A Big Hit Pop Our Life ---The Rise of Hip-Hop Music

Total Page:16

File Type:pdf, Size:1020Kb

A Big Hit Pop Our Life ---The Rise of Hip-Hop Music 投稿類別:英文寫作類 篇名: A Big Hit Pop Our life ---- The Rise of Chinese Hip Hop Music Powerful Influence of “The Rap of China” 作者: 邱煒甯。嘉義高中。高二 16 班 沈明諺。嘉義高中。高二 16 班 指導老師: 黃郁方老師 A Big Hit Pop Our Life ---- The Rise of Chinese Hip Hop Music Powerful influence of “The Rap of China” I. Introduction I.1.The motivation of the study In recent years, Chinese hip hop music has been obviously thriving and flourishing. They have invaded the music industry in Taiwan successfully. More and more rappers emerged, and released their own compositions. These phenomena intensified after a TV program, named “The Rap of China,” was broadcast. What’s more, many Chinese singers now start to add an episode of hip hop music into their songs, which reforms styles of Chinese mainstream music. From the points mentioned above, it can be seen that Chinese hip hop music has gone viral in Taiwan. As members of this new generation, we are also influenced by Chinese hip hop music wave naturally and caught in this fad. This wave, resembling an enormous hurricane, has made a tremendous impact on the young men in Taiwan. Therefore, we are eager to figure out the reason for its and the effects of “the Rap of China” on the development of Chinese hip hop music. I.2. Research questions With the full consideration, a survey was conducted. The following three research questions were generated to explore the reasons for the popularity of Chinese hip hop music in Taiwan and the effects of “the Rap of China” on the development of the music genre. (1) Do teenagers in Taiwan know about Chinese hip hop music? (2) Why has Chinese hip hop music made a hit recently? (3) What are the influences that” the Rap of China” has on teenagers, rappers, and the development of Chinese hip hop music? II. Literature Review II.1 Definition II.1.1 Definition of Chinese hip hop music According to Wikipedia (2017), hip hop music is a musical style with spoken words and a steady beat played on electronic instruments. It is sometimes used as a synonym of hip hop or rap music although rapping is not the necessary component of hip hop music. It is originally developed in the United States by inner-city African Americans in the 1970s. It may also incorporate some of the elements of hip hop culture, including DJ, turntablism, scratching, beatbox, and instrumental tracks, etc. In this research, we mainly focus on the music genre in 1 A Big Hit Pop Our Life ---- The Rise of Chinese Hip Hop Music Powerful influence of “The Rap of China” Chinese. II.1.2 Definition of “the Rap of China” On the basis of Wikipedia (2018), “the Rap of China,” a variety show with the theme of hip hop music on the Internet, is produced by an online video platform, IQiyi. There are three groups of famous producers such as Kris Wu, Will Pan, MC HotDog and Chang Chen-yue as the competitors’ teachers to train and guide the rappers before the contest, and they also take charge of evaluation and comment on the contestants’ performance in the competition. This show did become the center of attention among youngsters in Taiwan in a very short time after its first episode was aired on June 24, 2017. II.2 History and Development II.2.1 History of hip hop music Based on the Wikipedia (2017), hip hop, defined as not only a musical genre but a culture, was first created in the poorest districts of New York City during the 1970s. At that time, many of the African-American young people were unemployed, but some worked as DJs in discos where they learned deejay techniques like how to use two turntables and a DJ mixer to play records non-stop. Sometimes they'd deejay at free block parties, which became increasingly popular in New York City, particularly among those residing in the neighborhoods of Bronx. At parties, they'd play funk and disco tracks non-stop, and ask a friend to act as their MC. Besides introducing the DJ and encouraging everyone to dance and have a good time, some MCs tried to be more entertaining by talking in time to the beat of the music and using rhymes, which is the birth of rapping. However, hip hop music did not get officially recorded for the radio or television to play until 1979, because it originated from the people in the slum area, which caused the lack of acceptance outside the ghetto neighborhoods. In 1980s, hip hop music became more diverse and the genre turned into more complex styles. Before the 1980s, hip hop music was mostly limited in the United States. However, during the 1980s, it started to spread to dozens of countries, many of which mixed hip hop music with local styles to create new subgenres. II.2.2 Development of Chinese hip hop music from 1980s till now According to ComeLee’s statement (2017), in 1980s, hip hop music spread to Chinese culture. Though it wasn’t totally accepted by the public, more and more media kept an eye on 2 A Big Hit Pop Our Life ---- The Rise of Chinese Hip Hop Music Powerful influence of “The Rap of China” this new phenomenon. Some Chinese hip hop singers appeared at this period of time, such as Lin Zi Xiang, Yu Cheng Qing, and so forth. They are also called the “pioneers” of Chinese hip hop music. In 1990s, pure American hip hop music reached the summit, and it swept across the whole world, and became more widespread. Taiwan was also in this wave. The Huang brothers, who have grown up in California, teamed up a group, “L.A. BOYZ,” and brought American hip hop music into Taiwan. It was the crucial moment that bred Chinese hip hop music. In the last few years, Chinese hip hop music has developed rapidly, and many juveniles got involved in it. Lots of rappers also emerged and released their own productions like Mc HotDog, Softlipa, and Wilber Pan, and so on. Also, a few months ago, a TV program called “the Rap of China” blew up the entertainment industry, and cause an even huge wave. It opened up a new world of a variety of Chinese hip hop music, and also brought this underground music onto the mass platform, which really made it a part of Chinese mainstream music. III. Methods III.1. Participants In order to understand more about the recent development of Chinese hip hop music and the teenagers’ recognition and preference for this music genre these years, we devised a questionnaire to collect the data in the study. There are 110 participants in our study, including 67 girls and 43 boys. They are students in Yunlin and Chiayi counties. Their ages range from 15 to 18. They were selected randomly. III.2. Instrument To achieve the goal of this project, we designed a questionnaire to collect data. There are two parts in the questionnaire. The first part is the personal background, which is intended to elicit the information of the participants such as gender, age, etc. The second part focused on getting the information related to the theme of our study. With these questions, a more reliable study will be carried out. III.3. Procedure With a view to collecting the statistical data, we gave our questionnaire to the students in Yunlin and Chiayi counties. After receiving 133 questionnaires, we eliminated the invalid and 3 A Big Hit Pop Our Life ---- The Rise of Chinese Hip Hop Music Powerful influence of “The Rap of China” incomplete data, and did the statistics. Afterwards, we created graphs from the data. The last step we took was to analyze the data and describe them in the text of this study. IV. Findings and Discussion Have you ever known about Chinese hip hop music? 15% Yes No 85% Figure 1. The rate of teenagers who have known about Chinese hip hop music When did you get to know Chinese hip hop music? Before the broadcast of "The 48% Rap of China" 52% After the broadcast of "The Rap of China" Figure 2. The specific time of their knowing Chinese hip hop music According to Figure1 and 2, 85% of the respondents have known about Chinese hip hop music,and it can be noted that 52% of them get to know the music after the broadcast of “the Rap of China. ” Based on the finding, we can know that how this TV show influences the acceptance and preference of teenagers on Chinese hip hop music. Moreover, much more videos which contain the elements of Chinese hip hop music caused a teen sensation on the Internet after the show. It can be inferred that teenagers are more willing to spend time appreciating Chinese hip hop music due to the effect of“the Rap of China.” Also, there is no denying that Chinese hip hop music has taken its place in the teenagers’ mind in Taiwan successfully. 4 A Big Hit Pop Our Life ---- The Rise of Chinese Hip Hop Music Powerful influence of “The Rap of China” Why did you like Chinese hip hop music? 70 60 50 40 30 20 10 0 Special Meaningful Style of The hip hop rhythm lyrics music singers’ performing arts Figure 3. The reasons why teenagers like Chinese hip hop music Why did you dislike Chinese Hip-Hop music? 12 10 8 6 4 2 0 Noisy rhythm Indecent lyrics Vulgarity of the hip hop singers’ dressing style Figure 4.
Recommended publications
  • KUCI Diaoyu Senkaku Ad.Indd
    The Diaoyu-Senkaku Alternative 中日另类音乐on KUCI (88.9FM, www.kuci.org ) Winter 2012 (Jan.-Mar.), Noon-2pm Sundays w/ DJ Poseur Chinese and Japanese alternative music for peace in the Pacific. PROGRAM SCHEDULE (DISPUTED MUSICAL ISLANDS): 1-15: SURVEY (Gala; 33島; Omnipotent Youth Society; 旅行团; Yellow Submarine; 二手玫瑰; A-Z组合; LMF; 沼泽; Silver Ash; 重塑 雕像的权利; Buffalo Daughter; 4 Bonjour’s Parties; 椎名林檎 × 斎藤ネコ; Cartonbox; ウリチパン郡; Electronico; 54-71; Ma- mastudio; Plamo; 東京事変; ウイリアム) 1-22: ROCK (崔健; PK 14; 达达乐队; 木mυmα马; 麦田守望者; 果味VC; Fancy World; 刺猬乐队; Lonely China Day; 后 海大鲨鱼; 星期三旅行; 瘦人; 鐵風箏; 沙子; 废墟; 谷僳; Brahman; Cascade; Clingon; センチメンタルバス; Gellers; Maboroshi; 19; Sherbets; Wino) (UCI basketball game at 2 may shorten this show.) 1-29: FOLK/BLUES/REGGAE & DUB/LATIN (山人; 胡吗个; 腰; 李志; 周云蓬; 洪启; Hanggai; 杭天; 布衣; 龙神道; Little Tempo; ナーキ; Copa Salvo; Saigenji; A.S.P.; Determinations; 小松亮太) 2-5: LOUD (PUNK, METAL, EXPERIMENTAL) (冷血動物; 新裤子; 反光镜乐队; 吹波糖; 壞女兒; 哎吆; Haranga; 天堂乐队; 唐朝; Yaksa; 痛苦的信仰; 张 震 岳; Dragon Ash; Eastern Youth; Laputa; Demi Semi Quaver) 2-12: ELECTRONIC & SYNTH-POP (B6; 超级市场; Dead J; Gemini Trip; 周先生; Igo; Nobukazu Takemura; DJ Krush; 氷 室京介; IQU; 嶺川貴子; Pre-school) 2-19: HIP-HOP (LMF; 關威; FAMA; 功夫; A. Jordan Chan; 大陆断层; Machi; 周杰倫; MC Hotdog; 葡桃; タサツ; Lunch Time Speax; DABO; Fu-Ten; Rhymester; Rino Latina; Zeebra) 2-26: HIP-HOP (UCI baseball game at 1 will greatly abbreviate this show.) 3-4: NOVELTIES (苍蝇乐队; 小河; 雪村; Sick Pupa; 王勇; 光磊; 忐忑; Shugo Tokumaru; Great Chicken Powers; 岡平健 治; New Electron; OOIOO) 3-11: QUIET FOR FINALS (Me:Mo; 惘闻; ASA-CHANG & 巡礼; Aoki Takamasa + Tujiko Noriko; 細野晴臣; Yuka Honda; Yuki Kaneko; カヒミカリィ; Kozo) 3-18: QUIET FOR FINALS (UCI baseball game at 1 will greatly abbreviate this show.) 3-25 FREEFORM REVIEW (SURVEY) Highlighting music on the following labels: Modern Sky, Badhead, Jingwen, Scream, Rock Records, So Rock!, Toy’s Factory, Pony Canyon, and many other small, independents.
    [Show full text]
  • Read the Report
    23 Dec 2020 CMB International Securities | Equity Research | Company Initiation iQIYI (IQ US) BUY (Initiation) China’s online Disney in the making Target Price US$23.2 Up/Downside +34.8% Current Price US$17.2 We keep positive on IQIYI’s long-term subs trend and margin improvement , backed by its sizable users, unique original content and valuable IP. We forecast iQIYI to deliver 11% revenue CAGR during FY20-22E, with subs price hike and China Internet Sector ads recovery. Given fundraising partly priced in, we think iQIYI’s valuation is attractive. Initiate with BUY with DCF-based TP US$23.2. Sophie Huang An online video leader: Not only “Netflix”, but more. iQIYI is a leading (852) 3900 0889 online video platform in China, with 105mn subs. Backed by its sizable users, [email protected] vibrant original content and IP reserve, we forecast iQIYI to deliver 11% rev CAGR in FY20-22E, with subs price hike, ads recovery, and user expansion. Miriam Lu (852) 3761 8728 Original content makes the difference. With online video industry growth [email protected] tapering off, we believe content matters more to users than traffic or subsidies. iQIYI exceled itself with exclusive original content in both popular dramas and variety shows. Moreover, it bore initial fruits from short-episode dramas (e.g. Stock Data Mkt Cap (US$ mn) 13,499 the popularity of The Bad Kids <隐秘的角落>), and would further enrich Light Avg 3 mths t/o (US$ mn) 180.41 on Series (迷雾剧场) with stronger pipeline. We expect short-episode dramas 52w High/Low (US$) 28.03/ 14.51 series to stimulate its subs & brand ads momentum with higher ROI, such as Total Issued Shares (mn) 373 Who is Murderer<谁是凶手> in 2021 pipeline.
    [Show full text]
  • The Pop Scene Around the World Andrew Clawson Iowa State University
    Volume 2 Article 13 12-2011 The pop scene around the world Andrew Clawson Iowa State University Emily Kudobe Iowa State University Follow this and additional works at: http://lib.dr.iastate.edu/revival Recommended Citation Clawson, Andrew and Kudobe, Emily (2011) "The pop cs ene around the world," Revival Magazine: Vol. 2 , Article 13. Available at: http://lib.dr.iastate.edu/revival/vol2/iss1/13 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in Revival Magazine by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. Clawson and Kudobe: The pop scene around the world The POP SCENE Around the World Taiwan Hong Kong Japan After the People’s Republic of China was Japan is the second largest music market Hong Kong can be thought of as the Hol- established, much of the music industry in the world. Japanese pop, or J-pop, is lywood of the Far East, with its enormous left for Taiwan. Language restrictions at popular throughout Asia, with artists such film and music industry. Some of Asia’s the time, put in place by the KMT, forbade as Utada Hikaru reaching popularity in most famous actors and actresses come the use of Japanese language and the the United States. Heavy metal is also very from Hong Kong, and many of those ac- native Hokkien and required the use of popular in Japan. Japanese rock bands, tors and actresses are also pop singers.
    [Show full text]
  • What Is Real: Authenticity and Localization in Chinese Rap Music
    การประชุมวิชาการและนําเสนอผลงานวิจัยระดับชาติและนานาชาติ ครั้งที่ 12 "Global Goals, Local Actions: Looking Back and Moving Forward 2021" What is Real: Authenticity and Localization in Chinese Rap Music Hanmei Tan Email: [email protected] Supervisor: Chutima Maneewattana Email: [email protected] Doctoral Student of Philosophy in Performing Arts Suan Sunandha Rajabhat University Abstract This study explores the changes in “keeping it real”, the spiritual connotation of hip-hop culture during the localization of Chinese rap music. Data were collected through the following two qualitative research methods. Firstly, semi-structured interviews were conducted with 20 rappers and producers in Changsha, Chengdu, and Chongqing cities. Secondly, ten livehouse performances were attended and observed. The main research findings suggest that the interpretation of the connotation of “real” is closely related to a specific living context and that reflection on the understanding of “keeping it real” cannot be proceeded from a single or essentialist perspective. In the process of localization of rap music in China, the transformation in the connotation of “real” is the result of not only the hybridization of Chinese and western cultures, but also the power discourse struggle under the interference of commercial capital. Keywords: Chinese rap music; authenticity; localization Introduction In the late 20th century and early 21st century, the hip-hop cultural trend spread to Europe, Asia, and other parts of the world, including mainland China with the tide of globalization and the burgeoning growth of online media. However, after hip-hop music was introduced to China in the 1980s, it has always remained in a state of underground development without supervision, with little chance of making it onto domestic mainstream media platforms.
    [Show full text]
  • A Brief Genealogy of Hanmai
    China Perspectives 2019-3 | 2019 Sinophone Musical Worlds (1) A Brief Genealogy of Hanmai Ge Zhang and Jian Xu Electronic version URL: http://journals.openedition.org/chinaperspectives/9528 DOI: 10.4000/chinaperspectives.9528 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 September 2019 Number of pages: 63-68 ISSN: 2070-3449 Electronic reference Ge Zhang and Jian Xu, « A Brief Genealogy of Hanmai », China Perspectives [Online], 2019-3 | 2019, Online since 01 September 2019, connection on 22 December 2020. URL : http:// journals.openedition.org/chinaperspectives/9528 ; DOI : https://doi.org/10.4000/chinaperspectives. 9528 © All rights reserved Current affairs china perspectives a Brief Genealogy of hanmai Ge ZhaNG aND JIaN XU Introduction Discotheques and revitalised Dongbei folk culture anmai 喊麥, literally “shouting [at] a microphone,” first came to public Hanmai’s musical origin can be traced back to China’s discotheques attention and scrutiny as a distinct sound gaining both popularity and dance halls of the late 1990s in the context of China’s “revolution of and notoriety in 2015, when livestreaming platforms such as YY consumption” (Davis 2000). The history of disco dance clubs from the 1990s H 1 (which launched as a voice chat client in 2008) were growing exponentially. to 2000s in Shanghai is well documented by Andrew Field (2008) and James Contemporary hanmai is therefore predominantly associated with Farrer (2000). Shanghai discotheques (disike 迪斯科) emerged as “large, livestreaming media.2 However, its origin can be traced much further back. cavernous, dark, and simply decorated” (Field 2008: 21) “free-flowing zones The sound culture can be linked to the broader context of market reform of interaction among clubbers from different backgrounds” (Field and Farrer and the emergence of disco music in the 1990s, as well as to the evolution 2018: 128).
    [Show full text]
  • China's Year in Review
    2017 China's Year in Review 城市漫步上海 英文版12月份 国内统一刊号: CN 11-5233/GO China Intercontinental Press DECEMBER 2017 that’s Shanghai 《城市漫步》上海版 英文月刊 主管单位 : 中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 : 五洲传播出版社 地址 : 中国北京 北京西城月坛北街 26 号恒华国际商务中心南楼 11 层文化交流中心 邮编 100045 Published by China Intercontinental Press Address: 11th Floor South Building, HengHua linternational Business Center, 26 Yuetan North Street, Xicheng District, Beijing 100045, PRC http://www.cicc.org.cn 社长 President of China Intercontinental Press: 陈陆军 Chen Lujun 期刊部负责人 Supervisor of Magazine Department: 邓锦辉 Deng Jinhui 主编 Executive Editor: 袁保安 Yuan Baoan 编辑 Editor: 朱莉莉 Zhu Lili 发行 Circulation: 李若琳 Li Ruolin Chief Editor Dominic Ngai Section Editors Betty Richardson, Erica Martin Senior Editor Tongfei Zhang Production Manager Ivy Zhang Designer Joan Dai Contributors Mia Li, Logan Brouse, Noelle Mateer, Jocelyn Richards, Frances Chen, Dominique Wong, Iris Wang, Sky Thomas Gidge, Zoey Zha, Emily Guzman, Isabel Chan Copy Editor Luke Sheehan HK FOCUS MEDIA Shanghai (Head office) 上海和舟广告有限公司 上海市蒙自路 169 号智造局 2 号楼 305-306 室 邮政编码 : 200023 Room 305-306, Building 2, No.169 Mengzi Lu, Shanghai 200023 电话 : 021-8023 2199 传真 : 021-8023 2190 Guangzhou 上海和舟广告有限公司广州分公司 广州市越秀区麓苑路 42 号大院 2 号楼 610 室 邮政编码 : 510095 Room 610, No. 2 Building, Area 42, Luyuan Lu, Yuexiu District, Guangzhou 510095 电话 : 020-8358 6125, 传真 : 020-8357 3859-800 Shenzhen 广告代理 : 上海和舟广告有限公司广州分公司 深圳市福田区彩田路星河世界大厦 C1-1303 C1-1303, Galaxy Century Building, Caitian Lu, Futian District,
    [Show full text]
  • International Communication Research Journal
    International Communication Research Journal NON-PROFIT ORG. https://icrj.pub/ U.S. POSTAGE PAID [email protected] FORT WORTH, TX Department of Journalism PERMIT 2143 Texas Christian University 2805 S. University Drive TCU Box 298060, Fort Worth Texas, 76129 USA Indexed and e-distributed by: EBSCOhost, Communication Source Database GALE - Cengage Learning International Communication Research Journal Vol. 54, No. 2 . Fall 2019 Research Journal Research Communication International ISSN 2153-9707 ISSN Vol. 54, No. 2 54,No. Vol. Association for Education in Journalism and Mass Communication inJournalismandMass Education for Association A publication of the International Communication Divisionofthe Communication of theInternational A publication . Fall 2019 Fall International Communication Research Journal A publication of the International Communication Division, Association for Education in Journalism & Mass Communication (AEJMC) Editor Uche Onyebadi Texas Christian University Associate Editors Editorial Consultant Ngozi Akinro Yong Volz Wayne Wanta Website Design & Maintenance Editorial University of Florida Texas Wesleyan University Missouri School of Journalism Editorial Assistant Book Review Editor Jennifer O’Keefe Zhaoxi (Josie) Liu Texas Christian University Editorial Advisory Board Jatin Srivastava, Lindita Camaj, Mohammed Al-Azdee, Ammina Kothari, Jeannine Relly, Emily Metzgar, Celeste Gonzalez de Bustamante, Yusuf Kalyango Jr., Zeny Sarabia-Panol, Margaretha Geertsema-Sligh, Elanie Steyn Editorial Review Board Adaobi Duru Gulilat Menbere Tekleab Mark Walters University of Louisiana, USA Bahir Dar University, Ethiopia Aoyama Gakuin University, Japan Ammina Kothari Herman Howard Mohamed A. Satti Rochester Institute of Technology, USA Angelo State University, USA American University of Kuwait, Kuwait Amy Schmitz Weiss Ihediwa Samuel Chibundu Nazmul Rony San Diego State University USA Universiti Tunku Abdul Rahman (UTAR), Slippery Rock University, USA Anantha S.
    [Show full text]
  • China's Year in Review
    2017 China's Year in Review Follow China Intercontinental Press Us on Advertising Hotline WeChat Now 城市漫步珠 国内统一刊号: 三角英文版 that's guangzhou that's shenzhen CN 11-5234/GO JANUARY 2018 01月份 that’s PRD 《城市漫步》珠江三角洲 英文月刊 主管单位 : 中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 : 五洲传播出版社 地址 : 北京西城月坛北街 26 号恒华国际商务中心南楼 11 层文化交流中心 11th Floor South Building, Henghua lnternational Business Center, 26 Yuetan North Street, Xicheng District, Beijing http://www.cicc.org.cn 社长 President: 陈陆军 Chen Lujun 期刊部负责人 Supervisor of Magazine Department: 邓锦辉 Deng Jinhui 编辑 Editor: 朱莉莉 Zhu Lili 发行 Circulation: 李若琳 Li Ruolin Senior Digital Editor Matthew Bossons Shenzhen Editor Adam Robbins Guangzhou Editor Daniel Plafker Shenzhen Digital Editor Bailey Hu Senior Staff Writer Tristin Zhang Digital Editor Katrina Shi National Arts Editor Erica Martin Contributors Ned Kelly, Betty Richardson, Lena Gidwani, Dr. Adam Koh, Mia Li, Katrina Shi, Dominic Ngai, Erica Martin, Dominique Wong, Bryan Grogan, Kheng Swe Lim, Paul Barresi, Sky Gidge HK FOCUS MEDIA Shanghai (Head Office) 上海和舟广告有限公司 上海市蒙自路 169 号智造局 2 号楼 305-306 室 邮政编码 : 200023 Room 305-306, Building 2, No.169 Mengzi Lu, Shanghai 200023 电话 : 传真 : Guangzhou 上海和舟广告有限公司广州分公司 广州市麓苑路 42 号大院 2 号楼 610 室 邮政编码 : 510095 Rm 610, No. 2 Building, Area 42, Luyuan Lu, Guangzhou 510095 电话 : 020-8358 6125 传真 : 020-8357 3859 - 816 Shenzhen 深圳联络处 深圳市福田区彩田路星河世纪大厦 C1-1303 C1-1303, Galaxy Century Building, Caitian Lu, Futian District, Shenzhen 电话 : 0755-8623 3220 传真 : 0755-6406 8538 Beijing 北京联络处 北京市东城区东直门外大街 48 号东方银座 C 座 G9 室 邮政编码 : 100027 9G, Block C, Ginza Mall, No.
    [Show full text]
  • Rapper GAI, Style and Hegemony in China: Examining a Transformation from Jianghu Liu to Xinhua Liu
    Trinity University Digital Commons @ Trinity Communication Faculty Research Communication Department 2019 Rapper GAI, Style and Hegemony in China: Examining a Transformation from Jianghu Liu to Xinhua Liu Zhaoxi Liu Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/comm_faculty Part of the Communication Commons Repository Citation Liu, Z. (2019). Rapper GAI, style and hegemony in China: Examining a transformation from Jianghu Liu to Xinhua Liu. International Communication Research Journal, 54(2), 2-16. This Article is brought to you for free and open access by the Communication Department at Digital Commons @ Trinity. It has been accepted for inclusion in Communication Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Rapper GAI, Style and Hegemony in China: Examining a Trans- formation from Jianghu Liu to Xinhua Liu Zhaoxi (Josie) Liu1 Unlike several studies on rap musicians and the lyrics of their songs, this study examines both obvious and obtuse meaning embedded in the styles of Chinese Rapper, GAI, and their implications for hegemony in his country. Following state censorship, GAI changed his style from that of a gangster to a patriot. On the surface, the style change indicates sustaining the hegemony upheld by the CCP (Chinese Communist Party). However, this study argues that the state crackdown on hip hop culture, its styles included, engenders a paradox for hegemony in China. Keywords: GAI, Chinese hip hop, style, hegemony, obtuse meaning, signification In 2017, rap musician GAI won China’s première rapping competition, “The Rap of China” (hereafter, The Rap), streamed on iQiyi, China’s Netflix equivalent.
    [Show full text]
  • Zhou-Master.Pdf (1.441Mb)
    Are You a Good Chinese Musician? The Ritual Transmission of Social Norms in a Chinese Reality Music Talent Show Miaowen Zhou Master’s Thesis in East Asian Culture and History (EAST4591 - 60 Credits) Department of Culture Studies and Oriental Languages UNIVERSITY OF OSLO Spring 2015 © Miaowen Zhou 2015 Are You a Good Chinese Musician? The Ritual Transmission of Social Norms of a Chinese Reality Music Talent Show http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo II Abstract The sensational success of a Chinese reality music talent show, Super Girls’ Voice (SGV), in 2005 not only crowned many unknown Chinese girls/women with the hail of celebrity overnight, but also caused hot debates on many subjects including whether the show triggered cultural, even political democracy in China. 10 years have passed and China is in another heyday of reality music talent shows. However, the picture differs from before. For instance, not everybody can take part in it anymore. And the state television China Central Television (CCTV) joined the competition for market share. It actually became a competitive player of “reality” by claiming to find the best original and creative Chinese musicians whose voices CCTV previously avoided or oppressed. In this thesis, I will examine one CCTV show, The Song of China (SOC), in order to examine what the norms of good Chinese music and musicians are in the context of reality music talent shows. My work will hopefully give you some insights into the characteristics and the wider social and political influences of such reality music talent shows in the post-SGV era.
    [Show full text]
  • Bader, R., Zielke, A. & Franke, J
    Audio Engineering Society Convention Paper Presented at the 150th Convention 2021 June 1–4, Online This convention paper was selected based on a submitted abstract and 750-word precis that have been peer reviewed by at least two qualified anonymous reviewers. The complete manuscript was not peer reviewed. This convention paper has been reproduced from the author’s advance manuscript without editing, corrections, or consideration by the Review Board. The AES takes no responsibility for the contents. This paper is available in the AES E-Library (http://www.aes.org/e-lib), all rights reserved. Reproduction of this paper, or any portion thereof, is not permitted without direct permission from the Journal of the Audio Engineering Society. Timbre-based machine learning of clustering Chinese and Western Hip Hop music Rolf Bader1, Axel Zielke1, and Jonas Franke1 1Institut of Systematic Musicology, University of Hamburg, Germany Correspondence should be addressed to Rolf Bader ([email protected]) 摘摘摘要要要 Chinese and Western Hip Hop musical pieces are clustered using timbre-based Music Information Retrieval (MIR) and machine learning (ML) algorithms. Psychoacoustically motivated algorithms extracting timbre features such as spectral centroid, roughness, sharpness, sound pressure level (SPL), flux, etc. were extracted form 38 contemporary Chinese and 38 Western ’classical’ (USA, Germany, France, Great Britain) Hip Hop pieces. All features were integrated over the pieces with respect to mean and standard deviation. A Kohonen self-organizing map, as integrated in the Computational Music and Sound Archive (COMSAR[6]) and apollon[1] framework was used to train different combinations of feature vectors in their mean and standard deviation integrations.
    [Show full text]
  • The Waterfall and the Fountain and The
    LEXS | I SAGGI DI 34 LEXIA I SAGGI DI LEXIA / 34 34 The Waterfall and the Fountain andtheFountain The Waterfall eographically and anthropologically distant cultures inspire awe and fasci- G nation: for centuries, Europe and China, the West and the East have fan- tasized about each other, longed for journeying toward each other, mutually projected onto each other their own alter egos. Modern innovation in the tran- THE WATERFALL sport of people, goods, and especially cultural contents in digital form has in- creasingly narrowed the distance between these two geographic and human po- AND THE FOUNTAIN les. Today, China is everywhere in the West, and viceversa. Yet, facility of access is not always tantamount to in–depth comprehension. Century–long differences, COMPARATIVE SEMIOTIC ESSAYS prejudices, and asymmetries still persist. Comprising the essays of several spe- ON CONTEMPORARY ARTS IN CHINA cialists in cultural theory and analysis, both from Europe and China, the volume seeks to uncover the semiotic formula underpinning the encounter, the dialogue, edited by M. Leone, B. Surace,J.Zeng edited byM.Leone,B. but also the clash between Western and Eastern aesthetics, especially in the ne- edited by glected field of popular culture and arts. The title hints at the Chinese fascina- tion for waterfalls and the natural flowing of the elements, compared with the Massimo Leone European attraction to fountains as exploitation of technological mastery over nature: each chapter in the volume focuses on many aesthetic dialectics, span- Bruno Surace ning from literature to painting, from videogames to food. Jun Zeng ontributions by Lei Han, Massimo Leone, Gabriele Marino, Jia Peng, Simona Stano, Bruno Surace, CMattia Thibault, Jia–Jun Wang, Gao Yan, Jun Zeng, Kuiying Zhao, Haitian Zhou.
    [Show full text]