The Orient in Music - Music of the Orient

"OM", a fundamental meditation sound present in the cultures of Buddhism, is a syllable full of philosophical and transcendental meanings. The category of the Orient, as contrasted, antithetical and complementary to the Occident (West) and its culture, appears to be one of the most interesting and long-lasting issues discussed in the humanities. European fascination with Oriental cultures has found multifaceted manifestations in science, art, fashion and beliefs. Music, as an important element of cultural communication, has always been well suited for transitions and inspirations. The relationship between the Orient and Western music encompasses a wide and fascinating scope of problems, a field of various multidimensional influences which brings an opportunity not only to study particular questions, but also to search for universal and fundamental values. This collection of essays is a result of an International Conference titled "OM: Orient in Music - Music of the Orient", held at the Grazyna and Kiejstut Academy of Music in Lódz, Poland, in March 2016. The volume provides insight into the many ways in which the music of the East and West can be understood and treated by both Western and Eastern scholars. Book jacket Representations of the Orient in western music : methods of music analysis in theory and practice -- Renata Skupin Oriental music as a part of the European collective consciousness -- David Kozel Somata and Pneumata : on the relationship between Daseia and Byzantine musical notation -- Ewa Bielińska-Galas Zaryab : the cultural meeting of East and West -- Bijan Zelli French music and the East : colonising the sound of an empire -- Edward Campbell The Orient in international art music : musical orientalism and Beethoven's orientation -- Feza Tansuğ The source and imagination of the Orient in Karol Szymanowski's opera "King Roger" op. 46 -- Maki Shigekawa The Poles and the Turks in Franz Doppler's opera Wanda (1850) -- Ryszard Daniel Golianek "Three Romanian dances" by Theodor Rogalski : an issue of identity -- Bianca Ţiplea Temeș The symbolism of tantra in Andrzej Panufnik's Triangles for flutes and cellos (1972) -- Beata Bolesławska-Lewandowska The dialogue between the Orient and the West : its manifestations in Latvian choral music of the 21st Century -- Baiba Jaunslaviete Variations on a theme : the appropriation of the Orient in popular music -- Maciej Rodkiewicz The concepts of Rasa and Dosha and the stage archetypes of women in the classical Indian dance of Odissi -- Beata Stróżyńska Interpreting some transformational aspects of pentatonicism and post-tonal Chinese music -- Man-Ching Donald Yu. "OM", a fundamental meditation sound present in the cultures of Buddhism, is a syllable full of philosophical and transcendental meanings. The category of the Orient, as contrasted, antithetical and complementary to the Occident (West) and its culture, appears to be one of the most interesting and long-lasting issues discussed in the humanities. European fascination with Oriental cultures has found multifaceted manifestations in science, art, fashion and beliefs. Music, as an important element of cultural communication, has always been well suited for transitions and inspirations. The relationship between the Orient and Western music encompasses a wide and fascinating scope of problems, a field of various multidimensional influences which brings an opportunity not only to study particular questions, but also to search for universal and fundamental values. This collection of essays is a result of an International Conference titled "OM: Orient in Music - Music of the Orient", held at the Grazyna and Kiejstut Academy of Music in Lódz, Poland, in March 2016. The volume provides insight into the many ways in which the music of the East and West can be understood and treated by both Western and Eastern scholars. Book jacket “OM”, a fundamental meditation sound present in the cultures of Buddhism, is a syllable full of philosophical and transcendental meanings. The category of the Orient, as contrasted, antithetical and complementary to the Occident (West) and its culture, appears to be one of the most interesting and long-lasting issues discussed in the humanities. European fascination with Oriental cultures has found multifaceted manifestations in science, art, fashion and beliefs.Music, as an important element of cultural communication, has always been well suited for transitions and inspirations. The relationship between the Orient and Western music encompasses a wide and fascinating scope of problems, a field of various multidimensional influences which brings an opportunity not only to study particular questions, but also to search for universal and fundamental values. This collection of essays is a result of an International Conference titled “OM: Orient in Music – Music of the Orient”, held at the Grażyna and Kiejstut Academy of Music in Łódź, Poland, in March 2016. The volume provides insight into the many ways in which the music of the East and West can be understood and treated by both Western and Eastern scholars. Table of Contents 6 Editor’s Note 8 Acknowledgements 11 Representations of the Orient in Western Music 12 Oriental Music as a Part of the European Collective Consciousness 24 Somata and Pneumata 38 Zaryab 55 French Music and the East 71 The Orient in International Art Music 87 The Source and Imagination of the Orient in Karol Szymanowski’s Opera “King Roger” op. 46 111 The Poles and the Turks in Franz Doppler’s Opera Wanda (1850) 120 “Three Romanian Dances” by Theodor Rogalski 133 The Symbolism of Tantra in Andrzej Panufnik’s Triangles for 3 Flutes and 3 Cellos (1972) 140 The Dialogue Between the Orient and the West 171 Variations on a Theme 188 The Concepts of Rasa and Dosha and the Stage Archetypes of Women in the Classical Indian Dance of Odissi 197 Interpreting Some Transformational Aspects of Pentatonicism and Post-tonal Chinese Music 212 About the Authors 233