Welcome to Francis Academic Press

Frontiers in Art Research, 2024, 6(2); doi: 10.25236/FAR.2024.060212.

The development of the Chinese symphony orchestra after 1949

Author(s)

Yuan Wang

Corresponding Author:
Yuan Wang
Affiliation(s)

Southwest Petroleum University, Sichuan, Chengdu, China, 610500

Abstract

This paper explores the evolution of the Chinese symphony orchestra, focusing on changes since 1949. It delves into the impact of modern technology on traditional Chinese orchestra, examining the introduction of new instruments and the consequent changes in performance styles. The paper also discusses the role of government and cultural revolutions in shaping the orchestra, highlighting how political and cultural shifts influenced musical practices. The integration of Western instruments and styles is a key theme, exploring the blend of Chinese and Western musical elements in modern orchestras. Additionally, the document considers the influence of music societies and conservatories in the development and professionalization of Chinese orchestral music. Overall, the paper offers a comprehensive overview of the historical, cultural, and technological factors that have shaped the Chinese symphony orchestra in the modern era.

Keywords

Modernization; Political Influence; Western Integration

Cite This Paper

Yuan Wang. The development of the Chinese symphony orchestra after 1949. Frontiers in Art Research (2024) Vol. 6, Issue 2: 67-74. https://doi.org/10.25236/FAR.2024.060212.

References

[1] Angelo, Elin. "The music educator: Bridging performance, community and education – An instrumental teacher’s professional understanding." International Journal of Community Music, vol. 8, no. 3, 2015, pp. 279-296.

[2] Ahrens, Kathleen. "Analyzing Conceptual Metaphors in Political Language." Politics, Gender and Conceptual Metaphors, 2009, pp. 1-5.

[3] Avorgbedor, Daniel. "Competition and Conflict as a Framework for Understanding Performance Culture among the Urban Anlo-Ewe." Ethnomusicology, vol. 45, no. 2, 2001, p. 260.

[4] Becker, Howard S., and Anselm L. Strauss. "Careers, Personality, and Adult Socialization." American Journal of Sociology, vol. 62, no. 3, 1956, pp. 253-263.

[5] Buchanan, Donna A. "Metaphors of Power, Metaphors of Truth: The Politics of Music Professionalism in Bulgarian Folk Orchestras." Ethnomusicology, vol. 39, no. 3, 1995, p. 381.

[6] Chan, Hing- Yan. "Syncretic Traditions and Western Idioms: Composers and Works," in East Asia: China, Japan and Korea (The Garland Encyclopedia of World Music,Volume 7), 2002,350-51. New York: Routledge

[7] Geurts, Kathryn L. "Anlo-Land and Anlo-Ewe People." Culture and the Senses Bodily Ways of Knowing in an African Community, 2003, pp. 21-34.

[8] Huron, David B. "Empirical Musicology: Aims, Methods, Prospects, and: Statistics in Musicology (review)." Notes, vol. 63, no. 1, 2006, pp. 93-95.

[9] Kuo-Huang, Han, and Judith Gray. "The Modern Chinese Orchestra." Asian Music, vol. 11, no. 1, 1979, p. 50-87.

[10] Temperley, David. "Empirical Musicology: Aims, Methods, Prospects: Empirical Musicology: Aims, Methods, Prospects." Music Perception, vol. 23, no. 1, 2005, pp. 91-96.

[11] Utz, Christian. "Nicholas Cook, Beyond the Score: Music as Performance, New York: Oxford University Press 2013." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory], vol. 12, no. 2, 2016, pp. 275-285.