The Color Scheme of Three Revolutionary Epics in Socialist China (1964-2006):

Red Legend, Grey Performance, or Black Restoration to Capitalism

Xiaomei CHEN, University of California, Davis   Content 

Breaking Bad: The Body, the Voice, and the Villain in Amateur Performance of Yangbanxi

Laurence CODERRE, University of California, Berkeley   Content 

Jiang Qing's View on Art and Its Embodiment in the Model Operas
DAI Jiafang, Central Conservatory of Music   Content 

Enjoying Propaganda Art: The Aesthetic Experience of Cultural Revolution Music

Barbara MITTLER, University of Heidelberg   Content 

The Making of Revolutionary Cantonese Operas during the Cultural Revolution

PANG Laikwan, The Chinese University of Hong Kong   Content 

Sonic Imaginary after Cultural Revolution

Nancy Yunhwa RAO, Rutgers University   Content 

The Dragon River Reaches the Borders: the Rehabilitation of Ethnic Music in Model Opera

Rowan PEASE, SOAS, University of London   Content 

Making the Confucianist Meditative Tool into the Maoist Revolutionary Weapon? The Chinese Seven-stringed Zither Qin in the Era of Cultural Revolution

TSAI Tsan Huang, The Chinese University of Hong Kong   Content 

Third World Internationalism in the Peking Opera Haigang (On the Dock)

Ban WANG, Stanford University   Content 

Musical-dramatic Experimentation in the Yangbanxi: A Case for Precedence in the Great Wall

John WINZENBURG, Hong Kong Baptist University   Content 

The West is Red: The Uyghur Adaptation of Qizil Chiragh (Red Lantern) during China's Cultural Revolution

Chuen-Fung WONG, Macalester College   Content