THE RISE AND DECLINE OF CANTO POP: A STUDY OF HONG KONG POPULAR MUSIC

(1949-1997)
(1949-1997)
WONG JUM SUM
Ph.D. THESIS
THE UNIVERSITY OF HONG KONG
2003

Abstract of thesis
THE RISE AND DECLINE OF CANTO POP: A STUDY OF HONG KONG POPULAR
MUSIC (1949-1997)
1949-1997
submitted by
WONG JUM SUM
for the degree of Doctor of Philosophy
at the University of HongKong
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 afterwards - ‘shidaiqu’ (mandarin 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 the government after 1949, and composers, 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 followed Anglo-American pop and enjoyed the songs of
Patti Page, Doris Day and Elvis 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 storm in the
late sixties with their sugary voices.

However, these imports lacked something vital: they did not express the true feelings of the
Hong Kong people. By the end of the 1960s, though, a true Hong Kong entertainment style
blossomed.

As TV sets spread to every home, drama series were the rage and their theme songs, now with
Cantonese lyrics, became instant hits. New composers and lyricists, the second generation of
the refugees from China, were more attuned to Hong Kong’s local values and sentiments.
Social conditions in general improved at the same time, with the economy rising rapidly and the
population in full employment. Pride was in the air, and well reflected by the Cantonese songs,
now labeled as ‘cantopop’ by Billboard. Superstars emerged as the music industry became a
major commercial enterprise in the late seventies. Roman Tam, Frances Yip, and their fellow
singers, together with mega-star Sam Hui, brought the industry to previously unimagined
heights. When the eighties arrived, Cantopop records were bought by audiences who did not
understand the dialect but loved the music. Hong Kong’s freedom of expression, well captured
by the songs, created for audiences on both sides of the China Strait a ‘psychological window’,
through which they could ‘feel’ the world outside.

But with rising demand for new songs, there soon appeared a shortage of creative talent in the
1990s. At the same time, both China and Taiwan have nurtured its own music industry and local
sounds gained popularity over Cantopop. Also, both places have opened up and freedom of
expression became less of a craving. In the short span of a few years, Hong Kong’s music
business dropped to one-third of its previous level in retail value.

Hong Kong Cantopop has lost its unique characteristics, and its future looks bleak. Hong Kong
music must rebuild its own strong identity before it can hope to regain its previous miraculous
influence.

1949 - 1997

(A)
(B)
1.
2.
(C)
(D)
(E)
(F)

1949 - 1959
(A)
(B)
(C)
1.
2.
3.
4.
5.
6.
(D)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
(E)

1960 - 1973
(A)
1.
2.
(a)
(b)
(c)
(d)
(e) LP
(f)
(g)
(h) Band
(i)
(j)
(k)
(B)
1.
2.
(C)

1974–1983
(A)
1.
2.
(B)
1.
(a) AABA
(b)
(c)
2.
(a)
(b)
(C)
1. DJ
(a)
(b) DJ
2.
(a)
(b)
(c)
(d)
3.
4.
(D)
1.
(a)
(b)
(c)
(d)
2.
(a)
(b)
(E)
1.
(a) Stereo
(b) Hi-Fi Walkman
2.
(a) C.A.S.H.
(b) I.F.P.I.
(F)
1.
(a)
(b)
(c)
2.
(a)
(b)
(c)
(G)
1.
2.
(a)
(b)
3.
4.
(a)
(b)
(c)
(H)

1984-1997
(A)
1. OK
2.
3.
4.
(B)
(C) ——
1.
2.
(D)
1.
(a)
(b)
2.
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(E)

(A)
(B)

(A)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.A-A-B-A
14.
15.
16.
17.
18.
19.
20.
21.
(B) –
(C) –
(D) –
(E)
(F)

(A)

90
(1) 1991
“ ” “ ”
(2)

1953

97 “
” “ ” 1997
 (1) 1980

(2) 1995

1.“ ”

Raymond Williams “ ” popular

“ ” “ ”
“ ”
(3) “ ” “ ”

2.“ ”

“ ”

(i)
(ii)
(iii)
(iv)
(v)

(4)

(3) C.Lee Harrington Denise D.Bielby Popular Culture-Productionand

Consumption Malden Oxford: Blackwell Publishers, 2000 2

(4) 1992 2-3

(5)
 PhilipTagg (6)

(7) “ ”
“
”(8)

“ ” (9)

(5) 1980 50
(6)Tagg, Philip, “The Institutionalisation of Popular Music Studies: Progressor Falsification”
(The Rayson Huang Lecture, University of Hong Kong, March 2003).
(7)Matthews, Denis,“Beethoven”(London: J.M. Dent & Sons,1987)p.30.
(8) 1980 50
(9) 8 51

1998 “ ” mass communication

and society 2000 “ ” Popular Culture

“ ”

E
 (1) 1949-1959
(2) 1960-1973
(3) 1974-1983
(4) 1984-1997

1949 “ ”
“ ” “ ”
“ ” “ ” “ ”
1960 1973 “ ” “ ”

1974
1983 “ ” “ ”

1984
“ ” “ ”
“ ”

1997

1998

1949 1997 48 “ ”
“ ”

F “ ”

“ ” Frankfurt School
Theodor W.Adorno 1941 “On Popular Music” (10)

”(11)

“ 《 ” “ ” critical school
 “ ” KarlMarx
Herbert Marcuse
Max Harkheimer “ ” Culture Industry
loss of autonomy
“ ” false consciousness “ ”
elitism 1944 Lazarfeld, Berelson Gardet
“The People’s Choice” “ ” 1955
“Personal Influence”
“ ” opinion leaders
70 Stuart Hall
“ ” Birmingham School
audience
site of ideological struggle
dominant ideology (12)
Antonio Gramsci “ ” hegemony
Hebdige subculture

“ ”
“ ”
“ ”

(10)Adorno. Theodor W( with the assistance of George Simpson)“On Popular Music”,

1 Frith. Simon & Goodwin. Andrew “On Record”(New York: Pantheon Books, 1990)
301-314
(11)
1995 121
(12) 1970-2000
2001 74-85

1949 - 1959

(1) “ ”
“
”

(2)
(3)
 “ ”
(4)

“ ” “ ”(5)

(6) 1949
“ ” 1949
(7)
“ ”

“8 11
”(8)

“ ”
“ ”
“
”1935 “
”(9)
 “ ” 1949
9 21 30 “
”(10)
“ ” “ ”
“
”

“ ”
“ ” “ ” “ ”

“
”(11)

“ ” “
” (12)

“ ” “ ”

1949 “
” “ ”

(1) “ ” 1950 24
(2) “ ”
1986 54
(3)

2000 99
(4) —— 1989 3
(5) “ ” 1988 96
(6) “ ” 1992 355
(7) 1995 329-330
(8) 330
(9) 1995 1212
(10) 1991
5
(11) 1998 191-203
(12) 191-203
 B

“ ‘
’
”(13)

(14)

(15) (16)

(17)

(18)

“ ” (19)
1927 1929 1929
“ ”

“ ” “ ”
(20)

(21)

——
“
”
《
“ ”(22)

1929 “ ”

“ (23)” “ ” “ ” “ ”(24)
 “ ”(25)

“ ” 2/4

(introduction) (Riff)
(26)
“ ” “ ”
“ ” “ ” (27)

“ ”

“ ”(28)
“ ” 》

1949

(13) 1999 14
(14) 《 1976 147 172 201
(15) Mario Paci

1998 117 27
(16)

2001 14
(17) 2002 353
(18) 》 1930 - 1970 2000 4

(19) — 394
(20) 1998 204
(21) 8 208
(22) 354
(23) 355
(24) 20 208
(25) 20 208
(26) 2003

(27) (17) 355

(28) (17) 353
 C

“
‘ ’
《 (29)”
(30)

“ ”
George
Bernard Shaw Charlie Chaplin

“Paris of the East” (31)

“ ”

“ ”
“ ” “Jazz Mecca” of Asia (32)

(33)

(34)

“ ”

“ ” “ ”

“ ”
“ ”

“ ”
“ ”
“ ”
 “ ”
“ ” “ ”
(35)
“ ”
“ ”
“ ”

“ ” (36)
》

“ ”

(37) “ ”
“ ” “ ” “ ”
“ ” “ ”
(38)

(29) 700 1991 138-139

(30) 2001 7
(31) Andrew F. Jones, Yellow Music - Media Culture and Colonial Modernity in the Chinese
Jazz Age (Durham and London: Duke University Press, 2001), P.1.
(32) Buck Clayton, with Nancy Miller Elliot, “Buck Clayton’s Jazz World” (New York: Oxford
University Press, 1987) P.70.
(33) —
2002 396
(34) 397
(35) 1998 112
(36) 113-115
(37) (1944)
“

1985 155
“
”

(38) 1942
( )
1943
“ ”
1.

(39)

“ ”(Tin Pan Alley) (40)

Tommy Dorsey (Harry James) Benny Goodman
Artie Shaw (41)

“ ” “ ”

(42)

“ ”

(39) 》 1930-1970 2000 4

(40) 1999 30
(41) 1995 ) 675 “ ”
 “ ” “ ”
“ ”
1931

(42) 2001 11
75 15% 410
48% 25% 2% 《
1945 12.2
“ ”

2.

“ ”

( A-1)
“ ”“ ” “ ”

“ ” 23-24
“ ” “ ” “ ” “ ”

( A-2)
“ ” (43)

“ ”
“ ”

( A-3)
(44) “
”
“ ” “ ” “ ” “ ”
“ ” “ ”
“ ”(45) “ ” “ ”
2
 (46)
(47) (48)

“
…… ”(49)

“ ”

“
”
“ ”
(50)

Miss and gentleman(51)

“ ”(52)

(43) 1943 “ ”
(44) 1947
(45) 2002 171
(46) “ ”1934
(47) “ ”1937 」

(48)
(49) 1985 31
(50) 49 33
(51) “ Miss and gentleman
”
(52) “
”

4.

score
(102)
 Vic Cristobal Ray del Val

(103)

“ ” 〇

? Don Redman (104) ? Richard Hayman

(105) ? Nelson Riddle (106) ? Johnny Mandel (107) ?
Quincy Jones (108)

“ ”
(109) V. Cristobal

(110)

(102) “ ” Dr.Percy Scholes

“The Oxford Companion To Music” 1970 441“ ” Harmony

(103) 1967 195-197

(104) D.Redman 1931
? Fletcher Henderson ? Benny
Goodman 1935
(105) Richard Hayman Arthur
Fiedler Boston Pops Orchestra “ ”
Boston Pops “ ” Crossover
Music Hayman
(106) Nelson Riddle 1953 “ ”
Frank Sinatra “ ” “Young at Heart”
(107) Johnny Mandel Count Basie
(108) Quincy Jones
“Thriller”
(109) 1956 “ ” 1956 1956
1956 《 1957 1957 1957
1959
(110) Simon Broughton, Mark Ellingham, David Muddyman and Richard Trillo(ed.)“Word Music”
London: The Rough Guides, 1994 p.438-439.
(111) “ ”
(112) “Shanghai Modern: The Flowering of New Urban Culture in China, 1930-1945”
Cambridge, Mass: Harvard University Press, 1999 89

5.

“ ”(111)

(112)
Doris Day “Secret Love”
Bing Crosby “White Christmas”

Frank Sinatra Elvis Presley Marilyn Monroe

“River of No Return” Patti Page
“Tennessee Waltz” “Love is A Many
Splendored Thing” (113) “Sixteen Tons” (114)
“Rock Around The Clock” (115) “
” Cha Cha Cha “Cherry Pink and Apple Blossom White” (116)
 “ ”

(117)

“ ”

(118)

“ ” Party “ ”
“ ” Hit Songs (119)
“ ” “ ” “ ”
(120)

(113) 1955
William Holden Jennifer Jones

1990 69
(114) Country and Western Tennessee Ernie
Ford Minor Scale
“I owe my soul, to the company store”
(115) Bill Haley “Comets” 1954 “The Blackboard
Jungle” boogie woogie
Count Basie “Red Wagon” “
” Rock and Roll
(116) “ ” Cha Cha Cha
88
Cha Cha Cha

(117)
1995 72
(118) “ ” “ ”

(119) “ ”
(120) Ray Cordeiro 1987

6.

1955
“ ” 1959
“ ” “、 ”

“ ”
(121) “ ” (122)

331/3 “ ”
78

(121) 1954 “ ” 》 “
” 1956
》 2000
97- 121
(122) 1961 “ ‘ ’
” 1956 “ ”
“
” 1961 9 16

7.

“ ”
“
”

“ ”(123)
“ ” “ ” “ ”

“ ”
“‘ ’
”(124) “
”
“ ” (125)
(126) “ ” (127) (128)
(129) (130) (131)

“
”(132)

(123) 1950-1974 2000 41-42

(124) 1990 2
74-77
(125) “ ”
2
(126) 1997
3
(127) Colonel Bogey Kenneth J.Alford
“The Bridge on The River Kwai”
“ ” “ ” “ ”
(128)

(129)
(130) “ ”
(131) “ ”

(132) 1991 1 16 “ ”

8.

“ ”

“ ”(133) “ ”(134) “
”(135) “ ”

(133) “ ” Platters “ ”

(134) “ ” Vic Cristobal “ ”

(135) “ ”

9.

“
” “ ” “ ”
“ ”“ ”
331/3

“ ”

“Mambo Italiano” “River

of No Return” Jambalaya “Seven Lonely Days”
“ ” “ ”

1951 “ ”
? Frankie
Lane (136) (137) 1959
( A-4) The Ding Dong Song (138)
“ ” Capitol

“ ”

“ ” “ ”
〇
“ ”

(136) Wilfrid Thomas Chris Langdon Paul Weston Norman

Lubolf 39367
(137) 》 1930 - 1970 2000 168
(138) Decca 45 45-F11192 Tsai Chin
? Lionel Bart
—
1989 109
10.

(139)
Patti Page “
”

“ ”

(140)

(139)

(140) 》

“ ”
(141)

1950

“ ”
(142)

1959
 “ ” 1957
“ ” “
” 1959

(141)
“ ”
“ ” “ ”
(142)

1963 - 1973

“ ”
〇 (1) “ ”
(2)

“ ” (3)

〇 1959
4,689 (4)

(1)
1955 80
(2) 1 68
(3) “ ”
“ ”
(4) 1995 223
1.

“ ”

“ ” “
”(5)

“ ”
“ ”

(5) 1990 2
74

2.

(a) “ ” “ ”

1959

“ ” “ ”

“ ” 《

“ 〇 ”

“ ” “ ” 〇 “ ”
“ ”
“ ”
“ ” “ ”
“ ”
1959 (6) 1960 (7) 1968
(8) aria
?
Bizet Carmen

“ ”

1959 “ ” NBC
? Dinah Shore “
” (9)

(10)

“ ”
1961 1962

1954 “ ” 《 (11)
《
(12) (13)

1960 “ ” (14) 《 (15)

“ ”(16)
 “ ” “
” “ ” “ ”(17)
(18) “ ”
“ ”(19)

《 “ ”
“ ”

1963 “ ” (20) 1954 “

” 《 “ ”

Berry Yaneza
“ ”

“ ” (21)

(22)
(23) 《

(6)
“ ” “ ”
(7) “Carmen”

(8)
(9) “ ” 1956-59 “ ”
“ ” “Love You More Than I Can Say”
Ed Sullivan Show
》 188-189
(10)
“
‘ ’ ‘ ’ ‘
’ ” 《

(11)

(12) 1955
(13) “ ”“ ”
 “ ”
(14) 1958
(15) 1959
(16) 2002 137
(17) “ ”
“ ”
(18) 1985 1-11
(19) 16 111-112
(20)
(21) “ ” “
……
” “
” 》 198
(22) 《
(23) 1960

(b) “ ”

“ ” “ ” 1959 57

1959 Transistor Radio

(24)

“ ”
(25) “ ”
“ ”
“ ”

“ ”
(26)

“ ” Lucky Strike
“Fresh From The USA”
“ ” “ ”
 “ ”
“ ” “ ”

( A-5)
Capstan ( A-6) Smarties
Pan Am

“ ”
“ ”

“ ” “ ” “ ”

“ ” “ ” “F” “ ” “O” “NG”

“ ” “ ” “ ”

microphone
“FONG”

Ornament 4
“ ” “ ” “ ”
“ ”“ ”
70

“ ”

“ ”

(24) 》 1989
163
(25)
(26) “ ”
“ ”

(c) “ ”
1957 “ ” Rediffusion
“ ” “ ”
(27)

“ ”
60
1960 1969 13.6% 1969
4,757 developing countries

1963
1 4 、
“
”

“ ”
“Perry Como Show” “Dean Martin Show”(28)
“ ”
(29)

“ ”

(27) 1988 98
(28) Perry Como Dean Martin Bing
Crosby ? ? Jerry Lewis

“That’s Amore”
(29) “ ” Ollie Defino

(d)

“
(30)

‘ 〇 ’ ”(31)
 (32)
sight
reading

(30) “ ” “ ”
(31) 1950-1974 2000 61
1991 Top
(32) “ ” Savoy Night Club
Morris Wu “ ” Golden Phoenix

(e) LP

331/3 Long-Play Records

“ ”
“
” “ ” “ ”
(33)

Back Catalogue
“ ”
“
”

(33) 》 2000 132

(f)

“ ”
“ ” “Mashed Potato” “ ” “Agogo”
“ ” “Twist”
“ ”

old establishment
《 “ ”
 “ ”

(34)

“ ” (35)

( A-7)
“ ” “ ”
Sol La

“ ”

“ ” (36) “ ”
(
A-8) 1967“ ” TVB

“ ”

“ ”

(37)

(34)
(35) “ ” “ ”

(36) 》 2000 164

(37)
1995 162
(38) 1995
63

(g)

60
 (38)

“ ”

“ ” (39)

(40)
“ ” (41)

“ 「 ”

( A-9)
(42) “ ”

(39) “ ” 1991 12 27
2000 68
(40) 39 70
(41)
“ ”
(42)
“ ”

(h) BAND

“ ” “The Beatles”
“ ”
guitar 1964 “ ”
Pat Boone
“ ”“ ”
“ ”“
 ”(43)

“ ” “
”“ ”“
”(44)

“ ”

D’Topnotes, Blue Star Sisters, Reynettes, Dandan Brothers, Danny Diaz and The Checkmates
“ ” “ ”
“The Lotus” “The Menace” Joe Junior “Side Effects” Teddy Robin
“Playboys” “The Mystics” “The Zoundcrackers” “The Continentals” “The Powder Puffs”
“ ” The Scene “ 、” Latin Quarters “ ” Bayside
“ ” Golden Crown “ ” The Firecracker
(45)

“ ” Diamond (46) 45
“ ”Stereo

“ ”

disc
jockey
(47) (48) Romeo Diaz
Danny Diaz and the Checkmates
(49)

Ray Cordeiro
(50)

(43) 2000 64
(44) 2002 23
(45) D’Topnotes Christine Samson Lobing Samson
Michael
(46) “ ” “ ” Polygram Records
(47) Norman Cheng “ ”
Billboard “ ” EMI
(48) Ricky Fung “ ” “ ” EMI “
” IFPI “ ”
(49) Romeo Diaz “ ” EMI
1987
1990 1991 “ ” Musicad
“ ”“
” “ ” Clio Award
(50) Ray Cordeiro Uncle Ray
1949 “ ” “ ” 1964 BBC
70 “All The Way With Ray”

(i)

“ ” “ ”
“ ” “ ” “ ” “ ”
“ ”
(51)

“ ” Star “ ”
“Talent Quest”“ ”“ ” (52) Teresa
Carpio Rowena Cortes

(51) 1994 29
(52) “ ” “ ” “ ”
“ ” “ ”
“ ”

(j)

“ ”
“ ”
“ ”
 “ ”
“ ”

1966 1967

(k) “ ”

1967 “ ”

1968
1969 “ ”

(53) “ ”

(54)

“ ” “ ”

(55) “ ”
(56)
60

( A-20) ( A-21)
“ ”

“ ”

(53) 1988 “
” 2000
82
(54) 2000 243
(55)

(56) “
” “
 ”

60 62 《
“ ”(57) “
”(58)

(59)

(57) “ ” “ ”

(58) “ ” “ ” “ ” “
”
(59)
1995 73

1.

60
60 “ ”
“ ”“ ” “ ”“ ”
(60)

(60) 《
 “ ” (61) minor key

60
Rock and Roll
distortion reverb
tremolo
“ ”

(
A-10)
“
”

( A-11)
“
”
“ ”

(62)

“ ”
(63) “ ”
》 (64) “ ”

(61) 1979 112

(62) 》 2000 233-235
(63) 1970 “ ”
“ ”

(64) 1969 “ ” 》
“ ”

2.
 “ ” Jet Set

…… (65) ……
……
……

”(66)

70

“
”(67)

《
“ ” (68) 70

(65) “Ulysses” 1922 “ ”

(66) 1977 60-61

(67) “ ”1991 1 18 1950-1974
228
(68) “ ” “ ”

(69) Benjamin K. P. Leung “Social Inequality and Insurgency in Hong Kong”, Leung,
Benjamin K. P. & Wong, Teresa Y. C.(ed.)“25 Years of Social and Economic Development in
Hong Kong”(Hong Kong: Centre of Asian Studies, HKU, 1994), p.191

C
 1962

(69) 1966 “ ”
1967 “ ”

1974 - 1983

1974 “ ”
(1)

“ ”

(1)

(2) “ 〇
”
60 70 (3)
(2) 1970-2000 2001
92
(3) “ ” “ ” 1985-1995
1998 5

1.

“ ” “ ” (4)

(4) 3 6

2.

60
(5) 1972 《 1973

“ ” “ ” “ ”“ ”
“ ”

“ ”
(6)

(5) Benjamin K. P. Leung “

” Benjamin K. P. Leung, “Social Inequality and Insurgency in Hong Kong”,
Benjamin K. P. Leung and Teresa Y. C. Wong. Ed: 25 years of Social and Economic
Development
in Hong Kong (HK: Centre of Asian Studies, 1994) , P.191-192
(6) 1970-2000
2001 90-92

B
1.

70

”(7)

70

(8)
“ ”
“ ” Coca Cola “ ” Fanta
“ 《” Mountain Cream

( A-12) “ ” “ ” “
”

(7)
2000 820
(8) “ ” 1973 1969

(a) AABA

30 AABA (9) AABA

A “ ” Verse B “ ” Chorus
A AABA
32 Bars
“ ”
“ ”( A-13)

Standardization “ ” Frankfurt School

culture
industry autonomy
1 “ ” Theodor W. Adorno 1903-1969
1941 ian (10)
1 structure
2 details 3 types
 “ ” chorus “ ” “ ” serious
music

individuality pseudoindividualization false

consciousness 1

(11) J. Fiske
“ ‘ ’
(12)”

“ ”
“
” a b b a a b b a Sestet
William Shakespeare
William Wordsworth John Milton
1 1939
“How To Write and Sell a Song Hit” Abner Silver Robert Bruce

”(13)

AABA

(9) Beatles “Yesterday” “Hey, Jude” Billy Joel “Shameless” Whitney Houston “Saving
all my love for you” Bruce Springsteen “Streets of Philadelphia” Stevie Wonder “You
Are The Sunshine Of My Life” AABA

(10) Simon Frith Andrew Goodwin “On Record” New York: Pantheon Books, 1990 ,
p.301-314
(11) Brian Longhurst: “Popular Music and Society” Cambridge, UK: Polity Press, 1995 p.3–
14
(12) 11 21
(13) Theodor W. Adorno with the assistance of George Simpson “On Popular Music”.
1. Simon Frith Andrew Goodwin “On Record” New York : Pantheon Books,
1990 , 314

(b)

Berklee

A1 A2
pentatonic scale B “ ”
FA SHARP #4 F
“ ” “ ”

“ ” Total Sound

(c)

“ ” “ ”“
” “
” “ ”

Simon Frith “
”(14)

(14) Simon Frith 1993

318

2.

(a)

“ ”
“ ” “
(15)”

“ ” “ ” “ ”
“
” 〇 (16)
 “
(17) ”
“ ” “ (18) ” “ ”

“ ” (19)
1928 “ ” “ ”
“
(20)”

“ ” “ ” “

(21)” “ ”
( A-14) “ ”
“ ” 4 “ ” 3 2 i “ ”
3 “ ” “ ” 1 “ ” “ ” “
”
60 ( A-15) “ ” “ ”

“ ” (22)

“ ”

“ ” “ ”

“ ”

“ ”
(15) 1962 3
(16) 1962 26-27
(17) 28
(18) 1981 194-195
(19) 1985 103
(20) 1950 13
(21) 20
(22) ? 1987 68

(b)

“ ”(23)

(23) 1997 “
” 13-14

(24)” 》
》 (25)
〇

(26) (27) (28)

(29) Raymond Williams
 “ ”

(24) 2000 7 19
(25) 24
(26) 1970
Bell-bottom
(27) “ ”
(28)
(29) “ ”
70

1.DJ

“ ” “ ”
“ ”

“ ”“ ”

70
“DJ” (30)

(30) DJ Disc Jockey Disc Jockey

“ ”

(a)

1974 “ ”
“DJ ”
“ ”DJ
Menace

(31) “ ”

(31) 1988 23

(b) DJ
 1975 》 》
(32)
DJ
“ ”
DJ “ DJ

”
DJ “ ”

DJ

DJ

(32) 》 1989 178

2.

J. Fiske “ (33)”
70

“
(34)”

1967 “ ”
“ ”
70
》

Raymond Williams
1 —— 2 ——
3 —— (35)

(33) J. Fiske “Television Culture” Routledge, 1987

1992 1
(34) 33 11
(35) 33 6

(a)

70 “ ”
1976
1978
“
” “ ” “ ”

(36)
(37)
1975 1978
“ ”

“ ” “ ” 1975 1978 “
”

“ ”
《

(36)
1970-2000 2001 121
(37) 1992 10

(b)

(38)
“

“ ”
 (39)

(38) “Enjoy Yourself Tonight”

(39) 1990 10

(c)

Billboard

“ ” “ ” “ ” “ ”

DJ

DJ (40) 1974 〇 “
”
1977 “ ” IFPI “ ” “
” “ ” 15,000 30,000
“ ” 1980 “ ” 25,000 “
” 50,000
“ ” 1979 “ ”

(40) Tyler Cowen: “In Praise of Commercial Culture”(Cambridge, Massachusetts: Harvard

University Press, 2000) p.166–168.

(d)

“
” “ ” “ ” “ ”
“ ”

“
” “ ” “ ”
 “ ”(41)
“
(42)”
80

(41) 39 137-38
(42) 1990 2 77

3.

60 70

“ ”
(43)
“ ”
(44) “ ”
1974

“ ” “The Wynners” “ ”

(43) 1970-2000
2001 92
(44) 1971 “Laugh-In”

4.

Roy Shuker “
(45) ” “
(46) ”
 D. Weinstein 〇 “Heavy Metal: A
Cultural Sociology”(47) “
(48)” (49)
(50)
70
1973 74 75 76 77 78
“ ” (51)
“ ” “ ” 80 1982
“
” 80 222 6 (52) 1983
“ ” 1983 5
60 180 (53)

“ ”(54)

(45) Roy Shuker “Understanding Popular Music” London: Routledge, 1994 p.

207
(46) 205
(47) D.Weinstein “Heavy Metal: A Cultural Sociology” New York: Lexington, 1991
213
(48) 47
(49) 48 “ 〇” Heavy Metal

(50) 48 band
(51) 1976 77 4
(52) 1990 104
(53) 52
(54) “ ” “ ” Hong Kong Coliseum

“
(71) ”
 1977 81 50
(72) 70
80

(71) ——
2002 46
(72) 71 61

1.

(a) Stereo

70 80
60 total sound

Bass “ ” Rhythm Section

Rock Rock ‘N’ Roll

Downbeat

arrangement by group (73)

multi-track recording
noise distortion

master tape

70
high-fidelity
stereo sound

(73) Milton Okun “The Sixties: Song and Sound” New York: Times Books, 1970 , p.8-9.

(b) Hi-fi Walkman

“70 (74) ”
 hi-fi

“ ” stereo (75) 1979 “ ” “

” Walkman (76)

(74)
1997 612
(75) 1998 70-75
(76) “From Walkman to IPod”by Tim Bajarin ABC News.com

2.

“ ” “ ” S. Frith
“
‘ ’ ‘A basket of rights’

(77) “ “ ” Intellectual Property

(77) S. Frith “The Industrialization of Popular Music” James Lull

“Popular Music and Communication” Newbury Park: Sage Publications, 1992 72

(a) C.A.S.H.

“ ”
(78) 1973
“ ”
1976 “
” Performing Rights Society “ ” Composers
and Authors Society of Hong Kong CASH CASH
CASH

CASH
(79) CASH

(78)
1999 429-430
(79) 78 441
(b) I.F.P.I.

1967 “ ” “
” International Federation of Phonographic Industry Hong Kong Group
1978

“ Milton
Friedman ”(80)
1974 1983

(80)
1998 110
F

1974 1983

“ ” 1969

(81)

“ ”

(81)

1.“ ”

70
(82)
Top hit
(83)
“ ”

1977 “ ”

CASH

(82) 1975 Hong Kong Annual Report 1975 1974 78

 260 1979
300
(83) 1976 129 1978 85 1977 1978
111
1997 604

(a)

60
70

70

Independent

Frith 70
(84)

70 80

“ 《 ”

74 83

(84) Simon Frith: “Industrialization of Popular Music” Lull “Popular Music and
Communication” 77 65

(b)

70 Vic Cristobal “ ”
60 Major and Minor Eugenio “Nonoy”
Ocampo 60 “ ” “ ”
Polygram “ ”
Voicing

6 “ ” 1983
 “ ” 70
(85)
C. Babida

70

“ ”(86)
Romy Diaz Andrew Tuason
Joey Villanvera Tony A. Tony Arevelo

(85)

(86) “ ” “ ” “ ” Champagne

(c)

1974 1983

(87)” “ ” “ ”

“ ”
“ ”
1977 “ ”
“ ” “
” 1982 “ ”(88)
“70 80 ”

1975
 “1975 1979

(89)” “ ” “ ”
“ ”“ ”“ ”“ ”“ ” “ ”“ ”
“ ” “
”

“ ” “ ” “ ”

“ ” “ ” “ ” “ ”
“ ”

“ ”

(87) ——70 90 1998

3
(88)
(89) 19

2.

(a)

70
“ ” “ ” “ ”(90)
——
70 1966 9,000
1975 5,300 (91)

1975 28

(92)

(90) 1993 90
(91) 1997
587
(92) 1976
1975
“ ”

(b)

“ ”
70 Bob
Dylan Joan Baez

“ ” 。

“ ”

(c)

1974-1983

“ ”

Rap
Talk

“ ’

……
 《

”(93)

Maria Corderio

“ ”
“ ”

》 1964 “ ”
(94) (95)
“ ” “ ” 1974
“ ” “ ” 1976 “ ”
“ ”
“ ” “
”
“ ” “ ”
1981 “ ” 1982
“ ” “ ” “ ”
IQ

“ ” Rags to Riches

(93) 1998 k
(94) “ ” 《
(95) 1970 “ ”

1974 1983

〇
(96)”
 (97)

(96) 1996 8 19
(97) Helen F. Siu: “Remade In Hong Kong: Weaving Into the Chinese Cultural Tapestry”, in Tao,
T. L. and D. Faure (eds) Unity and Diversity: “Local Cultures and Identities in China”, (Hong
Kong: Hong Kong University Press), p.177–196. 96

1.

“ ” “ —— ”
Matthew Turner “
‘ ’ ‘ ’ ‘ ’ ”(98)
“
” “
” “
(99)” “
(100)” “ ”

“ ”

(98) “ ” —— “ ”
1996 8 14
(99) 23
(100) 1998 3 23

2.

(a)

1980

”(101)
 ordinary

(102)

( A-17) 1977 AABC minor

key

□C “ ”
falsetto

“ ”

( A-18)
conga drums “ ” double time “ ”

“ ” A-B-AC

1977 1978
“〇 ”
“ ”

(101) 667 14

(102) 1961 Downbeat “ ”

Berklee 1981 Dick Grove

(b)

(103)” “ ”
 (104) (105)

“ ”(106)

1974 1983

“ ” “ ”
“ ” “ ” “ ”

“ ”“ ”
“ ”(107)

“ ” “ ”
“ ”
“
” “ ” “ ”“ ”

“
” “ ”
“ ”

(103) 1978 16
(104) 1998
(105) 2003
(106) 1983 “ ” ——70 90
1998 35
(107) Pearl S. Buck

3.

“ ” (108)

Cantopop
Billboard (109) “ ” Billboard

(108) “
” “ ” 112-115
(109) Dr. Joanna C. Y. Lee Cantopop
Billboard Hans Ebert 1974 Cantorock
“ ” The Lotus Pop
Rock Cantopop

4.

“ ”

“ ”
(120)

(121)
 Total Sound

(120) 1997
407
(121) 1986 174-175

(a)

“ ”
“
”
“ ” “ ”

(122) (123)
Simon Frith
(124) G. Herman and I. Hoare (125) “ ”

(122)
(123) “ 《
”
(124) Simon Frith 1993 318
(125) Herman, G. and Hoare, I. 1979 “The struggle for song: A Reply to Leon Rosselson”
Roy Shuker, “Understanding Popular Music” London: Routledge, 1994 p.17

(b)

“ ”
“ ” 70
80

(c)

“ ” “ ”
 1979 “ ” “ ”

“
” “ ”

“ ” (126)
“ ”

80 1984 “ ”

(126)

(127) “
”
1984 159

(127)

40
50 60
70
“ ”

“ ”
“ ”
80

1984 - 1997

A
80

(1)
(2)
83 18 89 129 15
135 (3)
OK

“
” narcissistic “ ”
“ ” “ ” laissez faire

(4)

(1) 1997
415
(2) “ ”
1990 105 “ ”
(3) 1994 1970-2000
2001 243
(4)
1995 73

1. OK

1987 (5)

Jacques Lacan Christopher Lasch

“ ” Culture of Narcissism (6) “
”
imaginary order symbolic order
“
(7) ”
“ ” “

”(8)

OK(9)
paradox
Lasch
“ ”

1987

1988 25 67
1985 1987
(10)
DJ
“ ”

OK OK

interactive
“ ” Frankfurt School

(5) “ ”
(6) ──
1970-2000 2001 223-226
(7) 6 225
(8) 6 227
(9) OK Karaoke Kara “ ” oke “ ”orchestra
Music-Minus-One MMO
(10) 1990 117

2.

“ ”
“ ” 1977 “
”
1997 CASH 700 377
625 (11)
“ ” “ ”

(11)
1999 447

3.

80 “ ”
“ ” “ 80
‘ ’ (12) ”

80

“ ”
80

Raidas “ ” “ ”
 Beyond
Chyna Blue Jeans
“ ”
“ ”

“ ” “ ”
(13)

(12) 348
(13) 80 》 ──
1984-1990 2000

4.

1984 “ ” “ ”
( A-19)
(14)
80
(15) “ ”

(16)
“ ” “ ”(17)
Monica
85

(18) (19)

“ ”

cover version 1986 8 “ ”

(20)
(14)

(15) 1982 6 “ ”
(16)“ ”
1990 132 “ ”
(17) 84
(18) 10 130-131
(19) 1994 247 55
(20) 》 ── 1993 “ ”
17-19

C ——

1.

1988 89 “ ”
“ ”

“ ” “
”(26) “ ” “ ”
“ ” 1988
(27)
? “ ” “ ”

“ ”
“ ”
“ ”
“ ”
“ ”

(26) 132 1989 11 1 44

(27) ? “ ” 2001 26
2.

1995 “ ”

95 96 “ ” “ ”

“ ”
1997

1997 7 1
“ ”

“
”

1.
(a)

1984
1984 1991
Chris Patten 1992
“ ” decolonization
“ ”(28)

1996
“
(29) ”
(30) “
”

“ ” “ ” “ ” (31)

“ ”

OK

“ ” IFPI 1995
1,700 1996 1,800

(32)

(28)
2002 17-18
(29) 1997 1997-1998 1997 2 27
[http://www.info.gov.hk/fb/bdgt97/chi/cprelude.htm].
(30) 28 18-19
(31)
1970-2000 2001 472-475
(32)
1995 167-168

(b)

70

90
 “ 《 ”

1992 40 “ ” “ ”
90 92
“ ”

“ ” “ ” (33) “ ”

“ ” “ ”
1993
300
(34) 60 (35)

91 “ ”
“ ”

(33) “ ” “ ”

(34) Jeff Yang, Dina Can, Terry Hong & The Staff of A. Magazine: “Eastern Standard Time - A
guide to Asian Influence on American Culture” (New York: Mariner Books, 1997), P.254-256.
(35) 34 256

2.

1997
1995
1998 9.16 1995

1995 17,003,800 18.53

1996 18,001,300 16.91
1997 15,000,000 13.53
1998 10,000,000 9.16
IFPI

1997

(a)

80

1992

1991 “ ”
1993 “ ” Sony WEA BMG
(36)
1997 (37)

(38)

(39)

(36)

(37) 2002
 2-3
(38) “ ” 1996
(39) 1994 12 “ ”
“ ”
1997 61
(b)

90

5,000
“ ”
Back Catalogue
(40)

(41)

90 CD
CD
1999 6 12 “ ”

CD

IFPI

(40) 1997 4 24 253 86

(41) 2000 1 2 “ ”
(c)

90 70
synthesiser MiniMoog
polyphonic drum machine 80
sequencer midi Musical
Instrument Digital Interface Midi

computer
(42)

(43)

“ ” Autotune out-of-tune
pitch-training
ear training

“ ” Music Video “ ”
“ ”
90

“
(44)” Allan Bloom The Closing Of the American Mind
music video “ ” spiritual masturbation

catchy gimmick 70 80

90 Top Hit
(45)

(42) David Sanjek, “Don’t Have to DJ No More: Sampling And the ‘Autonomous’ Creator”,
C. Lee Harrington Denise D. Bielby “Popular Culture – Production and Consumption”
(Malden and Oxford: Blackwell Publishers, 2000) P.244.
(43) Zwerin, Mike, “The Democratization of Music”, “International Herald Tribune”, 22 Dec.
1999, P.9.
(44) 2002 8 19 A8
(45) 2002 1 21

(d)
 1971 3.46 1981 1.93 1991
1.23 2.1 “ ” replacement
level 80 (46)
25 》 30 (47)
70 80 90

“
”(48)

90

98
“ ” “
(49)”

(46) ——
2002 52
(47) WEA
(48) “ ” 2002 7 15
(49) “ ” 1999 1 20

(e)

“Rap, Hip Hop, Euro Pop, Contemporary Rock, Heavy Metal, Techno

” (50)

“ ”
“ ”

90
(50)

(f)

“
(51)”
90 50 70
“
” “ ” “ ”
“ ‘
’ Gigi (52) ”
“ ”

1991 “ ” Marlboro
90 Marlboro Red
Hot Hits MTV

(51) 1999
374
(52) 1998 6 15

(g)

1997 1998
6 1995 18

“
 (53)”Music Nation
“ (54)” “ ” “
(55)”

90

90
“ ” (56) OK

promotion company

(53) 52
(54) 2002 8 19 A8
(55) 1997 4 24 86
(56)

“ ”

“ ”
 1953

“ ”2003 3 “ ”
“
(1)”

“ ”
“ ”

(1)

“ ”
 Herbert Gans
70 “ ” taste culture
(2)

“ ”

1978
“

(2)
1995 54-55

2
1939

1949

4
1959

5
60

6.
60

7.

1961
8

1964

1966

10

1970
11

12

1974
13 A-A-B-A

14

1920 1930

15

1969

16

1976
 ……

17

1977

18

1978
19

1984 “ ”

20

60
21

/
1967

( )
( )
( )
( )

( ) ammonia
( ) ( )
( )
( )
( )
( )

B -

1. 1991 700
2. 1977
3. 1981
4. 1995
5. 1995
6. 1997 1986–1996

7. 1994
8. 1981
9. 1975
10. 1985
11. 1999
12. 1998 ─70 90
13. 2000 》 ─ 1984 - 1990
14. 2001 ─ “ ”
15. 1983
16. 1992
17. 1995
18. 1989 》
19. 2000 2000
20. 1989 ─
21. 1996
22. 1996
23. 1993
24. 2001
25. 1995
26. 2001
27. 1997
28. 2001 1970-2000
29. 1995
30. 1997
31. 1995
32. 1991
33. 1993
34. 1950
35. 2000
36. 1984
37. 1990
38. 1995
39. 1977
40. 1996
41. 1962
42. 1994
43. 1992
44. 1996
45. 1998
46. 2002 ─
47. 2002
48. 1997

49. 1999
50. 1997
51. 《 1976
52. 1997
53. 1985
54. 1993
55. 1996
56. 1988
57. 1989
58. 1992
59. 1991
60. 1996
61. 1996
62. 1992
63. 2001 LMF
64. 1986
65. 1990 、
66. 1997
67. 1995
68. 1977
69. 1976
70. 2002 ─ .
71. 2002 ?
72. 2000
73. 1992
74. 1990
75. 2000 1950 - 1974
76. 2003
77. 2003
78. 1991
79. 1983
80. 1997
81. 1976
82. 1981
83. 1994
84. 1996
85. 1997
86. 1997
87. 2000
88. 1987
89. 2000 》 ─1930 1970
90. 1996
91. 1997
92. 1987
93.
94. 1993
95. 1998
96. 1996
97. 1986
98. 1988
99. 1990
100. 1992
101. 1989
102. 1990

103. 1992

104. 1997
105. 1998
106. 2001
107. 1988
108. 1988
109. 1996
110. 2002 ─
111. 1993
112. 1993
113. 1999
114. 1967
115. 1988
116. 1976
117. 1994 “ ”

118. 2000 ─ 1
119. 2002 ─
120. 1996
121. 1998 ─ 50’s –
80’s
122. 1993
123. 1988
124. 1982
125. 1997 TVB
126. 1995