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This volume brings to an end the transcription and description of thirty-one items from the Court Entertainment Music of the Tang. Of particular interest are a tune for a birthplace-ode by the Taizong Emperor, music for spear throwing, and a piece imitating calls between sexual partners in a flock of geese. Important appendices discuss stylistic differences between music of the Tang and imitative Japanese compositions, Tang compositions with military associations, and relatedness between movements in suites from the Tang.
The seventh volume in this study of the music of the Tang Court.
This collection presents intriguing explanations of extraordinary musical creations from across the world, concentrating on how the music works as sound in process. It suggests analytical approaches that apply across cultures, proposes a new way of classifying music, and treats provocative questions about the juxtaposition of music from different cultures.
The fifth volume in this study of the music of the Tang Court.
This second fascicle includes two further suites from the Ichikotsu-chō mode-key group, namely Toraden, which probably originated in the early eighth century, and Shunnō-den, a ballet-suite believed to have its source in a late seventh-century piece in imitation of Cettia diphone cantans - a bush warbler with a nightingale-like song.
This is the sixth volume in a series of books devoted to the history, documentation and analysis of music in Asia. Four essays are dedicated to documents from the past: fifth-century Korean tomb paintings; tenth-century Chinese scores for lute; eighth-century Japanese documents; early Chinese sutras on the perception of sound. The remainder concern contemporary documents: the notations of the Japanese end-blown flute (shakuhachi) and lute (biwa) and their relationship to performance; acoustical analysis of contemporary shakuhachi. The focus on musical documents, whether ancient or modern, provides a unifying thread which renders this volume unique in the ethnomusicological literature on East Asian music.
The anecdotal literature of late-medieval China is not unknown, but it is under-used. Glen Dudbridge explores two collections of anecdotal memoirs to construct an intimate portrait of the first half of the tenth century as seen by people who lived through it. The author Wang Renyu's adult life coincided closely with that period, and his memoirs, though not directly transmitted, can be largely recovered from encyclopaedia quotations. His experience led from early life on the north-west border with Tibet, through service with the kingdom of Shu, to a mainstream career under four successive dynasties in northern China. He bore personal witness to some great events, but also travelled widely and transcribed material from a lifetime of conversations with colleagues in the imperial Hanlin Academy. The study first sets Wang's life in its historical context and discusses the nature and value of his memoirs. It then pursues a number of underlying themes that run through the collections, presenting nearly 80 distinct items in translation. Together these offer a characterization of an age of inter-regional warfare in which individual lives, not grand historical narrative, form the focus. A nuanced self-portrait of the author emerges, combining features that seem alien to modern values with others that seem more familiar. Four appendixes give the text of the author's tombstone epitaph; a detailed list of his surviving memoir items; data from Song catalogues on the early transmission of his writings; and Wang Renyu's own definition of the four musical modes inherited from the Tang dynasty.
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.
Fáscicle 3 publishes smaller suites and pieces, together representative of the 'middle-sized pieces' and 'small pieces' (chukyoku and shokyoku) of the threefold classification, in which the daikyoku are the largest suites. O-dai hajin-raku from a reputedly eleventh-century manuscript: Kaicbu-fu, in parallel with the conflation discussed in Fascicle 2.