The shock of Hong Kong and Taiwan popular songs

1991 ◽  
Vol 15 (2) ◽  
pp. 23-32 ◽  
Author(s):  
Leng Sui‐jin
Keyword(s):  
Hong Kong ◽  
Popular Songs

Television as the arena of shaping a music genre: The Hong Kong TV broadcasting culture and the rise of Cantopop, 1970–85

2021 ◽  
Vol 9 (1) ◽  
pp. 79-91 ◽  
Author(s):  
Yat-wai Joseph Wong
Keyword(s):  
Hong Kong ◽  
Popular Songs ◽  
Music Genre ◽  
Tv Broadcasting ◽  
Tv Culture

The term Cantopop is used by scholars to describe Cantonese popular songs developed in Hong Kong during the early 1970s. The rise and development of the genre was not cultivated by music programmes or variety shows but by Cantonese TV drama culture and the competition between different channels in the 1970s. Footage of early 1970s shows indicates that cover versions of English popular songs were initially more prominent than Cantopop in these programmes. Producers and music directors introduced the genre to television by tailor-making Cantonese theme songs based on the characters and stories of TV dramas. By doing so, Cantopop emerged as an effective tool for promoting TV dramas. In this way, and benefitting from the success of Cantonese TV dramas, Cantopop gradually became accepted as one of the mainstream genres in TV culture.

Remapping Hong Kong popular music: covers, localisation and the waning hybridity of Cantopop

Popular Music ◽  
2013 ◽  
Vol 32 (1) ◽  
pp. 65-78 ◽  
Author(s):  
Yiu-Wai Chu ◽  
Eve Leung
Keyword(s):  
Hong Kong ◽  
New Media ◽  
Popular Music ◽  
Soft Power ◽  
World City ◽  
Popular Songs ◽  
Global Status ◽  
Popular Music Industry ◽  
Original Songs ◽  
Radio Campaign

AbstractEver since its sovereignty reverted to China, Hong Kong has been torn between its national (in terms of China and its ‘soft’ power) and global status (as ‘Asia's World City’). In this special context, Hong Kong's singular, ambiguous but prolific existence ceased. This paper endeavours to map ‘Cantopop’ (Chinese popular songs) on the new media landscape and examine its decline in the context of the rise and fall of cover versions. Cantopop was once very popular, not only in Hong Kong but also in its neighbouring regions. Its rise in the 1970s was a result of its typical hybridity, an important aspect of which was influenced by the use of cover versions that changed its soundscape. In the mid-1990s, the Cantopop market started to shrink significantly. A radio campaign for localisation advocated the release of original songs aimed at enhancing the development of Cantopop, but in the end proved to have the opposite effect. In the new millennium, ‘Mandapop’ (Mandarin popular songs) has taken on the role as the trend setter of the Chinese popular music industry. We argue in this paper that Cantopop's decline is the result of Hong Kong's loss of hybridity.

Days of Being Marginalized

2017 ◽  
Author(s):  
Yiu-Wai Chu
Keyword(s):  
Hong Kong ◽  
Market Share ◽  
Unresolved Issue ◽  
Popular Songs ◽  
The 1950S ◽  
The 1960S

While the first albums packaged with the term “Cantopop” were released in 1952, the origin of Cantopop remains an unresolved issue. In the 1950s and the 1960s, Cantopop were not considered mainstream in Hong Kong despite the fact that Cantonese was spoken by over ninety percent of its people. Cantopop could be said to be popular among Hong Kong audience, but most people considered it to be inferior to Mandarin and English popular songs. In the 1960s, Cantopop, albeit gradually gaining popularity in terms of market share, was still very much marginalized. It was only in the mid-1970s that Cantopop finally came to the fore.

Developing Local Popular Songs in Hong Kong: A Study of the All Cantonese Pop Music Station Format

2002 ◽  
Vol 105 (1) ◽  
pp. 147-162 ◽  
Author(s):  
Chu Yiu-Wai
Keyword(s):  
Hong Kong ◽  
Cultural Policy ◽  
Music Industry ◽  
Complex Relationship ◽  
Pop Music ◽  
Indigenous Culture ◽  
Discursive Space ◽  
Cultural Policies ◽  
Popular Songs ◽  
Commercial Radio

Taking the case of the All Cantonese Pop Music Station, launched by Commercial Radio of Hong Kong in the late 1980s, this paper investigates the intricate relations among cultural policy, broadcasting institutions and the music industry. Through analysis of this empirical case, the complex relationship between cultural policy and the development of local pop songs is also examined. The major theoretical thrust tackles the important question of whether protective cultural policies are culturally limiting or integral to creating discursive space for indigenous culture to develop.

A Cantonese song entitled Creoy Keok lrio Aa Gao

1973 ◽  
Vol 36 (2) ◽  
pp. 446-459
Author(s):  
K. P. K. Whitaker
Keyword(s):  
Hong Kong ◽  
Recent Article ◽  
Popular Songs ◽  
Background History ◽  
The Many

Among the many ballads and popular songs of Canton appears one Southern Air called ‘Apart from Number Nine’. Several stories are centred about the composition of this air. Around the 1820's and 1830's, the most sought after singing-girl in Canton seemed to be one named Number Nine. In a recent article by Jean Yow-wen (Kan Yau-man) there is a version of this song (pp. 25–6), attributed to Jrip Mrerng-shanqx with its background history. A few lines of another version of the same song were mentioned earlier by Sirn Jruk-chenqx This version, attributed to Zhiw Zir-jrunq (Jau Tzyy-yong) appeared side by side with an apparently impromptu composition by the girl herself, unmistakably addressed to Zhiw. There is yet another version which has been taped for me from a broadcast by Eadio Hong Kong. It differs greatly from the longer version given by Mr. Kan in his article. For the discussion of authorship it is necessary to include these pieces for comparison.

The political meaning of Hong Kong popular music: a review of sociopolitical relations between Hong Kong and the People's Republic of China since the 1980s

Popular Music ◽  
2000 ◽  
Vol 19 (3) ◽  
pp. 341-353 ◽  
Author(s):  
Wai-chung Ho
Keyword(s):  
Hong Kong ◽  
Popular Music ◽  
Political Identity ◽  
Mainland China ◽  
Transitional Period ◽  
People’S Republic Of China ◽  
The Political ◽  
People's Republic Of China ◽  
Republic Of China ◽  
Popular Songs

IntroductionThe aim of this paper is to analyse shifting themes in the meanings of Hong Kong popular songs relating to ideological and political changes in Hong Kong since the 1989 Tiananmen Square incident (TSI). In particular, the paper examines the relationship between Hong Kong and the People's Republic of China (PRC) concerning the transmission of Hong Kong popular music, and argues that Chinese, Hong Kong and Taiwanese popular musics articulate fluctuating political meanings. Attention will be focused predominantly on the lyrics, but some aspects of the music are also invoked. After highlighting the political and cultural relations between Hong Kong and the PRC, I discuss the social transformations and the struggles for democracy delineated in Chinese popular music during the 1989 TSI. This is followed by an examination of the intensification of the conflict between the PRC and Hong Kong over the dissemination of popular songs carrying democratic messages in Hong Kong. Finally, the paper considers the rise of patriotism and/or nationalism through lyrics rooted in the notion of educating Hong Kong Chinese people into accepting the cultural and political identity of mainland China, and the promotion of popular songs in the official language of the PRC, Putonghua, since the late transitional period.

Verocytotoxin-producing Escherichia coli infection: The Hong Kong experience

1998 ◽  
Vol 13 (11-s4) ◽  
pp. S289-S293 ◽  
Author(s):  
SSY WONG ◽  
WC YAM ◽  
PHM LEUNG ◽  
PCY WOO ◽  
KY YUEN
Keyword(s):  
Escherichia Coli ◽  
Hong Kong ◽  
Escherichia Coli Infection
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