Nicholas Cook, Beyond the Score: Music as Performance, New York: Oxford University Press 2013

Utz, Christian

doi:10.31751/826

Cited by 2 publications

(12 citation statements)

References 2 publications

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“…The ideology that was being put across was that of notation and parts, as opposed to the oral tradition. According to Temperley [10] , modernization and westernization of Chinese orchestra [11] who debated that Iranian embraced westernization of their music to show that they could do anything with their performance. The idea was different from that of the Chinese orchestra, whose major objective of incorporating foreign elements was to modernize their music to fit the contemporary society.…”

Section: Beginnings Of the Modern Chinese Symphony Orchestramentioning

confidence: 99%

“…According to Utz [11] , the communist government that took office at the start of the year 1949 contributed largely to the development of the Chinese orchestra. This is because the government used music ensemble to spread the messages and propaganda, and therefore, the music was highly promoted during that time.…”

Section: Development Of Chinese Orchestra In the Formative Yearsmentioning

confidence: 99%

“…Music serves different purposes in the various societies, but the interpretation and regard of the same differ. To sum it, it's viewed as a way to propagate the cultural believes and morals to the younger generation, while others consider it as a form of entertainment [11] . In both cases, music passes on a particular form of information, that is taken to be true by other community members.…”

Section: Introductionmentioning

confidence: 99%

“…According to Angelo [1] using the modern instruments to perform draws away from the aspect of the culture of the Chinese people, hence watering down the primary objective of the orchestra. On the other hand, Utz [11] argues that the modern technology has brought in tastes in Orchestra, in the sense that the number of instruments used during the performances are less, hence saving on time and cost. This arena is highly contested by dissimilar authors, on whether the modernization has watered the traditionally recognized The Chinese symphony orchestra.…”

Section: Introductionmentioning

confidence: 99%

“…This arena is highly contested by dissimilar authors, on whether the modernization has watered the traditionally recognized The Chinese symphony orchestra. This paper will critically review the secondary sources and trace the changes that have happened in regards to Chinese symphony orchestra after 1949 [11] .…”

Section: Introductionmentioning

confidence: 99%

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The development of the Chinese symphony orchestra after 1949

2024

FAR

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This paper explores the evolution of the Chinese symphony orchestra, focusing on changes since 1949. It delves into the impact of modern technology on traditional Chinese orchestra, examining the introduction of new instruments and the consequent changes in performance styles. The paper also discusses the role of government and cultural revolutions in shaping the orchestra, highlighting how political and cultural shifts influenced musical practices. The integration of Western instruments and styles is a key theme, exploring the blend of Chinese and Western musical elements in modern orchestras. Additionally, the document considers the influence of music societies and conservatories in the development and professionalization of Chinese orchestral music. Overall, the paper offers a comprehensive overview of the historical, cultural, and technological factors that have shaped the Chinese symphony orchestra in the modern era.

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Section: Beginnings Of the Modern Chinese Symphony Orchestramentioning

confidence: 99%

Section: Development Of Chinese Orchestra In the Formative Yearsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

The development of the Chinese symphony orchestra after 1949

2024

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Shaping Form: Performances as Analyses of Cyclic Macroform in Arnold Schoenberg’sSechs kleine Klavierstücke, op. 19 (1911), in the Recordings of Eduard Steuermann and Other Pianists

Utz

Glaser

2020

MTO

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Arnold Schoenberg’s Sechs kleine Klavierstücke (Six Little Piano Pieces), op. 19 (1911), offer a fruitful case study to examine and categorize performers’ strategies in regard to their form-shaping characteristics. A thorough quantitative and qualitative analysis of 46 recordings from 41 pianists (recorded between 1925 to 2018), including six recordings from Eduard Steuermann, the leading pianist of the Second Viennese School, scrutinizes the interdependency between macro- and microformal pianistic approaches to this cycle. In thus tracing varying conceptions of a performance-shaped cyclic form and their historical contexts, the continuous unfurling of the potential of Schoenberg’s musical ideas in both “structuralist” and “rhetorical” performance styles is systematically explored, offering a fresh approach to the controversial discussion on how analysis and performance might relate to one another.

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Nicholas Cook, Beyond the Score: Music as Performance, New York: Oxford University Press 2013

Cited by 2 publications

References 2 publications

The development of the Chinese symphony orchestra after 1949

The development of the Chinese symphony orchestra after 1949

Shaping Form: Performances as Analyses of Cyclic Macroform in Arnold Schoenberg’sSechs kleine Klavierstücke, op. 19 (1911), in the Recordings of Eduard Steuermann and Other Pianists

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