Mandopop
Mandopop | |
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Stylistic origins |
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Cultural origins | 1920s–1940s, Shanghai, Republic of China |
Other topics | |
Mandopop | |
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Hanyu Pinyin | Huáyǔ liúxíng yīnyuè |
Yue: Cantonese | |
Jyutping | Waa4jyu5 lau4hang4 jam1ngok6 |
Mandopop or Mandapop refers to
Mandopop is categorized as a subgenre of commercial Chinese-language music within C-pop. Popular music sung in Mandarin was the first variety of popular music in Chinese to establish itself as a viable industry. It originated in Shanghai; later, Hong Kong, Taipei and Beijing also emerged as important centers of the Mandopop music industry.[3] Among the regions and countries where Mandopop is most popular are mainland China, Hong Kong, Macau, Taiwan, Malaysia, and Singapore.
History
Beginning of recording industry in China
The Chinese-language music industry began with the arrival of gramophone. The earliest gramophone recording in China was made in Shanghai in March 1903 by Fred Gaisberg, who was sent by the Victor Talking Machine Company (VTMC) in the U.S. to record local music in Asia.[4] The recordings were then manufactured outside China and re-imported by the Gramophone Company's sales agent in China, the Moutrie (Moudeli) Foreign Firm. The Moudeli Company dominated the market before the 1910s until the Pathé Records (Chinese: 百代; pinyin: Bǎidài) took over the leading role. Pathé was founded in 1908 by a Frenchman named Labansat who had previously started a novelty entertainment business using phonograph in Shanghai around the beginning of the 20th century. The company established a recording studio, and the first record-pressing plant in the Shanghai French Concession in 1914, and became the principal record company to serve as the backbone for the young industry in China.[5] It originally recorded mainly Peking opera, but later expanded to Mandarin popular music. Later other foreign as well as Chinese-own recording companies were also established in China.
Early in the 20th century, people in China generally spoke in their own regional dialect. Although most people in Shanghai then spoke Shanghainese, the recordings of the pop music from Shanghai from the 1920s onwards were done in Standard Mandarin, which is based on the Beijing dialect. Mandarin was then considered as the language of the modern, educated class in China, and there was a movement to popularize the use of Mandarin as a national language in the pursuit of national unity. Those involved in this movement included songwriters such as Li Jinhui working in Shanghai.[6] The drive to impose linguistic uniformity in China started in the early 20th century when the Qing Ministry of Education proclaimed Mandarin as the official speech to be taught in modern schools, a policy the new leaders of the Chinese Republic formed in 1912 were also committed to.[7] Sound films in Shanghai which started in the early 1930s were made in Mandarin because of a ban on the use of dialects in films by the then Nanjing government,[8] consequently popular songs from films were also performed in Mandarin.
1920s: Birth of Shidaiqu in Shanghai
Mandarin popular songs that started in the 1920s were called shidaiqu (時代曲 – meaning music of the time, thus popular music), and Shanghai was the center of its production. The Mandarin popular songs of the Shanghai era are considered by scholars to be the first kind of modern popular music developed in China,[9] and the prototype of later Chinese pop song.[10] Li Jinhui is generally regarded as the "Father of Chinese Popular Music" who established the genre in the 1920s.[11] Buck Clayton, the American jazz musician, also worked alongside Li. Li established the Bright Moon Song and Dance Troupe, and amongst their singing stars were Wang Renmei and Li Lili. There was a close relationship between music and film industries and many of its singers also became actresses.
Around 1927, Li composed the hit song "The Drizzle" ("毛毛雨") recorded by his daughter Li Minghui (黎明暉), and this song is often regarded as the first Chinese pop song.
1930s–1940s: The Seven Great Singing Stars era
In 1931, the first
The "
In this period, Pathé Records dominated the recording industry. In the late 1930s to early 1940s, it held about 90% market share of the Mandarin pop songs.[19]
The era was a tumultuous period, with the occupation of Shanghai by the Japanese armies during the
1950s–1960s: The Hong Kong era
In 1949, the
In 1952, Pathé Records moved its operation from Shanghai to Hong Kong. Stars from Shanghai continued to record songs in Hong Kong, and Shanghai-style music remained popular in Hong Kong until the mid-1960s.
Shanghai-style Mandarin pop songs however began to decline in popularity around the mid-1960s as Western pop music became popular among the young, and many Hong Kong performers copied Western songs and sang Hong Kong English pop songs.[19] This in turn gave way to pop songs recorded in Cantonese as Cantopop became the dominant genre of music from Hong Kong in the 1970s.
After the Communist victory in China, the Kuomintang retreated to Taiwan. There were local stars in Taiwan and Pathé Records did business there as well, but the island's recording industry was not initially strong. Taiwanese youth were drawn to popular styles from abroad; as Taiwan was ruled by Japan from 1895 to 1945, Taiwanese pop songs in the Hokkien dialect, the actual mother tongue of most of the island's residents, were particularly strongly influenced by the Japanese Enka music. Popular Mandarin songs from Taiwan were similarly influenced, and many popular Mandarin songs of the 1960s were adaptations of Japanese songs, for example "Hard to Forget the Thought" ("意難忘", originally "Tokyo Serenade" (東京夜曲)) and "Hate you to the Bone" ("恨你入骨", from "Hone made aishite" (骨まで愛して)). Popular songs were necessarily sung in Mandarin as Taiwan's new rulers, which imposed martial law in Taiwan in 1949, mandated its use as well as restricting the use of Taiwanese Hokkien and forbidding the use of Japanese.[24] The Mandarin pop music developed in Taiwan that would become modern Mandopop is a blend of traditional Chinese, Japanese, Taiwanese, as well as Western musical styles.[25] Zi Wei (紫薇) was the earliest of the Taiwan-based stars who achieved success outside of Taiwan in the late 1950s with the song "Green Island Serenade",[26] followed by other singers such as Mei Dai (美黛) and Yao Surong (姚蘇蓉) in the 1960s.[27][28] The 1960s however was a highly politically tense era, many songs such as "Not Going Home Today" ("今天不回家") by Yao Surong were banned in Taiwan.[29]
In the 1960s, regional centres of Chinese pop music also started to emerge in overseas Chinese communities in Malaysia and Singapore, and singers from the region such as Poon Sow Keng (潘秀瓊) also achieved wider success.[30]
1970s–1980s: Rise of Taiwanese Mandopop
In the 1970s, Taipei began to take center stage for Mandopop while Cantopop took hold in Hong Kong. In 1966, the Taiwan music industry was generating US$4.7 million annually, and this had grown exponentially through the 1970s and 1980s, and by 1996, it peaked at just under US$500 million before declining.
During the 1970s and early 1980s, a different generation of Taiwanese singers and/or songwriters such as
In South East Asia, popular local stars from the late 60s to the 80s included Sakura Teng (樱花), Zhang Xiaoying (張小英) and Lena Lim (林竹君) from Singapore, and Wong Shiau Chuen (黃曉君) and Lee Yee (李逸) from Malaysia.[39] Some such as Lena Lim achieved some success outside the region, and the local labels also signed singers from outside the region such as Long Piao-Piao (龍飄飄) from Taiwan. The recording industry in Singapore in particular thrived. In 1979, Singapore launched the Speak Mandarin Campaign to promote the use of Mandarin over the range of Chinese dialects spoken by various segments of the ethnic-Chinese population. Mandarin songs, already a strong presence on radio stations and on television, further eroded the popularity of Hokkien and Cantonese songs in the media.[40] In the 1980s, a genre of Mandarin ballads called xinyao developed in Singapore by singers/songwriters such as Liang Wern Fook.[41]
In mainland China, the music industry was freed from state restriction in 1978, and regional recording companies were established in
1990s
A number of singers originally from mainland China such as Faye Wong and Na Ying began to record in Hong Kong and Taiwan. Faye Wong, referred to in the media as the Diva, first recorded in Cantonese in Hong Kong, later recorded in Mandarin. She was one of the few Chinese singers to perform in Budokan, Japan.[43][44]
During this period, many Cantopop singers from
In the period from the mid-1990s to early 2000s, Shanghai and Beijing became centers of the music industry in mainland China, with Shanghai focusing on music record publishing and distribution, while Beijing focused on music recording.[22]
2000s-2010s: Growth in Mainland China
In Hong Kong, the Four Heavenly Kings faded in the 2000s, but many other new artists such as Nicholas Tse and Eason Chan came to the fore. The 2000s also began with an explosion of pop idols, many of whom were from Taiwan. Mainland China also saw a rapid increase in the number of Mandopop singers, bands, and idol groups as pop music becomes increasingly mainstream by mid-2000s. The growing Mainland film industry and Chinese television drama also increased demand for Mandopop. Since the 2000s, the emergence of indie rock in mainland China and Taiwan had exploded into a flourishing indie music scene in mainland China and Taiwan, adding various new diversities into Mandopop. Entry of popular Taiwan-based bands such as Mayday and Sodagreen while in mainland Chinese-based bands such as SuperVC and Milk Coffee had brought a new phase of rock fusion into Mandopop.
The music industry in Taiwan, however, began to suffer from music piracy in the digital age, and its revenue plummeted to $US95 million in 2005. The primary revenue sources in Taiwan music industry shifted to advertising, concerts, KTV (karaoke) and movie. The dramatic decline of CD sales shifted the market in favour of mainland China.[47] While piracy was also severe in mainland China, the percentage of its digital sales is higher compared to most countries.[48] 2005 was known as 'The First Year of Digital Music' in China as its digital music sales of $US57 million overtook CDs in 2005,[49] and it also overtook Taiwan in term of the retail value of its music sales.[50]
However, while mainland China became increasingly important in generating revenue, the pop music industry itself in mainland China was still relatively small in the decade of 2000s compared to Taiwan and Hong Kong as popstars from Taiwan and other overseas Chinese communities were still popular in mainland China.
The burgeoning number of contests brought a new wave of idol genre to the Mandopop industry. Nationwide singing competitions in mainland China, such as the
There was increasing crossover appeal of Taiwanese
2020s
In early 2020s, Jay Chou, JJ Lin and Eason Chan, who had debutted for more than 20 years, continued to lead the Mandopop scene. They were ranked among the top three most-streamed Chinese artists on Spotify in 2023. [52] Jay's Greatest Works of Art was IFPI Global Album Sales Chart No. 1 album in 2022.[53]
Short video platforms like
Characteristics
This section needs additional citations for verification. (March 2019) |
Instruments and setups
Shidaiqu originated as a fusion of Chinese traditional music and European popular music, and therefore instruments from both genres were used from the very beginning of Mandopop. Songs performed in the traditional style employed traditional Chinese instruments like the erhu, pipa, and sanxian, such as in the recording of "The Wandering Songstress" (天涯歌女) by Zhou Xuan, whereas more Western orchestral instruments such as trumpets, violins, and piano were used in songs like "Shanghai Nights" (夜上海), also by Zhou Xuan. Big band and jazz instruments and orchestrations from the swing era were common in the early years. Chinese and Western instruments were also combined in some recordings.
In the 1960s, the
Industry
This section needs additional citations for verification. (March 2019) |
Labels
Popular music record labels includes independent labels such as JVR Music, Linfair Records, B'In Music and subsidiaries of major labels such as Sony Music Taiwan, Universal Music Taiwan, Warner Music Taiwan. In the past few years, mainland labels such as EE-Media, Huayi Brothers, Taihe Rye Music, Show City Times, Idol Entertainment, and Tian Hao Entertainment have also emerged.
- Historical
- Shanghai: Pathé Records, Great Wall, New Moon, Greater China
- Hong Kong: Pathé Records/EMI, Phillips, Diamond Records
- Modern
- Mainland China: EE-Media, Huayi Brothers, Taihe Rye Music, Show City Times, Idol Entertainment, TH Entertainment, Yuehua Entertainment, Wajijiwa Entertainment
- Taiwan: Rock Records, HIM International Music, Linfair Records, Avex Taiwan, B'in Music
- Hong Kong: Gold Typhoon, Emperor Group
- Singapore: Ocean Butterflies International, Hype Records
Music distribution outside Asia
Mandopop titles are also available outside of Asia. Chinese communities established in North America have made Mandopop music accessible through local businesses. In the United States, Canada and Australia they are easily found in many major urban areas, such as San Francisco Bay Area, Los Angeles, San Diego, New York City, Vancouver, Toronto, Sydney, and Melbourne [citation needed].
Charts
The Global Chinese Pop Chart is a record chart organised since 2001 by 7 radio stations from Beijing, Shanghai, Guangdong, Hong Kong, Singapore, Taipei and Kuala Lumpur.
In
It was first officially published on 7 July 2005, and compiled the top physically sold CD releases in Taiwan (including both albums and physically released singles). Only the top 20 positions are published, and instead of sales, a percentage ranking is listed next to each release.Awards
- Beijing Popular Music Awards (Mainland China)
- CCTV-MTV Music Awards (Mainland China)
- Chinese Music Awards (Mainland China)
- Four Stations Joint Music Awards (Hong Kong)
- Golden Melody Awards (Taiwan)
- HITO Radio Music Awards (Taiwan)
- Jade Solid Gold Best Ten Music Awards (Hong Kong)
- M Music Awards (Mainland China)
- Metro Radio Mandarin Music Awards (Hong Kong)
- RTHK Top 10 Gold Songs Awards(Hong Kong)
- Singapore Hit Awards (Singapore)
- Freshmusic Awards (Singapore)
- Top Chinese Music Awards (Mainland China)
- Ultimate Song Chart Awards (Hong Kong)
- V Chart Awards (Mainland China)
Mandopop radio stations
Station | Location | Frequencies and Platform |
---|---|---|
Kiss Radio Taiwan | Kaohsiung, Taiwan | 99.9 FM, 99.7 FM, 97.1 FM, 98.3 FM and Internet live streaming |
Hit Fm |
Taipei, Taiwan | 90.1 FM, 91.5 FM, 101.7 FM and Internet live streaming |
CNR Music Radio | Nationwide, China | 90.0 FM (Beijing) and Internet live streaming |
Beijing Music Radio |
Beijing, China | 97.4 FM and Internet live streaming |
Shenzhen Radio Station |
Shenzhen, China | 97.1 FM and Internet live streaming |
Shanghai Media Group | Shanghai, China | 101.7 FM and Internet live streaming |
KAZN | Los Angeles, USA | Sometimes |
KSFN |
San Francisco, USA | 1510 AM |
KSJO | San Francisco, USA | 92.3 FM |
KSQQ | San Francisco, USA | 96.1 FM |
UFM100.3 | Singapore | 100.3 FM and Internet live streaming |
YES 933 | Singapore | 93.3 FM and Internet live streaming |
883Jia | Singapore | 88.3 FM and Internet live streaming |
My | Malaysia | Frequencies vary according to location |
Radio Cakrawala | Jakarta, Indonesia | 98.3 FM |
Radio Strato | Surabaya, Indonesia | 101.9 FM |
Radio Manila 99.9 | Manila, Philippines | 99.9 FM |
MandarinRadio.com | Internet live streaming (also available on iTunes Radio) |
See also
- Music of China
- Music of Taiwan
- Taiwanese Wave
- C-pop
- Chinese R&B
- French Mandopop
- J-pop
- K-pop
- Pinoy pop
- Taiwanese pop
- V-pop
- List of best-selling albums in Taiwan
- Chinese television drama
- Taiwanese drama
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但我却也叨光听到了男嗓子的上低音(barytone)的歌声,觉得很自然,比绞死猫儿似的《毛毛雨》要好得天差地远。 translation: "But I was blessed with a performance of male baritone voice, and it sounded very natural; compared to the strangling cat sound of "The Drizzle", the difference is like heaven and earth.
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