DOCSLIB.ORG

FOR IMMEDIATE RELEASE Singapore, 1 September 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FOR IMMEDIATE RELEASE Singapore, 1 September 2016 FOR IMMEDIATE RELEASE NParks Concert Series in the Park: Rockestra™ lights up Choa Chu Kang Park with an evening of Xinyao, Mandopop and Cantopop in Celebration of Mid-Autumn Festival Singapore, 1 September 2016 – Park users and the local community can look forward to an evening of Xinyao, Mandopop and Cantopop music (新谣与华粤语流行 曲) at the Event Lawn, Choa Chu Kang Park this coming 17 September 2016. Organised by the National Parks Board (NParks), the third instalment of NParks Concert Series in the Park: Rockestra™, held in conjunction with Mid-Autumn Festival, will feature popular xinyao (新谣) hits, golden oldies, as well as Mandopop and Cantopop songs (华粤语流行曲) by the likes of Hong Kong’s Four Heavenly Kings, Beyond, Mayday, S.H.E., and Jay Chou. The audience can enjoy mooncakes and Chinese tea while being serenaded by popular artistes in the local Chinese music scene such as Hao Hao (皓皓), Roy Loi (黎沸挥), Tay Kewei (郑可为), Alfred Sim (沈志豪), Tallin Ang (嫦嫔) – Singapore’s Teresa Teng, Jason Chung (曾詠恆), and The JumpStart. Budding local talents, Alina Liu, Isaac Wu, Lim Wei Xiang and Joyce Seah, who recently won the “National Schools Xinyao Singing and Song Writing Competition 2016”, will also be making their debut at the Rockestra™ concert. The concert, held in partnership with Ascendas-Singbridge Gives Foundation, will be hosted by popular radio personality, Lee Lian Chua (蔡礼莲). Members of the public can enjoy the Mid-Autumn themed fringe activities such as fan calligraphy and lantern-making. Some crowd favourites include balloon sculptors and a ball pit for children starting from 5pm. The concert starts at 6pm and will end late in the evening. The programme for NParks Concert Series in the Park: Page 1 of 4 Information accurate as of 1 September 2016. For media enquiries, please contact Ms June Yeo at 97499285. Rockestra™ at Choa Chu Kang Park and the list of confirmed acts can be found in the Annex. Interested concert-goers can send in their Chinese song requests in advance by texting <Your Name>_<Song Title>_ <Name of Artiste> and <Dedication Message> to 77275 from now till 9 September 2016. NParks will also be giving out limited Festival Picnic Packs for the concert through a Facebook contest. Interested participants can tag at least three Facebook friends, and leave a comment on who they wish to bring along to the concert and the reason why. The contest will run from 5 September to 12 September, 12pm. A total of 10 winners from the Facebook contest will be able to redeem a picnic pack at the concert on 17 September. More details at https://www.facebook.com/nparksbuzz. For more information on the upcoming concert, please SMS <Rock03> to 77275 to receive updates leading up to the event or visit www.nparks.gov.sg/concertseries. - End - For more information on NParks Concert Series in the Park, please contact: Ms June Yeo National Parks Board DID / Mobile: 6471 7907 / 9749 9285 Email: [email protected] Page 2 of 4 Information accurate as of 1 September 2016. For media enquiries, please contact Ms June Yeo at 97499285. About National Parks Board (NParks) National Parks Board (NParks) is responsible for providing and enhancing the greenery of our City in a Garden. Beyond building green infrastructure, NParks is actively engaging the community to enhance the quality of our living environment. NParks manages over 350 parks and 4 nature reserves. Adding to this is the extensive streetscape, or roadside greenery, that forms the backbone of our City in a Garden. An island-wide Park Connector Network is also being developed to link major parks, nature areas and residential estates. As the lead agency on biodiversity conservation, NParks has developed an urban biodiversity conservation model, which aims to conserve representative eco-systems in land-scarce Singapore. NParks also monitors and coordinates measures to enhance the presence of biodiversity in our urban landscape. NParks is working closely with partners in the landscape and horticulture industry to increase productivity, and provide training for all levels of the workforce. Enhancing competencies of the industry will support Singapore’s vision of being a City in a Garden. For more information, visit www.nparks.gov.sg and www.facebook.com/nparksbuzz Page 3 of 4 Information accurate as of 1 September 2016. For media enquiries, please contact Ms June Yeo at 97499285. ANNEX Programme for NParks Concert Series in the Park: Rockestra™, Choa Chu Kang Park, Event Lawn Time Activity 5.00pm Fringe activities start 6.00pm Concert begins 10.00pm End of concert List of Confirmed Acts Lee Lian Chua (Emcee) Hao Hao Roy Loi Tay Kewei Alfred Sim Tallin Ang Jason Chung The JumpStart Alina Liu Issac Wu Lim Wei Xiang Joyce Seah Page 4 of 4 Information accurate as of 1 September 2016. For media enquiries, please contact Ms June Yeo at 97499285. .
Load more

Recommended publications
  • The Globalization of K-Pop: the Interplay of External and Internal Forces
    THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological.
    [Show full text]
  • Mood Music Programs
    MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine
    [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]
  • An Ideological Analysis of the Birth of Chinese Indie Music
    REPHRASING MAINSTREAM AND ALTERNATIVES: AN IDEOLOGICAL ANALYSIS OF THE BIRTH OF CHINESE INDIE MUSIC Menghan Liu A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill Esther Clinton © 2012 MENGHAN LIU All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis project focuses on the birth and dissemination of Chinese indie music. Who produces indie? What is the ideology behind it? How can they realize their idealistic goals? Who participates in the indie community? What are the relationships among mainstream popular music, rock music and indie music? In this thesis, I study the production, circulation, and reception of Chinese indie music, with special attention paid to class, aesthetics, and the influence of the internet and globalization. Borrowing Stuart Hall’s theory of encoding/decoding, I propose that Chinese indie music production encodes ideologies into music. Pierre Bourdieu has noted that an individual’s preference, namely, tastes, corresponds to the individual’s profession, his/her highest educational degree, and his/her father’s profession. Whether indie audiences are able to decode the ideology correctly and how they decode it can be analyzed through Bourdieu’s taste and distinction theory, especially because Chinese indie music fans tend to come from a community of very distinctive, 20-to-30-year-old petite-bourgeois city dwellers. Overall, the thesis aims to illustrate how indie exists in between the incompatible poles of mainstream Chinese popular music and Chinese rock music, rephrasing mainstream and alternatives by mixing them in itself.
    [Show full text]
  • Media-Release-Music--Monuments
    MEDIA RELEASE For immediate release SINGAPOREANS TO ENJOY DIGITAL MUSIC PERFORMANCES AT OUR HISTORIC NATIONAL MONUMENTS New series of music videos to inspire greater appreciation for Singapore’s built heritage and homegrown talents Singapore, 24 September 2020 – From songs waxing lyrical about the moon, to rearrangements of popular festive tunes, Singaporeans can immerse in a visual and auditory experience at our historic National Monuments through an all new Music At Monuments – National Heritage Board x Singapore Chinese Cultural Centre (NHB x SCCC) digital music performance series. From now till December 2020, NHB’s Preservation of Sites and Monuments division and SCCC will be jointly rolling out a line-up of four music videos featuring Singapore talents, all produced at our National Monuments. They will allow everyone to view these icons of our built heritage in a different light, while showcasing the diverse talents of our local musicians. 2 Alvin Tan, Deputy Chief Executive (Policy & Community), NHB, said: “We came up with the idea of staging musical showcases at our monuments because we wanted to combine the magic of musical performances with the ambience of historical settings to create a new monumental experience for our audiences. At the same time, these digital showcases are part of NHB’s efforts to create digital content to maintain access to arts and culture, and serve as a source of revenue for our local artistes and arts groups.” 3 The four National Monuments that will take centre stage in this music performance series are the Asian Civilisations Museum (ACM), Goodwood Park Hotel, Jurong Town Hall and Sun Yat Sen Nanyang Memorial Hall (SYSNMH).
    [Show full text]
  • Reading List for Taiwan's Popular Music Chang, S
    Reading List for Taiwan’s Popular Music Chang, S. (2010). The face of independence? A visual record of Taiwanese indie music scene. Inter-Asia Cultural Studies, 11(1), 89–99. Chow, Y. F., & de Kloet, J. (2011). Blowing in the China wind: Engagements with Chineseness in Hong Kong’s zhongguofeng music videos. Visual Anthropology, 24(1), 59–76. https://doi.org/10.1080/08949468.2011.525492 Chua, B. H. (2001). Pop Culture China. Singapore Journal of Tropical Geography, 22(2), 113–121. Chun, A., Rossiter, N., & Shoesmith, B. (2004). Refashioning Pop Music in Asia. Flower, A., & Guy, N. (2008). Feeling a Shared History through Song: “A Flower in the Rainy Night” as a Key Cultural Symbol in Taiwan. DTR, 52(4), 64–81. Fung, A. (2008). Western Style, Chinese Pop : Jay Chou ’s Rap and Hip-Hop in China. Asian Music, 39(1), 69–80. Guy, N. (1999). Governing the arts, governing the state: Peking opera and political authority in Taiwan. Ethnomusicology, 43(3), 508 -526. Ho, T. (2003). The social formation of Taiwan’s Mandarin popular music industry. Lancaster University. https://doi.org/10.1002/ejoc.201200111 Jian, M.-J. (2017). The legendary venues and the live music scenes in Taipei and Beijing: Underworld and D22. In K. Iwabuchi, E. Tsai, & C. Berry (Eds.), Routledge Handbook of East Asian Popular Culture (pp. 124–134). London and New York: Routledge. Lin, C.-Y., & Um, H. K. (2017). From “Blue and White Porcelain” to “Island” s Sunrise’: Young audience perceptions of Chineseness and Taiwaneseness in Taiwan’s popular music. East Asian Journal of Popular Culture, 3(2), 153–167.
    [Show full text]
  • ST/LIFE/PAGE<LIF-009>
    THURSDAY, JUNE 11, 2015 Music LIFE! C9 2000s: Then and now Musicians who lead in the classical scene Paige Lim Over the years, many Singaporean classical musicians who studied abroad have remained over- seas to pursue their careers. Renowned violinist Chan Yoong-Han and pianist Lim Yan are among the rare few who have returned here to develop their careers. And over the past 10 or more years, the pair have made waves in the local classical music scene. Besides being members of popular piano quintet Take 5, both have played as soloists with the Singa- pore Symphony Orchestra and performed in inter- national music festivals. Life! classical music reviewer Chang Tou Liang calls them “two of the most active and busiest classical musicians” in Singapore today. “They are leaders in their fields and figures whom young Singaporean musicians can relate to and emulate,” he says. Both musicians came to prominence in the 2000s after returning to Singapore from their over- seas studies. A graduate from Rice University in the United States in 1995, Chan, 40, was awarded the 2000 Shell-NAC Arts Scholarship by the National Arts Council. He then completed his masters of music at the University of Massachusetts. In 2007, he was appointed concertmaster for the Singapore Festival Orchestra, the resident orches- tra of the Singapore Arts Festival which ended in 2012. Lim, 35, the nephew of well-known conductor Lim Yau, was the first Singaporean to play in the 12th Singapore International Piano Festival in 2005. He made history again when he became the Violinist Chan first Singaporean pianist to perform all five Yoong-Han About Sing50 Beethoven piano concertos in a cycle here in 2012.
    [Show full text]
  • Two Generations of Contemporary Chinese Folk Ballad Minyao 1994-2017
    Two Generations of Contemporary Chinese Folk Ballad Minyao 1994-2017: Emergence, Mobility, and Marginal Middle Class A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC July 2020 By Yanxiazi Gao Thesis Committee: Byong Won Lee, Chairperson Frederick Lau (advisor) Ricardo D. Trimillos Cathryn Clayton Keywords: Minyao, Folk Ballad, Marginal Middle Class and Mobility, Sonic Township, Chinese Poetry, Nostalgia © Copyright 2020 By Yanxiazi Gao i for my parents ii Acknowledgements This thesis began with the idea to write about minyao music’s association with classical Chinese poetry. Over the course of my research, I have realized that this genre of music not only relates to the past, but also comes from ordinary people who live in the present. Their life experiences, social statuses, and class aspirations are inevitably intertwined with social changes in post-socialist China. There were many problems I struggled with during the research and writing process, but many people supported me along the way. First and foremost, I am truly grateful to my advisor Dr. Frederick Lau. His intellectual insights into Chinese music and his guidance and advice have inspired me to keep moving throughout the entire graduate study. Professor Ricardo Trimillos gave frequent attention to my academic performance. His critiques of conference papers, thesis drafts, and dry runs enabled this thesis to take shape. Professor Barbara Smith offered her generosity and support to my entire duration of study at the University of Hawai'i at Mānoa.
    [Show full text]
  • China Pop Love, Patriotism and the State in China’S Music Sphere
    115 CHINA POP LOVE, PATRIOTISM AND THE STATE IN CHINA’S MUSIC SPHERE ANDREAS STEEN Popular culture in China is highly dynamic, involving individuals and private companies, both local and international, as well as state-governed institutions. The mass media and new communication technologies naturally play an impor- tant role in production, selection and dissemination, while also increasing in- teraction with international trends and standards. Sheldon H. Lu underscores popular culture’s importance in today’s China by emphasizing that it is “a dein- ing characteristic of Chinese postmodernity”.1 To him, three factors are crucial, namely it’s potential to undermine the censorship and “hard-line” cultural he- gemony of the Chinese Communist Party (CCP), its rise as a “major player in the commodiication process,” and “its sugar-coated apoliticism, [which] paciies the masses and represses the memory of China’s political reality” (ibid.). Popular cul- ture, therefore, is the battleground of various ideologies, forces and interests. Its ambivalent and complex entanglement with politics, society and the musical in- dustry is also addressed in the work of other scholars, such as Kevin Latham, who expresses that “understanding Chinese popular culture very often requires care- ful attention to how precisely the state is involved in and related to forms of social and cultural activity and practices. Popular culture does not exist outside of or in contrast to the state but very often in a constant and evolving dialogue with it.”2 This article looks at both conlicts and dialogue in the realm of popular music and attempts to lay out the main contours of China’s current popular music scene.
    [Show full text]
  • Music Guide Music HISTORY There Was a Time When “Elevator Music” Was All You Heard in a Store, Hotel, Or Other Business
    Music Guide Music HisTORY There was a time when “elevator music” was all you heard in a store, hotel, or other business. Yawn. 1 1971: a group of music fanatics based out of seattle - known as Aei Music - pioneered the use of music in its original form, and from the original artists, inside of businesses. A new era was born where people could enjoy hearing the artists and songs they know and love in the places they shopped, ate, stayed, played, and worked. 1 1985: DMX Music began designing digital music channels to fit any music lover’s mood and delivered this via satellite to businesses and through cable TV systems. 1 2001: Aei and DMX Music merge to form what becomes DMX, inc. This new company is unrivaled in its music knowledge and design, licensing abilities, and service and delivery capability. 1 2005: DMX moves its home to Austin, TX, the “Live Music capital of the World.” 1 Today, our u.s. and international services reach over 100,000 businesses, 23 million+ residences, and over 200 million people every day. 1 DMX strives to inspire, motivate, intrigue, entertain and create an unforgettable experience for every person that interacts with you. Our mission is to provide you with Music rockstar service that leaves you 100% ecstatic. Music Design & Strategy To get the music right, DMX takes into account many variables including customer demographics, their general likes and dislikes, your business values, current pop culture and media trends, your overall décor and design, and more. Our Music Designers review hundreds of new releases every day to continue honing the right music experience for our clients.
    [Show full text]
  • China and the West: Music, Representation, and Reception
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk.
    [Show full text]
  • Musical Letters to Friends
    D4 life people | THE STRAITS TIMES | MONDAY, JANUARY 4, 2016 | Musical letters to friends Singapore composer Chen Zhangyi says composing is like writing letters, but with musical notation Akshita Nanda Arts Correspondent When he was 10, Chen Zhangyi’s painting of chrysanthemums won a $1,000 Young Artist Award at the UOB Painting of the Year competi- tion. He told reporters then that he wanted to be a painter. Today, the composer transfers his visual aesthetic to award- winning musical scores that are as pleasing to the eye as to the ear. Friends laugh at his obsessive tendencies: he writes his music only in MolesKine notebooKs and insists that his scores be printed only on ivory-coloured paper. He can spend hours adjusting the align- ment of musical instructions too. Chen, who turns 32 this year, says: “I think music should look like what it sounds liKe. If the sound is very busy, the score should reflect that.” The Yong Siew Toh Conservatory alumnus is one of the most estab- lished Singapore composers based here – fellow 30something alumni include US-based Emily Koh and Diana Soh. His resume includes the Young Artist Award from the National Arts Council in 2014, plus Straits Times reviewer Natalie Ng violin as a quirK of fate – there was “Composition is nice because every posers having inspiration but that’s Chen Zhangyi’s a post as lecturer in the conserva- enjoyed the “neo-Baroque and no Chinese string ensemble in note you write stays there perma- 2 per cent of the time. Most of the dream is to learn tory since last year.
    [Show full text]