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A Comparative Study Of The Development Of Modern Music Among Eastern Countries

Posted on:2008-04-30Degree:DoctorType:Dissertation
Country:ChinaCandidate:Z Y LiuFull Text:PDF
GTID:1115360248456391Subject:Music
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The thesis of this dissertation is that the changes of music among the East Asian countries since from the end of 19th century-especially in China,Korea and Japan are creative results of cultural interactions with Western modernity.The western influence has been a catalyst to provoke new awareness of traditional music so that the pursuit of modernity and ethnic identity ends up creating new trends in music.Studies of musical changes in non-Western culture have frequently focused on the issue of Westernization versus modernization(Blacking 1978,Nettl 1978).The distinction between 'Modernization' and 'Westernization' was made by anthropologists,at least in theory,although the difference is not always clear.Scholars like Bruno Nettl regard the result of the musical change in Eastern Asia as Westernization,but Western influence and Westernization is different. Rather,many recent works composed by Asian shows the attempts to create their own music, especially from the combination of their traditional music and western art music.It is,therefore, more appropriate to use the term "musical change" than "westernization".The methodology of this dissertation will be as following;1.Use the transcription such as political,cultural and musicological texts.2.Investigate the epistemological changes that affect the musical practice.3.Analyze the musical tendencies of the native composers in each stage-beginning, advanced and present stage.4.Compare and generalize the results in the respect of music change.Chapter 1 describes how the epistemological shift of musicians has influenced on the changes of music.The development of music in 20th century among these Asian countries is a result of their pursuit of ethnic identity as well as of their keen interests in Modern Western music.I would argue that both the traditions in Asian countries and Modernization become key factors for Asian musicians to create another trend.These tendencies of epistemological shift became a much more distinctive feature in the late 20th century.Chapter 2 explains how the tendencies described in the previous chapter could be traced through the history of musical interaction between the West and the Eastern Asia,and then identifies the general characteristics.During the early 20th century,Asian traditional music had been strongly influenced by Western Classicism and Romanticism regarding its apparent melodies and rhythms.Those three nations in the East Asia are somewhat peculiar-firstly,their rapid acceptance of Western music;secondly,their compatibility of Western music and traditional music without true unification.Though it seems the Eastern countries accepted the Western music indiscreetly,they all,at some point,started to seek their cultural identity,and have attempted to find their national identities.However,during the latter half of the same era,both Asian and Western music went through fundamental changes by merging contemporary music into traditional music.It produced new trend of aesthetics in music.Chapter 3 shows representative cases of the new change among these countries.Japanese composer Takemitsu Toru's ,Korean composer Yun Yi Sang's , Chinese composer Zhu Jian's are the sample research.The conclusion of this dissertation is to presume the future potentials of Asian music in this postmodern and globalized world-rather than bringing about the homogenization of world musichave actually helped to make the 21st century a period of great musical diversity.
Keywords/Search Tags:Traditional Music, Western Music, Modernity, Ethnicity, East Asia, Chinese Music, Japanese Music, Korean Music
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