Shzr Ee Tan
Biographic Data
| ID | 622087 |
|---|---|
| NAME | Shzr Ee Tan |
| GIVEN NAMES | Shzr Ee |
| FAMILY NAME | Tan |
| SIGNATURE | TAN S E |
| AFFILIATIONS | University of London |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Whose decolonisation? Checking for intersectionality, lane-policing and academic privilege from a transnational (Chinese) vantage point
This reflective article addresses current flashpoints around different/conflicting projections on decolonial music initiatives around the world, including conversational fronts in multiple, intersectional contexts. I speak first from my own positionality as a woman scholar-musician-educator of postcolonial and transnational Singaporean heritage working primarily in the UK as a member of a minority community: I recall surreal experiences of music …
Special issue
Decolonisation is a cause celebre that has been making the rounds on the agenda of an increasing number of universities in recent years, with rising staff consciousness and changing student demogra
Megaphones hiding in trees
Places of ‘scenic beauty’ in China—national parks, panda enclosures, holy mountains, private gardens—have been sites where encounters with nature have been constructed through idealisations of particular ecologies. Often, in these environments, the sonic design of space predicates as much on ‘organic’ elements as on deliberately-engineered and broadcast ‘artificial’ sounds. Loudspeakers are hidden in trees and rocks. Broadcasting ambient sounds t…
State orchestras and multiculturalism in Singapore
State-sponsored orchestras organized along ideas about ‘ethnic’ affiliation have been emerging in Singapore since the 1980s. This follows the professionalization of its first symphony orchestra in 1979, and a strategic plan by the government to establish sister amateur orchestras rooted in the imagined Chinese, Indian and Malay traditions of the island’s multicultural population. This chapter examines the processes and results of sociocultural en…
Music, Indigeneity, Digital Media
Beyond 'Innocence'
Taiwan aboriginal song has received extensive media coverage since the launch and settlement of a copyright lawsuit following pop group Enigma's allegedly unauthorized use of Amis voices in the 1996 Olympics hit, Return To Innocence. Taking as her starting point the ripple effects of this case, Shzr Ee Tan explores the relationship of this song culture to contemporary Amis society. She presents Amis song in its multiple manifestations as an ecosy…
Korea and the Western Drumset
A brave attempt at ‘offering improvisers a template for engaging with traditional forms of rhythmic organisation’ (p. 99), professional percussionist Simon Barker’s approach to musico-idiolectic encounters of the proverbial East, via embodied instrumental practices of the would-be West, is a resource-rich and helpful volume. A preliminary question here may be how and why did Korean percussion and jazz drumming come to be marriage partners in the …
About Taiwanese Women
Doris T. Chang, Women's Movements in Twentieth-Century Taiwan, University of Illinois Press, 2009, US$45.00 hardback 978 0 2520 3395 7. Doris T. Chang's long-awaited volume, described as the first
"Returning to and from "Innocence
Returning to and from "Innocence": Taiwan Aboriginal Recordings Shzr Ee Tan For many, the Taiwan aboriginal music world begins and ends with pop group Enigma's controversial single, "Return to Innocence" (1993).1 Interweaving the voice of Amis singer Difang with layers of electronic sounds, "Innocence" was exotic and ambient, and it also proved catchy enough to serve as an advertisement theme song for the 1996 Atlanta Olympics. Through this song,…
"Returning to and from "Innocence
Returning to and from "Innocence": Taiwan Aboriginal Recordings Shzr Ee Tan For many, the Taiwan aboriginal music world begins and ends with pop group Enigma's controversial single, "Return to Innocence" (1993).1 Interweaving the voice of Amis singer Difang with layers of electronic sounds, "Innocence" was exotic and ambient, and it also proved catchy enough to serve as an advertisement theme song for the 1996 Atlanta Olympics. Through this song,…
"Returning to and from "Innocence
Returning to and from "Innocence": Taiwan Aboriginal Recordings Shzr Ee Tan For many, the Taiwan aboriginal music world begins and ends with pop group Enigma's controversial single, "Return to Innocence" (1993).1 Interweaving the voice of Amis singer Difang with layers of electronic sounds, "Innocence" was exotic and ambient, and it also proved catchy enough to serve as an advertisement theme song for the 1996 Atlanta Olympics. Through this song,…
About Taiwanese Women
Doris T. Chang, Women's Movements in Twentieth-Century Taiwan, University of Illinois Press, 2009, US$45.00 hardback 978 0 2520 3395 7. Doris T. Chang's long-awaited volume, described as the first
Korea and the Western Drumset
A brave attempt at ‘offering improvisers a template for engaging with traditional forms of rhythmic organisation’ (p. 99), professional percussionist Simon Barker’s approach to musico-idiolectic encounters of the proverbial East, via embodied instrumental practices of the would-be West, is a resource-rich and helpful volume. A preliminary question here may be how and why did Korean percussion and jazz drumming come to be marriage partners in the …
Music, Indigeneity, Digital Media
Beyond 'Innocence'
Taiwan aboriginal song has received extensive media coverage since the launch and settlement of a copyright lawsuit following pop group Enigma's allegedly unauthorized use of Amis voices in the 1996 Olympics hit, Return To Innocence. Taking as her starting point the ripple effects of this case, Shzr Ee Tan explores the relationship of this song culture to contemporary Amis society. She presents Amis song in its multiple manifestations as an ecosy…
State orchestras and multiculturalism in Singapore
State-sponsored orchestras organized along ideas about ‘ethnic’ affiliation have been emerging in Singapore since the 1980s. This follows the professionalization of its first symphony orchestra in 1979, and a strategic plan by the government to establish sister amateur orchestras rooted in the imagined Chinese, Indian and Malay traditions of the island’s multicultural population. This chapter examines the processes and results of sociocultural en…
Megaphones hiding in trees
Places of ‘scenic beauty’ in China—national parks, panda enclosures, holy mountains, private gardens—have been sites where encounters with nature have been constructed through idealisations of particular ecologies. Often, in these environments, the sonic design of space predicates as much on ‘organic’ elements as on deliberately-engineered and broadcast ‘artificial’ sounds. Loudspeakers are hidden in trees and rocks. Broadcasting ambient sounds t…
Whose decolonisation? Checking for intersectionality, lane-policing and academic privilege from a transnational (Chinese) vantage point
This reflective article addresses current flashpoints around different/conflicting projections on decolonial music initiatives around the world, including conversational fronts in multiple, intersectional contexts. I speak first from my own positionality as a woman scholar-musician-educator of postcolonial and transnational Singaporean heritage working primarily in the UK as a member of a minority community: I recall surreal experiences of music …
Special issue
Decolonisation is a cause celebre that has been making the rounds on the agenda of an increasing number of universities in recent years, with rising staff consciousness and changing student demogra
Art (7 works) · History (6 works) · Sociology (5 works) · Asian Culture and Media Studies (4 works) · Political science (4 works) · Aesthetics (3 works) · Diverse Musicological Studies (3 works) · Japanese History and Culture (3 works) · Law (3 works) · Psychology (3 works)