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Vorlage:Importartikel/Wartung-2021-03

Li Jinhui, the father of Chinese pop

C-pop ist die Abkürzung für Chinese popular music (chinesisch 漢語流行音樂, Pinyin hànyǔ liúxíng yīnyuè), ein lose definiertes Musikgenre von Künstlern mit Ursprung in China. Manche Künstler kommen aus Regionen in denen die chinesische Sprache von der Mehrheit der Bevölkerung gesprochen wird, wie es in Taiwan, Singapur und Malaysia der Fall ist. C-Pop wird manchmal auch als Oberbegriff für R&B, Balladen chinesischen Rock, chinesischen Hip-Hop und C-Ambient benutzt, wenn auch der chinesische Rock sich in den 1990er Jahren zunehmend vom C-Pop entfernte.

Momentan gibt im C-Pop es drei Haupt-Subgenres: Cantopop, Mandopop und Hokkien-Pop. Die Unterschiede zwischen Cantopop und Mandopop haben sich seit den Jahrtausendwende zunehmend verringert. Der Hokkien-Pop war anfangs stark durch das japanische Enka beeinflusst, hat sich jedoch immer mehr in den C-Pop reintegriert und die Entwicklung in Richtung des Mandopops verringert.

Chinesische Popmusik war anfangs ein Vehikel für die Kulturrevolution und maoistische Ideologien. Während der weitreichenden politischen und kulturellen Veränderungen der vergangenen 50 Jahre verlor sie jedoch zunehmend an politischer Relevanz und ähnelt nun dem Stil des koreanischen K-Pop und des japanischen J-Pop.

Geschichte

Buck Clayton, the American who helped bring Jazz influence to Shanghai.

Vorlage:For The term shidaiqu (meaning "music of the era" or "popular music") is used to describe all different types of music sung in Mandarin and other Chinese dialects recorded in China From 1920 to 1952, then in Hong Kong until the 1960s. Shanghai was the main hub of the Chinese popular music recording industry, and an important name of the period is composer Li Jinhui. Buck Clayton is credited with bringing American jazz influence to China and the music gained popularity in hangout quarters of nightclubs and dancehalls of major cities in the 1920s. A number of privately run radio stations from the late 1920s to the 1950s played C-pop. Around 1927, Li Jinhui composed "The Drizzle" ("毛毛雨") sung by his daughter Li Minghui (chinesisch 黎明暉), and this song is generally regarded as the first Chinese pop song. It fuses jazz and Chinese folk music – the tune is in the style of a traditional pentatonic folk melody, but the instrumentation is similar to that of an American jazz orchestra.

Around the time of the Japanese invasion of Manchuria, and the Chinese Civil War, pop music was seen as a leftistundisturbed distraction. After the Second Sino-Japanese War and World War II C-pop has been marketed, produced and branded regionally. The Communist Party of China established the People's Republic of China in 1949. One of its first actions was to label the genre "Yellow Music" (the color is associated with pornography). The Shanghai pop music industry then took pop music to Hong Kong and in the 1970s developed cantopop. The Kuomintang, relocated to Taiwan, discouraged the use of native Taiwanese Hokkien dialect from the 1950s to the late 1980s. As a result, mandopop became the dominant musical genre in Taiwan.

In 2000 EolAsia.com was founded as the first online C-pop music portal in Hong Kong. The company survived the dot-com bubble and offered online legal music downloads in February 2005, backed by EMI, Warner Music and Sony BMG. It primarily targets consumers in Hong Kong and Macau: some songs require Hong Kong Identity Cards to purchase.

In August 2008 Norman Cheung, father of HK singer Ronald Cheng, acquired the remaining portion of EMI Music Asia when EMI, which had entered China in the early 20th century, withdrew from the Chinese market. Typhoon music made the purchase for an estimated HK$100 million.

In February 2008 mainland China's top search engine Baidu.com was sued by local industry groups for providing music listening, broadcasting and downloading without approval. Piracy continues to exist in China but Google have since announced a cooperation deal offering free listening and genuine music copies. Top100.cn was founded by basketball star Yao Ming, agent Zhang Mingji and music insider Chen Ge via a 20 million yuan investment. Google mp3 became available in March 2009. The future of C-pop in mainland China is slowly emerging. However, the Chinese government's banning of the highly popular show Super Girl for one year in 2008 and 2012 still a very controversial for the mainland China market.

In the early years of modern mainland China, emphasis on collectivist and party values, would predominantly set the theme for the music that was produced. Chinese officially sanctioned music schools, teaching popular music usually involves praising China's national culture through song lyrics that echo the official orientation of the PRC. The way in which popular music is taught in the school system relates to Chinese patriotic verses and traditional Chinese culture. The educational policy is heavily influenced by the government, and the "... Chinese government still uses traditional Chinese culture and values to enhance its legitimacy and consolidate its authority" (Ho, 2012, p1).

After the Cultural Revolution that isolated China from the rest of the world for more than a decade, the country opened up, especially under the leadership of premier Deng. Global economic development offered all sorts of opportunities for Chinese businessmen and the opening up of east coast regions to outside economic interests served to boost significantly cross-cultural exchange between China and other nations, including the United States. Globalization and China's joining the World Trade Organization, with the implication of a move to make institutions within the country more compatible with those of the rest of the world, and the surge in international trade all contributed to bringing not only increased economic activity but also social exposure to foreign cultural standards. Although the new openness affected relations with a broad range of foreign countries, the United States was especially important as it was a major trading partner, and globalization has helped both nations to develop a healthy relationship for future growth.

The openness to trade and other exchanges with the United States, including the growing number of Chinese students seeking admission to educational establishments in the US, facilitated familiarity with American popular music. Although this was not the first exposure to foreign music for China, as there had been a growing awareness of the unique brand of western influenced popular music in Hong Kong, known as Cantopop, the influences of American rock, and African American rebellious hip hop and rap music were undoubtedly a lot more accepted by Chinese youth compared to their parent's generation. Nowadays mainland singers like Hua Chenyu, one of the most influential young pop-rock singers in China today, sold out an Olympic sized stadium concert in two minutes and 58 seconds, demonstrating the homegrown pop music of China are at the stage of strong mass appeal. (Rupke & Blank, 2009). The globalization of popular music impacted other East Asian countries, especially Korea and Japan, and this in turn has influenced developments in China, as "pop-culture excursions between (the) three countries" are deemed significant (Tricks, 2014, p. 4).

Genres

Genre	Subgenres	Ort
Chinese popular music	Cantonese popular music	Hong Kong, Macau, Guangdong, Malaysia
	Mandarin popular music	Mainland China, Taiwan, Singapore, Malaysia
	Minnan popular music	Taiwan, Fujian, Malaysia

Bekannte Künstler

Vorlage:See also Die malaysische Zeitung Nanyang Siang Pau erstellte 1999 eine Liste der Top 100 der einflussreichsten C-Pop-Künstler des 20. Jahrhundert. Die Top 30 der Liste sind: Teresa Teng, Zhou Xuan, Yoshiko Ōtaka, Samuel Hui, Bai Guang, Paula Tsui, Alan Tam, Jacky Cheung, Anita Mui, Leslie Cheung, Faye Wong, Liu Wen-cheng, Chyi Yu, Lee Yee (李逸), Danny Chan, Dave Wong, Julie Su, Roman Tam, Beyond, Eric Moo, Chyi Chin, Yao Surong (姚蘇蓉), Wu Yingyin, Tsin Ting, Yao Lee, Tsui Ping, Tsai Chin, Lo Ta-yu and Jonathan Lee.

At the end of 2007 RTHK began promoting a tribute called "Immortal Legends" (不死傳奇) in honor of the singers who died a legend in the industry. The honor was given to Roman Tam, Anita Mui, Teresa Teng, Leslie Cheung, Wong Ka Kui (founder of Beyond), and Danny Chan. All six pop stars played a major role in developing the Hong Kong or Taiwan music industry.

In 2010, the Chinese Music Awards recognized the top 30 C-pop artists since 1980. They are, approximately in the order of their birth years: Liu Jia-chang, Li Guyi (李谷一), George Lam, Sam Hui, Paula Tsui, Roman Tam, Alan Tam, Liu Wen-cheng, Julie Su, Teresa Teng, Fong Fei Fei, Jenny Tseng, Lo Ta-yu, Fei Yu-ching, Leslie Cheung, Danny Chan, Chyi Yu, Tsai Chin, Chyi Chin, Anita Mui, Jonathan Lee, Jacky Cheung, Cui Jian, Liu Huan, Tat Ming Pair, Beyond, Sandy Lam, Faye Wong, Eason Chan, and Jay Chou.

At the end of 2010, Vietnam's Hoa Học Trò Magazine proclaimed a list of the top 5 C-pop boybands of the 2000s decade, all are from Taiwan. They are: F4, 183 Club, 5566, Fahrenheit (Fei Lun Hai), and Lollipop (Bang Bang Tang).

Disputes on traffic artists

"Traffic artist" is a word in China to refer to an artist with huge "traffic" or following on the internet. They usually include Cai Xukun, Lu Han, Lay Zhang, Kris Wu, Huang Zitao, TFBoys, Rocket Girls 101 and so on. They usually have a dedicated fandom, prodigious traffic on social platforms, and incredible sales. They have been the focus of controversies, including the legitimacy of the social media and sales data and the popularity and quality of their works. An investigation in 2017 by Aiman Data stated that more than 10% of their fans are robots. An investigation by China Central Television showed that for a low price fans can be bought. The 100 million shares on one of Cai Xukun's posts was proved as fake. Their fandom are compared to empires or religious organizations, as some fans would buy more than 10 thousand copies of an album, and rebuke other fans who buy only several copies. Xingzhou, a music reviewer, said that Luhan and some traffic artists still lack any persuasive music work. Some complain that in the past, a hit song meant that even if people did not enjoy it, they listened to it, but many "golden songs" are now unknown to the public, despite massive sales. Further, they dispute that traffic artist are destroying the Chinese music. But some also claim that the depression of traditional artists is not the fault of traffic artists, but is because most fans of traditional artists enjoy free or even pirated Internet sources and are unwilling to pay for traditional music.

In July 2019, a post noted that Jay Chou's tickets were difficult to obtain but this was not reflected in his ranking on SuperTalk. SuperTalk is an artist rank by Sina Weibo based on the activity of artist-related posts, while Cai Xunkun has occupied No. 1 for 54 consecutive weeks. This irritated Chou's fans and caused a competition between fans of Cai and Zhou. Cai is usually regarded as the top of traffic artists while Chou is usually regarded as the top of traditional artists. This competition is sometimes called "defense of Jay Chou", also interpreted as between traffic artists and traditional artists, and became a social topic. Fans of Chou encouraged each other to post, to like, to share for Chou, and many celebrities and official accounts joined it to support Chou. It made Chou jump from No. 300 to No. 1. After that, Cai's fans announced their intention to quit competing for rank on Weibo. People's Daily commented that traffic is not equal to popularity.

Siehe auch

Cantopop Mandopop Taiwanesischer Pop

China Wind music Gangtai Taiwanese Wave

Chinesische Musik Music of Hong Kong Music of Taiwan

Music of Macau Music of Malaysia Music of Singapore

Chinese television drama Hong Kong television drama Taiwanese drama

Weblinks

• Official Pandeh Music (Cpop Music Channel)

[[Category:C-pop| ]] [[Category:Chinese popular culture]] [[Category:Chinese youth culture]]