Introduction 1 Songs for the Great Leader Songs, for the people and of the people Songs, and song composers Songs, assembled for the concert stage Songs to build the state Songs, built on the foundations of folksongs 2 Instruments of the People Kaeryang akki: "improving" Korean instruments Soviet and/or Chinese influence? North Korean particularity The chang saenap Winds of change The "hand wind zither" 3 Pulling at Harp Strings Discarding the old? Retaining the national zither, kayagum Creating string instruments, from old to new Discarding and creating lutes and dulcimers Drums of persuasion A new harp, or zither, or both? 4 Opera for the Revolution Preface: juche ideology Introducing revolutionary operas "Sea of Blood" "A True Daughter of the Party" "The Flower Girl" "Oh! Tell the Forest" and "The Song of Mount Kumgang" 5 Contextualizing Revolutionary Operas Are revolutionary operas revolutionary? Guided by the leaders Before revolutionary opera Beyond revolutionary opera 6 What Revolutionary Operas Do Revolutionary operas as song operas Song constructions Portable songs Operas as ideology, and opera as spectacle 7 From Spectacles to Dance Watching the 50,000 Spectacles, calisthenics, gymnastics Notating dances, prescribing spectacles Chamo p'yogibop A pan-Korean notation? Ch'oe Sunghui and the development of dance in North Korea North Korean dance, an overview 8 Composing the Nation Learning to compose Songs, as foundations Upscaling songs . Back to symphonies Yun Isang, from South to North 9 Songs for New Leaders Authorized pop Pop as state telegraph Footsteps of the general Onward towards the "final victory" Rolands and Yamahas Epilogue References Index.