Western Music Doesn’t Soothe The Savage Chinese... (Press, 17 December 1982)

In 1982, an unusual guidebook titled "How to Distinguish Decadent Music" was published by the People's Publishing House in China, aimed at helping young music enthusiasts navigate the distinctions between acceptable socialist music and what the government classifies as "yellow" or pornographic music from the West. The booklet argues that Western music can have damaging effects on listeners, suggesting that it creates moral and psychological disorder rather than providing solace. It cautions that even traditional marches, like those composed by John Philip Sousa, can be insidious in their rhythmic complexity, potentially leading listeners to an “abnormal, demented state of mind.” Chinese authorities have taken significant steps to restrict access to Western music. Censorship has resulted in the banning of numerous songs, and venues such as discotheques and jazz clubs have been shut down. The guide defines pornographic music not just as overtly sensual, but also as music that conveys excessive romance, pessimism, or self-centredness, and challenges conventional perceptions of life. Despite this, many young Chinese are drawn to forbidden love songs, particularly those from Taiwan, seeking out home disco parties, smuggling in cassettes, and copying music illegally. One of the most popular figures in this context is Taiwanese singer Teresa Teng. Known for her romantic ballads, Teng's music has been both denounced and celebrated in China, and her popularity continues to soar, attracting listeners even from across the strait. The guide attributes the current fascination with such music to the Cultural Revolution (1966-1976), during which music was heavily propagandised and devoid of meaningful artistic expression, reducing its appeal among the youth who are now more curious about international music landscapes. The guide details distinguishing characteristics of decadent music, pointing out that its often quivery rhythms and uncertain pronunciations can ensnare listeners against their will. It warns of the potential physical responses that music can evoke, implying that exposure might lead one to dance or move in ways that conflict with moral judgment. Furthermore, it associates Western musical gatherings with negative social behaviours such as excessive drinking and violence, reinforcing the idea that such music could lead to moral decay. Overall, the guide reflects a concerted effort by the Chinese government to maintain ideological control over artistic expression while acknowledging, albeit reluctantly, the allure of Western culture among younger generations.

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