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Wechselbeziehungen Zwischen Musik Und Politik in China Und Taiwan

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Wechselbeziehungen Zwischen Musik Und Politik in China Und Taiwan Wechselbeziehungen zwischen Musik und Politik in China und Taiwan DISSERTATION zur Erlangung der Würde des Doktors der Philosophie der Universität Hamburg vorgelegt von Mei-Ling Shyu 徐玫玲 aus Taipei, Taiwan Hamburg 2001 1. Gutachter: Prof. Dr. H. Rösing 2. Gutachter: Prof. Dr. M. Friedrich Für meine Großmutter Koeh A-Ti (1907-1996), die in der japanischen Kolonialzeit geboren und in den 90er Jahren der Demokratie gestorben ist. Wie bei allen ihrer Generation war ihr Leben eng mit den politischen Spannungen Taiwans verwoben. Inhaltsverzeichnis VORWORT................................................................................................................... VI EINLEITUNG..................................................................................................................2 TEIL I. GRUNDLAGEN CHINESISCHER MUSIKTHEORIE .........................7 I. MUSIK UND REGIERUNGSPRAXIS ........................................................................8 I. 1. Das Herz des Menschen - Grundlage von Musik und Politik....................8 I. 2. Musik als Hinweis auf die politische Leistungsfähigkeit eines Staates...11 II. MUSIKALISCHE ERZIEHUNG ZUR VERBESSERUNG DER HERZEN........................16 II. 1. Musikalische Erziehung in den historischen Betrachtungen...................16 II. 2. Was ist gute Musik eigentlich? ................................................................22 II. 3. Zum politischen Zweck ............................................................................29 III. LI UND MUSIK ALS GUTE REGIERUNG ...............................................................33 III. 1. Li und Musik einzeln und verbunden.......................................................33 III. 2. Anschauungen von den Li und der Musik in den „Aufzeichnungen über die Musik“ ...............................................................................................39 III. 3. Stagnation von Li und Musik...................................................................43 IV. KOSMOLOGISCHES DENKEN IN MUSIK UND POLITIK.........................................46 IV. 1. Universum - Ursprung der Musik............................................................46 IV. 2. Kosmologische Analogien im Bezug auf Musik und Politik....................51 IV. 3. Nachwirkung............................................................................................55 V. RITUELLE MUSIK GEGEN ZHENG-WEI-MUSIK ..................................................60 V. 1. Begriffserklärung.....................................................................................60 V. 2. Moralische und musikalische Charaktere von Ya-Yue............................66 V. 3. Musikalische und textliche Eigenschaften der Zheng-Wei-Musik ...........70 V. 4. Konfrontation ..........................................................................................73 VI. KRITISCHE AUFFASSUNGEN VON MUSIK...........................................................82 VI. 1. Mozi .........................................................................................................82 VI. 2. Laozi ........................................................................................................84 VI. 3. Zhuangzi ..................................................................................................86 TEIL II. DER EINFLUß DER EUROPÄISCHEN MUSIK AUF DIE CHINESISCHE UND TAIWANESISCHE MUSIK IM POLITISCHEN KRÄFTEFELD .............................................................89 I. VORGESCHICHTE DER NEUEN CHINESISCHEN MUSIK.........................................90 I. 1. Import europäischer Musik .....................................................................90 I. 2. Die Musik in der Taiping-Zeit .................................................................94 I. 3. Moderne Militärmusik .............................................................................96 II. SCHULLIEDER ...................................................................................................98 II. 1. Historischer Wendepunkt.........................................................................98 II. 2. Vertreter der Schullieder.......................................................................102 iv II. 3. Republikanische Revolution ..................................................................109 II. 4. Auswertung ............................................................................................111 III. IDEOLOGISIERTE MUSIK..................................................................................116 III. 1. Massenlieder in den 20er und 30er Jahren ...........................................116 III. 2. Linksgerichtete Musik mit den anti-japanischen Liedern......................121 III. 3. Volkskomponisten ..................................................................................125 III. 4. Yangge-Oper..........................................................................................135 IV. DIE ANTI-JAPANISCHEN LIEDER......................................................................141 IV. 1. Musikalischer Kontext ...........................................................................141 IV. 2. Die allgemeine Musikvorstellung in der anti-japanischen Zeit.............143 IV. 3. Analyse der anti-japanischen Lieder.....................................................146 V. MUSIKÄSTHETISCHE UMWÄLZUNG.................................................................150 V. 1. Nationale Musik - Begriff und Zweifel ..................................................150 V. 2. Musikästhetische Kontroverse...............................................................156 VI. MUSIKPOLITISCHE VORSTELLUNGEN VON MAO .............................................171 VI. 1. Der Vortrag Maos in Yanan..................................................................171 VI. 2. Verwirklichung, Einfluß und Kritik .......................................................177 VII. MUSIK UND POLITIK IN TAIWAN .....................................................................185 VII. 1. Politischer Überblick bis 1949..............................................................185 VII. 2. Europäische Musik in Taiwan und ihre Entwicklung............................190 VII. 3. Populäre Musik in der japanischen Kolonialzeit ..................................200 VIII. DIE BEFESTIGUNG DES TOTALITARISMUS IN DER MUSIK.................................210 VIII. 1. Zwei Küsten der Taiwan-Straße ............................................................210 VIII. 2. Festland China unter Mao-Regime .......................................................210 VIII. 2.1. Musikkampagne.............................................................................210 VIII. 2.2. Revolutionärer Realismus und revolutionäre Romantik ...............214 VIII. 2.3. Programmusik ...............................................................................219 VIII. 2.4. Nationalität unter dem Slogan „das Westliche zum Nutzen des Chinesischen“................................................................................224 VIII. 3. Taiwan-Insel unter dem Chiang-Regime...............................................232 VIII. 3.1. Politische Vorstellung ...................................................................232 VIII. 3.2. Anti-kommunistisch und patriotisch ..............................................233 VIII. 3.3. Chinesische Musikkulturerneuerung in Taiwan............................237 VIII. 3.4. Populäre Musik..............................................................................240 AUSSICHTEN .............................................................................................................245 ANHANG A. DIE CHINESISCHEN DYNASTIEN............................................256 ANHANG B. EIN-DRITTEL-ADDITIONS-UND SUBTRAKTIONSMETHODE ......................................................257 LITERATUR ...............................................................................................................259 I. BÜCHER..........................................................................................................259 II. ZEITSCHRIFTEN...............................................................................................267 III. ARTIKEL .........................................................................................................271 REGISTER ..................................................................................................................273 v Vorwort Die vorliegende Arbeit soll die Wechselbeziehung zwischen Musik und Politik in China und Taiwan untersuchen. Die Anregung dazu ist aus meiner Magisterarbeit „`Asiatische Waisenkinder´ oder `Keine Angst vor nichts´. Entwicklung und Umwälzung der populären Musik in Taiwan“ entstanden. Die stark von den politischen Verhältnissen beeinflußte populäre Musik in Taiwan hat mir einen Blick auf die gesamte musikalische Entwicklung in China, bzw. in der VR China und Taiwan eröffnet. Die Musik hat sich nicht weit von den inländischen politischen Gegebenheiten wie den ausländischen politischen Einflüssen der Westmächte entfernt, und diese enge Wechselbeziehung muß auf dem ästhetischen Hintergrund der traditionellen Musikanschauung verstanden werden. Insofern entsteht ein kompliziertes Dreiecksproblem, das durch die wissenschaftliche Untersuchung dargestellt und belegt werden soll. Durch die vielen von Frau Dr. Lee Schu-chi (李秀琴) privat seit Anfang der 80er Jahre des 20. Jahrhunderts abonnierten und mir zur Verfügung gestellten musikalischen Zeitschriften
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