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.

scholarly journals From ‘no cultural policy’ to ‘centralised market orientation’: The political economy of Hong Kong cultural policy (1997–2015)

2017 ◽  
Vol 2 (1) ◽  
pp. 57-73 ◽  
Author(s):  
Louis Ho
Keyword(s):  
Political Economy ◽  
Hong Kong ◽  
Market Orientation ◽  
Cultural Policy ◽  
Analytical Framework ◽  
Policy Formulation ◽  
Policy Framework ◽  
The Political ◽  
Chief Executives ◽  
Cultural Policies

This study examines changes in the cultural policy in Hong Kong amid the transformations of political economy in the 1990s, following the handover in 1997, and under the administration of three Chief Executives (and their teams) up to 2015. When reviewing the literature on cultural policies in Hong Kong, this study examines the interaction the policies have with the political-economic development in Hong Kong (within the scope of this study) and subsequently explores changes in the principles of the policies. In other words, this study attempts to understand the conditions under which cultural policies were formulated in Hong Kong (the conditions of the production of local culture). The analytical framework of this study is based on two observations of the political and social changes occurring in Hong Kong (1997–2015): (1) changes in the government’s governance attitude since the handover in 1997, and (2) a series of economic blows Hong Kong has endured since 1998. Differing from the ‘descriptive literature’ defined by Schuster, this study understands that these changes are a result of the influence of a postcolonial state and neo-liberalism on public policy formulation. It is argued that the Hong Kong cultural policy framework has shifted from checks-and-balances towards centralised market orientation.

Commercialising the sound of the people: Pleng Luktoong and the Thai pop music industry

Popular Music ◽  
1990 ◽  
Vol 9 (1) ◽  
pp. 61-77 ◽  
Author(s):  
Ubonrat Siriyuvasak
Keyword(s):  
Young People ◽  
Middle Class ◽  
Music Industry ◽  
Country Music ◽  
Copyright Law ◽  
Pop Music ◽  
The Past ◽  
Previous Generation ◽  
Indigenous Music ◽  
The People

Since Thailand's Copyright Act became law in 1979 an indigenous music industry has emerged. In the past, the small recording business was concentrated on two aspects: the sale of imported records and the manufacture of popular, mainly Lukkroong music, and classical records. However, the organisation of the Association of Music Traders – an immediate reaction to the enforcement of the Copyright law – coupled with the advent of cassette technology, has transformed the faltering gramophone trade. Today, middle-class youngsters appreciate Thai popular music in contrast to the previous generation who grew up with western pop and rock. Young people in the countryside have begun to acquire a taste for the same music as well as enjoy a wider range of Pleng Luktoong, the country music with which they identify. How did this change which has resulted in the creation of a new pleasure industry come about? And what are some of the consequences of this transformation.

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

Miniatures of a Monumentalist: Berlioz's Romances, 1842–1850

2013 ◽  
Vol 10 (1) ◽  
pp. 119-149
Author(s):  
Stephen Rodgers
Keyword(s):  
Large Scale ◽  
Complex Relationship ◽  
Self Reflection ◽  
Popular Songs

This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and 1850, a period often regarded as a fallow one for Berlioz but one that nonetheless saw a surge of songwriting activity. Drawing upon recent theories about the autobiographical construction of Berlioz's music, and considering when these songs were written or revised, to whom they were dedicated, what images were associated with them and how their texts relate to the events of Berlioz's biography, I argue that their conventionality belies a deeply personal resonance and a musical ingenuity uncommon to the romance genre. As a whole, these songs show Berlioz returning to an intimate and direct style during an especially introspective and nostalgic period of his life. Even more, they suggest that his urge toward self-reflection was not confined to the programmatic and the large-scale, and that his miniatures and monuments have more in common than one might think.

Is there a place for more Moličre? Cultural policy and metropolitan politics after cultural Keynesianism

TERRITORIO ◽  
2012 ◽  
pp. 145-151
Author(s):  
Stephen W. Sawyer
Keyword(s):  
Cultural Policy ◽  
Cultural Practices ◽  
Participatory Democracy ◽  
Metropolitan Region ◽  
National Scale ◽  
Cultural Planning ◽  
Cultural Policies ◽  
National Initiatives

In Paris, the rearrangement of the balance between city, periphery and national territory creates tensions also shown in the area of cultural policies. Concentrating on the recent conflict between the Comédie Française and other local cultural actors in Bobigny, this paper shows how national initiatives for cultural planning in the metropolitan region are rooted in a project of democratisation and decentralisation on a national scale, which could be defined as ‘cultural Keynesianism'. The paper maintains that similar processes and tensions are more comprehensible if placed within local cultural ‘scenes' that include places designated for culture as well as other amenities and cultural practices. In this way the event in Bobigny is explained by considering the cultural policies and experiments in participatory democracy within this territorial context.

Abstraction and meaning in the animation of Hong Kong artists

2020 ◽  
Vol 8 (1) ◽  
pp. 123-140
Author(s):  
Max Hattler
Keyword(s):  
Hong Kong ◽  
Meaning Making ◽  
Discursive Space ◽  
Moving Image ◽  
Chinese Opera ◽  
Experimental Animation

This article discusses the experimental animation works of Choi Sai-Ho, Carla Chan, Tobias Gremmler and Chris Cheung Hon-Him to probe animated abstraction as a discursive space through which meaning can be negotiated. These Hong Kong artists explore alternative, open-ended and fluid ways of meaning-making that are emerging in response to more traditional modes of moving image storytelling. In developing a narrative-abstraction vocabulary for artists and scholars to work with, what role can the works of Hong Kong artists play in shaping this, and what perspectives can these works offer for such an endeavour? A range of preoccupations with references ranging from spiritual symbolism and abstracted landscape to Chinese opera and Hong Kong architecture bring to light some of those other visions and possible modes of animated abstraction engaged with producing meaning.

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.

Music, Borders and Nationhood in Algeria

Algeria ◽  
2017 ◽  
Author(s):  
Tony Langlois
Keyword(s):  
Music Industry ◽  
Regional Identity ◽  
Local Form ◽  
Pop Music ◽  
The Core ◽  
Musical Practices ◽  
Western Algeria ◽  
Eastern Morocco ◽  
Musical Genres

This chapter looks at the role of musical genres in the borderland between Oran in Western Algeria and Oujda in Eastern Morocco – in many ways a single cultural and economic zone that is distinct from the core of each of their respective nations. Once this had been the boundary of the Ottoman Empire, but at other times a refuge for political dissidents from either side in their many anti-colonial struggles. Today the cities are economically linked by smuggling and culturally by language, common tradition and strong musical connections – the raï pop music industry is strong on both sides of the border, but as important is the local form of ‘classical’ Andalous music tarab el gharnati and Berber ‘folk’ genres. Music itself marks boundaries of taste, heritage and allegiance, and these often have a tangential relationship to those demarcated by nationalist discourses. The chapter considers the ways in which musical practices preserve a sense of regional identity and allegiance despite the formal closure of the border in 1994. It looks at the economic and cultural consequences of this relationship and at the efforts of the Algerian government to maintain formal boundaries and address the broader context of cross-border cultural flow, not only with Morocco, but, increasingly, the wider mediated world.

Digitalization in Cinema in Turkey

2019 ◽  
pp. 226-247
Author(s):  
Deniz Özalpman ◽  
Sibel Kaba
Keyword(s):  
Public Service ◽  
Cultural Policy ◽  
Third Parties ◽  
Policy Framework ◽  
Topical Issue ◽  
Digital Platforms ◽  
Communications Policy ◽  
The Public ◽  
Cultural Policies ◽  
Developing Society

The chapter deals with the topical issue of cultural policies through digitalization in cinema in Turkey, discussing the appropriate frameworks that need to be put in force. In a rapidly developing society like Turkey, the problems of digitalization in cinema vis-à-vis neoliberal regulation are being debated. Three crucial areas for a digital cultural policy in cinema are identified, namely expanding public service mindset on new services and national digital platforms, creating a communications policy framework of the different parties involved as government, parliament, regulatory authorities, the public service media, and the designated third parties as civil society and market representatives, and stimulating debate to follow an anti-monopolistic progression in (digitalized) cinema.

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