Música e rádio na China Maoísta (1949-1976)

Sofia Beatriz Ferreira da Silva; Luzia Rocha

doi:10.5216/mh.v22.68271

Authors

Sofia Beatriz Ferreira da Silva Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, Lisboa, Portugal, a2019104567@campus.fcsh.unl.pt https://orcid.org/0000-0001-6495-5912
Luzia Rocha Centro de Estudos de Sociologia e Estética Musical, Universidade NOVA de Lisboa, Lisboa, Portugal, luzia.rocha@fcsh.unl.pt https://orcid.org/0000-0002-5912-7802

DOI:

https://doi.org/10.5216/mh.v22.68271

Keywords:

Rádio, Audição Coletiva, Programas Musicais, Propaganda

Abstract

During Mao Zedong's twenty-seven years of leadership, radio became one of the main means of conveying the ideology and policies of the Chinese Communist Party, given the size of the territory and the literacy level of the population. The centralized structure of the radio system and the adopted transmission systems - monitoring system and transmission receiver system - combined with the resulting collective listening practice, allowed the CCP greater control and manipulation of the information conveyed. Music and radio music programs, produced according to the maxim “serving the people”, served as a complement to information programs, allowing, more or less consciously (through the structure of the programs themselves, the activities of the listening groups or passive individual listening) a better assimilation of what was transmitted.

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Author Biographies

Sofia Beatriz Ferreira da Silva, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, Lisboa, Portugal, a2019104567@campus.fcsh.unl.pt

PhD in Artistic Studies: Universidade Nova de Lisboa, Portugal. Masters in Intercultural Studies Portuguese-Chinese: Universidade do Minho: Braga, Braga, Portugal. Chinese Language and Culture Visiting Student: Nankai University, Tianjin, China. Bachelor in Oriental Languages and Cultures: Universidade do Minho, Braga, Portugal.

Luzia Rocha, Centro de Estudos de Sociologia e Estética Musical, Universidade NOVA de Lisboa, Lisboa, Portugal, luzia.rocha@fcsh.unl.pt

Luzia Rocha graduated in Musicology from NOVA University of Lisbon in 1999 where she also completed a Master degree and PhD degree in Musicology (2004, 2012). Previous to her PhD she published a 2 volumes book (with FCT financial support), 1 international book as editor, 1 chapter in 1 international book, 4 articles in 4 international peer reviewed journals, 1 catalogue entry, 3 texts in CD-ROM (international project, European Union support). Since obtaining her PhD degree (2012) she published 1 book (with FCT financial support) independently from the PhD supervisors, 3 chapters in 3 international books, 3 articles in 3 international peer reviewed journals, 1 article in a Web of Science indexed journal (accepted for publication), 6 articles in national peer reviewed journals, 3 articles in 3 international conference proceedings, 4 articles in CD-ROM (author and co-author, project financed by the Spanish government, Ministerio de Economia y Competitividad). Since her graduation Luzia Rocha supervised 7 Master Students from Universidade Lusíada/Orquestra Metropolitana de Lisboa, Master Program in Music Education. She is member of IMS study groups (Study Group on Musical Iconography and Study Group for Latin America and Caribbean - ARLAC), the Rede Temática Santos Simões at the Instituto de História de Arte (Universidade de Lisboa) and the Grupo de Iconografia Musical de la Universidad Complutense de Madrid/AEDOM. Currently Luzia Rocha is an Associated Professor at Universidade Lusíada (Lisbon, Portugal) a researcher at CESEM - The Research Centre for Aesthetics and Sociology of Music, FCSH/NOVA University of Lisbon and co-director of the Lusophone journal Glosas. In 2012 Luzia Rocha became the Director of NIM (Núcleo de Iconografia Musical)/CESEM, UNL, comprising three researchers including a Post-Doctoral student and two Masters. Luzia Rocha achieved a Merit Prize from NOVA University of Lisbon (1999) a PhD grant (FCT, 2006) and, more recently a research grant from Fundação Oriente/The Orient Foundation (2015).