ȃĩƪŻěŎŻʼnŎƪƷŻƢŎěþŦƟƢĩěŻűĢŎƷŎŻűƪŁŻƢþƢƷŎƪƷŎě܌þűĢʼnĩűěĩěŻůƟŻƪŎƷŎŻűþŦ܌þěƷƪŎűƷʼnĩłŦŻĚþŦŎǬĩĢ ěŻűƷĩǡƷþƢĩƿűĢŻƿĚƷĩĢŦǢěŦŻƪĩŦǢŦŎűţĩĢƷŻƷʼnĩƟƢŻĚŦĩůƪþěěŻůƟþűǢŎűłƷʼnĩłŦŻĚþŦĢŻůŎűþűěĩŻŁ the Western musical discourseܣŎűƷʼnĩFŻƿěþƿŦĢŎþűƪĩűƪĩܤܒ®ŻǜʼnĩűŻűĩƪƟĩþţƪŻŁܹűĩǜcomposed music,” for example (or also “composedűĩǜůƿƪŎěܺܤ܌ŎƷŎƪěĩƢƷþŎűŦǢǜŻƢƷʼnơƿĩƪƷŎŻűŎűłȀƢƪƷŻŁþŦŦ how culturally-conditioned these concepts, or the historical processes to which they refer, in fact are.
SŁǜĩĢŎƢĩěƷŻƿƢþƷƷĩűƷŎŻűƷŻǜþƢĢܹűĩǜěŻůƟŻƪĩĢůƿƪŎěܺŎű/þƪƷƪŎþ܌ŁŻƢĩǡþůƟŦĩ܌ǜĩþƢĩ ěŻűŁƢŻűƷĩĢǜŎƷʼnþěŻůůŻűƷǜŻܮƟʼnþƪĩůŻĢĩŦܒȃĩƟʼnþƪĩbefore the intensive encounter with Western culture through imperialism and colonialism since the nineteenth century essentially featured nothing analogous to the Western concept of “musical composition,” which conse-quently appears as a “special path” of the West. ǽ ƷĩƢthis confrontation with the West, how-ĩǛĩƢ܌ƷʼnĩěŻűěĩƟƷŻŁěŻůƟŻƪŎƷŎŻűĩǡƟĩƢŎĩűěĩĢþłƢþĢƿþŦƢĩěĩƟƷŎŻűþűĢþƪƪŎůŎŦþƷŎŻűŎű/þƪƷƪŎþܒ
¼ʼnĩƪƟĩěƷƢƿůŻŁƷʼnŎƪþƪƪŎůŎŦþƷŎŻűůĩþűǜʼnŎŦĩĩǡƷĩűĢƪŁƢŻůƷʼnĩŎůŎƷþƷŎŻűŻƢǴ ŦþǜŦĩƪƪůþƪƷĩƢǢ of Western styles or compositional tendencies toward the rupturing of the cultural-aesthetic ŁŻƿűĢþƷŎŻűƪ ƿűĢĩƢŦǢŎűł Ʒʼnĩ ěŻűěĩƟƷ ŻŁ ܹěŻůƟŻƪŎƷŎŻűܒܺ hĩþǛŎűł þƪŎĢĩ Ʒʼnĩ ƟƢŻĚŦĩůþƷŎě ƟŻƪƷěŻ-lonial perspective that presents music-historical movements as solely dependent on Western ŎűǴ Ŧƿĩűěĩ܌ƷʼnŎƪþŦƪŻĢĩűŎłƢþƷĩƪܣƷƢþĢŎƷŎŻűþŦܤŁŻƢůƪŻŁěŻůƟŻƪŎƷŎŻűŎű/þƪƷƪŎþǜŎƷʼnŻƿƷŁƿƢƷʼnĩƢ ĢŎƪěƿƪƪŎŻűĚǢĢĩűǢŎűłƷʼnĩůƷʼnĩĢŎłűŎƷǢŻŁĚĩŎűłěŻűƪŎĢĩƢĩĢܹěŻůƟŻƪŎƷŎŻűܒܺȃƿƪ܌ŎűƷʼnĩþƢƷŎěŦĩ
ܹfŻůƟŻƪŎƷŎŻűܺܣڐژژڕܤŁƢŻůƷʼnĩĩűěǢěŦŻƟĩĢŎþDie Musik in Geschichte und Gegenwart, non-Western contexts are consistently ignored, implying that their forms of musical creativity do not meet ڷڼ Ibid., 60.
ڷڽ See Blum, “Composition.”
the standard laid out, namely producing a “construct with artistic ambition (which is thus char- þěƷĩƢŎǬĩĢĚǢþƟþƢƷŎěƿŦþƢơƿþŦŎƷǢŻŁŁŻƢůƪ܌ĩǡƟƢĩƪƪŎǛĩěþƟþěŎƷǢ܌ĢĩƟƷʼnŻŁůĩþűŎűłĩƷěܒܤܒܺڝڙ
In opposition to this rather dualistic view of Western composed music and non-Western ƷƢþĢŎƷŎŻűþŦŦǢܣƟƢĩĢŻůŎűþűƷŦǢþƿƢþŦŦǢþűĢŻƢþŦŦǢܤƷƢþűƪůŎƷƷĩĢůƿƪŎě܌SǜŻƿŦĢŦŎţĩƷŻƟƢŻƟŻƪĩþ more complex model. My model will not dispute the cultural autonomy and largely indepen-dent historical development of both forms of musical creativity before the nineteenth centu-ry while adopting a less essentialist position. For now, let us continue to assess the concept of “musical composition” in the Western context.ڝښtŻůþƷƷĩƢǜʼnŎěʼnƟŻŎűƷŻŁƷŎůĩŻƢƟĩƢŎŻĢ ŻűĩěʼnŻŻƪĩƪþƪƷʼnĩƷŎůĩŻŁŎƷƪĚŎƢƷʼnܫڐڏڑڔ܌ڐړږړ܌ŻƢڐڔڒږڝڛ – the criteria that justify “viewing ěŻůƟŻƪŎƷŎŻűþƪƪƟĩěŎȀěƷŻƷʼnĩ/ƿƢŻƟĩþűěƿŦƷƿƢþŦƷƢþĢŎƷŎŻűܺڝڜ and hence placing it in opposition to musical creativity in other cultures are far from self-evident.ڝڝ Certainly there was a new ĢĩǛĩŦŻƟůĩűƷĚĩƷǜĩĩűƷʼnĩtŻƷƢĩ'þůĩƟĩƢŎŻĢþűĢƷʼnĩFƢþűěŻܮFŦĩůŎƪʼnƪěʼnŻŻŦƷŻǜþƢĢƷʼnĩƪĩƟܮ þƢþƷŎŻűþűĢþƿƷŻűŻůǢŻŁƷʼnĩȀǡĩĢƷĩǡƷŎűƢĩŦþƷŎŻűƷŻǛþƢŎŻƿƪƟƢþěƷŎěĩƪŻŁŎůƟƢŻǛŎƪþƷŎŻűþűĢ extemporized performance, leading to the introduction of a functional and exact music no-ƷþƷŎŻűܒ¼ŻłĩƷʼnĩƢǜŎƷʼnþűĩǜʼnŎĩƢþƢěʼnǢŦĩĢĚǢƷʼnĩěƢĩþƷŎǛĩpoeticus musicus,ڝڞ this situation laid ƷʼnĩŁŻƿűĢþƷŎŻűŁŻƢþűĩǜŁŻƢůŻŁůƿƪŎěþŦþƿƷŻűŻůǢ܌ƢĩþěʼnŎűłþȀƢƪƷƟĩþţŎűƷʼnĩěŻůƟŻƪŎƷŎŻűþŦ procedures of the late fourteenth-century ars subtiliorܒ ȃĩƪĩ ƟƢŻƟĩƢƷŎĩƪ ŻŁ ůƿƪŎěþŦ ěŻůƟŻƪŎ-tion remained crucial in Western music up to the twentieth century, in a complexity that only Ěĩěþůĩ ƟŻƪƪŎĚŦĩ ƷʼnƢŻƿłʼn ƪěƢŎƟƷƿƢþŦŎƷǢܒ ȃĩ ܹtĩǜ ŻůƟŦĩǡŎƷǢܺ þƪƪŻěŎþƷĩĢ ǜŎƷʼn ƢŎþű FĩƢűĩǢ-hough, for example, is only conceivable as the radicalized autonomy of written formulation in relation to musical practice, which it certainly enriches creatively at the same time, but without being limited by the possibilities of any established res facta (which may freely signify here both the means of standard notational practice as well as limitations of traditional musical perfor-ڸڴ ®ÿĜŊƫĪƸÿŧ܉ܶfżŰƠżƫŏƸŏżŲܷܠܶĪŏŲGĪěŏŧģĪŰŏƸfǀŲƫƸÿŲƫƠƣǀĜŊܞģÿƫƫŏĜŊƫżŰŏƸģǀƣĜŊěĪƫżŲģĪƣĪGĪƫƸÿŧƸƢǀÿŧŏƸďƸ܉
ǀƫģƣǀĜŤƫłďŊŏŃŤĪŏƸ܉®ŏŲŲƸŏĪłĪǀݎďÿǀƫǝĪŏƫƸܟܷܡ
ڸڵ ®ĪĪ ÿŊŲ܉ ܶðǀƣ ßżƣŃĪƫĜŊŏĜŊƸĪ ģĪƫ ܸƠǀƫ ƠĪƣłĪĜƸǀŰ ĪƸ ÿěƫżŧǀƸǀŰ܉ܹܷ fÿģĪŲ܉Des Lebens wilder Kreis܉ ڒڐܨڍڌڏ܉
Loesch, 'ĪƣàĪƣŤěĪŃƣŏDzłŏŲģĪƣƠƣżƸĪƫƸÿŲƸŏƫĜŊĪŲrǀƫŏŤƸŊĪżƣŏĪģĪƫڑږܓǀŲģڑڗܓdÿŊƣŊǀŲģĪƣƸƫ, Strohm, “Opus: An Aspect żłƸŊĪ/ÿƣŧǣNŏƫƸżƣǣżłƸŊĪrǀƫŏĜÿŧàżƣŤܫ żŲĜĪƠƸ܉ܷ®ƸƣżŊŰ܉ܶ'ĪƣŰǀƫŏŤÿŧŏƫĜŊĪàĪƣŤěĪŃƣŏdzł܈'ÿŊŧŊÿǀƫǀŲģģŏĪ tÿĜŊǝĪŧƸ܉ܷFŧżƸǭŏŲŃĪƣ܉ܶGŧżƫƫĪŲǭǀŰłƣdžŊĪŲÿěĪŲģŧďŲģŏƫĜŊĪŲܸfżŰƠżƫŏƸŏżŲƫܹܫĪŃƣŏdzł܉ܷÿŲģÿŲģǀƣ܉ܶ żŰƠżƫŏ-ƸŏżŲܕfżŰƠżƫŏƸŏżŲ܉ܷ®ÿĜŊƫĪƸÿŧ܉ܶfżŰƠżƫŏƸŏżŲ܉ܷŧǀŰ܉ܶ żŰƠżƫŏƸŏżŲ܉ܷrƇŧŧĪƣ܉ܶfżŰƠżƫŏƸŏżŲܷ
ڸڶ ŲĪŰŏŃŊƸǀŲģĪƣƫƸÿŲģƸŊŏƫĜżŲĜĪƠƸƸżŊÿǜĪÿƣŏƫĪŲŏŲƸŊĪĪÿƣŧǣÿƠƠĪÿƣÿŲĜĪżłƸŊĪƸĪƣŰܶĜżŰƠżŲĪƣĪܷŏŲGǀŏģż żłƣĪǭǭżܹƫMicrologus de musicaܠ ŊÿƠƸĪƣڍڑ܉ڍڌڎڑܡ܉ŏŲģŏĜÿƸŏŲŃÿƫŏŃŲŏǿĜÿŲƸƠÿƣÿģŏŃŰƫŊŏǽƸƸżǝÿƣģÿܶƣĪǵŧĪĜƸŏǜĪ܉
ƸŊżƣżǀŃŊŧǣĜżŲƫŏģĪƣĪģłżƣŰżłŰǀƫŏĜÿŧŏŲǜĪŲƸŏżŲܷܠfÿģĪŲ܉Des Lebens wilder Kreis܉ڒڕܔܶƣĪǵŧĪŤƸŏĪƣƸĪܞܟ܉ŰĪŊƣłÿĜŊ džěĪƣģÿĜŊƸĪܞܟFżƣŰŰǀƫŏŤÿŧŏƫĜŊĪŲ/ƣǿŲģĪŲƫܷܡ/ƢǀÿŧŧǣżŲĪŰŏŃŊƸǜŏĪǝƸŊĪƸĪƣŰres facta of Johannes Tinctoris (¼ĪƣŰŏŲżƣǀŰrǀƫŏĜÿĪ'ŏDzǾŲŏƸżƣŏǀŰ܉ڍڐړڎܨړڐܡżƣƸŊĪģĪǿŲŏƸŏżŲżłƸŊĪopus perfectum et absolutum (and the opus con-ƫǀŰÿƸǀŰĪƸĪDzłĪĜƸǀŰܡŏŲ ŊÿƠƸĪƣSżłtŏŤżŧÿǀƫhŏƫƸĪŲŏǀƫܹƫMusicaܠڍڑڏړܡ܉ƸŊÿƸŏƫƸżƫÿǣ܉ƸŊĪGĪƣŰÿŲmusica poetica of ƸŊĪ¦ĪłżƣŰÿƸŏżŲ܉ÿƫÿģĪĜŏƫŏǜĪƫƸĪƠƸżǝÿƣģƸŊĪĪƫƸÿěŧŏƫŊŰĪŲƸżłƸŊĪĜżŲĜĪƠƸŏŲàĪƫƸĪƣŲŰǀƫŏĜŊŏƫƸżƣǣ
ڸڷ fÿģĪŲ܉Des Lebens wilder Kreis܉ڒڑܠܶfżŰƠżƫŏƸŏżŲÿŧƫĪŏŲ®ƠĪǭŏǿŤǀŰĪǀƣżƠďŏƫĜŊĪƣfǀŧƸǀƣƸƣÿģŏƸŏżŲǭǀĪƣÿĜŊƸĪŲܷܡ
ڸڸ See Blum, “Composition.”
ڸڹ ®ĪĪ ÿŊŲ܉ܶðǀƣßżƣŃĪƫĜŊŏĜŊƸĪģĪƫܸƠǀƫƠĪƣłĪĜƸǀŰĪƸÿěƫżŧǀƸǀŰܹܷÿŲģƸŊĪĜƣŏƸŏĜÿŧÿƣŃǀŰĪŲƸƫŏŲhżĪƫĜŊ܉Der àĪƣŤěĪŃƣŏDzłŏŲģĪƣƠƣżƸĪƫƸÿŲƸŏƫĜŊĪŲrǀƫŏŤƸŊĪżƣŏĪģĪƫڑږܓǀŲģڑڗܓݒdÿŊƣŊǀŲģĪƣƸƫ܉ƣĪšĪĜƸĪģěǣ®ƸƣżŊŰ܉ܶ'ĪƣŰǀƫŏŤÿŧŏƫĜŊĪ àĪƣŤěĪŃƣŏdzł܈'ÿŊŧŊÿǀƫǀŲģģŏĪtÿĜŊǝĪŧƸ܉ܷڎړڎ܈ܶ'ĪƣĪŃƣŏdzłģĪƫŰǀƫŏŤÿŧŏƫĜŊĪŲopus ܞ܊ܟǝÿƣŧÿŲŃĪǜżƣhŏƫƸĪŲŏǀƫ und der Wittenberger Schulreform im internationalen humanistischen Sprachgebrauch verbreitet und stell-ƸĪěĪƣĪŏƸƫģŏĪƫĪŧěĪŲŲżƣŰÿƸŏǜĪŲŲƫƠƣdžĜŊĪǝŏĪģĪƣšĪŲŏŃĪģĪƫڍڕdÿŊƣŊǀŲģĪƣƸƫ܉ǝĪŲŲĪƣÿǀĜŊģŏĪrǀƫŏŤƠƣÿǢŏƫ ŲżĜŊŲŏĜŊƸŏŲģĪƣƫĪŧěĪŲƣĪŏƸĪÿěģĪĜŤƸĪǝŏĪŏŲƫƠďƸĪƣĪŲdÿŊƣŊǀŲģĪƣƸĪŲܷܠܶ¼ŊĪĜżŲĜĪƠƸżłÿŰǀƫŏĜÿŧopusܞ܊ܟǝÿƫ common long before Listenius and the Wittenberg educational reform in international humanistic usage and ÿŧƣĪÿģǣƠŧÿĜĪģƸŊĪƫÿŰĪŲżƣŰÿƸŏǜĪģĪŰÿŲģƫÿƫƸŊżƫĪżłƸŊĪŲŏŲĪƸĪĪŲƸŊĜĪŲƸǀƣǣ܉ÿŧƸŊżǀŃŊŏƸģŏģŲżƸǣĪƸĜżǜĪƣ ŰǀƫŏĜƠƣÿĜƸŏĜĪƸżƸŊĪƫÿŰĪĪǢƸĪŲƸÿƫŏŲŧÿƸĪƣĜĪŲƸǀƣŏĪƫܷܡ
ůþűěĩܤܒæĩƷ'ĩĚƿƪƪǢܼƪƟŻŦĩůŎěþŦěŻůůĩűƷ܌ơƿŻƷĩĢŎű ʼnþƟƷĩƢڐ܌ƷʼnþƷěʼnþƢþěƷĩƢŎǬĩĢdþǛþűĩƪĩ łþůĩŦþűůƿƪŎěþƪܹþěŻƿűƷĩƢƟŻŎűƷƷʼnþƷůþţĩƪ£þŦĩƪƷƢŎűþܼƪƪĩĩůŦŎţĩěʼnŎŦĢܼƪƟŦþǢܺڝڟ shall remind ƿƪƷʼnþƷěŻůƟŦĩǡŎƷǢŎƪĚǢűŻůĩþűƪŦŎűĩþƢŦǢĢĩƟĩűĢĩűƷŻűƪěƢŎƟƷƿƢþŦŎƷǢܒܣȃŎƪǜŎŦŦĚĩĩǡĩůƟŦŎȀĩĢ܌
þůŻűłůþűǢŻƷʼnĩƢĩǡþůƟŦĩƪ܌ĚǢƷʼnŻƪĩŁƢŎěþűłĩűƢĩƪƷʼnþƷƪĩƢǛĩĢþƪGǢƆƢłǢhŎłĩƷŎܼƪůŻĢĩŦƪŎű ěƢĩþƷŎűłʼnǢƟĩƢܮěŻůƟŦĩǡƢʼnǢƷʼnůŎěܮůĩƷƢŎěþŦƪƷƢƿěƷƿƢĩƪŎűʼnŎƪŦþƷĩƢǜŻƢţƪ܌ދݑßܒڑܒܤ
®ƿěʼnƟƢþěƷŎěĩƪþƪFĩƢűĩǢʼnŻƿłʼnܼƪþƢĩƿűĢŻƿĚƷĩĢŦǢĢĩĩƟŦǢŎűĢĩĚƷĩĢƷŻþƪƟĩěŎȀěŁĩþƷƿƢĩŎű the Western conception of composition that emerged in the early phases of modernity around ڐڗڏڏ܋ƷʼnĩܹŻĚŠĩěƷŎȀĩĢƪƟŎƢŎƷܺŻŁƷʼnĩůƿƪŎěþŦǜŻƢţ܌ŎűǜʼnŎěʼnƷʼnĩűŻƷþƷĩĢþƟƟĩþƢƪþƪþܣěƿŦƷƿƢþŦŦǢ ĩűěŻĢĩĢܤtext.ڝڠ ȃĩěƿŦƷƿƢĩܮƪŻěŎŻŦŻłŎěþŦěŎƢěƿůƪƷþűěĩƪŎűǛŻŦǛŎűłƷʼnŎƪƷŻƟŻƪǜĩƢĩƷʼnĩĩůþűěŎ-pation of music from social functions, the development of concert and opera life, and above all a corresponding repertoire that enabled the intertwining of antiquity and modernity in ǜʼnŎěʼnƷʼnĩƟþƢþĢŻǡŎěþŦƟŻƪƷƿŦþƷĩŻŁܹŻƢŎłŎűþŦŎƷǢܺěŻƿŦĢĚĩƢĩþŦŎǬĩĢܒȃŎƪƟþƢþĢŻǡŎƪŎŦŦƿƪƷƢþƷĩĢ most clearly by the expectation that the “original genius” (ƢŎłŎűþŦłĩűŎĩܤǜŎŦŦţĩĩƟěƢĩþƷŎűłűĩǜ things while still respecting the limits of certain conventions.ڝڡ In other words, the new and þĢǛþűěĩĢǜþƪܣŻƢŎƪܤŻűŦǢþěěĩƟƷþĚŦĩŎŁŎƷěŻƿŦĢܣŻƢěþűܤĚĩƢĩŦþƷĩĢƷŻƷʼnĩĩǡŎƪƷŎűłƢĩƟĩƢƷŻŎƢĩ܌ĩǛĩű if only by slowly “seeping into” that repertoire through its repeated performance and gradual ascent to canonic status.
ȃŎƪţŎűĢŻŁƪĩŦŁܮƢĩǴ ŦĩǡŎǛŎƷǢŻŁůƿƪŎěʼnþƪĚĩĩűƪŎűłŦĩĢŻƿƷþƪƷʼnĩĢĩěŎƪŎǛĩěƢŎƷĩƢŎŻűŁŻƢƷʼnĩ ĢĩȀűŎƷŎŻű ŻŁ ůƿƪŎěþŦ ůŻĢĩƢűŎƷǢ ĚǢ ¼ŻĚŎþƪ dþűǬ܌ڝڢ who also stresses the extent to which pro-łƢĩƪƪܮĢƢŎǛĩű/ƿƢŻƟĩþűůŻĢĩƢűŎƷǢƢĩůþŎűĩĢĢĩƟĩűĢĩűƷŻűþűþűƷŎܮůŻĢĩƢűŎƪƷܹĢŎƪěŻůŁŻƢƷŻŁ modernity.”ڞڙ/ǡþůƟŦĩƪŻŁƪƿěʼnþƟþƢþĢŻǡŎěþŦŦŎűţŎűłŻŁůŻĢĩƢűŎƪƷþűĢþűƷŎܮůŻĢĩƢűŎƪƷŦþǢĩƢƪ are the juxtaposition of authoritarian pre-modern art religion and high-modernist dramatur-gy of sound in Richard Wagner’ Parsifalܣڐڗږږܫڗڑܤ܌ڞښ or the ambivalence between colonialist and postcolonialist readings in Charles Koechlin’s and Percy Grainger’s adaptations of Rudyard Kipling’s Jungle Book܌ǜʼnĩƢĩƷʼnĩűŻűܮ/ƿƢŻƟĩþűƷʼnĩƢþƪþűŎĢĩþŦŎǬĩĢܹěŻƿűƷĩƢůŻĢĩŦܺŻŁàĩƪƷܮ ern modernity is at once integrated and ostracized.ڞڛ
ȃĩơƿĩƪƷŎŻűƪƷŎŦŦƢĩůþŎűƪǜʼnĩƷʼnĩƢłĩűĩƢþŦþƿƷŻűŻůǢŁƢŻůůƿƪŎěþŦƟƢþěƷŎěĩ܌ŎűǛŻŦǛŎűłƷʼnĩ ƪƷƢŻűłŁŻěƿƪŻűƪěƢŎƟƷƿƢþŦŎƷǢ܌ŎƪƪƿDzȀěŎĩűƷƷŻơƿþŦŎŁǢěŻůƟŻƪŎƷŎŻűþƪƪƟĩěŎȀěƷŻàĩƪƷĩƢűěƿŦƷƿƢĩܒ In recent musical performance studies, this assumption has been thoroughly challenged and countered by minimizing the impact of written musical notation to a mere “script,” a second-ary aid for the primsecond-ary experience of musical performance or “musicking,”ڞڜ ƟŻƪŎƷŎűł þ ǜŻƢţ ěŻűěĩƟƷǜʼnŎěʼnŎƪŎűǜþƢĢŦǢĚþƪĩĢŻűܹƪŻƿűĢĩĢǜƢŎƷŎűłܺܫƷʼnĩܹǜŻƢţas performance.”ڞڝ Probably ƷʼnĩůŻƪƷŎůƟŻƢƷþűƷŎűƷĩƢǛĩűƷŎŻűŎűƷʼnŎƪȀĩŦĢʼnþƪĚĩĩű þƢŻŦǢűĚĚþƷĩܼƪĩƪƪþǢܹrƿƪŎěܫ'ƢþƪƷŎě ŻƢGűŻƪƷŎěܓ܌ܺǜʼnŎěʼnþĢŻƟƷĩĢßŦþĢŎůŎƢdþűţĪŦĪǛŎƷěʼnܼƪůƿƪŎěƟʼnŎŦŻƪŻƟʼnǢŁŻƢþůƿěʼnܮĢŎƪěƿƪƪĩĢ ěʼnþŦŦĩűłĩ ŻŁ Ʒʼnĩ ŦŻűłܮŦþƪƷŎűł ĢŎƪěŻƿƢƪĩ ŻŁ ܹłƢĩþƷ ǜŻƢţƪ þƪ ƿűƟĩƢŁŻƢůĩĢ þĚƪƷƢþěƷŎŻűƪ܌ܺڞڞ in- ڸں 'Īěǀƫƫǣ܉Monsieur Croche et autres écrits܉ڎڎڏܠƫĪĪ ŊÿƠƸĪƣڍ܉łżżƸŲżƸĪڎڏܡ
ڸڻ 'ÿŊŧŊÿǀƫ܉ܶ'ĪƣàĪƣŤěĪŃƣŏdzłÿŧƫ£ÿƣÿģŏŃŰÿ܉ܷڕڐܨڕڑ®ĪĪÿŧƫżdžƣŃĪƣ܉Theory of the Avant-Garde܉ڐړܨڑڐ
ڸڼ 'ÿŊŧŊÿǀƫ܉ܶ'ĪƣàĪƣŤěĪŃƣŏdzłÿŧƫ£ÿƣÿģŏŃŰÿ܉ܷڕړܨڕڔ
ڸڽ Janz, Genealogie der musikalischen Moderne܉ڎڏڕܨڎڒڑ
ڹڴ Sěŏģ܉ڑڍڏܠܶÃŲěĪŊÿŃĪŲÿŲģĪƣrżģĪƣŲĪܷܨÿłżƣŰǀŧÿƸŏżŲǝŊŏĜŊÿŧŧǀģĪƫƸżƸŊĪƸŏƸŧĪżłƸŊĪGĪƣŰÿŲƸƣÿŲƫŧÿƸŏżŲżł ŊÿƣŧĪƫ¼ÿǣŧżƣܹƫěżżŤThe Malaise of Modernity, ڍڕڕڍܡ
ڹڵ Sěŏģ܉ڐڐڔܨڐڑڒ
ڹڶ Sěŏģ܉ڐڑړܨڑڍڐ
ڹڷ See Small, Musicking.
ڹڸ ®ĪĪ żżŤ܉Beyond the Score܉ڎڏړܨڎڐڔ
ڹڹ ěěÿƸĪ܉ܶrǀƫŏĜܨ'ƣÿƫƸŏĜżƣGŲżƫƸŏĜܐ܉ܷڑڌڑ
ƪƷĩþĢĢĩůþűĢŎűłþűĩǜŁŻěƿƪŻŁůƿƪŎěŻŦŻłǢŻűܹůƿƪŎěűŻƷþƪþǜŻƢţĚƿƷþƪþűĩǛĩűƷܺڞڟ and its
“material presence and carnality.”ڞڠ It has been noted by several commentators that Abbate’s ŎűƷĩƢǛĩűƷŎŻűܣǛŎþƪŻƿƢěĩƪŁƢŻůdþűţĪŦĪǛŎƷěʼnƷʼnþƷĩǡƷĩűĢĚþěţƷŻƷʼnĩڐژڑڏƪܤěþűĚĩƷƢþěĩĢƷŻĩþƢ-ŦǢƷǜĩűƷŎĩƷʼnܮěĩűƷƿƢǢǛŎƷþŦŎƪů܌ĚƿƷþŦƪŻƷŻůƿƪŎěܮƪƟĩěŎȀěþƟƟƢŻþěʼnĩƪŻŁƟƢŎŻƢŎƷŎǬŎűłƪŻƿűĢŎűł ƟĩƢŁŻƢůþűěĩþƪŎűƷƢŻĢƿěĩĢĚǢ£þƿŦĩţţĩƢŻƢŦŁƢĩĢ®ěʼnDžƷǬܒڞڡ ȃŎƪƪƿĚƪƷþűƷŎþƷĩƪƷʼnĩŻĚƪĩƢǛþ-tion, made by many scholars today, that a critique of modernity is deeply ingrained in the pro-cess of modernity itself, a propro-cess which prominently and nepro-cessarily involves the decentering ĢǢűþůŎěƪŻŁłŦŻĚþŦŎǬþƷŎŻűƟƢŻěĩƪƪĩƪþűĢŎűƷĩƢěƿŦƷƿƢþŦěŻűǴ ŦŎěƷǬŻűĩƪܒ
/Ǜĩű ŎŁ ƷʼnŎƪ ƷƢþĢŎƷŎŻű ŻŁ ƷƿƢűƪ ƷŻǜþƢĢ ܹůþƷĩƢŎþŦܺ ŻƢ ܹƟĩƢŁŻƢůþűěĩܺ Ŏű ůƿƪŎě ƪěʼnŻŦþƢƪʼnŎƟ tends to retain a dualism of written and sounding dimensions of music, thus remaining indebt- ĩĢƷŻþĚþƪŎěƟŻŦþƢŎǬþƷŎŻűƷʼnĩǢěŦþŎůƷŻƷƢþűƪěĩűĢ܌ĩþěʼnŻDzŁĩƢƪþʼnŎłʼnŦǢűĩěĩƪƪþƢǢĩǡƷĩűƪŎŻűŻŁ ŁŻěƿƪǜʼnĩűþƟƟƢŻþěʼnŎűłƷʼnĩĢĩȀűŎƷŎŻűŻŁěŻůƟŻƪŎƷŎŻűŎűþűŎűƷĩƢěƿŦƷƿƢþŦěŻűƷĩǡƷ܋űŻƷŻűŦǢŎƪ composition dependent on performative reproduction and aural perception, composition and listening can themselves be understood as performative acts and thus described as incommen-surable and idiosyncratic.ڞڢȃŎƪŎĢĩþǜŎŦŦĚĩěŻůĩŻĚǛŎŻƿƪŎűűƿůĩƢŻƿƪþűþŦǢƪĩƪƟƢĩƪĩűƷĩĢŎű ƷʼnĩŁŻŦŦŻǜŎűłěʼnþƟƷĩƢƪܒȃĩƢĩǜĩǜŎŦŦƪĩĩʼnŻǜþűŎűƷĩƢþěƷŎŻűĚĩƷǜĩĩűěŻůƟŻƪĩƢƪ܌ƟĩƢŁŻƢůĩƢƪ܌
þűĢþƿĢŎĩűěĩƪůþǢĚĩěŻůĩěŻůƟŦĩƷĩŦǢƢĩěŻűěĩŎǛĩĢþűĢܹƢĩŎűǛĩűƷĩĢ܌ܺŻǼƷĩűŻűƷʼnĩĚþƪŎƪŻŁƪƟĩ-ěŎȀěěƿŦƷƿƢþŦƟƢĩěŻűĢŎƷŎŻűƪܒȃŎƪěŻűěĩƟƷǜŎŦŦƟĩƢʼnþƟƪĚĩěŻůĩěŦĩþƢĩƪƷŎűƷʼnĩƟþƢƷŦǢƟŻŦŎƷŎěþŦŦǢ ůŻƷŎǛþƷĩĢŎĢĩþƪŻŁdŻƪĪrþěĩĢþþűĢæǕŠŎ¼þţþʼnþƪʼnŎܣދݑSSSܒړܤܒ
ŁěŻƿƢƪĩ܌ƷʼnĩŎĢĩþƷʼnþƷűŻűܮàĩƪƷĩƢűěƿŦƷƿƢĩƪǜŻƿŦĢĚĩĚþƪĩĢƟƢŎůþƢŎŦǢܣŻƢĩǛĩűĩűƷŎƢĩŦǢܤ ŻűƟĩƢŁŻƢůþƷŎǛĩþűĢܹůþƷĩƢŎþŦܺܣþƿƢþŦܘŻƢþŦܤƟƢþěƷŎěĩƪŎƪĩơƿþŦŦǢŻűĩܮĢŎůĩűƪŎŻűþŦܒSƷƪʼnŻƿŦĢĚĩ þěţűŻǜŦĩĢłĩĢƷʼnþƷűŻűܮàĩƪƷĩƢűůƿƪŎěþŦěƿŦƷƿƢĩƪþŦƪŻʼnþǛĩǜƢŎƷŎűłƟƢþěƷŎěĩƪƷʼnþƷĩůþűěŎƟþƷĩ themselves from musical realization and add speculative and autonomous dimensions to the functionality of musical notation.ڟڙ/ǛĩűŎűĩþƢŦǢƟʼnþƪĩƪ܌ŻűĩěþűĢĩƷĩěƷþěƢĩþƷŎǛĩƪĩŦŁܮþǜþƢĩܮ ness in this context – for example, in the scores of ci songs by the Chinese scholar Jiang Kui ܣڐڐڔڔܫڐڑڑڐܤŁƢŻůƷʼnĩƪŻƿƷʼnĩƢű®Żűł'ǢűþƪƷǢܣڐڐڑږܫڐڑږژܤܒdŎþűłűŻƷŻűŦǢƷĩƢůĩĢƷʼnĩƪĩƪŻűłƪʼnŎƪ
“own compositions” (ziduquܤ܌ĚƿƷþŦƪŻþĢĢĩĢƟƢĩŁþěĩƪƷŻʼnŎƪƪěŻƢĩƪĩǡƟŦþŎűŎűłŎűĢĩƷþŎŦʼnŻǜʼnĩ had developed the text and music in close parallel.ڟښ
ȃĩƢĩŁŻƢĩ܌ŎƷƪĩĩůƪ쯳ĩűƷƷŻĢĩȀűĩƷʼnĩěŻűěĩƟƷŻŁܹěŻůƟŻƪŎƷŎŻűܺŎűþܹłŦŻĚþŦܺůþűűĩƢŁƢŻů the outset, as Stephen Blum has done.ڟڛÃűĢĩƢƪƷþűĢŎűłƷʼnĩŎűǛĩűƷŎŻű܌űŻƷþƷŎŻű܌ƟĩƢŁŻƢůþűěĩ܌
þűĢƢĩěĩƟƷŎŻűŻŁůƿƪŎěþƪƪŻěŎŻěƿŦƷƿƢþŦþěƷƪŦĩƷƪܹěŻůƟŻƪŎűłܺþƟƟĩþƢþƪƷʼnĩĢĩȀűŎƷŎŻűŻŁþűܣŎű-ƷĩƢܤěƿŦƷƿƢþŦƟŻƪŎƷŎŻűþűĢƷʼnƿƪŻDzŁĩƢƪŎűƪŎłʼnƷŎűƷŻƷʼnĩěŻůƟŻƪĩƢܼƪܣþűĢƟĩƢŁŻƢůĩƢܼƪŻƢŦŎƪƷĩűĩƢܼƪܤ ƪƷþűěĩƷŻǜþƢĢěƿŦƷƿƢþŦ܌ƪŻěŎþŦ܌þűĢƪŻěŎĩƷþŦěŻűĢŎƷŎŻűƪþűĢƢĩþŦŎƷŎĩƪܒěěŻƢĢŎűłƷŻȃĩŻĢŻƢàܒ Adorno, we can trace these conditions to the tiniest details of a score,ڟڜ even if the composer ƢĩůþŎűƪƿűþǜþƢĩŻŁƪƿěʼněŻűűĩěƷŎŻűƪܒȃĩěŻůƟŦĩǡŎƷǢŻŁƷʼnƿƪĢĩȀűŎűłþƪŻěŎŻěƿŦƷƿƢþŦƟŻƪŎƷŎŻű
ڹں Sěŏģ܉ڑڏڏ
ڹڻ Sěŏģ܉ڑڎڕ
ڹڼ ®ĪĪżƣŤ܉ܶ¼ĪǢƸǜĪƣƫǀƫ£ĪƣłżƣŰÿŲĜĪܨǭǀĪŏŲĪŰ'ǀÿŧŏƫŰǀƫģĪƣrǀƫŏŤŃĪƫĜŊŏĜŊƸƫƫĜŊƣĪŏěǀŲŃ܉ܷڏڔڏ܉dżƫƸ܉ܶ'ĪƣܸƠĪƣ-łżƣŰÿƸŏǜĪƸǀƣŲܹŏŲģĪƣrǀƫŏŤłżƣƫĜŊǀŲŃ܉ܷڎڕڎ܉ÿŲģfÿěŏƫĜŊ܉ܸܶßĪƣƫĜŊǝŏŲģĪŲģĪƫ/ƣƫĜŊĪŏŲĪŲܹÿŧƫ£ƣŏŲǭŏƠĪŏŲĪƣrǀƫŏŤ ģĪƣrżģĪƣŲĪ܉ܷڏڕ܉ƫǀŰŰÿƣŏǭĪģŏŲÃƸǭ܉ܶ ÿƣżŧǣŲěěÿƸĪrǀƫŏĜܨ'ƣÿƫƸŏĜżƣGŲżƫƸŏĜܐܷ
ڹڽ ®ĪĪfƣÿŰĪƣ܉ܶFƣżŰƸŊĪƸŊĪƣƸżƸŊĪěšĪĜƸ܉ܷڒڑܨڒڒÿŲģÃƸǭ܉ܶßżŰÿģďƢǀÿƸĪŲǭǀŰƠĪƣłżƣŰÿƸŏǜĪŲNƇƣĪŲܷłżƣÿ ƸŊĪżƣǣżłܶƠĪƣłżƣŰÿƸŏǜĪŧŏƫƸĪŲŏŲŃܷ
ںڴ See for example Liang, Music of the Billion܉ڍڔڒܨڎڌڎ
ںڵ Lam, “Writing Music Biographies of Historical East Asian Musicians.”
ںڶ Blum, “Composition.”
ںڷ ģżƣŲż܉ܶðǀƣŃĪƫĪŧŧƫĜŊÿǽƸŧŏĜŊĪŲhÿŃĪģĪƣrǀƫŏŤ܉ܷړڏڍ
ƿűĢŻƿĚƷĩĢŦǢ ŎűěƢĩþƪĩƪ ǜŎƷʼn Ʒʼnĩ ƷǜŻ ŻƟƟŻƪŎűł ƷĩűĢĩűěŎĩƪ Ŏű ěƿŦƷƿƢþŦ łŦŻĚþŦŎǬþƷŎŻű܋ ʼnŻůŻłĩ- űŎǬþƷŎŻűþűĢĢŎǛĩƢƪŎȀěþƷŎŻűܒȃƢŻƿłʼnƷʼnŎƪĚŎűþƢǢ܌ŻűĩěþűƿűĢĩƢƪƷþűĢƷʼnĩěŻůƟŻƪŎƷŎŻűþŦƟƢŻ-ěĩƪƪþƪƷʼnĩěŻűěĩƟƷƿþŦŦŎűţŎűłŻŁʼnŎƪƷŻƢŎěþŦŦŻěþƷŎŻű܌ƪŻěŎþŦěŻűƷĩǡƷ܌ěƿŦƷƿƢþŦěŻűƷĩǡƷ܌þűĢƷʼnĩ ěŻůƟŻƪĩƢܼƪ ĚŎŻłƢþƟʼnŎěþŦ ܹěŻűƪƷĩŦŦþƷŎŻűܺ ƷŻ Ʒʼnĩ ƪƟĩěŎȀě ƟƢŻěĩƪƪŎűł ŻŁ ƟƢŻĚŦĩůƪ ŎůůþűĩűƷ Ŏű ƷƢþĢŎƷŎŻű܌łĩűƢĩ܌ƞƿǛƢĩ܌þűĢƷʼnĩŎűĢŎǛŎĢƿþŦǜŻƢţܒSűþűŎűƷĩƢěƿŦƷƿƢþŦŦǢþěěĩűƷƿþƷĩĢþƟƟƢŻþěʼn to composition, the interplay between these factors becomes clear. As soon as composers oper-þƷĩĚĩƷǜĩĩűĢŎDzŁĩƢĩűƷěƿŦƷƿƢþŦěŻűƷĩǡƷƪ܌ƷʼnĩŎƢʼnŎƪƷŻƢŎěþŦŦŻěþƷŎŻűþűĢƷʼnĩŎůůĩĢŎþƷĩŦǢƢĩŦĩǛþűƷ musical traditions begin to oscillate. Such oscillations should be the focus of an intercultural music historiography.