A Gentle Yet Stern Historical Pen: A Brief Discussion on Ming Yan's Style of Music Criticism
Abstract
Ming Yan is a scholar with distinctive academic personality and systematic pursuit in the field of contemporary Chinese music criticism. His critical practice takes the history of 20th-century Chinese music criticism as its main subject, covering multiple historical periods ranging from school songs, the May Fourth New Culture Movement, national salvation and the War of Resistance against Japanese Aggression to contemporary avant-garde music. He has formed a complete paradigm that runs consistently from philosophical ideas to operational criteria. Understanding the structural logic and stylistic characteristics of this paradigm is of great case significance for grasping the disciplinary construction path of contemporary Chinese music criticism.
References
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- Ming, Y. (2003).Music criticism. Central Conservatory of Music Press.
- Ming, Y. (2010).A guide to twentieth-century Chinese music criticism literature. Shanghai Conservatory of Music Press.
- Ming, Y. (2001). "New learning" and "new music" for the "new citizen": Concepts of music criticism during the school song movement.Music Research, (2), 27–36.
- Cai, Z. (1995). A review of Qing Zhu's thought on music aesthetics.Chinese Musicology, (3), 79–96.