| Titre | The Shanghai Conservatory of Music and its Rhetoric | |
|---|---|---|
| Auteur | Eugénie Grenier Borel, Anna Lisa Ahlers | |
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Revue | China perspectives |
| Numéro | no 2019/3 Sinophone Musical Worlds (1) | |
| Rubrique / Thématique | Special feature |
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| Page | 27-35 | |
| Résumé anglais |
The Shanghai Conservatory of Music has as its principal mission the production of world class performers of “Western classical music” through a highly competitive training programme. This process of “globalisation” involves measures that are more explicit and more developed than in European or North American conservatories. The apparent absence of culturally-specific differences in this globalised model is more subtle than meets the eye, however. The globalisation is only partial, targeted, and above all accompanied by a form of appropriation involving two distinct mechanisms: the one devoted to the development and transmission of a standardised international performance technique, and the other concerned with the composition of pieces with particular Chinese characteristics, putting a nationalist discourse into music. Source : Éditeur (via OpenEdition Journals) |
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| Article en ligne | http://journals.openedition.org/chinaperspectives/9391 |
