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One of the standard practices of Communist Parties around the world is to employ art, including music, as a channel to spread political ideologies. This study aims to scrutinize the reception of Beethoven's music, particularly from a political viewpoint, by the Chinese Communist Party (CCP) in the People's Republic of China (PRC) during the early years of its rule, i.e. from 1949–1959. The ambiguity of Beethoven's own political outlook may have provided an opportunity for the CCP to choose the composer and his music in support of its aims.

To understand why and how the CCP could exploit Beethoven and his music to support its political ideologies, a series of Chinese writings on Beethoven between 1949 and 1959 have been studied. Those literatures not only helped the composer gain reputation and popularity in the PRC, but also provided a platform for the CCP to manipulate such candidate and his music. Finally, the reception of the performances of the Ninth Symphony in 1959 in the PRC is singled out for close examination.

During the first ten years of the establishment of the PRC, the quantity and quality of the articles on Beethoven expanded considerably. These writings continued to reflect the reception of Beethoven and his music with the addition of political nuances that could be interpreted in the CCP's favour.

This paper seeks to examine the PRC's artistic policies, with a particular emphasis on the reception of Beethoven and western classical music.

The purpose of this paper is to examine music teachers' perceptions of teaching cultural and national values (also defined as national cultural values) to explore the tensions facing school music education in the choice of music types to be delivered in Hong Kong and Taiwan.

With specific regard to music teachers' perceptions of “values,” “music cultures” and “nationalism,” data were drawn from a survey questionnaire given to 343 music teachers (155 preservice and 188 in-service music teachers) and semistructured interviews with 36 of these respondents.

The findings of the study showed that though many respondents in Hong Kong and Taiwan felt comfortable teaching traditional Chinese music, they did not want to teach contemporary Mainland Chinese music and other political or patriotic forms in the school music curriculum. The data also demonstrated some shortcomings in introducing a balance of music types into the curriculum, as well as limitations in promoting national education in response to the respective sociopolitical situations in Hong Kong and Taiwan.

This study was subject to limitations regarding the potential generalizability of the findings on school music teachers' perceptions in Hong Kong and Taiwan.

The implications for teachers and student teachers regarding the development of cultural and national values related to the political processes in Hong Kong and Taiwan are complicated, because of not only their relationship with Mainland China and its education based on nationalism but also the extent of teachers' professional training to help create an enabling environment for national and cultural development.

The findings of this study revealed that there are fundamental gaps in the overt and operational curricula in Hong Kong and Taiwan concerning the sociopolitical function of values in school music education in response to their respective sociopolitical situations.

The purpose of this paper is to compare music mood perceptions of people with diverse cultural backgrounds when they interact with Chinese music. It also discusses how the results can inform the design of global music digital libraries (MDL).

An online survey was designed based on the Music Information Retrieval Evaluation eXchange (MIREX) five-cluster mood model, to solicit mood perceptions of listeners in Hong Kong and the USA on a diverse set of Chinese music. Statistical analysis was applied to compare responses from the two user groups, with consideration of different music types and characteristics of listeners. Listeners’ textual responses were also analyzed with content coding.

Listeners from the two cultural groups made different mood judgments on all but one type of Chinese music. Hong Kong listeners reached higher levels of agreement on mood judgments than their US counterparts. Gender, age and familiarity with the songs were related to listeners’ mood judgment to some extent.

The MIREX five-cluster model may not be sufficient for representing the mood of Chinese music. Refinements are suggested. MDL are recommended to differentiate tags given by users from different cultural groups, and to differentiate music types when classifying or recommending Chinese music by mood.

It is the first study on cross-cultural access to Chinese music in MDL. Methods and the refined mood model can be applied to cross-cultural access to other music types and information objects.

The purpose of this paper is to discuss nationalistic education in Hong Kong from a cultural perspective. It highlights the challenges faced by the Hong Kong Government and the growing antagonism and mistrust between the young generation and the government. The paper reviews the cultural policies adopted by the Western Zhou, Han and Tang dynasties in ancient China.

This paper adopts a historical approach by reviewing the policies in music and culture in the Chinese history and argues for the adoption of a soft approach to nationalistic education in Hong Kong.

Results show that being inclusive toward diverse cultures, trusting and valuing people’s voices and accepting differences of opinion are effective policies that were adopted by the respective dynasties. The results shed light on the possibility of nurturing nationalism through education in music and culture.

The historical examples mentioned in this paper are only selected periods of the Chinese history. Thus, the survey could not be taken as a comprehensive review.

This paper reviews the policies concerning music and culture in ancient China and argues for transferring the soft approach of predecessors toward these subjects as part of the nationalistic education of Hong Kong.

The results shown should be considered seriously by the Hong Kong Government as an effective substitute policy for the past stringent approach of implementing national education in Hong Kong. Nationalistic education focusing on music and culture is a common root for all Chinese and should be used in future to build up trust and common values between China and Hong Kong.

The originality of this research lies in its dealing with nationalism and national education, recommending a soft approach to education viewed through the prisms of music and culture.

While Hong Kong has exercised laissez-faire policy with regard to popular cultural industries, such broadcasting freedom may not fully accepted in countries where state control of the media is tight. This paper aims to have a review and brief discussion on music development and the phenomenon of popular music censorship under Chinese societies including China, Hong Kong and Singapore.

After a brief discussion on the popular music scene in Hong Kong, China and Singapore, this paper reviews on the possible reasons for popular music censorship issue in the Chinese societies.

It is found that Canto-pop can be freely broadcast in Hong Kong; however, such freedom is not accepted in China and Singapore due to censorship. While China is sensitive to pro-democratic content in popular music, Singapore's language policies hinder the development of Canto-pop since the 70s.

After reviewing the reasons for music censorship, in particular Cantonese popular music in the Chinese societies, the paper gives a prediction on the future development of Canto-pop.

With a focus on undergraduate music major students in China, the study sought to examine how higher music education institutions prepare professional knowledge, professional skills and soft skills in relevance to music students' employability.

The quantitative survey engaged 359 music students from five music institutions in Western China to report their perceptions toward music curriculum related to employability. The current study examined whether their perception varied based on their gender, location, school, educational background and professional option purpose.

Perception differences in the music curriculum were observed across gender, schools, educational background and professional option purpose. School differences were the most significant among all five factors, followed by professional option purpose, educational background and gender. The location difference was insignificant among the five factors. There were insufficient opportunities for community and industrial engagement in higher music education.

The current study provides an insight into the higher music education curriculum for employability preparation in current China. This is one of the limited empirical studies in Western China to investigate music students' perceptions of professional knowledge and skills and the soft skill line with employability. The findings can serve as a reference for prospective employees in the music industry, policymaking and curriculum design and future research.

Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia.

Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies.

Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings.

In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.

Music mood is an important metadata type on online music repositories and stream music services worldwide. Many existing studies on mood metadata have focused on music websites and services in the Western world to the exclusion of those serving users in other cultures. The purpose of this paper is to bridge this gap by exploring mood labels on influential Chinese music websites.

Mood labels and the associated song titles were collected from six Chinese music websites, and analyzed in relation to mood models and findings in the literature. An online music listening test was conducted to solicit users’ feedback on the mood labels on two popular Chinese music websites. Mood label selections on 30 songs from 64 Chinese listeners were collected and compared to those given by the two websites.

Mood labels, although extensively employed on Chinese music websites, may be insufficient in meeting listeners’ needs. More mood labels of high arousal semantics are needed. Song languages and user familiarity to the songs show influence on users’ selection of mood labels given by the websites.

Suggestions are proposed for future development of mood metadata and mood-enabled user interfaces in the context of global online music access.

This paper provides insights on understanding the mood metadata on Chinese music websites and uniquely contributes to existing knowledge of culturally diversified music access.

The country‐of‐origin literature has focused mainly on tangible products and has neglected largely intangible services and products such as the arts. The objective of this study is to examine the impact that country of origin may have on consumer perceptions of artistic and cultural products and to explore the variables that explain how consumers form their perceptions of countries as producers of cultural products.

A survey was conducted among adult consumers in Australia, Canada, Italy, Switzerland, and the USA that assessed participants' perceptions of 16 countries with respect to their reputation for nine cultural products.

The results indicate that product‐country images in the arts are affected by country and product familiarity as well as consumers' openness to foreign cultures and home country bias. Countries more proximate to the participants' home country were also better evaluated, especially when the proximity factor played a significant role in the consumption of cultural products.

While almost all of the hypotheses were supported, additional research is needed to examine the cultural products of non‐Western and emerging markets as well as product‐country perceptions in these markets.

This study extends our understanding of country‐of‐origin effects in the context of aesthetic, intangible, and complex products that elicit both cognitive and affective responses. It demonstrates that familiarity with a country of origin has a stronger association with positive perceptions of product‐country reputation than does product familiarity, and that openness to foreign cultures, home country bias, and proximity have a positive effect on product‐country evaluations.

The purpose of this paper is to outline a framework for marketing cultural goods (e.g. music) to global markets by examining modes of entry and positioning strategies used by media producers of the South Korean music industry.

An historic analysis was implemented to investigate the modalities and structures through which cultural products are produced and disseminated. Data for this study came from 314 articles collected from www.allkpop.com, a leading English-language, South Korean popular culture news site.

The cultural technology framework consists of the institutionalization of cultural technology, exportation of cultural content, collaborations with local talent, and joint ventures with local markets.

The findings emerge from an analysis of South Korean popular music industries, and further research is needed to generalize the results across cultural industries.

The cultural technology framework can be applied to cultural industries such as music, film, comics, and art, where culture and language could be barriers to adoption.

This study outlines a framework for the modes of entry and positioning strategies of cultural goods (e.g. music) in international markets. Extant literature has examined global marketing from the purview of durable consumer goods and brands, with limited insights into cultural products. More broadly, this paper addresses the call for more qualitative inquiry into international marketing topics.