Janz / Yang Decentering Musical Modernity

Perspectives on East Asian and European Music History
1. Auflage 2019
ISBN: 978-3-8394-4649-2
Verlag: transcript
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 33, 374 Seiten, Format (B × H): 148 mm x 225 mm

Reihe: Musik und Klangkultur

1. Why did You chose this topic?

The idea of writing a book about musical modernity stemmed from our observation of how our reality, and musicology in particular, is becoming more and more global on an institutional level (as recent changes within the IMS show: e.g. the establishment of Regional Associations and the decentralization of its events). As scholars, we felt the necessity to extend such a trend on a scholarly level, in order to provide our readers with the intellectual tools to better understand the world we live in.

2. What new perspectives does your book offer?

The book broadens and intensifies the reflections on music history from a global perspective, by including scholarly discussions from East Asia. It overcomes dichotomies such as European vs. World music, as well as the methodological division between historical musicology and ethnomusicology. Ultimately, the book contributes to the understanding of modernity not just as a mere object of study, but rather as a methodological tool to better capture the complexities of contemporary musical reality.

3. What makes your topic relevant for current research debates?

Our book extends the current debates on global history to the history of music, also establishing a dialogue among scholars from different academic traditions. It connects singular approaches, such as global and transnational history, with sociological theories of modernity and modernization and with the musicological historical and analytical investigation, providing a multidimensional and more complete framework for further investigations about (musical) modernity.

4. Choose one person you would like to discuss your book with!

David R M Irving (University of Melbourne); Shuhei Hosokawa (International Research Center for Japanese Studies, Kyoto)

5. Your book summary in one sentence:

This book is a transnational investigation into the multifaceted notion of musical modernity, its specificities, policies, imaginaries and narratives.

Autoren/Hrsg.

Janz, Tobias

Yang, Chien-Chang

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Geschichte der Musik
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre
• Geisteswissenschaften Geschichtswissenschaft Geschichtliche Themen Postkoloniale Geschichte, Nationale Befreiung und Unabhängigkeit

Über Autor(innen)

Yang, Chien-Chang
Chien-Chang Yang is associate professor and director of the Graduate Institute of Musicology of the National Taiwan University. He earned his doctorate from the University of Chicago in 2002 with the dissertation 'Music as Knowledge: The Foundation of German Musikwissenschaft and Hugo Riemann's Theory of Listening' which received a research grant support from the DAAD and the Chiang Chingkuo Foundation. His research areas include the intellectual history of music, critical theory, music historiography, and issues related to musical modernity.

Janz, Tobias
Tobias 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.

Tobias 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.
Chien-Chang Yang is associate professor and director of the Graduate Institute of Musicology of the National Taiwan University. He earned his doctorate from the University of Chicago in 2002 with the dissertation 'Music as Knowledge: The Foundation of German Musikwissenschaft and Hugo Riemann's Theory of Listening' which received a research grant support from the DAAD and the Chiang Chingkuo Foundation. His research areas include the intellectual history of music, critical theory, music historiography, and issues related to musical modernity.