The Reception of Western Modernism in the Music of China and Japan Since the Late Nineteenth Centuryand Japan Since the Late Nineteenth Century

FƢŻůƷʼnĩůŎĢܮűŎűĩƷĩĩűƷʼněĩűƷƿƢǢ܌ƷʼnĩʼnŎƪƷŻƢǢŻŁ/þƪƷƪŎþűůƿƪŎěŎƪŎűĩǡƷƢŎěþĚŦǢŦŎűţĩĢƷŻƷʼnĩ ŎűǴ ŦƿĩűěĩþűĢƪƟƢĩþĢŻŁàĩƪƷĩƢűůƿƪŎěŎű/þƪƷƪŎþ܌ƷʼnŻƿłʼnĚǢűŻůĩþűƪƢĩĢƿěŎĚŦĩƷŻƷʼnŎƪþƪ ƷʼnĩƪŻŦĩŁþěƷŻƢܣދݑSSܒڐܤܒŦƷʼnŻƿłʼnƷʼnĩdþƟþűĩƪĩůŻĢĩŦŻŁþěŻĩǡŎƪƷĩűěĩŻŁdþƟþűĩƪĩþűĢàĩƪƷĩƢű music and the Chinese model of a reform of Chinese music and instruments by Western stan-ĢþƢĢƪʼnþǛĩĚĩĩűŎĢĩűƷŎȀĩĢþƪƷǜŻŻƟƟŻƪŎűłþűĢƢþƷʼnĩƢůŻůĩűƷŻƿƪƟþƢþĢŎłůƪŎűƷʼnĩƢĩƪƟŻűƪĩ ƷŻàĩƪƷĩƢűŎűǴ Ŧƿĩűěĩ܌ƷʼnĩƢĩǜĩƢĩþŦƪŻƢĩǛĩþŦŎűłƟþƢþŦŦĩŦƪŎűƷʼnĩƢĩěĩƟƷŎŻűŻŁàĩƪƷĩƢűůƿƪŎěŎű dþƟþűþűĢ ʼnŎűþܒSƷŎƪƢĩůþƢţþĚŦĩ܌ŁŻƢĩǡþůƟŦĩ܌ƷʼnþƷĩǛĩűþƷƷʼnĩʼnĩŎłʼnƷŻŁþűƷŎܮàĩƪƷĩƢűƷĩűĢĩű-cies – in Japan during the Second World War, in China during the Cultural Revolution – musi-ěŎþűƪƿűǴ ŦŎűěʼnŎűłŦǢěŦƿűłƷŻ/ƿƢŻƟĩþűŎűƪƷƢƿůĩűƷƪþűĢƷʼnĩ/ƿƢŻƟĩþűƪǢůƟʼnŻűǢŻƢěʼnĩƪƷƢþþƪ the essential medium of sound.

ȃĩĢŎƪƷŎűěƷŎŻűůþĢĩĚǢ®þĚƿƢƔrŻƢŻŎþƷƷʼnĩܹǛĩƢěŻůŎűłrŻĢĩƢűŎƷǢܺƪǢůƟŻƪŎƿůĢƿƢŎűł Ʒʼnĩ®ĩěŻűĢàŻƢŦĢàþƢĚĩƷǜĩĩűdþƟþűĩƪĩƪƟŎƢŎƷþűĢàĩƪƷĩƢűƷĩěʼnűŎơƿĩܣދݑSܒڑܤƢĩǛŎƪŎƷĩĢþůŻĢĩŦ in the appropriation of Western culture in Japan and China since the mid-nineteenth centu-ƢǢܒȃŎƪěþűĚĩƷƢþěĩĢŎűűĩŻܮ ŻűŁƿěŎþűƪŦŻłþűƪĢŎƪƷƢŎĚƿƷĩĢŁƢŻůƷʼnĩڐڗڔڏƪ܌ȀƢƪƷŎűdþƟþűþűĢ ƪʼnŻƢƷŦǢþǼƷĩƢǜþƢĢŎű ʼnŎűþ܌ܹdþƟþűĩƪĩ®ƟŎƢŎƷþűĢàĩƪƷĩƢű¼ĩěʼnűŻŦŻłǢܺܣǜþţŻűǢƔƪþŎܤ܌^ښ or “Chi-űĩƪĩƷʼnŎűţŎűłܡ ŻűŁƿěŎþűĩƷʼnŎěƪܢþƪƪƿĚƪƷþűěĩ܌àĩƪƷĩƢűƷʼnŎűţŎűłܡþĢůŎűŎƪƷƢþƷŎŻűþűĢƷĩěʼnűŻ-logy] as means of use” (ǬʼnŻűłǡƿĩǜĩŎƷŎܒǡŎǡƿĩǜĩŎǢŻűłܤܒ^ڛ Military music, school songs (Japanese ƪʼnƔţþ, these in turn serving partly as a template for the Chinese xuetangge^ڜܤ܌þűĢƟŻŦŎƷŎěþŦƪŻűłƪ ǜĩƢĩ ŻǼƷĩű ěƢĩþƷĩĢ ĚǢ ŁŻŦŦŻǜŎűł àĩƪƷĩƢű ůŻĢĩŦƪ űŻƷĩ ŁŻƢ űŻƷĩܒ /þƢŦǢ űþƷŎŻűþŦŎƪƷ ƪǢůƟʼnŻűŎě

ǜŻƢţƪǜĩƢĩƿƪƿþŦŦǢĚþƪĩĢŻűƷʼnĩěŻűƪƷƢƿěƷŎŻűƪþűĢŎűǛĩűƷŎŻűƪŻŁűþƷŎŻűþŦŎĢĩűƷŎƷǢŎűŦþƷĩűŎűĩ-ڵ ¼ŊĪƫŧżŃÿŲǝÿƫĜżŏŲĪģěǣ¼ÿģÿǣÿƫǀæżƫŊŏŤÿǝÿܠڍڔڎڐܨڍڔڔڐܡŏŲŊŏƫKaika sakuronܠ¥ǀĪƫƸŏżŲƫÿŲģ¼ŊĪŰĪƫżŲ£ƣż-ŃƣĪƫƫ܉ ڍڔڒړܡ ܠŊƸƸƠ܈ܕܕĪŲ܏ǝŏŤŏƠĪģŏÿ܏żƣŃܕǝŏŤŏܕæÿŰÿƸżܫģÿŰÿƫŊŏŏܡ܏ ®ŏŰŏŧÿƣ ƫŧżŃÿŲƫ Ŋÿģ ƠƣĪĜĪģĪģ ƸŊŏƫ łżƣŰǀŧÿƸŏżŲ܉

ƫǀĜŊ ÿƫ ®ŊƕǭÿŲ ®ÿŤǀŰÿܹƫ ܠڍڔڍڍܨڍڔڒڐܡ ܶ/ÿƫƸĪƣŲ ĪƸŊŏĜƫ܉ àĪƫƸĪƣŲ ƸĪĜŊŲŏĜÿŧ ŧĪÿƣŲŏŲŃܷ ܠƸƕǣƕ ģƕƸżŤǀ܍ ƫĪŏǣƕ ŃÿŤǀŃĪŏܡ܏

żƸŊǝĪƣĪŲŏŲĪƸĪĪŲƸŊܫĜĪŲƸǀƣǣƣĪܫƠŊƣÿƫŏŲŃƫżłƸŊĪNĪŏÿŲܫƠĪƣŏżģƫŧżŃÿŲwakon kansai (“Japanese spirit, Chinese ƸĪĜŊŲŏƢǀĪܷܡ܉ĜƣĪģŏƸĪģƸż®ǀŃÿǝÿƣÿŲżrŏĜŊŏǭÿŲĪܠڔڐڑܨڕڌڏܡ܏®ĪĪdżƫĪƠŊƫżŲ܉The Invention of Religion in Japan܉ڍڌڔ܏

ڶ Geist, Die Modernisierung der chinesischen Kultur܉ڍڎܨڎڌ܏¼ŊŏƫłżƣŰǀŧÿǝÿƫǿƣƫƸłżƣŰǀŧÿƸĪģŏŲڍڔڕڔěǣƸŊĪŰżģĪƣÿƸĪ ƣĪłżƣŰĪƣðŊÿŲŃðŊŏģżŲŃܠڍڔڏړܨڍڕڌڕܡÿŲģǝÿƫƠƣżǜżĜÿƸŏǜĪŧǣƸǀƣŲĪģżǜĪƣěǣƸŊĪƣĪłżƣŰĪƣƫżłƸŊĪڍڕڔڌƫŏŲxi ti zhong yong܉ܶàĪƫƸĪƣŲÿƫƫǀěƫƸÿŲĜĪ܉ ŊŏŲĪƫĪÿƫŰĪÿŲƫżłǀƫĪܷܠŏěŏģ܏܉ڍڏܡ܏

ڷ ®ĪĪGżƸƸƫĜŊĪǝƫŤŏ܉ܶ/ŏŲĪrǀƫŏŤŤǀŧƸǀƣÿǀłģĪŰ®ĜŊĪŏģĪǝĪŃĪ܉ܷGÿŧŧŏÿŲż܉æƕŃÿŤǀ܉ڎړܨڒڏ܉Gŏŧģ܉ܶ/ÿƣŧǣڎڌƸŊ ĪŲƸǀƣǣ

ܸ¦ĪłżƣŰƫܹŏŲ ŊŏŲĪƫĪrǀƫŏĜ܉ܷhŏÿŲŃ܉ܶàĪƫƸĪƣŲSŲǵŧǀĪŲĜĪżŲ ŊŏŲĪƫĪrǀƫŏĜŏŲƸŊĪ/ÿƣŧǣ¼ǝĪŲƸŏĪƸŊ ĪŲƸǀƣǣ܉ܷڍڏڕܨ 144, Liu, A Critical History of New Music in China܉ڎڏܨړڔ܉ÿŲģÃƸǭ܉Neue Musik und Interkulturalität܉ڎڌڒܨڎڎڍ܏

ƷĩĩűƷʼnܮěĩűƷƿƢǢ/ƿƢŻƟĩþűܹűþƷŎŻűþŦƪěʼnŻŻŦƪ܌ܺþűĢěŻůĚŎűĩĢƷʼnŎƪŦþƢłĩŦǢƪƷǢŦŎƪƷŎěþŦŦǢěŻűƪŎƪƷĩűƷ idiom with Japanese or Chinese titles, texts, and paratexts. Indeed, the interaction between Jap- anese and Chinese tendencies of modernization was so complex that the whole epoch around ڐژڏڏěþűŻűŦǢĚĩþĢĩơƿþƷĩŦǢƿűĢĩƢƪƷŻŻĢþƪþܹƷƢŎþűłƿŦþƢƢĩŦþƷŎŻűƪʼnŎƟĚĩƷǜĩĩű/ƿƢŻƟĩ܌dþƟþű܌

and China.”^ڝ

ěŻűěĩƟƷŻŁůŻĢĩƢűŎƪůþƪþƟƢŻłƢĩƪƪŎǛĩĚƢĩþěʼnŻŁƷʼnĩűŻƢůƷʼnþƷȀűĢƪŎƷƪĩŦŁŎűþƷĩűƪĩþűĢ űŻűܮþDzȀƢůþƷŎǛĩƢĩŦþƷŎŻűƷŻƪŻěŎĩƷþŦƟƢŻěĩƪƪĩƪůþǢłĩűĩƢþŦŦǢĚĩŻŁŦŎůŎƷĩĢƿƪĩǜŎƷʼnƢĩłþƢĢƷŻ /þƪƷ ƪŎþű ěŻƿűƷƢŎĩƪ Ŏű Ʒʼnĩ ƷǜĩűƷŎĩƷʼn ěĩűƷƿƢǢ܌ þƪ þƢłƿĩĢ Ŏű /ŎƪĩűƪƷþĢƷܼƪ ƷʼnĩŻƢǢ ŻŁ ܹůƿŦƷŎƟŦĩ ůŻĢĩƢűŎƷŎĩƪܺܣދݑSSܒڐ'ĩܴtþƷŎŻűþŦŎǬŎűłrƿƪŎěNŎƪƷŻƢŎŻłƢþƟʼnǢܤܒSű ʼnŎűþ܌ƷʼnĩƪƷþƢƷŎűłƟŻŎűƷŁŻƢƷʼnĩ reception of Western music was utilitarianism characterized by colonial constellations, which ěþűĚĩƷƢþěĩĢĚþěţƷŻĚŻƷʼnƷʼnĩƟŎƿůàþƢƪŻŁڐڗڒژܫړڑþűĢڐڗڔڐܫڕڏþűĢƷʼnĩƪƿĚƪĩơƿĩűƷàĩƪƷ-ernization and Self-Strengthening Movement (æþűłǜƿǬŎơŎþűłǢƿűĢŻűłܤܒSűƷʼnĩůƿƪŎěþŦƢĩþŦů܌

ƷʼnĩþƪƟĩěƷƪŻŁàĩƪƷĩƢűƷƢþĢŎƷŎŻűȀƢƪƷƢĩěĩŎǛĩĢǜĩƢĩĚþƪŎěůþƷĩƢŎþŦƪƷʼnþƷǜĩƢĩþŦǜþǢƪþƪƪŎłűĩĢ ěŦĩþƢŦǢĢĩȀűĩĢƪŻěŎþŦŁƿűěƷŎŻűƪ܋ƷʼnĩþƢůŎűłŻŁƷʼnĩůŎŦŎƷþƢǢŎűǛŻŦǛĩĢƷʼnĩþĢŻƟƷŎŻűŻŁàĩƪƷĩƢű military brass music, modernized school education involved the introduction of Western-oriented school songs, and – most prominently – the strengthening of national self-esteem ŎűǛŻŦǛĩĢěƢĩþƷŎűłƪŻűłƪ܌þűĢƪŻŻűþŦƪŻƪǢůƟʼnŻűŎěǜŻƢţƪ܌ǜŎƷʼnűþƷŎŻűþŦŎƪƷŎěþŦŦǢþěěĩűƷƿþƷĩĢ texts, titles, or melodies.^ڞ

SűǛþƢŎŻƿƪ ʼnŎűĩƪĩƢĩŁŻƢůůŻǛĩůĩűƷƪŻŁƷʼnĩڐژڑڏƪþűĢڐژڒڏƪ܌þƪƷƢŻűłĩƢŁŻěƿƪŻűŦŻěþŦƷƢþ-ditions under the guiding idea of a mutual complementation of Chinese and Western cultures (ǢŎǬʼnŻűłĚƿǡŎܤǜþƪŻƟƟŻƪĩĢĚǢþƢþĢŎěþŦŎǬĩĢĢĩůþűĢŁŻƢܹƷŻƷþŦàĩƪƷĩƢűŎǬþƷŎŻűܺþƪܣþƷĩůƟŻ-ƢþƢǢܤůĩþűƪŻŁůŻĢĩƢűŎǬþƷŎŻűܒ^ڟűĩŻŁƷʼnĩůŻƪƷŎůƟŻƢƷþűƷƢĩŁŻƢůĩƢƪŻŁƷʼnŎƪƷŎůĩŎűƷʼnĩȀĩŦĢ ŻŁůƿƪŎěǜþƪhŎƿ¼Ŏþűʼnƿþܣڐڗژڔܫڐژڒڑܤ܌ǜʼnŻŁŻƿűĢĩĢƷʼnĩ®ŻěŎĩƷǢŁŻƢƷʼnĩSůƟƢŻǛĩůĩűƷŻŁtþƷŎŻ-nal Music (GƿŻǢƿĩłþŎŠŎűƪʼnĩܤŎűڐژڑږþŦŻűłǜŎƷʼnåŎþŻæŻƿůĩŎܣڐڗڗړܫڐژړڏܤ܌ǜʼnŎěʼnƢĩěĩŎǛĩĢƪƷƢŻűł impulses from the Western-oriented åŎű ǜĩűʼnƿþ ǢƿűĢŻűł ܣtĩǜ ƿŦƷƿƢĩ rŻǛĩůĩűƷ܌ ڐژڐڔܫڑڑ܌

ĚĩƷƷĩƢţűŻǜűþƪƷʼnĩrþǢFŻƿƢƷʼnrŻǛĩůĩűƷܤ܌ǜʼnŎěʼnʼnþĢĚĩĩűŎűƪƷŎłþƷĩĢĚǢǜƢŎƷĩƢƪþűĢŎűƷĩŦŦĩě-ƷƿþŦƪƪƿěʼnþƪ¥ƿ¥ŎƿĚþŎܣڐڗژژܫڐژڒڔܤ܌ ʼnĩű'ƿǡŎűܣڐڗږژܫڐژړڑܤ܌Nƿ®ʼnŎܣڐڗژڐܫڐژڕڑܤ܌þűĢ ʼnĩűåƿ-ŠŎűłܣڐژڏڒܫڐژڕږܤܒàŎƷʼnʼnŎƪƷĩűƟŻƪƷʼnƿůŻƿƪŦǢƟƿĚŦŎƪʼnĩĢƪƷƿĢŎĩƪŁŻƢƷʼnĩƷǜŻܮƪƷƢŎűłĩĢţűĩĩȀĢĢŦĩ erhuܣڐژڐڗܫڒڑܤ܌hŎƿěŻűƷƢŎĚƿƷĩĢƪŎłűŎȀěþűƷŦǢƷŻƷʼnĩĩƪƷþĚŦŎƪʼnůĩűƷŻŁþůŻĢĩƢűƪŻŦŻƢĩƟĩƢƷŻŎƢĩ for Chinese instruments.^ڠ¼ƿűŎűł܌ƟŎƷěʼn܌ƷŻűþŦƪǢƪƷĩů܌űŻƷþƷŎŻűܣƷʼnĩěŎƟʼnĩƢűŻƷþƷŎŻűjianzipu^ڡܤ܌

ůĩƷĩƢ þűĢ ƢʼnǢƷʼnů ܣƷƢŎƟŦĩ ůĩƷĩƢ܌ ůþƢěʼn ƢʼnǢƷʼnůܤ܌ þűĢ ŎűƪƷƢƿůĩűƷþŦ ƷĩěʼnűŎơƿĩ ܣĚŻǜŎűł Ʒĩěʼn-űŎơƿĩƪ܌ƿƟܮþűĢĢŻǜűܮĚŻǜ܌ĩƷěܒܤǜĩƢĩƪƷþűĢþƢĢŎǬĩĢþěěŻƢĢŎűłƷŻƟƢŎűěŎƟŦĩƪŻŁàĩƪƷĩƢűůƿƪŎě܌

while, at the same time, elements of Chinese instrumental practice and aesthetics, especial-ڸ GżƸƸƫĜŊĪǝƫŤŏ܉ܶðǀƣ¦ĪǭĪƠƸŏżŲĜŊŏŲĪƫŏƫĜŊĪƣrǀƫŏŤŏŲdÿƠÿŲǀŰڍڕڌڌ܉ܷڒڍڒܠܶ'ƣĪŏĪĜŤƫěĪǭŏĪŊǀŲŃ/ǀƣżƠÿܫdÿƠÿŲܫ

Ŋŏ-Ųÿܷܡ܏

ڹ See among others Wong, “Geming Gequ,” Mittler, Dangerous Tunes܉ڎڍܨڏڎ܉rĪŧǜŏŲÿŲģ ÿŏ܉Rhapsody in Red܉ڍڑڕܨڎڎڐ܏

ں The slogan of “total Westernization” (quanpai xifanghuaܡǝÿƫĜżŏŲĪģŏŲڍڕڏڏěǣƸŊĪƫżĜŏżŧżŃŏƫƸ ŊĪŲåǀšŏŲŃܠڍڕڌڏܨ ڍڕڒړܡ܏SŲƸŊĪǝÿŤĪżłƸŊĪrÿǣFżǀƣƸŊrżǜĪŰĪŲƸǀŲƸŏŧƸŊĪڍڕڏڌƫ܉ƸŊŏƫģĪŰÿŲģǝÿƫÿŧƫżÿģǜżĜÿƸĪģěǣNǀ®Ŋŏܠڍڔڕڍܨ ڍڕڒڎܡ܉ÿŲģŏŲƸŊĪģĪŰżĜƣÿĜǣŰżǜĪŰĪŲƸżłƸŊĪڍڕڔڌƫěǣFÿŲŃhŏǭŊŏܠڍڕڏڒܨڎڌڍڎܡÿŲģhŏǀåŏÿżěżܠڍڕڑڑܨڎڌڍړܡܠGĪŏƫƸ܉

Die Moderniserung der chinesischen Kultur܉ڍڐܡ܏àŊŏŧĪŏŲƸŊĪڍڕڎڌƫƫżĜŏÿŧĜŊÿŲŃĪƫǝĪƣĪƫƸŏŧŧÿŧŰżƫƸĪŲƸŏƣĪŧǣĪƢǀÿƸĪģ ǝŏƸŊܶàĪƫƸĪƣŲŏǭÿƸŏżŲܷܠxihuaܡ܉łƣżŰƸŊĪěĪŃŏŲŲŏŲŃżłƸŊĪڍڕڏڌƫƸŊĪŰżƣĪŲĪǀƸƣÿŧƸĪƣŰܶŰżģĪƣŲŏǭÿƸŏżŲܷܠxiandai-huaܡěĪĜÿŰĪƠƣĪǜÿŧĪŲƸܠŏěŏģ܏܉ڍڏܨڍڐܡ܏

ڻ ®ƸżĜŤ܉ܶ żŲƸĪŰƠżƣÿƣǣ¦ĪĜŏƸÿŧ®żŧżƫłżƣƸŊĪ ŊŏŲĪƫĪ¼ǝżܫ®ƸƣŏŲŃĪģFŏģģŧĪerhu܉ܷڒڌܨڒڒ܏®ĪĪÿŧƫż®ƸżĜŤ܉ܶŲ/ƸŊŲż-ŰǀƫŏĜżŧżŃŏĜÿŧ£ĪƣƫƠĪĜƸŏǜĪżŲrǀƫŏĜÿŧ®ƸǣŧĪܷÿŲģhŏÿŲŃ܉Music of the Billion, ڍڐڔܨڍڑڌ܏

ڼ ¼ŊŏƫƫŏŰƠŧĪƸǣƠĪżłŲżƸÿƸŏżŲ܉ŏŲǝŊŏĜŊƫĜÿŧĪƫƸĪƠƫÿƣĪƣĪŲģĪƣĪģěǣŲǀŰěĪƣƫܠڍܨړܡÿŲģżĜƸÿǜĪƣĪŃŏƫƸĪƣƫÿƣĪŏŲģŏĜÿƸĪģ ěǣģżƸƫƠŧÿĜĪģěĪŧżǝżƣÿěżǜĪƸŊĪŲǀŰěĪƣƫ܉ǝÿƫŏŲƸƣżģǀĜĪģƸż ŊŏŲÿěǣFƣĪŲĜŊŰŏƫƫŏżŲÿƣŏĪƫŏŲƸŊĪĪÿƣŧǣƸǝĪŲƸŏĪƸŊ ĜĪŲƸǀƣǣÿŲģĜÿŲěĪƸƣÿĜĪģěÿĜŤƸżdĪÿŲܫdÿĜƢǀĪƫ¦żǀƫƫĪÿǀ܏®ĪĪ£ŏĜÿƣģ܉ܶƣÿŧŏƸīĪƸŲżƸÿƸŏżŲƫ܉ģĪ ŊŏŲĪĪŲ/ǀƣżƠĪ܏ܷ

ŦǢǜŎƷʼnƢĩŁĩƢĩűěĩƷŻűŻƢƷʼnĩƢű ʼnŎűĩƪĩƷƢþĢŎƷŎŻűƪ܌ǜĩƢĩůþŎűƷþŎűĩĢ܋ƪĩěƷŎŻűþŦŁŻƢů܌ƟƢŻłƢþůܮ ůþƷŎěƷŎƷŦĩƪ܌ŎěŻűŻłƢþƟʼnŎěůƿƪŎěþŦȀłƿƢĩƪܣŁŻƢĩǡþůƟŦĩ܌ŁŻƢŎůŎƷþƷŎűłĚŎƢĢƪŻűłܤ܌þűĢerhuȀűłĩƢܮ ŎűłƟþƷƷĩƢűƪܒȃĩĢĩěŎƪŎǛĩŁþěƷŻƢǜþƪƷʼnþƷƷʼnĩƪƷƿĢŎĩƪǜĩƢĩěŻűěĩŎǛĩĢþűĢƟƿĚŦŎƪʼnĩĢŎűȀǡĩĢ űŻƷþƷŎŻűþűĢ܌ŎűěŻűƷƢþƪƷƷŻƷʼnĩǴ ŦĩǡŎĚŎŦŎƷǢŻŁƷƢþĢŎƷŎŻűþŦůƿƪŎěƟƢþěƷŎěĩ܌þƪƪƿůĩĢþŦþƢłĩŦǢĩǡþěƷ rendering of this musical text in performance.

/ƢŎě NŻĚƪĚþǜůܼƪ ěŻűěĩƟƷ ŻŁ ܹŎűǛĩűƷĩĢ ƷƢþĢŎƷŎŻűܺ ܣދݑ Sܒڒ܌ SSܒڒܤ ʼnþƪ Ěĩĩű þƟƟŦŎĩĢ ƷŻ Ʒʼnĩ Ģĩ-velopment of the new repertoire of that period, in particular to the solo literature of the Chi- űĩƪĩĚþůĚŻŻǴ ŦƿƷĩdiziþǼƷĩƢڐژړژܒSƷŎƪěʼnþƢþěƷĩƢŎƪƷŎěƷʼnþƷƷʼnĩƢĩǜþƪŻƢŎłŎűþŦŦǢűŻěŦĩþƢĢŎƪƷŎűě-tion in the practice of local Chinese genres between solo and ensemble repertoire. In the con-text of the Maoist “subversion” (fanshenܤŻŁƷʼnĩŁĩƿĢþŦěŦþƪƪƪƷƢƿěƷƿƢĩþǼƷĩƢڐژړژ܌ƷʼnĩƢŎěţƪʼnþǜ ĢƢŎǛĩƢhƿ ʼnƿűŦŎűłþűĢƷʼnĩƪŎůƟŦĩŁþƢůĩƢFĩűłðŎěƿűǜĩƢĩþĚŦĩƷŻƢŎƪĩƷŻěĩŦĩĚƢþƷĩĢdizi soloists and were commissioned to create short characteristic solo pieces, which they derived from the dizi part of traditional ensembles and which were distributed to the masses via cassette record-ings.^ڢ

àŎƷʼnƷʼnĩĩůĩƢłĩűěĩŻŁƷʼnĩ ʼnŎűĩƪĩƪǢůƟʼnŻűǢŻƢěʼnĩƪƷƢþŁƢŻůƷʼnĩڐژڒڏƪ܌þĢĩǛĩŦŻƟůĩűƷʼnþĢ already begun that made the problems of the separation of spirit and technique increasing-ŦǢǛŎƪŎĚŦĩ܋ǜʼnŎŦĩhŎƿܼƪƪŻŦŻǜŻƢţƪ܌ŁŻŦŦŻǜŎűłƷʼnĩŎĢĩþŻŁþܹűþƷŎŻűþŦĩƪƪĩűěĩ܌ܺ^ښڙ still testify to an appreciation of the aesthetics of traditional instrumental playing, the repertoire of the newly developed orchestras of Chinese instruments was commonly based on a naïve imitation of pop- ƿŦþƢàĩƪƷĩƢűŻƢěʼnĩƪƷƢþŦůƿƪŎěܒȃŎƪůþĢĩŎƷþĚƿűĢþűƷŦǢěŦĩþƢƷʼnþƷ܌ŎűěŻűƷƢþƪƷƷŻƪŻŦŻƪþűĢĩű-ƪĩůĚŦĩƪ܌þűŎűĢĩƟĩűĢĩűƷ ʼnŎűĩƪĩƷƢþĢŎƷŎŻűěŻƿŦĢűŻƷĚĩƿƪĩĢŁŻƢŻƢěʼnĩƪƷƢþŦƪĩƷƷŎűłƪܒȃĩĢĩ-ǛĩŦŻƟůĩűƷŻŁƷʼnĩ ʼnŎűĩƪĩƪǢůƟʼnŻűǢŻƢěʼnĩƪƷƢþ܌ƿƪƿþŦŦǢƢĩŁĩƢƢĩĢƷŻþƪƷʼnĩܹrŻĢĩƢű ʼnŎűĩƪĩFŻŦţ

ƢěʼnĩƪƷƢþ܌ܺƷŻŻţĢĩěŎƪŎǛĩƪƷĩƟƪĢƿƢŎűłƷʼnĩ®ĩěŻűĢàŻƢŦĢàþƢ܌Ʒʼnĩ ʼnŎűĩƪĩ ŎǛŎŦàþƢܣڐژړږܫړژܤ܌

and the early Maoist period, and is thus intimately connected with the systematic invention of a national musical idiom.^ښښ¼ŻĚĩþĚŦĩƷŻĩơƿŎƟþƪǢůƟʼnŻűǢŻƢěʼnĩƪƷƢþǜŎƷʼnĩǡěŦƿƪŎǛĩŦǢ ʼnŎűĩƪĩ instruments, many instruments had to be rebuilt, especially instruments in the bass register.

ȃĩűƿůĚĩƢŻŁŎűƪƷƢƿůĩűƷƷǢƟĩƪǜþƪƪǢƪƷĩůþƷŎěþŦŦǢĩǡƟþűĢĩĢƿűƷŎŦƷʼnĩڐژڕڏƪܒhŎƿ¼ŎþűʼnƿþʼnþĢ already introduced the standardized procedure, unusual in traditional practice, of notating þŦŦƟþƢƷƪŻŁþʼnĩƷĩƢŻƟʼnŻűŎěĩűƪĩůĚŦĩƪƷƢƿěƷƿƢĩܒȃŎƪƟƢþěƷŎěĩǜþƪűŻǜƷƢþűƪŁĩƢƢĩĢƷŻƷʼnĩƪǢů-phony orchestra, and the use of precisely notated parts and a conductor were adopted largely unchanged from the Western model.

ŁěŻƿƢƪĩ܌ƷʼnĩƷƢþűƪŦþƷŎŻűŻŁ/þƪƷĩƢűůŻĢĩŦƪƷŻƷʼnĩàĩƪƷĩƢűŻƢěʼnĩƪƷƢþěƢĩþƷĩĢƷʼnĩþěƿƷĩ question of harmony, since polyphonic models could hardly be derived from traditional hetero-ƟʼnŻűŎěƟƢþěƷŎěĩܒàʼnŎŦĩĩþƢŦŎĩƢƟŎĩěĩƪƿƪƿþŦŦǢܫŎűþűþŦŻłǢƷŻĩþƢŦŎĩƢ/ƿƢŻƟĩþűʼnþƢůŻűŎǬþƷŎŻűŻŁ /þƪƷƪŎþűůĩŦŻĢŎĩƪܣދݑSSSܒڒܤܫþĢĢĩĢƪŎůƟŦĩůþŠŻƢܮůŎűŻƢƷŻűþŦʼnþƢůŻűŎĩƪƷŻ ʼnŎűĩƪĩůĩŦŻĢŎĩƪ܌

þűĩǜůĩƷʼnŻĢǜþƪĢĩǛĩŦŻƟĩĢŎűƷʼnĩڐژڔڏƪĚǢàþűłðʼnĩűǢþþűĢhŎæŎűłʼnþŎþƪHanzu diaoshi he-shengܣNþű ʼnŎűĩƪĩrƿƪŎěþŦrŻĢĩƪþűĢNþƢůŻűŎĩƪܤܒSűڐژڔژhŎæŎűłʼnþŎƟƢĩƪĩűƷĩĢþĚŻŻţǜŎƷʼnþ similar title,^ښڛĚþƪĩĢŻűàþűłðʼnĩűǢþܼƪĩþƢŦŎĩƢàƿƪʼnĩűłǢŎűŠŎĩŠŎơŎʼnĩƪʼnĩűłܣȃĩ£ĩűƷþƷŻűŎě®ěþŦĩ

ڽ hÿǀ܉ܶFżƣĪǜĪƣ¦Īģ܏ܷ®ĪĪNżěƫěÿǝŰ܉ܶSŲƸƣżģǀĜƸŏżŲ܈SŲǜĪŲƸŏŲŃ¼ƣÿģŏƸŏżŲƫ܏ܷ

ڵڴ The idea of a “national essence” (guocui, Japanese kokosuiܡ܉ƸÿŤĪŲłƣżŰƸŊĪdÿƠÿŲĪƫĪģŏƫĜżǀƣƫĪ܉ŊÿģÿŧƣĪÿģǣƸƣŏŃ-ŃĪƣĪģÿŲŏŲƸĪŲƫĪģĪěÿƸĪżŲĜǀŧƸǀƣÿŧŏģĪŲƸŏƸǣŏŲƸŊĪłƣÿŰĪǝżƣŤżłƸŊĪrÿǣFżǀƣƸŊrżǜĪŰĪŲƸܠGĪŏƫƸ܉Die Moderni-sierung der chinesischen Kultur܉ڍڐܡ܏

ڵڵ ®ĪĪdĪģĪĜŤ܉ܶ'ŏdzłĪƣĪŲƸSŲƸĪƣƠƣĪƸÿƸŏżŲƫżłrǀƫŏĜÿŧrżģĪƣŲŏƸǣܐܷłżƣÿģĪƸÿŏŧĪģģŏƫĜǀƫƫŏżŲ܉ÿŲģ¼ƫǀŏ܉ܶ¼ŊĪrżģĪƣŲ ŊŏŲĪƫĪFżŧŤƣĜŊĪƫƸƣÿܷÿŲģ¼ƫǀŏ܉ܶ/ŲƫĪŰěŧĪƫ܈¼ŊĪrżģĪƣŲ ŊŏŲĪƫĪƣĜŊĪƫƸƣÿܷłżƣÿŊŏƫƸżƣŏĜÿŧżǜĪƣǜŏĪǝżłƸŊĪ ŊŏŲĪƫĪƫǣŰƠŊżŲǣżƣĜŊĪƫƸƣÿ܏

ڵڶ Li, Hanzu diaoshi ji qi hesheng ܠNÿŲrżģÿŧŏƸǣÿŲģSƸƫNÿƣŰżŲǣܡ܏

þűĢSƷƪNþƢůŻűŎĩƪܤŁƢŻůڐژړژܒ^ښڜ In this system, the harmonies are composed almost entirely ŻŁƷʼnĩűŻƷĩƪŻŁƷʼnĩƟĩűƷþƷŻűŎěůŻĢĩƷʼnþƷŁŻƢůƷʼnĩěŻƢƢĩƪƟŻűĢŎűłůĩŦŻĢǢܒȃĩƪǢƪƷĩůʼnþƪþŦƪŻ ĚĩĩűǜŎĢĩŦǢƿƪĩĢŎűǜŻƢţƪĚǢ ʼnŎűĩƪĩěŻůƟŻƪĩƢƪŁŻƢàĩƪƷĩƢűŎűƪƷƢƿůĩűƷƪþűĢŎƪƪƷŎŦŦĩůƟŦŻǢĩĢ in music for the Chinese symphonic orchestra to the present day, although chromatic altera-ƷŎŻűƪʼnþǛĩĚĩĩűŎűěƢĩþƪŎűłŦǢŎűƷƢŻĢƿěĩĢƪŎűěĩƷʼnĩڐژڗڏƪܒ^ښڝűŦǢþŁĩǜĩǡƟĩƢŎůĩűƷþŦǜŻƢţƪƷŻŻţ þĢǛþűƷþłĩŻŁƷʼnĩƿűŎơƿĩƪŻƿűĢŻŁƷʼnĩűĩǜŻƢěʼnĩƪƷƢþŦþƟƟþƢþƷƿƪ܌ƪƿěʼnþƪhþů'ŻůŎűłܼƪܣĚܒݑڐژڑڕܤ ǜĩŦŦܮţűŻǜűƪŻűŻƢŎƪƷƟŎĩěĩInsect WorldܣڐژږژܤܒSűƷʼnĩĢŻůŎűþűƷƪƷþűĢþƢĢƢĩƟĩƢƷŻŎƢĩŻŁƷʼnĩ ʼnŎ- űĩƪĩƪǢůƟʼnŻűǢŻƢěʼnĩƪƷƢþ܌ƷʼnĩƟƢŻĚŦĩůƢĩůþŎűƪƿűůŎƪƷþţþĚŦĩƷʼnþƷǜŎƷʼnƷʼnĩþŦŦĩłĩĢܹůŻĢĩƢűŎ-zation” and standardization of the instrumental playing, the very same subtle deviations, in-Ǵ ŦĩěƷŎŻűƪ܌þűĢǛþƢŎþƷŎŻűƪƷʼnþƷěŻűƪƷŎƷƿƷĩþƪƷǢŦĩŦŎţĩƷʼnĩ®ŻƿƷʼn ʼnŎűĩƪĩܹƪŎŦţܮþűĢܮĚþůĚŻŻůƿƪŎěܺ

(ƪŎǬʼnƿǢƿĩܤܣދݑSSSܒڒܤŎűƷʼnĩȀƢƪƷƟŦþěĩǜĩƢĩƪƿƟƟƢĩƪƪĩĢܒ^ښڞFŻƢůþŦŦǢ܌ƷŻŻ܌ƷʼnĩǴ ŦŻǜŻŁƷʼnĩůĩŦŻĢŎěŦŎűĩ ƷʼnþƷŎƪĩƪƪĩűƷŎþŦŁŻƢƪƿěʼnŁŻƢůƪŎƪƿűĢĩƢůŎűĩĢĚǢƷʼnĩĩDzŁĩěƷŎǛĩŦǢŻƟƷŎůŎǬĩĢĢƢþůþƷƿƢłŎĩƪŻŁ ƪƿƪƟĩűƪŎŻűþűĢěŻűƷƢþƪƷŎűůŻƪƷǜŻƢţƪþűĢþƢƢþűłĩůĩűƷƪŁŻƢƷʼnĩ ʼnŎűĩƪĩƪǢůƟʼnŻűǢŻƢěʼnĩƪƷƢþܒ ȃĩěŻůĚŎűþƷŎŻűŻŁƪŎþűþűĢ/ƿƢŻƟĩþűŎűƪƷƢƿůĩűƷƪǜþƪűŻƷǢĩƷƟƢŻǛŎĢĩĢŁŻƢŎűƷʼnĩůƿƪŎěþŦ concepts of the reformers, and, considering the institutional separation of Western and Asian ůƿƪŎěþŦƟƢþěƷŎěĩ܌ŎƷǜŻƿŦĢʼnþƢĢŦǢʼnþǛĩĚĩĩűŁĩþƪŎĚŦĩܒȃĩĩþƢŦŎĩƪƷƪƷĩƟŎűƷʼnŎƪĢŎƢĩěƷŎŻűǜþƪƟƢŻĚþ-bly the inclusion of Asian solo instruments in the context of Western-oriented orchestral settings, þŦƷʼnŻƿłʼnƪŻůĩŻŁƷʼnĩƪĩ܌þƪŎűƷʼnĩěþƪĩŻŁåŎþűåŎűłʼnþŎܼƪܣڐژڏڔܫڐژړڔܤYellow River Cantata (Huang-he da(Huang-hechang܌ڐژڒژܤ܌ǜƢŎƷƷĩűŎűƷʼnĩƪƷƢƿěƷƿƢþŦŦǢǜĩþţƢĩƷƢĩþƷŻŁƷʼnĩ ŻůůƿűŎƪƷ£þƢƷǢŎűæþűܼþű ܣ®ʼnþþűǡŎܤ܌ ůþǢ ʼnþǛĩ Ěĩĩű ůĩƢĩŦǢ ůþƷĩƢŎþŦ ůþţĩƪʼnŎǼƷ ƪŻŦƿƷŎŻűƪܒ^ښڟ Sű þ ĢŎDzŁĩƢĩűƷ ěŻűƷĩǡƷ܌ dþƟþܮ űĩƪĩŎűƪƷƢƿůĩűƷƪŎűfƔƪþţƿܡfżƪĞþţܢæþůþĢþܼƪܣڐڗڗڕܫڐژڕڔܤܹłƢþűĢĩŻƟĪƢþܺYoake – Kuro Funeܣȃĩ Ŧþěţ®ʼnŎƟƪ܌ڐژڑژܫڒژܤůĩƢĩŦǢěŻűƷƢŎĚƿƷĩĢƷŻþţŎűĢŻŁܹƪĩŦŁܮĩǡŻƷŎěŎǬŎűłܺŦŻěþŦŎƷǢ܌ƷʼnþƷʼnþƢĢŦǢŁŻƿűĢ its way into the substance of the music. Finally, the combination of Western and Chinese instru-ůĩűƷƪŎűƷʼnĩܹůŻĢĩŦǜŻƢţƪܺܣǢþűłĚþűǡŎܤĢƿƢŎűłƷʼnĩ ʼnŎűĩƪĩ ƿŦƷƿƢþŦ¦ĩǛŻŦƿƷŎŻűěŻŎűěŎĢĩĢǜŎƷʼn ƢĩŦþƷĩĢƟƢþłůþƷŎěþűĢƟŻŦŎƷŎěþŦŻůĩűƪ܋ƷʼnĩƪŎűłŎűłƪƷǢŦĩŻŁĩŎŠŎűłƟĩƢþǜþƪܹƷĩůƟĩƢĩĢܺþűĢ stylistically leveled due to a musical style based on Westernized Romantic orchestral textures.^ښڠ

SűěƢĩþƷŎűłůƿƪŎěþŦŎĢĩűƷŎȀěþƷŎŻűƪƢĩ쯳űŎǬĩĢĚǢƷʼnĩůþƪƪĩƪ܌ěŻůůƿűŎƪƷþűĢűþƷŎŻűþŦŎƪƷܮƢĩ- ƟƿĚŦŎěþűŎĢŎŻůƪĢŎDzŁĩƢĩĢƟƢŎůþƢŎŦǢŻűƷʼnĩƷĩǡƷƿþŦŦĩǛĩŦܒåŎþűåŎűłʼnþŎ܌ǜʼnŻʼnþĢƪƷƿĢŎĩĢǜŎƷʼnßŎű-ěĩűƷĢܼSűĢǢþűĢ£þƿŦ'ƿţþƪŎű£þƢŎƪŁƢŻůڐژڒڏƷŻڐژڒڔ܌ƟƢŻĢƿěĩĢƟĩƢʼnþƟƪƷʼnĩĚĩƪƷܮţűŻǜűƟŎĩěĩŻŁ ƷʼnŎƪłĩűƢĩŎűڐژڒژ܌ƷʼnĩYellow River Cantata (Huanghe dahechangܤܒSűěŻűƷƢþƪƷƷŻhŎƿ¼ŎþűʼnƿþܼƪǜŻƢţƪ܌

åŎþűܼƪƪƷǢŦĩƪʼnŻǜƪűŻƪŎłűƪŻŁþűŎűƷĩűƪŎǛĩĩǡþůŎűþƷŎŻűŻŁ ʼnŎűĩƪĩůƿƪŎěƷƢþĢŎƷŎŻűƪܒȃĩʼnþƢůŻ-ny of the opening movement, built according to the traditional antiphonal pattern of Chinese ro-wing songs, characteristically combines pentatonic melody formation with simple diatonic har-ůŻűŎĩƪƢĩůŎűŎƪěĩűƷŻŁƷʼnĩSƷþŦŎþűܣŻƟĩƢþƷŎěܤƷƢþĢŎƷŎŻűŎűƷʼnĩŎƢƢĩƟĩƷŎƷŎǛĩþűĢƪĩơƿĩűƷŎþŦƟþƷƷĩƢűƪܒ

SƷŎƪűŻƷŎűƪŎłűŎȀěþűƷƷʼnþƷåŎþűܼƪ þűƷþƷþǜþƪěʼnþƢþěƷĩƢŎǬĩĢþƪŦþƷĩþƪڐژڗړܫűŻƷþĚŦǢŎűþű þěþĢĩůŎěƪƷƿĢǢŎű/űłŦŎƪʼnܫþƪŁŻŦŦŻǜƪ܋

ڵڷ Wang, Wusheng yinjie ji qi heshengܠ¼ŊĪ£ĪŲƸÿƸżŲŏĜ®ĜÿŧĪÿŲģSƸƫNÿƣŰżŲǣܡ܏ģĪƸÿŏŧĪģĪǢƠŧÿŲÿƸŏżŲżłƸŊŏƫƫǣƫƸĪŰ ŏƫƠƣżǜŏģĪģěǣ ŊĪżŲŃÿŲģ'ŏŲŃ܉ܶ®ƠżƫżěŏŲ¦ĪŰÿŏŲƫ܉ܷڒڎܨڒڔ܏®ĪĪÿŧƫżfżǀǝĪŲŊżǜĪŲ܉ܶrÿŏŲŧÿŲģ ŊŏŲÿܹƫtĪǝ rǀƫŏĜܠSSܡ܉ܷڑڕܨڒڌ܏

ڵڸ ®ĪĪ ŊĪżŲŃ܉ܶ¦ĪÿģŏŲŃ®ĜŊżĪŲěĪƣŃ܉NŏŲģĪŰŏƸŊ܉ÿŲģfǀƣƸŊŏŲ®ÿŲŃ¼żŲŃ܏ܷ

ڵڹ See among others Thrasher, “Bianzouܨݎ£ĪƣłżƣŰÿŲĜĪßÿƣŏÿƸŏżŲŏŲJiangnan sizhu” and Witzleben, “Silk and Bam-boo” Music in Shanghai.

ڵں ®ĪĪfƣÿǀƫ܉Pianos & Politics in China܉ڑڒܨڑڕ܏

ڵڻ ®ĪĪ ŧÿƣŤ܉ܶrżģĪŧ¼ŊĪÿƸƣŏĜÿŧàżƣŤƫ܉ܷrŏƸƸŧĪƣ܉ܶ ǀŧƸǀƣÿŧ¦ĪǜżŧǀƸŏżŲrżģĪŧàżƣŤƫ܉ܷrĪŧǜŏŲÿŲģ ÿŏ܉Rhapsody in Red܉ڎڎڑܨڎڒڐ܉ÿŲģhŏǀ܉A Critical History of New Music in China܉ڏړړܨڐڔڎ܏

SƸŏƫěǣłÿƣƸŊĪŰżƫƸĜżŲǜŏŲĜŏŲŃƫǣŲƸŊĪƫŏƫżłàĪƫƸĪƣŲÿŲģ ŊŏŲĪƫĪŰǀƫŏĜÿŧŏģŏżŰƫ܏SŲÿƫŏŲŃŧĪǝżƣŤ ŏƸǀŲŏƸĪƫƫǀĜŊģŏǜĪƣƫĪƸĪĜŊŲŏƢǀĪƫÿŲģĪŧĪŰĪŲƸƫÿƫ܉łżƣĪǢÿŰƠŧĪ܉ƸŊĪ ŊŏŲĪƫĪłżŧŤÿŲƸŏƠŊżŲÿŧƫŏŲŃܫ ŏŲŃƫƸǣŧĪĜÿŧŧĪģduikou chang܉ƸŊĪ ŊŏŲĪƫĪǿƫŊĪƣŰÿŲܹƫǝżƣŤƫżŲŃĜÿŧŧĪģhaozi, traditional Chinese ƠĪƣĜǀƫƫŏǜĪƠÿƸƸĪƣŲƫÿŲģŏŲƫƸƣǀŰĪŲƸÿƸŏżŲ܉NǀŃżàżŧłܹƫģĪĜŧÿŰÿƸżƣǣƣĪĜŏƸÿƸŏǜĪƫƸǣŧĪܠÿģÿƠƸĪģƸż ƸŊĪ ŊŏŲĪƫĪŧÿŲŃǀÿŃĪܡ܉ƸŊĪƸƣÿģŏƸŏżŲÿŧàĪƫƸĪƣŲĜżŲƸƣÿƠǀŲƸÿŧƸĪĜŊŲŏƢǀĪżłĜŊżƣÿŧǝƣŏƸŏŲŃ܉ÿŲģ܉

ǿŲÿŧŧǣ܉ƸŊĪÿƸŰżƫƠŊĪƣŏĜżƣĜŊĪƫƸƣÿŧĪdzłĪĜƸƫżłƸŊĪFƣĪŲĜŊSŰƠƣĪƫƫŏżŲŏƫƸŏĜƫĜŊżżŧ܏^ڗڞ

űĩěŻƿŦĢĢƢþǜþěŦĩþƢŦŎűĩŁƢŻůåŎþűܼƪěþűƷþƷþƷŻǜŻƢţƪŻŁƷʼnĩڐژڔڏƪþűĢڐژڕڏƪþƪƢĩƟƢĩƪĩűƷĩĢ ĚǢ'Ŏűł®ʼnþűĢĩܼƪܣڐژڐڐܫڐژژڔܤhŻűłrþƢěʼn®ǢůƟʼnŻűǢ (Changzheng jiaoxiangqu܌ڐژڔژܫڕڑܤܒtþƷŎŻűþŦ ŎĢĩűƷŎƷǢþűĢþƿƷʼnĩűƷŎěŎƷǢþƢĩƪƿłłĩƪƷĩĢʼnĩƢĩƷʼnƢŻƿłʼnƷʼnĩƿƪĩŻŁŁŻŦţƪŻűłƪ܌ǜʼnŎěʼnłĩŻłƢþƟʼnŎěþŦŦǢ ƷƢþěĩ Ʒʼnĩ þƟƟƢŻǡŎůþƷĩŦǢ ڕ܌ڏڏڏܮţŎŦŻůĩƷĩƢ ƢŻƿƷĩ ŻŁ Ʒʼnĩ ŦŻűł ůþƢěʼn ŻŁ Ʒʼnĩ Ǵ ŦĩĩŎűł ěŻůůƿűŎƪƷ ƷƢŻŻƟƪŁƢŻůڐژڒړƷŻڐژڒڔ^ښڢŁƢŻůƪŻƿƷʼnĩƢűdŎþűłǡŎƷŻűŻƢƷʼnĩƢűæþűܼþűܒȃþƷŁŻŦţƪŻűłƪŻŁƷʼnĩæþŻ people and other minorities are also included here points to the claim of national music as an all-encompassing idea of a “Great China,” especially in the second movement, where this claim ŎƪĩǛĩűůþĢĩĩǡƟŦŎěŎƷŎűƷʼnĩƷŎƷŦĩ܋ܹȃĩ¦ĩĢƢůǢ܌hŻǛĩĢĚǢrþűǢ£ĩŻƟŦĩƪܺܣHongjun, ge zu renmin de qinrenܤܒ

It seems evident that in the contexts mentioned so far, the reception of aesthetic moder-nity in the narrower sense hardly caught the attention of musical protagonists. And so, from ƷŻĢþǢܼƪ ƟĩƢƪƟĩěƷŎǛĩ܌ ŎƷ Ŏƪ ěƢƿěŎþŦ ƷŻ ĩůƟʼnþƪŎǬĩ ƷʼnŻƪĩ ĢĩǛĩŦŻƟůĩűƷƪ Ŏű /þƪƷ ƪŎþ ƷʼnþƷ ĢŎĢ űŻƷ ȀƷŎűƷŻƷʼnŎƪŻƪƷĩűƪŎĚŦǢƪĩþůŦĩƪƪŦŎűĩþłĩŻŁĢĩŦŎĚĩƢþƷĩþűĢűþŕǛĩŎěŻűŻłƢþƟʼnŎěþƟƟƢŻƟƢŎþƷŎŻűŻŁ àĩƪƷĩƢűܣƟƢŻłƢþůůþƷŎěܤůƿƪŎěܒ'ĩěŎƪŎǛĩŁŻƢƷʼnŎƪܹþŦƷĩƢűþƷŎǛĩܺŦŎűĩþłĩŻŁ/þƪƷƪŎþűůƿƪŎ쯣 ƷʼnĩƷǜĩűƷŎĩƷʼněĩűƷƿƢǢŎƪ܌ŻűƷʼnĩŻűĩʼnþűĢ܌ƷʼnĩƷĩůƟŻƢþƢǢƢĩƪŎĢĩűěĩþűĢĩůŎłƢþƷŎŻűŻŁ/ƿƢŻ-ƟĩþűůƿƪŎěŎþűƪŎűƷʼnĩڐژڒڏƪþűĢڐژړڏƪ܌ƟƢŎůþƢŎŦǢŎű®ʼnþűłʼnþŎ܌ƷʼnĩěĩűƷĩƢŻŁĩűěŻƿűƷĩƢĚĩƷǜĩĩű àĩƪƷĩƢűþűĢ ʼnŎűĩƪĩƷƢĩűĢƪ܌þűĢ܌ŻűƷʼnĩŻƷʼnĩƢʼnþűĢ܌ŎűĢĩƟĩűĢĩűƷĢǢűþůŎěƪǜŎƷʼnŎűƷʼnĩ/þƪƷ Asian composer scenes.

ȃĩ¦ƿƪƪŎþűěŻůƟŻƪĩƢþűĢƟŎþűŎƪƷŦĩǡþűĢĩƢ¼ěʼnĩƢĩƟűŎűܣڐڗژژܫڐژږږܤƪĩƢǛĩĢþƪþűþĢǛŎƪŻƢ ƷŻƷʼnĩ ʼnŎűĩƪĩůŎűŎƪƷƢǢŻŁěƿŦƷƿƢĩŁƢŻůڐژڒړƷŻڐژڒږŎű®ʼnþűłʼnþŎþűĢĩŎŠŎűłþƪǜĩŦŦþƪdþƟþű܌

ĢĩǛĩŦŻƟŎűłůŻĢĩŦƪŁŻƢƷʼnĩŎűƷĩłƢþƷŎŻűŻŁ/þƪƷƪŎþűĩŦĩůĩűƷƪŎűƷŻþůŻĢĩƢþƷĩŦǢůŻĢĩƢűƪƷǢŦĩ ܣދݑSSܒړܤܒ^ڛڙNĩŁŻěƿƪĩĢƟƢŎůþƢŎŦǢŻűƷʼnĩůŻĢĩƢűŎƪƷŁŻŦţŦŻƢŎƪůŻŁþƢƷżţþűĢ¦ƿƪƪŎþűěŻůƟŻƪĩƢƪ܌

ǜʼnŎěʼnǜþƪþŦƪŻƢĩǴ ŦĩěƷĩĢŎűƷʼnĩůƿƪŎ쯣ƷʼnĩůŻƪƷŎůƟŻƢƷþűƷ ʼnŎűĩƪĩěŻůƟŻƪĩƢƪʼnĩůĩűƷŻƢĩĢ܌

ŎűěŦƿĢŎűłNĩhƿƷŎűłܣڐژڏڒܫڐژژژܤþűĢdŎþűłàĩűǢĩܣڐژڐڏܫڐژڗڒܤܒ¼ěʼnĩƢĩƟűŎűěŎƷĩƪNĩhƿƷŎűłܼƪƟŎþ-no piece ƿDZŁþŦŻŻǢ݂ƪFŦƿƷĩ (Mutong duandi܌ڐژڒړ܌/ǡܒݑڒܒڐܤþƪþƟŻƪƪŎĚŦĩůŻĢĩŦŻŁþűĩǜ ʼnŎűĩƪĩ ůƿƪŎěŎűʼnŎƪڐژڒڔþƢƷŎěŦĩܹrƿƪŎěŎűrŻĢĩƢű ʼnŎűþܒܺ^ڛښ While in this piece a tonal-harmonic am-biguity is initially maintained by the consistent use of the pentatonic scale, the second part – analogous to examples cited above – is characterized by a pentatonic melodic line in the right ʼnþűĢþűĢþĢŎþƷŻűŎěþěěŻůƟþűŎůĩűƷŎűƷʼnĩŦĩǼƷܒ ŻűƷƢþƢǢƷŻ¼ěʼnĩƢĩƟűŎűܼƪþƟƟƢþŎƪþŦ܌þƪĩƢŎŻƿƪ reception of Chinese traditions or modern Western currents is hardly recognizable here.

ڵڼ Wong, “Geming Gequ܉ܷڍڎڑ܏

ڵڽ See Moise, Modern China܉ړڔܨڔڎ܏

ڶڴ ®ĪĪ ŊÿŲŃ܉ܶŧĪǢÿŲģĪƣ¼ĜŊĪƣĪƠŲŏŲ܉ŊŏƫSŲǵŧǀĪŲĜĪżŲrżģĪƣŲ ŊŏŲĪƫĪrǀƫŏĜ܉ܷrĪŧǜŏŲÿŲģ ÿŏ܉Rhapsody in Red, ڍڍڌܨڍڎڒ܉àŏŲǭĪŲěǀƣŃ܉ܶFƣżŰܸFżŧŤ ǀƣĪܹƸż ÿƸŊÿƣƫŏƫ܈ŧĪǢÿŲģĪƣ¼ĜŊĪƣĪƠŲŏŲÿŲģtĪǝ ŊŏŲĪƫĪ£ŏÿŲżrǀƫŏĜ܏ܷ

ڶڵ ¼ĜŊĪƣĪƠŲŏŲĪ܉ܶrǀƫŏĜŏŲrżģĪƣŲ ŊŏŲÿ܉ܷڏڕڔܨڐڌڌ܏ŲƸŊŏƫƠŏĪĜĪƫĪĪÿŧƫżfżǀǝĪŲŊżǜĪŲ܉ܶrÿŏŲŧÿŲģ ŊŏŲÿܹƫtĪǝ rǀƫŏĜܠSSܡ܉ܷڑړܨڑڕ܏

/ǡþůƟŦĩژܘږܑNĩhƿƷŎűłܒƿDZ ŁþŦŻŻǢ݂ƪFŦƿƷĩ (Mutong duandiܪܒůůܘږܱږږ ܩfŻƿǜĩűʼnŻǛĩűܒܿrþŎűŦþűĢ ʼnŎűþ݂ƪtĩǜrƿƪŎěܩSSܪܒ݀ښڜܪ

àʼnþƷŎƪűŻƷĩǜŻƢƷʼnǢŎƪ¼ěʼnĩƢĩƟűŎűܼƪĢĩůþűĢƷʼnþƷƷʼnĩƷƢþŎűŎűłŻŁ ʼnŎűĩƪĩůƿƪŎěŎþűƪƪʼnŻƿŦĢĚĩ-łŎűǜŎƷʼnƷʼnĩþĢþƟƷþƷŎŻűŻŁ ʼnŎűĩƪĩůĩŦŻĢŎĩƪƷŻþܹůŻĢĩƢűƪƷǢŦĩ܌ܺŻƢŎĩűƷĩĢƷŻǜþƢĢ/ƿƢŻƟĩþű ůƿƪŎ쯣ƷʼnĩĩþƢŦǢƷǜĩűƷŎĩƷʼněĩűƷƿƢǢܣ'ĩĚƿƪƪǢ܌®ƷƢþǛŎűƪţǢܤ܌űŻƷƷŻǜþƢĢ ŦþƪƪŎěþŦŻƢ¦ŻůþűƷŎě music.^ڛڛSű¼ěʼnĩƢĩƟűŎűܼƪþƢłƿůĩűƷþƷŎŻű܌ƷʼnĩƢĩŎƪþűŎůƟŦŎěŎƷŻƟƷŎůŎƪůĚþƪĩĢŻűƷʼnĩƷƢþĢŎƷŎŻűþŦ non-reliance of Chinese musicians on Western tradition, as well as an enthusiasm about the potential of the most populous nation for a future independent Chinese music.

hŎţĩ ¼ěʼnĩƢĩƟűŎű܌ Ʒʼnĩ ěŻůƟŻƪĩƢ܌ ůƿƪŎě ƷʼnĩŻƢŎƪƷ܌ ǛŎŻŦŎƪƷ܌ þűĢ ŦþǜǢĩƢ àŻŦŁłþűł FƢþĩűţĩŦ ܣڐڗژږܫڐژڗڒܤ܌ǜʼnŻŦŎǛĩĢŎűĩǡŎŦĩŎű®ʼnþűłʼnþŎŁƢŻůڐژڒژƷŻڐژړږþǼƷĩƢǴ ŦĩĩŎűłŁƢŻůƷʼnĩtþƷŎŻűþŦ®Ż-cialists, saw the future of Chinese music in a combination of Western modernism with autoch-ƷʼnŻűŻƿƪ ʼnŎűĩƪĩůƿƪŎěƷƢþĢŎƷŎŻűƪ܌ƷʼnŻƿłʼnʼnŎƪěŻűěĩƟƷŎŻűŻŁůŻĢĩƢűŎƪůǜþƪƪʼnþƟĩĢĢŎDzŁĩƢĩűƷ-ŦǢܒSűǴ ŦƿĩűěĩĢĚǢƷʼnĩ®ěʼnŻĩűĚĩƢłƪěʼnŻŻŦ܌FƢþĩűţĩŦěŻűěĩŎǛĩĢŻŁűĩǜůƿƪŎěþƪŁƿűĢþůĩűƷþŦŦǢ ĢŎDzŁĩƢĩűƷŁƢŻůƷʼnĩ ŦþƪƪŎěþŦܮ¦ŻůþűƷŎěƷƢþĢŎƷŎŻűŎűþƪƟĩěŎȀěůƿƪŎěܮŦŎűłƿŎƪƷŎěƪĩűƪĩ܌þűĢŎűʼnŎƪ ƷĩǡƷܹrƿƪŎě'ĩǛĩŦŻƟůĩűƷܓܺ he recommended that his Chinese colleagues develop just such an þŦƷĩƢŎƷǢ܋ ʼnŎűĩƪĩěŻůƟŻƪĩƢƪƪʼnŻƿŦĢþĚƪŻƢĚƷʼnĩܹƷĩěʼnűŎěþŦþűĢƪĩűƪŻƢǢơƿþŦŎƷŎĩƪŻŁàĩƪƷĩƢűþƢƷ܌ܺ

ǜʼnŎěʼnǜŻƿŦĢ܌ʼnŻǜĩǛĩƢ܌ŻűŦǢƪĩƢǛĩþƪþĚþƪŎƪŁŻƢůþţŎűłěŻűűĩěƷŎŻűƪǜŎƷʼnƷƢþĢŎƷŎŻűþŦ ʼnŎűĩƪĩ music without destroying its particularities. In the pronounced distance from a classical musi-ěþŦŦþűłƿþłĩ܌FƢþĩűţĩŦƪþǜþƟŻƪƪŎĚŦĩěŻűűĩěƷŎŻűĚĩƷǜĩĩűƟƢĩܮ ŦþƪƪŎěþŦþűĢůŻĢĩƢű/ƿƢŻƟĩþű ůƿƪŎěþűĢ ʼnŎűĩƪĩůƿƪŎěܣދݑSSSܒڑܤܒ

FƢþĩűţĩŦ þűĢ ¼ěʼnĩƢĩƟűŎű ĚƢŻƿłʼnƷ þ ŁƢĩƪʼn ƟĩƢƪƟĩěƷŎǛĩ ƷŻ Ʒʼnĩ ŻűłŻŎűł ĢŎƪěƿƪƪŎŻű Żű Ʒʼnĩ future of Chinese music, as the basis for the controversy over the roles of Western music up ƷŻ Ʒʼnĩ ڐژڒڏƪ ʼnþĢ ŎůƟŦŎěŎƷŦǢ þŦǜþǢƪ ƢĩŁĩƢƢĩĢ ƷŻ Ʒʼnĩ űŎűĩƷĩĩűƷʼn ěĩűƷƿƢǢ þƪ Ʒʼnĩ ƪŻƿƢěĩ ŻŁ ƷŻűþŦܮ ĢŎþƷŻűŎěůƿƪŎěþŦŦþűłƿþłĩܒFƢþĩűţĩŦܼƪůŻƪƷŎůƟŻƢƷþűƷƪƷƿĢĩűƷþƷƷʼnĩ®ʼnþűłʼnþŎ ŻűƪĩƢǛþƷŻƢǢ܌

ڶڶ ¼ĜŊĪƣĪƠŲŏŲĪ܉ܶrǀƫŏĜŏŲrżģĪƣŲ ŊŏŲÿ܉ܷڏڕڔ܏

®þűł¼Żűłܣڐژڑڒܫڑڏڐڐܤ܌ǜƢŻƷĩYejingܣtŎłʼnƷ®ěĩűĩƢǢ܌ڐژړږ܌ƟƿĚŦŎƪʼnĩĢŎűڐژڗڐܤŁŻƢǛŎŻŦŎűþűĢƟŎþűŻ ܫƷʼnĩȀƢƪƷƪŎþűěŻůƟŻƪŎƷŎŻűŎűěŻƢƟŻƢþƷŎűłþƷŻűþŦþűĢĢŻĢĩěþƟʼnŻűŎěƪƷƢƿěƷƿƢĩƪ^ڛڜ – and Zai na ǢþŻǢƿþűĢĩĢŎŁþűłܣSűƷʼnĩhþűĢ܌FþƢ܌FþƢǜþǢ܌ڐژړږܤŁŻƢƟŎþűŻܒȃĩƪĩǜŻƢţƪƢĩƟƢĩƪĩűƷŎůƟƢĩƪƪŎǛĩ ŻƿƷŦŎűĩƪŻŁǜʼnþƷþűĩǜ ʼnŎűĩƪĩůƿƪŎěůŎłʼnƷʼnþǛĩŦŻŻţĩĢŦŎţĩŦþƷĩƢŎŁƷʼnŎƪĢĩǛĩŦŻƟůĩűƷʼnþĢűŻƷ ĚĩĩűþĚƢƿƟƷŦǢĩűĢĩĢĚǢƟŻŦŎƷŎěþŦþűĢƪŻěŎþŦƿƟʼnĩþǛþŦƪƪƿěʼnþƪƷʼnĩ ŎǛŎŦàþƢڐژړږܫړژþűĢƷʼnĩ ƷþţĩŻǛĩƢĚǢƷʼnĩ ŻůůƿűŎƪƷ£þƢƷǢŎűڐژړژܣދݑSSSܒڑܤܒ'ŻĢĩěþƟʼnŻűŎěǜŻƢţƪĢŎĢűŻƷþƟƟĩþƢƿűƷŎŦƷʼnĩ ŦþƷĩڐژږڏƪ܌ǜŎƷʼnhƿŻðʼnŻűłƢŻűłܼƪܣĚܒݑڐژڑړܤShejiang cai furongܣ£ŎěţŎűłhŻƷƿƪFŦŻǜĩƢƪþƷƷʼnĩ¦ŎǛܮ ĩƢƪŎĢĩ܌ڐژږژܤŁŻƢǛŻŎěĩþűĢƟŎþűŻƟŦþǢŎűłþƟŎŻűĩĩƢŎűłƢŻŦĩܒSűþƪŎůŎŦþƢŁþƪʼnŎŻűƷŻ®þűł¼Żűłܼƪ ĩþƢŦǢǜŻƢţƪ܌hƿŻƪǢűƷʼnĩƪŎǬĩĢƟĩűƷþƷŻűŎěůĩŦŻĢǢǜŎƷʼnƷǜĩŦǛĩܮƷŻűĩƷĩěʼnűŎơƿĩܒ^ڛڝȃĩěʼnþűłŎűł political atmosphere in post-Mao China is expressed in the assessment of the musicologist àþűł tŎűłǢŎ܌ ǜʼnŻ ǜƢŻƷĩ Ŏű ڐژڗڐ ƷʼnþƷ ܹ ŻůƢþĢĩ hƿŻܼƪ ěŻƿƢþłĩŻƿƪ ůŻǛĩ ŎűƷŻ Ʒʼnĩ ƟƢŻʼnŎĚŎƷĩĢ ǬŻűĩŻŁƷǜĩŦǛĩܮƷŻűĩůƿƪŎěƪʼnŻƿŦĢĚĩŦŻŻţĩĢƿƟŻűþƪþůĩþűŎűłŁƿŦĩǡƟŦŻƢþƷŎŻűܒܺ^ڛڞ

þƢŻű ǛƪʼnþŦŻůŻǛ ܣڐڗژړܫڐژڔڕܤ ʼnþƪ Ěĩĩű þűŻƷʼnĩƢ ŎůƟŻƢƷþűƷ ȀłƿƢĩ Ŏű Ʒʼnĩ ůƿƪŎěþŦ ŦŎŁĩ ŻŁ

®ʼnþűłʼnþŎĢƿƢŎűłƷʼnĩڐژڒڏƪþűĢʼnþƪƢĩěĩŎǛĩĢƪŻůĩþƷƷĩűƷŎŻűŎűƢĩƪĩþƢěʼnƢĩěĩűƷŦǢܒǛƪʼnþŦŻůŻǛ ǜþƪĚŻƢűŎűtŎţŻŦþǢĩǛƪţܮŻűܮůƿƢěŦŻƪĩƷŻƷʼnĩ ʼnŎűĩƪĩܮ¦ƿƪƪŎþűĚŻƢĢĩƢܒ'ƿƢŎűłʼnŎƪƪƷþǢŎű ʼnŎ-űþŁƢŻůڐژڐڗƷŻڐژړږܣ¼ŎþűŠŎű܌ڐژڐڗܫڒڐ܌®ʼnþűłʼnþŎ܌ڐژڒڐܫړږܤþűĢþǼƷĩƢþƟĩƢŎŻĢŻŁȀĩŦĢƢĩƪĩþƢěʼn Żű ʼnŎűĩƪĩŁŻŦţůƿƪŎěʼnĩĚĩěþůĩþůƿěʼnܮƢĩƪƟĩěƷĩĢěŻůƟŻƪĩƢþűĢůƿƪŎěƷĩþěʼnĩƢ܌ƪʼnþƢŎűłʼnŎƪ ʼnŎűĩƪĩěŻŦŦĩþłƿĩܼƪƪĩþƢěʼnŁŻƢűĩǜ ʼnŎűĩƪĩůƿƪŎěþŦŎĢĩűƷŎƷŎĩƪܒNŎƪǜŻƢţƪĩǡʼnŎĚŎƷþƷǢƟĩŻŁěƿŦ-tural “fusion” that in many respects seems to predate compositional concepts of both CulʼnŎűĩƪĩůƿƪŎěþŦŎĢĩűƷŎƷŎĩƪܒNŎƪǜŻƢţƪĩǡʼnŎĚŎƷþƷǢƟĩŻŁěƿŦ-tural

¦ĩǛŻŦƿƷŎŻűܹůŻĢĩŦǜŻƢţƪܺܣǢþűłĚþűǡŎܤþűĢƷʼnĩǢŻƿűłþǛþűƷܮłþƢĢĩŻŁƷʼnĩڐژڗڏƪܒrŻƪƷűŻƷþĚŦǢ܌

his “music drama” ȄĩGƢĩþƷàþŦŦ (Meng Jiang Nü܌ڐژړڒܫړڔܤ^ڛڟ and his Piano Concerto ܣڐژڒڔܤ^ڛڠ ex-ʼnŎĚŎƷƷʼnĩěŻůƟŻƪĩƢܼƪěŻűƪěŎŻƿƪƢĩþěƷŎŻűƷŻþƪĩűƪŎƷŎǛĩ܌ƟŻŦŎƷŎěŎǬĩĢĩűǛŎƢŻűůĩűƷܒhþĚĩŦŎűłʼnŎƪ Great Wall܌ƟƢĩůŎĩƢĩĢŎűtŻǛĩůĚĩƢڐژړڔŎűþƟƢŻĢƿěƷŎŻűƢĩơƿŎƢŎűłěŻűƪŎĢĩƢþĚŦĩƢĩƪŻƿƢěĩƪþűĢ ĩDzŁŻƢƷ܌þܹ ʼnŎűĩƪĩrƿƪŎě'ƢþůþܺܣæŎűǢƿĩłĩǜƿŠƿܤþǛŻŎĢĩĢŻĚǛŎŻƿƪěŻűűĩěƷŎŻűƪƷŻþůƿěʼnܮĢĩܮ ĚþƷĩĢƢĩŁŻƢůŻŁĩŎŠŎűłƟĩƢþܣjingjuܤܒ/ůĩƢłŎűłŁƢŻůƷʼnĩěŻűěĩƟƷŻŁþůŻűŻĢƢþůþ܌Ʒʼnĩůƿ-ƪŎěþŦ ŎĢŎŻů ƷŻ þ ƷĩǡƷ ƪƟŻţĩű þűĢ ƪƿűł Ŏű rþűĢþƢŎű ʼnŎűĩƪĩ Ŏƪ ěʼnþƢþěƷĩƢŎǬĩĢ ĚǢ þű ܹĩěŦĩěƷŎě mixture of late-Romantic, impressionist, and early modernist styles to depict changes in the dramatic action and emotion from moment to moment.”^ڛڡ While the blending of genres and styles in ȄĩGƢĩþƷàþŦŦ to some extent anticipated the ǢþűłĚþűǡŎ aesthetic, Avshalomov’s Piano Concerto in G major paved the way for the veritable sub-genre of the “fusion concerto,” of which ڶڷ ®ĪĪ ŊĪżŲŃ܉ܶ¦ĪÿģŏŲŃ®ĜŊżĪŲěĪƣŃ܉NŏŲģĪŰŏƸŊ܉ÿŲģfǀƣƸŊŏŲ®ÿŲŃ¼żŲŃ܉ܷǝŊżŲżƸĪƫƸŊÿƸÿŧƸŊżǀŃŊ®ÿŲŃܹƫǝżƣŤ

ܶŏƫŲżƸěÿƫĪģżŲÿŲǣƸǝĪŧǜĪܫƸżŲĪƣżǝ܉ƸŊĪƸǝĪŧǜĪĜŊƣżŰÿƸŏĜŲżƸĪƫżěǜŏżǀƫŧǣĜżŲƫƸŏƸǀƸĪÿŰÿŏŲƣĪƫżǀƣĜĪܷܠڕڒܡ܏

ǽƸĪƣƸŊĪżƠĪŲŏŲŃżł ŊŏŲĪƫĪĜǀŧƸǀƣĪŏŲڍڕړڒܕړڔðŊĪŲŃæŏŲŃŧŏĪÿŲģƸŊĪĜżŰƠżƫĪƣŊŏŰƫĪŧłƠǀěŧŏƫŊĪģƸǝżÿŲÿŧǣƫĪƫ żłƸŊŏƫƠŏĪĜĪŏŲڍڕڔڏÿŲģڍڕڕڍƣĪƫƠĪĜƸŏǜĪŧǣܠðŊĪŲŃ܉ܶ®ÿŲŃ¼żŲŃģĪæĪšŏŲŃƫŊŏƫŊŏܷܞ£ƣĪŧŏŰŏŲÿƣǣŲÿŧǣƫŏƫżł®ÿŲŃ

¼żŲŃܹƫNight Sceneryܟܔ®ÿŲŃ܉ܶæĪšŏŲŃǭŊżŲŃģĪǝǀģŏÿżǢŏŲŃƫŊżǀłÿšŏƢŏƸÿܷܞƸżŲÿŧÿŲģƸŊĪƣ¼ĪĜŊŲŏƢǀĪƫŏŲNight Sceneryܟܡ܏żƸŊÿŲÿŧǣƫĪƫĪŰƠŊÿƫŏǭĪģƸŊĪǀƫĪżłƸƣÿģŏƸŏżŲÿŧ ŊŏŲĪƫĪƫĜÿŧĪƫÿŲģŰżģĪƫŏŲƸŊŏƫǝżƣŤ܏

ڶڸ ®ĪĪðŊĪŲŃ܉ܶhĪƸƸĪƣłƣżŰ ŊŏŲÿ܈¼ŊĪÃƫĪżł¼ǝĪŧǜĪ¼żŲĪ¼ĪĜŊŲŏƢǀĪŏŲ ŊŏŲĪƫĪrǀƫŏĜÿŧ żŰƠżƫŏƸŏżŲ܉ܷfżǀǝĪŲ-ŊżǜĪŲ܉ܶrÿŏŲŧÿŲģ ŊŏŲÿܹƫtĪǝrǀƫŏĜܠSSSܡ܉ܷڔڍ܉ðŊÿŲŃ܉Akkulturationsphänomene in der gegenwärtigen Musikkultur Chinas܉ڍڌڐܨڍڌړ܉rŏƸƸŧĪƣ܉Dangerous Tunes܉ڍڑڐ܉ÃƸǭ܉Neue Musik und Interkulturalität܉ڏڒڌܨڏڒڍ܉¦ÿż܉ܶNĪÿƣŏŲŃ£ĪŲ-ƸÿƸżŲŏĜŏƫŰ¼ŊƣżǀŃŊ®ĪƣŏÿŧŏƫŰ܉ܷÿŲģ ŊĪżŲŃ܉ܶ¦ĪÿģŏŲŃ®ĜŊżĪŲěĪƣŃ܉NŏŲģĪŰŏƸŊ܉ÿŲģfǀƣƸŊŏŲ®ÿŲŃ¼żŲŃ܉ܷڕڍܨڕڎ܏

ڶڹ àÿŲŃ tŏŲŃǣŏ܉ ܶFÿƣĪŲƫŊĪŲƫŏ ģĪ ƸÿŲƫǀż܈ £ŏŲŃ hǀż ðŊżŲŃƣżŲŃ ģĪ ܸ®ŊĪšŏÿŲŃ Ĝÿŏ łǀƣżŲŃܹܷ ܞ ¼ŊżǀŃŊƸܫ£ƣżǜżŤŏŲŃ /ǢƠĪƣŏŰĪŲƸ܈ ƣŏƸŏƢǀĪ żł hǀż ðŊżŲŃƣżŲŃܹƫPicking Lotus Flowers at the Riversideܟ܉ ڐڑ܉ ƸƣÿŲƫŧÿƸŏżŲ ƢǀżƸĪģ ÿǽƸĪƣ ŊĪżŲŃ܉ܶ¦ĪÿģŏŲŃ®ĜŊżĪŲěĪƣŃ܉NŏŲģĪŰŏƸŊ܉ÿŲģfǀƣƸŊŏŲ®ÿŲŃ¼żŲŃ܉ܷڕڎ܏

ڶں ®ĪĪàŏŲǭĪŲěǀƣŃ܉ܶÿƣżŲǜƫŊÿŧżŰżǜÿŲģtĪǝ ŊŏŲĪƫĪrǀƫŏĜŏŲ®ŊÿŲŃŊÿŏ܉ڍڕڏڍܨڍڕڐړ܉ܷàŏŲǭĪŲěǀƣŃ܉ܶrǀƫŏĜÿŧܫ Dramatic Experimentation in the Yangbanxi܉ܷÿŲģàŏŲǭĪŲěǀƣŃ܉ܶ£ÿƣƸŲĪƣŏŲŃǝŏƸŊƸŊĪ®ŊÿŲŃŊÿŏƣƸƫ żŰŰǀŲŏƸǣ܏ܷ

ڶڻ ®ĪĪàŏŲǭĪŲěǀƣŃ܉ܶtĪǝrǀŧƸŏǜżŏĜĪģàżƣŧģ܏ܷ

ڶڼ Winzenburg, “Musical-Dramatic Experimentation in the Yangbanxi܉ܷڍڕڏ܏

dŻʼnűàŎűǬĩűĚƿƢłʼnþƪěƿƢƢĩűƷŦǢþƪƪĩůĚŦĩĢůŻƢĩƷʼnþűړڏڏƢĩƟƢĩƪĩűƷþƷŎǛĩĩǡþůƟŦĩƪܒ^ڛڢȃĩƪĩěܮ ond movement of this concerto, an adagio carefully incorporating a kunqu opera tune, hints at ʼnŎűĩƪĩƟĩƢŁŻƢůþűěĩƷĩěʼnűŎơƿĩƪƪƿěʼnþƪƪŦŎĢŎűłƟŎƷěʼnŦŎűĩƪܒȃĩůŻǛĩůĩűƷǜþƪþƢƢþűłĩĢĚǢ ƷʼnĩěŻůƟŻƪĩƢŁŻƢþűĩűƪĩůĚŦĩŻŁڐړ ʼnŎűĩƪĩŎűƪƷƢƿůĩűƷƪƷʼnþƷĩűƷĩƢŎűƷŻþĢŎþŦŻłƿĩǜŎƷʼnƷʼnĩ ƪŻŦŻƟŎþűŻܒȃŎƪþƢƢþűłĩůĩűƷǜþƪƟĩƢŁŻƢůĩĢƪĩƟþƢþƷĩŦǢŁƢŻůƷʼnĩƷʼnƢĩĩܮůŻǛĩůĩűƷǜŻƢţþƷƷʼnĩ ƟƢĩůŎĩƢĩŻűڐژdþűƿþƢǢڐژڒڕŎű®ʼnþűłʼnþŎ܌^ڜڙ and, according to the composer, the confrontation ĚĩƷǜĩĩűƷʼnĩƷǜŻƟĩƢŁŻƢůþűěĩƪþűĢƪĩƷƷŎűłƪǜþƪŎűƷĩűĢĩĢƷŻĢĩůŻűƪƷƢþƷĩƷʼnĩţĩǢƢŻŦĩŻŁƷŎůܮ ĚƢĩŁŻƢƷʼnĩƿűĢĩƢƪƷþűĢŎűłŻŁůƿƪŎěþŦŎĢĩűƷŎƷǢ܋

àżƣŤŏŲŃ żŲ ƸŊĪ ŰżģĪƣŲŏǭŏŲŃ żł ŊŏŲĪƫĪ ŰǀƫŏĜ܉ ŏ܏Ī܏܉ ƸƣǣŏŲŃ Ƹż ěƣŏŲŃ ŏƸ ǀƠ Ƹż ÿ ƫƸÿŲģÿƣģ ÿĜĜĪƠ-ƸÿěŧĪƸżƸŊĪƠƣĪƫĪŲƸŃĪŲĪƣÿƸŏżŲ܉żŲĪŏƫĜżŲłƣżŲƸĪģǝŏƸŊƸŊĪƠƣżěŧĪŰżłŧżƫŏŲŃ܉ŏŲƸŊĪƠƣżĜĪƫƫ܉

ǜĪƣǣŰǀĜŊżłǝŊÿƸŏƫƸǣƠŏĜÿŧŧǣÿŲģĜŊÿƣÿĜƸĪƣŏƫƸŏĜÿŧŧǣ ŊŏŲĪƫĪ܏®ŏŲĜĪŏƸŰǀƫƸěĪƣĪĜżŃŲŏǭĪģƸŊÿƸ ƸŊĪ ŊŏŲĪƫĪŏŲƫƸƣǀŰĪŲƸƫ܉ŏŲƫƠŏƸĪżłƸŊĪĜŊÿƣŰżłƸŊĪŏƣƸżŲܫĜżŧżǀƣܞsicܟ܉ĜÿŲŲżƸěĪǣĪƸĪdzǿĜŏĪŲƸ-ŧǣĪŰƠŧżǣĪģƸżƠĪƣłżƣŰżŲƸŊĪŰƫǣŰƠŊżŲŏĜŰǀƫŏĜżŲÿĜĜżǀŲƸżłƸĪĜŊŲŏĜÿŧƫŊżƣƸĜżŰŏŲŃƫ܉ƸŊĪ żŲŧǣǝÿǣżǀƸܠƸŊĪĜżŰƠżƫĪƣƫĪĪƫŏƸłżƣƸŊĪƠƣĪƫĪŲƸÿŲģǀŲƸŏŧƸŊÿƸƸŏŰĪǝŊĪŲƸŊĪŰĪĜŊÿŲŏĜÿŧÿŲģ ƸĪĜŊŲŏĜÿŧƠżƫƫŏěŏŧŏƸŏĪƫǝŏŧŧěĪŏŰƠƣżǜĪģܡŏƫƸżǀƫĪƸŊĪǝĪƫƸĪƣŲżƣĜŊĪƫƸƣÿƸƣǣŏŲŃƸŊĪܞsicܟƠƣĪƫĪƣǜĪ only ƸŊĪƫƠŏƣŏƸżł ŊŏŲĪƫĪŰǀƫŏĜÿƫĪǢƠƣĪƫƫĪģŏŲƸŊĪƸŊĪŰÿƸŏĜŰÿƸĪƣŏÿŧ܉ŲżƸƸÿŤŏŲŃŏŲƸżŰǀĜŊÿĜ-ĜżǀŲƸƸŊĪŧżƫƫżłƸŊÿƸƠĪĜǀŧŏÿƣĜżŧżǀƣǝŊŏĜŊĜżǀŧģŲżƸěĪżěƸÿŏŲĪģěǣǀƫŏŲŃ ŊŏŲĪƫĪŏŲƫƸƣǀŰĪŲƸƫ܏

¼ŊĪ ƠƣĪƫĪŲƸ ĪǢƠĪƣŏŰĪŲƸ ܞ܊ܟ ŏƫ ŲżƸ ÿ ĜżŰƠÿƣŏƫżŲ܈ ŏƸ ŏƫ ÿ ģĪƫŏƣĪ Ƹż ĪǢƠŧÿŏŲ ƸŊƣżǀŃŊ ÿĜƸǀÿŧ Űǀ-ƫŏĜ ƸŊÿƸ ÿŧƸŊżǀŃŊ ܠÿƫ ŏŲ ƸŊĪ ĜÿƫĪ żł ƸŊŏƫ ܶģÿŃŏżܷܡ ƸŊĪ Ƹǝż ǜĪƣƫŏżŲƫ ÿƣĪentirely identical as ƣĪŃÿƣģ ŏŲƫƸƣǀŰĪŲƸÿƸŏżŲ܉ ŊÿƣŰżŲŏǭÿƸŏżŲ܉ łżƣŰ܉ ÿŲģ ƸŊĪŰÿƸŏĜ ŰÿƸĪƣŏÿŧ܉ ƸŊĪ ǝĪƫƸĪƣŲ żƣ-ĜŊĪƫƸƣÿ ģżĪƫ ŲżƸ ܨ ܠƠĪƣŊÿƠƫ ĜÿŲŲżƸܐܡ ܨ ƫżǀŲģ ÿƫ ǝŊÿƸ ŏƫ żƣģŏŲÿƣŏŧǣ ĜÿŧŧĪģ ܶ ŊŏŲĪƫĪ ŰǀƫŏĜ܏ܷ

ƣģżĪƫŏƸܐܐ܊¼ŊŏƫƸŊĪĜżŰƠżƫĪƣŧĪÿǜĪƫłżƣƸŊĪÿǀģŏĪŲĜĪ܏^ڙڗ

'ƿƢŎűłƷʼnĩƪþůĩƟĩƢŎŻĢ܌ƪŻůĩܫĩơƿþŦŦǢŎůƟŦŎěŎƷŦǢƟŻŦŎƷŎěþŦܫěŻůƟþƢþĚŦĩþƟƟƢŻþěʼnĩƪĩůĩƢłĩĢ ŎűdþƟþű܌ůŻƪƷűŻƷþĚŦǢŎűƷʼnĩŻƢěʼnĩƪƷƢþŦǜŻƢţƪAkebonoܣڐژڒڐܤĚǢfƿűŎʼnŎţŻNþƪʼnŎůŻƷŻ^ڜڛܣڐژڏړܫ ڐژړژܤ þűĢ Ʒʼnĩ tþłþƿƷþ ®ǢůƟʼnŻűǢ ܿ¼ƪƿƢƿţþůĩ݀ ܣڐژڒړܤ ĚǢ fƔƪþţƿ ܣfżƪĞþţܤ æþůþĢþܒ^ڜڜ In both ǜŻƢţƪ܌þěʼnŻƢþŦnagauta shamisen ensemble (an ensemble consisting of shamisen-accompanying ƪŎűłĩƢƪŎűƿűŎƪŻűܤþűĢþàĩƪƷĩƢűƪǢůƟʼnŻűǢŻƢěʼnĩƪƷƢþþƢĩěŻűűĩěƷĩĢŎűþǛþƢŎĩƷǢŻŁǜþǢƪܒȃĩƪĩ ǜŻƢţƪĩůĩƢłĩĢŎűþƟŻŦŎƷŎěŎǬĩĢěŻűƷĩǡƷŻŁŎűěƢĩþƪŎűłűþƷŎŻűþŦŎƪůƷʼnþƷʼnþĢƪƟƢĩþĢŎűƷʼnĩǜþţĩ ŻŁdþƟþűܼƪŻěěƿƟþƷŎŻűŻŁƷʼnĩrþűěʼnƿƢŎþűƟĩűŎűƪƿŦþŎűڐژڒڐܘڒڑܒNþƪʼnŎůŻƷŻܼƪڒڏܮůŎűƿƷĩAkebono ڶڽ àŏŲǭĪŲěǀƣŃ܉ܶtĪǝrǀŧƸŏǜżŏĜĪģàżƣŧģ܉ܷڎڎڎܨڎڎڏܔƫĪĪÿŧƫżàŏŲǭĪŲěǀƣŃ܉ܶNĪƸĪƣżŃŧżƫƫŏÿÿŲģ¼ƣÿģŏƸŏżŲÿŧßżĜÿŧ

Genres.”

ڷڴ àŏŲǭĪŲěǀƣŃ܉ܶtĪǝrǀŧƸŏǜżŏĜĪģàżƣŧģ܉ܷڎڎڐ܏

ڷڵ ÿƣżŲǜƫŊÿŧżŰżǜ܉ܶtżƸĪƫǀƠżŲƸŊĪƣĜŊĪƫƸƣÿŧàżƣŤƫ܉ܷŏŲThe Shanghai Municipal Orchestra at the Lyceum, Fif-teenth Sunday Concert Symphonic Programme ܠڍڕ dÿŲǀÿƣǣ ڍڕڏڒܡ܉ ڐܨڑ܉ ƢǀżƸĪģ ÿǽƸĪƣ àŏŲǭĪŲěǀƣŃ܉ ܶ tĪǝ rǀŧƸŏܫ ǜżŏĜĪģàżƣŧģ܉ܷڎڏڍ܏

ڷڶ FƣżŰڍڕڏڐƸżڍڕڏړ܉NÿƫŊŏŰżƸżƫƸǀģŏĪģŏŲßŏĪŲŲÿǝŏƸŊ/ŃżŲàĪŧŧĪƫǭ܏ŲƣĪƸǀƣŲŏŲŃƸżdÿƠÿŲ܉ǝŏƸŊÿƫƸżƠżǜĪƣŏŲ hżƫŲŃĪŧĪƫ܉ŊĪŰĪƸǝŏƸŊ®ĜŊżĪŲěĪƣŃܠGÿŧŧŏÿŲż܉æƕŃÿŤǀ܉ڎڌڑܡ܏AkebonoǝÿƫƠĪƣłżƣŰĪģÿŃÿŏŲŏŲڎڌڌڑÿƸƸŊĪ¼żŤǣż ÃŲŏǜĪƣƫŏƸǣżłƸŊĪƣƸƫܠTokyo Geijutsu Daigaku)ǀŲģĪƣƸŊĪģŏƣĪĜƸŏżŲżłNŏƣżƫŊŏàÿŤÿƫǀŃŏƸżŃƣĪÿƸÿĜĜŧÿŏŰ܏¼ŊĪ ƸĪǢƸŏƫěǣ¼ÿƸƫǀǣǀŤŏ¼ÿŤÿŲżܠڍڔړڒܨڍڕڐړܡ܉ƸŊĪǀŲģĪƣŧǣŏŲŃshamisenŰǀƫŏĜǝÿƫĜżŰƠżƫĪģěǣfżƫÿěǀƣżæżƫŊŏǭǀŰŏ ܠڍڔړڒܨڍڕړڎܡÿŲģ¦żŤĪƫŊŏƣżfŏŲĪǣÿܠڍڕڌڐܨڍڕڔړܡ܏

ڷڷ æÿŰÿģÿǝÿƫƸŊĪŰżƫƸŏŲƸĪƣŲÿƸŏżŲÿŧŧǣƣĪƫƠĪĜƸĪģĜżŰƠżƫĪƣŏŲdÿƠÿŲŏŲƸŊĪǿƣƫƸŊÿŧłżłƸŊĪƸǝĪŲƸŏĪƸŊĜĪŲƸǀƣǣ܏NĪ Ŋÿģ܉ÿŰżŲŃżƸŊĪƣƸĪÿĜŊĪƣƫ܉ƫƸǀģŏĪģŏŲĪƣŧŏŲǝŏƸŊrÿǢƣǀĜŊÿŲģfÿƣŧàżŧłܠڍڕڍڌܨڍڎܡ܉ÿŲģĜżŲƸƣŏěǀƸĪģƫŏŃŲŏǿ-ĜÿŲƸŧǣƸżƸŊĪģĪǜĪŧżƠŰĪŲƸżłdÿƠÿŲĪƫĪŰǀƫŏĜŧŏłĪ܏'ǀƣŏŲŃƸŊĪ£ÿĜŏǿĜàÿƣ܉æÿŰÿģÿżdzłĪƣĪģŊŏƫƫĪƣǜŏĜĪƫƸżƸŊĪ ŰŏŧŏƸÿƣŏƫƸƣĪŃŏŰĪ܉ŧĪÿģŏŲŃƸżǿĪƣĜĪĜżŲƸƣżǜĪƣƫŏĪƫŏŲƸŊĪŏŰŰĪģŏÿƸĪƠżƫƸǝÿƣƠĪƣŏżģܠGÿŧŧŏÿŲż܉æƕŃÿŤǀ܉ڍڏڌܨڍڏڍܡ܏

Some further information on Yamada has been provided in Chapter II.4.

ܣ®ƿűƢŎƪĩܤ܌ǜƢŎƷƷĩűŁŻƢþʼnƿłĩĩűƪĩůĚŦĩ܌ěþƿƪĩĢþƪěþűĢþŦþƷŎƷƪƟƢĩůŎĩƢĩŻűڐړtŻǛĩůĚĩƢڐژڒڐ܌

followed by harsh and politically charged press reviews that insisted on the basic incompatibi-lity of the intimate character of Japanese music and the representational character of Western orchestral styles.^ڜڝȃĩěŻůƟŻƪĩƢʼnŎůƪĩŦŁƟƿĚŦŎƪʼnĩĢþűĩǡƷĩűƪŎǛĩŦŎƪƷŻŁʼnþƢůŻűŎěƪƷƢþƷĩłŎĩƪþűĢ ĩűƪĩůĚŦĩěŻůĚŎűþƷŎŻűƪƿƪĩĢŎűʼnŎƪǜŻƢţ܌ěŻűěŦƿĢŎűłƷʼnþƷʼnĩʼnþĢܹŁþŎŦĩĢƷŻþěʼnŎĩǛĩþƪǢűƷʼnĩ-sis, to combine these techniques into a single procedure.”^ڜڞ æþůþĢþܼƪtþłþƿƷþ®ǢůƟʼnŻűǢܿ¼ƪƿƢƿܴ

kame,” by contrast, was much better received, although it pursued an agenda similar to Hashimoto’s, namely “the urgently needed overcoming of the opposition between Japanese and Western music with the aim of creating a Japanese national music.”^ڜڟ SƷŎƪĩǛŎĢĩűƷƷʼnþƷæþůþ-da’s success was not least due to the allusions to nationalist tropes and symbols in the quoted nagauta material, and not merely to the astonishing inventiveness of how this material is tech-űŎěþŦŦǢŎűƷĩƢǜŻǛĩű܌ƷʼnƢŻƿłʼněŻűƪŎĢĩƢþĚŦĩĩDzŁŻƢƷ܌ǜŎƷʼnʼnþƢůŻűŎěþűĢěŻűƷƢþƟƿűƷþŦƪƷƢƿěƷƿƢĩƪܒ^ڜڠ

SűĚŻƷʼnǜŻƢţƪ܌ƷʼnĩůĩŦŻĢŎĩƪŻŁƷʼnĩshamisen ensemble are integrated into the idiom of the orchestra by coloring and developing them with the means of major-minor tonality. At the ƪþůĩ ƷŎůĩ܌ Ʒʼnĩ ěŻůƟŻƪĩƢƪ ěŦþŎůĩĢ ƷŻ ʼnþǛĩ ŦĩǼƷ Ʒʼnĩ ƷƢþĢŎƷŎŻűþŦ ŎĢŎŻů ŻŁ Ʒʼnĩshamisen ensem-ĚŦĩŦþƢłĩŦǢƿűƷŻƿěʼnĩĢܒSűƷʼnŎƪŁŻƢůþŦŎǬĩĢĢŎþŦŻłƿĩ܌ƷʼnĩŠƿǡƷþƟŻƪĩĢĩűƪĩůĚŦĩƪĢĩƪěƢŎĚĩþţŎűĢ ŻŁěŻĩǡŎƪƷĩűěĩŻŁdþƟþűĩƪĩþűĢ/ƿƢŻƟĩþűůƿƪŎěƷʼnþƷʼnþĢĚĩĩűěʼnþƢþěƷĩƢŎƪƷŎ쯣ƷʼnĩdþƟþűĩƪĩ ůŻĢĩƢűŎǬþƷŎŻűůŻĢĩŦƪŎűěĩƷʼnĩrĩŎŠŎĩƢþܣڐڗڕڗܫڐژڐڐܤþƪþǜʼnŻŦĩܒàʼnŎŦĩNþƪʼnŎůŻƷŻ܌þůĩůĚĩƢ of ®ʼnŎűţƔƪþţţǢŻţƿţþƢĩűůĩŎܣFĩĢĩƢþƷŎŻűŻŁSűűŻǛþƷŎǛĩ ŻůƟŻƪĩƢƪ܌ŁŻƿűĢĩĢŎűڐژڒڏ܌ދSSܒړܤ܌ǜþƪ ƷʼnĩŻűŦǢěŻůƟŻƪĩƢŻŁʼnŎƪłĩűĩƢþƷŎŻűƷŻʼnþǛĩƪƷƿĢŎĩĢĚŻƷʼn/ƿƢŻƟĩþűþűĢdþƟþűĩƪĩůƿƪŎě܌æþůþܮ Ģþܼƪ ůƿƪŎě ʼnþĢ ŎűŎƷŎþŦŦǢ Ěĩĩű ƪƷƢŻűłŦǢ ŎűǴ ŦƿĩűěĩĢ ĚǢ ¦ŎěʼnþƢĢ ®ƷƢþƿƪƪ܌ ĚƿƷ ŎűěƢĩþƪŎűłŦǢ ƷƿƢűĩĢƷŻǜþƢĢþűŎűƷĩłƢþƷŎŻűŻŁƷƢþĢŎƷŎŻűþŦdþƟþűĩƪĩŎűƪƷƢƿůĩűƷƪþűĢłĩűƢĩƪܒŦƢĩþĢǢŎűæþůþܮ Ģþܼƪ ƪǢůƟʼnŻűǢ ܹSűűŻ rĩŎŠŎܺ ܣڐژڑڐܤ þhichiriki Ŏƪ ƿƪĩĢ܌ ǜʼnŎěʼn܌ ʼnŻǜĩǛĩƢ܌ ܫ ŦŎţĩ Ʒʼnĩ dþƟþűĩƪĩ Ŏűܮ struments in the opera Yoake – Kuro FuneܣƪĩĩþĚŻǛĩܤܫĢŻĩƪűŻƷƟŦþǢþůþŠŻƢƢŻŦĩܒȃĩNagauta

®ǢůƟʼnŻűǢ is based on the play Tsurukameܣܹ ƢþűĩþűĢ¼ŻƢƷŻŎƪĩ܌ܺþƪƷŻƢǢĢŻěƿůĩűƷŎűłŎůƟĩƢŎþŦ ǜŻƢƪʼnŎƟܤ܌þĢþƟƷĩĢŁƢŻůƷʼnĩűƔ theater for kabukiܒSűƪƿů܌ĚŻƷʼnƪǢůƟʼnŻűŎĩƪƢĩǴ ŦĩěƷŎűěƢĩþƪŎűłŦǢ űþƷŎŻűþŦŎƪƷƷĩűĢĩűěŎĩƪŻŁdþƟþűĩƪĩůƿƪŎ쯣ƷʼnĩڐژڑڏƪþűĢڐژڒڏƪ܌ǜŎƷʼnæþůþĢþܼƪǜŻƢţĩǡƟƢĩƪƪŎűł a more explicit political undertone.

ǼƷĩƢ ĩþƢŦǢ þƷƷĩůƟƷƪ ƷŻ ůþţĩ ƪƷƢƿěƷƿƢþŦƿƪĩ ŻŁ Ʒʼnĩ ůŻĢĩƪ þűĢ ƷŎůĚƢĩƪ ŻŁ dþƟþűĩƪĩ ƷƢþĢŎ-ƷŎŻűþŦłĩűƢĩƪĢƿƢŎűłƷʼnĩڐژڒڏƪŎűƷʼnĩěŻűƷĩǡƷŻŁƷʼnĩ®ʼnŎűţƔƪþţţǢŻţƿţþƢĩűůĩŎ܌æŻƢŎƷƪƿűĩrþƷƪƿܮ ĢþŎƢþ ܣڐژڏږܫڑڏڏڐܤ ĩǡƷĩűƪŎǛĩŦǢ ŦŎűţĩĢ ěƿƢƢĩűƷ /ƿƢŻƟĩþű ĢĩǛĩŦŻƟůĩűƷƪ ŁƢŻů űĩŻěŦþƪƪŎěŎƪů ƷŻ dodecaphony, serialism, and aleatoricism with structural and tonal aspects of gagaku, during the postwar period.^ڜڡ Matsudaira’s ȄĩůĩþűĢßþƢŎþƷŎŻűƪŁŻƢ£ŎþűŻþűĢƢěʼnĩƪƷƢþܣڐژڔڑܤŻűƷʼnĩŁþ-ڷڸ See Menzel, NƕŃÿŤǀ܉ڍڎڑܨڍڏڏ܏

ڷڹ NÿƫŊŏŰżƸż܉ܶtÿŃÿǀƸÿƫŊŏŲŤǣżŤǀܸŤĪěżŲż܉ܹܷڐڑ܉ƢǀżƸĪģÿǽƸĪƣrĪŲǭĪŧ܉NƕŃÿŤǀ܉ڍڎړܠܶěǝżŊŧŏĜŊģÿŲÿĜŊƸƣÿĜŊƸĪ-ƸĪ܉ģŏĪżěĪŲěĪƫĜŊƣŏĪěĪŲĪŲ¼ĪĜŊŲŏŤĪŲŏŲ®ǣŲƸŊĪƫĪǭǀěƣŏŲŃĪŲ܉ǭǀĪŏŲĪƣĪŏŲǭŏŃĪŲßĪƣłÿŊƣĪŲƫǝĪŏƫĪǭǀǜĪƣěŏŲģĪŲ܉

ܞ܊ܟŰǀƫƫŏĜŊŧĪŏģĪƣěĪŤĪŲŲĪŲ܉ģÿƫƫŰŏƸģŏĪƫĪƣĪŲƸƫĜŊĪŏģĪŲģĪ®ĜŊƣŏƸƸŲŏĜŊƸŃĪŧǀŲŃĪŲŏƫƸ܏ܷܡ܏

ڷں ¼ƫǀǣǀŤŏ܉ܶtŏŊżŲżŲŃÿŤǀƸżǣƕŃÿŤǀƸżŲżŤƕƣǣǖ܉ܷڏڒ܉ƢǀżƸĪģÿǽƸĪƣrĪŲǭĪŧ܉NƕŃÿŤǀ܉ڍڏڐܠܶܞ¼ƫǀƣǀŤÿŰĪܟܞ܊ܟǜĪƣƫƸĪŊƸ ƫŏĜŊÿŧƫ®ĜŊƣŏƸƸŏŲ¦ŏĜŊƸǀŲŃģĪƣģƣŏŲŃĪŲģŲƇƸŏŃĪŲÉěĪƣǝŏŲģǀŲŃģĪƣƠƠżƫŏƸŏżŲǜżŲšÿƠÿŲŏƫĜŊĪƣǀŲģǝĪƫƸŧŏĜŊĪƣ rǀƫŏŤ܉ŰŏƸģĪŰðŏĪŧ܉ĪŏŲĪšÿƠÿŲŏƫĜŊĪtÿƸŏżŲÿŧŰǀƫŏŤǭǀƫĜŊÿdzłĪŲ܏ܷܡ܏

ڷڻ See Menzel, NƕŃÿŤǀ܉ڍڏڐܨڍڐڍ܏

ڷڼ æżƣŏƸƫǀŲĪ rÿƸƫǀģÿŏƣÿ ǝÿƫ żŲĪ żł dÿƠÿŲܹƫ ŰżƫƸ ŏŲǵŧǀĪŲƸŏÿŧ ÿŲģ ŏŲƸĪƣŲÿƸŏżŲÿŧŧǣ ÿĜƸŏǜĪ ĜżŰƠżƫĪƣƫܔ ŊĪ ěĪĜÿŰĪ ŤŲżǝŲŏŲƸŊĪàĪƫƸÿŧƣĪÿģǣģǀƣŏŲŃƸŊĪڍڕڏڌƫÿǽƸĪƣěĪŏŲŃÿǝÿƣģĪģƸŊĪ¼ĜŊĪƣĪƠŲŏŲĜżŰƠżƫŏƸŏżŲƠƣŏǭĪŏŲڍڕڏڑ܏NĪ ÿƸƸĪŲģĪģƸŊĪڍڕڑړÿŲģڍڕڑڔ'ÿƣŰƫƸÿģƸ®ǀŰŰĪƣ żǀƣƫĪܠ ÿŏƸÿŲż܉ܶSŲƸĪƣĜǀŧƸǀƣÿŧ£ĪƣƫƠĪĜƸŏǜĪƫŏŲƸŊĪSŲƸĪƣŲÿƸŏż-Ųÿŧ®ǀŰŰĪƣ żǀƣƫĪƫłżƣtĪǝrǀƫŏĜ܉ܷڏڏڒܨڏڐڎܡ܏SŲڍڕڑڔŊŏƫżƣĜŊĪƫƸƣÿŧǝżƣŤU-MaiܠڍڕڑړܨڑڔܡǝÿƫƠƣĪŰŏĪƣĪģŏŲ 'ÿƣŰƫƸÿģƸ܏ŰżŲŃŊŏƫŧÿƸĪƣǝżƣŤƫ܉ƸŊĪDrei Arien nach Gedichten aus der “Geschichte vom Prinzen Genji”ܠڍڕڕڌܡłżƣ soprano, ƫŊƕ܉ǵŧǀƸĪ܉ÿŲģkoto܉ÿƠƣĪŧŏŰŏŲÿƣǣǝżƣŤƸżǝÿƣģŊŏƫŧÿƸĪżƠĪƣÿGenji Monogatariܠڍڕڕڍܨڕړܡ܉ŰÿģĪǀƫĪżł

mous gagaku piece Etenraku (in the mode banshikichoܤǜþƪþǜþƢĢĩĢþƟƢŎǬĩþƷƷʼnĩS® rŁĩƪƷŎǛþŦ ڐژڔڑþűĢþǼƷĩƢǜþƢĢěŻűĢƿěƷĩĢĚǢNĩƢĚĩƢƷǛŻűfþƢþŠþűŎűßŎĩűűþܣڐژڔڑܤþűĢ¼ŻţǢŻܣڐژڔړܤܒSűڐژڒڏ܌

Matsudaira had been the youngest founding member of the ®ʼnŎűţƔƪþţţǢŻţƿţþƢĩűůĩŎ, which encouraged “the development of Japanese tonal systems suitable for primarily pentatonic and ůŻĢþŦůĩŦŻĢŎĩƪ܌ƪƷƢƿěƷƿƢĩĢþǼƷĩƢƷʼnĩƷǢƟĩŻŁܻơƿþƢƷþŦʼnþƢůŻűŎĩƪܼĢĩƢŎǛĩĢŁƢŻůƷʼnĩǛĩƢƷŎěþŦƷŻűĩ clusters of the ƪʼnƔ in gagaku”^ڜڢŎűƷʼnĩƪĩěŻűĢŻŁŎƷƪŁŻƿƢłƿŎĢĩŦŎűĩƪܣދݑSSܒړܤܒƪŻƿƷŦŎűĩĢŎű ʼnþƟ-ƷĩƢSSܒړ܌ƷʼnŎƪĢĩůþűĢǜþƪůĩƷŎűƟþƢƷŎěƿŦþƢĚǢFƿůŎŻNþǢþƪþţþܣڐژڐړܫڐژڔڔܤŎűǜŻƢţƪƪƿěʼnþƪ fŻĢþŎűŻĚƿţǢŻţƿܣűěŎĩűƷ'þűěĩ܌ڐژڒږܤþŦŻűłǜŎƷʼnƷʼnĩƪĩěŻűĢůŻǛĩůĩűƷŻŁrþƷƪƿĢþŎƢþܼƪ®Żűþܮ ƷŎűĩŁŻƢFŦƿƷĩþűĢ£ŎþűŻܣڐژڒڕܤƷʼnþƷƿƪĩƪþgagaku melody in a predominantly neoclassicist con-text, “alienating it from its origins.”^ڝڙƪĢŎƪěƿƪƪĩĢŎűĢĩƷþŎŦŎű ʼnþƟƷĩƢSSܒړ܌ŎűƷʼnĩڐژڒڏƪ܌dþƟþűܼƪ ƷĩűĢĩűěǢƷŻǜþƢĢěƿŦƷƿƢþŦƢĩűĩǜþŦ܌ţűŻǜűþƪƪʼnŎűţƔ܌ʼnþĢƪƟþƢţĩĢþűŎűƷĩűƪĩĢĩĚþƷĩŻǛĩƢܹdþƟܮ þűĩƪĩʼnþƢůŻűǢ܌ܺŎűǜʼnŎěʼn®ʼnǕţŎěʼnŎrŎƷƪƿţƿƢŎ܌®ʼnƔʼnĩŎ¼þűþţþ܌þűĢfŦþƿƪ£ƢŎűłƪʼnĩŎůƟþƢƷŎěŎܮ ƟþƷĩĢ þŦŻűłƪŎĢĩ NþǢþƪþţþܒ^ڝښ NþǢþƪþţþܼƪ þűĢ rþƷƪƿĢþŎƢþܼƪ ǜŻƢţƪ ŻŁ Ʒʼnĩ ƟŻƪƷǜþƢ ƟĩƢŎŻĢ ěŻűܮ ǛĩǢĩĢƷʼnĩƪĩƟƢŎűěŎƟŦĩƪƷŻƷʼnĩǢŻƿűłĩƢłĩűĩƢþƷŎŻűܒSűʼnŎƪǜŻƢţƪŻŁƷʼnĩڐژڔڏƪ܌rþƷƪƿĢþŎƢþěŻűƷŎűܮ ƿĩĢƷŻĩǡƟŦŻƢĩƪƟĩěŎȀěěŻűěĩƟƷƪŻŁdþƟþűĩƪĩʼnþƢůŻűǢ܌ƪƿěʼnþƪŎűʼnŎƪþĢþƟƷþƷŎŻűŻŁƷʼnĩůŻƿƷʼn organ ƪʼnƔ’s aitakeěʼnŻƢĢƪŎűʼnŎƪěĩűƷƢþŦǜŻƢţ®þŎĚþƢþűŎǢŻƢƿrĩƷþůŻƢŁƔǬƿ (Metamorphoses on

®þŎĚþƢþ܌ڐژڔڒܘڔڗܤܒ^ڝڛ

¦ĩŁŻƢůƪŎűƷƢþĢŎƷŎŻűþŦůƿƪŎěǜĩƢĩŁþƢŦĩƪƪƢþĢŎěþŦŎűdþƟþűƷʼnþűŎű ʼnŎűþܒěĩűƷƢþŦȀłƿ-re was the koto player Michio Miyagi^ڝڜܣڐڗژړܫڐژڔڕܤ܌ǜʼnŻĚĩěþůĩƷʼnĩƟƢŻƷþłŻűŎƪƷŻŁShin Nihon ongakuܣtĩǜdþƟþűĩƪĩrƿƪŎěܤ܌þůŻǛĩůĩűƷƷʼnþƷƪŻƿłʼnƷƷŻłĩűƷŦǢŎűƷĩłƢþƷĩàĩƪƷĩƢűĩŦĩůĩűƷƪ into traditional Japanese instrumental structures.^ڝڝ ȃĩůŻǛĩůĩűƷþŎůĩĢƷŻĩǡƟþűĢƷʼnĩƟĩƢ-ŁŻƢůþűěĩ ƷĩěʼnűŎơƿĩƪ ŻŁ ƷƢþĢŎƷŎŻűþŦ ŎűƪƷƢƿůĩűƷƪ܌ ĚƿƷ þŦƪŻ ĩǡƟĩƢŎůĩűƷĩĢ ǜŎƷʼn ůŻĢŎȀěþƷŎŻűƪ ܣƿƪƿþŦŦǢ ĩűŦþƢłĩůĩűƷƪܤ ŻŁ Ʒʼnĩ ŎűƪƷƢƿůĩűƷƪܒ ŦƢĩþĢǢ ĚĩŁŻƢĩ rŎǢþłŎ܌ Ʒʼnĩkoto genre ƪʼnŎűţǢŻţƿ ܣtĩǜ£ŎĩěĩƪܤʼnþĢĚĩĩűěƢĩþƷĩĢĢƿƢŎűłƷʼnĩrĩŎŠŎ£ĩƢŎŻĢܣڐڗڕڗܫڐژڐڐܤŎűƪþţþ܌ŎűǜʼnŎěʼnĩŦĩůĩűƷƪ ŻŁ àĩƪƷĩƢű ůƿƪŎě ǜĩƢĩ ŎűěŦƿĢĩĢܒ tŻĚŻƢƿ ¼þƷĩǢþůþ ܣڐڗږڕܫڐژڑڕܤ ƟŦþǢĩĢ þ ƪŎłűŎȀěþűƷ ƢŻŦĩ Ŏű the formation of that repertoire.^ڝڞǼƷĩƢƷʼnĩ®ĩěŻűĢàŻƢŦĢàþƢ܌þĚƢŻþĢĩƢƷƢĩűĢƷŻǜþƢĢƷʼnĩ ěŻűǴ Ŧƿĩűěĩ ŻŁ dþƟþűĩƪĩ þűĢ /ƿƢŻƟĩþű ůƿƪŎěþŦ ƷƢþĢŎƷŎŻűƪ ǜþƪ űŻƷ ƢĩܮĩƪƷþĚŦŎƪʼnĩĢ ƿűƷŎŦ Ʒʼnĩ ڐژڕڏƪ܌ ƟƢŎůþƢŎŦǢ ĚǢ ůƿƪŎěŎþűƪ ǜʼnŻ܌ ŁŻŦŦŻǜŎűł rŎǢþłŎ ܣǜʼnŻ ĢŎĩĢ Ŏű ڐژڔڕܤ þĢŻƟƷĩĢ Ʒʼnĩ ƷĩƢů łĩűĢþŎ ʼnƔłþţƿ ܣ¼ƢþĢŎƷŎŻűþŦ dþƟþűĩƪĩ rƿƪŎě ŻŁ Ʒʼnĩ £ƢĩƪĩűƷܤܒ ȃŎƪ űŻƷþĚŦĩ łƢŻƿƟ ŻŁ ĢŎƪƷŎűܮ guished soloists was able to arouse a new interest in traditional instruments among Western-educated composers.^ڝڟ Most prominently, the “Group of four for traditional Japanese music”

dÿƠÿŲĪƫĪŏŲƫƸƣǀŰĪŲƸƫłżƣƸŊĪǿƣƫƸƸŏŰĪ܏ŲrÿƸƫǀģÿŏƣÿƫĪĪ܉ÿŰżŲŃżƸŊĪƣƫ܉®ÿǝÿěĪ܉tĪǀĪrǀƫŏŤŏŲdÿƠÿŲǜżŲڑڙڕڐ ěŏƫڑڙږڐ܉ڐڔܨڑڍ܉®ÿǝÿěĪ܉ܶ'ĪƣŧÿŲŃĪàĪŃǭǀƣܸGĪƫĜŊŏĜŊƸĪǜżŰ£ƣŏŲǭĪŲGĪŲšŏ܉ܹܷGÿŧŧŏÿŲż܉æƕŃÿŤǀ܉ڔڎܨڔڑ܉ڍڏړܨڍڐڐ܉

ڎڑڕܨڎڒڌ܉ÿƫǝĪŧŧÿƫƸŊĪĪƫƫÿǣƫŏŲĪŲőƸĪǭÿŲģfżŲģƕ܉Gagaku and Serialism. Some further information on Matsu-daira is provided in Chapter II.4.

ڷڽ ¥ǀżƸĪģŏŲNĪƣģ܉ܶ¼ŊĪ ǀŧƸǀƣÿŧ£żŧŏƸŏĜƫżłdÿƠÿŲܹƫrżģĪƣŲrǀƫŏĜ܉ܷڐڐܠވSS܏ڐܡ܏

ڸڴ hĪŊƸżŲĪŲ܉ܸܶrÿƣĜŊłƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪŃĪżł ƣĪÿƸŏżŲ܉ܹܷڍڔڍ܏hĪŊƸżŲĪŲܠŏěŏģ܏܉ڍڒړܨڍڔڑܡƠƣżǜŏģĪƫÿ ĜŧżƫĪƣĪÿģŏŲŃżłƸŊŏƫŰżǜĪŰĪŲƸÿŲģżƸŊĪƣƠƣĪǝÿƣǝżƣŤƫěǣrÿƸƫǀģÿŏƣÿ܏

ڸڵ Galliano, æƕŃÿŤǀ܉ڒڒܨړڏ܉ړڕܨڔڎ܏

ڸڶ Sěŏģ܏܉ڍڏڔܨڍڐڍ܏

ڸڷ The blind kotoƠŧÿǣĪƣrŏĜŊŏżrŏǣÿŃŏǝÿƫżŲĪżłƸŊĪŰżƫƸŏŰƠżƣƸÿŲƸƣĪłżƣŰĪƣƫżłƸƣÿģŏƸŏżŲÿŧdÿƠÿŲĪƫĪŰǀƫŏĜ ŏŲƸŊĪƸǝĪŲƸŏĪƸŊĜĪŲƸǀƣǣ܏ƸƸŊĪÿŃĪżłڍڔ܉ŊĪƣĪÿĜŊĪģƸŊĪŊŏŃŊĪƫƸƣÿŲŤܠkengyoܡǝŏƸŊƸŊĪƸƣÿģŏƸŏżŲÿŧdÿƠÿŲĪƫĪ ŰǀƫŏĜŏÿŲƫǣƫƸĪŰ܏®ĪĪGÿŧŧŏÿŲż܉æƕŃÿŤǀ܉ڑڎܨڑڑ܏

ڸڸ ®ĪĪĪƫƠĪĜŏÿŧŧǣrĪŲǭĪŧ܉NƕŃÿŤǀ܉ڒڒܨڔڎ܏

ڸڹ See Flavin, “Meiji shinkyoku” and Menzel, NƕŃÿŤǀ܉ڑڑܨڒڑ܏

ڸں See Galliano, æƕŃÿŤǀ܉ڎڏڔܨڎڑڐ܏

(NƔłþţƿǢŻűŎűűŻţþŎܤþűĢƷʼnĩkotoƟŦþǢĩƢfþǢŻţŻ®ƿǬƿţŎĢĩǛĩŦŻƟĩĢƷʼnĩƢþƟƟƢŻěʼnĩůĩűƷܒSűƷʼnŎƪ ěŻűƷĩǡƷ܌æŻƪʼnŎƢƔSƢŎűŻܣڐژڑڐܫڐژڗڏܤǜƢŻƷĩMusic for Two Kotos ܣڐژڔږܤ܌ƷʼnĩȀƢƪƷĢŻĢĩěþƟʼnŻűŎěǜŻƢţ for traditional Japanese instruments,^ڝڠ þűĢƷĩűǢĩþƢƪŦþƷĩƢ¼ƔƢƿ¼þţĩůŎƷƪƿěŻůƟŻƪĩĢʼnŎƪƪĩůŎ-űþŦǜŻƢţƪŁŻƢƷƢþĢŎƷŎŻűþŦŎűƪƷƢƿůĩűƷƪEclipse ܣڐژڕڕܤþűĢNovember StepsܣڐژڕږܤܣދݑSSSܒړܤܒ

Sű ʼnŎűþ܌®ʼnŎæŻűłţþűłܼƪܣĚܒݑڐژڑژܤěŻűěĩƢƷŻHuanghe de gushiܣȃĩ®ƷŻƢǢŻŁƷʼnĩæĩŦŦŻǜ Ƣþűĩ܌

ڐژڔڔܤ ƢĩƟƢĩƪĩűƷƪ þű ĩþƢŦǢ ĩǡþůƟŦĩ ŻŁ þ ܹŁƿƪŎŻű ěŻűěĩƢƷŻܺ ǜŎƷʼn þ ʼnŎűĩƪĩ ƪŻŦŻ ŎűƪƷƢƿůĩűƷ܌ Ƣĩ-ǛĩƢƪŎűłǛƪʼnþŦŻůŻǛܼƪƪĩƷƷŎűłƷǜĩűƷǢǢĩþƢƪĩþƢŦŎĩƢܒȃĩƪŻŦŻŎűƪƷƢƿůĩűƷŎƪƷʼnĩ ʼnŎűĩƪĩĚþůĚŻŻ Ǵ ŦƿƷĩdizi, but the piece almost entirely conforms to the conventions of the Western Romantic virtuoso concerto tradition.^ڝڡ An appropriation of Western virtuosity has generally acted as þĢĩƷĩƢůŎűŎűłŁþěƷŻƢŎűƷʼnĩƢĩƟĩƢƷŻŎƢĩŻŁþŦůŻƪƷþŦŦ ʼnŎűĩƪĩŎűƪƷƢƿůĩűƷƪƪŎűěĩƷʼnĩڐژڒڏƪܒȃĩ ƢĩƪƿŦƷŎűłƪƷǢŦĩŎƪůþƢţĩĢĚǢþűŎűƷĩłƢþƷŎŻűŻŁ ʼnŎűĩƪĩƪŻƿűĢƢĩƪŻƿƢěĩƪŎűƷŻþűþŦůŻƪƷĩűƷŎƢĩŦǢ /ƿƢŻƟĩþűűŎűĩƷĩĩűƷʼnܮěĩűƷƿƢǢŎĢŎŻůܒȃŎƪłŻĩƪʼnþűĢŎűʼnþűĢǜŎƷʼnþěŻűƪŎĢĩƢþĚŦĩƢĩĢƿěƷŎŻűŎű complexity at all musical levels and is generally summarized as “conservatory style” since it is ěŦŻƪĩŦǢŦŎűţĩĢǜŎƷʼnƷʼnĩĩƪƷþĚŦŎƪʼnůĩűƷŻŁþěþĢĩůŎěůƿƪŎěĩĢƿěþƷŎŻűŎűƪƷŎƷƿƷŎŻűƪƪŎűěĩڐژڑږ܋^ڝڢ

rÿŲǣǜŏƣƸǀżƫżƫŏŲƸŊĪĜżŲƫĪƣǜÿƸżƣŏĪƫżƣƠƣżłĪƫƫŏżŲÿŧƫƸÿƸĪܫƫǀƠƠżƣƸĪģǀƣěÿŲƸƣżǀƠĪƫĜżŰĪłƣżŰ ƸŊĪ ěÿĜŤŃƣżǀŲģ żł ŊĪƣĪģŏƸÿƣǣ ǜŏŧŧÿŃĪ ܶłżŧŤ ÿƣƸŏƫƸܷ łÿŰŏŧŏĪƫ܉ ěǀƸ ƸŊĪǣ ŊÿǜĪ ŧÿƣŃĪŧǣ ÿěÿŲģżŲĪģ ƸŊĪƸƣÿģŏƸŏżŲÿŧĪƸŊżƫŏŲłÿǜżǀƣżłÿŰżģĪƣŲŏǭĪģ܉ǜŏƣƸǀżƫżÿŲģƠÿƣƸŧǣàĪƫƸĪƣŲŏǭĪģƫƸǣŧĪ܉ǀƫŏŲŃÿ ƸĪŰƠĪƣĪģƫĜÿŧĪ܉ÿěěƣĪǜŏÿƸŏŲŃƠŏĪĜĪƫĜżŲƫŏģĪƣÿěŧǣÿŲģĪǢÿŃŃĪƣÿƸŏŲŃģǣŲÿŰŏĜƫÿŲģŃĪƫƸǀƣĪƫłżƣ ƫƸÿŃĪƠĪƣłżƣŰÿŲĜĪ܏¼ŊŏƫܶĜżŲƫĪƣǜÿƸżƣǣƫƸǣŧĪܷŏƫŰżƣĪÿĜĜĪƫƫŏěŧĪěǀƸżłŧĪƫƫĜżŰƠŧĪǢŏƸǣƸŊÿŲƸŊĪ ƸƣÿģŏƸŏżŲÿŧƣǀƣÿŧŰǀƫŏĜܫŰÿŤŏŲŃ܏^ڛږ

ȃĩƿƪĩŻŁ ʼnŎűĩƪĩƪŻŦŻŎűƪƷƢƿůĩűƷƪŎűŻƢěʼnĩƪƷƢþŦěŻűƷĩǡƷƪĚĩěþůĩƪŎłűŎȀěþűƷŦǢůŻƢĩƪŻƟʼnŎƪ-ƷŎěþƷĩĢþǼƷĩƢƷʼnĩĩűĢŻŁƷʼnĩ ƿŦƷƿƢþŦ¦ĩǛŻŦƿƷŎŻűŎűƷʼnĩڐژڗڏƪþűĢژڏƪܒFŻƢĩǡþůƟŦĩ܌Ʒʼnĩdizi in ðʼnƿdŎþűܼĩƢܼƪܣڐژڑڑܫڑڏڐږܤFŻƿƢƷʼn®ǢůƟʼnŻűǢܣڐژژڏܤƢĩƟƢĩƪĩűƷƪþƪƷƢƿěƷƿƢþŦŦǢŦŻŻƪĩƢƟƢŎűěŎƟŦĩ܌þěƷܮ ing within a stylistically complex amalgamation of dodecaphony, sound masses, and Chinese ƟĩƢěƿƪƪŎŻűĩűƪĩůĚŦĩƢʼnǢƷʼnůƪܒȃŎƪƪŎƷƿþƷŎŻűŎƪƪŎůŎŦþƢƷŻƷʼnĩƢŻŦĩŻŁƷʼnĩůƿƪŎěþŦƪþǜŎűðʼnƿܼƪ

®ĩěŻűĢ®ǢůƟʼnŻűǢܣڐژڗږܤܒűŻĚǛŎŻƿƪűþƢƢþƷŎǛĩŎűƷĩƢƟƢĩƷþƷŎŻűŎƪŻűĩƷʼnþƷƷʼnþƷƿűĢĩƢƪƷþűĢƪƷʼnĩ ƪŻŦŻŎűƪƷƢƿůĩűƷƪŎűƷʼnĩƪĩƷǜŻǜŻƢţƪþƪĢĩƟŎěƷŎűłƷʼnĩþƢƷŎěƿŦþƷŎŻűŻŁƷʼnĩŎűĢŎǛŎĢƿþŦŎűþƢĩƟƢĩƪ-sive and coercively constrained society, thus processing the traumas of the Cultural Revolution, ǜʼnŎěʼnǜĩƢĩƷʼnĩĩǡƟŦŎěŎƷƷʼnĩůĩŻŁƷʼnĩFŎƢƪƷ®ǢůƟʼnŻűǢܣڐژږږܫڗڕܤܒ^ڞښ

ðʼnƿdŎþűܼĩƢܼƪƷĩűƪǢůƟʼnŻűŎĩƪǜĩƢĩǜƢŎƷƷĩűĚĩƷǜĩĩűڐژڗڕþűĢڐژژژ܌þűĢěþűĚĩƪĩĩűþƪþű þŦůŻƪƷ ƪǢƪƷĩůþƷŎě ƿűĢĩƢƷþţŎűł ƷŻ ȀűĢ þ ůƿƪŎě ĢŎDzŁĩƢŎűł Ŏű ƪŎłűŎȀěþűƷ ǜþǢƪ ŁƢŻů Ʒʼnĩ àĩƪƷܮ ĩƢűƪǢůƟʼnŻűŎěƷƢþĢŎƷŎŻűĚǢůĩþűƪŻŁĢŎDzŁĩƢĩűƷĩǡƟĩƢŎůĩűƷþŦþƢƢþűłĩůĩűƷƪǜʼnŎŦĩƿƟʼnŻŦĢŎűł ƷʼnĩĩůƟʼnþƷŎěþĩƪƷʼnĩƷŎěěŦþŎůƪŻŁƷʼnĩƪǢůƟʼnŻűŎěƷƢþĢŎƷŎŻűܣދݑSSSܒڔܤܒ^ڞڛƷƷʼnĩþłĩŻŁڔڏ܌ðʼnƿ܌ǜʼnŻ

ڸڻ ®ÿǝÿěĪ܉tĪǀĪrǀƫŏŤŏŲdÿƠÿŲǜżŲڑڙڕڐěŏƫڑڙږڐ܉ڐړ܏

ڸڼ ¼ŊĪƫĜżƣĪżłƸŊŏƫǝżƣŤŏƫĪǢƸĪŲƫŏǜĪŧǣģŏƫĜǀƫƫĪģÿŲģłǀŧŧǣƣĪƠƣżģǀĜĪģŏŲrŏƸƸŧĪƣ܉Dangerous Tunes܉ڏڎڍܨڏڎڏ܉ڐڐڌܨڐڑړ܏

ڸڽ SŲ ڍڕڎړ܉ ƸŊĪ ®ŊÿŲŃŊÿŏ żŲƫĪƣǜÿƸżƣǣ ǝÿƫ żƠĪŲĪģ܏ ®ĪĪ ®ĜŊŏŰŰĪŧƠĪŲŲŏŲĜŤ ÿŲģ fżǀǝĪŲŊżǜĪŲ܉ ܶ¼ŊĪ ®ŊÿŲŃŊÿŏ żŲƫĪƣǜÿƸżƣǣżłrǀƫŏĜܷÿŲģæÿŲŃ܉ܶ¼ŊĪ®ŊÿŲŃŊÿŏ żŲƫĪƣǜÿƸżƣǣ܉ ŊŏŲĪƫĪrǀƫŏĜÿŧhŏłĪ܉ÿŲģƸŊĪ¦ǀƫƫŏÿŲ'ŏÿƫƠżƣÿ܉

ڍڕڎړܨڍڕڐڕ܏ܷ

ڹڴ Jones, “China §IV. Living Traditions.”

ڹڵ ®ĪĪŏŲƠÿƣƸŏĜǀŧÿƣÿƣěÿƣÿrŏƸƸŧĪƣܹƫŏŲƸĪƣƠƣĪƸÿƸŏżŲżłðŊǀܹƫFŏƣƫƸ®ǣŰƠŊżŲǣŏŲDangerous Tunes܉ڕړܨڍڌڑ܏ŲƸŊĪĜżŲ-ƸŏŲǀĪģŏŰƠżƣƸÿŲĜĪżłƠżƫƸܫ ǀŧƸǀƣÿŧ¦ĪǜżŧǀƸŏżŲܶƫĜÿƣŰǀƫŏĜܷłżƣ ŊŏŲĪƫĪĜżŰƠżƫĪƣƫǀŲƸŏŧƸŊĪڍڕڕڌƫƫĪĪrŏƸƸŧĪƣ܉

ܶ®żǀŲģ£ÿƸƸĪƣŲƫżł ǀŧƸǀƣÿŧrĪŰżƣǣ܏ܷ

ڹڶ ¼ŊĪƫĜżƣĪƫżłðŊǀܹƫƸĪŲƫǣŰƠŊżŲŏĪƫÿŲģŊŏƫƫŏŲłżŲŏĪƸƸÿǝĪƣĪƣĪŧĪÿƫĪģ܉ÿŧżŲŃǝŏƸŊ 'ƣĪĜżƣģŏŲŃƫ܉ŏŲڎڌڌڎŏŲÿŲĪŧÿ-ěżƣÿƸĪƸŊƣĪĪܫǜżŧǀŰĪĪģŏƸŏżŲżłƸŊĪ®ŊÿŲŃŊÿŏrǀƫŏĜ£ǀěŧŏƫŊŏŲŃNżǀƫĪ܏®ĪĪÿŧƫż®ǀŲ܉ܶðŊǀdŏÿŲܹĪƣܹƫ®ǣŰƠŊżŲŏĪƫ܏ܷ

had mostly composed unnoticed before and during the Cultural Revolution, attended compo-ƪŎƷŎŻűěŦþƪƪĩƪþƷƷʼnĩ®ʼnþűłʼnþŎ ŻűƪĩƢǛþƷŻƢǢǜŎƷʼn ʼnĩűrŎűłǬʼnŎܣڐژڑڔܫڑڏڏژܤþűĢæþűłhŎơŎűł ܣڐژړڑܫڑڏڐڒܤƷŻĩǡƟŦŻƢĩþűĢþƟƟƢŻƟƢŎþƷĩűĩǜƷĩěʼnűŎơƿĩƪ܌ŎűěŦƿĢŎűłƷʼnĩƷǜĩŦǛĩܮƷŻűĩůĩƷʼnŻĢŎű particular.^ڞڜ While the First Symphony, in its long formation and methodological eclecticism, þƟƷŦǢĢŻěƿůĩűƷƪƷʼnĩĢŎDzȀěƿŦƷŎĩƪŻŁȀűĢŎűłþűĩǜůƿƪŎěþŦŦþűłƿþłĩŎűƷʼnĩǢĩþƢƪŁŻŦŦŻǜŎűłƷʼnĩ Cultural Revolution, the Second Symphony compresses the traumatic experiences into an ex- ƷƢĩůĩ ĢĩűƪŎƷǢܒ ȃĩ ƷǜŻ ʼnþŦǛĩƪ ŻŁ Ʒʼnĩ ƷǜĩŦǛĩܮƷŻűĩ ƢŻǜ ܣ ܫܫGݑ ܫ Fܫ/ܫ ݑ ܫ '–FܫGݑ ܫ – ܫ'ܗ þŦŦ ƷƢŎěʼnŻƢĢƪ ĚĩŎűł ůĩůĚĩƢƪ ŻŁ Ʒʼnĩ ƪþůĩ ƪĩƷ ěŦþƪƪ ڏڐړܤ܌ ƪŎůŎŦþƢ Ŏű ƪƷƢƿěƷƿƢĩ ƷŻ űƷŻű Webern’s dodecaphonic symmetries, appear in the main theme permuted and simultaneously ƪʼnþƢƟŦǢþěěĩűƷƿþƷĩĢĚǢþǜʼnŻŦĩƷŻűĩܣ¼₂ܤƷƢþűƪƟŻƪŎƷŎŻű܌ǜʼnŎěʼnþƢƷŎěƿŦþƷĩƪƷʼnĩ ʼnŎűĩƪĩƪƟĩĩěʼn ƢʼnǢƷʼnůŻŁƷʼnĩơƿĩƪƷŎŻűܹàʼnǢܓܺܣ/ǡܒݑڒܒڑܤܒ^ڞڝ

/ǡþůƟŦĩژܘڗܑðʼnƿdŎþű݂ĩƢܒ Second SymphonyŻƟܘڗڝܒƢĩʼnĩþƢƪþŦűƿůĚĩƢږڛݵژܱڛܑůþŎűƷʼnĩůĩǜŎƷʼnƷʼnĩ ƿűĢĩƢŦǢŎűłǜŻƢĢƪܿǜĩŎƪʼnĩűůĩܒǜĩŎƪʼnĩűůĩǬʼnĩǢþűłܒǜĩŎƪʼnĩűůĩǬʼnĩǢþűłĢŻƿ݀ܩܿàʼnǢܙàʼnǢƪŻܙàʼnǢ ŎƪŎƷƪƿěʼnþƪƷƢƿłłŦĩܙ݀ܪ^ڞڞ

SűƷʼnĩĚƢŻþĢŎűƷƢŻĢƿěƷŎŻűƷŻƷʼnĩȀƢƪƷůŻǛĩůĩűƷ܌ƷʼnĩŁƢþłŎŦĩƪŻƿűĢƪŻŁƷʼnĩůƿƪŎěþŦƪþǜěŻűƷŎűƿĩ ŎűĩǡƷĩűƪŎǛĩƪŻŦŻȀĩŦĢƪŻŁŻƷʼnĩƢŎűƪƷƢƿůĩűƷƪĚƿƷþƢĩƢĩƟĩþƷĩĢŦǢěƿƷŻDzŁʼnþƢƪʼnŦǢĚǢƢŻŦŦŎűłƷƿƷƷŎ ƪŻƿűĢƪܒȃĩƪĩƪƟƢĩþĢŻƿƷěŻűƪŎĢĩƢþĚŦǢŎűƷʼnĩƪĩěŻűĢƟþƢƷŻŁƷʼnĩǜŻƢţƿűƷŎŦ܌þƷƷʼnĩĩűĢ܌þǼƷĩƢþ painful polytonal “apparent triumph” of the brass, an echo of the saw becomes audible – which can easily be understood as the barely audible, yet sustainably articulated voice of the individual.

SűěŻůƟŦĩƷĩŦǢĢŎDzŁĩƢĩűƷƪŻěŎþŦþűĢʼnŎƪƷŻƢŎěþŦƷĩƢůƪ܌ƷʼnĩƷƢĩþƷůĩűƷŻŁƷʼnĩdþƟþűĩƪĩƪŻŦŻŎűܮ struments shakuhachi and (satsuma-ܤbiwaŎű¼þţĩůŎƷƪƿܼƪNovember StepsܣڐژڕږܤŎƪþŦƪŻěʼnþƢþěƷĩƢܮ ŎǬĩĢĚǢþůƿěʼnłƢĩþƷĩƢǴ ŦĩǡŎĚŎŦŎƷǢŻŁƷĩůƟŻ܌ƪǢűěʼnƢŻűŎǬþƷŎŻű܌þűĢþƢƷŎěƿŦþƷŎŻűǜʼnĩűěŻůƟþƢĩĢ to the orchestral structures, resulting not least from the mostly unmetered, partly ambiguous űŻƷþƷŎŻűŁŻƢƷʼnĩƪŻŦŻŎűƪƷƢƿůĩűƷƪܣދݑSSSܒړܤܒǜŎűłƷŻƷʼnĩĢŎDzŁĩƢĩűěĩƪŎűƷŻűĩþűĢƷĩěʼnűŎơƿĩ܌Ʒʼnĩ ƪŎþűŎűƪƷƢƿůĩűƷƪŁŻƢðʼnƿþűĢ¼þţĩůŎƷƪƿĚĩěŻůĩěþƢƢŎĩƢƪŻŁþűŎűĢŎǛŎĢƿþŦŎǬþƷŎŻűƟƢŻěĩƪƪ܌þűĢ produce an autonomous music that disengages from the determinism of compositional ideas and penetrates open spaces removed from large-scale formal processes.

¦ĩŁŻƢů܌ ŎůŎƷþƷŎŻű܌ ěŻĩǡŎƪƷĩűěĩ܌ ŎűƷĩłƢþƷŎŻű܌ þűĢ ŎűĢŎǛŎĢƿþŦŎǬþƷŎŻű܋ Ʒʼnĩƪĩ ʼnŎƪƷŻƢŎěþŦ ěŻű-ěĩƟƷƪŎűĢĩþŦŎűłǜŎƷʼn/þƪƷƪŎþűƪŻƿűĢƪ܌ŎűƪƷƢƿůĩűƷƪ܌þűĢłĩűƢĩƪůþţĩŎƷƟþƢƷŎěƿŦþƢŦǢěŦĩþƢʼnŻǜ ěŦŻƪĩŦǢěŻůƟŻƪŎƷŎŻűŎű/þƪƷƪŎþǜþƪ܌þűĢƪƷŎŦŦŎƪ܌ŦŎűţĩĢƷŻĚƢŻþĢĩƢƪŻěŎŻěƿŦƷƿƢþŦĢĩǛĩŦŻƟůĩűƷƪ܌

ĚƿƷ þŦƪŻ ʼnŻǜ ĢŎDzŁĩƢĩűƷŦǢ Ʒʼnĩ ƢĩƪƟŻűƪĩƪ ƷŻ Ʒʼnĩ ěʼnþŦŦĩűłĩƪ ŻŁ þĩƪƷʼnĩƷŎě þűĢ ƟŻŦŎƷŎěþŦ ůŻĢĩƢűŎ-ty could be conceived. In these conceptual constellations, a realm of absolute alteriůŻĢĩƢűŎ-ty (Hashi- ůŻƷŻܼƪ þűĢ æþůþĢþܼƪ ĢƿþŦŎƪƷŎě ŻƢěʼnĩƪƷƢþŦ ƪĩƷƷŎűłƪ܌ ðʼnƿܼƪ þűĢ ¼þţĩůŎƷƪƿܼƪ ěŻűƷƢþƪƷŎűł ƷŎůĩ ƪƷƢþƷþܤ܌ƢþƷŎŻűþŦŎǬĩĢůĩĢŎþƷŎŻűܣhŎƿܼƪþűĢrŎǢþłŎܼƪƢĩŁŻƢůƪܤ܌þűĢƪƷǢŦŎƪƷŎěŦĩǛĩŦŎűłþűĢþƟƟƢŻܮ ƟƢŎþƷŎŻűܣƷʼnĩ ʼnŎűĩƪĩƪǢůƟʼnŻűǢŻƢěʼnĩƪƷƢþ܌®ʼnŎܼƪǛŎƢƷƿŻƪŻěŻűěĩƢƷŻ܌ƷʼnĩěŻűƪĩƢǛþƷŻŎƢĩƪƷǢŦĩܤܫ ڹڷ Mittler, Dangerous Tunes, 151.

ڹڸ fżǀǝĪŲŊżǜĪŲ܉ܶrÿŏŲŧÿŲģ ŊŏŲÿܹƫtĪǝrǀƫŏĜܠSSܡ܉ܷڒڑÿŲģ®ǀŲ܉ܶðŊǀdŏÿŲܹĪƣܹƫ®ǣŰƠŊżŲŏĪƫ܏ܷ

ڹڹ fżǀǝĪŲŊżǜĪŲ܉ܶrÿŏŲŧÿŲģ ŊŏŲÿܹƫtĪǝrǀƫŏĜܠSSܡ܉ܷڒڑ܏

ǜþƪƪƷþţĩĢŻƿƷþŦŻűłǜŎƷʼnƪƿĚƪƷþűƷŎþŦþƷƷĩůƟƷƪþƷþƢĩܮŎűǛĩűƷŎŻűŻŁþűŎűĢĩƟĩűĢĩűƷƪŎþűůŻĢĩƢܮ űŎƷǢ ȀŦƷĩƢĩĢ ƷʼnƢŻƿłʼn Ʒʼnĩ ĩƷʼnŎěƪ þűĢ þĩƪƷʼnĩƷŎěƪ ŻŁ ƢĩěĩűƷ ůƿƪŎěþŦ ůŻĢĩƢűŎƪů ܣǛƪʼnþŦŻůŻǛ܌

¼ěʼnĩƢĩƟűŎű܌ FƢþĩűţĩŦܤܒ ȃĩ ƟŻƷĩűƷŎþŦ ŁŻƢ ŎűƷĩƢěƿŦƷƿƢþŦ ůĩĢŎþƷŎŻű þűĢ ƷƢþűƪŁŻƢůþƷŎŻű Ŏű /þƪƷ Asian music history emerging from these fundamental concepts will now be further explored by the case studies in this chapter.

Im Dokument Music and Sound Culture (Seite 156-168)