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A HISTORY of JAZZ in CHINA: from YELLOW MUSIC to a JAZZ REVIVAL in BEIJING a Thesis Submitted to the College of the Arts of Ke

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A HISTORY of JAZZ in CHINA: from YELLOW MUSIC to a JAZZ REVIVAL in BEIJING a Thesis Submitted to the College of the Arts of Ke A HISTORY OF JAZZ IN CHINA: FROM YELLOW MUSIC TO A JAZZ REVIVAL IN BEIJING A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Mo Li August, 2018 Thesis written by Mo Li B.A., Nanjing University of the Arts, 2010 M.A., Kent State University, 2018 Approved by ____________________________________________________ Kazadi wa Mukuna, Ph.D., Advisor ____________________________________________________ Jane K. Dressler, D.M.A., Interim Director, School of Music ____________________________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS LIST OF FITURES ........................................................................................................................ v LIST OF TABLES ........................................................................................................................ vii ACKNOWLEDGEMENTS ....................................................................................................... viii INTRODUCTION .........................................................................................................................1 Background ........................................................................................................................3 Review of Literature .......................................................................................................10 Theory and Methodology ..............................................................................................24 PART I. RECONCEPTUALIZING YELLOW MUSIC ...........................................................41 Chapter One: Yellow Journalism 1.1. Product of U. S. A. ....................................................................................................44 1.2. Sensationalism, Moral Persuasion and Mimi Zhiyin ..........................................55 1.3. Fictional Roots of Chinese Yellow Press ...............................................................64 1.4. Yellow Journalism in Shanghai ..............................................................................71 Chapter Two: From Mimi Zhiyin to Yellow Music 2.1. A Prelude of Yellow Music—Mimi Zhiyin of the 1930s.....................................77 2.1.1. Women, Music and Shanghai .................................................................82 2.1.2. The Problem of Style ...............................................................................103 2.1.3. Nie Er and Li Jinhui ................................................................................115 2.2. 1959...........................................................................................................................117 2.2.1. The Word “Jazz” ....................................................................................118 2.2.2. The Story of Yellow Music .....................................................................124 2.3. A Modernization Built on Calques ......................................................................129 iii PART II. A JAZZ REVIVAL IN BEIJING...............................................................................140 Chapter Three: The 1980s 3.1. A Change in Tone ..................................................................................................141 3.1.1. Qing Yinyue: The Light Music ..............................................................142 3.1.2. A Review of Yellow ................................................................................148 3.2. Xia Hai, Gao Kao and Bei Piao .............................................................................151 Chapter Four: Jazz in Beijing ....................................................................................158 4.1. Fathers and Missionaries of Jazz in Beijing ........................................................162 4.1.1. Matt Roberts .............................................................................................164 4.1.2. David Moser ............................................................................................181 4.2. Music Schools and the New Generations ...........................................................198 4.2.1. MIDI .........................................................................................................198 4.2.2. Xia Jia ........................................................................................................199 4.2.3. BCMA and Gao Kao ...............................................................................203 4.2.4. Xiao Dou ...................................................................................................213 4.2.5. Moreno ......................................................................................................223 4.2.6. Nathaniel Gao ..........................................................................................227 4.2.7. Zhang Ke ..................................................................................................233 4.3. Beijing Style .............................................................................................................238 Chapter Five: The Identity of Jazz Musicians in Beijing 5.1. Identity ....................................................................................................................253 5.2. Identity or Not ........................................................................................................262 CONCLUSION ..........................................................................................................................269 BIBLIOGRAPHY .......................................................................................................................... I iv LIST OF FIGURES Figure 1. Guiseppe Castilione, Qianlong Dayue ...................................................................41 Figure 2. One issue of the Yellow Kids ...................................................................................45 Figure 3. “The Big Type War of the Yellow Kids” ................................................................48 Figure 4. Harlem Gentlemen at the Canidrome ..................................................................102 Figure 5. Harlem Gentlemen with Duke Ellington .............................................................102 Figure 6. Buck Clayton’s Life in Shanghai ...........................................................................102 Figure 7. Seiji Ozawa Conducting at the Peking's Capital Stadium .................................157 Figure 8. Matt Roberts .............................................................................................................163 Figure 9. David Moser .............................................................................................................180 Figure 10. David Moser at the Ah Q Arkestra Concert ......................................................198 Figure 11. Xia Jia at the 18th JVC Jazz Festival ....................................................................201 Figure 12. BCMA Main Building ...........................................................................................202 Figure 13. J. Kyle Gregory’s Big-Band Class ........................................................................202 Figure 14. Vacant Land around BCMA ................................................................................204 Figure 15. Xiao Dou at the Blue Note Beijing .......................................................................215 Figure 16. Moreno Donadel ....................................................................................................225 v Figure 17. Nathaniel Gao at the Blue Note Beijing ..............................................................229 Figure 18. Zhang Ke at the Blue Note Beijing ......................................................................235 vi LIST OF TABLES Table 1. A Comparison: Yellow Journalism and Yellow Music .........................................270 Table 2. Émile Durkheim: The Division of Labor in Society ..................................................272 Table 3. Identity as Jazz Musician .........................................................................................276 vii ACKNOWLEDGEMENTS I dedicate this thesis to the jazz musicians in Beijing. Their fantastic stories deserve to be known by more people. I am indebted to Bobby Selvaggio, Chris Cole, and their colleagues from the Kent State Jazz Studies program, for opening the door of the esoteric knowledge of jazz to a layperson like me. Thanks also to my advisor Kazadi wa Mukuna, for his guidance, patience, and high expectations of my work. Thanks to my committee members, Andrew Shahriari and Jennifer Johnstone, for their enthusiastic supports and earnest advices. I give special thanks to my parents and my husband Pablo; their love is the reason I move forward. viii 1 INTRODUCTION This thesis explores the history of jazz in China through the contemporary society in Beijing. The interlinked issues of morality, identity and post-modernism are key to this discussion. I focus on the relationships between these three, in which references to many counter-intuitive facts converge and show clues that prepared the ground for a jazz revival in 1980s Beijing, and what led the jazz community to its current configuration. I began with morality as the starting point from which all other arguments derive, as it was the core of the ideology
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