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 66vi 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 287Contents 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 483viii 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 630Contents 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
· · · · · · (收起)