China: A New World in Music. An In-Depth Look at the Reality of Classical Music in China

Abstract

The paper explores the phenomenon of classical music as a global cultural language, challenging its historical European supremacy in light of its extraordinary rise in Asia, particularly in China. Traditionally, classical music has been perceived in the West as an elitist and sometimes anachronistic art. In contrast, in Asia it has spread pervasively thanks to access to Western music education, the international circulation of musicians, and the opening of academic institutions, transforming from a peripheral phenomenon into a new epicentre of development. The analysis highlights how the expansion of classical music in Asia is driven by significant investment in cultural infrastructure and an impressive “soft power” policy. China has established itself as the world’s largest producer and consumer of musical instruments and has seen exponential growth in concert halls and symphony orchestras. This demand is also fuelled by families’ investment in their children’s musical training and the rapid growth of the recorded music market. The article underscores the differences between the Western approach (individualistic and performance-oriented) and the Asian model (collective, disciplined, and precision-focused), suggesting that the fusion of these paradigms could define a new global standard. It also points out that China is not merely emulating the European model but is forging its own “Asian symphonic musical identity” by blending traditional Chinese elements with Western compositional techniques. The figure of Mario Paci in Shanghai is cited as a historical example of Western influence and the training of local talent. In conclusion, the article proposes that Asia is not only a competitor but potentially the future of classical music, ushering in a “post-Western” musical era.