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发表于 2013-2-23 09:13:21
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本帖最后由 namlow 于 2013-2-23 09:16 编辑
目 录
http://tieba.baidu.com/p/150464605
粤语流行曲的发展与兴衰：
香港流行音乐研究 (1949 - 1997)
目 录
第一章： 导 论 1
(A) 引 言 2
(B) 定 义 3
1. 「流行」的定义
2. 「香港流行音乐」的范围
(C) 流行音乐研究 4
(D) 本研究所用方法 5
(E) 分期问题 6
(F) 浅论「法兰克福学派」 8
i
第二章： 《夜来香》时代（1949 - 1959 ） 11
(A) 一九四九年的香港 12
(B) 四九年前的国语时代曲 16
(C) 天时地利人和的上海 20
1 科技褓姆
2. 创意丰盛
3. 红星演唱
4. 竞奏新声
5. 实力背景
6. 影响深远
(D) 时代曲南下到港 38
1. 处处粤曲声
2. 传统潮渐退
3. 海派歌潮起
4. 菲籍乐人贡献
5. 美国歌曲.支流渐大
6. 红伶退让，吸引减弱
7. 粤语短歌，无力回天
8. 广告歌曲，影响後来
9. 洋为中用，中为洋用
10. 新人涌出，前辈高飞
(E) 结 语 60
ii
第三章： 《不了情》与《绿岛小夜曲》时代
(1960 - 1973) 61
(A) 转型的香港 62
1. 青年人社会.实际而崇洋
2. 新传媒出现.处处响新声
(a) 「邵氏」与「黄梅调」
(b) 「商业电台」与广告歌
© 「丽的电视」与英文歌
(d) 高级夜总会．菲人世界
(e) 上海馀韵．LP 重温
(f) 港产情歌．新人崛起
(g) 工厂姊妹．支持偶像
(h) 披头袭港．青年组 Band
(i) 歌唱比赛．发崛新星
(j) 巨星殒落．时代终结
(k) 无线开台．歧视仍在
(B) 包容社会 85
1. 只求歌悦耳．欢迎红星来
2. 歌厅新娱乐．听歌成时尚
(C) 结 语 90
iii
第四章 ： 《我系我》时代（1974 – 1983 ） 91
(A) 本土意识的形成 93
1. 中国政经环境
2. 庶民精神崛起
(B) 普及文化开风气 95
1. 战战兢兢
(a) AABA 曲式
(b) 中西合璧声音
© 歌词手法传统
2. 按谱填词
(a) 先曲後词
(b) 歌词叶韵
(C) 大众传媒同发力 104
1. DJ 文化
(a) 青春交响曲
(b) DJ 变歌星
2. 电视文化
(a) 长篇电视剧
(b) 综艺节目
© 名曲金榜
(d) 新秀比赛
3. 电影文化
4. 音乐会文化
(D) 剖析许冠杰 115
1. 许冠杰之歌
(a) 旋律悦耳．易唱易记
(b) 通俗歌词．瑕不掩瑜
© 歌声一般．咬字－流
(d) 制作精致．态度认真
2. 许冠杰其人
(a) 传奇神话．绝无刻意
(b) 乐坛功臣．少人能及
iv
(E) 因缘际会好条件 124
1. 科技新发明
(a) Stereo 立体声
(b) Hi-Fi 与 Walkman
2. 版权立法与执法
(a) C.A.S.H.
(b) I.F.P.I.
(F) 音乐界百家争鸣 129
1. 「垄断」现象
(a) 日曲粤词潮
(b) 乐人新一代
© 现代感词风
2. 百花齐放
(a) 新派电影歌曲
(b) 台湾校园民歌
© 乐坛缤纷灿烂
(G) 确立文化新位置 139
1. 文化身份
2. 提高水平
(a) 旋律创作
(b) 歌词内容
3. 广泛报导
4. 全球销售
(a) 新、马、泰、台
(b) 欧、美、加、澳
© 中国大陆
(H) 结 语 150
v
第五章：
第六章： 结 论 180
(A) 一代一声音 182
(B) 普通话市场 183
附 录 : 185
(A) 歌 谱
1. 骑马到松江 186
2. 桃李争春 187
3. 小小洞房 188
4. 第二春 189
5. 新奇洗衣粉 191
6. 喼士顿香烟 191
7. 不了情 192
8. 郊 道 194
9. 一水隔天涯 196
10. 一寸相思一寸泪 197
11. 太太是人家的好 198
12. 啼笑姻缘 199
13. A-A-B-A 曲式 200
14. 教我如何不想她 201
15. 今天不回家 202
16. 鬼马双星 203
17. 家 变 204
18. 强 人 205
19. 我的中国心 206
20. 哥仔靓 207
21. 飞哥跌落炕渠 208
(B) 主要参考书目 – 中文 209
(C) 主要参考书目 – 英文 215
(D) 主要参考书目 – 日文 222
(E) 主要参考歌集 223
(F) 主要参考唱片 224
英文版:
submitted by
WONG JUM SUM
for the degree of Doctor of Philosophy
at the University of Hong Kong
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 ******* 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 ******* 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.
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狗仔卡
发表于 2013-2-23 09:08:07
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