Relevant bibliographies by topics / Popular music Songs, Cantonese Songs, Chinese

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Popular music Songs, Cantonese Songs, Chinese'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Popular music Songs, Cantonese Songs, Chinese"

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Wong, Yat-wai Joseph. "Television as the arena of shaping a music genre: The Hong Kong TV broadcasting culture and the rise of Cantopop, 1970–85." Journal of Popular Television 9, no. 1 (2021): 79–91. http://dx.doi.org/10.1386/jptv_00042_1.

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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 o
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Liu, Chen, and Rong Yang. "Consuming popular songs online: Phoenix Legend’s audiences and Douban Music." cultural geographies 24, no. 2 (2017): 295–310. http://dx.doi.org/10.1177/1474474016684125.

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This article explores the creative consumption of popular music and explains how audiences involve their place-based emotions within their representations of popular music in an everyday setting, drawing on a qualitative study on people’s interpretations of Phoenix Legend (a popular music duo in mainland China) and its music. We collected the texts created by Phoenix Legend’s audiences from Douban Music ( http://music.douban.com/ ), a Chinese online music forum. Our analysis focuses on how fans, non-fans and anti-fans interpret and re-write the meanings of Phoenix Legend and its songs emotiona
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CHEN, SZU-WEI. "The rise and generic features of Shanghai popular songs in the 1930s and 1940s." Popular Music 24, no. 1 (2005): 107–25. http://dx.doi.org/10.1017/s0261143004000297.

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In the 1930s and 1940s, musicians and artists from different cultures and varied backgrounds joined and made the golden age of Shanghai popular songs which suggests the beginnings of Chinese popular music in modern times. The present article gives a historical description of the rise of Shanghai popular songs and examines their generic features according to Franco Fabbri's five groups of genre rules. Through gramophone recordings, radio broadcasts and films these musical products enjoyed great popularity despite severe criticisms from certain sectors of society. The diversity of musical elemen
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Yiu-Wai, Chu. "Developing Local Popular Songs in Hong Kong: A Study of the All Cantonese Pop Music Station Format." Media International Australia 105, no. 1 (2002): 147–62. http://dx.doi.org/10.1177/1329878x0210500118.

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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.
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Ho, Wai-chung. "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 19, no. 3 (2000): 341–53. http://dx.doi.org/10.1017/s0261143000000209.

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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 high
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Chu, Yiu-Wai, and Eve Leung. "Remapping Hong Kong popular music: covers, localisation and the waning hybridity of Cantopop." Popular Music 32, no. 1 (2013): 65–78. http://dx.doi.org/10.1017/s0261143012000554.

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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 im
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Ye, Ye, and Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective." Journal of Chinese Literature and Culture 8, no. 1 (2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.

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Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have
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Ding, Ing Jr, Chih Ta Yen, and Che Wei Chang. "Classification of Chinese Popular Songs Using a Fusion Scheme of GMM Model Estimate and Formant Feature Analysis." Applied Mechanics and Materials 479-480 (December 2013): 1006–9. http://dx.doi.org/10.4028/www.scientific.net/amm.479-480.1006.

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In this paper, a fusion scheme that combines Gaussian mixture model (GMM) calculations and formant feature analysis, called GMM-Formant, is proposed for classification of Chinese popular songs. Generally, automatic classification of popular music could be performed by two main categories of techniques, model-based and feature-based approaches. In model-based classification techniques, GMM is widely used for its simplicity. In feature-based music recognition, the formant parameter is an important acoustic feature for evaluation. The proposed GMM-Formant method takes use of linear interpolation
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Chen, Xi. "When the classic speaks for children." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (2020): 780–95. http://dx.doi.org/10.1075/babel.00175.che.

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Abstract Bob Dylan has significantly influenced American song tradition and popular music for more than five decades. As his songs are famous for the creative poetic expressions, they are not merely song lyrics, but also can be regarded as lyric poems. This paper aims to investigate the retranslation of Bob Dylan’s songs in bilingual picture books to explore how his classic musical works are repackaged both verbally and visually for contemporary children. The data for analysis are selected from two bilingual picture books on Dylan’s songs published in China in 2018. Firstly, it conducts a deta
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Hu, Xiao, Christy W. L. Cheong, Siwei Zhang, and J. Stephen Downie. "Mood metadata on Chinese music websites: an exploratory study with user feedback." Online Information Review 42, no. 6 (2018): 864–79. http://dx.doi.org/10.1108/oir-01-2017-0023.

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Purpose Music mood is an important metadata type on online music repositories and stream music services worldwide. Many existing studies on mood metadata have focused on music websites and services in the Western world to the exclusion of those serving users in other cultures. The purpose of this paper is to bridge this gap by exploring mood labels on influential Chinese music websites. Design/methodology/approach Mood labels and the associated song titles were collected from six Chinese music websites, and analyzed in relation to mood models and findings in the literature. An online music lis
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Dissertations / Theses on the topic "Popular music Songs, Cantonese Songs, Chinese"

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Ng, Pong-wai Brenda. "The development in Hong Kong of commercial popular songs in Cantonese /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1675959X.

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Lau, Man-chun. "A study of Hong Kong popular music industry (1930-2000) 1930 zhi 2000 nian jian Xianggang liu xing yin yue gong ye de bian qian /." Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B4389608X.

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Hui, Wing-yiu. "Canton-pop and the teaching of Chinese in Hong Kong." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42694784.

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Ng, Pong-wai Brenda, and 吳邦瑋. "The development in Hong Kong of commercial popular songs in Cantonese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213522.

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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

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Hui, Wing-yiu, and 許榮耀. "Canton-pop and the teaching of Chinese in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42694784.

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勞婉莎. "粵語流行曲詞研究 = The study of lyric of Cantonese popular song". Thesis, University of Macau, 2004. http://umaclib3.umac.mo/record=b1636194.

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Fu, Lok-yi Alice. "Contemporary Cantopop reception of crossover music in Hong Kong /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634334.

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Thesis (M. Phil.)--University of Hong Kong, 2008.<br>Includes Chinese version of questionnaire (leave 132-133), transcript of interviewees in Chinese (leave 134-141) and Chinese texts of translated songs (leave 142-154). Also available in print.
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Wong, Jum-sum James. "The rise and decline of cantopop a study of Hong Kong popular music (1949-1997) = Yue yu liu xing qu de fa zhan yu xing shuai : Xianggang liu xing yin yue yan jiu (1949-1997) /." Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B31057330.

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Li, Belinda. "Folk Songs and Popular Music in China: An Examination of Min’ge and Its Significance Within Nationalist Frameworks." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/162.

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This thesis examines the function of music within different theories of nationalism and the appropriation of folk music within the genre of min’ge. Min’ge, a term in Chinese which directly translates to “folk songs”, has generally been defined as oral musical traditions. However, due to the increased politicization of popular music since the 1930s, the nature folk music has fundamentally changed, reflecting its new significance within Chinese nationalism. Through the years, min’ge has become more useful to promoting the goals of the state than representing the musical traditions of the many di
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Books on the topic "Popular music Songs, Cantonese Songs, Chinese"

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Xu, Zhi'an. Jie ni er duo ting. Universal Music, 2001.

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Chao, Tzu-yung. Cantonese love songs: An English translation of Jiu Ji-yung's Cantonese songs of the early 19th century. Hong Kong University Press, 1992.

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Chen, Zhanpeng. My TV love songs. The Voice Entertainment Group Limited, 2017.

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Li, Mengyao. Meng yao: The dream songs. Tai ping yang ying yin gong si, 2017.

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Xiuzhen, Zhang, ed. Feng xiao chi. Mo yen wen hua, 1995.

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Zhang, Xueyou. Zhang Xue-yu zhuan ji. Tian yin chu ban she, 1995.

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Xiuzhen, Zhang, ed. Ai le zai ai. Mo yen wen hua, 1995.

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Guo, Fucheng. Guo Fucheng zhuan ji. Tian yin chu ban she, 1995.

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Qi, Long. Qing ge wang zi: Prince of love songs. Jiu zhou yin xiang chu ban gong si, 2015.

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1979-, Zhou Jielun, and Fang Wenshan, eds. Ban dao tie he: Iron box of an island. Hua ren ban tu wen hua shi ye you xian gong si, 2002.

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Book chapters on the topic "Popular music Songs, Cantonese Songs, Chinese"

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Chu, Yiu-Wai. "Epilogue." In Hong Kong Cantopop. Hong Kong University Press, 2017. http://dx.doi.org/10.5790/hongkong/9789888390571.003.0007.

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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.
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"bianzhong bell chime bili a double-reed cylindrical instrument bo cymbals Chaozhou Xianshi String music in Chaozhou chiba vertical bamboo flute chui blowing, a category of folk classification for music instruments, meaning wind instruments Chuige Hui Society of wind songs da beating, a category of folk classification for music instruments, meaning percussion instruments Dadiao Qüzi a local singing narrative genre in Henan Province daqü large suite di bamboo flute erhu two-string bowed lute Erquan Yingyue Moonlight reflected on the water of Erquan Spring, an erhu piece played by Abing Fanglü Pasture donkey, a wind and percussion ensemble piece played in Chuige Hui in Hebei Province fengshou konghou arched harp Ge hide, a category of ancient classification for musical instruments gonche Chinese system of notation gu drum guan a double-reed cylindrical instrument, basically the same as the ancient bili Guangdong Yinyue Cantonese music, a genre of instrumental ensemble in Guangdong Province Guangling San Tune of Guangling, a qin piece Guchui yue drum and blowing music gudi bone flute haidi small suona (small conical oboe) hua painting, one category of the literati’s self-cultivation and entertainment hujiao horn Ji Kong Yuewu Worshiping music and dance to Confucius Jiangnan Sizhu String and wind ensemble in the south area of the Yangtze River Valley jianzi pu simplified character notation Jin metal, a category of ancient classification for musical instruments jinghu two-string bowed lute, like a small erhu but with its soundbox made of bamboo." In Tradition & Change Performance. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-4.

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Conference papers on the topic "Popular music Songs, Cantonese Songs, Chinese"

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Chen, Yao. "Understanding and Thinking of Ancient-Chinese-style Music in Popular Songs." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.71.

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