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Music and Political Authority in Ear...

Stromberg, Kirie P.,

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Music and Political Authority in Early China and Japan: Pre- and Protohistory /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Music and Political Authority in Early China and Japan: Pre- and Protohistory // Kirie P Stromberg.
作者:	Stromberg, Kirie P.,
面頁冊數:	1 electronic resource (253 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-02, Section: A.
Contained By:	Dissertations Abstracts International85-02A.
標題:	Archaeology. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30571647
ISBN:	9798380077309

Music and Political Authority in Early China and Japan: Pre- and Protohistory /
Stromberg, Kirie P.,

Music and Political Authority in Early China and Japan: Pre- and Protohistory /Kirie P Stromberg. - 1 electronic resource (253 pages)

Source: Dissertations Abstracts International, Volume: 85-02, Section: A.

This dissertation traces the foundations of East Asian music in the archaeological record, presenting a macroscopic survey of excavated musical instruments from Jiahu through the Taosi cultures in China (ca. 7000-1800 BC) and from the second half of the Late Jomon through the Kofun period in Japan (ca. 1500 BC-600 AD). Primary sources of knowledge are the instruments themselves, as well as some depictions of musicians in the Japanese case. The musical material culture of such early periods tends to reflect the music of the elite, often preserved under special circumstances (such as tombs or intentional burials) or made from materials (such as bone, then bronze) likely prized in part for their durability. I organize chapters based on the materials from which instruments were made, a choice that evokes the organological framework of the ba yin ("eight sonorous substances") from Late Warring States and early imperial texts (Chapter 1). Curiously bone, not one of the sonorous substances, is central to the musical mortuary assemblages of the Chinese Neolithic across cultures of both the Yellow and Yangzi river valleys but was no longer used to make instruments thereafter (Chapter 2). This is likely because by the Longshan period (ca. 2300-1800 BC), ensembles consisting of stone chimes as well as alligator-skin and pottery drums had already become closely associated with authority at the major proto-urban center of Taosi (Chapter 3). Similarly, bronze dotaku bells enabled social cohesion across groups during the middle Yayoi of Western Japan (ca. 200 BC, Chapter 4), although dotaku production ended after the Yayoi. Zithers became definitive of elite culture by the beginning of the Kofun period (ca. 300 AD, Chapter 5). Juxtaposing the musical material culture of China and Japan at parallel stages of social development allows for the preliminary observation of three flexible phases in the relationship between music and the formation of East Asian society: I. Physio-musical phase, II. Visio-musical/spectacle phase, and III. Performer-audience phase (Chapter 6, Conclusions). This framework suggests that anthropological questions fundamental to the archaeology of human prehistory can be integrated productively with the study of ancient music.

English

ISBN: 9798380077309Subjects--Topical Terms:

558412
Archaeology.
Subjects--Index Terms:

Chinese archaeology

Music and Political Authority in Early China and Japan: Pre- and Protohistory /
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520 $a This dissertation traces the foundations of East Asian music in the archaeological record, presenting a macroscopic survey of excavated musical instruments from Jiahu through the Taosi cultures in China (ca. 7000-1800 BC) and from the second half of the Late Jomon through the Kofun period in Japan (ca. 1500 BC-600 AD). Primary sources of knowledge are the instruments themselves, as well as some depictions of musicians in the Japanese case. The musical material culture of such early periods tends to reflect the music of the elite, often preserved under special circumstances (such as tombs or intentional burials) or made from materials (such as bone, then bronze) likely prized in part for their durability. I organize chapters based on the materials from which instruments were made, a choice that evokes the organological framework of the ba yin ("eight sonorous substances") from Late Warring States and early imperial texts (Chapter 1). Curiously bone, not one of the sonorous substances, is central to the musical mortuary assemblages of the Chinese Neolithic across cultures of both the Yellow and Yangzi river valleys but was no longer used to make instruments thereafter (Chapter 2). This is likely because by the Longshan period (ca. 2300-1800 BC), ensembles consisting of stone chimes as well as alligator-skin and pottery drums had already become closely associated with authority at the major proto-urban center of Taosi (Chapter 3). Similarly, bronze dotaku bells enabled social cohesion across groups during the middle Yayoi of Western Japan (ca. 200 BC, Chapter 4), although dotaku production ended after the Yayoi. Zithers became definitive of elite culture by the beginning of the Kofun period (ca. 300 AD, Chapter 5). Juxtaposing the musical material culture of China and Japan at parallel stages of social development allows for the preliminary observation of three flexible phases in the relationship between music and the formation of East Asian society: I. Physio-musical phase, II. Visio-musical/spectacle phase, and III. Performer-audience phase (Chapter 6, Conclusions). This framework suggests that anthropological questions fundamental to the archaeology of human prehistory can be integrated productively with the study of ancient music.
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653 $a Music archaeology
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