Musical Composition in the Context of Globalization

Abstract

Preface to the Revised and Expanded English Edition 13 comprehensively than the original German edition, especially in the newly added Chapters II.2, II.4, and II.5. While many of the added parts include a broader approach combining institutional, sociocultural, and analytical perspectives, the core methodology pursued in most chapters may be described as a "bottom-up" focus on what has been called "artistic agency," 12 including ref lections on performance, perception, and reception. Many intercultural musical processes discussed in this book emerged from grassroots projects without much institutional support, sustained by the composers' and the performers' shared enthusiasm for the area. The observation that a "re-negotiation of new cultural spaces" in intercultural composition is often based on "intimate artist-to-artist, musician-to-musician collaborations" 13 and requires a community of dedicated listeners describes unstable preconditions that cannot be taken for granted today or in the future. This makes it obvious that within the often socially and institutionally marginalized sphere of contemporary music, intercultural composition may easily be considered an ephemeral and peripheral phenomenon. It is implied in this book's multiple narratives that, on the contrary, composers who have continuously scrutinized the cultural and historical prejudices of our listening provide models of musical interculturality that should be valued as key elements of a globalized music-historical process. Certainly, the book's most important aim is to suggest a change in focus by bringing these new geographies, new protagonists, and new ideas to the center of historiographical attention. Installing these composers as key figures of a grand "world music history," however, would likely fail to grasp the fragmented, f luctuating, and decentered musical cultures of the past century, as outlined in Chapter II. A more moderate implication of the research presented here, then, might be that all music is in a fundamental sense intercultural, and that the hybrid or composite character of the historical constructs of "Western" or "non-Western" music today and their long history continuously demand new perspectives in music research as well as in composition, performance, and listening, perspectives that challenge and discard long-held stereotypes and canonized thinking.

2. Classical Music has a Diversity Problem

“…One such investigation could be into the globalised composition and distribution of art music since the twentieth century, or into art music in Africa, as mentioned in the introduction. 38 Another could be through critical explorations of classical music's role in colonisation, presenting artists who participated in the resistance to such processes but who have since fallen into obscurity, such as Ladislao Bonus' composition of the first Tagalog opera, intertwined with Filipino nation-building, or explorations of the specificities of Iberian (musical) colonialism and their appropriations by South American composers over the centuries. 39 Doing so will reveal the many minorities that work in classical music today, and who have been central to the field historically, but whose stories are ignored or forgotten, as well as open up rich new possibilities for classical music programming and education.…”

Teknik Vokal Pada Balungan I Karya Robi Rusdiana

“…Secara spesifik, musik kontemporer hanya dapat dipahami dalam hubungannya dengan perkembangan sejarah musik Barat di Eropa dan Amerika (Utz, 2021;dan Clarke, 2017). Namun, walaupun dapat mengacu pada sebuah pemahaman yang spesifik, sesungguhnya label kontemporer yang dibubuhkan pada kata seni maupun musik sama sekali tidak menunjuk pada sebuah pengertian yang perdefinisi bersifat normatif.…”