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| Author | : Hon-Lun Yang |
| Publisher | : University of Michigan Press |
| Total Pages | : 345 |
| Release | : 2017-03 |
| Genre | : Music |
| ISBN | : 0472130315 |
A groundbreaking interdisciplinary volume exploring the phenomenon of the "Westernization" of contemporary Chinese music
| Author | : Yongsheng Liang |
| Publisher | : |
| Total Pages | : 606 |
| Release | : 1994 |
| Genre | : Music |
| ISBN | : |
| Author | : Sin-yan Shen |
| Publisher | : |
| Total Pages | : 238 |
| Release | : 2001 |
| Genre | : Music |
| ISBN | : |
| Author | : Xiaoyang Zhao |
| Publisher | : |
| Total Pages | : 94 |
| Release | : 2012 |
| Genre | : Composition (Music) |
| ISBN | : |
The development of twentieth century Chinese song was closely related to changes in Chinese society. School song was the earliest Western music genre taught in early twentieth century Chinese music classes. It was imported not only as an aesthetic subject, but also as an educational tool. In the 1920s and 1930s, Western trained Chinese musicians composed the earliest modern Chinese art songs using Western compositional techniques. Chinese art songs of this period have fewer political elements compared with Chinese songs that were composed later. With the Japanese army’s invasion of Northeastern China on September 8, 1931, many patriotic Chinese composers were forced to replace the romantic poetic texts of their songs with patriotic texts. Mao Zedong’s speech Talks at the Yanan Forum on Literature and Art in 1942 greatly influenced artistic creations during the rest of the twentieth century in mainland China. Hundreds of traditional Chinese folk songs were rearranged and became political tools under his influence. The political propaganda’s influence on Chinese song composition reached its extreme during the ten years of the Cultural Revolution (1966-1976). Praise for the party, socialism, and Chairman Mao were the only proper subjects for artistic creations, and all Western music was prohibited during the period. The social environment of Chinese song composition has improved since the beginning of the Economic Reformation and Opening-Up policy in 1979, and all styles of songs have been composed and performed. However, the Communist party has never slowed down the process of political propaganda, albeit indirectly.
| Author | : Mia Chung |
| Publisher | : Cambridge University Press |
| Total Pages | : 152 |
| Release | : 2024-05-30 |
| Genre | : Music |
| ISBN | : 1009184083 |
This Element examines the factors that drove the stylistic heterogeneity of Chen Yi and Zhou Long after the Cultural Revolution. Known as 'New Wave' composers, they entered the Central Conservatory of Music once the Cultural Revolution ended and attained international recognition for their modernisms after their early careers in America. Scholars have often treated their early music as contingent outcomes of that cultural and political moment. This Element proposes instead that unique personal factors shaped their modernisms despite their shared experiences of the Cultural Revolution and educations at the Central Conservatory and Columbia University. Through interviews on six stages of their development, the Element examines and explains the reasons for their stylistic divergence.
| Author | : Andrew F. Jones |
| Publisher | : Duke University Press |
| Total Pages | : 225 |
| Release | : 2001-06-19 |
| Genre | : Music |
| ISBN | : 0822380439 |
Yellow Music is the first history of the emergence of Chinese popular music and urban media culture in early-twentieth-century China. Andrew F. Jones focuses on the affinities between "yellow” or “pornographic" music—as critics derisively referred to the "decadent" fusion of American jazz, Hollywood film music, and Chinese folk forms—and the anticolonial mass music that challenged its commercial and ideological dominance. Jones radically revises previous understandings of race, politics, popular culture, and technology in the making of modern Chinese culture. The personal and professional histories of three musicians are central to Jones's discussions of shifting gender roles, class inequality, the politics of national salvation, and emerging media technologies: the American jazz musician Buck Clayton; Li Jinhui, the creator of "yellow music"; and leftist Nie Er, a former student of Li’s whose musical idiom grew out of virulent opposition to this Sinified jazz. As he analyzes global media cultures in the postcolonial world, Jones avoids the parochialism of media studies in the West. He teaches us to hear not only the American influence on Chinese popular music but the Chinese influence on American music as well; in so doing, he illuminates the ways in which both cultures were implicated in the unfolding of colonial modernity in the twentieth century.
| Author | : Ti-Fei Hsu |
| Publisher | : |
| Total Pages | : 125 |
| Release | : 1988 |
| Genre | : Chinese poetry |
| ISBN | : |
| Author | : Lim SK |
| Publisher | : Asiapac Books Pte Ltd |
| Total Pages | : 157 |
| Release | : 2018-09-21 |
| Genre | : Comics & Graphic Novels |
| ISBN | : 9812299866 |
From the early days, musical instruments in China were made from everyday items: hunting tools, trees, bamboo and even bones. During the Zhou dynasty, there were about 70 instruments. Today, there are hundreds. But have you ever wondered how these musical instruments in China came about? Well, in this book, the evolution of Chinese music over the centuries is examined, from prehistoric times, through the Qin, Han, Sui and Tang dynasties, all the way to our modern times. In addition, the origins and characteristics of specific musical instruments are explored, giving insight in one's understanding of these instruments. Legendary accounts related to historical personalities are also featured, including: * How two phoenixes helped Fuxi, the earliest ancestor of the Chinese, add music to the lives of the people. * How the musical talents of some individuals were so high they could sense evil elements in a piece of music. * How Wangzi Qiao became an immortal from playing the sheng. Indeed, this book holds a treasury of fascinating information and stories pertaining to Chinese musical instruments. This is definitely something any music lover should have in his collection.
| Author | : Wai-Chung Ho |
| Publisher | : Taylor & Francis |
| Total Pages | : 213 |
| Release | : 2016-12-08 |
| Genre | : Music |
| ISBN | : 1317078012 |
While attention has been paid to various aspects of music education in China, to date no single publication has systematically addressed the complex interplay of sociopolitical transformations underlying the development of popular music and music education in the multilevel culture of China. Before the implementation of the new curriculum reforms in China at the beginning of the twenty-first century, there was neither Chinese nor Western popular music in textbook materials. Popular culture had long been prohibited in school music education by China’s strong revolutionary orientation, which feared ‘spiritual pollution’ by Western cultures. However, since the early twenty-first century, education reform has attempted to help students deal with experiences in their daily lives and has officially included learning the canon of popular music in the music curriculum. In relation to this topic, this book analyses how social transformation and cultural politics have affected community relations and the transmission of popular music through school music education. Ho presents music and music education as sociopolitical constructions of nationalism and globalization. Moreover, how popular music is received in national and global contexts and how it affects the construction of social and musical meanings in school music education, as well as the reformation of music education in mainland China, is discussed. Based on the perspectives of school music teachers and students, the findings of the empirical studies in this book address the power and potential use of popular music in school music education as a producer and reproducer of cultural politics in the music curriculum in the mainland.
| Author | : Tse-Hsiung Larry Lin |
| Publisher | : |
| Total Pages | : 274 |
| Release | : 2012 |
| Genre | : Buddhist music |
| ISBN | : |
This dissertation investigates the development of Chinese Buddhist songs in the twentieth century focusing on the creation of the genre in China in the first half of the century and its continued evolution in Taiwan in the 1950s and 1960s. Despite its significant role in the reform of Chinese Buddhism, research into the different aspects of the Buddhist musical genre has been, before this investigation, inadequate. This study, with its special focus, differs from the previous researches that centered on the modern transformation of Buddhist ritual sounds and therefore supplements our knowledge of Buddhist music history. Examining the historical processes, I identify two direct influences on the musical development: first, the introduction of Western musical form through Chinese school songs, and second, the concurrent culture movements beginning in the late 1910s. Through selected examples, I demonstrate how Buddhist musical culture adapted itself to sociopolitical changes of early to mid-twentieth century China and Taiwan. The influences were first seen in Buddhist songs' adoption of the Western-influenced musical form of Chinese school songs used for educational reform in the earlier half of the twentieth century in China. I use music examples drawn from both genres to demonstrate their shared characteristics and the evolution of the Buddhist musical form on the basis of school songs. Lyric materials are crucial for identifying the various types of sociopolitical influences on the music. Analyses of the song lyrics correlated with a study of the changing sociocultural context help reveal the espoused ideals and goals of the era in music. In addition to the study of the transformation of the genre, its form and concept, this dissertation contemplates the rich meaning of these musical developments in connection with Buddhists' pursuit of a new cultural identity.
