Hostname: page-component-cb9f654ff-5kfdg Total loading time: 0 Render date: 2025-08-06T16:16:51.024Z Has data issue: false hasContentIssue false
  • English
  • Français

Exploring Creativity in Traditional Music

Published online by Cambridge University Press:  27 January 2020

BELL YUNG
Get access Rights & Permissions [Opens in a new window]

Extract

The term “traditional music” is widely used in musicological discourse as well as in everyday conversations, and is, indeed, in the name of our organisation: the International Council for Traditional Music.1 It was also used in the titles of classic studies of Asian music by our elders, such as Yi Hye-gu (1981), Kishibe Shigeo (1969), William Malm (1959), A. C. Scott (1967, 1969, 1975), David Morton (1976), Judith Becker (1980), Terry Miller (1985), and others, and in the titles of many journal articles. In short, the term is at the core of the discipline of ethnomusicology and for this organisation.

Information

Type
Articles
Information
Yearbook for Traditional Music , Volume 51 , November 2019 , pp. 1 - 15
Copyright
© International Council for Traditional Music 2020

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.)

Article purchase

Temporarily unavailable

References

Becker, Judith. 1980. Traditional Music in Modern Java. Honolulu, HI: University of Hawai‘i Press.Google Scholar
Ben-Amos, Dan. 1984. “The Seven Strands of Tradition: Varieties in Its Meaning in American Folklore Studies.” Journal of Folklore Research 21(2/3):97–131.Google Scholar
Bronner, Simon J. 1998. Following Tradition. Boulder, Colorado, CO: University Press of Colorado, Utah State University Press.CrossRefGoogle Scholar
Dorson, Richard M. 1964. “Oral Tradition and Written History: The Case for the United States.” Journal of the Folklore Institute 1(3):220–234.CrossRefGoogle Scholar
Fang, Kun, Pratt, Keith, Provine, Robert C., and Thrasher, Alan. 1981. “A Discussion on Chinese National Musical Traditions.” Asian Music 12(2):1–16.Google Scholar
Handler, Richard, and Linnekin, Jocelyn. 1984. “Tradition, Genuine or Spurious.” Journal of American Folklore 97(385):273–290.CrossRefGoogle Scholar
Kishibe, Shigeo. 1969. The Traditional Music of Japan. Tokyo: Kokusai Bunka Shinkokai.Google Scholar
Lam, Joseph S. C. 1998. State Sacrifices and Music in Ming China: Orthodoxy, Creativity, and Expressiveness. Albany, NY: State University of New York Press.Google Scholar
Lieberman, Frederic. 1983. A Chinese Zither Tutor: The Mei-An Ch’in-P’u. Hong Kong: Hong Kong University Press.Google Scholar
Linnekin, Jocelyn. 1983. “Defining Tradition: Variations on the Hawaiian Identity.” American Ethnologist 10(2):241–252.CrossRefGoogle Scholar
Luo, Wen. 2003. “Guqinqu Pinsha Luoyan banben bijiao yanjiu” [Comparative Study in the Editions of the Guqin Piece, Pingsha Luoyan (Wild Geese Landing on the Sandy Beach]. Zhongguo Yinyue Xue (Musicology in China) 1:123–134.Google Scholar
Malm, William P. 1959. Japanese Music and Musical Instruments. Rutland, VT: Charles E. Tuttle.Google Scholar
Miller, Terry E. 1985. Traditional Music of the Lao: Kaen Playing and Mawlum Singing in Northeast Thailand. Westport, CT: Greenwood Press.Google Scholar
Morton, David, and Duriyanga, Chen (Phra). 1976. The Traditional Music of Thailand. Berkeley and Los Angeles: University of California Press.Google Scholar
Pian, Rulan Chao. 1993. “Text Setting and the Use of Tune Types in Chinese Dramatic and Narrative Music.” In Text, Tone, and Tune: Parameters of Music in Multicultural Perspective, ed. Wade, Bonnie C., 201–233. American Institute of Indian Studies Archives and Research Center for Ethnomusicology; New Delhi: Oxford and IBH Publishing Co. Pvt. Ltd.Google Scholar
Pian, Rulan Chao. 1997. “Music and the Confucian Sacrificial Ceremony.” In Enchanting Powers: Music in the World’s Religion, ed. Sullivan, Lawrence E., 237–262. Harvard University Center for the Study of World Religions. Cambridge, MA: Harvard University Press.Google Scholar
Provine, Robert C. 1992. “The Korean Courtyard Ensemble for Ritual Music (Aak).” Yearbook for Traditional Music 24:91–117.CrossRefGoogle Scholar
Provine, Robert C. 1996. “State Sacrificial Music and Korean Identity.” In Harmony and Counterpoint: Ritual Music in Chinese Context, ed. Yung, Bell, Rawski, Evelyn and Watson, Rubie, 54–75. Stanford, CA: Stanford University Press.Google Scholar
Rawski, Evelyn S. 1996. “The Creation of an Emperor in Eighteenth-Century China.” In Harmony and Counterpoint: Ritual Music in Chinese Context, ed. Yung, Bell, Rawski, Evelyn S., and Watson, Rubie S., 150–176. Stanford, CA: Stanford University Press.Google Scholar
Schramm, Adelaida Reyes. 1986. “Tradition in the Guise of Innovation: Music among a Refugee Population.” Yearbook for Traditional Music 18:91–101.CrossRefGoogle Scholar
Scott., A. C. 1967. Traditional Chinese Plays, vol.1. Madison, WI: University of Wisconsin Press.Google Scholar
Scott., A. C. 1969. Traditional Chinese Plays, vol.2. Madison, WI: University of Wisconsin Press.Google Scholar
Scott., A. C. 1975. Traditional Chinese Plays, vol.3. Madison, WI: University of Wisconsin Press.Google Scholar
Seeger, Charles. 1950. “Oral Tradition in Music.” In Funk & Wagnalls Standard Dictionary of Folklore, Mythology, and Legend 2(J-Z):825–829. New York: Funk & Wagnalls Company.Google Scholar
So, Jennie ed. 2000. Music in the Age of Confucius. Washington, DC: Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution.CrossRefGoogle Scholar
Van Gulik, R. H. 1940. The Lore of the Chinese Lute: An Essay in Chʻin Ideology . Tokyo: Sophia University Press.Google Scholar
Yao, Xinzhong. 2000. An Introduction to Confucianism. Cambridge, UK: Cambridge University Press.CrossRefGoogle Scholar
Yi (Lee), Hye-gu. 1981. Essays on Korean Traditional Music, ed. and trans. Provine, Robert C.. Seoul: The Royal Asiatic Society.Google Scholar
Yung, Bell. 1985. “Da Pu: The Recreative Process for the Music of the Seven-String Zither.” In Music and Context: Essays in Honor of John Ward, ed. Shapiro, Anne Dhu, 370–384. Cambridge, MA: Harvard University Press.Google Scholar
Yung, Bell. 1987. “Historical Interdependency of Music: A Case Study of the Chinese Seven-String Zither.” The Journal of the American Musicological Society 40(1):82–91.CrossRefGoogle Scholar
Yung, Bell. 1989. Cantonese Opera: Performance as Creative Process. Cambridge, UK: Cambridge University Press.Google Scholar
Yung, Bell. 1994. “Not Notating the Notatable: Reëvaluating the Guqin Notational System.” In Themes and Variations: Writings on Music in Honor of Rulan Chao Pian, ed. Yung, Bell and Lam, Joseph S. C., 45–58. Cambridge, MA: Harvard University; Hong Kong: The Chinese University of Hong Kong.Google Scholar
Yung, Bell. 1997. Celestial Airs of Antiquity: Music of the Seven-String Zither of China. Madison, WI: A-R Edition.Google Scholar
Yung, Bell. 2008. “Creativity in ‘Traditional’ Music: Introducing an Ancient Composition for the Chinese Instrument Qin.” Festschrift for Dr. Lee Hye-ku, 1033–1049. Seoul: Seoul National University.Google Scholar
Yung, Bell. In press. “A Heuristic Theory of Metrical Transformation and Tune Metamorphosis: Tracking Creativity in Traditional Cantonese Opera.” Ethnomusicology 64(1) (Winter 2020).Google Scholar
Zhongyang Yinyue Xueyuan Minzu Yinyue Yanjiusuo (Research Institute of National Music, Central Conservatory of Music). 1958. Guanglingsan. Beijing: Yinyue Chubanshe.Google Scholar