Musical Entanglements Between Germany And East Asia

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.

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. .

This volume surveys transnational encounters and entanglements between Germany and East Asia since 1945, a period that has witnessed unprecedented global connections between the two regions. It examines their sociopolitical and cultural connections through a variety of media. Since 1945, cultural flow between Germany and East Asia has increasingly become bidirectional, spurred by East Asian economies’ unprecedented growth. In exploring their dynamic and evolving relations, this volume emphasizes how they have negotiated their differences and have frequently cooperated toward common goals in meeting the challenges of the contemporary world. Given their long-standing historical differences, their post-1945 relations reveal a surprisingly high degree of affinity in many areas. To show how they have deeply shaped each other’s views, this volume presents 12 chapters by scholars from the fields of history, sinology, sociology, literature, music, and film. Topics include cultural topics, such as German and Swiss writers on East Asia (Enzensberg, Muschg, and Kreitz), Japanese writer on Germany (Tezuka and Tawada), German commemorative culture in Korea, Beethoven in China, metal music in Germany and Japan, diary films on Japan (Wenders), as well as sociopolitical topics, such as Sino– East German diplomacy, Germans and Korean democracy, and Japanes and Korean communities in Germany.

Adopting a transnational approach, this edited volume reveals that Germany and China have had many intense and varied encounters between 1890 and 1950. It focuses on their cross-cultural encounters, entanglements, and bi-directional cultural flows. Although their initial relationship was marked by the logic of colonialism, interwar Sino-German relations established a cooperative relationship untainted by imperialist politics several decades before the era of decolonization. A range of topics are addressed, including pacifists in Germany on the Boxer Rebellion, German investment in Qingdao, teachers at German-Chinese schools, social and pedagogical theories and practice, female literary and missionary connections, Sino-German musical entanglements, humanitarian connections during the Nanjing Massacre, Manchukuo-German diplomacy, and psychoanalysis during the Shanghai exile.

In the first study of the global dimensions of musical modernism, Björn Heile proposes a novel theory according to which musical modernism is constituted by a global diasporic network of composers, musicians and institutions. In a series of historical and analytical case studies from different parts of the world, this book overcomes the respective limitations of both Eurocentric and postcolonial, revisionist accounts, focusing instead on the transnational entanglements between the West and other world regions. Key topics include migration, the transnational reception and transfer of musical works and ideas, institutions such as the International Society for Contemporary Music (ISCM) and composers who are rarely discussed in Western academia, such as the Nigerian-born Akin Euba and the Korean-German Younghi Pagh-Paan. Influenced by the interdisciplinary notion of 'entangled histories', Heile critiques established dichotomies, all the while highlighting the unequal power relations on which the existing global order is founded.

Introduces the musical styles and instruments of such Eastern Asian countries as China, Japan, and Indonesia, and discusses how music of this region was influenced by, and has an influence on, other cultures.

The Garland Handbook of Southeast Asian Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 4, Southeast Asia (1998). Largely revised and updated, the essays offer detailed, regional studies of the different musical cultures of Southeast Asia and examine the ways in which music helps to define the identity of this particular area. Part one provides an in-depth introduction to the area of Southeast Asia and explores a series of issues and processes, such as colonialism, mass media, spirituality, and war. The articles in this section are important in gaining historical, political, and social perspective. Part two focuses on mainland Southeast Asia, with essays representing Cambodia, Thailand, Laos, Burma, Peninsular Malaysia, Vietnam, Singapore, and the minority peoples of mainland Southeast Asia. Part three focuses on island Southeast Asia, dividing the area into three sections: Indonesia, the Philippines, and Borneo. In addition to offering a detailed study of the music of each area, it also offers recent perspectives on the gamelan and theater traditions of Indonesia. Questions for Critical Thinking at the end of each major section guide and focus attention on what issues - musical and cultural - arise when one studies the music of Southeast Asia - issues that might not occur in the study of other musics of the world. An accompanying compact disc offers musical examples from Southeast Asia.

This is the first edited volume dedicated to the study of East Asian-German cinema. Its coverage ranges from 1919 to the present, a period which has witnessed an unprecedented degree of global entanglement between Germany and East Asia. In analyzing this hybrid cinema, this volume employs a transnational approach, which highlights the nations’ cinematic encounters and entanglements. It reveals both German perceptions of East Asia and East Asian perceptions of Germany, through analysis of works by both German directors and East Asian/East Asian-German directors. It is hoped that this volume will not only accelerate cross-cultural exchange, but also provide a wider perspective that helps film scholars to see the broader contexts in which these films are produced. It introduces multiple compelling topics, not just immigration, multiculturalism, and exile, but also Japonisme, children’s literature, musical modernity, media hybridity, gender representation, urban space, Cold War divisions, and national identity. It addresses several genres—feature films, essay films, and documentary films. Lastly, by embracing three East Asian cinemas in one volume, this volume serves as an excellent introduction for German cinema students and scholars. It will appeal to international and interdisciplinary audiences, as its contributors represent multiple disciplines and four world regions.