UNIT 4 SHORT ANSWER - MUNM 3113
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The University of Oklahoma *
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3113
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Arts Humanities
Date
Jan 9, 2024
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Uploaded by DoctorThunder6576
1.
In China, how did the Cultural Revolution affect the development of music and theater?
a.
Before the Cultural Revolution in 1966, the music in China was focused on
the time past, including the ancient instruments and rituals. The music was
used for spiritual and entertainment purposes and was enjoyed freely. This changed drastically when Chairman Mao Zedong, along with influence from his wife Jiang Qing, began what became known as the Cultural Revolution. During this time, China was primarily communist and was under strict government control. People were only allowed to consume music and theater that was approved and created by Zedong. This media was not meant for just the enjoyment of the people but was politically charged and carried a message along with it. Immediately following the death of Zedong that ended the CR, foreigners who came to study Chinese music were still only allowed to see what was going on in the urban parts of the country, not the music that was being performed in the more relaxed, rural parts of the country. Because of the political situation at the time, there was no outside influence on Chinese music and
theater. After the civil war when Zedong took control, “the new communist government restricted this music as well as other outside influences coming from the West” (Miller & Shahriari, 2020, p. 194). They were unaware of the trends taking place outside of China and were very isolated, leading to effectively a halt in music development. 2.
How are the aesthetics of music in Japan shaped by both Confucianism and Buddhism?
a.
The influence of both Buddhism and Confucianism runs throughout many aspects of Japanese music. One of the biggest influences is seen from the
Buddhist concept of “Zen” or clearing the mind. This led to musical pieces being very minimal and where “sparseness is preferred, there is relatively little activity, with much aural space separating the musical elements” (Miller & Shahriari, 2020, p. 205). Along with this aspect, Confucianism holds just as important of an influence. There is an emphasis on music being restrained and balanced, as is held highly in Confucianism. Looking at one type specifically, gagaku is a ritual court ensemble that was derived
from Confucianism. In general, both schools of thought have led to music being ritualized and held to a high standard of being extremely refined, even holding true with the instruments used. 3.
Discuss East Asian attitudes toward professional musicians and actors,
and explain why amateur music-making was held in such high esteem?
a.
The East Asian attitude toward professional musicians and actors is one of relative disdain. These individuals are seen as having a very low social status and are generally disliked or viewed as less than. A Chinese aphorism even says “let your daughter marry anyone, but never a wind player for funerals and weddings
”. The conservatory musicians have been
taught rigorously by another musician and play from written scores. This is
vastly different from the amateur musician who is held in high regard in East Asian societies. These musicians are beloved in their communities,
which is due to the Confucian ideal of “people edifying themselves by playing refined music” (Miller & Shahriari, 2020, p. 192). They learn from other members of the community with information that has been passed down from generations past. They play for their own pleasure and enjoyment rather than for the purpose of making money as the professional musicians do.
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