Description
Ya-Hui Cheng examines the emergence of popular music genres – jazz, rock, and hip-hop – in Chinese society, covering the social underpinnings that shaped the development of popular music in China and Taiwan, from imperialism to westernization and from modernization to globalization. The political sensitivities across the strait have long eclipsed the discussion of these shared sonic intimacies. It was not until the rise of the digital age, when entertainment programs from China and Taiwan reached social media on a global scale, that audiences realized the existence of this sonic reciprocation. Analyzing Chinese pentatonicism and popular songs published from 1927 to the present, this book discusses structural elements in Chinese popular music to show how they aligned closely with Chinese folk traditions. While the influences from Western genres are inevitable under the phenomenon of globalization, Chinese songwriters utilized these Western inspirations to modernize their musical traditions. It is a sensitivity for exhibiting cultural identities that enabled popular music to present a unique Chinese global image while transcending political discord and unifying mass cultures across the strait.
Table of Contents
Acknowledgments; Preface; 1. Introduction; 2. Early Western Sounds: from Christian-based Music to the Shanghai Modern Song; 3. Music in Taiwan: Migration, Westernization, Campus Folksongs, and Rock Music; 4. The Collective Sound: From Propaganda Music to Sent-Down Youth Songs; 5. Modernizing Chinese Vernacular Music: From Red Songs to Rock Music in China; 6. Global Image, Chinese Wind, Rap, and Hip-Hop; 7. The Chinese Dream and the Latest Popular Music Scene in Greater China; Bibliography; Index
