YAO Min 姚敏（1917.11.13–1967.3.30）

Total Page：16

File Type：pdf, Size：1020Kb

YAO Min 姚敏（1917.11.13–1967.3.30） Music Yao was born in Shanghai with the original name Yao Zhenmin. He had a well-off childhood and was fond of lingering in the Great World Amusement Park, probing into the art of regional operas. After his father passed away, he worked as a sailor for several years, during which he became interested in western pop music. Yao returned to Shanghai in the late 1930s and formed Datong Troupe with his two sisters Yao Ying and Yao Lee. The trio became popular organising live music programmes for radio stations in Shanghai. Once a leader of a small scale band at Zhang Shankun’s Great world, Yao also taught himself various instruments as well as music composition, and later became a mentee of the renowned Japanese composer Hattori Ryoichi. He joined Pathé Records in Shanghai in 1938 and Guohua Film Company the following year. He started composing film songs in Young Propagandists (1941), which featured Zhou Xuan. While Yao’s music career was interrupted by the War of Resistance against Japan, he became a prolific and popular songwriter after the war; his records were sought after all over China and Southeast Asia. Yao came to Hong Kong in 1950 and joined Rediffusion Radio. He headed the department of composition of Hong Kong Pathé Records that was founded in 1952. In 1954, he composed soundtracks for director Wang Yin’s movie A Romantic Person has Romantic Debts. The next year, he wrote music for the film Chin Ping Mei, a Shaw & Son’s Ltd production which starred Li Xianglan. The film song ‘Second Spring’, he wrote for Shaw & Sons Ltd’s Flesh and Flame (1956), was later rearranged in the Hollywood production The World of Suzie Wong (1960), which became the renowned ‘The Ding Dong Song’. He also composed a number of popular songs for Motion Picture and General Investment Co Ltd (MP & GI), including Mambo Girl (1957), Calendar Girl (1959; Best Music [Silver Gong] Award at the 6th Asian Film Festival), The Wild, Wild Rose (1960) and It’s Always Spring (1962). He won Best Music (Golden Harvest) Award and Best Music with Shaws’ Les Belles (1961) at the 8th Asian Film Festival and the 1st Golden Horse Awards respectively. Yao lapsed into illness and passed away on 30 March 1967. .

Copy Link

Recommended publications

Introduction
introduction The disembodied voices of bygone songstresses course through the soundscapes of many recent Chinese films that evoke the cultural past. In a mode of retro- spection, these films pay tribute to a figure who, although rarely encountered today, once loomed large in the visual and acoustic spaces of popu lar music and cinema. The audience is invited to remember the familiar voices and tunes that circulated in these erstwhile spaces. For instance, in a film by the Hong Kong director Wong Kar- wai set in the 1960s, In the Mood for Love, a traveling businessman dedicates a song on the radio to his wife on her birthday.1 Along with the wife we listen to “Hua yang de nianhua” (“The Blooming Years”), crooned by Zhou Xuan, one of China’s most beloved singers of pop music. The song was originally featured in a Hong Kong production of 1947, All- Consuming Love, which cast Zhou in the role of a self- sacrificing songstress.2 Set in Shang- hai during the years of the Japa nese occupation, the story of All- Consuming Love centers on the plight of Zhou’s character, who is forced to obtain a job as a nightclub singer to support herself and her enfeebled mother-in- law after her husband leaves home to join the resis tance. “The Blooming Years” refers to these recent politi cal events in a tone of wistful regret, expressing the home- sickness of the exile who yearns for the best years of her life: “Suddenly this orphan island is overshadowed by miseries and sorrows, miseries and sorrows; ah, my lovely country, when can I run into your arms again?”3
[Show full text]
Bentuk Dan Fungsi Pertunjukan Musik Pop Mandarin Dalam Pesta Pernikahan Etnis Tionghoa Di Semarang
BENTUK DAN FUNGSI PERTUNJUKAN MUSIK POP MANDARIN DALAM PESTA PERNIKAHAN ETNIS TIONGHOA DI SEMARANG Skripsi untuk memperoleh gelar Sarjana Pendidikan oleh Nama : Niawati Indri Astuti NIM : 2501410040 Program Studi : Pendidikan Seni Musik Jurusan : Pendidikan Seni Drama, Tari, dan Musik FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2016 BENTUK DAN FUNGSI PERTUNJUKAN MUSIK POP MANDARIN DALAM PESTA PERNIKAHAN ETNIS TIONGHOA DI SEMARANG Skripsi untuk memperoleh gelar Sarjana Pendidikan oleh Nama : Niawati Indri Astuti NIM : 2501410040 Program Studi : Pendidikan Seni Musik Jurusan : Pendidikan Seni Drama, Tari, dan Musik FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2016 i ii iii PERNYATAAN Saya menyatakan bahwa yang tertulis di dalam skripsi ini benar-benar hasil karya saya sendiri, bukan jiplakan dari karya orang lain, baik sebagian atau seluruhnya. Pendapat atau temuan orang lain yang terdapat dalam skripsi ini dikutip atau dirujuk berdasarkan kode etik ilmiah. Semarang, Februari 2016 Niawati Indri Astuti NIM 2501410040 iv MOTTO DAN PERSEMBAHAN Motto : - Barang siapa ingin mencari kebahagiaan dunia harus dengan ilmu, barang siapa ingin mencari kebahagiaan akhirat harus dengan ilmu, dan barang siapa ingin mencari kebahagiaan dunia akhirat harus dengan ilmu (Al Hadits) PERSEMBAHAN Dengan rasa syukur kepada ALLAH SWT atassemuanikmat-Nya ku persembahkan skripsi ini kepada: 1. Kedua orang tua tercinta, Bapak Endra Siswaka dan Ibu Mai Munisah yang selalu mendukung baik secara moral, material, dan doa yang selalu terucap. 2. Adik saya, Kurnia Indriana Artanti (Nina), dan keluarga besar saya yang selalu memberikan doa dan dorongannya. 3. Dosen Pembimbing dan Dosen Sendratasik yang telah memberikan ilmu serta pengalamannya. 4. Almamaterku, Sendratasik UNNES. v SARI Indriastuti Niawati. 2016.Bentuk dan Fungsi Pertunjukan Musik Pop Mandarin dalam Pesta Pernikahan Etnis Tionghoa di Semarang.
[Show full text]
Restoring China
Pro Audio Asia 21/4/05 16:32 Restoring China . When Lee Leng Kok realised he was holding a unique archive of historical Chinese recordings, he was determined to restore and preserve it. Tim Goodyer finds out what happened Lee Leng Kok began to collect 78s and LPs when he was just 15 years old and, over of the next 22 years amassed a collection of about 1,500 shellac records and 3,000 vinyl LPs. Many have never been re-released on CD, and this is their story… Prior to 1949, China had a thriving record industry, in which a major player was Electric and Musical Industries (China). Following the Communist revolution, EMI China moved from Shanghai to Hong Kong, and its Shanghai property was taken over by the new Chinese government, which then established the China Records Company. The old EMI music was blacklisted, and the government not only forced a ‘new’ Chinese music upon the public, but also took measures to stop people playing the pre-1949 recordings. Although still played in Singapore (notably by the Rediffusion radio station), the Shanghai ‘Oldies’ were neglected for more than four decades until, in 1992, EMI (Hong Kong) released a series of CDs that featured some of these recordings. ‘In 1992, I thought that it was great news that the Shanghai recordings were to be made available on CD,’ says Lee Leng Kok. ‘But when I heard the CDs and compared them to the original 78s, I felt that they did not do them justice. I didn’t know whether EMI had access only to inferior recordings, or whether the noise reduction and remastering was carried out unsympathetically, but I knew that the songs could sound much better.
[Show full text]
Music Teacher Conference – Malaysia
Music Teacher Conference – Malaysia Thursday 28th November 2019 (9:00am – 17:00pm) Friday 29th November 2019 (9:00am – 17:30pm) Registration from 8:00am Putrajaya Marriott Hotel, IOI Resort City 43000, Sepang, Selangor Level 1 – Garden Ballroom & Breakout Rooms The ABRSM Music Teacher Conference will be an inspirational few days, packed with practical ideas to develop your teaching, delivered by expert presenters from the music world. There is something for everyone and you can choose from 20 different sessions to create a programme that suits your needs and interests. Sessions will cover general music-making, creative ways to develop musicianship skills, specialist sessions in piano, strings, voice and much more. The conference will provide a number of taster sessions with our expert presenters, to give you new ideas and to help enrich your own teaching and your students’ learning. Lunch and tea breaks included. Welcome packs also provided. Publications will be available for sale, with special discounts on the day! A certificate of participation will be given to each attendee. Schedule Registration from 8:00am both days. All participants attend the morning sessions (9:00am – 10:30am) in the auditorium. For the remaining sessions, participants choose whichever session they wish to attend. Note the slightly different timings on Friday 29th November 2019, due to the longer lunch break. No registration required for individual sessions except for those conducted by Jerison Harper Lee, due to limited capacities allowed for these sessions. These have been repeated to give more people the opportunity to attend. Separate registration required on the day and details of this will be emailed to you one week prior to the conference.
[Show full text]
A Critical Anaysis of Identity, Media, and Popular Music in the Voice Of
WHOSE VOICE?: A CRITICAL ANALYSIS OF IDENTITY, MEDIA, AND POPULAR MUSIC IN THE VOICE OF CHINA Xinxin Jiang A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2018 Committee: Alberto González, Advisor Angela Ahlgren Graduate Faculty Representative Katherine Meizel Becca Cragin © 2018 Xinxin Jiang All Rights Reserved iii ABSTRACT Alberto González, Advisor This manuscript explores the relationships among identity, media, and popular music in Chinese society through an examination of a televised singing competition franchise, The Voice of China. I attempt to understand what role popular culture, in the form of a contemporary popular cultural product, plays in Chinese people’s everyday life and how the show is a site where Chinese people articulate, interrogate and negotiate aspects of identity. I provide a textual analysis to interpret the meaningful details of each episode while employing a critical-cultural approach to understand the socio-historical contexts and the online discourse that are conducive to the uniqueness of the international franchise. More specifically, I examine how societal discourses on the blind audition and the voting systems of the show reveal growing public awareness of and concern with issues of equity and fairness in the cultural arena of traditional aesthetic standards as well as the societal arena of electoral politics. I also explore how the show reinforces the ruling Party’s appropriations of nationalism in a sophisticated way to highlight a unified and supreme national voice, how it reflects both a loosening grip of the central government on gender representation and a growing social leniency toward gender diversity, and finally how the voice diversity was constructed by individuals who are in possession of or in need of various forms of social capital and who are from geographically diverse and economically disparate social backgrounds.
[Show full text]
Popular Music in China Contents
Popular Music in China Contents I. Politics of Popular Music in China i Early History ii Social Changes and the State of Pop in China iii Post-Cultural Revolution • Market Economy and Gangtai Pop • Thomas B. Gold, “Go with your Feelings” iv Rock in China • Internal Emergence and Cui Jian • Andrew Jones, Like a Knife . Multiple Centres of Chinese Popular Cultures: China—Hong Kong—Taiwan—PRC Western music in China • Before 20th C: • Religious missionaries: Matteo Ricci (early 17C) • Protestant Hymn (19th C) • Western powers and treaties (19th C) • Opium War I (1839-42) & II (1856-60) • May 4th, 1919 and modernization • Criticism but seduced by Western cultures • In 1920s Shanghai, jammed with Jazz, club culture (cabarets), film, modern technologies (gramophones), fashion, cafes, etc. Shanghai Hub of Popular Culture and Modernity The City of Shanghai https://www.youtube.com/ watch?v=Dba67SLBQzM Life of Shanghai in the early 20th century 1911-1937: Shanghai • Despite Japanese military aggression and China’s civil war but Shanghai was bloomed with clubs: • In the 1930s, 300 cabarets in Shanghai, almost 3.5 million people (4th largest city in the world at the time) • Shanghai Jazz movement followed music and dance trends from the West such as the cha-cha, fox-trot, rumba, waltz, and tango. • Resident foreign musicians and bands from India, Philippines, Indonesia, Hawaii and Russia • Big cinema industry (since 1896) • By 1927, 106 movie theatres in China; 26 theatres in Shanghai . • Gramophone: from public space to private consumption of popular music. • Large music companies and 2.7 million records a year were produced in China; 1.1 million imported records from the US and Europe in 1929.
[Show full text]
Taiwanese Information Technology (IT) Pioneers: K.Y. (Kun-Yao) Lee; 2011-03-08
Taiwanese IT Pioneers: K.Y. (Kun-Yao) Lee Interviewed by: Ling-Fei Lin Recorded: March 8, 2011 Taiwan, R.O.C. Sponsored by: National Security Council, Taiwan, R.O.C. CHM Reference number: X6025.2011 © 2011 Computer History Museum Taiwanese IT Pioneers: K.Y. (Kun-Yao) Lee Ling-Fei Lin: This is Ling-Fei Lin. Today is March 8th, 2011. This is part of the US Computer History Museum’s project on the oral account of Taiwan’s history, interviewing the forerunners of semiconductors and computers in Taiwan. Our guest today is K.Y. Lee. Mr. Lee, please state your name in Chinese and English. K.Y. Lee: My English name is K.Y. Lee. I was going to call myself “Kun-Yao Lee” in English, but a lot of people had difficulty pronouncing it, so that I simplified it to K.Y. Lee. My Chinese name is “Lee Kun-Yao.” Ling-Fei Lin: Please tell us about your background, including the place you were born, the date and the place you grew up, your family, childhood and so on. K.Y. Lee: I was born in Houlong, Miaoli in 1952. It’s a small town by the beach. My father owned a small rice milling factory, a rice milling contract/”OEM” factory. Ling-Fei Lin: OEM? K.Y. Lee: My family was in the OEM business too, <laughter>. It was OEM in the sense that we helped people mill the paddy rice to brown rice, then from brown rice to white rice. When I was little, I had to help my parents during holidays.
[Show full text]
Heyday Press Kit.Key
Contents • An Introduction to Heyday • Recent Press Coverage (quotes) • FAQ • Andrew Jones on the Story of Shanghai Jazz, courtesy of afropop.org 2 • Heyday is a 1930s style jazz bar featuring some of the top talent from China and around the world. The aim was to provide an intimate environment where performances are of a more personal nature,( performers and audience are never more than 20 feet from the stage as the seating fans around the stage). Also, central to the concept was the quality of the drinks we serve. We simply don’t think you should have to choose between going An to a live show or getting a great drink. They go together. In order to deliver on this part of the vision, we’ve assembled a world class bar crew who serve introduction up drinks that you would expect to ﬁnd in the ﬁnest craft cocktail bars. to Heyday • Since opening in January 2015, Heyday has been named Best Live Music Venue by That’s Shanghai and nominated for Best New Bar by City Weekend, Time Out Shanghai, and That’s Shanghai. We are honored by this recognition and the positive buzz we have received in the press, and are committed to building on the momentum we have built. • Below are a number of artifacts that may be useful to our friends in the press who wish to write about Heyday, including quotes from recent articles, downloadable photographs and videos, an FAQ, and an interview with Andrew Jones reposted courtesy of Afropop about the Shanghai jazz scene of the 1930s.
[Show full text]
East Asian Popular Music II: Ideology, Identity, and Music Rock Music in China
East Asian Popular Music II: Ideology, Identity, and Music Rock Music in China • Chinese Communist Party (CCP) largely disapproves this music mostly its ideological stance. • Restricted from broadcasting via major/national media • Rock music thus took place largely in an alternative public sphere, constituted with social activism and anti-hegemonic struggle expressions. • Rock music in China has been largely subcultural act and located within such a social space. Contents I. Historical scapes of popular music in mainland China II. Rock music and Chinese rock musician, Cui Jian III. Punk subculture in Korea (watch video) *When Rock music was adapted to East Asian pop and youth culture, which aspects of the music have been largely speaking to the local musicians and audiences? How has Western rock music been localized in East Asia by gaining locally significant meanings and constituting locally significant social and musical contexts? *How does music reflect emerging social ideology of a specific time period? In other words, how is music shaped by the ideology of the time and people? • In answering this question, use THREE different popular music examples introduced in your course reading, respectively. Multiple Centres of Chinese Popular Cultures: China—Hong Kong—Taiwan—PRC Western music in China • Before and after 20th C: • Religious missionaries: Matteo Ricci (early 17C) • Protestant Hymn (19th C) • Western powers and treaties (19th C) • Opium War I & II (1839-42; 1856-60) • May 4th, 1919 and modernization in Chinese Way • Criticism but seduced by Western cultures • In 1920s Shanghai, jammed with Jazz, club culture (cabarets), film, modern technologies (gramophones), fashion, cafes, etc.
[Show full text]
The Cultural Construction of Taiwan in the Literatures of Taiwan, China, and the United States
THE CULTURAL CONSTRUCTION OF TAIWAN IN THE LITERATURES OF TAIWAN, CHINA, AND THE UNITED STATES A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. by Yu-Fang Lin April 2017 Dissertation written by Yu-Fang Lin B.A., National Chung Hsing University, 2002 M.A., Washington State University, 2004 Ph.D., Kent State University, 2017 Approved by Dr. Babacar M’Baye , Co-Chair, Doctoral Dissertation Committee Dr. Masood A. Raja , Co-Chair, Doctoral Dissertation Committee Dr. Robert Trogdon , Members, Doctoral Dissertation Committee Dr. Mei-Chen Lin Dr. James Tyner Accepted by Dr. Patricia Dunmir , Interim Chair, Department of English Dr. James L. Blank , Dean, College of Arts and Sciences TABLE OF CONTENTS .............................................................................................................. iii PREFACE ...................................................................................................................................... iv ACKNOWLEDGEMENTS ............................................................................................................. v I. INTRODUCTION: ON TAIWAN, HISTORY, AND IDENTITY ........................ 1 A BRIEF POLITICAL HISTORY OF TAIWAN ................................................... 8 METHODOLOGY ................................................................................................ 13 II. CHAPTER ONE: WANG CHEN-HO’S ROSE, ROSE, I LOVE YOU: ILLUSION, CULTURAL EROSION, AND GLOBALIZATION ..........................................
[Show full text]
Asian Cinema and Media Culture Editors
Crossings: Asian Cinema and Media Culture Editors: Poshek Fu (University of Illinois, Urbana-Champaign) and Man-Fung Yip (University of Oklahoma) The series “Crossings” publishes books in English and Chinese that investigate Asian cinema and media from cross-disciplinary and cross-methodological perspectives. It situ- ates Asian cinema and media within a global or regional framework and explores different dimensions of transnationality in relation to production, distribution, and reception. It also entails trans-medial interrogations of past and present media culture, looking into the complex interactions of media forms and how they have shaped aesthetic and social prac- tices. Wide-ranging in scope and method, the series places special emphasis on cutting- edge scholarship that draws on careful archival research or derives from vigorous, insightful theoretical study. Also in the series: Screening Communities: Negotiating Narratives of Empire, Nation, and the Cold War in Hong Kong Cinema Jing Jing Chang 《重繪華語語系版圖：冷戰前後新馬華語電影的文化生產》許維賢 REMAPPING THE SINOPHONE The Cultural Production of Chinese-Language Cinema in Singapore and Malaya before and during the Cold War Wai-Siam Hee Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong https://hkupress.hku.hk © 2019 Hong Kong University Press ISBN 978-988-8528-03-5 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. Cover photo [top]: Malayan Communist Party guerrilla Hong Mui robs a Malay shaman in Kampong Sentosa.
[Show full text]
Jazzteachingkit.Pdf
藝穗會會址是一幢歷史建築物，建於1890年，坐落在香港最繁盛的中區。藝穗會於1983年進駐這座具有新古典風格的建築，將之改造及經營成開放的藝術平台，支持創新、文化交流及致力保育工作。2001年，藝穗會獲香港特別行政區政府頒發文物古蹟保護獎，並於2009年獲評為一級歷史建築。2018年，更榮獲香港建築文物保護師學會HKICON頒發「保育獎」。經歷超過30年的發展，藝穗會一直在演變，唯協助本地藝術家起步和發展的使命，始終不變。由2015至2018年，藝穗會均獲美國權威爵士音樂雜誌《DownBeat》選為全球160個最頂尖的爵士樂場地之一，是本地 Live Jazz 的重鎮。其後獲香港特別行政區政府民政事務局「藝能發展資助計劃」的資助，於2018年1月至 2019年4月主辦「Jazz-Go-Central，Jazz-Go-Fringe」爵士樂推廣計劃，舉辦了66場爵士音樂會、48場爵士樂教育活動、2次「爵士樂青少年實習計劃」、2次爵士樂大派對、1個回顧相展，以及製作爵士樂教材套。是次項目有超過200位本地及海外爵士樂手參與，並與超過6000名觀眾及24間學校和學生團體互動。 The Fringe Club is housed in a late-Victorian building in the heart of Hong Kong’s Central district. Since it was founded in 1983, the Fringe Club has become known as a vibrant contemporary arts space for innovation, conservation and cultural exchange. In 2001 the Fringe Club won the HKSAR Government’s first-ever Hong Kong Heritage Award, and in 2009 its premises was declared a Grade-1 heritage building. The Fringe Club also received the HKICON Conservation Award 2018 - Restoration Category. As the Fringe Club continues to evolve to meet future challenges, its mission to support local emerging artists in their professional development remains unchanged. From 2015 to 2018, DownBeat Magazine, the granddaddy of American music magazines, selected the Fringe Club as one of the top 160 jazz clubs worldwide. As a local live jazz venue, the Fringe Club presented the “Jazz-Go-Central, Jazz- Go-Fringe” jazz music development project from January 2018 until April 2019. Over those 16 months, the Fringe Club organised 66 jazz concerts, 48 educational programmes, 2 phases of the “Jazz Youth Internship Scheme”, 2 Jazz Age Parties and a photo exhibition, and produced a jazz teaching kit. Over 200 local and overseas jazz musicians performed, and a total of over 6,000 audience-members and 24 schools/educational institutions attended or participated in the various events.
[Show full text]