Chinese Music Reality Shows: a Case Study

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Chinese Music Reality Shows: A Case Study

A Thesis

Submitted to the Faculty

Drexel University

Zhengyuan Bi

In partial fulfillment of the

requirements for the degree

Master of Science in Television Management

January 2017

iii

DEDICATION

I dedicate this thesis to my family and my friends, with a special feeling of gratitude to my loving parents, my friends Queena Ai, Eileen Zhou and Lili Mao, and my former boss Kenny Lam. I will always appreciate their love and support!

ACKNOWLEDGMENTS

I would like to take this opportunity to thank my thesis advisor Philip Salas and

Television Management Program Director Al Tedesco for their great support and guidance during my studies at Drexel University. I would also like to thank Katherine

Houseman for her kind support and assistance. I truly appreciate their generous contribution to me and all the students.

I would also like to thank all the faculty of Westphal College of Media Arts &

Design, all the classmates that have studied with me for these two years. We are forever friends and the best wishes to each of you!

Table of Contents

DEDICATION ………………………………………………………………………………..iii

ACKNOWLEDGEMENTS…………………………………………………………………...iv

ABSTRACT……………………………………………………………………………………vii

Chapter 1: Introduction………………………………………………………………………..1

1.1 Introduction………………………………………………………………………………...3 1.2 Statement of the Problem……………………………………………...... 3 1.3 Background…………………………………………………………………………………4 1.4 Purpose of the study…………………………………………………………………….....5 1.5 Research Questions………………………………………………………………………...5 1.6 Significant to the Field…………………………………………………………………...... 5 1.7 Definitions………………………………………………………………………………...... 6

Chapter 2: Literature review………………………………………………………………….8

2.1 Introduction………………………………………………………………………………...8

2.2 Body of the Review………………………………………………………………………...9

Chapter 3: Methodology……………………………………………………………………...19

3.1 Introduction and Research Questions…………………………………………………..19

3.2 Data Collection…………………………………………………………………………....20

3.3 Definition…………………………………………………………………………………..21

Chapter 4: Results……………………………………………………………………………..25

4.1 Introduction………………………………………………………………………………..25

4.2 CCTV Young Singer Television Competition……………………………………………....25

4.3 Super Girl…………………………………………………………………………………...29

4.4 Voice of China…………………………………………………………………………….....34

4.5 I am a Singer………………………………………………………………………………...38

Chapter 5: Discussion and Conclusion…………………………………………………...... 43

5.1 Introduction………………………………………………………………………………..43 vi

5.2 Discussion……………………………………………………………………………….....43

5.3 Limitations…………………………………………………………………………………48

5.4 Recommendations for future research……………………………………………...... 48

5.5 Conclusion………………………………………………………………………………....49

List of References……………………………………………………………………………...52

vii

ABSTRACT

Chinese Music Reality Shows: A Case Study

Zhengyuan Bi

Advisor: Philip Salas

The first Chinese television music talent show premiered in 1984, but from 2004-

2015, the genre attracted the attention of young viewers, and generated significant profits for television stations and production companies. The purpose of this thesis is to analysis the features and developing trends of Chinese music talent shows. This will be accomplished by using case studies of 4 talent shows: CCTV Young Singer Television

Competition; Super Girl; The Voice of China and I Am a Singer.

Through these four typical music talent shows, the research will help to explain the keys to success for music talent shows in the Chinese market; the reasons why they are so popular, and more importantly, to determine the best production techniques for a music talent show to adapt to Chinese cultural norms.. This thesis will then provide suggestions for development and innovation in music talent shows in China.

Chapter 1: Introduction

1.1 Introduction

As China began a period of reform and openness to Western culture in the early

1980s, television had gradually become a “necessity” for families, as viewers gained

interest in entertainment programs (Li, 2008). The CCTV Young Singer Television

Competition emerged as the first music talent television program in China. It not only

advanced the development of music creation and stage performance, but also led to the

ladder-type mechanism of music talent selection and cultivation after holding the

competition annually. Hence, viewers witnessed the emergence of a large number of

singers and well-known songs which remain popular. In brief, CCTV’s Young Singer

Television Competition was born naturally and became the focus of society in the 80’s (Zi,

2010).

With the advent of the 21st century, the cultural atmosphere and entertainment

environment fundamentally changed. In 2004, Super Girl emerged as the most successful music talent program and earned the reputation of star maker in China, according to CMS

media research. From the first season in 2004 to the last season in 2011, it managed to

involve the participation of the most viewers. From teenagers to 50 years old fans, Super

Girl generated a rating of 10% in daytime (Lin, 2005). With an unmatched audience rating,

commercial value and entertaining effect, it overshadowed all of its competitors. In 2

addition, it gave great impetus to the television industry in combining entertainment and commerce.

In 2012, Zhejiang Television introduced a new talent show called The Voice of`

China. This talent show attracted wide attention since its premiere. In addition to creating an atmosphere of mass entertainment, it also created a cultural effect, yielding significant economic benefits. Highlighted by the separation of production and distribution, and the participation of an excellent creative team, it has also created another new round of reform among music talent shows in China.

The Voice of China also took the lead in introducing the commission mode, which separates production and distribution. After signing a contract with the production team, talent-show contestants had exclusive access to the proceeds of commercial performances or concerts. The production team made available the best resources so as to create all possible opportunities for contestants and also to create a complete industrial chain. This has brought about a new concept for the production of television talent shows in China.

CMC-News Asia Holdings Limited, CEO Ming Tian says: “An industry chain is divided into 3 parts; program content + marketing channels + sales. When The Voice of China operated according to this industry chain, the greatest value was the value of the brand.

“（ent.sina.com.cn）

1.2 Statement of the Problem

The maximization of cultural benefits, social benefits and economic benefits not

only represent the success of the program but also advance the progress of society

(sina.com.cn). Hence, a successful television music talent show can facilitate the formation and development of television talent show’s industrial chain (Yang, 2015).

However, some problems have emerged, such as how the music industry works with the television industry; the key to adapting foreign shows and how to keep attracting a mass audience in China, as well as what makes a television music talent show a lasting success.

1.3 Background

From 2010 to 2015, the development of television music talent shows was diverse.

Since the success of Super Girl in 2005, the audience has undergone aesthetic fatigue (Sun,

2010) in the face of those talents shows lacking diversity of content. In 2013, Hunan

Television introduced the talent show I am a Singer from the Munhwa Broadcasting

Corporation of South Korea. With the emergence of I am a Singer, talent shows presented

a brand-new experience to the audience and also created a new path for the development of the genre. With a high audience rating guaranteed, advertising revenue generated on the night of the championship took the music talent show to a new high (Zhou, 2013).

The television music talent show industry in China has been subject to the

influence of foreign shows and pressures from politics and media. Music talent shows 4

gradually drove the development of mass entertainment culture (Chen, 2008). As a

growing number of music talent shows are presented to the public, they have also offered

an opportunity for those people who were singers to go back on the stage.

Singers like Coco Lee had to be very brave to face critical judgment from judges,

audiences and peers because she was already famous in Asia (ent.qq.com). Many singers

also have to accept being eliminated from the stage. The positive competition has brought

the music talent show to an all-time high. It has also infused new vigor into the popular

music industry. From a commercial perspective, the development of the music talent

show genre has also generated enormous commercial revenue. During the 19th, 20th and

21st centuries of exploration and imitation, music talent shows in China have been growing amongst a variety of controversial issues. Gradually, it has brought about a new age for the music industry and created a new path for sustainable development.

1.4 Purpose of the study

According to CSM Media Research, in 2011 there was only one music show among

16 reality shows from Hunan, Shanghai, Zhejiang, Jiangsu and Beijing television stations.

By 2014, that number had grown to seven. With the increasing demand for music reality shows, a large number of famous singers and entertainment stars emerged from the programs, especially gaining popularity among young people. This thesis aims to illustrate the features and developing trends of famous music reality shows in China. It 5

will attempt to explain the reasons for these successes. The author will make suggestions for the reform of music reality shows to better serve the television and music industries and audience.

1.5 Research questions

RQ 1. How can the music industry cooperate with the television industry to make a music talent show successful?

RQ2. What is the key to adapting foreign shows for the Chinese market?

RQ3. How can audiences be attracted to music talent shows?

1.6 Significance to the field

In this thesis, four talent shows, namely CCTV Young Singer Television Competition,

Super Girl, The Voice of China and I am a Singer, have been chosen for the case analysis.

Based on the development of the four television programs, the author will elaborate on the development of the music talent show under different social conditions. By making a comparative analysis with similar television programs in foreign countries, this thesis will reveal the reasons for their success. It also aims to provide theoretical reference and constructive insight into the trend of music talent shows in China.

The first chapter is concerned with the background, meaning and methods of the research. By reviewing the available literature, the second chapter will define the scope 6

of music talent shows as well as discuss the development and current status of the genre

in foreign countries. Chinese music talent shows will be classified in chronological order.

It will also elaborate on the main development of television music talent shows and typical programs at different stages. The third chapter is Methodology, and the forth chapter will reveal the results of a case analysis by analyzing the different aspects of the

four talent shows from the perspective of the social, economic and cultural background

in China. The chapter summarizes the features and shortcomings of the four programs

based on their development. The fifth chapter makes recommendation for the future

development of music talent shows in China based on the research.

1.7 Definitions

The separation of production and distribution originated in the UK. It originally meant

that the television station or network entrusted an independent producer or production

company to create some of its television programs. Under the background of

marketization in China, the key to the development of television industry should lie in a

competitive mechanism (Zhang, 2015). According to this system, reform has been put in

the hands of the market. The audience would use their remote control to choose the

program they like. Hence, The Voice of China presented by Zhejiang Television has marked

the use of this mode in Chinese television programming (Zhang, 2015). 7

Hunan Television is short for Hunan Radio & Television Satellite Station. Under the

banner of Hunan Television and Mango Media, it is also known as Mango Television.

“Hunan Television has ranked first among province-level satellites television stations in

terms of audience rating for years. With advertising revenue exceeding 143 million USD,

it has outperformed other provincial-level television stations in China. It has ranked third

among all satellite television stations in terms of the profit-creating ability, only following

CCTV-1 and CCTV-5. In 2006, Super Girl presented by Hunan Television reaped profits

of over 300 million RMB, making an all-time record for the marketing of the single one

television program. As of 2013, Hunan Television had reached a population of 1.016

billion in China. On a daily basis, as many as 210 million people will watch its television

programs, which ranks it top among all provincial-level television stations in China. With

views of 7.3 billion, Hunan Television has also taken the leading position for its television

channel in online websites. In January of 2015, Mango Television was founded and

became the official channel of Hunan Television. With the aid of computer, mobile phone,

tablet computer and smart television platforms, the audience can watch all television

programs on Hunan Television”(zixun.hunantv.com).

Chapter 2: Literature Review

2.1 Introduction

In 1984, CCTV’s Young Singer Television Competition appeared on the screens of

Chinese viewers, marking the beginning of the television music talent show genre in

China. As of 2012, the CCTV Young Singer Competition had been produced 14 times (one

session every two years). In the 1980s and 1990s, the program achieved high audience

ratings. Moreover, the television program had also garnered a reputation for its

credibility and professional production. It made great contributions to the Chinese music

industry by cultivating a large number of young singers and popularizing many new

songs. Since its premiere, a large number of Chinese viewers and singers have followed

the television program. By adhering to the principle of fairness and openness, it has

cultivated and selected a large number of musical talent, which is also the meaning and

value of the competition (Su, 2013).

From 1984 to 2004, the genre existed in the embryo stage. Besides the CCTV Young

Singer Television Competition, the two decades also witnessed the Family Singing

Competition of CASIO CUP held by Shanghai Television. The competition attracted a large number of families and thus became a popular television program with a high rating (Xu,

2014). Singers emerging from the television program, such as Wu Huimin and Zhou

Bingqian developed into the backbone of the music industry at that time in China. The

television music talent shows of this period were created and produced originally by 9

Chinese television stations. After the rise of Super Girl in 2004, music talent shows in

China started to draw inspiration from their foreign counterparts and also embarked on a different path of development (Shen, 2012).

2.2 Body of the review

Hunan Television, which is famous for its diversity of entertainment programs, presented Super Girl, which is viewed as a milestone in the history of music talent shows.

In 2005, Super Girl attracted an audience of 200 million people (Cao, 2005). During the finals, it had sparked heated discussion among the media and audiences in China. The slogan of Super Girl was “just sing as you like and sing it best”, which had also become the motto of many of the contestants. With the unprecedented popularity of Super Girl, the music talent show industry in China had reached a stage of booming development

(Dai, 2014). In 2004, the Shanghai SMG Group cooperated with Universal Music Group to present the music talent show My Style My Show. Although this television program did not achieve audience ratings as high as those of Super Girl, it adopted the strategy of integrated marketing and also initiated the industrialization of music talent shows in

China (Shen, 2012). Integrated marketing and initiated collaboration across different companies is a “3 in 1” form which means “Media + Entertainment Company + Product”

(Ji, 2015). From 2015 to 2016, Dream China and Come On! Good Boys also premiered for the

Chinese audience. They embraced age and gender diversity among music talent shows

(Xiao, 2014). 10

Since 2007, the music talent show format in China has been stagnating. The industry was confronted with low-quality imitation shows and negative media hype. In addition to falling ratings, shows were cancelled. The publication Circular on Further

Strengthening the Participation of the Mass in the Radio and Television Programs of Talent Show and Relevant Management issued by the State Administration of Radio, Film, and

Television in 2007 led to the cancellation of weaker shows. As pointed out in the notification, some talent shows had a negative image for content design, judge selection, contestant performance and performance content. Hence, the government believed it caused a negative effect on the image of the television and radio media, and by extension, the society as a whole (gov.cn).

After five years of waning popularity, in the summer of 2012, The Voice of China, whose idea was inspired by foreign counterparts, made the genre once again the focus of attention in China. After purchasing the copyright from The Voice of Holland, Zhejiang

Television partnered with Canxing Productions to present The Voice of China. Four

champions have emerged from the show. It is also the first entertainment program

adopting the commission mode (the separation between production and distribution) in

China. The music talent has formed a clearer and more complete industrial chain which

revolves around the television program. With a well-designed television production,

provided a good example for similar programs in China. Not surprisingly, it 11

outperformed other television programs in terms of audience ratings in China for the year (Shen, 2012).

In 2013, Hunan Television, which is called the leader of entertainment program in

China by one of the biggest websites, Sina, (Yang, 2014), introduced a show from the

Munhwa Broadcasting Corporation of South Korea. I am a Singer achieved the highest audience rating among similar television programs (Zhou, 2013). This music talent show featured the participation of top singers in China. What set it apart from other talent shows was that all of its contestants were well-accomplished singers or outstanding young singers in China. By highlighting the music talent of those contestants, it offered a better experience for the audience. Every song in the show was presented by contestants with experienced skills. Therefore, I am a Singer reignited the industry and audiences. It has also reshaped the image of the music talent show in China (Shen, 2012).

The development of the genre in Western countries has become a model for the

Chinese television industry. American Idol and the Voice provided a road map for the development of the genre in China, and they provided best practices for the Chinese television industry as well.

American Idol was a spin-off of Pop Idol from the UK, which is viewed as the first music talent show in the world, and had much more influence than Pop Idol (Silverman,

2004). The show was held every year from 2002 to 2016. The aim of the show was to find new-generation singers in the US. The champion of the show was held up as an American 12

idol and signed a contract with a record company worth millions of dollars. In 2016, the

15th season of American Idol, which was also the last season, was presented. Over the years,

American Idol ranked top in the audience ratings for FOX (Zhen, 2014). After ranking high in audience ratings for 11 successive years, it had won the reputation as the “Jurassic

World of TV” according to Deadline Hollywood online magazine (Haithman, 2015), referencing the film Jurassic World which generated significant profits in 2015. In 2007, it achieved viewership of 37.3 million for its first episode. During the latter half hour of that episode, the number exceeded 41 million. However, because the show was getting old, and other new talent shows premiered, American Idol’s audience ratings started to decline.

Although American Idol was cancelled, The Voice premiered in 2011 and finished its

Season 11 in December, 2016. On the strength of powerful media packaging, original program-production values and the influence of popular singers, The Voice overshadowed the Voice of Holland by twice winning an Emmy Award (EMMYS 2016).

Many young people in the world focused their attention on this American talent show.

The Voice had over 15,392,043 Likes on its Facebook page as of September 2016 (The Voice

Facebook, 2016). It has been sweeping the Europe and also motivating many young people to strive for their dream about music (Li, 2012). “The secret to the success of The

Voice is that it can provide an excellent platform for young people to realize their dream.

It has also reaped huge advertising revenue” (Li, 2012). 13

The success of Super Girl represented a milestone in the history of talent music

shows after local market adjustments similar to those made by The Voice. The Voice of China offered a different and original production for the Chinese audience. It laid the foundation for the music talent show in China. In 2013, I am a Singer won the favor of

Chinese viewers after the Super Girl and the Voice of China. Hence, it can be concluded that the imitation and copyright purchase of talent show formats from foreign countries are vital to the development of the music talent show in China (Dai, 2014).

While imitation is vital, localism and the originality of content is the key to achieving high ratings. The music itself will decide whether the talent show can become a success or not. An entertainment program may fail because of excessive conformity and the lack of originality. A successful talent show can not only present young singers of great promise to the audience, but also must provide older singers with an opportunity to return to the stage. In this regard, I am a Singer has achieved a new level of creativity.

For example, seasoned singers who have not made their presence felt in the music industry for a long time return to the stage. Moreover, the genre has also supported interaction with the audience through the internet, which livens up the program.

Therefore, I am a Singer has represented the most outstanding music talent show in China

(Han, 2016).

According to Holt Fabian’s (2009) article The Economy of Live Music in the digital age,

“In capitalist cultural production, the organizational unit is expected to maximize profits 14

and enhance the consumer appeal of the product”. With the rapid economic development

of the Chinese economy, the music talent show in China has embarked on a new road in

the 21st century (Fabian, 2009). Besides being impressive, a successful music talent show

should also create massive social and economic benefits for the organizer. This model is

inspired by American Idol. For example, according the Business Insider, “American Idol

brought in 7 million dollars per 30 minutes and the average cost of a 30 second

advertisement was $623,000” (Lewis, 2009). From the first to the fourth season, it had generated a total profit of $900 million for the television airing, record sales, authorized souvenirs and concert tickets. In addition, it has also extended to other fields such as album releases, advertising revenue, concert copyrights, website earnings, gift cards and toy (Lewis, 2009). American Idol has taken full advantage of its prime years to benefit from the industrial chain as much as possible (Sun, 2015).

In 2016, there were as many as 40 television music talent shows available to the

Chinese audience (Yang, 2016). Although they have made great efforts to cater to the desire for originality and novelty, most of them find it hard to hold the interest of the

Chinese audience (Yang, 2016). This can be attributed to a lack of original musical creation. As pointed out by a music professional—Ling Hu, “many music talent shows

are still reliant on professional contestants who have appeared on many talent shows

multiple times.” Hence, the music industry in China is still lacking in originality（Li,

2015）. Although various music talent shows can be found on television, most of them 15

cannot achieve a high audience rating. For example, two well-known contestants in the

Remix originally came to fame on the Voice of China. Some other singers had also gained popularity before taking part in the show. Many shows are only interested in making the best of those accomplished singers rather than cultivate new singers. The few talented performers have been developed excessively. Some contestants who were formerly unknown to many people have been turned into professional contestants by way of media packaging（Jiemu, 2015）.

Most television music talent shows in China have held up the slogan of seeking a strong voice in the Chinese music industry and realizing a musical dream for young people (Zhou, 2012). However, the pursuit of music will give way to entertainment when they come into conflict with each other. Among young singers emerging from shows in recent years, very few of them have released their own albums. They can only impress the viewers with old songs (Zhou, 2012). Kelly Clarkson has become one of the most popular singers in the US after emerging from American Idol. She has also won the

Grammy Award for Best Female Pop Singer three times (Piece, 2016). In contrast, many singers who have become an overnight success are forgotten by the Chinese audience before long. Every year, a number of excellent singers will become famous from various talent shows. Viewers will pay close attention to their performance and also wonder who the final champion would be. However, those singers cannot maintain their popularity among the audience after the talent show comes to an end. The reason why many singers 16

on American and European talent shows can continue their success is that a complete

industrial chain has taken form in those countries. Hence, the vitality of music talent

shows should be reliant on musical originality and breakthrough of those music

professionals behind the stage as well as excellent performance by those singers (Su, 2013).

From 2005 to 2015, the emergence of a variety of television music talent shows

infused fresh blood into the depressing music industry, according to singer Zongsheng

Lee (Jiemu, 2015). TMT Post is the most mainstream finance, economics, science and

technology information service provider in China (baike.baidu.com). TMT Post says that

most of those talent shows have focused on ratings rather than the music itself; Music

producer, Ling Hu has pointed out that the pursuit of music cannot endure for a long

time. For example, some of them will concentrate on increasing ratings at the expense of

music quality. The audience rating has become a top priority. Potential advertising

revenue is also a major consideration. Just like those new singers, a growing number of

famous singers have joined the ranks of singing old songs. The audience has paid more attention to the singer than the song. It has also pointed out the scarcity of original music, which is a great concern for music professionals（Jiemu, 2015）.

In an interview with TMT Post media, Xu Zichun, music director of Beijing

Fuchang Music Company says that the music talent show is a double-edged sword. It has drawn the attention of the audience. However, show producers seek to impress the audience with the story of those singers. As a result, the audience has focused on their 17

stories rather than the music. In fact, it will negatively influence the development of the

music industry in China (Jiemu, 2015). Moreover, music talent shows have also

influenced the Chinese music industry in an indirect but profound manner. It is quite

necessary for music talent shows to cooperate with music producers and record

companies as well as develop a new profit model. Xu Zichun has added that shows

should invite more young singers of great promise rather than well-accomplished singers.

It will promote the development of the music industry in China (Jiemu, 2015).

Many experts in the music industry have predicted that the trend for music talent shows will fade away. The most important reason is that the limited resource of music talent has been excessively developed. It has also hindered the cultivation of new singers.

Secondly, the Chinese audience will not be loyal to a certain show in the face of various

talent shows. Gu Jianfen, a famous composer, has been critical of the genre when she was interviewed by People’s Daily (Du 2013). She says that many television stations cannot

present impressive musical works to the audience after investing heavily in music talent

shows. Although television stations in China have introduced or imitated foreign show,

few of them can attract an audience. For the Chinese audience, they will be satisfied with

one or two high-quality music talent shows. It will lead to aesthetic fatigue if there are too many music talent shows for them to choose from (Sun, 2010). Instead of relying on

the introduction of foreign music talent shows, television stations in China should take 18

an original approach to creating shows which can cater to the taste of the Chinese audience (Du, 2013).

Chapter 3: Methodology

3.1 Introduction and Research Questions

Two instruments were used to collect data and analyze content. Telephone

interviews were conducted between April, 2016 and August, 2016, with two television producers. Shuo Chen is a producer from Jiangsu Television, who has worked in the entertainment industry for more than 10 years; Li Yu is a producer who has worked for

Shanghai Dragon Television since 2007. Yu is a hosting a reality show, Good Father Bad

Father for Shanxi Television.

The second instrument was a content analysis examining the features of the four television music talent shows at different stages; CCTV Young Singer Television

Competition; Super Girl; The Voice of China and I am a Singer.

The following research questions were included in this study:

RQ 1. How can the music industry cooperate with the television industry to make a music talent show successful?

RQ2. What is the key to adapting foreign shows to the Chinese market?

RQ3. How can audiences be attracted to television music talent shows?

3.2 Data Collection

To answer the research questions, interviews were set up by telephone on eight occasions from April, 2016 to August, 2016. Total interview time was approximately five hours.

Interview Questions for Producer Shuo Chen:

Q1: What made the following television talent shows succeed in the past? (CCTV Young

Singer Television Competition, Super Girls, Voice of China and I am a Singer)

Q2: Do you think the music and television industries are supporting each other at a certain point?

Q3: Should the music industry and the television industry cooperate for the purpose of increasing profits?

Q4: How can the music and television industries worked together to make music talent shows successful?

Q5: What is the key to adapting foreign shows to the Chinese market?

Q6: Do you think foreign shows provide good examples for the Chinese viewer?

Q7: What’s the key to attract an audience? And how do you attract the Chinese audience to watch television music talent shows?

Q8: What’s your suggestion or advice for producers of television music talent shows? 21

Interview Questions for Producer Li Yu:

Q1: From the following television talent shows, which one is the biggest success in

Chinese television history and why you think it is the biggest success show? (CCTV

Young Singer Television Competition, Super Girls, Voice of China and I am a Singer)

Q2: Has the music industry been shaped by television talent shows in the last 20 years?

How?

Q3: What are the weaknesses of the current talent shows?

Q4: Which talent show has made the deepest influence on Chinese society in the last 10

years and how?

Q5: What is the key to adapting foreign shows to the Chinese market?

Q6: Do you think the current music talent shows are doing well? And which one is your

favorite and why?

Q7: What’s the key to attract an audience? And how do you attract the Chinese audience to watch television music talent shows?

Q8: What’s your suggestion or advice for television music talent shows?

3.3 Definitions

CCTV Young Singer Television Competition is known as Qinggesai in China. It was first produced in 1984. By 2013, it had been produced every two years. In 2013, the 15th session 22

of CCTV Young Singer Television Competition was held. After many years of practice and

innovation, it developed into an important platform aiming to carry forward national art,

spread musical knowledge, discover and develop music talent, as well as lead the

booming development of the music industry in China. In addition to satisfying the public need for art, it has also cultivated a large number of excellent music talent for the Chinese music industry. Many contestants have won the reputation of top singers in China

(Baike.Baidu.com).

Super Girl, known as Chaonv in Chinese, was launched by Hunan Television in 2004. It

targeted female singers at the grassroots level. By ignoring traditional rules, it rapidly

gained popularity among Chinese viewers. The emergence of Super Girl also had an

impact in the Chinese music market previously dominated by singers from Hong Kong

and Taiwan. According to a market survey conducted by PRC Direct, the interest by the

Chinese audience in Super Girl can be summarized as follows. Twenty five percent are in

favor of the original form and creativity featured by participation of all people, and eight

percent are interested in enjoying the performance of those contestants with varying

degree of skills. Super Girl, together with Super Boys also presented by Hunan Television,

has cultivated a large number of music talent with wide popularity within the music

industry in China. Performers like Zhang Hanyun, Li Yuchun, Zhou Bichang, Zhang

Liangying, He Jie, Huang Yali, Shang Wenjie, Tan Weiwei and Yu Kewei have become 23

pillars of the music industry in Mainland China. Additionally, many television stations

in China have imitated Super Girl. Television stations in Taiwan and Hong Kong which

are famous for their ability to present popular entertaining programs have followed the

lead in presenting talent shows such as One Million Stars and Voice. It has also marked

the age of the talent show in the Chinese circle of popular music (baike.com).

The Voice of China was inspired by The Voice of Holland. After it was introduced in China,

Zhejiang Television joined Changxing Productions under the Star Media brand to present

a professional and inspirational program. It is not only a high-quality television show,

but also marks the first adoption of the commission mode (the separation of production

and distribution) in China. It has also provided a large number of excellent music talent.

It has been produced for four seasons. In order to avoid copyright dispute, it temporarily changed names to Sing! China (Baike.Baidu.com).

I am a Singer was introduced by Hunan Television based on the Korean MBC show. Seven

famous singers were invited to compete on stage. After the performance, three judges

chose the three best-performing singers. With the total votes gained in the first and

second rounds added up, the one having the least votes was eliminated and replaced by

a new singer. The eliminated singer would return to perform at the end of the second

round without gaining new votes. In the revival competition, those eliminated

contestants returned to compete with each other. The winner remained to compete with 24

the six contestants. In the breakout competition of the second season, those new contestants competed with the eliminated contestants. The winner entered the finals for the championship. On the night of the championship in the first season, the relevant topics on Weibo, a blog website in China, were forwarded more than 100 million times.

Baidu is China's largest search engine (Li, 2012). According to a search for I am a Singer on Baidu, the user attention and media attention had achieved a level of 1.2 million and

40 million respectively, thus making a record (Baike.Baidu.com).

Chapter 4: Results

4.1 Introduction

The CCTV Young Singer Television Competition was an original creation by CCTV.

After using foreign shows as examples, and making some adaptations, Hunan Television presented Super Girl to the Chinese audience. After purchasing the copyright and adapting it for Chinese culture, Zhejiang television put the Voice of China on the screens of Chinese audiences. I Am a Singer was an adaptation of a television program made by

MBC of South Korea. By adding some local elements to the show, Hunan Television generated high audience ratings. This study will analyze typical music talent shows at different stages. It will summarize the production strategies which are suitable for the

Chinese market and discuss the key to achieving popularity of the talent show format by catering to the taste of the viewer；Finally, it will discuss the essential elements which will assist the music and television industries in future development.

4.2 CCTV Young Singer Television Competition

In 1984, the CCTV Young Singer Television Competition emerged as the first television music talent show in China (Qing, 2013). As of 2012, it had been produced 14 times. In the 1980s and 1990s, CCTV Young Singer Television Competition achieved strong audience ratings in China (Qing, 2013). During the first session of the show, singers, such as Guan Mucun and Yin Xiumei, rose to fame (Chen, 2013). The second season of this 26

show witnessed the rise of many accomplished singers, including Peng Liyuan, Wei Wei

and Mao Amin. Moreover, many other singers familiar to the Chinese audience, such as

Dong Wenhua, Hang Tianqi, Cai Guoqing and Xie Xiaodong, also gained their stardom

from the show（Chen, 2013). “It marked the beginning of the television music talent

show in China and also represented the two-decade development of the Chinese music

circle with its authority. The aim of the television program is to promote music creation,

present young singers of great promise and enrich the lives of the Chinese audience” (S.

Chen, personal communication, April 2 2016). China is a multiethnic country famous for

diverse culture. The CCTV Young Singer Television Competition lived up to its promise of

carrying forward the national culture, spreading musical knowledge and presenting

musical talent and their newest work to the audience. It has played a constructive role in

pushing forward the booming development of the music industry in China (Qing, 2013).

It should be noted that the CCTV Young Singer Television Competition premiered at the right time. In 1981, there were as many as 10 million television sets in China (Yue,

2016). The popularity of various media such as television, radio and newspaper, also played an important role in leading consumer consumption. With the fast improvement of material life in the 1980s, the diversity in spiritual pursuits led the trend of the times because at the same time, people also required emotion needs, thus leading to the success of the CCTV Young Singer Television Competition (S. Chen, personal communication, April

2 2016). 27

The professional standard of the CCTV Young Singer Television Competition was

reflected in the entire process of the television competition. For example, the qualifications of potential contestants were strictly evaluated. All contestants had to sign up in the name of the working unit, such as the local television station, professional academy and team (S. Chen, personal communication, April 2 2016). The age of those

contestants should range from 18 to 35. Since the second session of the CCTV Young Singer

Television Competition, contestants were classified as professional or amateur. Moreover,

their songs were also classified into opera, national music and popular music. The

television program adhered to the principles of being professional, authoritative, and

tasteful during three decades of development (S. Chen, personal communication, April 2

2016).

The eighth season of the CCTV Young Singer Television Competition held in 1998

featured the addition of group performances, overall quality assessment and Bel Canto

(similar to opera). In the ninth session of the CCTV Young Singer Television Competition, a

supervisory team was set up to ensure the fairness and openness of the television

competition. In addition, judges from foreign countries, Hong Kong, Taiwan and Macao

were also invited. Some major modifications were made for the tenth season of the show in 2006. More specifically, traditional music performance by ethnic groups was added.

The differentiation between professional groups and amateur groups was removed. The mass singing was changed into popular singing. The singing group was also formed (S. 28

Chen, personal communication, April 2 2016).

Over the last 30 years, a number of excellent singers have risen to fame from

television competition. Through the cooperation between CCTV, local television stations and performance groups, many singers gained popularity in the domestic market with their excellent skills and attractive appearance. Besides releasing their own albums, they also performed in various events. After appearing on the stage of the Spring Festival Gala

Evening, some of them even became among the most popular singers in China (S. Chen, personal communication, April 2 2016).

In addition to cultivating a large number of musical talent for the Chinese music market, the show popularized many musical works, spread common knowledge about music as well as greatly influenced the artistic aesthetics of the public (S. Chen, personal communication, April 2 2016).

Through innovation, television music talent shows have attracted Chinese viewers and also offered the art of music to them. By cultivating a large number of excellent music talent, it has exerted profound influence on music in China. Since 1984, those musical talents and their songs have made substantial contributions to the music industry in

China. Besides spreading socialist core values, it has also fulfilled its social commitment

(S. Chen, personal communication, April 2 2016). Instead of resorting to media hype, it retained its style and thus became the first successful television music talent show in

China. 29

However, the cancellation of the program pointed out its shortcomings. The flaw

of music talent shows is that they failed to reap necessary economic benefits (S. Chen, personal communication, April 20, 2016). They failed to apply proven commercial promotion techniques to achieve further development. The decrease in the audience rating is also another reason for its cancellation. It has only focused on elegant art and neglected popular music and public participation, which made it lose the favor of the

Chinese audience.

4.3 Super Girl

Figure 1

Super Girl（Season 1）, July 2004

Episode Audience Rating Ranking 1 2.96 1 2 3.84 1 3 4.52 1 4 5.83 1 5 6.8 1 6 8.31 1 7 11.65 1

Data: CSM Research

As one of the most popular words in the first decade of the 21st century (Duan,

2006), Super Girl has impressed the Chinese audience. What makes Super Girl a great

success is that it is featured unknown singers at the grassroots level. In addition to

making contestants an overnight success, it also created enormous economic and social 30

benefits for the producers. Hence, it has become a milestone in the history of the Chinese

entertainment industry (S. Chen, personal communication, April 20, 2016). This show has

attached great importance to fairness and openness. Despite a series of unconfirmed

rumors of cheating, the transparent operation of the television program was maintained

due to the participation of the audience and judges drawn from the public (S. Chen,

personal communication, April 20, 2016). The mass-oriented mode has made it the focus of public attention, thus leading to high ratings and advertising revenue. With many

famous singers standing out from the program, a complete industrial chain capable of

creating more economic value has taken shape (S. Chen, personal communication, April

20, 2016).

Since 2001, the internet and cell phones have been gaining popularity in China

(Zuo, 2005). The speed and diversity of communication has had a profound influence on television. With the timely release of information regarding commercial publicity, singer profiles and supporting teams, producers and audiences can interact with each other. As an important part of performance assessment and commercial value, short-message voting can help the audience experience the tension and climax in the competition. The major revenue sources of Super Girl are sponsorship, advertising and short message service revenue. According to China.com (2005) the cost of Super Girl’s naming rights, which were owned by Mengniu Dairy, was more than $14,988,000 US for season 1. The 31

total revenue from the final night of season one was $449,697,600 (Duan, 2006). The

success of Super Girl was attributed to content, production techniques and promotion. It imitated American Idol and other Western programs, but, Super Girl was unique in its localization, which made the show a great success (S. Chen, personal communication,

April 20, 2016).

Moreover, it also created massive profits for the organizer (Duan, 2006). The main source of revenue for the television program included title sponsorship, advertising and short messages. In 2005, Mengniu Dairy as title sponsor of Super Girl invested more than

$64,000 in the program. During the final night, 15-second advertising generated $72,000

USD. Short messaging generated $4,280,000 US (Nue, 2006). The success of the program can also be attributed to the fact that it has imitated foreign programs such as American

Idol, in terms of content, production style and commercial packaging. Localization was critical to its success.

Because Super Girl can bring wild joy to those people from the middle and lower ranks of the society, it has won the support of numerous people and thus became a miracle in the history of television music talent show in China (Koupan, 2010). Super Girl imitated American Idol for entry into the music competition genre. For example, the contestant needs only to complete an entry form and sing a song to appear on the stage.

The producers and media encourage those contestants to sing to the best of their ability.

It is also the selling point of the program, with the slogan Sing as you like and sing it best. 32

The concepts of equality and freedom have attracted contestants. Different from music talent shows featuring traditional music, Super Girl has been presented to the Chinese

audience by a provincial-level television station with a more affable profile. When seeing contestants realize their own dream, the audience has also released their own desire hidden in their hearts for a long time and shared the joy with them. The participation of those ordinary people has enhanced the attraction of the television program to the audience (S. Chen, personal communication, April 20, 2016).

The program has adopted a judging process different from that of other shows.

Super Girl has included professional judges, public judges and short-message voting.

Moreover, many songs sung by the contestants are familiar to the audience. Compared

with the CCTV Young Singer Television Competition, Super Girl can better cater to public taste in contemporary society. In order to increase ratings and attract the participation of more people, Hunan Television has suited the television program to the aesthetic taste of the public (S. Chen, personal communication, April 20, 2016). Hunan Television has presented to the audience the highlights of the daily lives of the contestants. Judges are free to put forward their own opinions on the performance of the contestants. The audience has been deeply involved in the entire competition.

Super Girl has been transformed into a product rather than a mere television

program through commercial packaging. Interactive marketing has become an important

source of revenue for Hunan Television. For example, Hunan Television can bring in 33

$640,000 from the short-message voting for each competition (Wei, 2006). During the finals, the revenue from short-message voting exceeds $1,280,000 US, which translates to

$8,960,000 for the seven competitions. Together with the revenue of the preliminary shows, the revenue totals approximately $19,200,000 (Wei, 2006). Hunan Television has also laid great emphasis on publicity. With the aid of advertising sponsors, Super Girl has appeared on various forms of media such as television, radio and new media, thus greatly enhancing the popularity and influence of the program. After the program concluded,

Hunan Television continued to present highlights of those contestants on the screen (S.

Chen, personal communication, April 20, 2016). Assistance is also provided to those contestants with live performances or releasing albums. The champions for the first and second cycles of Super Girl are still active in Chinese music, which can further maintain the popularity of Super Girl.

4.4 The Voice of China

Figure 2

The Voice of China (Season 1), July 2012

Episode Audience Rating Ranking 1 1.477 2 2 2.717 1 3 3.075 1 4 2.725 1 5 3.31 1 6 4.019 1 7 4.133 1 8 4.201 1 9 4.281 1 10 4.567 1 11 4.865 1 12 4.599 1 13 4.133 1 14 6.101 1

Data: CSM Research

Following the success of Super Girl, many talent shows emerged as imitators.

However, they are similar to each other in terms of content and marketing. Those talent shows made by local television stations have caused aesthetic fatigue among the Chinese audience (L. Yu, personal communication, April 2, 2016). Due to excessive media hype, such television programs have been produced in a short cycle. They are also criticized for vulgar taste and excessive conformity to audience expectations (S. Chen, personal communication, April 20, 2016). An exception to this is the Voice of China; this show has attracted the attention of international media and also achieved high ratings. Canxing 35

Production purchased the copyright as well as the format of the Voice of Holland. It has not only reduced risk but also ensured the quality of the program. The crew of the Voice of Holland has also been invited to provide instruction behind the stage (L. Yu, personal communication, April 2, 2016).

The Voice of China has been the same as its Holland counterpart in terms of numbers of judges, publicity, rotatable seat design and live performance. Moreover, the four judges, namely Liu Huan, Na Ying, Yu Chengqing and Yang Kun, are the most famous singers in China. In this regard, it is quite different from Super Girl and thus ensures a professional production.

What sets the Voice of China apart from others is the blind audition and coaching system. During the blind audition phase, coaches will view singing ability as the only criterion to decide whether to admit the contestant into his or her team. If the coach recognizes the ability of the contestant, he or she can press the button of the rotatable seat to face the contestant. The blind audition has lived up to the principle of music talent shows, which is to view the music as the only criterion. With regard to the coaching system, contestants have the right to choose a coach. The coaching system has many merits. First, after joining the team, the contestant will receive professional training from the coach to further improve singing ability and make preparations for a career in show business. It has also lightened pressure on the producer and companies responsible for 36

packaging and publicity (L. Yu, personal communication, April 2, 2016). Additionally,

those coaches will compete with each other to win the best contestants. The competition

between well-accomplished coaches around little-known singers has added to the dramatic effect of the show. Thanks to the blind audition and coaching system, the program has highlighted Huang He who sings with bare feet, the blind singer Zhang

Yuxia who sounds like Deng Lijun, the strong but sentimental man Li Daimo, Zhang Wei who challenges the high pitch and the farmer singer Zhou Hongyu from Northeast China.

As an entertainment program pursuing diverse aesthetics, the Voice of China has

sought to attract an audience with natural performances by contestants rather than vulgar

taste and media hype (L. Yu, personal communication, April 2, 2016). Those contestants

are also ordinary people such as students, self-employed merchants, farmers and street-

corner performers. They can find an echo in the audience with their moving stories. The

resonance between elite coaches and unknown contestants has offered new possibilities

of aesthetic enjoyment for the audience (S. Chen, personal communication, May 15, 2016).

The participation of contestants from different ranks of society have also narrowed the

difference in the aesthetic consciousness and reached mutual understanding (S. Chen,

personal communication, May 15, 2016). Through the joint efforts of the television station,

contestants and judges, the Voice of China can simply connect the audience with real,

positive and natural emotions. It has also featured short videos regarding self- 37

introduction, communication with the coach and stories behind those contestants. This

unpretentious approach to showing the real side of contestants has great power to

impress the audience and also better satisfy the psychological needs of the audience (L.

Yu, personal communication, April 2, 2016). In addition to ensuring the quality of the

television program, it has achieved high ratings.

The first episode of the Voice of China has generated advertising revenue up to

$12,800,000. During the finals, a 15-second advertisement earned $742,400, which has set

a new record for a single piece of advertising in China (Di, 2012). After the end of the

show, the organizer also holds a touring performance for those contestants. It is reported

that the appearance fee for the 16 contestants has ranged from $64,000 to $96,000. The

coaches can receive additional payments if those contestants can boost overall

performance (L. Yu, personal communication, April 2, 2016). For the first season of the

Voice of China, Jiaduobao was the title sponsor, spending $38,400,000 (Di, 2012). The Voice

of China has greatly enhanced the popularity of the brand in the domestic market. By

introducing an excellent television music talent show from abroad and adding

localization, the Voice of China has achieved a higher audience rating and even greater influence than the Super Girl (L. Yu, personal communication, April 2, 2016). It has also exerted far-reaching influence on music talent shows in the future.

4.5 I am a Singer

Figure 3

I am a Singer (Season 1), January 2013

Episode Audience Rating Ranking 1 1.434 1 2 1.714 1 3 2.014 1 4 2.067 1 5 1.963 1 6 2.022 1 7 2.381 1 8 2.368 1 9 2.336 1 10 2.48 1 11 2.206 1 12 2.43 1 13 4.127 1

Data: CSM Research

I am a Singer has emerged as an innovative television music talent show in China in recent years. With a brand-new concept, it has offered a refreshing experience for the

Chinese audience. It has aimed to promote the development of high quality music and

also lead music talent shows in China (S. Chen, personal communication, May 15, 2016).

I am a Singer has made great contribution to the music industry in China by

simultaneously catering to various levels of the audience. Besides capturing the attention

of the Chinese audience, it has also provided some reference and inspiration for the

sound development of the genre in China (L. Yu, personal communication, April 2, 2016). 39

Presented by Hunan Television, it has highlighted competition among the top singers in

China. After introducing the format from MBC in Korea, Hunan Television has made it

the leading show in 2013. By bringing together well-accomplished singers, emerging

force and young singers, it has created the top music feast in China (Meng, 2014).

“The greatest achievement of this television music talent show is that it has offered the ultimate enjoyment of art to the audience”, says S. Chen. By combining light and advanced sound, it has enabled the audience to enjoy the charm of the music. Moreover, it has also reflected the persistent efforts of those contestants striving for the music as well as the professional dedication of the working staff (S. Chen, personal communication,

May 30, 2016). Each musical work has been elaborately made. Based on original work, the contestant has made modifications and improvements. “Many top music producers are also invited. In addition to the various styles of music, such as electronic dance and

folk music, as well as music instruments, the television program has been brought a

dramatic visual and auditory impact to the audience” (S. Chen, personal communication,

May 30, 2016).

After purchasing the copyright, Hunan Television tailored it to Chinese cultural

norms. Some singers refused to appear on the stage because they were afraid of losing

the competition (L. Yu, personal communication, May 30, 2016). However, the show has

still captured great attention from the audience because it allows singers to focus on the 40

music itself. Besides topping rating charts, it has opened a new chapter in the history of the television music talent show in China (S. Chen, personal communication, June 30,

2016).

I am a Singer is also the first television music talent show to bring famous singers

to compete on the same stage in China. Those singers are chosen from the Mainland of

China, Hong Kong and Taiwan. Some of them have even retired from show business. All

have had accomplishments in music. It has adopted a voting system aimed at the

audience around the stage. There are 500 judges whose ages are distributed in five

demographic clusters. All have the ability to appreciate the music so that the fairness of

the competition will be ensured. The talent show has also adopted a distinctive system.

Each episode will last about 90 minutes (S. Chen, personal communication, June 30, 2016).

The performance of the seven singers will occupy 30 minutes. The rest of the time will be

devoted to introducing the efforts made by the singer outside the stage. “In order to make

a detailed record of the preparation made by those singers, Hunan Television has used

38 cameras. In this way, the audience can catch a glimpse of the real life of those singers

“(Li, 2013).

“To ensure a high-quality artistic effect, Hunan Television has purchased the

French L-Acoustic 115X which is known as one of the top stereo systems in the world. It

is used as an active-crossover monitoring loudspeaker on the stage. Moreover, 41

Sennheiser microphones, a famous Swedish brand have been installed. The outstanding

stereo system has been complemented by the lighting system which is the soul of the

television program. Hence, Hunan has presented a music feast for the audience with the

impressive effect of light and sound” (Li, 2013).

The efforts of Hunan Television have been rewarded by success. According to

CSM Media Research, the rating of I am a Singer has risen from 1.434 percent in the first

episode to 4.127 percent in the 13th episode, which indicates a stable growth. The audience

share has also increased from 6.38 percent in the first episode to 18.24 percent in the last

episode (Chen, 2014). In addition, the show has influenced social culture. As singers compete with each other through persistent efforts, it has spread positive energy in

society, which is worthy of praise. For a television music talent show, it can impress on

the audience the value of striving for their dream through hard work (S. Chen, personal

communication, June 30, 2016).

Although the copyright of the television program is purchased from South Korea,

Hunan Television has made some adaptation in terms of the content, form and execution to suit Chinese tastes. For example, it has been innovative by introducing the concept of a 500 judge panel of different ages. What is worth mentioning is that the creativity of

MBC has enabled the Chinese audience to enjoy confrontation between famous singers on television. It has been highly appealing to the Chinese audience. Judging from the 42

rating for each episode, the television program has attracted a growing number of viewers.

As far as publicity is concerned, Hunan Television has made great efforts to publicize the show through various media prior to air. Seven elaborately-made publicity videos have continuously run on Hunan Television. Sina Weibo is the largest social media platform in China. According to Weibo, I am a Singer has topped the chart of popular words under the categories of current events and entertainment. Additionally, Hunan

Television has also interacted with the audience to publicize this television program through the platforms QQ zone, Weibo and Wechat. Wechat is the most popular free instant message/video software in China. QQ zone is a popular blogging website in China.

Before the television program aired, many micro-bloggers who were fans of I am a Singer had also joined in recommending the television program (Weibo, 2014). By cooperating with numerous media websites such as LETV and QQ Music, Hunan Television further enhanced the popularity of the television program in the form of all-media marketing. (L.

Yu, personal communication, June 30, 2016).

Chapter 5: Discussion & Conclusions

5.1 Introduction

After a decade of development, the music talent show genre in China has

penetrated satellite television stations at an unprecedented level. During its course of

development, the genre has become the focus of attention with great revenue and high

ratings. In addition to offering entertainment to the audience, it reflects problems in

society. With the growing number and diversity of the music talent shows, some hidden

problems have been gradually exposed, such as low ratings and negative social influence.

Moreover, due to the excessive imitation of foreign television formats, the genre in China

has also caused aesthetic fatigue among the audience (S. Chen, personal communication,

July 12, 2016).

5.2 Discussion

Future recommendations for Chinese music talent shows

1) Cooperation between the music industry and the television industry is critical

The music and television industries should be complementary to each other.

Cooperation between the music and television industries can add expertise to the genre

by increasing quality of the programs. With the rapid development of the internet, record

sales have declined sharply compared with the 1990s (S. Chen, personal communication, 44

July 12, 2016). Under this background, high-quality music should be created and aired on television so as to attract audiences. Hence, a singer should make public appearances on television so as to publicize himself and his musical works. The music industry is in need of a wider platform to achieve greater popularity. Television can offer the best platform for music in China (S. Chen, personal communication, July 12, 2016). Similarly, music can also bring higher ratings to the television media. In the modern world, the addition of music can add to the popularity of each television program in varying degrees. The music talent show has been used consistently by the television industry to increase audience ratings. (L. Yu, personal communication, July 12, 2016).

2) Produce music programming with variety, but specific to Chinese culture

The key to the development of music programs, is creating shows specific to Chinese culture, assert both producers Li Yu and Shuo Chou. “The strong ability to develop a television program is also the solution to homogeneity and weak innovation. Ratings should not be the only consideration for a show. Moreover, national culture and mainstream values should be also taken into consideration. Besides imitating or introducing successful television programs, television stations in China can also make efforts to create excellent music programs with Chinese characteristics on television” (S.

Chen, personal communication, July 26, 2016) 45

The development of the format in the US provides a road map for the music talent show, and also provides best practices to the industry. By adapting foreign shows to

Chinese television programs, Chinese television should incorporate Chinese folk culture and attitude to the shows. It can impress the local audience with the outstanding ability of those television professionals, even opening a new chapter in the history of television media in China (L. Yu, personal communication, July 12, 2016). Moreover, a television program should focus on spreading positive energy. In addition to entertaining the audience, a television program should play a constructive role in building a spiritual civilization. By offering high taste and spreading positive energy in society, a television program can survive fierce competition to achieve further development, and finally get rid of having to adapt foreign shows (L. Yu, personal communication, July 12, 2016).

3) Audience satisfaction is the key to being successful

In the modern world dominated by the rapid spread of information, music and television, media professionals should make persistent efforts to bring greater enjoyment of music to the audience (S. Chen, personal communication, July 12, 2016) According to the definition of communication, the basic motive shared by the audience has included the pursuit of recreation, the satisfaction of information-related needs and psychological needs, the desire to acquire the knowledge, as well as the need to communicate with others (Geng 2010). The four television music talent shows; The CCTV Young Singer 46

Television Competition, Super Girl, Voice of China and I am a Singer, have met the basic needs

of the audience. They have also made bold innovations to cater to the psychological needs of the audience (Zhou, 2005). The psychological needs of the audience change with the improvement of material life and cultural tastes of the audience. The audience has also

developed a greater desire for the middle-class (S. Chen, personal communication, July

26, 2016). Therefore, high-quality music talent shows have emerged to cater to their

aesthetic taste. The clear positioning and satisfaction of the audience need is key to the

success of a television program. “The audience rating should be seen as the most basic

criterion for the success of a television program. If the television program targets a wide

group of viewers, it will ensure a high rating” (L. Yu, personal communication, July 12,

2016).

For example, “the Voice of China was targeted at those people who have a deep

passion for music. It can cater to the elegant and popular tastes of those viewers at the

same time. Moreover, it has also aimed to satisfy the needs of people of all ages” (S. Chen,

personal communication, July 26, 2016). The choice of coach has been also based on the

preference of the audience. To be more specific, Liu Huan, who was invited to the first

season of the Voice of China is highly popular among those people who were born in the

1960s and 1970s. Na Ying is viewed as one of the top female singers by many people born

in the 1980s. Yu Chengqing had a large number of followers in mainland China, Hong 47

Kong and Taiwan. Yang Kun impressed many people who had a dream for music with his own experience of rising to stardom. The four coaches have their own style. The second season of the program featured the addition of Zhang Huimei and Wang Feng.

Both are famous for their outstanding talent for music and thus have attracted a large number of loyal fans.

I am a Singer has targeted music lovers between the ages of 10 and 60 (S. Chen, personal communication, July 26, 2016). Each of those people can regain the pleasure from those songs popular during their youth. With those old or new singers from the

Mainland China, Hong Kong and Taiwan performing on the stage, the audience can always find their favorite one. “The age and style of those singers are also clearly classified and selected so that they can attract an audience of all ages and types. Besides catering to the taste and need of the highest number of people, it has also won the favor of many old people who were not interested in such television programs” (S. Chen, personal communication, August 2, 2016).

Judging from the audience positioning of the two television programs, it can be concluded that reaching the widest possible group of viewers is key to the success of the music talent shows. A television music talent show will have great difficulty surviving the fierce competition in the Chinese market if it just focuses on a certain group of viewers

(L. Yu, personal communication, August 2, 2016). Hence, producers of television music 48

talent shows should set a high priority on diversifying the demographics of the audience at an early stage of planning the program.

5.3 Limitations

The inability to get access to staff from each of the four talent shows in the study was the first limitation of this study. Additionally, the study is missing audience viewing data from the CCTV Young Singer Television Competition because the show aired in 1980 and related data was unavailable.

5.4 Recommendations for future research

With the popularity of reality shows in recent years, many scholars have offered unique insights into this topic. This study acknowledges different aspect of media, and analyzed each case of its influence and development. It is not detailed enough to analyze each talent show’s specific production techniques. Between mass culture and elite culture, the study is not comprehensive enough to analyze from the perspective of cultural property.

Since the debut of the CCTV Young Singer Television Competition in 1984, each decade has been characterized by different types of music reality show. Further research may also provide insights into the top shows of each decade.

5.5 Conclusions

Because the development of television music talent shows did not begin until the

1980’s in China, there is still a long way to go for them to catch up with other countries.

As a country with a 5000-year old civilization, China has been famous for its brilliant

culture and abundant resources. This cultural diversity will lay the foundation for the development and breakthrough of the genre. It will also turn China into the cradle of high-quality modern culture in the world.

Considering the immaturity of the television music talent show genre in China,

television stations can draw on the experience of foreign countries and also make some

adaptations (S. Chen, personal communication, August 2, 2016). In this regard, the Voice

of China and I am a Singer have set a good example for other stations. After imitating

foreign productions, they have made some adaptations based on the culture of China.

Hence, both have achieved great success.

“The television music talent show in China is still weak in hardware resources, such as production equipment and technology. Most importantly, they should still improve on originality and content” (L. Yu, personal communication, August 2, 2016). In other words, great efforts should be made to explore innovation in content. Content is the soul of a television program. (L. Yu, personal communication, August 2, 2016).

Original and appealing content can satisfy the growing needs of the audience. “In the 50

modern world featured by the change and innovation, innovation should be the key to

the success of the television music talent show. In order to make further breakthroughs and achieve high ratings, music talent shows in China should focus on music quality” (L.

Yu, personal communication, August 2, 2016).

“The survival and development of a music talent show should lie in innovation. If a television program cannot innovate to keep pace with the times, it will undoubtedly lose the favor of the audience. The everlasting popularity of a television program should be based on innovation” (S. Chen, personal communication, August 2, 2016). Moreover, it is also a perpetual topic to maintain high ratings and satisfy the needs of the audience of all ages. The premise of success should be constant innovation, diversity and maturity.

For example, the success of Super Girl, the Voice of China and I am a Singer can be attributed to the innovation and pursuit of perfection (S. Chen, personal communication, August 2,

2016).

Television media will continue to play an important role in the future. There is no substitute for music in the life of the Chinese audience. In the future, music talent shows will be more diversified. As the Chinese audience acquires a higher taste and greater ability to appreciate music, music and television professionals should strive for innovation together. Lastly, the television music talent show in China should also aim to complete the industrial chain, create more social benefits and fulfill social commitments. 51

In this way, the television music talent show with Chinese characteristics will be created for a worldwide audience.

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