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Analyzing Postcolonial Creativity : = A Novel Theory for East-Asian New Music and Film Soundtracks.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Analyzing Postcolonial Creativity :/
其他題名:	A Novel Theory for East-Asian New Music and Film Soundtracks.
作者:	Lee, Gui Hwan.
面頁冊數:	1 online resource (194 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-02, Section: A.
Contained By:	Dissertations Abstracts International85-02A.
標題:	Music theory. -
電子資源:	click for full text (PQDT)
ISBN:	9798380124744

Analyzing Postcolonial Creativity : = A Novel Theory for East-Asian New Music and Film Soundtracks.
Lee, Gui Hwan.

Analyzing Postcolonial Creativity :A Novel Theory for East-Asian New Music and Film Soundtracks. - 1 online resource (194 pages)

Source: Dissertations Abstracts International, Volume: 85-02, Section: A.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2023.

Includes bibliographical references

Postcolonial and intercultural creativity have been one of the major concerns in research into the music with East-Asian inheritances. However, researchers are still need of a theoretical framework that manages the issues currently challenging this scholarship, such as internal racism and conceptual dependence on colonialism. In Chapter 1, drawing upon Jacques Derrida and Rene Rusch, I seek an alternative framework using the concept of grafting. Grafting is intrinsically open to cultural differences either in compositional practice or in music analysis. The same concept, however, does not necessarily assume a stable connection between heterogeneous cultures. Instead, grafting emphasizes that music can combine a variety of things while acknowledging the possibility of disintegration-i.e., grafted items could return to their original forms at any time and by any chance. Enriching my concept of grafting with other influential thinkers, such as Michel Serres and Claude Levi-Strauss, I also argue that grafting accounts for individual composers, their explorations of heterogeneous things, and their resistance to the fixating tendency of colonialism. Such cases can be divided further into the following three types of grafting: material, technical, and contrapuntal grafting. Chapters 2 to 5 discuss each type as observed in four selected composers with East-Asian inheritances. I examine material grafting within Liza Lim's artistic career (b. 1966, Australia), technical grafting found in Unsuk Chin's composition (b. 1961, South Korea and Germany), and contrapuntal grafting observed in film scores by Jung Jae Il (b. 1982, South Korea) and Joe Hisaishi (b. 1950, Japan). To conclude, my dissertation project demonstrates the benefits of grafting as a novel theoretical framework for contemporary music with East-Asian inheritances. Grafting not only complements existing theoretical frameworks, but also offers a flexible model to address the inner diversity within postcolonial and intercultural creativity.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798380124744Subjects--Topical Terms:

564045
Music theory.
Subjects--Index Terms:

Contemporary musicIndex Terms--Genre/Form:

554714
Electronic books.

Analyzing Postcolonial Creativity : = A Novel Theory for East-Asian New Music and Film Soundtracks.
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