Editing March of the Volunteers (section)

==Tune==
<score vorbis="1">
  \relative g' {
    \key g \major \time 2/4
    g8. b16 d8 d8 \bar "|" e4 d4 \bar "|" b8. g16 \times 2/3 {d'8 d d} \bar "|" b4 g4 \bar "|" \times 2/3 {d8 d d} \times 2/3 {d8 d d} \bar "|" g4 r8 d8 \bar "|" \break
    g4. g8 \bar "|" g8. g16 d8 e16 fis16 \bar "|" g4 g4 \bar "|" r8 b8 g8 a16 b16 \bar "|" d4 d4 \bar "|" \break
    b8. b16 g8. b16 \bar "|" d8. b16 a4 \bar "|" a2 \bar "|" e'4^> d4^> \bar "|" a4^> b4^> \bar "|" \break
    d8^> b8^> r8 d8 \bar "|" b8 a16 b16 g4 \bar "|" b4 r4 \bar "|" d,8. e16 g8 g8 \bar "|" b8. b16 d8 d8 \bar "|" \break
    a8 a16 a16 e4 \bar "|" a4. d,8 \bar "|" ^\< g4. g8 \bar "|" b4. b8 \! \bar "|" d2 \bar "|" \break
    g,8. b16 d8 d8 \bar "|" e4 d4 \bar "|" b8. g16 \times 2/3 {d'8 d d} \bar "|" b8 r8 g8 r8 \bar "|" d4^> g4^> \bar "|" \break
    b8. g16 \times 2/3 {d'8 d d} \bar "|" b8 r8 g8 r8 \bar "|" d4^> g4^> \bar "|" d4^> g4^> \bar "|" d4^> g4^> \bar "|" g4^> r4 \bar "|."
  }
    \addlyrics {
        　 　 　 　 　 　 　 　 　 　 　 　 　 　 　 　 　 　 　 　 起
        来！ 不 愿 做 奴 隶 的 人 们！ 把 我 们 的 血 肉，
        筑 成 我 们 新 的 长 城！ 中 华 民 族
        到 了 最 危 险 的 时 候， 每 个 人 被 迫 着 发 出
        最 后 的 吼 声。 起 来！ 起 来！ 起 来！
        我 们 万 众 一 心， 冒 着 敌 人 的 炮 火， 前 进！
        冒 着 敌 人 的 炮 火， 前 进！ 前 进！ 前 进！ 进！
    }
</score>

A 1939 bilingual songbook which included the song called it "a good example of...copy[ing] the good points from Western music without impairing or losing [[Chinese music|our own national color]]".<ref name=chungking>{{cite book |last=Lee |first=Pao-chen |title=China's Patriots Sing |publisher=The China Information Publishing Co. |location=[[Chongqing|Chungking]] |year=1939}}</ref> Nie's piece is a [[March (music)|march]], a Western form, opening with a [[bugle call]] and a motif (with which it also closes) based on an ascending fourth interval from D to G inspired by [[The Internationale in Chinese|"The ''Internationale''"]].<ref name=hojo/> Its rhythmic patterns of triplets, accented downbeats, and syncopation and use (with the exception of one note, F{{music|#}} in the first verse) of the [[G major]] [[pentatonic scale]],<ref name=hojo>{{cite journal |last=Howard |first=Joshua |title="Music for a National Defense": Making Martial Music During the Anti-Japanese War |journal=Cross-Currents |volume=13 |date=2014 |url=https://cross-currents.berkeley.edu/e-journal/issue-13/howard |ref=none |access-date=23 May 2020 |archive-url=https://web.archive.org/web/20181002215050/https://cross-currents.berkeley.edu/e-journal/issue-13/howard |archive-date=2 October 2018 |url-status=live |pages=11–12}}</ref> however, create an effect of becoming "progressively more Chinese in character" over the course of the tune.<ref name=hohoho/> For reasons both musical and political, Nie came to be regarded as a model composer by Chinese musicians in the Maoist era.<ref name=chih2/> [[Howard Taubman]], the ''[[New York Times]]'' music editor, initially panned the tune as telling us China's "fight is more momentous than her art" although, after US entrance into the war, he called its performance "delightful".<ref name=avant/>