Bibliography

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

1. EAST ASIAN MODERNISMS
2. SOUTHEAST ASIAN MODERNISMS
3. SOUTH ASIAN MODERNISMS
4. MIDDLE EASTERN MODERNISMS
5. AFRICAN MODERNISMS
6. LATIN AMERICAN MODERNISMS
7. EUROPEAN PERIPHERIES
8. NORTH AMERICAN PERIPHERIES

PART 1: EAST ASIAN MODERNISMS

Battier, Marc. 2020. “Nou Ri Long by Zhang Xiaofu.” in Between the Tracks: Musicians on Selected Electronic Music, edited by Miller Puckette and Kerry L. Hagan, 173-194. Cambridge, MA: MIT Press. [China. Xiaofu Zhang.]

Battier, Marc and Kenneth Fields, eds. 2018. Electroacoustic Music in East Asia. Contemporary Music Review 37:1-2. (Also published as a book: Battier, Marc and Kenneth Fields, eds. 2020. Electroacoustic Music in East Asia. New York: Routledge.) [See individual entries.]

Benítez, Joaquim M. and Jō Kondō. 1998. “Serialism in a Japanese Context: A Conversation with Matsudaira Yoritsune.” Contemporary Music Review 17.4 (Gagaku and Serialism: A Portrait of Matsudaira Yoritsune): 87-96. [Japan. Matsudaira Yoritsune.]

Cheng, Ya-Hui. 2020. “Rock Under the Red Flag: ‘A Piece of Red Cloth’ by Cui Jian.” Global Musical Modernisms (Jun 9) https://globalmusicalmodernisms.hcommons.org/2020/06/09/49/ [China. Cui Jian.]

Cox, Cathy L. 2018. “Mayuzumi’s Electronic Studies.” in Electroacoustic Music in East Asia, ed. Marc Battier and Kenneth Fields (q.v.): 86-99. [Japan. Toshirō Mayuzumi.]

Deguchi, Tomoko. 2020. “Significance of the Parts in Music of Tōru Takemitsu.” Global Musical Modernisms (Jan 14) https://globalmusicalmodernisms.hcommons.org/2020/01/14/global-perspectives-significance-of-the-parts-in-music-of-toru-takemitsu/ [Japan. Tōru Takemitsu.]

Everett, Yayoi Uno. 2007. “Calligraphy and Musical Gesture in the Late Works of Chou Wen-Chung.” Contemporary Music Review 26.5-6: 569-584. [China/USA. Chou Wen-Chung.]

Everett, Yayoi Uno. 2010. “Infusing Modern Subjectivity into a Premodern Narrative Form: Masahiro Shinoda and Tōru Takemitsu’s Collaboration in Double Suicide (1968).” Journal of Film Music 3.1: 37-49. [Japan. Tōru Takemitsu.]

Everett, Yayoi Uno and Frederick Lau, eds. 2004. Locating East Asia in Western Art Music. Middletown, CT: Wesleyan University Press. [See individual entries.]

Hagan, Kerry L. 2020. “Seeds and Mutation: Connections and Divergences in the Materials of Unsuk Chin’s Xi.” in Between the Tracks: Musicians on Selected Electronic Music, edited by Miller Puckette and Kerry L. Hagan, 195-222. Cambridge, MA: MIT Press. [Korea/Germany. Unsuk Chin.]

Hara, Kunio. 2016.  “1 + 1 = 1: Measuring Time’s Distance in Tōru Takemitsu’s Nostalgia: In Memory of Andrei Tarkovskij.” Music and the Moving Image 9.3: 3-18. [Japan. Tōru Takemitsu.]

Kakinuma, Toshie. 2018. “Sneezing Toward the Sun: The Human Voice in the Musique concrète of Toru Takemitsu.” in Electroacoustic Music in East Asia, ed. Marc Battier and Kenneth Fields (q.v.): 20-35. [Japan. Tōru Takemitsu.]

Kim, Jeongmee.  2004.  “Musical Syncretism in Isang Yun’s Gasa.” in Locating East Asia in Western Art Music, edited by Yayoi Uno Everett and Frederick Lau (q.v.): 168-192. [Korea/Germany. Isang Yun.]

Klein, Rolf. 1998. “Aspects of Some Recent Works by Matsudaira Yoritsune.” Contemporary Music Review 17.4 (Gagaku and Serialism: A Portrait of Matsudaira Yoritsune): 33-84. [Japan. Matsudaira Yoritsune.]

PART 2: SOUTHEAST ASIAN MODERNISMS

Lee, Gavin. 2015. “Postcolonial Affect: Ambiguous Relationality in Robert Casteels’ L’(autre) fille aux cheveux de Bali,” Journal of the Royal Musical Association 140.2: 417-443. [Belgium/Singapore. Robert Casteels.]

Lee, Gavin. 2019. “Postcolonial Bifurcation: On John Sharpley’s Emptiness,” Music Analysis 38.3: 316-357. [USA/Singapore. John Sharpley.]

Tenzer, Michael. 2003. “José Maceda and the Paradoxes of Modern Composition in Southeast Asia.” Ethnomusicolgy 47.1: 93-120. [Philippines. José Maceda.]

PART 3: SOUTH ASIAN MODERNISMS

Robison, John O. 2019. From the Slums of Calcutta to the Concert Halls of Europe: The Life and Music of Indian Composer John Mayer. Port Richmond, CA: MRI Press. [India/Great Britain. John Mayer.]

PART 4: MIDDLE EASTERN MODERNISMS

Schedel, Margaret Anne, with Taylor Ackley. 2020. “Invisible Influence: An Analysis of Bülent Arel’s Fantasy and Dance for Five Viols and Tape.” in Between the Tracks: Musicians on Selected Electronic Music, edited by Miller Puckette and Kerry L. Hagan, 153-172. Cambridge, MA: MIT Press. [Turkey/USA. Bülent Arel.]

PART 5: AFRICAN MODERNISMS

Euba, Akin. 2001. “Text Setting in African Composition.” Research in African Literatures 32.2 (The Landscape of African Music): 119-132. [Nigeria. Akin Euba.]

Heile, Björn. 2022. “Akin Euba: African Art Music, Intercultural Composition and Creative Ethnomusicology.” Global Musical Modernisms (Sep 1). https://globalmusicalmodernisms.hcommons.org/2022/09/01/akin-euba-african-art-music-intercultural-composition-and-creative-ethnomusicology/ [Nigeria. Akin Euba.]

Lucia, Christine. 2008. “Back to the Future? Idioms of ‘Displaced Time’ in South African Composition.” in Composing Apartheid: Music For and Against Apartheid, ed. Grant Olwage: 11-34. Johannesburg: Wits University Press. [Lesotho. Joshua Pulumo Mohapeloa; South Africa. Michael Mosoeu Moerane.]

Nnamani, Ndubuisi Eugene Ifechukwu. 2010. “A Study of Structuring and Patterning of Igbo Musical Resources in Contemporary Nigerian Art Music.” University of Alberta. [Nigeria. Lazarus Nnanyelugo Ekwueme. John Okechukwu Ndubuisi. Joshua Uzoigwe. Anthony Ekemezie Mereni.]

Omojola, ‘Bode. 1998. “Style in Modern Nigerian Art Music: The Pioneering Works of Fela Sowande.” Africa: Journal of the International African Institute 68.4: 455-483.  [Nigeria. Fela Sowande.]

Omojola, Bode. 2001. “African Pianism as an Intercultural Compositional Framework: A Study of the Piano Works of Akin Euba.”  Research in African Literatures 32.2 (The Landscape of African Music): 153-174. [Nigeria. Akin Euba.]

Sadoh, Godwin. 2004. “Intercultural Creativity in Joshua Uzoigwe’s Music.” Africa: Journal of the International African Institute 74.4: 633-661. [Nigeria. Joshua Uzoigwe.]

Scherzinger, Martin. 2008. “Whose ‘White Man Sleeps’? Aesthetics and Politics in the Early Music of Kevin Volans.” in Composing Apartheid: Music For and Against Apartheid, ed. Grant Olwage: 209-236. Johannesburg: Wits University Press. [South Africa. Kevin Volans.]

Seachrist, Denise. 2003. The Musical World of Halim El-Dabh. Kent, OH: Kent State University Press. [Egypt/USA. Halim El-Dabh.]

Uzoigwe, Joshua. 1992. Akin Euba: An Introduction to the Life and Music of a Nigerian Composer. (Bayreuth African Studies Series, 25.) Bayreuth: Eckhard Breitlinger. [Nigeria. Akin Euba.]

PART 6: LATIN AMERICAN MODERNISMS

Walker, John L. 2001. “The Younger Generation of Ecuadorian Composers.” Latin American Music Review / Revista de Música Latinoamericana. 22.2: 199-213. [Ecuador. Marcelo Beltrán. Marcelo Rusano. Juan Esteban Valdano. Pablo Friere. Lucía Patiño.]

PART 7: EUROPEAN PERIPHERIES

Bauer, Amy. 2020. “The Music of Helena Tulve.” Global Musical Modernisms (Jan 14). https://globalmusicalmodernisms.hcommons.org/2020/01/14/the-music-of-helena-tulve/ [Estonia. Helena Tulve.]

Daunoravičienė, Gražina. 2008. “Exiled Modernism: Lithuanian Music Through the Second World War.” Journal of Baltic Studies 39.3 (Baltic Musics/Baltic Musicologies: The Landscape Since 1991): 341-364. [Lithuania. Vytautas Bacevičius. Mikalojus Konstantinas Čiurlonis. Jeronimas Kačinskas.]

Emmery, Laura, ed. 2021. Serbian Musical Avant-Gardes. Contemporary Music Review 40:5-6. [See individual entries.]

Ilić, Ivana. 2021. “The Musical Force of the Magnetic Field: On the Latest Creative Phrase in the Works of Jasna Veličković. In Laura Emmery, ed., Serbian Musical Avant-Gardes (q.v.): 570-594. [Serbia. Jasna Veličković.]

Komatović, Nikola. 2021. “How did the Archaic Become the Avant-Garde?  The Case of Ljubica Marić (1909-2003) Through the Prism of Contemporary Sources.”  In Laura Emmery, ed., Serbian Musical Avant-Gardes (q.v.): 681-698. [Serbia. Ljubica Marić.]

Masnikosa, Marija. 2021. “Serbian Late Twentieth-Century Neo-Avant-Garde: Minimalist Music by Vladimir Tosić and Miroslav Miša Savić.” In Laura Emmery, ed., Serbian Musical Avant-Gardes (q.v.): 626-649. [Serbia. Miroslav Miša Savić. Vladimir Tosić.]

Teparić, Srđan. 2021. “Three String Quartets by Ivana Stefanović—Three Aspects of Serbian Music in the Second Half of the Twentieth Century.” In Laura Emmery, ed., Serbian Musical Avant-Gardes (q.v.): 699-719. [Serbia. Ivana Stefanović.]

PART 8: NORTH AMERICAN PERIPHERIES