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"Saffle, Michael"
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China and the West : music, representation, and reception
Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. The emergence of \"Westernized\" music from China -concurrent with the technological advances that have made global culture widely accessible - has not established a prominent presence in the West. China and the West brings together essays on centuries of Sino-Western musical exchange by musicologists, ethnomusicologists, and music theorists from around the world. It opens with a look at theoretical approaches of prior studies of musical encounters and a comprehensive survey of the intercultural and cross-cultural theoretical frameworks-exoticism, orientalism, globalization, transculturation, and hybridization-that inform these essays. Part I focuses on the actual encounters between Chinese and European musicians, their instruments and institutions, and the compositions inspired by these encounters, while Part II examines theatricalized and mediated East-West cultural exchanges, which often drew on stereotypical tropes, resulting in performances more inventive than accurate.Part III looks at the musical language, sonority, and subject matters of \"intercultural\" compositions by Eastern and Western composers. Essays in Part IV address reception studies and consider the ways in which differences are articulated in musical discourse by actors serving different purposes, whether self-promotion, commercial ma
Book
«Musical Comedy 3.0» Disney's Phineas and Ferb as Animated, Digitalized, and Serialized Multi-generational Entertainment
TV consumption models are constantly changing. However, this change, sometimes, is very similar to what was previously, introducing elements in accordance with the new times. In this sense, Phineas and Ferb can be understood as an updated version of Disney classics, which also includes elements of the musical. All this has generated remarkable audiencies.
Journal Article
Richard Wagner
Richard Wagner: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer.
Using This Research Guide
Acknowledgments
I. Introducing Wagner II. Surveying Wagner: Compendia and Other Survey Studies III. Researching Wagner: Reference Works of Various Kinds IV. The Documentary Legacy V. Wagner’s Life and Character VI. Wagner as Composer: Studies in Techniques, Styles, and Influences VII. Wagner as Music Dramatist 1: Surveys Studies VIII. Wagner as Music Dramatist 2: The Earlier and Unfinished Operas and Music dramas IX. Wagner as Music Dramatist 3: Holländer, Lohengrin, and Tannhäuser X. Wagner as Music Dramatist 4: Meistersinger, Parsifal, Tristan, and the Ring XI. Wagner as Instrumental and Vocal Composer and Arranger XII. Performing Wagner: Studies of Performance Practices, Productions, and Media Issues XIII. Wagner as Poet, Prose Writer, Philosopher, and Revolutionary XIV. Criticizing Wagner: Wagner’s Critics and the Wagner Reception XV. Wagner and Culture, Past and Present: Literature, Psychology, and the Visual Arts XVI. Wagner and Anti-Semitism XVII. After Wagner: Bayreuth, the Festivals, and Wagner’s Descendents Index
Michael Saffle is Professor of Music and Humanities in the Department of Interdisciplinary Studies at Virginia Tech.
eBook
Images of China and Japan in Turn-of-the-Last-Century American Sheet Music
Late nineteenth- and early twentieth-century English-speaking audiences often encountered China and Japan through operettas, musical comedies, and popular songs of greater or lesser ethnically stereotyped character. These forms of entertainment depended to a surprising extent upon visual “support,” provided on stage through sets and costuming, offstage through sheet-music covers that helped “locate” their imagined subjects and musical styles. Japan was more often represented visually in terms of feminine refinement, China in terms of aristocratic exploitation. A Chinese Honeymoon (1899) and other pre-World War I operettas have recently been criticized for their exaggerated depictions of “Orientals.” After 1914, however—and especially after 1920, when new laws made East Asian immigration to the United States much more difficult—China and its citizens were treated more gently and imaginatively in China Rose (1924) and other shows. A similar evolution accompanied the sounds and images associated with Japanese-themed songs and shows. Illustrations employed to advertise more than a dozen mostly forgotten Anglo-American operettas and musical comedies as well as three-dozen Chineseand Japanese-themed popular songs document these shifting attitudes toward the imagined exoticism of the musical Far East in early twentieth-century Britain and the United States.
Journal Article
