Music and the Exotic from the Renaissance to Mozart

Locke, Ralph P.

doi:10.1017/cbo9780511998157

Cited by 17 publications

(5 citation statements)

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“…For centuries Western composers have turned to foreign cultures for aesthetic influence, a subpractice within the wider field of musical borrowing (Burkholder, 1994). Entire volumes have been devoted to studying how composers as early as the 16th century sought to evoke "exotic" cultures (Locke, 2009(Locke, , 2015 and to examining the cultural and political factors that drive the continuation of this phenomenon in the modern age (Born & Hesmondhalgh, 2000;Taylor, 2007). Speculations regarding the socio-political factors motivating composers to borrow from specific cultural sources tend to overshadow analyses of subsequent aesthetic outcomes (Chilvers, 2021).…”

Section: Source Sensitivity and Intercultural Music Appreciationmentioning

confidence: 99%

The effects of cultural source sensitivity on music appreciation

Chilvers,

Quan,

Olsen

et al. 2023

Psychology of Music

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Music appreciation is a complex process that involves responses to surface-level structure, personal associations, and source sensitivity. Source sensitivity is an understanding of the context in which a musical artifact was created. This article joins a growing body of literature in which program notes are manipulated to highlight the importance of source sensitivity, shifting the focus onto cultural context. Two hundred eighty-four participants formed six groups in a 2×3 between-subjects design. Western and non-Western participants (ethnicity condition) listened to an original percussion composition accompanied by a short text providing a Western, Indian, or blended cultural context (cultural context condition). They then evaluated the music across a range of measures. Exploratory factor analysis revealed two factors of appreciation: Hedonic and Eudaimonic. Results revealed significant ethnicity–cultural context interactions for both. In the Indian context, Western participants exhibited high appreciation, whereas non-Western listeners exhibited low appreciation. Among non-Westerners, appreciation was highest in the blended context. Our results demonstrate an association between cultural source information and music appreciation. We propose that Western participants experience a proteophilic response to Indian music due to their secure status as members of a dominant social group. Non-Western participants, however, require a neutralizing Western context to similarly appreciate Indian music content.

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Section: Source Sensitivity and Intercultural Music Appreciationmentioning

confidence: 99%

The effects of cultural source sensitivity on music appreciation

Chilvers,

Quan,

Olsen

et al. 2023

Psychology of Music

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“…In demonstrating a cross‐cultural approach to music analysis, this article also draws attention to the role of music analysis as a useful vehicle with which to decolonise music research through theory and practice. For these arguments, artistically and empirically, there could be no more culturally fertile backdrop than Renaissance Italy, which was a renowned centre of international trade and mobility that teemed with exoticism, from tangible artefacts, including musical instruments, to complex intangibles such as musical styles and ornamentation techniques (Locke 2015).…”

Section: Establishing the Rationale: Monteverdi's Music As A Site For...mentioning

confidence: 99%

Of Two Arias and Nine Ragas: Analysing Monteverdi through a Karnatik Lens

Mani

2022

Music Analysis

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Commencing from an elaboration of extant theoretical and analytical positions in Monteverdi studies, this article closely analyses two of the most well‐known arias from Claudio Monteverdi's earliest opera, L'Orfeo (1607), from the melodic perspective of the Karnatik music of South India. In identifying ragas within Monteverdi's melodic structures, this approach evidences the author's practice‐based explorations of the arias while harking back to global influences that have shaped the identity formation of Western music. This approach to music analysis serves two primary purposes. First, it offers one way to decolonise and reimagine the music that emerged from an essentially multicultural early modern Europe. Second, in privileging artist‐researchers’ embodied oral aural knowledges, which emerge from practice, the approach makes a case for analytical approaches which aid in practice and which offer complementary lenses through which to view locate knowledges that are complex, embodied and non‐Western in their theoretical and analytical bases.

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“…The genre of opera played a particularly prominent role in this development and actively contributed to the construction and reproduction of Orientalist representations of difference with regards to composition style, storytelling and character development. Following Oak Joo Yap (2019: 179, 181; see also Locke, 1991, 2015), this is most evident in what was at the time the much sought-after genre of the Viennese abduction opera, also called seraglio or Turkish opera, 5 in which ‘the hierarchical mindset between self and Other is manifest, as characters who embody the West often convey an air of dominance and a sense of superiority’ while the Turkish Others were approached with a ‘lingering discomfort . .…”

Section: Theorising Discourses Of Diversity and Difference In The Cla...mentioning

confidence: 99%

Producing (Musical) Difference: Power, Practices and Inequalities in Diversity Initiatives in Germany’s Classical Music Sector

Kolbe

2021

Cultural Sociology

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This article examines whether diversity debates in the Western cultural industries can contribute to the undoing of racialised representations of otherness or reproduce ‘race’-making logics. Based on a year-long ethnography of diversity efforts made at an opera house in Germany, I explore how difference is negotiated in the production of two opera pieces meant to bring together Western and Turkish musical practices. I specifically examine how power relations around ‘race’ and ethnicity play out in processes of commissioning, composing and rehearsal. Situating these creative practices within classical music’s institutional histories and wider discourses of citizenship and belonging in Germany, I examine to what extent racialised representations of difference are challenged or remade. I document how diversity initiatives in the cultural industries, even when aimed at institutional change, proceed within hierarchical parameters that can perpetuate the marginalisation of racialised others, their continued construction as otherness, and the persistence of institutional whiteness.

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Music and the Exotic from the Renaissance to Mozart

Cited by 17 publications

References 0 publications

The effects of cultural source sensitivity on music appreciation

The effects of cultural source sensitivity on music appreciation

Of Two Arias and Nine Ragas: Analysing Monteverdi through a Karnatik Lens

Producing (Musical) Difference: Power, Practices and Inequalities in Diversity Initiatives in Germany’s Classical Music Sector

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