ABSTRACT
This chapter begins by discussing debates and the existing literature about China Wind music and Chineseness. It argues that the construction and perceptions of Chineseness in popular music require a multidimensional understanding. The process gave Mandarin popular music an advantage compared to music in Taiyu or other languages, while the foundation of the Mandopop industry in Taiwan can be attributed partly to the musical canonization that resulted from the formalization of Mandarin’s national status. The interviewees stressed that the presence of China Wind lyrics can be found in music and Chinese literature curriculum across Taiwan, Hong Kong, and China. Musical Chineseness in China Wind pop music is negotiated by different sectors. The audience in Hong Kong understands Chineseness in China Wind pop music differently as the reception of Chinese-style of music can be distinguished from either Taiwan or China.
