The first comprehensive study of Chinese popular music in a Western language. Drawing on extensive interviews with singers, songwriters and critics, as well as cultural, sociological, musical, and textual analysis, the book portrays the disparate ways in which China's state-run popular music industry and burgeoning underground rock music subculture represented by Cui Jian have been instrumental to the cultural and political struggles that culminated in the Tienanmen democracy movement of 1989. It also examines the links between popular music and contemporary debates about cultural identity and modernization, as well as the close connections between rock music, youth culture, and student protest.

"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".

读这本书，很是新切，因为书中所涉入物事件，多为我所悉，甚至也是新历的。与旁人看，或许只是一些简单的文字，于我，则多了不少至今萦绕的气息。中国流行音乐、说起来是个轰轰烈烈的大题目，但对身边处其中的人来说，则是个抬头不见低头见的村落。要说其中的事情，视野所及，人资格以新历者身份说的人不多，我以为，兆钧肯定算一个，而且很适合的一个。

《流行音乐与爵士乐和声学》是一本专门研究流行音乐和爵士乐的和声技法及规律的专著，目的是为有关的创作者、滨奏者、演唱者以及广大爱好者提供一个系统性的有关和声理论的指导。《流行音乐与爵士乐和声学》共分三个部分。第一篇—基础理论，主要涉及必要的预备知识，如音程、和弦、和弦标记及声部进行等。第二篇—流行音乐的和声，主要涉及功能和声的理论，流行音乐的和声规律、和声模式以及曲式等内容。第三篇—爵士乐的和声，主要涉及爵士乐高度复杂和弦的松成理论，和弦替代理和声模式以及旋律即兴方式等内容。为了方便自学者，《流行音乐与爵士乐和声学》在大多数的章节后留有练习题，并在书后附有参考答案。

《古典之外欧美流行音乐大观》是曾是电台DJ的吴南先生，在十三年的时间里，连续主持了一档介绍欧美流行音乐的节目——《风从西来》，深受听众欢迎。在这档节目中，他和听众分享了形形色色的欧美流行音乐，更确切地说，是欧美坊间流传的非古典音乐。在不断地搜集、提炼后，吴南为听众理清了每种流派独特的发展过程以及它们精确的分类和定义，其实是在无意间做了系统的研究整理工作。和学者做学问的区别是，他是带领大家在聆听中放飞心灵，接近自己的内心。在离开电台走入影视领域后，吴南写下此书，以让这些非古典的欧美音乐在电波之外流动。

《时代的噪音》书写从二十世纪初到我们所处的二十一世纪，西方音乐人如何用音乐製造噪音，以反思时代、纪录歷史，或者追求改变社会。 这些音乐人包括Pete Seeger, Woody Guthrie, Bob Dylan, John Lennon, The Clash, Bruce Springsteen, Patti Smith, Billy Bragg, U2。 除了深刻分析这些重要音乐人的创作理念，本书也试图刻划不同歷史阶段的社会反抗史：从二十世纪初的美国资本主义与工运早期阶段、三四十年代的左翼运动、五零年代的麦卡锡主义，六零年代的反战运动、民权运动，七八零年代的经济转型和雷根的新自由主义，以及九零年代的全球化/反全球化、战爭与和平、发展与贫穷。所以这本书的读者不只是摇滚乐迷，而是一本反抗的文化史。 张铁志的《声音与愤怒：摇滚乐可能改变世界吗？》影响了我们对摇滚与政治的认识，《时代的噪音》则以更诗意的文字与更深刻的分析，深化我们对摇滚文化、抗议行动与歷史变迁之间关係的理解，而將成为华语世界最重要的摇滚书之一。