2000 pp 33 44 jones s 2000 china hantraditional

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Unformatted text preview: The Golden Age” of Cantopop. Young talented artists, many of whom combined singing with acting careers, sang songs that were also theme songs for television programs and films. Musicians such as Leslie Cheung, Samuel Hui, and Sandra Lang are examples. A major star of Mandopop, the Taiwanese singer Teresa Teng, also crossed over into Cantopop at this time. By the late 1980s, with the television/film industry continuing to help promote artists and hits through sound tracks and theme songs, four male stars towered over others in the Cantopop scene. Nicknamed Say dai tin wong, (commonly translated as The Four Heavenly Kings), they were Jacky Cheung, Andy Lau, Aaron Kwok, and Leon Lai. Listening Examples: Wherever You Go by Coco Lee and Ai Hen Jian Dan by Jacky Cheung Chinese Rock and Roll For decades, many of Hong Kong’s young college- age students have gone abroad for their college educations, especially to the United States and Great Britain. In the late 1980s, they were bringing home recordings of music by people such as Sting and the Sex Pistols. So although Cantopop dominated popular music, a local Chinese rock scene developed consisting of musicians influenced by this harder rock. Called yaogun yinyue (rock ‘n’ roll), it was less commercial and passionate, fiery and politically minded. These songs also include interesting fusions of typical rock instrumentation (drums, electric and bass guitars, and synthesizers) with Chinese instruments such as the zheng and Beijing Opera style percussion, particularly gongs. Although not from Hong Kong, the rock musician Cui Jian (born in Beijing of Korean ethnicity) is considered the founder of Chinese rock. Trained as a trumpeter in Western classical music and with experience performing with the Beijing Symphony Orchestra, he has considerable talent, skills, and knowledge. His “Yiwu suoyou” (Nothing to my Name) received international attention when it became associated with the 1989 democracy Crossroads: Music of American Cultures (Barkley) Kendall Hunt Publishers, 2013 16 movement that culminated in the protest demonstrations in Tiammen Square on mainland China. The brutal crackdown by the government to the protests resulted in deaths estimated from several hundred to thousands. This, combined with the looming presence of the 1997 sovereignty return of Hong Kong to the People’s Republic of China, created considerable tension for everyone, including musicians. When Hong Kong was reunited with China, and Mandarin became the official language, it also created a challenge for Cantopop’s Cantonese language music. At the beginning of the new millennium, Cantonese- based popular music still dominated, but new artists who had either moved to or were born overseas, started becoming most popular such that Hong Kong was no longer the only music center. For example Coco Lee (born in Hong Kong but moved to San Francisco when she was 9 years old) and Nicholas Tse (born to native Hong Kong parents but raised in Canada and the United States) helped Cantopop become famous worldwide. Listening Example: Yi Wu Suo You (Nothing to Lose) by Cui Jian Mandopop The Chinese Nationalists who had retreated to the Island of Taiwan and renamed it the Republic of China established their new capital in Taipei. Although Taiwanese was the native language of most of the island’s residents, the new rulers mandated Mandarin as the official language and restricted the use of Taiwanese. Taipei thus became the center of Mandopop, popular songs sung in Mandarin. Mandopop continued the shidaiqu styles from prior to the war, but also integrated elements of Japanese popular music, since the Japanese still had a strong presence on the island having governed the area since 1895....
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This document was uploaded on 02/16/2014.

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