Pianos and Politics in China: Middle-Class Ambitions and the Struggle over Western Music
In China, a nation where the worlds of politics and art are closely linked, Western classical music was considered during the cultural revolution to be an imperialist intrusion, in direct conflict with the native aesthetic. In this revealing chronicle of the relationship between music and politics in twentieth-century China, Richard Kraus examines the evolution of China's ever-changing disposition towards European music and demonstrates the steady westernization of Chinese music. Placing China's cultural conflicts in global perspective, he traces the lives of four Chinese musicians and reflects on how their experiences are indicative of China's place at the furthest edge of an expanding Western international order.
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artists audience Beijing Review bourgeois bourgeoisie campaign Central Conservatory Central Philharmonic Chen China Chinese Literature Chinese music Chopin Chubanshe classical music Communist Party composer concert cosmopolitan Cultural Revolution Deng Xiaoping ensemble Europe’s European classical European music foreign Fou Ts’ong Fu Cong Fu Lei Fu Lei's Guangzhou Hong Kong intellectuals Japanese Jiang Qing Jiang Qing Tongzhi Jie Fu leaders Lin Biao Literature and Art Liu Shikun Luting Mao Zedong Mao's Maoist March modern musical culture Nie Er orchestra peasants Peking People's performed pianist piano played political popular populist Qing's radical Red Guards reform Renmin Yinyue revolutionary songs Shanghai Conservatory singing social Soviet Symphony Tian Han tion traditional Ts'ong urban middle class violin virtuoso Wenyi Western music workers Xian Xinghai Xian's Xiao Xuexi Yinyue Yan'an Ye Jianying Yellow River Yellow River Cantata Yin Chengzong Yin's Yinyue de Jingguo York Yu Huiyong Zhang Zheng Zhongguo Zhou Ziliao Ji