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Representing China musically: A Chin...

Chow, Maria M.

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Representing China musically: A Chinese conservatory and China's musical modernity, 1900--1937.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Representing China musically: A Chinese conservatory and China's musical modernity, 1900--1937./
作者:	Chow, Maria M.
面頁冊數:	308 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2012.
Contained By:	Dissertation Abstracts International66-06A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3181324
ISBN:	0542213044

Representing China musically: A Chinese conservatory and China's musical modernity, 1900--1937.
Chow, Maria M.

Representing China musically: A Chinese conservatory and China's musical modernity, 1900--1937. - 308 p.

Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2012.

Thesis (Ph.D.)--The University of Chicago, 2005.

The general subject of this dissertation is how early twentieth-century Chinese intellectuals tried to create a new musical idiom that they thought would be worthy of representing their country in the modern world. The title "Representing China Musically" refers to their effort. This subject arose out of my response to the previous scholarship on the high-profile National Conservatory of Music founded in Shanghai in 1927. For many years the National Conservatory of Music has been a major focal point in historical studies of twentieth-century Chinese music. It has been both praised and criticized by music scholars of different backgrounds and intellectual interests. Yet, thus far a systematic study of the conservatory is still wanting.

ISBN: 0542213044Subjects--Topical Terms:

516178
Music.

Representing China musically: A Chinese conservatory and China's musical modernity, 1900--1937.
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245 1 0 $a Representing China musically: A Chinese conservatory and China's musical modernity, 1900--1937.
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500 $a Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2012.
500 $a Adviser: Philip Bohlman.
502 $a Thesis (Ph.D.)--The University of Chicago, 2005.
520 $a The general subject of this dissertation is how early twentieth-century Chinese intellectuals tried to create a new musical idiom that they thought would be worthy of representing their country in the modern world. The title "Representing China Musically" refers to their effort. This subject arose out of my response to the previous scholarship on the high-profile National Conservatory of Music founded in Shanghai in 1927. For many years the National Conservatory of Music has been a major focal point in historical studies of twentieth-century Chinese music. It has been both praised and criticized by music scholars of different backgrounds and intellectual interests. Yet, thus far a systematic study of the conservatory is still wanting.
520 $a Besides an introduction, the three chapters and an epilogue comprise four studies, focusing on four aspects of China's musical modernity during the period of 1900--1937: the promulgation of the Chinese national anthem, the implementation of general music education, the beginning of higher music education, and the invention of Chinese identity in early Chinese sound films. Linking the four studies is the National Conservatory of Music's endeavor to reform Chinese music.
520 $a In addressing the role of the National Conservatory of Music in relation to these four aspects of early twentieth-century China's musical modernity, this study is responding to four contrasting perspectives taken by scholars in the previous discussions. The perspectives are (1) the Chinese Nationalist Party, which emphasizes the conservatory's national status; (2) the Chinese Communist Party, which deemphasizes the conservatory's national status; (3) the music scholars who are interested in the conservatory's success in promoting Western-style Chinese music and (4) the cultural scholars and ethnomusicologists who concern themselves with how the conservatory tradition has altered China's indigenous musical landscapes in irreversible ways.
520 $a This study responds to the above four perspectives with a fifth, that is, the perspective of the nation-state. It addresses the endeavor of the National Conservatory of Music as part of an uncoordinated effort in the Republic of China founded in 1911 to represent the nation musically.
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