KŪNQǓ IN PRACTICE: A CASE STUDY

Ph.D

Musical Composition in the Context of Globalization

Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history 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 century. 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 forms the central focus and is treated as a pivotal music-historical dynamic

The Development of the Modern Zheng in Taiwan and Singapore.

Modem zheng music is distinguished by the large-scale movement of people and rapid dissemination of music through electronic media within and across national boundaries. The impact of such globalising factors on the local music culture forms the theme of the thesis. The development ofzheng music in Mainland China, Taiwan and Singapore is discussed. Rapid changes in instrument making, repertory, performance, teaching and transmission have taken place over the past fifty.years. These changes are shown to be closely linked to the interaction between ethnicity and nationalism. Zheng music originated from the Chinese Mainland, and developed into many schools of repertory and styles. From 1949 to 1987, the ban on communication with the Mainland led to the development of a unique musical style in Taiwan. This ban cut Taiwan off from the rapid modernisation of zheng music on the Mainland under the direction of the Communist government. As a result, the new Mainland tradition was transmitted to Singapore and Malaysia first, and musicians from these countries were able to bring the new repertory to Taiwan. In Singapore, the development ofzheng music in the 1950s and 1960s was closely correlated with the popularity of Chinese schools and communism. After independence in 1965, communism was eradicated and schools converted to the medium of English. Zheng music declined for a number of years, but started to grow again soon after the Cultural Revolution on the Mainland ended. The need for ethnic identity in both Taiwan and Singapore provides motivation to maintain links with the Chinese Mainland and to continue the development of zheng music

Lanthorn, vol. 43, no. 23, November 6, 2018

Lanthorn is Grand Valley State\u27s student newspaper, published from 1968 to the present

Historical sources of ethnomusicology in contemporary debate

This anthology concerns traditional music and archives, and discusses their relationship as seen from historical and epistemological perspectives. Music recordings on wax cylinders, 78 records or magnetic tape, made in the first half of the 20th century, are regarded today as valuable sources for understanding musical processes in their social dimension and as unique cultural heritage. Most of these historical sound recordings are preserved in sound archives, now increasingly accessible in digital formats. Written by renowned experts, the articles here focus on archives, individual and collective memory, and heritage as today’s recreation of the past. Contributors discuss the role of historical sources of traditional music in contemporary research based on examples from music cultures in West Africa, Scandinavia, Turkey, and Portugal, among others. The book will appeal to musicologists and cultural anthropologists, as well as historians and sociologists, and will be of interest to anyone concerned with sound archives, libraries, universities and cultural institutions dedicated to traditional music

Music as living heritage

What is cultural heritage, and why has it received so much public interest in recent years? Almost three decades after the World Organization UNESCO defined and established international recognition of Cultural and Natural Heritage sites and devised ways of protecting them, a completely new approach to cultural heritage emerged with the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage in 2003. This global agreement for the maintenance, protection and dissemination of cultural manifestations and achievements that are not tangible objects or immobile monuments, like previous items classified as World Heritage, was a remarkable milestone of international cultural politics. This new understanding of cultural heritage owes much to representatives from Asian, African, and Latin American countries. In fact, just a few years after the promulgation of the 2003 Convention, the world cultural heritage map had already lost much of its European predominance. Asian countries such as China, Japan, South Korea, and India very soon showed up with lists of manifestations of their centenary (in some cases even millenary) national cultural heritages