Until recently, most scholarly work on Chinese music in both Chinese and Western languages has focused on genres, musical structure, and general history and concepts, rather than on the musicians themselves. This volume breaks new ground by focusing on individual musicians active in different amateur and professional music scenes in mainland China, Hong Kong, and Chinese communities in Europe. Using biography to deepen understanding of Chinese music, contributors present richly contextualized portraits of rural folk singers, urban opera singers, literati, and musicians on both geographic and cultural frontiers. The topics investigated by these authors provide fresh insights into issues such as the urban-rural divide, the position of ethnic minorities within the People's Republic of China, the adaptation of performing arts to modernizing trends of the twentieth century, and the use of the arts for propaganda and commercial purposes. The social and political history of China serves as a backdrop to these discussions of music and culture, as the lives chronicled here illuminate experiences from the pre-Communist period through the Cultural Revolution to the present. Showcasing multiple facets of Chinese musical life, this collection is especially effective in taking advantage of the liberalization of mainland China that has permitted researchers to work closely with artists and to discuss the interactions of life and local and national histories in musicians' experiences. Contributors are Nimrod Baranovitch, Rachel Harris, Frank Kouwenhoven, Tong Soon Lee, Peter Micic, Helen Rees, Antoinet Schimmelpenninck, Shao Binsun, Jonathan P. J. Stock, and Bell Yung.

Live at the forbidden City offers a singular look at the rapidly evolving Chinese popular music scene, as seen through the eyes of one of the first progressive Western musicians to perform extensively in both China and Taiwan. In the 1980s and 90s, American author and musician Dennis Rea played concerts in venues ranging from sports arenas to underground nightclubs to TV broadcasts - frequently under bizarre circumstances and the constant threat of harassment by Communist Party authorities. Spiced with informative reflections on Chinese music and culture, Rea interweaves depictions of his musical adventures with an insider's look at China's emergent rock music phenomenon and an eyewitness account of the violent civil uprising in Chengdu at the same time as the events at Tiananmen Square.

The unique lives and careers of contemporary Chinese musicians

Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. As China and the West demonstrates, the emergence of “Westernized” music from China—concurrent with the technological advances that have made global culture widely accessible—has not established a prominent presence in the West. China and the West brings together essays on centuries of Sino-Western musical exchange by musicologists, ethnomusicologists, and music theorists from around the world. It opens with a look at theoretical approaches of prior studies of musical encounters and a comprehensive survey of the intercultural and cross-cultural theoretical frameworks—exoticism, orientalism, globalization, transculturation, and hybridization—that inform these essays. Part I focuses on the actual encounters between Chinese and European musicians, their instruments and institutions, and the compositions inspired by these encounters, while Part II examines theatricalized and mediated East-West cultural exchanges, which often drew on stereotypical tropes, resulting in performances more inventive than accurate. Part III looks at the musical language, sonority, and subject matters of “intercultural” compositions by Eastern and Western composers. Essays in Part IV address reception studies and consider the ways in which differences are articulated in musical discourse by actors serving different purposes, whether self-promotion, commercial marketing, or modes of nationalistic—even propagandistic—expression. The volume’s extensive bibliography of secondary sources will be invaluable to scholars of music, contemporary Chinese culture, and the globalization of culture.

This accessible, illustrated introduction explores the history of Chinese music, an ancient, diverse and fascinating part of China's cultural heritage.

Western classical music has become as Chinese as Peking Opera, and it has woven its way into the hearts and lives of ordinary Chinese people. This lucidly written account traces the biographies of the bold visionaries who carried out this musical merger. Rhapsody in Red is a history of classical music in China that revolves around a common theme: how Western classical music entered China, and how it became Chinese. Chinas oldest orchestra was founded in 1879, two years before the Boston Symphony. Since then, classical music has woven its way into the lives of ordinary Chinese people. Millions of Chinese children take piano and violin lessons every week. Yet, despite the importance of classical music in China -- and of Chinese classical musicians and composers to the world -- next to nothing has been written on this fascinating subject. The authors capture the events with the voice of an insider and the perspective of a Westerner, presenting new information, original research and insights into a topic that has barely been broached elsewhere. The only other significant books touching on this field are Pianos and Politics: Middle Class Ambitions and The Struggle Over Western Music by Richard Kurt Kraus (1989), and Barbara Mittler's Dangerous Tunes - The Politics of Chinese Music. Both target the academic market. Pianos focuses narrowly on the political aspects of the Cultural Revolution and subsequent re-opening. Rhapsody in Red is a far better read and benefits from considerably more research with primary source material in China over the past decade; and it covers classical music in general over all the history of East-West interaction. This book will appeal to a general readership interested in China -- the same readers who made "Wild Swans" a bestseller. It will also appeal to all who are interested in the future of classical music. It could easily be used for college courses on modern China, cultural history and ethnomusicology.

Gender in Chinese Music draws together contributions from ethnomusicologists, anthropologists, and literary scholars to explore how music is implicated in changing notions of masculinity, femininity, and genders "in between" in Chinese culture.

This book opens the door on the magnificent living traditions of folk music in rural China. Stephen Jones's book illustrates the beauty and variety of these folk traditions, from the plangent shawm bands of the rugged north to the more mellifluous string ensembles of the southeastern coast. Working closely with the Music Research Institute in Beijing, Stephen Jones has used his fieldwork in China to write a book offering a rare insight into the riches of these traditions. It opens up a country where for the outsider official culture still largely obscures folk traditions, and where revolutionary opera and kitsch urban professional arrangements still dominate our image of Chinese music. The book is in three parts. Part one, The Social Background, discuses the turbulent history of folk ensembles in the twentieth century and the survival of folk ceremonial; part two outlines musical features of Chinese instrumental groups, such as scales, melody, and variation; part three gives practical introductions to some of the diverse regional genres.

What is Life? Decades of research have resulted in the full mapping of the human genome - three billion pairs of code whose functions are only now being understood. The gene's eye view of life, advocated by evolutionary biology, sees living bodies as mere vehicles for the replication of the genetic codes. But for a physiologist, working with the living organism, the view is a very different one. Denis Noble is a world renowned physiologist, and sets out an alternative view to the question - one that becomes deeply significant in terms of the living, breathing organism. The genome is not life itself. Noble argues that far from genes building organisms, they should be seen as prisoners of the organism. The view of life presented in this little, modern, post-genome project reflection on the nature of life, is that of the systems biologist: to understand what life is, we must view it at a variety of different levels, all interacting with each other in a complex web. It is that emergent web, full of feedback between levels, from the gene to the wider environment, that is life. It is a kind of music. Including stories from Noble's own research experience, his work on the heartbeat, musical metaphors, and elements of linguistics and Chinese culture, this very personal and at times deeply lyrical book sets out the systems biology view of life.

The rich local traditions of musical life in rural China are still little known. Music-making in village society is largely ceremonial, and shawm bands account for a major part of such music. This is the first major ethnographic study of Chinese shawm bands in their ceremonial and social context. Based in a poor county in Shanxi province in northwest China, Stephen Jones describes the painful maintenance of ceremonial and its music there under Maoism, its revival with the market reforms of the 1980s and its modification under the assault of pop music since the 1990s. The book is accompanied by a 47-minute DVD and will appeal to ethnomusicologists, anthropologists and all those interested in modern Chinese history and society.