Rhapsody in Red: How Western Classical Music Became Chinese
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.
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163 페이지 - In the world today all culture, all literature and art belong to definite classes and are geared to definite political lines. There is in fact no such thing as art for art's sake, art that stands above classes or art that is detached from or independent of politics.
224 페이지 - Problems abound in all forms of art such as the drama, ballads, music, the fine arts, the dance, the cinema, poetry and literature and the people involved are numerous; in many departments very little has been achieved so far in socialist transformation. The "dead" still dominate in many departments.
229 페이지 - The principal contradiction in socialist society is that between the proletariat and the bourgeoisie, between the socialist road and the capitalist road.
230 페이지 - Mao hundreds of millions of workers, peasants and soldiers and vast numbers of revolutionary cadres and intellectuals, all armed with Mao Tse-tung's thought, have been sweeping away a horde of monsters that have entrenched themselves in ideological and cultural positions. With the tremendous and impetuous force of a raging storm, they have smashed the shackles imposed on their minds by the exploiting classes for so long in the past, routing the bourgeois "specialists," "scholars," "authorities" and...
230 페이지 - ... cultural revolution now being carried on in China have no parallel in history, and the tremendous drive and momentum and boundless wisdom of the working people manifested in the movement far exceed the imagination of the lords of the bourgeoisie. Facts have eloquently proved that Mao Tse-tung's thought becomes a moral atom bomb of colossal power once it takes hold of the masses. The current great cultural revolution is immensely advancing the socialist cause of the Chinese people and undoubtedly...
229 페이지 - The proletariat seeks to transform the world according to its own world outlook, and so does the bourgeoisie. In this respect, the question of which will win out, socialism or capitalism, is still not really settled.
81 페이지 - We have never valued ingenious articles," as emperor Qianlong famously explained in an edict sent to king George III after he had been approached by the British envoy George Macartney in 1793: nor do we have the slightest need of your country's manufacture. Therefore, O king, as regards your request to send someone to remain at the capital, while it is not in harmony with the regulations of the Celestial Empire we also feel very much that it is of no advantage to your...
253 페이지 - Because, while both are beautiful, life as reflected in works of literature and art can and ought to be on a higher plane, more intense, more concentrated, more typical, nearer the ideal, and therefore more universal than actual everyday life.