This dissertation explores the dynamics of political control of the arts and artistic freedom in the musical storytelling art of Suzhou tanci between 1949 and 1964, years marked by extensive revision of traditional performance repertoire, widespread creation of new, contemporary-themed stories, and composition of boldly innovative ballad music. I examine four stories and ballads either composed or revised during this time, looking broadly at the role of the State in the creative process. I consider the role of high-ranking officials whose personal comments to artists shaped their creative processes, and the role of societal political pressure placed on artists through political movements and shifting trends in the dramatic arts.
I study the artists? responses to these political forces as expressed in their newly composed and revised works. I examine decisions made during the creation of story and ballad texts, and analyze bold innovations taken by three artists during the composition of ballad music. I suggest that the musical innovations be viewed both as responses to the coercive political atmosphere of the 1950s and 1960s and as significant expressions of artistic freedom within this politicized atmosphere.
This dissertation begins with an overview of the main research questions, theoretical framework, research methodology, and literature. This is followed in Chapter 2 by an introduction to the art form, and an exploration of the 1950s-1960s period in Chinese history in Chapter 3. In Chapter 4, I examine the revision of the traditional story Jade Dragonfly, and the composition of new music in the story's climactic ballad Fighting for the Son. In Chapter 5, I Composing, Revising, and Performing Suzhou Ballads: a Study of Political Control and study the creation of the new story We Certainly Must Fix the Huai River, and the composition of new music in the pivotal ballad Staying for the New Year. In Chapter 6, I explore the musical innovations made during the creation of two new ballads New Mulan Song and Butterfly Loves the Flower. Chapter 7 summarizes Chapters 4, 5, and 6, offers concluding thoughts regarding the nature of political control and artistic freedom in the Chinese arts during the 1949-1964 period, and suggests broader implications for the field of ethnomusicology.
|School:||University of Pittsburgh|
|School Location:||United States -- Pennsylvania|
|Source:||DAI-A 70/03, Dissertation Abstracts International|
|Keywords:||Artistic freedom, Ballads, China, China arts, China ballads, Hegemony artists, Music innovation, Political control, Politics arts, Suzhou, Suzhou tanci, Tanci|
Copyright in each Dissertation and Thesis is retained by the author. All Rights Reserved
The supplemental file or files you are about to download were provided to ProQuest by the author as part of a
dissertation or thesis. The supplemental files are provided "AS IS" without warranty. ProQuest is not responsible for the
content, format or impact on the supplemental file(s) on our system. in some cases, the file type may be unknown or
may be a .exe file. We recommend caution as you open such files.
Copyright of the original materials contained in the supplemental file is retained by the author and your access to the
supplemental files is subject to the ProQuest Terms and Conditions of use.
Depending on the size of the file(s) you are downloading, the system may take some time to download them. Please be