Introduction: Special Issue – East Asian popular music and its (dis)contents

Shin, Hyeon Ju; Môri, Yoshitaka; Ho, Tung-hung

doi:10.1017/s0261143012000505

Cited by 4 publications

(1 citation statement)

References 4 publications

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“…The diversity of the world music is determined by the national music, that is to say, the world's ethnic diversity determines the diversity of the world music. No culture under the constraint of a national traits and there is not absolute from the foundations of national music [5].…”

Section: Figure 2 the Perspectives Of Music Aestheticmentioning

confidence: 99%

Research on the Development Trend of Chinese Traditional Music Art from the Perspectives of Aesthetic and Historical Culture

Liu¹

2016

Proceedings of the 2016 2nd International Conference on Social Science and Technology Education (ICSSTE 2016)

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In this paper, we conduct research on the development trend of Chinese traditional music art from the perspectives of aesthetic and historical culture. In the ancient Chinese aesthetic tradition, "peace" music aesthetic of music practice has the extremely important influence, not only affect the music creation, performance, appreciation that also affect the music form and content, social function, etc. "peace" as beauty is the core of the ancient music esthetics thought, so to speak. Chinese music culture while constantly in the long course of history, the Chinese music culture of different nations, but as a precocious and has a long history of nation, he has a great ability, that is both absorb different music culture, and unified as the relatively stable whole music culture and maintain their own basic features, and distinguish it from other music culture.

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Section: Figure 2 the Perspectives Of Music Aestheticmentioning

confidence: 99%

Research on the Development Trend of Chinese Traditional Music Art from the Perspectives of Aesthetic and Historical Culture

Liu¹

2016

Proceedings of the 2016 2nd International Conference on Social Science and Technology Education (ICSSTE 2016)

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The Worst of Times, The Best of Music

Chow,

de Kloet,

Schmidt

2024

Contemporary East Asian Visual Cultures, Societies and Politics

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In September 2014, thousands of people started occupying different areas of Hong Kong, demanding “true democracy,” ushering in what was known as the “Umbrella Movement.” The popular protest might have taken the world by surprise; for us, it can be read as a logical outcome of a much longer process of postcolonial anxiety. Popular culture, among which popular music, constitutes an important domain to narrate versions of the past, present, and future that present alternatives to official versions. We therefore shift our eyes and ears from the tumultuous and politically explicit street protests to the aestheticised show of popular sentiments: the 2012 and 2017 Tat Ming Pair concerts. How does Tat Ming’s performance imagine the postcolonial city and its histories? How does it negotiate Hong Kong’s current socio-historical moment? And what kinds of futures does it fantasise for Hong Kong? And what differences can we distinguish between both concerts, one before and the other after the Umbrella Movement? For both concert series, we zoom in onto three songs: “Today Could Have Been a Happy Day 今天應該很高興,” “Tonight the Stars are Bright 今夜星光燦爛,” and “It’s My Party.” These three songs present different articulations of temporality; we start with reflecting on how the (colonial) history of Hong Kong is represented, then move on to analyse how Hong Kong’s present-day predicament is articulated, finally to probe into imaginations of the future in the concerts. These three temporalities, in conjunction with the two different moments the concerts took place, 2012 and 2017, are always already implicated with each other. Following our introduction in Chapter 1, they allow us to study how the constructs of the past, the present, and the possible futures of the city, are woven into the fibre of the concerts.

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“It’s My Party”

Chow,

de Kloet,

Schmidt

2024

Contemporary East Asian Visual Cultures, Societies and Politics

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In Hong Kong, despite its overwhelming capitalist logic, pop music makers have established a tradition of political engagement, stretching from the anxiety towards the 1997 Handover, the post-Tiananmen fury and fear, to the more recent articulations against increasing intervention of the Beijing regime. While previous chapters provide a textual analysis and explore the political engagement of Tat Ming Pair’s work—their songs, performances, and music videos—Chapter 5 will take a different approach by conducting a production analysis of Tat Ming’s 2012 and 2017 concerts. The concerts that took place in the Hong Kong Coliseum created a great buzz around the city of Hong Kong and were applauded for their political, musical, and aesthetic standards. This chapter zooms in on these concerts and asks: What considerations, negotiations, tensions, controversies, and compromises on the production side underpin the narratives and aesthetics of Tat Ming’s 2012 and 2017 concerts? As such, Chapter 5 aims to unpack the making of a political pop spectacle in a city that is struggling for its future. To do so, the chapter conducts a two-fold production analysis. First, the chapter builds on a discourse analysis of the reports that have emerged in different media platforms before, during, and after the concerts. Second, we will conduct interviews with Tatming and their close collaborators, ultimately reflecting on the tension between political motivations and commercial considerations, between engagement and entertainment. By drawing on John Corner’s (1999) levels of production, we will investigate how different makers and creative workers negotiate the tension between creating an appealing aesthetic spectacle on the one hand, while trying to convey a political message on the other hand. Our analysis distils three key discourses that we find salient and helpful in furthering our understanding of a concert production. We call them the contingent, the personal, and the calibrational. They recur in the narratives of the three producers and are interwoven through different levels of production.

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Introduction: Special Issue – East Asian popular music and its (dis)contents

Cited by 4 publications

References 4 publications

Research on the Development Trend of Chinese Traditional Music Art from the Perspectives of Aesthetic and Historical Culture

Research on the Development Trend of Chinese Traditional Music Art from the Perspectives of Aesthetic and Historical Culture

The Worst of Times, The Best of Music

“It’s My Party”

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