Joanne Miyang Cho is Professor of History at William Paterson University of New Jersey, USA.

• Chapter 1: The Idea of Entanglement, Historiography, and Organization.- Part 1: German-Japanese/Korean Entanglements, 1900-1945: Wagner, Bandmasters, and Japanese Students.- Chapter 2: The Reception of Wagner in Japan at the Turn of the Twentieth Century: A Non-Musical Dimension of Cross-Border Music Transfer.- Chapter 3: Music for Modern Korea: Bandmasters Franz Eckert and Baek U-yong.- Chapter 4: Japanese Musicians in Germany and Austria, 1880-1945.- Part 2:  Sino-German Entanglements, 1900-1949: Operas, Beethoven, and Jewish Cantors.- Chapter 5: The “Oriental” Utopia:  Postwar Orientalism and Ferruccio Busoni’s Opera Turandot.- Chapter 6: Reimagining China in Interwar German Opera: Eugen d’Albert’s Mister Wu and Ernst Toch’s Der Fächer.- Chapter 7: Demarcation and Cooperation: Nazi-persecuted Jewish Cantors in Shanghai Exile, 1938-1949.- Chapter 8: What Beethoven Meant in China, 1900-1949: Music, Ideology and Power.- Part 3: German-East Asian Entanglements since 1945: Ferienkurse, Mozart, and East Asian Composers.- Chapter 9: Mozart in the Context of Globalization: The Musician as Agent of Cultural Hybridity.- Chapter 10: When “Japanese” Music Became “Modern” Music: The Internationale Ferienkurse für Neue Musik as Intercultural Agency.- Chapter 11: The Music of the Korean-German Composer Yun Isang in the Cold War Era: Interculturality and Engagement Art.- Chapter 12: Korean Contemporary Music and Germany: An Examination of Four Korean Composers

Joanne Miyang Cho is Professor of History at William Paterson University of New Jersey, USA.

• Chapter 1: The Idea of Entanglement, Historiography, and Organization.- Part 1: German-Japanese/Korean Entanglements, 1900-1945: Wagner, Bandmasters, and Japanese Students.- Chapter 2: The Reception of Wagner in Japan at the Turn of the Twentieth Century: A Non-Musical Dimension of Cross-Border Music Transfer.- Chapter 3: Music for Modern Korea: Bandmasters Franz Eckert and Baek U-yong.- Chapter 4: Japanese Musicians in Germany and Austria, 1880-1945.- Part 2:  Sino-German Entanglements, 1900-1949: Operas, Beethoven, and Jewish Cantors.- Chapter 5: The “Oriental” Utopia:  Postwar Orientalism and Ferruccio Busoni’s Opera Turandot.- Chapter 6: Reimagining China in Interwar German Opera: Eugen d’Albert’s Mister Wu and Ernst Toch’s Der Fächer.- Chapter 7: Demarcation and Cooperation: Nazi-persecuted Jewish Cantors in Shanghai Exile, 1938-1949.- Chapter 8: What Beethoven Meant in China, 1900-1949: Music, Ideology and Power.- Part 3: German-East Asian Entanglements since 1945: Ferienkurse, Mozart, and East Asian Composers.- Chapter 9: Mozart in the Context of Globalization: The Musician as Agent of Cultural Hybridity.- Chapter 10: When “Japanese” Music Became “Modern” Music: The Internationale Ferienkurse für Neue Musik as Intercultural Agency.- Chapter 11: The Music of the Korean-German Composer Yun Isang in the Cold War Era: Interculturality and Engagement Art.- Chapter 12: Korean Contemporary Music and Germany: An Examination of Four Korean Composers

Joanne Miyang Cho is Professor of History at William Paterson University of New Jersey, USA.

• Chapter 1: The Idea of Entanglement, Historiography, and Organization.- Part 1: German-Japanese/Korean Entanglements, 1900-1945: Wagner, Bandmasters, and Japanese Students.- Chapter 2: The Reception of Wagner in Japan at the Turn of the Twentieth Century: A Non-Musical Dimension of Cross-Border Music Transfer.- Chapter 3: Music for Modern Korea: Bandmasters Franz Eckert and Baek U-yong.- Chapter 4: Japanese Musicians in Germany and Austria, 1880-1945.- Part 2:  Sino-German Entanglements, 1900-1949: Operas, Beethoven, and Jewish Cantors.- Chapter 5: The “Oriental” Utopia:  Postwar Orientalism and Ferruccio Busoni’s Opera Turandot.- Chapter 6: Reimagining China in Interwar German Opera: Eugen d’Albert’s Mister Wu and Ernst Toch’s Der Fächer.- Chapter 7: Demarcation and Cooperation: Nazi-persecuted Jewish Cantors in Shanghai Exile, 1938-1949.- Chapter 8: What Beethoven Meant in China, 1900-1949: Music, Ideology and Power.- Part 3: German-East Asian Entanglements since 1945: Ferienkurse, Mozart, and East Asian Composers.- Chapter 9: Mozart in the Context of Globalization: The Musician as Agent of Cultural Hybridity.- Chapter 10: When “Japanese” Music Became “Modern” Music: The Internationale Ferienkurse für Neue Musik as Intercultural Agency.- Chapter 11: The Music of the Korean-German Composer Yun Isang in the Cold War Era: Interculturality and Engagement Art.- Chapter 12: Korean Contemporary Music and Germany: An Examination of Four Korean Composers