Chapters in this book

1. Frontmatter 1
2. Table of Contents 5
3. Preface 9
4. Preface to the Revised and Expanded English Edition 11
5. Acknowledgements 15
6. List of Examples, Figures, and Tables 17
7. I. Introduction: Art Music, Identity, and Reflexive Globalization
8. 1. Art Music in a Global Context 25
9. 2. Identity Criticism and Reflexive Globalization 29
10. 3. Discourses of Intercultural Composition 38
11. II. Toward an Entangled History of Twentieth-Century Music in a Global Context
12. 1. Preliminaries of an Intercultural Music Historiography 47
13. 2. Internationalism and Universalism: Repercussions of Political and Cultural History 63
14. 3. The Ambivalence of the Local in Twentieth-Century Music 75
15. 4. Modernist Reception of Japanese and Indian Traditional Music between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka 82
16. 5. Re-Reading the Impact of the “Cultural Cold War” on Music History: Cowell, Mayuzumi, Berio 114
17. 6. Categories of Intercultural Reception in Western Composition 135
18. III. Studies on the History and Analysis of New East Asian Music
19. 1. The Reception of Western Modernism in the Music of China and Japan Since the Late Nineteenth Century 155
20. 2. Triggering Musical Modernism in China: The Work of Wolfgang Fraenkel in Shanghai Exile 167
21. 3. The Travels of a Jasmine Flower: A Chinese Folk Song, Its Prehistory, and Tan Dun’s Symphony 1997 194
22. 4. Probing the Compositional Relevance of Cultural Difference: Key Tendencies of East Asian New Music Since the 1950s 206
23. 5. Intercultural Narrativity in East Asian Art Music since the 1990s 235
24. 6. The Impact of Traditional Music on Composition in Taiwan since the Postwar Period 263
25. IV. The shō Context
26. 1. Transformation and Myth Criticism in Works for the Japanese Mouth Organ 289
27. 2. The shō as a Medium of Alterity and Self-Referentiality in Helmut Lachenmann’s Music 308
28. V. New Music and Beyond: Music-Historical and Cultural Entanglements
29. 1. The Rediscovery of Presence: Intercultural Passages Through Vocal Spaces Between Speech and Song 337
30. 2. Space-Time Movements in György Ligeti’s Piano Concerto: Polymeter and Conflicting Meter in Historical and Intercultural Perspective 363
31. 3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning 385
32. VI. Reflections on My Own Composing as a Search for Traces in the In-Between
33. 1. Layered Fabric, Intertextuality, and Cultural Context: From Striated to Open Space 393
34. 2. Stratification and Analysis 402
35. 3. Intercultural and Multilingual Trajectories of the Human Voice 411
36. 4. Composition as Polyphony: Creating, Performing, and Perceiving Music Non-Hierarchically 428
37. Bibliography 441
38. Appendix 491
39. Index 497