Table Of Content

a critical History of New Music iN cHiNa New Music.indb 1 2010/7/6 2:29:22 PM A Critical History of New Music in China Liu Ching-chih (Translated by Caroline Mason) "This page intentionally left blank" The Chinese University Press New Music.indb 2 2010/7/6 2:29:22 PM A Critical History of New Music in China Liu Ching-chih (Translated by Caroline Mason) The Chinese University Press New Music.indb 3 2010/7/6 2:29:22 PM A Critical History of New Music in China By Liu Ching-chih Translated by Caroline Mason © The Chinese University of Hong Kong, 2010 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from The Chinese University of Hong Kong. ISBN: 978–962–996–360–6 THE CHINESE UNIVERSITY PRESS The Chinese University of Hong Kong SHA TIN, N.T., HONG KONG Fax: +852 2603 6692 Fax: +852 2603 7355 E-mail: [email protected] Web-site: www.chineseupress.com Printed in Hong Kong New Music.indb 4 2010/7/6 2:29:23 PM Contents List of Musical Examples xi List of Plates xix Translator’s Note xxiii Plates xxv Prologue 1 Chapter 1 Introduction: New Music in China and Its Theoretical Foundations 7 Two features of New Music 7 “New” versus “old” 10 The theoretical foundations of New Music 12 Reassessment in the wake of total westernisation 14 A comparison of research in Mainland China, Taiwan and Hong Kong 17 Concluding remarks 21 Chapter 2 The Origins of New Music (1885–1919): The Westernisation of Military Music and the Birth of Schoolsong 23 The introduction of Western military music 24 The establishment of modern military band by Yuan Shikai 25 Brass bands in modern schools 29 Schoolsong 29 Students travel east to bring back valuable knowledge 32 Songwriters (1): Zeng Zhimin 34 Songwriters (2): Shen Xin’gong 42 Songwriters (3): Li Shutong 48 The influence of schoolsong 66 New Music.indb 5 2010/7/6 2:29:23 PM vi Contents Chapter 3 New Music in the May Fourth Period (1919−1937) 79 May Fourth: The beginning of a new era 79 The Peking University Music Research Society 81 The Peking University Institute of Music 88 The National Conservatory of Music 91 The popularisation and development of music education 94 The new musicians of the May Fourth period 96 Xiao Youmei 99 Huang Zi 115 Zhao Yuanren 141 Nie Er 151 Li Jinhui 160 Liu Tianhua 166 Mass songs and left-wing musical activities 168 Musicologists and translators 174 Wang Guangqi 174 Qing Zhu 179 Feng Zikai 182 Fu Lei 184 Characteristics of the New Music of the May Fourth period 184 Chapter 4 The Mass Singing Movement and Musical Creation in the Anti-Japanese War Period (1937−1945) 189 The anti-Japanese national salvation mass singing movement 189 Musical developments in the Guomindang-controlled areas 191 Musical developments in the liberated areas 197 New Music creation during the Anti-Japanese War 203 Xian Xinghai 204 Tan Xiaolin 221 Jiang Wenye 231 Ma Sicong 244 He Lüting 249 The music of Ren Guang, Ying Shangneng, Liu Xue’an, Lin Sheng-shih and others 263 The development of New Music during the Anti-Japanese War period 282 Chapter 5 New Music Education and Creation during the Civil War (1946−1949) and in the Seventeen Years after the Founding of the People’s Republic of China (1949−1966) 287 New Music education and creation 287 The Civil War period: 1946–1949 287 New Music.indb 6 2010/7/6 2:29:23 PM Contents vii The Seventeen years after the founding of the People’s Republic of China: 1949–1966 295 New Music education 297 The creation of New Music 305 Vocal music 310 Instrumental music 316 Orchestral music, symphonic music and Chinese instrumental music 323 Opera and dance drama 339 Composers 347 Other composers 366 Communist thinking on literature and art, and New Music in China 366 The gains and losses of the seventeen years 373 Chapter 6 Yangbanxi and the Music of the Cultural Revolution (1966−1976): Revolutionary Modern Peking Opera, Ballet, Symphonic Music and Songs 377 The Cultural Revolution 377 Reforms in traditional drama 380 “Revolutionary model Peking operas” 390 Zhiqu Weihushan [Taking Tiger Mountain by strategy] 390 Haigang [The harbour] 399 Hongdengji [The red lantern] 404 Shajiabang 414 Qixi Baihutuan [Raid on the White Tiger Regiment] 423 Other revolutionary modern Peking operas 430 Singing styles and music in the revolutionary model works 435 Revolutionary modern ballets 439 Baimaonü [The white-haired girl] 439 Hongse niangzijun [Red detachment of women] 442 Composition of revolutionary symphonic and instrumental music 451 Other orchestral and instrumental works 457 Symphonic music unworthy of the name 465 Vocal music 466 Debates about music theory 472 The “Debussy Incident” 472 The left-wing music movement and “music for national defence” 473 The debate about programme music and absolute music 474 Concluding remarks 478 Chapter 7 Musical Creation after the Cultural Revolution and New Wave Music 483 Musical creation after the Cultural Revolution 483 New Music.indb 7 2010/7/6 2:29:23 PM viii Contents The works of Zhu Jian’er, Luo Zhongrong, Jin Xiang, Wang Xilin and Yang Liqing 483 Zhu Jian’er 484 Luo Zhongrong 490 Jin Xiang 492 Wang Xilin 500 Yang Liqing 505 Cultural “roots” 507 New Wave music and New Wave composers 510 New Wave composers 514 New Wave compositional techniques 534 Concluding remarks 542 Chapter 8 New Music and Composers in Taiwan, Hong Kong and Macao 545 Taiwan 545 Music education 545 Music creation 547 Music research 560 Music organisations and performing arts activities 564 Concluding remarks 566 Hong Kong 566 Music education 567 Music creation 570 Popular music in Hong Kong 584 Research into Chinese music 585 Performing arts policy and activities 587 Fine music broadcasting 593 Music criticism 594 Performing arts policy 595 Concluding remarks 596 Macao 597 Music education 598 Music creation 599 Performing arts activities 601 Chapter 9 Review and Reflection: Historical Review (1885−1985) and the Sinicisation and Modernisation of New Music 605 Historical review: The development of New Music in China (1885−1985) 605 What is Chinese style? 620 Music theory and music criticism 622 Reflection 624 The sinicisation and modernisation of New Music 630 New Music.indb 8 2010/7/6 2:29:23 PM Contents ix Chapter 10 New Development (1996−2006): Mainland China, Overseas, Taiwan and Hong Kong 637 Mainland Chinese composers 638 Overseas Chinese composers 643 Composers in Taiwan and Hong Kong 645 Taiwan 646 Hong Kong 648 Research on New Music in China 650 Overseas 650 Mainland China 651 Taiwan and Hong Kong 653 Concluding remarks 654 Epilogue 655 Notes 657 Appendices I. Texts of lyrics with English translation 761 II. Major works composed between 1956−1966 771 III. Further readings on New Music in Taiwan, Hong Kong and Macao 781 References 791 Glossary Chinese instruments 879 Terms for regional operas and Peking opera 879 Periodicals and journals 880 Chart I The development of New Music in China (1885–2006) 883 Chart II Important of New Music educators and musicians 889 Index of Names 893 Index of Subjects 905 New Music.indb 9 2010/7/6 2:29:23 PM "This page intentionally left blank" New Music.indb 10 2010/7/6 2:29:23 PM