Reviewed by: Composing for the Revolution: Nie Er and China's Sonic Nationalism by Joshua H. Howard Chuen-Fung Wong Joshua H. Howard. Composing for the Revolution: Nie Er and China's Sonic Nationalism. Music and Performing Arts of Asia and the Pacific Series. Honolulu: University of Hawai'i Press, 2021. 271 pp. Hardcover ($80.00) or softcover ($28.00). The subject of Composing for the Revolution is Nie Er (聶耳 1912–1935), also known as Nie Shouxin (聶守信) or George Njal, the short-lived Chinese songwriter best known today for the melody he wrote for the film song "March of the Volunteers" (義勇軍進行曲 "Yiyongjun jinxingqu"; 1934/1935), which became the national anthem of the People's Republic of China (PRC), provisionally at its founding in 1949 and officially in 1978. Historian Joshua Howard packs abundant details into this first English-language biography of the national music hero of the PRC. The research is informed, among other things, by firsthand Chinese-language sources, including Nie Er's diary, letters, music, and other writings. For scholars of modern Chinese music, Howard's comprehensive account of the composer's life, works, and reception is a valuable addition to Andrew Jones's much-read chapter, published two decades ago in his Yellow Music, on Nie Er and the left-wing media culture of interwar China.1 The topics and themes covered in this current book, however, are much broader, spanning more than 100 years from the early twentieth century to the present time. It should appeal broadly to readers who are interested in modern Chinese history, musical nationalism, socialist aesthetics, music biographies, and cultural tourism. The seven chapters of this book may be read as comprising two halves. The first four chronicle Nie Er's life and music through his premature death in 1935. Chapter 1 surveys Nie Er's "formative years" in Kunming, in China's Southwest, and identifies his early musical and ideological influences. Chapter 2 is based on the author's close reading of Nie Er's diary from the early 1930s, when the composer took part in Shanghai's vibrant entertainment industry as a member of the Bright Moon Song and Dance Troupe led by the celebrity-impresario Li Jinhui (黎錦暉 1891–1967) and as a composer for the film production studio Lianhua (聯華 United Photoplay) and for Pathé Records. At the same time, Nie Er developed a radical consciousness about music's "class nature" and an ambivalence toward the consumer culture of commodified music. Chapter 3 delves into Nie Er's ideological struggle and highlights the influences of Soviet Marxist theories of art and literature on the composer's "class-inflected nationalism." It also offers a glimpse into the interplay between the rising nationalist movements of China's cultural modernists and the Marxist internationalism embraced by left-wing artists. Chapter 4 focuses on the "music itself"; the author takes a thorough look at the song structure, rhythm, melody, and lyrics of nearly a dozen of Nie Er's songs, illustrated with melodic transcription (in staff notation) and lyrics (in Chinese characters, pinyin romanization, and English translation). [End Page E-1] The second half, which includes chapters 5 through 7, examines Nie Er as a central figure in China's musical nationalism since the 1930s, and it is somewhat chronological. Chapter 5 deals with what the author calls the "politics of commemoration" and looks at how Nie Er was chosen as a "posthumous leader" of left-wing authors and musicians soon after his death and at the way his memory was preserved all the way through the Communist takeover in 1949. Specifically, it argues that the memory of Nie Er was built on a critique of the commercial entertainment styles—for example, that of Li Jinhui—and the elitist genres of music conservatories. Nie Er's songs were praised as possessing masculine qualities and martial attributes for nationalist mobilization in the wake of Japanese invasion, whereas the commercial and conservatory styles were discarded as "feminine" and thus unfit for the revolution. Chapter 6 seeks to understand the post-1949 Maoist construction of Nie Er as a "people's musician," based in part on the author's analysis of the propaganda film Nie...