The Culture of Piano Performance in China and Korea through the Eyes of American Music Scholars
Article Sidebar
Main Article Content
Abstract
Among the American publications of the last few decades devoted
to the examined subject, the most interesting ones are the works by
R. Kraus, Hwan Okon and M. Yoshihara. What they have in common
is a concentration of attention not as much on the indisputable
achievements as on the problems and contradictions of a systematic
character arising during the course of adaptation of the European
musical model into a different cultural milieu. R. Kraus gives a
grounded analysis of the role of social status priorities of the middle
class in the promotion of the piano in China. Hwakon Okon ties the
exceptional success of adaptation of the European piano culture in
Korea with the psychological transfer of the values of Confucian
ethics onto the principles lying sat the core of contemporary Western
musical education. Hwan Okon’s conception can be considered
as quite productive if one is to apply it to the entire Far-Eastern
region in general. At the same time in many instances it is possible
to clarify and add to, and in many cases, disagree with separate
positions. M. Yoshihara in analyzing the peculiar features of selfidentification
of Japanese, Korean and Chinese classical musicians,
comes to the conclusion that in the majority of cases they identify
themselves professionally not as representatives of a national
musical culture but as members of the “supra-national community”
of classical musicians. While acknowledging the validity of the
American researcher’s argumentation, it must be noted that in the
musical activities of the performers from the Eastern Asian region
one can frequently observe distinctly perceptible common stylistic
features defined by genetic ties with cultural traditions of their
geographical area. The issues touched upon in the aforementioned
works are conditioned by systematic features of the phenomenon of
the musical cultures of the countries of Eastern Asia and urgently
require further elaboration.
Keywords: piano, musical performance in China, Korea,
Japan, musicology in the USA
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Aizenshtadt S., Kharuto A. O nekotorykh osobennostyakh fortepiannogo intonirovaniya predstaviteley muzykal’noy kul’tury stran Dal’nevostochnogo regiona. Komp’yuternyy analiz [About Some Features of Piano Intonation among the Representatives of the Musical Culture of the Countries of Far East Region. A Computer Analysis]. Muzykal’naya akademiya [Musical Academy], 2013, no. 1, pp. 118–126.
3. Kuznetsova E. Sredniy klass: zapadnye kontseptsii [The Middle Class: Western Conceptions]. Mirovaya ekonomika i mezhdunarodnye otnosheniya [World Economics and Interna¬tional Relations], 2009, no. 2, pp. 19–28.
4. Meshcheriakov B., Zinchenko V. Bol’shoy psikhologiches¬kiy slovar’ [Large Dictionary of Psychology]. Moscow: AST Press, 2003. 672 p.
5. Park Kyong Hwa. Istoriya fortepiannoy kul’tury Korei [The History of Piano Culture in Korea]. St. Petersburg.: Izdatel¬stvo imeni N. I. Novikova, 2007. 342 p.
6. Syuy Bo. Fenomen fortepiannogo ispolnitel’stva v Kitae na rubezhe XX–XXI vekov: Dis. … kand. iskusstvovedeniya [The Phenomenon of Piano Performance in China at the Turn of 20th and 21th Centuries: Dissertation for the Degree of Candidate of Arts]. Rostov-on-Don, 2011. 149 p.
7. Muzykal’naya odarennost’ Iu Bel Mi [The Musical Gift¬edness of Iu Bel Mi]. Kymsugansan, 2010, no., 7. URL: http:// naenara.com.
8. Deuchler M. The Confucian Transformation of Korea. Harvard University Asia Center; Harvard-Yenching Institute, 1995. 456 p.
9. Hwang Okon. Western Art Music in Korea: Everyday Ex¬perience and Cultural Critique: A Dissertation Submitted to the Faculty of Wesleyan University in Partial Fulfillment of the Re¬quirements for the Degree of Doctor of Philosophy. Middletown, Connecticut, 2001. 353 p.
10. Kraus R. Pianos and Politics in China. New York; Ox¬ford: Oxford University Press, 1989. 472 p.
11. Weber M. Die rationalen und soziologischen Grundla¬gen der Musik. Tubingen, 1972. 77 s.
12. Yoshihara M. Musicians from a Different Shore: Asians and Asian Americans in Classical Music. Philadelphia: Temple University Press, 2007. 288 p.