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

Abstract

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.