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The Influence of Mid-Twentieth-Century Technologies on the Expansion of Jazz in China 20世纪中期科技对爵士乐在中国传播的影响
Jazz in China Pub Date : 2018-07-24 DOI: 10.14325/mississippi/9781496817990.003.0009
E. Marlow
{"title":"The Influence of Mid-Twentieth-Century Technologies on the Expansion of Jazz in China","authors":"E. Marlow","doi":"10.14325/mississippi/9781496817990.003.0009","DOIUrl":"https://doi.org/10.14325/mississippi/9781496817990.003.0009","url":null,"abstract":"This chapter discusses jazz in China in the second half of the twentieth century. During this period, jazz traveled to China in one of two ways (or both): (1) electronically by several means; and (2) by air, that is, by plane. All manner of electronic and filmic media—such as radio, television, movies, CDs, DVDs, satellites, teleconferencing, computers, and the Internet—and transcontinental modes of transportation such as the plane supplanted the steamship, the locomotive, the gramophone, and early movies as technologies influenced the growth of jazz in China. The characteristics of the above-mentioned technologies cannot be underestimated in terms of their cultural impact, not only on the spread of jazz globally, but also on the spread of information and knowledge generally around the world.","PeriodicalId":132924,"journal":{"name":"Jazz in China","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133715138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
First a Trickle, Then a Flood: Jazz Musicians Perform in China from All Over 开始是涓涓细流，然后是洪水:来自世界各地的爵士音乐家在中国演出
Jazz in China Pub Date : 2018-07-24 DOI: 10.14325/mississippi/9781496817990.003.0010
E. Marlow
{"title":"First a Trickle, Then a Flood: Jazz Musicians Perform in China from All Over","authors":"E. Marlow","doi":"10.14325/mississippi/9781496817990.003.0010","DOIUrl":"https://doi.org/10.14325/mississippi/9781496817990.003.0010","url":null,"abstract":"This chapter discusses the arrival of foreign jazz musicians in China. Mao's demise in 1976, which led to the reemergence of China as part of the world community in the last quarter of the twentieth century, together with the influence of electronic and transportation technologies in the second half of the twentieth century, had a direct impact on the rejuvenation of jazz in China, especially in Shanghai and Beijing. It provided opportunities for jazz musicians from all over the world to perform in China. The locus of this activity, at least in the beginning, was Shanghai and the opportunity fell to African American bassist and horn player Willie Ruff.","PeriodicalId":132924,"journal":{"name":"Jazz in China","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133819163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Shanghai in the 1920s–1930s: The Joint Was Jumpin’ 20世纪20年代至30年代的上海:经济腾飞
Jazz in China Pub Date : 2018-07-24 DOI: 10.14325/mississippi/9781496817990.003.0004
E. Marlow
{"title":"Shanghai in the 1920s–1930s: The Joint Was Jumpin’","authors":"E. Marlow","doi":"10.14325/mississippi/9781496817990.003.0004","DOIUrl":"https://doi.org/10.14325/mississippi/9781496817990.003.0004","url":null,"abstract":"The Western perspective of mainland China as a country dominated by a harsh, paranoid, and obsessive-compulsive leadership has not been without some merit. Movies and television programs have tended to perpetuate a somewhat distorted, one-sided view of China as a culture devoid of “fun.” Certainly, the people of mainland China under Mao Zedong and his followers experienced decades of cultural squalor. This chapter shows that prior to Mao's ascent to power in 1949 there is clear evidence that China, especially in coastal cities such as Shanghai and Peking (now Beijing), were “jumpin” with music, especially jazz.","PeriodicalId":132924,"journal":{"name":"Jazz in China","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133814281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Influence of Early Twentieth-Century Technology 20世纪早期技术的影响
Jazz in China Pub Date : 2018-07-24 DOI: 10.14325/mississippi/9781496817990.003.0003
E. Marlow
{"title":"The Influence of Early Twentieth-Century Technology","authors":"E. Marlow","doi":"10.14325/mississippi/9781496817990.003.0003","DOIUrl":"https://doi.org/10.14325/mississippi/9781496817990.003.0003","url":null,"abstract":"The superior war-making technology of the Western colonial powers—the steam-driven warship and cannon—made the difference between China prevailing and its defeat during the Opium Wars. It resulted in the colonial powers controlling Shanghai, tantamount to controlling China. In turn, the colonial powers brought their culture with them to Shanghai, which included jazz in the first quarter of the twentieth century. Within a couple of decades, jazz became not only the music of Shanghai but was global. This chapter asks how jazz traveled halfway around the world to China (and in the other direction, to Europe) so quickly? And how did the non-American musicians in Shanghai (Russians, Filipinos, and Chinese) learn to play the music for dance hall purposes? Transportation and communications technologies of the early twentieth century—the steamship, the locomotive, the gramophone, and early film—also were major influences in bringing jazz to China's shores.","PeriodicalId":132924,"journal":{"name":"Jazz in China","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131372621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Formation of All-Chinese Jazz Bands 全华人爵士乐队的组建
Jazz in China Pub Date : 2018-07-24 DOI: 10.14325/mississippi/9781496817990.003.0006
E. Marlow
{"title":"The Formation of All-Chinese Jazz Bands","authors":"E. Marlow","doi":"10.14325/mississippi/9781496817990.003.0006","DOIUrl":"https://doi.org/10.14325/mississippi/9781496817990.003.0006","url":null,"abstract":"Shanghai-based, double-bass player Da Ren Zheng published a recollection of the jazz scene in Shanghai before and right after World War II, and during Mao Zedong's era. This chapter presents his description of the evolutionary formation of all-Chinese jazz bands in this period. The details provided by his narration are not only informative, but also highly credible if for no other reason than all other descriptions of this period with respect to jazz and the dance halls are told by non-indigenous Chinese writers, such as Andrew F. Jones in Yellow Music and Andrew David Field in Shanghai's Dancing World. Da Ren Zheng, while not an academic, provides detailed descriptions that have the strong ring of authenticity. He was in his late twenties and early thirties when these events took place. As he was there observing these events unfold, his narration is first person, not based on secondary or tertiary sources.","PeriodicalId":132924,"journal":{"name":"Jazz in China","volume":"275 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115944742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Jazz Education in China 爵士教育在中国
Jazz in China Pub Date : 2018-07-24 DOI: 10.14325/mississippi/9781496817990.003.0017
E. Marlow
{"title":"Jazz Education in China","authors":"E. Marlow","doi":"10.14325/mississippi/9781496817990.003.0017","DOIUrl":"https://doi.org/10.14325/mississippi/9781496817990.003.0017","url":null,"abstract":"This chapter first discusses music education in China. The Shanghai Conservatory (Shanghai) and the Central Conservatory (Beijing) are the two dominant music conservatories in China. Changes in music education takes three forms: (1) more Western-style music education; (2) a much greater connection, culturally and musically, to the outside world; and (3) the emergence of music education in jazz at the college level. The chapter then turns to the evolution of jazz education, which has occurred through various phases since its first appearance in Shanghai in the 1920s. But just like the rest of the world, jazz education ranges from the highly informal (listening, experimentation, self-teaching) to the highly formal, e.g., studying at the University of Beijing or the Midi School in Beijing, or the Shanghai Conservatory of Music, or the JZ Club School in Shanghai, or the jazz program established at Ningbo University.","PeriodicalId":132924,"journal":{"name":"Jazz in China","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129102879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Shanghai’s Jazz Venues 上海的爵士乐场地
Jazz in China Pub Date : 2018-07-24 DOI: 10.14325/mississippi/9781496817990.003.0015
E. Marlow
{"title":"Shanghai’s Jazz Venues","authors":"E. Marlow","doi":"10.14325/mississippi/9781496817990.003.0015","DOIUrl":"https://doi.org/10.14325/mississippi/9781496817990.003.0015","url":null,"abstract":"This chapter discusses jazz venues in Shanghai. The historical presence of jazz in Shanghai as the music of the city, from the late 1910s and even throughout the Japanese invasion, continues to this day. Even though Mao suppressed anything Western within a few years of his defeat of the Nationalists in 1949, his passing in 1976 and the subsequent opening up of China to the world in the late 1970s spurred the rejuvenation of jazz in the city. By the mid-2000s, one could find numerous venues presenting jazz in Shanghai. Some of the venues are housed in the hotels, such as the Shanghai Hilton, the George V, and the Portman Ritz-Carlton Bar. The most historic of the hotel jazz venues is the Peace Hotel Jazz Bar on the Bund.","PeriodicalId":132924,"journal":{"name":"Jazz in China","volume":"257 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131546134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
International Jazz Musicians Flock to Shanghai: 1920s–1930s 国际爵士音乐家涌向上海:20世纪20 - 30年代
Jazz in China Pub Date : 2018-07-24 DOI: 10.14325/mississippi/9781496817990.003.0005
E. Marlow
{"title":"International Jazz Musicians Flock to Shanghai: 1920s–1930s","authors":"E. Marlow","doi":"10.14325/mississippi/9781496817990.003.0005","DOIUrl":"https://doi.org/10.14325/mississippi/9781496817990.003.0005","url":null,"abstract":"This chapter discusses the presence of foreign jazz musicians in China between the 1920s and the 1930s. According to bassist Da Ren Zheng, the rise of the dance halls led to the prominence of a large number of foreign, i.e., Western, jazz musicians. There were around fifty to sixty establishments in total. All these dance halls needed to hire jazz bands to accompany social dances, but at that time in Shanghai there were almost no Chinese jazz musicians; hence, a great number of foreign jazz musicians were contracted to play in Shanghai. The large-scale dance hall jazz bands were made up of around ten to fifteen people, and even small-size dance halls had five or six members. In a few years, more than 500 foreign musicians had surged into the Shanghai concessions. This huge contingent played jazz music day and night so that the entertainment life of Shanghai people was influenced unconsciously.","PeriodicalId":132924,"journal":{"name":"Jazz in China","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122871573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Jazz in China in the Twenty-First Century 21世纪中国的爵士乐
Jazz in China Pub Date : 2018-07-24 DOI: 10.14325/mississippi/9781496817990.003.0018
E. Marlow
{"title":"Jazz in China in the Twenty-First Century","authors":"E. Marlow","doi":"10.14325/mississippi/9781496817990.003.0018","DOIUrl":"https://doi.org/10.14325/mississippi/9781496817990.003.0018","url":null,"abstract":"This chapter addresses the question of whether there is jazz in twenty-first century China. The answer is that there most certainly is, quite literally. And it seems reasonable to assert that once you open a society to the world at large, even though the motivation to do so is primarily economic, it may be difficult if not impossible to reverse course. In all likelihood, China will continue to emerge as a major economic player on the world stage, and, to re-reference Kabir Sehgal's Jazzocracy, perhaps what will evolve is more equity, more conversation, more negotiation, and more reconciliation within China itself, and between China and the world community.","PeriodicalId":132924,"journal":{"name":"Jazz in China","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122511537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Liu Sola: China’s Musically Eclectic Composer 刘索拉:中国音乐折衷主义作曲家
Jazz in China Pub Date : 2018-07-24 DOI: 10.14325/mississippi/9781496817990.003.0012
E. Marlow
{"title":"Liu Sola: China’s Musically Eclectic Composer","authors":"E. Marlow","doi":"10.14325/mississippi/9781496817990.003.0012","DOIUrl":"https://doi.org/10.14325/mississippi/9781496817990.003.0012","url":null,"abstract":"This chapter presents an interview with composer, author, and vocalist Liu Sola, who has blended the musical traditions of China with jazz, blues, and improvisation. Since the 1980s, Liu Sola has scored many Chinese and international film sound tracks, as well as TV and drama productions. She has composed music for orchestra, ensemble, opera, modern theater, modern dance, and art exhibitions. This chapter presents an interview with composer, author, and vocalist Liu Sola, who has blended the musical traditions of China with jazz, blues, and improvisation. Since the 1980s, Liu Sola has scored many Chinese and international film sound tracks, as well as TV and drama productions. She has composed music for orchestra, ensemble, opera, modern theater, modern dance, and art exhibitions. Her range of musical styles includes classical music, jazz, early music, rock, traditional, and contemporary music. She is the founder of Liu Sola Music Studio, located in the Songzhuang art colony, a Beijing artist district. Liu Sola designed and built a music space for her ensemble to rehearse and record.","PeriodicalId":132924,"journal":{"name":"Jazz in China","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122225681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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