From Exoticism to Interculturalism: Counterframing the East–West Binary

Author:

Everett Yayoi U

Abstract

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

Publisher

Oxford University Press (OUP)

Subject

Music

Cited by 6 articles. 订阅此论文施引文献 订阅此论文施引文献,注册后可以免费订阅5篇论文的施引文献,订阅后可以查看论文全部施引文献

1. From East and West to Ethnography;Encounters between East and West;2024

2. Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound”;Music Theory Spectrum;2023-09-29

3. The Role of the Violin and Its Elements in Chinese Opera;Revista Música Hodie;2023-03-18

4. Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions;Music Theory Spectrum;2023-02-03

5. Neo-Folklore Motifs in a Chen Yi’s Piano Work;Revista de etnografie și folclor / Journal of Ethnography and Folklore;2023

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