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Journal articles on the topic 'Musical Exoticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

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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3

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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5

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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9

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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11

Johnson, Henry. "Chinese toms in the making of the drum kit: Localization and exoticism." Journal of Popular Music Education 5, no. 2 (2021): 227–42. http://dx.doi.org/10.1386/jpme_00059_1.

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The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popu

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YANG, MINA. "Moulin Rouge! and the Undoing of Opera." Cambridge Opera Journal 20, no. 3 (2008): 269–82. http://dx.doi.org/10.1017/s095458670999005x.

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AbstractWhile Moulin Rouge! (2001) riffs on and even exaggerates conventions from classic Hollywood backstage musicals, it owes a clear debt to an even earlier musico-dramatic genre – the opera. Combining operatic and film musical elements with those of pop videos, contemporary cinema and the rave scene, Baz Luhrmann's film engages with many of the thorny issues that have concerned opera critics of late, such as power, gender, exoticism, authorship, and identity construction and performance. The spotlight on the central love triangle of a consumptive courtesan, a writer and a wealthy patron ma

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Head, Matthew. "Ralph P. Locke, Musical Exoticism: Images and Reflections (Cambridge: Cambridge University Press, 2009). xix + 421pp. $99.00." Nineteenth-Century Music Review 7, no. 2 (2010): 124–29. http://dx.doi.org/10.1017/s1479409800003645.

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Hill, Edwin. "Making claims on echoes: Dranem, Cole Porter and the biguine between the Antilles, France and the US." Popular Music 33, no. 3 (2014): 492–508. http://dx.doi.org/10.1017/s0261143014000610.

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AbstractThis paper considers the ways in which the biguine (or ‘beguine’) circulated as a French West Indian musical genre and as a signifier for colonial and island exoticism in non-biguine musical genres during the early to mid-20th century. I begin by suggesting the ways in which the colonial and transnational conditions of its performance have left a history of ideological tensions within popular and academic discussions about the biguine. I then suggest some of the specific ways in which the biguine's circulation functioned in the context of the interwar years and resonated with the disco

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Ferraguto, Mark. "Haydn as ‘minimalist’: Rethinking exoticism in the trios of the 1760s and 1770s." Studia Musicologica 51, no. 1-2 (2010): 61–77. http://dx.doi.org/10.1556/smus.51.2010.1-2.5.

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A number of Haydn’s minuet movements from the 1760s and 1770s contain sparsely scored trio sections in which a single musical idea is repeated continuously, even obsessively. In these trios — of which the most distinctive are in Symphonies Nos. 21, 28, 29, 30, 43, 46, and 58 — Haydn developed and cultivated an aesthetic of the minimal. While they conjure a range of moods, these trios share several features that mark them as a distinct type. These include circular harmonic motion, schematic melodies, and the use of certain characteristic intervals. Although modern critics consistently ascribe ‘

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Acharya, Rohini, and Eric Kaufman. "Turns of ‘fate’: Jack Cole, jazz and Bharata Natyam in diasporic translation." Studies in Musical Theatre 13, no. 1 (2019): 9–21. http://dx.doi.org/10.1386/smt.13.1.9_1.

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The musical Kismet opened on Broadway in 1953. This commercially successful play, translated into a film version released two years later, included some of Jack Cole’s most widely viewed and popular choreography, which resulted in the exposure of Bharata Natyam to a mass audience through its incorporation into jazz dance. Cole’s ‘Hindu swing’ continues to confound years later, even as Bharata Natyam has ever-increasing prominence in global theatre. This article considers how the form, in migration from Madras to Manhattan, was (and is) materialized and reinscribed, discussing how exoticism and

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van der Linden, Bob. "Music, Theosophical spirituality, and empire: the British modernist composers Cyril Scott and John Foulds." Journal of Global History 3, no. 2 (2008): 163–82. http://dx.doi.org/10.1017/s1740022808002593.

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AbstractThis article deals with the life and work of the early twentieth-century British modernist composers Cyril Scott and John Foulds, in the context of British national music and ‘imperial culture’ at large. Through a discussion of their Theosophical spirituality, Indian musical exoticism, and modernist aesthetics (for all of which they became outsiders to the British music establishment), it tentatively investigates their ideas as part of an ‘alternative’ ideological cluster, which equally influenced British ‘imperial culture’. Furthermore, it discusses the role of Theosophists (such as A

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Epstein, Louis. "Ralph P. Locke. 2009. Musical Exoticism: Images and Reflections. Cambridge : Cambridge University Press. xviii, 327 p. ISBN 9780521877930 (couverture rigide)." Intersections: Canadian Journal of Music 29, no. 2 (2009): 141. http://dx.doi.org/10.7202/1000044ar.

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Revuluri, Sindhumathi. "Musical Exoticism: Images and Reflections, by Ralph P. Locke . Cambridge and New York: Cambridge University Press, 2009. xviii, 421 pp." Journal of the American Musicological Society 64, no. 1 (2011): 253–61. http://dx.doi.org/10.1525/jams.2011.64.1.253.

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Marković, Tatjana. "Ottoman legacy and Oriental Self in Serbian opera." Studia Musicologica 57, no. 3-4 (2016): 391–402. http://dx.doi.org/10.1556/6.2016.57.3-4.7.

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Serbia was an Ottoman province for almost four centuries; after some rebellions, the First and Second Uprising, she received the status of autonomous principality in 1830, and became independent in 1878. Due to the historical and cultural circumstances, the first stage music form was komad s pevanjem (theater play with music numbers), following with the first operas only at the beginning of the twentieth century. Contrary to the usual practice to depict “golden age” of medieval national past, like in many other traditions of national opera, the earliest Serbian operas were dedicated to the rec

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Sheppard, W. Anthony. "Continuity in Composing the American Cross-Cultural: Eichheim, Cowell, and Japan." Journal of the American Musicological Society 61, no. 3 (2008): 465–540. http://dx.doi.org/10.1525/jm.2008.61.3.465.

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Abstract Japanese music has repeatedly served as an exotic model for those American composers seeking “ultra-modern” status. Henry Eichheim's and Henry Cowell's engagements with Japan offer rich case studies for reconsidering our common critical approaches to cross-cultural works, prompting us to question the temporal, geographic, generic, and high/low boundaries typically employed in modernist taxonomy. I find that attempts to employ categorically such terms as “appropriation” and “influence” and “modernist” and “post-modernist” in evaluating cross-cultural compositions limits our experience

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Ванг Юй. "БАГАТОВИМІРНІСТЬ ВТІЛЕНЬ СЮЖЕТУ ТУРАНДОТ В ЖАНРІ ТЕАТРАЛЬНОЇ МУЗИКИ". World Science 3, № 3(43) (2019): 34–44. http://dx.doi.org/10.31435/rsglobal_ws/31032019/6419.

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    The article deals with the historical projection of the 300-year-old path of the Turandot image in the genre of theatrical music. After completing all the stages of European exoticism in Chinese subjects, Turandot was embodied in the main stages of the development of musical drama - from the baroque French Fair Theater Fory Saint-Lauren (Le Sage / d'Orneval for the first time analyzed music by J.C. Gillіer) through the pre-classical model of Italian folk (K. Gozzi) to the concept of German romanticism (F. Schiller ‒ F. Destush, K.M. Weber, W. Lyahner), oriental read

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KAPUSTA, JOHN. "The Self-Actualization of John Adams." Journal of the Society for American Music 12, no. 3 (2018): 317–44. http://dx.doi.org/10.1017/s1752196318000184.

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AbstractIn the late 1960s, the prominent psychologist Abraham Maslow argued that music-making was an inherently bodily activity, which like sex, could induce what Maslow called “peak experiences”—moments of mystical transcendence and personal insight. Amass enough such peak experiences, Maslow suggested, and one could achieve “self-actualization”—the full realization of one's potential as a human being. This article argues that though many musicians would heed Maslow's words, few embodied Maslow's program more than composer John Coolidge Adams did in the late 1970s. The article shows how Maslo

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Lugavtsova, Alyona Petrovna. "The impact of China under the ruling of Ming dynasty (1368-1644) upon the formation of ritual and customs of the early Ōbaku-shū and its perception in Japan." Genesis: исторические исследования, no. 1 (January 2021): 103–17. http://dx.doi.org/10.25136/2409-868x.2021.1.34687.

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The &#332;baku-sh&#363; (&#332;baku School) is a new trend of the Japanese Zen Buddhism, which was brought to Japan by the Chinese monks who arrived the islands during the Edo period (1603-1868). The &#332;baku teaching of Chinese origin was an absolute novelty for Japan with its policy of isolationism from the outside world, which at the initial stages led to surge in its popularity. This article examines some peculiarities of the ritual practice and routine of the &#332;baku-sh&#363;, which most vividly characterize its connection with the mainland and sparks particul

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Henson, Karen. "Victor Capoul, Marguerite Olagnier's "Le Saïs", and the Arousing of Female Desire." Journal of the American Musicological Society 52, no. 3 (1999): 419–63. http://dx.doi.org/10.2307/831790.

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We tend to think of exoticism in late nineteenth-century French opera as a very male-oriented phenomenon: as "cultural work" carried out mainly by men and for the male spectator's pleasure. This article takes as its starting point a rather different configuration of opera, exoticism, and gender issues, exploring the possibility of a form of French operatic exoticism aimed at the fantasies and desires of women. In particular, the article focuses on a now wholly forgotten work, Marguerite Olagnier's Le Saïs (1881), and on the role in this and other operas of Victor Capoul, an Opéra-Comique tenor

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Loges, Natasha. "Exoticism, Artifice and the Supernatural in the Brahmsian Lied." Nineteenth-Century Music Review 3, no. 2 (2006): 137–68. http://dx.doi.org/10.1017/s147940980000063x.

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Perhaps as a consequence of the late-nineteenth-century tendency to differentiate Brahms from the Wagnerian coterie at all costs, his enduring interest in exoticism has received little attention. This is not unreasonable, since his untexted works show no evidence of any foreign links further than Hungary. In addition, for obvious reasons, the specific tropes associated with exoticism, or more specifically orientalism, manifested themselves most clearly through art-forms better equipped to portray specific verbal content, such as opera, literature and painting, none of which is strongly associa

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Roper, Jane. "Goldmark’s wild Amazons drama and exoticism in the Penthesilea overture." Studia Musicologica 57, no. 3-4 (2016): 295–324. http://dx.doi.org/10.1556/6.2016.57.3-4.2.

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Goldmark was the first of several composers to write a work based on Heinrich von Kleist’s controversial play, Penthesilea. Early critical opinion about the overture was divided. Hanslick found it distasteful, whereas others were thrilled by Goldmark’s powerful treatment of the subject. Composed in 1879, during the 1880s Penthesilea became established in orchestral repertoire throughout Europe and America. The overture represents the conflict of violence and sexual attraction between the Queen of the Amazons and Achilles. Exoticism in the play is achieved by contrasting brutal violence, irrati

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Revuluri, Sindhumathi. "Tan Dun’s The First Emperor and the Expectations of Exoticism." Opera Quarterly 32, no. 1 (2016): 77–93. http://dx.doi.org/10.1093/oq/kbw002.

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Johnson, Lynne. "Camille Saint-Saëns's Changing Exoticism and the Interesting Case ofLa Foi." Journal of Musicological Research 25, no. 1 (2006): 75–95. http://dx.doi.org/10.1080/01411890500477083.

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DE VAN, GILLES. "Fin de Siècle Exoticism and the Meaning of the Far Away." Opera Quarterly 11, no. 3 (1995): 77–94. http://dx.doi.org/10.1093/oq/11.3.77.

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Lampert, Vera. "Nationalism, Exoticism, or Concessions to the Audience? Motivations behind Bartók's Folksong Settings." Studia Musicologica 47, no. 3-4 (2006): 337–44. http://dx.doi.org/10.1556/smus.47.2006.3-4.9.

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MAYES, CATHERINE. "RECONSIDERING AN EARLY EXOTICISM: VIENNESE ADAPTATIONS OF HUNGARIAN-GYPSY MUSIC AROUND 1800." Eighteenth Century Music 6, no. 2 (2009): 161–81. http://dx.doi.org/10.1017/s1478570609990066.

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ABSTRACTWesternized Hungarian-Gypsy music (or the so-called style hongrois) has invariably been described as exotic. Although such a characterization is appropriate for later nineteenth-century compositions, I argue that it is inadequate for many of the earliest Viennese adaptations of Hungarian-Gypsy music. I focus in particular on representative examples from the sphere of Hausmusik, in which early adaptations were most numerous, yet which has received the least scholarly attention. Although these adaptations evoke a foreign place and foreign people through their descriptive titles, they are

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Yee, Jennifer. "Undermining Exoticism: Flaubert's Use of Antithesis inL'Éducation sentimentale." Dix-Neuf 15, no. 1 (2011): 26–36. http://dx.doi.org/10.1179/147873111x12973011702202.

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Lacombe, Hervé. "The writing of exoticism in the libretti of the Opéra-Comique, 1825–1862." Cambridge Opera Journal 11, no. 2 (1999): 135–58. http://dx.doi.org/10.1017/s0954586700004985.

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Considerations of exoticism and particularly of orientalism in opera seem to focus, either explicitly or implicitly, on generalities – even when scholars have looked at only a few isolated works taken almost exclusively from ‘serious’ or ‘great’ repertories. However, in order to understand this complex phenomenon in its contemporary context, it is necessary to work from a knowledge of the extraordinary diversity of ‘exotic’ opera.

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Perlove, Nina. "Inherited Sound Images: Native American Exoticism in Aaron Copland's Duo for Flute and Piano." American Music 18, no. 1 (2000): 50. http://dx.doi.org/10.2307/3052390.

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Locke, R. P. "Unacknowledged Exoticism in Debussy: The Incidental Music for Le martyre de saint Sebastien (1911)." Musical Quarterly 90, no. 3-4 (2008): 371–415. http://dx.doi.org/10.1093/musqtl/gdn017.

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Betzwieser, Thomas. "Exoticism and politics: Beaumarchais' and Salieri's Le Couronnement de Tarare (1790)." Cambridge Opera Journal 6, no. 2 (1994): 91–112. http://dx.doi.org/10.1017/s0954586700004195.

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Not least because of its librettist, Tarare (1787) ranks among the most interesting ‘reform’ operas of the eighteenth century. The work was by no means unique among such efforts at the Académie Royale de Musique, but it undoubtedly had the greatest impact after the Piccinni controversy at the end of the 1770s, in part because Beaumarchais was untiring in his efforts to promote the new opera – a task at which he was far superior to his librettistic colleagues. He presented his new operatic conception in a detailed preface to the libretto (‘Aux Abonnés de l'Opéra’), the central point of which wa

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Korevaar, David. "Exoticism Assimilated: "Turkish" Elements in Mozart's Sonata, K. 331 and Beethoven's "Waldstein" Sonata, op. 53." Journal of Musicological Research 21, no. 3 (2002): 197–232. http://dx.doi.org/10.1080/01411890214590.

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Lind, Tore Tvarn⊘. "Meaning, Power and Exoticism in Medicinal Music: A Case Study of MusiCure in Denmark." Ethnomusicology Forum 16, no. 2 (2007): 209–42. http://dx.doi.org/10.1080/17411910701554039.

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Rao, N. "American compositional theory in the 1930s: scale and exoticism in ''The Nature of Melody'' by Henry Cowell." Musical Quarterly 85, no. 4 (2001): 595–640. http://dx.doi.org/10.1093/mq/85.4.595.

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Rindom, Ditlev. "Dreams of Iberia." Cambridge Opera Journal 32, no. 1 (2020): 115–28. http://dx.doi.org/10.1017/s0954586720000129.

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‘Spain is different’, the Spanish tourist board famously declared in the 1960s as part of its strategy to attract mass tourism to the country. The campaign played a key role in opening up Spain's economy during the later years of Franco's regime – the so-called apertura – following two decades of autarchic rule that had left the country geopolitically isolated. As the slogan suggested, however, exoticism was a key part of Spain's nation-branding. Ideas of Spanish difference were now marketed for their tourist appeal, with images of gypsies and flamenco joined by sizzling beaches and ice-cold s

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Pennington, Stephan. "Reading Uncle Bumba and the Rumba: The Comedian Harmonists and Transnational Youth Culture at the End of the Weimar Republic." Journal of the Royal Musical Association 140, no. 2 (2015): 371–416. http://dx.doi.org/10.1080/02690403.2015.1075811.

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ABSTRACTThis article presents an analytical and cultural reading of the 1932 song ‘Der Onkel Bumba aus Kalumba tanzt nur Rumba’ by the German vocal group the Comedian Harmonists. It incorporates Erving Goffman's stigma theory to propose an alternative interpretation of performances of commercial rumba and jazz by members of a Weimar cosmopolitan youth culture that pushes beyond paradigms of appropriation and exoticism. The author argues that songs seemingly exoticizing an Other could rather serve as a means of articulating concerns of an Othered Self in the context of the rise of National Soci

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Dynarowicz, Ewa. "Stereotypes as source of subcultural capital: Poland and the Polish in the auto-representation project of the Dutch rapper, Mr. Polska." Popular Music 37, no. 3 (2018): 466–86. http://dx.doi.org/10.1017/s0261143018000417.

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AbstractOver the past few years Mr. Polska, a Dutch rapper of Polish origin, has been enjoying a growing popularity in the Netherlands. Mr. Polska uses his Polish roots to position himself on the Dutch music scene and creates a persona that leans heavily on essentialised and exoticised stereotypes about Poland and the Polish. This article tries to answer two questions: what kind of image of Poland and the Poles is being created here? What purpose does it serve? It argues that negative stereotypes used in a multicultural environment acquire a new, positive meaning and play an important role in

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IVERSON, JENNIFER. "Amy Bauer, Ligeti's Laments: Nostalgia, Exoticism, and the Absolute (Farnham and Burlington, VT: Ashgate, 2011), ISBN 978-1-4094-0041-7 (hb)." Twentieth-Century Music 9, no. 1-2 (2012): 227–34. http://dx.doi.org/10.1017/s1478572212000291.

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Liao, Yvonne. "‘Chinatown’ and Global Operatic Knowledge." Cambridge Opera Journal 31, no. 2-3 (2019): 280–90. http://dx.doi.org/10.1017/s0954586720000063.

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In recent years opera studies have taken a distinctly global and migratory turn: Nancy Rao's Chinatown Opera Theater is a notable example. Rao's book sheds new light on the art form's transpacific networks, Cantonese immigrant communities and their highly racialised experience of everyday entertainment in early twentieth-century America, thereby ‘strip[ping] the veneer of exoticism from [southern] Chinese [i.e., Cantonese] opera, placing it firmly within the bounds of American music and a profoundly American experience’. Still more illuminating is Rao's focus on the Chinatown theatre companies

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Naylor, Steven. "Appropriation, Culture and Meaning in Electroacoustic Music: A composer's perspective." Organised Sound 19, no. 2 (2014): 110–16. http://dx.doi.org/10.1017/s1355771814000041.

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This paper explores issues related to cultural appropriation in acousmatic electroacoustic music. Through its use of sound recording technology, acousmatic electroacoustic music facilitates a broad range of potential mechanisms for cultural appropriation, from the abstract (idea) to the concrete (sound object). But appropriating culturally identifiable material is not without its hazards, and the composer may face accusations of superficial exoticism, cultural offence, or the violation of personal or legal rights. To complicate matters for the composer, each listener will bring his or her own

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O’Connell, John Morgan. "Timothy D. Taylor, Beyond Exoticism: Western Music and the World (Durham, NC: Duke University Press, 2007), ISBN 978 0 8223 9571 (hb), 978 0 8223 3968 7 (pb)." Twentieth-Century Music 4, no. 2 (2007): 261–65. http://dx.doi.org/10.1017/s1478572208000546.

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D’Agostino, Mirko Ettore. "Reclaiming and Preserving Traditional Music: Aesthetics, ethics and technology." Organised Sound 25, no. 1 (2020): 106–15. http://dx.doi.org/10.1017/s1355771819000505.

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Music history is full of examples of composers drawing upon traditional repertoires for their works. Starting from the late nineteenth century in particular, many of them have looked at this specific sound material for several reasons: overcoming the limitations of tonal system, discovering different compositional strategies, finding new inspiration and aesthetics, evoking exoticism. Electronic music is no exception. Since the emergence of sound recording, sonic artists and electronic music composers have experimented with new technologies trying to integrate traditional elements in their work

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LOCKE, RALPH P. "Beyond the exotic: How ‘Eastern’ is Aida?" Cambridge Opera Journal 17, no. 2 (2005): 105–39. http://dx.doi.org/10.1017/s0954586705002004.

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Various commentators on Aida express disappointment that the music for the opera’s main characters is not more distinctive, i.e., does not make much use of the exotic styles that mark the work’s ceremonial scenes and ballets. Others argue that exotic style is mostly confined to female, hence powerless, characters. Much of this commentary draws on the same limited selection of data and observations: the exotic style of those few numbers, the opera’s plot, and the circumstances of the work’s commissioning (by the Khedive of Egypt).The present study aims to broaden the discussion. Most unusually,

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Thomas, Helen. "Amy Bauer, Ligeti's Laments: Nostalgia, Exoticism and the Absolute (Farnham: Ashgate Publishing, 2011). xvii + 234 pp. $99.95/£55.00. ISBN 978-1-4094-0041-7 (hb). Stephen Downes, Hans Werner Henze: ‘Tristan’ (1973) (Farnham: Ashgate Publishing, 2011). xiv." Music Analysis 33, no. 1 (2013): 121–27. http://dx.doi.org/10.1111/musa.12024.

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