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China boasts many great musical traditions, these traditions have made an indelible mark on Chinese culture that has been felt by every generation.
Based on extensive fieldwork and documentary research in China, this book is a chronicle of the musical history of Lijiang County in China's southern Yunnan Province. It focuses on Dongjing music, a repertoire borrowed from China's Han ethnic majority by the indigenous Naxi inhabitants of Lijiang County. Used in Confucian worship as well as in secular entertainment, Dongjing music played a key role the Naxi minority's assimilation of Han culture over the last 200 years. Prized for its complexity and elegance, which set it apart from "rough" or "simpler" indigenous Naxi music, Dongjing played an important role in defining social relationships, since proficiency in the music and membership in the Dongjing associations signified high social status and cultural refinement. In addition, there is a strong political component in its examination of the role of indigenous music in the relation of a socialist state to its ethnic minorities. The first in English on this rich musical tradition, this book is also unique in providing a complete history of the music in a single region in China over the twentieth century. It integrates individual, local, and national histories with musical experience and musical change. Ethnic music in China provides a vivid example of the tremendous cultural changes over the past century, and the tradition continues to evolve as China encourages ethnic diversity within a unified socialist nation. The book includes a case study of China's tourist trade and its policies toward minorities.
This much-needed volume explains who ethnic minorities are and how well do they do in China. In addition to offering general information about ethnic minority groups in China, it discusses some important issues around ethnicity, including ethnic inequality, minority rights, and multiculturalism. Drawing on insights and perspectives from scholars in different continents the contributions provide critical reflections on where the field has been and where it is going, offering readers possible directions for future research on minority ethnicity in China. The Handbook reviews research and addresses key conceptual, theoretical and methodological issues in the study of ethnicity in China.
China has been ethnically, linguistically, and religiously diverse. This volume recasts the pedagogical and policy challenges of minority education in China in the light of the state's efforts to balance unity and diversity. It brings together leading experts including both critical voices writing from outside China and those working inside China's educational system. The essays explore different aspects of ethnic minority education in China: the challenges associated with bilingual and trilingual education in Xinjiang and Tibet; Han Chinese reactions to preferential minority education; the ro.
A study of popular music in contemporary China that focuses on how popular music has become a staging area for battles over politics and ethnic differences in China.
Gender, ethnicity, and nation in China, as seen through an ethnography of the changing cultural production of the Miao, a minority population.
This study reviews the history and present state of ethnic minority popular music in Mainland China. A primary focus is on the influence of government policy with regards to authenticity in association with ethnic minorities and mainstream popular music artists. The indie popular group, Shanren, which has strong ties to minority music and culture in China, is used as a case study to examine how authenticity is achieved through visual, aural, and linguistic connections to the social reality of the rural ethnic minority community, as well as migrant workers who are drawn to major urban centers in China, such as Beijing. Perceptions of authenticity are important considerations for their major audience, the Wenyi qingnian (“literary youth”), which refers to urban youth born primarily in the 1980s and 1990s. This demographic generally appreciates indie rock music and is a fundamental audience for indie minority bands, categorizing popular musicians as either Tu (raw, folk, native and authentic) or Chao (fashion, artificial and modernized). This study offers a model for examining how authenticity with regards to these categories is determined and its implications for future public perception.