Western Classical Music Industry in Twenty-First Century China

Weida Wang is a scholar and lecturer specialising 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 FiguresList of Tables Introduction Chapter One The Western classical music industry in China: Contexts and conditions1.1 ‘Crisis’ in the West and proliferation in the East? 1.2 What is the relationship between music, governance, politics, and regulation in China? 1.2.1 Market censorship1.2.2 Cultural policy censorship1.2.3 Political censorship1.3 Research Methodology: insider/outsider, emic/eticChapter Two From Political tool to Soft Power: Reconstructing the Role 2.1 Post-socialist China 2.2 Cultural Industries in China2.2.1 China’s music industries2.2.2 Western classical music as a diplomatic tool2.3 Soft Power and the Western classical music industry today2.4 Cosmopolitanism: Western classical music as authenticityChapter Three The nostalgia industry3.1 Shanghai in the Republican period 3.2 SMO and Lyceum Theatre 3.3 Industry, policy, and audiences3.4 The nostalgia industry3.4.1 Nostalgia and memory3.4.2 The role as cultural intermediary3.4.3 The impact and the conflict of the professionalism and decolonisationChapter 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 neoliberalism4.2.1 Cultural Entrepreneurship4.2.2 Concept of Programming in the First Stage (1998–1999)4.2.3 Premieres and ‘Glocalisation’ in the Second Stage (2000–2010)4.2.4 Competition and the Aesthetic Turn in the Third Stage (2010–2018) 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 Debussy5.2.1 The criticism of Beethoven5.2.2 The negative image of Debussy5.3 ‘Qi’ as a marketing strategy and ‘desire’ as a political tool5.3.1 The relationship between both subjectivities5.3.2 The subjectivity of Qi5.3.3 The subjectivity of desire 5.4 The market-mania over Zhu Xiaomei5.5 The Instrumentalisation of Richard WagnerChapter Six Media culture and China’s Western classical music industry 6.1 The paradigm of music criticism in China: media shaping Western classical music fans6.1.1 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 Reshaping the sceneChapter Seven Conclusion7.1 Rethinking ‘cultural industries’ as a framework specific to China 7.2 Recontextualising each chapter within new insights 7.3 Assemblages and music industries in China Appendix: Chronology of China’s Western classical music industry over 20 years (1997–2017)List of abbreviationsBibliographyIndex