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The name of the music originated in the 1920 and 1930s when the music was popular in Shanghai ballrooms in the form of "Spiritual Music" (精神音樂, Jīngshěn Yīnyuè; more properly translated as "spirited music"). As the performers were almost entirely from Guangdong, Shanghai people generalized the form of music as Guangdong music.
Cantonese Bopomofo, or Cantonese Phonetic Symbols (traditional Chinese: 粵語注音符號; simplified Chinese: 粤语注音符号; Jyutping: jyut6 jyu5 zyu3 jam1 fu4 hou6; Cantonese Yale: Yuht-yúh jyu-yām fùh-houh) is an extended set of Bopomofo characters used to transcribe Yue Chinese and, specifically, its prestige Cantonese dialect.
Western-influenced music first came to China in the 1920s, specifically through Shanghai. [7] Artists like Zhou Xuan (周璇) acted in films and recorded popular songs.. When the People's Republic of China was established by the Chinese Communist Party in 1949, one of the first actions taken by the government was to denounce pop music (specifically Western pop) as decadent music. [7]
The Nakhi of Lijiang play a type of song and dance suite called baisha xiyue, which was supposedly brought by Kublai Khan in 1253. Nakhi Dongjing is a type of music related to southern Chinese forms, and is popular today. The Dai ethnic musical styles are similar to those of South Asia, Myanmar, and Thailand.
The industry used Cantopop songs in TV dramas and movies, with some of the biggest soundtracks coming from films such as A Better Tomorrow. There were also many Cantopop songs that were adapted from Japanese music. While TV theme songs are still an important part of Hong Kong music, the arrival of the Four Heavenly Kings took Cantopop a stage ...
See also Cantonese love-songs, translated with introduction and notes by Cecil Clementi (1904) or a newer translation of these by Peter T. Morris in Cantonese love songs : an English translation of Jiu Ji-yung's Cantonese songs of the early 19th century (1992). Cantonese character versions of the Bible, Pilgrims Progress, and Peep of Day, as ...
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Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...