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{{Short description|Cultural musical history}}{{Music of China}} | {{Short description|Cultural musical history}}{{Music of China}} | ||
{{More citations needed|date=October 2021}} | |||
'''Music of China''' refers to the music of the [[Chinese people]], which may be the music of the [[Han Chinese]] as well as other [[Ethnic groups in China|ethnic minorities]] within [[mainland China]]. It also includes music produced by people of Chinese origin in some territories outside mainland China using [[traditional Chinese instruments]] or in the [[Chinese language]]. It covers a highly diverse range of music from the traditional to the modern. | '''Music of China''' refers to the music of the [[Chinese people]], which may be the music of the [[Han Chinese]] as well as other [[Ethnic groups in China|ethnic minorities]] within [[mainland China]]. It also includes music produced by people of Chinese origin in some territories outside mainland China using [[traditional Chinese instruments]] or in the [[Chinese language]]. It covers a highly diverse range of music from the traditional to the modern. | ||
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During the [[Zhou dynasty]], a formal system of court and ceremonial music later termed ''[[yayue]]'' (meaning "elegant music") was established. Note that the word music (樂, ''yue'') in ancient China can also refer to dance as music and dance were considered integral part of the whole, and its meaning can also be further extended to poetry as well as other art forms and rituals.<ref>{{cite book |url=https://books.google.com/books?id=CiQegTh99-wC&pg=PA3 |title= Chinese Theories of Theater and Performance from Confucius to the Present |page=3 |editor= Faye Chunfang Fei |publisher=University of Michigan Press |year=2002 |isbn= 978-0472089239 }}</ref> The word "dance" (舞) similarly also referred to music, and every dance would have had a piece of music associated with it. The most important set of music of the period was the Six-dynasty Music Dance (六代樂舞) performed in rituals in the royal court.<ref>{{cite book |url=https://books.google.com/books?id=9MI6JHKw9BQC&pg=PA11 |title=Chinese Music |author=Jin Jie |pages=11–12 |publisher= Cambridge University Press|date=3 March 2011|isbn= 978-0521186919}}</ref> Music in the Zhou Dynasty was conceived as a cosmological manifestation of the sound of nature integrated into the binary universal order of [[yin and yang]], and this concept has enduring influence later Chinese thinking on music.<ref name="harvard">{{cite book |url=https://books.google.com/books?id=02rFSecPhEsC&pg=PA260 |title=The Harvard Dictionary of Music |editor= Don Michael Randel |pages=260–262 |publisher=Harvard University Press |edition=4th |year= 2003 |isbn=978-0674011632 }}</ref> "Correct" music according to Zhou concept would involve instruments correlating to the five elements of nature and would bring harmony to nature. Around or before the 7th century BC, a system of pitch generation and [[pentatonic scale]] was derived from a cycle-of-fifths theory.<ref name="harvard"/> | During the [[Zhou dynasty]], a formal system of court and ceremonial music later termed ''[[yayue]]'' (meaning "elegant music") was established. Note that the word music (樂, ''yue'') in ancient China can also refer to dance as music and dance were considered integral part of the whole, and its meaning can also be further extended to poetry as well as other art forms and rituals.<ref>{{cite book |url=https://books.google.com/books?id=CiQegTh99-wC&pg=PA3 |title= Chinese Theories of Theater and Performance from Confucius to the Present |page=3 |editor= Faye Chunfang Fei |publisher=University of Michigan Press |year=2002 |isbn= 978-0472089239 }}</ref> The word "dance" (舞) similarly also referred to music, and every dance would have had a piece of music associated with it. The most important set of music of the period was the Six-dynasty Music Dance (六代樂舞) performed in rituals in the royal court.<ref>{{cite book |url=https://books.google.com/books?id=9MI6JHKw9BQC&pg=PA11 |title=Chinese Music |author=Jin Jie |pages=11–12 |publisher= Cambridge University Press|date=3 March 2011|isbn= 978-0521186919}}</ref> Music in the Zhou Dynasty was conceived as a cosmological manifestation of the sound of nature integrated into the binary universal order of [[yin and yang]], and this concept has enduring influence later Chinese thinking on music.<ref name="harvard">{{cite book |url=https://books.google.com/books?id=02rFSecPhEsC&pg=PA260 |title=The Harvard Dictionary of Music |editor= Don Michael Randel |pages=260–262 |publisher=Harvard University Press |edition=4th |year= 2003 |isbn=978-0674011632 }}</ref> "Correct" music according to Zhou concept would involve instruments correlating to the five elements of nature and would bring harmony to nature. Around or before the 7th century BC, a system of pitch generation and [[pentatonic scale]] was derived from a cycle-of-fifths theory.<ref name="harvard"/> | ||
Chinese philosophers took varying approaches to music. To [[Confucius]], a correct form of music is important for the cultivation and refinement of the individual, and the Confucian system considers the formal music ''[[yayue]]'' to be morally uplifting and the symbol of a good ruler and stable government.<ref>{{cite book |url=https://books.google.com/books?id=6hxGDALSoOYC&pg=PA85 |title=International Handbook of Research in Arts Education|last=Bresler |first=Liora |page=85 |publisher=Springer |year= 2007 |isbn=978-1402029981}}</ref> Some popular forms of music, however, were considered corrupting in the Confucian view.<ref>{{cite book |url=https://books.google.com/books?id=8HZGBK3ENgQC&pg=PA97|title=Women and Confucian Cultures in Premodern China, Korea, and Japan|editor1=Dorothy Ko |editor2=JaHyun Kim Haboush |editor3=Joan R. Piggott |page=85 |publisher=University of California Press |year= 2003 |isbn=978-0520231382}}</ref> [[Mozi]] on the other hand condemned making music, and argued in ''Against Music'' (非樂) that music is an extravagance and indulgence that serves no useful purpose and may be harmful.<ref>{{cite book |url=https://books.google.com/books?id=CiQegTh99-wC&pg=PA10 |title= Chinese Theories of Theater and Performance from Confucius to the Present |pages=10–13 |editor= Faye Chunfang Fei |publisher=University of Michigan Press |year=2002 |isbn= 978-0472089239 }}</ref> According to [[Mencius]], a powerful ruler once asked him whether it was moral if he preferred popular music to the classics. The answer was that it only mattered that the ruler loved his subjects. | Chinese philosophers took varying approaches to music. To [[Confucius]], a correct form of music is important for the cultivation and refinement of the individual, and the Confucian system considers the formal music ''[[yayue]]'' to be morally uplifting and the symbol of a good ruler and stable government.<ref>{{cite book |url=https://books.google.com/books?id=6hxGDALSoOYC&pg=PA85 |title=International Handbook of Research in Arts Education|last=Bresler |first=Liora |page=85 |publisher=Springer |year= 2007 |isbn=978-1402029981}}</ref> Some popular forms of music, however, were considered corrupting in the Confucian view.<ref>{{cite book |url=https://books.google.com/books?id=8HZGBK3ENgQC&pg=PA97|title=Women and Confucian Cultures in Premodern China, Korea, and Japan|editor1-link=Dorothy Ko|editor2-link=JaHyun Kim Haboush|editor3-link=Joan R. Piggott|editor1=Dorothy Ko |editor2=JaHyun Kim Haboush |editor3=Joan R. Piggott |page=85 |publisher=University of California Press |year= 2003 |isbn=978-0520231382}}</ref> [[Mozi]] on the other hand condemned making music, and argued in ''Against Music'' (非樂) that music is an extravagance and indulgence that serves no useful purpose and may be harmful.<ref>{{cite book |url=https://books.google.com/books?id=CiQegTh99-wC&pg=PA10 |title= Chinese Theories of Theater and Performance from Confucius to the Present |pages=10–13 |editor= Faye Chunfang Fei |publisher=University of Michigan Press |year=2002 |isbn= 978-0472089239 }}</ref> According to [[Mencius]], a powerful ruler once asked him whether it was moral if he preferred popular music to the classics. The answer was that it only mattered that the ruler loved his subjects. | ||
In ancient China the social status of musicians was much lower than that of painters, though music was seen as central to the harmony and longevity of the state. Almost every emperor took folk songs seriously, sending officers to collect songs to record the popular culture. One of the Confucianist Classics, The [[Classic of Poetry]], contained many folk songs dating from 800 BC to about 400 BC. | In ancient China the social status of musicians was much lower than that of painters, though music was seen as central to the harmony and longevity of the state. Almost every emperor took folk songs seriously, sending officers to collect songs to record the popular culture. One of the Confucianist Classics, The [[Classic of Poetry]], contained many folk songs dating from 800 BC to about 400 BC. | ||
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[[File:Paintings on north wall of Xu Xianxiu Tomb.jpg|thumb|260px|left|A mural from the tomb of Xu Xianxiu in [[Taiyuan]], [[Shanxi]] province, dated 571 AD during the [[Northern Qi Dynasty]], showing male court musicians playing stringed instruments, either the ''[[liuqin]]'' or ''[[pipa]]'', and a woman playing a ''[[konghou]]'' (harp)]] | [[File:Paintings on north wall of Xu Xianxiu Tomb.jpg|thumb|260px|left|A mural from the tomb of Xu Xianxiu in [[Taiyuan]], [[Shanxi]] province, dated 571 AD during the [[Northern Qi Dynasty]], showing male court musicians playing stringed instruments, either the ''[[liuqin]]'' or ''[[pipa]]'', and a woman playing a ''[[konghou]]'' (harp)]] | ||
The [[Music Bureau|Imperial Music Bureau]], first established in the [[Qin dynasty]] (221–207 BC), was greatly expanded under the emperor [[Emperor Wu of Han|Han Wudi]] (140–87 BC) and charged with supervising court music and military music and determining what folk music would be officially recognized. In subsequent dynasties, the development of Chinese music was influenced by the musical traditions of Central Asia which also introduced elements of Indian music.<ref name="Sino-Indian Relations p.76">A History of Sino-Indian Relations: 1st Century A.D. to 7th Century A.D. by Yukteshwar Kumar. p.76 {{ISBN | 978-8176487986}}</ref><ref>Journal of Music in China, Volume 4, p.4</ref> Instruments of Central Asian origin such as [[pipa]] were adopted in China, the Indian [[Heptatonic scale]] was introduced in the 6th century by a musician from Kucha named Sujiva, although the heptatonic scale was later abandoned. | The [[Music Bureau|Imperial Music Bureau]], first established in the [[Qin dynasty]] (221–207 BC), was greatly expanded under the emperor [[Emperor Wu of Han|Han Wudi]] (140–87 BC) and charged with supervising court music and military music and determining what folk music would be officially recognized. In subsequent dynasties, the development of Chinese music was influenced by the musical traditions of Central Asia which also introduced elements of Indian music.<ref name="Sino-Indian Relations p.76">A History of Sino-Indian Relations: 1st Century A.D. to 7th Century A.D. by Yukteshwar Kumar. p.76 {{ISBN | 978-8176487986}}</ref><ref>Journal of Music in China, Volume 4, p.4</ref> Instruments of Central Asian origin such as [[pipa]] were adopted in China, the Indian [[Heptatonic scale]] was introduced in the 6th century by a musician from Kucha named Sujiva, although the heptatonic scale was later abandoned.<ref>India and China: Interactions through Buddhism and Diplomacy: A Collection of Essays by Professor Prabodh Chandra Bagchi . p.210 {{ISBN|978-9380601175}}</ref><ref>History of Civilizations of Central Asia edited by Unesco</ref><ref name="Sino-Indian Relations p.76"/> | ||
[[File:Gu Hongzhong's Night Revels 2.jpg|thumb|right|500px|A half-section of the [[Song dynasty]] (960–1279) version of the ''Night Revels of Han Xizai'', the original was by [[Gu Hongzhong]] in the [[Five Dynasties and Ten Kingdoms period]] (907–960);<ref name="ebrey cambridge 148">Patricia Ebrey (1999), ''Cambridge Illustrated History of China'', Cambridge: Cambridge University Press, p. 148.</ref> the female musicians in the center of the image are playing [[dizi (instrument)|transverse bamboo flutes]] and ''[[Guan (instrument)|guan]]'', and the male musician is playing a wooden clapper called ''paiban''.]] | [[File:Gu Hongzhong's Night Revels 2.jpg|thumb|right|500px|A half-section of the [[Song dynasty]] (960–1279) version of the ''Night Revels of Han Xizai'', the original was by [[Gu Hongzhong]] in the [[Five Dynasties and Ten Kingdoms period]] (907–960);<ref name="ebrey cambridge 148">[[Patricia Buckley Ebrey|Patricia Ebrey]] (1999), ''Cambridge Illustrated History of China'', Cambridge: Cambridge University Press, p. 148.</ref> the female musicians in the center of the image are playing [[dizi (instrument)|transverse bamboo flutes]] and ''[[Guan (instrument)|guan]]'', and the male musician is playing a wooden clapper called ''paiban''.]] | ||
The oldest extant written Chinese music is "[[Jieshi Diao Youlan|Youlan]]" (幽蘭) or the Solitary Orchid, composed during the 6th or 7th century, but has also been attributed to Confucius. The first major well-documented flowering of Chinese music was for the [[Guqin|qin]] during the [[Tang dynasty]] (618-907AD), though the qin is known to have been played since before the Han dynasty. This is based on the conjecture that because the recorded examples of Chinese music are ceremonial, and the ceremonies in which they were employed are thought to have existed "perhaps more than one thousand years before Christ",{{sfn|Van Aalst|1884|loc=}}{{Page needed|date=October 2013}} the musical compositions themselves were performed, even in 1000 BC, in precisely the manner prescribed by the sources that were written down in the seventh century AD. (It is based on this conjecture that Van Aalst dates the "Entrance Hymn for the Emperor" to c. 1000 BC.){{sfn|Van Aalst|1884|loc=}}{{Page needed|date=October 2013}} | The oldest extant written Chinese music is "[[Jieshi Diao Youlan|Youlan]]" (幽蘭) or the Solitary Orchid, composed during the 6th or 7th century, but has also been attributed to Confucius. The first major well-documented flowering of Chinese music was for the [[Guqin|qin]] during the [[Tang dynasty]] (618-907AD), though the qin is known to have been played since before the Han dynasty. This is based on the conjecture that because the recorded examples of Chinese music are ceremonial, and the ceremonies in which they were employed are thought to have existed "perhaps more than one thousand years before Christ",{{sfn|Van Aalst|1884|loc=}}{{Page needed|date=October 2013}} the musical compositions themselves were performed, even in 1000 BC, in precisely the manner prescribed by the sources that were written down in the seventh century AD. (It is based on this conjecture that Van Aalst dates the "Entrance Hymn for the Emperor" to c. 1000 BC.){{sfn|Van Aalst|1884|loc=}}{{Page needed|date=October 2013}} | ||
[[file:Guqin-Yangguan Sandie.ogg|left|thumb|Yangguan Sandie [Three Refrains on the Yang Pass Theme], one of the great Tang masterpieces found in the Qinxue Rumen (1867) played on qin.]] | [[file:Guqin-Yangguan Sandie.ogg|left|thumb|Yangguan Sandie [Three Refrains on the Yang Pass Theme], one of the great Tang masterpieces found in the Qinxue Rumen (1867) played on qin.]] | ||
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:::[[erhu]], [[zhonghu]], [[dahu (instrument)|dahu]], [[banhu]], [[jinghu (instrument)|jinghu]], [[gaohu]], [[gehu]], [[yehu]], [[cizhonghu]], [[diyingehu]], [[leiqin]] | :::[[erhu]], [[zhonghu]], [[dahu (instrument)|dahu]], [[banhu]], [[jinghu (instrument)|jinghu]], [[gaohu]], [[gehu]], [[yehu]], [[cizhonghu]], [[diyingehu]], [[leiqin]] | ||
::* Plucked and struck strings | ::* Plucked and struck strings | ||
:::[[guqin]], [[sanxian]], [[yueqin]], [[yangqin]], [[guzheng]], [[ruan]], [[konghou]], [[liuqin]], [[pipa]], [[Zhu (string instrument)|zhu]] | :::[[guqin]], [[sanxian]], [[yueqin]], [[yangqin]], [[guzheng]], [[Ruan (instrument)|ruan]], [[konghou]], [[liuqin]], [[pipa]], [[Zhu (string instrument)|zhu]] | ||
[[File:ConcertGroupPano.jpg|thumb|none|530px|Re-enactment of a traditional music performance at [[Hubei Provincial Museum]] in Wuhan.]] | [[File:ConcertGroupPano.jpg|thumb|none|530px|Re-enactment of a traditional music performance at [[Hubei Provincial Museum]] in Wuhan.]] | ||
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=== Folk music === | === Folk music === | ||
{{Further|Shijing|Yuefu|List of Chinese folk songs}} | {{Further|Shijing|Yuefu|List of Chinese folk songs}} | ||
According to current archaeological discoveries, [[Culture of China|Chinese]] [[folk music]] dates back | According to current archaeological discoveries, [[Culture of China|Chinese]] [[folk music]] dates back 7,000 years. Not only in form but also in artistic conception, China has been the home of a colorful culture of folk music. Largely based on the [[pentatonic scale]], Chinese folk music is different from western traditional music, paying more attention to the form expression as well. | ||
Han traditional weddings and funerals usually include a form of [[oboe]] called a [[suona]] and percussive ensembles called ''[[chuigushou]]''. Ensembles consisting of [[mouth organ]]s ([[Sheng (instrument)|sheng]]), shawms ([[suona]]), [[flute]]s ([[dizi (instrument)|dizi]]) and percussion instruments (especially [[yunluo]] [[gong]]s) are popular in northern villages; their music is descended from the imperial temple music of [[Beijing]], [[Xi'an]], [[Wutai shan]] and [[Tianjin]]. [[Xi'an guyue|Xi'an drum music]], consisting of wind and percussive instruments, is popular around Xi'an, and has received some commercial popularity outside of China. Another important instrument is the [[sheng (instrument)|sheng]], [[Chinese flute|pipes]], an ancient instrument that is ancestor of all Western [[free reed]] instruments, such as the [[accordion]]. Parades led by Western-type [[brass band]]s are common, often competing in volume with a shawm/chuigushou band. | Han traditional weddings and funerals usually include a form of [[oboe]] called a [[suona]] and percussive ensembles called ''[[chuigushou]]''. Ensembles consisting of [[mouth organ]]s ([[Sheng (instrument)|sheng]]), shawms ([[suona]]), [[flute]]s ([[dizi (instrument)|dizi]]) and percussion instruments (especially [[yunluo]] [[gong]]s) are popular in northern villages; their music is descended from the imperial temple music of [[Beijing]], [[Xi'an]], [[Wutai shan]] and [[Tianjin]]. [[Xi'an guyue|Xi'an drum music]], consisting of wind and percussive instruments, is popular around Xi'an, and has received some commercial popularity outside of China. Another important instrument is the [[sheng (instrument)|sheng]], [[Chinese flute|pipes]], an ancient instrument that is ancestor of all Western [[free reed]] instruments, such as the [[accordion]]. Parades led by Western-type [[brass band]]s are common, often competing in volume with a shawm/chuigushou band. | ||
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Tibetan [[folk music]] includes [[a cappella]] [[lu (music)|lu]] songs, which are distinctively high in pitch with glottal vibrations, as well as now rare epic bards who sing the tales of [[Gesar]], Tibet's most popular hero. | Tibetan [[folk music]] includes [[a cappella]] [[lu (music)|lu]] songs, which are distinctively high in pitch with glottal vibrations, as well as now rare epic bards who sing the tales of [[Gesar]], Tibet's most popular hero. | ||
Tibetan music has influenced the pioneering compositions of [[Philip Glass]] and, most influentially, [[Henry Eichheim]]. Later artists made [[New-age music|new-age]] fusions by pioneers [[Henry Wolff]] and [[Nancy Hennings]]. These two collaborated on ''[[Tibetan Bells (album)|Tibetan Bells]]'', perhaps the first fusion of New Age and Tibetan influences, in 1971. Glass' ''[[Kundun]]'' [[soundtrack]] proved influential in the 1990s, while the popularity of Western-adapted Buddhism (exemplified by [[Richard Gere]], [[Yungchen Lhamo]], [[Steve Tibbetts]], [[Choying Drolma]], [[Lama Karta]] and [[Kitaro]] and [[Nawang Khechong]]) helped further popularize Tibetan music. | Tibetan music has influenced the pioneering compositions of [[Philip Glass]] and, most influentially, [[Henry Eichheim]]. Later artists made [[New-age music|new-age]] fusions by pioneers [[Henry Wolff (musician)|Henry Wolff]] and [[Nancy Hennings]]. These two collaborated on ''[[Tibetan Bells (album)|Tibetan Bells]]'', perhaps the first fusion of New Age and Tibetan influences, in 1971. Glass' ''[[Kundun]]'' [[soundtrack]] proved influential in the 1990s, while the popularity of Western-adapted Buddhism (exemplified by [[Richard Gere]], [[Yungchen Lhamo]], [[Steve Tibbetts]], [[Choying Drolma]], [[Lama Karta]] and [[Kitaro]] and [[Nawang Khechong]]) helped further popularize Tibetan music. | ||
In the mid- to late 1980s, a relaxation of governmental rules allowed a form of Tibetan pop music to emerge in Tibet proper. Direct references to native religion is still forbidden,{{citation needed|date=October 2011}} but commonly understood metaphors are widespread. Pure [[Tibetan pop]] is heavily influenced by light Chinese rock, and includes best-sellers like [[Jampa Tsering]] and [[Yatong]]. Politically and socially aware songs are rare in this form of pop, but commonplace in a second type of Tibetan pop. Nangma karaoke bars appeared in 1998 and are common in Lhasa, in spite of threats from the Chinese government.{{citation needed|date=October 2011}} | In the mid- to late 1980s, a relaxation of governmental rules allowed a form of Tibetan pop music to emerge in Tibet proper. Direct references to native religion is still forbidden,{{citation needed|date=October 2011}} but commonly understood metaphors are widespread. Pure [[Tibetan pop]] is heavily influenced by light Chinese rock, and includes best-sellers like [[Jampa Tsering]] and [[Yatong]]. Politically and socially aware songs are rare in this form of pop, but commonplace in a second type of Tibetan pop. Nangma karaoke bars appeared in 1998 and are common in Lhasa, in spite of threats from the Chinese government.{{citation needed|date=October 2011}} | ||
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=== Pop music === | === Pop music === | ||
{{main|C-pop|cantopop|mandopop}} | {{main|C-pop|cantopop|mandopop}} | ||
Chinese popular<ref>{{Cite web|url=https://www.youtube.com/user/cpoptop|title=Cpop World top Chart}}</ref> music found its beginnings in the ''[[shidaiqu]]'' genre. The shidaiqu genre was founded by Li Jinhui in mainland China and was influenced by Western jazz artists like Buck Clayton. After the takeover by the Communist in China, popular music were denounced as [[Yellow Music]], a form of [[pornography]].<ref>{{cite book |author1=Broughton, Simon |author2=Ellingham, Mark |author3=Trillo, Richard |year=2000 |title=World Music: The Rough Guide |publisher=Rough Guides Publishing Company |isbn=978-1-85828-636-5 |page=49 |url=https://books.google.com/books?id=QzX8THIgRjUC&pg=PA49 }}</ref> and record companies of Shanghai such as [[Baak Doi]] in 1952 left China.<ref name="Shoesmith">Shoesmith, Brian. Rossiter, Ned. [2004] (2004). Refashioning Pop Music in Asia: Cosmopolitan flows, political tempos and aesthetic Industries. Routeledge Publishing. {{ISBN|0-7007-1401-4}}</ref> Mainland China was left on the sidelines in the development of pop music for a few decades, as the Chinese pop music industry moved from Shanghai to Hong Kong and Taiwan. The 1970s saw the rise of [[cantopop]] in Hong Kong, and [[mandopop]] in its neighboring country Taiwan.<ref>{{cite web |url=http://musicbusinessresearch.wordpress.com/2012/12/29/a-brief-history-of-chinas-music-industry-part-3-the-recorded-music-industry-in-china-from-the-1950s-to-the-early-2000s/ |title=A brief history of china's music industry – part 3: the recorded music industry in china from the 1950s to the early 2000s |work=Music Business Research |author1=Peter Tschmuck |author2=John Fangjun Li |date=2012-12-29 }}</ref> | Chinese popular<ref>{{Cite web|url=https://www.youtube.com/user/cpoptop|title=Cpop World top Chart|website=[[YouTube]]}}</ref> music found its beginnings in the ''[[shidaiqu]]'' genre. The shidaiqu genre was founded by Li Jinhui in mainland China and was influenced by Western jazz artists like Buck Clayton. After the takeover by the Communist in China, popular music were denounced as [[Yellow Music]], a form of [[pornography]].<ref>{{cite book |author1=Broughton, Simon |author2=Ellingham, Mark |author3=Trillo, Richard |year=2000 |title=World Music: The Rough Guide |publisher=Rough Guides Publishing Company |isbn=978-1-85828-636-5 |page=49 |url=https://books.google.com/books?id=QzX8THIgRjUC&pg=PA49 }}</ref> and record companies of Shanghai such as [[Baak Doi]] in 1952 left China.<ref name="Shoesmith">Shoesmith, Brian. Rossiter, Ned. [2004] (2004). Refashioning Pop Music in Asia: Cosmopolitan flows, political tempos and aesthetic Industries. Routeledge Publishing. {{ISBN|0-7007-1401-4}}</ref> Mainland China was left on the sidelines in the development of pop music for a few decades, as the Chinese pop music industry moved from Shanghai to Hong Kong and Taiwan. The 1970s saw the rise of [[cantopop]] in Hong Kong, and [[mandopop]] in its neighboring country Taiwan.<ref>{{cite web |url=http://musicbusinessresearch.wordpress.com/2012/12/29/a-brief-history-of-chinas-music-industry-part-3-the-recorded-music-industry-in-china-from-the-1950s-to-the-early-2000s/ |title=A brief history of china's music industry – part 3: the recorded music industry in china from the 1950s to the early 2000s |work=Music Business Research |author1=Peter Tschmuck |author2=John Fangjun Li |date=2012-12-29 }}</ref> | ||
In the late 1970s, economic reforms by [[Deng Xiaoping]] in mainland China led to the introduction of [[gangtai]] culture of Hong Kong and Taiwan, and pop music returned to mainland China. However, for a time the government still have a censorious attitude toward pop music; for example, Hong Kong's icon [[Anita Mui]] was banned from returning to the mainland concert stage after performing the song "Bad Girl" during the 1990s in China as punishment for what the Chinese government called her rebellious attitude.<ref name="Baranovitch">Baranovitch, Nimrod. China's New Voices. University of California press. {{ISBN|0-520-23450-2}}.</ref> Nevertheless, pop music | In the late 1970s, economic reforms by [[Deng Xiaoping]] in mainland China led to the introduction of [[gangtai]] culture of Hong Kong and Taiwan, and pop music returned to mainland China. However, for a time the government still have a censorious attitude toward pop music; for example, Hong Kong's icon [[Anita Mui]] was banned from returning to the mainland concert stage after performing the song "Bad Girl" during the 1990s in China as punishment for what the Chinese government called her rebellious attitude.<ref name="Baranovitch">Baranovitch, Nimrod. China's New Voices. University of California press. {{ISBN|0-520-23450-2}}.</ref> Nevertheless, pop music continued to increase in popularity in mainland China, and by 2005, China had overtaken Taiwan in term of the retail value of its music sales.<ref>{{cite book |url= https://books.google.com/books?id=iftKNy0fEWsC&pg=PA171 | title= China with a Cut: Globalisation, Urban Youth and Popular Music| author= Jeroen de Kloet |publisher=Amsterdam University Press |page=171 |year= 2010 |isbn=978-9089641625 }}</ref> The beginning of the 21st century has seen an increasing number of mainland Chinese artists who produced a wide range of Mandarin pop songs and the release of many new albums. However, despite having a much larger population and increasing consumption of Chinese pop music, China is not yet considered a major production hub of pop music.<ref name="Keane">Keane, Michael. Donald, Stephanie. Hong, Yin. [2002] (2002). Media in China: Consumption, Content and Crisis. Routledge Publishing. {{ISBN|0-7007-1614-9}}</ref> | ||
Many popular mainland Chinese, Hong Kong and Taiwanese music artists were included in promotions for the 2008 Beijing Olympics. | Many popular mainland Chinese, Hong Kong and Taiwanese music artists were included in promotions for the 2008 Beijing Olympics. | ||
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==Rock and heavy metal== | ==Rock and heavy metal== | ||
{{main|Chinese rock}} | {{main|Chinese rock|Chinese heavy metal}} | ||
The [[Peking All-Stars]] were a rock band formed in Beijing in 1979, by foreigners then resident in the Chinese capital. | The [[Peking All-Stars]] were a rock band formed in Beijing in 1979, by foreigners then resident in the Chinese capital. | ||
The widely acknowledged forefather of Chinese rock is [[Cui Jian]].<ref name="Gunde" /> In the late 1980s he played the first Chinese rock song called: "[[Nothing To My Name]]" ("Yi wu suo you"). It was the first time an [[electric guitar]] was used in China.{{Citation needed|date=March 2009}} He became the most famous performer of the time, and by 1988 he performed at a concert broadcast worldwide in conjunction with the [[1988 Summer Olympics|Seoul Summer Olympic Games]].<ref name="Gunde" /> His socially critical lyrics earned him the anger of the government and many of his concerts were banned or cancelled. After the [[Tiananmen Square protests of 1989]], he played with a red blindfold around his head as an action against the government. | The widely acknowledged forefather of Chinese rock is [[Cui Jian]].<ref name="Gunde" /> In the late 1980s he played the first Chinese rock song called: "[[Nothing To My Name]]" ("Yi wu suo you"). It was the first time an [[electric guitar]] was used in China.{{Citation needed|date=March 2009}} He became the most famous performer of the time, and by 1988 he performed at a concert broadcast worldwide in conjunction with the [[1988 Summer Olympics|Seoul Summer Olympic Games]].<ref name="Gunde" /> His socially critical lyrics earned him the anger of the government and many of his concerts were banned or cancelled. After the [[Tiananmen Square protests of 1989]], he played with a red blindfold around his head as an action against the government. | ||
Afterwards, two bands became famous [[Hei Bao (band)|Hei Bao]] (Black Panther) and [[Tang Dynasty (band)|Tang Dynasty]]. Both started during the late 1980s and early 1990s. Hei Bao is an old-school rock band whose first CD, ''Hei Bao'' used the popular English song ("Don't Break My Heart"). [[Tang Dynasty (band)|Tang Dynasty]] was the first Chinese [[Heavy metal music|heavy metal]] band. Its first CD "A Dream Return to Tang Dynasty" combines elements of traditional [[Chinese opera]] and old school heavy metal. The album was a major breakthrough releasing around 1991/1992. | |||
Around 1994–96: the first [[thrash metal]] band, Chao Zai ([[Overload (Chinese rock band)|Overload]]), was formed. They released three CDs, the last one in cooperation with pop singer [[Gao Qi (musician)|Gao Chi]] of the split-up band [[The Breathing]]. At the same time the first [[nu metal]] bands were formed and inspired by Western bands such as [[Korn]], [[Limp Bizkit]] or [[Linkin Park]]. China would have their own with [[Yaksa (band)|Yaksa]], [[Niuqu De Jiqi (band)|Twisted Machine]], [[AK-47 (band)|AK-47]], [[Overheal Tank]]. | Around 1994–96: the first [[thrash metal]] band, Chao Zai ([[Overload (Chinese rock band)|Overload]]), was formed. They released three CDs, the last one in cooperation with pop singer [[Gao Qi (musician)|Gao Chi]] of the split-up band [[The Breathing]]. At the same time the first [[nu metal]] bands were formed and inspired by Western bands such as [[Korn]], [[Limp Bizkit]] or [[Linkin Park]]. China would have their own with [[Yaksa (band)|Yaksa]], [[Niuqu De Jiqi (band)|Twisted Machine]], [[AK-47 (band)|AK-47]], [[Overheal Tank]]. | ||
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==Western classical music== | ==Western classical music== | ||
Whereas orchestras organised by, run solely by and nearly always exclusive to the expatriate community in China are recorded from the early days of the International Settlement in Shanghai (i.e. 1850s) and a Russian orchestra was in operation in Harbin from the early 20th century,<ref name="History of the Harbin Orchestra">[http://www.jtdf.net/home.php?mod=space&uid=145&do=blog&id=82], additional text.</ref> the beginnings of a unique classical music tradition in China lie with the first foreign trained Chinese conductor, | Whereas orchestras organised by, run solely by and nearly always exclusive to the expatriate community in China are recorded from the early days of the International Settlement in Shanghai (i.e. 1850s) and a Russian orchestra was in operation in Harbin from the early 20th century,<ref name="History of the Harbin Orchestra">[http://www.jtdf.net/home.php?mod=space&uid=145&do=blog&id=82], additional text.</ref> the beginnings of a unique classical music tradition in China lie with the first foreign trained Chinese conductor, Zheng Zhisheng AKA (romanized) [[Yin Zizhong]]. Zheng (Yin or Wan depending on romanization) was raised in China's [[Guangdong]] province. He was influenced by the Western [[Church Music]] at an early age.{{Citation needed|date=October 2020}} He studied in Lyons and Paris before returning to China in the 1930s. He became the first Chinese conductor of the [[Chongqing Symphonic Orchestra]].<ref name="Brief History of Early Chinese Conducting">[http://www.ccnt.com.cn/music/chwindow/culture/yinyue/other/byys3.htm] {{Webarchive|url=https://web.archive.org/web/20110930074711/http://www.ccnt.com.cn/music/chwindow/culture/yinyue/other/byys3.htm |date=2011-09-30 }} additional text.</ref> Their performances included compositions from Beethoven and Mozart.<ref name="Brief History of Early Chinese Conducting"/> | ||
The revolutionary spirit of Yin Zizhong's (or romanized Wan-Chi Chung's) style has been continued by the first generation of composers immediately following the accession of the Chinese Communist Party to power, namely [[Li Delun]] and [[Cao Peng]]. The former provided the driving force and often the life force that kept a tradition alive through the Mao years, especially in his adopted city of Beijing, and the latter has been instrumental in maintaining a high standard of symphonic music, as well as working hard for the popularization of the tradition further into the fabric of Chinese culture, across his long career, which continues to the present. At the same time as this tradition has continued, new generations have sought to bring classical music in China along another path, away from the strict professionalism of the elite trained Li and Cao (who were both at the Russian conservatory in the 1950s) and towards a less nationalistic, but arguably more encompassing attitude towards the tradition. Most influential in this new movement has been the young Shanghai conductor [[Long Yu]]. | The revolutionary spirit of Yin Zizhong's (or romanized Wan-Chi Chung's) style has been continued by the first generation of composers immediately following the accession of the Chinese Communist Party to power, namely [[Li Delun]] and [[Cao Peng]]. The former provided the driving force and often the life force that kept a tradition alive through the Mao years, especially in his adopted city of Beijing, and the latter has been instrumental in maintaining a high standard of symphonic music, as well as working hard for the popularization of the tradition further into the fabric of Chinese culture, across his long career, which continues to the present. At the same time as this tradition has continued, new generations have sought to bring classical music in China along another path, away from the strict professionalism of the elite trained Li and Cao (who were both at the Russian conservatory in the 1950s) and towards a less nationalistic, but arguably more encompassing attitude towards the tradition. Most influential in this new movement has been the young Shanghai conductor [[Long Yu]]. | ||
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* [[Music Bureau]] | * [[Music Bureau]] | ||
* [[Music industry of East Asia]] | * [[Music industry of East Asia]] | ||
* [[Chinese rock|The 'C-Rock' (Chinese rock) music scene]] | |||
* [[World music]] | * [[World music]] | ||
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== Bibliography == | == Bibliography == | ||
* {{cite book |last1=Van Aalst |first1=J. A. |title=Chinese Music |date=1884 |publisher=Cambridge University Press |isbn=9781108045643 |url=https://books.google.com/books?id=63FIez1MrDwC&q=Van+Aalst+1884+chinese+music |language=en}} | |||
==Further reading== | |||
{{Refbegin}} | {{Refbegin}} | ||
* {{cite book |last=Birrell |first=Anne |year=1993 |orig-year=1988 |title=Popular Songs and Ballads of Han China |publisher=[[University of Hawai'i Press]] |location=Honolulu |isbn=978-0-8248-1548-6 |doi=10.2307/j.ctv9zcm2j |jstor=j.ctv9zcm2j |s2cid=242931144 }} | |||
* {{cite book |last=Brindley |first=Erica |year=2012 |title=Music, Cosmology, and the Politics of Harmony in Early China |publisher=[[State University of New York Press]] |location=New York |isbn=978-1-4384-4315-7 }} | |||
* {{cite journal |last1=Goodman |first1=Howard L. |last2=Lien |first2=Y. Edmund |date=April 2009 |title=A Third Century AD Chinese System of Di-Flute Temperament: Matching Ancient Pitch-Standards and Confronting Modal Practice |journal=[[The Galpin Society Journal]] |publisher=Galpin Society |volume=62 |pages=3–24 |jstor=20753625 }} | |||
* Jones, Steven. "The East Is Red... And White"". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp. 34–43. Rough Guides Ltd, Penguin Books. {{ISBN|1-85828-636-0}}. | * Jones, Steven. "The East Is Red... And White"". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp. 34–43. Rough Guides Ltd, Penguin Books. {{ISBN|1-85828-636-0}}. | ||
* Lee, Joanna. "Cantopop and Protest Singers". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp. 49–59. Rough Guides Ltd, Penguin Books. {{ISBN|1-85828-636-0}}. | * Lee, Joanna. "Cantopop and Protest Singers". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp. 49–59. Rough Guides Ltd, Penguin Books. {{ISBN|1-85828-636-0}}. | ||
* Lee Yuan-Yuan and Shen, Sinyan. ''Chinese Musical Instruments (Chinese Music Monograph Series)''. 1999. Chinese Music Society of North America Press. {{ISBN|1-880464-03-9}}. | * Lee Yuan-Yuan and Shen, Sinyan. ''Chinese Musical Instruments (Chinese Music Monograph Series)''. 1999. Chinese Music Society of North America Press. {{ISBN|1-880464-03-9}}. | ||
* {{cite encyclopedia |last1=Thrasher |first1=Alan R. |last2=Lam |first2=Joseph S.C. |last3=Stock |first3=Jonathan P.J. |last4=Mackerras |first4=Colin |author-link4=Colin Mackerras |last5=Rebollo-Sborgi |first5=Francesca |last6=Kouwenhoven |first6=Frank |last7=Schimmelpenninck |first7=A. |last8=Jones |first8=Stephen |author9=Han Mei |author-link9=Han Mei |author10=Wu Ben |last11=Rees |first11=Helen |last12=Trebinjac |first12=Sabine |last13=Lee |first13=Joanna C. |year=2001 |encyclopedia=[[Grove Music Online]] |title=China, People's Republic of |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.43141 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000043141 }} {{Grove Music subscription}} | |||
* Rees, Helen with Zingrong, Zhang and Wei, Li. "Sounds of the Frontiers". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp 44–48. Rough Guides Ltd, Penguin Books. {{ISBN|1-85828-636-0}}. | * Rees, Helen with Zingrong, Zhang and Wei, Li. "Sounds of the Frontiers". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp 44–48. Rough Guides Ltd, Penguin Books. {{ISBN|1-85828-636-0}}. | ||
* {{cite book |editor-last=So |editor-first=Jenny F. |year=2000 |title=Music in the Age of Confucius |publisher=[[Smithsonian Institution]] |location=Washington |isbn=978-0-295-97953-3 }} | |||
* Shen, Sinyan. ''Chinese Music in the 20th Century (Chinese Music Monograph Series)''. 2001. Chinese Music Society of North America Press. {{ISBN|1-880464-04-7}}. | * Shen, Sinyan. ''Chinese Music in the 20th Century (Chinese Music Monograph Series)''. 2001. Chinese Music Society of North America Press. {{ISBN|1-880464-04-7}}. | ||
* {{cite journal |last=Tong |first=Kin-Woon |date=1983a |title=Shang Musical Instruments: Part One |journal=Asian Music |volume=14 |issue=2 |pages=17–182 |jstor=833936 |doi=10.2307/833936 }} | |||
* {{cite journal |last=Tong |first=Kin-Woon |date=1983b |title=Shang Musical Instruments: Part Two |journal=Asian Music |volume=15 |issue=1 |pages=102–184 |jstor=833918 |doi=10.2307/833918 }} | |||
* Trewin, Mark. "Raising the Roof". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp. 254–61. Rough Guides Ltd, Penguin Books. {{ISBN|978-1858286365}} | * Trewin, Mark. "Raising the Roof". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp. 254–61. Rough Guides Ltd, Penguin Books. {{ISBN|978-1858286365}} | ||
*{{cite book | *{{cite book | ||
|url=https://books.google.com/books?id=kohVAAAAYAAJ | |url=https://books.google.com/books?id=kohVAAAAYAAJ | ||
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|page=30 | |page=30 | ||
|access-date=10 February 2012 }}(Princeton University) | |access-date=10 February 2012 }}(Princeton University) | ||
{{Refend}} | {{Refend}} | ||
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{{Toomanylinks|date=September 2020}} | {{Toomanylinks|date=September 2020}} | ||
* {{in lang|fr}} [http://www.ville-ge.ch/meg/musinfo_ph.php?what=pays=Chine&debut=0&bool=AND Audio clips: Traditional music of the China.] [[Musée d'ethnographie de Genève]]. Accessed November 25, 2010. | * {{in lang|fr}} [http://www.ville-ge.ch/meg/musinfo_ph.php?what=pays=Chine&debut=0&bool=AND Audio clips: Traditional music of the China.] [[Musée d'ethnographie de Genève]]. Accessed November 25, 2010. | ||
* [http://www.bbc.co.uk/programmes/p005xm2j BBC Radio 3 Audio (45 minutes): Shanghai tea-houses.] Accessed November 25, 2010. | * [http://www.bbc.co.uk/programmes/p005xm2j BBC Radio 3 Audio (45 minutes): Shanghai tea-houses.] Accessed November 25, 2010. | ||
* [http://www.bbc.co.uk/programmes/p005xm2m BBC Radio 3 Audio (45 minutes): Chinese opera in Beijing.] Accessed November 25, 2010. | * [http://www.bbc.co.uk/programmes/p005xm2m BBC Radio 3 Audio (45 minutes): Chinese opera in Beijing.] Accessed November 25, 2010. | ||
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* [http://www.sinohits.net/music/index.htm Listen to traditional Chinese music] | * [http://www.sinohits.net/music/index.htm Listen to traditional Chinese music] | ||
* {{in lang|ja}} [https://web.archive.org/web/20070721033134/http://hyena.human.niigata-u.ac.jp/files/textdb/cndbhome.html 中国古典テキストデータベース（中国思想史研究室）] Archive of some Classical Chinese texts about Music theories. | * {{in lang|ja}} [https://web.archive.org/web/20070721033134/http://hyena.human.niigata-u.ac.jp/files/textdb/cndbhome.html 中国古典テキストデータベース（中国思想史研究室）] Archive of some Classical Chinese texts about Music theories. | ||
* [https://web.archive.org/web/20110718211647/http://www.chinese-music.de/index.php?option=com_content&view=article&id=9&Itemid=9 HQ-Videos: Traditional Chinese Pipa Songs 陽春白雪 (White Snow in the Spring Sunlight) and 小月儿高 (The Moon is High)] | * [https://web.archive.org/web/20110718211647/http://www.chinese-music.de/index.php?option=com_content&view=article&id=9&Itemid=9 HQ-Videos: Traditional Chinese Pipa Songs 陽春白雪 (White Snow in the Spring Sunlight) and 小月儿高 (The Moon is High)] | ||
*[http://www.wdl.org/en/item/297 "A Complete Study of the Chinese Zither"] from 1670 | *[http://www.wdl.org/en/item/297 "A Complete Study of the Chinese Zither"] from 1670 | ||
{{Music of Asia}} | {{Music of Asia}} | ||
{{China topics|state=autocollapse}} | {{China topics|state=autocollapse}} | ||