Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-dsjbd Total loading time: 0 Render date: 2024-11-22T09:13:33.157Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  23 May 2024

Björn Heile
Affiliation:
University of Glasgow
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Musical Modernism in Global Perspective
Entangled Histories on a Shared Planet
, pp. 233 - 254
Publisher: Cambridge University Press
Print publication year: 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adichie, Chimamanda Ngozi. Half of a Yellow Sun. London: HarperCollins UK, 2009.Google Scholar
Adorno, Theodor W. Minima Moralia: Reflections from Damaged Life. Translated by E. F. N. Jephcott. London: NLB, 1974.Google Scholar
Adorno, Theodor W.Scientific Experiences of a European Scholar in America’. In Critical Models: Interventions and Catchwords, edited by Goehr, Lydia, 338–70. New York: Columbia University Press, 2013.Google Scholar
Agamben, Giorgio. ‘We Refugees’. Symposium: A Quarterly Journal in Modern Literatures 49, no. 2 (1 June 1995): 114–19. https://doi.org/10.1080/00397709.1995.10733798.Google Scholar
Agawu, V. Kofi. ‘Review of Review of Chaka. An Opera in Two Chants, Leopold Sédar Senghor, by Akin Euba and Leopold Sédar Senghor’. Research in African Literatures 32, no. 2 (2001): 196–98.Google Scholar
Agawu, V. Kofi Representing African Music: Postcolonial Notes, Queries, Positions. London: Routledge, 2003.Google Scholar
Agawu, V. KofiStructural Analysis or Cultural Analysis? Competing Perspectives on the “Standard Pattern” of West African Rhythm’. Journal of the American Musicological Society 59, no. 1 (1 April 2006): 146. https://doi.org/10.1525/jams.2006.59.1.1.CrossRefGoogle Scholar
Agawu, V. KofiThe Challenge of African Art Music’. Circuit: Musiques Contemporaines 21, no. 2 (2011): 4964. https://doi.org/10.7202/1005272ar.CrossRefGoogle Scholar
Agawu, V. Kofi The African Imagination in Music. New York: Oxford University Press, 2016.CrossRefGoogle Scholar
Agordoh, Alexander Akorlie. African Music: Traditional and Contemporary. New York: Nova Publishers, 2005.Google Scholar
AHR Forum, “Entangled Empires in the Atlantic World” – Introduction’. The American Historical Review 112, no. 3 (2007): 710–11.Google Scholar
Alcoff, Linda Martín. ‘Mignolo’s Epistemology of Coloniality’. CR: The New Centennial Review 7, no. 3 (2007): 79101.CrossRefGoogle Scholar
Allende-Blin, Juan. Erich Itor Kahn. Munich: Edition Text u. Kritik, 1994.Google Scholar
Andrade, Mário de. Ensaio Sobre a Música Brasileira. 3rd ed. São Paulo: Martins, 1972.Google Scholar
Andrade, Oswald de. ‘Cannibalist Manifesto’. Translated by Leslie Bary. Latin American Literary Review 19, no. 38 (1991): 3847.Google Scholar
Ann Bowers, Maggie. Magic(al) Realism. London: Taylor & Francis Group, 2004.CrossRefGoogle Scholar
Antokoletz, Elliott. ‘A Survivor of the Vienna Schoenberg Circle: An Interview with Paul A. Pisk’. Tempo, no. 154 (September 1985): 1521. https://doi.org/10.1017/S0040298200021458.CrossRefGoogle Scholar
Appadurai, Arjun. ‘Disjuncture and Difference in the Global Cultural Economy’. In Modernity at Large: Cultural Dimensions of Globalization, 2747. Minneapolis: University of Minnesota Press, 1996.Google Scholar
Arendt, Hannah. ‘We Refugees’. In The Jewish Writings, edited by Kohn, Jerome and Feldman, Ron H., 264–74. New York: Schocken, 2007.Google Scholar
Auner, Joseph. Music in the Twentieth and Twenty-First Centuries. New York: W. W. Norton, 2013.Google Scholar
Bailey, Kathryn. The Twelve-Note Music of Anton Webern: Old Forms in a New Language. Cambridge: Cambridge University Press, 1991.CrossRefGoogle Scholar
Bary, Leslie. ‘Oswald de Andrade’s “Cannibalist Manifesto”’. Latin American Literary Review 19, no. 38 (1991): 3537.Google Scholar
Bastia, Tanja, and Hau, Matthias. ‘Migration, Race and Nationhood in Argentina’. Journal of Ethnic and Migration Studies 40 (4 March 2014): 475–92. https://doi.org/10.1080/1369183X.2013.782153.CrossRefGoogle Scholar
Bauck, Sönke, and Maier, Thomas. ‘Entangled History’. InterAmerican Wiki: Terms – Concepts – Critical Perspectives, 2015. www.uni-bielefeld.de/einrichtungen/cias/publikationen/wiki/e/.Google Scholar
Bauer, Amy. ‘The Cosmopolitan Absurdity of Ligeti’s Late Works’. Contemporary Music Review 31, no. 2–3 (1 April 2012): 163–76. https://doi.org/10.1080/07494467.2012.717358.CrossRefGoogle Scholar
Bayley, Amanda. ‘The String Quartets and Works for Chamber Orchestra’. In The Cambridge Companion to Bartók, edited by Amanda Bayley, 151–74. Cambridge: Cambridge University Press, March 2001. https://doi.org/10.1017/CCOL9780521660105.012.CrossRefGoogle Scholar
Béhague, Gerard. Music in Latin America: An Introduction. Englewood Cliffs, NJ: Prentice-Hall, 1979.Google Scholar
Béhague, GerardVilla-Lobos, Heitor’. Grove Music Online. New York: Oxford University Press, 2001. https://doi.org/10.1093/gmo/9781561592630.article.29373.Google Scholar
Béhague, GerardIndianism in Latin American Art-Music Composition of the 1920s to 1940s: Case Studies from Mexico, Peru, and Brazil’. Latin American Music Review/Revista de Música Latinoamericana 27, no. 1 (2006): 2837.Google Scholar
Anastasia, Belina, Kilpiö, Kaarina, and Scott, Derek B., eds. Music History and Cosmopolitanism. London: Routledge, 2019.Google Scholar
Bernal, Martin. Black Athena: The Afroasiatic Roots of Classical Civilization. London: Free Association Books, 1987.Google Scholar
Berry, Mark. Arnold Schoenberg. London: Reaktion Books, 2019.Google Scholar
Bhabha, Homi K. The Location of Culture. Routledge classics edition. London: Routledge, 2004.Google Scholar
Blake, Michael. ‘South African Composers on the World Stage: The ISCM in South Africa’. Fontes Artis Musicae 54, no. 3 (2007): 359–73.Google Scholar
Blake, Michael ‘The Origins and History of the Bow Project: A Chronology by Michael Blake’. CD liner notes, 2010.Google Scholar
Bohlman, Andrea F., and Mackenzie Pierce, J.. ‘Friend and Force: Nadia Boulanger’s Presence in Polish Musical Culture’. In Nadia Boulanger and Her World, edited by Brooks, Jeanice, 229–53. Chicago: University of Chicago Press, 2020. https://doi.org/10.7208/chicago/9780226750859.003.0010.Google Scholar
Bordinat, Philip. ‘Dramatic Potential among the Ibos’. The Journal of Popular Culture 4, no. 3 (1970): 691704. https://doi.org/10.1111/j.0022-3840.1971.00691.x.CrossRefGoogle Scholar
Botstein, Leon. ‘Liberating the Pariah: Politics, the Jews, and Hannah Arendt’. In Thinking in Dark Times: Hannah Arendt on Ethics and Politics, edited by Berkowitz, Roger, Katz, Jeffrey, and Keenan, Thomas, 161–78. New York: Fordham University Press, 2009. https://doi.org/10.5422/fso/9780823230754.003.0016.Google Scholar
Breitinger, Eckhard. ‘Heroes of South African History as Operatic Heroes: Akin Euba’s Chaka and Nbongemi Ngema’s the Zulu’. South African Theatre Journal 13, no. 1 (1 January 1999): 103–8. https://doi.org/10.1080/10137548.1999.9687688.CrossRefGoogle Scholar
Brinkmann, Reinhold. ‘Reading a Letter’. In Driven into Paradise: The Musical Migration from Nazi Germany to the United States, edited by Brinkmann, Reinhold and Wolff, Christoph, 320. Berkeley, CA: University of California Press, 1999.CrossRefGoogle Scholar
Brooks, Jeanice, ed. The Musical Work of Nadia Boulanger: Performing Past and Future between the Wars. Cambridge: Cambridge University Press, 2013.CrossRefGoogle Scholar
Brooks, Jeanice Nadia Boulanger and Her World. Chicago: University of Chicago Press, 2020. https://doi.org/10.7208/chicago/9780226750859.001.0001.CrossRefGoogle Scholar
Brukman, Jeffrey. ‘“Creative Ethnomusicology” and African Art Music: A Close Musical Reading of Wood and Clay, Kundi Dreams and Umrhubhe Geest by Anthony Caplan’. African Music: Journal of the International Library of African Music 10 (1 January 2017): 142–63. https://doi.org/10.21504/amj.v10i3.2200.Google Scholar
Bürger, Peter. Theory of the Avant-Garde. Manchester: Manchester University Press, 1984.Google Scholar
Burke, Peter. Cultural Hybridity. Cambridge, MA: Polity, 2014.Google Scholar
Campbell, Edward. Music after Deleuze. London: A&C Black, 2013.CrossRefGoogle Scholar
Campbell, Rachel. ‘Primitivism and Settler Primitivism in Music: The Case of John Antill’s Corroboree’. The Musical Quarterly 105, no. 1–2 (29 January 2022): 190234. https://doi.org/10.1093/musqtl/gdab022.CrossRefGoogle Scholar
Carpentier, Alejo. Music in Cuba. Edited and translated by Brennan, Timothy. Cultural Studies of the Americas, v. 5. Minneapolis: University of Minnesota Press, 2001.Google Scholar
Carpentier, Alejo La consagración de la primavera. Cambridge: Alianza Editorial, 2015.Google Scholar
Carroll, Mark. Music and Ideology in Cold War Europe. Cambridge: Cambridge University Press, 2006.Google Scholar
Castellanos, M. Bianet. ‘Introduction: Settler Colonialism in Latin America’. American Quarterly 69, no. 4 (2017): 777–81. https://doi.org/10.1353/aq.2017.0063.CrossRefGoogle Scholar
Chalk, Brigid T. Modernism and Mobility: The Passport and Cosmopolitan Experience. New York: Palgrave Macmillan, 2014.CrossRefGoogle Scholar
Chase, Gilbert. A Guide to the Music of Latin America. 2nd ed. Washington, DC: Pan American Union, 1962.Google Scholar
Chen, Kuan-Hsing. ‘Introduction: Globalization and Deimperialization’. In Asia as Method: Toward Deimperialization, 116. Durham, NC: Duke University Press, 2010. https://read.dukeupress.edu/books/book/2159/chapter/249204/IntroductionGlobalization-and-Deimperialization.Google Scholar
Cho, Joanne Miyang, ed. Musical Entanglements between Germany and East Asia: Transnational Affinity in the 20th and 21st Centuries. Cham: Palgrave Macmillan, 2021.CrossRefGoogle Scholar
Cho, Joanne MiyangThe Idea of Entanglement, Historiography, and Organization’. In Musical Entanglements between Germany and East Asia: Transnational Affinity in the 20th and 21st Centuries, 122. Cham: Palgrave Macmillan, 2021.CrossRefGoogle Scholar
Choi, Yu-jun. ‘Modernity as Postcolonial Encounter in Korean Music’. In Decentering Musical Modernity: Perspectives on East Asian and European Musical Modernity, edited by Janz, Tobias and Yang, Chien-Chang, 4162. Bielefeld: transcript, 2019.Google Scholar
Chornik, Katia. Alejo Carpentier and the Musical Text. Cambridge: Legenda, 2015.Google Scholar
Chua, Daniel K. L.Global Musicology: A Keynote without a Key’. Acta Musicologica 94, no. 1 (2022): 109–26.Google Scholar
Chun, In-pyong. ‘Korea’s Unique “Kŏmun’go” Zither and Its Roles in Korean Music: Challenging the Dichotomies of “Traditional” “Kugak” and “Creative” “Ch’angjak Kugak”’. Korean Studies 35 (2011): 4470.CrossRefGoogle Scholar
Clark, (Thomas) Edward'. Grove Music Online. New York: Oxford University Press, 2001. https://doi.org/10.1093/gmo/9781561592630.article.45470.CrossRefGoogle Scholar
Cohen, Brigid. ‘Limits of National History: Yoko Ono, Stefan Wolpe, and Dilemmas of Cosmopolitanism’. The Musical Quarterly 97, no. 2 (17 October 2014): 181237. https://doi.org/10.1093/musqtl/gdu008.CrossRefGoogle Scholar
Cohen, Brigid Stefan Wolpe and the Avant-Garde Diaspora: New Perspectives in Music History and Criticism. Cambridge: Cambridge University Press, 2012.CrossRefGoogle Scholar
Collins, Sarah. ‘The Composer as “Good European”: Musical Modernism, Amor Fati and the Cosmopolitanism of Frederick Delius’. Twentieth-Century Music 12, no. 01 (March 2015): 97123. https://doi.org/10.1017/S1478572214000164.CrossRefGoogle Scholar
Collins, SarahWhat Was Contemporary Music? The New, the Modern and the Contemporary in the International Society for Contemporary Music (ISCM)’. In The Routledge Research Companion to Modernism in Music, edited by Heile, Björn and Wilson, Charles, 5685. London: Routledge, 2019.Google Scholar
Collins, Sarah, and Gooley, Dana. ‘Music and the New Cosmopolitanism: Problems and Possibilities’. The Musical Quarterly 99, no. 2 (1 June 2017): 139–65. https://doi.org/10.1093/musqtl/gdx006.Google Scholar
Cook, Nicholas. ‘Western Music as World Music’. In The Cambridge History of World Music, edited by Philip, V. Bohlman, 75100. Cambridge: Cambridge University Press, 2013. https://doi.org/10.1017/CHO9781139029476.005.CrossRefGoogle Scholar
Cooke, Mervyn. ‘“The East in the West”: Evocations of the Gamelan in Western Music’. In The Exotic in Western Music, edited by Bellman, Jonathan, 258–80. Boston: Northeastern University Press, 1998.Google Scholar
Cook-Martín, David, Novick, Susana, and Mera, Gabriela. ‘Who Counts? Demography of Race and Ethnicity in Argentina’. In The International Handbook of the Demography of Race and Ethnicity, edited by Sáenz, Rogelio, Embrick, David G., and Rodríguez, Néstor P, 91110. Dordrecht: Springer, 2015. https://doi.org/10.1007/978-90-481-8891-8_5.CrossRefGoogle Scholar
Cornago, Noé. ‘Schaeffer, Boulez, and the Everyday Diplomacies of French Decolonization’. In International Relations, Music and Diplomacy: Sounds and Voices on the International Stage, edited by Ramel, Frédéric and Prévost-Thomas, Cécile, 141–69. Cham: Springer, 2018. https://doi.org/10.1007/978-3-319-63163-9_7.Google Scholar
Corrado, Omar. Música y modernidad en Buenos Aires (1920–1940). Buenos Aires: Gourmet Musical, 2010.Google Scholar
Corrado, Omar Vanguardias al sur: la música de Juan Carlos Paz. Bernal: Universidad Nacional de Quilmes Ed., 2012.Google Scholar
Crocq, Marc-Antoine. ‘A History of Anxiety: From Hippocrates to DSM’. Dialogues in Clinical Neuroscience 17, no. 3 (September 2015): 319–25.CrossRefGoogle ScholarPubMed
Dalton, David S. Mestizo Modernity: Race, Technology, and the Body in Postrevolutionary Mexico. Gainesville: University of Florida Press, 2019.Google Scholar
Danuser, Hermann. ‘Composers in Exile: The Question of Musical Identity’. In Driven into Paradise: The Musical Migration from Nazi Germany to the United States, edited by Brinkmann, Reinhold and Wolff, Christoph, 155–71. Berkeley, CA: University of California Press, 1999.Google Scholar
Danuser, Hermann, and Zimmermann, Heidy, eds. Avatar of Modernity: The Rite of Spring Reconsidered. Basel: Paul Sacher Foundation, 2013.Google Scholar
Deleuze, Gilles, and Guattari, Félix. Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 1984.Google Scholar
Delrio, Walter, Lenton, Diana, Musante, Marcelo et al. ‘Discussing Indigenous Genocide in Argentina: Past, Present, and Consequences of Argentinean State Policies toward Native Peoples’. Genocide Studies and Prevention 5, no. 2 (August 2010): 138–59. https://doi.org/10.3138/gsp.5.2.138.CrossRefGoogle Scholar
Dirlik, Arif. ‘Thinking Modernity Historically: Is “Alternative Modernity” the Answer?Asian Review of World Histories 1, no. 1 (2013): 544. https://doi.org/10.12773/arwh.2013.1.1.005.CrossRefGoogle Scholar
Dywili, Nofinishi, and String Quartet, Nightingale. The Bow Project. CD album. Vol. FKT044. tutl. Accessed 27 July 2022. www.tutlrecords.com/?s=bow+project.Google Scholar
Eisenstadt, Shmuel N., Riedel, Jens, and Sachsenmaier, Dominic. ‘The Context of the Multiple Modernities Paradigm’. In Reflections on Multiple Modernities: European, Chinese, and Other Interpretations, edited by Shmuel, N. Eisenstadt, Jens Riedel, and Sachsenmaier, Dominic, 123. Leiden: Brill, 2002.Google Scholar
Erwin, Max Owen. ‘Ghosts in the Machine: The Making of European Serialism, 1945–1955’. PhD thesis, University of Leeds, 2019. https://etheses.whiterose.ac.uk/27287/.Google Scholar
Euba, Akin. Modern African Music: A Catalogue of Selected Archival Materials at Iwalewa-Haus, University of Bayreuth, Germany. Bayreuth: Iwalewa-Haus, 1993.Google Scholar
Euba, AkinConcepts of Neo-African Music as Manifested in the Yoruba Folk Opera’. In The African Diaspora: A Musical Perspective, edited by Ingrid, T. Monson, 207–39. London: Routledge, 2003.Google Scholar
Euba, Akin J. H. Kwabena Nketia: Bridging Musicology and Composition: A Study in Creative Musicology. Point Richmond, CA: MRI Press, 2014.Google Scholar
Euba, Akin, and Tse Kimberlin, Cynthia. ‘Introduction’. In Intercultural Music, edited by Euba, Akin and Kimberlin, Cynthia Tse, 19. Bayreuth: Breitinger, 1995.Google Scholar
Everett, Yayoi Uno. ‘Intercultural Synthesis in Postwar Western Art Music: Historical Contexts, Perspectives, and Taxonomy’. In Locating East Asia in Western Art Music, edited by Everett, Yayoi Uno and Lau, Frederick, 121. Middletown, CO: Wesleyan University Press, 2004.Google Scholar
Faist, Thomas, and Bilecen, Başak. ‘Transnationalism’. In Routledge International Handbook of Migration Studies, edited by Gold, Steven J. and Nawyn, Stephanie J., 487–98, 2nd ed. London: Routledge, 2019.Google Scholar
Feisst, Sabine. Schoenberg’s New World: The American Years. New York: Oxford University Press, 2011. https://doi.org/10.1093/acprof:oso/9780195372380.001.0001.CrossRefGoogle Scholar
Ferreira, Marcelo (Baritone). ‘Villa-Lobos’ Canções Típicas Brasileiras and the Creation of the Brazilian Nationalist Style’. PhD thesis, Indiana University, 2017. https://scholarworks.iu.edu/dspace/handle/2022/21826.Google Scholar
Fetthauer, Sophie, Maurer Zenck, Claudia, Petersen, Peter, and Geiger, Friedrich. ‘Vorwort/Preface’. In Lexikon Verfolgter Musiker Und Musikerinnen Der NS-Zeit, edited by Fetthauer, Sophie, Zenck, Claudia Maurer, Geiger, Friedrich, and Petersen, Peter. Accessed 12 June 2021. www.lexm.uni-hamburg.de/content/index.xml.Google Scholar
Fischer, Marilyn. ‘A Pragmatist Cosmopolitan Moment: Reconfiguring Nussbaum’s Cosmopolitan Concentric Circles’. The Journal of Speculative Philosophy 21, no. 3 (2007): 151–65.CrossRefGoogle Scholar
Flusser, Vilém. The Freedom of the Migrant: Objections to Nationalism. Edited by Finger, Anke K. Translated by Kenneth Kronenberg. Urbana: University of Illinois Press, 2003.Google Scholar
Forkert, Annika. ‘Magical Serialism: Modernist Enchantment in Elisabeth Lutyens’s O Saisons, O Châteaux!Twentieth-Century Music 14, no. 2 (June 2017): 271303. https://doi.org/10.1017/S1478572217000238.CrossRefGoogle Scholar
Fourie, William. ‘Musicology and Decolonial Analysis in the Age of Brexit’. Twentieth-Century Music 17, no. 2 (2020): 115. https://doi.org/10.1017/S1478572220000031.CrossRefGoogle Scholar
Francis, Kimberly A. Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. New York: Oxford University Press, 2015.CrossRefGoogle Scholar
Friedman, Jonathan. ‘Global Crises, the Struggle for Cultural Identity and Intellectual Porkbarrelling: Cosmopolitans versus Locals, Ethnics and Nationals in an Era of De-Hegemonization’. In Debating Cultural Hybridity: Multi-cultural Identities and the Politics of Anti-Racism, edited by Werbner, Pnina and Modood, Tariq, 7089. London: Zed Books, 1997.Google Scholar
Friedman, JonathanGlobal System, Globalization and the Parameters of Modernity’. In Global Modernities, edited by Featherstone, Mike, Lash, Scott, and Robertson, Roland, 6990. London: SAGE, 1995. https://doi.org/10.4135/9781446250563.CrossRefGoogle Scholar
Friedman, Susan Stanford. ‘Periodizing Modernism: Postcolonial Modernities and the Space/Time Borders of Modernist Studies’. Modernism/Modernity 13, no. 3 (15 November 2006): 425–43. https://doi.org/10.1353/mod.2006.0059.CrossRefGoogle Scholar
Friedman, Susan Stanford Planetary Modernisms: Provocations on Modernity Across Time. New York: Columbia University Press, 2015.CrossRefGoogle Scholar
Fugellie, Daniela. ‘Musiker unserer Zeit’: Internationale Avantgarde, Migration und Wiener Schule in Südamerika. Munich: Edition Text + Kritik, 2018.Google Scholar
Galliano, Luciana. Yogaku: Japanese Music in the 20th Century. Lanham: Scarecrow Press, 2002.Google Scholar
Gaonkar, Dilip Parameshwar (ed.). Alternative Modernities. Durham: Duke University Press, 2001.Google Scholar
Garland, Peter. In Search of Silvestre Revueltas: Essays 1978–1990. Santa Fe: Soundings Press, 1991.Google Scholar
Gay, Peter. ‘“We Miss Our Jews”: The Musical Migration from Nazi Germany’. In Driven into Paradise: The Musical Migration from Nazi Germany to the United States, edited by Brinkmann, Reinhold and Wolff, Christoph, 2130. Berkeley, CA: University of California Press, 1999.CrossRefGoogle Scholar
Gerring, John. Case Study Research: Principles and Practices. 2nd ed. Strategies for Social Inquiry. Cambridge: Cambridge University Press, 2016.Google Scholar
Goebel, Michael. ‘Settler Colonialism in Postcolonial Latin America’. In The Routledge Handbook of the History of Settler Colonialism, edited by Veracini, Lorenzo and Cavanagh, Edward, 139–52. Abingdon: Routledge, 2016. https://doi.org/10.4324/9781315544816-20.Google Scholar
Goehr, Lydia. ‘Music and Musicians in Exile: The Romantic Legacy of a Double Life’. In Driven into Paradise: The Musical Migration from Nazi Germany to the United States, edited by Brinkmann, Reinhold and Wolff, Christoph, 6691. Berkeley, CA: University of California Press, 1999.CrossRefGoogle Scholar
Goldman, Jonathan. The Musical Language of Pierre Boulez: Writings and Compositions. Cambridge: Cambridge University Press, 2011.Google Scholar
Goldman, JonathanThe Balinese Moment in the Montreal New Music Scene as a Regional Modernism’. In The Routledge Research Companion to Modernism in Music, edited by Wilson, Charles and Heile, Björn, 379–99. Abingdon: Routledge, 2019.Google Scholar
Gooley, Dana (convenor). ‘Cosmopolitanism in the Age of Nationalism, 1848–1914’. Journal of the American Musicological Society 66, no. 2 (1 August 2013): 523–49. https://doi.org/10.1525/jams.2013.66.2.523.CrossRefGoogle Scholar
Griffiths, Paul. Modern Music and After. 3rd ed. Oxford: Oxford University Press, 2010.Google Scholar
Grimley, Daniel M. Carl Nielsen and the Idea of Modernism. Woodbridge: Boydell Press, 2010.Google Scholar
Haefeli, Anton. Die internationale Gesellschaft für Neue Musik. Zurich: Atlantis-Verlag, 1982.Google Scholar
Hagedorn, Volker. ‘The Soul Must Descend from Its Mount’. VAN Magazine, 4 October 2017. http://van-magazine.com/mag/klaus-huber/.Google Scholar
Hagedorn, Volker ‘Younghi Pagh-Paan: Wenn Ideen an die Sonne wollen’. Die Zeit. 19 November 2015, sec. Kultur. www.zeit.de/2015/47/younghi-pagh-paan-komponistin-korea-klassik/komplettansicht?print=true.Google Scholar
Hamilton-Tyrrell, Sarah. ‘Mário de Andrade, Mentor: Modernism and Musical Aesthetics in Brazil, 1920–1945’. The Musical Quarterly 88, no. 1 (2005): 734.CrossRefGoogle Scholar
Hear, Nicholas Van. ‘Refugees, Diasporas, and Transnationalism’. In The Oxford Handbook of Refugee and Forced Migration Studies, edited by Fiddian-Qasmiyeh, Elena, Loescher, Gil, Long, Katy, and Sigona, Nando, 176–87. Oxford: Oxford University Press, 2014. https://doi.org/10.1093/oxfordhb/9780199652433.013.0016.Google Scholar
Heile, Björn. ‘Weltmusik and the Globalization of New Music’. In The Modernist Legacy: Essays on New Music, edited by Heile, Björn, 101–21. Farnham: Ashgate, 2009.Google Scholar
Erik Bergman, Cosmopolitanism and the Transformation of Musical Geography’. In Transformations of Musical Modernism, edited by Johnson, Julian and Guldbransen, Erling E., 7496. Cambridge: Cambridge University Press, 2015.Google Scholar
Mapping Musical Modernism’. In Music History and Cosmopolitanism, edited by Belina, Anastasia, Kilpiö, Kaarina, and Scott, Derek B., 90105. Abingdon: Routledge, 2019.CrossRefGoogle Scholar
Musical Modernism, Global: Comparative Observations’. In The Routledge Companion to Modernism in Music, edited by Heile, Björn and Wilson, Charles, 175–98. London: Routledge, 2019.Google Scholar
Serialism in Latin America’. In The Cambridge Companion to Serialism, edited by Iddon, Martin, 266–77. Cambridge: Cambridge University Press, 2023.CrossRefGoogle Scholar
Heile, Björn, and Wilson, Charles. ‘Introduction’. In The Routledge Research Companion to Modernism in Music, edited by Heile, Björn and Wilson, Charles, 130. London: Routledge, 2019.Google Scholar
Heinz, Joachim. ‘Die Lehrerin’. In Auf dem Weg zur musikalischen Symbiose: Die Komponistin Younghi Pagh-Paan, edited by Zenck, Claudia Maurer, 2024. Mainz: Schott, 2020.Google Scholar
Heister, Hanns-Werner, and Maurer Zenck, Claudia (eds.). Musik im Exil: Folgen des Nazismus für die internationale Musikkultur. Frankfurt: Fischer Taschenbuch Verlag, 1993.Google Scholar
Henninger, Richard, and Keillor, Elaine. ‘Weinzweig, John’. In Grove Music Online. New York: Oxford University Press, 2001. https://doi.org/10.1093/gmo/9781561592630.article.30052.Google Scholar
Herrera, Eduardo. Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-Garde Music. New York: Oxford University Press, 2020. https://doi.org/10.1093/oso/9780190877538.001.0001.CrossRefGoogle Scholar
Hess, Carol A. Representing the Good Neighbor: Music, Difference, and the Pan American Dream. New York: Oxford University Press, 2013.CrossRefGoogle Scholar
Hoag, Charles K.Sensemayá: A Chant for Killing a Snake’. Latin American Music Review/Revista de Música Latinoamericana 8, no. 2 (1987): 172–84. https://doi.org/10.2307/780097.Google Scholar
Hooker, Juliet. Theorizing Race in the Americas: Douglass, Sarmiento, DuBois, and Vasconcelos. New York: Oxford University Press, 2017.CrossRefGoogle Scholar
Hooper, Michael. Australian Music and Modernism: 1960–1975. London: Bloomsbury, 2019.CrossRefGoogle Scholar
Howard, Keith. ‘Kang Sukhi’. In Grove Music Online. Accessed 9 May 2022. https://doi-org.ezproxy.lib.gla.ac.uk/10.1093/gmo/9781561592630.article.50776.Google Scholar
Howard, Keith Perspectives on Korean Music: Creating Korean Music: Tradition, Innovation and the Discourse of Identity. Aldershot: Ashgate, 2006.Google Scholar
Hutnyk, John. ‘Adorno at Womad: South Asian Crossovers and the Limits of Hybridity-Talk’. Postcolonial Studies 1 (1998): 401–26.CrossRefGoogle Scholar
Iddon, Martin. ‘Trying To Speak: Between Politics and Aesthetics, Darmstadt 1970–1972’. Twentieth-Century Music 3, no. 2 (September 2006): 255–75. https://doi.org/10.1017/S1478572207000485.CrossRefGoogle Scholar
Iddon, Martin New Music at Darmstadt: Nono Stockhausen, Cage, and Boulez. Cambridge: Cambridge University Press, 2013.CrossRefGoogle Scholar
Imafidon, Elvis. ‘Alterity, African Modernity, and the Critique of Change’. In Handbook of African Philosophy of Difference, edited by Imafidon, Elvis, 119. Cham: Springer, 2019. https://doi.org/10.1007/978-3-030-04941-6_31-1.Google Scholar
Jackson, Richard. ‘The Afrocriollo Movement Revisited’. Afro-Hispanic Review 3, no. 1 (1984): 59.Google Scholar
Jameson, Fredric. A Singular Modernity. New York: Verso, 2002.Google Scholar
Janz, Tobias. ‘Multiple Musical Modernities? Dahlhaus, Eisenstadt, and the Case of Japan’. In Decentering Musical Modernity: Perspectives on East Asian and European Music History, edited by Janz, Tobias and Yang, Chien-Chang, 279312. Bielefeld: transcript, 2019.CrossRefGoogle Scholar
Janz, Tobias, and Yang, Chien-Chang. ‘Introduction: Musicology, Musical Modernity and the Challenges of Entangled History’. In Decentering Musical Modernity: Perspectives on East Asian and European Music History, edited by Janz, Tobias and Yang, Chien-Chang, 1939. Bielefeld: transcript, 2019.Google Scholar
Jay, Martin. ‘Adorno in America’. New German Critique, no. 31 (1984): 157–82. https://doi.org/10.2307/487894.CrossRefGoogle Scholar
Jedeck, Hannes. ‘Different Interpretations of Musical Modernity? Xiao Youmei’s Studies in Leipzig and the Foundation of the Modern Chinese Folk Orchestra’. In Decentering Musical Modernity: Perspectives on East Asian and European Music History, edited by Janz, Tobias and Yang, Chien-Chang, 123–44. Bielefeld: transcript, 2019.Google Scholar
Jung, Hyejin. ‘Korean Cultural and Musical Influences in Younghi Pagh-Paan’s Man-Nam I’. DMA Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862815/.Google Scholar
Kaelble, Hartmut. ‘Die Debatte über Vergleich und Transfer und was jetzt?’ H-Soz-Kult. Kommunikation und Fachinformation für die Geschichtswissenschaften (blog). Connections. A Journal for Historians and Area Specialists, 8 February 2005. www.connections.clio-online.net/article/id/artikel-574.Google Scholar
Kanazawa, Masakata. ‘Kanai [Née Kawahira], Kikuko’. In Grove Music Online. New York: Oxford University Press, 2001. https://doi.org/10.1093/gmo/9781561592630.article.49292.Google Scholar
Kang, Unsu. ‘Untersuchungen der Behandlung des Schlagwerks in den Kompositionen von Younghi Pagh-Paan’. PhD thesis, University of Bremen, 2007. https://media.suub.uni-bremen.de/handle/elib/2414.Google Scholar
Kater, Carlos. Música Viva e H.J. Koellreutter: movimentos em direção à modernidade. São Paulo: Musa Editora, 2000.Google Scholar
Kater, Michael H. Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press, 2000. https://doi.org/10.1093/acprof:oso/9780195099249.001.0001.CrossRefGoogle Scholar
Keller, Kjell H.Tempora: Konzert Für Violine Und Orchester von Klaus Huber’. Melos 40 (1973): 165–73.Google Scholar
Kholopov, Yuri. ‘Philip Gershkovich’s Search for the Lost Essence of Music’. In Underground Music from the Former USSR, edited by Tsenova, Valeria, translated by Romela Kohanovskaya, 2135. Amsterdam: Harwood, 1997.Google Scholar
Kim, Hyelim. Tradition and Creativity in Korean Taegŭm Flute Performance. London: Routledge, 2021.CrossRefGoogle Scholar
Kim, Hyojoung. ‘Micromobilization and Suicide Protest in South Korea, 1970-2004’. Social Research 75, no. 2 (2008): 543–78.CrossRefGoogle Scholar
Kim, Jeongmee. ‘Musical Syncretism in Isang Yun’s Gasa’. In Locating East Asia in Western Art Music, edited by Lau, Frederick and Everett, Yayoi Uno, 168–92. Middletown, CT: Wesleyan University Press, 2004.Google Scholar
Kim, Jin-Ah. ‘Erinnerte Heimat und Transkulturalität: Zur Korrelation von Person und musikalischem Schaffen’. In Auf dem Weg zur musikalischen Symbiose: Die Komponistin Younghi Pagh-Paan, edited by Zenck, Claudia Maurer, 4353. Mainz: Schott, 2020.Google Scholar
Kim, Jin-Ah. ‘“European Music” Outside Europe? Musical Entangling and Intercrossing in the Case of Korea’s Modern History’. In Studies on a Global History of Music, edited by Strohm, Reinhard, 177–97. Abingdon: Routledge, 2018.Google Scholar
Kim, Jinwung. A History of Korea: From Land of the Morning Calm to States in Conflict. Bloomington: Indiana University Press, 2012.Google Scholar
Koser, Khalid. International Migration: A Very Short Introduction. Oxford: Oxford University Press, 2007.CrossRefGoogle Scholar
Kristeva, Julia. Strangers to Ourselves: European Perspectives. New York: Columbia University Press, 1991.Google Scholar
Krohn, Claus-Dieter, Rotermund, Erwin, Winckler, Lutz, and Koepke, Wulf, eds. Kulturelle Räume und ästhetische Universalität: Musik und Musiker im Exil. Munich: text+kritik, 2008.CrossRefGoogle Scholar
Kuo-Huang, Han, and Gray, Judith. ‘The Modern Chinese Orchestra’. Asian Music 11, no. 1 (1979): 143. https://doi.org/10.2307/833965.CrossRefGoogle Scholar
Kurka, Irene. ‘Interview mit Younghi Pagh-Paan’. Neue Musik Leben. Accessed 26 January 2022. https://neuemusikleben.podigee.io/119-neue-episode.Google Scholar
Kwon, Oh-sung. ‘Melodic Structure of Korean Funeral Procession Songs’. Yearbook for Traditional Music 15 (1983): 5970. https://doi.org/10.2307/768642.CrossRefGoogle Scholar
Lanz, Doris. ‘Hanns Eisler als Vorbild für Wladimir Vogels erste Zwölftonkomposition? Überlegungen zu Vogels Violinkonzert von 1936/1937’. Archiv für Musikwissenschaft 62, no. 2 (2005): 137–50.Google Scholar
Larson, Carolyne R. The Conquest of the Desert: Argentina’s Indigenous Peoples and the Battle for History. Santa Fe, New Mexico: University of New Mexico Press, 2020.Google Scholar
Lechner, Frank J. Globalization: The Making of World Society. Paris: John Wiley & Sons, 2009.Google Scholar
Lee, Namhee. The Making of Minjung: Democracy and the Politics of Representation in South Korea. Ithaca: Cornell University Press, 2011.CrossRefGoogle Scholar
Leibowitz, René. Schoenberg et son école: l’étape contemporaine du language musical. Paris: J.B. Janin, 1947.Google Scholar
Leibowitz, René Qu’est ce que la musique de douze sons?: le concerto pour neuf instruments, op. 24, d’Anton Webern. Paris: Editions Dynamo, 1948.Google Scholar
Leibowitz, René Introduction à la musique de douze sons: les variations pour orchestre op. 31 d’Arnold Schoenberg. Paris: L’Arche, 1949.Google Scholar
Levi, Erik. ‘Ban under National Socialism: The Permanent Council for International Cooperation of Composers: An Existential Threat to the ISCM?/Verbot Unter Nationalsozialismus [Sic]: Der ständige Rat für die internationale Zusammenarbeit der Komponisten: Eine existenzielle Bedrohung für die IGNM?’ In Achtung International! Salzburg & 100 Years of the International Society for Contemporary Music/Salzburg und 100 Jahre Internationale Gesellschaft für Neue Musik, edited by Universität Mozarteum Salzburg [Werley, Matthew ]. Vienna: Hollitzer, 2024.Google Scholar
Levitz, Tamara (convenor). ‘Musicology Beyond Borders?Journal of the American Musicological Society 65, no. 3 (1 December 2012): 821–61. https://doi.org/10.1525/jams.2012.65.3.821.Google Scholar
Lewis, George E. A Power Stronger Than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press, 2008.CrossRefGoogle Scholar
Lindgren, Allana, and Ross, Stephen, eds. The Modernist World. Routledge, 2015.CrossRefGoogle Scholar
Lovern, Kenneth R. ‘The Musical Language of Alberto Ginastera’s Panambí and the Influence of Claude Debussy’s La Mer and Igor Stravinsky’s Le Sacre Du Printemps’. Master’s dissertation, University of North Texas, 2015.Google Scholar
MacDonald, Malcolm. ‘Gerhard, Roberto’. In Grove Music Online. New York: Oxford University Press, 2001. https://doi.org/10.1093/gmo/9781561592630.article.10920.Google Scholar
Madrid, Alejandro L. Sounds of the Modern Nation: Music, Culture, and Ideas in Post-Revolutionary Mexico. Philadelphia: Temple University Press, 2008.Google Scholar
Mahmoud, Yahia. ‘Modernism in Africa’. In The Routledge Encyclopedia of Modernism, edited by Ross, Stephen. London: Taylor and Francis, 2016. www.rem.routledge.com/articles/overview/modernization-development-studies-and-modernity-in-current-african-debates.Google Scholar
Malcomson, Scott L.The Varieties of Cosmopolitan Experience’. In Cosmopolitics: Thinking and Feeling beyond the Nation, edited by Robbins, Bruce and Pheng, Cheah, 233–45. Minneapolis: University of Minnesota Press, 1998.Google Scholar
Martin, Denis. Sounding the Cape: Music, Identity and Politics in South Africa. Cape Town: African Minds, 2013.CrossRefGoogle Scholar
Masters, Giles. ‘New-Music Internationalism: The ISCM Festival, 1922-1939’. PhD thesis, King’s College London, 2021. https://kclpure.kcl.ac.uk/portal/en/theses/newmusic-internationalism(1887e6ec-1bd6-4313-a8a2-bdbff2555c44).html.Google Scholar
Mathias, Rhiannon. Lutyens, Maconchy, Williams and Twentieth-Century British Music: A Blest Trio of Sirens. London: Routledge, 2016.CrossRefGoogle Scholar
Maurer Zenck, Claudia, ‘Challenges and Opportunities of Acculturation: Schoenberg, Krenek, and Stravinsky in Exile’. In Driven Into Paradise: The Musical Migration from Nazi Germany to the United States, edited by Brinkmann, Reinhold and Wolff, Christoph, 172–93. Berkeley, CA: University of California Press, 1999.Google Scholar
Maurer Zenck, Claudia Auf dem Weg zur musikalischen Symbiose (ed.): Die Komponistin Younghi Pagh-Paan. Mainz: Schott Music, 2020.Google Scholar
Meine, Sabine. Ein Zwölftöner in Paris: Studien zu Biographie und Wirkung von René Leibowitz (1913–1972). Augsburg: Wissner, 2000.Google Scholar
Meine, Sabine ‘René Leibowitz’. In Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit, edited by Zenck, Claudia Maurer, Petersen, Peter, and Fetthauer, Sophie. Accessed 15 November 2021. https://www.lexm.uni-hamburg.de/object/lexm_lexmperson_00001423?wcmsID=0003.Google Scholar
Melsbach, Detlef. ‘Hans-Joachim Kollreutter’. In Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit, edited by Zenck, Claudia Maurer, Petersen, Peter, and Fetthauer, Sophie. Accessed 16 November 2021. www.lexm.uni-hamburg.de/object/lexm_lexmperson_00003556.Google Scholar
Messiaen, Olivier. Technique de mon langage musical. Paris: Alphonse Leduc, 1944.Google Scholar
Meyer, Leonard B.Innovation, Choice, and the History of Music’. Critical Inquiry 9, no. 3 (1983): 517–44.CrossRefGoogle Scholar
Mignolo, Walter. The Darker Side of Western Modernity: Global Futures, Decolonial Options. Durham: Duke University Press, 2011.Google Scholar
Miller, Ivor. ‘A Secret Society Goes Public: The Relationship between Abakua and Cuban Popular Culture’. African Studies Review 43 (1 April 2000): 161–88. https://doi.org/10.2307/524726.CrossRefGoogle Scholar
Miller, Ivor L. ‘Cuban Abakuá Music’. In Médiathèque Caraïbe. Accessed 28 July 2021. www.lameca.org/publications-numeriques/dossiers-et-articles/cuban-abakua-music/.Google Scholar
Miller, Ivor L., and Bassey, Bassey E.. Voice of the Leopard: African Secret Societies and Cuba. Jackson: University Press of Mississippi, 2009.CrossRefGoogle Scholar
Miller, Marilyn Grace. Rise and Fall of the Cosmic Race: The Cult of Mestizaje in Latin America. 1st ed. Austin: University of Texas Press, 2004.Google Scholar
Miller, Sarah Bryan. ‘“Chaka” Premiere Set Here’. St. Louis Post-Dispatch. 5 March 2000. https://advance.lexis.com/api/document?collection=news&id=urn:contentItem:405T-41R0-005J-C50K-00000-00&context=1519360.Google Scholar
Mills, Albert, Durepos, Gabrielle, and Wiebe, Elden. Encyclopedia of Case Study Research. Thousand Oaks: Sage, 2010. https://doi.org/10.4135/9781412957397.CrossRefGoogle Scholar
Miranda, Ricardo. ‘“The Heartbeat of an Intense Life”: Mexican Music and Carlos Chávez’s Orquesta Sinfónica de México, 1928–1948’. In Carlos Chavez and His World, edited by Saavedra, Leonora, 4661. Princeton: Princeton University Press, 2015. https://doi.org/10.1515/9781400874200-006.CrossRefGoogle Scholar
Moran, Dominic P.Carpentier’s Stravinsky: Rites and Wrongs’. Bulletin of Spanish Studies 79, no. 1 (1 January 2002): 81104. https://doi.org/10.1080/14753820252820777.CrossRefGoogle Scholar
Moreda Rodríguez, Eva. Music and Exile in Francoist Spain. Farnham: Ashgate, 2016.CrossRefGoogle Scholar
Moreda Rodríguez, EvaMusical Modernism and Exile: Cliché as Hermeneutic Tool’. In The Routledge Research Companion to Modernism in Music, edited by Heile, Björn and Wilson, Charles, 199215. Abingdon: Routledge, 2019.Google Scholar
Moreda Rodríguez, EvaWhy Do Orchestral and Band Musicians in Exile Matter? A Case Study from Spain’. Music and Letters 101, no. 1 (February 2020): 7188. https://doi.org/10.1093/ml/gcz080.CrossRefGoogle Scholar
Moreira, Luiza Franco. ‘Songs and Intellectuals: The Musical Projects of Alain Locke, Alejo Carpentier, and Mário de Andrade’. Comparative Literature Studies 49, no. 2 (2012): 210–26. https://doi.org/10.5325/complitstudies.49.2.0210.Google Scholar
Moretti, Franco. Distant Reading. London: Verso, 2013.Google Scholar
Moretti, Franco Graphs, Maps, Trees: Abstract Models for a Literary History. London: Verso, 2007.Google Scholar
Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: W.W. Norton, 1991.Google Scholar
Morrison, Alexander. ‘Russian Settler Colonialism’. In The Routledge Handbook of the History of Settler Colonialism, edited by Veracini, Lorenzo and Cavanagh, Edward, 313–26. Abingdon: Routledge, 2016.Google Scholar
Netchinsky, Jill A., and Carpentier, Alejo. ‘The Rebambaramba’. Latin American Literary Review 15, no. 30 (1987): 6877.Google Scholar
Nettl, Bruno. The Western Impact on World Music: Change, Adaptation, and Survival. New York: Schirmer Books, 1985.Google Scholar
Nho-von Blumröder, Yookyung. Das transparente Licht: Younghi Pagh-Paans Kompositionen. Hofheim: Wolke, 2021.Google Scholar
Nikolić, Sanela. ‘Five Claims for Global Musicology’. Acta Musicologica 93, no. 2 (2021): 219–35.Google Scholar
Nussbaum, Martha C. Cultivating Humanity: A Classical Defense of Reform in Liberal Education. Cambridge, MA: Harvard University Press, 1997.Google Scholar
Nyffeler, Max. ‘Der lange Weg zum Selbst: Zu Younghi Pagh-Paans künstlerischer Entwicklung’. In Auf dem Weg zur musikalischen Symbiose: Die Komponistin Younghi Pagh-Paan, edited by Zenck, Claudia Maurer, 1219. Mainz: Schott, 2020.Google Scholar
Nyffeler, Max ‘Einspruch der Peripherie: Zu den World Music Days’. Wochen-Zeitung. 27 September 1991.Google Scholar
Nyffeler, MaxGrundlage jeder Kultur ist der Mensch: Interview mit Younghi Pagh-Paan’. MusikTexte 119 (2008): 5257.Google Scholar
Nyffeler, MaxHuber, Klaus’. In Grove Music Online. New York: Oxford University Press, 2001. Accessed 27 April 2022. www-oxfordmusiconline-com.ezproxy.lib.gla.ac.uk/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000013466.Google Scholar
Oehlschlägel, Reinhard. ‘Weltmusik in der Schweiz: Das IGNM-Festival in Zürich’. Süddeutsche Zeitung. 18 September 1991.Google Scholar
Ogunbesan, Kolawole. ‘A King for All Seasons: Chaka in African Literature’. Présence Africaine, no. 88 (1973): 197217.CrossRefGoogle Scholar
Omojola, Bode. ‘African Pianism as an Intercultural Compositional Framework: A Study of the Piano Works of Akin Euba’. Research in African Literatures 32, no. 2 (2001): 153–74.CrossRefGoogle Scholar
Omojola, Bode4. African Pianism’. In Nigerian Art Music: With an Introduction Study of Ghanaian Art Music, 7988. Africas: Languages, History and Arts. Ibadan: IFRA-Nigeria, 2013. http://books.openedition.org/ifra/611.Google Scholar
Omojola, Bode2. Historical Background of Modern Nigerian Art Music’. In Nigerian Art Music: With an Introduction Study of Ghanaian Art Music, 938. Africas: Languages, History and Arts. Ibadan: IFRA-Nigeria, 2013. http://books.openedition.org/ifra/609.Google Scholar
Pagh-Paan, Younghi. ‘Unterwegs: Reflexionen über meine Tätigkeit als Komponistin’. In Neuland: Ansätze zur Musik der Gegenwart – Jahrbuch, edited by Henck, Herbert, 2037. Cologne: Neuland Musikverlag, 1984.Google Scholar
Pagh-Paan, YounghiDas Eigene – das Fremde’. In Komposition und Musikwissenschaft im Dialog III (1999–2001), edited by von Blumröder, Christoph and Misch, Imke, 116–33. Münster: LIT Verlag Münster, 2003.Google Scholar
Pagh-Paan, Younghi, Votteler, Juliane, and Han, Byung-Chul. Mondschatten: Programme Book of the Premiere. Stuttgart: Staatsoper Stuttgart, 2006.Google Scholar
Palomino, Pablo. The Invention of Latin American Music: A Transnational History. New York: Oxford University Press, 2020.CrossRefGoogle Scholar
Parker, Robert L.Carlos Chávez and the Ballet: A Study in Persistence’. Dance Chronicle 8, no. 3/4 (1985): 179210.CrossRefGoogle Scholar
Parsons, Laurel. ‘Early Music and the Ambivalent Origins of Elisabeth Lutyens’s Modernism’. In British Music and Modernism, 1895–1960, edited by Riley, Matthew, 269–92. Abingdon: Routledge, 2010.Google Scholar
Parsons, William. ‘Mysticism: An Overview’. In Oxford Research Encyclopedia of Religion. Oxford University Press, November 2019. https://doi.org/10.1093/acrefore/9780199340378.013.55.Google Scholar
Paz, Juan Carlos. Arnold Schönberg: o, El fin de la era tonal. Buenos Aires: Editorial Nueva Visión, 1958.Google Scholar
Paz, Juan Carlos Introducción a la música de nuestro tiempo. Benos Aires: Editorial Nueva Visión, 1955.Google Scholar
Plesch, Melanie. ‘Demonizing and Redeeming the Gaucho: Social Conflict, Xenophobia and the Invention of Argentine National Music’. Patterns of Prejudice 47, no. 4–5 (1 September 2013): 337–58. https://doi.org/10.1080/0031322X.2013.845425.CrossRefGoogle Scholar
Potter, Caroline. Nadia and Lili Boulanger. London: Routledge, 2016.CrossRefGoogle Scholar
Rae, Caroline. ‘In Havana and Paris: The Musical Activities of Alejo Carpentier’. Music and Letters 89, no. 3 (1 August 2008): 373–95. https://doi.org/10.1093/ml/gcn033.CrossRefGoogle Scholar
Rao, Nancy Yunwha. ‘Hearing Pentatonicism through Serialism: Integrating Different Traditions in Chinese Contemporary Music’. Perspectives of New Music 40, no. 2 (2002): 190231.Google Scholar
Rijavec, Andrej, Klemenčič, Ivan, and Barbo, Matjaž. ‘Srebotnjak, Alojz’. In Grove Music Online. New York: Oxford University Press, 2001. https://doi.org/10.1093/gmo/9781561592630.article.26483.Google Scholar
Riley, Matthew, ed. British Music and Modernism, 1895–1960. London: Routledge, 2017.CrossRefGoogle Scholar
Rischin, Rebecca. For the End of Time: The Story of the Messiaen Quartet. Ithaca, NY: Cornell University Press, 2006.Google Scholar
Robbins, Bruce. ‘Introduction Part I: Actually Existing Cosmopolitanism’. In Cosmopolitics: Thinking and Feeling beyond the Nation, edited by Cheah, Pheng and Robbins, Bruce, 119. Minneapolis: University of Minnesota Press, 1998.Google Scholar
Roderick, Peter O. ‘Rebuilding a Culture: Studies in Italian Music After Fascism, 1943-1953’. PhD thesis, University of York, 2010. https://etheses.whiterose.ac.uk/997/.Google Scholar
Rupprecht, Philip. British Musical Modernism: The Manchester Group and Their Contemporaries. Cambridge University Press, 2015.CrossRefGoogle Scholar
Saavedra, Leonora. ‘Carlos Chávez and the Myth of the Aztec Renaissance’. In Carlos Chavez and His World, edited by Saavedra, Leonora, 134–64. Princeton: Princeton University Press, 2015. https://doi.org/10.2307/j.ctt1cg4n5s.13.CrossRefGoogle Scholar
Saavedra, LeonoraCarlos Chávez’s Polysemic Style: Constructing the National, Seeking the Cosmopolitan’. Journal of the American Musicological Society 68, no. 1 (1 April 2015): 99150. https://doi.org/10.1525/jams.2015.68.1.99.CrossRefGoogle Scholar
Sadoh, Godwin. ‘Modern Nigerian Music: The Postcolonial Experience’. The Musical Times 150, no. 1908 (2009): 7984.Google Scholar
Said, Edward W.Reflections on Exile’. In Reflections on Exile: And Other Literary and Cultural Essays, 180–92. London: Granta Books, 2013.Google Scholar
Schaeffer, Bogusław. ‘Fitelberg, Jerzy’. In Grove Music Online. New York: Oxford University Press, February 2011. https://doi.org/10.1093/gmo/9781561592630.article.A2093058.Google Scholar
Schalz, Nicolas. ‘Younghi Pagh-Paan: Portrait’. Accessed 28 April 2022. https://pagh-paan.com/dsp.php?en,2.Google Scholar
Schalz-Laurenze, Ute. ‘Transzendenz in der Neuen Musik’. Neue Musikzeitung 61/2, 2012. www.nmz.de/artikel/transzendenz-in-der-neuen-musik.Google Scholar
Scheding, Florian. ‘Which Displacement? Placing Exile in the Post-War Compositions of István Anhalt and Mátyás Seiber’. In Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág and Sándor Veress, edited by Sallis, Friedemann, Elliott, Robin, and DeLong, Kenneth, 111–28. Waterloo: Wilfried Laurier, 2011.Google Scholar
Scheding, Florian Musical Journeys: Performing Migration in Twentieth-Century Music. Woodbridge: Boydell, 2019.Google Scholar
Scheding, Florian, Scott, Derek B., Levi, Erik, et al. ‘Forum “Who Is British Music?” Placing Migrants in National Music History’. Twentieth Century Music 15, no. 3 (29 November 2018): 439–92. https://doi.org/10.1017/S1478572218000257.Google Scholar
Schenk, Dietmar. ‘Von Berlin nach … : Die Emigration von Musikern in der NS-Zeit’. In Kulturelle Räume und ästhetishe Universalität: Musik und Musiker im Exil, edited by Krohn, Claus-Dieter, Rotermund, Erwin, Winckler, Lutz, and Koepke, Wulf, 2743. Munich: Edition Text + Kritik, 2008.CrossRefGoogle Scholar
Scherzinger, Martin. ‘“Art” Music in a Cross-Cultural Context: The Case of Africa’. In The Cambridge History of Twentieth-Century Music, edited by Cook, Nicholas and Pople, Anthony, 584613. Cambridge: Cambridge University Press, 2004.CrossRefGoogle Scholar
Schiuma, Giovanni, and Carlucci, Daniela. Big Data in the Arts and Humanities: Theory and Practice. London: Taylor & Francis, 2018.Google Scholar
Schmidt, Dörte. ‘Jeder hat [eine] eigene Tradition, wie jeder eine Vergangenheit hat: Younghi Pagh-Paan in Freiburg und Darmstadt in den 1970er und 1980er Jahren’. In Auf dem Weg zur musikalischen Symbiose: Die Komponistin Younghi Pagh-Paan, edited by Zenck, Claudia Maurer, 2542. Mainz: Schott, 2020.Google Scholar
Schoenberg, E. Randol, ed. The Doctor Faustus Dossier: Arnold Schoenberg, Thomas Mann, and Their Contemporaries, 1930–1951. Oakland: University of California Press, 2018.CrossRefGoogle Scholar
Schürmann-Zehetner, Yvonne. ‘René Leibowitz: Ein Pionier für die Musik des 20. Jahrhunderts’. PhD thesis, University of Vienna, 2010. http://othes.univie.ac.at/10901/.Google Scholar
Schwartz, Elliott. ‘Zürich ISCM 1991’. Perspectives of New Music 30, no. 1 (1992): 304–9. https://doi.org/10.2307/833306.CrossRefGoogle Scholar
Schwartz-Kates, Deborah. Alberto Ginastera: A Research and Information Guide. New York: Taylor & Francis, 2011.CrossRefGoogle Scholar
Seo, Youngsin. ‘A Study of Unsuk Chin’s Violin Concerto’. DMA thesis, Indiana University, 2016.Google Scholar
Sheffer, Gabriel (Gabi). ‘The Historical, Cultural, Social, and Political Backgrounds of Ethno-National Diasporas’. In Routledge International Handbook of Migration Studies, edited by Gold, Steven J. and Nawyn, Stephaie J., 487–98, 2nd ed. London: Routledge, 2019.Google Scholar
Shengmiao, Samuel Wong. ‘Hua Yue: The Chinese Orchestra in Contemporary Singapore’. PhD thesis, University of Sheffield, 2009.Google Scholar
Shiloah, Amnon. ‘Modernization and Westernization in Eastern Music’. In The Modernist World, edited by Ross, Stephen and Lindgren, Allana, 472–80. London: Routledge, 2015.Google Scholar
Shreffler, Anne C.The International Society for Contemporary Music and Its Political Context (Prague, 1935)’. In Music and International History in the Twentieth Century, edited by Jessica, C. E. Gienow-Hecht, 5890. New York: Berghahn Books, 2015.CrossRefGoogle Scholar
Sibille, Christiane. Harmony Must Dominate the World». Internationale Organisationen und Musik in der ersten Hälfte des 20. Jahrhunderts. Quaderni di Dodis 6. Bern: Diplomatische Dokumente der Schweiz, 2016. http://dodis.ch/q6.Google Scholar
Simons, Helen. Case Study Research in Practice. London: Sage, 2009. https://doi.org/10.4135/9781446268322.CrossRefGoogle Scholar
Slonimsky, Nicolas, and Diane Kuhn, Laura. Music since 1900. New York: Schirmer Reference, 2001.Google Scholar
Smalley, Roger, Goehr, Alexander, Crosse, Gordon, Tavener, John, and Ginastera, Alberto. ‘Personal Viewpoints: Notes by Five Composers’. Tempo, no. 81 (1967): 1929.CrossRefGoogle Scholar
Smirnov, Dmitri. A Geometer of Sound Crystals: A Book on Philip Herschkowitz. Berlin: Kuhn, 2003.Google Scholar
Soruco Sologuren, Ximena. ‘A propósito de la Orquesta Experimental de Instrumentos Nativos: crear, enseñar y escuchar es descolonizar’. Revista Ciencia y Cultura 17, no. 31 (December 2013): 3757.Google Scholar
Spakowski, Nicola. ‘East Asia in a Global Historical Perspective – Approaches and Challenges’. In Studies on a Global History of Music: A Balzan Musicology Project, edited by Strohm, Reinhard, 220–38. Abingdon: Routledge, 2018.Google Scholar
Stavans, Ilan. José Vasconcelos: The Prophet of Race. Piscataway: Rutgers University Press, 2011.Google Scholar
Steinberg, Michael P.Hannah Arendt and the Cultural Style of the German Jews’. Social Research 74, no. 3 (2007): 879902.CrossRefGoogle Scholar
Stevenson, Robert. ‘Revueltas, Silvestre’. In Grove Music Online, New York: Oxford University Press, 2001. https://doi.org/10.1093/gmo/9781561592630.article.23289.Google Scholar
Stewart, James. ‘Timeline: Olatunji Akin Euba (1935–2020)’. Vermont Public Radio. Accessed 19 December 2021. www.vpr.org/podcast/timeline/2021-10-18/timeline-olatunji-akin-euba-1935-2020.Google Scholar
Stoeber, Michael. ‘The Comparative Study of Mysticism’. In Oxford Research Encyclopedia of Religion, Oxford University Press, January 2017. https://doi.org/10.1093/acrefore/9780199340378.013.93.Google Scholar
Stolp, Mareli. ‘New Music for New South Africans: The New Music Indabas in South Africa, 2000–02’. Journal of the Royal Musical Association 143, no. 1 (2018): 211–32. https://doi.org/10.1080/02690403.2018.1434354.CrossRefGoogle Scholar
Straus, Joseph N.A Revisionist History of Twelve-Tone Serialism in American Music’. Journal of the Society for American Music 2, no. 3 (August 2008): 355–95. https://doi.org/10.1017/S1752196308080115.CrossRefGoogle Scholar
Straus, Joseph N. Twelve-Tone Music in America. Cambridge: Cambridge University Press, 2009.Google Scholar
Straus, Joseph N.Ursula Mamlok, Panta Rhei, Third Movement (1981)’. In Analytical Essays on Music by Women Composers: Concert Music from 1960–2000, edited by Parsons, Laurel and Ravenscroft, Brenda, 1731. New York: Oxford University Press, 2016.CrossRefGoogle Scholar
Strobl, Bruno. ‘The Regional Sections/Die Länder Sektionen’. In Achtung International! Salzburg & 100 Years of the International Society for Contemporary Music/Salzburg und 100 Jahre Internationale Gesellschaft für Neue Musik, edited by Universität Mozarteum Salzburg [Werley, Matthew ]. Vienna: Hollitzer, 2024.Google Scholar
Strohm, Reinhard, ed. Studies on a Global History of Music: A Balzan Musicology Project. SOAS Musicology. Abingdon: Routledge, 2018.Google Scholar
Strohm, ReinhardThe Balzan Musicology Project towards a Global History of Music, the Study of Global Modernisation, and Open Questions for the Future’. Muzikologija, no. 27 (2019): 1529. https://doi.org/10.2298/MUZ1927015S.CrossRefGoogle Scholar
Strohm, Reinhard ed. The Music Road: Coherence and Diversity in Music from the Mediterranean to India. New York: Oxford University Press, 2019.CrossRefGoogle Scholar
Strohm, Reinhard ed. Transcultural Music History: Global Participation and Regional Diversity in the Modern Age. Berlin: VWB-Verlag, 2021.Google Scholar
Tarasti, Eero. Heitor Villa-Lobos: The Life and Works, 1887–1959. Jefferson, NC: McFarland, 1995.Google Scholar
Taruskin, Richard. Stravinsky and the Russian Traditions: A Biography of the Works through Mavra. Oxford: Oxford University Press, 1996.CrossRefGoogle Scholar
Taruskin, RichardThe End of Soviet Music’. In The Oxford History of Western Music, Vol. 5. New York: Oxford University Press, 2010. www-oxfordwesternmusic-com.ezproxy.lib.gla.ac.uk/view/Volume5/actrade-9780195384857-div1-009012.xml?rskey=8zYVug&result=1.Google Scholar
Taruskin, Richard The Oxford History of Western Music. Oxford: Oxford University Press, 2010. www.oxfordwesternmusic.com.Google Scholar
Taruskin, RichardResisting the Rite’. In Russian Music at Home and Abroad: New Essays, 395422. Berkeley, CA: University of California Press, 2016.CrossRefGoogle Scholar
Tao, Li, Ogihara, Mitsunori, and Tzanetakis, George. Music Data Mining. London: CRC Press, 2011.Google Scholar
Tholl, Egbert. ‘Es stirbt der Mensch, es geht ihm gut; Ödipus am Hauptbahnhof: Younghi Pagh-Paans erste Oper “Mondschatten” von der Stuttgarter Staatsoper uraufgeführt’. Süddeutsche Zeitung. 24 July 2006.Google Scholar
Thomas, Adrian. Polish Music since Szymanowski. Cambridge: Cambridge University Press, 2005. https://doi.org/10.1017/CBO9780511482038.CrossRefGoogle Scholar
Thrun, Martin. ‘“Feste und Proteste”: Über das nationale Prinzip der Organisation der Internationalen Gesellschaft für Neue Musik nach 1922’. In Nationale Musik im 20. Jahrhundert: Kompositorische und soziokulturelle Aspekte der Musikgeschichte zwischen Ost- und Westeuropa, edited by Loos, Helmut and Keym, Stefan, 457–70. Leipzig: Gudrun Schröder, 2004. www.gko.uni-leipzig.de/fileadmin/user_upload/musikwissenschaft/pdf_allgemein/arbeitsgemeinschaft/nationale_musik/36P465_478.pdf.Google Scholar
Tomé, Lester. ‘The Racial Other’s Dancing Body in El Milagro de Anaquillé (1927): Avant-Garde Ballet and Ethnography of Afro-Cuban Performance’. Cuban Studies 46 (2018): 185227. https://doi.org/10.1353/cub.2018.0010.CrossRefGoogle Scholar
Tsang, Richard. ‘Future of the ISCM, vs. 4’, 2007. NSA4-A23424. ISCM Arkivet 127, Royal Danish Library Copenhagen.Google Scholar
Tsui, Yingfai. ‘The Modern Chinese Folk Orchestra: A Brief History’. Musical Performance 2, no. 2 (1998): 1932.Google Scholar
Universität Mozarteum Salzburg [Werley, Matthew, ed.] Achtung International! Salzburg & 100 Years of the International Society for Contemporary Music/Salzburg und 100 Jahre Internationale Gesellschaft für Neue Musik. Vienna: Hollitzer, 2024.Google Scholar
Utz, Christian. Neue Musik und Interkulturalität: von John Cage bis Tan Dun. Stuttgart: Franz Steiner Verlag, 2002.Google Scholar
Utz, Christian Musical Composition in the Context of Globalization: New Perspectives on Music History in the 20th and 21st Century. transcript Verlag, 2021.Google Scholar
Uzoigwe, Joshua. Akin Euba: An Introduction to the Life and Music of a Nigerian Composer. Bayreuth African Studies Series 25. Bayreuth, Germany: E. Breitinger, Bayreuth University, 1992.Google Scholar
Vasconcelos, José. The Cosmic Race/La Raza Cosmica. Translated by Didier T. Jaén. Reprint ed. Baltimore, MD: Johns Hopkins University Press, 1997.CrossRefGoogle Scholar
Vega Pichaco, Belén. ‘Las Aventuras y Desventuras de “un Raro Quijote Eslavo” En La Habana: La Recepción de Igor Stravinsky En Cuba (1924–1946)’. In Music Criticism, 1900–1950, edited by Ballester, Jordi and Quesada, Germán Gan, 111–44. Music, Criticism & Politics. Turnhout: Brepols, 2018.Google Scholar
Vega Pichaco, Belén In the Footsteps of La Rebambaramba: Afro-Latino Dance, Identity and Cultural Diplomacy. Accessed 29 June 2020. https://revista.drclas.harvard.edu/in-the-footsteps-of-la-rebambaramba/.Google Scholar
Vitale, Wayne. ‘Balinese Kebyar Music Breaks the Five-Tone Barrier: New Composition for Seven-Tone Gamelan’. Perspectives of New Music 40, no. 1 (2002): 569.Google Scholar
Voithofer, Monika. ‘Of Suffragettes, Vestal Virgins and the Forgotten: The Role of Women in the ISCM Since Its Beginnings/Von Suffragetten, Vestalinnen und Vergessenen: Die Rolle der Frauen in der IGNM seit den Anfängen der Gesellschaft’. In Achtung International! Salzburg & 100 Years of the International Society for Contemporary Music/Salzburg und 100 Jahre Internationale Gesellschaft für Neue Musik, edited by Universität Mozarteum Salzburg [Werley, Matthew ]. Vienna: Hollitzer, 2024.Google Scholar
Wade, Bonnie C. Composing Japanese Musical Modernity. Chicago: University of Chicago Press, 2014.Google Scholar
Walsh, Stephen. Stravinsky: A Creative Spring: Russia and France, 1882–1934. Berkeley: University of California Press, 2003.Google Scholar
Walsh, Stephen Stravinsky: The Second Exile: France and America, 1934–1971. London: Cape, 2006.Google Scholar
Waters, Julie. ‘Proselytizing the Prague Manifesto in Britain: The Commissioning, Conception, and Musical Language of Alan Bush’s “Nottingham” Symphony’. Music and Politics III, no. 1 (Winter 2009). https://doi.org/10.3998/mp.9460447.0003.102.CrossRefGoogle Scholar
Watkins, Glenn. Soundings: Music in the Twentieth Century. New York: Schirmer, 1995.Google Scholar
Westby, Alan. ‘Eastern and Western Sounds Combined: Korean Composer Yun Isang’. Accessed 1 March 2022. www.lapl.org/collections-resources/blogs/lapl/korean-composer-yun-isang.Google Scholar
Whittall, Arnold. Musical Composition in the Twentieth Century. Oxford: Oxford University Press, 1999.Google Scholar
Whittall, Arnold Exploring Twentieth-Century Music: Tradition and Innovation. Cambridge University Press, 2003.Google Scholar
Whittall, Arnold Serialism. Cambridge: Cambridge University Press, 2008.Google Scholar
Whittall, ArnoldFoundations and Fixations: Continuities in British Musical Modernism’. In The Routledge Research Companion to Modernism in Music, edited by Wilson, Charles and Heile, Björn, 353–78. Abingdon: Routledge, 2019.Google Scholar
Wimmer, Andreas, and Glick Schiller, Nina. ‘Methodological Nationalism and beyond: Nation–State Building, Migration and the Social Sciences’. Global Networks 2, no. 4 (2002): 301–34. https://doi.org/10.1111/1471-0374.00043.CrossRefGoogle Scholar
Wolkowicz, Vera. Inca Music Reimagined: Indigenist Discourses in Latin American Art Music, 1910–1930. New York: Oxford University Press, 2022.CrossRefGoogle Scholar
Wollaeger, Mark A., and Eatough, Matt, eds. The Oxford Handbook of Global Modernisms. Oxford: Oxford University Press, 2012.CrossRefGoogle Scholar
Wright, Simon. Villa-Lobos. Oxford: Oxford University Press, 1992.CrossRefGoogle Scholar
Yamauchi, Fumitaka. ‘Contemplating East Asian Music History in Regional and Global Contexts: On Modernity, Nationalism, and Colonialism’. In Decentering Musical Modernity: Perspectives on East Asian and European Music History, edited by Janz, Tobias and Yang, Chien-Chang, 313–36. Bielefeld: transcript, 2019.Google Scholar
Yang, Chien-Chang. ‘Synchronizing Twentieth-Century Music: A Transnational Reflection’. In Decentering Musical Modernity: Perspectives on East Asian and European Music History, edited by Janz, Tobias and Yang, Chien-Chang, 247–78. Bielefeld: transcript, 2019.Google Scholar
Yang, Chien-Chang, and Janz, Tobias, eds. Decentering Musical Modernity: Perspectives on East Asian and European Music History. Bielefeld: Transcript Verlag, 2019.Google Scholar
Yang, Hon-Lun, and Saffle, Michael, eds. China and the West: Music, Representation, and Reception. Ann Arbor: University of Michigan Press, 2017.Google Scholar
Yun, Shin-Hyang. ‘Überlegungen zu kultur- und genderspezifischen Aspekten bei Younghi Pagh-Paan’. Die Musikforschung 65, no. 4 (2012): 368–82.Google Scholar
Zimmermann, Heidy. ‘Koordinatensysteme Musikalischer Gedanken’. In Mondrian-Musik: Die graphischen Welten des Komponisten Hermann Meier, edited by Zimmermann, Heidy, Ziegler, Michelle, and Brotbeck, Roman, 19–34. Zürich: Chronos, 2017.Google Scholar
Zohn-Muldoon, Ricardo. ‘The Song of the Snake: Silvestre Revueltas’ “Sensemayá”’. Latin American Music Review/Revista de Música Latinoamericana 19, no. 2 (1998): 133–59. https://doi.org/10.2307/779988.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Björn Heile, University of Glasgow
  • Book: Musical Modernism in Global Perspective
  • Online publication: 23 May 2024
  • Chapter DOI: https://doi.org/10.1017/9781009491716.007
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Björn Heile, University of Glasgow
  • Book: Musical Modernism in Global Perspective
  • Online publication: 23 May 2024
  • Chapter DOI: https://doi.org/10.1017/9781009491716.007
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Björn Heile, University of Glasgow
  • Book: Musical Modernism in Global Perspective
  • Online publication: 23 May 2024
  • Chapter DOI: https://doi.org/10.1017/9781009491716.007
Available formats
×