LEADER 03479nam 22005053a 450 001 9910976780103321 005 20250705110028.0 010 $a9780472901371 010 $a0472901370 010 $a9780892640195 010 $a0892640197 024 8 $ahttps://doi.org/10.3998/mpub.19223 035 $a(CKB)37386094900041 035 $a(ScCtBLL)7117acd7-a4ad-4a9a-83b3-cfc8f17c0146 035 $a(ODN)ODN0006091161 035 $a(EXLCZ)9937386094900041 100 $a20250203i20202020 uu 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aChinese and Japanese Music-Dramas$fJ. I. Crump, William P. Malm 210 $d2020 210 1$a[s.l.] :$cUniversity of Michigan Press,$d2020. 215 $a1 online resource 225 1 $aMichigan Monographs In Chinese Studies 330 $aChinese 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. 410 $aMichigan Monographs In Chinese Studies 606 $aSocial Science / Cultural & Ethnic Studies / General$2bisacsh 606 $aSocial Science$2bisacsh 606 $aSocial sciences 615 7$aSocial Science / Cultural & Ethnic Studies / General 615 7$aSocial Science 615 0$aSocial sciences. 686 $aMUS000000$aSOC000000$aSOC008000$2bisacsh 700 $aCrump$b J. I$01831344 702 $aCrump$b J. I 702 $aMalm$b William P 801 0$bScCtBLL 801 1$bScCtBLL 906 $aBOOK 912 $a9910976780103321 996 $aChinese and Japanese Music-Dramas$94403567 997 $aUNINA