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					       University of Puget Sound 普及灣大學
               Chinese 201 二年中文




Lesson Topic: Music       Group Oral assignment
music               y%ny]e
      音樂乐
song          g4(q})
      歌(曲)
Chinese music       g{oy]e
      國樂
Western music       x%y1ng %ny]e
      西洋音樂乐
classical           g}di2n
      古典
popular             li{x^ng
      流行
rock                y1og}n
      搖滾
country             xi`ngc[n
      鄉村
jazz                ju5sh*
      爵士
blues         l1ndi3n
      藍調蓝调
soul                l^ngh{n
      靈魂
gospel              z8ngji3o
      宗教
disco               d^s%k6
      迪斯可
electronica   di3nz& y%ny]e
      電子音樂
Latin         l`d%ng
      拉丁
heavy metal         zh-ng j%nsh}
      重金屬属
rap          r1osh5
      饒舌
folk song    m^ng4
      民歌
turntable    ch3ngp1n
      唱盤盘
hip hop      x%h`
      嬉哈
new age      x%n sh*j*
      新世紀纪
              To most people outside China, Chinese music falls into three broad categories:
              outdated "East is Red" style marches, classical music with exotic instruments
              and
              strange sounding vocals, or "banned in Beijing" hard rock with biting political
              lyrics.

              This last image remains the most pervasive. The biggest, best-known music star
              outside China is still Cui Jian, the symbolof the 1989 student
              demonstrations. His
              hard-edged, political lyrics mixed well with the metal and punk influences that
              typified the Beijing rock music scene. Cui Jian is still a big influence--he played
              to a huge crowd in New York's central park late summer 1999. And Tang
              Dynsasty,
              another big Chinese rock band of the1980s, is still playing (somewhere).

              But the old days of the Beijing rock scene are gone forever. In their place is a
              dynamic
              blend of new Chinese music that mirrors thecomplexities and contradictions of
              modern
              China.

              From clubby dance grooves, moody electronica, and garage-band thrash to
              melodious mandopop or old-style punk, music in China today is exploring and
              synthesizing sounds from all corners of China and the world. China Soundz
              at Sinomania! <http://www.sinomania.com/MUSIC/> is a brief introduction to
              China's
              music scene today.

Third Annual Graduate Student Conference on East Asia
                                      (March 2000)




                      Panel 5: Pop Culture
Malinda Lo, Harvard University

"The Localization of Rock Music in China"

Abstract: Since rock music made its debut in China in the mid-1980s, the development
of Beijing rock musicians has been followed with significant interest by the West, both
in print media and academia. Many scholars and critics have focused on the apparently
contradictory nature of rock music in China. As twenty-three year old Beijing punk
Liang Wei a.k.a. Peter said recently to an American journalist, "Rock is freedom." And
in China, where some freedoms are very limited, rock music is seen as a way to escape
the limitations of lie in a potentially-repressive nation. Thus, much attention has been
paid to the political undertones of Chinese rock music: its subversive lyrics; the non-
conformist attitudes of rock musicians; and the anti-establishment image in general.
These are important issues, and rock music in China is, indeed, a respite-for some-from
state regulation of culture. However, few scholars of Chinese rock music seem to have
recognized something so basic that perhaps it is simply assumed: rock music did not just
spontaneously burst into existence in China. It arrived through China’s Deng Xiaoping-
era Open Door and landed in the midst of fierce modernization and rapidly increasing
globalization. In this paper Lo will situate Chinese rock music in the continuum of the
discourse on globalization, particularly through an examination of the music and style
of Cobra, a rock band that has achieved a unique kind of recognition in China because all
of its members are women. It has been argued that globalization, which generally
implies Westernization, leads to cultural homogenization, but Lo argues that Chinese
rock musicians and fans have begun to utilize the form of Western rock music to serve
their own needs. As Arjun Appadurai utilized India as a "site" for the examination of
how locality emerges in a globalizing world and how global facts take local form" Lo
utilizes Chinese rock music as a site to examine this issue.

Malinda Lo is a second year student in the Regional Studies East Asia Program at Harvard
University. She earned her BA at Wellesley College. Her academic interests lie in modern
Chinese popular culture, globalization, and the Chinese Diaspora (particularly on the Internet).
Lo was born in China and moved to the U.S. when she was a child. Since then she has returned
to China to study Mandarin Chinese in Beijing. She has also studied at University College
London.
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