Download Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its by Marc L. Moskowitz PDF

By Marc L. Moskowitz

Since the mid-1990s, Taiwan’s targeted model of Mandopop (Mandarin Chinese–language pop tune) has dictated the musical tastes of the mainland and the remainder of Chinese-speaking Asia. Cries of pleasure, Songs of Sorrow explores Mandopop’s strangely complicated cultural implications in Taiwan and the PRC, the place it has tested new gender roles, created a vocabulary to precise individualism, and brought transnational tradition to a rustic that had closed its doorways to the realm for twenty years.

In his early chapters, Marc L. Moskowitz offers the ancient history essential to comprehend the modern Mandopop scene, starting with the start of chinese language renowned song within the East Asian jazz Mecca of Twenties Shanghai. a short evaluation of different musical genres within the PRC resembling Beijing rock and progressive opera is incorporated. The part concludes with a glance on the demeanour within which Taiwan’s musical ethos has inspired the mainland’s tune and the way Mandopop has introduced Western track and cultural values to the PRC. This ends up in a dialogue of Taiwan pop’s unheard of hybridity, starting with overseas impacts in the course of the colonial interval below the Dutch and eastern and carrying on with with the country’s political, cultural, and financial alliance with the U.S. Moskowitz addresses the ensuing wealth of transnational musical impacts from the remainder of East Asia and the U.S. and Taiwan pop’s attract audiences in either the PRC and Taiwan. In doing so, he explores how Mandopop’s "songs of sorrow," with their ubiquitous topics of loneliness and isolation, interact quite a number emotional expression that resonates strongly within the PRC.

Later chapters research the development of female and male identities in Mandopop and view the common condemnation of the style via critics. Drawing on analyses and information from past chapters (including interviews with dozens of performers, track writers, and lay humans in Taipei and Shanghai), Moskowitz makes an attempt to reply to the query: Why, if the song is as undesirable as a few assert, is it so valuable to the lives of the biggest inhabitants on this planet? to respond to, he highlights Mandopop’s very important contribution as a poetic lament that at the same time embraces and protests glossy life.

Cries of pleasure, Songs of Sorrow is a hugely readable creation to a huge yet understudied East Asian phenomenon. it is going to discover a prepared viewers between students and scholars of chinese language and Taiwanese pop culture in addition to musicologists learning transnational song flows and non-Western renowned music.

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Additional resources for Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations

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Mandopop songs also have very different political and social significance to Chinese-speaking listeners from other countries. The emotional valance is analogous to the experience of someone from Australia or England when watching a Hollywood movie. They share a common language and many cultural values, yet there is still something profoundly foreign about the film to these audience members. 66 In contrast, listening to the same music in Taiwan has more of a sense of home. This, in turn, is experienced differently by people in Hong Kong, Malaysia, Singapore, or by Chinese and Taiwanese diaspora throughout the world, with a range of different nuances added by particular cultures, dialects, and ethnic diversities in those locales.

Part of this disintegration of borders can be seen in the musical relationship between Taiwan and Hong Kong. ”63 Miss Luo and Mr. Onion, twenty-four-year-old interior designers in Taipei, disagree with this sentiment, however. When I asked them what they thought of Hong Kong pop, they said: [Mr. Onion:] Hong Kong’s music is much closer to Taiwan’s because we work together a lot in creating songs. But they are not exactly the same. Hong Kong’s music tends to be faster and the performers are more flamboyant.

Taiwanese performer Chang Cheng Yue had the following to say about this: Hip-hop uses a lot of Taiwanese. This is because with hip-hop you can really say whatever you are thinking. You don’t have to be a professional, you can just say it. And the listener can identify (gongming) with this. So young people want to find their Taiwanese identities, to discover who they are. So hip-hop uses a lot of Hokkien. This works really well with Hokkien songs. In Taiwanese society today everyone has this feeling.

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