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. --