作者簡介

Professor Liu Ching-chih is currently Visiting Professor of the Department of Music Education at the Shanghai Conservatory of Music, Hon Research Fellow of the Hong Kong Institute for Humanities and Social Sciences (including the Centre of Asian Studies), Hon Fellow of the Research Institute of Music of China’s Academy of Arts and Hon Fellow of the Research Institute of Music of the Central Conservatory of Music in Beijing. He also served as Visiting Scholar at St Antony’s College, Oxford, the University of Heidelberg and leading universities in Beijing, Shanghai, Wuhan, Guangzhou, Jinan, Lanzhou, and Qingdao.

• List of Musical Examples(第xi頁)
• List of Plates(第xix頁)
• Translator’s Note(第xxiii頁)
• Plates(第xxv頁)
• Prologue(第1頁)
Chapter 1 Introduction: New Music in China and Its Theoretical Foundations(第7頁)
• Two features of New Music(第7頁)
• “New” versus “old”(第10頁)
• The theoretical foundations of New Music(第12頁)
• Reassessment in the wake of total westernisation(第14頁)
• A comparison of research in Mainland China, Taiwan and Hong Kong(第17頁)
• Concluding remarks(第21頁)
Chapter 2 The Origins of New Music (1885–1919): The Westernisation of Military Music and the Birth of Schoolsong(第23頁)
• The introduction of Western military music(第24頁)
• The establishment of modern military band by Yuan Shikai(第25頁)
• Brass bands in modern schools(第29頁)
• Schoolsong(第29頁)
• Students travel east to bring back valuable knowledge(第32頁)
• Songwriters (1): Zeng Zhimin(第34頁)
• Songwriters (2): Shen Xin’gong(第42頁)
• Songwriters (3): Li Shutong(第48頁)
• The influence of schoolsong(第66頁)
Chapter 3 New Music in the May Fourth Period (1919–1937)(第79頁)
• May Fourth: The beginning of a new era(第79頁)
• The Peking University Music Research Society(第81頁)
• The Peking University Institute of Music(第88頁)
• The National Conservatory of Music(第91頁)
• The popularisation and development of music education(第94頁)
• The new musicians of the May Fourth period(第96頁)
• Mass songs and left-wing musical activities(第168頁)
• Musicologists and translators(第174頁)
• Characteristics of the New Music of the May Fourth period(第184頁)
Chapter 4 The Mass Singing Movement and Musical Creation in the Anti-Japanese War Period (1937–1945)(第189頁)
• The anti-Japanese national salvation mass singing movement(第189頁)
• New Music creation during the Anti-Japanese War(第203頁)
• The development of New Music during the Anti-Japanese War period(第282頁)
Chapter 5 New Music Education and Creation during the Civil War (1946–1949) and in the Seventeen Years after the Founding of the People’s Republic of China (1949–1966)(第287頁)
• New Music education and creation(第287頁)
• New Music education(第297頁)
• The creation of New Music(第305頁)
• Composers(第347頁)
• Communist thinking on literature and art, and New Music in China(第366頁)
• The gains and losses of the seventeen years(第373頁)
Chapter 6 Yangbanxi and the Music of the Cultural Revolution (1966–1976): Revolutionary Modern Peking Opera, Ballet, Symphonic Music and Songs(第377頁)
• The Cultural Revolution(第377頁)
• Reforms in traditional drama(第380頁)
• “Revolutionary model Peking operas”(第390頁)
• Other revolutionary modern Peking operas(第430頁)
• Singing styles and music in the revolutionary model works(第435頁)
• Revolutionary modern ballets(第439頁)
• Composition of revolutionary symphonic and instrumental music(第451頁)
• Other orchestral and instrumental works(第457頁)
• Symphonic music unworthy of the name(第465頁)
• Vocal music(第466頁)
• Debates about music theory(第472頁)
• Concluding remarks(第478頁)
Chapter 7 Musical Creation after the Cultural Revolution and New Wave Music(第483頁)
• Musical creation after the Cultural Revolution(第483頁)
• Cultural “roots”(第507頁)
• New Wave music and New Wave composers(第510頁)
• New Wave composers(第514頁)
• New Wave compositional techniques(第534頁)
• Concluding remarks(第542頁)
Chapter 8 New Music and Composers in Taiwan, Hong Kong and Macao(第545頁)
• Taiwan(第545頁)
• Hong Kong(第566頁)
• Macao(第597頁)
Chapter 9 Review and Reflection: Historical Review (1885–1985) and the Sinicisation and Modernisation of New Music(第605頁)
• Historical review: The development of New Music in China (1885−1985)(第605頁)
• What is Chinese style?(第620頁)
• Music theory and music criticism(第622頁)
• Reflection(第624頁)
• The sinicisation and modernisation of New Music(第630頁)
Chapter 10 New Development (1996–2006): Mainland China, Overseas, Taiwan and Hong Kong(第637頁)
• Mainland Chinese composers(第638頁)
• Overseas Chinese composers(第643頁)
• Composers in Taiwan and Hong Kong(第645頁)
• Research on New Music in China(第650頁)
• Concluding remarks(第654頁)
Epilogue(第655頁)
Notes(第657頁)
Appendix(第761頁)
• I. Texts of lyrics with English translation(第761頁)
• II. Major works composed between 1956−1966(第771頁)
• III. Further readings on New Music in Taiwan, Hong Kongand Macao(第781頁)
References(第791頁)
Glossary(第879頁)
• Chinese instruments(第879頁)
• Terms for regional operas and Peking opera(第879頁)
• Periodicals and journals(第880頁)
Chart IThe development of New Music in China (1885–2006) The development of New Music in China (1885–2006)(第883頁)
Chart II Important of New Music educators and musicians(第889頁)
Index of Names(第893頁)
Index of Subjects(第905頁)