The History and Impact of Asian Participation in Classical Music
Over the past few weeks, as I’ve dug into my summer project, I ran across an article by Mina Yang, titled “East Meets West in the Concert Hall: Classical Music, Imperialism, and Asian Identity,” that provides some context for why so many Asians and Asian Americans are involved in classical music. It traces the complex history of Western classical music’s adoption in East Asia through periods of imperialism and postcolonialism.
Yang provides a concise summary of the imperialist origins of Western (classical) music in China and Japan, noting that, while initial contact occurred in the 1600s, the spread of Western music didn't take hold until later, coinciding with internal and external modernization efforts.
In Japan, the Meiji Restoration, which began in the 1860s, embraced Western culture and education. Classical music became synonymous with modernity and the perceived economic advantages of Western societies. This association spread to Korea and Taiwan during Japan's imperial expansion before World War II.
In China, Western music gained traction during the May 4 Movement of 1919, but initial resistance from the general populace hindered its widespread acceptance. The Cultural Revolution under Mao Zedong further suppressed Western music, outlawing its performance and study. However, after Mao's death, classical music experienced a resurgence. Again, similar to the experience in Japan, Western music was associated with prosperity and modernization as the success of Asian performers in this field provided "cultural validation to enhance the more quantifiable economic gains."
With this historical backdrop, Yang notes the significant representation of Asians, particularly in American classical music today. However, the crux of Yang’s paper was really about the role of Asian identity in the world of classical music. Despite the "model minority" stereotype and significant Asian representation in American classical music, Yang points out the persistent lack of Asian individuals in executive positions within the field. She argues that "because of historical power imbalances and the origination myths of classical music, it is difficult for Asians and Westerners alike to get beyond the idea that Asian performers merely reproduce or mimic Western creative genius" (Yang, 16). Despite the prevalence of Asians and Asian Americans in the world of classical music, they are still viewed as some form of outsiders participating in Western activity.
She goes on to raise interesting questions like: What would define Asian American music (and what factors influence how music is labeled)? Is it the composer's ethnicity, musical style, subject matter, audience, or a combination of these factors? For example, could a piece composed by an Asian American, incorporating both Western classical elements and traditional Asian instruments, be considered "Asian American music"? What about a Western-style piece composed by an Asian American about their experiences navigating two cultures? The lines become blurry. The way music is labeled is influenced by a variety of factors, including:
The creator's identity: The composer's or performer's background often plays a significant role in how their music is categorized.
Musical style: The use of specific instruments, melodies, and harmonies.
Lyrical content: Lyrics that address specific cultural experiences or historical events.
Audience: The communities that engage with the music can also shape its cultural meaning.
Marketing and industry classifications: Record labels, radio stations, and other industry players often categorize music based on perceived market demographics.
Ultimately, the labeling of music is a complex and often contested process. It reflects not only the music itself but also the social, cultural, and historical context in which it is created and consumed. Yang's work highlights the importance of understanding these complexities, especially when considering the contributions of marginalized groups to traditionally Western art forms.
Wang, Grace. “Interlopers in the Realm of High Culture: ‘Music moms’ and the Performance of Asian and Asian American Identities.” American Quarterly, vol. 61, no. 4, Dec. 2009, pp. 881–903.
