Chinese muiscal final draft.docx

Chinese muiscal final draft.docx - 0 MUS 450 Professor...

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0 MUS 450 Professor Heckert Elaine Chen 05/08/2017 Chinese Musical Nationalism in the 19 th and early 20 th century Abstract Before the Revolution of 1911, China was a mighty empire dominated by various Chinese ethnic groups in different time periods. In particular, the Han people of the Tang and Ming Dynasty and the Man people of the Qing Dynasty were keen to establish and maintain contacts with the western visitors while retaining a strong political influence over the Chinese culture. When missionaries and explorers traveled to the Chinese empire, they came along with fine commodities made using the foreign crafts and technologies to the Chinese emperor as a sign of good respect and good faith (Leong and Leung 127 ). This is fuelled by the adverse changes experienced by China from a strong and powerful empire to a weak and torn country colonized by the foreign powers during the 19 th and early 20 th century. As the central government of Qing dynasty turned fragile and corrupted, foreign powers looked to colonize China covetously. As a result, a series of patriotic movements and rebellions occurred to overthrow the central government and western powers. In this process, Chinese music underwent numerous changes due to history. Various historical events including the Opium war, the May Fourth movement, and the World War II will be discussed briefly in this paper. Data is collected through research from previous journal and books that show the history at the time and how music played along with the changes. The major objectives of this paper are to find out how history has shaped or affected music and how music reflected the history. In particular, after the Revolution of
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1 1911, which marked the end of the last Chinese dynasty, Western arts and technologies gained recognitions by Chinese scholars and became dominant elements facilitating the social changes in China. Chinese music has also developed throughout the time, in which most of them reflect the theme of nationalism due to historical events. Introduction Initially, the arts and advanced Western technologies of the late eighteenth and nineteenth century was not recognized as important academics studies by the Chinese scholars; in fact, they were only perceived as delicate artifacts. Surviving records indicate that musical interactions between China and Western nations began prior to the seventeenth century. Since Catholicism has played a major role in Western music history, early musical communications from Western nations to China often shared a similar agenda to preach the word of the Lord to non-believers. However, when the Jesuit missionaries arrived in China before the seventeenth century, they encountered an empire with a culture that inhibited the dissemination of Catholicism: a culture supporting feudalism, multi-god faiths, and with a dominating sense of imperial pride unyielding to foreign cultures. As a result, Catholicism at the time failed to receive prominent support from the Chinese, and so was Western music (Qi and Yao 82 ).
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