Christian Utz (editor) - Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West

Looking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-century music in both East Asian and Western music. The authors approach musical meaning in specific case studies against the background of general trends of cultural globalization and the construction/deconstruction of identity produced by human (and artificial) voices. The essays proceed from different angles, notably sociocultural and historical contexts, philosophical and literary aesthetics, vocal technique, analysis of vocal microstructures, text/phonetics-music-relationships, historical vocal sources or models for contemporary art and pop music, and areas of conflict between vocalization, ethnicity, and cultural identity. They pinpoint crucial topical features that have shaped identity-discourses in art and popular musical situations since the 1950s, with a special focus on the past two decades. The volume thus offers a unique compilation of texts on the human voice in a period of heightened cultural globalization by utilizing systematic methodological research and firsthand accounts on compositional practice by current Asian and Western authors.

Christian Utz is Professor of music theory and music analysis at the University of Music and Dramatic Arts in Graz, Austria.

Frederick Lau is Professor of Ethnomusicology at the University of Hawaii at Mnoa.

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Vocal Music and Contemporary Identities
Unlimited Voices in East Asia and the West
Edited by Christian Utz and Frederick Lau

First published 2013
by Routledge
711 Third Avenue, New York, NY 10017

Simultaneously published in the UK
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

2013 Taylor & Francis

The right of Christian Utz and Frederick Lau to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

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Library of Congress Cataloging-in-Publication Data

Vocal music and contemporary identities : unlimited voices in East Asia and the West / edited by Christian Utz and Frederick Lau.
pages cm. (Routledge research in music ; 3)

Includes bibliographical references and index.

1. Vocal music-20th century-History and criticism. 2. Vocal music-21st century-History and criticism. 3. Voice. 4. Group identity. I. Utz, Christian. editor. II. Lau, Frederick, editor. III. Series: Routledge research in music ; 3.

ML1406.V63 2012

782-dc23

2012031726

ISBN13: 978-0-415-50224-5 (hbk)
ISBN13: 978-0-203-07850-1 (ebk)

Typeset in Sabon
by IBT Global.

Printed and bound in the United States of America on sustainably sourced paper by IBT Global.

CHRISTIAN UTZ AND FREDERICK LAU

PART I
Global Perspectives on the Voice

DIETER MERSCH

CHRISTIAN UTZ

SANDEEP BHAGWATI

PART II
Voices of/in Art Music

FREDERICK LAU

FUYUKO FUKUNAKA

HEEKYUNG LEE

JRN PETER HIEKEL

ERIN GEE

PART III
Voices of/in Popular Music and Media Art

SAMSON YOUNG

ANDREAS STEEN

OLIVER SEIBT

MICHAEL FUHR

NICHOLAS COOK

This book involves the scholarly knowledge, thoughtful efforts, and kind support of many people. Several of its topics have first been introduced during the international conference Unlimited Voices: Contemporary Vocal Music in the Era of Globalization from March 8 to 9, 2008 at the University of Tokyo (Institute for Interdisciplinary Cultural Studies, Komaba campus), initiated and chaired by Christian Utz during his time as visiting professor at the University's Graduate Institute of Arts and Sciences. Heartfelt thanks go to Hermann Gottschewski (The University of Tokyo) for making this conference possible and for his invaluable assistance in organizing and obtaining funding for it, as well as to Tae Yokoyu-Ota for tirelessly and successfully working on the conference's schedule and public presentation.the present book that have been elaborated from conference papers include the essays by Fuyuko Fukunaka, Heekyung Lee, Jrn Peter Hiekel, and by both editors.

We would further like to cordially thank all those who have commented on the initial book proposal and on the final manuscript and who helped to constantly improve the book's profile and contents. Nicholas Cook has incessantly accompanied the evolution of this project by commenting on several versions of the proposal as well as on draft versions of individual essays. By agreeing to contribute an afterword and by commenting in detail on the editors' introduction, Cook has further prominently helped to shape the book's overall voice. Without his tireless and highly competent involvement this volume may have never reached its final state. Three anonymous reviewers, Hermann Gottschewski, as well as all authors also contributed significantly to provide the book with a concise methodological focus and an encompassing coverage of themes.

Many thanks to the Routledge editors, editorial board, and production team, particularly to Elizabeth Levine, commissioning editor of Routledge Research, for her trust in our project and for supporting all stages of its transformation, and to Catherine Tung, editorial assistant, for her prompt and precise support in all editorial questions as well as to Molly Coon for her expertly copyediting and to Eleanor Chan and her team for creating the attractive layout. Special thanks go to Dieter Kleinrath (University of Music and Dramatic Arts Graz) who was of great help in compiling the index. We also acknowledge the kind permission granted by the publishers and composers from whose publications the score examples, graphics, and images in this book are reproduced. The University of Music and Dramatic Arts Graz kindly granted support for covering reproduction fees.

Not least warm thanks go to the authors of this book for the productive dialogues that have developed out of the editorial revisions of their essays and for their patience and endurance during the intricate editorial process. We dearly hope that all of them find the result inspiring for their further research or artistic work.