Cover

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Half Title, Frontispiece, Title Page, Copyright, Dedication

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Contents

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pp. vii-viii

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Preface

Hon-Lun Yang, Michael Saffle

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pp. ix-xii

The present volume had its origin in a four-day conference held in Hong Kong, a city often regarded as an East-West melting pot. Entitled “East Meets West: Sino-Western Musical Relations/Intersections/Receptions/ Representations,” the conference took place at Hong Kong Baptist University from 16 to 19 April 2009 ...

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Music, China, and the West: A Musical-Theoretical Introduction

Hon-Lun Yang

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pp. 1-18

The appropriateness of such phrases as East-West, East meets West, and even China and the West is often challenged. Their use in academic discourse or in the names of institutions and organizations is predicated on a hypothetical dichotomy based on cultural as well as geographical differences.1 ...

Part 1: Chinese-Western Historical Encounters and Musical Exchanges

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The Pipe Organ of the Baroque Era in China

David Francis Urrows

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pp. 21-48

The strange and compelling history of the pipe organ in China does not fully begin in China: it begins on the South China coast in the enclave of Macau. Under Portuguese administration from 1556 to 1999, Macau continues to exude an almost mythological charm as one of the great crossroads of East and West. ...

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From Colonial Modernity to Global Identity: The Shanghai Municipal Orchestra

Hon-Lun Yang

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pp. 49-64

In November 2012, the Shanghai Symphony Orchestra (SSO) announced a four-year partnership with the New York Philharmonic,1 the former claiming a history just several decades shorter than the latter. The SSO celebrated its 130th anniversary in 2009 with high-profile publicity. ...

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Calafati, Sou-Chong, Lang Lang, and Li Wei: Two Hundred Years of “the Chinese” in Austrian Music, Drama, and Film

Cornelia Szabó-Knotik

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pp. 65-84

Since Marco Polo’s reports about China began to circulate among Europeans during the thirteenth century and since the growth of trade between Asian peoples and Europe expanded during the seventeenth, Chinese products have been important for Western lifestyles. ...

Part 2: “Staged” Encounters and Theatrical Representations of Chineseness

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Eastern Fantasies on Western Stages: Chinese-Themed Operettas and Musical Comedies in Turn-of-the-Last-Century London and New York

Michael Saffle

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pp. 87-118

Anything Goes—a musical comedy with book by Guy Bolton and P. G. Wodehouse, lyrics and music by Cole Porter—has long been popular. Even Porter’s admirers, however, have mostly forgotten the renaming of two subordinate characters since the show opened on Broadway in November 1934. ...

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The Many Lives of Flower Drum Song (1957–2002): Negotiating Chinese American Identity in Print, on Stage, and on Screen

James Deaville

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pp. 119-136

Flower Drum Song occupies a unique position among American musical comedies that foreground issues of racial and ethnic difference.1 Not only does it trace an exceptional progression through artistic media, from novel to stage to film, but it also has experienced a thorough revision and revival. ...

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Deterritorializing Spirituality: Intercultural Encounters in Iron Road

Mary Ingraham

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pp. 137-160

Media response following the premiere of CHAN Ka Nin’s and Mark Brownell’s opera Iron Road in April 2001 proclaimed it the epitome of Canadian contemporary society. Music critic William Littler of the Toronto Star applauded Iron Road as “the archetypal opera for the multicultural Canada of today,”2 ...

Part 3: Chinese-Western Musical Encounters and Intercultural Compositions

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Chinese Opera Percussion from Model Opera to Tan Dun

Nancy Yunhwa Rao

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pp. 163-185

For commentators and audiences outside China, a synthesis of Western and Chinese traditions marks the defining feature of works by such new-wave Chinese composers as TAN Dun, CHEN Yi, ZHOU Long, CHEN Qigang, and Bright Sheng. As moments of landmark encounters with Western music aesthetics—namely, the “beginning” of a Chinese-Western cultural synthesis— ...

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Spanning the Timbral Divide: Insiders, Outsiders, and Novelty in Chinese-Western Fusion Concertos

John Winzenburg

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pp. 186-204

When Chinese composer GAO Weijie wrote Dreams of Meeting in 1993, it was not by coincidence that he scored the work for solo dizi (Chinese bamboo flute), Western flute, and orchestra or that he quoted extensively from Debussy’s Prelude to the Afternoon of a Faun from a century earlier. Gao had received separate requests from soloists in China and France ...

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Combinations of the Familiar and the Strange: Aspects of Asian-Dutch Encounters in Recent Music History

Emile Wennekes

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pp. 205-220

In heaven, the language spoken is Chinese—at least according to the messianistic figure HONG Xiuquan (1814–64), who considered himself the younger brother of Jesus Christ. In 1853, Hong established a New Jerusalem in the earthly paradise of Nanjing. A predecessor of MAO Zedong, Hong led his own followers in an uprising against the Manchu Qing dynasty. ...

Part 4: Ideological Encounters and the Reception of Chinese Music and Ensembles in the West

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The Shanghai Quartet’s Chinasong: A Musical Counterpart to English-Language Cultural Revolution Memoirs?

Eric Hung

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pp. 223-242

During the past three decades, English-language memoirs by survivors of the Great Proletarian Cultural Revolution have shaped many Americans’ image of contemporary China. These “memoirs of exile” narrate how the persecution of individuals, closings of universities, forced relocations to the countryside, scenes of students beating teachers, ...

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Contested Imaginaries of Collective Harmony: The Poetics and Politics of “Silk Road” Nostalgia in China and the West

Harm Langenkamp

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pp. 243-264

The Swedish explorer Sven Hedin often lost himself in daydreaming during his 1933–35 motorized reconnaissance expedition of Xinjiang, an enterprise he undertook at the behest of the Guomindang government that sought to strengthen its control of the restive, predominantly Muslim province in the northwestern corner of its realm by restoring the ancient Silk Road ...

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When a Great Nation Emerges: Chinese Music in the World

Frederick Lau

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pp. 265-282

In April 2001, New York Times music critic James Oestreich boldly declared that “the sound of new music is often Chinese.”1 His observation was no doubt a reaction to the increasing number of Chinese-inspired new compositions circulating in the West in recent years. ...

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A Postscript

Michael Saffle

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pp. 283-288

The conference that launched the present volume was held at Hong Kong Baptist University in April 2009. Organized by HO Wai-Chung of that university’s Music Department and by this volume’s editors, the conference celebrated the ninetieth anniversary of China’s May Fourth Movement. ...

Bibliography

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pp. 289-310

Contributors

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pp. 311-316

Index

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pp. 317-328