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Music Interculturalism

Chinese folk music, also known as traditional Chinese music, is a kind of customary

Chinese music style with over 7000 years’ history. Although the music was traditionally based on

Chinese culture, Chinese folk music has evolved, as it interacts with other cultures, until it has

acquired its own style. History shows that thousands of years ago in Han dynasty, traditional

Chinese had a form of music, which used Suona to perform in weddings or funerals. Today,

Chinese music is evolving as it interacts with world, but the folk music remains popular and

keeps its unique style with Chinese traditional instruments such as suona, bamboo flute, Chinese

violin(erhu), and yangqin.

Symphony, a well-known classical western music performance with string, woodwind,

brass and percussion, make significant great pieces in the world. However, there is a symphony

orchestral in China popularly known as “China Broadcasting Chinese Orchestra.” The group

surprisingly recomposed a classical piece, Radetzky march op. 228, during a Chinese New Year

feast. The performance of the music in a Chinese setting was a shock to the whole world

especially in regards to how the band managed to integrate numerous aspects of music

Interculturalism in their performances.

First, it interesting to note that the initial creator of the piece, Johann Strauss Sr., was an

Austrian. The romantic composer first performed Radetzky March, Op. 228, in Vienna, Austria,

on August 1848 at an end-year ceremony (“Radetzky march op. 228. Johann Strauss Sr.”).
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Radetzky March, Op. 228 soon became popular in the world. However, during the symphony,

Chinese traditional music instrument perfectly replaced the four main parts of traditional

symphony band: Woodwind, brass, percussion, string. The instrument replacement is also very

interesting, such as violin vs erhu, flutes vs dizi.

Over the years, many different types of Western music have featured in Chinese bands.

They are played on in small ensembles of bowed and plucked string or solo instruments,

percussion instruments., and instruments like bamboo flutes. For example, in this particular

performance, China Broadcasting Chinese Orchestra masterfully blends the features of two

worlds’ greatest folk music tradition; Chinese and Austria. Ancient Chinese instruments

including stringed instruments like bowed, plucked, and struck.

Additionally, wind and percussion instruments are evident in the China Broadcasting

Chinese Orchestra’s performance of Radetzky march op. 228. They contribute loud volume,

which is critical in in Chinese folk music. These Chinese instruments, with their distinct styles

and tones replace the Western orchestra with its grandeur and energy, which is notable in the

original Radetzky March, Op. 228 performed by Johann Strauss and his group of thirteen

players. Accordingly, in their performance, China Broadcasting Chinese Orchestra created a

dramatic new sound by replacing Western musical instruments heard in the original Radetzky

march op. 228 including horn, trumpet, trombone, flute, oboe, clarinet, bassoon, cymbals, violin

i, violin ii, double bass, viola, and violoncello.

Another aspect of culture in this music is identified from the band itself. Essentially,

China Broadcasting Chinese Orchestra is a traditional Chinese folk music band. The group,

which is based in Beijing, was established in 1953 and features a broad range of traditional

Chinese musical instruments (“China Broadcasting Orchestra”). The Orchestra has extreme
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management and artistic skills and a long history of performance (Zhang 27-28). As the symbol

of the Chinese culture and the famous brand for Chinese music, the group conveyed the

connotations of the Chinese culture and history through outstanding performances of Radetzky

March, Op. 228 although the music itself originated from an Austrian cultural setting.

The China Broadcasting Chinese Orchestra further demonstrate a cultural integration in

their music through their performance in a broad range of cultural settings. For example, the

group has performed in over seventy regions and nations. Experiences with different cultures

allows China Broadcasting Chinese Orchestra to integrate a variety of traditions in their music,

movies, radio and TV programs, CDs and tapes (“China Broadcasting Orchestra”). Thus, China

Broadcasting Chinese Orchestra has made significant contribution to the promotion of Chinese

culture and traditional Chinese music (Jones 207). The performance of Radetzky

March, Op. 228, in particular, popularized the group and made allowed it to gain an excellent

accomplishment and repute both in China and oversees.

Overall, the performance of Radetzky march op. 228 by China Broadcasting Chinese

Orchestra is a demonstration of the way in which the Western folk music has found its path into

Chinese conservatories and concert halls. It is seen that the Western folk music has made its way

into the Chinese opera and music performances. However, according to Jones. Chinese

philosophy and melody have great influence in the West as well (207-208) although the way

Chinese instruments and made and played have been affected by the Western techniques. Further,

the to promote the "traditional" music culture of China, ensembles such as China Broadcasting

Chinese Orchestra have taken the Western symphony orchestra’s image. However, there are

particular Chinese instruments that have remained and continue to feature in the traditional

Chinese music. An example is the “yangqin pipa” –a four-stringed flute, which is among the
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oldest musical instruments in China. Such instruments are preserved in the Chinese folk music

since they provide music piece special tone color.

Nevertheless, there are numerous modern intercultural issues, which are identified. Said,

for instance, in his book, presents an argument against orientalism. He emphasizes on the

opinions of Lord Cromer and James Balfour, who are two of the earlies orientalists. For example,

Arthur James Balfour, in 1910, argued that he was capable of speaking concerning the orient

based on his experiences with orient civilizations.

Lord Cromer, however, did not speak of orient as an abstract. Instead, the orientalist

talked more specifically concerning his experiences in Egypt (where he worked as a

representative for England) and India. However, in Said’s opinion, these features of orientalism

failed to contextualize colonialism. Instead, Said argues that the aspects of orientalism presented

by Lord Cromer and James Balfour laid the foundation for colonialism at the onset. For example,

the initial domination agenda during 18th and 19th centuries created the opportunity for

occurrence of domination. Said further underscores that the outline was formerly branded using

the dichotomy of “us” versus “them.” The framework was established by those who were in

authority who also were better placed to function as the providers of knowledge. In Said’s view,

this was the foundation of the primary intellectual challenge raised by orientalism. For instance,

it impossible to evade the aggression articulated by the divisions that were inevitable in cases

where “them” versus “us” dichotomy arose.

Moreover, Said’s book provides a foundation for understanding the way in which the

Orientalism’s framework came about. For example, the prerequisite, according to Said, is first to

internalize the historical context under which Orientalism was created. Said notes that

Orientalism primarily represented a system of perceived power and knowledge concerning

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orient, which framed the relations with the West. Said concludes chapter one of his book

outlining the historical timeline, which defines the growth of Orientalism from the 18th to the 19th

century.

On the other hand, in “Global Ethnoscapes: Notes and Queries for a Transnational”

Appadurai Arjun argues that the contemporary study of culture should be reconsidered and

repositioned since the ethnoscapes, which they evaluate are changing. According to the article,

ethnoscapes, no society has a culture, which is bound to a particular territory anymore. Thus, it is

unrealistic to assume that ethnoscape still refer to any locality defined by territory. The article

further notes that ethnoscapes are influenced by each other as they becoming increasingly

interactive. For this reason, cultural studies need to take these changes into account.

In the “Alternative Modernities and Ethnographic Cosmopolitanism” section, Appadurai

specifically understand this urgent need cultural studies to emphasize cultural dynamics. He

coins the term “deterritorialization” –a concept, which relates to sectarian movements, ethnic

groups, money markets, and corporations as well as political formations. The author notes that

media technology, introduction and development of different forms of innovations have been

important in ensuring that geographical borders are no longer boundaries.

Moreover, deterritorialization influences state strategies, group loyalties, and the

manipulation of currencies. For example, money managers are no longer loyal to their localities

as they seek the best markets. Additionally, as individuals relocate to various nations to search

for a better living, they do not remain loyal to their home countries. Appadurai notes that it is

upon these movements that the “gray” market flourishes. He further explains that the changes

and intermixing of culture are evident in how commodities of one nation currently become
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products of another country. Thus, culture diffuses and spreads from one locality to another

opening new markets for movies and film firms as well as musicians.

Appadurai also recognizes the importance role played by music in defining culture. He

argues that imaginative expressions including literature, songs, and dances have historically been

critical parts of culture. However, while imaginative expressions influenced culture in the

traditional society, they now have the capabilities to create and shape culture. The changes are

fueled by media, which continues to open up the outside for people. Accordingly, media enables

individuals and objects (for instance, music and musicians) interact with different cultures of

which they become part.

Appadurai discusses the subject of “Imagination and Ethnography.” He notes that these

core elements of artistic work have been significantly influenced by media technology. For

example, according to the author, Appadurai, fantasy, which used to be a mere “escape from

everyday life” has become a possibility. The reason is that communication technology has

broken the barriers which confined the imagination. Appadurai observes the influence of

technology on different aspects and areas such as the clothing factory, which under the impact of

technology and modern forms of communication have changed. Moreover, due to the widespread

of media, there is no support for a purely local view of life. Thus, ethnographers have to study all

the outside influences rather than narrowing their focus within the locality. At the same time,

cultural changes and the impact of technology have made lives are indissolubly connected to

representations. Thus, to be realistic, individuals have to integrate, into their ethnographies, the

intricacies of expressive representation including novels and films.

In conclusion, comparing the two reading with China Broadcasting Chinese Orchestra’s

performance of Radetzky march op. 228 demonstrates that Chinese folk music has been
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influenced by Interculturalism. Appadurai’s text particularly connects Interculturalism to the

development in media technology, which has favored cultural exchanges. Further, from Said’s

article, it is understood that Orientalism was a pervasive paradigm, which cannot be confined to

a specific group of people.

 
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Works Cited

Appadurai, Arjun. "Global ethnoscapes: Notes and queries for a transnational anthropology."

(1996): 48-65.

“China Broadcasting Orchestra.” Chicago Symphony Orchestra.

https://cso.org/about/performers/visiting-artists/china-broadcasting-chinese-orchestra/.

Accessed 6 Dec. 2018.

Jones, Stephen. Folk music of China: Living instrumental traditions. Clarendon, 1995, 207-208.

“Radetzky march op. 228. Johann Strauss Sr.” IMSLP, https://imslp.org/wiki/Radetzky-Marsch

%2C_Op.228_(Strauss_Sr.%2C_Johann). Accessed 6 Dec. 2018.

Rao, Nancy Yunhwa. "Chinese Opera Percussion from Model Opera to Tan Dun." " O

FMFDUSPOJD WFSTJPO PG UIJT CPPL JT GSFFMZ BWBJMBCMF UIBOLT UP

UIF TVQQPSU PG MJCSBSJFT XPSLJOH XJUI, OPXMFEHF 6OMBUDIFE, 6 JT B

DPMMBCPSBUJWF JOJUJBUJWF EFTJHOFE UP NBLF IJHI RVBMJUZ CPPLT

0QFO" DDFTT GPS UIF QVCMJD HPPE (2017): 163.

Said, Edward. Introduction and Chapter 1: Orientalism.

Zhang, Wenzhuo. "Exploring and Listening to Chinese Classical Ensembles in General

Music." General Music Today31.1 (2017): 26-3.