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By the end of the nineteenth century, after a long period during which the weakness of China became ever more obvious, intellectuals began to go abroad for new ideas. What emerged was a musical genre that Liu Ching-chih terms "New Music." With no direct ties to traditional Chinese music, New Music reflects the compositional techniques and musical idioms of eighteenth-, nineteenth- and early twentieth–century European styles. Liu traces the genesis and development of New Music throughout the twentieth century, deftly examining the cultural, social, and political forces that shaped New Music and its uses by politicians and the government.

Table of Contents

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  1. Title Page, Copyright
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  1. Contents
  2. pp. v-x
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  1. List of Musical Examples
  2. pp. xi-xviii
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  1. List of Plates
  2. pp. xix-xxii
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  1. Translator’s Note
  2. pp. xxiii-xxiv
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  1. Prologue
  2. pp. 1-6
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  1. 1. Introduction: New Music in China and Its Theoretical Foundations
  2. pp. 7-22
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  1. 2. The Origins of New Music (1885–1919): The Westernisation of Military Music and the Birth of Schoolsong
  2. pp. 23-78
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  1. 3. New Music in the May Fourth Period (1919–1937)
  2. pp. 79-188
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  1. 4. The Mass Singing Movement and Musical Creation in the Anti-Japanese War Period (1937–1945)
  2. pp. 189-286
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  1. 5. New Music Education and Creation during the Civil War (1946–1949) and in the Seventeen Years after the Founding of the People’s Republic of China (1949–1966)
  2. pp. 287-376
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  1. Chapter 6. Yangbanxi and the Music of the Cultural Revolution (1966–1976): Revolutionary Modern Peking Opera, Ballet, Symphonic Music and Songs
  2. pp. 377-482
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  1. 7. Musical Creation after the Cultural Revolution and New Wave Music
  2. pp. 483-544
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  1. 8. New Music and Composers in Taiwan, Hong Kong and Macao
  2. pp. 545-604
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  1. 9. Review and Reflection: Historical Review (1885–1985) and the Sinicisation and Modernisation of New Music
  2. pp. 605-636
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  1. 10. New Development (1996–2006): Mainland China, Overseas, Taiwan and Hong Kong
  2. pp. 637-654
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  1. Epilogue
  2. pp. 655-656
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  1. Notes
  2. pp. 657-760
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  1. Appendix I. Texts of lyrics with English translation
  2. pp. 761-770
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  1. Appendix II. Major works composed between 1956−1966
  2. pp. 771-780
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  1. Appendix III. Further readings on New Music in Taiwan, Hong Kong and Macao
  2. pp. 781-790
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  1. References
  2. pp. 791-878
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  1. Glossary
  2. pp. 879-882
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  1. Chart I: The development of New Music in China (1885–2006)
  2. pp. 883-888
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  1. Chart II: Important of New Music educators and musicians
  2. pp. 889-892
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  1. Index of Names
  2. pp. 893-904
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  1. Index of Subjects
  2. pp. 905-912
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  1. Plates
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