Exoticism

Use Ralph Locke's defin" rel="nofollow">initions as the basis for discussin" rel="nofollow">ing exoticism as a spectrum of possibilities that range from Pure Exoticism, which is meant to represent, defin" rel="nofollow">ine, or "Other' an exotic subject (i.e. a non-Western group, place, or people), to the more seemin" rel="nofollow">ingly benign Transcultural Composin" rel="nofollow">ing, which is a hybrid of Western and non-Western styles that is not in" rel="nofollow">intended to represent or "Other' an exotic subject. In the first part of your paper, discuss this exotic spectrum usin" rel="nofollow">ing either Claude Debussy's Pagodes from Estampes or Colin" rel="nofollow">in McPhee's Tabuh-Tabuhan. What are the exotic elements of each of these works, why are these exotic elements used, and where do the works fall on our spectrum of exoticism? For the remain" rel="nofollow">inder of your paper, please discuss the use of gamelan-in" rel="nofollow">inspired music in" rel="nofollow">in Benjamin" rel="nofollow">in Britten's opera Death in" rel="nofollow">in Venice. Where on the spectrum do you feel this work falls? Britten does not use elements of non-Western music to describe or label non-Western people, but in" rel="nofollow">instead uses it in" rel="nofollow">in connection with themes of homosexual attraction, to represent somethin" rel="nofollow">ing "Other' in" rel="nofollow">in the main" rel="nofollow">in character of the opera. Is this truly any different than Bizet's use of Spanish music to label Carmen as an "Other'?