Bringing together the most recent research on the Cultural Revolution in China, musicologists, historians, literary scholars, and others discuss the music and its political implications. Combined, these chapters, paint a vibrant picture of the long-lasting impact that the musical revolution had on ordinary citizens, as well as political leaders.

"This stimulating and thought-provoking essay collection deepens our knowledge of one of the most important periods in contemporary Chinese history. The music and soundscapes of the Cultural Revolution continue to exert influence in creative arenas from contemporary art and film music composition to pop songs and advertising jingles. Listening to China's Cultural Revolution explores not only the historical significance of this musical culture, but also demonstrates that works created during this volatile decade continue to hold a place in the nation's collective memory and to resonant in the lives of individuals." - Nancy Guy, Associate Professor of Music, University of California, San Diego, USA, and author of Peking Opera and Politics in Taiwan

"Close attention to aesthetic form sets this volume apart from previous studies, offering technically informed insights into issues such as musical hybridity, cross-genre adaptation, and intercultural musical composition. By attending to the form of Cultural revolution musical productions, rather than simply their political messages, the authors of this volume identify new ways for thinking about Cultural Revolution culture, linking this period with broader artistic questions, as well as historical precedents and legacies." - Emily Wilcox, Assistant Professor of Modern Chinese Studies, University of Michigan, USA

Autorentext
Laurence Coderre, University of California, Berkeley, USA Dai Jiafang, Central Conservatory of Music, China Barbara Mittler, University of Heidelberg, Germany Lau Sze Wing, Chinese University of Hong Kong, China Rowan Pease, Independent Scholar, China Nancy Yunhwa Rao, Rutgers University, USA Ban Wang, Stanford University, USA John Winzenburg, Hong Kong Baptist University, China Chuen-Fung Wong, Macalester College, USA

Inhalt

Introduction; Paul Clark, Laikwan Pang and Tsan-Huang Tsai
PART I: TEMPORALITY: CONTINUITY AND CHANGE IN CULTURAL REVOLUTION MUSIC

1. A Diachronic Study of Jingju Yangbanxi Model Peking Opera Music; Dai Jiafang, translated by Lau Sze Wing
2. From Confucianist Meditative Tool to Maoist Revolutionary Weapon: The Seven-Stringed Zither (Qin) in the Cultural Revolution; Tsan-Huang Tsai
3. Breaking Bad: Sabotaging the Production of the Hero in the Amateur Performance of Yangbanxi; Laurence Coderre
4. Third World Internationalism: Films and Operas in the Chinese Cultural Revolution; Ban Wang
5. Singing in the Dark: Film and Cultural Revolution Musical Culture; Paul Clark
   PART II: GEOGRAPHY: TRANSPLANTATION AND THE MAKING OF REGIONAL YANGBANXI
6. Dialects as Untamable: How to Revolutionize Cantonese Opera?; Laikwan Pang
7. The West is Red: Uyghur Adaptation of The Legend of the Red Lantern (Qizil Chiragh) During China ' 's Cultural Revolution; Chuen-Fung Wong
8. The Dragon River Reaches the Borders: The Rehabilitation of Ethnic Music in a Model Opera; Rowan Pease
   PART III: LEGACIES AND LINEAGES: CULTURAL REVOLUTION SOUNDSCAPES BEYOND THE MAO ERA
9. Musical-Dramatic Experimentation in the Yangbanxi: A Case for Precedence in The Great Wall; John Winzenburg
10. Sonic Imaginary After the Cultural Revolution; Nancy Yunhwa Rao
11. Just Beat It! Popular Legacies of Cultural Revolution Music; Barbara Mittler