DOCSLIB.ORG

A Critical Anaysis of Identity, Media, and Popular Music in the Voice Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. I point out that The Voice of China offers a prime site to understand how the discourses of politics, (trans)nationality, ethnicity, gender, and class intersect with each other in the situated context and hopefully, such a discussion can raise the cultural awareness to challenge institutional power and social norms in order to hear the diversified voices in Chinese society. iv ACKNOWLEDGMENTS Many people have helped me with work on the doctoral degree and this dissertation. My first and foremost gratitude goes to my advisor, Dr. Alberto González who has been a mentor, a friend, and a father along the arduous journey. I thank him for his wisdom, encouragement, and guidance that I hold in highest regard. I feel truly fortunate and blessed to have been his advisee. I owe a debt of gratitude to Dr. Katherine Meizel whose work greatly inspired me. She has always been willing to hear me when I felt confused and has constantly offered me musical expertise that I am not familiar with. I would like to express my sincere gratitude to my other committee members Dr. Becca Cragin and Dr. Angela Ahlgren for their insightful feedback and support. I am also thankful for the conversations that I had with Dr. Timothy Messer-Kruse, Dr. Jeremy Wallach, Dr. Esther Clinton, Dr. Vibha Bhalla, and Dr. Susana Peña. I am especially grateful to my friends at Bowing Green State University who kept me company, gave me encouragement, and offered me different kinds of help on this lonely journey. They are Xidan Liang, Xiaoyu Hu, Siyu Wei, Kaitlyn Wauthier, Linsay Cramer, Andrew Donofrio, Aimee Burns, Tran Hai Ly, Wonseok Lee and Claire Semer. My special thanks go to my boyfriend Ke Ji who deserves endless credits for being supportive, helpful, and tolerant. My personal growth and academic accomplishments would not have been achieved if without him. Finally, I would like to thank my parents who show care and love in my pursuit of the dream. v TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION: POPULAR CULTURE, SINGING COMPETITION, AND THE VOICE ........................................................................................................................... 1 Research Questions .................................................................................................... 2 Rationale ............................................................................................................ 5 Literature Review ...................................................................................................... 9 Popular Culture in the West and in China .................................................... 9 Scholarly Inquiry on Televised Singing Contests ......................................... 13 Scholarly Inquiry on Chinese Popular Music ............................................... 16 Theoretical Framework and Methodology ................................................................. 19 The Voice in Discourse ................................................................................. 20 Methodology .................................................................................................. 25 Overview of Chapters ............................................................................................... 28 CHAPTER II. UNCHANGED THEMES: THE BLIND AUDITION, THE VOTING SYSTEM, AND THE MUSIC ............................................................................................................ 33 The Voice of China and Sing! China: An Overview and Some Highlights ............... 35 The Blind Audition: An Illusion of Fairness ............................................................. 42 The Voting System: The Controlled Democracy ....................................................... 49 Hybridized Music: The Everlasting Public Enjoyment ............................................. 56 Conclusion ............................................................................................................ 65 vi CHAPTER III. PATRIOTIC SONGS, NATIONALIST RHETORIC, AND ETHNIC PERFORMANCES: THE REPRESENTATION OF NATIONAL IDENTITY AND NATIONALISM ............................................................................................................ 68 The Discourse of Nationalism in Chinese Musical Scenes ....................................... 70 Patriotic Messages in “I Love You, China” .............................................................. 77 The Reiteration of Two Nationalist Rhetorical Themes ............................................ 85 Minority Ethnic Groups on National Stages .............................................................. 93 Conclusion ............................................................................................................ 102 CHAPTER IV. FICTIVE KINSHIP, MUSIC PLAYING, AND ANDROGYNY: THE PERFORMANCE OF GENDER AND GENDER ROLES .................................................. 106 The Genealogy of Gender and Gender Roles in the Chinese Music Scene ............... 108 Performing Gender Roles via Fictive Kinship .......................................................... 116 Gender Roles in Popular Music Making and Performing .......................................... 123 Performing Androgyny: Transgressed Bodies and Voices ........................................ 131 Conclusion ............................................................................................................ 139 CHAPTER V. MUSIC TASTES, PROFESSIONAL AMATEURISM, AND SOCIAL DIVIDE: THE FORMATION OF VOCAL DIVERSITY .................................................................... 143 The Association of Music with Class Stratification in Chinese History ................... 145 Cultural Capital, Music Tastes and the New Class Culture ...................................... 151 Time, Money, and Quality: The Social Divide of Professional and Amateur Musicians ……………………………………………………………………………………… 159 The Overseas, Urbanites, Migrants and Ruralites: Voices from Everywhere ........... 165 Conclusion ............................................................................................................ 172 vii CHAPTER VI. CONCLUSIONS ......................................................................................... 175 REFERENCES ...................................................................................................................... 184 1 CHAPTER I. INTRODUCTION: POPULAR CULTURE, SINGING COMPETITION, AND THE VOICE On July 15, 2016, the singing competition show, formerly known as The Voice of China, aired as anticipated after a months-long lawsuit on rights to the brand name between the local partner Star China Media (SCM) and Talpa Global, the Dutch producer of The Voice franchise. But this time, the show had a different name, Sing! China. Audiences who had watched any episode of the first four seasons of The Voice of China could easily identify that the so-called new show still followed the old format: the same judging panel, the same competition process— blind audition, battle round, and live performance, and the same voting system. The major differences included a change of host, the redesigning of the stage setting, and a new logo. Due to the copyright controversy, the new show had to abandon its signature chair-turning trick in the blind auditions during which the judges turn their seats to face the contestants who they select to work with. In the new season, the judges sat on chariot-like chairs that slid down 15-foot high tracks and rushed towards the contestants. In its new incarnation,
Load more

Recommended publications
  • Chen Xitong Report on Putting Down Anti
    Recent Publications The June Turbulence in Beijing How Chinese View the Riot in Beijing Fourth Plenary Session of the CPC Central Committee Report on Down Anti-Government Riot Retrospective After the Storm VOA Disgraces Itself Report on Checking the Turmoil and Quelling the Counter-Revolutionary Rebellion June 30, 1989 Chen Xitong, State Councillor and Mayor of Beijing New Star Publishers Beijing 1989 Report on Checking the Turmoil and Quelling the Counter-Revolutionary Rebellion From June 29 to July 7 the Standing Committee of the National People's Congress - the standing organization of the highest organ of state power in the People's Republic of China - held the eighth meeting of the Seventh National People's Congress in Beijing. One of the topics for discussing at the meeting was a report on checking the turmoil and quelling the counter-revolutionary rebellion in Beijirig. The report by state councillor and mayor of Beijing Chen Xitong explained in detail the process by which a small group of people made use of the student unrest in Beijing and turned it into a counter-revolutionary rebellion by mid-June. It gave a detailed account of the nature of the riot, its severe conse- quence and the efforts made by troops enforcing _martial law, with the help of Beijing residents to quell the riot. The report exposed the behind-the-scene activities of people who stub- bornly persisted in opposing the Chinese Communist Party and socialism as well as the small handful of organizers and schemers of the riot; their collaboration with antagonistic forces at home and abroad; and the atrocities committed by former criminals in beating, looting, burning and First Edition 1989 killing in the riot.
    [Show full text]
  • Faster Than a Cheetah, Higher and Stronger
    life CHINA DAILY CHINADAILY.COM.CN/LIFE WEDNESDAY, AUGUST 8, 2012 | PAGE 18 Faster than a cheetah, higher and stronger eah! She won,” was our headline for the fi rst great ‘Ygold medal of the London Games. It was about the record-breaking 400m individual med- ley swim of Ye Shiwen and was drowned out somewhat by all that followed aft er a US coach suggested it was “unbe- lievable” — a well JULES QUARTLY under- stood WEB CRAWLER euphe- mism for drug cheating. Th e suggestion was that a maturing teen with freakishly big hands and feet couldn’t swim as fast she did unless her performance had been enhanced by drugs, or even augmented body parts. Well, my point would be that you’re innocent before guilty and there has been no taint whatsoever despite stringent test- ing of Ye. But actually … do I care? Her double kick in the last 50 meters, which appeared to be the key to her astounding speed, was thrilling to watch. I wonder Liu Yue performs in the popular TV talent show, Voice of China, on Zhejiang Satellite TV. PROVIDED TO CHINA DAILY when the days of the Augmented Games isn’t far off . I belatedly saw Th e Hunger Games this week, and I guess it would be a bit like that, in terms of TV technology, politics and the limits of humanity. It would also have a science fi ction-laboratory atmosphere and to begin with seem a little freaky. But like Formula 1 racing, A talent for scouting technological improvements would even- tually fi lter down to the masses, making life better for those in need of help or With so many talent shows on television, how does Voice improvement.
    [Show full text]
  • Yao Ming Still Most Engaging Chinese Celebrity : R3 by David Blecken on Mar 31, 2011 (5 Hours Ago) Filed Under Marketing, China
    # 页码，1/4 Network Asia-Pacific Know it now... News People Video Blogs & Opinions Rankings & Research Creativity Marketing Home / Marketing / Rankings & Research / Research Reports Yao Ming still most engaging Chinese celebrity : R3 By David Blecken on Mar 31, 2011 (5 hours ago) filed under Marketing, China BEIJING – Yao Ming remains China’s most popular celebrity, closely followed by hurdler Liu Xiang and Jackie Chan, according to Enspire, a study by marketing consultancy R3. KEYWORDS yao ming, liu xiang, jackie chan, r3, enspire, celebrity, china AGENCY r3 INDUSTRY marketing RELATED Yao Ming's popularity is linked to his attitude towards CSR NBA star Yao Ming partners with Monster Cable to Kobe Bryant was the only foreign celebrity to make the top thirty ranking, launch Yao Monster coming in eighth. Other prominent personalities within the top 10 were Andy Sprite rolls out 'green Lau, Faye Wong, Jet Li, Leehom Wang, Jacky Cheung and Jay Chou. carpet' for China premier of The Green Hornet However, the calculated value of the top two stars was significantly higher than Maxus Guangzhou seals http://en.campaignchina.com/Article/252958,yao-ming-still-most-eng... 2011-03-31 # 页码，2/4 Maxus Guangzhou seals Ping An Insurance Group’ the others. Both Yao and Liu received a value rating of more than 130, while s two-year media contract Chan was valued at 68. Provincial China still largely untapped : Nielsen Sunny Chen, a senior researcher at the company, attributed Yao’s popularity to his perceived prowess as a sports person, his “strong moral values” and Porsche calls pitch in China active participation in corporate social responsibility (CSR) initiatives.
    [Show full text]
  • I Want My MTV”: Music Video and the Transformation of the Sights, Sounds and Business of Popular Music
    General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Music History 98T Course Title “I Want My MTV”: Music Video and the Transformation of The Sights, Sounds and Business of Popular Music 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice X Foundations of Society and Culture • Historical Analysis X • Social Analysis X Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. This seminar will trace the historical ‘phenomenon” known as MTV (Music Television) from its premiere in 1981 to its move away from the music video in the late 1990s. The goal of this course is to analyze the critical relationships between music and image in representative videos that premiered on MTV, and to interpret them within a ‘postmodern’ historical and cultural context. 3. "List faculty member(s) who will serve as instructor (give academic rank): Joanna Love-Tulloch, teaching fellow; Dr. Robert Fink, faculty mentor 4. Indicate when do you anticipate teaching this course over the next three years: 2010-2011 Winter Spring X Enrollment Enrollment 5. GE Course Units 5 Proposed Number of Units: Page 1 of 3 6. Please present concise arguments for the GE principles applicable to this course.
    [Show full text]
  • Commencement Program
    Sunday, the Sixteenth of May, Two Thousand and Ten ten o’clock in the morning ~ wallace wade stadium Duke University Commencement ~ 2010 One Hundred Fifty-Eighth Commencement Notes on Academic Dress Academic dress had its origin in the Middle Ages. When the European universities were taking form in the thirteenth and fourteenth centuries, scholars were also clerics, and they adopted Mace and Chain of Office robes similar to those of their monastic orders. Caps were a necessity in drafty buildings, and Again at commencement, ceremonial use is copes or capes with hoods attached were made of two important insignia given to Duke needed for warmth. As the control of universities University in memory of Benjamin N. Duke. gradually passed from the church, academic Both the mace and chain of office are the gifts costume began to take on brighter hues and to of anonymous donors and of the Mary Duke employ varied patterns in cut and color of gown Biddle Foundation. They were designed and and type of headdress. executed by Professor Kurt J. Matzdorf of New The use of academic costume in the United Paltz, New York, and were dedicated and first States has been continuous since Colonial times, used at the inaugural ceremonies of President but a clear protocol did not emerge until an Sanford in 1970. intercollegiate commission in 1893 recommended The Mace, the symbol of authority of the a uniform code. In this country, the design of a University, is made of sterling silver throughout. gown varies with the degree held. The bachelor’s Significance of Colors It is thirty-seven inches long and weighs about gown is relatively simple with long pointed Colors indicating fields of eight pounds.
    [Show full text]
  • The 1989 Tiananmen Square Protests in Chinese Fiction and Film
    UNIVERSITY OF CALIFORNIA Los Angeles Making the Censored Public: The 1989 Tiananmen Square Protests in Chinese Fiction and Film A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Thomas Chen Chen 2016 © Copyright by Thomas Chen Chen 2016 ABSTRACT OF THE DISSERTATION Making the Censored Public: The 1989 Tiananmen Square Protests in Chinese Fiction and Film by Thomas Chen Chen Doctor of Philosophy in Comparative Literature University of California, Los Angeles, 2016 Professor Kirstie M. McClure, Co-Chair Professor Robert Yee-Sin Chi, Co-Chair Initiated by Beijing college students, the 1989 Tiananmen Square protests—"Tiananmen"— shook all of China with their calls for democratic and social reforms. They were violently repressed by the Chinese state on June 4, 1989. Since then, their memory has been subject within the country to two kinds of censorship. First, a government campaign promulgating the official narrative of Tiananmen, while simultaneously forbidding all others, lasted into 1991. What followed was the surcease of Tiananmen propaganda and an expansion of silencing to nearly all mentions that has persisted to this day. My dissertation examines fiction and film that evoke Tiananmen from within mainland China and Hong Kong. It focuses on materials that are particularly open to a self-reflexive reading, such as literature in which the protagonists are writers and films shot without authorization that in their editing indicate the precarious ii circumstances of their making. These works act out the contestation between the state censorship of Tiananmen-related discourse on the one hand and its alternative imagination on the other, thereby opening up a discursive space, however fragile, for a Chinese audience to reconfigure a historical memory whose physical space is off limits.
    [Show full text]
  • PH - Songs on Streaming Server 1 TITLE NO ARTIST
    TITLE NO ARTIST 22 5050 TAYLOR SWIFT 214 4261 RIVER MAYA ( I LOVE YOU) FOR SENTIMENTALS REASONS SAM COOKEÿ (SITTIN’ ON) THE DOCK OF THE BAY OTIS REDDINGÿ (YOU DRIVE ME) CRAZY 4284 BRITNEY SPEARS (YOU’VE GOT) THE MAGIC TOUCH THE PLATTERSÿ 19-2000 GORILLAZ 4 SEASONS OF LONELINESS BOYZ II MEN 9-1-1 EMERGENCY SONG 1 A BIG HUNK O’ LOVE 2 ELVIS PRESLEY A BOY AND A GIRL IN A LITTLE CANOE 3 A CERTAIN SMILE INTROVOYS A LITTLE BIT 4461 M.Y.M.P. A LOVE SONG FOR NO ONE 4262 JOHN MAYER A LOVE TO LAST A LIFETIME 4 JOSE MARI CHAN A MEDIA LUZ 5 A MILLION THANKS TO YOU PILITA CORRALESÿ A MOTHER’S SONG 6 A SHOOTING STAR (YELLOW) F4ÿ A SONG FOR MAMA BOYZ II MEN A SONG FOR MAMA 4861 BOYZ II MEN A SUMMER PLACE 7 LETTERMAN A SUNDAY KIND OF LOVE ETTA JAMESÿ A TEAR FELL VICTOR WOOD A TEAR FELL 4862 VICTOR WOOD A THOUSAND YEARS 4462 CHRISTINA PERRI A TO Z, COME SING WITH ME 8 A WOMAN’S NEED ARIEL RIVERA A-GOONG WENT THE LITTLE GREEN FROG 13 A-TISKET, A-TASKET 53 ACERCATE MAS 9 OSVALDO FARRES ADAPTATION MAE RIVERA ADIOS MARIQUITA LINDA 10 MARCO A. JIMENEZ AFRAID FOR LOVE TO FADE 11 JOSE MARI CHAN AFTERTHOUGHTS ON A TV SHOW 12 JOSE MARI CHAN AH TELL ME WHY 14 P.D. AIN’T NO MOUNTAIN HIGH ENOUGH 4463 DIANA ROSS AIN’T NO SUNSHINE BILL WITHERSÿ AKING MINAHAL ROCKSTAR 2 AKO ANG NAGTANIM FOLK (MABUHAY SINGERS)ÿ AKO AY IKAW RIN NONOY ZU¥IGAÿ AKO AY MAGHIHINTAY CENON LAGMANÿ AKO AY MAYROONG PUSA AWIT PAMBATAÿ PH - Songs on Streaming Server 1 TITLE NO ARTIST AKO NA LANG ANG LALAYO FREDRICK HERRERA AKO SI SUPERMAN 15 REY VALERA AKO’ Y NAPAPA-UUHH GLADY’S & THE BOXERS AKO’Y ISANG PINOY 16 FLORANTE AKO’Y IYUNG-IYO OGIE ALCASIDÿ AKO’Y NANDIYAN PARA SA’YO 17 MICHAEL V.
    [Show full text]
  • Understanding Korean Society Through Popular Music
    Situations Vol. 5 (Winter 2011) © 2011 by Yonsei University Hannah N. Bergen (Yonsei University, Seoul) Understanding Korean Society through Popular Music Today one of the most unique aspects of inter-Asian cultural sharing is the hallyu wave. This social phenomenon began in Seoul, South Korea and today accounts for the all pervasive nature of Korean popular entertainment dominating the airwaves of nearly every Asian country. From Japan to Thailand, “K-pop” has conquered the Asian market, and is now turning its attention to the rest of the world. In order to illustrate this current social phenomenon, I have found many sources that all point to the same aspects in K-pop which have allowed one small country to make their entertainment business one of its most lucrative exports. The hallyu wave as a whole has become a blending of uniquely Korean culture with aspects of Western and other Asian cultures which has created a style unique to this particular moment of history. In the words of Sun Jung, author of the article “Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols,” “Transcultural hybridity is one of the most significant aspects of contemporary South Korean popular culture in the postmodern era and is the main driving force behind its overseas popularity” (Jung 166). This combination has allowed the music and film from Korea to be extremely accessible to a wide audience of various nationalities and languages. In order to clearly illustrate the international success of hallyu, I will focus on one specific aspect of current Korean popular culture: music.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles the Qin
    UNIVERSITY OF CALIFORNIA Los Angeles The Qin and Literati Culture in Song China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Meimei Zhang 2019 © Copyright by Meimei Zhang 2019 ABSTRACT OF THE DISSERTATION The Qin and Literati Culture in Song China by Meimei Zhang Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2019 Professor David C Schaberg, Chair My dissertation examines the distinctive role that the qin played in Chinese literati culture in the Song dynasty (960-1279) through its representations in literary texts. As one of the earliest stringed musical instruments in China, the qin has occupied a unique status in Chinese cultural history. It has been played since ancient times, and has traditionally been favored by Chinese scholars and literati as an instrument of great subtlety and refinement. This dissertation focuses on the period of the Song because it was during this period that the literati developed as a class and started to indulge themselves in various cultural and artistic pursuits, and record their experiences in literary compositions as part of their self-fashioning. Among these cultural pursuits, the qin playing was an important one. Although there have been several academic works on the qin, most of them focus on the musical aspects of the instrument. My project aims to reorient the perspective on the qin by revealing its close relationship and interaction with the literati class from a series of ii historical and literary approaches. During the Song, the qin was mentioned in a multiplicity of literary texts, and associated with a plethora of renowned literary figures.
    [Show full text]
  • Chin1821.Pdf
    http://oac.cdlib.org/findaid/ark:/13030/kt1x0nd955 No online items Finding Aid for the China Democracy Movement and Tiananmen Incident Archives, 1989-1993 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections UCLA Library Special Collections staff Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2009 The Regents of the University of California. All rights reserved. 1821 1 Descriptive Summary Title: China Democracy Movement and Tiananmen Incident Archives Date (inclusive): 1989-1993 Collection number: 1821 Creator: Center for Chinese Studies and the Center for Pacific Rim Studies, UCLA Extent: 22 boxes (11 linear ft.)1 oversize box. Abstract: The present finding aid represents the fruits of a multiyear collaborative effort, undertaken at the initiative of then UCLA Chancellor Charles Young, to collect, collate, classify, and annotate available materials relating to the China Democracy Movement and tiananmen crisis of 1989. These materials---including, inter alia, thousands of documents, transcribed radio broadcasts, local newspaper and journal articles, wall posters, electronic communications, and assorted ephemeral sources, some in Chinese and some in English---provide a wealth of information for scholars, present and future, who wish to gain a better understanding of the complex, swirling forces that surrounded the extraordinary "Beijing Spring" of 1989 and its tragic denouement. The scholarly community is indebted to those who have collected and arranged this archive of materials about the China Democracy Movement and Tiananmen Incident Archives.
    [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]
  • Paper Title (Use Style: Paper Title)
    International Academic Workshop on Social Science (IAW-SC 2013) Grotesque and Gaudy World of Music, Indispensable Narrative Pen Study on The Narrative Strategy of Modern Chinese Pop Songs’ Lyrics Chunjing Zhang College of Applied Technology Southwest University Chongqing,China [email protected] Abstract—Since the 1990s, the creation of pop songs’ lyrics has symbol presents "conation ", which promotes recipient to undergone a lot of changes, transforming from the past take action. According to Jacobsen’s brilliant analysis, lyrics emphasis on inner expression to frequent use of narration. appear to be more emotional or strongly conative. Therefore, Thus, the grotesque and gaudy world of music, concentrating the lyrics have a strong tendency of appealing. Answering is on creators ’narrative pen, unfolds vividly. Some important the basic trend of the lyrics, narrative strategy of “I tell you" narrative strategy has gradually taken shape, including basic is the most fundamental sending mode of lyrics. The narrative strategy of “I tell you” and public participation in appearance of subject expressing is an important “telling a story”, Demonstration of details and fragments in life characteristics of the lyrics. of whole narration and defamiliarization on narration. There are too many examples that we cannot cite them all. Keywords-lyrics; pop songs; narration According to the study of the highest search volume of 100 new songs lyrics on Baidu MP3 search, the author find that 95% of the lyrics comprise the basic strategy of "I tell you", I. INTRODUCTION including "I", "you" or slightly distorted "I" and "you", even No matter what kinds of art form, story-telling is the if starting in the fashion of third person and through the most attractive method.
    [Show full text]