<터키 행진곡>에서《라이언 킹》까지 : 소리로 재현된 오리엔탈리즘에 관한 단상
From Turkey Sonata to Lion King: Orientalism in the Musical Representation of the Non-Western World
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According to Edward Said, 'the Orient' was an entity which only resides in the European imagination in order to authorize European discourse about 'others' and European interests in power-political, cultural, and intellectual. For challenging the Orientalist, essentialist, and colonialist implications of "otherness," this paper details and mediates Orientalist discourses on non-Western music based upon Die Entführung aus dem Serail(1782) by Mozart, King Kong(1933), The Last Temptation of Christ(1988), Pieces of Africa by Kronos Quartet(1992), and Lion King(1994). This paper sheds light on the inherent colonial characteristics and the old hegemonic structure between the West and the non-West in the narratives of music in drama. On one level, this paper deconstructs the concept of Orient as an invented identity which was created and has grown into, a single, homogeneous entity in the European imagination. On the other level, it is concerned with the ways in which the admixture of essentialist and Orientalist discourses on the Orient has distorted the cultural and historical identity and significance of the non-Western music. Accordingly, it questions the way which the Orientalist ideology has been internalized within our own consciousness in the designation and strategy of world music although the conditions of globalization are minimizing the geographical and ontological distance between different musical practices.
Abstract
According to Edward Said, 'the Orient' was an entity which only resides in the European imagination in order to authorize European discourse about 'others' and European interests in power-political, cultural, and intellectual. For challenging the Orientalist, essentialist, and colonialist implications of "otherness," this paper details and mediates Orientalist discourses on non-Western music based upon Die Entführung aus dem Serail(1782) by Mozart, King Kong(1933), The Last Temptation of Christ(1988), Pieces of Africa by Kronos Quartet(1992), and Lion King(1994). This paper sheds light on the inherent colonial characteristics and the old hegemonic structure between the West and the non-West in the narratives of music in drama. On one level, this paper deconstructs the concept of Orient as an invented identity which was created and has grown into, a single, homogeneous entity in the European imagination. On the other level, it is concerned with the ways in which the admixture of essentialist and Orientalist discourses on the Orient has distorted the cultural and historical identity and significance of the non-Western music. Accordingly, it questions the way which the Orientalist ideology has been internalized within our own consciousness in the designation and strategy of world music although the conditions of globalization are minimizing the geographical and ontological distance between different musical practices.
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