Selected Bibliography

General:

Bellman, Jonathan, ed. The Exotic in Western Music. Boston: Northeastern University Press, 1998. Born, Georgina and David Hesmondhalgh, eds. 2000. Western Music and Its Others: Difference, Representation and Appropriation in Music. Cambridge: Cambridge University Press. Everett, Yayoi U. and Frederick Lau, eds. 2004. Locating East Asia in Western Art Music. Middlebury, CN: Wesleyan University Press. Feagin, Joseph. 2013. The White Racial Frame. New York: Routledge. Locke, Ralph P. 1993. “Reflections on Orientalism in Opera and Music Theater,” Opera Quarterly 10/1: 48-64. ______. 2009. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press. Loya, Shay. 2011. Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition. Rochester: University of Rochester Press. Radano, Ronald and Philip V. Bohlman, eds. 2000. Music and the Racial Imagination. Chicago and London: University of Chicago Press. Said, Edward. Orientalism. New York: Vintage Books, 1978. Utz, Christian and Frederic Lau, eds. 2013. Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West. New York: Routledge. Utz, Christian. 2014. Komponieren im Kontext der Globalisierung: Perspektiven für eine Musikgeschichte des 20. Und 21. Jahrhunderts. Bielefeld: Transcript Verlag.

Music-theoretical:

Arlin, Mary I. and Mark A. Radice, eds. 2018. Polycultural Synthesis in the Music of Chou Wen- chung. London and New York: Routledge. Arlin, Mary I. 2018. “The Cultural Origins of the Theoretical Structures in Chou Wen-chung’s Windswept Peaks.” In Polycultural Synthesis in the Music of Chou Wen-chung, eds. M. Arlin and M. Radice, 167-212. London and New York: Routledge. Corbett, John. 2000. “Experimental Oriental: New Music and Other Others.” In Western Music and Its Others: Difference, Representation and Appropriation in Music, eds. G. Born and D. Hesmondhalgh, 163-86. Cambridge: Cambridge University Press. Deguchi, Tomoko. 2005. “Forms of Temporal Experience in the Music of Toru Takemitsu.” PhD thesis: State University of New York at Buffalo. ______. 2010. “Gaze from the heavens, ghost from the past: Symbolic meanings in : Tōru Takemitsu's music for Akira Kurosawa's film, Ran (1985).” The Journal of Film Music 3(1): 51-64. ______. 2012. “Procedures of Becoming in Toru Takemitsu’s Piano Distance.” Indiana Theory Review 30/1. ______. 2018. “Promoting Diversity in the Undergraduate Classroom: Incorporating Asian Contemporary Composers’ Music in a Form and Analysis Course.” Journal of Music Theory Pedagogy Vol. 32 (2018). https://jmtp.appstate.edu/promoting-diversity- undergraduate-classroom-incorporating-asian-contemporary-composers%E2%80%99- music-form ______. 2019. “Motionless Spherical Mirror on Top of the Hill: The Influences of Shūzō Takiguchi and Fumio Hayasaka on Tōru Takemitsu’s Early Works in Postwar Japan.” Athens Journal of Arts and Humanities 6/4 (Oct). https://www.athensjournals.gr/humanities/2019-6-4-2-Deguchi.pdf Everett, Yayoi U. 2004. “Intercultural Synthesis in Postwar Western Art Music: Historical Contexts, Perspectives, and Taxonomy.” In Locating East Asia in Western Art Music, eds. Yayoi U. Everett and Frederic Lau, pp. 1-21. Middletown, CT: Wesleyan University Press. ______. 2007. “Gesture and Calligraphy in the Music of Chou Wen-chung.” Contemporary Music Review 26/5-6: 569-84. Special edition, eds. Edward Green and Lei Liang. ______. 2010. “Infusing Modern Subjectivity into a Premodern Narrative Form: Tōru Takemitsu’s Soundtrack for Double Suicide (1968).” Journal of Film Music 3/1: 37-49. Kwan, Kenneth. 1996. “Compositional Design in Recent Works of Chou Wen-chung.” PhD thesis: State University of New York at Buffalo. Koozin, Timothy. 1988. “A Solo Piano Works of Tōru Takemitsu.” PhD thesis: University of Cincinnati. ______. 1991. “Octatonicism in Recent Solo Piano Works by Tōru Takemitsu.” Perspectives of New Music 29/1: 124-140. ______. 1993. “Spiritual-Temporal Imagery in Music of Olivier Messiaen and Toru Takemitsu.” Contemporary Music Review 7/2: 185-202. ______. 2010. “Parody and ironic juxtaposition in Tōru Takemitsu’s music for the film, The Rising Sun.” The Journal of Film Music 3/1: 65-78. ______. 2010. “Expressive Meaning and Historical Grounding in the Film Music of Fumio Hayasaka and Toru Takemitsu.” Journal of Film Music 3/1. ______. 2016. “Toru Takemitsu's Collaborations with Masahiro Shinoda: The Music for Pale Flower, Samurai Spy and Ballad of Orin” in The Cambridge Companion to Film Music, eds. Mervyn Cooke and Fiona Ford, 324-36. Cambridge University Press. Lai, Eric. 1995. “A Theory of Pitch Organization in the Early Music of Chou Wen-chung.” PhD thesis: Indiana University Press. ______. 1997. “Modal Formations and Transformations in the First Movement of Chou Wen- chung’s Metaphors.” Perspective of New Music (35/1): 153-85. ______. 2004. “The Evolution of Chou Wen-chung’s Variable Modes.” In Locating East Asia in Western Art Music, eds. Yayoi U. Everett and Frederic Lau, 146-57. Middletown, CT: Wesleyan University Press. ______. 2009. Music of Chou Wen-chung. Burlington, VT: Ashgate. ______. 2018. “Calligraphy and Texture in Chou Wen-chung’s music.” In Polycultural Synthesis in the Music of Chou Wen-chung, eds. M. Arlin and M. Radice, 86-117. London and New York: Routledge. Lee, Gavin. 2019. “Postcolonial Bifurcation: On John Sharpley’s Emptiness.” Music Analysis. https://onlinelibrary.wiley.com/doi/abs/10.1111/musa.12115 Kim, Jeongmee. 2004. “Musical Syncretism in Isang Yun’s Gasa.” In Locating East Asia in Western Art Music, eds. Yayoi U. Everett and Frederic Lau, pp. 168-92. Middletown, CT: Wesleyan University Press. Middleton, Richard. 2000. “Musical Borrowings: Western Music and Its Low-Others.” In Western Music and Its Others: Difference, Representation and Appropriation in Music, eds. Georgina Born and David Hesmondhalgh, 59-85. Cambridge: Cambridge University Press. Momii, Toru. 2017. "Sounds of the Cosmos: A Transformational Approach to Gesture in Shō Performance." Paper presented at the Annual Meeting of the Society for Music Theory, Arlington, Virginia, November 2–5. ______. 2019. “Analyzing Interculturality: Miyata Mayumi’s Creative Agency in Contemporary Shō Performance.” Paper presented at the Annual Meeting of the Society for Music Theory, Columbus, Ohio, November 7.