Maintaining the Rage
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Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Red Sonic Trajectories - Popular Music and Youth in China de Kloet, J. Publication date 2001 Link to publication Citation for published version (APA): de Kloet, J. (2001). Red Sonic Trajectories - Popular Music and Youth in China. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:08 Oct 2021 L4Trif iÏLK m BEGINNINGS 0 ne warm summer night in 1991, I was sitting in my apartment on the 11th floor of a gray, rather depressive building on the outskirts of Amsterdam, when a documentary on Chinese rock music came on the TV. I was struck by the provocative poses of Cui Jian, who blindfolded himself with a red scarf - stunned by the images of the crowds attending his performance, images that were juxtaposed with accounts of the student protests of June 1989; and puzzled, as I, a rather distant observer, always imagined China to be a totalitarian regime with little room for dissident voices. -
Supplement of Widespread Air Pollutants of the North China Plain During the Asian Sum- Mer Monsoon Season: a Case Study
Supplement of Atmos. Chem. Phys., 18, 8491–8504, 2018 https://doi.org/10.5194/acp-18-8491-2018-supplement © Author(s) 2018. This work is distributed under the Creative Commons Attribution 4.0 License. Supplement of Widespread air pollutants of the North China Plain during the Asian sum- mer monsoon season: a case study Jiarui Wu et al. Correspondence to: Guohui Li ([email protected]) and Junji Cao ([email protected]) The copyright of individual parts of the supplement might differ from the CC BY 4.0 License. 1 Supplement 2 The supplement provides description about the WRF-CHEM model configuration, 3 methodology, synoptic conditions, model evaluations and the effect of interaction between 4 NCP and non-NCP emissions during the study episode. 5 6 Section S1 WRF-CHEM Model and Configuration 7 S1.1 WRF-CHEM Model 8 The WRF-CHEM used in this study includes a new flexible gas phase chemical module 9 and the CMAQ aerosol module developed by US EPA (Li et al., 2010; Binkowski and 10 Roselle, 2003). In this aerosol component, the particle size distribution is represented as the 11 superposition of three lognormal sub-distributions, called modes. The processes of 12 coagulation, particles growth by the addition of mass, and new particle formation are 13 included. The wet deposition employs the method used in the CMAQ and the surface 14 deposition of chemical species is parameterized following Wesely (1989). The photolysis 15 rates are calculated using the FTUV (Li et al., 2005, 2011a, b), considering the effects of 16 aerosols and clouds on photolysis. -
An Ideological Analysis of the Birth of Chinese Indie Music
REPHRASING MAINSTREAM AND ALTERNATIVES: AN IDEOLOGICAL ANALYSIS OF THE BIRTH OF CHINESE INDIE MUSIC Menghan Liu A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill Esther Clinton © 2012 MENGHAN LIU All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis project focuses on the birth and dissemination of Chinese indie music. Who produces indie? What is the ideology behind it? How can they realize their idealistic goals? Who participates in the indie community? What are the relationships among mainstream popular music, rock music and indie music? In this thesis, I study the production, circulation, and reception of Chinese indie music, with special attention paid to class, aesthetics, and the influence of the internet and globalization. Borrowing Stuart Hall’s theory of encoding/decoding, I propose that Chinese indie music production encodes ideologies into music. Pierre Bourdieu has noted that an individual’s preference, namely, tastes, corresponds to the individual’s profession, his/her highest educational degree, and his/her father’s profession. Whether indie audiences are able to decode the ideology correctly and how they decode it can be analyzed through Bourdieu’s taste and distinction theory, especially because Chinese indie music fans tend to come from a community of very distinctive, 20-to-30-year-old petite-bourgeois city dwellers. Overall, the thesis aims to illustrate how indie exists in between the incompatible poles of mainstream Chinese popular music and Chinese rock music, rephrasing mainstream and alternatives by mixing them in itself. -
DOSSIER PRENSA CUI JIAN EN ESPAÑA Pdf
CUI JIAN, EL PIONERO DEL ROCK CHINO MADRID (19 septiembre) / BARCELONA (23 septiembre) DOSSIER DE PRENSA 1 INDICE 1.- PRESENTACIÓN: CUI JIAN, LA GRAN ESTRELLA DEL ROCK CHINO…..……. pág. 03 1.1. NOTA DE PRENSA: CASA ASIA PRESENTA A CUI JIAN EN MADRID Y BARCELONA 1.2. CUI JIAN: BIOGRAFÍA RESUMIDA 2.- BIOGRAFÍA DE CUI JIAN, ICONO DE LA CHINA CONTEMPORÁNEA……….…pág. 06 2.1. EL COMIENZO DE SU CARRERA 2.2. CUI JIAN, MÚSICO COMPROMETIDO 2.3. EL CUI JIAN DEL NUEVO MILENIO 2.4. SU CARRERA EN IMÁGENES 2.5. DISCOGRAFÍA DE CUI JIAN 3.- CUI JIAN Y EL CINE………………………………………………………………….….. pág. 12 3.1. FILMOGRAFÍA DE CUI JIAN 4.- MÁS INFORMACIÓN…………………………………………………………..…………pág. 14 4.1. CUI JIAN Y LOS MIEMBROS SU GRUPO 4.2. LETRAS DE CUI JIAN: REPERTORIO EN MADRID Y BARCELONA 5.- LINKS DE REFERENCIA, REPORTAJES, ENTREVISTAS Y VÍDEOS…….....….. pág. 19 6.- CONTACTO DE PRENSA……………………………………………………………….. pág. 20 2 1.- PRESENTACIÓN: CUI JIAN, LA GRAN ESTRELLA DEL ROCK CHINO La China de hoy es una gran potencia en todos los campos, pero su cultura contemporánea sigue siendo muy desconocida en el mundo occidental. Cui Jian, considerado el padre del rock en China y un artista polifacético y comprometido, es una de las voces imprescindibles para conocer la nueva China. Casa Asia –un consorcio público encargado de promover el conocimiento de Asia en España—acerca este artista al público español con dos conciertos en Madrid y Barcelona, que servirán para dar a conocer a una figura clave para entender la música actual china. En sus 25 años de carrera, el guitarrista, trompetista, cantante y compositor chino ha conseguido el estatus de artista de talento transversal al implicarse en todos los procesos de la creación artística. -
Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
"THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr. -
Canada Archives Canada Published Heritage Direction Du Branch Patrimoine De I'edition
Above Ground or Under Ground: The Emergence and Transformation of "Sixth Generation" Film-Makers in Mainland China by Wu Liu B.A., Renmin University, 1990 M.A., Beijing Film Academy, 1996 A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree of MASTER OF ARTS in the Department of Pacific and Asian Studies © Wu Liu, 2008 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-40466-9 Our file Notre reference ISBN: 978-0-494-40466-9 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. -
The Saxophone in China: Historical Performance and Development
THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China. -
Western China, Popular Culture, and the Ambiguous Centrality of the Periphery Kevin Latham SOAS, University of London
Western China, Popular Culture, and the Ambiguous Centrality of the Periphery Kevin Latham SOAS, University of London his essay explores various diverse and divergent representations of Western China1 in Chinese media and popular culture with the aim of considering how they, and their reappropriations, reproductions, and reinventions still populate TChina’s contemporary cultural landscape. In this way the essay will identify ways in which the peripherality of Western China has played, and continues to play, a key role in the constitution of mainstream Chinese popular culture. In particular, the essay will focus on examples from three different periods of Chinese cultural history: the Ming dynasty novelJourney to the West, revolutionary popular culture of the 1950s and 1960s, and cinema and television in the early post- Mao period. 1 Defining “Western China” is already problematic. China’s Western Development Plan (see below) designates Western China as the six provinces of Gansu, Guizhou, Qinghai, Shaanxi, Sichuan, and Yunnan, as well as the five autonomous regions of Xinjiang, Tibet, Inner Mongolia, Guangxi, and Ningxia. Other Chinese government definitions of Western China leave out Inner Mongolia and Guangxi from this list and include the municipality of Chongqing. However, geographically, both of these definitions include some regions—such as Shaanxi and Guizhou—that are actually fairly “central” in location. Some Chinese participants in the Perth symposium pointed out that they and, by implication, some other Chinese would consider, in their popular imaginary, Sichuan, Shaanxi, and some areas of the Yellow River valley to be part of “Central” China. However, in this essay the term “Western China” does not refer to a rigidly defined geopolitical territory, nor do I seek to identify the geographical boundaries of popular conceptualizations of what is or is not Western or Central China. -
Chapter 1: Place §1 Chinese Popular Music
The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 1: Place §1 Chinese Popular Music After introducing the singer and describing his migration from Malaysia to Singa- pore and his recent popularity in Hong Kong, Taiwan, and all over the Chinese di- aspora, the anchor [of the 1995 May 1st Concert] asked Wu [Qixian] how he de- fined himself in the final analysis. The musician’s reply, “I am Chinese” (wo shi Zhongguoren), which stirred a most enthusiastic and warm response from the au- dience, encapsulated everything Wu’s participation stood for, at least from the point of view from the state… By inviting … gangtai singers to participate in concerts and television programs, the Chinese state is not engaged so much in competing with other Chinese politics and identities … but rather in contesting their independence and in co-opting them into a greater Chinese nationalism, of which China is the core. In other words, the Chinese state is engaged in appropri- ating the concept of Greater China (Da Zhonghua).1 Gangtai is a 1980s PRC term for highly successful cultural products from Hong Kong (xiang gang) and Taiwan. In the above quotation, Nimrod Baranovitch rightly recognizes Hong Kong and Taiwan as major areas of production of Chinese pop music. -
Eadbanging Against Repressive Regimes
Mark LeVine FREEMUSE (Freedom of Musical Expression) The World Forum on Music and Censorship is an international organisation advocating freedom of expression for musicians and composers worldwide OUR MAIN OBJECTIVES ARE TO – Document violations – Inform media and the public – Describe the mechanisms of censorship – Support censored musicians and composers – Develop a global support network eadbanging against YOU CAN SUPPORT US – VISIT FREEMUSE.ORG – the world’s largest knowledge base on music censorship H repressive regimes ensorship of heavy metal in the Middle East, C North Africa, Southeast Asia and China F R E E M U S E Y Mark LeVine eadbanging against H repressive regimes ensorship of heavy metal in the Middle East, CC North Africa, Southeast Asia and China F R E E M U S E 3 Headbanging against repressive regimes. Heavy metal in the Middle East, North Africa, Southeast Asia and China By Mark LeVine Published by Freemuse Editor-in-Chief: Marie Korpe Graphic design: Mik Aidt Cover: Guitarist of an Iranian heavy metal band Printed in Denmark by Special-Trykkeriet Viborg Report no. 09/2009 • © Freemuse 2009 • ISSN 1601-2127 • ISBN 978-87-988163-3-1 The views in the report do not necessarily represent the views of Freemuse. Other publications by Freemuse • ‘1st World Conference on Music and Censorship’, 2001, ISBN: 87-988163-0-6 • ‘Can you stop the birds singing? – The Censorship of Music in Afghanistan’ by John Baily, 2001, ISSN: 1601-2127 • ‘A Little Bit Special – Censorship and the Gypsy Musicians of Romania’ Y by Garth Cartwright, 2001, ISSN: 1601-2127 • ‘Playing With Fire – Fear and Self-Censorship in Zimbabwean Music’ by Banning Eyre, 2001, ISSN: 1601-2127 • ‘Which way Nigeria? – Music under threat: A Question of Money, Morality, Self-censorship and the Sharia’ by Jean Christophe Servant, 2003, ISSN: 1601-2127. -
Following the Footprints of Music in Tiananmen Square Protests Wang Meng
From the Highest Court to the Furthest Wasteland: Following the Footprints of Music in Tiananmen Square Protests Wang Meng Music has always been an important component of social movements. As the one and only protest of its scale and influence in China, the 1989 Tiananmen Square protests was a lively music venue. Protesters sang revolutionary songs and played rock music on cassette tapes players in the tent city. At night, the square turned into a concert and dance floor. (Gordon & Hinton, 1995) Cui Jian and Hou Dejian, the two most popular musicians at the time, performed for the protesters on the square. The singers’ featured songs, “Nothing to My Name” (Yiwusuoyou) and “Descendants of the Dragon” (Long de chuanren) became unofficial anthems of the protesters. Hou was deeply involved in the protest by joining the hunger strike initiated by Liu Xiaobo and was one of the negotiators at the dawn of June 4th with the military. In an interview with Tiananmen student leader Wuer Kaixi, he emphasized the importance of singers in the movement: “The people who are most influential among young people are not (the dissident intellectuals) Fang Lizhi and Wei Jingsheng, but singers such as Cui Jian.” (Huang, 2001) In Hong Kong, Concert for Democracy in China was held for 12 hours nonstop to raise money for the protesters on May 27th. After the crackdown, music became an important means of commemorating the protests and preserving memories and protecting legacies against state propaganda and collective amnesia. Even new generations who were born after 1989 wrote songs in memory of the protest. -
Two Generations of Contemporary Chinese Folk Ballad Minyao 1994-2017
Two Generations of Contemporary Chinese Folk Ballad Minyao 1994-2017: Emergence, Mobility, and Marginal Middle Class A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC July 2020 By Yanxiazi Gao Thesis Committee: Byong Won Lee, Chairperson Frederick Lau (advisor) Ricardo D. Trimillos Cathryn Clayton Keywords: Minyao, Folk Ballad, Marginal Middle Class and Mobility, Sonic Township, Chinese Poetry, Nostalgia © Copyright 2020 By Yanxiazi Gao i for my parents ii Acknowledgements This thesis began with the idea to write about minyao music’s association with classical Chinese poetry. Over the course of my research, I have realized that this genre of music not only relates to the past, but also comes from ordinary people who live in the present. Their life experiences, social statuses, and class aspirations are inevitably intertwined with social changes in post-socialist China. There were many problems I struggled with during the research and writing process, but many people supported me along the way. First and foremost, I am truly grateful to my advisor Dr. Frederick Lau. His intellectual insights into Chinese music and his guidance and advice have inspired me to keep moving throughout the entire graduate study. Professor Ricardo Trimillos gave frequent attention to my academic performance. His critiques of conference papers, thesis drafts, and dry runs enabled this thesis to take shape. Professor Barbara Smith offered her generosity and support to my entire duration of study at the University of Hawai'i at Mānoa.