Mandopop under siege

Culturally bound criticisms of Taiwan's pop music

Dados Bibliográficos

ID3132404
AutoresMarc L Moskowitz (0000-0002-1454-0468, University of South Carolina, autor correspondente)
Ano2009
Volume28
Fascículo1
Páginas69-83
Data de publicação2009-01-01
Peer ReviewedSim
Open AccessSim
TipoARTICLE
PeriódicoPopular Music (JOURNAL)
Identificadores do periódicoISSN: 0261-1430 • E-ISSN: 1474-0095
EditoraCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/s026114300800161x
OpenAlexW2115764509
IdiomaEN
Citações recebidas6
Referências citadas27

This article examines the cultural biases embedded in critiques of Mandopop (Mandarin Chinese pop music). Contemporary commercialised Mandopop is generally recognised as beginning around 1980, drawing on musical traditions from the early twentieth century. In the 1980s and early 1990s, Taiwan's popular music swept across China and many in the PRC government reacted to the values embedded in Taiwan's lyrics with mistrust and disdain, expressing a fear that Taiwan and Hong Kong's cultural incursion would result in the PRC's loss of national identity. On the other side of the strait, people in Taiwan complained of Mandopop's fast pace and changing nature and linked this to similar trends in Taiwan's society. More recently, several of Taiwan's scholars have critiqued Mandopop for promoting patriarchal gender roles, and English language publications complain of a lack of individualism in that songs are produced in teams of composers, lyricists and performers. I examine the cultural contexts of these critiques in order to come to a better understanding of the most popular Chinese language music in the world

Aesthetics · Ancient history · Art · China · Government (linguistics · Individualism · Linguistics · Literature · Lyrics · Mandarin Chinese · Media studies · Musical · Political science · Popular music · Siege · Sociology · Asian Culture and Media Studies · Gender Studies · History · Hong Kong and Taiwan Politics · Law · Music History and Culture