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The Saxophone in China: Historical Performance and Development

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The Saxophone in China: Historical Performance and Development THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China. Copyright 2018 By Jason Pockrus ii ACKNOWLEDGEMENTS I am indebted to a number of wonderful musicians and educators without whom this paper would not have been possible. I would first like to thank Dr. Eric Nestler for his continued support throughout my course of study and the duration of the research for this paper. I would also like to thank the members of my committee, Dr. Catherine Ragland and Dr. John Scott, for their assistance in completing this project. I also extend special thanks to Professor Li Yusheng of the Sichuan Conservatory of Music for his encouragement in studying the saxophone in China and providing the opportunity to study with him in Chengdu. Finally, I wish to thank several musicians and educators for their assistance in providing valuable insight into the saxophone in China: Professor Li Manlong, Professor Zhang Xiaolu, Dr. Wu Chih-Huan, and Director Chen Fangyi for providing interviews and valuable information on the current state and history of the saxophone in China, Mr. Paul Wehage for his wonderful insights into the life and compositions of Ali Ben Sou Alle, and Wang Guangming and Liang Siyu whose knowledge and friendship contributed greatly to the success of this project. Appreciation is extended to Musique Fabrique Publishing and the Dabu City Cultural Board. Excerpts from Souvenirs de la Chine and Gold Coins Dropping were reproduced with their permissions respectively. Portions of the Cantonese Music and Song Troupe concert program were reproduced with permissions from the Cantonese Music and Song Art Troupe. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF FIGURES ...................................................................................................................... vii CHAPTER 1. INTRODUCTION ................................................................................................... 1 Purpose ................................................................................................................................ 1 Significance......................................................................................................................... 3 Literature Review................................................................................................................ 4 Method ................................................................................................................................ 8 Scope ................................................................................................................................... 9 A Note on Translations and Transliterations .................................................................... 10 CHAPTER 2. ALI BEN SOU ALLE AND THE EXPAT COMMUNITIES: 1856-1911 .......... 11 Introduction ....................................................................................................................... 11 The Foreigners Waiting for Sou Alle’s Arrival: Historical Background .......................... 11 The First Westerners in China .............................................................................. 11 The Foreign Concessions ...................................................................................... 13 Ali Ben Sou Alle ............................................................................................................... 17 The Musical Activities of Foreigners in China ..................................................... 17 Biographical Sketch .............................................................................................. 18 Ali Ben Sou Alle in China .................................................................................... 20 Sou Alle’s Souvenirs from China ..................................................................................... 26 Shanghai Redowa Waltz ....................................................................................... 27 Souvenirs de la Chine ........................................................................................... 29 Air Chinoise et Rondo ........................................................................................... 31 Loc Tee Kun Tzin (Origin of the Folk Song) ........................................................ 32 Significance of Sou Alle’s Visit ....................................................................................... 39 The Saxophone in China after Sou Alle ........................................................................... 44 CHAPTER 3. CHINA IN THE JAZZ AGE: 1911-1937 .............................................................. 49 Historical Background ...................................................................................................... 49 Jazz .................................................................................................................................... 50 iv Period Songs: Shidaiqu ..................................................................................................... 55 Perceptions of the Saxophone ........................................................................................... 58 Vaudeville ......................................................................................................................... 67 Military and Classical Saxophone Performances ............................................................. 68 CHAPTER 4. CANTONESE OPERA: 1920s AND PRESENT .................................................. 72 Introduction ....................................................................................................................... 72 Historical Outline .............................................................................................................. 73 Cantonese Music Saxophonists......................................................................................... 78 Why Saxophone? .................................................................................................. 78 Cantonese Musical Groups ................................................................................... 81 How to Become a Cantonese-Music Saxophonist ................................................ 82 Role of the Saxophone in the Cantonese Music Ensemble................................... 84 Saxophone Selection and Equipment.................................................................... 85 Freelancing ............................................................................................................ 89 Technique .............................................................................................................. 90 Tonal Considerations ............................................................................................ 90 Improvisation ........................................................................................................ 91 Notation................................................................................................................. 93 Significance of the Saxophone in Cantonese Music ......................................................... 98 Ethnography of Cantonese Opera Performances in Guangzhou ..................................... 100 Introduction ......................................................................................................... 100 Liuhua Lake Park (流花湖公园, Liú huā hú gong yuán) ................................... 101 Fangcun Park (芳村公园, Fāng cūn gong yuán) ................................................ 107 CMSAT Cantonese Opera Performance ............................................................. 110 Fruitless Endeavors ............................................................................................
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