QIN MUSIC in CONTEMPORARY CHINA by Da
MEDIA, MARKET ECONOMY, AND CULTURAL TRANSFORMATION: QIN MUSIC IN CONTEMPORARY CHINA by Da Lin B.A. in Music, Xi’an Conservatory of Music, 2005 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2010 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Da Lin It was defended on November 29, 2010 and approved by Andrew Weintraub, Professor, Department of Music Adriana Helbig, Assistant Professor, Department of Music Thesis Director: Bell Yung, Professor, Department of Music ii Copyright © by Da Lin 2010 iii Bell Yung MEDIA, MARKET ECONOMY, AND CULTURAL TRANSFORMATION: QIN MUSIC IN CONTEMPORARY CHINA Da Lin, M.A. University of Pittsburgh, 2010 The qin, historically recognized as an instrument of Chinese literati, has been presented in various forms of mass media for over fifty years. After the establishment of the People’s Republic in 1949, the government promoted public performances in a propaganda/persuasion media system; consequently, mass media started to play significant roles in reshaping aesthetic standards, performance practices, musical features, and meanings of the qin tradition. The mass media in China, however, went through a commercialization reform after the late 1970s and has shaped the current propaganda/persuasion model. This new media structure has hastened the emergence of new musical features and meanings of the qin in the commercial logic as opposed to the Party logic. Such interactions with technology have arguably constituted contemporary performance practices that have departed from traditional aesthetic standards held by literati practitioners who played the qin for self-satisfaction.
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