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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

Hybridity and Its Discontents

Hybridity and Its Discontents

Popular Music in Taiwan

Chapter:
(p.30) Chapter 3 Hybridity and Its Discontents
Source:
Cries of Joy, Songs of Sorrow
Author(s):

Marc L. Moskowitz

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824833695.003.0003

This chapter discusses Taiwan's musical history and explores the issue of why Taiwan pop is so appealing to Chinese-speaking audiences throughout the world. It focuses on the music's exceptional hybridity, beginning with foreign influences during Taiwan's colonial history under the Dutch and the Japanese, and continuing with Taiwan's political, cultural, and economic alliance with the United States and the resulting wealth of transnational musical influences from the rest of East Asia and the United States. It is argued that the hyper-hybridity of Mandopop could only have developed in an intensely transnational culture such as Taiwan, in which boundaries of urban/rural, past/present, and outsider/insider are constantly shifting. Paradoxically, it is precisely this hybrid transnationality that defines Taiwan's local culture.

Keywords:   musical history, Taiwan pop, Mandopop, Mandarin Chinese pop music, transnationality, Taiwanese culture

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