指挥:郭勇德 Conductor: Quek Ling Kiong
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THE BROOKINGS INSTITUTION CENTER FOR NORTHEAST ASIAN POLICY STUDIES in cooperation with the ASIA SOCIETY HONG KONG CENTER and the FACULTY OF SOCIAL SCIENCES UNIVERSITY OF HONG KONG FULL TRANSCRIPT THE U.S.-ASIA DYNAMIC IN THE 21ST CENTURY: CHALLENGES AHEAD Tuesday, October 18, 2011 JW Marriott Hong Kong Hong Kong Proceedings prepared from an audio recording by: ANDERSON COURT REPORTING 706 Duke Street, Suite 100 Alexandria, VA 22314 Phone (703) 519-7180 Fax (703) 519-7190 PARTICIPANTS: Welcome Remarks: EDITH NGAN CHAN Executive Director Asia Society, Hong Kong Center JOHN BURNS Dean of Social Sciences University of Hong Kong STROBE TALBOTT President The Brookings Institution Opening Remarks: RONNIE C. CHAN Co-Chair, Asia Society Chairman, Hang Lung Properties Opening Address: DONALD TSANG Chief Executive Hong Kong Special Administrative Region PANEL I: ASIA’S CHANGING BEDFELLOWS: DE-COUPLING FROM THE U.S. AND COUPLING WITH CHINA? Moderator: ALEX FRANGOS Reporter, Asia Economies & Markets The Wall Street Journal Panelists: DONG TAO Chief Regional Economist, Asia Ex-Japan Credit Suisse BARRY BOSWORTH Senior Fellow, Economic Studies, Global Economy and Development The Brookings Institution NIGEL CHALK Mission Chief for China and Senior Advisor, Asia Pacific Department International Monetary Fund ERIC FISHWICK Head of Economic Research CLSA Ltd. LUNCHEON PANEL: CHINA’S FUTURE TRAJECTORY AND IMPLICATIONS Opening Remarks and Moderator: RONNIE C. CHAN Co-Chair, Asia Society Chairman, Hang Lung Properties Panelists: STROBE TALBOTT President The Brookings Institution VICTOR FUNG Chairman Li & Fung FRED HU Founder and Chairman, Primavera Capital Group Former Chairman, Greater China, Goldman Sachs WANG FENG Director, Brookings-Tsinghua Center Senior Fellow, Foreign Policy, Global Economy and Development The Brookings Institution PANEL II: THE EMERGING INTRA-ASIA DYNAMIC: WHERE TO FROM HERE? Moderator: MARIKO SANCHANTA Senior Editor, Asia The Wall Street Journal Panelists: C. -
A Comparative Study of the Use of Popular Songs in School Music Education in Taiwan and Mainland China
A comparative study of the use of popular songs in school music education in Taiwan and Mainland China Ho Wai Chung* (Abstract) This paper presents a comparative study of extra-musical learning of popular songs in the music classes in schools in Taiwan and Mainland China, where education is geared towards citizenship as a characteristic of national identity and social harmony for both communities. By analyzing official documents. selected music textbooks, and other relevant literatures, it is argued that the transmission of extra-musical learning of popular songs is essentially a response to the particular needs of these two Chinese historical-social contexts, which has witnessed a music curriculum that is securely grounded as part of the gradual recuperation of the concept of "the citizens." As reflected in song lyrics, Taiwan and Mainland China have attempted to promote a sense of national identity with a Confucian set of moral values to educate students in learning to live together as a central goal of school music education in the new global age. 1. Introduction A substantial body of literature concerning social change and music education (e.g., see Henley, Caufield, Wilson, & Wilkinson, 2012; Ho, 2011) has argued that social transformation is an impetus for, and is reflected in, educational change in different cultural contexts. The influence of popular culture on today's youths has long been a subject of intense debate and public interest in response to social change and school education. By integrating the study of popular music into the education of our youths, we can better provide a means for them to learn subjects relevant to the world in which they are familiar (see Fain, 2004; Green, 2002). -
Chapter 1: Place §1 Chinese Popular Music
The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 1: Place §1 Chinese Popular Music After introducing the singer and describing his migration from Malaysia to Singa- pore and his recent popularity in Hong Kong, Taiwan, and all over the Chinese di- aspora, the anchor [of the 1995 May 1st Concert] asked Wu [Qixian] how he de- fined himself in the final analysis. The musician’s reply, “I am Chinese” (wo shi Zhongguoren), which stirred a most enthusiastic and warm response from the au- dience, encapsulated everything Wu’s participation stood for, at least from the point of view from the state… By inviting … gangtai singers to participate in concerts and television programs, the Chinese state is not engaged so much in competing with other Chinese politics and identities … but rather in contesting their independence and in co-opting them into a greater Chinese nationalism, of which China is the core. In other words, the Chinese state is engaged in appropri- ating the concept of Greater China (Da Zhonghua).1 Gangtai is a 1980s PRC term for highly successful cultural products from Hong Kong (xiang gang) and Taiwan. In the above quotation, Nimrod Baranovitch rightly recognizes Hong Kong and Taiwan as major areas of production of Chinese pop music.