Music and Sound Culture

Musical Composition in the Context of Globalization

Music and Sound Culture | Volume 43

Performing Arts Graz and an associate professor at the University of Vienna. He direct- ed the FWF-funded research projects “A Context-Sensitive Theory of Post-tonal Sound Organization” (2012-2014) and “Performing, Experiencing and Theorizing Augmented Listening” (2017-2020).

Musical Composition in the Context of Globalization

New Perspectives on Music History in the 20th and 21st Century

translated by Laurence Sinclair Willis

ed by the Austrian Science Fund FWF and the University of Music and Performing Arts Graz

Revised and expanded edition Original edition:

Christian Utz, Komponieren im Kontext der Globalisierung. Perspektiven für eine Musikge- schichte des 20. und 21. Jahrhunderts, Bielefeld, transcript, 2014

Bibliographic information published by the Deutsche Nationalbibliothek

The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- grafie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de

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First published in 2021 by transcript Verlag, Bielefeld

© Christian Utz

Cover concept: Kordula Röckenhaus, Bielefeld

Cover illustration: Kazuko Takada plays a reconstructed five-string ancient Chinese ǬŎƷʼnĩƢŎűæǕŠŎ¼þţþʼnþƪʼnŎܼƪUnebiyama (1992) (photo: Takashi Kijima). Reproduced in

¼ŻƪʼnŎƢƔfŎĢŻ܌Reconstructed Music Instruments of Ancient East Asia, edited by the Na- tional Theatre of Japan. Tokyo: Japan Arts Council/Ongaku no tomo sha 1994. The rights to the cover image could not be clarified beyond doubt, despite our efforts.

We request that the publisher be notified if necessary.

Copy-editing by Wieland Hoban Typeset by Jan Gerlach

Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-5095-2

PDF-ISBN 978-3-8394-5095-6

https://doi.org/10.14361/9783839450956 Printed on permanent acid-free text paper.

Preface

Preface to the Revised and Expanded English Edition

Acknowledgements

List of Examples, Figures, and Tables

I. Introduction: Art Music, Identity, and Reflexive Globalization

1. Art Music in a Global Context . . . .25

Ůƛ *ˆŒ®ÈœÈâÀœÈœƒœÃ­v®ˆLŒðŒáœÛŒ%¨³‚v¨œçvȜ³® . . . .29

Problems of Identity . . . .31

LŒðŒáœÛŒ%¨³‚v¨œçvȜ³® . . . .33

3. Discourses of Intercultural Composition . . . .38

Myth and Migration . . . .40

Dialogue and Hypolepsis . . . .41

¨ÈŒÀœÈâƜ(â‚ÀœˆœçvȜ³®Ɯv®ˆ*®ƒ³­­Œ®ÃËÀv‚œ¨œÈâ . . . .42

II. Toward an Entangled History of Twentieth-Century Music in a Global Context

1. Preliminaries of an Intercultural Music Historiography . . . 47

9³ˆŒ¨Ã³–9Ë܃(œÃȳÀœ³—Àv½šâv®ˆÈšŒÀœÈœ¿ËŒ³–V®œÛŒÀÃv¨(œÃȳÀâ . . . .50

Opening Up the Notion of Composition . . . .53

Œư:vȜ³®v¨œçœ®—9Ë܃(œÃȳÀœ³—Àv½šâ . . . .57

SÀv®Ã®vȜ³®v¨Ûv®Èư—vÀˆŒÃƢ . . . .61

Ůƛ *®ÈŒÀ®vȜ³®v¨œÃ­v®ˆV®œÛŒÀÃv¨œÃ­ƝLŒ½ŒÀƒËÃܳ®Ã³–I³¨œÈœƒv¨v®ˆË¨ÈËÀv¨(œÃȳÀâ . . . .63

Internationalism . . . .63

V®œÛŒÀÃv¨œÃ­ . . . .66

LŒ¨œ—œ³ËÃv®ˆO½œÀœÈËv¨V®œÛŒÀÃv¨œÃ­ . . . .68

SŒƒš®³¨³—œƒv¨V®œÛŒÀÃv¨œÃ­ . . . .69

OÈÀ˃ÈËÀv¨œÃÈV®œÛŒÀÃv¨œÃ­ . . . .71

SÀv®ÃŒÈš®œƒV®œÛŒÀÃv¨œÃ­ . . . .74

OÈÀvۜ®Ã§âv®ˆvÀÈ´§Ɲ³®ÃÈÀ˃Ȝ³®v®ˆÀœÈœƒœÃ­³–:vȜ³®v¨9Ë܃

œ®ÈšŒSŒ®Ãœ³®$œŒ¨ˆÃŒÈ܌Œ®³­½³ÃœÈœ³®v®ˆÈš®³—Àv½šâ . . . .75

4³ƒv¨œÃ­œ®šœ®ŒÃŒ:ŒÜ9Ë܃Oœ®ƒŒÈšŒŭŵŴŬà . . . .78

S³ÜvÀˆvÀœÈœ¿ËŒ³–ËȚŒ®ÈœƒœÈâưv̈Sšœ®§œ®— . . . .81

4. Modernist Reception of Japanese and Indian Traditional Music ‚ŒÈ܌Œ®ŭŵŭŬv®ˆŭŵŰűƝŒ¨v—ŒƜ³ÜŒ¨¨Ɯ9œÈÃ˧ËÀœƜv®ˆ(vâvÃv§v . . . .82

9vËÀœƒŒŒ¨v—ŒƝ¨³ÃŒ4œÃȌ®œ®—ȳÜv®SÀvˆœÈœ³®Ã v®ˆÈšŒ­v®ƒœ½vȜ³®–À³­á³ÈœƒœÃ­ . . . .83

(Œ®Àâ³ÜŒ¨¨ƝS³ÜvÀˆË¨ÈËÀv¨(â‚ÀœˆœÈâ . . . .93

OšÑ§œƒšœ9œÈÃ˧ËÀœv®ˆ$Ë­œ³(vâvÃv§vƝŒÈ܌Œ®9³ˆŒÀ®œÈâv®ˆ:vȜ³®v¨œÃ­ . . . .101

űƛ LŒưLŒvˆœ®—ÈšŒ*­½vƒÈ³–ÈšŒƷ˨ÈËÀv¨³¨ˆ`vÀƸ³®9Ë܃(œÃȳÀâƝ ³ÜŒ¨¨Ɯ9vâËçË­œƜŒÀœ³ . . . .114

I³ÃÈÜvÀ9Ë܃(œÃȳÀâv®ˆÈšŒƷ˨ÈËÀv¨³¨ˆ`vÀƸ . . . .114

(Œ®Àâ³ÜŒ¨¨ƜS³ÃšœÀ¹9vâËçË­œƜ4˃œv®³ŒÀœ³ v®ˆÈšŒS³§â³ŭŵŲŭvÃÈư`ŒÃÈ9Ë܃®ƒ³Ë®ÈŒÀ . . . .117

(Œ®Àâ³ÜŒ¨¨v®ˆÈšŒIÀ³¦ŒƒÈ³–(â‚ÀœˆœçvȜ³® . . . .122

S³ÃšœÀ¹9vâËçË­œƝLŒƒŒ½Èœ³®³–9³ˆŒÀ®œÃ­v®ˆ:Œ³ư:vȜ³®v¨œÃ­ . . . .126

4˃œv®³ŒÀœ³Ɲ³¨¨v—ŒSŒƒš®œ¿ËŒÜœÈšƷO˽½ÀŒÃ̈I³¨œÈœƒv¨?یÀȳ®ŒÃƸƢ . . . .129

6. Categories of Intercultural Reception in Western Composition . . . .135

`³À§œ®—³®9âȚ . . . .136

Pragmatism, Interpenetration, Difference . . . .137

vÌOÈˈâƝ(v®ÃkŒ®ˆŒÀƺÃ$ÑÀœ®®³§â¹ (1989) . . . .140

Cooperation and Dialogue . . . .143

Approaching the Chinese Mouth Organ ڌ®— . . . .147

III. Studies on the History and Analysis of New East Asian Music

1. The Reception of Western Modernism in the Music ³–šœ®vv®ˆ2v½v®Oœ®ƒŒÈšŒ4vȌ:œ®ŒÈŒŒ®ÈšŒ®ÈËÀâ . . . .155

ŮƛSÀœ——ŒÀœ®—9Ë܃v¨9³ˆŒÀ®œÃ­œ®šœ®vƝ SšŒ`³À§³–`³¨–—v®—$ÀvŒ®§Œ¨œ®Ošv®—švœáœ¨Œ . . . .167

`³¨–—v®—$ÀvŒ®§Œ¨ƺÌی¨³½­Œ®ÈvÃv³­½³ÃŒÀv®ˆIvȚȳᜨŒ . . . .168

$ÀvŒ®§Œ¨ƺÃȜۜȜŒÃvÃ9Ë܃œv®ƜIŒˆv—³—ËŒƜv®ˆ³­½³ÃŒÀœ®Ošv®—švœ . . . .172

$ÀvŒ®§Œ¨vÃv9Ë܃œv®v®ˆ³®ˆËƒÈ³À . . . .172

$ÀvŒ®§Œ¨vÃvIŒˆv—³—ËŒƜI˂¨œƒœÃÈƜv®ˆSšŒ³ÀœÃÈ . . . .179

$ÀvŒ®§Œ¨vÃv³­½³ÃŒÀ . . . .189

IŒÀýŒƒÈœÛŒÃ . . . .194

ůƛ SšŒSÀvی¨Ã³–v2v휮Œ$¨³ÜŒÀƝšœ®ŒÃŒ$³¨§O³®—Ɯ*ÈÃIÀŒšœÃȳÀâ v®ˆSv®Ë®ƺÃOâ­½š³®âŭŵŵų . . . .194

ŰƛIÀ³‚œ®—ÈšŒ³­½³ÃœÈœ³®v¨LŒ¨ŒÛv®ƒŒ³–˨ÈËÀv¨œ––ŒÀŒ®ƒŒƝ 3ŒâSŒ®ˆŒ®ƒœŒÃ³–vÃÈÜv®:ŒÜ9Ë܃Oœ®ƒŒÈšŒŭŵűŬà . . . .206

˨ÈËÀv¨œÃÈI³¨vÀœçvȜ³®œ®*Ãv®—fË®ƺÃ9Ë܃ . . . .207

2³Ã9vƒŒˆvƺÃO³Ë®ˆ9vÃÌÃv®ˆÈšŒOŒvÀƒš–³Àv®®ÈœưvËÃv¨4³—œƒ . . . .215

%Œ%v®ÀËƺÃfœ$Œ®—ƪŭŵŴůƫv®ˆÈšŒ4œ‚ŒÀvȜ³®–À³­Ë¨ÈËÀv¨œÃÈvȌ—³ÀœŒÃ . . . .223

fѦœSv§všvڜƝÈȌ®ÈœÛŒ4œÃȌ®œ®—v®ˆO³ƒœv¨*®ÈŒÀvƒÈœ³® . . . .225

Discussion . . . 233

űƛ*®ÈŒÀƒË¨ÈËÀv¨:vÀÀvȜۜÈ✮vÃÈÜv®ÀÈ9Ë܃Ü®ƒŒÈšŒŭŵŵŬà . . . .235

:ŒÜšœ®ŒÃŒ9Ë܃ŒÈ܌Œ®Ã̮Ȝv¨œÃ­v®ˆË¨ÈËÀv¨³®ðœƒÈ . . . .236

I³¨vÀœçœ®—Ã̮Ȝv¨œÃ­ƝSv®Ë® . . . .237

I¨ËÀv¨œÃȜƒÃ̮Ȝv¨œÃ­ƝKœ®`Œ®ƒšŒ®v®ˆ%˳`Œ®¦œ®— . . . .238

*®ÈŒÀvƒÈœ³®ƝšŒ®eœv³â³®— . . . .241

OÈÀvȜïƒvȜ³®v®ˆ³®ðœƒÈƝkšË2œv®ƺŒÀ . . . .243

:ŒÜ3³ÀŒv®9Ë܃Ɲ:ŒÜጭ½Èœ³®Ã . . . .249

O˂¨vȜ³®³–SÀvˆœÈœ³®v¨IÀvƒÈœƒŒƝË®ư(âŒ3œ­Ɯ2œ®ư(œ3œ­ . . . .251

4œ‚ŒÀvȜ³®–À³­Ë¨ÈËÀv¨œÃ­Ɲ³®Ë3³³Ɯ3Ë®ÃËOšœ­ . . . .254

SŒ®ˆŒ®ƒœŒÃœ®2v½v®ŒÃŒ9Ë܃À³Ë®ˆÈšŒ9œ¨¨Œ®œË­Ɲ íÀ­vȜ³®v®ˆÀœÈœ¿ËŒ³–ÈšŒÃ̮Ȝv¨œÃÈ(ŒÀœÈv—Œ . . . .259

³®ƒ¨Ëܳ®ƝSšŒ4œ­œÈvȜ³®Ã³–9Ë܃v¨:vÀÀvȜیœ®v®*®ÈŒÀƒË¨ÈËÀv¨³®ÈŒáÈ . . . .262

6. The Impact of Traditional Music on Composition œ®SvœÜv®Ãœ®ƒŒÈšŒI³ÃÈÜvÀIŒÀœ³ˆ . . . .263

SšŒ%Œ®ŒÀv¨³®ˆœÈœ³®Ã³–³®ÈŒ­½³ÀvÀâ9Ë܃œ®SvœÜv®v®ˆÈšŒ*­½¨œƒvȜ³®Ã ³–œÈÃ(œÃȳÀœƒv¨ŒÛŒ¨³½­Œ®ÈÜ®ƒŒŭŵűŬ . . . .263

IÀ³‚¨Œ­Ã³–SvœÜv®ŒÃŒË¨ÈËÀv¨*ˆŒ®ÈœÈâv®ˆÈšŒSܳưIÀ³®—ŒˆœÃƒ³ËÀÌ of Traditional and Contemporary Music . . . .268

SvœÜv®ƺÃO­v¨¨Ûv®Èư%vÀˆŒËÀœ®—ÈšŒŭŵųŬÃv®ˆ–ÈŒÀƲ SšŒ`³À§Ã³–4ŒŒSvœư(Üv®—Ɯ(ÃËI³ưfË®Ɯv®ˆIv®(Üv®—ư4³®— . . . .269

³®ÃŒÀÛvȜív®ˆLŒœ®ÛŒ®Èœ³®³–SÀvˆœÈœ³®ÃÜ®ƒŒÈšŒŭŵŴŬà . . . .281

?ËȨ³³§ . . . .286

IV. The Ú¹ Context

ŭƛ SÀv®Ã–³À­vȜ³®v®ˆ9âȚÀœÈœƒœÃ­œ®`³À§Ã–³ÀȚŒ2v½v®ŒÃŒ9³ËȚ?À—v® . . . .289

The Japanese Mouth Organ in the Traditional Context . . . .289

The Reception of the Ú¹ in Contemporary Music . . . .293

Myth and Aura . . . .294

From Myth to Myth Criticism . . . .298

2. The Ú¹ as a Medium of Alterity and Self-Referentiality œ®(Œ¨­ËÈ4vƒšŒ®­v®®ƺÃ9Ë܃ . . . 308

Aura and Alterity . . . 308

O³Ë®ˆ?À—v®œçvȜ³® . . . .310

Split Sound and Structural Sound . . . .324

Temporal Sections . . . .328

:vÀÀvȜۜÈâ . . . .331

Interculturality . . . .333

ŭƛ SšŒLŒˆœÃƒ³ÛŒÀⳖIÀŒÃŒ®ƒŒƝ*®ÈŒÀƒË¨ÈËÀv¨IvÃÃv—ŒÃSšÀ³Ë—š

_³ƒv¨O½vƒŒÃŒÈ܌Œ®O½ŒŒƒšv®ˆO³®— . . . .337

SšŒ_³œƒŒœ®S܌®ÈœŒÈšưv®ˆS܌®Èâư$œÀÃȌ®ÈËÀâ9Ë܃ . . . .337

ÀȜƒË¨vȜ³®v®ˆ³ˆœïƒvȜ³®³–ÈšŒ_³œƒŒƝ SšÀŒÃš³¨ˆÃv®ˆ*®ÈŒÀvƒÈœ³®ÃŒÈ܌Œ®O½ŒŒƒšv®ˆO³®— . . . .342

Fragmentation and Montage (—œˆvâÑư‚Ëڜ, Tan Dun, Schoenberg) . . . .346

*®ƒv®ÈvȜ³®ƜIÀ³Ã³ˆâƜLœÈËv¨ƪOšœ­³âv­vƜSv§všvڜƜIŒÀœƜOƒœvÀÀœ®³ƫ . . . 353

ÀȜƒË¨vȜ³®Ʋ³ˆœïƒvȜ³®ƲIÀŒÃŒ®ƒŒƲIvÃÃv—Œ . . . .360

ŮƛO½vƒŒưSœ­Œ9³ÛŒ­Œ®ÈÜ®%â¶À—â4œ—ŒÈœƺÃIœv®³³®ƒŒÀȳƝ I³¨â­ŒÈŒÀv®ˆ³®ðœƒÈœ®—9ŒÈŒÀœ®(œÃȳÀœƒv¨v®ˆ*®ÈŒÀƒË¨ÈËÀv¨IŒÀýŒƒÈœÛŒ . . . .363

%â¶À—â4œ—ŒÈœƺÃƷO½vƒŒưSœ­ŒƸv®ˆÈšŒƷ%Œ®ŒÀv¨œçŒˆ(Œ­œ³¨vƸ . . . 363

Summation Meter and Metric Dissonance . . . .375

S³ÜvÀˆv®*®ÈŒÀƒË¨ÈËÀv¨SšŒ³ÀⳖ9Ë܃v¨Sœ­Œv®ˆ*ÈÃ(œÃȳÀœ³—Àv½šœƒ*­½¨œƒvȜ³®Ã . . . .382

ůƛ*®ÈŒÀƒË¨ÈËÀv¨SŒ®Ãœ³®œ®9Ë܃‚âšvâvçŒÀ®³Üœ®v®ˆ*Ãv‚Œ¨9Ë®ˆÀâƝ Variations on Identity and Musical Meaning . . . .385

švâvçŒÀ®³Üœ®ƺÃáƒvÛvȌˆœv¨³—ËŒÃƲ$Àv—­Œ®ÈÃƝ *Ã˨ÈËÀv¨(â‚ÀœˆœÈâ9Ë܃v¨¨âLŒ½ÀŒÃŒ®Èv‚¨ŒƢ . . . .385

*Ãv‚Œ¨9Ë®ˆÀâƺÃ*ƒšË®ˆËƝ*ˆŒ®ÈœÈâLœˆˆ¨Œ . . . .388

SšŒ4œ­œÈó–9Ë܃v¨Oœ—®œïƒvȜ³® . . . .392

VI. Reflections on My Own Composing as a Search for Traces in the In-Between

ŭƛ 4vâŒÀŒˆ$v‚ÀœƒƜ*®ÈŒÀȌáÈËv¨œÈâƜv®ˆË¨ÈËÀv¨³®ÈŒáÈƝ From Striated to Open Space . . . .393

*®ÈŒÀ–ŒÀŒ®ƒŒƝ³®ÈÀvˆœƒÈ³ÀâOŒ¨–ư*ˆŒ®ÈœÈâ . . . .397

ȚŒÜvÃȌ¨v®ˆ³–­œ®ˆÃƝO³Ë®ˆ4vâŒÀLŒ¨œŒ–v®ˆœÃœ®ÈŒ—ÀvȜ³® . . . .399

ŮƛOÈÀvȜïƒvȜ³®v®ˆ®v¨âÜà . . . .402

Symbolism and Implosion in %¨vÃv§§³Àˆ . . . .404

ȳ—ŒÈšŒÀƨƨv½vÀÈƝLŒƒ³®ÃÈÀ˃Ȝ³®ƜLŒƒ³­½³ÃœÈœ³®Ɯv®ˆ*ÀÀœÈvȜ³® . . . .408

ůƛ*®ÈŒÀƒË¨ÈËÀv¨v®ˆ9˨Ȝ¨œ®—Ëv¨SÀv¦ŒƒÈ³ÀœŒÃ³–ÈšŒ(Ë­v®_³œƒŒ . . . .411

kŒÀý¨œÈȌÀË®—ƲO½¨œ®ÈŒÀœ®—³–_³œƒŒÃ . . . .412

Ὠ³ÀvȜ³®³–S³®ŒO½vƒŒÃv®ˆI³¨œÈœƒv¨:vÀÀvȜۜÈ✮Ȍ¨œ®—vƲ­Ë¨ËÈ . . . .417

S³ÜvÀˆvI³¨â½š³®â³–9Œv®œ®—à . . . .423

Űƛ³­½³ÃœÈœ³®vÃI³¨â½š³®âƝÀŒvȜ®—ƜIŒÀ–³À­œ®—Ɯ v®ˆIŒÀƒŒœÛœ®—9Ë܃:³®ư(œŒÀvÀƒšœƒv¨¨â . . . .428

A Map of Musical Simultaneities . . . .432

Üv¨¨ÃƝ?®—³œ®—IÀ³ƒŒÃÌó–Œưv®ˆLŒÃÈv‚œ¨œçvȜ³® . . . .435

Bibliography

Appendix

Index

In the public debate, the relevance of the topics of musical interculturality and musical global- ization seems to have faded in many places, to be replaced by a technology-centered media discourse that shows little interest in conventional notions of culture and emphasizes the per- meability, performativity, and mutability of interconnected concepts of identity. In this con- ƷĩǡƷƷʼnĩŎĢĩþŻŁłŦŻĚþŦŎǬþƷŎŻű܌ŎűǴ ŦƿĩűěĩĢĚǢƷʼnĩůŻĢĩŦŻŁƟŻƟƿŦþƢůƿƪŎěƪ܌ǜʼnŎěʼnʼnþǛĩþŦǜþǢƪ been “global” in their orientation and increasingly determine musicological discourses, has all ƷŻŻŻǼƷĩűĚĩĩűƢĩƪƷƢŎěƷĩĢƷŻƷʼnĩĩěŻűŻůŎěƪƟĩěƷƢƿůŻŁůĩþűŎűłƪƷʼnþƷŻűěĩƪƟþǜűĩĢŎƷܗǜʼnþƷŎƪ of interest here is less a play with or problematizing of established cultural identities, whose ƪŎłűŎȀěþűěĩŎƪŁþŎƢŦǢůþƢłŎűþŦŎűƷʼnĩůþŎűƪƷƢĩþů܌ŻƢƷʼnĩǜŻƢŦĢǜŎĢĩĢŎƪƪĩůŎűþƷŎŻűŻŁƟþƢƷŎěƿŦþƢ ŎĢŎŻůƪŻƢłĩűƢĩƪŻŁƟŻƟ܌ǜʼnŎěʼnŎƪŻǼƷĩűƷþţĩűŁŻƢłƢþűƷĩĢ܌ƷʼnþűþłƢŻǜűůþƢţĩƷŻŁěŻűƪƿůĩƢƪ that was opened up by the new distribution possibilities of the internet – a situation that seems to fundamentally change the general reception of music far beyond these popular genres.

łþŎűƪƷƷʼnŎƪĚþěţłƢŻƿűĢ܌ŎűƪŎƪƷŎűłűŻƷŻűŦǢŻűþěŻűěĩƟƷŻŁŎűƷĩƢěƿŦƷƿƢþŦŎƷǢĚƿƷþŦƪŻŻűþű art music discourse must therefore appear doubly quixotic, a clinging to long-questionable, paling categories, especially if this shows a tendency to presuppose the critical – “culture-crit- ical” – impulse of art that was allegedly only brought forth by the “special path” of Western aesthetic modernity. But, one could respond, is it even necessary to emphasize that the concern cannot be to transfer a “purely Western” concept of art (assuming this can be constructed in the ȀƢƪƷƟŦþěĩܤƷŻŻƷʼnĩƢěƿŦƷƿƢþŦþűĢłĩŻłƢþƟʼnŎěþŦěŻűƷĩǡƷƪ܌ŻƢůƿƪƷǜĩĢŻþǜþǢǜŎƷʼnƷʼnĩůŎƪěŻű- ception that the concept of “interculturality” is predicated on an obsolete, isolationist “con- tainer model” of cultures? Such questions, which certainly demand more than simple answers, þƢĩĩǡþůŎűĩĢŎűĢĩƷþŎŦŎű ʼnþƟƷĩƢڐŻŁƷʼnŎƪĚŻŻţܒ

A desire to point not only to such “false dichotomies,” but also to impulses in a musico- ŦŻłŎěþŦȀĩŦĢƷʼnþƷܫǜŎƷʼnþŁĩǜĩǡěĩƟƷŎŻűƪܫěþűƪƷŎŦŦĚĩěŻűƪŎĢĩƢĩĢþĚŦŎűĢƪƟŻƷŎűůƿƪŎěŻŦŻłǢ þűĢůƿƪŎěƷʼnĩŻƢǢ܌ĚƿƷþŦƪŻěŻůƟŻƪŎƷŎŻűþŦƟƢþěƷŎěĩ܌ǜþƪƪƿDzȀěŎĩűƷůŻƷŎǛþƷŎŻűƷŻƿűĢĩƢƷþţĩƷʼnĩ studies presented here, written over the last twelve years following the publication of my 2000 dissertation under the title Neue Musik und Interkulturalität. Von John Cage zu Tan Dun in 2002.

ȃĩƪĩƪƷƿĢŎĩƪʼnþǛĩĚĩĩűĚƢŻƿłʼnƷƷŻłĩƷʼnĩƢŎűþƷʼnŻƢŻƿłʼnŦǢƢĩǛŎƪĩĢ܌ƢĩŁŻěƿƪĩĢ܌þűĢƢĩěŻűƪŎĢĩƢĩĢ ƪƷþƷĩܒrŻƪƷƷĩǡƷƪěŻƿŦĢ܌ŎűƷʼnĩǜŎĢĩƪƷƪĩűƪĩ܌ĚĩƿűĢĩƢƪƷŻŻĢþƪĩǡěƿƢƪƿƪĩƪŻűƷʼnĩƟƢĩǛŎŻƿƪĚŻŻţ܋

ƷʼnĩǢ ǜĩƢĩ ůĩþűƷ ƷŻ ěŦŻƪĩ ěĩƢƷþŎű łþƟƪ ŎűĩǛŎƷþĚŦǢ ŦĩǼƷ ĚǢ Ʒʼnĩ ĩþƢŦŎĩƢ ƪƷƿĢǢ܌ ĢĩƪƟŎƷĩ ŎƷƪ ěŻűƪŎĢܮ erable length, and also to expand the range of historical-analytical research methodologically þűĢ܌ƷŻþŦŎůŎƷĩĢĩǡƷĩűƷ܌łĩŻłƢþƟʼnŎěþŦŦǢܒȃĩƢĩŦþƷŎŻűƪʼnŎƟĚĩƷǜĩĩű/þƪƷƪŎþܣ ʼnŎűþ܌¼þŎǜþű܌

dþƟþű܌þűĢfŻƢĩþܤþűĢƷʼnĩàĩƪƷܣ/ƿƢŻƟĩþűĢtŻƢƷʼnůĩƢŎěþܤěŻűƷŎűƿĩƪƷŻƟŦþǢþěĩűƷƢþŦƟþƢƷ܌þƪ

in Neue Musik und Interkulturalität, but is augmented through the inclusion of several other local ěŻűƷĩǡƷƪܣŁƢŎěþ܌Ʒʼnĩ£ʼnŎŦŎƟƟŎűĩƪ܌SűĢŻűĩƪŎþ܌þűĢƷʼnĩƢþĚǜŻƢŦĢܤܒ

rþűǢŻŁƷʼnĩěŻůƟŻƪŎƷŎŻűþŦƷƢĩűĢƪĢŎƪěƿƪƪĩĢŎűƷʼnŎƪĚŻŻţþƢĩěʼnþƢþěƷĩƢŎǬĩĢĚǢþłƢŻǜŎűł ƢĩǴ ŦĩǡŎǛŎƷǢ ǛŎƪܮĐܮǛŎƪ ěŻůƟŻƪŎƷŎŻűþŦ ůĩƷʼnŻĢƪ þűĢ þĩƪƷʼnĩƷŎě ƟŻƪŎƷŎŻűƪ ƷŻǜþƢĢ Ʒʼnĩ ƷǜŻ ŻƟƟŻƪܮ ŎűłƷĩűĢĩűěŎĩƪŎűěƿŦƷƿƢþŦłŦŻĚþŦŎǬþƷŎŻű܋ŻűƷʼnĩŻűĩʼnþűĢ܌ŻǜŎűłƷŻþűŻǼƷĩűʼnþƪƷǢƢĩěĩƟƷŎŻű ŻŁ/ƿƢŻƟĩþűůƿƪŎěŎűƪŎþ܌ŁƢŎěþ܌ŻƢhþƷŎűůĩƢŎěþ܌ƷʼnĩƢĩþƢĩƿűůŎƪƷþţþĚŦǢěŦĩþƢƷĩűĢĩűěŎĩƪ toward a worldwide standardization of compositional practice according to Western crite- ƢŎþ܌ƪĩĩůŎűłŦǢěŻűƷŎűƿŎűłƷʼnĩĩDzŁĩěƷƪŻŁěŻŦŻűŎþŦƟŻǜĩƢƪƷƢƿěƷƿƢĩƪƷŻƷʼnĩƟƢĩƪĩűƷĢþǢܒűƷʼnĩ ŻƷʼnĩƢʼnþűĢ܌ƷʼnĩěŻůƟŻƪŎƷŎŻűŻŁþƢƷůƿƪŎěþűĢƷʼnĩĢŎƪěŻƿƢƪĩƪþǜþţĩűĩĢĚǢŎƷŻǼƷĩűþěƷþƪŎů- portant triggers for movements of self-determination and liberation in non-Western coun- tries – though equally as tools of pure nationalism, oppression, and exclusion. In the six chap- ƷĩƢƪ܌SþƷƷĩůƟƷƷŻŎűƷĩƢƟƢĩƷƪƿěʼnܹƟþƢþĢŻǡĩƪܺŻŁƟƢŻĢƿěŎűłůƿƪŎěŎűƷʼnĩłŦŻĚþŦŎǬĩĢƷĩűƪŎŻűȀĩŦĢ þłþŎűƪƷƷʼnĩĚþěţłƢŻƿűĢŻŁěŻűƷĩůƟŻƢþƢǢʼnŎƪƷŻƢŎěþŦĢĩǛĩŦŻƟůĩűƷƪ܌ěƿŦƷƿƢĩܮƟŻŦŎƷŎěþŦþűĢěƿŦƷƿƢĩܮ ƪŻěŎŻŦŻłŎěþŦƪŎƷƿþƷŎŻűƪŎűƷʼnĩŎƢůþűǢŦþǢĩƢƪŻŁůĩþűŎűłܒȃĩþƢłƿůĩűƷþƷŎŻűþŦƪŻþƷƷĩůƟƷƪƷŻ open up perspectives on the problem of a consistently globally conceived music historiography ܣދݑSSܒڐܤþűĢěŻůƟŻƪŎƷŎŻűþŦƟƢþěƷŎěĩ܌ĚƿƷěþűƟĩƢʼnþƟƪþŦƪŻŻDzŁĩƢŎűĢŎǛŎĢƿþŦƪƿłłĩƪƷŎŻűƪŁŻƢþűܮ swering the question of how cultural techniques and processes of globalization can, beyond the realm of music, fundamentally be understood and interpreted more precisely. In this context, ƷʼnĩþƷƷĩůƟƷƷŻŎűěŻƢƟŻƢþƷĩůƿƪŎěܮþűþŦǢƷŎěþŦ܌ěƿŦƷƿƢĩܮƪěŎĩűƷŎȀě܌þűĢƪŻěŎŻʼnŎƪƷŻƢŎěþŦþƟƟƢŻþěʼnĩƪ ƪĩƢǛĩƪƷʼnĩƟƿƢƟŻƪĩŻŁĚƢĩþţŎűłƷʼnƢŻƿłʼnƷʼnĩůĩƷʼnŻĢŻŦŻłŎěþŦŦǢŻűĩܮƪŎĢĩĢþƟƟŦŎěþƷŎŻűŻŁƷʼnĩƪĩ ƢĩƪĩþƢěʼnƟþƢþĢŎłůƪŁŻƿűĢþŦŦƷŻŻŻǼƷĩűŎűůƿƪŎěŻŦŻłŎěþŦĢŎƪěŎƟŦŎűĩƪܒűþĢĢŎƷŎŻűþŦĩǡƟþűƪŎŻű ŻŁůĩƷʼnŻĢŻŦŻłǢěŻůĩƪŁƢŻůƷʼnĩŁþěƷƷʼnþƷĩƪƪþǢƪŻűƷʼnĩþƿƷʼnŻƢܼƪŻǜűܹěƿŦƷƿƢþŦŦǢǴ ŦƿěƷƿþƷŎűłܺ

ěŻůƟŻƪŎƷŎŻűþŦƟƢŻŠĩěƷƪþƢĩŎűěŦƿĢĩĢŎűƷʼnĩȀűþŦěʼnþƟƷĩƢ܌þŦĚĩŎƷƿűĢĩƢƪƷŻŻĢþƪþƪƿƟƟŦĩůĩűƷþűĢ þűþƢƷܮƪƟĩěŎȀě܌ŎűůþűǢǜþǢƪŎƢƢĩĢƿěŎĚŦĩĩǡƷĩűƪŎŻűŻŁƷʼnĩþƢłƿůĩűƷþƷŎŻű܌űŻƷþƪƷʼnĩþƢƷŎƪƷŎě

“realization” of a theoretical model.

tĩĩĢŦĩƪƪƷŻƪþǢ܌ƷʼnĩƟƢĩƪĩűƷƪƷƿĢǢĢŻĩƪűŻƷƟƿƢƟŻƢƷƷŻŻDzŁĩƢþűǢěŻűěŎƪĩʼnŎƪƷŻƢŎŻłƢþƟʼnǢŻƢ universalist historical conception. “Perspectives” on music history are meant in the sense of ƪĩŦĩěƷĩĢ܌ĢŎƪƟþƢþƷĩƪűþƟƪʼnŻƷƪŻŁƷʼnĩƷŎłʼnƷŦǢŎűƷĩƢǜŻǛĩűůƿƪŎěʼnŎƪƷŻƢŎĩƪŻŁƷʼnĩàĩƪƷþűĢ/þƪƷ ƪŎþ܌þűĢěĩƢƷþŎűŦǢűŻƷþěŻůƟƢĩʼnĩűƪŎǛĩěŻűƪŎĢĩƢþƷŎŻűƷʼnĩƢĩŻŁܒȃƿƪ܌ŎűěŻűƷƢþƪƷƷŻƷʼnĩĚƢŻþĢŦǢ conceived overview chapters in Neue Musik und Interkulturalität, I have refrained here from at- tempting to show any form of representative selection of compositional conceptions with the łƢĩþƷĩƪƷƟŻƪƪŎĚŦĩƪƷǢŦŎƪƷŎěƢþűłĩŁƢŻůþĚŎƢĢܼƪĩǢĩǛŎĩǜ܌þƪŎƷǜĩƢĩܗƢþƷʼnĩƢ܌SþƷƷĩůƟƷƷŻƷʼnĩůþƷŎǬĩ exemplary sonic thought in which the fault lines of cultural, historical, or aesthetic discourses ĚĩěŻůĩþƿĢŎĚŦĩþűĢþƟƟƢĩěŎþĚŦĩܒȃĩƪƷƿĢŎĩƪƟƢĩƪĩűƷĩĢłŎǛĩƟþƢƷŎěƿŦþƢǜĩŎłʼnƷƷŻƷʼnĩƟƢĩʼnŎƪƷŻƢǢ þűĢĩþƢŦǢʼnŎƪƷŻƢǢŻŁŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎěþŦƢĩǴ ŦĩěƷŎŻűܣދݑSSܒڒܫړ܌SSSܒڑܫڒܤþƪǜĩŦŦþƪƷŻƢĩěĩűƷĢĩ- ǛĩŦŻƟůĩűƷƪŻŁƷʼnĩŦþƪƷƷǜŻƷŻƷʼnƢĩĩĢĩěþĢĩƪܣދݑSSܒڕ܌SSSܒڔ܌SßܫßSܤܒ

Vienna, 1 October 2013

Musical interculturality and intercultural composition have been addressed as concepts some- ǜʼnþƷůŻƢĩŻǼƷĩűŎűůƿƪŎěƪƷƿĢŎĩƪŎűƢĩěĩűƷǢĩþƢƪܒrþűǢŻŁƷʼnĩƪĩƪěʼnŻŦþƢŦǢþěƷŎǛŎƷŎĩƪĩůĩƢłĩ from the globalizing and transnational dynamics whose preconditions and musical conse- ơƿĩűěĩƪŁŻƢůƷʼnĩěŻƢĩŻŁƷʼnŎƪĚŻŻţܒůŻƷŎǛþƷŎŻűƪʼnþƢĩĢĚǢƪěʼnŻŦþƢƪǜŻƢţŎűłŎűƷʼnŎƪþƢĩþŎƪ ƪƿƢĩŦǢǜʼnþƷ¼ŻĚŎþƪdþűǬþűĢæþűł ʼnŎĩűܮ ʼnþűłʼnþǛĩƷĩƢůĩĢܹ'ĩěĩűƷĩƢŎűłrƿƪŎěþŦrŻĢĩƢűŎƷǢܺ

in their volume of collected essays, edited by transcript in 2019, which reconsiders more re- cent concepts of historical analysis such as “multiple modernities” and “entangled histories”

ŁŻƢ ůƿƪŎěŻŦŻłǢ܌ ěŻűěĩƟƷƪ ǜʼnŎěʼn ʼnþǛĩ þŦƪŻ Ěĩĩű ŎűǴ ŦƿĩűƷŎþŦ ŁŻƢ Ʒʼnĩ űĩǜŦǢ þĢĢĩĢ þűĢ ƢĩǛŎƪĩĢ ƟþƢƷƪŻŁƷʼnĩƟƢĩƪĩűƷĚŻŻţܒ^ښ Although we have been now aware for some time that gender, racial, social, historical, and cultural biases surround research and teaching of music history and mu- ƪŎěƷʼnĩŻƢǢŎűůƿŦƷŎƟŦĩǜþǢƪ܌ƷʼnĩþěƷƿþŦůƿƪŎěþŦƢĩƟĩƢƷŻƢǢƷþěţŦĩĢŎűƢĩƪĩþƢěʼnƟƢŻŠĩěƷƪ܌ƟƿĚŦŎěþ- ƷŎŻűƪ܌þűĢƷʼnĩŻƢǢþűĢʼnŎƪƷŻƢǢěŦþƪƪĩƪŻǼƷĩűƢĩůþŎűƪƢĩƪƷƢŎěƷĩĢƷŻǜŻƢţƪŻŁƷʼnĩàĩƪƷĩƢű܌ǜʼnŎƷĩ܌

þűĢěŦþƪƪŎěþŦěþűŻűܒ¦ĩěĩűƷŦǢ܌ŎűþƟŦĩűþƢǢƷþŦţȀƢƪƷłŎǛĩűŎűڑڏڐژþƷƷʼnĩ£ŦĩűþƢǢ®ĩƪƪŎŻűŻŁƷʼnĩ űűƿþŦ ŻűŁĩƢĩűěĩŻŁƷʼnĩ®ŻěŎĩƷǢŁŻƢrƿƪŎěȃĩŻƢǢܣ®r¼ܤ܌æþǢŻŎÃűŻ/ǛĩƢĩƷƷĢŎƪƷŎűłƿŎƪʼnĩĢƷǜŻ ůþŎűŎƪƪƿĩƪƷŻĚĩþĢĢƢĩƪƪĩĢŎűǜʼnþƷƪʼnĩĢĩƪěƢŎĚĩƪþƪܹěŻƿűƷĩƢܮŁƢþůŎűłƷʼnĩ/þƪƷܮàĩƪƷĚŎűþƢǢܺ܋

“a greater inclusion of this [non-Western] repertory into the canon and […] diversifying methods of analysis.”^ڛSűĢĩĩĢ܌þłþŎűƪƷƷʼnĩĚþěţĢƢŻƟŻŁƟŻŦŎƷŎěþŦƿƟʼnĩþǛþŦƪŎűƷʼnĩî܌ƢĩěĩűƷþěƷŎǛŎƷŎĩƪ ǜŎƷʼnŎűƷʼnĩ®r¼ʼnþǛĩƟƢŻůƟƷĩĢþłƢŻƿƟŻŁƷʼnĩŻƢŎƪƷƪƷŻƟƿĚŦŎƪʼnþűܹƟĩűhĩƷƷĩƢŻűűƷŎƢþěŎƪƷ ěƷŎŻűƪ àŎƷʼnŎű ®r¼ܺ ǜʼnŎěʼn ěƢŎƷŎěŎǬĩĢ ܹƷʼnĩ ƪƷƢƿěƷƿƢþŦ ŁŻƢěĩ ŻŁ ǜʼnŎƷĩ ƪƿƟƢĩůþěǢ Ŏű ŻƿƢ ĢŎƪěŎܮ ƟŦŎűĩܒܺěěŻƢĢŎűłƷŻƷʼnĩŦĩƷƷĩƢ܌ܹǜĩþŦŦűĩĩĢƷŻþƪţŻƿƢƪĩŦǛĩƪ܋àʼnþƷʼnþǛĩSĢŻűĩþƪþűŎűĢŎǛŎĢƿþŦ ƷŻƟĩƢƟĩƷƿþƷĩĩǡŎƪƷŎűłǜʼnŎƷĩƪƿƟƢĩůþěŎƪƷƪǢƪƷĩůƪŻŁƟŻǜĩƢþűĢŎűĩơƿŎƷǢŎűŻƿƢȀĩŦĢܓܺ^ڜȃĩƪŎƷƿ- þƷŎŻűŎƪŁƿƢƷʼnĩƢƢĩǴ ŦĩěƷĩĢĚǢƷʼnĩڑڏڑڏƟƿĚŦŎěþƷŎŻűŻŁ£ʼnŎŦŎƟܒ/ǜĩŦŦܼƪþƢƷŎěŦĩܹrƿƪŎěȃĩŻƢǢþűĢ the White Racial Frame” in rƿƪŎěȄĩŻƢǢűŦŎűĩ܌þŦƪŻȀƢƪƷƟƢĩƪĩűƷĩĢþƪþƟŦĩűþƢǢƷþŦţþƷƷʼnĩڑڏڐژ

£ŦĩűþƢǢ®ĩƪƪŎŻűŻŁƷʼnĩűűƿþŦ ŻűŁĩƢĩűěĩŻŁƷʼnĩ®r¼܌þűþƢƷŎěŦĩƷʼnþƷĚƢŻþĢŦǢƢĩǴ ŦĩěƷƪŻűƷʼnĩ deep and long-established cultural, social, and racial processes of exclusion in our disciplines.^ڝ

®ŻůĩŻŁƷʼnĩŻƢŎłŎűþŦŎůƟƿŦƪĩƪƷʼnþƷƪƟþƢţĩĢůǢŎűƷĩƢĩƪƷŎűǜʼnþƷŎƪƟƢĩƪĩűƷĩĢŎűƷʼnŎƪĚŻŻţ had been similar observations, although they might have appeared somewhat less pressing or ǛŎŻŦĩűƷŎűƷʼnĩ/ƿƢŻƟĩþűěŻűƷĩǡƷƷǜĩűƷǢǢĩþƢƪþłŻܒűƷʼnĩŻűĩʼnþűĢ܌ƷʼnĩűþƢƢŻǜűĩƪƪŻŁƢĩƟĩƢ- ڵ Janz and Yang, Decentering Musical Modernity.

ڶ Everett, “From Exoticism to Interculturalism.”

ڷ “Open Letter on Antiracist Actions Within SMT,”

ŊƸƸƠƫ܈ܕܕģżĜƫ܏ŃżżŃŧĪ܏ĜżŰܕģżĜǀŰĪŲƸܕģܕڍƠŲĪڌڒ'ěš'ƸܫǀŰĪڌڒdrƸĜڑǵŧšƠěh'ŤrðŃǝڏۦFƣ¦ĪƠ/.

ڸ /ǝĪŧŧ܉ܶrǀƫŏĜ¼ŊĪżƣǣÿŲģƸŊĪàŊŏƸĪ¦ÿĜŏÿŧFƣÿŰĪ܏ܷ

toire studied at music academies and during musicology programs at universities was all too obvious during the late 1990s and early 2000s, when even the impulses of Anglophone critical ůƿƪŎěŻŦŻłŎĩƪěŻƿŦĢʼnþƢĢŦǢĚĩŁĩŦƷܒȃĩěŻűƷŎűƿŻƿƪŎƪŻŦþƷŎŻűŻŁĩƷʼnűŻůƿƪŎěŻŦŻłŎěþŦþűĢʼnŎƪƷŻƢŎ- ěþŦĚƢþűěʼnĩƪŻŁůƿƪŎěŻŦŻłǢěŻűƷƢŎĚƿƷĩĢܣþűĢþƢłƿþĚŦǢƪƷŎŦŦěŻűƷƢŎĚƿƷĩƪƷŻƪŻůĩĢĩłƢĩĩܤƷŻƷʼnŎƪ unsatisfactory situation. Well into the new millennium, intercultural composition was de- nounced in German-language music journalism as an escape into “distant illusory worlds” or an arrangement of “stolen ideas and objects.”^ڞ

ȃŎƪůþĢĩŎƷŎűěƢĩþƪŎűłŦǢŻĚǛŎŻƿƪƷŻůĩƷʼnþƷƷʼnĩǛĩƢǢƢĩþŦŎƷǢŻŁŎűƷĩƢěƿŦƷƿƢþŦŎƷǢŎűůƿƪŎěþŦ life, past and present, was something that gnawed at some hidden point as a critical voice in the ear of the purely academically Western-trained and oriented composer, music theorist, or ůƿƪŎěʼnŎƪƷŻƢŎþűܒȃĩƷĩűĢĩűěǢƷŻǜþƢĢłŦŻĚþŦƪƷþűĢþƢĢŎǬþƷŎŻűŻŁěŻůƟŻƪŎƷŎŻűþŦŎĢŎŻůƪĚþƪĩĢ on models of a “historical avant-garde” legitimized by Western musical history ultimately con- tradicts this aesthetic reality, as does the geographically ubiquitous commercialization and banalization of traditional music genres.

àʼnŎŦĩěƿŦƷƿƢĩþűĢŎĢĩűƷŎƷǢʼnþǛĩĚĩĩűþěţűŻǜŦĩĢłĩĢþƪţĩǢþƢĩþƪŻŁƟŻƟƿŦþƢůƿƪŎěƪƷƿĢŎĩƪ ŁŻƢƪŻůĩƷŎůĩ܌þűŎűƷĩűƪŎȀĩĢĩǡþůŎűþƷŎŻűŻŁƷʼnĩěŻűƪĩơƿĩűěĩƪ܌þƟŻƢŎþŎ܌þűĢƟŻƷĩűƷŎþŦŻŁěƿŦƷƿƢܮ al globalization in the historical and analytical interpretation of new art music not only seems to be urgent, but has become the only conceivable standard for a present in which “cultures”

þƢĩŎűþűƿűƟƢĩěĩĢĩűƷĩĢƟƢŻěĩƪƪŻŁƷƢþűƪŁŻƢůþƷŎŻű܌ůŎǡŎűł܌þűĢ ŻǛĩƢŦþƟܫĚƿƷþŦƪŻܣƪƷŎŦŦܤŎű confrontation with one another. Recent writings on intercultural composition and the his- ƷŻƢŎěþŦ ƟƢŻěĩƪƪĩƪ ŎƷ ŎűǛŻŦǛĩĢ þűĢ ŎűǛŻŦǛĩƪ ʼnþǛĩ Ʒþţĩű ƿƟ ƷʼnŎƪ ěʼnþŦŦĩűłĩ ʼnþűĢƪܮŻű ĢƿƢŎűł Ʒʼnĩ ƪĩǛĩűǢĩþƢƪƪŎűěĩƷʼnĩŻƢŎłŎűþŦĩĢŎƷŎŻűŻŁƷʼnŎƪĚŻŻţþƟƟĩþƢĩĢ܌ƪʼnŻǜŎűłʼnŻǜƷƢþűƪűþƷŎŻűþŦůĩĩƷܮ ŎűłƪþűĢþƪƪŻěŎþƷŎŻűƪƪƿěʼnþƪƷʼnĩ'þƢůƪƷþĢƷSűƷĩƢűþƷŎŻűþŦ®ƿůůĩƢ ŻƿƢƪĩܣƪŎűěĩڐژړڕܤ܌^ڟ the ƪŎþű ŻůƟŻƪĩƢƪhĩþłƿĩܣŁŻƿűĢĩĢŎűڐژږڒܤ܌^ڠŻƢƷʼnĩ'ƿƷěʼnrƿƪŎěƿŦƷƿƢþrĩĩƷŎűłƪܣƪŎűěĩڐژږړܤ^ڡ in- ěƢĩþƪĩĢ Ʒʼnĩ ŎűƷĩƢěŻűűĩěƷĩĢűĩƪƪ þűĢ þǜþƢĩűĩƪƪ ŻŁ łŦŻĚþŦŎǬĩĢ ŁŻƢůƪ ŻŁ ůƿƪŎěܮůþţŎűł Ŏű Ʒʼnĩ ěŻűƷĩǡƷŻŁƷʼnĩ ŻŦĢàþƢܒNŻǜĩǛĩƢ܌þƪNŎŦþƢǢßþűĩƪƪþFŎűěʼnƿůܮ®ƿűłĩǡƟŦþŎűƪ܌ܹŎűƪŎĢĩƢܘŻƿƷƪŎĢĩƢ dichotomies have remained foundational to the reception and interpretation of compositions ĚǢűŻűܮ/ƿƢŻƟĩþű܌űŻűܮÃܒ®ܒܮůĩƢŎěþűěŻůƟŻƪĩƢƪŎűƷŻƷʼnĩűĩǜůŎŦŦĩűűŎƿůܒܺ^ڢȃĩěŻűěŦƿƪŎŻű ĢƢþǜűŁƢŻůƷʼnŎƪ܌þƪŁŻƢůƿŦþƷĩĢĚǢæþűł ʼnŎĩűܮ ʼnþűł܌űþůĩŦǢܹƷŻþǛŻŎĢƷʼnĩ/þƪƷܮàĩƪƷĚŎűþƢǢ opposition, so that a more entangled web of the history can be revealed,”^ښڙ is shared by the ƪƷƿĢŎĩƪƟƢĩƪĩűƷĩĢʼnĩƢĩܒȃĩǢþŦƪŻĢĩůŻűƪƷƢþƷĩƷʼnþƷƷʼnĩĩþƢŦŎĩƢŁŻěƿƪŻŁůþűǢěŻůƟŻƪĩƢƪþűĢ ƪěʼnŻŦþƢƪŻűƷʼnĩůƿƪŎěþŦůþƷĩƢŎþŦŎǬþƷŎŻűþűĢƢĩěĩƟƷŎŻűŻŁěƿŦƷƿƢþŦĢŎDzŁĩƢĩűěĩʼnþƪłŎǛĩűǜþǢƷŻ increasingly complex forms of ambiguity,^ښښ not least in relation to new processes of migration and cultural multiplicity that feed into a continuous decentering, readjusting, and sometimes ƢĩþDzȀƢůŎűłŻŁŎĢĩűƷŎƷǢěŻűěĩƟƷƪŎűþűĢƷʼnƢŻƿłʼnůƿƪŎěܒ

ŦƷʼnŻƿłʼnƷʼnĩƟƢĩƪĩűƷĚŻŻţþƷƷĩůƟƷƪűĩŎƷʼnĩƢþʼnŎƪƷŻƢǢűŻƢþƷʼnĩŻƢǢŻŁŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎě ŎűƷʼnĩƷǜĩűƷŎĩƷʼnþűĢƷǜĩűƷǢܮȀƢƪƷěĩűƷƿƢŎĩƪŎűþűþŦŦܮĩűěŻůƟþƪƪŎűłƪĩűƪĩ܌ƷʼnĩƢĩǛŎƪĩĢþűĢĩǡ- panded edition strives to demonstrate the potential of entangled historical perspectives more ڹ żĪŊŰĪƣ܉ܶGŧżěÿŧŏƫŏĪƣǀŲŃÿŧƫŊĪŏŰŏƫĜŊĪƣFĪƸŏƫĜŊ܉ܷڐڐܠܶŏŲłĪƣŲĪ®ĜŊĪŏŲǝĪŧƸĪŲܞ܊ܟǵŧŏĪŊĪŲ܉ܷܶƣƣÿŲŃĪǀƣŃĪŤŧÿǀƸĪƣ

SģĪĪŲǀŲģěšĪŤƸĪܷܡ܏

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ڻ See Yang, “Technologies of Tradition in Post-War Musical Avant-Gardism.”

ڼ ®ĪĪhÿŲŃĪŲŤÿŰƠ܉ܶ ŧżƫĪ/ŲĜżǀŲƸĪƣƫżłŲżƸŊĪƣfŏŲģ܏ܷ

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ڵڵ ®ĪĪhĪĪ܉ܶ£żƫƸĜżŧżŲŏÿŧdzłĪĜƸܷÿŲģhĪĪܶSŲƸƣżģǀĜƸŏżŲ܈FƣżŰ'ŏdzłĪƣĪŲĜĪƸżŰěŏŃǀŏƸǣ܏ܷ

comprehensively than the original German edition, especially in the newly added Chapters II.2, SSܒړ܌þűĢSSܒڔܒàʼnŎŦĩůþűǢŻŁƷʼnĩþĢĢĩĢƟþƢƷƪŎűěŦƿĢĩþĚƢŻþĢĩƢþƟƟƢŻþěʼněŻůĚŎűŎűłŎűƪƷŎƷƿƷŎŻűܮ al, sociocultural, and analytical perspectives, the core methodology pursued in most chapters may be described as a “bottom-up” focus on what has been called “artistic agency,”^ښڛ including ƢĩǴ ŦĩěƷŎŻűƪŻűƟĩƢŁŻƢůþűěĩ܌ƟĩƢěĩƟƷŎŻű܌þűĢƢĩěĩƟƷŎŻűܒrþűǢŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎěþŦƟƢŻěĩƪƪĩƪ ĢŎƪěƿƪƪĩĢŎűƷʼnŎƪĚŻŻţĩůĩƢłĩĢŁƢŻůłƢþƪƪƢŻŻƷƪƟƢŻŠĩěƷƪǜŎƷʼnŻƿƷůƿěʼnŎűƪƷŎƷƿƷŎŻűþŦƪƿƟƟŻƢƷ܌

ƪƿƪƷþŎűĩĢĚǢƷʼnĩěŻůƟŻƪĩƢƪܼþűĢƷʼnĩƟĩƢŁŻƢůĩƢƪܼƪʼnþƢĩĢĩűƷʼnƿƪŎþƪůŁŻƢƷʼnĩþƢĩþܒȃĩŻĚƪĩƢǛþ- ƷŎŻűƷʼnþƷþܹƢĩܮűĩłŻƷŎþƷŎŻűŻŁűĩǜěƿŦƷƿƢþŦƪƟþěĩƪܺŎűŎűƷĩƢěƿŦƷƿƢþŦěŻůƟŻƪŎƷŎŻűŎƪŻǼƷĩűĚþƪĩĢ on “intimate artist-to-artist, musician-to-musician collaborations”^ښڜ and requires a commu- űŎƷǢŻŁĢĩĢŎěþƷĩĢŦŎƪƷĩűĩƢƪĢĩƪěƢŎĚĩƪƿűƪƷþĚŦĩƟƢĩěŻűĢŎƷŎŻűƪƷʼnþƷěþűűŻƷĚĩƷþţĩűŁŻƢłƢþűƷĩĢ ƷŻĢþǢŻƢŎűƷʼnĩŁƿƷƿƢĩܒȃŎƪůþţĩƪŎƷŻĚǛŎŻƿƪƷʼnþƷǜŎƷʼnŎűƷʼnĩŻǼƷĩűƪŻěŎþŦŦǢþűĢŎűƪƷŎƷƿƷŎŻűþŦŦǢ marginalized sphere of contemporary music, intercultural composition may easily be consid- ĩƢĩĢþűĩƟʼnĩůĩƢþŦþűĢƟĩƢŎƟʼnĩƢþŦƟʼnĩűŻůĩűŻűܒSƷŎƪŎůƟŦŎĩĢŎűƷʼnŎƪĚŻŻţܼƪůƿŦƷŎƟŦĩűþƢƢþƷŎǛĩƪ that, on the contrary, composers who have continuously scrutinized the cultural and historical prejudices of our listening provide models of musical interculturality that should be valued þƪ ţĩǢ ĩŦĩůĩűƷƪ ŻŁ þ łŦŻĚþŦŎǬĩĢ ůƿƪŎěܮʼnŎƪƷŻƢŎěþŦ ƟƢŻěĩƪƪܒ ĩƢƷþŎűŦǢ܌ Ʒʼnĩ ĚŻŻţܼƪ ůŻƪƷ ŎůƟŻƢܮ tant aim is to suggest a change in focus by bringing these new geographies, new protagonists, þűĢűĩǜŎĢĩþƪƷŻƷʼnĩěĩűƷĩƢŻŁʼnŎƪƷŻƢŎŻłƢþƟʼnŎěþŦþƷƷĩűƷŎŻűܒSűƪƷþŦŦŎűłƷʼnĩƪĩěŻůƟŻƪĩƢƪþƪţĩǢ ȀłƿƢĩƪŻŁþłƢþűĢܹǜŻƢŦĢůƿƪŎěʼnŎƪƷŻƢǢ܌ܺʼnŻǜĩǛĩƢ܌ǜŻƿŦĢŦŎţĩŦǢŁþŎŦƷŻłƢþƪƟƷʼnĩŁƢþłůĩűƷĩĢ܌

Ǵ ŦƿěƷƿþƷŎűł܌þűĢĢĩěĩűƷĩƢĩĢůƿƪŎěþŦěƿŦƷƿƢĩƪŻŁƷʼnĩƟþƪƷěĩűƷƿƢǢ܌þƪŻƿƷŦŎűĩĢŎű ʼnþƟƷĩƢSSܒ more moderate implication of the research presented here, then, might be that all music is in a fundamental sense intercultural, and that the hybrid or composite character of the histori- cal constructs of “Western” or “non-Western” music today and their long history continuously demand new perspectives in music research as well as in composition, performance, and lis- ƷĩűŎűł܌ƟĩƢƪƟĩěƷŎǛĩƪƷʼnþƷěʼnþŦŦĩűłĩþűĢĢŎƪěþƢĢŦŻűłܮʼnĩŦĢƪƷĩƢĩŻƷǢƟĩƪþűĢěþűŻűŎǬĩĢƷʼnŎűţŎűłܒ

Vienna, 17 September 2020

ڵڶ FŏŲĜŊǀŰܫ®ǀŲŃ܉ܶFżƣĪǝżƣģ܈ĪƫƸŊĪƸŏĜƫżłSŲƸĪƣĜǀŧƸǀƣÿŧŏƸǣŏŲ/ÿƫƸƫŏÿŲ żŲƸĪŰƠżƣÿƣǣrǀƫŏĜ܉ܷڍڒ܏

ڵڷ Ibid.

Sű ƷŻƷþŦ܌ ړڐ ĢŎDzŁĩƢĩűƷ ƟƿĚŦŎěþƷŎŻűƪ ŦþŎĢ Ʒʼnĩ łƢŻƿűĢǜŻƢţ ŁŻƢ Ʒʼnĩ ƟƢĩƪĩűƷ ĚŻŻţ܌ ǜŎƷʼn Ʒʼnĩ ůþŎű þƢƷŎěŦĩƪŁŻƢůŎűłƷʼnĩĚþěţłƢŻƿűĢŻŁƷʼnĩŻƢŎłŎűþŦGĩƢůþűĩĢŎƷŎŻűŻŁڑڏڐړƪƿƟƟŦĩůĩűƷĩĢĚǢƪŎǡ ůŻƢĩƢĩěĩűƷŻűĩƪܒȃĩƟƟĩűĢŎǡŻDzŁĩƢƪþŦŎƪƷŻŁƷʼnĩƪĩƟƿĚŦŎěþƷŎŻűƪܒƷƷʼnŎƪƟŻŎűƷ܌SǜŻƿŦĢŦŎţĩ ƷŻĩǡƟƢĩƪƪůǢƪŎűěĩƢĩƷʼnþűţƪƷŻþŦŦěŻŦŦĩþłƿĩƪþűĢŁƢŎĩűĢƪǜʼnŻʼnþǛĩʼnĩŦƟĩĢůĩƷŻƟƿƢƪƿĩůǢ ƢĩƪĩþƢěʼn܌ þűĢ ǜʼnŻ ʼnþǛĩ ŎűƪƟŎƢĩĢ ůĩ þűĢ ƟƢŻǛŻţĩĢ ůǢ ŎůþłŎűþƷŎŻű þűĢ ƪěʼnŻŦþƢŦǢ þƪ ǜĩŦŦ þƪ þƢƷŎƪƷŎěþěƷŎǛŎƷǢܒ®ŎłűŎȀěþűƷĢŎƪěƿƪƪŎŻűƪĩůĩƢłĩĢĢƿƢŎűłƷʼnĩŦŻűłƟƢŻěĩƪƪĩƪŻŁƷƢþűƪŦþƷŎŻűĚǢ hþƿƢĩűěĩàŎŦŦŎƪþűĢěŻƟǢܮĩĢŎƷŎűłĚǢàŎĩŦþűĢNŻĚþűܣǜʼnŻþŦƪŻůþĢĩŎůƟŻƢƷþűƷěŻűƷƢŎĚƿƷŎŻűƪ ƷŻƷʼnĩƷƢþűƪŦþƷŎŻűþƷþűĩþƢŦŎĩƢƟŻŎűƷܤ܌þűĢSĩǡƷĩűĢůǢĢĩĩƟĩƪƷłƢþƷŎƷƿĢĩŁŻƢƷʼnĩŎƢŦŻűłþűĢěŻű- ƷŎűƿŻƿƪĩDzŁŻƢƷƪƷŻůþűþłĩƷʼnĩěŻűƪŎĢĩƢþĚŦĩþůŻƿűƷŻŁƷĩǡƷƷŻĚĩŎűƷĩƢƟƢĩƷĩĢܣþűĢ܌ŎűƷʼnþƷƟƢŻ- ěĩƪƪ܌ƢĩěŻűƪŎĢĩƢĩĢþűĢƿƟĢþƷĩĢܤܒSþůþŦƪŻłƢþƷĩŁƿŦŁŻƢþĢĢŎƷŎŻűþŦƢĩƪĩþƢěʼnůþƷĩƢŎþŦþűĢěŻů- ůĩűƷƪŻűěʼnþƟƷĩƢƪŻŁƷʼnĩƢĩǛŎƪĩĢĩĢŎƷŎŻűƟƢŻǛŎĢĩĢĚǢæþǢŻŎÃűŻ/ǛĩƢĩƷƷ܌®ŻƟʼnŎĩFĩƷƷʼnþƿĩƢ܌dŻʼnű àŎűǬĩűĚƿƢł܌hŎűܮtŎhŎþŻ܌þűĢtþűěǢæƿűʼnǜþ¦þŻܒSűþĢĢŎƷŎŻű܌ƷʼnƢĩĩþűŻűǢůŻƿƪƢĩǛŎĩǜĩƢƪ ůþĢĩǛþŦƿþĚŦĩěŻůůĩűƷƪþűĢƪƿłłĩƪƷŎŻűƪŻűʼnŻǜƷŻŎůƟƢŻǛĩƷʼnĩěŻűƷĩűƷþűĢƪěŻƟĩŻŁƷʼnĩĚŻŻţܒ Major research contexts, conferences, collaborations, and valuable discussions that have ŁŻƿűĢƷʼnĩŎƢǜþǢŎűƷŻƷʼnĩĚŻŻţŎűǛŻŦǛĩĢþŦþƢłĩűƿůĚĩƢŻŁƪěʼnŻŦþƢƪŎűěŦƿĢŎűłNĩƢůþűűGŻƷƷ- ƪěʼnĩǜƪţŎ ܣÃűŎǛĩƢƪŎƷǢ ŻŁ ¼ŻţǢŻܤ܌ FƢĩĢĩƢŎěţ hþƿ ܣȃĩ ʼnŎűĩƪĩ ÃűŎǛĩƢƪŎƷǢ ŻŁ NŻűł fŻűłܤ܌ dŻʼnű àŎűǬĩűĚƿƢłܣNŻűłfŻűłþƟƷŎƪƷÃűŎǛĩƢƪŎƷǢܤ܌fþůhþƟܮfǜþűþűĢ¼ƿűł ʼnþŻܮrŎűłܣtþƷŎŻűþŦ ʼnŎþŻܮ¼ƿűłÃűŎǛĩƢƪŎƷǢNƪŎűěʼnƿ܌¼þŎǜþűܤ܌£þűNǜþűłܮhŻűłܣ¼þŎƟĩŎtþƷŎŻűþŦÃűŎǛĩƢƪŎƷǢŻŁƷʼnĩ ƢƷƪܤ܌hŻfŎŎܮrŎűłܣtþƷŎŻűþŦ¼þŎǜþűtŻƢůþŦÃűŎǛĩƢƪŎƷǢܤ܌àþűłæŎűłŁĩűþűĢæþűł ʼnŎĩűܮ ʼnþűł ܣtþƷŎŻűþŦ¼þŎƟĩŎÃűŎǛĩƢƪŎƷǢܤ܌Nĩĩܮ®ŻŻţʼnܣ®ĩŻƿŦtþƷŎŻűþŦÃűŎǛĩƢƪŎƷǢܤ܌dŎþ'þơƿűþűĢæþűłæþű- ĢŎܣ ŻűƪĩƢǛþƷŻƢǢŻŁrƿƪŎě®ʼnþűłʼnþŎܤ܌dƆƢű£ĩƷĩƢNŎĩţĩŦܣNŻěʼnƪěʼnƿŦĩŁDžƢrƿƪŎţ'ƢĩƪĢĩűܤ܌¼ŻĚŎþƪ dþűǬܣÃűŎǛĩƢƪŎƷǢŻŁŻűűܤ܌ ŦþƿĢŎƿƪݑ¼ŻƢƟܣÃűŎǛĩƢƪŎƷǢŻŁfþƪƪĩŦܤ܌®ŻƟʼnŎĩFĩƷƷʼnþƿĩƢܣÃűŎǛĩƢƪŎƷǢŻŁ NþůĚƿƢłܤ܌rŎűþƢŎŻěʼnůþűűܣÃűŎǛĩƢƪŎƷǢŻŁhĩŎƟǬŎłܤ܌þƢĚþƢþrŎƷƷŦĩƢþűĢ'ŻƢŻƷʼnĩþ¦ĩĢĩƟĩű- űŎűłܣÃűŎǛĩƢƪŎƷǢŻŁNĩŎĢĩŦĚĩƢłܤ܌àþŦƷĩƢܮàŻŦŁłþűł®ƟþƢƢĩƢܣĩƢŦŎűܤ܌ŦĚƢĩěʼnƷ¦ŎĩƷʼnůDžŦŦĩƢܣFƢĩĩ ÃűŎǛĩƢƪŎƷǢŻŁĩƢŦŎűܤ܌FĩĢĩƢŎěŻ ĩŦĩƪƷŎűŎܣÃűŎǛĩƢƪŎƷǢŻŁSűűƪĚƢƿěţܤ܌tŎűþ£ŻŦþƪěʼnĩłłܣßŎĩűűþܤ܌

æþǢŻŎÃűŻ/ǛĩƢĩƷƷܣÃűŎǛĩƢƪŎƷǢŻŁSŦŦŎűŻŎƪþƷ ʼnŎěþłŻܤ܌®þűĢĩĩƟʼnþłǜþƷŎܣ ŻűěŻƢĢŎþÃűŎǛĩƢƪŎƷǢܤ܌

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I am equally deeply indebted to all colleagues, musicians, ensembles, and organizers who helped me to develop, create, and realize my own musical ideas, including Chai Found Music àŻƢţƪʼnŻƟ ܣ þŎŁĩűł æƿĩŁþűłܤ ¼þŎƟĩŎ܌ Ʒʼnĩ ŻűƷĩůƟŻƢþƢǢ rƿƪŎě /űƪĩůĚŦĩ fŻƢĩþ܌ £N / ܣŁŻƢ- ůĩƢŦǢĩűƪĩůĚŦĩŻűܚŦŎűĩ܌ßŎĩűűþܤ܌®ŎůĩŻű£ŎƢŻűţŻDzŁܣßŎĩűűþܤ܌hþƢƪrŦĩţƿƪěʼnܣðƿƢŎěʼnܤ܌rþƢƷŎű hŎűĢƪþǢܣ ŻŦŻłűĩܤ܌fƔSƪʼnŎţþǜþܣ¼ŻţǢŻܤ܌¥Ŏűàĩűěʼnĩűܣ ĩűƷƢþŦ ŻűƪĩƢǛþƷŻƢǢŻŁrƿƪŎěĩŎŠŎűłܤ܌

àƿàĩŎܣĩƢŦŎűܤ܌æĩʼndŎƿþűܮ¦ĩűłܣ¼þŎƟĩŎܤ܌NŻűłàĩűܮ¼ƪŎĩűܣßŎĩűűþܤ܌dŻűłܮʼnæŻŻűܣ®ŎűłþƟŻƢĩܤ܌

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ƢĩűßŎűŻłƢþĢŻǛţŎűĢŦǢþƪƪŎƪƷĩĢŎűƷʼnĩŁŻƢůþƷƷŎűłþűĢƟƢŻŻŁƢĩþĢŎűłŻŁƷʼnĩŦĩűłƷʼnǢĚŎĚŦŎŻłƢþ- ƟʼnǢþűĢƷʼnĩŁŻŻƷűŻƷĩƪ܌'ŎůŎƷƢŎŻƪfþƷʼnþƢŻƟŻƿŦŻƪŻDzŁĩƢĩĢʼnŎƪʼnĩŦƟŎűƢĩŁŻƢůþƷƷŎűłƷʼnĩůƿƪŎěþŦ ĩǡþůƟŦĩƪ܌þűĢ'ŎĩƷĩƢfŦĩŎűƢþƷʼnþłþŎűƟƢŻǛŎĢĩĢʼnŎƪþƪƪŎƪƷþűěĩŎűƟƿƷƷŎűłƷŻłĩƷʼnĩƢƷʼnĩŎűĢĩǡܒ hþƪƷĚƿƷűŻƷŦĩþƪƷ܌SþůĢĩĩƟŦǢłƢþƷĩŁƿŦŁŻƢþŦŦƷʼnĩŦŻǛĩþűĢƪƿƟƟŻƢƷSʼnþǛĩƢĩěĩŎǛĩĢŁƢŻůůǢ family and close friends over the years.

***

Łĩǜ ěŦŻƪŎűł ƢĩůþƢţƪ܋ ƪŎþű űþůĩƪ þƢĩ ƢĩűĢĩƢĩĢ Ŏű Ʒʼnĩ ŻƢĢĩƢ ȀƢƪƷ űþůĩ܌ ŁþůŎŦǢ űþůĩ ŁŻƢ dþƟþűĩƪĩ þűĢ fŻƢĩþű űþůĩƪ ܣ¼ƔƢƿ ¼þţĩůŎƷƪƿ܌ Sƪþűł æƿűܤ܌ ĚƿƷ Ŏű Ʒʼnĩ ůŻƢĩ ěŻůůŻű ƢĩǛĩƢƪĩ ŻƢĢĩƢŁŻƢ ʼnŎűĩƪĩþűĢ¼þŎǜþűĩƪĩűþůĩƪܣ¼þű'ƿű܌£þűNǜþűłܮhŻűłܤܒ/ǡěĩƟƷŎŻűƪþƢĩůþĢĩ ǜʼnĩƢĩþěŻůůŻűŻƢĢĩƢĢŎDzŁĩƢƪŁƢŻůƷʼnŎƪƪǢƪƷĩů܌þƪŎűƷʼnĩěþƪĩŻŁƷʼnĩfŻƢĩþűƟŻĩƷfŻÅűܒSű ƷʼnĩĚŎĚŦŎŻłƢþƟʼnǢ܌þŦŦűþůĩƪþƢĩŻŁěŻƿƢƪĩŻƢĢĩƢĩĢþŦƟʼnþĚĩƷŎěþŦŦǢþěěŻƢĢŎűłƷŻŁþůŎŦǢűþůĩƪܒȃĩ ĢþƷĩŻŁŦþƪƷþěěĩƪƪƷŻŎűƷĩƢűĩƷŦŎűţƪŎűŁŻŻƷűŻƷĩƪþűĢĚŎĚŦŎŻłƢþƟʼnǢʼnþƪűŻƷĚĩĩűƪƟĩěŎȀĩĢŁŻƢĩþěʼn ŦŎűţŁŻƢƢĩþƪŻűƪŻŁƢĩþĢþĚŎŦŎƷǢܒŦŦǜĩĚŦŎűţƪʼnþǛĩĚĩĩűěʼnĩěţĩĢþűĢƿƟĢþƷĩĢþƪŻŁڑFĩĚƢƿþƢǢ 2021.

/ǡþůƟŦĩڑܒڐ܋ GƿŻàĩűŠŎűł܌She Huo܌ƢĩʼnĩþƢƪþŦűƿůĚĩƢڕ /ǡþůƟŦĩڑܒڑ܋ GƿŻàĩűŠŎűł܌She Huo܌ƢĩʼnĩþƢƪþŦűƿůĚĩƢڑڕ

¼þĚŦĩڑܒڐ܋ ʼnƢŻűŻŦŻłǢڐڗږڔܫڐژڕڔŻŁƷʼnĩŎűƪƷŎƷƿƷŎŻűƪ܌ǜŻƢţƪ܌þűĢþƢƷŎěŦĩƪĢŎƪěƿƪƪĩĢŎűƷʼnŎƪ chapter

/ǡþůƟŦĩڑܒڒ܋ rþƿƢŎěĩ'ĩŦþłĩ܌RagamalikaܣǛĩƢƪŎŻűŁŻƢǛŻŎěĩþűĢƟŎþűŻ܌ڐژڐړܤ܌ȀűþŦƪĩěƷŎŻű /ǡþůƟŦĩڑܒړ܋ rþƿƢŎěĩ'ĩŦþłĩ܌Sept Haï-kaïsܣڐژڑڒܘڑړܤ܌űŻܒڔ܋ܹhþŦƿűĩĢܼþƿƷŻůűĩ܍܌ܺ

piano version

/ǡþůƟŦĩڑܒڔ܋ rþƿƢŎěĩ'ĩŦþłĩ܌Sept Haï-kaïsܣڐژڑڒܘڑړܤ܌űŻܒڔ܋ܹhþŦƿűĩĢܼþƿƷŻůűĩ܍܌ܺŻƢěʼnĩƪƷƢþŦ ǛĩƢƪŎŻű܌ȀűþŦƟþƢƷ

/ǡþůƟŦĩڑܒڕ܋ NĩűƢǢ ŻǜĩŦŦ܌Atlantis܌ȀƢƪƷůŻǛĩůĩűƷ܌ůůܒݑڐܫڐړ

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ʼnŻƢƪĩܤ

/ǡþůƟŦĩڑܒڗ܋ ®ʼnǕţŎěʼnŎrŎƷƪƿţƿƢŎ܌þƪʼnƔţŎţƔƪʼnǕܣڐژڒڏܘڒڐܤ܌űŻܒڕ܋ܹ®ʼnŎǬƿţþƪþǢþܺܣȃĩƪƷŎŦŦűĩƪƪܤ /ǡþůƟŦĩڑܒژ܋ FƿůŎŻNþǢþƪþţþ܌£ŎþűŻ£Ŏĩěĩƪܩ£ŎþűŻƪʼnƔʼnŎűƪʼnǕܤ܌űŻܒݑڐڐ

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¼þĚŦĩڑܒڑ܋ /þƪƷàĩƪƷrƿƪŎě/űěŻƿűƷĩƢ ŻűŁĩƢĩűěĩ܌¼ŻţǢŻڐږܫڑڑƟƢŎŦڐژڕڐ܌£ƢŻłƢþůþűĢ hŎƪƷŻŁ£þƢƷŎěŎƟþűƷƪ

/ǡþůƟŦĩڑܒڐڐ܋ NĩűƢǢ ŻǜĩŦŦ܌űłþţƿ܌ȀƢƪƷůŻǛĩůĩűƷܫƟŎƷěʼnƪƷƢƿěƷƿƢĩƪ /ǡþůƟŦĩڑܒڐڑ܋¼ŻƪʼnŎƢƔrþǢƿǬƿůŎ܌Bugaku܌ƟþƢƷڐ܌ůůܒݑڐܫڔܣǛŦűܒڑܤ /ǡþůƟŦĩڑܒڐڒ܋ hƿěŎþűŻĩƢŎŻ܌Sinfonia܌ݑƢĩʼnĩþƢƪþŦűƿůĚĩƢ /ǡþůƟŦĩڑܒڐړ܋ NþűƪðĩűĢĩƢ܌Chief Joseph, Act I, Scene 2b

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/ǡþůƟŦĩڑܒڐڔ܋ NþűƪðĩűĢĩƢ܌FǕƢŎűűŻţǢƔ܌ůůܒڐڗڑܫڐژڒ܌ƪŻƟƢþűŻƟþƢƷþűĢƪěʼnĩůþƷŎěƢĩƟƢĩƪĩűܮ ƷþƷŎŻűŻŁƷʼnĩŦþűłƿþłĩƪƷƢƿěƷƿƢĩŻŁƷʼnĩȀƢƪƷƪƷþűǬþ

/ǡþůƟŦĩڑܒڐڕ܋ NþűƪðĩűĢĩƢ܌FǕƢŎűűŻţǢƔ܌ůůܒڐژړܫڐژڕ

/ǡþůƟŦĩڑܒڐږ܋ dŻƢłĩ®ÿűěʼnĩǬܮ ʼnŎŻűł܌Teatro Shanghai – Bühnenmusik܌ƪĩěŻűĢůŻǛĩůĩűƷ܋

Descarga for sheng and Chinese ensemble, ůůܒݑژڐڐܫژڐڒ

/ǡþůƟŦĩڑܒڐڗ܋ ®þűĢĩĩƟʼnþłǜþƷŎ܌ Illusies van harder en zacht for viola and sheng܌S܌ůůܒڐڒܫڑڒ /ǡþůƟŦĩڑܒڐژ܋ ®ŎůĩŻű£ŎƢŻűţŻDzŁ܌Fall/Wende for shengþűĢþěěŻƢĢŎŻű܌S܌ůůܒڐܫڔܗSSS܌

ůůܒړڏܫړڑ

/ǡþůƟŦĩڑܒڑڏ܋àŻŦŁłþűł®ƿƟƟþű܌Studie II for sheng and live-electronics, section 1

/ǡþůƟŦĩڒܒڐ܋ NĩhƿƷŎűł܌ƿDZŁþŦŻŻǢ݂ƪFŦƿƷĩ (Mutong duandiܤ܌ůůܒڐܫڐڐ

/ǡþůƟŦĩڒܒڑ܋ ðʼnƿdŎþűܼĩƢ܌®ĩěŻűĢ®ǢůƟʼnŻűǢŻƟܒڑڗ܌ƢĩʼnĩþƢƪþŦűƿůĚĩƢڐڕݯڒܫڕ܋ůþŎűƷʼnĩůĩ with the underlying words weishenme, ǜĩŎƪʼnĩűůĩǬʼnĩǢþűł, ǜĩŎƪʼnĩűůĩǬʼnĩǢþűł douܣܹàʼnǢܓàʼnǢƪŻܓàʼnǢŎƪŎƷƪƿěʼnþƪƷƢƿłłŦĩܓܺܤ

FŎłƿƢĩڒܒڐ܋ hĩƷƷĩƢŁƢŻůàŻŦŁłþűłFƢþĩűţĩŦƷŻƢűŻŦĢ®ěʼnŻĩűĚĩƢł܌ڐړ®ĩƟƷĩůĚĩƢڐژړژ FŎłƿƢĩڒܒڑ܋ FƢþĩűţĩŦܼƪƟŻƢƷƢþŎƷŎűƷʼnĩűĩǜƪƟþƟĩƢƟƢĩǛŎĩǜŻŁƷʼnĩ®ʼnþűłʼnþŎ®ŻűłƪƷĩƢƪܼěŻűܮ

ěĩƢƷƪ܌ڐڗþűĢڑڏܘڑܘڐژړڐܣȃĩ®ʼnþűłʼnþŎ®ƿűĢþǢ¼Ŏůĩƪ܌ڑܘڑܘڐژړڐܤ

FŎłƿƢĩڒܒڒ܋ £ƢŻłƢþůĚŻŻţŦĩƷŁŻƢƷʼnĩěŻűěĩƢƷþƷƷʼnĩhǢěĩƿůȃĩþƷĩƢ®ʼnþűłʼnþŎ܌ڏڐܘڏڒܘڐژړڕܗ FƢþĩűţĩŦěŻűĢƿěƷĩĢƷʼnĩ ʼnŎűþ®ǢůƟʼnŻűŎěƢěʼnĩƪƷƢþ

¼þĚŦĩڒܒڐ܋ ŻűěĩƢƷƪڐژڒژܫڐژړڕ܌ŎűǜʼnŎěʼnàŻŦŁłþűłFƢþĩűţĩŦƟþƢƷŎěŎƟþƷĩĢܗŦŎƷܒݑĩƪƷܒ܌tړژڕ܌

®ěʼnܒݑڔ܌ܹ£ƢŻłƢþůůĩܺþűĢܹðĩŎƷƿűłƪþƢƷŎţĩŦƿűĢfƢŎƷŎţĩűܺ

¼þĚŦĩڒܒڑ܋ àŻŦŁłþűłFƢþĩűţĩŦܼƪƪƷƿĢĩűƷƪŎű ʼnŎűþ /ǡþůƟŦĩڒܒڒ܋ ®þűł¼Żűł܌YejingŁŻƢǛŎŻŦŎűþűĢƟŎþűŻ܌Ɵܒݑڐ /ǡþůƟŦĩڒܒړ܋ ®þűł¼Żűł܌ðþŎűþǢþŻǢƿþűĢĩĢŎŁþűłŁŻƢƟŎþűŻ܌Ɵܒݑڐ /ǡþůƟŦĩڒܒڔ܋ àŻŦŁłþűłFƢþĩűţĩŦ܌Drei zweistimmige Praeludien܌Ɵܒݑڐ

FŎłƿƢĩڒܒړ܋ àŻŦŁłþűłFƢþĩűţĩŦ܌ěþŦŦŎłƢþƟʼnǢŁƢŻůƷʼnĩþƟƟĩűĢŎǡƷŻƷʼnĩ'ƢĩŎƢěʼnĩƪƷĩƢŦŎĩĢĩƢܗ ƷʼnĩƟŻĩůܹ®ƟƢŎűłtŎłʼnƷܺܣChun xiaoܤĚǢ®ƿ'ŻűłܮŻܣ®ƿ®ʼnŎܤŎƪƪʼnŻǜű܌ǜʼnŎěʼn ŎƪƪĩƷŎűƷʼnĩȀƢƪƷůŻǛĩůĩűƷܗŦĩǼƷ܋Ʒʼnĩ/űłŦŎƪʼnƷƢþűƪŦþƷŎŻűŻŁĩþěʼnŎűĢŎǛŎĢƿþŦ ěʼnþƢþěƷĩƢŎƪƟŦþěĩĢŻűƷʼnĩ ʼnŎűĩƪĩěʼnþƢþěƷĩƢƪƿƪŎűłƷƢþűƪƟþƢĩűƷƟþƟĩƢܗƢŎłʼnƷ܋

calligraphy without transparent paper

/ǡþůƟŦĩڒܒڕ܋ àŻŦŁłþűłFƢþĩűţĩŦ܌ƢŻǜþűþŦǢƪŎƪŎűƷʼnĩþƟƟĩűĢŎǡŻŁƷʼnĩƪěŻƢĩŻŁ'ƢĩŎƢěʼnĩƪƷĩƢŦŎĩܴ

der܋ȀƢƪƷŦŎűĩ܋ƟƢŎůĩƷǜĩŦǛĩܮƷŻűĩƢŻǜܗĚĩŦŻǜ܋ƢŻǜŁŻƢůƪþűĢǛþƢŎþűƷƪƿƪĩĢŎűƷʼnĩ

ůŻǛĩůĩűƷƪڐƷŻڒ

/ǡþůƟŦĩڒܒږ܋ àŻŦŁłþűłFƢþĩűţĩŦ܌'ƢĩŎƢěʼnĩƪƷĩƢŦŎĩĢĩƢ܌űŻܒڑܹůŁƢDžʼnĩűFƢDžʼnŦŎűłƪƷþłĩ܌ܺ

ƪěŻƢĩ܌ůůܒڑڔܫڑږ

¼þĚŦĩڒܒڒ܋ Molihua, overview of sources, transcriptions, and editions

/ǡþůƟŦĩڒܒڗ܋ tŎűĩßĩƢƪŎŻűƪŻŁMolihua܌þܒfþůĚƢþڐږژڔܣĚþƪĩĢŻűNDžƷƷűĩƢܼƪƷƢþűƪěƢŎƟƷŎŻű ڐږژڒܘژړܤ܌ĚܒþƢƢŻǜڐڗڏړܣNDžƷƷűĩƢܼƪƷƢþűƪěƢŎƟƷŎŻűڐږژڒܘژړܤ܌ěܒůĚƢŻƪڐڗڕڑ ܣƪŻƿƢěĩ܋SƢǜŎűڐږژږܗ܇܋ړŎűƪƷĩþĢŻŁړŎűƷʼnŎƢĢĩĢŎƷŎŻűڐڗڗږ܌þŦƪŻŎűSƢǜŎűڐږژږܤ܌

ĢܒݑǛþűþŦƪƷڐڗڗړܗĩܒFþƪƪŎűŎܮ þůŻƪƪŎܼƪůƿƪŎěĚŻǡܣڐژڑڏܗƢĩěŻƢĢĩĢŎűƷʼnĩڐژږڏƪܤܗ f. Puccini, Turandotܣڐژڑڏܫڑړܤ܌ěƷS܌ƢĩʼnĩþƢƪþŦűƿůĚĩƢڐژܣĚŻǢƪěʼnŻŎƢܤܗłܒgong chepuƷƢþűƪěƢŎƟƷŎŻűܣ ʼnŎűĩƪĩƪŻŦůŎƪþƷŎŻűűŻƷþƷŎŻűܤŁƢŻůڐڗڑڐܣþǼƷĩƢ¥Ŏþű܌Zhong

guo jingdian minge jianshang zhinan܌ǛŻŦܒڐ܌ڐڏڒܤ܌ʼnܒůŻĢĩƢűƷƢþűƪěƢŎƟƷŎŻűŻŁƷʼnĩ ŁŻŦţƪŻűłŁƢŻůdŎþűłƪƿƟƢŻǛŎűěĩܣþǼƷĩƢŎĚŎĢܒ܌ڐڏڐܤ܌Ŏܒ¼þű'ƿű܌®ǢůƟʼnŻűǢږڞڞڜ, I. Heaven܌ůůܒݑڐڑژܫڐړڒܣěʼnŎŦĢƢĩűܼƪěʼnŻŎƢܤ

/ǡþůƟŦĩڒܒژ܋ MolihuaܫܹŎůƟĩƢŎþŦܺǛĩƢƪŎŻű܋ʼnþƢůŻűŎǬþƷŎŻűƪĚǢ£ƿěěŎűŎܣTurandot, Act I, ƢĩʼnĩþƢƪþŦűƿůĚĩƢړڗܤþűĢ¼þű'ƿűܣ®ǢůƟʼnŻűǢږڞڞڜ, I. Heaven܌ůůܒݑڐڐڔܫڐڐژܤ

¼þĚŦĩڒܒړ܋ Molihua܌ĢŎDzŁĩƢĩűƷǛĩƢƪŎŻűƪŻŁƷʼnĩƪŻűłƷĩǡƷܣƟŎűǢŎűƷƢþűƪŦŎƷĩƢþƷŎŻűܤ

¼þĚŦĩڒܒڔ܋ £ŻŦþƢŎǬþƷŎŻűŻŁfŻƢĩþűþűĢ/ƿƢŻƟĩþűůƿƪŎěŎűSƪþűłæƿűܼƪƢþĢŎŻƟƢŻłƢþů ܹrƿƪŎţƿűĢSűƪƷƢƿůĩűƷĩĢĩƪþŦƷĩűfŻƢĩþܺܣڐژڕڒܤ

/ǡþůƟŦĩڒܒڐڏ܋ ¼ƔƢƿ¼þţĩůŎƷƪƿ܌Distance for oboe and ƪʼnƔ܌Ɵܒڔܫڕ

/ǡþůƟŦĩڒܒڐڐ܋ SþűűŎƪåĩűþţŎƪ܌Pithoprakta for string orchestra, two trombones, and percus-

ƪŎŻű܌Ɵܒݑڐڏ

/ǡþůƟŦĩڒܒڐڑ܋ dŻƪĪrþěĩĢþ܌PagsambaŁŻƢڑړڐƟĩƢŁŻƢůĩƢƪ܌SSܒܹGŦŻƢŎþݑܘLuwalhati܌ܺƟĩűŎűł /ǡþůƟŦĩڒܒڐڒ܋ dŻƪĪrþěĩĢþ܌Udlot-Udlot ŁŻƢڕ܌ڕڏ܌ڕڏڏŻƢůŻƢĩƟĩƢŁŻƢůĩƢƪ

/ǡþůƟŦĩڒܒڐړ܋ dŻƪĪrþěĩĢþ܌ Suling, Suling܌ůůܒݑڑڕڕܫڑڕژ

/ǡþůƟŦĩڒܒڐڔ܋ GĩGþűƢƿ܌Yi FengŁŻƢßŎŻŦŻűěĩŦŦŻƪŻŦŻܗűĩǜŦǢĩĢŎƷĩĢǛĩƢƪŎŻűŻŁƷʼnĩʼnþűĢǜƢŎƷƷĩű ƪěŻƢĩŁƢŻůڐژڗڒ܌Ɵܒڐܫڑ

/ǡþůƟŦĩڒܒڐڕ܋ æǕŠŎ¼þţþʼnþƪʼnŎ܌Koto nado asobiܗܹţŻƷŻ܌ܺůŻĢĩŦ

/ǡþůƟŦĩڒܒڐږ܋ æǕŠŎ¼þţþʼnþƪʼnŎ܌Koto nado asobiܗܹܮܮűþĢŻþƪŻĚŎܺŁŻƢþűǢŎűƪƷƢƿůĩűƷƪܗůŻĢĩŦƪ /ǡþůƟŦĩڒܒڐڗ܋ æǕŠŎ¼þţþʼnþƪʼnŎ܌Tori mo tsukai ka, orchestra model 1

/ǡþůƟŦĩڒܒڐژ܋ æǕŠŎ¼þţþʼnþƪʼnŎ܌Ȅĩ®ŻűłŻŁƷʼnĩŦƿĩ®ǜŻƢĢ܌®ĩěƷŎŻű'ڐ /ǡþůƟŦĩڒܒڑڏ܋æǕŠŎ¼þţþʼnþƪʼnŎ܌Sangen sanju for shamisen, beginning /ǡþůƟŦĩڒܒڑڐ܋ ¥Ŏűàĩűěʼnĩű܌He-Yi܌ƢĩʼnĩþƢƪþŦűƿůĚĩƢڔ

/ǡþůƟŦĩݑڒܒڑڑ܋GƿŻàĩűŠŎűł܌Ye Yan܌®ěĩűĩڐ܌ĩűƷƢþűěĩþƢŎþŻŁNŻűłðʼnƿܣƪŻƟƢþűŻܤ܌þěěŻůƟþܮ nied by the pipa

/ǡþůƟŦĩݑڒܒڑڒ܋ ʼnĩűåŎþŻǢŻűł܌Invisible Landscapes for zheng, piano, percussion and ensemble,

ůܒݑړڑ

/ǡþůƟŦĩݑڒܒڑړ܋ ʼnĩűåŎþŻǢŻűł܌Speechlessness, Clearness and Ease܌ůůܒݑڒڑܫڒژ

/ǡþůƟŦĩݑڒܒڑڔ܋ðʼnƿdŎþűܼĩƢ܌®ŎǡƷʼn®ǢůƟʼnŻűǢ܌ƷʼnŎƢĢůŻǛĩůĩűƷ܌ŦĩǼƷ܋þǼƷĩƢƢĩʼnĩþƢƪþŦűƿůĚĩƢڐڔܗ ƢŎłʼnƷ܋ĚĩŁŻƢĩƢĩʼnĩþƢƪþŦűƿůĚĩƢڐژܗ¼þƟĩS܋ƿƟƟĩƢƪǢƪƷĩů܋ƪŻűłŻŁƷʼnĩæŎłŎƢŦƪܗ ŦŻǜĩƢƪǢƪƷĩů܋tþǡŎƪŻűłܣþĚŻǛĩ܋ǜŻůĩű܌ĚĩŦŻǜ܋ůĩűܤ

/ǡþůƟŦĩݑڒܒڑڕ܋/ƿűܮNǢĩfŎů܌fþǢþłƿů܌SSS܌ůůܒݑڐړܫڐژ

/ǡþůƟŦĩݑڒܒڑږ܋ dŎűܮNŎfŎů܌Nong Rock for ţŽůƿű݂łŻ and string quartet, I. Nong܌ůůܒڐܫڔ /ǡþůƟŦĩݑڒܒڑڗ܋ŻűƿfŻŻ܌nah/fern for ţþǢþłǁůܣƿƟƟĩƢƪǢƪƷĩůܤþűĢƪƷƢŎűłƷƢŎŻ܌ůůܒڐܫڐړ /ǡþůƟŦĩݑڒܒڑژ܋ŻűƿfŻŻ܌nah/fern for ţþǢþłǁůܣƿƟƟĩƢƪǢƪƷĩůܤþűĢƪƷƢŎűłƷƢŎŻ܌ůůܒݑڐڔړܫڐڕڏ /ǡþůƟŦĩݑڒܒڒڏ܋fƿűƪƿ®ʼnŎů܌cello/hörenܣSܤ܌ĩǡěĩƢƟƷ

/ǡþůƟŦĩݑڒܒڒڐ܋ fƿűƪƿ®ʼnŎů܌hƿǽ ƷƢþűĢŁŻƢƪƷƢŎűłƷƢŎŻ܌ǛŎŻŦŎűƟþƢƷ܌ƟþƢƷ܌űŻܒڐڕܫڑړ /ǡþůƟŦĩݑڒܒڒڑ܋ ¼ŻƪʼnŎŻNŻƪŻţþǜþ܌Koto-Uta for singer and koto܌ƢĩʼnĩþƢƪþŦűƿůĚĩƢړ /ǡþůƟŦĩݑڒܒڒڒ܋ æǕŠŎ¼þţþʼnþƪʼnŎ܌Nasuno kasane, excerpt

¼þĚŦĩڒܒڔ܋ ȃƢĩĩłĩűĩƢþƷŎŻűłƢŻƿƟƪŻŁ¼þŎǜþűĩƪĩěŻůƟŻƪĩƢƪ /ǡþůƟŦĩڒܒڒړ܋ hĩĩ¼þŎܮNƪŎþűł܌Yunxing sanbian܌SSS܌ƪƷþDzŁƪǢƪƷĩůƪڐܫڑ /ǡþůƟŦĩڒܒڒڔ܋ hĩĩ¼þŎܮNƪŎþűł܌Yunxing sanbian܌S܌ƪƷþDzŁƪǢƪƷĩůڕ

/ǡþůƟŦĩڒܒڒڕ܋ hĩĩ¼þŎܮNƪŎþűł܌Da Shenji, II, Chengren liܣSűŎƷŎþƷŎŻű¦ŎƷƿþŦܤ܌ůůܒڒږܫړڔ /ǡþůƟŦĩڒܒڒږ܋ hĩĩ¼þŎܮNƪŎþűł܌Da Shenji, III, Qi geܣàŻƢƪʼnŎƟܤ܌ǛŻŎěĩƪ܌ůůܒڔڔܫڕڒ /ǡþůƟŦĩڒܒڒڗ܋ Nƪƿ£Żܮæƿű܌Zhongguo xiqu mingxiang܌Ɵܒݑڑږ

/ǡþůƟŦĩڒܒڒژ܋ Nƪƿ£Żܮæƿű܌Han Shi܌Ɵܒݑڑ

/ǡþůƟŦĩڒܒړڏ܋£þűNǜþűłܮhŻűł܌®ƷƢŎűł¥ƿþƢƷĩƷűŻܒڒ܌Sß܌ůůܒڐړړܫڐړږ /ǡþůƟŦĩڒܒړڐ܋ £þűNǜþűłܮhŻűł܌àƿŠŎűłܒơŎűłŠŎűłܒǢŎŠŎűł܌ůůܒڑږܫڑژ /ǡþůƟŦĩڒܒړڑ܋hĩĩ¼ǬǢǢܮ®ʼnĩűł܌Wang guo shi I܌ůůܒڗڏܫڗڒ

/ǡþůƟŦĩڒܒړڒ܋ ¼ƿűł ʼnþŻܮrŎűł܌Formosa, II. Wudao܌ůܒڕڒ

/ǡþůƟŦĩڒܒړړ܋¼ƿűł ʼnþŻܮrŎűł܌Formosa, I. Fangwu luocheng ge܌Ɵܒݑڕ /ǡþůƟŦĩڒܒړڔ܋ ¼ƿűł ʼnþŻܮrŎűł܌Die Gesichter des Buddha܌Ɵܒݑڑڏ

/ǡþůƟŦĩړܒڐ܋ £ŎƷěʼnĩƪƟŦþǢþĚŦĩŻűƷʼnĩƪʼnƔܗƷʼnĩĢŎþůŻűĢűŻƷĩʼnĩþĢƪŎűĢŎěþƷĩƷʼnĩƟŎƷěʼnĩƪƷʼnþƷ are only available on the modern instrument and are not used in traditional music.

/ǡþůƟŦĩړܒڑ܋ ®ěʼnĩůþƷŎěƟƢĩƪĩűƷþƷŎŻűŻŁƷʼnĩĩŦĩǛĩűaitake chords of the ƪʼnƔ in traditional ƷƔłþţƿ repertoire

/ǡþůƟŦĩړܒڒ܋ ȃĩĚĩłŎűűŎűłŻŁƷʼnĩƪʼnƔ part in the famous piece Etenraku (in the mode ʼnǢƔŠŻܤ from the ƷƔłþţƿƢĩƟĩƢƷŻŎƢĩǜŎƷʼnƷʼnĩěʼnþƢþěƷĩƢŎƪƷŎěƟŻƪŎƷŎŻűěʼnþűłĩƪţűŻǜűþƪ

te-utsuriܣrŎţŎ܌tŎʼnŻűłþţţŎʼnƔ܌ږژܤ

/ǡþůƟŦĩړܒړ܋ FŎűłĩƢŎűłƷþĚŦĩŻŁƷʼnĩڐږܮƟŎƷěʼnĩĢƪʼnƔܣfƔSƪʼnŎţþǜþܤ

/ǡþůƟŦĩݑړܒڔ܋ ¼ŻƪʼnŎŻNŻƪŻţþǜþ܌ܹWie ein Atem im Lichte” for ƪʼnƔsolo, opening

/ǡþůƟŦĩݑړܒڕ܋ ¼ŻƪʼnŎŻNŻƪŻţþǜþ܌Landscape V for ƪʼnƔ and string quartet, harmonic reduction and pitch-class set analysis

/ǡþůƟŦĩݑړܒږ܋ fŦþƿƪNƿĚĩƢ܌black plaint for ƪʼnƔþűĢƟĩƢěƿƪƪŎŻű܌Ɵܒݑڗ

/ǡþůƟŦĩݑړܒڗ܋ GĩƢʼnþƢĢ®ƷĎĚŦĩƢ܌]LIFE[ for ƪʼnƔ, hichiriki and glass chimes, III, ending

/ǡþůƟŦĩݑړܒژ܋ ʼnþǢþ ǬĩƢűŻǜŎű܌ Die Kreuzung for Ǖ, alto saxophone, and double bass, begin- ning of section C

/ǡþůƟŦĩݑړܒڐڏ܋æǕŠŎ¼þţþʼnþƪʼnŎ܌Mimi no ho, score pages ƪʼnƔܣŦĩǼƷܤþűĢǛŎŻŦþܣƢŎłʼnƷܤܗƿűĢĩƢƷʼnĩ ŎűƪƷƢƿěƷŎŻűƪŁŻƢƷʼnĩǛŎŻŦþƟŦþǢĩƢܣƪĩěƷŎŻű ܤŻűĩȀűĢƪƷʼnĩȀűþŦƪʼnƔ glissandi

with which the piece ends

/ǡþůƟŦĩړܒڐڐ܋ æǕŠŎ¼þţþʼnþƪʼnŎ܌®ƔŠƔƢŎűǬĩƷƪƿ for one or two ƪʼnƔ܌ƟþƢƷڑܗƢŎłʼnƷ܋ƷƢþűƪěƢŎƟƷŎŻűŎű Western notation by the composer

/ǡþůƟŦĩݑړܒڐڑ܋ ĚŻǛĩ܋ĚĩłŎűűŎűłŻŁƷʼnĩƪʼnƔ part of Etenraku (in the ʼnǢƔŠƔůŻĢĩܗƷƢþűƪěƢŎƟƷŎŻű þǼƷĩƢrŎţŎ܌tŎʼnŻűłþţţŎʼnƔ܌ږژܤܗĚĩŦŻǜ܋NĩŦůƿƷhþěʼnĩűůþűű܌Das Mädchen mit den Schwefelhölzern܌ƪěĩűĩڑڒ܋®ʼnƔ, ƪʼnƔƟþƢƷ܌ůůܒڔړړܫڔڔڕ

/ǡþůƟŦĩݑړܒڐڒ܋ ĚŻǛĩ܋ěʼnŻƢĢƟƢŻłƢĩƪƪŎŻűŻƷƪƿܴĚƔܴŠǕܴłĩܴŻƷƪƿ from EtenrakuܗĚĩŦŻǜ܋hþěʼnĩűůþűű܌

Das Mädchen mit den Schwefelhölzern܌ƪěĩűĩڑڒ܋®ʼnƔ, ƪʼnƔěʼnŻƢĢƪ܌ůůܒڔڐڕܫڔڐڗ܌

ڔړڏ܌ĩþěʼnǜŎƷʼnþłƢþƟʼnŎěƢĩƟƢĩƪĩűƷþƷŎŻűŻŁƷʼnĩȀűłĩƢŎűłƪþűĢȀűłĩƢŎűł changes

/ǡþůƟŦĩݑړܒڐړ܋ NĩŦůƿƷhþěʼnĩűůþűű܌Das Mädchen mit den Schwefelhölzern܌ƪěĩűĩڑڒ܋®ʼnƔ, analysis of the ƪʼnƔܮƪŻƿűĢȀĩŦĢƪܗƿƟƟĩƢŦŎűĩ܋ěʼnŻƢĢƟƢŻłƢĩƪƪŎŻűܣłƢþǢʼnŎłʼnŦŎłʼnƷƪ܋

ơƿþƢƷþŦܘơƿŎűƷþŦƪƷƢƿěƷƿƢĩƪܤܗŦŻǜĩƢŦŎűĩ܋þűþŦǢƪŎƪŻŁƷʼnĩƪŻƿűĢƪþěěŻƢĢŎűłƷŻ ƟŎƷěʼnܮěŦþƪƪƪĩƷƪܣǜʼnŎƷĩűŻƷĩʼnĩþĢƪ܋ǜʼnŻŦĩƷŻűĩƪĩłůĩűƷƪܤ

/ǡþůƟŦĩݑړܒڐڔ܋ NĩŦůƿƷhþěʼnĩűůþűű܌Das Mädchen mit den Schwefelhölzern܌ƪěĩűĩڑڒ܋®ʼnƔ, sim- ƟŦŎȀĩĢƪěŻƢĩƢĩĢƿěƷŎŻűܣǜŎƷʼnŻƿƷĢǢűþůŎěƪþűĢþƢƷŎěƿŦþƷŎŻűƪܤ܌ůůܒݑڔڏڗܫڔڒژ /ǡþůƟŦĩݑړܒڐڕ܋ NĩŦůƿƷhþěʼnĩűůþűű܌Das Mädchen mit den Schwefelhölzern܌ƪěĩűĩڑڒ܋®ʼnƔ,

ƪŎůƟŦŎȀĩĢƪěŻƢĩƢĩĢƿěƷŎŻű܌ůůܒݑڔړڏܫڔڗڑ

/ǡþůƟŦĩݑړܒڐږ܋ NĩŦůƿƷhþěʼnĩűůþűű܌Das Mädchen mit den Schwefelhölzern܌ƪěĩűĩڑڒ܋®ʼnƔ, sim- ƟŦŎȀĩĢƪěŻƢĩƢĩĢƿěƷŎŻű܌ůůܒݑڔڗڒܫڕړڕ

/ǡþůƟŦĩݑړܒڐڗ܋ NĩŦůƿƷhþěʼnĩűůþűű܌Concertini܋þűþŦǢƪŎƪŻŁƷʼnĩěĩűƷƢþŦƪŻƿűĢƪŎűƷʼnĩȀűþŦ ƪĩěƷŎŻűܗȀƢƪƷƢŻǜ܋ƟŎƷěʼnƪƿůǜŎƷʼnŎűƷĩƢǛþŦƪƷƢƿěƷƿƢĩŎűƪĩůŎƷŻűĩƪܗƪĩěŻűĢƢŻǜ܋

ƪĩơƿĩűěĩŻŁĩűƷƢŎĩƪܣĚĩŦŻǜŎűĚƢþěţĩƷƪ܋ŎűěŦƿĢĩĢƷƢŎþĢƪŻƢŁŻƿƢܮűŻƷĩěʼnŻƢĢƪܤܗ ƷʼnŎƢĢƢŻǜ܋ƟŎƷěʼněŻűƷĩűƷܣƟŎƷěʼnܮěŦþƪƪƪĩƷƪܤܗŁŻƿƢƷʼnƢŻǜ܋ȀǼƷʼnܘŁŻƿƢƷʼnƪƷƢƿěƷƿƢĩƪ /ǡþůƟŦĩݑړܒڐژ܋ NĩŦůƿƷhþěʼnĩűůþűű܌Concertini܌ůůܒݑڕژږܫږڏڐ

/ǡþůƟŦĩݑړܒڑڏ܋NĩŦůƿƷhþěʼnĩűůþűű܌Concertini܌ůůܒݑڕژږܫږڏڐ܌ƢĩĢƿěƷŎŻűŻŁŎűƪƷƢƿůĩűƷþŦ groups

/ǡþůƟŦĩݑړܒڑڐ܋ ®ƟĩěƷƢþŦþűþŦǢƪŎƪŻŁƷʼnĩƷƢþĢŎƷŎŻűþŦƪʼnƔ chord ĚƔ, ordered according to loud- űĩƪƪŻŁƷʼnĩƪƟĩěƷƢþŦěŻůƟŻűĩűƷƪܣĢƿƢþƷŎŻűŻŁƷʼnĩƪŻƿűĢ܋ڔܒڔڒڑƪĩěŻűĢƪܗƪŻƿƢěĩ܋

'ŻŁrŎţŎ܌tŎʼnŻűłþţţŎʼnƔܤܗǛþŦƿĩƪþĚŻǛĩƷʼnĩűŻƷĩƪĢĩűŻƷĩƷʼnĩŦŻƿĢűĩƪƪŎűƪŻűĩ ܣþǛĩƢþłĩŻǛĩƢƷʼnĩĩűƷŎƢĩĢƿƢþƷŎŻűŻŁƷʼnĩƪŻƿűĢܤ

/ǡþůƟŦĩݑړܒڑڑ܋®ƟĩěƷƢþŦþűþŦǢƪŎƪŻŁƷʼnĩȀűþŦěʼnŻƢĢŻŁhþěʼnĩűůþűűܼƪConcertiniܣůܒݑڕژژܤ܌ěŻůܮ ƟþƢŎƪŻűŻŁƷʼnĩƢĩěŻƢĢŎűłƪĚǢ/űƪĩůĚŦĩrŻĢĩƢűܣڑڏڏڕ܌þĚŻǛĩܤþűĢfŦþűłŁŻƢƿů àŎĩűܣڑڏڏژ܌ĚĩŦŻǜܤ

¼þĚŦĩړܒڐ܋ NĩŦůƿƷhþěʼnĩűůþűű܌Das Mädchen mit den Schwefelhölzern܌ƪěĩűĩڑڒ܋®ʼnƔ, anal- ysis of temporal divisions

¼þĚŦĩړܒڑ܋ NĩŦůƿƷhþěʼnĩűůþűű܌Concertini܌ȀűþŦƪĩěƷŎŻű܌þűþŦǢƪŎƪŻŁƷĩůƟŻƢþŦĢŎǛŎƪŎŻűƪ

¼þĚŦĩڔܒڐ܋ GƢþĢþƷŎŻűŻŁƷʼnĩþƢĩþƪĚĩƷǜĩĩűƪƟŻţĩűǛŻŎěĩþűĢƪŎűłŎűłĚǢGĩŻƢłĩhŎƪƷǜŎƷʼn ƟŦþěĩůĩűƷŻŁƷʼnĩĩǡþůƟŦĩƪĢŎƪěƿƪƪĩĢĚǢhŎƪƷ

¼þĚŦĩڔܒڑ܋ GƢþĢþƷŎŻűƪĚĩƷǜĩĩűƪƟĩĩěʼnþűĢƪŻűłŎűƷʼnĩŁŻƿƢůŻƪƷŎůƟŻƢƷþűƷǛŻěþŦłĩűƢĩƪ ŻŁƷƢþĢŎƷŎŻűþŦdþƟþűĩƪĩůƿƪŎěƿƪŎűłNŎƢþűŻܼƪěŦþƪƪŎȀěþƷŎŻűŻŁłŎűƪʼnƔ, ƢƔƪʼnƔ, and

ĩŎƪʼnƔ

/ǡþůƟŦĩڔܒڐ܋ ȃĩƷʼnƢĩĩǛŻěþŦĢĩŦŎǛĩƢǢƷĩěʼnűŎơƿĩƪshirakoe, kudoki, and ƪþűŠǕ in transcriptions of the ʼnĩŎţǢŻţƿpiece SuzukiܣƟĩƢŁŻƢůĩƢ܋¼ƪƿƷŻůƿSůþŎܗƷƢþűƪěƢŎƟƷŎŻű܋

Komoda, Heike no ongaku܌ړڏړܫړڐږܤ

/ǡþůƟŦĩڔܒڑ܋ NþűŠŎ ʼnŎţþůþƷƪƿ܌SůŻƪĩǢþůþŻűűþƷĩŎţŎű (Mount Imo and Mount Se. A Parable ŻŁFĩůþŦĩßŎƢƷƿĩܤܒ®ĩěƷŎŻűŁƢŻůƷʼnĩƪěĩűĩYama no danܣrŻƿűƷþŎű®ěĩűĩܤ܌

ĚþƪĩĢŻűþƟĩƢŁŻƢůþűěĩĚǢ®ƿůŎƷþǢǕ¼þţĩůŻƷŻ܌ƢĩěŎƷþƷŎŻű܌þűĢfŎǬþĩůŻű tŻǬþǜþ܌futozao shamisen

/ǡþůƟŦĩڔܒڒ܋ ¼þű'ƿű܌Silk RoadŁŻƢƪŻƟƢþűŻþűĢƟĩƢěƿƪƪŎŻű܌ڒ܌ƪǢƪƷĩůƪڐݯڑ

/ǡþůƟŦĩڔܒړ܋ ¼þű'ƿű܌rþƢěŻ£ŻŦŻܘűƟĩƢþǜŎƷʼnŎűþűƟĩƢþ, Scene Seaܗ£þƢƷܹàþƷĩƢ܌ܺ

ůůܒڒڔܫږڏ

/ǡþůƟŦĩڔܒڔ܋ 'ŎDzŁĩƢĩűƷŎűƪƷƢƿěƷŎŻűƪŁŻƢǛŻŎěĩþƢƷŎěƿŦþƷŎŻűŎűƢűŻŦĢ®ěʼnŻĩűĚĩƢłܼƪPierrot lunaireŻƟܒڑڐ܌űŻܒڒ܋'ĩƢ'þűĢǢ܌ůůܒݑڕܫڐڐ܌ڐڔܫڑڏ܌ڒڏܫڒڐ

/ǡþůƟŦĩڔܒڕ܋ NŎŁƿůŎ®ʼnŎůŻǢþůþ܌Monolog for shamisenþűĢǛŻěþŦƪŻŦŻŎƪƷ܌Ɵܒݑړ܌ƪǢƪƷĩůƪڐܫڒ /ǡþůƟŦĩڔܒږ܋ NŎŁƿůŎ®ʼnŎůŻǢþůþ܌Breath for three voices, two percussionists, and piano,

ȀǛĩǛŻěþŦþƢƷŎěƿŦþƷŎŻűƪܣþܫĩܤŁƢŻůƟþłĩƪڒ܌ڐڒ܌ڐڐ܌ڑ܌ږŻŁƷʼnĩƪěŻƢĩ /ǡþůƟŦĩڔܒڗ܋ æǕŠŎ¼þţþʼnþƪʼnŎ܌ÃűĩĚŎǢþůþŁŻƢȀǛĩܮƪƷƢŎűłǬŎƷʼnĩƢþűĢŎűěþűƷþƷŎŻű܌Ɵܒڐ

/ǡþůƟŦĩڔܒژ܋ ®þŦǛþƷŻƢĩ®ěŎþƢƢŎűŻ܌Luci mie traditrici܌ǛþƢŎþűƷƪŻŁƷʼnĩܹƪŎŦŦþĚþǬŎŻűĩƪěŎǛŻŦþƷþܺ܋

ܡþܢܫܡěܢƪěĩűĩڐ܌SŦrþŦþƪƟŎűþܣĚþƢŎƷŻűĩܤ܌ůůܒݑڐڔ܌ڐږ܌ڑژܫڒڏܗܡĢܢ܌ܡĩܢƪěĩűĩڗ܌hþ rþŦþƪƟŎűþܣƪŻƟƢþűŻܤܘSŦrþŦþƪƟŎűþܣĚþƢŎƷŻűĩܤ܌ůůܒݑڕږܫڕژ܌ڗڒ

/ǡþůƟŦĩڔܒڐڏ܋ GǢƆƢłǢhŎłĩƷŎ܌ ŻűěĩƢƷŻŁŻƢ£ŎþűŻþűĢƢěʼnĩƪƷƢþ܌ƷʼnŎƢĢůŻǛĩůĩűƷ܌ůůܒڐܫژ /ǡþůƟŦĩڔܒڐڐ܋ GǢƆƢłǢhŎłĩƷŎ܌ ŻűěĩƢƷŻŁŻƢ£ŎþűŻþűĢƢěʼnĩƪƷƢþ܌ƷʼnŎƢĢůŻǛĩůĩűƷ܌ůůܒڗڒܫڗڔ܌

layers

/ǡþůƟŦĩڔܒڐڑ܋ GǢƆƢłǢhŎłĩƷŎ܌ ŻűěĩƢƷŻŁŻƢ£ŎþűŻþűĢƢěʼnĩƪƷƢþ܌ƷʼnŎƢĢůŻǛĩůĩűƷ܌ůůܒݑږڐܫږڕ܌

ƟŎþűŻƪŻŦŻܘǡǢŦŻƟʼnŻűĩ

¼þĚŦĩڔܒڒ܋ GǢƆƢłǢhŎłĩƷŎ܌ ŻűěĩƢƷŻŁŻƢ£ŎþűŻþűĢƢěʼnĩƪƷƢþ܌ƷʼnŎƢĢůŻǛĩůĩűƷ܌ůůܒږڐܫږڕ܋

ƟƿŦƪĩŦþǢĩƢƪ܌ĢþƷþŎűƪŎǡƷĩĩűƷʼnűŻƷĩǛþŦƿĩƪܣ܇ݑݳŻDzŁƪĩƷܤ܌ŻƪƷŎűþƷŻƟƿŦƪĩƪůþƢţĩĢ

in bold

/ǡþůƟŦĩڔܒڐڒ܋ GǢƆƢłǢhŎłĩƷŎ܌ ŻűěĩƢƷŻŁŻƢ£ŎþűŻþűĢƢěʼnĩƪƷƢþ܌ƷʼnŎƢĢůŻǛĩůĩűƷ܌ůůܒږڐܫږڕ܌

þěěĩűƷŦþǢĩƢƪŎűƷʼnƢĩĩƢĩłŎƪƷĩƢƪ܌þűĢ ܗǜĩĢłĩƪ܋ěŻůůŻűþěěĩűƷƪƟŎþűŻþűĢ ǡǢŦŻƟʼnŻűĩܗěŎƢěŦĩƪ܋þěěĩűƷƪǡǢŦŻƟʼnŻűĩܣǜŎƷʼnŻƿƷƟŎþűŻܤ

¼þĚŦĩڔܒړ܋ GǢƆƢłǢhŎłĩƷŎ܌ ŻűěĩƢƷŻŁŻƢ£ŎþűŻþűĢƢěʼnĩƪƷƢþ܌ƷʼnŎƢĢůŻǛĩůĩűƷ܌ůůܒږڐܫږڕ܌

accent layers in three registers A, B and C, represented on the basis of an adapt- ĩĢ¼ŎůĩܮÃűŎƷŻǡ®ǢƪƷĩůܣ¼Ã®ܤ܌ĢĩǛĩŦŻƟĩĢĚǢ£ʼnŎŦŎƟNþƢŦþűĢ

/ǡþůƟŦĩڔܒڐړ܋ GǢƆƢłǢhŎłĩƷŎ܌ ŻűěĩƢƷŻŁŻƢ£ŎþűŻþűĢƢěʼnĩƪƷƢþ܌ƷʼnŎƢĢůŻǛĩůĩűƷ܌ůůܒݑږڐܫږڕ܌

ƢĩƪƿŦƷŎűłƢʼnǢƷʼnůƪŻŁŦþǢĩƢƪܣŦĩǼƷܤþűĢ ܘܣƢŎłʼnƷܤܗþěěĩűƷƪ܋ěŻůůŻűþěěĩűƷƪ ƟŎþűŻܘǡǢŦŻƟʼnŻűĩܗěŎƢěŦĩƪ܋ŎůƟƿŦƪĩƪǡǢŦŻƟʼnŻűĩ

/ǡþůƟŦĩڔܒڐڔ܋E Juba – beginning of a popular song from South SudanܣƷƢþűƪěƢŎƟƷŎŻű܋

GĩƢʼnþƢĢfƿĚŎţܗfƿĚŎţ܌ܹrƿƪŎţłĩƪƷþŦƷƿűłŎűŁƢŎţþ܌ܺڒڕܤ

/ǡþůƟŦĩڔܒڐڕ܋ ¼þű݂Ě݂ŻŦŻţŻƪĩܙܫƪŻűłŁƢŻůþŁþŎƢǢƷþŦĩŻŁƷʼnĩæŻƢƿĚþ܌àĩƪƷŁƢŎěþܣƷƢþűƪěƢŎƟܮ ƷŎŻű܋GĩƢʼnþƢĢfƿĚŎţܗfƿĚŎţ܌ܹrƿƪŎţłĩƪƷþŦƷƿűłŎűŁƢŎţþ܌ܺڒږܤ

¼þĚŦĩڔܒڔ܋ ¦ĩƟƢĩƪĩűƷþƷŎŻűŻŁ/ǡþůƟŦĩڔܒڐڔŎűƷʼnĩ¼ŎůĩܮÃűŎƷŻǡ®ǢƪƷĩůܣ¼Ã®ܤܗůĩƷƢŎě ƟĩƢŎŻĢŎěŎƷŎĩƪŻŁƷʼnĩƟþƷƷĩƢűƪþƢĩůþƢţĩĢĚǢěʼnþűłŎűłłƢþǢŦĩǛĩŦƪ

¼þĚŦĩڔܒڕ܋ £ƿŦƪĩƪƟĩĩĢƪþűĢůĩƷƢŎěƟþƷƷĩƢűƪŎű/ǡþůƟŦĩڔܒڐڔ

¼þĚŦĩڔܒږ܋ ¦ĩƟƢĩƪĩűƷþƷŎŻűŻŁ/ǡþůƟŦĩڔܒڐڕŎűƷʼnĩ¼ŎůĩܮÃűŎƷŻǡ®ǢƪƷĩůܣ¼Ã®ܤܗůĩƷƢŎě ƟĩƢŎŻĢŎěŎƷŎĩƪŻŁƷʼnĩƟþƷƷĩƢűƪþƢĩůþƢţĩĢĚǢěʼnþűłŎűłłƢþǢŦĩǛĩŦƪ

¼þĚŦĩڔܒڗ܋ £ƿŦƪĩƪƟĩĩĢƪþűĢůĩƷƢŎěƟþƷƷĩƢűƪŎű/ǡþůƟŦĩڔܒڐڕ

¼þĚŦĩڔܒژ܋ þƷĩłŻƢŎĩƪŻŁůĩƷƢŎěĢŎƪƪŻűþűěĩŎű ŦþƪƪŎěþŦܮ¦ŻůþűƷŎěůƿƪŎě

/ǡþůƟŦĩڔܒڐږ܋ ʼnþǢþ ǬĩƢűŻǜŎű܌Excavated Dialogues – Fragments, second movement, þܒůůܒݑڐܫڒܣƪƷƢŎűłŎűƪƷƢƿůĩűƷƪܤܗĚܒůůܒږܫڐژܣbangdiܘŻĚŻĩܤܗ

ěܒůůܒڒږܫړڑܣƷƿƷƷŎܤ

/ǡþůƟŦĩڕܒڐ܋ ʼnƢŎƪƷŎþűÃƷǬ܌Interference܌ȀƢƪƷůŻǛĩůĩűƷ܋ěʼnŻƢĢƪƷƢƿěƷƿƢĩŻŁƷʼnĩsheng /ǡþůƟŦĩڕܒڑ܋ ʼnƢŎƪƷŎþűÃƷǬ܌Interference܌ƷʼnŎƢĢůŻǛĩůĩűƷ܌Ɵܒڑڕ

FŎłƿƢĩڕܒڐ܋ ®ƷƢƿěƷƿƢþŦłƢŎĢŻŁƢʼnǢƷʼnůŎěƟĩƢŎŻĢƪŁŻƢ ʼnƢŎƪƷŎþűÃƷǬ܌the wasteland of minds,

ůůܒݑڐܫڑڏ

/ǡþůƟŦĩڕܒڒ܋ ʼnƢŎƪƷŎþűÃƷǬ܌the wasteland of minds, tuning of the zhengܒȃĩþěěŎĢĩűƷþŦƪ ůþƢţĩĢǜŎƷʼnþűþƢƢŻǜŎűĢŎěþƷĩþƢĩƷƿűŎűłŻŁƷʼnĩƟŎƷěʼnĚǢڒڏěĩűƷƪܣʼnŎłʼnĩƢܘ ŦŻǜĩƢܤܒSűƷʼnĩƪěŻƢĩܣƪĩĩ/ǡܒݑڕܒڔܤ܌ƷʼnĩŻƷʼnĩƢƟþƢƷƪǜŎƷʼnƷʼnĩƪþůĩűŻƷþƷŎŻűƪʼnŻǜþ ơƿþƢƷĩƢƷŻűĩŻDzŁƪĩƷܣݯܘܮڔڏěĩűƷƪܤܒ

/ǡþůƟŦĩڕܒړ܋ ʼnƢŎƪƷŎþűÃƷǬ܌the wasteland of minds܌ěŻůƟŻƪŎƷŎŻűþŦƪţĩƷěʼnĩƪŻŁƷʼnĩʼnþƢůŻűǢ /ǡþůƟŦĩڕܒڔ܋ ʼnƢŎƪƷŎþűÃƷǬ܌the wasteland of minds܌ůůܒݑړڒܫړڔܣĩűĢŻŁƷʼnĩȀƢƪƷƪĩěƷŎŻűܤ /ǡþůƟŦĩڕܒڕ܋ ʼnƢŎƪƷŎþűÃƷǬ܌Glasakkord܌ůůܒݑڐܫڐږ܌ƪʼnƔƟþƢƷܗěʼnŻƢĢƟƢŻłƢĩƪƪŎŻű܋ږܮڑܮڑƟŎƷěʼnĩƪ /ǡþůƟŦĩڕܒږ܋ ʼnƢŎƪƷŎþűÃƷǬ܌GlasakkordܗܹłŦþƪƪěʼnŻƢĢƪܺŻŁƷʼnĩƪƷƢŎűłƪŻĚƷþŎűĩĢĚǢƪƟĩěƷƢþŦ

analysis of glass sounds

/ǡþůƟŦĩڕܒڗ܋ ʼnƢŎƪƷŎþűÃƷǬ܌GlasakkordܗܹłŦþƪƪěʼnŻƢĢƪܺŻŁƷʼnĩƪƷƢŎűłƪ܋ƢĩþŦŎǬþƷŎŻűŎűƷʼnĩƪěŻƢĩ܌

ůůܒڐܫږ

/ǡþůƟŦĩڕܒژ܋ ʼnƢŎƪƷŎþűÃƷǬ܌Glasakkord܌ůůܒڐڔڐܫڐڔڔ

/ǡþůƟŦĩڕܒڐڏ܋®þűłűǢŽűłƪþű from the æŽűłƪþűʼnŻĩƪþűłƪƿŎƷĩܣfŻƢĩþűěŻƿƢƷůƿƪŎěܤ܋ȀƢƪƷǛĩƢƪĩ܌

ţēţݑڑݯڒܣűƷʼnŻŦŻłǢŻŁfŻƢĩþű¼ƢþĢŎƷŎŻűþŦrƿƪŎě܌ǛŻŦܒڔ܌ĩĢŎƷĩĢĚǢtþƷŎŻűþŦ ŦþƪƪŎܮ ěþŦrƿƪŎěSűƪƷŎƷƿƷĩ܌®ĩŻƿŦ܌űܒĢܒܤ

/ǡþůƟŦĩڕܒڐڐ܋ ʼnƢŎƪƷŎþűÃƷǬ܌together//apart܌ůůܒݑړܫڕ /ǡþůƟŦĩڕܒڐڑ܋ ʼnƢŎƪƷŎþűÃƷǬ܌together//apart܌ůůܒڗړܫڗږ

/ǡþůƟŦĩڕܒڐڒ܋ ʼnƢŎƪƷŎþűÃƷǬ܌Zersplitterung܌ȀƢƪƷŎűƷĩƢŦƿĢĩܣƟܒڔܤ܌ƢĩŁĩƢĩűěĩŻŁ®þĩǢþܒƪþĩǢþ ܣǜʼnŎƪƷŦĩĢĚǢƷʼnĩƟŎþűŎƪƷܤ

/ǡþůƟŦĩڕܒڐړ܋ ¼ƢþűƪěƢŎƟƷŎŻűŻŁƟǢŽűłƪŎŠŻ by Chang Sa-hun, “Art Song.” In ®ƿƢǛĩǢŻŁfŻƢĩþű Arts – Traditional Music܌®ĩŻƿŦڐژږڒ܌ڐژړܣơƿŻƷĩĢŎű¦ĩĩƪĩ܌ܹGþƷƷƿűłĩűĢĩƪfƿűƪƷܮ ŦŎĩĢĩƪ܌ܺڐڏڕܤ

/ǡþůƟŦĩڕܒڐڔ܋ ʼnƢŎƪƷŎþűÃƷǬ܌Zersplitterung܌ĚĩłŎűűŎűłŻŁƷʼnĩƪĩěŻűĢƟþƢƷܣƟܒڕܤ

/ǡþůƟŦĩڕܒڐڕ܋ ʼnƢŎƪƷŎþűÃƷǬ܌Zersplitterung܌ƪĩěŻűĢŎűƷĩƢŦƿĢĩܗĚƢĩþţþłĩŻŁƷʼnĩłŦþƪƪƟŦþƷĩ

ܣƟܒڐڐܤܒ

¼þĚŦĩڕܒڐ܋ ʼnƢŎƪƷŎþűÃƷǬ܌Zersplitterungܣڑڏڏڑܤ܌hŎĚƢĩƷƷŻ

¼þĚŦĩڕܒڑ܋ ʼnƢŎƪƷŎþűÃƷǬ܌telinga – mulutܣĩþƢƪܫůŻƿƷʼnܤܣڑڏڏژܤ /ǡþůƟŦĩڕܒڐږ܋ ʼnƢŎƪƷŎþűÃƷǬ܌telinga – mulut, tone systems

¼þĚŦĩڕܒڒ܋ ʼnƢŎƪƷŎþűÃƷǬ܌telinga – mulut, synopsis. hŎűĩűƿůĚĩƢƪŁŻƢƷʼnĩƟŻĩůƢĩŁĩƢƷŻƷʼnĩ /űłŦŎƪʼnƷƢþűƪŦþƷŎŻűܣƪĩĩݑ¼þĚŦĩڕܒڑܤ܌þŦƷʼnŻƿłʼnƷʼnĩǛĩƢƪĩƪƷƢƿěƷƿƢĩĢŎDzŁĩƢƪŁƢŻů

that of the Indonesian original in some instances.

/ǡþůƟŦĩڕܒڐڗ܋ ʼnƢŎƪƷŎþűÃƷǬ܌telinga – mulut܌ĚĩłŎűűŎűłƪŻŁƪĩěƷŎŻűƪڐܣůůܒڐܫڕܤ܌ڑ ܣůůܒږڑܫږژܤ܌ڒܣůůܒڐڗڕܫڐژڑܤ܌ړܣůůܒڑڒڗܫڑړڒܤ

/ǡþůƟŦĩڕܒڐژ܋ ʼnƢŎƪƷŎþűÃƷǬ܌telinga – mulut܌ƪĩěƷŎŻűڑ܌ůůܒݑڐږږܫڐڗڔ