Musical creativity in twentieth-century China : Abing, his music, and its changing meanings

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Musical creativity in twentieth-century China : Abing, his music, and its changing meanings

by Jonathan P.J. Stock

（Eastman studies in music）

University of Rochester Press, 1996

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注記

Includes bibliographical references (p. 195-204) and index

内容説明・目次

内容説明

This work examines the multiple and conflicting interpretations created around the life and music of the blind folk musician Abing (1893-1950). Abing is a household name in China, but despite the central place he holds in Chinesemusic, he is little known, and his music rarely heard, abroad. This detailed study of Abing, and the accompanying CD compilation of his most well-known works, reveal much both about this unjustly neglected composer, and about therecreation of traditional music in contemporary China. Particular attention is given to the problematic category of the musical `work' in a tradition which relies heavily on improvisation and creative reworking of material; Abing's music has also taken strikingly different shapes since his death, notably in arrangements, some involving Western instruments, which have adapted his music to changing tastes and ideological trends, both in mainland China, and in Taiwan and overseas. Dr. Jonathan P.J. Stock is Lecturer in Music at the University of Durham. Contains audio CD.

目次

  • Introduction: the individual in ethnomusicology
  • blind Abing
  • ethnomusicology and history
  • Chinese music research
  • ethnography and fieldwork
  • ethnomusicology and music analysis
  • structure
  • note on romanization and translation
  • periodization of Chinese history. Part 1 China and the city of Wuxi from the 1890s to 1950: the city of Wuxi, origins to 1950
  • China in turmoil, 1890-1912
  • China in development and disarray, 1912-1937
  • China at war, 1937-1950. Part 2 Narrative, ideology and the life of Abing: Yang Yinliu's official biography of Abing
  • rival biographies
  • a patriotic and revolutionary street-singer - the construction of a text
  • issues of source and identity - the case of "The Moon Reflected on the Second Springs"
  • further biographical details - music, marriage and death. Part 3 Musical life in early-20th-century Wuxi: musical instruments - erhu, pipa, sanxian, di and xiao, luogu and ban
  • notation
  • musical genres - dramatic and narrative genres, instrumental ensemble genres, solo music for erhu and pipa, new musical forms. Part 4 Music for erhu: introductory passages
  • low-register melodies
  • middle-register melodies
  • high-register melodies
  • codettas
  • other material
  • summary of related material
  • locally-specific variation techniques
  • large-scale constructive techniques
  • musical structure as a result of performance decisions
  • the case of "Listening to the Pines". Part 5 Music for pipa. Part 6 Musical creativity, identity and meaning in 20th-century China: the conservatory tradition - nationalist establishment 1920s-1949, communist consolidation 1949-1994
  • musical meaning. Appendices: erhu music - "Cold Spring Wind", "Listening to the Pines"
  • pipa music - "Dragon Boats", "Great Waves Washing the Sand", "Zhaojun Crosses the Border".

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