Andrew F. Jones, professor and Louis B. Agassiz Chair in Chinese at the University of California, Berkeley, teaches modern Chinese literature and media culture. He is author of Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music, Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age, and Developmental Fairy Tales: Evolutionary Thinking and Modern Chinese Culture. He has also translated two books of fiction by Yu Hua, and a volume of literary essays by Eileen Chang.
How the Chinese pop of the 1960s participated in a global musical revolution
What did Mao’s China have to do with the music of youth revolt in the 1960s? And how did the mambo, the Beatles, and Bob Dylan sound on the front lines of the Cold War in Asia? In Circuit Listening, Andrew F. Jones listens in on the 1960s beyond the West, and suggests how transistor technology, decolonization, and the Green Revolution transformed the sound of music around the globe.
Focusing on the introduction of the transistor in revolutionary China and its Cold War counterpart in Taiwan, Circuit Listening reveals the hidden parallels between music as seemingly disparate as rock and roll and Maoist anthems. It offers groundbreaking studies of Mandarin diva Grace Chang and the Taiwanese folk troubadour Chen Da, examines how revolutionary aphorisms from the Little Red Book parallel the Beatles’ “Revolution,” uncovers how U.S. military installations came to serve as a conduit for the dissemination of Anglophone pop music into East Asia, and shows how consumer electronics helped the pop idol Teresa Teng bring the Maoist era to a close, remaking the contemporary Chinese soundscape forever.
Circuit Listening provides a multifaceted history of Chinese-language popular music and media at midcentury. It profiles a number of the most famous and best loved Chinese singers and cinematic icons, and places those figures in a larger geopolitical and technological context. Circuit Listening’s original research and far-reaching ideas make for an unprecedented look at the role Chinese music played in the ’60s pop musical revolution.
發表於2024-12-19
Circuit Listening 2024 pdf epub mobi 電子書 下載
圖書標籤: 海外中國研究 文化研究 音樂史 音樂 文化史 政治經濟學 kindle 聲音研究
當“高快硬響”的語錄歌不斷“徵引”,用聲音塑造社會主義主體,我們總是想象它是在一套封閉的媒介係統或巡迴綫路中發揮作用。實際上,它可能隻是一種比彼時西方流行的搖滾樂更為政治的形式。被牽扯進冷戰的地緣政治格局的颱灣,發展齣瞭發達的盜版工業,這使亞洲列島被縫補進瞭西方與日本的大都會文化和音樂“巡演”。標誌著兩岸對峙的心戰牆,傳送著宣傳聲音獨特的音色(Timbre),也將鄧麗君的靡靡之音引入我們的視野。收音機在大陸的快速普及,並未帶來真正的流動的藏私,相反,人們在傢裏偷聽走私而來的鄧麗君,牽動起身體的體驗。鄧被鑒為“黃色”的音色不是體現在歌詞,而是她歌聲裏傳達的“身體感”。在“聽”本身與技術特性密不可分的情況下,這種突破晶體管綫路的限製麵嚮並傳達民主之聲的聲音,雖然被禁但還是得以流傳開來。
評分當“高快硬響”的語錄歌不斷“徵引”,用聲音塑造社會主義主體,我們總是想象它是在一套封閉的媒介係統或巡迴綫路中發揮作用。實際上,它可能隻是一種比彼時西方流行的搖滾樂更為政治的形式。被牽扯進冷戰的地緣政治格局的颱灣,發展齣瞭發達的盜版工業,這使亞洲列島被縫補進瞭西方與日本的大都會文化和音樂“巡演”。標誌著兩岸對峙的心戰牆,傳送著宣傳聲音獨特的音色(Timbre),也將鄧麗君的靡靡之音引入我們的視野。收音機在大陸的快速普及,並未帶來真正的流動的藏私,相反,人們在傢裏偷聽走私而來的鄧麗君,牽動起身體的體驗。鄧被鑒為“黃色”的音色不是體現在歌詞,而是她歌聲裏傳達的“身體感”。在“聽”本身與技術特性密不可分的情況下,這種突破晶體管綫路的限製麵嚮並傳達民主之聲的聲音,雖然被禁但還是得以流傳開來。
評分是否存在一種1960s的音樂?討論冷戰格局下兩岸的音樂circuits- transnational paths along which migrants, media, and music flow within and across geographical borders. 主要看瞭內地音樂的部分(第二章和第六章)。第二章通過語錄歌寫毛時代的media infrastructure, radio, 很多內容Li Jie最新的文章提到瞭。第六章關於鄧麗君的寫得真好啊。“音色”(Timbre)作為一個network trace如何揭示the mediation of a technologized acoustic environment 和enbodiment的交織
評分當“高快硬響”的語錄歌不斷“徵引”,用聲音塑造社會主義主體,我們總是想象它是在一套封閉的媒介係統或巡迴綫路中發揮作用。實際上,它可能隻是一種比彼時西方流行的搖滾樂更為政治的形式。被牽扯進冷戰的地緣政治格局的颱灣,發展齣瞭發達的盜版工業,這使亞洲列島被縫補進瞭西方與日本的大都會文化和音樂“巡演”。標誌著兩岸對峙的心戰牆,傳送著宣傳聲音獨特的音色(Timbre),也將鄧麗君的靡靡之音引入我們的視野。收音機在大陸的快速普及,並未帶來真正的流動的藏私,相反,人們在傢裏偷聽走私而來的鄧麗君,牽動起身體的體驗。鄧被鑒為“黃色”的音色不是體現在歌詞,而是她歌聲裏傳達的“身體感”。在“聽”本身與技術特性密不可分的情況下,這種突破晶體管綫路的限製麵嚮並傳達民主之聲的聲音,雖然被禁但還是得以流傳開來。
評分是否存在一種1960s的音樂?討論冷戰格局下兩岸的音樂circuits- transnational paths along which migrants, media, and music flow within and across geographical borders. 主要看瞭內地音樂的部分(第二章和第六章)。第二章通過語錄歌寫毛時代的media infrastructure, radio, 很多內容Li Jie最新的文章提到瞭。第六章關於鄧麗君的寫得真好啊。“音色”(Timbre)作為一個network trace如何揭示the mediation of a technologized acoustic environment 和enbodiment的交織
Circuit Listening 2024 pdf epub mobi 電子書 下載