Frontmatter -- Table of Contents -- Preface -- Preface to the Revised and Expanded English Edition -- Acknowledgements -- List of Examples, Figures, and Tables -- I. Introduction: Art Music, Identity, and Reflexive Globalization -- 1. Art Music in a Global Context -- 2. Identity Criticism and Reflexive Globalization -- 3. Discourses of Intercultural Composition -- II. Toward an Entangled History of Twentieth-Century Music in a Global Context -- 1. Preliminaries of an Intercultural Music Historiography -- 2. Internationalism and Universalism: Repercussions of Political and Cultural History -- 3. The Ambivalence of the Local in Twentieth-Century Music -- 4. Modernist Reception of Japanese and Indian Traditional Music between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka -- 5. Re-Reading the Impact of the "Cultural Cold War" on Music History: Cowell, Mayuzumi, Berio -- 6. Categories of Intercultural Reception in Western Composition -- 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 -- 2. Triggering Musical Modernism in China: The Work of Wolfgang Fraenkel in Shanghai Exile -- 3. The Travels of a Jasmine Flower: A Chinese Folk Song, Its Prehistory, and Tan Dun's Symphony 1997 -- 4. Probing the Compositional Relevance of Cultural Difference: Key Tendencies of East Asian New Music Since the 1950s -- 5. Intercultural Narrativity in East Asian Art Music since the 1990s -- 6. The Impact of Traditional Music on Composition in Taiwan since the Postwar Period -- IV. The shō Context -- 1. Transformation and Myth Criticism in Works for the Japanese Mouth Organ -- 2. The shō as a Medium of Alterity and Self-Referentiality in Helmut Lachenmann's Music -- V. New Music and Beyond: Music-Historical and Cultural Entanglements -- 1. The Rediscovery of Presence: Intercultural Passages Through Vocal Spaces Between Speech and Song -- 2. Space-Time Movements in György Ligeti's Piano Concerto: Polymeter and Conflicting Meter in Historical and Intercultural Perspective -- 3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning -- VI. Reflections on My Own Composing as a Search for Traces in the In-Between -- 1. Layered Fabric, Intertextuality, and Cultural Context: From Striated to Open Space -- 2. Stratification and Analysis -- 3. Intercultural and Multilingual Trajectories of the Human Voice -- 4. Composition as Polyphony: Creating, Performing, and Perceiving Music Non-Hierarchically -- Bibliography -- Appendix -- Index

Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, music history has to be conceived globally - a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st centuries. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society is placed at the center of attention and considered a pivotal music-historical dynamic.

In English.

Online resource; title from PDF title page (publisher's Web site, viewed 21. Apr 2021).

Open Access EbpS

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