Abstract
AbstractIn terms of circulation and sales of albums, the most popular pop music found in mainland China today is the Mandopop imported from Taiwan. The pop music that is genuinely locally produced in China by mainland producers and artists, and which is most notable to the outside world is probably the Chinese rock music and the wave of ‘northwest wind’ pop music produced locally in China in the late 1980s. However, after 2005, there emerged a new kind of Chinese pop that is commercially successful and a product of the nationalPop Idol-like singing contest. This paper describes and explicates the broad popularity of this new wave of Chinese pop. Putting aside the overly discussed topic of democracy that comes out of such politicisedSupergirlcontests, this paper focuses on the nature of the melody and lyrics of pop idol winner Chris Li's songs and how their unique formulation evolves into an important ‘short wave’ of Chinese pop.
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