China and the West : music, representation, and reception / edited by Hon-Lun Yang and Michael Saffle.
Includes bibliographical references and index.

Contents: Music, China, and the West: a musical-theoretical introduction / Hon-Lun Yang -- The pipe organ of the Baroque era in China / David Francis Urrows -- From colonial modernity to global identity: the Shanghai Municipal Orchestra / Hon-Lun Yang -- Calafati, Sou-Chong, Lang Lang, and Li Wei: two hundred years of "the Chinese" in Austrian music, drama, and film / Cornelia Szabó-Knotik -- Eastern fantasies on Western stages: Chinese-themed operettas and musical comedies in turn-of-the-last-century London and New York / Michael Saffle -- The many lives of Flower Drum Song (1957-2002): negotiating Chinese American identity in print, on stage, and on screen / James Deaville -- Deterritorializing spirituality: intercultural encounters in Iron Road / Mary Ingraham -- Chinese opera percussion from model opera to Tan Dun / Nancy Yunhwa Rao -- Spanning the timbral divide: insiders, outsiders, and novelty in Chinese-Western fusion concertos / John Winzenburg -- Combinations of the familiar and the strange: aspects of Asian-Dutch encounters in recent music history / Emile Wennekes -- The Shanghai Quartet's Chinasong: a musical counterpart to English-language cultural revolution memoirs? / Eric Hung -- Contested imaginaries of collective harmony: the poetics and politics of "silk road" nostalgia in China and the West / Harm Langenkamp -- When a great nation emerges: Chinese music in the world / Frederick Lau -- A postscript / Michael Saffle.

“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 marketing, or modes of nationalistic-even propagandistic-expression. The volume's extensive bibliography of secondary sources will be invaluable to scholars of music, contemporary Chinese culture, and the globalization of culture"--Publisher cover note. --

Abstract:In the mid-seventeenth century, China entered its last dynastic heyday of economic prosperity and territorial expansion. This special period in Chinese history is called the High Qing, when China was ruled by three generation of Manchu Emperors. This was also a period of fast-growing Catholic expansion in the Far East. At that time, influenced greatly by Western missionaries, China saw a metamorphosis in its traditional thinking about the investigation of the natural world. In many fields, Western scientific endeavour made rapid progress in the High Qing. Western music, as a traditional European discipline, was for a time widely introduced into China in various theoretical and practical forms. On the one hand, skilled missionary musicians such as the Jesuit Tomás Pereira and the Lazarist Teodorico Pedrini joined with High Qing officials in fruitful collaboration to produce the first treatises on Western music theory in Chinese. On the other hand, performances by European musicians brought Western music to the court in such forms as instrumental sonatas, while a wider public particularly relished the sound of the organ. The spread of Western music in the High Qing widened Chinese intellectual thought and enriched imperial multiculturalism. However, the growing interest in Western music coincided and intertwined with a disastrous succession of imperial bans on the preaching of Christianity in the High Qing. This gave rise to a complex web of interactions between missionary musicians and Manchu Emperors, mixing intriguing anecdotes of exotic musics and complex personal relationships. This thesis attempts to explain how and why the twin phenomena happened during the two centuries. Moreover, it will examine this current of exuberant foreign music against the religious impact on Chinese society, grounding this on a balancing of diverse Chinese and European sources, and emphasizing that this was to some considerable extent a mutual exchange.--Source: Jesuitica.be website.

Local access dig.pdf. [Jia-Western Music High Qing.pdf]

Abstract sub-title varies from t.p.: From Ut Re Mi to Fourteen-Tone Temperament: the Global Acoustemologies of an Early Modern Reform to Chinese Musical Tuning.

Abstract
This dissertation examines what is commonly known as the Kangxi Emperor (r. 1661-1722)’s fourteen-tone temperament, a 1714 reform to Chinese musical tuning that effectively uses the familiar Pythagorean proportions to divide the octave into fourteen parts. Besides examining the ideological and cultural contexts of the tuning reform and orrecting many longheld misconceptions, I argue that the reform largely resulted from an epistemological shift that rearticulated the empirical process of sounding and listening vis-à-vis the historicist studies of texts and records in producing musical knowledge. Besides examining it in the context of traditional Chinese scholarship, I shed particular light on the transregional and even global scale of this shift. I argue that the series of experiments and studies on which the fourteen-tone temperament was based took place within the specific political structures of the Qing Empire (1636-1912) as a conquest regime that subjugated China under its minority Manchu ruling class. I also show that the shift was itself inspired by a global exchange of musical knowledge, in which the concept of octave equivalence in Western music theory was misunderstood yet appropriated to advocate an empirical term in music theory and a reform to Chinese opera, both in turn harnessed for Qing-imperial ideological purposes. What is more, by comparing the fourteen-tone temperament to roughly contemporary discourses on texts vs. sounds, writing vs. speech, and historicism vs. empiricism, both within the Qing Empire and beyond, I argue that the Qing’s reform to musical tuning, despite its apparent parochialism, potentially reflected a much broader transformation that took place on a global scale, or what I call the “Phonological Revolution.” In concluding this dissertation, I make a case for further examining how seemingly discrete rearticulations of the relation between historicism and empiricism across different discourses and praxes of language, music, writing, and songs may reveal a coeval and coconstitutive epistemological shift on a global scale in the early modern world.

Keywords: tuning, history of music theory, Qing Empire, global music history, acoustemology, Phonological Revolution.

Local access dig.pdf. [Hu-Acoustemologies China.pdf]