Running head: DEVELOPMENT AND CHANGE OF CHINESE MUSIC 1

Devilment and Change of Chinese Music (Suzhou Pingtan)

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Devilment and Change of Chinese Music (Suzhou Pingtan)

Suzhou Pingtan Develop in 1950-1966

Suzhou Pingtan, a provincial assortment of the Shuochang, is a fine art that is famous in

the south of Jiangsu, the north of Zhejiang, and Shanghai. It is a blend of Pinghua and Tanci,

which are two types of Chinese people's artistry (Shi, Y. (2016). ). It goes back to the Song

Dynasty. Wu Culture impacts it, including music and art.

Made by crafted Suzhou Pingtan specialists, this work of art appreciates extraordinary

notoriety in Jiangnan. The long history has likewise established a robust framework for its

advancement (He, 2011). Its substance is precious; however, the structure is essential. Stories,

jokes, Music playing, and aria singing are the performing procedures while thinking, tastes,

startling quality, intrigue, and minuteness are the aesthetic highlights .

Even though it began in Suzhou, Suzhou Pingtan prospered in Shanghai with the

advancement of trade and culture at the turn of the nineteenth century. From that point forward,

Pingtan turned into another type of execution by improving and carrying on the custom.

Suzhou Pingtan structures its imaginative qualities of thinking, taste, suddenness,

intrigue, and minuteness. The thought isn't the exhausting preachment given by the entertainers.

In actuality, it will, in general, uncover target laws and pith of genuine by methods for forming

bright characters. Furthermore, the advancement of the aspects relates to their conditions.

While its customary collection was prohibited during the Cultural Revolution, Suzhou

Pingtan still delighted in a different status as a favored mechanism for singing lyrics by Mao

Zedong, making Pingtan's melodic segment known and acknowledged all through China,

regardless of the regional obstruction (Fu, & Huang, 2018). The customary collection has

resuscitated. With rivalry from new types of amusement, Suzhou Pingtan artisans are currently
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trying different intends to reach and draw in spectators. There are presently around thirty-five

Pingtan troupes in the district, performing both in conventional and non-customary scenes:

Pingtan theaters (shuchang), teahouses, and proficient occasion exhibitions (huishu), Pingtan

social orders (shuhui) and radio.

In shuchang, each show typically starts with a kaipian, a free aria sung to open the show,

and to heat the group of spectators and is trailed by a scene from the earlier day's presentation. A

keep running of exhibitions endures anyplace from seven days to a large portion of a month,

after which another run starts with a few distinct entertainers. The spectators have committed

fans and elderly folk's individuals. A program in an eatery, in any case, would contain all the

more singing pieces and offer more scenes autonomous of each other because the crowds are

consistently unique. A huishu activities mostly held in a large venue on a happy or memorial

event. It offers a far-reaching project made out of a progression of short scenes by understood

specialists, promising youthful entertainers, and noted piaoyou (non-proficient craftsmen),

drawing in a diverse crowd including youngsters. The customary exercises of Pingtan social

orders include both expert and non-proficient entertainers (Hao, 2007).

The scene that contacts the biggest crowd of various age groups has been radio and

television, and specific direction in the district have been giving set availabilities to Pingtan

programs. More stories on contemporary subjects were added to the Pingtan collection. While

playing out a well-known narrative, the storyteller regularly utilizes his/her accountabilities to

allude to different marvels of contemporary society for remarks, parody, and lighthearted

elements.
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Cultural Revolution Affects the Development of Chinese Music During 1966-1977

China is a vast area that comprises of a number of activities running from wheat and rice

to family's homes and industry. Regarding the culture, it is standard to make a differentiation

between every different area. Such nuances vary in cooking, language, and even Music.

Territorial differentiation is critical in Chinese Music, particularly in the account and

show sorts. As of not long ago, most compositions on Chinese Music concentrated on antiquated

instruments, customs, and tasteful standards (Clark, 2008). A few researchers saw this Music as

unsophisticated as it celebrated immaterial Music of the past. Cultural Revolution (1966-1976)

avoided any knowledge of the development of Chinese Music.

During this time of cultural change, the Chinese government saw Music as purposeful

publicity. Numerous disputes about outright Music emerged, which had not gone for the melodic

or the creative, but instead, at the cultural and political level. Supreme Music is an idea of Music

broadly used in the West, a type of Music with no extra-melodic references yet is essentially

Music for the wellbeing of Music. Interestingly, Chinese Music was never without a program or

an extra-melodic thought, message, or story behind it. Music was never seen to be craftsmanship

for the wellbeing of art or sound for the good of sound. Titles and program notes were not just

intended to be intriguing advisers for the group of spectators, yet to give the suitable translation

at a given time. This idea of programmatic was held significantly stricter during this timeframe,

and no music without an endorsed program. Too, numerous entertainers had to resign and were

disgraced freely.

The administration never again keeps up this point of view. Instead, they have considered

a wide range of Music to prosper as well as can be expected. China's Music is inconceivably

various (ex. Instruments), yet is in a general sense of vocal Music. Other than a considerable
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amount of local people tunes, there are numerous territorial types of story melody and theater,

with theater continually having Music. A significant part of Chinese Music depends on songs

that can exist in any number of appearances and settings, vocal or instrumental, solo, or group. A

lot of their Music insinuates nature, writing/fantasy, state of mind, even melodic structure. As

referenced previously, increasingly predominant today are the incalculable provincial types of

the theater all have Music and singing. Music was related to Daoism and Buddhism, just as the

now restored Music of the Confucian ceremony.

How did the cultural revolution affect the development of Suzhou Pingtan during

1966-1977

Suzhou Pingtan is a Chinese narrative art based on artistic methods that incorporate

different styles and forms of vocal performance. The vocal musical performances by telling

stories, playing instruments, and singing. The performers also used to crack jokes. Interest,

tastes, and minuteness characterized the Pingtan. The Pingtan developed characters according to

their similar circumstances. The Suzhou Pingtan is very common in most parts of the Chinese

provinces. The popularity of this form of storytelling otis attributed to its rich cultural diversity.

Mao Zedong, the Chinese leader, sought to make many changes in the original traditional

setting during the cultural revolution. Most of the traditional aspects of Chinese culture were

affected. The changes had a negative impact and suppressed Chinese traditional culture. The era

was characterized by a new culture that the communist government used to communicate its

ideologies to the Chinese People. Therefore, music and other forms of art were used to carry out

this.

The traditional aspects of the Suzhou Pingtan were significantly affected by the cultural

revolution between 166-1976. The cultural revolution came to be during the era of the Chinese
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Communist leader, Mao Zedong. He launched this revolution to assert his authority over the

Chinese People. The cultural revolution had a significant impact on the culture of the Chinese

People, mostly Chinese Music and other forms of arts such as the Suzhou Pingtan. During this

revolution, Suzhou musical performances became more popular and appreciated (Mengyu,2015).

Despite the negative impact that the cultural revolution had on the Chinese traditional

culture, the revolution also played a crucial role in the development of the Suzhou Pitang. During

the cultural revolution, the Suzhou Pitang musical troupes were used by the communist

government to spread their political messages (Gao,2008). As much as there was coercion from

the Communist government, the art of Suzhou performances gained massive popularity among

the Chinese. Troupes traveled far and wide across the republic to perform to educate, mobilize,

and pass information. Due to the heightened political activities at the time, the Suzhou Pingtan

performances developed gradually.

The limiting factor to these performances was the lack of freedom. The policies

implemented by the communist government greatly restricted musical performances. Many cases

of performers being humiliated were reported (Li Xing,2010). A case example is when Suzhou

Pitang musicians arrested. There were also times when musicians were disallowed to perform

using musical instruments. The policies led to censoring of some music ideologies. The

performers majorly played music and told stories about communism. The reason behind this was

the intense communist political domination.

During the revolution, storytellers started using stories to ridicule the communist

government. They came up with better ways of telling these stories. The creativity in these

performances attracted many people, which eventually led to development. Moreover, the

communist policies used the Suzhou performances to pass messages of patriotism and also praise
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the communist leader, Mao Zedong. Therefore, saying that the cultural revolution led to the

development of the Suzhou Pitang form of music would be right. Despite the limitations and

harsh communist policies, the Suzhou Pitang increased during that period between 1966-1976.

The reason for this is that Mao Zedong as an essential mean of passing messages of political

agitation and also educating people against Western influence (Fu &Huang,2018).

How did Suzhou Pingtan development in 1976 to present?

The end of the cultural revolution was marked with rapid changes in the Chinese art and

music industries. Unlike before, where the communist policies-controlled art and music

performances, artists could now compose their music and perform without storytelling. One of

the remarkable changes was the spread of performances such as Suzhou Pitang. Moreover,

Chinese people can now listen to western music. During the cultural revolution, western music

was not allowed. The music of the west might have in a way, limited the development of these

contemporary Suzhou Pingtan music.

The Suzhou Pingtan had already developed during the cultural revolution era. The

storytelling form of performance continued to increase and, once again, was fun-filled and still

fashionable. The performances also incorporated new music and embraced traditional styles. The

Suzhou Pitang has grown rapidly to become one of the most-watched music in the Republic of

China. Suzhou Pingtan enjoys a long history that has a strong foundation, characterized by rich

cultural content. The strong foundation has played a vital role in its development.

Televisions and other broadcast media have been used hand in hand with other media

forms to spread the Suzhou Pingtan art. Characters have been borrowed from past Suzhou Pintan

performances. The historical feel of the television shows and concerts has attracted more

significant audiences. The media industries have created new prospects by integrating Sozhuo
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Pingtan. Pingtan is known for its famous and exciting folklore art, which people can relate to. By

incorporating the traditional feel of the Pingtan culture to new shows, there has been quite a

significant development in favor of this art.

Despite the development of the Suzhou Pingtan, there has been quite a decline in this art.

The fall is attributed mainly because of a smaller number of younger audiences (Mengxig,2018).

However, measures have been put in place by `the Chinese government to promote this

important natural heritage. The standards nevertheless have not aided a lot in developing this art.

According to Mengxing Fu, innovation and animation are required to attract a much larger

audience and also protect the Suzhou Pingtan heritage (Mengxig,2018).

This research is very vital as it gives insight and explains the development of a wealthy

Chinese form of art and music. By exploring the events that this form of oral performance has

undergone, one can fully understand the rich and diverse foundation of the Chinese culture.

(Andrews,2010). The research is also critical in establishing the role of culture and politics in

music art. As evidenced by Mao Zedong's community policies, the cultural revolution had both

negative and positive impacts on the development of the Suzhou Pingtan. Moreover, it

emphasizes the point that we should make efforts to preserve our culture either in the form of

music, storytelling dancing or art.

The difference between this research and others is that the study gives a better-detailed

example. Moreover, it does not focus only on the negative impact of the Cultural Revolution in

China. Instead, it digs deep to find out if the cultural revolution played a vital role in the

development of the Suzhou Pingtan. The research also focuses on the contributing factors of the

development after the cultural revolution of 1966-1976.

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Conclusion

In conclusion, Suzhou Pingtan is a rich source of Chinese cultural heritage, and therefore

its development is critical, particularly to the Chinese people. Despite the cultural revolution, the

Suzhou Pingtan was able to survive through that era and grow. Therefore, its development

cannot be taken lightly. The Suzhou Pingtan is one of the greatest musical forms of Chinese

cultural diversity. Therefore, in order to preserve this musical form, the Suzhou Pingtanmust be

incorporated in modern technologies to spread it effectively.

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