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Relevant bibliographies by topics / Musical Exoticism

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Academic literature on the topic 'Musical Exoticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Musical Exoticism"

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LOCKE, RALPH P. "A Broader View of Musical Exoticism." Journal of Musicology 24, no. 4 (2007): 477–521. http://dx.doi.org/10.1525/jm.2007.24.4.477.

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Most previous writings on musical exoticism reflect the unspoken assumption that a work is perceived by the listener as exotic only if it incorporates distinctively foreign or otherwise highly unusual elements of musical style. This ““Exotic Style Only”” Paradigm often proves revelatory, especially for purely instrumental works. In operas and other musicodramatic works set in exotic locales, by contrast, music is heard within a narrative ““frame”” that shapes the listener's response. Yet the existing literature on ““the exotic in music”” tends to restrict its attention to those few scenes or p

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Sovtic, Nemanja. ""Exoticism” in the opera Gilgamesh by Rudolf Brucci in Ralph Locke’s “All the music in the full context” paradigm." Muzikologija, no. 15 (2013): 105–25. http://dx.doi.org/10.2298/muz1315105s.

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In this text, Rudolf Brucci?s opera Gilgamesh is viewed in the light of Ralph Locke?s ?All the Music in the Full Context? Paradigm which promotes the approach that one should search for the exotic elements in musical works first in the discursive components (title, program, accompanying notes), visual representations (costume, scenery) and a ?horizon of expectations? of a particular culture, and only then to observe exoticism as the aspect of a musical style. In the light of this Paradigm, ?exoticism? of the opera Gilgamesh is detected at the level of the music material and compositional proce

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Shay Loya. "Musical Exoticism: Images and Reflections (review)." Notes 66, no. 4 (2010): 774–76. http://dx.doi.org/10.1353/not.0.0348.

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Yang, Mina. "Extreme exoticism: Japan in the American musical imagination." Ethnomusicology Forum 30, no. 2 (2021): 331–35. http://dx.doi.org/10.1080/17411912.2021.1950023.

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Betzwieser, Thomas. "Musical Exoticism: Images and Reflections - By Ralph P. Locke." Journal for Eighteenth-Century Studies 35, no. 2 (2012): 274–75. http://dx.doi.org/10.1111/j.1754-0208.2011.00384.x.

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Piotrowska, Anna. "The place of ‘Russian music’ on the multicultural map of Europe." Muzikologija, no. 21 (2016): 109–22. http://dx.doi.org/10.2298/muz1621109p.

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Both Russian and non-Russian composers and music critics willingly used the notion of Russian exoticism to differentiate the Russian musical legacy from the (western) European tradition, especially in the 19th century. At the same time, various Russian musical practices were considered to be exotic in Russia itself. In this article it is suggested that these two perceptions of Russian music influenced each other, having an impact on the formation of Russian national music. It is further claimed that Russian music served both as an internal and external tool for defining the country?s musical c

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Nikolaidis, Matthias. "„Ricomincio a respirare l’aria di quei paesi“. Zu einem ‚russischen‘ Naturalismus und seiner ästhetischen Entgrenzung in Opern von Umberto Giordano und Franco Alfano (1898–1904)." Studia Musicologica 52, no. 1-4 (2011): 271–309. http://dx.doi.org/10.1556/smus.52.2011.1-4.21.

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The unexpected success of Pietro Mascagni’s Cavalleria rusticana (1890) gave the starting signal for a turn of Italian opera to naturalism. The problematic integration of naturalistic plots into the melodramma was approached in part by means of musical exoticism. The recently started reception of Lev Tolstoy’s and Fyodor Dostoyevsky’s novels could serve as basis for a re-evaluation of Russian subjects in fin de siècle Italian opera.Since the beginning of the 19th century, the Western image of Russia had been stamped by the contrast of tsarist glamour and the penal camps of Siberia. Umberto Gio

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Lee, Gavin. "Postcolonial Affect: Ambiguous Relationality in Robert Casteels's L’(autre) fille aux cheveux de Bali." Journal of the Royal Musical Association 140, no. 2 (2015): 417–43. http://dx.doi.org/10.1080/02690403.2015.1075812.

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ABSTRACTThis article examines postcolonial affect as expressed in the Belgian-born Singaporean citizen Robert Casteels's L’(autre) fille aux cheveux de Bali (2002), in which it is shown that sonic identities (gamelan and Chinese instruments; quotations from Debussy and Bartók) give way to the ambiguous, modulating relationality of dis/affiliation, dis/affinity and a/proximity. Micro-changes in musical affect lead to the loosening of enculturated or acculturated emotional and perceptual responses associated with established identities. Musical affect thus serves as a corrective to neatly differ

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Seta, Fabrizio Della. "‘O cieli azzurri’: Exoticism and dramatic discourse in Aida." Cambridge Opera Journal 3, no. 1 (1991): 49–62. http://dx.doi.org/10.1017/s0954586700003360.

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The use of semiotic methods and concepts in analytical studies of opera has not yet produced the results that the variety of communicative levels in musical theatre might lead us to expect. If, to repeat a frequently cited formulation by Pierluigi Petrobelli, ‘various systems work together in opera, each according to its nature and laws, and the result of the combination is much greater than the sum of the individual forces’, it seems likely that the difficulty of applying this principle may in fact be directly related to the multiplicity of ‘systems’ involved. Only theoretical enquiries that

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Rice, Eric. "Representations of Janissary music(Mehter)as musical exoticism in western compositions, 1670–1824." Journal of Musicological Research 19, no. 1 (1999): 41–88. http://dx.doi.org/10.1080/01411899908574768.

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Dissertations / Theses on the topic "Musical Exoticism"

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Steadman, Amanda Joy. "Images of Japonisme: The Portrayal of Japan in Select Musical Works." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1249250727.

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Cooper, Thomas. "French Empire and musical exoticism to the end of the nineteenth century." Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365908.

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Brlecic, Maja. "Old and New Directions in Stravinsky’s Les Noces: Venturing into Neoclassicism through the Avenues of Eurasianism, Exoticism, and Primitivism." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592137262344743.

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Merlino, Shannon M. "Adoration, Appropriation, or Approximation? Rethinking the Exotic in Western Music." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/548419.

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Music Performance<br>D.M.A.<br>Throughout the history of European art music, the desire to portray “Other” cultures has been given voice by composers by way of exoticism. The ability to depict the exotic has, for centuries, held the fascination of listeners and composers alike. In spite of this, the identification and study of exoticism as an aesthetic trend in music has not been given nearly as much attention as it deserves. Drawing from and expanding upon the work of Ralph Locke and Jonathan Bellman, I explore and illuminate some of the deeper issues that undermine the potential study of thi

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Schreiber, Rebecca A. "(Re)Framing the Storyteller’s Story in John Adams’s "Scheherazade.2"." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin155361836303747.

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Balacon, Maira. "Style Hongrois Features in Brahms’s Hungarian Dances: A Musical Construction of a Fictionalized Gypsy “Other”." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123166536.

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Vaillant, Anaïs. ""La batucada des gringos" : Appropriations européennes de pratiques musicales brésiliennes." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3109.

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À partir de l'exemple du phénomène des batucadas en France et en Europe, cette thèse propose d'explorer des processus d'appropriations culturelles de modèles musicaux brésiliens, en particuliers ceux du samba enredo carioca, du samba- reggae bahianais et du maracatu recifense. L'ethnographie, entreprise entre 2000 et 2010, se compose de nombreux récits de vie et entretiens semi-directifs réalisés auprès d'amateurs de percussions brésiliennes et de musiciens professionnels (français et brésiliens) ; d'observations de pratiques musicales en Europe et au Brésil ; de participations de l'ethnograph

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HARA, KUNIO. "PUCCINI'S USE OF JAPANESE MELODIES IN MADAMA BUTTERFLY." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1060955367.

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Titus, Stephanie. "Japanese Contemporary Piano Music: Cultural Influence and Identity." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1604259509513433.

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Serfontein, Andre. "Maurice Ravel and Exoticism. A study of the exotic in he vocal works of Maurice Ravel with special reference to L'Enfant et les sortileges and the Trois Chansons Madecasses." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/7848.

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The fascination for things exotic or fairytale-like occupied Ravel throughout his entre life. In fact, one can safely assume that these fascinations may have prevented him from forming some sort of mental inertia in those difficult years for him following the First World War. On writing about his ShÃ©hÃ¡razade triptych, Ravel stated : ... in them, I have succumbed again to the profound fascination which the East has held for me since childhood.""""' That is the purpose of this dissertation : to examine Ravel's handling and incorporation of this fascination into his works for solo voice. Ravel,

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Books on the topic "Musical Exoticism"

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Francesco, Cotticelli, Maione Paologiovanni, and Centro di musica antica Pietà dei Turchini., eds. Le arti della scena e l'esotismo in età moderna =: The performing arts and exoticism in the modern age. Turchini, 2006.

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Ligeti's laments: Nostalgia, exoticism and the absolute. Ashgate, 2011.

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Esotismo e musica: Saggio sulle influenze culturali nella musica francese di fine Ottocento-inizio Novecento. Firenze Atheneum, 2011.

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Speed, Chicks on. It's a project. Booth-Clibborn, 2004.

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Exotik in der Musik des 20. Jahrhunderts: Historisch-systematische Untersuchungen zur Metamorphose einer ästhetischen Fiktion. E. Katzbichler, 1986.

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Clausen, Bernd. Das Fremde als Grenze: Fremde Musik im Diskurs des 18. Jahrhunderts und der gegenwärtigen Musikpädagogik. Wissner, 2003.

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Exotica: Fabricated soundscapes in a real world. Serpent's Tail, 1999.

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Das Fremde und das Vertraute: Studien zur musiktheoretischen und musikdramatischen Ostasienrezeption. F. Steiner, 1997.

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Peter, Hiekel Jörn, ed. Orientierungen: Wege im Pluralismus der Gegenwartsmusik. Schott, 2007.

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pucciniano, Fondazione Festival, ed. Giacomo Puccini e Galileo Chini: Tra musica e scena dipinta : la favola cinese e altri racconti dal palcoscenico : Viareggio, Villa Borbone, 15 luglio-30 settembre 2006. Comune di Viareggio, 2006.

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Book chapters on the topic "Musical Exoticism"

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Cooper, Tom. "‘Frenchmen in Disguise’: French Musical Exoticism and Empire in the Nineteenth Century." In Empire and Culture. Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230000681_8.

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Sheppard, W. Anthony. "Introductions and Acknowledgments." In Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0001.

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Over the course of the past century and a half, numerous composers, musicians, and audiences in the United States have imagined Japan through works created and experienced in every musical genre and medium. Some of these popular songs, film scores, and Broadway musicals reached large audiences over an extended period. The vast majority of these works proved more ephemeral, but nevertheless were culturally significant through their collective impact. This book investigates the reciprocal relationships among this diverse body of musical works, the ever protean political dynamic between the United States and Japan, and the evolving American social climate in which this music was created and experienced. To what extent was music employed to shape American perceptions of the Japanese, and to what extent was American music itself shaped in the process?...

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Sheppard, W. Anthony. "An Exotic Enemy." In Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0006.

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The cinema was the most effective medium for anti-Japanese propaganda in the U.S. during World War II and was the site of music’s most important wartime role. From shortly after Pearl Harbor to the end of the U.S. occupation of Japan in 1952, Hollywood produced a large number of films offering negative depictions of the Japanese. Music assumed multiple roles in these anti-Japanese feature films and U.S. government documentaries. Never had Orientalist and racial politics been more clearly evident in music heard by so many as in these productions. These films marshaled preexistent European music, stereotypical Orientalist signs, and traditional Japanese music against the exotic enemy. Select sophisticated examples of musical propaganda are analyzed, offering new perspectives for the study of cross-cultural musical encounters. For many in the U.S., Hollywood film music continues to shape their impressions of Japan and their perceptions of Japanese music.

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Sheppard, W. Anthony. "Japonisme and the Forging of American Musical Modernism." In Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0004.

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Japanese music played a central role in the formation of American musical modernism. This chapter focuses on the position of Japanese music in the careers of Henry Eichheim and Henry Cowell. For Eichheim, Japan had “a poetry no other country seems to possess.” Inspired by the writings of Lafcadio Hearn, Eichheim traveled to Japan between 1915 and 1928 and composed multiple pieces based on Japanese material. Japan was of central importance throughout Cowell’s life. In the 1930s Cowell studied shakuhachi with Kitaro Tamada who later wrote poignantly to Cowell from his Japanese American Internment Camp. Cowell traveled to Japan in 1957 and 1961 during the Cold War and composed several Japanese-inspired works, including for koto. Juxtaposing the musical journeys of these two composers and proselytizers highlights the roles Japanese music played for those Americans who sought to sound “ultra modern” in the twentieth century.

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Sheppard, W. Anthony. "“Beyond Description”." In Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0002.

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Chapter one places music in the context of late 19th-century Euro-American japonisme. The focus is on American perceptions of and reactions to Japanese music encountered in Japan in the second half of the 19th century. Sources include published and unpublished correspondence and diaries of Americans (from Salem sailors to scholars to Gilded Age socialites) who traveled to Japan as well as travel books, scholarly journals, newspapers, and novels set in Japan. The chapter presents the earliest songs, musicals, and plays representing Japan and Japanese music to the American public. Bostonian Japanophiles are central as are American music educators who worked in Japan. The context in which Japanese music was first heard in the U.S., particularly at World Expositions, is explored. These early and primarily negative reports indirectly reveal contemporaneous American musical values and unintentionally marked Japanese music as an ideal model for later modernist composers.

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Sheppard, W. Anthony. "Representing the Authentic from Japanese American Perspectives." In Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0008.

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This chapter explores the career of Japanese American composer and arranger Tak Shindo (1922–2002). Shindo grew up nisei in Los Angeles. Japanese American musical life is discussed with a focus on the community’s 1933 production of Sakura composed by Claude Lapham in the Hollywood Bowl. Interned at Manzanar during World War II, Shindo began musical studies through the camp’s programs. Although devoted to Latin jazz, he repeatedly served during the Cold War as a Japanese musical advisor for such Hollywood composers as Franz Waxman and Max Steiner (Sayonara, Cry for happy, and A majority of one). Several of his 1950s and 60s albums—combining elements of Japanese music with the big band style—were successful in the exotica genre. Shindo’s self-Orientalism is compared with the musical exoticism of Martin Denny. A brief discussion of subsequent Japanese American jazz follows. The chapter concludes with a profile of the composer Paul Chihara.

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Weisethaunet, Hans. "Escaping Nordic musical exoticism?" In The Nature of Nordic Music. Routledge, 2019. http://dx.doi.org/10.4324/9781315462851-2.

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Sheppard, W. Anthony. "Beat and Square Cold War Encounters." In Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0009.

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This chapter is focused on the transnational influences of Japanese music during the Cold War and on music’s role in U.S. cultural diplomacy efforts aimed at Japan. This includes examples of numerous American jazz musicians (David Brubeck, Duke Ellington, Herbie Mann) who were sent to Japan and who created musical “impressions” of their experience. A primary focus in on the 1961 Tokyo East-West Music Encounter organized by Nicolas Nabokov and attended by multiple American composers (Lou Harrison, Henry Cowell, Colin McPhee) and scholars (Robert Garfias). The chapter then details the broad influence of gagaku on European (Messiaen, Stockhausen, Xenakis) and American composers, focusing particularly on Alan Hovhaness. Experimental composers, such as Richard Teitelbaum, inspired by John Cage’s engagement with Zen also turned toward Japan. The chapter concludes with an extended discussion of the role of Japanese music and Japanese composers (particularly Toru Takemitsu) in the career of Roger Reynolds.

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Sheppard, W. Anthony. "Strains of Japonisme in Tin Pan Alley, on Broadway, and in the Parlor." In Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0003.

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This chapter focuses on the representation of Japan and the Japanese in American popular song and musical theater from 1860 to 1930. The representation of African Americans and of European immigrants in American popular song has received much attention. Comparatively little work has been undertaken on Tin Pan Alley’s engagement with Asians and Asian Americans. Through style and content analysis, the author identifies particular features that served as “Japanese” markers in the music, lyrics, and cover art of these songs. Musical interest in Japanese subjects directly reflected developments in political history and in American conceptions of race. The impact of Puccini’s Madama Butterfly, Gilbert and Sullivan’s The Mikado, and of the Russo-Japanese War is identified. The chapter is based on a collection of some 375 pieces with Japanese subjects–including parlor songs, show tunes, and piano dances and novelty pieces–that were published between 1890 and 1930 in the U.S.

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"10. Exoticism." In The American Musical and the Formation of National Identity. Princeton University Press, 2004. http://dx.doi.org/10.1515/9780691186207-013.

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