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Cries of Joy, Songs of SorrowChinese Pop Music and Its Cultural Connotations$
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Marc L. Moskowitz

Print publication date: 2009

Print ISBN-13: 9780824833695

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824833695.001.0001

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PRINTED FROM HAWAII SCHOLARSHIP ONLINE (www.hawaii.universitypressscholarship.com). (c) Copyright Hawaii University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in HSO for personal use.date: 15 October 2019

China’s Mandopop Roots and Taiwan’s Gendered Counter-Invasion of the PRC

China’s Mandopop Roots and Taiwan’s Gendered Counter-Invasion of the PRC

Chapter:
(p.16) Chapter 2 China’s Mandopop Roots and Taiwan’s Gendered Counter-Invasion of the PRC
Source:
Cries of Joy, Songs of Sorrow
Author(s):

Marc L. Moskowitz

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824833695.003.0002

This chapter examines China's musical history, starting with the birth of Chinese popular music in the East Asian jazz mecca of 1920s Shanghai and tracing musical and cultural developments to the present day. It includes a brief overview of alternative musical genres in the PRC such as Beijing rock and revolutionary opera, among others. It considers the ways in which Taiwan's musical ethos influenced the PRC music industry and how Taiwan's Mandopop has served as a middle zone by introducing Western music and cultural values to the PRC. The chapter concludes by exploring Taiwan pop's role in exporting a very different version of womanhood to the PRC—directly confronting and subverting PRC state attempts at gender erasure from 1949 through the 1970s as well as contemporary masculinist discourse.

Keywords:   musical history, Mandopop, Mandarin Chinese pop music, alternative music, Taiwanese musical ethos, womanhood, gender erasure, cultural values

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