Chinese Music and Translated Modernity in Shanghai, 1918-1937.

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dc.contributor.author Cheung, Joys Hoi Yan en_US
dc.date.accessioned 2008-08-25T20:51:02Z
dc.date.available NO_RESTRICTION en_US
dc.date.available 2008-08-25T20:51:02Z
dc.date.issued 2008 en_US
dc.date.submitted en_US
dc.identifier.uri http://hdl.handle.net/2027.42/60665
dc.description.abstract This dissertation examines how early twentieth-century Chinese of Shanghai “hosted” the musical West in their discourses on music, and in their musical production. Theorizing the processes involved as ones of “musical translation,” this dissertation analyzes how the Chinese “musical hosts” asserted their cultural values and political agendas in their understanding and adoption of Western musical theories and practices. Chapter 1 introduces Shanghai, and the sources and methodology of the dissertation. Chapter 2 explains the concepts of musical translation and modernity. Chapter 3 re-constructs the musical world of Shanghai, tracing how Chinese musical translations emerged from the modernizing city where Chinese had unprecedented contacts with Westerners in semi-colonial conditions. The complex musical network of Shanghai cut across colonial boundaries, shaping participants’ translated and modern practices. Chapter 4 traces how the intellectual and musical lives of major participants were tied to the socio-political network of Shanghai. Chapter 5 examines the ways in which Chinese intellectuals and musicians negotiated translated musical knowledge, including the discourses of technology, Chinese history, morality, and national essence. Through these discourses, Chinese projected their national needs and values on the Western music theories and practices they “hosted.” Chapter 6 examines five modern Chinese musical compositions as cases of translational creativity, demonstrating their different translational levels and aspects. The five cases include a Chinese art song composed by Yuen Ren Chao, an erhu solo work composed by Liu Tianhua, a Chinese piano piece composed by He Luting, a sizhu ensemble piece arranged by Liu Raozhang, and a new Peking Opera play performed by Mei Lanfang. This dissertation concludes by addressing the problem of the continuity of translated modernity in the subsequent Communist era of Chinese history the need for future research on reception aspects of Chinese musical modernity. en_US
dc.format.extent 48584972 bytes
dc.format.extent 1373 bytes
dc.format.mimetype application/pdf
dc.format.mimetype text/plain
dc.language.iso en_US en_US
dc.subject Chinese Music en_US
dc.subject Musical Modernity en_US
dc.subject Musical Translation en_US
dc.subject Music of Shanghai en_US
dc.subject Musical Changes in Pre-Communist China en_US
dc.subject Music and Colonialism en_US
dc.title Chinese Music and Translated Modernity in Shanghai, 1918-1937. en_US
dc.description.thesisdegreename Ph.D. en_US
dc.description.thesisdegreediscipline Music: Musicology en_US
dc.description.thesisdegreegrantor University of Michigan, Horace H. Rackham School of Graduate Studies en_US
dc.contributor.committeemember Lam, Joseph S. C. en_US
dc.contributor.committeemember Becker, Judith O. en_US
dc.contributor.committeemember Liu, Lydia en_US
dc.contributor.committeemember Rolston, David Lee en_US
dc.contributor.committeemember Stillman, Amy en_US
dc.subject.hlbsecondlevel Music and Dance en_US
dc.subject.hlbsecondlevel East Asian Languages and Cultures en_US
dc.subject.hlbtoplevel Arts en_US
dc.subject.hlbtoplevel Humanities en_US
dc.description.bitstreamurl http://deepblue.lib.umich.edu/bitstream/2027.42/60665/1/jhcheung_1.pdf
dc.owningcollname Dissertations and Theses (Ph.D. and Master's)
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