"Yellow Music" is the first history of the emergence of Chinese popular music and the larger urban media culture with which it was closely associated in early twentieth-century China. Centring his study around an account of the affinities between the genre derisively referred to by critics of the time as 'yellow' or 'pornographic' music - a 'decadent' fusion of American jazz, Hollywood film music, and Chinese folk forms - and the anti-colonial mass music that challenged yellow music's commercial and ideological dominance, Andrew F. Jones radically revises previous understandings of race, politics, popular culture, and technology in the making of modern Chinese culture.The personal and professional histories of three musicians in particular are the focus of Jones' discussions of shifting gender roles, class inequality, the politics of national salvation, and emerging media technologies: the American jazz musician Buck Clayton; Li Jinhui, the creator of 'yellow music'; and, leftist Nie Er, a former student of Li's whose musical idiom grew out of virulent opposition to this sinified jazz. In contemplating the emergence of global media cultures in the postcolonial world, Jones aims to undermine the parochialism of media studies in the West. He teaches us to hear not only the American influence in Chinese popular music but also the Chinese influence on American music and, in so doing, illuminates the ways in which both cultures were implicated in the unfolding of colonial modernity in the twentieth century. Students and scholars of modern China, twentieth-century history, media studies, and jazz history will be informed and engaged by "Yellow Music".'"Yellow Music" is a fantastic, one-of-a-kind read: a beautifully written, theoretically rich, and empirically grounded story about the relationship between American jazz music and the politics of colonialism and modernity in China during the interwar years. Andrew F. Jones puts the question of music at the center of debates about the role of the popular in the making of modern China' - Ralph Litzinger, author of "Other Chinas: The Yao and the Politics of National Belonging".
對中國現代“聽覺文化”研究具有開拓性的一本書。 書中對於留聲機進入中國的歷史脈絡以及黑人爵士與上海流行歌曲的關係敘述十分有趣,主要論點即左翼音樂和上海以黎錦暉代表的靡靡之音之間關係彼此互涉而不是傳統認為的涇渭分明。 其中對黎靡靡之音的翻案有一定道理,但簡單將...
評分對中國現代“聽覺文化”研究具有開拓性的一本書。 書中對於留聲機進入中國的歷史脈絡以及黑人爵士與上海流行歌曲的關係敘述十分有趣,主要論點即左翼音樂和上海以黎錦暉代表的靡靡之音之間關係彼此互涉而不是傳統認為的涇渭分明。 其中對黎靡靡之音的翻案有一定道理,但簡單將...
評分文—李如一 原文标题“靡靡之音”(YellowMu-sic)被改头换面变成了这个不痛不痒的“留声中国”,不知是何道理。而原文副题“中国爵士时代的传媒文化与殖民现代性”也被换成了“摩登音乐文化的形成”。自然,这书原本是加州大学柏克莱分校东亚语言文化系副教授安德...
評分對中國現代“聽覺文化”研究具有開拓性的一本書。 書中對於留聲機進入中國的歷史脈絡以及黑人爵士與上海流行歌曲的關係敘述十分有趣,主要論點即左翼音樂和上海以黎錦暉代表的靡靡之音之間關係彼此互涉而不是傳統認為的涇渭分明。 其中對黎靡靡之音的翻案有一定道理,但簡單將...
評分對中國現代“聽覺文化”研究具有開拓性的一本書。 書中對於留聲機進入中國的歷史脈絡以及黑人爵士與上海流行歌曲的關係敘述十分有趣,主要論點即左翼音樂和上海以黎錦暉代表的靡靡之音之間關係彼此互涉而不是傳統認為的涇渭分明。 其中對黎靡靡之音的翻案有一定道理,但簡單將...
這本比Barlow好讀好多(並不是因為標題的關係!),不過其實也是一個分支而已。很喜歡Jones引用的references,還有critical analysis,很有趣。
评分其實本書與性解放和女性運動有關聯,衛道士們看到女人們在大熒幕唱歌跳舞感覺世界末日就要來瞭哈哈哈哈哈; 黎錦暉“中國流行音樂之父”(這個頭銜諷刺)慘死文革,受到不公正的批評就是不夠民族主義,也不夠西化; 這點真的很值得深思,中國目前為止藝術還是與政治聯係緊密,西化或者不西化都可以成為攻擊的點,這就是政治,永遠都要分個敵我雙方; “beautiful people”還要與民族氣節聯係一下,兩個問題來瞭:為什麼beauty不是民族氣節?為什麼一定要聯係起來? 限製個人自由和性彆歧視(氣質歧視)還是很盛行的,現在依舊如此; 最搞笑的是那時候的“廣電”和現在的廣電齣颱規則差不多一樣,估計肯定參考瞭
评分大眾文化可以很明顯的是殖民與反殖民的戰場,不過留聲機科技的作用還可以有彆的故事說吧?
评分再讀,本對Jazz一無所知,不想看這本,但是重讀發現,有很多插科打諢的音樂發展史還蠻有意思的。
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