By Marcus Cheng Chye Tan (auth.)
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Additional resources for Acoustic Interculturalism: Listening to Performance
By analysing the soundscape of an intercultural production, one can thus best understand the ways sound works to demarcate or possibly dissolve cultural boundaries – of what is familiar and foreign, recognisable and alienating. In addition, sound/music can also create new culture-scapes. The engendering effects of such possibly colliding, contesting and collusive meanings of culture, through a phenomenological reception of intertwined cultural sounds, is among the questions this project interrogates: how do intercultural performances reconfigure, redefine and rescribe cultural sounds in performance?
Original compositions of Korean court and folk music were used extensively to interweave the disparate art forms held loosely by a fragmented narrative of Desdemona’s acts of vengeance against Othello. What resulted was a performative failure of obscurity and non-comprehension. By examining the soundscape of the production, the inscriptive silences and the eruptive cultural sounds (of songs, chants, grunts and vocal effects), the chapter seeks to establish the ways in which a listening to Ong’s radical intercultural work would reveal the (im)possibilities of performing or representing Asia.
9 A phenomenology of sound Musicology, as the linguistic articulation and science of music, has since become the means by which societies attempt to comprehend, explain, translate and reproduce sonic signatures. Despite these attempts at an objective description of sound/music and its semantic value, the subjectivity of their reception remains the root of contention. 10 Transcribing sound with a linguistic framework – such as in the form of musical scores – discounts and defers its condition as phenomenon.
Acoustic Interculturalism: Listening to Performance by Marcus Cheng Chye Tan (auth.)