Uploaded June 2019 | Updated September 2026, 1 day ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
A report of popular music performance on Chinese TV shows
Xuefeng Zhou
- Southwest University; Junjie Liu, MinShanLu primary school
Email: xuefeng_zhou@outlook.com
/// ABSTRACT
Popular music performance on Chinese TV shows is a hot topic in general but seldom draws academic attention. In few literatures, one study focused on the reasons why TV show The voice of China won business and argued in favor of the voice’s own post (Zhang, 2013). Another study focused on audience demands in such TV show (Ji, 2014). That is to say, there is no study of music performance. What special content of music performance does Chinese TV show contain? After concluded ten singing genres based on the analysis of juries’ talk – the total time of TV show exceeds 1100 minutes and effective talk of judges exceeds 180 minutes — of The voice of China•season one (2013), we found that both singing and the professional judges’ views appeared a mixture of the Western and Chinese in many Western songs. The study will report the difference of those Western songs being sung by Chinese singers and discuss aesthetical reasons of the difference, which benefit recording productions to fit for different cultures.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
A report of popular music performance on Chinese TV shows
Xuefeng Zhou
- Southwest University; Junjie Liu, MinShanLu primary school
Email: xuefeng_zhou@outlook.com
/// ABSTRACT
Popular music performance on Chinese TV shows is a hot topic in general but seldom draws academic attention. In few literatures, one study focused on the reasons why TV show The voice of China won business and argued in favor of the voice’s own post (Zhang, 2013). Another study focused on audience demands in such TV show (Ji, 2014). That is to say, there is no study of music performance. What special content of music performance does Chinese TV show contain? After concluded ten singing genres based on the analysis of juries’ talk – the total time of TV show exceeds 1100 minutes and effective talk of judges exceeds 180 minutes — of The voice of China•season one (2013), we found that both singing and the professional judges’ views appeared a mixture of the Western and Chinese in many Western songs. The study will report the difference of those Western songs being sung by Chinese singers and discuss aesthetical reasons of the difference, which benefit recording productions to fit for different cultures.
