Musical Entanglements between Germany and East Asia: Transnational Affinity in the 20th and 21st Centuries

Description

This edited volume explores musical encounters and entanglements between Germany and East Asian nations from 1900 to the present. In so doing, it speaks to their dynamic and multi-faceted musical relations in multiple ways. Despite East Asia and Germany being located at opposite ends of the globe, German music has found remarkably fertile soil in East Asia. East Asians have enthusiastically adopted it, while at the same time adding their own musical interpretations. These musical encounters have produced compositions that reflect this mutual influence, stimulating and enriching each other through their entanglement. After more than a century of entanglement, Germany and East Asia have become kindred musical spirits.   Acknowledgements Contents Notes on Contributors List of Figures List of Tables Chapter 1: The Idea of Entanglement, Historiography, and Organization The Idea of Entanglement: Historical and Musical The Historiographical Landscape The Organization of the Volume Bibliography Part I: German-Japanese/Korean Entanglements, 1900–1945: Wagner, Bandmasters, and Japanese Students Chapter 2: The Reception of Wagner in Japan at the Turn of the Twentieth Century: A Non-musical Dimension of Cross-Border Music Transfer What Was the Wagner Boom? Three Questions About the Wagner Boom Influence by the Völkisch/Life Reform Thought Wagner’s Call to the Frustrated Youth of Meiji Japan Conceptual Components in Music Transfer Conclusion Bibliography Chapter 3: Music for Modern Korea: Bandmasters Franz Eckert and Baek U-yong Franz Eckert: Assembling a Band for the Modern Military Baek U-yong: A Military Band Without a Military Conclusion Bibliography Chapter 4: Japanese Music Students in Germany and Austria, 1880 to 1945 Japanese Music Students Before 1914 Japanese Composition Students in Germany and Austria from 1920 Japanese Music Performance Students Since 1920 Conclusion: Musical Modernity in Germany-Japan Exchanges and Flows Bibliography Part II: Sino-German Entanglements, 1900–1949: Operas, Beethoven, and Jewish Cantors Chapter 5: The “Oriental” Utopia: Postwar Orientalism and Ferruccio Busoni’s Opera Turandot Music as Shelter, Music as Cure Postwar Orientalism A New Libretto and a New Riddle Dehumanized Characters Tragic-Comic Otherworldliness Conclusion Bibliography Chapter 6: Reimagining China in Interwar German Opera: Eugen d’Albert’s Mister Wu and Ernst Toch’s Der Fächer Mister Wu and Colonial Revisionism Revisionism in Music New Relationships, New Modes of Representation Allegorizing Germany Conclusion Bibliography Archives Consulted Musical Scores Works Cited Chapter 7: Demarcation and Cooperation: Nazi-Persecuted Jewish Cantors in Shanghai Exile, 1938–1949 Limited Job Opportunities for Cantors in Reformed Judaism in East Asia The Establishment of Separate Liberal and Conservative Worship Services Cooperation and Mutual Support Within the Association of Jewish Precentors Between Acculturation and Tradition: The Cantors’ Public Concerts Concluding Remarks Bibliography Literature Autobiographies Printed Sources Archival Collections Private Collections Chapter 8: What Beethoven Meant in China, 1900–1949: Music, Ideology and Power Early Twentieth-Century Chinese Literati on Beethoven Performing Beethoven in China: Beginnings in Shanghai The Battle over Music in Shanghai Beethoven in Wartime Enter Mao Bibliography Part III: German–East Asian Entanglements since 1945: Ferienkurse, Mozart, and East Asian Composers Chapter 9: Mozart in the Context of Globalization: The Musician as an Agent of Cultural Hybridity Lang Lang and Harnoncourt: A Cross-Cultural Encounter A Historical Concern: Musical Authenticity An Ethnographical Concern: Music as Universal Language? A Personal Concern: Artistic Creativity and Freedom Conclusion: Globalist Aesthetics Bibliography Chapter 10: When “Japanese” Music Became “World” Music: The Internationale Ferienkurse für Neue Musik as Intercultural Agency Internationale Ferienkurse für Neue Musik Darmstadt: A Brief Overview Postwar Music-Making in Japan: A Brief Introduction Matsudaira and Fukushima: Japan as a “Remote” Contemporary Yoshida and His Darmstadt Lecture (and John Cage Behind It) Music Interculturality and “World Music History”: Issues and Arguments Bibliography Primary Sources Secondary Sources Chapter 11: The Music of the Korean-German Composer Yun Isang in the Cold War Era: Interculturality and Engagement Art Interculturality in Isang Yun’s Music The Eastern Berlin Affair and Isang Yun’s Engagement Art Conclusion Bibliography Chapter 12: Korean Contemporary Music and Germany: An Examination of Four Korean Composers The Recognition of Musical Identity: Tai-Bong Chung (b. 1952) Experimenting with Up-to-Date Technology: Donung Lee (b. 1955) Cultural Interaction: Unsu Kang (b. 1960) A Springboard for a Leap Forward: Woosung Cho (b. 1979) Conclusion Bibliography Index