The Collision And Compromise Of Traditional Chinese Music And Jazz From The Perspective Of “Adaptation And Creativity”

In the 1920 s,Jazz music was emerged in Orleans traveled across the ocean to China,and its arrival injected new vitality into Chinese music and cultural.In the history of jazz in China for nearly a century,a large number of Chinese musicians who love jazz have appeared,and they are committed to merging their musical culture with jazz.From the beginning,they only mastered jazz performance skills,and established the Chinese bands.Later,in the creation,Chinese jazz musicians have gradually added Chinese folk song,pentatonic scale,Chinese traditional instruments,Chinese operas,etc.Elements of Chinese traditional music have made jazz in China perform and spread from the introduction of western-style music forms at first,and gradually transformed into a new style –“Chinese folk jazz”.Based on the works of the early Chinese jazz,Kong Hongwei and Kim Jazz Orchestra,this paper points out how Chinese jazz musicians can make collisions in the creation of music such as tunes,matching with the aesthetic support of Chinese traditional music and jazz,and further takes Elisabeth Ruidowicz,Leonora M.Cohen and Ding Shande's theory of adaptation and creativity as the perspective of the cultural compromises contained in the various theories.The concept of market compromise and policy compromise analyzes the compromise problems that Chinese folk jazz composers must face in their creation,These compromises include the dilution of jazz tunes,weakening of improvisational elements in jazz and drama,and changes in the orchestration of Western musical instruments in order to highlight Chinese character after joining the Chinese pentatonic scale and opera tunes,which gradually led to the spread of jazz in the process of integration with traditional Chinese music and the carrier of traditional Chinese music.