An Overview On The Music Societies In The First Half Of 20^th Century Of Modern China

This dissertation is designed to study some important music societies in the first half of20th century of modern China by analyzing some related historical materials, so as tocomprehend the modernization processes and features about China music from the aspectof music societies'activities.The principle of the dissertation is to observe these music societies of the period as awhole and bring them into the background of the changes of Chinese society and themusical cultural conflict between China and West in the first half of 20th century ofmodern China. On the research method, the dissertation pays especially attention to thehistorical material collection and classification, and the necessary evaluations based onthe historical sources will be obtained through historical facts with arguing.In addition to the'Introduction'and'Conclusion', the primary section of this paper canbe divided into three parts, including eight chapters.The first part of this paper contains the first three chapters: The first chapter is'thehardship of the development of story-teller music societies', the second is'forging theracial essences from the traditional opera societies'and the third is'the changes of theChinese instrumental music societies'. According to the historical evolution aboutstory-teller music societies, the content of the first chapter consists of the musicconfraternities such as'San Huang Hui'and'Chang Chun Hui', the music guilds such as'Guang Yu She'and'Rui Yu She', the improving societies and the research associations,and the societies conformed to the wartime situation such as the patriotic union andpropaganda groups. According to the historical development, the narrative about theChinese opera societies will be expounded as follows: the Royal opera societies of lateQing Dynasty, the regular professional training and traditional troupes, the organizationsfor traditional opera innovation and the local opera troupes. In this dissertation, the Chinese traditional instrumental music societies are divided into three types such as theself-entertainment societies, the custom societies and the professional- oriented societies.In addition, the innovation societies such as'Da Tong Yue Hui'and'the ImprovementUnion on the National Music'are also committed separately in this paper.The second part contains chapter 4 and chapter 5 which aims to research the NewMusic of Modern China societies related to the features of the tendency learning fromWestern music: Chapter 4 is'the New Music of Modern China societies', which containsfour sections. According to the historical clues, the first section discusses the New Musicof Modern China societies originated from the students abroad in Japan, the secondsection studies the societies established after the new culture movement among theintellectuals such as the Music Coterie, Music Art society and Music Art and LiteratureSociety, the third section reviews the historical perspective of the popular music societiesin this period, and the fourth section describes Western orchestra and its developmenthistory in China. Chapter 5 is'the renaissance music educational societies in China'which can be divided into following four sections: in the first section, the Conservatoryof Music of the Peking National University will be taken as a music educational societyand its leading contribution is that it allows professional music education originated inChina's institution of higher education, the second section is to discuss the activities andhistorical meaning in the Committee of Pushing Music Education in Jiangxi Province, thethird section explores the music societies in primary and secondary schools andinvestigates their actual impact on the social music fashion, and the fourth section studiesShanghai Music Education Association and researches the basic situation of the musiceducation in Shanghai before 1949.The third part contains chapter 6, chapter 7 and chapter 8: Chapter 6 is'the musicsocieties dealing with ideology'and inquires the historical development of the societiesin the Left-wing Music Movement, the New Music Movement, the Movement of Singingfor the Resistance Against Japan and National Salvation, and the military music activities;Chapter 7 is'the societies in the cultural organizations', taking the music societies withinthe associations of drama, literature and broadcasting system and discussing therelationship between music societies and cultural associations as its objects; Chapter 8 deals with the foreigner music societies in China and the overseas Chinese musicsocieties, roughly introducing, analyzing and inducing the historical development of thesemusic societies.In order to summarize and sum up the historical and cultural features and thedevelopment processes of these music societies in this period in modern China, the'Conclusion'recapitulates the basic content of this dissertation.