By Jeroen de Kloet
Throughout the Nineteen Nineties illegally imported compact discs, referred to as dakou CDs, flooded into China, beginning up the track global to chinese language early life and encouraging them to scan with new sounds and new existence. quick, dakou grew to become the label for a brand new iteration of chinese language, a colourful new release not tied to the Maoist earlier. in line with fifteen years of fieldwork in Beijing, Shanghai, and Hong Kong, China with a lower surveys the tune that emerged in Nineteen Nineties China and makes a case for its involvement within the upward thrust of China as a cultural and fiscal international energy.
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Extra info for China with a Cut: Globalisation, Urban Youth and Popular Music (AUP - IIAS Publications)
21 Interviews with musicians usually took place over dinner, as this created an open, informal atmosphere which considerably improved both the quantity and the quality of the information provided. Some musicians were interviewed several times so as to trace their development over time (Qiu Ye from Zi Yue, Feng Jiangzhou from The Fly, and Zu Zhou and Cui Jian). With a few exceptions, the interviewed bands and singers are under contract to record companies. 22 Over the past decade, due to new technologies, material has become much more readily available.
But I’d definitely refuse to make them sound beautiful; I’d try to make them sound uncomfortable. ’ This conscious distortion of what are considered to be traditional Chinese musical expressions forms one important marker of difference used by underground bands such as NO and The Fly. The transformation of what are considered to be stereotypical Chinese sounds challenges the connotations attached to them. These connotations are, in the case of the guzheng, mainly quietness and deepness, signifying China’s long history, and in the case of the communist songs, the heroic revolutionary past.
0 era requires more rather than less theory. ’ In chapter four, I examine an often-overlooked domain in the study of popular music: the audiences. Drawing on Michel Foucault’s notion of technologies of the self, in combination with Anthony Giddens’ study on the reflexive self in late modernity, and Tia DeNora’s work on music audiences, I scrutinise how (Chinese) music is used as a technology of the self, as a way to control life in a society that is in a perpetual flux. This chapter is based on different materials.