Academic literature on the topic 'Rock music – China – Political aspects'

the import of illegal, cut cds from the west (dakou cds) in the mid-1990s marked the revitalization of chinese rock culture. this article analyses the rise of dakou culture in the context of the interrelated processes of globalization and marketization of chinese culture. contrary to accounts that proclaim the crisis or death of chinese rock, this article describes the re-emergence of rock since the mid-1990s. it presents an overview on three different scenes, part of the dakou culture among chinese youth. the fashionable bands are inspired by a cosmopolitan aspiration, the underground bands signify the return of the political and the urban folk singers express a nostalgic longing. all three scenes attest to the current diversity of popular music cultures in china, and are interpreted as sonic tactics employed by chinese youth to carve out their own space amidst an increasingly commercialized and globalized society.

In his article ‘Rock music and politics in Italy’, Umberto Fiori deploys the example of an open-air concert by Genesis in Tirrenia in the province of Pisa, promoted in the summer of 1982 by the Italian Communist Party (PCI) as part of its annual Feste dell'Unita, as a summary example of de-politicisation of the consumption and production of rock music in Italy, and the institutionalisation of the oppositional, dissenting aspects of rock music that had previously been so potent there throughout the 1970s. To Fiori, the Genesis concert representedan unmistakeable step forward in the slow process of the ‘normalisation’ of the relationship between rock and politics in Italy. Explosive material until a few years before, rock music in the 1980s seems to have returned to being a commodity like any other, even in Italy. The songs are once again simply songs, the public is the public. The musicians are only interested in their work, and the organisers make their expected profits. If they happen to be a political party, so much the better: they can also profit in terms of public image and perhaps even votes. … Italy now learnt how to institutionalise deviation and transgression. An ‘acceptable’ gap was re-established between fiction and reality, desire and action, and music and political practice. (Fiori 1984, pp. 261–2)

“Middle powers,” variously defined, have served relevant and significant roles in the post-WWII regional and global orders, facilitated by structural conditions of “long peace” among great powers and proactive leadership by and among creative middle powers. Within the complex Asia-Pacific security order, “middle powers” such as Australia, Canada, and South Korea have had the “space” to engage the non-like minded and advance multilateralism with security guarantees from the US. However, Beijing and Washington today are eliminating this space and its associated choices for middle-power diplomacy by increasingly characterizing their rivalry as a confrontation of “existential threats” between incompatible “civilizations” and securitizing trade and technology. China and the US are each selectively ignoring or purposely eroding key aspects of a rules-based international order. This paper highlights the dilemmas of South Korea, Australia, and Canada, middle powers who have found themselves individually and collectively “stuck” facing contradictory global and regional policy choices.

An enjoyable overview of the world of pop, rock and politics in Beijing, accessible for students of Chinese culture and popular music studies. This is an area that has been exceptionally well covered in the literature, and Baranovitch's claim to originality lies mainly in his focus on ethnicity and gender. The overview of the development of pop from 1978–97 does a useful job of drawing together the various strands, though most of this is very familiar from the writings of Geremie Barmé, Andrew Jones et al. We begin with the introduction of Gangtai (Hong Kong and Taiwan pop) to the mainland, led by Deng Lijun whose ‘coquettish nasal slides,’ Baranovitch rightly suggests, were more truly subversive in China in 1978 than any of the subsequent rock and punk styles. Baranovitch chronicles the rise of the xibeifeng, the Shaanbei folk-infused rock style, linking it into the xungun roots movement and Tiananmen. An interesting section on qiuge or ‘prison songs,’ popular in 1988, explores somewhat less well-known territory. We follow the rise of the commercial, the karaoke craze and Mao fever, and the co-option of at least some of the rebellious rockers by the state. Baranovitch enthusiastically reveals the significance of music in the political arena, and its ability to prefigure, even shape the political.

International discourse on Yaogun Yinyue (mainland Chinese rock music) has been coloured by the early identification of Chinese rock ‘n’ roll with the aborted student democracy movement of the late 1980s. This has led to a simplistic valourisation of Western representations of rock rebellion by the global mass media, characterised by a lack of awareness of changing social circumstances within the People's Republic of China over the past decade. Originally, Yaogun Yinyue did indeed share a generational root with student radicals who expressed frustration with the severely limited life choices in a Chinese Communist Party (CCP) controlled state. However, in response to the periodic political crackdowns during the post-Tiananmen massacre era, most current mainland rock musicians have consciously avoided rhetoric which might lead to unhealthy repercussions for their careers. ‘Empathetic’ Western rock critics may be disillusioned to learn that recently many Chinese rock musicians not only reject popular reifications of rock ‘n’ roll but also express vehemently anti-foreign sentiments (Barme 1996, p. 202). Historical Sino-Western antagonisms have combined with individual resentments of foreign record companies' exploitative practices to create genuine suspicion about the West as a cultural and economic hegemon. This article offers a social and historical analysis in an attempt to reframe the meanings of Chinese rock as cultural product.

IntroductionThe aim of this paper is to analyse shifting themes in the meanings of Hong Kong popular songs relating to ideological and political changes in Hong Kong since the 1989 Tiananmen Square incident (TSI). In particular, the paper examines the relationship between Hong Kong and the People's Republic of China (PRC) concerning the transmission of Hong Kong popular music, and argues that Chinese, Hong Kong and Taiwanese popular musics articulate fluctuating political meanings. Attention will be focused predominantly on the lyrics, but some aspects of the music are also invoked. After highlighting the political and cultural relations between Hong Kong and the PRC, I discuss the social transformations and the struggles for democracy delineated in Chinese popular music during the 1989 TSI. This is followed by an examination of the intensification of the conflict between the PRC and Hong Kong over the dissemination of popular songs carrying democratic messages in Hong Kong. Finally, the paper considers the rise of patriotism and/or nationalism through lyrics rooted in the notion of educating Hong Kong Chinese people into accepting the cultural and political identity of mainland China, and the promotion of popular songs in the official language of the PRC, Putonghua, since the late transitional period.

Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267

AbstractShortly after a push to promote China's 1950 Marriage Law in 1953, scholars from the Chinese Music Research Institute on a collection trip to a small locality in northern China encountered a large number of folksongs about extramarital affairs. They interpreted this as evidence of the need for marriage reform. The folksong lyrics highlighted controversial aspects of the Marriage Law by espousing one of the law's central tenets – free love – while also expressing women's desires to leave their husbands. In this article, I explore how the researchers placed the song lyrics in a liminal moral-temporal category between “feudal” arranged marriage and the new marriage system before declaring the songs to be relics of the victimization of women in a “feudal” past. I argue that additional light-hearted elements complicate the researchers’ conclusion and suggest that when the promotion of social agendas in the 1940s and 1950s cast songs about illicit affairs as morally ambiguous, Chinese scholars chose to ascribe the songs’ “roots” to other groups or to the “feudal” past of the people they sought to praise and/or transform.

this collection offers a variety of perspectives on culture in contemporary china. we begin and end with pieces by jing wang and deborah davis on the production and consumption of culture in general, before moving on to three specific areas: visual culture, music and poetry. jing wang's opening piece on “bourgeois bohemians” (bobos) in china revolves around the all-important question of how taste is constructed and a multiplicity of lifestyles imagined. in china as elsewhere in the world, lifestyles are first imagined and transmitted through advertising. wang describes how marketing campaigns propagate idealized lifestyles to different segments of china's self identified urban middle class; notably the bohemian and the xin xin renlei. deborah davis focuses on the consumption end of culture, suggesting that for all the real resentments and worries engendered by growing income inequality and job insecurity, urbanites in shanghai experience consumer culture and the pursuit of individual taste and comfort in the home through shopping to be positive experiences, particularly when juxtaposed against the deprivations of the past. both wang and davis show that the production and consumption of culture are complex phenomena that go beyond mere market manipulation. there is substantial agency involved, from urbanites joyfully participating in redecoration of their flats to the ways in which niche segments of the urban middle class separate into different “tribes.”the braester, denton and finnane essays focus on different aspects of the production and consumption of visual culture: film, museums and fashion. braester suggests that one cannot sharply differentiate commercial film from art film on the basis of content or aesthetics, as directors previously known for making art films move into commercials, and both share similar sensibilities.

Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern progress, but also as an era of constructive innovations and efforts to make a real change in China’s cultural heritage. The specifics of the creative activity of orchestras conducted by conductors Li Delun, Huang Yijun, Li Guoquan, Yang Jizhen is highlighted. Objectives. The purpose of the article is to identify the specifics of the development of the Chinese orchestra of traditional instruments in the 1960s – 1970s, to determine the role of prominent Chinese musicians in the process of modernizing the orchestra and creating a national repertoire during this period. Research methods are based on scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical theoretical, musical historical and executive analysis. Results. As soon as the Cultural Revolution began, the music centers in Beijing and Shanghai came under attack. Composers were deprived of their creative freedom, since all the works had to correspond to the political situation of the time. At this time, collective creativity in the genre of opera and ballet, written according to certain pattern and corresponding to the ideas of Mao Zedong, is widely adopted. As standards of “new art”, official propaganda put forward “exemplary” revolutionary performances – Yanbanshee, almost entirely based on the material of the period of the liberation struggle. The Central and Shanghai orchestras were also persecuted. The chief conductor of the Central Symphony Orchestra, Li Delun was arrested. Since 1963, the programs of the Shanghai Orchestra of Chinese Instruments have begun to reflect the country’s transition to the Cultural Revolution. In the compositions appeared more pronounced revolutionary ideals, showing the need for government reform. Such content was, for example, the orchestral suite "Revolutionary Song", created by the musicians of the Shanghai orchestra. Due to the policy of the Cultural Revolution after 1964, the orchestra completely ceased to perform. In 1964, works performed at a concert in honor of the nation’s birthday included revolutionary pieces such as “Praise to the People”, “Spring Gong Enhances Performance”, “Battle in Shanghai”, and others. Shanghai Orchestra Conductor Juan Yijun, composer Luo Zhongrong, one of the authors of the revolutionary symphony “Shatszyaban” was persecuted and sent to the countryside for forced labor. In 1966, as a result of the repressions, outstanding conductors Li Guoquan and Yang Jazheng died. The widespread distribution of orchestras in China is a paradox. “Exemplary Performances” played an active role in the distribution of Chinese symphonic music. Many amateur orchestras significantly increased their professional level and could perform individual symphonic works. Major symphonic works on revolutionary themes were also created: Qu Wei’s “The Gray-Haired Girl” symphonic suite (created by his ballet), Tian Feng’s “Five Cantatas to lyrics by Mao Zedong”, “Pipa Concert for Orchestra” and “Steppe Sisters” Wu Zujiang, Liu Dehai, Wang Yanqiao. Another genre was music for ballets (“The Red Women’s Battalion”, “The Gray-Haired Girl”). Conclusions. In the period from the 1960s to the 1970s, Chinese orchestral music was enriched with new genres that influenced its subsequent development. In spite of the fact that the main models of Yangbanshee are the opera and ballet genres, major symphonic works were also created: the symphony “Shatszyaban” (Luo Zhongzhong, Yang Muyun, Deng Jiaan, Tan Jingming); Qu Wei’s symphonic suite “The Gray-Haired Girl”; Overture “Festival” Xu Yang Yang, Pipa Concert with Orchestra “Steppe Sisters” Wu Zuqiang, Liu Dehai, Wang Yanqiao. In these compositions combine the traditions of Chinese musical art and European orchestral art, embodied the creative search for Chinese composers and performers to create samples of the modern symphony genre in China. Collective creativity was widespread: on the one hand, the efforts of several people created largescale monumental compositions, on the other hand, the individual author’s principle was leveled, which made it possible to “depersonalize” music. However, an understanding of the cultural aspects of Yanbanshee and its features in a political context is of great importance for an objective study of the development processes of musical art in China. Starting around the 1990s, the political thaw allowed musical works from the time of the Cultural Revolution, gradually returning them to the mainstream of the achievements of Chinese society. Since then, the Yanbanshee has a strong tendency to revive, enjoying the support of the population and continuing to be very popular in the theater, on television, and in the form of commercial and private entertainment.

I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.

by Wong Yan Chau, Christina.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves 175-186).
Chapter I. --- Introduction --- p.2
Chapter II. --- Historical Background --- p.5
Chapter III. --- A Review of the Related Literature --- p.14
Chapter A. --- The Culture Industry Approach --- p.15
Chapter B. --- The Liberal-Pluralist Approach --- p.26
Chapter C. --- The Technological Approach --- p.31
Chapter IV. --- The Theoretical Perspective --- p.36
Chapter V. --- Methodological Approach to Study --- p.42
Chapter A. --- Content Analysis of Lyrical Messages --- p.42
Chapter 1. --- Method --- p.42
Chapter 2. --- Data --- p.43
Chapter 3. --- Analytic Framework of the Textual Analysis --- p.45
Chapter B. --- Analysis of Rock Music within Hegemony --- p.48
Chapter 1. --- Method --- p.48
Chapter 2. --- Data --- p.50
Chapter VI. --- Meanings in Rock Music --- p.52
Chapter A. --- Themes in each fictional mode --- p.52
Chapter B. --- Thematic content of Rock Music --- p.54
Chapter 1. --- The Ironic Mode --- p.54
Chapter 2. --- The Mimetic Mode --- p.64
Chapter a. --- Phenomena of Identity Crisis --- p.64
Chapter i. --- Loss of direction --- p.65
Chapter ii. --- Roots-seeking --- p.68
Chapter iii. --- Alternating identity --- p.69
Chapter iv. --- Alienation --- p.71
Breakaway --- p.71
A Stranger in the City --- p.74
Chapter b. --- Outlook on Life --- p.76
Chapter c. --- Social Problems --- p.79
Chapter i. --- War --- p.79
Chapter ii. --- Incivility --- p.81
Chapter d. --- The Experience of Growing Up --- p.82
Chapter i. --- Anti-patriarchism --- p.82
Chapter ii. --- Wandering --- p.83
Chapter iii. --- The Loss of Childhood --- p.84
Chapter e. --- Love --- p.85
Chapter i. --- Yearning for love --- p.85
Chapter ii. --- Frustrations with love --- p.86
Chapter iii. --- Wild love --- p.88
Chapter iv. --- Inauthentic love --- p.90
Chapter 3. --- The Leadership Mode --- p.93
Chapter a. --- The Exploratory Spirit --- p.93
Chapter b. --- Individuality and Non-Conformity --- p.96
Chapter c. --- The Authentic Self --- p.98
Chapter 4. --- The Romantic Mode --- p.102
Chapter a. --- Nostalgia for a Glorious Past --- p.102
Chapter b. --- Anarchy in the Demonic World --- p.105
Chapter c. --- Union with nature --- p.107
Chapter d. --- The Pastoral Utopia --- p.111
Chapter e. --- Fictional Characters and Objects Speaking --- p.112
Chapter 5. --- The Mythic Mode --- p.117
Chapter C. --- The World View of Rock Music --- p.120
Chapter VII. --- The Relations of Rock Music to Hegemony --- p.125
Chapter A. --- Messages of Rock and the Hegemony --- p.125
Chapter B. --- Music as a Contested Terrain --- p.130
Chapter 1. --- The Hegemonic Power: Cooptation and Marginalization --- p.130
Chapter 2. --- The Deviant Culture: Struggle by Means of adaptation and negotiation --- p.140
Chapter VIII. --- Conclusion --- p.155
Chapter IX. --- Limitations of the Study --- p.158
Chapter X. --- Future Studies on Rock Music --- p.161
Notes --- p.165
Bibliography --- p.175
Discography --- p.185
Appendix 1. The Sample of Rock Songs --- p.187

Apart from politics and market, ideology was a significant factor in the realm of rock music. Upholding an ideology that focused on individuality and autonomy, and epousing a set of aesthetic value that placed emphases on live performance: how to maintain a balance between autonomy from politics and adaptation to market tastes became a question for both rock artists and the culture industry, a topic of which will be examined in the dissertation.
At the same time, this paper examined the struggle of rock artists against the official constraints and prohibitive coding via rock lyrics, the visual, the music, the body as well as the theatrical performance.
Finally, this paper explores how rock artists and the rock industry turned to alternative spaces for projecting their causes: the Internet, the underground music network and the realm of piracy, spaces where interferences from both the state and the market were minimum.
It also took as its study why rock music was a noise in the market and how rock labels contested for a space in the market which had been plagued by piracy and lack of protection for intellectual property rights. It at the same time explored the ways rock companies attempted to make the books balanced in operating the rock music business in a market where rock fans only constituted a marginal audience.
It looked at how the government imposed control and prohibition on the publishing, performance and dissemination of rock music which it perceived as an alien noise. For this, interviews had been held with personnel from the official apparatuses, the culture industry, the mass media as well as the rock artists and musicians, in a way to understand why rock was rarely heard on the radio or performed on television; why rock music became a term rarely appeared in the official press; and why rock was not allowed to mingle with official discourse like party songs or national anthem; and in what ways the contents of songs as well as the visuals on album covers were censored; and how the government controlled the speech, acts and dress of rock artists on stage.
This paper concludes with the view that despite the many constraints encountered by rock music in the realm of both the state and the market, rock music as a cultural space did not totally lose its freedom, autonomy or integrity. It adopted a mode of communication which is hinged on the non-verbal, the second-order signification, the hidden and the symbolic. It utilised a strategy which avoids direct antagonism with the political regime, and sought outlets for its own messages and meanings.
This paper started by examining how rock music had been transformed into a genre distinguished with its ideology and aesthetics in a socialist country where politics and economy weighed equally significant.
This study took rock music as a cultural space that reflected a larger political and economic environment in China, where it had been marginalized and segregated as a noise by both the state and the market.
Wong Yan Chau Christina.
"September 2006."
Adviser: Joseph Man Chan.
Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 0783.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in English and Chinese.
School code: 1307.

Lee Ying Chuen.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 104-110).
Abstracts in English and Chinese.
Chapter Chapter One --- Introduction --- p.6
Chapter Chapter Two --- Literature Review --- p.13
Chapter Chapter Three --- Mapping the Local Sound Scape --- p.29
Chapter Chapter Four --- Blackbird: A living Song --- p.54
Chapter Chapter Five --- Freedom of Art as Freedom of Life --Cultural Discourse as Political Activity --- p.80
Chapter Chapter Six --- Concluding Remarks --- p.95
Postscript --- p.98
Appendix --- p.101
References --- p.104

Yeung, Hiu Yan Dorcas.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 166-173).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgements --- p.iv
Table of Contents --- p.v
Tables and Figures --- p.vii
Chapter Chapter 1. --- Introduction
Chapter 1.1. --- Background --- p.1
Chapter 1.2. --- Objectives and research questions --- p.8
Chapter 1.3. --- Significance --- p.11
Chapter 1.4. --- Chapters overview --- p.12
Chapter Chapter 2. --- The Scene of Classical Music and Cultural Policy in Hong Kong
Chapter 2.1. --- Defining classical music and beyond --- p.16
Chapter 2.2. --- Development of orchestras and classical music in Hong Kong --- p.17
Chapter 2.3. --- Models of cultural policy and policy in Hong Kong --- p.21
Chapter 2.4. --- Supporting arts groups --- p.29
Chapter 2.5. --- Current funding policy --- p.31
Chapter Chapter 3. --- Literature Review
Chapter 3.1. --- Introduction --- p.38
Chapter 3.2. --- Theorizing state and arts - the field of cultural production --- p.38
Chapter 3.3. --- Arts administration --- p.47
Chapter 3.4. --- Amateur --- p.51
Chapter 3.5. --- "Chapter summary: Amateur arts group, administration and the field" --- p.58
Chapter Chapter 4. --- Methodology
Chapter 4.1. --- In-depth interviews --- p.60
Chapter 4.2. --- Documentation --- p.63
Chapter 4.3. --- Limitations --- p.63
Chapter Chapter 5. --- Being (and Surviving as) an Amateur: Case Studies of Music Groups
Chapter 5.1. --- Introduction --- p.65
Chapter 5.2. --- Estimating number of amateur music groups --- p.65
Chapter 5.3. --- The spectrum from professional to hobbyist --- p.67
Chapter 5.4. --- The need for resources --- p.76
Chapter 5.5. --- From beliefs to action --- p.89
Chapter 5.6. --- Models of operation --- p.96
Chapter 5.7. --- Chapter summary --- p.105
Chapter Chapter 6. --- Between What We Want and How They Do: Matching with the Administrative Habitus
Chapter 6.1. --- Introduction --- p.107
Chapter 6.2. --- The significance of arts administration --- p.107
Chapter 6.3. --- The mechanism --- p.110
Chapter 6.4. --- Getting around the system --- p.124
Chapter 6.5. --- Arts administration as a field --- p.131
Chapter 6.6. --- Negotiating with the administration --- p.140
Chapter 6.7. --- Chapter summary: Mapping the field --- p.144
Chapter Chapter 7. --- Conclusion
Chapter 7.1. --- Conclusion --- p.149
Chapter 7.2. --- Implications on cultural policy --- p.154
Chapter 7.3. --- Implications on amateur and amateur activities --- p.158
Chapter 7.4. --- Limitations and future direction --- p.159
Appendixes --- p.163
References --- p.166

This thesis introduces the reader to rock music in Durban from 1963 to 1985, tracing the development of rock in Durban from rock'n'roll to hard core punk. Although the thesis is historically orientated, it also endeavours to show the relationship of rock music in Durban to three central themes, viz: the relationship of rock in Durban to the socio-political realities of apartheid in South Africa; the role of women in local rock, and the identity crisis experienced by white, English-speaking South Africans. Each of these themes is explored in a separate chapter, with Chapter Two providing the bulk of historical data on which the remaining chapters are based. Besides the important goal of documenting a forgotten and ignored rock history, one central concern pervades this work. In every chapter, the conclusions reached all point to the identity crisis experienced both by South African rock audiences and the rock musicians themselves. The constant hankering after international (and specifically British) rock music trends both by audiences and fans is symptomatic of a culture in crisis, and it is the search for the reasons for this identity crisis that dominate this work. The global/local debate and its relationship to rock in South Africa has been a useful theoretical tool in the unravelling of the identity crisis mentioned above. Chapter Four focusses on the role of women in the Durban rock scene and documents the difficulties experienced by women who were rock musicians in Durban. This is a small contribution to the increasing field of womens' studies, and I have attempted to relate the role of women in rock in Durban to other studies in this field.
Thesis (M.Mus.)-University of Natal, Durban, 1995.

張武宜.
"2013年9月".
"2013 nian 9 yue".
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 229-239).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Zhang Wuyi.

This dissertation is an ethnography centered around two bands based in Guangzhou and their relationships with one of China’s largest record companies. Bridging ethnomusicology, popular music studies, cultural geography, media studies, vocal anthropology, and the anthropology of infrastructure, it examines emergent forms of musical creativity and modes of circulation as they relate to shifts in concepts of self, space, publics, and state instigated by China’s political and economic reforms. Chapter One discusses a long history of state-sponsored cartographic musical anthologies, as well as Confucian and Maoist ways of understanding the relationships between place, person, and music. These discussions provide a context for understanding contemporary musical cosmopolitanisms that both build upon and disrupt these histories; they also provoke a rethinking of ethnomusicological and related linguistic theorizations about music, place, and subjectivity. Through biographies of seven musicians working in present-day Guangzhou, Chapter Two outlines a concept of “musical subjectivity” that looks to the intersection of personal histories, national histories, and creativity as a means of exploring the role of individual agency and expressive culture in broader cultural shifts. Chapter Three focuses on the intertwining of actual corporeal mobilities and vicarious musical mobilities, and explores relationships between circulations of global popular musics, emergent forms of musical creativity, and an evolving geography of contemporary China. Chapter Four extends these concerns to a discussion of media systems in China, and outlines an approach to “sonic infrastructures” that puts sound studies in dialogue with the anthropology of infrastructure in order to understand how evolving modes of musical circulation and the listening practices associated with them are connected to broader economic, political, and cultural spatialities. Finally, Chapter Five examines the intersecting aesthetic and political implications of popular music sung in local languages (fangyan) by focusing on contemporary forms of articulation between music, language, listening, and place. Taken together, these chapters explore musical cosmopolitanisms as knowledge-making processes that are reconfiguring notions of self, state, publics, and space in contemporary China.