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Community in Chinese Street Music: Sound, Song and Social Life Durham E-Theses Community in Chinese Street Music: Sound, Song and Social Life HORLOR, SAMUEL,PATRICK How to cite: HORLOR, SAMUEL,PATRICK (2017) Community in Chinese Street Music: Sound, Song and Social Life, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11984/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Community in Chinese Street Music Sound, Song and Social Life Samuel Horlor Thesis submitted for the degree of Doctor of Philosophy Department of Music Durham University 2016 Contents List of Illustrations iv List of Music Examples v List of CD Contents vi Romanisation and Names viii Statement of Copyright ix Acknowledgements x 1. Introduction 12 Jiqing guangchang 27 Themes 31 (i) Community 33 (ii) Sound and space 39 (iii) Popular and folk music 42 (iv) Social life 46 Methods 48 2. Sound and Space 53 Music in public life 53 (i) Public space 53 (ii) Privately-owned spaces 56 (iii) Commercial recordings 57 (iv) Other performances in public life 59 Place, space and community 63 (i) Sense of place 63 (ii) Non-representational meaning in sound and community 67 Space and material: the jiqing guangchang environment 70 (i) Jianghan Bridge: a construction site 70 (ii) The Wangjiang Building: three indoor stages 74 (iii) The Han Riverbank: an unmade road 77 (iv) Qingchuan Bridge: four permanent stages 78 (v) Summary and implications for community 81 Space and material: the map of Wuhan 82 (i) Clustering in jiqing guangchang events 84 (ii) Authority and noise 90 (iii) Definition of space 93 (iv) Summary and implications for community 96 Sound 97 (i) The sonic niche 98 (ii) Temporal variation 102 (iii) Summary and implications for community 103 Conclusions 103 (i) Ontologies of public space 104 i (ii) Wuhan’s public space and jiqing guangchang 104 3. Popular and Folk Music 107 Genre 108 (i) Generic terms in jiqing guangchang: liuxing and min’ge 108 (ii) Less important terms: cantopop, mandopop and gangtai 111 (iii) An out-of-date term: tongsu 112 (iv) Summary and implications for community 113 The background systems of popular and folk music: economics 115 (i) Forms of patronage and degrees of musical specialisation 116 (ii) Understanding jiqing guangchang in these terms 118 The background systems of popular and folk music: transmission 121 (i) The use of recordings in learning musical material 121 (ii) Skills, technologies and real-time adaptation 127 (iii) Summary and implications for community 130 Repertory 132 (i) Formulae 133 (ii) Formulae in the ‘folk’ songs of jiqing guangchang 134 (iii) Formulae in the ‘popular’ songs of jiqing guangchang 137 (iv) Summary and implications for community 144 Conclusions 145 (i) Two phases of jiqing guangchang 145 (ii) ‘Popularisation’ and ‘folk-isation’ 147 4. Social Life 150 The ethical frame 151 (i) Sexuality and novelty 153 (ii) Gender asymmetry 158 (iii) Support and encouragement 164 (iv) Reciprocity 168 (v) Summary and implications for community 171 The performance frame 171 (i) Frame establishment and dissolution 172 (ii) Frame threats: deviations from normal patterns 175 (iii) Summary and implications for community 176 The economic frame 178 (i) Frame establishment and exceptionality 179 (ii) Summary and implications for community 182 The collective frame 182 (i) Jiqing guangchang audiences in context 183 (ii) Summary and implications for community 185 Conclusions 187 5. Community 189 An alternative to the binary approach 190 (i) Publicness 190 (ii) Dialectical relationships 191 Major community discourses 193 (i) Place 193 ii (ii) Space and material 197 (iii) Ideological and embodied belonging 199 (iv) Temporality 205 (v) Participants’ representations 207 (vi) Society 209 (vii) Individualism 214 (viii) Economics 217 Final Conclusions 219 (i) Implications for further research 221 Appendix: List of Songs 224 Glossary of Chinese Characters 236 References 242 iii List of Illustrations Ill. 1.1: A park performance. 14 Ill. 1.2: An audience member delivering a cash tip. 19 Ill. 1.3: The arena in which the twins Yinzi and Longzi performed. 25 Ill. 1.4: The arena in which Alian performed. 27 Ill. 2.1: A dance contest taking place at the Great riverbank stage. 57 Ill. 2.2: A street-side karaoke gathering. 61 Ill. 2.3: A non-monetised performance in a public place. 62 Ill. 2.4: Organisers setting up before a performance. 71 Ill. 2.5: Bird’s-eye-view plan of the arena near to Jianghan Bridge. 71 Ill. 2.6: A performance room at one end of the Wangjiang Building. 75 Ill. 2.7: A section of the audience for the same stage as shown in Ill. 2.6. 76 Ill. 2.8: Bird’s-eye-view plan of the three indoor stages at the Wangjiang Building. 77 Ill. 2.9: Bird’s-eye-view plan of the event taking place on the unmade road parallel to the Han River. 78 Ill. 2.10: An approximately 3km x 4.5km section of central Wuhan. 85 Ill. 2.11: Comparative analysis of two corresponding excerpts from the song Babai li dongting wode jia (Babai li dongting my home). 87 Ill. 2.12: A typical public-space hoarding displaying the twelve ‘core values of socialism’. 94 Ill. 2.13: A city square cordoned off by temporary fencing. 95 Ill. 2.14: Locations of square dance events and businesses broadcasting music into public spaces. 98 Ill. 2.15: Bird’s-eye-view illustration showing two groups of square dancers. 99 Ill. 2.16: Bird’s-eye-view diagram indicating the position of the dizi player in relation to his speaker. 100 Ill. 4.1: The jiqing guangchang singer Ajing during a performance. 183 All photos by the author. iv List of Music Examples Fig. 3.1: Comparison of excerpts from the melody of Boli xin. 123 Fig. 3.2: The vocal line of Yi sheng wu hui’s first melodic phrase. 124 Fig. 3.3: The vocal line of Yi sheng wu hui’s second melodic phrase. 124 Fig. 3.4: Comparison of the harmony in two versions of Wo zhi zaihu ni. 128 Fig. 3.5: Excerpts from commercial recordings of three Tibet-themed songs. 134-136 Fig. 3.6: The opening bars of the sung verses from a selection of songs. 138-141 Fig. 3.7: The first half of the chorus of Aide daijia. 142 Fig. 3.8: The seventh and eighth bars of the choruses or verses from commercial recordings of several other songs. 143-144 Fig. 4.1: Interlude based on the song Gongxi facai. 161 Fig. 4.2: Example of an instrumental interlude heard at transitions between singers. 161 v List of CD Contents Audio files can also be accessed by following this link: http:/o/bit.ly/2alOoWz 1. Babai li dongting wode jia (Babai li dongting my home) – Li Qiong (2000) 2. Babai li dongting wode jia (Babai li dongting my home) – Wenwen (recorded in Wuhan, 17 May 2014) 3. Boli xin (Heart of glass) – Qi Qin (1991) 4. Boli xin (Heart of glass) – Ajing (recorded in Wuhan, 15 May 2014) 5. Yi sheng wu hui (A lifetime without regret) – Gao An & Hang Jiao (2012) 6. Yuanfen redehuo (Destiny stirring up trouble) extract 1 – An Dongyang (2011) 7. Wo zhi zaihu ni (I only care for you) – Deng Lijun (1987) 8. Wo zhi zaihu ni (I only care for you) – Zhang Sihong (recorded in Wuhan, 15 May 2014) 9. Fanshen nongnu ba ge chang (The emancipated serf sings a song) – Caidan Zhuoma (1954) 10. Tian lu (Heavenly road) – Gong Yue (2007) 11. Qingzang gaoyuan (The Qinghai-Tibetan Plateau) – Han Hong (2001) 12. Yuanfen wuyue (May’s destiny) – Jiang Zhimin (2008) 13. Zai xinli congci yongyuan you ge ni (From now on there is forever a you in my heart) – Chen Xi and Situ Lanfang (2014) 14. Chi laide ai (Love that comes late) – Liu Maoshan (1987) 15. Kantou aiqing kantou ni (Seeing through love, seeing through you) – Leng Mo (2009) 16. Yuanfen redehuo (Destiny stirring up trouble) extract 2 – An Dongyang (2011) 17. Zhiyao ni guo de bi wo hao (As long as you are doing better than me) – Jiang Shu’na (1990) 18. Ganende xin (Grateful heart) – Ouyang Feifei (1994) 19. Wei ai chikuang (Mad for love) – Liu Ruoying (1995) 20. Xueshan Ajia (Ajia from the snowy mountains) – Baima Duoji (2012) 21. Aiqing wanwan sui (Long live love) – Gao An (2011) 22. Zhen ai yi shiqing (True love’s social affairs) – Li Yihui (2008) 23. Liande xinshi (The lotus seed’s obsession) – Wulan Tuoya (2009) 24. Shenshen de xihuan ni (Like you deeply) – Qiu Niao (2009) 25. Deng ni dengle name jiu (Waited so long for you) – Qi Long (2012) vi 26. Hongchen qingge (The ballad of the red dust) – Gao An and Hei Yazi (2011) 27. Aide daijia (The price of love) – Li Zongsheng (2004) 28. Zhenxin huan zhenqing (Sincerity exchanged for real feeling) – Zhang Ke’e (2013) 29. Ouduan silian (Together in spirit) – Chen Rui (2008) 30.
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