- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article tries to determine how song sonically and musically helped negotiate Confucian and imperial ideals with its specific melodic and rhythmic phrases, structural-formal patterns, and distinctive tonal modes. It examines the case study of “Welcoming the Deities” and speculates that musical negotiations of political and cultural agendas work with participants' manipulation and recognition of distinctive and stylized musical sounds. A survey of the political and cultural realities of Southern Song China and the musical capital, Lin'an is presented. The article also introduces the sacrificial music of the Southern Song state and summarizes the performance history and reception of state sacrificial music.
Joseph S. C. Lam is interim director of the Confucius Institute at the University of Michigan and professor of music (musicology) at the School of Music, Theatre, and Dance at the University of Michigan–Ann Arbor. He is a former (1997–2009) director of the Stearns Collection of Musical Instruments (University of Michigan) and is the author of State Sacrifices and Music in Ming China (SUNY Press). Lam has also published extensively in academic journals and monographs, including the titles “Chinese Music and Its Globalized Past and Present” (Macalester International 2008) and “Imperial Music Agency in Ming (1368–1644) Music Culture,” in Culture, Courtiers, and Competition: The Ming Court (2008).
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