Traditional Chinese Music In Contemporary Singapore

Log InSign Up

• Log In
• Sign Up
• more
• • About
  • Press
  • Papers
  • Terms
  • Privacy
  • Copyright
  • We're Hiring!
  • Help Center
  • less

Outline

keyboard_arrow_downTitleAbstractThe Future Begins with Young AudiencesMethodologyCultural Analysis ofEducation and Pedagogy IntroductionBackground of the PieceInterview and DiscussionIntroductionConclusionAll TopicsArtMusicdownload

Download Free PDF

Download Free PDFTraditional Chinese Music in Contemporary SingaporeMichelle LohChenwei Wang

2020, Pagesetters

visibility

…

description

324 pages

descriptionSee full PDFdownloadDownload PDF bookmarkSave to LibraryshareShareclose

Sign up for access to the world's latest research

Sign up for freearrow_forwardcheckGet notified about relevant paperscheckSave papers to use in your researchcheckJoin the discussion with peerscheckTrack your impact

Abstract

The publisher reserves all rights to this title. Except for the quotation of short passages for the purpose of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.

... Read more

Related papers

When a Great Nation Emerges:: Chinese Music in the WorldFrederick Lau

2017

downloadDownload free PDFView PDFchevron_rightReview of Folk Music of China, Living Instrumental TraditionsYing-fen Wang 王櫻芬

The Journal of Asian Studies, 1998

downloadDownload free PDFView PDFchevron_rightChinese Music and its Globalized Past and PresentJoseph Lam

Macalester International, 2008

downloadDownload free PDFView PDFchevron_rightAsi an Musi col ogy Published by the Council for Asian Musicology 2018 (Volume 28Michael HurtdownloadDownload free PDFView PDFchevron_rightMusic in China: Experiencing Music, Expressing Culture by Frederick LauFrederick Lau

Asian Music, 2014

downloadDownload free PDFView PDFchevron_rightIntroduction: Special Issue – East Asian popular music and its (dis)contentsHyunjoon Shin

Popular Music, 2013

Special Issue-East Asian popular music and its (dis)contents When one of the guest editors of this issue convened a workshop at the International Institute of Asian Studies (IIAS) in Leiden on 26 November 2008, it was titled 'East Asian Popular Music, Small Sounds from Big Places?'. Was it out of 'East Asian modesty' for the European audience who were not expected to know much about the subject? One is reminded of the book from popular music studies scholarship, Big Sounds from Small Peoples (Wallis and Malm 1984). In this book, which includes case studies of the music industries of 12 small nations, there is not one chapter about an East Asian nation. Is this because East Asians are never small peoples or because their sound is never big in the world of popular music around the globe? It cannot be denied that East Asia has been an almost forgotten area in the academic study of the popular music of the English language sphere. Even if you look at the edited anthology, The Popular Music Studies Reader, which collects together 43 'classic texts and essential new writings on popular music' (Bennett et al. 2006), you cannot find any single article that touches on, let alone discusses, East Asian popular music. Even in the journal Popular Music, apart from the special issue featuring Japanese popular music in 1991, there have been surprisingly few articles concerning East Asian popular music. 1 Considering that the region has a huge popular music market (Japan is the second largest in the world), and that distinctive and rich musical cultures have developed in China (as well as Hong Kong and Taiwan), Japan and Korea, it is unfortunate that East Asian popular music has been almost invisible outside the region. But it is not our intention to complain here that 'our' music is disregarded in international popular music studies. We are only discussing the specific conditions of this underrepresentation. A couple of years ago, one of the guest editors of this issue suggested that this regional limitation is firstly 'because most studies about popular music in Asia had been written in local or national languages', and secondly, 'because studies written in English and other lingua franca were predominantly produced by Western-based scholars and remained outside of the inter-Asian network of knowledge production' (Shin 2009, p. 495). It is no accident that two recently published special journal issues on Asian popular music (Shin 2009; Brunt 2011) have connections with the inter-Asia network. In this special issue, we would add a third point. It has been regarded as common sense that East Asian popular music, unlike popular music in other areas such as Africa or South America, is merely an imitation of Euro-American music, and that East Asia is considered as an area of consumption rather than creative production.

downloadDownload free PDFView PDFchevron_rightHoward, Keith and Lauren Gorfinkel (eds) (2012) Preserving Tradition, Facing the Future: Conservation and Innovation in Chinese Music, Asian Musicology, v.19.Lauren Gorfinkel

http://asianmusicology.net/zboard/view.php?id=cyberedition&page=1&sn1=&divpage=1&sn=off&ss=on&sc=on&select_arrange=headnum&desc=asc&no=26 http://asianmusicology.net/zboard/zboard.php?id=cyberedition&page=1&page_num=10&category=&sn=off&ss=on&sc=on&keyword=&prev_no=27&sn1=&divpage=1&select_arrange=headnum&desc=asc

downloadDownload free PDFView PDFchevron_rightIntroduction to the Special Issue on Musics of Coeval East AsiaHyun Kyong Hannah Chang

Twentieth-Century Music, 2021

A number of scholars in critical Asian Studies have pointed out the persistent construction of East Asia as the Other across Anglophone humanities. 1 They have cited ideologies that have continued to motivate the essentialist construction of East Asia as static, archaic, and separate from the Westfrom orientalism, a hallmark of European and US imperialisms, to postwar Boasian culturalism, which emerged as a kind of critique of cultural standardization brought on by Western imperialisms. 2 It would be an exaggeration to say that current Anglophone scholarship on the music of East Asia overtly partakes in the othering practices of the past. However, the legacies nevertheless continue to shape the epistemic ground of this scholarship in subtle ways. This is seen, for example, in the ways in which knowledge is organized and presented in reference books, textbooks, and syllabi. 'Chinese', 'Japanese', and 'Korean' music is depicted first and foremost as a range of traditional musics; Western, popular, or other hybrid forms of music do make an appearance but are given secondary or supplementary status. 3 This structure of knowledge reinforces a 'United Nations' model where nations are represented by traditional music and exist within nationally bounded space and time. It is difficult to paint in broad strokes the rapidly changing terrain of recent research; however, it is possible to locate a constructivist strain, which, despite its critical work, still maps music onto notions of national or ethnic identity. In this constructivist frame, there is a productive recognition that the traditional in twentieth-century music is reconstructed through the identity discourses of nationalism and globalization. 4 However, what lies outside this reconstructed soundscape remains underexplored, and thus music remains tethered to a 'nation-bound, identity-driven hermeneutics'.

downloadDownload free PDFView PDFchevron_rightChinese Music and Translated Modernity in Shanghai, 1918-1937Joys Cheung

2008

My musical research on modern China began with a seminar project on Yuen Ren Chao at the University of Texas, Austin, where I entered the field of ethnomusicology. I thank Stephen Slawek, Veit Erlmann, and colleagues there for inspiring my initial interests and perspectives, which have grown into this dissertation.

downloadDownload free PDFView PDFchevron_rightThe sounds of modernity in Chinese pop musicFrederick Lau

Intercultural Communication of Chinese Culture, 2020

Your article is protected by copyright and all rights are held exclusively by Academy for International Communication of Chinese Culture. This e-offprint is for personal use only and shall not be self-archived in electronic repositories. If you wish to self-archive your article, please use the accepted manuscript version for posting on your own website. You may further deposit the accepted manuscript version in any repository, provided it is only made publicly available 12 months after official publication or later and provided acknowledgement is given to the original source of publication and a link is inserted to the published article on Springer's website. The link must be accompanied by the following text: "The final publication is available at link.springer.com".

downloadDownload free PDFView PDFchevron_rightSee full PDFdownloadDownload PDF

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

Related papers

Performing the South Seas: Singapore Chinese Orchestra and the Making of Nanyang-Style MusicMing-yen Lee 李明晏

Asian-European Music Research Journal, 2022

Since the establishment of the Singapore Chinese Orchestra (Xinjiapo huayue tuan 新加坡華樂團) in 1997, it has attempted to develop its approach to Chinese music differently from other international counterparts. Gradually, the Singapore Chinese Orchestra developed and performed Chinese music, reflecting Singapore's diverse cultures and identities by incorporating non-Chinese music elements from Singapore and Southeast Asia. This article examines the "Nanyang-style music" (Nanyang feng huayue 南洋風華樂) of the Singapore Chinese Orchestra. It draws on Tu Wei-Ming's (1991) concept of 'Cultural China' and builds on Brian Bernards' (2015) work on the 'Nanyang' in Chinese and Southeast Asian literature to consider the creation and performance of new forms of modern Chinese orchestral music. I argue that the Singapore Chinese Orchestra's Nanyang-style music, which has its roots in modern Chinese orchestral music, is created and performed to present the cultural hybridity of the Chinese in Singapore society. This article shows that the Nanyang-style music is performed in two ways, namely, Chinese music combining Nanyang elements and Chinese music presenting a Singaporean identity.

downloadDownload free PDFView PDFchevron_rightAssociation for Chinese Music ResearchSue M C Tuohy 苏独玉

2008

, innumerable inter-continental e-mail messages and faxes have been sent back and forth between Wu Ben and me in the preparation of this issue. However, the actual production was handled entirely by Wu Ben, to whom we all owe a word of thanks. We also thank the referees who kindly read manuscripts and provided valuable suggestions. Helen in Florida worked tirelessly in copy-editing, and the following has lent their support in proofreading:

downloadDownload free PDFView PDFchevron_rightRoutledge Handbook of Asian Music: Cultural IntersectionsJonghee Kang

2021

downloadDownload free PDFView PDFchevron_rightXiao Mei & Gisa Jähnichen, eds. (2018). Asian-European Music Research Journal, No. 2. Berlin/Cottbus & Shanghai. ISSN 2625-378X (E-Journal).Gisa Jähnichen

Welcome to Number 2 of AEMR-EJ! This volume is as diverse as the people who contribute to it. It has 11 items, 7 are topical articles & essays, 4 are reviews. They cover a wide range of issues from dealing with historical sources to globalization, from sound ecology to oral notation and collaboration with communities. These 11 parts of the second volume make up a recommendable point of departure in discussing music, its practice and theory, its role in societies and its existence as meaningful sound. May the audience and the readers enjoy and connect with the ideas presented here.

downloadDownload free PDFView PDFchevron_right"Music between China and the West in the Age of Discovery" - Symposium - Hong Kong, The Chinese University, May 14-16, 2018Patrizio BarbieridownloadDownload free PDFView PDFchevron_rightTan Cosmopolitan identities evolving musical cultures of the Straits born Chinese of pre World War II MalayaSooi Beng Tan

Ethnomusicology Forum, 25:1, 35-57, 2016

The Straits Chinese were local-born Chinese who formed an influential class of businessmen providing the connection between the British and the Malays in the colonial port cities of pre-World War II Malaya. Based on analyses of newspaper reports of their theatre and music prior to the War, selected 78 rpm recordings and printed scores, this article shows that the Straits Chinese adopted a type of vernacular cosmopolitan identity that was transnational. This identity emerged from their interactions with the diverse peoples, social transformations and ideas about social reform in the port cities, but was meanwhile rooted in Chinese values and customs. The Straits Chinese created new eclectic musical forms such as kronchong, dondang sayang, ronggeng, minstrel music and Malay opera, which combined Malay, Chinese and European elements, and staged cosmopolitan ideals of morality and reformism influenced by their English education. By so doing, they were more inclusive of other ethnic groups and cultures compared with the China-born Chinese in the pre-World War II era.

downloadDownload free PDFView PDFchevron_rightThe Music of Marc Battier, Kee Yong Chong and Gene Coleman: Compositions for Traditional Asian Instruments and Electronics in the Twenty-First CenturyHong-Da Chin

2017

The Synthesis of Acoustics and Electronics.…………………………………… 2.2 The Role of Electronics in Music Written for TAI and Electronics …………… 2.3 Cultural and Philosophical Correspondences …………………………………..

downloadDownload free PDFView PDFchevron_rightRedefining Essence: Tuning and Temperament of Chinese Traditional MusicSheryl Chow

Essence and Context: Between Music and Philosophy. Cham: Springer, 2019

Since the twentieth century, the circulation of Western music has induced different reactions in the non-Western world. The ways in which people in the non-Western world handle Western music are not only conditioned by the nature of their musical systems but also by their attitudes toward their own musical traditions under the influence of Western culture and ideology. In the twentieth century, Chinese music reformers saw Western music as scientific in its use of harmony, technologically advanced instruments, mathematically rational temperament, and its association with scientifically advanced societies. They saw the absence of harmony and standardized tuning in their music as a sign of inferiority, and hence advocated the incorporation of tonal harmony and equal temperament into their music. Many fretted or fixed-pitch traditional Chinese instruments, such as the pipa and the yangqin, were modified for equal temperament. The determination of which features or parameters of traditional music are to be incorporated or dismissed inevitably leads to an essentialism of Chineseness in that some musical parameters (e.g. pentatonic mode) are selected at the expense of others (e.g. microtonal intonation). Their attitude toward the musical tuning or microtonal intonation of Chinese traditional music in the face of equal temperament reflected their conception about the essence of Chinese musical culture. For instance, although both Chinese and Egyptian modernizers saw the piano as a vehicle of musical progress for its mechanical technology and standardized tuning, the Egyptians were more inclined to retune the piano to play microtonal intonation, albeit standardized, for Arab music, whereas the Chinese maintained the equal temperament. However, in the twentieth-first century, more and more Chinese music scholars and musicians advocated the use of microtonal intonations as an essential feature of traditional Chinese music. Isolating the little-studied parameter of tuning and temperament, this paper explores the changing view of the essence of Chinese music in the context of the globalization of Western music. https://link.springer.com/chapter/10.1007%2F978-3-030-14471-5_20

downloadDownload free PDFView PDFchevron_rightChinese Music eliza elisabetadownloadDownload free PDFView PDFchevron_rightJähnichen, Gisa (2014). Incorporating Asian Music Characteristics: A Variation on the Theme Music History from a Hermeneutic Perspective. Malaysian Music Journal, 2 (2), pp. 46–67.Gisa Jähnichen

August 2013 in Tanjung Malim, Malaysia, the following two sentences caught my attention: "Cage was an early proponent of the need for Western music to incorporate Asian music characteristics. He studied Zen and I Ching, both philosophies having a powerful impact on his music, writings and art."1 This paper examines the essence of this statement that seems to commend openness and at the same time points towards a globally dominating perception of musical intellectuality rooted in the West, a place that John Cage to some extent intended to leave. He studied what many studied before him, the I Ching [Yì Jīng]. By doing so, how much could he contribute to the world of composition? Methodologically, this paper will focus on the hermeneutic perspective in discussing Asian music characteristics that are incorporated into contemporary music compositions. Taking further some teaching texts on John Cage to illustrate various viewpoints on what music history may encompass if seen as an open system of events and doings that are positioned according to actual needs, the paper serves to summarise a few findings from recent observations in discussing musical and historical terminology in and outside Asia.

downloadDownload free PDFView PDFchevron_rightkeyboard_arrow_downView more papers

Related topics

MusicaddFollow

Chinese MusicaddFollow

Overseas ChineseaddFollow

Contemporary Chinese MusicaddFollow

• Explore
• Papers
• Topics

• Features
• Mentions
• Analytics
• PDF Packages
• Advanced Search
• Search Alerts

• Journals
• Academia.edu Journals
• My submissions
• Reviewer Hub
• Why publish with us
• Testimonials

• Company
• About
• Careers
• Press
• Help Center
• Terms
• Privacy
• Copyright
• Content Policy

580 California St., Suite 400San Francisco, CA, 94104© 2026 Academia. All rights reserved