűł*ږڕڑݑܤ tĩǜhŎŁĩrŻǛĩůĩűƷ-ܣ*åŎűƪ'nĩűł'nƿŻ-ǢƿűĢŻűł*ܤ- ږڗڐ tĩǜrƿƪŎě-®ŻěŎĩƷǢ-ŻŁ þŦŎŁŻƢűŎþړژܫڒژݑ tĩǜrƿƪŎěŻŦŻłǢڐڔݑ tĩǜ-®ǢůƟ'nŻűǢ-Ƣě'nĩƪƷƢþ-ܣ*R'nŎűţƔţǢƔłþţƿdan*܌ڐڏڐݑܤ-ڒږڐ tĩǜæŻƢţrƿƪŎěŻŦŻłŎěþŦ-®ŻěŎĩƷǢڔژݑ ږڑڐ-܌ڏڑڐ-܌ڗڐڐݑ'nŎŦ'nþƢůŻűŎě-£æŻƢţtĩǜ tĩǜæŻƢţ-¼Ŏůĩƪږڐڐݑ tNf-ܣ*tŎƟƟŻű-NƔƪƔfǢƔţþŎ*ܤ-Ƣě'nĩƪƷƢþڒږڐݑ *nianbai*-ܣĩŎŠŎűł-ƟĩƢþ-ǛŻěþŦ-ĢĩŦŎǛĩƢǢ-Ʒĩě'nűŎơƿĩڏڔڒݑܤ ږڔڑݑFƢŎĩĢƢŎě'n-܌tŎĩƷǬƪě'nĩ ڔڕݑĩƢłĩ®-܌tŎłł *tŎ'nŻűłĩűĢþŎƪþţţǢŻţƿţþ-ƢĩűůĩŎ-*(Federation of ŻűƷĩůƟŻƢþƢǢdþƟþűĩƪĩ- ŻůƟŻƪĩƢƪڒڏڐݑܤ *Nihon wo mamoru kokumin kaigi*-ܣtþƷŎŻűþŦ- ŻűŁĩƢĩűěĩ-ŁŻƢ-Ʒ'nĩ-'ĩŁĩűƪĩ-ŻŁdþƟþűژڑڐݑܤ *nihonjinron*-ܣdþƟþűĩƪĩ-ĢŎƪěŻƿƢƪĩƪڗڑڐݑܤ tŎűłǡŎþ-ܣ 'nŎűĩƪĩƿƷŻűŻůŻƿƪ-¦ĩłŎŻűܫڔژڐݑܤ ڕژڐ *Nippon kaigi* ܣdþƟþű- ŻűŁĩƢĩűěĩژڑڐݑܤ *tŎƪ'nþűł-ǢƿǢŎơƿ*-ܣRŻűł-ŻŁ-Ʒ'nĩ-¦þŎűĚŻǜ-®ţŎƢƷ- þűĢ-£Ŧƿůþłĩڔڗڑݑܤ tŎƪ'nŎæŻţŻڐڒڑݑ *þƪ'nƔ*-ܗڑڏړ-܌ږژڒ-܌ڏژڒܫژڗڒ-܌ڔڒڒݑfŎƷþƢƔtŎƪ'nŎĢþ ܣ£Ŧþěĩܤ-܌ڗڗڒ-ܗړڏړ-*Watashi to nanji* (I and ڗڗڒݑܤæŻƿ ژڔڑ-܌ڔږţŎƢþtŎƪ'nŎůƿƢþ ڔڒڒ-܌ږڒڐݑfĩŎŠŎtŎƪ'nŎƷþűŎ *űƔ*-Ʒ'nĩþƷĩƢ-ܣdþƟþűĩƪĩ-ƷƢþĢŎƷŎŻűþŦ-ĢƢþůþ܌ژڒڐݑܤ- ژڔڒ-܌ڔڔڒܫړڔڒ-܌ڗژڑ-܌ڕژڑ-܌ڔږڑ-܌ڏڕڑ-܌ڒڕڐ-܌ڑړڐ tŻĚĩŦ-£ĩþěĩ-£ƢŎǬĩڔڏڑݑ ږږ-܌ڏڒݑƪþǛþłĩűŻĚŦĩ


űŻæþƪƿůþƢŻܗ-*Kojiki*ڗڔڒݑ *ƪƪĩŎƪƪĩŎŦ* (*Remeicuo*ܗ-ĢþűěĩƪŻűł-ŻŁ-Ʒ'nĩ- ދtþǡŎůŎűŻƢŎƷǢ-Ŏű- 'nŎűþ܌ƪĩĩþŦƪŻ- ڗړڑ-ܤ*Worere* ڔڒړ-܌ڒڒړݑþƪƪŎłűůĩűƷ-ŻƢŎĩűƷĩĢܮŻĚŠĩěƷ ڑږ-܌ڗڑݑěĩþűŎþ ڑږڐ-܌ڕږݑĩǛŻŦƿƷŎŻű¦ěƷŻĚĩƢ *oibuki* (canonic introductory section in Japaűĩƪĩ-ݑދ*gagaku*ږڑڑݑܤ ŎĢþfƔţŎě'nŎڑڏڐݑ ţŎrþƪþŻܗڒڏڐݑ*æŻƢƿűŻůĩŎƪƔ*-ܣ/ǛĩűŎűłrĩĢŎ-ƷþƷŎŻűړڏڐݑܤ ړڔڒ*ݗţŎűþ* ţŎűþǜþ-ܣƪŻƿƷ'nĩƢűdþƟþűĩƪĩ-ŎƪŦþűĢڗڔڒݑܤ ڑږڑݑþƿŦŎűĩ-£܌ŦŎǛĩƢŻƪ *omele* (rhythmic formula in African muƪŎěژږڒݑܤ *omeribuki*-ܣěþűŻűŎěƪƷƢƿěƷƿƢĩƪ-Ŏű-ދ*gagaku*ږڑڑݑܤ *omoro*-ܣƷƢþĢŎƷŎŻűþŦůƿƪŎěþŦܮƟŻĩƷŎěłĩűƢĩ-ŻŁ-ދ- ڗڔڒݑܤţŎűþǜþ *űłþţƿ-'nǢƔƢŻű*-ܣrƿƪŎě-¦ĩǛŎĩǜܤ-ڒڏڐ *űłþţƿţŻűţƿƿƢƿ*ܣ*ݗ*rƿƪŎě- ŻůƟĩƷŎƷŎŻűړڏڐݑܤ *ŻűłŎǢŻűł*-ܣ£'nŎŦŎƟƟŎűĩ-ĢƿěƷ-ǴŦƿƷĩژڐڑݑܤ *ongo*-ܣ'nŻƢűƪ-ŻŁ ĩűƷƢþŦ-ŁƢŎěþű-ݑދþűĢþ- ڒڕڒ-܌ڗڒڐݑܤhŎűĢþ

opera (see also Chinese opera, chuanju, gezaixi, jingju, kunqu) 25, 28, 33, 55, 58, 72, 80, 83, 86, 88, 158, 163, 168, 170, 185, 189, 194, 197-198, 200, 203, 238, 300, 310, 320, 331, 333, 338-340, 345, 350, 360, 375 Olympic Games 64, 71 (Munich 1972), 205 (Beijing 2008) oral tradition 203, 282, 307, 341, 349 orality (see also aurality) 54, 56, 136, 156, 194, 203, 211, 229, 282-284, 307, 338, 341, 345-346, 349, 353, 361, 396, 417 organology 147, 149, 153, 226, 298, 305, 312, 357, 400, 418 orientalism 30, 37, 61, 77, 86, 88-89, 93, 113, 198, 200, 208 Ormandy, Eugene 175 Osterhammel, Jürgen 48 Other / otherness 32, 55, 61-62, 75, 136-137, 139, 206-207, 309, 328, 335, 389 õtsuzumi (drum in Japanese nõ theater) 260, 296 Oyama, Susan 130 Ozawa Seiji 118 p'ansori (Korean traditional narrative genre) 275, 398 Paci, Mario 173, 176, 178–179, 186 Pacific War 126, 162, 172-173 Pacun, David 110

pakkung / balingbing (Philippine buzzers) 219, 222 palakpak (Philippine rattle) 219 Palau (Micronesia) 343 Palestrina, Giovanni Pierluigi di 30, 55, 180 Pan American Association of Composers (PAAC) 94-95 Pan Hwang-Long 265, 267, 269, 277;

Concerto for Violoncello and Orchestra 280; East and West (Dong nan xi bei) 121, 123-124, 280, 386; Erleuchtung (Qishilu [Illumination]) 278; Kausalnexus (Yinguo muguan sichongzou [Causal Nexus]) 278; Migong daoyaoyou 278, 280; Shi - Dao -Ru 279; String Quartet no. 2 278; String Quartet no. 3 278-279; Taiwan fengjing hua 279; Transformation (Hudie meng [Butterfly Dream]) 278; Ursache und

Wirkung (Yinguo sanzhongzou [Cause and Effect]) 278; Wandlungsphasen (Wu xing sheng ke) 278; Wuqing, qingjing, yijing 137, 278, 280; yin-yang cycle 278 Pan Shyh-Ji; Quartet 282; Raining Night 282 Pang Xianpin 181 Paolini, Luigi Gualtiero 198 parallel cultures 38-39 Parish of the Holy Sacrifice 219 Park Chung-Hee 250 parlando 345 Partch, Harry 74, 281 Pasler, Jann 86-88 Pasolini, Pier Paolo 233 passagi 360 pentatonic Romanticism (see also Romanticism) 40, 186, 200-201 pentatonicism 40, 92, 96, 102, 127, 157-159, 161, 164, 175, 186-187, 200, 215, 238, 240, 266, 312, 320, 357, 398, 400 performance practice 125, 203, 231, 233-234, 252-253, 261, 264, 269, 276, 292, 298, 303-304, 307, 310, 312, 342, 351-353, 361, 382, 385, 430, 437 performative listening 56, 430 performativity 48, 56, 153, 229, 231, 241, 270, 282, 285, 305, 338, 341, 353, 360, 362, 430 Peri, Jacopo 359-360, 362; Le musiche, sopra l'Euridice 359 periodicity 369-372, 375, 377-381, 384 Peru 134 pétit récits (Lyotard) 47 petschinka (Petschinka, Eberhard) 406; MISHIMA-Skizzen 402 Philadelphia Orchestra 175 Philharmonic Society Tokyo 101 Philippines 119, 123, 215, 217, 219, 221, 234 phoenix 290, 332, 398 Phonogramm-Archiv (Berlin) 97, 100 phonograph 87 Picard, François 156 Picken, Laurence E. 292, 306 Pinder, Wilhelm 58 pipa (Chinese lute) 149, 186, 196, 206, 225, 237, 240-241, 243, 276, 280, 285, 385, 398, 418 Pironkoff, Simeon 153, 399, 404, 418; Fall/ Wende 149, 151-152

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ڔڔܫڒڔ-܌ڏڔ-܌ڗړݑƪěƢŎƟƷƿƢþŦŎƷǢ *se*-ܣ 'nŎűĩƪĩþűěŎĩűƷþƢě'nĩĢ-ǬŎƷ'nĩƢڒڒڑݑܤ -܌ړڕڐ-܌ږڔڐ-܌ڔڔڐ-܌ڑږ-܌ڔڒ-܌ڑڒݑàþƢàŻƢŦĢĩěŻűĢ® ڏړڒ-܌ڔڒڒ ڏڑڐݑłŻű-/܌ĩĩŁĩ'nŦűĩƢ® ڒږڐܫڑږڐݑFƢŎƷǬ-܌ĩłþŦŦ® ڕږڐݑSƢĩűĩ-܌rþƢłŻŦŎűƪţŎܮĩŎĢĩŦ® ڑڑڒ-܌ڏڐڒܫژڏڒ-܌ڔڒڐݑƢĩŁĩƢĩűƷŎþŦŎƷǢܮƪĩŦŁ -܌ژڒڒ-܌ڑڒڒ-܌ڒڕڑ-܌ڕڒڑܫڔڒڑ-܌ڔڒڐ-܌ړڐڐ-܌ژڑݑƪĩůþűƷŎěƪ ڒڑړ-܌ڗڐړ-܌ړڏړ-܌ږژڒ-܌ژڗڒ-܌ڕڗڒ-܌ڐڕڒ ڑژڒ-܌ڗڒڒ-܌ڔڒڑ-܌ڗڒڐ-܌ړڒڐݑƪĩůŎŻƷŎěƪ ڑڒݑŎĩƷĩƢ'-܌ĩűł'nþþƪ® *senritsukei* (vocal delivery techniques in dþƟþűĩƪĩ-ދ*łŎĢþǢǕܴĚƿƪ'nŎ*ڔړڒݑܤ ړڐړ-܌ژړڑݑĩŻƿŦ® *se-piri*-ܣfŻƢĩþű-ĢŻƿĚŦĩܮƢĩĩĢ-ŎűƪƷƢƿůĩűƷڒڔڑݑܤ -܌ڑږܫڐږ-܌ڕڕ-܌ڐڕܫڏڕ-܌ژړ-܌ڒڒܫڑڒݑůƿƪŎěƪĩƢŎþŦ -܌ڒڒڐ-܌ڗڑڐܫږڑڐ-܌ڒڑڐ-܌ڐڑڐܫڏڑڐ-܌ڗڐڐܫړڐڐ-܌ڕږܫڔږ -܌ڏڔڑ-܌ڐڑڑ-܌ږڐڑ-܌ڐڐڑ-܌ړڕڐܫڒڕڐ-܌ڐڕڐ-܌ڕڒڐܫڔڒڐ ړڒړܫڒڒړ-܌ڒڔڒ-܌ژڒڒ-܌ڔږڑ ڕژڐܫڔژڐ-܌ڗڔڐݑܤƢŻǛŎűěĩ-£'nŎűĩƪĩ ܣ-'nþþűǡŎ® ڏړڐ-܌ږژݑtþűěǢ-܌'nþĢĩ® ®'nþţĩƪƟĩþƢĩ܌àŎŦŦŎþůܗ-*Ȅĩ-¼ĩůƟĩƪƷ*ږڒڑݑ *shakuhachi*-ܣdþƟþűĩƪĩ-ǛĩƢƷŎěþŦ-ǴŦƿƷĩ܌ڕژݑܤ- -܌ڕڏړ-܌ړڏړ-܌ڑڐڑ-܌ڏڐڑ-܌ڕڏڑ-܌ڕڕڐ-܌ڑړڐ-܌ړڑڐܫڑڑڐ ږڐړ -܌ڔڔڒ-܌ڏڏڒ-܌ڗڒڑ-܌ڒڒڑ-܌ڐڑڑ-܌ڏڐڑ-܌ژڒڐݑƪ'nþůþűŎƪů ږڔڒ *shamisen* ܣdþƟþűĩƪĩ-ŦŻűłܮűĩěţĩĢ-ŦƿƷĩ܌ڑژݑܤ- -܌ڑڒڑܫڐڒڑ-܌ږڑڑܫڔڑڑ-܌ڏڐڑ-܌ڒڕڐܫڑڕڐ-܌ړڑڐ-܌ڕژ  *futozao*-ܗڔڔڒܫړڔڒ-܌ږړڒܫڕړڒ-܌ڐڕڑܫڏڕڑ *shamisen*ܗږړڒܫڕړڒݑ*ƪĩƢŻƪ'nþůŎƪĩű*ܗڑژ*ݗteion*  92*ݗƪ'nþůŎƪĩű ƪ'nþű݂łĩ-*ܣ 'nŎűĩƪĩůŻƿűƷþŎűƪŻűłƪ܌ڏڗݑܤ-܌ڗړڒ- ڏڔڒ ®'nþűĢŻűł-ܣ 'nŎűĩƪĩ-£ƢŻǛŎűěĩڕژڐܫڔژڐݑܤ ڏژڑ-܌ږړڐݑܤĢǢűþƪƷǢ-'nŎűĩƪĩ ܣ-'nþűł® ڒڑڑ-܌ژږڐ-܌ڔږڐ-܌ڕڕڐ-܌ڏڕڐݑŻűƪĩƢǛþƷŻƢǢ -'nþűł'nþŎ® ®'nþűł'nþŎrƿűŎěŎƟþŦ-ܣRǢůƟ'nŻűǢܤ-Ƣě'nĩƪƷƢþ- ږڗڐܫڕڗڐ-܌ڏڗڐܫڑږڐݑܤr®ܣ ®'nþűł'nþŎ-ƟĩƢþ-NŻƿƪĩڒڏڑݑ ®'nþűł'nþŎ-£'nŎŦ'nþƢůŻűŎě-®ŻěŎĩƷǢڒږڐݑ ®'nþűł'nþŎ-£ƿĚŦŎěþűĢڒږڐݑ ®'nþűł'nþŎ-®ǢůƟ'nŻűǢ-Ƣě'nĩƪƷƢþ-ܣRRڒږڐݑܤ -܌ڏږڐܫڕڕڐ-܌ڑڕڐܫژڔڐ-܌ژړڐܫږړڐ-܌ړڏڐݑ'nþűł'nþŎ® -܌ڒڏڑ-܌ڕژڐܫړژڐ-܌ڑژڐܫڐژڐ-܌ژڗڐܫڕڗڐ-܌ړڗڐܫڑږڐ ژږڑ-܌ڕړڑ-܌ڒڑڑ

ڔړݑþǛŎ¦-܌'nþűţþƢ® ®'nþűǡŎ-ܣ 'nŎűĩƪĩ-£ƢŻǛŎűěĩڕژڐܫڔژڐݑܤ ®'nĩű-Ŏűłܮfƿþűłڔڕڑݑ ®'nĩű- 'nŎűܮ1/4þűłڔڕڑݑ *®'nĩű-¥ŎrŎ-£ƿ*ږڒړ*ݗ* ®'nĩűð'nŎĚþŎڔڗڐݑ ܫږړڐ-܌ڐړڐ-܌ڔڒڐݑܤŻƢłþűůŻƿƷ'n-'nŎűĩƪĩ ܣ*sheng* -܌ڗږڑܫږږڑ-܌ڏږڑ-܌ڕڕڑܫڔڕڑ-܌ڒړڑ-܌ڐړڑ-܌ڔژڐ-܌ڒڔڐ -܌ڔڗڒ-܌ڑڒڒ-܌ږڏڒ-܌ڒژڑ-܌ڏژڑ-܌ږڗڑܫڕڗڑ-܌ڒڗڑܫڑڗڑ ڐڒړ-܌ږڐړ-܌ڒڐړ-܌ڐڏړܫڗژڒ ®'nŎfĩŦŻűłڐړڑݑ ®'nŎàĩŎܮhŎþűłڕڕڑܫڔڕڑݑ *ƪ'nŎ-ǢŎű-*ܣƢĩþŦ܌ěŻűƷŎűƿŻƿƪƪŻƿűĢƪڑږڑݑܤ ®'nŎæŻűłţþűł-ܗڕڕڐ-*Huanghe de gushi* ܣȃĩ- ®ƷŻƢǢ-ŻŁ-Ʒ'nĩæĩŦŦŻǜ- Ƣþűĩڔڕڐݑܤ ®'nŎĚþ-®ƿţĩ'nŎƢŻڏڑڐݑ *shidiao* ܣ 'nŎűĩƪĩ-ŁŻŦţƪŻűł-ƷǢƟĩڕژڐݑܤ *shifan luogu* (patterns in Chinese percussion ڏڗݑܤůƿƪŎě ®'nŎ'n-£ĩŎܮæƿڔڕڑݑ *Shijing*-ܣŻŻţ-ŻŁ-®Żűłƪڐړڑݑܤ –**ڕڔڑݑ***hören/cello*-ܗڑڐړ-܌ڒڕڑ-܌ړڔڑݑfƿűƪƿ-'nŎů® ܗږڔڑ*hƿǽƷƢþűĢ*-ܫږڔڑ**258**ܗ-ܹ¦Ŏě'nƷƿűłƪŦŻƪŎłţĩŎƷ-ŻĢĩƢ-'ĩűţĩű-ĢĩƢƿűĚĩłƢĩűǬƷĩű- GĩłĩűǜþƢƷܺܗږڔڑݑ-*Sense of Measure*ژڔڑݑ *Shimian maifu*ܣݑůĚƿƪ'n-ŁƢŻů-¼ĩű-®ŎĢĩƪܗ- ƟŎĩěĩ-ŻŁ-Ʒ'nĩ-ދ*pipa*-ƢĩƟĩƢƷŻŎƢĩܤ-ڕږڑ -ܗ**357–**-**356**܌ړڔڒݑ*Breath* ܗNŎŁƿůŎ-'nŎůŻǢþůþ® ڔڔڒܫړڔڒݑ*Monolog Shin Nihon ongaku* ܣtĩǜdþƟþűĩƪĩrƿƪŎěړڕڐݑܤ *Shin ongaku ha*-ܣtĩǜrƿƪŎě-GƢŻƿƟڑڏڐݑܤ *Shin ongaku renmei*-ܣtĩǜrƿƪŎě-FĩĢĩƢþ-ƷŎŻű܌ڐڏڐݑܤ-ړڏڐ *shinawi*-ܣfŻƢĩþűůƿƪŎěþŦłĩűƢĩ܌ڏڔڑݑܤ-ړڔڑ *ƪ'nŎűţƔ-*ܣdþƟþűĩƪĩěƿŦƷƿƢþŦůŻǛĩůĩűƷܘݑ-ƟĩƢŎ-ŻĢ܌ړڏڐܫڐڏڐݑܤ-ړڕڐܫڒڕڐ *®'nŎűţƔƪþţţǢŻţƿţþ-ƢĩűůĩŎ* (Federation of -܌ړڏڐ-܌ڑڏڐܫڐڏڐݑܤŻůƟŻƪĩƢƪ -SűűŻǛþƷŎǛĩ ړڕڐܫڒڕڐ *ƪ'nŎűţǢŻţƿ-*ܣƟŎĩěĩƪ-ŻŁ-Ʒ'nĩ-*ݗ*ދ*ţŻƷŻ* reper-ƷŻŎƢĩړڕڐܫڒڕڐݑܤ ®'nŎűŻ'nþƢþrþţŻƷŻژڔڑݑ *®'nŎűƪĩűƪ'nƔƷĩţŎ-Łƿ*ڕڏڒݑ ®'nŎŻŎƢŎfþůĩƪƿţĩڑڏڐݑ *shirakoe* (vocal delivery technique in Japaneƪĩ-ދ-*'nĩŎţǢŻţƿ*ڔړڒݑܤ


®ŻěŎĩƷǢ-ŁŻƢrƿƪŎěȃĩŻƢǢ-ܣRr¼ڐڐݑܤ ®ŻěŎĩƷǢ-ŁŻƢ-Ʒ'nĩ-SůƟƢŻǛĩůĩűƷ-ŻŁtþƷŎŻűþŦ- rƿƪŎěݑދݑ*GƿŻǢƿĩłþŎŠŎűƪ'nĩ* ڗژڐݑƪŻŦůŎƪþƷŎŻű ژڗڐ-܌ڕڔݑܤĢǢűþƪƷǢ-'nŎűĩƪĩ ܣ-Żűł® ڔږڑܫړږڑ-܌ږڕڑ-܌ڏڗڐݑƪŻűłǜƢŎƷŎűł-ܘݑƪŻűłǜƢŎƷĩƢ ƪŻƿűĢěþĢĩűěĩ-ݑދ*ǢŎűǡŎþűł-Ǭ'nŻűłǬ'nŎƪ'nŎ* ڔڒړܫړڒړ-܌ڗڑڒ-܌ڒڑڒݑŁþůŎŦŎĩƪƪŻƿűĢ ڏڒړ-܌ڐڐړ-܌ژڕڑ-܌ڐڑڑ-܌ژڒڐݑƪƷƢƿěƷƿƢĩƪŻƿűĢ ږڏړ-܌ړژڒ-܌ڑڑڒ-܌ڐڐڒݑƷǢƟĩƪƪŻƿűĢ ړڒړ-܌ڔڗڒ-܌ڗږڑݑƷǢƟŻŦŻłǢƪŻƿűĢ ®ŻƿƷ'nĩþƪƷƪŎþ-ދƪŎþ ڕڐڐ-܌ڔژݑÃűŎŻű-ŻǛŎĩƷ® ژړڐݑ*ƟþǢƪþłĩܞƟþƪƪþłĩ-*ܗrþƷ'nŎþƪ-܌Ɵþ'nŦŎűłĩƢ® ڏڐړݑĢ-/܌ƟþűŠþþƢĢ® ڗڏڒ-܌ڐڐڑ-܌ڗڏڑܫږڏڑݑàŻŦŁłþűłܮàþŦƷĩƢ-܌ƟþƢƢĩƢ® ڔڏړ-܌ږڑڒܫڔڑڒݑþűþŦǢƪŎƪƪƟĩěƷƢþŦ ژڕڐݑrŎě'nĩŦ-܌ƟĩĩŦůþű® ®ƟĩűłŦĩƢ܌ƪǜþŦĢܗ-*Der Untergang des Abendlandes*-ܣȃĩ-'ĩěŦŎűĩ-ŻŁ-Ʒ'nĩàĩƪƷ܌ڐڔݑܤ-ڒږ -܌ڐڏڑ-܌ڒړڐ-܌ږڒڐ-܌ړژ-܌ڕڗ-܌ڗڕ-܌ڐړܫڏړݑƪƟŎƢŎƷƿþŦŎƷǢ ڒڗڒ-܌ڏڔڒ-܌ږڒڒ-܌ڏڗڑ-܌ړڕڑ-܌ږڒڑ-܌ړڒڑ-܌ڔڑڑ ڒږڐݑNĩŦůƿƷ-܌ƟŎƷƷĩŦ® ڏڒڐݑNþƢŻŦĢ-܌ƟŎǛþěţĩ® ږڑڒ-܌ړڑڒ-܌ڏڐڒݑܤ*Spaltklang* (sound split ڒږڐݑŦĩǡþűĢĩƢ-܌ƟŻŦŎþűƪţǢ® ڒڔڒܫڐڔڒ-܌ڒړڒ-܌ڔڒڐ-܌ڒڒڐݑ*Sprachkomposition* ڒڔڒ-܌ڐڔڒ-܌ڐړڐݑ*Sprechgesang* ڒڔڒܫڐڔڒ-܌ڒړڒݑ*Sprechstimme* ڏڕڒݑ*sprezzatura* ®ƟƢŎűłþűĢƿƷƿůű-£ĩƢŎŻĢ-ܣ 'nŎűþ܌-ڐڗړܫڑڑږ- ڕږڑݑܤ/ *ssigimsae* (melodic variation in Korean tradi-ƷŎŻűþŦůƿƪŎě܌ڐڔڑݑܤ-ڒڔڑ ®ƷܒdŻ'nűܼƪ-ÃűŎǛĩƢƪŎƷǢ-ܣR'nþűł'nþŎڗڗڐݑܤ ®ƷĎĚŦĩƢ܌-GĩƢ'nþƢĢ܌ڐڏڒܫژژڑݑ-ܗڑڐړ-*Cassandra-Complex*ܗڏڏڒݑ-*[LIFE[*ܫڏڏڒݑ**301**ܗ-*Palast des*  ڏڏڒ*ݗě'nǜĩŎłĩűƪ®* -܌ڐړڐ-܌ڔږ-܌ڒڕ-܌ړڒܫڒڒ-܌ڑڐݑƪƷþűĢþƢĢŎǬþƷŎŻű ڗڒڒ-܌ڐڕڑ-܌ژڔڑ-܌ڔڑڑ-܌ڗڔڐܫڕڔڐ ®ƷþƿűƷŻű܌-GĩŻƢłĩhĩŻű'nþƢĢڕژڐݑ ڒږڐݑĢŻŦŁ-܌ƷĩŎűĩƢ® ڔژڑ-܌ړژڐ-܌ڑڗڐ-܌ږڕڐݑfþƢŦ-܌ƷĩŎűĩƢ® ڔژڑݑƿĢŻŦ٦-܌ƷĩŎűĩƢ® -܌ڗڗ-܌ڔږ-܌ڗڔ-܌ڕړ-܌ڏړܫژڒ-܌ږڒ-܌ړڒ-܌ږڑ-܌ڒڐݑƪƷĩƢĩŻƷǢƟĩ ڑڕڒ-܌ږڗڑ-܌ڒڔڑܫڑڔڑ-܌ږڒڑ-܌ڒڒڑ-܌ڗڏڑ-܌ڏڏڑ-܌ڏڏڐ ڑڔڐݑfƢþƪƪŎůŎƢ-܌ƷĩƢĩǛ®

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*tanso*-ܣfŻƢĩþű-ǛĩƢƷŎěþŦ-ǴŦƿƷĩڒڔڑݑܤ ڑڗڑ-܌ڔڕڑ-܌ڒړڑݑܤŦĩ-ƟĩŻƟ-ŎűĢŎłĩűŻƿƪþŎǜþűĩƪĩ¼ܣ-ܢæþůŎܡþݼ *Ʒþơƪŝů* (*ůþơēů*-improvisation in Arab and ¼ƿƢţŎƪ'nůƿƪŎěڐڒڑݑܤ -܌ڕږܫڔږ-܌ڏڕܫژڔ-܌ڏڔ-܌ڗړܫږړݑŎě'nþƢ̦-܌þƢƿƪţŎű¼ ړڐڐ-܌ژڗ-܌ڗږ ¼þƷĩǢþůþtŻĚŻƢƿړڕڐݑ *táwi*-ܣƪŎűłŎűł-ŻŁ-NŻƟŎtþƷŎǛĩůĩƢŎěþűƪڑړڒݑܤ ڔڔ-܌ڐړݑ'nþƢŦĩƪ -܌þǢŦŻƢ¼ ڏڏڐݑŎůŻƷ'nǢ¼-܌þǢŦŻƢ¼ *ƷþǢǕ*-ܣƢĩěŎƷĩƢ-ŎűdþƟþűĩƪĩ-ދ*bunraku*܌ږړڒܫڕړڒݑܤ- ڐڕڒ ¼ě'nĩƢĩƟűŎűěŻůƟŻƪŎƷŎŻű-ƟƢŎǬĩ܌ړڏڐݑ-ڒڕڐ -܌ږڕڐ-܌ڒڕڐ-܌ڏڕڐ-܌ړڏڐܫڒڏڐݑŦĩǡþűĢĩƢ-܌ě'nĩƢĩƟűŎű¼ ܌ڑڗڐ-܌ڔڗڐ-ܗږڗڐ-ܹrƿƪŎě-ŎűrŻĢĩƢű- 'nŎűþܺ- ژڔڐ ڗړ-܌ږڒݑĩƪƪĩűƷŎþŦŎƪůܮƷĩě'nűŻ ¼ĩůŎþƢ-ܣàĩƪƷĩƢűrþŦþǢƪŎþűĩƷ'nűŎě- ږڔڒݑܤłƢŻƿƟ ڐڗڑݑdþůĩƪ-܌ĩűűĩǢ¼ ړڗڒ-܌ږڐڑ-܌ڗړݑrŎě'nþĩŦ-܌ĩűǬĩƢ¼ *te-utsuri* ܣě'nþűłĩƪ-ŻŁ-ȀűłĩƢ-ƟŻƪŎƷŎŻű-ŻŁ-Ʒ'nĩ-ދ- ڑڐڒ-܌ژژڑ-܌ڒژڑܫڑژڑݑܤ*gagaku*-ދ-Ŏű*ƪ'nƔ* ڒړڒ-܌ږڏڒ-܌ڒڑڐ-܌ڏڑڐݑȃþŎŦþűĢ ڗڗݑŻŎůĚþƷŻƢĩ -܌ȃþǢŎ ȃĩþƷĩƢ-ŻŁ-Ʒ'nĩ-ĚƪƿƢĢڔړݑ ȃŎƢĢ-GĩűĩƢþƷŎŻű-ܣ*Che Sam Sedae*ܗfŻƢĩþű- ړڔڑ-܌ڏڔڑݑܤłƢŻƿƟܼěŻůƟŻƪĩƢƪ ڏڑڐݑßŎƢłŎŦ-܌ȃŻůƪŻű ڏژڒ-܌ڗڗڒݑ'nƢŎƪƷŎþű -܌ȃŻƢþƿ ڑڐړݑĩƢűĢƷ-܌ȃƿƢűĩƢ ڑڗڑ-܌ڕڒڑ-܌ڐڗݑůþƪƪþěƢĩƪơƿþƢĩ-Ŏþűþűůĩű¼ ڑږڑ-܌ڕژڐ-܌ژڕݑŎĚĩƷ¼ -܌ڐڑڑܫڏڑڑ-܌ڑڐڑ-܌ڏڏڑ-܌ڒڕڐܫڑڕڐ-܌ڗڗܫږڗݑƷŎůĚƢĩ -܌ڒڏڒ-܌ڗږڑ-܌ڐڕڑ-܌ړڔڑ-܌ڒړڑ-܌ڐړڑ-܌ړڒڑ-܌ڑڒڑܫڐڒڑ -܌ڗڐړ-܌ڒڐړ-܌ڔڗڒ-܌ڏڔڒܫڗړڒ-܌ڕړڒ-܌ژڐڒ-܌ڑڐڒ-܌ژڏڒ -ڔڒړ-܌ڑڒړ-܌ڏڒړ-܌ڒڑړ ¼ŎůĩܮÃűŎƷ-Żǡ-®ǢƪƷĩů܌ڒږڒݑ-ژږڒܫڗږڒ ¼ŎűěƷŻƢŎƪ܌dŻ'nþűűĩƪܗ-*Terminorum Musicae*  ړڔݑ*ŎDZȁűŎƷŻƢŎƿů' tí:ngava*-ܣě'nþűƷ-ŻŁ-NŻƟŎtþƷŎǛĩůĩƢŎěþűƪܤ- ڒړڒܫڑړڒ *ƷƔłþţƿ*-ܣdþƟþűĩƪĩěŻƿƢƷůƿƪŎěłĩűƢĩ܌ړڏڐݑܤ- -܌ڔژڑܫړژڑ-܌ڑژڑܫڏژڑ-܌ڒڐڑ-܌ژڒڐ-܌ڗڑڐ-܌ڔڑڐܫړڑڐ ڗژڒ-܌ڑڒڒ-܌ڑڐڒ-܌ږڏڒܫڕڏڒ-܌ڏڏڒܫڗژڑ ¼ŻţǢŻrƿƪŎě-®ě'nŻŻŦڕڏڐݑ



ڏڑڐݑűǬŻ-/܌FĩƢƢŻܮ**V**þŦĩűƷŎ ßþŦĪƢǢ܌-£þƿŦܗ-ܹhþěŎůŎƷŎĸƢĩůþƢŎűܺڑڒڐݑ ڗږڐݑhĩŻűŻƢþ-܌ßþŦĩƪĚǢ ܌ږڐڑ-܌ڔژܫړژ-܌ڔڕ-܌ڑڕ-܌ڏڕܫژڔ-܌ڕڒݑĢłþƢĢ-/܌ßþƢĸƪĩ ڑڒړ-܌ڒڑڑ-܌ژڐڑ


ßþƢŎþű܌dŻ'nűܗڕژܫڔژݑ*-Ȅĩ-NþƢƟ-ŻŁhŎŁĩ*ڔژݑ ڔژƿƪƪĩŦ¦-܌ßþƢŎþű ڏڑڐݑfþƟŎŦþ-܌ßþƷƪǢþǢþű ßþƿł'nþűàŎŦŦŎþůƪ܌-¦þŦƟ'n-ڑڗڐ ßĩűĢþ-ܣRŻƿƷ'n-ŁƢŎěþűĩƷ'nűŎěłƢŻƿƟܤ-ڒڔ ڔڒ-܌ڐڒݑƷĩƟ'nĩű®-܌ßĩƢƷŻǛĩě ßŎĩűűþěþĢĩůǢ-ŻŁrƿƪŎě-ڕڗڑ ڐڑڐ-܌ږڑݑàþƢßŎĩƷűþů ßŎĩƿǡƷĩůƟƪ܌-NĩűƢŎܗ-*Ballade et Polonaise* G ږږڐݑڗڒ-ܒŻƟůþŠŻƢ ßŎűěŎ܌hĩŻűþƢĢŻ-Ģþڐڒڒݑ ڏڑڐݑܒ1/4-܌ßŎƪǜþűþƷ'nþű ڏڑڐݑŻůþű¦-܌ßŦþĢ -܌ڔړڒ-܌ڑړڒܫڗڒڒ-܌ږڗڐ-܌ڏڐڐ-܌ږژ-܌ڗڗܫږڗݑůƿƪŎě-ǛŻěþŦ ڑڑړ-܌ڑڕڒܫڐڕڒ-܌ژڔڒ ڕڏړ-܌ڗړڒ-܌ڕړڒ-܌ږڒڒݑǛŻěþŦŎǬþƷŎŻű -܌ڑژ-܌ڏژܫژڗ-܌ڏڗ-܌ڐڔ-܌ڗړ-܌ژڑ-܌ڑڐݑǛŻŎěĩƪ-ܘ-ǛŻŎěĩ -܌ڐږڐ-܌ڕڕڐ-܌ڐڕڐ-܌ڐړڐ-܌ڏڐڐ-܌ڕڏڐܫڔڏڐ-܌ڏڏڐ-܌ږژ -܌ڔڒڑܫڒڒڑ-܌ڐڒڑ-܌ږڑڑ-܌ژڐڑ-܌ڔڐڑ-܌ڏڏڑ-܌ږژڐܫڕژڐ ܌ڕږڑܫړږڑ-܌ڑږڑ-܌ڐڕڑܫڏڕڑ-܌ڒڔڑ-܌ڗړڑ-܌ڗڒڑܫږڒڑ -܌ڕړڒܫڔړڒ-܌ڒړڒܫږڒڒ-܌ڐڒڒ-܌ړڑڒ-܌ڏڐڒ-܌ڏڏڒ -܌ڑڐړܫڐڐړ-܌ڏڗڒ-܌ڗږڒ-܌ڑڕڒ-܌ڏڕڒ-܌ڗڔڒ-܌ڕڔڒܫڗړڒ ڔڒړ-܌ڑڒړ-܌ڗڑړ-܌ڒڑړܫڑڑړ-܌ڕڐړ ǛŻŎěĩ-ŦĩþĢŎűłڒڒړݑ ڔڗݑůŎŦĩ-0܌ßƿŎŦŦĩƢůŻǬ


ڔڔ*ݗþƢƪŎŁþŦ*-*£*ܗڗڕ-܌ڗڔ-Ŏě'nþƢ̦-܌**W**þłűĩƢ *waiata* ܣrþŻƢŎƪŻűłڑړڒݑܤ *waka*-ܣdþƟþűĩƪĩ-ƟŻĩƷŎěłĩűƢĩܤ-ڐژ àþţþƪƿłŎ-NŎƢŻƪ'nŎڑڕڐݑ àþţþƷþţĩ-Gþłþţƿ-®ŻěŎĩƷǢæþůþłƿě'nŎړڏړݑ *wakauta*-ܣdþƟþűĩƪĩƪŻűłܘݑ-ƟŻĩƷŎěłĩűƢĩڗڔڒݑܤ *wakon kansai* (Japanese spirit, Chinese techűŎơƿĩڔڔڐݑܤ *ǜþţŻű-ǢƔƪþŎ* (Japanese Spirit and Western ڔڔڐݑܤĩě'nűŻŦŻłǢ¼ àþŦĢĩůþƢrĩǢĩƢ-®ƷƢŎűł-¥ƿþƢƷĩƷڗڕڐݑ àþŦĢůþűű܌-GƿŎĢŻܗ-*Zur Tonalität des deutschen*  ڑڔݑ*Volksliedes* àþűł- 'nþűłŦŎűłڏڗڑݑ àþűł-GƿþűłơŎڕڗڐݑ àþűł-Nĩƪ'nĩűłڔڏڑݑ àþűłfþűł-NŻƿڕژݑ ڕڗڑ*ݗþŦŦþĢĩ*-ܗڔڗڑ-܌ڔڕڑݑrŎűłàþűł àþűłtŎűłǢŎڐڕڐݑ àþűł-®'nŎŁƿܗ*-ȄĩàĩƪƷ- 'nþůĚĩƢ-ܩåŎåŎþűł-* ڕژڐܫڔژڐݑ*ܪdŎ*

ڔڗڑ-܌ڔڕڑݑæþܮƿĩ®àþűł àþűł-¼ƿŻ'nږڕڑݑ àþűłåŎĩƢƿܗ-*Zhui bai qiu*-ܣƪĩĩþŦƪŻ-¥Ŏþű-'ĩěþűł܌ڔژڐݑܤ-ڑڏڑ àþűłæŎűłڕڒݑ ړڗڐ-܌ڐڗڐݑð'nĩűłǢþàþűł àþűłð'nĩűǢþܗ-*Hanzu diaoshi hesheng* (Han 'nŎűĩƪĩrƿƪŎěþŦrŻĢĩƪþűĢ-NþƢůŻűŎĩƪܤ- ܣƪĩĩþŦƪŻhŎæŎűł'nþŎܗږڔڐݑܤ*àƿƪ'nĩűł-ǢŎűŠŎĩ-ŠŎ- qi hesheng*-ܣȃĩ-£ĩűƷþƷŻűŎě-®ěþŦĩþűĢ-SƷƪ- ږڔڐݑܤNþƢůŻűŎĩƪ *wangka*-ܣƪƟĩĩě'n-ŻŁƿƪƷƢþŦŎþű-ݑދtǢþűłƿůþ-Ʒþڑړڒݑܤ ڑڑړݑþŦƿƟŎ-£܌àþƢþűþűŎűłƷǢþƪ ڕږڐݑrþǡ-܌àþƢƪě'nþƿĩƢ àþƷƪƿŠŎ-¼ĩƷƪƿƢƔڒړݑ ڏڏڑ-܌ڗژڐݑàŎŦŦŎþů-܌àĩþǛĩƢ àĩĚĩƢ܌ þƢŦrþƢŎþ-ǛŻűڗږڐݑ -܌ڒڏڒ-܌ڔڑڑ-܌ڏږڐ-܌ڕڕڐ-܌ڑڐڐ-܌ږژݑűƷŻű-܌àĩĚĩƢű ܗژڒڒ-*RǢůƟ'nŻűŎĩ*-ŻƟܒ-ܗڕڒړݑڐڑßþƢŎþƷŎŻűƪ-ŁŻƢ- ژڑړ-܌ڗژڒݑږڑݑܒŻƟ-ƟŎþűŻ àĩŎð'nŻűłŦĩڕڗڐݑ ړڏڐݑFĩŦŎǡ-܌àĩŎűłþƢƷűĩƢ ڑڕڐݑłŻű-/܌àĩŦŦĩƪǬ ڐڕ-܌ڐړ-܌ژڒܫڗڒݑàŻŦŁłþűł-܌àĩŦƪě'n àĩű-'ĩơŎűłڗړڒݑ àĩűhŻűłܮNƪŎűڔڕڑݑ àĩűæþűڐڗڐݑ *àĩű'nƿþ-ŁƿǡŎűł-ǢƿűĢŻűł* (Cultural Renewal ږڕڑݑܤrŻǛĩůĩűƷ *wenhua shamo* ܣěƿŦƷƿƢþŦ-ĢĩƪĩƢƷڔڕڑݑܤ *wenren*-ܣ 'nŎűĩƪĩ-ŦŎƷĩƢþƢǢþĩƪƷ'nĩƷŎěƪڏړڑݑܤ West German Radio (*Westdeutscher Rundfunk*, ږڏڑݑܤ¦'à àĩƪƷĩƢűĩǡěĩƟƷŎŻűþŦŎƪůڕڒڐݑ -܌ڒڕ-܌ڐڕ-܌ژڔ-܌ړڔ-܌ڑڔ-܌ڏڔܫژړ-܌ڔڑݑůƿƪŎěàĩƪƷĩƢű -܌ړڑڐܫڑڑڐ-܌ژڐڐ-܌ڒڐڐ-܌ڐڏڐ-܌ږژܫڕژ-܌ڕڗ-܌ڒڗ-܌ڑږ -܌ړڕڐܫڒڕڐ-܌ڏڕڐ-܌ڕڔڐܫڔڔڐ-܌ڒړڐ-܌ڗڒڐܫږڒڐ-܌ڔڒڐ -܌ژړڑ-܌ڏړڑ-܌ڕڒڑ-܌ړڒڑ-܌ژڏڑܫڗڏڑ-܌ڏڏڑ-܌ږڗڐܫڔڗڐ -܌ڕږڒ-܌ړڕڒ-܌ڏڔڒ-܌ڏړڒ-܌ڏږڑܫژڕڑ-܌ړڕڑܫڒڕڑ-܌ڑڔڑ ڕژڒ-܌ړڗڒ-܌ڑڗڒ -܌ڕڏڑ-܌ڕڔڐ-܌ڐڏڐ-܌ڏڗ-܌ڗږ-܌ڔڒܫڒڒݑàĩƪƷĩƢűŎǬþƷŎŻű ڐڒڑ-܌ڏڑڑ Westernization and Self-Strengthening rŻǛĩůĩűƷݑދݑ*æþűłǜƿ-ǬŎơŎþűł-ǢƿűĢŻűł* ڒڗڒܫڑڗڒݑ'nþűűþű -܌àŎŦŦűĩƢ ڒږڐݑƿłĩű-/܌àŎűţŦĩƢ

àŎŻƢþ܌àþŦƷĩƢܗ-*Die vier Weltalter der Musik*܌ڑڔݑ- ږڕ ڒږڐ-܌ړڔݑŦŁƢĩĢ-܌àŎƷƷĩűĚĩƢł ړڒړ-܌ړړݑhƿĢǜŎł-܌àŎƷƷłĩűƪƷĩŎű ڐڔڒ-܌ڏڏڒݑ'nƢŎƪƷþ -܌àŻŦŁ ږږڐݑNƿłŻ-܌àŻŦŁ ڑڕڐݑfþƢŦ-܌àŻŦŁ àŻŦDz Ł܌- 'nƢŎƪƷŎþűڗڑڑݑ ڗڒڒݑŦŁƢĩĢ-܌àŻŦŁƪŻ'nű *Worere*-ܣĢþűěĩƪŻűł-ŻŁ-Ʒ'nĩ-ދtþǡŎůŎűŻƢŎƷǢ-Ŏű- China, see also*-ƪƪĩŎƪƪĩŎŦ*ڗړڑݑܤ -܌ڑڐڒ-܌ڏڐڒܫژڏڒ-܌ڒڕڑ-܌ڔڔܫړڔ-܌ږړݑěŻűěĩƟƷǜŻƢţ ژڒڒ-܌ڏڒڒ-܌ڑڑڒ-܌ڏڑڒ ǜŻƢţ-'nŎƪƷŻƢǢږړݑ ڏژڑ-܌ړڕĩǡ'nŎĚŎƷŎŻűƪǜŻƢŦĢ àŻƢŦĢ-FĩƪƷŎǛþŦ-ŻŁæŻƿƷ'nþűĢ-®ƷƿĢĩűƷƪڒڏڑݑ ڗڒڐ-܌ڕڕݑŦŎƷĩƢþƷƿƢĩǜŻƢŦĢ -܌ړږܫڐږ-܌ږڕܫڕڕ-܌ڏڕ-܌ڗړ-܌ڒړ-܌ڒڒ-܌ڒڐݑůƿƪŎěǜŻƢŦĢ ڕڒڐ-܌ړڒڐ-܌ڗڐڐ-܌ڕژ ڑژڒݑǜŻƢŦĢŦŎűĩƪƪ *ǜƿþŎ-Ǣƿþű-ƢŻűł* (unimpededness and inter-ƟĩűĩƷƢþƷŎŻűڔڒڐݑܤ *àƿ-Ƣĩű-ǢƿĩŠŎ-*ܣFŎǛĩrþűrƿƪŎě-GƢŻƿƟڕڕڑݑܤ ڑڗڑ-܌ڔڕڑݑhŎĩűܮŎűł¼àƿ ژژڒ-܌ڒړڑ-܌ڐړڑ-܌ڑڔڐ-܌ږړڐݑàĩŎàƿ *wu xing*-ܣȀǛĩĩŦĩůĩűƷƪ܌ږڑݑܤ-ڗږڑ àƿæƿþűܮFþűłڔڕڑݑ *àƿ-Ǣƿĩ-'nƿþ'nƿŎ*-ܣ£þŎűƷĩƢƪ-ŻŁrþǢڕڕڑݑܤ *wuchang*-ܣĩŎŠŎűł-ƟĩƢþ-ƟĩƢěƿƪƪŎŻűůƿƪŎě܌ڗڒڑݑܤ-ڏږڑ -܌ڒڑڑ-܌ژڐڑ-܌ڔڑڐ-܌ڏڑڐ-܌ڗڐڐ-܌ڗژ-܌ڕڒݑSþűűŎƪ-܌**X**ĩűþţŎƪ **217** *Pithoprakta*-ܗڗڑڒ *ǡŎ-ƷŎ-Ǭ'nŻűł-ǢŻűłݗ*)Western as substance, Chiűĩƪĩþƪůĩþűƪ-ŻŁƿƪĩܤ-ڔڔڐ åŎþűåŎűł'nþŎܗڕڗڐݑ-*Huanghe dahechang*-ܣæĩŦŦŻǜ-

¦ŎǛĩƢ þűƷþƷþڗڔڐݑܤ *åŎþűĢþŎ-ǢƿĩŁƿ-*ܣrŻĢĩƢűrƿƪŎěƿƢĩþƿڕڕڑݑܤ

*åŎþűłƢŎţƿŎ-Ǣƿĩ'nƿŎ*-ܣRƿűǴŦŻǜĩƢ-GƢŻƿƟڕڕڑݑܤ

*Xiangtu wenxue*-ܣtþƷŎǛŎƪƷhŎƷĩƢþƷƿƢĩ܌ږڕڑܫڕڕڑݑܤ-ڐڗڑ

*Xianhua*-ܣFƢĩƪ'n-FŦŻǜĩƢܤ-ܣƪĩĩþŦƪŻ-*Molihua*܌ڔژڐܫړژڐݑܤ-܌ڗژڐܫږژڐ-ڑڏڑ *xiao*-ܣ 'nŎűĩƪĩ-ǛĩƢƷŎěþŦ-ǴŦƿƷĩ܌ڕڔڐݑܤ-܌ڏڗڐܫژږڐ-

 ܌ڗږڑܫږږڑ-܌ڕڕڑܫڔڕڑ-܌ږڒڑ-܌ڑڏڑ-܌ڔژڐ-܌ڐژڐܫڏژڐ ڗڐړ-܌ڗژڒ-܌ڔڗڒ


*Xiao bai cai* ܣhŎƷƷŦĩǜ'nŎƷĩěþĚĚþłĩ܌ږڒڑݑܤ-ڔڗڒ åŎþŻ-/Ƣ'nƿþڔڕڑݑ åŎþŻhŎƿ*ܝåŎþŻ-'nƿŎ-ŠŎ*܌ڔژڐ*ݗ*-ڑڏڑ ڕڕڑ-܌ڏڗڐܫژږڐ-܌ڕڔڐݑæŻƿůĩŎåŎþŻ *xiaodiao*-ܣ 'nŎűĩƪĩ-ŁŻŦţƪŻűł-ƷǢƟĩ܌ڕژڐݑܤ-ږڒڑ *xiaoluo* ܣƪůþŦŦ- 'nŎűĩƪĩ-ŻƟĩƢþłŻűłڏږڑݑܤ *åŎűǜĩű'nƿþ-ǢƿűĢŻűł*ܣݑtĩǜ ƿŦƷƿƢĩrŻǛĩůĩűƷܤ-ދrþǢ-FŻƿƢƷ'nrŻǛĩůĩűƷ *åŎű-Ǣƿĩě'nƿ-ǬŻƿ*-ܣrƿƪŎě-£ƢĩůŎĩƢĩڕڕڑݑܤ ܌ڐړڑ-܌ڒڑڑ-܌ڐڏڑ-܌ڑڗڐ-܌ڏڗ-܌ږڒݑܤǜþǛĩűĩǜܣ*xinchao* ڕڗڑ-܌ڕږڑ-܌ږڕڑ-܌ڒړڑ ژڑړ-܌ڗژڒݑ*jie Xing xu – po – ji* ܣƷ'nƢĩĩܮƟþƢƷ-ŁŻƢů-Ŏű- 'nŎűĩƪĩ-ދ- ڕږڑݑܤ*daqu* ڐړڑ-܌ږړڐݑFĩűłǡŎþåƿ åƿ-®'nƿǢþܗ-*Vacuité/Consistance*ڐړڑݑ *ǡƿ-ǢŎű*-ܣĩůƟƷǢƪŻƿűĢڑږڑݑܤ åƿĩæþűڐڗڐݑ *xuetangge*ދݑƪě'nŻŻŦƪŻűłƪ -܌ژژڒ-܌ڕژڒ-܌ږږڑ-܌ڐړڑݑܤŻěþƢŎűþ-'nŎűĩƪĩ ܣ*xun* ږڒړ-܌ڔڒړ-܌ڐڒړ-܌ږڐړ-܌ڑڏړܫڐڏړ ڗړڑ-܌ڏڗݑܤƢŻŻƷܣ*xungen*



**Y**þůþĢþfĩűłǢƔܗ-*Nasuno*ڐڕڑݑ ܗڐڏڐݑ*to Kurai*-ܗڕڕڐ-܌ڒڏڐܫڑڏڐ-܌ړڗfƔƪþţƿæþůþĢþ *tþłþƿƷþ-®ǢůƟ'nŻűǢ-ܿ¼ƪƿƢƿţþůĩ݀*ܗڒڕڐܫڑڕڐ*ݗ*- *ě'nŎƷþƢƿ-ƷĩűűǢŻ*ܗڐڏڐݑ-RǢůƟ'nŻűǢ-Ŏű-FůþŠŻƢ-ܹ£ĩþěĩþűĢàþƢܺܗڐڏڐݑ-*Yoake – Kuro Fune*܌ڗڔڐݑ-ڒڕڐ æþůþůŻƷŻtþŻƷþĢþڒڏڐܫڑڏڐݑ æþůþƷþfŎţŻƿܗ-*Sur les lèvres japonaises*ژڗݑ æþűł- 'nŎĩűܮ 'nþűłڑڐܫڐڐݑ æþűłhŎơŎűłڕڕڐݑ æþűł-¼ƪƿűłܮNƪŎĩűڔڕڑݑ æþűłæŎűŦŎƿܗ*ð'nŻűłłƿŻłƿĢþŎ-ǢŎűǢƿĩƪ'nŎłþűł* ܣ-'ƢþǼ Ʒ-NŎƪƷŻƢǢ-ŻŁűěŎĩűƷ- 'nŎűĩƪĩ- rƿƪŎěܗڕڗڐݑܤ-ܹGƿŻǢƿĩơŎþűƷƿ-ŠŎơŎ-ǢþűŠŎƿܺ- ܣȃĩ-FƿƷƿƢĩ-ŻŁtþƷŎŻűþŦrƿƪŎěþűĢ-SƷƪ- ڕڗڐ-ܤƷƿĢǢ® æþűłæŻűłڐڗڐݑ æþűłæƿƪ'nŎڑڗڐܫڐڗڐݑ *ǢþűłĚþűǡŎ*-ދůŻĢĩŦǜŻƢţƪ *ǢþűłơŎű* (Chinese hammered dulcimer-zit-'nĩƢ܌ژړڐݑܤ-܌ڒړڑ-܌ږږڑ-܌ڕڗڒ-ڗژڒ *æþűłǜƿ-ǬŎơŎþűł-ǢƿűĢŻűł-*(Westernization and ®ĩŦŁܮRƷƢĩűłƷ'nĩűŎűłrŻǛĩůĩűƷڕڔڐݑܤ ڑڏڑ-܌ڏڏڑ-܌ژڔڐݑܤůŎűŻƢŎƷǢ-'nŎűĩƪĩ ܣæþŻ æþŻ-¦ƿŻŦŻűłڑڏڑݑ

ڗڗڐݑdŻƪĩƟ'n-܌æþƪƪĩƢ æþǢŎű-ŻƟĩƢþłƢŻƿƟږڕڑݑ *ǢþǢƿĩ*-ܣ 'nŎűĩƪĩ-¼þűłܮĢǢűþƪƷǢěĩƢĩůŻűŎþŦ- ڏڗڑ-܌ڕږڑݑܤůƿƪŎěěŻƿƢƷ æĩ'ndŎƿþűܮ¦ĩűłژژڒݑ æŎ-ܣ 'nŎűĩƪĩůŎűŻƢŎƷǢڗړڑݑܤ æŎdŎܮæŻƿűłڐڔڑݑ *ǢŎ-Ǭ'nŻűł-ĚƿǡŎ-*(using the Chinese to compleůĩűƷ-Ʒ'nĩàĩƪƷĩƢűڕڔڐݑܤ ڏڗڑ-܌ڗږڑ-܌ږڒڐݑܤ'nþűłĩƪ -ŻŁ-ŻŻţܣ-*Yijing ǢŎűǡŎþűł-ǢŎŠŎűł-*ܣƪŻƿűĢěŻűƷĩűƷڗږڑݑܤ *ǢŎűǡŎþűł-Ǭ'nŻűłǬ'nŎƪ'nŎ*-ܣƪŻƿűĢěþĢĩűěĩڗږڑݑܤ *æŽűłƪþű-'nŻĩƪþűł*ݑދܣݑfŻƢĩþűěŻƿƢƷůƿƪŎěƪƿŎƷĩܤ- ڑڐړ-܌ڗڏړ æŻŻ-Ǣƿűłܮ/ƿűܗ-*R'nŎűþǜŎűŻܘ-*ڏڔڑ*ݗښ* ڔڐړ-܌ڑڐړݑ'nܮdŻűłæŻŻű æŻƢƿĚþ-ܣàĩƪƷ-ŁƢŎěþűĩƷ'nűŎěłƢŻƿƟږږڒݑܤ ڕژݑæŻƪ'nŎ ڕژݑæŻƪ'nŎěþ æŻƪ'nŎĢþ-NŎĢĩţþǬƿڏڑڐݑ æŻƪ'nŎţþǜþ-¼þĢþǢþƪƿܗ-*Kaika sakuron*ڔڔڐݑ æŻƪ'nŎǬƿůŎfŻƪþĚƿƢŻڑڕڐݑ æŻƿ- 'nþűłܮFþڔڕڑݑ æŻƿűłàŻůĩűܼƪ- 'nƢŎƪƷŎþűƪƪŻěŎþƷŎŻű- ڕږڐݑܤ æàܣ æŻƿűł܌hþrŻűƷĩڗڒڐݑ ږڒݑþůƪŻű®-܌æŻƿűł æŻƿ¼ƿĚĩ-®ǢůƟ'nŻűǢ-Ƣě'nĩƪƷƢþڗڑݑ æƿ-®Ŏƿàþ'nړڏڑݑ æƿþű-ܣ 'nŎűĩƪĩ-ĢǢűþƪƷǢڕژڐݑܤ *ǢƿþűǬ'nƿůŎű*-ܣ1/4þŎǜþűĩƪĩ-ŎűĢŎłĩűŻƿƪ-ƟĩŻ-ƟŦĩƪڗڕڑݑܤ æƿþƪþdƔŠŎܗ-*1/4ŻŎ*ܗڏړڒ*ݗ*-*Utterance*ܗڏړڒݑ-*Voices*  ڏړڒݑ*Coming Ǣƿłĩű-*ܣdþƟþűĩƪĩþĩƪƷ'nĩƷŎěěŻűěĩƟƷڐڕڑݑܤ æƿŎǬĩ-®'nŎűŎě'nŎڏڑڐݑ *ǢǕţþƢþ*-ދܣ-ŎűƿĩƟŎěƪŎűłŎűłڗڔڒݑܤ *Ǣƿű*-ܣ 'nŎűĩƪĩþĩƪƷ'nĩƷŎěěŻűěĩƟƷڑږڑݑܤ ܌ڑڔڑ-܌ژړڑ-܌ڐڐڑܫڕڏڑ-܌ڗږ-܌ڔږ-܌ژڔ-܌ڕڒܫڔڒݑSƪþűłæƿű ܌ڗږڑ-ܗڕژڒ-*Exemplum in memoriam Kwangju*ܗڏڔڑݑ-*Gagok*-܌ڐڐڑ-ܗڏړڒ-*Glissées*-ܗڐڐڑ-ܹrƿƪŎţ- ƿűĢ-SűƪƷƢƿůĩűƷĩ-ĢĩƪþŦƷĩűfŻƢĩþܺܫږڏڑݑ ܗڗڏڑ*rĩůŻƢǢ*ܗڏړڒ*ݗ*-*Naui dang, naui minjoki-ǢŻ-*ܣrǢěŻƿűƷƢǢ܌ůǢ-ƟĩŻƟŦĩܗڏڔڑݑܤ-*£ŎƢŎ*ܗڐڐڑ*ݗ*- *Réak*܌ڕڒݑ-ܗڐڐڑ-RǢůƟ'nŻűǢűŻړݑܒ-*ܿSů-'ƿűţĩŦű-* ژڑړ-܌ڑڐړ-܌ڗڏړݑ*Together*-ܗڒڐړ*ݗ݀ƪŎűłĩű*


*ǢƿűĚþŎ*-ܣĩŎŠŎűł-ƟĩƢþ-ǛŻěþŦ-ĢĩŦŎǛĩƢǢ-Ʒĩě'nűŎ - ڏڔڒܫژړڒ-܌ڏږڑݑܤơƿĩ æƿűűþű-ܣ 'nŎűĩƪĩ-ƟƢŻǛŎűěĩږڏڒݑܤ æƿǬƿƢƿ-Sţĩڑڏڐݑ **Z**þţ'nþƢŻDz Ł܌-ŻƢŎƪږږڐݑ ڐڔڒݑŦĚĩƢƷŎűĩ-܌ðĩ'nůĩ -܌ڏړڐ-܌ږڒڐܫڕڒڐ-܌ژڏڐܫږڏڐ-܌ڑڏڐݑƿĢĢ'nŎƪůðĩű ڔڔڒ-܌ڑږڑ-܌ڑڏڑ ڑڗڒ-܌ڑړڒ-܌ڔڐڐܫړڐڐ-܌ڕږݑrþƢƷŎű-܌ðĩűěţ  *Chief*-ܗڕژڒ-܌ڗڗڒ-܌ڑړڐܫږڒڐ-܌ړږ-܌ڐړݑNþűƪ-܌ðĩűĢĩƢ *Joseph*܌ژڒڐݑ-ܗڕڏڑ*-FǕƢŎűűŻţǢƔ*܌ڐړڐܫڏړڐݑ **142**, ڒڐڑ-܌**145–144** ږڔڒ-܌ړڏڑݑܤƷþƷĩ®-'nŎűĩƪĩ ܣðĩűł ð'nþűł-GƿŻŦŎűłڑڗڐݑ ð'nþűł-NþŻڐڗڐܫڏڗڐݑ ð'nþűłtŎűł'nĩڐڗڐݑ ڒڏڑ-܌ڔڔڐݑð'nŎĢŻűłð'nþűł ڕڐڐ-܌ڔڕݑűĢƢĩŠ-܌ð'nĢþűŻǛ -܌ڐڕڐ-܌ژړڐ-܌ږړڐݑܤǬŎƷ'nĩƢþƢě'nĩĢ-'nŎűĩƪĩ ܣ*zheng* -܌ڕژڒ-܌ڕڗڒ-܌ژړڒ-܌ڔڗڑ-܌ږږڑ-܌ڒړڑ-܌ڐړڑ-܌ڗڒڑ ږڒړ-܌ڔڒړ-܌ڏڒړܫژڑړ-܌ڗڐړ-܌ڑڏړܫڗژڒ ð'nĩűłæŎűłŦŎĩ-ڐڕڐ *ð'nŎ-ǢƿĩǡŎþŻ-ŠŎ*-ܣ ŻůƟŻƪĩƢƪܼ-FŻƢƿůڕڕڑݑܤ *zhonghu* ܣ 'nŎűĩƪĩţűĩĩ-ȀĢĢŦĩڗژڒݑܤ *zhongruan*ݑދݑ*ruan Ǭ'nŻűłǡƿĩǜĩŎ-ƷŎܒǡŎǡƿĩǜĩŎ-ǢŻűł* (Chinese thinţŎűłþƪƪƿĚƪƷþűěĩ܌àĩƪƷĩƢű-Ʒ'nŎűţŎűłþƪ- ůĩþűƪ-ŻŁƿƪĩ܌ڔڔڐݑܤ-ڒڏڑ *ð'nŻűłǬ'nŻƿ-Ǣƿű*ژړڒ*ݗ* ð'nŻƿ-ܣ 'nŎűĩƪĩ-ĢǢűþƪƷǢړڏڑݑܤ ړڗڐ-܌ڐڗڐ-܌ژږڐ-܌ڏږڐݑGƿþűłƢĩűð'nŻƿ ð'nƿdŎþűړڗڐݑ ð'nƿdŎþűܼĩƢܗ-RŎűŁŻűŎĩƷƷþܗڔڕڐݑ-RǢůƟ'nŻ - -ܗ**166**ܫڔڕڐݑڑݑܒűŻ-ǢůƟ'nŻűǢ®-ܗڔڕڐݑڐݑܒűŻݑűǢ ®ǢůƟ'nŻűǢűŻܗڔڕڐݑړݑܒ-RǢůƟ'nŻűǢݑűŻ܌ڒړڑݑڕݑܒ- ڒړڑ-ڏڐݑܒűŻݑǢůƟ'nŻűǢ®-ܗژړڑܫڗړڑ-܌**247–246** ð'nƿþűłǬŎ܌ړڏڑݑ-ܗڗږڑ-*Qi wu lun*ڔڏڑݑ ðŎĢþƢŎĜ-GǢƆƢĩţ܌-£ĩƷƢþڒړڐݑ -ܗڔژڒ-܌ړڗڒ-܌ڒڑڑ-܌ڏڕݑŦŻŎƪĩƢűĢ-܌ðŎůůĩƢůþűű *Die Soldaten*܌ڔږڒݑ-ܗڒڗڒ-*Requiem für einen jungen Dichter*ړڒڐݑ ڒړ-܌ڐړ-܌ڑڒܫڐڒݑŦþǛŻŠ®-܌òŎǮĩţ

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Januar 2020, 220 S., kart., 6 SW-Abbildungen, 5 Farbabbildungen 34,99 € (DE), 978-3-8376-4865-2 E-Book: kostenlos erhältlich als Open-Access-Publikation, ISBN 978-3-8394-4865-6

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