The Western Classical Music Industry in Twenty-First Century China

Weida Wang is a scholar and lecturer specializing in music industry studies, sound art studies and cultural studies in music. With a PhD in music from Royal Holloway, University of London, Wang serves as a lecturer and guest lecturer at institutions such as the University of Liverpool, Heidelberg University, and Point Blank Music School in London.

List of Figures

List of Tables

Introduction

Chapter One Discoursing the Western classical music industry in China: Contexts and Conditions The Western classical music industry in China: Contexts and Conditions

1.1 ‘Crisis’ in the West and proliferation in the East?

1.2 What is the relationship between music, governance, politics, and regulation in China?

1.21 Market censorship

1.22 Cultural policy censorship

1.23 Political censorship

1.3 Research Methodology: insider/outsider, emic/etic

Conclusion

Chapter Two From Political tool to Soft Power: Reconstructing the Role

2.1 Postsocialist China

2.2 Cultural Industries in China

2.21China’s music industries

2.22Western classical music as a diplomatic tool

2.3 Soft Power and the Western classical music industry today

2.4 Cosmopolitanism: Western classical music as authenticity

Conclusion

Chapter Three The nostalgia industry

3.1 Shanghai in the Republican period

3.2 SMO and Lyceum Theatre

3.3 Industry, policy, and audiences

3.4 The nostalgia industry

3.41 Nostalgia and memory

3.42 The role as cultural intermediary

3.43 The impact and the conflict of the professionalism and decolonisation

Conclusion

Chapter Four The Political economy of the Beijing Music Festival (BMF): Repertoire and Programming

4.1 Producing culture in China

4.2 The programming of the music festival and the artistic monopoly:

alternative privatisation and the emergence of neoliberalism

4.21 Cultural Entrepreneurship

4.22 Concept of Programming in the First Stage (1998–1999)

4.23 Premieres and ‘Glocalisation’ in the Second Stage (2000–2010)

4.24 Competition and the Aesthetic Turn in the Third Stage (2010–2018)

Conclusion

Chapter Five Zhu Xiaomei and Richard Wagner: Segmentalised Audiences of the Elite-within-the-Elite

5.1 Politicisation of Western classical music

5.2 Western musicians’ reception before and during the Cultural Revolution: Beethoven and Debussy

5.21 The criticism of Beethoven

5.22 The negative image of Debussy

5.3 ‘Qi’ as a marketing strategy and ‘desire’ as a political tool

5.31 The relationship between both subjectivities

5.32 The subjectivity of Qi

5.33 The subjectivity of desire

5.4 The market-mania over Zhu Xiaomei

5.5 The Instrumentalisation of Richard Wagner

Conclusion

Chapter Six Media culture and China’s Western classical music industry

6.1 The paradigm of music criticism in China: media shaping Western classical music fans

6.11 The rise of the online media industry and its influence

6.2 The decentralisation of music criticism

6.3 The asylum of aficionados

6.4. Conclusion: Reshaping the scene

Chapter Seven Conclusion

7.1 Rethinking ‘cultural industries’ as a framework specific in China

7.2 Recontextualising each chapter within new insights

7.3 Assemblages and music industries in China

Appendices

Appendix 1

Appendix 2

Bibliography

Index