In 1960, a succession of massive strikes and violent demonstrations culminated in a national cris... more In 1960, a succession of massive strikes and violent demonstrations culminated in a national crisis in Japan, spurred by the United States‐Japan Security Treaty which gave the United States the right to use Japan as a military base, and thereby expanded the Cold War arena in East Asia. Socialist parties, artists, and intellectuals staged large‐scale protests (called Anpo‐Undô) in opposition to the authorities. Rejecting the fallacies of Japanese imperialism, this new generation faced the task of rebuilding their cultural identity from the charred ruins of post‐atomic history. This chapter examines the diverse aesthetic trajectories and reception of Japanese avant‐garde music that emerged during this critical period of transition, with particular attention to Tokyo's Sôgetsu Center for the Arts, and the works of Yoko Ono, Toshi Ichiyanagi, and Yûji Takahashi.
This essay addresses the need to expand the musical repertory for analysis beyond the western can... more This essay addresses the need to expand the musical repertory for analysis beyond the western canon, as well as to develop intercultural strategies for analysis that reflect the multicultural subject positions of composers, performers, and theorists. In my area of specialization, discourses on exoticism, transculturation, Orientalism, and globalization have provided frameworks for examining music composed by postwar composers of East Asian heritage, such as Chou Wen-chung, Tōru Takemitsu, Chen Yi, Isang Yun, and others. However, scholarly writings and reception of this music have tended to perpetuate the East–West binary by reinforcing musical stereotypes and familiar labels. Within the music theory, this repertory has been assimilated into the canon and legitimized through application of post-tonal and other formalized models of analysis. Prompted by developments in studies of gesture, semiotics, and East Asian cultural history and aesthetics, I explore analytical approaches that c...
For much of his career, the internationally known and still active Dutch composer Louis Andriesse... more For much of his career, the internationally known and still active Dutch composer Louis Andriessen has been understood as an iconoclast who challenged and resisted the musical establishment. This 2007 book explores his compositions as a case study for exploring the social and aesthetic implications of new music. Everett chronicles the evolution of Andriessen's music over the course of five decades: the formative years in which he experimented with serialism and collage techniques; his political activism in the late 1960s; 'concept' works from the 1970s that provide musical commentary on philosophical writings by Plato, St Augustine and others; theatrical and operatic collaborations with Robert Wilson and Peter Greenaway in the 1980s and 1990s; and recent works that explore contemplative themes on death and madness. Everett's analysis of Andriessen's music draws on theories of parody, narrativity, and intertextuality that have gained currency in musicological disc...
This article explores Masahiro Shinoda's cinematography and Toru Takemitsu's soundtracks ... more This article explores Masahiro Shinoda's cinematography and Toru Takemitsu's soundtracks in the Japanese film Double Suicide (1968). Along with Shinoda’s transformation of puppets into human actors, Takemitsu’s soundtracks infuse modern subjectivity into the highly stylized bunraku narrative: while the ritualized music of Balinese gamelan, bunraku chanting, and Turkish nei demarcates the traditional form of jo-ha-kyû, meta-diegetic sounds of biwa and gongs convey the inner subjectivity of the lovers who are driven to commit suicide.
... styles are com-bined with contemporary techniques to yield a brilliant manipulation of the .... more ... styles are com-bined with contemporary techniques to yield a brilliant manipulation of the ... original context of enunciation eg, the tragic connotation of the desire motif in Wagner's ... a number of scenes where indi-vidual voices gradually accumulate in textural density into a ...
practices. That the connection between burakumin and yoseba (centres for casual labourers from mi... more practices. That the connection between burakumin and yoseba (centres for casual labourers from minorities) is not discussed, limiting discussion to personal anecdote, places weight on cultural practice while neglecting the socioeconomic benefits of sustaining buraku areas in cities in Japan. Ultimately the film shows how marginalised groups mediate affectivity and build a supportive social network of taiko groups from buraku areas around Osaka.
Drawing on the composer's insights that link Chinese calligraphy to compositional aesthetics,... more Drawing on the composer's insights that link Chinese calligraphy to compositional aesthetics, this article explores the correlation between calligraphic principles and the shaping of musical gestures in Chou Wen-chung's late works. As a calligrapher, Chou transforms the combinatorial sequence of calligraphic strokes to evoke a ‘living’ image. Likewise, his music is generated from his unique system of variable modes, and the individual notes serve as agents that shape the build-up and dissipation of energy, among other forms of polarities that govern the structural processes according to the duality of yin and yang.
... 127 07.Reviews_pp111-140 3/22/06 1:28 PM Page 127 Page 2. Dun's Symphony 1977, and, of c... more ... 127 07.Reviews_pp111-140 3/22/06 1:28 PM Page 127 Page 2. Dun's Symphony 1977, and, of course, Ellie Hisama's dissec-tion of John Zorn). All of the chapters in Locating East Asia treat Western art music as a medium for some sort of hybridization between East and West. ...
This article explores Masahiro Shinoda’s cinematography and Toru Takemitsu’s soundtracks in
the J... more This article explores Masahiro Shinoda’s cinematography and Toru Takemitsu’s soundtracks in the Japanese film Double Suicide (1968). Along with Shinoda’s transformation of puppets into human actors, Takemitsu’s soundtracks infuse modern subjectivity into the highly stylized bunraku narrative: while the ritualized music of Balinese gamelan, bunraku chanting, and Turkish nei demarcates the traditional form of jo-ha-kyu, meta-diegetic sounds of biwa and gongs convey the inner subjectivity of the lovers who are driven to commit suicide.
In 1960, a succession of massive strikes and violent demonstrations culminated in a national cris... more In 1960, a succession of massive strikes and violent demonstrations culminated in a national crisis in Japan, spurred by the United States‐Japan Security Treaty which gave the United States the right to use Japan as a military base, and thereby expanded the Cold War arena in East Asia. Socialist parties, artists, and intellectuals staged large‐scale protests (called Anpo‐Undô) in opposition to the authorities. Rejecting the fallacies of Japanese imperialism, this new generation faced the task of rebuilding their cultural identity from the charred ruins of post‐atomic history. This chapter examines the diverse aesthetic trajectories and reception of Japanese avant‐garde music that emerged during this critical period of transition, with particular attention to Tokyo's Sôgetsu Center for the Arts, and the works of Yoko Ono, Toshi Ichiyanagi, and Yûji Takahashi.
This essay addresses the need to expand the musical repertory for analysis beyond the western can... more This essay addresses the need to expand the musical repertory for analysis beyond the western canon, as well as to develop intercultural strategies for analysis that reflect the multicultural subject positions of composers, performers, and theorists. In my area of specialization, discourses on exoticism, transculturation, Orientalism, and globalization have provided frameworks for examining music composed by postwar composers of East Asian heritage, such as Chou Wen-chung, Tōru Takemitsu, Chen Yi, Isang Yun, and others. However, scholarly writings and reception of this music have tended to perpetuate the East–West binary by reinforcing musical stereotypes and familiar labels. Within the music theory, this repertory has been assimilated into the canon and legitimized through application of post-tonal and other formalized models of analysis. Prompted by developments in studies of gesture, semiotics, and East Asian cultural history and aesthetics, I explore analytical approaches that c...
For much of his career, the internationally known and still active Dutch composer Louis Andriesse... more For much of his career, the internationally known and still active Dutch composer Louis Andriessen has been understood as an iconoclast who challenged and resisted the musical establishment. This 2007 book explores his compositions as a case study for exploring the social and aesthetic implications of new music. Everett chronicles the evolution of Andriessen's music over the course of five decades: the formative years in which he experimented with serialism and collage techniques; his political activism in the late 1960s; 'concept' works from the 1970s that provide musical commentary on philosophical writings by Plato, St Augustine and others; theatrical and operatic collaborations with Robert Wilson and Peter Greenaway in the 1980s and 1990s; and recent works that explore contemplative themes on death and madness. Everett's analysis of Andriessen's music draws on theories of parody, narrativity, and intertextuality that have gained currency in musicological disc...
This article explores Masahiro Shinoda's cinematography and Toru Takemitsu's soundtracks ... more This article explores Masahiro Shinoda's cinematography and Toru Takemitsu's soundtracks in the Japanese film Double Suicide (1968). Along with Shinoda’s transformation of puppets into human actors, Takemitsu’s soundtracks infuse modern subjectivity into the highly stylized bunraku narrative: while the ritualized music of Balinese gamelan, bunraku chanting, and Turkish nei demarcates the traditional form of jo-ha-kyû, meta-diegetic sounds of biwa and gongs convey the inner subjectivity of the lovers who are driven to commit suicide.
... styles are com-bined with contemporary techniques to yield a brilliant manipulation of the .... more ... styles are com-bined with contemporary techniques to yield a brilliant manipulation of the ... original context of enunciation eg, the tragic connotation of the desire motif in Wagner's ... a number of scenes where indi-vidual voices gradually accumulate in textural density into a ...
practices. That the connection between burakumin and yoseba (centres for casual labourers from mi... more practices. That the connection between burakumin and yoseba (centres for casual labourers from minorities) is not discussed, limiting discussion to personal anecdote, places weight on cultural practice while neglecting the socioeconomic benefits of sustaining buraku areas in cities in Japan. Ultimately the film shows how marginalised groups mediate affectivity and build a supportive social network of taiko groups from buraku areas around Osaka.
Drawing on the composer's insights that link Chinese calligraphy to compositional aesthetics,... more Drawing on the composer's insights that link Chinese calligraphy to compositional aesthetics, this article explores the correlation between calligraphic principles and the shaping of musical gestures in Chou Wen-chung's late works. As a calligrapher, Chou transforms the combinatorial sequence of calligraphic strokes to evoke a ‘living’ image. Likewise, his music is generated from his unique system of variable modes, and the individual notes serve as agents that shape the build-up and dissipation of energy, among other forms of polarities that govern the structural processes according to the duality of yin and yang.
... 127 07.Reviews_pp111-140 3/22/06 1:28 PM Page 127 Page 2. Dun's Symphony 1977, and, of c... more ... 127 07.Reviews_pp111-140 3/22/06 1:28 PM Page 127 Page 2. Dun's Symphony 1977, and, of course, Ellie Hisama's dissec-tion of John Zorn). All of the chapters in Locating East Asia treat Western art music as a medium for some sort of hybridization between East and West. ...
This article explores Masahiro Shinoda’s cinematography and Toru Takemitsu’s soundtracks in
the J... more This article explores Masahiro Shinoda’s cinematography and Toru Takemitsu’s soundtracks in the Japanese film Double Suicide (1968). Along with Shinoda’s transformation of puppets into human actors, Takemitsu’s soundtracks infuse modern subjectivity into the highly stylized bunraku narrative: while the ritualized music of Balinese gamelan, bunraku chanting, and Turkish nei demarcates the traditional form of jo-ha-kyu, meta-diegetic sounds of biwa and gongs convey the inner subjectivity of the lovers who are driven to commit suicide.
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Papers by Yayoi Everett
the Japanese film Double Suicide (1968). Along with Shinoda’s transformation of puppets into human actors,
Takemitsu’s soundtracks infuse modern subjectivity into the highly stylized bunraku narrative: while the
ritualized music of Balinese gamelan, bunraku chanting, and Turkish nei demarcates the traditional form of
jo-ha-kyu, meta-diegetic sounds of biwa and gongs convey the inner subjectivity of the lovers who are driven
to commit suicide.
the Japanese film Double Suicide (1968). Along with Shinoda’s transformation of puppets into human actors,
Takemitsu’s soundtracks infuse modern subjectivity into the highly stylized bunraku narrative: while the
ritualized music of Balinese gamelan, bunraku chanting, and Turkish nei demarcates the traditional form of
jo-ha-kyu, meta-diegetic sounds of biwa and gongs convey the inner subjectivity of the lovers who are driven
to commit suicide.