Global Musical Modernisms is a forum for all forms of music received and appropriated as “modern” in any location around the globe, crossing the boundaries of post/tonality and musical genres. The focus is on art, avant-garde, experimental, modernist, and popular music, by global (African, Middle Eastern, Central/ South/ Southeast/ East Asian, Latin American, Australasian etc.) music-makers, minority music-makers from the West, and music-makers from the peripheries of Europe and North America.
BIBLIOGRAPHY
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This is the bibliography of the SMT Global Interculturalism and Musical Peripheries interest group.
To make an entry, click on the Edit button (between Read and History) above Bibliography. After editing, click on Save right at the bottom; unlike a Google Doc, this document does not save automatically. Pls enter the bibliographic items in alphabetical order by author’s last name. Pls use the citation format for the bibliography in Music Theory Spectrum, but slightly altered. For articles: Author’s last name, First name. Year of publication. “Article title.” Journal title in italics, Journal volume[period]issue: Beginning page-Ending page. [Country of origin of composer(s)/Country of residence and Composer(s)’s name. Limit to three composers.] For books: Author’s last name, First name. Year of publication. Book title in italics. City, State: Publisher. [Country of origin of composer(s)/Country of residence and Composer(s)’s name. Limit to three composers.] For book chapters: Author’s last name, First name. Year of publication. “Chapter title.” Book title in italics, edited by [name of editors in normal spelling], beginning page-ending page. City, State: Publisher. [Country of origin of composer(s)/Country of residence and Composer(s)’s name. Limit to three composers.] For dissertations. Last name, First name. Year. “Dissertation title.” University. [Country of origin of composer(s)/Country of residence and Composer(s)’s name. Limit to three composers.] An additional useful resource is the bibliography maintained by the Engaged Music Theory Working Group at https://engagedmusictheory.com Contents
Lai, Eric. 2009. The Music of Chou Wen-Chung. Farnham, England; Burlington, VT: Ashgate. [China/USA. Chou Wenchung.]
Lee, Jungmin Mina Lee. 2020. “The Story of Unsuk Chin’s Cello Concerto.” Global Musical Modernisms (Jan 16). https://globalmusicalmodernisms.hcommons-staging.org/2020/01/16/the-story-of-unsuk-chins-cello-concerto/ [Korea/Germany. Unsuk Chin.]
Liao, Lin-Ni. 2018. "Taiwanese Women Composers of Mixed Music with their Cultural Heritage. in Electroacoustic Music in East Asia, ed. Marc Battier and Kenneth Fields (q.v.): 161-173. [Taiwan. Chao Chin-Weng. Lin-Mei Fang.]
Nuss, Steven. 2004. "Music from the Right: The Politics of Toshirō Mayuzumi's Essay for String Orchestra." in Locating East Asia in Western Art Music, edited by Yayoi Uno Everett and Frederick Lau (q.v.): 85-118. [Japan. Toshirō Mayuzumi.]
Shimizu, Yoshihiko. 2018. "The Creative Quest into Temple Bell Sonorities: Works of Musique Concrète by Toshiro Mayuzumi." in Electroacoustic Music in East Asia, ed. Marc Battier and Kenneth Fields (q.v.): 36-48. [Japan. Toshirō Mayuzumi.]
Squibbs, Ron. 2020. "Jōji Yuasa - Cosmic Haptic for piano (1957)." Global Musical Modernisms (Nov 23) https://globalmusicalmodernisms.hcommons-staging.org/2020/11/23/joji-yuasa-cosmos-haptic-for-piano-1957/ [Japan. Jōji Yuasa.]
Vishio, Anton. 2020. "The Art of Derivation: Jo Kondo's Paregmenon." Global Musical Modernisms (March 2). https://globalmusicalmodernisms.hcommons-staging.org/2020/03/02/the-art-of-derivation-jo-kondos-paregmenon/ [Japan. Jō Kondō.]
Wiener, Barry. 2020. “The Woman in the Dunes for Solo Percussionist (2012).” Global Musical Modernisms (Jan 14). https://globalmusicalmodernisms.hcommons-staging.org/2020/01/14/akemi-naito-japan-ny-the-woman-in-the-dunes-for-solo-percussionist-2012/ [Japan/USA. Akemi Naito.]
Yu, Siu Wah. 2004. "Two Practices Confused in One Composition: Tan Dun's Symphony 1997: Heaven, Earth, Man." in Locating East Asia in Western Art Music, edited by Yayoi Uno Everett and Frederick Lau (q.v.): 57-71. [China/USA. Tan Dun.]
Zhang, Xiaofu. 2018. "The Power of Arterial Language in Constructing a Musical Vocabulary of One's Own; Inheriting the Inspiration and Gene of Innovation in Electroacoustic Music from Chinese Culture." in Electroacoustic Music in East Asia, ed. Marc Battier and Kenneth Fields (q.v.): 126-134. [China. Xiaofu Zhang.]
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