Thesis (doctoral)--Universität, Düsseldorf, 2002. / Includes bibliographical references (p. 402-425).

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 275-303).

Thesis (Ph. D.)--New York University,1997. / Includes bibliographical references (p. 277-297) and index.

No description available.

Throughout the history of European art music, the desire to portray “Other” cultures has been given voice by composers by way of exoticism. The ability to depict the exotic has, for centuries, held the fascination of listeners and composers alike. In spite of this, the identification and study of exoticism as an aesthetic trend in music has not been given nearly as much attention as it deserves. Drawing from and expanding upon the work of Ralph Locke and Jonathan Bellman, I explore and illuminate some of the deeper issues that undermine the potential study of this aesthetic trend. First, I present a discussion of the problems and difficulties inherent in the study of exoticism in music, some of which I believe are related to the relative lack of study in this area. Because of the nature of how elements of non-European cultures were historically assimilated and appropriated by the Europeans, questions of ethics and terminology are abundant and not easily answered. In some cases, the cultural “Other” is portrayed reverently, almost to be feared; in others, they are portrayed almost comically. But can this portrayal be attributed to the composer alone, or have decades and even centuries of performance traditions influenced certain attitudes towards these works? And are these original attitudes, no matter whether positive or negative, an essential part of understanding these works? How might we amend the language used in discussing this topic so that our own cultural bias (or lack thereof) does not affect it? After addressing the issue of how musical scholars have, until now, discussed these issues, I present my own method of dealing with them: the reorganization of what we have come to define as “musical exoticism” into four categories: appropriative allomimesis, approximative allomimesis, evocative exoticism, and temporally-exotic evocation. Using musical examples, I discuss how these terms might be used in place of simply the term “exotic”, hopefully paving the way for future scholarship on the topic. I believe that with more understanding of the study of the exotic in music and a more erudite manner of discussing it, a greater understanding of the aesthetic and its sociological ramifications might be achieved. By revising the language we use to discuss the exotic in Western music, I hope to provide my readers with a means toward insight into the deeper implications of composers’ choices to portray people from countries, cultures, and places other than their own. My intention is that this will allow and inspire performers and scholars to consider these implications in their studies of these works. / Music Performance

O presente trabalho se propõe a analisar algumas concepções sobre o Oriente, correntes na primeira metade do século XX, que interferiram diretamente na escrita de Camilo Pessanha (1867-1926) sobre a vida chinesa. Morador de Macau por cerca de 26 anos, escreveu alguns poucos textos em prosa que tematizam a cultura e os costumes da China, além de ter tido contato com sinólogos de destaque. Os pareceres de Pessanha sobre o Oriente, bem como o de outros atores importantes, são relevantes na medida em que revelam influências do orientalismo, do exotismo e da sinologia, de maneira a reproduzir ou desafiar certos aspectos da lógica do discurso colonial instaurado em Portugal e aplicado em Macau. Num primeiro momento, o trabalho pretende refletir sobre a atuação de Camilo Pessanha como estudioso da cultura chinesa, prática na qual é confrontado com o seu contemporâneo e colega de trabalho Silva Mendes (1867-1931), também professor no Liceu de Macau. O discurso autorizado europeu que parte da ideia de domìnio sobre povos ditos inferiores seduziu a intelectualidade ocidental, e teve forte repercussão em grande parte dos pareceres de Camilo Pessanha sobre a cultura chinesa. Mostraremos, além dessa vertente, o cotejo que alguns estudiosos da vida do poeta empreendem em relação a uma suposta aproximação com a estética do exotismo. Desenhado este panorama, propomos um esboço do que seria uma nova visão portuguesa sobre Macau, ao cotejarmos o seu passado colonial, explicitado na prática administrativa portuguesa por autores como Oliveira Martins, com as novas possibilidades de compreensão da idiossincrasia macaense, esboçadas a partir de algumas iniciativas de autores como Camilo Pessanha e Silva Mendes. / This study aims at analyzing some conceptions regarding the East, present in the first half of the 20th century, which interfered directly on Camilo Pessanhas (1867-1926) writing about Chinese life. As a resident of Macao for twenty-six years, he wrote a few prose texts about Chinese life and culture, besides being in touch with some very important sinologists such as Silva Mendes (1867-1931) and José Vicente Jorge. Pessanhas remarks on the East, as well as those of other writers, are relevant for they portrait influences from Orientalism, exoticism and sinology in order to reproduce or challenge certain aspects related to the logic of the colonial discourse established in Portugal and applied in Macao. At first, this paper intends to reflect upon Camilo Pessanhas action as a student of Chinese culture, in which he is confronted by his fellow and co-worker Silva Mendes (who was also a teacher at Macaos Lyceum) as well as his pupil Luís Gonzaga Gomes (1907-1976). The European authorized discourse which derives from the idea of dominance of the so-called inferior peoples seduced the Western intellectuality and had a major impact on many of Pessanhas assessments on Chinese culture. Besides this dimension, we will also analyze a possible connection with exoticism, believed to be true by some researchers who studied the poets life. Having set the scene, we propose an outline of what would be a new Portuguese view on Macao, when comparing its colonial past, clarified in the Portuguese administrative practice by authors such as Oliveira Martins, with new possibilities for understanding Macaos idiosyncrasy, derived from some initiatives of writers like Camilo Pessanha and Silva Mendes.

Violin virtuosos Henryk Wieniawski, Ole Bull, and Pablo de Sarasate each composed short virtuosic works based on their own cultural heritage. This thesis examines the exotic elements incorporated into the character pieces by the three violinists. It draws upon contemporary literature and newspaper reviews of their performances in order to demonstrate the ways in which the violinists and their music were perceived as representative of nineteenth-century exoticism. Wieniawski, whose musical training was primarily French, produced exotic Polish polonaises and mazurkas, which were perceived as evidence of Polish national character, but only in his homeland of Poland. In contrast, Ole Bull's Norwegian heritage was central to his professional persona. His compositions were influenced by Norwegian fiddling and fiddle tunes as well as the pastoral conventions of European art music. Sarasate drew on music from a wide variety of geographical and cultural regions within Spain in his Spanish dances. While his dances were extrememly popular with audiences, critical reception was often dismissive. The individual personas and international receptions of Wieniawski, Bull, and Sarasate were shaped by the musical characteristics of their homelands heard in their works.

Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot-ic” passion.

The aim of this study is to demonstrate the idea of Exoticism and its effect on nineteenth century architectural tendencies and especially on the philosophy and the works of Louis Sullivan (1856-1924). The study begins with an elucidation of the concept &ldquo / exoticism.&rdquo / After the thoughts of a group of nineteenth century European intellectuals are discussed, the philosophy of Sullivan is analyzed. Following chapters are dedicated to the works of Sullivan. Exotic world was the source of a stimulating discourse for the nineteenth century intellectuals. American architect Sullivan also found inspiration in it. In the development of his philosophy, Sullivan concentrated on the idea of &ldquo / integrity of man and nature,&rdquo / and he realized that integrity was present in the art of primitive and especially Oriental cultures. His universal formula, &ldquo / form follows function,&rdquo / was based on the idea that the primitive man did not put a barrier between himself and nature / hence every artwork created by him was a process of transformation of natural forms. Sullivan modeled his designs upon nature and in this way attempted to reproduce this creative process. This study interprets Sullivan&rsquo / s philosophy and works and also discusses their likely contribution to the work of the contemporary architect.

Thesis (Ph. D.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 257-269). / Also available by subscription via World Wide Web / ix, 269 leaves, bound ill., music 29 cm