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M. Nakajima (1987)
Foreign relations: from the Korean War to the Bandung Line
(1956)
Bei Duofen di reqingzoumingqu [Beethoven's appassionata]
(1958)
Tanguanyu fazhan woguo jiaoxiangyue yishu wenti [On the artistic question of developing our country's symphonic music]
(1957)
Zuoqujia di yongqi [The courage of a composer]
(1955)
Yanzoujia yaobuyao xuexi makese liening zhuyi? [Do performers need to study Marxism and Leninism?]
(1951)
Guanyu jieshao xiyang yinyue di jige wenti [A few interpretations of the introduction of Western Music]
(1951)
Zong guangbo yinyue tandao jieshao xiyang yinyue wenti [From music broadcasting to introducing Western Music]
(1955)
Bei Duofen di geju feitailiao: kansulian dajuyuan di yanchu houji [Fidelio: an opera by Beethoven]
(1959)
Bei Duofen dijiujiaoxiangyue shouci zaijing yanchu [Beijing premiere of Beethoven's ninth symphony]
(1957)
Beijing yinyuejie juxing Bei Duofen jinianhui [Beethoven Memorial organized by the Beijing Music Circle]
(1956)
Tingboshidun jiaoxiangyuetuan di yinyuehui [Boston symphony Orchestra in concert]
(1959)
Lunhao [On goodness]
(1959)
Huanle nushen, shengjie meili [The goddess of joy is pure and beautiful]
(1959)
Jiaoxiangyue yanzoushiye dabuxiangqian [The great leap forward for a symphonic career]
(1959)
Yiwan renmin, yongbao qilai [Heartfelt congratulations]
(1958)
Jiaoxiangyinyue bihuwei zhengzhi fuwu [Symphonic music must serve politics]
Mao Run (1991)
Music under Mao, Its Background and AftermathAsian Music, 22
(1929)
“Pupian di yinyue [Music for everyone]
(1959)
Yiwubi di shenxin, yigengkuai di sudu yongwang zhiqian [Moving Forward with unlimited courage and faster speed]
(1959)
Gengjia guzu ganjin, gesong zuguo yiqie meihao di shiwu [Praising all the blessings in our Motherland]
(1959)
Zongjiaoxiangyue xiangqi [Beginning from the symphony]
(1954)
Deguo xiandai zuoqujia wei xianshizhuyiyinyue er douzheng [Contemporary German composers fighting for musical realism]
(1959)
Bei Duofen dijiujiaoxingyue zaijing yanchu [Beethoven's ninth symphony in Beijing]
(1959)
Shidai di shengyin: Bei Duofen dijiujiaoxiangyue yanchu suigan [Voices of our time: a though on Beethoven's ninth symphony]
(1959)
Wutaihoumian: Bei Duofen dijiujiaoxiangyue yanchu suitan [Backstage: a thought on Beethoven's ninth symphony]
(1956)
Bei Duofen di siaotiqin xiezouqu [Beethoven's violin concerto]
(1959)
Gechang huanledi dijiu jiaoxiangyue [The rejoicing ninth symphony]
One of the standard practices of Communist Parties around the world is to employ art, including music, as a channel to spread political ideologies. This study aims to scrutinize the reception of Beethoven's music, particularly from a political viewpoint, by the Chinese Communist Party (CCP) in the People's Republic of China (PRC) during the early years of its rule, i.e. from 1949–1959. The ambiguity of Beethoven's own political outlook may have provided an opportunity for the CCP to choose the composer and his music in support of its aims.Design/methodology/approachTo understand why and how the CCP could exploit Beethoven and his music to support its political ideologies, a series of Chinese writings on Beethoven between 1949 and 1959 have been studied. Those literatures not only helped the composer gain reputation and popularity in the PRC, but also provided a platform for the CCP to manipulate such candidate and his music. Finally, the reception of the performances of the Ninth Symphony in 1959 in the PRC is singled out for close examination.FindingsDuring the first ten years of the establishment of the PRC, the quantity and quality of the articles on Beethoven expanded considerably. These writings continued to reflect the reception of Beethoven and his music with the addition of political nuances that could be interpreted in the CCP's favour.Originality/valueThis paper seeks to examine the PRC's artistic policies, with a particular emphasis on the reception of Beethoven and western classical music.
Asian Education and Development Studies – Emerald Publishing
Published: Sep 9, 2021
Keywords: Beethoven; Beethoven in China; Music propaganda in the PRC; Western classical music as propaganda; Western classical music in China
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