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dc.contributor.editorCrump, J.I.
dc.contributor.editorMalm, William P.
dc.date.accessioned2021-02-10T12:57:52Z
dc.date.available2021-02-10T12:57:52Z
dc.date.issued2020
dc.identifierONIX_20200923_9780472901371_20
dc.identifierhttps://library.oapen.org/handle/20.500.12657/41824
dc.identifier48464*
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/25975
dc.description.abstractChinese and Japanese Music-Dramas is the result of a conference on the relations between Chinese and Japanese music-drama held at the University of Michigan, Ann Arbor, on October 1–4, 1971. In addition to the Association for Asian Studies, four U-M departments participated in the conference: the Center for Japanese Studies, the Center for Chinese Studies, the School of Music, and the Speech Department. One important inspiration for the creation of such an interdisciplinary conference was the fact that each participant had found, after years of individual research on music-drama in East Asia, consistent frustration caused by attempts to deal on their own with multiple cultural and technical problems. Another motivating force was an awareness among many members of the four disciplines involved that the topic is in fact one of the largest untouched fields of scholarly endeavor in both Asian and theatrical studies. The collection opens with J. I. Crump’s exploration of the Ming commentators who began to subject Yüan musical drama to the same critiques as other literature from the past. In the second chapter, Rulan Chao Pian looks to the structure of arias in Peking Opera for clues about what distinguishes this art form. William P. Malm turns to three key sources for the performance conventions of Japanese Noh drama to glean any Sino-Japanese music relationships that exist in technical terms and practices. In the fourth essay, Carl Sesar analyzes a Noh play that stages the tension between Chinese influence and Japanese originality. Roy E Teele concludes the volume with a formal study of Noh play structure to assess lineages of influence from Chinese dramatic forms. After each contribution, the editors print a transcript of the conference participants’ discussion of that paper, providing the reader with a detailed and nuanced view of how the contributors understood and responded to each other’s work.
dc.languageEnglish
dc.relation.ispartofseriesMichigan Monographs In Chinese Studies
dc.rightsopen access
dc.subject.classificationbic Book Industry Communication::A The arts::AC History of art / art & design styles
dc.subject.otherHistory of art
dc.titleChinese and Japanese Music-Dramas
dc.typebook
oapen.identifier.doi10.3998/mpub.19223
oapen.relation.isPublishedByb7359529-e5f7-4510-a59f-d7dafa1d4d17
oapen.relation.isFundedBye0dc0d25-52d8-4ba4-b08d-3a3e26277bed
oapen.relation.isFundedBydcf50849-b837-420d-ac46-64995a7bf0d4
oapen.relation.isFundedBy0314e571-4102-4526-b014-3ed8f2d6750a
oapen.relation.isFundedBy0cdc3d7c-5c59-49ed-9dba-ad641acd8fd1
oapen.imprintU OF M CENTER FOR CHINESE STUDIES
oapen.pages269
oapen.place.publicationAnn Arbor
oapen.grant.number[grantnumber unknown]
oapen.grant.number[grantnumber unknown]
oapen.review.commentsThe proposal was selected by the acquisitions editor who invited a full manuscript. The full manuscript was reviewed by two external readers using a double-blind process. Based on the acquisitions editor recommendation, the external reviews, and their own analysis, the Executive Committee (Editorial Board) of U-M Press approved the project for publication.en_US
oapen.peerreviewExternal Review of Whole Manuscript
peerreview.review.decisionYes
peerreview.review.typeFull text
peerreview.anonymityDouble-blind
peerreview.reviewer.typeExternal peer reviewer
peerreview.review.stagePre-publication
peerreview.open.reviewNo
peerreview.publish.responsibilityScientific or Editorial Board
peerreview.idd98bf225-990a-4ac4-acf4-fd7bf0dfb00c
dc.dateSubmitted2020-09-23T15:14:58Z
dc.relationisFundedBy0314e571-4102-4526-b014-3ed8f2d6750a
dc.relationisFundedBy0cdc3d7c-5c59-49ed-9dba-ad641acd8fd1
dc.seriesnumber19


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