View source for Mandopop

{{short description|Mandarin popular music}}
{{Use dmy dates|date=September 2019}}
{{Infobox music genre
| name              = Mandopop
| stylistic_origins = {{hlist|[[Chinese music]]|[[Music of Taiwan|Taiwanese Music]]|[[hip hop music|hip hop]]|[[Contemporary R&B|R&B]]|[[pop music|pop]]|[[rock music|rock]]|[[jazz music|jazz]]|[[folk music|folk]]}}
| cultural_origins  = 1920s–1940s, [[Shanghai]], [[Republic of China (1912–1949)|Republic of China]]
| subgenrelist      =
| derivatives       =
| subgenres         =
| fusiongenres      =
| regional_scenes   =
| other_topics      = {{hlist|[[Cantopop]]|[[Hokkien pop|Taiwanese pop]]|[[J-pop]]|[[K-pop]]|[[V-pop]]|[[Chinese rock]]}}
}}
{{Chinese
|s=华语流行音乐
|t=華語流行音樂
|p=Huáyǔ liúxíng yīnyuè
|j=Waa4jyu5 lau4hang4 jam1ngok6
}}
'''Mandopop''' or '''Mandapop''' refers to [[Standard Chinese|Mandarin]] [[popular music]]. The genre has its origin in the jazz-influenced popular music of 1930s [[Shanghai]] known as [[Shidaiqu]]; later influences came from Japanese [[enka]], Hong Kong's [[Cantopop]], Taiwan's [[Hokkien pop]], and in particular the [[campus folk song]] folk movement of the 1970s.<ref name="moskowitz">{{cite journal |title= In Mandopop under siege: culturally bound criticisms of Taiwan's pop music |first=Marc L. |last=Moskowitz |journal=Popular Music |date=2009|volume= 28/1|pages= 69–83 |doi=10.1017/S026114300800161X |s2cid=35402405 }}</ref> "Mandopop" may be used as a general term to describe popular songs performed in Mandarin. Though Mandopop predates Cantopop,{{clarify|date=July 2024}} the English term was coined around 1980 after "[[Cantopop]]" became a popular term for describing popular songs in [[Cantonese]]. "Mandopop" was used to describe Mandarin-language popular songs of that time, some of which were versions of Cantopop songs sung by the same singers with different lyrics to suit the different rhyme and tonal patterns of Mandarin.<ref name="tianci">{{cite web|url=http://www.localnoise.net.au/site-directory/papers/tian-ci-%E2%80%93-faye-wong-and-english-songs-in-the-cantopop-and-mandapop-repertoire/|title=Tian Ci – Faye Wong and English Songs in the Cantopop and Mandapop Repertoire|author=Tony Mitchell|work=Local Noise|url-status=dead|archive-url=https://archive.today/20120803181700/http://www.localnoise.net.au/site-directory/papers/tian-ci-%E2%80%93-faye-wong-and-english-songs-in-the-cantopop-and-mandapop-repertoire/|archive-date=2012-08-03}}</ref>
Mandopop is categorized as a [[genre|subgenre]] of commercial [[Chinese language|Chinese-language]] music within [[C-pop]]. Popular music sung in Mandarin was the first variety of popular music in Chinese to establish itself as a viable [[music industry|industry]]. It originated in [[Shanghai]]; later, [[Hong Kong]], [[Taipei]] and [[Beijing]] also emerged as important centers of the Mandopop music industry.<ref>{{cite book |url=https://books.google.com/books?id=iKolvnUOHegC&pg=PA1 |title=Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations |author= Marc L. Moskowitz |publisher=University of Hawaii Press |page=1 |year= 2009 |isbn=978-0824834227 }}</ref> Among the regions and countries where Mandopop is most popular are [[mainland China]], [[Hong Kong]], [[Macau]], [[Taiwan]], [[Malaysia]], and [[Singapore]].
==History==
===Beginning of recording industry in China===
The Chinese-language music industry began with the arrival of [[phonograph|gramophone]]. The earliest gramophone recording in China was made in Shanghai in March 1903 by [[Fred Gaisberg]], who was sent by the [[Victor Talking Machine Company]] (VTMC) in the U.S. to record local music in Asia.<ref name="history2">{{cite web |url=http://musicbusinessresearch.wordpress.com/2012/12/28/a-brief-history-of-chinas-music-industry-part-2-the-recorded-music-industry-in-china-from-the-early-1900s-to-the-late-1940s/ |title= a brief history of china's music industry – part 2: the recorded music industry in china from the early 1900s to the late 1940s |work=Music Business Research |author=John Fangjun Li |date= 28 December 2012 }}</ref> The recordings were then manufactured outside China and re-imported by the Gramophone Company's sales agent in China, the Moutrie (Moudeli) Foreign Firm. The Moudeli Company dominated the market before the 1910s until the [[Pathé Records (China)|Pathé Records]] ({{zh|c=百代|p=Bǎidài}}) took over the leading role. Pathé was founded in 1908 by a Frenchman named Labansat who had previously started a novelty entertainment business using [[phonograph]] in [[Shanghai]] around the beginning of the 20th century. The company established a recording studio, and the first record-pressing plant in the [[Shanghai French Concession]] in 1914, and became the principal record company to serve as the backbone for the young industry in China.<ref name="Jones">{{cite book |author=Jones. Andrew F. |year=2001 |title= Yellow Music - CL: Media Culture and Colonial Modernity in the Chinese Jazz Age |publisher=Duke University Press |pages=53–54 |isbn= 0-8223-2694-9 |url=https://books.google.com/books?id=aIDzyVzb9r4C&pg=PA53}}</ref> It originally recorded mainly [[Peking opera]], but later expanded to Mandarin popular music. Later other foreign as well as Chinese-own recording companies were also established in China.
Early in the 20th century, people in China generally spoke in their own regional dialect.  Although most people in Shanghai then spoke [[Shanghainese]], the recordings of the pop music from Shanghai from the 1920s onwards were done in [[Standard Chinese|Standard Mandarin]], which is based on the [[Beijing dialect]].  Mandarin was then considered as the language of the modern, educated class in China, and there was a movement to popularize the use of Mandarin as a national language in the pursuit of national unity.  Those involved in this movement included songwriters such as [[Li Jinhui]] working in Shanghai.<ref>{{cite book |url=https://archive.org/details/yellowmusicmedia0000jone |url-access=registration |title=Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age |author= Andrew F. Jones |publisher=Duke University Press |pages=[https://archive.org/details/yellowmusicmedia0000jone/page/75 75] |isbn= 0-8223-2694-9 |date=19 June 2001 }}</ref> The drive to impose linguistic uniformity in China started in the early 20th century when the Qing Ministry of Education proclaimed Mandarin as the official speech to be taught in modern schools, a policy the new leaders of the Chinese Republic formed in 1912 were also committed to.<ref>{{cite book |url= https://books.google.com/books?id=UNq3ENia884C&pg=PA103 |title= The Power of Words: Literacy and Revolution in South China, 1949-95 |author= Glen Peterson |pages=103–104 |publisher=University of British Columbia Press |year= 1998 |isbn=978-0774806121 }}</ref> Sound films in Shanghai which started in the early 1930s were made in Mandarin because of a ban on the use of dialects in films by the then [[Nanjing decade|Nanjing government]],<ref>{{cite book |url=https://books.google.com/books?id=vD6I4hP4CDMC&pg=PA183 |title=Cinema and Urban Culture in Shanghai, 1922-1943 |editor= Yingjin Zhang |page=183 |publisher=Stanford University Press |date= 1999 |isbn=978-0804735728 }}</ref> consequently popular songs from films were also performed in Mandarin.
[[File:Zhou Xuan by C.H.Wong Photo Studio.jpg|thumb|upright=0.8|Zhou Xuan, the most notable singing star of the early Shanghai period.]]
===1920s: Birth of ''Shidaiqu'' in Shanghai===
Mandarin popular songs that started in the 1920s were called ''[[shidaiqu]]'' (時代曲 – meaning music of the time, thus popular music), and Shanghai was the center of its production.  The Mandarin popular songs of the Shanghai era are considered by scholars to be the first kind of modern popular music developed in China,<ref>{{cite book |title=Music in China |author=Frederick Lau |page= 106 |publisher= Oxford University Press |year= 2007 |isbn=978-0195301243 }}</ref> and the prototype of later Chinese pop song.<ref name="Shoesmith">Shoesmith, Brian. Rossiter, Ned. [2004] (2004). Refashioning Pop Music in Asia: Cosmopolitan flows, political tempos and aesthetic Industries. Routeledge Publishing. {{ISBN|0-7007-1401-4}}</ref> Li Jinhui is generally regarded as the "Father of Chinese Popular Music" who established the genre in the 1920s.<ref name="Kakisensi">Kakisensi web. "[http://www.kakiseni.com/articles/people/MDAzMg.html Kakiseni article] {{webarchive|url=https://web.archive.org/web/20070610040139/http://www.kakiseni.com/articles/people/MDAzMg.html |date=10 June 2007 }}." ''An introduction to shidaiqu.'' Retrieved on 26 April 2007.</ref> [[Buck Clayton]], the American jazz musician, also worked alongside Li.  Li established the [[Bright Moon Song and Dance Troupe]], and amongst their singing stars were [[Wang Renmei]] and [[Li Lili]].  There was a close relationship between music and film industries and many of its singers also became actresses.
Around 1927, Li composed the hit song "The Drizzle" ("毛毛雨") recorded by his daughter {{ill|Li Minghui|zh|黎明晖}}, and this song is often regarded as the first Chinese pop song.<ref>{{cite book |url=https://books.google.com/books?id=LTr9AAAAQBAJ&pg=PA60 |title=Hong Kong Mobile: Making a Global Population |editor=Helen F. SIU |editor2=Agnes S. KU |author=May Bo Ching |page=60 |publisher=Hong Kong University Press |year= 2009 |isbn=978-9622099180 }}</ref><ref>{{cite web |title="SHANGHAI IN THE 1930S"- Legendary Women |url=http://www.vantage-magazine.com/vantage-point-articles/shanghai-in-the-1930s-legendary-women.html |work=Vantage Shanghai |date=11 July 2013 |access-date=6 February 2015 |archive-url=https://web.archive.org/web/20150206160212/http://www.vantage-magazine.com/vantage-point-articles/shanghai-in-the-1930s-legendary-women.html |archive-date=6 February 2015 |url-status=dead }}</ref><ref>{{cite web |url=http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.225968&catNum=225968&filetype=About%20this%20Recording&language=English |title= FROM SHANGHAI WITH LOVE |work=Naxos }}</ref> The song, with its fusion of jazz and Chinese folk music, exemplifies the early ''shidaiqu'' – the tune is in the style of a traditional [[pentatonic]] folk melody, but the instrumentation is similar to that of an American jazz orchestra.<ref>{{cite web |url=http://orias.berkeley.edu/2006/Jones.pdf |author=Andrew F. Jones |title=ORIAS: Sonic Histories: Chinese Popular Music in the Twentieth Century |url-status=dead |archive-url=https://web.archive.org/web/20131029211312/http://orias.berkeley.edu/2006/Jones.pdf |archive-date=29 October 2013  }}</ref> The song however was sung in a high-pitched childlike style, a style described uncharitably as sounding like "strangling cat" by the writer [[Lu Xun]].<ref name="shanghai">{{cite web |url=http://www.scmp.com/article/367361/shanghai-love |title=From Shanghai with love |date=31 December 2001 |work=South China Morning Post }}</ref><ref>{{cite book |title=鲁迅散文精选 (Selected Writings of Lu Xun) |author= 鲁迅 |chapter-url=https://books.google.com/books?id=3ZiFCSdl3cQC&pg=PA215 |chapter=阿金|date= January 2013 |page=215 |publisher= 二十一世纪出版社 |isbn= 9787539183763 |quote= 但我却也叨光听到了男嗓子的上低音（barytone）的歌声，觉得很自然，比绞死猫儿似的《毛毛雨》要好得天差地远。 translation: "But I was blessed with a performance of male baritone voice, and it sounded very natural; compared to the strangling cat sound of "The Drizzle", the difference is like heaven and earth. }}</ref> This early style would soon be replaced by more sophisticated performances from better-trained singers.  In the following decades, various popular Western music genres such as Latin dance music also become incorporated into Chinese popular music, producing a type of music containing both Chinese and Western elements that characterized ''shidaiqu''.  Popular songs of the time may range from those that were composed in the traditional Chinese idiom but followed a Western principle of composition to those that were done largely in a Western style, and they may be accompanied by traditional Chinese or Western instrumentation. An example is "The Evening Primrose" by [[Li Xianglan]], a Chinese composition set to a Latin dance beat.
===1930s–1940s: The Seven Great Singing Stars era===
In 1931, the first [[sound film]] was made in China in a cooperation between the [[Mingxing Film Company]] and Pathé.<ref>{{cite book |chapter-url=https://books.google.com/books?id=gDRxR-wb-fsC&pg=PT262 |title=A Companion to Chinese Cinema |editor= Yingjin Zhang |publisher= Wiley-Blackwell |chapter=Chapter 24 - Chinese Cinema and Technology |author=Gary G. Xu |year=2012 |isbn=978-1444330298 }}</ref> The [[Cinema of China|film industry]] took advantage of the sound era and engaged singers for acting and soundtrack roles, and Li Jinhui's Bright Moonlight Song and Dance Troup became the first modern musical division to be integrated into the [[Cinema of China|Chinese film industry]] when it joined [[Lianhua Film Company]] in 1931.  Amongst the best-known of the singer-actress to emerge in the 1930s were [[Zhou Xuan]], [[Gong Qiuxia]], and [[Bai Hong]].  Although later singing stars need not also have an acting career, the close relationship between the recording and film industries continued for many decades. Later [[Yao Lee]], [[Bai Guang]], [[Li Xianglan]], [[Wu Yingyin]] also became popular, and collectively these seven stars became known as the "[[Seven great singing stars|Seven Great Singing Stars]]" of the period.  Other notable singers of this period include [[Li Lihua]] and [[Zhang Lu (singer)|Chang Loo]] (張露).  In 1940 Yao Lee recorded "[[Rose, Rose, I Love You]]" which later became the first Chinese pop song to be covered by Western singers that was a hit.
The "[[Seven great singing stars|Seven Great Singing Stars]]" in the [[Republic of China (1912-1949)|Republic of China]] period secured the place of the ''shidaiqu'' genre in East Asian society. [[Zhou Xuan]] is generally considered the most notable Chinese pop star of the era for her highly successful singing and film career. This generation saw the rise in popularity of female singers from mere "[[Sing Song Girls|song girls]]" to "stars",<ref name="Kakisensi" /> and for the next few decades, female singers would dominate the Mandarin popular music industry.
In this period, Pathé Records dominated the recording industry. In the late 1930s to early 1940s, it held about 90% market share of the Mandarin pop songs.<ref name="routledge">{{cite book |url=https://books.google.com/books?id=JB83B4RhgpYC&pg=PT222 |title= Refashioning Pop Music in Asia: Cosmopolitan Flows, Political Tempos, and Aesthetic Industries |editor=Allen Chun |editor2=Ned Rossiter |editor3=Brian Shoesmith |publisher=Routledge |year= 2004 |pages=144–146 |isbn=978-0700714018 }}</ref>
The era was a tumultuous period, with the occupation of Shanghai by the Japanese armies during the [[Second Sino-Japanese War]] from 1937 and to 1945, followed by continuation of the [[Chinese Civil War|civil war]] between the [[Kuomintang|Nationalists]] and [[Communist Party of China|Communists]]. In response to the turmoil, productions began to shift to Hong Kong, and after the Communist takeover in 1949, many stars moved to Hong Kong which then replaced Shanghai as the center of the entertainment industry in the 1950s.<ref name="shidaiqu">{{cite web |url=http://www.psychemusic.org/shanghai-hongkong.html |title=SHIDAIQU, An early Chinese popular Mmsic style that flourished in the 20s->50s in Shanghai, China and which evolved further in the 50s->60s in Hong Kong }}</ref>
===1950s–1960s: The Hong Kong era===
{{listen
| filename = Bu Liao Qing.ogg
| title = "Unforgettable Love" (不了情)
| description = One of the most popular Mandarin songs of the Hong Kong era from the early 1960s, "[[Buliao qing (song)|Unforgettable Love]]" by Koo Mei.
| format = [[Ogg]]
}}
In 1952, Pathé Records moved its operation from Shanghai to Hong Kong. Stars from Shanghai continued to record songs in Hong Kong, and Shanghai-style music remained popular in Hong Kong until the mid-1960s.<ref name="routledge"/> Although the music is a continuation of the shidaiqu style of Shanghai, many of its songwriters did not move to Hong Kong, and many of the musicians employed in the Hong Kong music industry were [[Filipino people|Filipinos]], Mandarin pop music in Hong Kong began to move away from its Shanghai roots.<ref name="shanghai"/> Also partly as a consequence of having fewer good songwriters, some songs of this period were adaptation of English-language songs, as well as songs from other regions such as the Indonesian song "[[Bengawan Solo (song)|Bengawan Solo]]" (as "梭羅河之戀") and the Latin-American song "[[Historia de un Amor (song)|Historia de un Amor]]" (as "He is not in my heart", "我的心裡沒有他"). As the style evolved, the sound of popular songs from the Hong Kong era therefore became distinct from Shanghai's. Among the recording artists of note to emerge in this period were [[Tsui Ping]], [[Tsin Ting]], [[Grace Chang]] (葛蘭), Fong Tsin Ying (方靜音) and {{ill|Liu Yun (singer)|zh|劉韻|lt=Liu Yun}}, some of whom were also actresses. While some actresses continued to sing in their films, some of the best known songs were dubbed by other singers, for example "[[Buliao qing (song)|Unforgettable Love]]" ("不了情") in the film of the same name starring [[Lin Dai]] was sung by {{ill|Koo Mei|zh|顧媚}}. The song was also recorded with piano and strings orchestration popular at that time.
Shanghai-style Mandarin pop songs however began to decline in popularity around the mid-1960s as Western pop music became popular among the young, and many Hong Kong performers copied Western songs and sang [[Hong Kong English pop]] songs.<ref name="routledge" /> This in turn gave way to pop songs recorded in Cantonese as [[Cantopop]] became the dominant genre of music from Hong Kong in the 1970s.
After the Communist victory in China, the [[Kuomintang]] retreated to [[Taiwan]]. There were local stars in Taiwan and Pathé Records did business there as well, but the island's recording industry was not initially strong. Taiwanese youth were drawn to popular styles from abroad; as Taiwan was ruled by Japan from 1895 to 1945, [[Hokkien pop|Taiwanese pop]] songs in the [[Hokkien]] language, the actual mother tongue of most of the island's residents, were particularly strongly influenced by the Japanese [[enka]] music. Popular Mandarin songs from Taiwan were similarly influenced, and many popular Mandarin songs of the 1960s were adaptations of Japanese songs, for example "Hard to Forget the Thought" ("意難忘", originally {{nihongo|"Tokyo Serenade"|東京夜曲}}) and "Hate you to the Bone" ("恨你入骨", from {{nihongo4||[[:jp:骨まで愛して|骨まで愛して]]|"Hone made aishite"}}). Popular songs were necessarily sung in Mandarin as Taiwan's new rulers, which imposed [[martial law in Taiwan]] in 1949, mandated its use as well as restricting the use of [[Taiwanese Hokkien]] and forbidding the use of [[Japanese language|Japanese]].<ref name="Thistory">Taiwanese Pop Songs History. "[http://home.comcast.net/~tzeng2/TaiwanPopSongs/in_english.htm Taiwanese Pop Songs History] {{webarchive|url=https://web.archive.org/web/20070222133239/http://home.comcast.net/~tzeng2/TaiwanPopSongs/in_english.htm |date=22 February 2007 }}." ''Article.'' Retrieved on 2 May 2007.</ref> The Mandarin pop music developed in Taiwan that would become modern Mandopop is a blend of traditional Chinese, Japanese, Taiwanese, as well as Western musical styles.<ref>{{cite book |title=Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations |author=Marc L. Moskowitz |publisher=University of Hawaii Press |page=3 |year=2009 |isbn=978-0824834227}}</ref> {{ill|Tzu Wei|zh|紫薇 (歌手)}} was the earliest of the Taiwan-based stars who achieved success outside of Taiwan in the late 1950s with the song "[[Green Island Serenade]]",<ref>{{cite book |title=金嗓金曲不了情 |author=張夢瑞 |url=https://books.google.com/books?id=wFjYy3m59DMC&pg=RA1-PA10-IA1 |pages=111–117 |publisher=聯經出版 |year=2003|isbn=9789570826425 }}</ref> followed by other singers such as {{ill|Mei Tai|zh|美黛}} and [[Yao Su-jung]] in the 1960s.<ref>{{cite web |url=http://www.taiwan-panorama.com/en/show_issue.php?id=2005119411094e.txt&table=3&cur_page=1&distype=text |title=The Haishan Records story |work=Taiwan Panorama}}</ref><ref>{{cite book |title=金嗓金曲不了情 |author=張夢瑞 |url=https://books.google.com/books?id=wFjYy3m59DMC&pg=RA1-PA10-IA8 |pages=118–124 |publisher=聯經出版 |year=2003|isbn=9789570826425 }}</ref> The 1960s however was a highly politically tense era, many songs such as "Not Going Home Today" ("今天不回家") by Yao Su-jung were banned in Taiwan.<ref>Open.com.hk. "[http://www.open.com.hk/0708p47.html Open.com.hk] {{webarchive|url=https://web.archive.org/web/20101127223300/http://open.com.hk/0708p47.html |date=27 November 2010 }}." ''戒嚴統治的前後景觀.'' Retrieved on 2 January 2010.</ref>
In the 1960s, regional centres of Chinese pop music also started to emerge in overseas Chinese communities in Malaysia and Singapore, and singers from the region such as {{ill|Poon Sow Keng|zh|潘秀琼}} also achieved wider success.<ref>{{cite book |url=https://archive.org/details/danceoflifepopul00lock_0 |url-access=registration |title=Dance of Life: Popular Music and Politics in Southeast Asia |author=Craig A. Lockard |pages=[https://archive.org/details/danceoflifepopul00lock_0/page/224 224]–225 |publisher=University of Hawai'i Press |year=1998 |isbn=978-0824819187}}</ref>
===1970s–1980s===
==== Rise of Taiwanese Mandopop ====
In the 1970s, Taipei began to take center stage for Mandopop while Cantopop took hold in Hong Kong. In 1966, the Taiwan music industry was generating US$4.7 million annually, and this had grown exponentially through the 1970s and 1980s, and by 1996, it peaked at just under US$500 million before declining.<ref>{{cite book |url=https://books.google.com/books?id=iKolvnUOHegC&pg=PA6 |title=Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations |author= Marc L. Moskowitz |publisher=University of Hawaii Press |page=6 |year= 2009 |isbn=978-0824834227 }}</ref> The success of the Taiwanese film industry also helped with the popularity of its singers.  Taiwanese stars such as [[Tsai Chin (singer)|Tsai Chin]], [[Fei Yu-ching]], and [[Fong Fei Fei]] became increasingly popular, with [[Teresa Teng]] the best known.
{{Listen
|filename     = The_Moon_Represents_My_Heart_-_Teresa_Teng.ogg
|pos          = right
|title        = "The Moon Represents My Heart" - Teresa Teng
|description  = A short clip of one of the best known songs of the 1970s "[[The Moon Represents My Heart]]" by Teresa Teng.
}}
[[Teresa Teng]] made Mandopop a true mainstay by crossing over to mainland China after [[Deng Xiaoping]] came to power and instituted the [[open door policy]] in 1978 that allowed cultural products from Hong Kong and Taiwan to enter China.  Teng's song became popular there despite an early ban on her songs by the PRC government for being "[[Bourgeois]] Music".<ref>China.org.cn. "[http://www.china.org.cn/china/reform-opening-up/2008-12/08/content_16913666_2.htm China.org.cn]." ''Chinese pop music since the 1980s p2.'' Retrieved on 5 January 2009.</ref> Her "soft, sweet, often whispery and restrained" singing style in romantic songs such as "[[The Moon Represents My Heart]]" (月亮代表我的心) made a strong impact in mainland China where revolutionary songs were previously prevalent.<ref>{{cite book |title= China's new voices: popular music, ethnicity, gender, and politics, 1978–1997 |author=Baranovitch, Nimrod |url=https://archive.org/details/chinasnewvoicesp00nimr |url-access= registration |publisher=University of California Press |year= 2003 |pages= [https://archive.org/details/chinasnewvoicesp00nimr/page/11 11]–13 |isbn=9780520936539 }}</ref> A common expression then was "By day, [[Deng Xiaoping]] rules China. But by night, Deng Lijun (Teresa Teng) rules".<ref name="Reed">{{cite book |author=Reed, Barbara Edith |author2=Davison, Gary Marvin |year=1998 |title=Culture and Customs of Taiwan. |publisher=Greenwood Press |page=80 |isbn= 0-313-30298-7 |url=https://books.google.com/books?id=G3lY-2OSNh8C&pg=PA80 }}</ref> The ban on Teng was lifted in 1986 and songs from Hong Kong and Taiwan, called ''[[gangtai]]'' music, became more popular within mainland China.
During the 1970s and early 1980s, a different generation of Taiwanese singers and/or songwriters such as [[Chyi Yu]], [[Hou Dejian]], and [[Luo Da You|Lo Ta-yu]] emerged, some of whom were influenced by folk rock and whose music may be termed [[School campus song (Chinese)|"campus folk music"]].<ref>{{cite book |url=https://books.google.com/books?id=z9JH64WtvXMC&pg=PA251 |title=East-West Identities: Globalization, Localization, and Hybridization |editor=Kwok B. Chan |editor2=Jan W. Walls |editor3=David Hayward |pages=251–253 |publisher= Brill |year=2007 |isbn= 978-9004151697}}</ref> One of the most successful songs of the era was Lo Ta-yu's 1985 song "[[Tomorrow Will Be Better]]", which was inspired by the American song "[[We Are the World]]" and originally performed by 60 singers.<ref name="ch1" /><ref name="Lo">Lotayu.org. "[http://lotayu.org/modules/news/article.php?storyid=261 Lotayu.org] {{Webarchive|url=https://web.archive.org/web/20090224043036/http://lotayu.org/modules/news/article.php?storyid=261 |date=24 February 2009 }}." ''歷史報道 : 《明天會更好》幕後.'' Retrieved on 6 January 2009.</ref> It quickly became a hit throughout Chinese in Asia. Another song soon followed in 1986 in mainland China called "Let the World be filled with Love" (讓世界充滿愛).<ref name="ch1">China.org.cn. "[http://www.china.org.cn/china/reform-opening-up/2008-12/08/content_16913666_3.htm China.org.cn]." ''Chinese pop music since the 1980s p3.'' Retrieved on 5 January 2009.</ref> Hou Dejian's song "[[Descendants of the Dragon (song)|Descendants of the Dragon]]" (龍的傳人) also became an anthem for the period.  Unlike previous eras dominated by female singers, male singers became popular. Other popular male singers included [[Liu Wen-cheng]], [[Johnny Yin]] and [[Dave Wong]]. Wong released his debut album A Game A Dream (一場遊戲一場夢), which sold over 700,000-copies in three months in December 1987.<ref>{{Cite web |date=2021-12-14 |title=他撿別人挑剩的歌 卻紅遍整個亞洲 |url=https://tw.news.yahoo.com/%E4%BB%96%E6%92%BF%E5%88%A5%E4%BA%BA%E6%8C%91%E5%89%A9%E7%9A%84%E6%AD%8C-%E5%8D%BB%E7%B4%85%E9%81%8D%E6%95%B4%E5%80%8B%E4%BA%9E%E6%B4%B2-140503104.html |access-date=2024-01-04 |website=Yahoo News |language=zh-Hant-TW}}</ref>
By around 1980, the term Mandopop began to be used for the Chinese popular music that had emerged in this period,<ref name="moskowitz"/> and by the mid-1980s, Taiwan's booming music industry was the source of around 90% of Mandopop sold in Southeast Asia.<ref>{{cite magazine |date=October 20, 1984 |last=Ebert |first=Hans |title=Taiwan Seen Making Pop Progress |magazine=[[Billboard (magazine)|Billboard]] |volume=96 |issue=42 |page=65 |url=https://books.google.com/books?id=liQEAAAAMBAJ&pg=PA65 |via=[[Google Books]] |access-date=July 5, 2024 |archive-url=https://web.archive.org/web/20230422145220/https://books.google.com/books?id=liQEAAAAMBAJ&printsec=frontcover#v=onepage&q&f=false |archive-date=April 22, 2023 |url-status=live }}</ref>
In South East Asia, popular local stars from the late 60s to the 80s included Sakura Teng (樱花), Chang Siao Ying (張小英) and Lena Lim (林竹君) from Singapore, and Wong Shiau Chuen (黃曉君) and Lee Yee (李逸) from Malaysia.<ref name="lockard">{{cite book |url= https://archive.org/details/danceoflifepopul00lock_0 |url-access= registration |title=Dance of Life: Popular Music and Politics in Southeast Asia |author= Craig A. Lockard |pages=[https://archive.org/details/danceoflifepopul00lock_0/page/227 227] |publisher = University of Hawai'i Press |year= 1998 |isbn=978-0824819187 }}</ref> Some such as Lena Lim achieved some success outside the region, and the local labels also signed singers from outside the region such as Long Piao-Piao (龍飄飄) from Taiwan. The recording industry in Singapore in particular thrived. In 1979, [[Singapore]] launched the [[Speak Mandarin Campaign]] to promote the use of Mandarin over the range of Chinese dialects spoken by various segments of the ethnic-Chinese population. Mandarin songs, already a strong presence on radio stations and on television, further eroded the popularity of Hokkien and Cantonese songs in the media.<ref>Welch, Anthony R. Freebody, Peter. Knowledge, Culture and Power. Routledge Publishing. {{ISBN|1-85000-833-7}}</ref> In the 1980s, a genre of Mandarin ballads called ''[[xinyao]]'' developed in Singapore by singers/songwriters such as [[Liang Wern Fook]].<ref name="garland">{{cite book |title=The Garland Handbook of Southeast Asian Music |editor=Terry Miller |editor2=Sean Williams |chapter=Singapore |author=Lee Tong Soon |publisher=Routledge |isbn=978-0415960755 |year=2008 }}</ref>
In mainland China, the music industry was freed from state restriction in 1978, and regional recording companies were established in [[Guangzhou]], Shanghai and Beijing in the 1980s with local singers.<ref name=history /> Pop music in China in this period was dominated by Mandopop songs from Taiwan and Cantopop from Hong Kong, however the 1980s saw the beginning of [[rock music in China]], with the emergence of singer-songwriters such as [[Cui Jian]], followed by others such as [[He Yong (rock musician)|He Yong]] and bands such as [[Tang Dynasty (band)|Tang Dynasty]] which became popular in the 1990s.<ref>{{cite book |url= https://books.google.com/books?id=YMT4U_abB6oC&pg=PA101|title=Culture and Customs of China |author= Richard Gunde |page=101 |publisher= Greenwood |year= 2001 |isbn=978-0313361180 }}</ref>
==== Beginning of Mandopop in mainland China ====
{{see also|Boluan Fanzheng|Reform and Opening}}
After the [[Chinese Cultural Revolution]] (1966–1976), ''Homeland Love (乡恋)'' performed by [[Li Guyi]] in 1980 is considered to be the first pop song created within [[mainland China]], which echoed [[humanism]] and the [[New Enlightenment (China)|New Enlightenment movement]] in the 1980s.<ref name=":1">{{Cite web |last=Chen |first=Nan |date=2019-09-30 |title=Everything to their names |url=https://www.chinadaily.com.cn/a/201909/30/WS5d91548fa310cf3e3556e3ed_3.html |url-status=live |archive-url=https://web.archive.org/web/20230925043355/https://www.chinadaily.com.cn/a/201909/30/WS5d91548fa310cf3e3556e3ed_3.html |archive-date=2023-09-25 |access-date=2024-10-05 |website=[[China Daily]]}}</ref><ref>{{Cite journal |last1=Pang |first1=Zhonghai |last2=Chu |first2=Liming |date=2020 |title=1980年代中国流行音乐歌词的主题生成及其"启蒙"逻辑 |trans-title=Themes of the lyrics of Chinese pop music in the 1980s and their logic of "Enlightenment" |url=https://www.cqvip.com/qk/81473x/202006/7103123123.html |journal=Journal of Northeast Normal University |issue=6 |via=CQVIP|language=zh|doi=10.16164/j.cnki.22-1062/c.2020.06.011}}</ref> The song was written by Ma Jinghua and Zhang Peiji, but was briefly banned by the Chinese authorities due to criticisms from some critics and audiences who labelled the song as "decadent music".<ref name=":0">{{Cite web |last=Nan |first=Chen |date=2018-10-15 |title=Celebrating a memorable song |url=https://www.chinadaily.com.cn/a/201810/15/WS5bc3dd4ca310eff3032823f3.html |access-date=2024-10-21 |website=[[China Daily]]}}</ref> In 1983, Li Guyi performed the song at the [[China Central Television]]'s first [[Spring Festival Gala]], when the ban was lifted and the song became widely popular in the Chinese society.<ref name=":1" /><ref name=":0" />
In 1986, [[Cui Jian]], known as the "Father of [[Chinese rock]]", debuted his rock song ''[[Nothing to My Name]]'' which is considered the birth of Chinese rock music.<ref name=":7">{{Cite web |date=June 3, 2005 |title=Cui Jian: Father of Chinese Rock 'N' Roll |url=https://international.ucla.edu/institute/article/11612 |url-status=live |archive-url=https://web.archive.org/web/20240105210716/https://international.ucla.edu/institute/article/11612 |archive-date=2024-01-05 |access-date=2024-10-04 |website=[[UCLA]]}}</ref><ref name=":6">{{Cite journal |last=Matusitz |first=Jonathan |date=February 2010 |title=Semiotics of Music: Analysis of Cui Jian's "Nothing to My Name," the Anthem for the Chinese Youths in the Post-Cultural Revolution Era |url=https://onlinelibrary.wiley.com/doi/10.1111/j.1540-5931.2010.00735.x |journal=The Journal of Popular Culture |language=en |volume=43 |issue=1 |pages=156–175 |doi=10.1111/j.1540-5931.2010.00735.x}}</ref><ref name=":17">{{Cite journal |last=Guo |first=Yongyu |date=1994 |title=狂欢、舞蹈、摇滚乐与社会无意识 |trans-title=Carnival, dance, rock music and social unconsciousness |url=http://www.personpsy.org/uploadfiles/file/gyydsz/狂欢舞蹈摇滚乐与社会无意识_郭永玉.pdf |journal=Personality and Social Psychology |language=zh |issue=4 |pages=34–39 |quote=美学家高尔泰认为摇滚乐承担起了“启蒙”这一歌手可能根本没有想到的也不愿意承担的时代使命： 也许摇滚乐是中国目前唯一可以胜任启蒙的艺术出式了。因为理论界的范围大狭窄，起不了大面积的启蒙影响，而音乐是一种特殊的语言，它能起到任何其他方式都达不到的作用。中国需要启蒙……}}</ref> ''Nothing to My Name'' later became the unofficial anthem of students who [[1989 Tiananmen Square protests and massacre|protested on Tiananmen Square]] in 1989, and is considered a symbol of the 1980s of China.<ref name=":6" /><ref>{{Cite web |date=2009-09-22 |title=一声呐喊　让乐坛不再一无所有 |trans-title=The soar that made the music world no longer empty |url=https://www.chinanews.com.cn/cul/news/2009/09-22/1878324.shtml |url-status=live |archive-url=https://web.archive.org/web/20240217225715/https://www.chinanews.com.cn/cul/news/2009/09-22/1878324.shtml |archive-date=2024-02-17 |access-date= |website=[[China News Service]] |publisher=[[Beijing Youth Daily]]}}</ref> According to aesthetician [[Gao Ertai]], Cui Jian and rock music may be the only form of art that could have an "enlightening" effect at the time, and China needed [[New Enlightenment (China)|Enlightenment]].<ref name=":17" /><ref>{{Cite web |date=2008-11-10 |title=崔健给了中国一种声音 |trans-title=Cui Jian gave China a type of voice |url=https://news.sina.com.cn/c/2008-11-10/162216624616.shtml |url-status=live |archive-url=https://web.archive.org/web/20240424220719/https://news.sina.com.cn/c/2008-11-10/162216624616.shtml |archive-date=2024-04-24 |access-date=2024-10-07 |website=[[Sina Corporation|Sina]] |publisher=[[The Beijing News]] |language=zh}}</ref>
===1990s===
A number of singers originally from mainland China such as [[Faye Wong]] and [[Na Ying]] began to record in Hong Kong and Taiwan.  Faye Wong, referred to in the media as the Diva, first recorded in Cantonese in Hong Kong, later recorded in Mandarin.  She was one of the few Chinese singers to perform in [[Nippon Budokan|Budokan]], Japan.<ref>[http://www.taipeitimes.com/News/feat/archives/2004/11/26/2003212668 Faye Wong is All Woman] [[Taipei Times]], 26 November 2004. Retrieved 4 December 2006.</ref><ref>[http://www.cq.xinhuanet.com/ent/2006-06/12/content_7235411.htm "Dai Si Cong: Faye's Success Continues to be Unparallelled"] {{Webarchive|url=https://web.archive.org/web/20081207081632/http://www.cq.xinhuanet.com/ent/2006-06/12/content_7235411.htm |date=7 December 2008 }} {{in lang|zh}}, [[Xinhua News]], 12 June 2006. Retrieved 28 March 2007.</ref>
During this period, many Cantopop singers from [[Hong Kong]] such as the "[[Four Heavenly Kings (Hong Kong)|Four Heavenly Kings]]" - [[Aaron Kwok]], [[Leon Lai]], [[Andy Lau]] and [[Jacky Cheung]] - also began to dominate Mandopop. Many Cantopop songs of the period were also sung in Mandarin by the same singers, say Faye Wong.<ref name="tianci" /> One of the best-selling Mandarin albums was the 1993 album ''[[The Goodbye Kiss (album)|The Goodbye Kiss]]'' by Jacky Cheung which sold over 1 million in Taiwan and 4 million in total Asia-wide.<ref>[http://news.xinmin.cn/rollnews/2009/06/07/2059644.html 金曲20年張學友魅力依舊 《吻別》成歌迷最愛]</ref><ref>{{cite web |url= http://ent.gg800.com/html/zixun/20070223/49.html |title=华语歌坛百名歌手销量统计（2006年版）|work= GG800.com |access-date= 1 May 2009 |archive-url=https://web.archive.org/web/20070705162657/http://ent.gg800.com/html/zixun/20070223/49.html |archive-date=5 July 2007}}</ref> Nonetheless, Taiwan has their own popular singers such as [[Stella Chang]], [[Sky Wu]], [[Wakin Chau]] (formerly Emil Chau) and [[Jeff Chang (singer)|Jeff Chang]]. Independent labels such as [[Rock Records]] began to establish themselves in this period as some of the most influential labels.  Towards the end of the 90s, other singers such as [[Leehom Wang]] and [[David Tao]] became popular, and some also began to perform in the [[R&B]] and/or [[hip-hop]] genres.
In the period from the mid-1990s to early 2000s, Shanghai and Beijing became centers of the music industry in mainland China, with Shanghai focusing on music record publishing and distribution, while Beijing focused on music recording.<ref name=history>{{cite web |url=http://musicbusinessresearch.wordpress.com/2012/12/29/a-brief-history-of-chinas-music-industry-part-3-the-recorded-music-industry-in-china-from-the-1950s-to-the-early-2000s/ |title=A brief history of china's music industry – part 3: the recorded music industry in china from the 1950s to the early 2000s |work=Music Business Research |author1=Peter Tschmuck |author2=John Fangjun Li |date=29 December 2012 }}</ref>
===2000s-2010s: Growth in Mainland China===
{{see also|Taiwanese Wave|Chinese idol}}
In Hong Kong, the Four Heavenly Kings faded in the 2000s, but many other new artists such as [[Nicholas Tse]] and [[Eason Chan]] came to the fore.
The 2000s also began with an explosion of pop idols, many of whom were from [[Taiwan]]. Mainland China also saw a rapid increase in the number of Mandopop singers, bands, and idol groups as pop music becomes increasingly mainstream by mid-2000s. The growing [[Cinema of China|Mainland film industry]] and [[Chinese television drama]] also increased demand for Mandopop. Since the 2000s, the emergence of [[indie rock]] in mainland China and Taiwan had exploded into a flourishing indie music scene in mainland China and Taiwan, adding various new diversities into Mandopop. Entry of popular Taiwan-based bands such as [[Mayday (Taiwanese band)|Mayday]] and [[Sodagreen]] while in mainland Chinese-based bands such as SuperVC and [[Milk Coffee]] had brought a new phase of rock fusion into Mandopop.
The music industry in Taiwan, however, began to suffer from music piracy in the digital age, and its revenue plummeted to $US95 million in 2005.  The primary revenue sources in Taiwan music industry shifted to advertising, concerts, KTV (karaoke) and movie. The dramatic decline of CD sales shifted the market in favour of mainland China.<ref name="Moskowitz">{{cite book |url=https://books.google.com/books?id=iKolvnUOHegC&pg=PA7 |title=Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations |author= Marc L. Moskowitz |publisher=University of Hawaii Press |pages=7–9 |year= 2009 |isbn=978-0824834227 }}</ref> While piracy was also severe in mainland China, the percentage of its digital sales is higher compared to most countries.<ref>{{cite web |url=http://www.ifpi.org/content/library/RIN-China-09.pdf |title=IFPI Recording Industry In Numbers 2009 – China |work=International Federation of the Phonographic Industry }}</ref> 2005 was known as 'The First Year of Digital Music' in China as its digital music sales of $US57 million overtook CDs in 2005,<ref>{{cite web |url=http://musicbusinessresearch.wordpress.com/2012/12/30/a-brief-history-of-chinas-music-industry-part-4-the-contemporary-digital-music-industry-in-china/ |title= A brief history of china's music industry – part 4: the contemporary digital music industry in china |author= John Fangjun Li |work=Music Business Research |date= 30 December 2012 }}</ref> and it also overtook Taiwan in term of the retail value of its music sales.<ref>{{cite book |url= https://books.google.com/books?id=iftKNy0fEWsC&pg=PA171 | title= China with a Cut: Globalisation, Urban Youth and Popular Music| author= Jeroen de Kloet |publisher=Amsterdam University Press |page=171 |year= 2010 |isbn=978-9089641625 }}</ref>
However, while mainland China became increasingly important in generating revenue, the pop music industry itself in mainland China was still relatively small in the decade of 2000s compared to Taiwan and Hong Kong as popstars from Taiwan and other overseas Chinese communities were still popular in mainland China.<ref name="Moskowitz"/> Mandopop singers such as [[Jay Chou]] were popular performing in the [[rhythm and blues]] and [[rap music]] genre, popularising a new fusion style of music known as [[zhongguofeng]]. Other successful singers included [[JJ Lin]], [[Eason Chan]], [[Mayday (Taiwanese band)|Mayday]], [[Stefanie Sun]], [[G.E.M.]] and [[Jolin Tsai]].
The burgeoning number of contests brought a new wave of idol genre to the Mandopop industry. Nationwide singing competitions in mainland China, such as the [[Super Girl (TV series)|Super Girl]], [[Super Boy (TV series)|Super Boy]], [[The Voice of China]], [[Chinese Idol]], and [[The X Factor: Zhongguo Zui Qiang Yin]], greatly boosted Mandopop's influence. Many contestants emerged as successful singers in Mainland China, such as [[Joker Xue]], [[Jane Zhang]], [[Li Yuchun]], [[Jason Zhang]], [[Shang Wenjie|Laure Shang Wenjie]], etc. The same phenomenon also occurred in Taiwan. From the show [[One Million Star]] and [[Super Idol (Taiwan TV series)|Super Idol]], new talented singers entered the Mandopop market, including [[Aska Yang]], [[Yoga Lin]], [[Lala Hsu]] and so on. In Taiwan, the new term "quality idol" (優質偶像) referred to artists who were good-looking, talented and highly educated, among them [[Wang Leehom]] and [[William Wei]].<ref>{{cite news|url=http://www.taipeitimes.com/News/feat/archives/2009/12/18/2003461245|title=MUSIC: Standing on the shoulders of idols|last=Huang|first=Andrew C.C.|date=18 December 2009|work=Taipei Times|pages=15|access-date=16 July 2011}}</ref>
There was increasing crossover appeal of Taiwanese [[bubblegum pop]] boybands and girl bands in the mainland Chinese scene, such as the very commercially successful acts like [[S.H.E]] and [[Fahrenheit (Taiwanese band)|Fahrenheit]]. Several new boybands and girl bands also have emerged in mainland China such as [[Top Combine]], [[TFBoys|TFBOYS]], [[Next (Chinese group)|NEXT]] and ''[[Idol Producer]]'' and ''[[Produce Camp 2021|Produce Camp]]'' boy and girl groups including [[Nine Percent]], [[Unine (band)|UNINE]], [[R1SE]], [[Into1|INTO1]], [[The9 (group)|THE9]] and [[Rocket Girls 101|Rocket Girls]].
=== 2020s ===
In early 2020s, [[Jay Chou]], [[JJ Lin]] and [[Eason Chan]], who had debuted for more than 20 years, continued to lead the Mandopop scene. They were ranked among the top three most-streamed Chinese artists on Spotify in 2023. <ref>{{Cite web |last=美通社 |date=2023-12-08 |title=2023 Spotify Wrapped: How the world listened to Mandopop this year |url=https://portal.sina.com.hk/finance/finance-prnewswire/prnasia/2023/12/08/661081/2023-spotify-wrapped-how-the-world-listened-to-mandopop-this-year/ |access-date=2024-01-06 |website=新浪香港 |language=en-US}}</ref> Jay's [[Greatest Works of Art]] was [[International Federation of the Phonographic Industry|IFPI]] Global Album Sales Chart No. 1 album in 2022.<ref>{{Cite web |date=2023-03-27 |title=Jay Chou, BTS, Stray Kids, SEVENTEEN, and more have the top-selling albums in the world in 2022 |url=https://www.bandwagon.asia/articles/jay-chou-bts-stray-kids-seventeen-top-selling-albums-in-the-world-ifpi-global-charts-2022 |access-date=2024-04-11 |website=Jay Chou, BTS, Stray Kids, SEVENTEEN, and more have the top-selling albums in the world in 2022 {{!}} Bandwagon {{!}} Music media championing and spotlighting music in Asia. |language=en}}</ref>
Short video platforms like [[DouYin]] gained popularity and had increasing impact on the music market. In November 2021, [[Eason Chan]] released a new Mandarin single “Lonely Warrior” (孤勇者）, which became super hit not only among the usual Mandopop fans, but also mega hit among the children, becoming an annual phenomenon in the Mandopop scene. Although Eason Chan did not make any appearance for promotion (except one online performance ten months after the release), this song still gained huge popularity in mainland China,  Taiwan and Malaysia etc. Some said short videos on App like DouYin helped boost the popularity to a large extent. There were numerous short videos using the song as background music, playing the song with various adaptations, and hand gestures dance etc. Children, in particular, were attached to these. The popularity spread from children to parents, gaining widespread attention. Short video platform had emerged as contemporary media for music promotion.<ref>{{Cite web |last=江巍 |title=Popular animation theme song inspires kids across nation |url=https://www.chinadaily.com.cn/a/202207/07/WS62c63ec5a310fd2b29e6aec2.html |access-date=2024-01-06 |website=www.chinadaily.com.cn}}</ref><ref>{{Cite web |title=Eason Chan's "Lonely Warrior" continues to dominate the charts and becomes an annual phenomenon in the Chinese music scene |url=https://inf.news/en/entertainment/ae55871ed035d0f5d84fb580743f9dd3.html |access-date=2024-01-06}}</ref>
==Characteristics==
{{more citations needed section|date=March 2019}}
===Instruments and setups===
[[Shidaiqu]] originated as a fusion of Chinese traditional music and European popular music, and therefore instruments from both genres were used from the very beginning of Mandopop.  Songs performed in the traditional style employed traditional Chinese instruments like the [[erhu]], [[pipa]], and [[sanxian]], such as in the recording of "[[The Wandering Songstress]]" (天涯歌女) by [[Zhou Xuan]], whereas more Western orchestral instruments such as trumpets, violins, and piano were used in songs like "Shanghai Nights" (夜上海), also by Zhou Xuan.  [[Big band]] and [[jazz]] instruments and orchestrations from the [[Swing music|swing era]] were common in the early years.  Chinese and Western instruments were also combined in some recordings.
In the 1960s, the [[electric guitar]] began to be used. Starting around the 1970s, [[electronic organ]]s/[[synthesizer]]s began to be heavily featured, which characterized the Mandopop music of the era.  Today's Mandopop arrangements are generally westernized, covering many musical styles, including [[R&B]], [[hip hop music|hip hop]], ballads, and [[Pop music|Pop]]. Mandopop switched from simple imitation to adjusting the melodies and lyrics creatively in short time. Some pop stars became famous because they were presented to meet the Chinese aesthetics standard and culture features.<ref>{{Cite book|title = Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations|last = Moskowitz|first = Marc L|publisher = University of Hawaii Press|year =  2010|pages = 6}}</ref> A few Chinese pop musicians—most notably [[Jay Chou]], [[Lin Jun Jie]], [[David Tao]], [[Leehom Wang]] —have experimented with fusing traditional [[Chinese instrument]]s with Western styles (such as hip hop beats and progressive rock) all over again in a new style known as [[China Wind music]] (''zhongguofeng''), influencing many Chinese singers worldwide.
==Industry==
{{more citations needed section|date=March 2019}}
===Labels===
Popular music [[record label]]s includes independent labels such as JVR Music, Linfair Records, B'In Music and subsidiaries of major labels such as Sony Music Taiwan, Universal Music Taiwan, Warner Music Taiwan. In the past few years, mainland labels such as EE-Media, Huayi Brothers, Taihe Rye Music, Show City Times, Idol Entertainment, and Tian Hao Entertainment have also emerged.
*Historical
** Shanghai: Pathé Records, Great Wall, New Moon, Greater China
** Hong Kong: Pathé Records/EMI, Phillips, Diamond Records
*Modern
** Mainland China: [[EE-Media]], [[Huayi Brothers]], [[Taihe Rye Music]], [[Show City Times]], Idol Entertainment, [[TH Entertainment]], [[Yuehua Entertainment]], Wajijiwa Entertainment
** Taiwan: [[Rock Records]], [[HIM International Music]], Linfair Records, [[Avex Taiwan]], [[B'in Music]]
** Hong Kong: [[Gold Typhoon]], [[Emperor Group]]
** Singapore: [[Ocean Butterflies International]], Hype Records
===Music distribution outside Asia===
Mandopop titles are also available outside of Asia. Chinese communities established in North America have made Mandopop music accessible through local businesses. In the United States, Canada and Australia they are easily found in many major urban areas, such as [[San Francisco Bay Area]], [[Los Angeles]], [[San Diego]], New York City, [[Vancouver]], [[Toronto]], [[Sydney]], and [[Melbourne]] {{Citation needed|date=April 2012}}.
===Charts===
The [[Global Chinese Pop Chart]] is a [[record chart]] organised since 2001 by 7 radio stations from Beijing, Shanghai, Guangdong, Hong Kong, Singapore, Taipei and Kuala Lumpur.
In [[Taiwan]], [[G-Music Chart]] (Chinese: 風雲榜 fēngyúnbǎng) is the most popular music ranking.<ref>{{citation|url=https://books.google.com/books?id=wZrbAAAAQBAJ&pg=PT166|title=The Global Music Industry: Three Perspectives|first1=Arthur|last1=Bernstein|first2=Naoki|last2=Sekine|first3=Dick|last3=Weissman|year=2013|publisher=[[Routledge]]|isbn=9781135922474}}</ref><ref>{{citation|url=https://books.google.com/books?id=iKolvnUOHegC&q=G-Music+Taiwan&pg=PA146|title=Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations|first=Marc L.|last=Moskowitz|year=2010|publisher=[[University of Hawaii Press]]|isbn=9780824833695}}</ref><ref>{{citation|url=https://books.google.com/books?id=TBgPIHbgaIUC&q=G-Music+Taiwan&pg=PA138|title=Globalization and the Regional Flow of Popular Music: The Role of the Korean Wave (Hanliu) in the Construction of Taiwanese Identities and Asian Values|year=2008|first=Sang-Yeon|last=Sung|isbn=9780549703242}}</ref><ref>{{cite news|url=http://english.kbs.co.kr/hallyu/entertainment_news_view.html?No=8333|title=FT Island's 4th Album Hits No. 1 on Taiwan's Weekly Music Chart|date=16 October 2012|publisher=[[Korean Broadcasting System]]|access-date=24 March 2014}}</ref><ref>{{cite news|url=http://www.taipeitimes.com/News/biz/archives/2012/06/24/2003536091|title=Asian stars go overseas to find fame|first=Amber|last=Wang|work=[[Taipei Times]]|date=24 June 2012|access-date=24 March 2014}}</ref><ref>{{cite news|url=http://stcommunities.straitstimes.com/music/2013/03/06/taiwan-indie-label-bin-music-goes-back-basics-good-material-live-shows|title=Taiwan indie label B'in Music goes back to basics: good material, live shows|work=[[The Straits Times]]|publisher=[[Singapore Press Holdings]]|date=6 March 2013|access-date=24 March 2014|archive-url=https://web.archive.org/web/20140324142209/http://stcommunities.straitstimes.com/music/2013/03/06/taiwan-indie-label-bin-music-goes-back-basics-good-material-live-shows|archive-date=24 March 2014|url-status=dead}}</ref> It was first officially published on 7 July 2005, and compiled the top physically sold CD releases in Taiwan (including both albums and physically released singles). Only the top 20 positions are published, and instead of sales, a percentage ranking is listed next to each release.
==Awards==
{{unreferenced section|date=March 2019}}
* Beijing Popular Music Awards (Mainland China)
* CCTV-MTV Music Awards (Mainland China)
* [[Chinese Music Awards]] (Mainland China)
* Four Stations Joint Music Awards (Hong Kong)
* [[Golden Melody Awards]] (Taiwan)
* [[Hito Music Awards|HITO Radio Music Awards]] (Taiwan)
* [[Jade Solid Gold Best Ten Music Awards Presentation|Jade Solid Gold Best Ten Music Awards]] (Hong Kong)
* M Music Awards (Mainland China)
* Metro Radio Mandarin Music Awards (Hong Kong)
* [[RTHK Top 10 Gold Songs Awards]] (Hong Kong)
* Singapore Hit Awards (Singapore)
* Freshmusic Awards (Singapore)
* [[Top Chinese Music Awards]] (Mainland China)
* Ultimate Song Chart Awards (Hong Kong)
* [[YinYueTai|V Chart Awards]] (Mainland China)
==Mandopop radio stations==
{{unreferenced section|date=March 2019}}
{|class="wikitable"
! width=20% | Station
! width=20% | Location
! width=50% | Frequencies and Platform
|-
| [[Kiss Radio Taiwan]] || Kaohsiung, Taiwan || 99.9 FM, 99.7 FM, 97.1 FM, 98.3 FM and Internet live streaming
|-
| [[Hit Fm Taiwan|Hit Fm]] || Taipei, Taiwan || 90.1 FM, 91.5 FM, 101.7 FM and Internet live streaming
|-
| [[China National Radio|CNR Music Radio]] || Nationwide, China || 90.0 FM (Beijing) and Internet live streaming
|-
| [[Beijing Music Radio]] || Beijing, China || 97.4 FM and Internet live streaming
|-
| [[Shenzhen Radio Station]] || Shenzhen, China || 97.1 FM and Internet live streaming
|-
| [[Shanghai Media Group]] || Shanghai, China || 101.7 FM and Internet live streaming
|-
| [[KAZN]] || Los Angeles, USA || Sometimes
|-
| [[KSFN (AM)|KSFN]] || San Francisco, USA || 1510 AM
|-
| [[KSJO]] || San Francisco, USA || 92.3 FM
|-
| [[KSQQ]] || San Francisco, USA || 96.1 FM
|-
| [[UFM100.3]]  || Singapore || 100.3 FM and Internet live streaming
|-
| [[YES 933]] || Singapore || 93.3 FM and Internet live streaming
|-
| [[883Jia]] || Singapore || 88.3 FM and Internet live streaming
|-
| [[My (radio station)|My]] || Malaysia || Frequencies vary according to location
|-
| Radio Cakrawala|| Jakarta, Indonesia || 98.3 FM
|-
| Radio Strato|| Surabaya, Indonesia || 101.9 FM
|-
| Radio Manila 99.9|| Manila, Philippines || 99.9 FM
|-
| [http://mandarinradio.com MandarinRadio.com] || || Internet live streaming (also available on [[iTunes]] Radio)
|-
|}
==See also==
{{div col|colwidth=30em}}
* [[Music of China]]
* [[Music of Taiwan]]
* [[Taiwanese Wave]]
* [[C-pop]]
* [[Chinese R&B]]
* [[French Mandopop]]
* [[J-pop]]
* [[K-pop]]
* [[Pinoy pop]]
* [[Hokkien pop|Taiwanese pop]]
* [[V-pop]]
* [[List of best-selling albums in Taiwan]]
* [[Chinese television drama]]
* [[Taiwanese drama]]
{{div col end}}
==References==
{{Reflist|colwidth=30em}}
==External links==
* [https://archive.today/20130102054539/http://www.chinahistoryforum.com/index.php?/topic/34461-taiwans-mandopop-music-empire Videos about Taiwan's Mandopop Music Empire]
* [http://introtomandopop.tumblr.com Introduction to Mandopop (Cpop) (Tumblr Blog)]
* [https://www.youtube.com/channel/UC1v2Nj78SGwYZ2XjDj1Yg_Q Official Pandeh Music (Cpop Music Channel)]
{{Pop music}}
[[Category:Mandopop| ]]
[[Category:C-pop]]
[[Category:Pop music genres]]
[[Category:Fusion music genres]]
[[Category:Taiwanese pop]]
[[Category:Music of Taiwan]]
[[Category:Music of China]]