An opening part of my music history paper (about utilization of chinese elements in western music ) In recent Hollywood movies, Chinese elements are like embedded advertising, you could find them everywhere. From Chinese celebrities who sign the contract just for Hollywood experience and shown up on screen for no more than a minute then disappeared like a fragile china vase; to Kung Fu actors who fight all the way to the end but with scarcely lines, and still grin and bear it; to pandas, countless pandas, no matter they are making traditional Chinese cuisines or training to become a Kung Fu master. It seems to me that all these Chinese elements mentioned above are overly superficial. Even you replaced them with elements from other exotic civilizations, there would be no influence on the integrity of the plot. However, why the frequency of Chinese elements in western film industry increased drastically during the past decade? The reason is obvious, with great success of China’s economy, no one could stop the acquisition initiated through Chinese companies. In May 2012, the Wanda Group acquired the second largest U.S.-based cinema operator of that time, the AMC theater for $2.6 billion. After 4 years of operation, the AMC theater become not only the largest movie theater chain in U.S. but also the largest on earth . In contrast to this satisfactory achievement, this phenomenon reminds me of Japan before the Plaza accord, when Sony acquired Columbia Pictures , hopefully the history will not repeat itself, hopefully the trade war between China and U.S. wouldn’t upgrade any further. Anyhow, once again, Asians become some of the largest patrons for Hollywood. It is understandable to use Chinese elements to cater and appreciate the patronship, but just like the surprising fortissimo G-major chord in Haydn’s Symphony No.94, the appreciation and adulation between “tasteless” patrons, “pedantic” audience and “ambitious” artists are always insincere. If the artists have no interest on their patrons, especially on the civilization behind the investment then all those adulatory embedded cultural elements are bound to be superficial and perfunctory. Based on this conclusion, here arose my thesis: is there a certain period, in which western civilization spontaneously and sincerely curious about oriental cultural and especially about Chinese music? Is there a certain period, in which musicians from the west could mentally cross the continent and feel the breeze from the east?