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In search of third space: Composing ...

Blackburn, Tong Cheng.

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In search of third space: Composing the transcultural experience in the operas of Bright Sheng, Tan Dun, and Zhou Long.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	In search of third space: Composing the transcultural experience in the operas of Bright Sheng, Tan Dun, and Zhou Long./
作者:	Blackburn, Tong Cheng.
面頁冊數:	341 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-08(E), Section: A.
Contained By:	Dissertation Abstracts International76-08A(E).
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3687326
ISBN:	9781321648461

In search of third space: Composing the transcultural experience in the operas of Bright Sheng, Tan Dun, and Zhou Long.
Blackburn, Tong Cheng.

In search of third space: Composing the transcultural experience in the operas of Bright Sheng, Tan Dun, and Zhou Long. - 341 p.

Source: Dissertation Abstracts International, Volume: 76-08(E), Section: A.

Thesis (Ph.D.)--Indiana University, 2015.

This item must not be sold to any third party vendors.

The music of Chinese-American composers Bright Sheng, Tan Dun, and Zhou Long is characterized by efforts to express their transcultural identities. Each composer envisions a conceptual musical third space in which he negotiates two constituent cultures, Chinese and Western, and achieves musical hybridity. This is a creative in-between space where the constructs of East and West are clearly present but their boundaries can no longer be drawn. It is also a dynamic space where the interactions between the two musical cultures are negotiated through questioning, rejecting, contradicting, selecting, emulating, integrating, and converging. This dissertation presents three operas as case studies, Sheng's Madame Mao (2003), Tan's The First Emperor (2006), and Zhou's Madame White Snake (2010), to demonstrate the process of articulating third-space hybridity.

ISBN: 9781321648461Subjects--Topical Terms:

516178
Music.

In search of third space: Composing the transcultural experience in the operas of Bright Sheng, Tan Dun, and Zhou Long.
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245 1 0 $a In search of third space: Composing the transcultural experience in the operas of Bright Sheng, Tan Dun, and Zhou Long.
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500 $a Source: Dissertation Abstracts International, Volume: 76-08(E), Section: A.
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520 $a The music of Chinese-American composers Bright Sheng, Tan Dun, and Zhou Long is characterized by efforts to express their transcultural identities. Each composer envisions a conceptual musical third space in which he negotiates two constituent cultures, Chinese and Western, and achieves musical hybridity. This is a creative in-between space where the constructs of East and West are clearly present but their boundaries can no longer be drawn. It is also a dynamic space where the interactions between the two musical cultures are negotiated through questioning, rejecting, contradicting, selecting, emulating, integrating, and converging. This dissertation presents three operas as case studies, Sheng's Madame Mao (2003), Tan's The First Emperor (2006), and Zhou's Madame White Snake (2010), to demonstrate the process of articulating third-space hybridity.
520 $a In Madame Mao, Sheng and his librettist Colin Graham attain third-space hybridity through intertextuality. The interplay of Western and Chinese texts is framed as meta-theatre and is used to define Madame Mao in a transcultural light, advance the narrative of the drama, and reference particular eras in China's history. In The First Emperor, Tan achieves hybridity by creating pseudo-authentic Chinese materials. In this opera the composer constructs a third space for the purpose of evocation of the Orient; however, in the process, he reverses the traditional Western representations of the Other and the Self. The opera musically challenges our assumptions of what is Chinese music and what is Western. In Madame White Snake, librettist Cerise Lim Jacobs reshapes the centuries-old Chinese legend with modern Western sensibilities. Zhou, on the other hand, reframes Western-style opera aesthetically through integrating stylistic features from Beijing Opera and structural devices derived from Chinese literati practices of poetic inscription. The seemingly incompatible aesthetics of the two high cultures, the Chinese literati practice of poem-painting and Western operatic language, are integrated by means of cross-medium hybridity.
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