Epilogue

2017 ◽  
Author(s):  
Yiu-Wai Chu
Keyword(s):  
Hong Kong ◽  
Popular Culture ◽  
Music Industry ◽  
Chinese Music ◽  
Korean And English ◽  
Subsequent Loss ◽  
Chinese Popular Culture ◽  
New Millennium

In the new millennium, Cantopop has been overtaken by Mandapop as the trendsetter of pan-Chinese popular culture. The rise of a global Chinese music industry and media and the subsequent loss of the hybridity of Cantopop is the major reason behind its decline. Cantopop, some say, have been replaced by ‘local’ pop – including Mandapop, Japanese, Korean and English pop songs. While there would be possible hybridity of these genres, the survival of a more diversified Cantopop can contribute to the development of Hong Kong and the Chinese music industry. This chapter discusses the possibility of a “new” Cantopop in this context.

The Best of Times, the Worst of Times

2017 ◽  
Author(s):  
Yiu-Wai Chu
Keyword(s):  
Popular Culture ◽  
Structural Change ◽  
Music Industry ◽  
Media Consumption ◽  
Global Media ◽  
Central Concern ◽  
Chinese Music ◽  
The World ◽  
Multi Media ◽  
The Impact

In the early 1990s, the swift development of global media had a very significant impact on the Cantopop industry, which later proved to be a heavy blow to its operation. Cantopop further expanded its business around the world, and Cantopop stars continued to be the trendsetters of popular culture across Chinese communities. Meanwhile, music was no longer the central concern of these multi-media stars. The Cantopop industry had to rely upon idol worshipping much more than it did in the 1980s. The impact would not have been so negative had it not happened at the dawning of the age of global media. As the development of the Chinese music industry became transnational and media consumption deterritorialised, Cantopop industry had to face an irreversible structural change it did not realise at the outset.

Sa’Unine String Orchestra, Orkes Geseknya Indonesia

Panggung ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Ranti - Rachmawanti
Keyword(s):  
Popular Culture ◽  
Qualitative Method ◽  
Music Industry ◽  
Main Idea ◽  
String Orchestra ◽  
Characteristic Func ◽  
Orchestra Music ◽  
Research Show ◽  
Func Tion

ABSTRACT This article explains the result of Sa’Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Sa’Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Sa’Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Sa’Unine String Or- chestra to be an Indonesian String Orchestra. Keywords: String Orchestra, Music, Popular Culture. 

scholarly journals Flying with two wings or coming of age of copyrightisation? A historical and socio-legal analysis of copyright and business model developments in the Chinese music industry

2021 ◽  
pp. 205943642199846
Author(s):  
Zhen Troy Chen
Keyword(s):  
Business Models ◽  
Coming Of Age ◽  
Music Industry ◽  
Ecosystem Model ◽  
Global Market ◽  
Copyright Law ◽  
Legal Analysis ◽  
Business Studies ◽  
Legal Studies ◽  
Chinese Music

Following the third copyright law amendment in China, this paper offers a timely contribution to the debates on the shifting policy, governance and industry landscape of the Chinese music industry. This paper conducts a historical and socio-legal analysis of the development of Chinese copyright law with regards to the music industry and argues that the Chinese digital music industry has developed to a stage where three business models collide, namely the cultural adaptation model, the renegade model and the platform ecosystem model. This paper draws on interdisciplinary literature and discourses from legal studies, business studies and cultural studies and provide new evidence of the much neglected autonomous development of Chinese copyright law on top of foreign pressure and the desired reforms to further integrate into the global market economy.

‘There is No Music in Chinese Music History’: Five Court Tunes from the Yuan Dynasty (AD 1271–1368)

1994 ◽  
Vol 119 (2) ◽  
pp. 165-188
Author(s):  
Joseph S. C. Lam
Keyword(s):  
Hong Kong ◽  
Music History ◽  
Yuan Dynasty ◽  
The Past ◽  
Chinese Music ◽  
Musical Works ◽  
Hard Evidence ◽  
The Yuan Dynasty ◽  
Chinese Music History

‘There is no music in Chinese music history.’ This paradox is often expressed by music scholars in Hong Kong, a modern metropolis in which Chinese and Western musics and music scholarship mingle and thrive. Highlighting the contrasts between traditional Chinese and contemporary Western views of music and music historiography, the paradox refers to the scholars' observation that Chinese music histories include few descriptions of actual music, and that performances of early Chinese music are often inauthentic. Published accounts of China's musical past include little hard evidence about the structure and sounds of specific musical works. Thus, the scholars argue, the accounts are more theoretical than factual, and their musical descriptions disputable. Public performances and recorded examples of early Chinese music reveal obvious use of Western tonal harmony and counterpoint, and thus cannot be authentic music from China of the past. The scholars' arguments, however, cannot refute that in Hong Kong many Chinese music masters and audiences find the so-called early Chinese music authentic and its histories credible.

An Age of Glory

2017 ◽  
Author(s):  
Yiu-Wai Chu
Keyword(s):  
Hong Kong ◽  
Popular Culture ◽  
Leading Role ◽  
Multi Media ◽  
Different Cultures

Throughout the 1980s, superstars such as Leslie Cheung, Alan Tam, and Anita Mui surpassed their predecessors by developing Cantopop into a multi-media business that also straddled the borders of neighbouring regions. These superstars staged hundreds of concerts in the newly built Hong Kong Coliseum, with a seating capacity of more than 10,000; concerts thus became a highly profitable business. Cantopop successfully helped Hong Kong establish its leading role in the multi-billion dollar idol business of popular culture. Whilst Cantopop was orchestrating a spectacle of consumerism, it was not hopelessly standardised; although it was unabashedly commercial it was also vigorously hybridised. Not unlike Hong Kong, which assimilates different cultures, Cantopop’s renditions of Euro-American, Japanese, Mandarin, and even Korean songs made it a vibrant hybrid of different music cultures.

Popular China: Unofficial Culture in a Globalizing Society. Edited by Perry Link, Richard P. Madsen and Paul G. Pickowicz. [Lanham, NY: Rowman and Littlefield, 2002. 316 pp. Hardcover $75.00, ISBN 0-7425-1078-6; paperback $21.95, ISBN 0-7425-1079-4.]

2003 ◽  
Vol 176 ◽  
pp. 1100-1102
Author(s):  
Thomas Moran
Keyword(s):  
Popular Culture ◽  
Migrant Workers ◽  
Rural Women ◽  
Individual Identity ◽  
The People ◽  
Chinese Popular Culture ◽  
The Way

The dozen chapters in this book, based on papers for a 1999 conference, comprise an interdisciplinary glimpse into the increasingly diverse and contradictory world of Chinese popular culture. A theme of Popular China is representation: most of the chapters examine the way in which group and individual identity is represented (in newspapers, magazines, popular sayings, and advertisements, and in the stories people tell about their lives). Many of the authors draw on surveys and interviews – of young basketball fans, rural women, home owners in Shanghai, migrant workers, and entrepreneurs – allowing the people of China to speak for themselves. The book contains nothing that is revelatory (especially for anyone who visits China regularly and reads Chinese), but it provides a detailed, informed look at each of several phenomena often noted only in passing.

scholarly journals ‘There’s a Starman waiting in the sky’: Mourning David #Bowie on Twitter

2017 ◽  
Vol 25 (2) ◽  
pp. 307-323 ◽  
Author(s):  
Hilde Van den Bulck ◽  
Anders Olof Larsson
Keyword(s):  
Popular Culture ◽  
Qualitative Analysis ◽  
Information Exchange ◽  
Music Industry ◽  
Culture Industry ◽  
Parasocial Relationships ◽  
Community Types

This article analyses Twitter responses to the death of musician David Bowie as an inroad to a discussion about characteristics and functions of Twitter in the mediated relationships between celebrities, fans and the popular culture industry. The study focuses on questions regarding the nature of the Twitter community, types of emotions as well as expressions of fan creativity and the composition of online mourners. To this end, it provides a broad analysis of all tweets with #Bowie in the first 48 h after Bowie passed away ( N = 252,318) and in-depth, quantitative and qualitative analysis of tweets with 100+ retweets ( N = 130). Results show high levels of retweeting and a limited number of tweets retweeted exceptionally often, suggesting a Twitter ‘elite’ leading the online mourning. This elite consists predominantly of media figures, celebrities, artists and music industry representatives rather than ‘regular’ individuals and fans, resulting in limited expressions of parasocial relationships. Besides being conduits of expressions of grief and information exchange, tweets focus on positive affirmation in tribute to Bowie’s work. Results confirm that Twitter provides a virtual gathering of mourners who are (presumably) looking for recognition of loss and for expressions of support.

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