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In his Mozart Album (2014), the Chinese pianist Lang Lang, together with the Austrian Mozart authority Nikolaus Harnoncourt, demonstrates his unique interpretation of Mozart’s two piano concerti (K453 and K491). With Lang’s virtuosity and Harnoncourt’s esteemed historically informed practice, this cooperation opens a new era of Mozart scholarship. Yet critical debates ensue because of the encounter not only between two nations’ radically different musical performance traditions, but also between two artists’ individual musical/cultural understandings. Questions about historical objectivity, artistic authenticity, and the tendency toward a pluralization or a unipolarity of musical practices arise due to the cross-national interaction and interpersonal communicationBringing together artistic practice and critical analysis of Mozart’s music, this paper intends to observe music as an ethnic phenomenon that reflects cultural, social, and economic human experiences rather than a purely acoustic product. In the context of accelerated globalization, I argue that music, as one of the fundamental domains of human culture, participates primarily in the cultural globalization. Hence, the cross-cultural encounter with Mozart’s music does not simply reflect a global spread of standardized praxis theory of Western music; it transforms an Austrian/European view into a global perspective and, as a result, leads to cultural and musical hybridity.

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Jinsong Chen (United States of America) 13719
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