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Development of Chinese popular music
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Mandopop is defined as the shortened form of the Chinese music genre ‘Mandarin-Chinese language popular music’ (Moskowitz 2009). However, Mandopop cannot be defined solely as a music genre but a cultural and social importance, especially in China and Taiwan. This essay will first focus on the brief history of Mandopop and its cultural and social importance in China and Taiwan. Secondly, the essay will concentrate on the marketing style in increasing revenues of Mandopop within the Chinese music industry . Thirdly, a comparison of Mandopop to Korean pop in its marketing styles will also be examined. Overall, this essay will emphasize on how Mandopop is generated to be a part of Chinese cultural and social significance for Mandopop listeners.
The Mandopop industry first began around the 1920s in Shanghai, China (Moskowitz 2009:1). However, the popularity of Mandopop did not spread and develop until the late 1970s after China established the ‘open door policy’ in which foreign cultural products like Taiwanese Mandopop were introduced into mainland China. The introduction of Gangtai pop music received unfavorable reactions from China’s government to the extent of arresting Chinese citizen for listening to unauthorized Gang-tai pop music (Baranovitch 2003:10, 103). Surprisingly, due to various factors from increasing consumer financial power to technology development, Taiwanese Mandopop had a rapid increase in popularity in China (Latham 2007:344). Even till this day, although China contains the largest Mandarin speaking population, Taiwan is now deemed as the upcoming centre of Mandopop, with trade revenues in its music industry totaling up to $68.9 million in 2007, rivaling against China’s piracy affected revenue of $69.4 milli...
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Moskowitz, Marc L. 2009. Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotation. Honolulu: University of Hawaii Press.
Pease, Rowan. 2009. Korean Pop Music in China: Nationalism, Authenticity, and Gender. In Cultural studies and cultural industries in Northeast Asia: What a difference a region makes, edited by Chris Berry, Nicola Liscutin and Jonathan D. Mackintosh, 151-167. Hong Kong: Hong Kong University Press.
Williamson, Lucy. South Korea’s K-pop craze lures fans and makes profits. BBC News, 26 April 2011. Accessed 27 September 2011 at: http://www.bbc.co.uk/news/13191346
Worth, Thibault. 2009. Strait to Stardom?. Billboard 121 (3): 20.
Yoon, Lina. Korean Pop, with Online Help, Goes Global. Time Magazine [Website]. 26 August 2010. Accessed 27 September 2011 at: http://www.time.com/time/world/article/0,8599,2013227,00.html.
Over the course of history, music has developed from a personal, academic pursuit to an extension of a global marketplace and an attribute of this global community. In order to better address this conversation and the surrounding idea, Feld utilizes the platform he has developed to pose the argument that music has long been cultivated as a means of communication and interaction. This relationship is developed and analyzed as a case study in this article, which happens to be in discussing a traditional lullaby first developed in the Solomon Islands, which was in turn recorded by a European pop group that sold millions of copies of a rendition of the song. Furthermore, the article goes to show the trend of music to be redistributed and developed in the sense that it is later reused by a popular jazz musician in Europe. Feld then begs the question about the nature of the redistribution of music and whether this facilitates a hybridization of music or an alienation and artistic degradation of the original work for the indigenous artists.
American pop culture recently received flak for cultural appropriation. Artists such as Katy Perry and Selena Gomez were criticized for superficially incorporating Asian images into their music. However, cultural appropriation and cultural tourism – and its consequences – are commonly seen in relation to traditional culture; this lack of attention towards visual representation of modern Asian subcultures – in relation to Asian Americans – dismisses the potential impact of these images. A visual analysis of Avril Lavinge’s “Hello Kitty” and Gwen Stefani’s appearances with the Harajuku Girls reveals that the use of Japan’s Harajuku subculture in American pop culture perpetuates Asian American stereotypes. Specifically, these acts contain characteristics of the submissive “lotus blossom” stereotype and the invisibility that comes from this stereotype. These characteristics result in an insidious formation of race; Avril Lavinge and Gwen Stefani’s cultural tourism constructs the concept of an American that excludes the Asian body through contrasts between themselves and the background Asian body. This racial formation relies on the idea that the two artists have become part of the Harajuku culture, yet they are clearly distinguishable from the homogenized Asian body.
... Popular Music Studies 23, no. 1 (2011): 19-39. Accessed April 28, 2014. Academic Search Complete.
Kelts, Roland. Japanamerica : how Japanese pop culture has invaded the U.S. . New York, NY: Palgrave Macmillan, 2006. Print.
There are close to 12 million Asian Americans living in the United States (U.S. Asian, 2000). Asian Americans are considered one of the fastest growing minorities (Pimentel, 2001). Between 1990 and 1999, the Asian population rose 43% (Census, 2000). However, Asian Americans are still portrayed in a simplistic manner by the American media, which in turn, promotes stereotyping. I have researched various types of mass media in the United States, such as: music, films, television and magazines. I will focus on several examples where Asian Americans are portrayed in a negative way. Furthermore, I will give examples of musicians, and independent films that prove Asian Americans have potential on what they can contribute to in the American media. Finally, I will recommend different ways to rid the stereotype put on Asian Americans by actions that can be taken, not only pertaining to Asians, but to other ethnicities that face stereotypes on their culture.
Ramsay, D. (2012). The Rise of EDM | Music Business Journal | Berklee College of Music. [online] Thembj.org. Available at: http://www.thembj.org/2012/10/the-rise-of-edm/ (Accessed: 20 May 2014).
Quite a huge number of American pop singers has already visited Singapore to have multiple concerts held here. Different people who enjoy American pop music or particular artist, came together as one to again experience and consume the Americanization through music. However, even though these concert activities contribute to the spread of American popular culture through music, technology plays even a bigger part as people grow attention and interest for the artists through listening to their music or watching their music videos through internet or television which will be discussed further towards the end of this
World music may sound as simple as its name suggests, however the world music phenomenon expresses a deeper story that many people seem to miss. There is so much that makes up a world music genre, but what we hear about it is not always the easiest to decipher and generally comes from powerful and large organisations, where not all of it is explained thoroughly. A lot of their understanding comes from what they are only interested in and most important stories and factors are either ignored or incomplete (Stokes 2003, p. 297). Not receiving the full picture, gives us a limited understanding of world music and its sub genres. Different genres of music over the globe have been shaped in many ways by influences such as the; historical and traditional root, people and their culture, migration, globalisation, politics and commodification. Nueva Canción is one example of a world music genre that has been influenced in such ways, and of which has a strong historical and political story worthy to be recognised. This essay will focus on the way the genre, Nueva Canción has become a significant genre of world music, by exploring the influences stated previously.
Music Bridging Cultural Gaps In Hong Kong people look down on those from 'the mainland'.
Music has undergone many changes throughout and history and prehistory. These changes were always somehow connected to sociological movements at the time. Rock music evolved mostly out of a need by young people of the fifties to break away from so-cietal norms. America had just come out of the Korean War, and men looked to settle down into a peaceful life. Also just prior this time period, Senator Joseph McCarthy ac-tively encouraged citizens to conform with his infamously false accusations of Commu-nism. “McCarthy spectacularly charged that there were scores of known Communists in the Department of State” (Bailey 887). This made people fearful that they would be tried as Communists and led most to conform to a common societal standard. When the nation emerged from this era, teenagers sought to rebel against their parental authorities. They created everything from new styles of clothing to new styles of music to promote their newfound individuality. The new style of music evolving at the time was called Rock and Roll. “Rock has been influenced by country music, by the blues, by classical music, by calypso, by traditional folk styles, and by a variety of other music conventions” (Belz vii). This variety reflects the varied backgrounds of young people at the time. Early successes in this new music genre included Bill Haley, Elvis Presley, Fats Domino, and Chuck Berry. This music only succeeded because the conditions in society and the opinions of the youth in that time period allowed it to succeed. This music revolution is not unique. Similar revolutions will occur if and when the circumstances permit. Modern music is going this direction, but has not reached the point of a new genre as of yet because conditions in so-ciety have not allowed a radical change.
This SWOT analysis will look at K-pop at four sides to discuss how it become an international hit. 1. Strengths 1.1 A comprehensive and strict training system In order to become a K-pop singer in Korea, it is not an easy thing. The company had been looking for trainees long time before they actually decided to introduce a boy group or girl group.
The music business entered a dramatic change in the 21st century. These changes appear in the way of how people access and consume music. According to Hull, Hutchison and Strasser (2011) the music business has developed throughout three stages. While moving from the agricultural age, where the music business made its revenues through live performances, troubadours and patronage, the industrial age introduced new innovations that were assumed to be associated with long-term economic growth. Commencing the year 1950 sound recordings experienced a drastic raise in sales by an average of 20% a year (Krasilovsky and Shemel, 2007). While the music industry was dominated by six major record lables (Time Warner, Disney, Vivendi Universal, Viacom, Bertelsmann, and News Corp.) (Hull, Hutchison and Strasser, 2011), further growth in the industry has been recorded in the 1970’s, where record sales “rose from less than $2 billion at the beginning of the decade to over $4 billion in 1978”, which took a sharp turn entering the Depression around the middle of the 20th century (Krasilovsky and Shemel, 2007:5).
With the music being the highly profitable, capitalist enterprise that it is today, it is no wonder that it is controlled and regulated by a few large conglomerates that exist is today’s world. It is important to make clear that although evidence is being presented of the positive aspects of globalization through music that there is overwhelming evidence that cultural imperialism is more than it seems on the outside. One must keep in mind that cultural imperialism, globalization and the creation of a global village is a business. People are profiting at other people’s loss of cultural identity, they are sold a culture and heritage. With the every growing N’Sync fan clubs and Britney clones, the world is turning into a stage for pop culture and its glamorous unattainable standards.
Societies consist of several diverse elements, which are significant in the advancement of social notions. One of those key elements is media. In today’s society we approach countless varieties of media that are constantly influencing the way individuals live their lives. Consuming media on a daily basis has an immense effect on the way people view things within society. A source of media that tends to dominate our daily lives is music. Music is currently presented within every aspect of our lives and has become a commodity more than a cultural aspect. It is existent in every occasion with a variety of genres. It has now become available everywhere at any time of day. With music being such a big commodity in today’s society, popular music developed. Popular music is based upon what is appealing to most individuals throughout society, which is determined by a scale of activity such as music charts. It is considered as a key cultural expression that highlights the attitudes of personalities (Joan Serrà, 2012).
The genre of pop rock has taken the music industry by storm, giving record companies enormous amounts of power and endless financial success along with a way to reproduce it. Owing its popularity to the “light” nature and simplistic, yet catchy melodies, pop music is one of the broadest genres. There’s no way of clearly defining parameters as to what distinguishes a pop music song from other genres. This is largely due to the genre's’ reliance on popularity. Pop music has taken many forms over the decades, keeping characteristics through each generation it passes through.