Divide and connections in Chinese musical modernity: Cases of musical networks emerging in colonial Shanghai, 1919-1937

Joys H.Y. Cheung*

*此作品的通信作者

研究成果: 雜誌貢獻期刊論文同行評審

7 引文 斯高帕斯(Scopus)

摘要

The divide between the Western-emphasized and Chinese-emphasized approaches in Chinese musical modernity has shaped the thinking and practice of Chinese music. In colonial Shanghai, where the divide was solidified, the divide was organizationally represented by the Shanghai Conservatory of Music and the Great Unity Music Society. Both forces, however, engaged with the same ethical and political discourse of nation-building. For example, both looked up to the colonial Shanghai Municipal Orchestra as a desirable model. Assessing such subtle connections, this article uses the idea of networkto overcome the dichotomatic limitation of the divide, while examining its foundation. Drawing upon concepts of "weakties" and "conflictual ties," this article shows how interdependence and rivalry overlapped in the emerging musical network, which shaped the new discursive, performance, and compositional practices in both forces. Both forces, indeed, were equally constitutive of the emerging "field" of music in Chinese modernity.

原文英語
頁(從 - 到)30-49
頁數20
期刊Twentieth-Century China
37
發行號1
DOIs
出版狀態已發佈 - 2012 1月
對外發佈

ASJC Scopus subject areas

  • 文化學習
  • 歷史
  • 政治學與國際關係

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