£ŻŎűƷŎűł ŻƿƷ Ʒʼnĩ ĢŎǛĩƢƪŎȀěþƷŎŻű ŻŁ ěŻűƷĩůƟŻƢþƢǢ ůƿƪŎě ʼnþƪ ĚĩěŻůĩ ěŻůůŻűƟŦþěĩ Ŏű ůƿƪŎě ŠŻƿƢűþŦŎƪůܒȃĩƢĩŎƪűŻǜþűŎűěƢĩþƪŎűłþǜþƢĩűĩƪƪƷʼnþƷłĩűĩƢþŦƟþƷƷĩƢűƪŻŁěƿŦƷƿƢþŦłŦŻĚþŦŎǬþ-ƷŎŻűěþűĚĩŎĢĩűƷŎȀĩĢĩơƿþŦŦǢŎűƷʼnĩƪŻěŎþŦ܌ƟŻŦŎƷŎěþŦ܌þűĢƪƷƢƿěƷƿƢþŦĢŎůĩűƪŎŻűƪŻŁþűþƢƷůƿƪŎě ǜʼnŻƪĩƟƢŻĢƿěƷŎŻűþűĢƢĩěĩƟƷŎŻűƷþţĩƟŦþěĩþŦůŻƪƷĩǛĩƢǢǜʼnĩƢĩŎűƷʼnĩǜŻƢŦĢƷŻĢþǢܒűĩŻŁƷʼnĩƪĩ patterns lies in the interdependence of cultural homogenization and cultural particulariza-ƷŎŻű܋ڝڠŻűƷʼnĩŻűĩʼnþűĢ܌ěƿŦƷƿƢþŦűŻƢůƪþűĢŎĢŎŻůƪþƢĩƪƿĚŠĩěƷƷŻþƟƢŻěĩƪƪŻŁƪƷþűĢþƢĢŎǬþƷŎŻűݑܫ ŦþƢłĩŦǢƪǢűŻűǢůŻƿƪǜŎƷʼnàĩƪƷĩƢűŎǬþƷŎŻűݑܫĩǡƟƢĩƪƪĩĢŎűƪƷƢŎţŎűłĚƿǬǬǜŻƢĢƪŻŁłŦŻĚþŦŎǬþƷŎŻű
ڸڵ ®ĪĪGĪƣƸŏĜŊÿŲģGƣĪǜĪ܉ܶtĪǀĪrǀƫŏŤŏŰƠżƫƸŤżŧżŲŏÿŧĪŲðĪŏƸÿŧƸĪƣ܉ܷڑڎܨڑڑ܉fżǀǝĪŲŊżǜĪŲ܉ܶrÿŏŲŧÿŲģ ŊŏŲÿܹƫtĪǝ rǀƫŏĜܠSSSܡ܉ܷڔڑܨڔڒ܉ÿŲģàżŲŃ܉ܶÿƣƸŽŤܹƫSŲǵŧǀĪŲĜĪżŲ ŊŏŲĪƫĪtĪǝrǀƫŏĜŏŲƸŊĪ£żƫƸܫ ǀŧƸǀƣÿŧ¦ĪǜżŧǀƸŏżŲ/ƣÿܷ
ڸڶ ®ĪĪNÿƫĪŧěƇĜŤ܉ܶ'ĪěǀƫƫǣǀŲģģŏĪàŏĪŲĪƣ®ĜŊǀŧĪܷ
ڸڷ ®ĪĪðĪŲĜŤ܉ܶƣƸÿǀģܨżǀŧĪǭܨ¦ŏŊŰܷ
ڸڸ See Born, Rationalizing Culture.
ڸڹ ®ĪĪÃƸǭ܉Neue Musik und Interkulturalität܉ڍڏڒܨڍړڍ
ڸں àŏŧƫżŲ܉ܶ'ŏĪŊŲĪŲģĪƫfżŧǀŰěǀƫ܉ܷڍڔܠܶ®ĪŧěƫƸܫǀŲģ®ĪŲģǀŲŃƫěĪǝǀƫƫƸƫĪŏŲܞƫܟģĪƫܞǝĪƫƸŧŏĜŊĪŲܟfżŰƠżŲŏƫƸĪŲܷܡ ڸڻ ®ĪĪNÿŧŧ܉ܶ¼ŊĪ¥ǀĪƫƸŏżŲżł ǀŧƸǀƣÿŧSģĪŲƸŏƸǣ܉ܷڎړڏܨڏڍڒ
ƷʼnĩŻƢǢƪƿěʼnþƪܹrě'ŻűþŦĢŎǬþƷŎŻűܺڝڡ or “Coca-Colonization.”ڝڢ In the realm of contemporary art ůƿƪŎě܌ƷʼnŎƪƷƢĩűĢŎƪěŦŻƪĩŦǢŦŎűţĩĢƷŻþűĩűĢƿƢŎűłůŻűŻƟŻŦǢŻűƟƢŻŁĩƪƪŎŻűþŦůƿƪŎěĩĢƿěþƷŎŻű exerted by Western musical institutions as well as the problems posed by the institutionaliza-ƷŎŻűŻŁþűŎűĢĩƟĩűĢĩűƷþƢƷŎűűŻűܮàĩƪƷĩƢűƪŻěŎĩƷŎĩƪܒűĩěþűŻĚƪĩƢǛĩþŦĩǛĩŦŎűłܮŻƿƷƟƢŻěĩƪƪ܋ŎƷ ŎƪŻǼƷĩűʼnþƢĢŻƢŎůƟŻƪƪŎĚŦĩƷŻĢĩƷĩƢůŎűĩǜʼnĩƷʼnĩƢþűĩǜǜŻƢţʼnþƪĚĩĩűěƢĩþƷĩĢĚǢþěŻůƟŻƪĩƢ from Cologne, Paris, Milan, Beijing, San Francisco, or Johannesburg. At this point, no concept ŎűŎƷŎþŦŦǢƪĩĩůƪůŻƢĩơƿĩƪƷŎŻűþĚŦĩŎűƷʼnĩůƿƪŎ쯣ƷŻĢþǢƷʼnþűƷʼnþƷŻŁþƪƟĩěŎȀěŦŻěþŦŻƢƢĩłŎŻűܮ þŦŎĢĩűƷŎƷǢ܌ŦĩƷþŦŻűĩܹĩƷʼnűŎěŎƷǢܒܺȃŎƪƪţĩƟƷŎěŎƪůƷŻǜþƢĢƷʼnĩܹŎĢŎŻůþƷŎěܺůƿƪƷƿűĢŻƿĚƷĩĢŦǢĚĩ ǛŎĩǜĩĢ þƪ Ʒʼnĩ ŦĩłþěǢ ŻŁ Ʒʼnĩ þŁŻƢĩůĩűƷŎŻűĩĢ ƢþĢŎěþŦ ěƢŎƷŎơƿĩ ŻŁ ůƿƪŎěܼƪ ŦŎţĩűĩƪƪ ƷŻ Ŧþűłƿþłĩ þǼƷĩƢڐژړڔܒ
ȃŎƪƪŎƷƿþƷŎŻű܌ʼnŻǜĩǛĩƢ܌ƷƢŎłłĩƢƪþűƿűĢĩƢƪƷþűĢþĚŦĩěŻůƟĩűƪþƷŻƢǢĚþěţŦþƪʼn܋þƪĩþƢěʼnŁŻƢ ŦþƪƷŎűłþűĢĩůƟʼnþƷŎ죯ƢůƪŻŁěƿŦƷƿƢþŦĢŎDzŁĩƢĩűěĩƷʼnþƷěþűűŻƷĚĩŦĩǛĩŦĩĢŻƿƷĚǢƷʼnŎƪƟƢŻěĩƪƪ ŻŁƪƷþűĢþƢĢŎǬþƷŎŻűܣދݑSSSܒړܤܒƷƷʼnĩƪþůĩƷŎůĩ܌ʼnŻǜĩǛĩƢ܌ŎƷŎƪŎůƟŻƢƷþűƷƷŻƢĩþŦŎǬĩƷʼnþƷƪŎůƟŦǢ ŻƟƟŻƪŎűłʼnŻůŻłĩűŎǬŎűłàĩƪƷĩƢűŎǬþƷŎŻűþűĢþűþŕǛĩܹĚþěţƷŻƷʼnĩŻƢŎłŎűƪܺůŻǛĩůĩűƷěþűűŻƷĢŻ justice to the complexity of the situation. Several studies of non-Western contemporary music ʼnþǛĩĩůƟʼnþƪŎǬĩĢƷʼnþƷůƿƪŎěǜʼnŎěʼnĢĩȀĩƪƷʼnĩƪƷĩƢĩŻƷǢƟŎěþŦƟþƷƷĩƢűƪŻŁŦŻěþŦŎĢĩűƷŎƷǢěþűĚĩĩű ƪĩĩűŎűƷʼnĩƪŻěŎþŦěŻűƷĩǡƷƪŻŁŁƢŎěþ܌ƪŎþ܌þűĢhþƷŎűůĩƢŎěþþƪþƢĩƪŎƪƷþűěĩþłþŎűƪƷƷʼnŻƪĩƿĚŎ-ơƿŎƷŻƿƪ ƪƷǢŦĩƪ ƷʼnþƷ Ǵ ŦþƷƷĩű ƷƢþĢŎƷŎŻűþŦ ƟƢþěƷŎěĩƪ ŁŻƢ ěŻůůĩƢěŎþŦ ŻƢ ƟŻŦŎƷŎěþŦ ƟƿƢƟŻƪĩƪܒڞڙ Such ǜþǢƪŻŁþěěĩűƷƿþƷŎűłěƿŦƷƿƢþŦĢŎDzŁĩƢĩűěĩŎűƷʼnĩűĩǜþƢƷůƿƪŎěƪŻŁŁƢŎěþ܌ƪŎþ܌þűĢ®ŻƿƷʼnůĩƢܮ ŎěþþƢĩƪƿłłĩƪƷŎǛĩŁŻƢþűŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎěʼnŎƪƷŻƢǢܣދݑSSܒڐܤ܌ĚƿƷþŦƪŻĢĩůþűĢþůŻƢĩƟƢĩěŎƪĩ ĢĩȀűŎƷŎŻűŻŁǜʼnþƷěƿŦƷƿƢþŦĢŎDzŁĩƢĩűěĩ܌þŦƷĩƢŎƷǢ܌ŻƢŎűěŻůůĩűƪƿƢþĚŎŦŎƷǢěþűůĩþűܣދݑSܒڒ܌SSܒړܤܒ
ȃŎƪƪĩĩůƪþŦŦƷʼnĩůŻƢĩƿƢłĩűƷĚĩěþƿƪĩĩƷʼnűŻůƿƪŎěŻŦŻłǢʼnþƪþĚþűĢŻűĩĢŎƷƪŁŻƢůĩƢŦǢƪƷƢŎěƷ ěŻűěĩƟƷŻŁþƿƷʼnĩűƷŎěŎƷǢܒtŻǜĩƷʼnűŻůƿƪŎěŻŦŻłŎƪƷƪŻǼƷĩűƪǢůƟþƷʼnŎǬĩǜŎƷʼnŁŻƢůƪŻŁƟŻƟƿŦþƢůƿ-sic that adopt elements from traditional muěŻűěĩƟƷŻŁþƿƷʼnĩűƷŎěŎƷǢܒtŻǜĩƷʼnűŻůƿƪŎěŻŦŻłŎƪƷƪŻǼƷĩűƪǢůƟþƷʼnŎǬĩǜŎƷʼnŁŻƢůƪŻŁƟŻƟƿŦþƢůƿ-sical practice. Standardizing tendencies inherent ŎűƪƿěʼnŁŻƢůƪŻŁƟŻƟůƿƪŎěܣĢĩȀűĩĢþƪܹĩƷʼnűŎěܺܤþƢĩƢþƢĩŦǢěƢŎƷŎěŎǬĩĢܒȃŎƪŎƪĢĩƪƟŎƷĩƷʼnĩŎƢʼnŻ- ůŻłĩűŎǬĩĢƟʼnƢþƪĩƪþűĢƢĩłƿŦþƢĚĩþƷƪŻǼƷĩűĩŦŎůŎűþƷŎűłƟƢĩěŎƪĩŦǢƷʼnĩƪƿĚƷŦĩůĩŦŻĢŎěŻƢƢʼnǢƷʼn-ůŎěĚŦƿƢƢŎűłƷʼnþƷŁŻƢůƪŻűĩŻŁƷʼnĩܹŎƢƢŎƷþƷŎűłܺŦþǢĩƢƪŻŁěƿŦƷƿƢþŦĢŎDzŁĩƢĩűěĩ܌þűĢŎƪƷʼnĩƢĩŁŻƢĩ unsuited to representative or economic purposes.ڞښ ǛĩƢþŦŦ܌ ŁŻƢůƪ ŻŁ ƪƷþűĢþƢĢŎǬŎűł ůĩĢŎþ-ƷŎŻűʼnþǛĩƟþƢƷŎěƿŦþƢŦǢŁþƢܮƢĩþěʼnŎűłĩDzŁĩěƷƪŎűƷʼnĩþłĩŻŁĢŎłŎƷþŦŎǬþƷŎŻű܌ŎűěŦƿĢŎűłŎűűŻűܮàĩƪƷܮ ĩƢű ƟƢþěƷŎěĩƪܒ ȃƿƪ܌ Ʒʼnĩ ůĩĢŎþܮþƪƪŎƪƷĩĢ ƟƢŻĢƿěƷŎŻű þűĢ ĢŎƪƪĩůŎűþƷŎŻű ŻŁ ěĩƢƷþŎű ƷƢþĢŎƷŎŻűþŦ genres can result in a loss of religious or ritual functions, as shown by Gerd Grupe in the case of qawwaliůƿƪŎěŎűSűĢŎþþűĢ£þţŎƪƷþűܒSűþĢĢŎƷŎŻű܌ŻűĩěþűŻĚƪĩƢǛĩþƷƢþűƪƢĩłŎŻűþŦƪƷþűĢþƢĢ-ization in certain styles of performance that leads to a loss of diversity in regional practices, for example in the karawitan compositions of Javanese gamelan music.ڞڛ
¼þţŎűłþŦŦƷʼnŎƪŎűƷŻþěěŻƿűƷ܌Ʒʼnĩű܌ŻűĩƪʼnŻƿŦĢĚĩłŎűĚǢűŻƷŎűłƷʼnþƷǜŎƷʼnƢĩłþƢĢƷŻƷʼnĩĢǢűþůܮ Ŏěƪ ŻŁ łŦŻĚþŦŎǬþƷŎŻű܌ łŦŻĚþŦ ƪƷþűĢþƢĢŎǬþƷŎŻű ƟƢŻěĩƪƪĩƪ þűĢ ŦŻěþŦ ŎĢĩűƷŎƷǢ ěŻűǴ ŦŎěƷƪ ŎűƷĩƢþěƷ Ŏű ůþűŎŁŻŦĢǜþǢƪݑܫþƪ¦ŻŦþűĢ¦ŻĚĩƢƷƪŻűþŦƢĩþĢǢƷƢŎĩĢƷŻĩǡƟƢĩƪƪŎűڐژژڔǜŎƷʼnƷʼnĩƷĩƢůܹłŦŻěþŦŎǬþ-tion.”ڞڜƟƟŦŎĩĢƷŻůƿƪŎěþŦĢŎƪěŻƿƢƪĩƪ܌ƷʼnĩƪĩĢǢűþůŎěƪůĩþűȀƢƪƷŻŁþŦŦƷʼnþƷǛĩƢǢƪƟĩěŎȀěŦŻěþŦ ƟƢþěƷŎěĩƪܣƷʼnþƷěþűűŻƷĚĩŦĩþƢűĩĢŻƢƿűĢĩƢƪƷŻŻĢǜŎƷʼnŻƿƷƟĩƢƪŻűþŦ܌ŦŻűłܮƷĩƢůěŻűƷþěƷܤůŎűłŦĩ
ڸڼ ¦ŏƸǭĪƣ܉The McDonaldization of Society.
ڸڽ fżżŏšŰÿŲ܉ܶFÿěƣŏĜÿƸŏŲŃƸŊĪěƫżŧǀƸĪFÿŤĪ܉ܷڏڐܨڏڑ܉àÿŃŲŧĪŏƸŲĪƣ܉Coca-Colonisation und Kalter Krieg.
ڹڴ ®ĪĪ®ĜŊĪƣǭŏŲŃĪƣ܉ܶƣƸrǀƫŏĜŏŲÿ ƣżƫƫܫ ǀŧƸǀƣÿŧ żŲƸĪǢƸ܉ܷڒڍڌܨڒڍڍ
ڹڵ ®ĪĪƸŊĪģŏƫĜǀƫƫŏżŲŏŲ'żƣƫĜŊĪŧ܉ܶSŲƸĪƣŤǀŧƸǀƣĪŧŧĪĪŃĪŃŲǀŲŃÿŧƫĪǢŏƫƸĪŲƸŏĪŧŧĪƫ¦ŏƫŏŤż܉ܷڍڌڐܨڍڌڔ
ڹڶ Grupe, “àÿĜŊƫǝÿŧǭĪŲǀŲģ 'ƫ܉ܷڎڌڒ
ڹڷ ¦żěĪƣƸƫżŲ܉ܶGŧżĜÿŧŏǭÿƸŏżŲ܈¼ŏŰĪܫ®ƠÿĜĪÿŲģNżŰżŃĪŲĪŏƸǣܫNĪƸĪƣżŃĪŲĪŏƸǣܷ
ŎűǛþƢŎŻƿƪǜþǢƪǜŎƷʼnƷʼnĩþƟƟƢŻƟƢŎþƷŎŻűŻŁܹŎűƷĩƢűþƷŎŻűþŦܺƟƢþěƷŎěĩƪܒȃŎƪŎűĩǛŎƷþĚŦǢŦĩþĢƪƷŻþ ƟƢŻěĩƪƪŻŁŁƢþłůĩűƷþƷŎŻűþűĢƟƢŻłƢĩƪƪŎǛĩĢŎDzŁĩƢĩűƷŎþƷŎŻűܒ
tþƷƿƢþŦŦǢ܌ ƪƿěʼn ŁƢþłůĩűƷþƷŎŻű Ŏƪ þŦƢĩþĢǢ ŎůƟŦŎěŎƷ Ŏű Ʒʼnĩ /ƿƢŻƟĩþű ěŻűěĩƟƷ ŻŁ ůŻĢĩƢűŎƷǢ܌
ǜʼnŎěʼn ŎűŎƷŎþƷĩĢ þű ŎűěƢĩþƪŎűłŦǢ ěƢŎƷŎěþŦ ŁŻƢů ŻŁ ƪĩŦŁܮƢĩǴ ŦĩěƷŎŻű ĩǡƟƢĩƪƪĩĢ Ŏű Ʒʼnĩ ěŻűěĩƟƷ ŻŁ þ
ܹ®ĩěŻűĢrŻĢĩƢűŎƷǢܺŻƢܹƢĩǴ ŦĩǡŎǛĩůŻĢĩƢűŎƷǢܒܺȃĩƪĩƷĩƢůƪĩůƟʼnþƪŎǬĩƷʼnĩŎƢƢĩǛĩƢƪŎĚŎŦŎƷǢŻŁłŦŻĚܮ alization processes and urgently thematize the resulting social and societal problems such as mass unemployment, environmental damage, and so forth.ڞڝ Following on from this at the end ŻŁ Ʒʼnĩ ڐژژڏƪ܌ ÃŦƢŎěʼn ĩěţ ĢĩƪěƢŎĚĩĢ Ʒʼnĩ ěŻűěĩƟƷ ŻŁ ܹƢĩǴ ŦĩǡŎǛĩ łŦŻĚþŦŎǬþƷŎŻűܺ þƪ þ ƪŎƷƿþƷŎŻű Ŏű ǜʼnŎěʼnƷʼnĩěƿƢƢĩűƷƟƢŻĚŦĩůþƷŎě܌ěŻűǴ ŦŎěƷܮŦþĢĩűܣĩűǛŎƢŻűůĩűƷþŦŻƢƪŻěŎþŦݑܫĚƿƷþŦƪŻěƿŦƷƿƢþŦܤĩŁ-ŁĩěƷƪŻŁłŦŻĚþŦŎǬþƷŎŻűěþűĚĩܹƢĩǴ ŦĩěƷĩĢƿƟŻűܺþűĢŎűěŻƢƟŻƢþƷĩĢŎűƷŻűĩǜěƿŦƷƿƢþŦƟƢþěƷŎěĩƪܒڞڞ He ƷʼnƿƪƢĩŠĩěƷĩĢ܌þƪŎűƷʼnĩƟƢĩǛŎŻƿƪŦǢůĩűƷŎŻűĩĢƷʼnĩŻƢŎĩƪŻŁƟƟþĢƿƢþŎ܌ßĩƢƷŻǛĩě܌þűĢ'ŎƢŦŎţ܌Ʒʼnĩ basic model of “container theory,” in which a dynamic acting from “outside” a clearly delineated ƷĩƢƢŎƷŻƢǢŎűǴ ŦƿĩűěĩƪŎƷŦŻěþŦŦǢܒSűƪƷĩþĢ܌ƢĩǴ ŦĩǡŎǛĩłŦŻĚþŦŎǬþƷŎŻűþŦƪŻƢĩŁĩƢƪƷŻƷʼnĩŁŻƢůþƷŎŻűŻŁ űĩǜłƢŻƿƟŎűłƪþűĢěŻůůƿűŎƷŎĩƪþěƢŻƪƪĩƪƷþĚŦŎƪʼnĩĢܣűþƷŎŻűþŦ܌ěƿŦƷƿƢþŦ܌ƟŻŦŎƷŎěþŦ܌ŻƢƢĩŦŎłŎŻƿƪܤ identity boundaries.
®ŎűěĩþƷŦĩþƪƷƷʼnĩĩþƢŦǢƷǜĩűƷŎĩƷʼněĩűƷƿƢǢ܌ƪƿěʼnƢĩǴ ŦĩǡŎǛŎƷǢʼnþƪĚĩĩűþĚƪŻŦƿƷĩŦǢĩƪƪĩűƷŎþŦŁŻƢ ƿűĢĩƢƪƷþűĢŎűłůƿƪŎěþŦěƿŦƷƿƢĩƪŻƿƷƪŎĢĩ/ƿƢŻƟĩܒȃĩǢʼnþǛĩĩǛŻŦǛĩĢŎűěŦŻƪĩ܌ƢĩǴ ŦĩǡŎǛĩ܌þűĢŻŁ-Ʒĩű ŁƢþěƷŎŻƿƪ ŎűƷĩƢþěƷŎŻű ǜŎƷʼn /ƿƢŻƟĩþű ůŻĢĩƢűŎƷǢܒ ȃƿƪ܌ ĢƿƢŎűł Ʒʼnĩ űŻƷŻƢŎŻƿƪ ƪǢůƟŻƪŎƿů
ܹǛĩƢěŻůŎűłrŻĢĩƢűŎƷǢܺܣfŎűĢþŎűŻěʼnƔţŻţƿܤŎűdƿŦǢڐژړڑŎűfǢŻƷŻ܌ƷʼnĩdþƟþűĩƪĩěŻůƟŻƪĩƢ®þĚƿƢƔ rŻƢŻŎܣڐژڏڒܫڐژږږܤڞڟ stated that only music that expressed Japanese “spirit” using the means of Western compositional techniques and instrumentation was capable of “overcoming moderni-ty.”ڞڠ ȃŎƪǜþƪƷʼnĩƪŦŻłþűŻŁƷʼnĩƪǢůƟŻƪŎƿůŁŻƢƷʼnĩěŻűƪƷƢƿěƷŎŻűŻŁþűþŦƷĩƢűþƷŎǛĩdþƟþűĩƪĩůŻ-dernity that was not meant to be synonymous with “Westernization.” Its jingoistic undertones in the context of Japanese military aggression led to sustained criticism of the symposium in postwar Japan.ڞڡ While those that repeatedly praise the title and content of this symposium have mostly been nationalist Japanese authors,ڞڢ the realization has spread in the last two de-cades that a discussion of modernity will remain inadequate without an acceptance of several ĢŎDzŁĩƢĩűƷ܌ěŻůƟĩƷŎűłܹůŻĢĩƢűŎƷŎĩƪܺڟڙܣދݑSSܒڐܤܒ
Moroi’s distinction between spirit and technique was a master pattern for the adoption of àĩƪƷĩƢűěƿŦƷƿƢĩŎűdþƟþűþűĢ ʼnŎűþþƪĩþƢŦǢþƪƷʼnĩůŎĢܮűŎűĩƷĩĩűƷʼněĩűƷƿƢǢܣދݑSSSܒڐܤܒSƷʼnþƪĚĩĩű incorporated, in a milder form, as part of the cultural essentialism in the aesthetics of many ěŻůƟŻƪĩƢƪŎűƪŎþƪŎűěĩƷʼnĩڐژڒڏƪܒSűƷʼnĩڐژڕڏƪ܌Sƪþűłæƿű܌dŻƪĪrþěĩĢþ܌ ʼnŻƿàĩűܮ ʼnƿűł܌
þűĢ¼ƔƢƿ¼þţĩůŎƷƪƿĩƪƷþĚŦŎƪʼnĩĢݑܫĩþěʼnǜŎƷʼnƷʼnĩŎƢŻǜűƟŻŎűƷƪŻŁĩůƟʼnþƪŎƪݑܫþĢŎƪěŻƿƢƪĩŻű Ʒʼnĩ ܹěʼnþƢþěƷĩƢŎƪƷŎěƪܺ ŻŁ ƪŎþű ůƿƪŎě ƷʼnþƷ ƪƟĩěŎȀěþŦŦǢ þŎůĩĢ ƷŻ ܹŻǛĩƢěŻůĩܺ Ʒʼnĩ ĢŻůŎűþűěĩ ŻŁ àĩƪƷĩƢűþĩƪƷʼnĩƷŎěƪܣދݑSSSܒړܤܒ®ƿěʼnþĩƪƷʼnĩƷŎěƪʼnþĢĚĩěŻůĩƟþƢƷŎěƿŦþƢŦǢơƿĩƪƷŎŻűþĚŦĩ܌űŻƷŦĩþƪƷ ĚĩěþƿƪĩŻŁƷʼnĩ®ĩěŻűĢàŻƢŦĢàþƢܒƿƷƷʼnĩƪĩěŻůƟŻƪĩƢƪþŦƪŻƪŻƿłʼnƷƷŻŎűƷĩłƢþƷĩţĩǢĩŦĩůĩűƷƪ
ڹڸ ĪĜŤ܉ܶ'ÿƫðĪŏƸÿŧƸĪƣģĪƣtĪěĪŲłżŧŃĪŲǀŲģģŏĪ£żŧŏƸŏƫŏĪƣǀŲŃģĪƣrżģĪƣŲĪܷ
ڹڹ ĪĜŤÿŲģðżŧż܉ܶàŊÿƸSƫGŧżěÿŧŏǭÿƸŏżŲܐܷܔƫĪĪÿŧƫżĪĜŤ܉'ŏĪ/ƣǾŲģǀŲŃģĪƫ£żŧŏƸŏƫĜŊĪŲ.
ڹں On Moroi see Galliano, æƕŃÿŤǀ܉ړڏܨړڒ܉ڔڔ
ڹڻ See rŏŲÿŰżƸż܉ܶ¼ŊĪ®ǣŰƠżƫŏǀŰżŲܸǜĪƣĜżŰŏŲŃrżģĪƣŲŏƸǣܹܷ
ڹڼ ¼ŊŏƫĜƣŏƸŏĜŏƫŰÿŧƫżĜżŲĜĪƣŲĪģƸŊĪƠŊŏŧżƫżƠŊĪƣƫżłƸŊĪfǣżƸżƫĜŊżżŧƠÿƣƸŏĜŏƠÿƸŏŲŃŏŲƸŊĪƫǣŰƠżƫŏǀŰ܉ŲÿŰĪŧǣfĪŏšŏ tŏƫŊŏƸÿŲŏÿŲģ®ŊŏŃĪƸÿŤÿ®ǀǭǀŤŏ܉ƫĪĪŏěŏģ
ڹڽ ®ĪĪNŏšŏǣÿܫfŏƣƫĜŊŲĪƣĪŏƸ܉ܶhĪǀĜŊƸĪƸdÿƠÿŲܐܷ
ںڴ See Eisenstadt, Multiple ModernitiesÿŲģ/ŧěĪƣłĪŧģ܉ܶrżģĪƣŲĪŏŲƸĪƣŤǀŧƸǀƣĪŧŧܷ
of Western thought.ڟښæƿűþűĢ ʼnŻƿ܌þƪůŎłƢþűƷěŻůƟŻƪĩƢƪ܌ŁþěĩĢƷʼnĩěʼnþŦŦĩűłĩŻŁŦĩþĢŎűłƷʼnŎƪ discourse in direct confrontation with Western aesthetic trends.
While their writings and statements showed clear tendencies toward essentialism,ڟڛ their ǜŻƢţƪ܌ĚǢěŻűƷƢþƪƷ܌ŻǼƷĩűĢĩþŦƷǜŎƷʼnǛĩƢǢƪƟĩěŎȀěƷƢþĢŎƷŎŻűƪܒ ʼnŻƿܼƪǜŻƢţƪȄĩàŎŦŦŻǜƪþƢĩtĩǜ ܣڐژڔږܤþűĢYü Koܣڐژڕڔܤ܌ŁŻƢĩǡþůƟŦĩ܌þƷƷĩůƟƷݑܫǜŎƷʼnƪŻůĩǜʼnþƷŦŎůŎƷĩĢƪƿěěĩƪƪݑܫƷŻþƟƟŦǢƟĩƢ-formance principles of the ancient Chinese zither qin to Western instruments.ڟڜ æƿűܼƪRéak ܣڐژڕڕܤƷƢþűƪŁĩƢƪƷʼnĩěŻűƷŎűƿŻƿƪƟŎƷěʼnŎűǴ ŦĩěƷŎŻűƪþűĢŎűƷĩƢǜŻǛĩűŦŎűĩƪŻŁfŻƢĩþűěŻƿƢƷůƿƪŎě into sound textures of the Western orchestra.ڟڝ SŁ ƪƿěʼn ěŻűěĩƟƷƪ ŻǼƷĩű ĩůƟʼnþƪŎǬĩþŦƷĩƢŎƷǢ in relation to Western musical aesthetic discourse, it should not be forgotten how strongly they ǜĩƢĩþŦƪŻŎűǴ ŦƿĩűěĩĢĚǢƢűŻŦĢ®ěʼnŻĩűĚĩƢłܼƪ܌/ĢłþƢĢßþƢĸƪĩܼƪ܌SþűűŎƪåĩűþţŎƪܼƪ܌þűĢfþƢŦʼnĩŎűǬ
®ƷŻěţʼnþƿƪĩűܼƪěƢŎƷŎơƿĩƪŻŁƷƢþĢŎƷŎŻűþűĢŎĢĩűƷŎƷǢŎűàĩƪƷĩƢűůŻĢĩƢűŎƷǢܒ
ȃĩĚƢŎĩŁŻƿƷŦŎűĩSʼnþǛĩƷʼnƿƪŁþƢƟƢĩƪĩűƷĩĢþŦƢĩþĢǢƪƿłłĩƪƷƪƷʼnþƷŠĩƷƷŎƪŻűŎűłƷʼnĩěŻűěĩƟƷŻŁ identity entirely on account of the crisis of identity is far too crudely reductive. It has been as-serted on various occasions that the music of non-Western contemporary composers ought not ŻűŦǢƷŻĚĩĢŎƪěƿƪƪĩĢþłþŎűƪƷƷʼnĩĚþěţĢƢŻƟŻŁĢĩĚþƷĩƪŻŁěƿŦƷƿƢþŦŎĢĩűƷŎƷǢ܌ĚƿƷƢþƷʼnĩƢƟƢŎůþƢŎŦǢ ƿűĢĩƢƪƷŻŻĢþűĢƢĩƪƟĩěƷĩĢþƪþůþűŎŁĩƪƷþƷŎŻűŻŁܹŎűĢŎǛŎĢƿþŦܺþƢƷŎƪƷŎěƟŻƪŎƷŎŻűƪ܋
tĪǝ ŊŏŲĪƫĪrǀƫŏĜżǀŃŊƸƸżěĪĜżŲƫŏģĪƣĪģżŲÿŲŏŲƸĪƣŲÿƸŏżŲÿŧƫƸÿŃĪ܉ŲżƸÿƫÿŰǀƫŏĜěżƸŊĪǢżƸŏĜ ÿŲģƸŊĪƣ܉ěǀƸÿƫÿŰǀƫŏĜŏŲŏƸƫżǝŲƣŏŃŊƸ܉ܞ܊ܟÿƫÿŰǀƫŏĜżłŏŲƸĪƣŲÿƸŏżŲÿŧŏŰƠżƣƸ܉ěǣŏŲģŏǜŏģǀÿŧƫ܉
ŏŲģĪƠĪŲģĪŲƸżłƸŊĪŏƣŲÿƸŏżŲÿŧģĪƫĜĪŲƸܞ܊ܟƸŊĪ ŊŏŲĪƫĪŲĪƫƫżł ŊŏŲĪƫĪŰǀƫŏĜŲĪĪģŲżƸěĪĜżŲ -sidered a matter of course but of individual choice and development. Each of these composers ǝƣŏƸĪƫŊŏƫżƣŊĪƣżǝŲƠĪƣƫżŲÿŧŰǀƫŏĜ܉ĜƣĪÿƸŏŲŃƫżŰĪƸŊŏŲŃěĪǣżŲģƸŊĪƸƣÿģŏƸŏżŲƫܠ ŊŏŲĪƫĪżƣżƸŊĪƣܫ ǝŏƫĪܡƸŊÿƸÿƣĪěĪŏŲŃǀƫĪģڜڛ
àŊÿƸŏƫƣĪƢǀŏƣĪģŏƫƸżŏŧŧǀŰŏŲÿƸĪƸŊĪƫĪŏŲƸĪƣŲÿƸŏżŲÿŧ܉ƫŏŰƠŧǣŰǀƫŏĜÿŧÿƫƠĪĜƸƫƣÿƸŊĪƣƸŊÿŲƠĪƣƫŏƫƸܫ ŏŲŃŏŲƸŊĪƫĪÿƣĜŊݎܨŲÿƸǀƣÿŧŧǣÿŲŏŰƠżƣƸÿŲƸżŲĪ܉ěǀƸŲżŧżŲŃĪƣŏŲģŏƫƠĪŲƫÿěŧĪݎܨłżƣ ŊŏŲĪƫĪżƣƫŏÿŲ ŏģĪŲƸŏƸǣ܉ƫĪŧłܫÿƫƫĪƣƸŏżŲżƣŲÿƸŏżŲÿŧƫƸǣŧĪŏŲƸŊŏƫŰǀƫŏĜ܉ǝŊŏĜŊ܉ƸżƠǀƸŏƸŏŲĪǢƸƣĪŰĪƸĪƣŰƫ܉ÿŰżǀŲƸƫ ŰżƣĪƸżÿģŏƫĜƣŏŰŏŲÿƸŏżŲÿŃÿŏŲƫƸƫŏÿŲĜżŰƠżƫĪƣƫÿŲģƸŊĪŏƣŰǀƫŏĜܞ܊ܟƸŊĪƫŏÿŲĜżŰƠżƫĪƣŰǀƫƸ ěĪÿěŧĪÿŲģÿŧŧżǝĪģƸżģĪǿŲĪƸŊĪŰƫĪŧǜĪƫŲżƸÿƫÿŲAsian composer, but as an Asian composer.ڜڜ SűŁþěƷ܌ƷʼnŎƪʼnþƪŦŻűłĚĩĩűþƢĩþŦŎƷǢŎűƷʼnĩůƿƪŎěƪěĩűĩܒæŻƿűłĩƢěŻůƟŻƪĩƢƪƪƿěʼnþƪÃűƪƿţ ʼnŎű܌
'þŎFƿŠŎţƿƢþ܌ŻƢæŎűłàþűłƟƿƢƪƿĩĩǡěĩƟƷŎŻűþŦŦǢƪƿěěĩƪƪŁƿŦěþƢĩĩƢƪ܌ůþŎűŦǢŎűàĩƪƷĩƢűěƿŦƷƿƢܮ þŦěĩűƷĩƢƪܒȃĩŎƢŎűƷĩƢűþƷŎŻűþŦ܌ǛŎƢƷƿŻƪŎěŎĢŎŻůŎƪþłƿþƢþűƷĩĩŻŁƪƿěěĩƪƪ܌þűĢŎƷƪĩĩůƪƷʼnþƷŎŁ they were to address themes of intercultural rupture and hybridity more explicitly, this success
ǜŻƿŦĢĚĩʼnŎűĢĩƢĩĢƢþƷʼnĩƢƷʼnþűþƪƪŎƪƷĩĢܒƿƷŎƪŎƷƢĩþŦŦǢƟŻƪƪŎĚŦĩŁŻƢܹěƿŦƷƿƢþŦܺĢŎƪěŻƿƢƪĩݑܫƢĩ-ںڵ ®ĪĪÃƸǭ܉Neue Musik und Interkulturalität܉ڎڎڎܨڏڍڍ
ںڶ ®ĪĪłżƣĪǢÿŰƠŧĪ Ŋżǀ܉ܶƫŏÿŲ/ƫƸŊĪƸŏĜƫÿŲģàżƣŧģrǀƫŏĜܷÿŲģæǀŲ܉ܶÉěĪƣŰĪŏŲĪrǀƫŏŤܷ
ںڷ ®ĪĪÃƸǭ܉Neue Musik und Interkulturalität܉ڎړڌܨڎړړ
ںڸ See Choi, “Réakܠڍڕڒڒܡܷ
ںڹ rŏƸƸŧĪƣ܉ܶŃÿŏŲƫƸtÿƸŏżŲÿŧ®ƸǣŧĪ.”
ںں rŏƸƸŧĪƣ܉ܶàŏģĪƣģĪŲܸŲÿƸŏżŲÿŧĪŲ®Ƹŏŧ܉ܹܷڒڌړܠܶ'ŏĪƫĪŏŲƸĪƣŲÿƸŏżŲÿŧĪŲ܉ĪŏŲłÿĜŊŰǀƫŏŤÿŧŏƫĜŊĪŲƫƠĪŤƸĪŃŏŧƸĪƫǭǀěĪ- ŧĪǀĜŊƸĪŲ܉ŲŏĜŊƸŰĪŊƣǭǀǜĪƣŊÿƣƣĪŲŏŲģĪƣܞŲÿƸdžƣŧŏĜŊǝŏĜŊƸŏŃĪŲ܉ÿěĪƣŲŏĜŊƸŰĪŊƣǀŲĪƣŧďƫƫŧŏĜŊĪŲܟ®ǀĜŊĪŲÿĜŊĜŊŏ-ŲĪƫŏƫĜŊĪƣżģĪƣÿƫŏÿƸŏƫĜŊĪƣSģĪŲƸŏƸďƸ܉ŲÿĜŊ®ĪŧěƫƸěĪŊÿǀƠƸǀŲŃ܉ŲÿĜŊŲÿƸŏżŲÿŧĪŰ®ƸŏŧŏŲģŏĪƫĪƣrǀƫŏŤ܉ģŏĪ܉ǀŰĪƫ ĪǢƸƣĪŰÿǀƫǭǀģƣdžĜŤĪŲ܉ĪŊĪƣĪŏŲĪƣ'ŏƫŤƣŏŰŏŲŏĪƣǀŲŃÿƫŏÿƸŏƫĜŊĪƣfżŰƠżŲŏƫƸĪŲǀŲģŏŊƣĪƣrǀƫŏŤŃŧĪŏĜŊŤżŰŰƸܞ܊ܟ܈
'ĪƣÿƫŏÿƸŏƫĜŊĪfżŰƠżŲŏƫƸŰǀƫƫƫŏĜŊŲĪǀģĪǿŲŏĪƣĪŲŤƇŲŲĪŲǀŲģģdžƣłĪŲ܉ŲŏĜŊƸÿŧƫasiatischerfżŰƠżŲŏƫƸ܉ƫżŲģĪƣŲ als asiatischer Komponistܷܡ
łþƢĢŦĩƪƪŻŁþěŻůƟŻƪĩƢܼƪŻƢŎłŎűþűĢƷƢþĢŎƷŎŻűݑܫƷŻĚĩƪŎůƟŦǢŎłűŻƢĩĢŎűŁþǛŻƢŻŁþűܹŎűĢŎǛŎĢƿþŦܺ
perspective? Is it not necessary, rather, to place renewed emphasis on the sociocultural condi- ƷŎŻűƪŻŁƢĩěĩűƷěŻůƟŻƪŎƷŎŻűþűĢŎƷƪŎűěŻƢƟŻƢþƷŎŻűŎűƷŻþűĩƷǜŻƢţŻŁƪŻěŎŻěƿŦƷƿƢþŦƷƢþűƪŁĩƢŻŁ meaning (in the sense of abandoning the music-historical paradigm of “techno-essential-ism”ڟڠܤܓܣދݑSSܒڐܤSűƷʼnŎƪƪĩűƪĩ܌®þůƪŻűæŻƿűłůþţĩƪŎƷěŦĩþƢƷʼnþƷƷʼnĩƟŻƪƪŎĚŎŦŎƷǢŻŁܹěƿŦƷƿƢĩܮŁƢĩĩܺ
ŦŎƪƷĩűŎűłŎƪŦŎůŎƷĩĢǜʼnŎŦĩܹěƿŦƷƿƢþŦŎĢĩűƷŎƷŎĩƪܺěŻűƷŎűƿĩƷŻĚĩĢĩŦŎĚĩƢþƷĩŦǢĩǛŻţĩĢĚǢěŻůƟŻƪĩƢƪ þűĢƷʼnĩŎƢƟĩƢŁŻƢůĩƢƪþŦŎţĩƷʼnƢŻƿłʼnþƟƟƢŻƟƢŎþƷĩŦǢěʼnþƢłĩĢƪŎłűŎȀĩƢƪ܋
SłǝĪĪŰěƣÿĜĪƸŊĪǜŏĪǝƸŊÿƸĪƸŊŲŏĜŏģĪŲƸŏƸŏĪƫÿƣĪĜżŲƫƸƣǀĜƸƫ܉ƸŊĪŲƸżǝŊÿƸĪǢƸĪŲƸÿƣĪǝĪŏŲƸĪƣĪƫƸĪģ ŏŲŊżǝĜǀŧƸǀƣÿŧƫŏŃŲŏǿĪƣƫłǀŲĜƸŏżŲƸżƣĪŏŲłżƣĜĪƸŊĪƫĪŏŰÿŃŏŲÿƣǣĜÿƸĪŃżƣŏĪƫܐܞ܊ܟSŲƫƸĪÿģżłłżĜǀƫܫ ŏŲŃżŲƸŊĪģĪŃƣĪĪƫƸżǝŊŏĜŊÿƫŏŃŲŏǿĪƣŏƫܶƸƣÿģŏƸŏżŲÿŧܷżƣܶĜżŲƸĪŰƠżƣÿƣǣ܉ܷĜżǀŧģżŲĪŲżƸÿƫŤǝŊǣ ĪƸŊŲŏĜŏƸǣŏƫƠĪƣłżƣŰĪģǝŊĪŲŏƸŏƫŲżƸÿŧǝÿǣƫŲĪĜĪƫƫÿƣǣ܉ÿŲģƠżƸĪŲƸŏÿŧŧǣĪǜĪŲģŏƫƸƣÿĜƸƫÿƸƸĪŲƸŏżŲ łƣżŰƸŊĪŰǀƫŏĜŏƸƫĪŧłܐSŲƸŊĪĜÿƫĪżłĜżŲƸĪŰƠżƣÿƣǣ ŊŏŲĪƫĪŰǀƫŏĜ܉ŏłƫżǀŲģĜÿŲŏŲģĪĪģěĪŊĪÿƣģ łƣĪĪżłĜǀŧƸǀƣÿŧĜżŲƸĪǢƸƫܞ܊ܟ܉ƸŊĪŲǝŊǣģżĜżŰƠżƫĪƣƫÿŲģÿŲÿŧǣƫƸƫĜżŲƸŏŲǀĪƸżŏŲǜżŤĪĜǀŧƸǀƣĪܐڜڞ æŻƿűłʼnþƪþŦƪŻĩůƟʼnþƪŎǬĩĢƷʼnþƷŎƷŎƪƟƢĩěŎƪĩŦǢƷʼnĩĢĩůþűĢŁŻƢþěŻűƷŎűƿŻƿƪopposition to cultur-al essenticultur-alism and a culturcultur-alist stereotyping of artistic positions that necessitates thematiz-ŎűłơƿĩƪƷŎŻűƪŻŁܹƢþěĩ܌ĩƷʼnűŎěŎƷǢ܌ěƿŦƷƿƢĩþűĢƟŻŦŎƷŎěƪܺƷŎůĩþűĢþłþŎű܋
SģżŲܹƸƸŊŏŲŤżłŰǣƫĪŧłÿƫ ŊŏŲĪƫĪŏŲƫżŰĪǝÿǣ܉ěǀƸSƠƣżěÿěŧǣģżŲܹƸěĪŧŏĪǜĪŏŲ܉ÿŲģĜĪƣƸÿŏŲŧǣģż ŲżƸǝÿŲƸƸżƠŧÿǣÿŲǣƠÿƣƸŏŲ܉ƣĪÿdzǿƣŰŏŲŃƸŊĪŲżƸŏżŲżłÿƫŏŲŃǀŧÿƣ܉ǀŲƠƣżěŧĪŰÿƸŏĜܶ ŊŏŲÿƠƣżƠĪƣܷ܈
ƸŊĪĜżŰŰǀŲŏƫƸ ŊŏŲÿ܉ƸŊĪ ŊŏŲÿƸŊÿƸƫŏƸƫěĪŊŏŲģǿƣĪǝÿŧŧƫ܉ƸŊĪ ŊŏŲÿƸŊÿƸƫǀƠƠƣĪƫƫĪƫłƣĪĪģżŰ żłƫƠĪĪĜŊÿŲģŏŲģŏǜŏģǀÿŧŧŏěĪƣƸǣƣƸŏƫƸƫģżŲżƸżƠĪƣÿƸĪŏŲǜÿĜǀǀŰƫàżƣŤƫżłÿƣƸĜŏƣĜǀŧÿƸĪ܉ŃĪŲĪ-ƣÿƸŏŲŃƣĪÿŧĜǀŧƸǀƣÿŧ܉ƫżĜŏÿŧÿŲģƠżŧŏƸŏĜÿŧĜżŲƫĪƢǀĪŲĜĪƫSƸŏƫŰǣěĪŧŏĪłƸŊÿƸÿŲÿƣƸŏƫƸÿƫÿłƣĪĪÿŃĪŲƸ żǀŃŊƸƸżƣĪǵŧĪĜƸǀƠżŲƸŊĪǜÿŧǀĪƫƫŊĪܕŊĪÿěŏģĪƫěǣŏŲÿŧŧÿĜƸƫżłĜƣĪÿƸŏǜŏƸǣܞ܊ܟ¼ŊĪÿŃĪܞżłܟŃŧżěÿŧŏ-ǭÿƸŏżŲģĪŰÿŲģƫÿŲŏŲƸĪŲƫŏǿĪģŧĪǜĪŧżłĜżŰŰǀŲŏĜÿƸŏǜĪŲǀÿŲĜĪSŲƸŏŰĪƫżłĜżŲǵŧŏĜƸƫ܉ƸǀƣěǀŧĪŲĜĪ ÿŲģĜżŲłǀƫŏżŲ܉ǝĪŲĪĪģƸżƫÿǣŰżƣĪ܉ŲżƸŧĪƫƫ܉ÿěżǀƸŏƫƫǀĪƫżłƣÿĜĪ܉ĪƸŊŲŏĜŏƸǣ܉ĜǀŧƸǀƣĪÿŲģƠżŧŏƸŏĜƫڜڟ FƢĩĢĩƢŎěţhþƿƿŦƷŎůþƷĩŦǢǜĩűƷƪŻŁþƢþƪƷŻƪþǢƷʼnþƷƷʼnĩƟƢŻƷĩþűܣþűĢŎűƟþƢƷƪƢþƷʼnĩƢƪƿěěĩƪƪŁƿŦܤ adoption of culturalist identity models by Chinese composers of the “new wave” generation ŎűƷʼnĩî܌ƪŎűěĩƷʼnĩڐژڗڏƪ܌ěþűĚĩěŻűƪŎĢĩƢĩĢþƪǢůƟƷŻůŻŁŎĢĩűƷŎƷǢěŻűƪƷƢƿěƷŎŻűþƪþěþƢĩĩƢ ƪƷƢþƷĩłǢ܌ůƿěʼnŦŎţĩƷʼnĩƟŻƟŎűĢƿƪƷƢǢܼƪܹƪƿƟĩƢƪƷþƢƪǢűĢƢŻůĩܺ܋
SŲÿģǜżĜÿƸŏŲŃÿƫƸǣŧĪƸŊÿƸŰÿŤĪƫǀƫĪżł ŊŏŲĪƫĪĪŧĪŰĪŲƸƫ܉ƸŊĪŲĪǝǝÿǜĪĜżŰƠżƫĪƣƫÿƣĪƠÿƣƸŏĜŏ-ƠÿƸŏŲŃŏŲÿĜżģŏǿĪģÿŲģŃŧżěÿŧŏǭĪģŰÿƣŤĪƸŏŲǝŊŏĜŊƸŊĪǣÿƣĪěĪŏŲŃƠĪƣĜĪŏǜĪģƸŊƣżǀŃŊƸŊĪŏƣŰǀƫŏĜ ÿŲģƸŊĪǀƫĪżł ŊŏŲĪƫĪĪŧĪŰĪŲƸƫ¼ŊĪǣÿƣĪĜŧĪÿƣŧǣĜÿƠŏƸÿŧŏǭŏŲŃżŲƣŏĪŲƸÿŧŏƫŰÿƫĪǢƠƣĪƫƫĪģŏŲ ƸŊĪŏƣŰǀƫŏĜÿŲģŏŲƸŊĪŏƣżǝŲǝżƣģƫŏŲżƣģĪƣƸżƸƣÿŲƫŃƣĪƫƫƸŊĪěżǀŲģÿƣŏĪƫżłàĪƫƸĪƣŲƣŏĪŲƸÿŧŏƫƸ ģŏƫĜżǀƣƫĪǝŏƸŊŏƸƫĪŰƠŊÿƫĪƫżŲģŏdzłĪƣĪŲĜĪ܉żƸŊĪƣŏŲŃ܉ÿŲģƸŊĪĪǢżƸŏĜrǀƫŏĜÿŧĪǢżƸŏĜŏƫŰ܉ÿĜĜżƣģܫ ŏŲŃƸżdżŲÿƸŊÿŲĪŧŧŰÿŲ܉ƫǀŃŃĪƫƸƫƸŊĪƫƸƣÿŲŃĪŲĪƫƫżłÿƫƠĪĜŏǿĜÿŧŧǣÿŧŏĪŲĜǀŧƸǀƣĪżƣĪƸŊżƫ¼ŊĪ ŲĪǝǝÿǜĪĜżŰƠżƫĪƣƫÿƣĪǀƸŏŧŏǭŏŲŃƫǀĜŊÿƫƸƣÿƸĪŃǣǀŲģĪƣƸŊĪÿĪŃŏƫżłŰǀŧƸŏĜǀŧƸǀƣÿŧŏƫŰڝږ ںڻ ®ĪĪ àŏŧŧŏÿŰƫ܉ ܶł ÿŲżŲƫ ÿŲģ żŲƸĪǢƸܷ ®ĪĪ ÿŧƫż żżŤ ÿŲģ £żƠŧĪ܉ ܶSŲƸƣżģǀĜƸŏżŲ܈ ¼ƣÿšĪĜƸżƣŏĪƫ żł ¼ǝĪŲƸŏĪƸŊܫ
ĪŲƸǀƣǣrǀƫŏĜ܉ܷڐ
ںڼ Young, “¦ĪĜżŲƫŏģĪƣŏŲŃ ǀŧƸǀƣÿŧ£żŧŏƸŏĜƫŏŲƸŊĪŲÿŧǣƫŏƫżł żŲƸĪŰƠżƣÿƣǣ ŊŏŲĪƫĪrǀƫŏĜ܉ܷڒڌړ
ںڽ Young, “¦ĪÿģŏŲŃ żŲƸĪŰƠżƣÿƣǣ ŊŏŲĪƫĪrǀƫŏĜ܉ܷڔڕܨڕڌ
ڻڴ Lau, “Fusion or Fission,” citing Bellman, The Exotic in Western Music, xii. See also Melvin and Cai, Rhapsody in Red, ڏڏڎܨڏڏڏ
£ŻƪŎƷŎǛĩŦǢƟƿƷ܌ǜʼnĩűþƢƷůƿƪŎěܼƪܹŎĢĩűƷŎƷǢƟƢŻĚŦĩůƪܺĚĩěŻůĩłĩűƿŎűĩŦǢƟĩƢěĩƟƷŎĚŦĩ܌ƢĩǴ ŦĩǡŎǛĩ łŦŻĚþŦŎǬþƷŎŻűĚĩěŻůĩƪƷƢƿŦǢƢĩŦĩǛþűƷܒűŦǢƷʼnĩűěþűþűĩǜŁƢþůŎűłþűĢĢĩȀűŎƷŎŻűŻŁƟĩƢƪƟĩě- ƷŎǛĩƢĩłþƢĢŎűłĩƪƷþĚŦŎƪʼnĩĢěŻűěĩƟƷƪŻŁŎĢĩűƷŎƷǢþDzŁĩěƷĚŻƷʼnƷʼnĩݑܫþĢůŎƷƷĩĢŦǢʼnĩłĩůŻűŎěݑܫ/ƿƢŻ-pean discourses on aesthetics and the culture-essentialist and neo-nationalist models in and outside of the West. In the process, the resulting musical situations can produce “cluster iden-ƷŎƷŎĩƪ܌ܹܺƟþƷěʼnǜŻƢţŎĢĩűƷŎƷŎĩƪ܌ܺŻƢܹůƿŦƷŎƟŦĩŎĢĩűƷŎƷŎĩƪ܌ܺڠښʼnŻǜĩǛĩƢŻűĩěʼnŻŻƪĩƪƷŻĢĩȀűĩƷʼnĩů ŎűĢĩƷþŎŦܒȃƿƪƷʼnĩǢěþűƿŦƷŎůþƷĩŦǢěŦþŎůěŻűƷĩůƟŻƢþƢǢƪŻěŎþŦƢĩŦĩǛþűěĩþǼƷĩƢþŦŦ܌þŦĚĩŎƷŁƢŻůþ deluxe ƟŻƪŎƷŎŻűܒłþŎűƪƷƷʼnĩĚþěţĢƢŻƟŻŁƷǜĩűƷŎĩƷʼnܮěĩűƷƿƢǢůƿƪŎěþŦþűĢƟŻŦŎƷŎěþŦʼnŎƪƷŻƢǢ܌þűĢ ƷʼnĩŻǛĩƢǜʼnĩŦůŎűłĩěŻűŻůŎǬþƷŎŻűŻŁƟƢĩƪĩűƷƷŎůĩƪ܌ƷʼnŎƪƢĩǴ ŦĩǡŎǛŎƷǢþƟƟĩþƢƪűŻƷůĩƢĩŦǢƷŻĚĩƷʼnĩ best of many options, but rather a necessity for advanced art music’s survival.
3. Discourses of Intercultural Composition
ȃĩ ƷĩƢů ܹŎűƷĩƢěƿŦƷƿƢþŦܺ Ŏƪ ŎűƷĩűĢĩĢ ʼnĩƢĩ ƷŻ ƢĩŁĩƢ ƷŻ Ʒʼnĩ ŎűƷĩƢþěƷŎŻű ŻŁ ƷǜŻ ŻƢ ůŻƢĩ ěƿŦƷƿƢþŦ ĢŎƪěŻƿƢƪĩƪݑܫþŁŻƢůŻŁŎűƷĩƢþěƷŎŻűƷʼnþƷůƿƪƷŎűĩǛŎƷþĚŦǢěƢŎƷŎěþŦŦǢơƿĩƪƷŎŻűƷʼnĩŦŎűĩƪƪĩƟþƢþƷŎűł
ܹěƿŦƷƿƢþŦĩűƷŎƷŎĩƪܒܺűĩǜþǢƷŻþěěĩűƷƿþƷĩƷʼnĩƟƢŻěĩƪƪƿþŦþƪƟĩěƷŻŁŎűƷĩƢěƿŦƷƿƢþŦþěƷŎŻűŎƪĢĩǛĩŦܮ ŻƟĩĢŎűƷʼnŎƪěʼnþƟƷĩƢܒFƿƢƷʼnĩƢĚĩŦŻǜ܌SǜŎŦŦþƟƟŦǢdþűƪƪůþűűܼƪěŻűěĩƟƷŻŁܹʼnǢƟŻŦĩƟƪŎƪܺݑܫƿű-ĢĩƢƪƷŻŻĢþƪƷʼnĩƷƢþűƪŁŻƢůþƷŎǛĩěŻűƷŎűƿþƷŎŻűŻŁƷĩǡƷƪǜŎƷʼnŎűƷʼnĩěŻűȀłƿƢþƷŎŻűŻŁܣŎűƷĩƢܤěƿŦƷƿƢþŦ ůĩůŻƢŎĩƪݑܫƷŻůƿƪŎěþŦěŻűƷĩǡƷƪܒ
In analyzing musical interculturality, it would seem that we are obliged to problematize fun-ĢþůĩűƷþŦƟƢĩěŻűĢŎƷŎŻűƪŻŁƷʼnĩ/ƿƢŻƟĩþűěŻűěĩƟƷŻŁþƢƷŎŁǜĩþƢĩƷŻþǛŻŎĢƷʼnĩŁƢĩơƿĩűƷþěěƿƪþƷŎŻű ŻŁůĩƢĩŦǢŎűƷĩłƢþƷŎűłĩŦĩůĩűƷƪŁƢŻůűŻűܮàĩƪƷĩƢűěƿŦƷƿƢĩƪŎűƷŻþܹ/ƿƢŻŦŻłŎěþŦܺڠڛĢŎƪěŻƿƢƪĩܒȃþƷ ŎűƷĩłƢþƷŎŻűŎűĩǛŎƷþĚŦǢƟŦþěĩƪƷʼnĩƷʼnĩƢŎűþűþƪǢůůĩƷƢŎěþŦƟŻǜĩƢƪƷƢƿěƷƿƢĩ܌þƟƟƢŻƟƢŎþƷĩƪŎƷŎű a postcolonial fashion, and thus distorts it without giving its elements a chance to articulate ƷʼnĩŎƢěƿŦƷƿƢþŦĢŎDzŁĩƢĩűěĩܒNŻǜĩǛĩƢþěěƿƢþƷĩƷʼnŎƪěƢŎƷŎơƿĩůþǢĚĩŎűƷʼnĩěþƪĩƪŻŁƪŻůĩþŦŦĩłĩĢŦǢ intercultural, but in fact monocultural, compositional approaches, its problem lies in its cul-ture-essentialist precondition, which remains trapped in the very dualism of “self” and “other,”
of “cultural self” and “cultural other,” that it purports to reject. Wolfgang Welsch addresses this with his concept of “transculturality,” and accuses theories of multiculturality and intercultur-ality of clinging to the traditional concept of culture attributed to Johann Gottfried Herder’s
“sphere premise.”ڠڜȃŎƪůĩþűƪƷʼnþƷƷʼnĩǢƟƢŻƟþłþƷĩܣþƷŦĩþƪƷŎůƟŦŎěŎƷŦǢܤþʼnŻůŻłĩűĩŻƿƪěŻűěĩƟƷ of culture and thus lay the foundation for culture-based separation and isolation, extending to
“cultural racism,”ڠڝ whereas ůƿŦƷŎěƿŦƷƿƢþŦŎƷǢ retains a basic polarity in the model of coexistence of ěƿŦƷƿƢþŦĩűƷŎƷŎĩƪ܌àĩŦƪěʼnþƢłƿĩƪ܌þűĢƟƢŻĢƿěĩƪܹƟþƢþŦŦĩŦěƿŦƷƿƢĩƪܒܺȃĩĚþƪŎěůŻĢĩŦŻŁĢŎþŦŻłƿĩ presupposed in ŎűƷĩƢěƿŦƷƿƢþŦŎƷǢ does not solve the basic problem, since its insistence on the sin-gularity of cultures involves the exclusion of others. Rather, Welsch highlights the hybrid, per-meable, and transformative constitution of all present cultures and emphasizes, in the context of globalization, the internal transculturality of individuals, which is clear in the fact that “we all possess ‘multiple attachments and identities.’”ڠڞȃŎƪŎƪƷþţĩűþƪƷĩƟŁƿƢƷʼnĩƢĚǢǢƿűłܮ ʼnƿŦNþű ڻڵ ®ĪĪ/ŧěĪƣłĪŧģ܉ܸܶ'ÿƫSĜŊŏƫƸŤĪŏŲ'ŏŲŃ܉ƫżŲģĪƣŲĪŏŲƣƸܹܷ
ڻڶ hĪǝŏƫ܉ܶSŰƠƣżǜŏƫĪģrǀƫŏĜÿǽƸĪƣڍڕڑڌܷ®ĪĪŊÿŃǝÿƸŏ܉ܶSŰÿŃŏŲŏŲŃƸŊĪƸŊĪƣܹƫßżŏĜĪܷ
ڻڷ ®ĪĪ hƇĜŊƸĪ܉Johann Gottfried Herder: Kulturtheorie und Humanitätsidee܉ ڍڎڔܨڍڏڕ܉ ðŏŰŰĪƣŰÿŲŲ܉ ܶGŧżěÿŧĪ /ŲƸǝdžƣłĪ܉ܷڎڎړܨڎڏڍ܉ÿŲģàĪŧƫĜŊ܉ܶ¼ƣÿŲƫĜǀŧƸǀƣÿŧŏƸǣ܈¼ŊĪ£ǀǭǭŧŏŲŃFżƣŰżł ǀŧƸǀƣĪƫ¼żģÿǣܷ
ڻڸ àĪŧƫĜŊ܉ܶ¼ƣÿŲƫĜǀŧƸǀƣÿŧŏƸǣ܈¼ŊĪ£ǀǭǭŧŏŲŃFżƣŰżł ǀŧƸǀƣĪƫ¼żģÿǣ܉ܷڍڕڑ
ڻڹ Sěŏģ܉ڍڕڔ
ǜŎƷʼnʼnŎƪěŻűěĩƟƷŻŁܹʼnǢƟĩƢěƿŦƷƿƢþŦŎƷǢ܌ܺǜʼnŎěʼnþƪƪƿůĩƪþŁƢĩĩܮǴ ŦŻþƷŎűłůþƪƪŻŁܹĢĩŁþěƷŎǬĩĢܺŻĚ-jects no longer tied to the here and now.ڠڟȃĩƪĩþƢĩþǛþŎŦþĚŦĩƷŻƷʼnĩܹʼnǢƟĩƢěƿŦƷƿƢþŦƷŻƿƢŎƪƷܺǜŎƷʼn ǛŎƢƷƿþŦŦǢűŻƟƢĩěŻűĢŎƷŎŻűƪ܌ǜŎƷʼnŻƿƷƢĩơƿŎƢŎűłƷʼnĩĩDzŁŻƢƷŻŁěƢŻƪƪŎűłĚŻƿűĢþƢŎĩƪŻƢܹǜþűĢĩƢŎűłܒܺڠڠ ȃĩůŻĢĩŦŻŁþʼnǢƟĩƢěƿŦƷƿƢĩ܌ʼnŻǜĩǛĩƢ܌ŎƪƿűěŻűǛŎűěŎűłĚĩěþƿƪĩŻŁŎƷƪĢĩȀűŎƷŎŻűþŦŎůƟƢĩěŎƪŎŻű܋
ŎƷŎƪĚǢűŻůĩþűƪƷƢƿĩƷʼnþƷƷʼnĩůĩƷʼnŻĢƪ܌ŎĢŎŻůƪ܌þűĢłƢþůůþƢƪŻŁܹþŦŦěƿŦƷƿƢĩƪܺþƢĩݑܫŁŻƢƷŻĢþǢܼƪ ěƢĩþƷŎǛĩþƢƷŎƪƷƪ܌ŁŻƢĩǡþůƟŦĩݑܫĩơƿþŦŦǢŦĩþƢűþĚŦĩþűĢþǛþŎŦþĚŦĩܒSűþĢĢŎƷŎŻű܌þűǢƢĩůŻƷĩŦǢƪƿĚ-stantial acquisition of such an idiom demands a great deal of time and patience. Paradoxically, the idea of “defactized” cultural objects contradicts the very desire to overcome established cul-tural concepts that guides Welsch’s and Han’s thought. It is precisely when assuming a dynamic, ƷƢþűƪŁŻƢůþƷŎǛĩěŻűěĩƟƷŻŁěƿŦƷƿƢĩƷʼnþƷŻűĩƷʼnŎűłůƿƪƷĚĩěŻůĩěŦĩþƢ܋þűǢĢĩěŻűƷĩǡƷƿþŦŎǬþƷŎŻű ŻŁܹěƿŦƷƿƢþŦŻĚŠĩěƷƪܺƢŎƪţƪĢĩƪěĩűĢŎűłŎűƷŻþƪƷĩƢĩŻƷǢƟŎěþŦƢĩƟƢĩƪĩűƷþƷŎŻűŻŁܣűþƷŎŻűþŦܤěƿŦƷƿƢĩƪܒ Indeed, the notion of a removal of such contexts is an illusion. In addition, the idea of hyper-ěƿŦƷƿƢĩŻǛĩƢŦŻŻţƪƷʼnþƷþƢƷŎƪƷŎěƟƢŻĢƿěƷŎŻűƷŻƷʼnŎƪĢþǢŎƪŎűƷĩłƢþƷĩĢŎűƷŻþłŦŻĚþŦƟŻǜĩƢĢŎƪěŻƿƢƪĩ in which Western and non-Western artists can by no means always act with the same precon- ĢŎƷŎŻűƪܒàʼnþƷůþţĩƪĚŻƷʼněŻűěĩƟƷƪƟƢŻĚŦĩůþƷŎěŎƪƷʼnĩŎƢŎĢĩþŦŎǬŎűłƷĩűĢĩűěǢ܋ܹƟþƢþŦŦĩŦěƿŦƷƿƢĩƪܺ
are as much an indisputable reality in today’s societies as the necessity of a continuous inter-cultural dialogue. Here one can argue against Welsch that the dialogical model is limited in its þĚŎŦŎƷǢƷŻƷƢþűƪěĩűĢěƿŦƷƿƢþŦĩƪƪĩűƷŎþŦŎƪůܣƪĩĩĚĩŦŻǜܤܒ
At any rate, the constantly changing constitution of cultures has long been recognized by ƷʼnĩěŻűƪƷƢƿěƷŎǛŎƪůŻŁƟŻƪƷěŻŦŻűŎþŦěƿŦƷƿƢþŦƷʼnĩŻƢǢܒ®ŎűěĩþƷŦĩþƪƷƷʼnĩڐژږڏƪ܌ěƿŦƷƿƢĩƪʼnþǛĩĚĩĩű understood as resulting from a construction of historical “narratives,” and no longer as essen-tial, given a priori.ڠڡ ȃĩƟƢŻěĩƪƪŻŁěŻűƪƷþűƷƢĩŎűǛĩűƷŎŻűþűĢƢĩĢĩȀűŎƷŎŻűʼnþƪĚĩĩűĢĩůŻűƪƷƢþ-ted especially through the history of nationalism.ڠڢ łþŎűƪƷ Ʒʼnĩ ĚþěţłƢŻƿűĢ ŻŁ ŎűěƢĩþƪŎűłŦǢ multiethnic societies, the cultural theory of the 1990s developed such concepts as “mixed iden-tities” or “strange multiplicity.”ڡڙ /ĢǜþƢĢ ®þŎĢ ƪþǜ Ʒʼnĩ þěʼnŎĩǛĩůĩűƷ ŻŁ ƪƿěʼn ƷʼnĩŻƢĩƷŎěþŦ ŁŻƢ-mulations as questioning the “binary oppositions dear to the nationalist and imperialist enter- prise”ڡښþűĢƢĩƟŦþěŎűłƷʼnĩůǜŎƷʼnůŻƢĩěŻůƟŦĩǡůŻĢĩŦƪܒűƷʼnĩěŻűƷƢþƢǢ܌ƷʼnĩƢĩŎƪűŻĢŻƿĚƷƷʼnþƷ ƷʼnĩĢŎěʼnŻƷŻůǢŻŁܹƿƪܺþűĢܹƷʼnĩůܺěŻűƷŎűƿĩƪ܌þűĢʼnþƪþƷƷŎůĩƪĩǛĩűĚĩĩűŎűƷĩűƪŎȀĩĢŎűƷʼnĩƟƿĚŦŎě ěŻűƪěŎŻƿƪűĩƪƪݑܫþƪěþűĚĩĩǡƟĩƢŎĩűěĩĢĢþŎŦǢŎűƟŻƪƷܮژܘڐڐƪŻěŎĩƷŎĩƪܒNĩƢĩŎƷŎƪŎůƟŻƢƷþűƷƷŻƢĩ쯳-űŎǬĩƷʼnþƷƷʼnŎƪĢŎěʼnŻƷŻůǢűŻƷŻűŦǢƪĩƢǛĩĢƷʼnĩŁŻƿűĢþƷŎŻűŻŁƷʼnĩܣŁŻƢůĩƢܤěŻŦŻűŎǬĩƢƪܼŎĢĩűƷŎƷǢ܌ĚƿƷ þŦƪŻƟƢŻǛŎĢĩĢěƢƿěŎþŦĚƿŎŦĢŎűłĚŦŻěţƪŁŻƢþƪĩŦŁܮĢĩȀűŎƷŎŻűŻŁƷʼnĩܣŁŻƢůĩƢŦǢܤěŻŦŻűŎǬĩĢěƿŦƷƿƢĩƪܒڡڛ
ȃĩ ƢĩƪƿŦƷŎűł ǜĩĚ ŻŁ ĩűƷþűłŦĩĢ ŎűƷĩƢěƿŦƷƿƢþŦ ŎűǴ Ŧƿĩűěĩƪ܌ ĢĩůþƢěþƷŎŻűƪ܌ þűĢ ěŻűűĩěƷŎŻűƪ ůþţĩƪþűܹþƪĩƟƷŎěܺĢĩȀűŎƷŎŻűŻŁěƿŦƷƿƢĩƪܣþƷƷʼnĩĩǡƟĩűƪĩŻŁƷʼnĩŎƢŎűűĩƢěŻůƟŦĩǡŎƷǢܤƪĩĩůƢĩĢƿě-tionist and simplistic. It fails to recognize the long history of their mutual dependence. Such a reduction of complexity is especially characteristic of the authoritarian construction of national ěƿŦƷƿƢþŦŎĢĩűƷŎƷǢŁŻƢƟŻŦŎƷŎěþŦŻƢƟƢŻƟþłþűĢþƟƿƢƟŻƪĩƪܒȃĩǜĩþŦƷʼnŻŁĩǡþůƟŦĩƪŎűƷʼnĩàĩƪƷ܌/þƪƷ ƪŎþ܌þűĢĩŦƪĩǜʼnĩƢĩŎƪǜĩŦŦܮţűŻǜűܒSűłŦŻĚþŦůƿƪŎěʼnŎƪƷŻƢǢ܌ƷʼnĩǢŎűěŦƿĢĩƷʼnĩƪŎůƟŦŎȀěþƷŎŻűŻŁ ƪŎþűůƿƪŎěþŦůŻĢĩŦƪŎű/ƿƢŻƟĩþűĩǡŻƷŎěŎƪůݑܫþűĢŎűƷʼnĩĩþƢŦǢƪƷǢŦĩŻŁěŻůƟŻƪĩĢ/þƪƷƪŎþű ڻں Han, Hyperkulturalität܉ڍڏ
ڻڻ Sěŏģ܉ڎڌ܉ڑڒܨڒڌ
ڻڼ ®ĪĪNżěƫěÿǝŰÿŲģ¦ÿŲŃĪƣ܉The Invention of Tradition, Said, Culture and Imperialism, and Benhabib, The Claims of Culture.
ڻڽ See Gellner, Nations and Nationalism and Anderson, Imagined Communities.
ڼڴ ®ĪĪ¼ǀŧŧǣ܉Strange Multiplicity.
ڼڵ Said, Culture and Imperialism, xxviii.
ڼڶ See ÃƸǭ܉Neue Musik und Interkulturalität܉ڎڎܨڎڏ
ůƿƪŎě ܣދݑ SSSܒڐܤ ƷʼnþƷ þƢĚþƢþ rŎƷƷŦĩƢ ƷĩƢůƪ ܹƟĩűƷþƷŻűŎě ƢŻůþűƷŎěŎƪůܒܺڡڜ She uses this term to ĢĩƪěƢŎĚĩ Ʒʼnĩ ĢŻůŎűþűƷ ěŻůƟŻƪŎƷŎŻűþŦ ƪƷǢŦĩ Ŏű ƷǜĩűƷŎĩƷʼnܮěĩűƷƿƢǢ /þƪƷ ƪŎþ܌ ǜʼnŎěʼn Ŏƪ ƿƪƿþŦŦǢ ĚþƪĩĢŻűěƢƿĢĩŦǢƪŎůƟŦŎȀĩĢƪěþŦĩƪ܌ůŻĢĩŦƪ܌þűĢůĩŦŻĢŎĩƪŁƢŻů/þƪƷƪŎþűƷƢþĢŎƷŎŻűěŦŻþţĩĢŎű àĩƪƷĩƢűŦþƷĩ¦ŻůþűƷŎěʼnþƢůŻűŎĩƪܒȃŎƪƪƷǢŦĩǜþƪŎűƷƿƢűŎűƪĩƟþƢþĚŦĩŁƢŻůƷʼnĩʼnŎłʼnĢĩłƢĩĩŻŁ ƟŻŦŎƷŎěŎǬþƷŎŻűŎű/þƪƷƪŎþűěŻűƷĩůƟŻƢþƢǢůƿƪŎěþűĢŎűƪŻůĩþƢĩþƪʼnþƪƢĩůþŎűĩĢƷʼnŎƪǜþǢƷŻƷʼnĩ present day.
In the following section, I will connect culture-theoretical discussion to questions of com-positional aesthetics and methodology. We can initially assume that the tiny (in the global con-ƷĩǡƷܤþƢĩþŻŁþűĩůƟʼnþƷŎěþŦŦǢŻƢěƢŎƷŎěþŦŦǢěŻűěĩŎǛĩĢܹþƢƷůƿƪŎěܺƪĩĩůƪůŻƪƷƪƿŎƷĩĢƷŻƟƢŻǛŎĢĩþ space for concrete utopias of musical interculturality. Here, admittedly, composers are faced ǜŎƷʼnþƪĩĩůŎűłŦǢěʼnþŻƷŎěܹȀĩŦĢŻŁƟŻƪƪŎĚŎŦŎƷŎĩƪܺŎűƷʼnĩĢǢűþůŎěƪĚĩƷǜĩĩűŎűĢŎǛŎĢƿþŦŎƪƷþűĢěŻŦ-ŦĩěƷŎǛŎƪƷěŻűěĩƟƷŎŻűƪŻŁěƿŦƷƿƢĩ܌þűĢþŦƪŻĚĩƷǜĩĩűþűþDzȀƢůþƷŎŻűþűĢþƟƢŻĚŦĩůþƷŎǬþƷŎŻű܌ŻƢ ĩǛĩűܣƟŻƷĩűƷŎþŦܤűĩłþƷŎŻű܌ŻŁěƿŦƷƿƢþŦƪĩŦŁþűĢěƿŦƷƿƢþŦƷʼnĩƢܒ