Decentering Musical Modernity
Perspectives on East Asian and European Music History
(Sprache: Englisch)
This collection investigates the concept of modernity in music and its multiple interpretations in Europe and East Asia. Through contributions by both European and East Asian musicologists it discusses how a decentered understanding of musical modernity...
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This collection investigates the concept of modernity in music and its multiple interpretations in Europe and East Asia. Through contributions by both European and East Asian musicologists it discusses how a decentered understanding of musical modernity could be matched on multiple historiographical perspectives while being attentive to the specificities of local music and their narratives in East Asia and Europe. The essays connect local, global and transnational history with sociological theories of modernity and modernization, making the volume an important contribution to overcoming the Eurocentric dichotomy between western music and world music within the field of historical musicology.
Autoren-Porträt von Decentering Musical Modernity
Janz, TobiasTobias Janz, born in 1974, is full professor and director of the Department of Musicology at the Rheinische Friedrich-Wilhelms-Universität in Bonn, Germany. He is also editor of the journal Musik & Ästhetik. He wrote his doctoral thesis on the dramaturgy of orchestral sound in Wagner's Ring des Nibelungen and published his second monograph Zur Genealogie der musikalischen Moderne in 2014. His research interests include music history from the 17th to the 21th century, music aesthetics, and music theory.
Bibliographische Angaben
- Autor: Decentering Musical Modernity
- 2019, 374 Seiten, 9 Schwarz-Weiß-Abbildungen, Maße: 14,8 x 22,3 cm, Kartoniert (TB), Englisch
- Herausgegeben: Tobias Janz
- Verlag: transcript
- ISBN-10: 3837646491
- ISBN-13: 9783837646498
- Erscheinungsdatum: 03.07.2019
Sprache:
Englisch
Pressezitat
»[Der Sammelband gibt] nicht nur einen lebendigen Einblick in den aktuellen Zustand des internationalen musikhistorischen Diskurses. Vielmehr öffnet er den Blick für 'alternatives' der Musikgeschichte.« Jin-Ah Kim, MusikTheorie, 2 (2020)
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