Chinese Pop Music

This is the most comprehensive study to date of the rich popular music scene in contemporary China. Focusing on the city of Beijing and drawing upon extensive fieldwork, "China's New Voices "shows that during the 1980s and 1990s, rock and pop music, combined with new technologies and the new market economy, have enabled marginalized groups to achieve a new public voice that is often independent of the state. Nimrod Baranovitch analyzes this phenomenon by focusing on three important contexts: ethnicity, gender, and state politics. His study is a fascinating look at the relationship between popular music in China and broad cultural, social, and political changes that are taking place there. Baranovitch's sources include formal interviews and conversations conducted with some of China's most prominent rock and pop musicians and music critics, with ordinary people who provide lay perspectives on popular music culture, and with others involved in the music industry and in academia. Baranovitch also observed recording sessions, concerts, and dance parties, and draws upon TV broadcasts and many publications in Chinese about popular music.

This ambitious work offers a comprehensive mapping of the cultural landscape of China in the late twentieth century. By focusing on Chinese cultural formations and critical discourses of the last decade of the century, the book dissects the intellectual, economic, and political contradictions of a turbulent era -- post-cold war, postsocialist, and postmodern -- in China's history. The author defines the emergent logic of Chinese postmodernity within a dominant system of global capitalism and points to the central role of the transnational flow of visual culture in the establishment of local and national identity. The Chinese case demonstrates that the old conceptual scheme of Euro-American postmodernism versus Third World national culture is no longer feasible. This wide-ranging, deeply interdisciplinary work demarcates the cultural terrain by examining diverse media: film, television, avant-garde art, and literature, as well as critical theory and intellectual history. Part I reviews the raging critical debates about the public sphere, the academy, intellectual identity, cultural politics, and economic globalization, in the process examining the Chinese appropriation of discourses of modernity, postmodernity, and postcoloniality. Part II investigates the impact of globalization and diaspora on the formation of citizenship and nationality as articulated in mainland Chinese and Hong Kong films. Part III probes issues of post-orientalism, postmodernism, and strategies of representation in contemporary Chinese art. Part IV studies pop music, soap opera, and literary best-sellers, pinpointing the dialectic and mediating function of popular culture amid the forces of official socialistideology, capitalist commodification, mass entertainment, and transnational images in contemporary China.

C-pop - C-pop is an abbreviation for Chinese pop. The term refers to Chinese popular music.

Mandarin pop - Mandopop is a colloquial abbreviation for "Mandarin pop music". The term refers to C-pop in which the lyrics are in Mandarin Chinese.

Pop music - Pop music, in popular and contemporary parlance, is a subgenre of popular music. Since the term spans many rock, hip hop, rhythm and blues (R&B), country, dance and operatic pop acts, it is reasonable to say that "pop music" is a loosely defined category.

Arabesque-pop music - Arabesque music in Turkey is a different genre than its Turkish pop music conterpart. For such ranges of music see award winning director Fatih Akin's music documentary Crossing the Bridge is a working class musical style, so-called because of its predominantly Arab-influenced melodies.

chinesepopmusic

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