《粵語流行曲的發展與興衰 香港流行音樂研究 黄霑博士论文》.pdf.pdf

Title The rise and decline of cantopop : a study of Hong Kong popular music (1949-1997) = 粤語流行曲的發展與興衰: 香港流行音樂硏究(1949-1997) Author(s) Wong, Jum-sum, James; 黃湛森 Citation Issue Date 2003 URL http://hdl./10722/31835 Rights mons: Attribution Hong Kong License THE RISE AND DECLINE OF CANTOPOP : A STUDY OF HONG KONG POPULAR MUSIC ( 1949 - 1997 ) 粵語流行曲的發展與興衰 : 香港流行音樂研究( 1949 - 1997 ) WONG JUM SUM . THESIS THE UNIVERSITY OF HONG KONG 2003 Abstract of thesis THE RISE AND DECLINE OF CANTOPOP : A STUDY OF HONG KONG POPULAR MUSIC ( 1949 - 1997 ) 粵語流行曲的發展與興衰: 香港流行音樂研究 ( 1949 - 1997 ) submitted by WONG JUM SUM for the degree of Doctor of Philosophy at the University of Hong Kong in May 2003 Abstract This study examines the development of Hong Kong’s popular music. Cantonese opera and operatic excerpts were quite popular among the Hong Kong people before 1949. But a change came shortly afterwar ds - ‘shidaiqu’(m andarin contemporary songs) soon rose to dominance, ironically in a society where the population was mainly Cantonese people who were unfamiliar with mandarin. Shidaiqu began in Shanghai in the twenties. Western influences, such as jazz, helped shape their style. These songs, considered to be bourgeois, decadent and pornographic were banned by th e government after 1949, and co mposers, lyricists, as well as musicians emigrated to Hong Kong. Soon, Hong Kong, with a growing audience, became the center for shidaiqu and started to export its production to South-East Asia. Hong Kong’s youths, meanwhile, also fo llowed Anglo-American pop and enjoyed the songs of Patti Page, Doris Day and Elvi s Presley. In 1964, the Beatles came to perform and created a craze for local band formation, which later produced pop idol Sam Hui, who began singing English Rock ‘n’ Roll songs. Taiwanese singers too, started to take Hong Kong by st orm in the late sixties w ith their sugary voices. However, these imports lacked something vita l: t