THERISEANDDECLINEOFCANTOPOP:ASTUDYOFHONGKONGPOPULARMUSIC(1949-1997)粤语流行曲的发展与兴衰：香港流行音乐研究(1949-1997)WONGJUMSUM（注：黄霑原名黄湛森）Ph.D.THESISTHEUNIVERSITYOFHONGKONG2003AbstractofthesisTHERISEANDDECLINEOFCANTOPOP:ASTUDYOFHONGKONGPOPULARMUSIC(1949-1997)粤语流行曲的发展与兴衰：香港流行音乐研究（1949-1997）submittedbyWONGJUMSUMforthedegreeofDoctorofPhilosophyattheUniversityofHongKonginMay2003Abstract:ThisstudyexaminesthedevelopmentofHongKong’spopularmusic.CantoneseoperaandoperaticexcerptswerequitepopularamongtheHongKongpeoplebefore1949.Butachangecameshortlyafterwards-‘shidaiqu’(mandarincontemporarysongs)soonrosetodominance,ironicallyinasocietywherethepopulationwasmainlyCantonesepeoplewhowereunfamiliarwithmandarin.ShidaiqubeganinShanghaiinthetwenties.Westerninfluences,suchasjazz,helpedshapetheirstyle.Thesesongs,consideredtobebourgeois,decadentandpornographicwerebannedbythegovernmentafter1949,andcomposers,lyricists,aswellasmusiciansemigratedtoHongKong.Soon,HongKong,withagrowingaudience,becamethecenterforshidaiquandstartedtoexportitsproductiontoSouth-EastAsia.HongKong’syouths,meanwhile,alsofollowedAnglo-AmericanpopandenjoyedthesongsofPattiPage,DorisDayandElvisPresley.In1964,theBeatlescametoperformandcreatedacrazeforlocalbandformation,whichlaterproducedpopidolSamHui,whobegansingingEnglishRock‘n’Rollsongs.Taiwanesesingerstoo,startedtotakeHongKongbystorminthelatesixtieswiththeirsugaryvoices.However,theseimportslackedsomethingvital:theydidnotexpressthetruefeelingsoftheHongKongpeople.Bytheendofthe1960s,though,atrueHongKongentertainmentstyleblossomed.AsTVsetsspreadtoeveryhome,dramaseriesweretherageandtheirthemesongs,nowwithCantoneselyrics,becameinstanthits.Newcomposersandlyricists,thesecondgenerationoftherefugeesfromChina,weremoreattunedtoHongKong’slocalvaluesandsentiments.Socialconditionsingeneralimprovedatthesametime,withtheeconomyrisingrapidlyandthepopulationinfullemployment.Pridewasintheair,andwellreflectedbytheCantonesesongs,nowlabeledas‘cantopop’byBillboard.Superstarsemergedasthemusicindustrybecameamajorcommercialenterpriseinthelateseventies.RomanTam,FrancesYip,andtheirfellowsingers,togetherwithmega-starSamHui,broughttheindustrytopreviouslyunimaginedheights.Whentheeightiesarrived,Cantopoprecordswereboughtbyaudienceswhodidnotunderstandthedialectbutlovedthemusic.HongKong’sfreedomofexpression,wellcapturedbythesongs,createdforaudiencesonbothsidesoftheChinaStraita‘psychologicalwindow’,throughwhichtheycould‘feel’theworldoutside.Butwithrisingdemandfornewsongs,theresoonappearedashortageofcreativetalentinthe1990s.Atthesametime,bothChinaandTaiwanhavenurtureditsownmusicindustryandlocalsoundsgainedpopularityoverCantopop.Also,bothplaceshaveopenedupandfreedomofexpressionbecamelessofacraving.Intheshortspanofafewyears,HongKong’smusicbusinessdroppedtoone-thirdofitspreviouslevelinretailvalue.HongKongCantopophaslostitsuniquecharacteristics,anditsfuturelooksbleak.HongKongmusicmustrebuilditsownstrongidentitybeforeitcanhopetoregainitspreviousmiraculousinfluence.粤语流行曲的发展与兴衰：香港流行音乐研究（1949-1997）第一章：导论(A)引言(B)定义1.「流行」的定义2.「香港流行音乐」的范围(C)流行音乐研究(D)本研究所用方法(E)分期问题(F)浅论「法兰克福学派」第二章：《夜来香》时代（1949-1959）(A)一九四九年的香港(B)四九年前的国语时代曲(C)天时地利人和的上海1.科技褓姆2.创意丰盛3.红...