华语流行音乐的发展与新加坡的角色 = Singapore’s role in the development of Mandarin pop music

• Main Author: 梁博渊 Neo, Pok Yen
• Other Authors: Quah Sy Ren
• Format: Final Year Project
• Language: Chinese
• Published: 2013
• Subjects: DRNTU::Humanities
• Online Access: http://hdl.handle.net/10356/51492
• Institution: Nanyang Technological University

华语流行音乐自1950年代起开始从香港和台湾传入新加坡，随着电影业和电视业等视像传播工具的普及化，港台歌曲更是借由这些平台渗透整个新加坡，成为本地华人听众收听的主流音乐。本文将探讨在自1950年代起，新加坡歌手如何开始在华语流行乐坛大放异彩，与大环境形成“双向交流”，拼凑出新加坡华语流行乐坛的历史脉络。这种交流方式在新谣时期以后加倍频繁。新加坡歌手、音乐人和唱片公司更积极地参与了以台湾主导的华语流行乐坛的发展，注入新元素，并在各方面取得成果，让新加坡在整个华语流行音乐文化的核心里占有一席之地。Since the 1950s, Mandarin Pop Music from Hong Kong and Taiwan made their debut in Singapore. With the popularization of the movie and television industries, Mandarin Pop songs from these two countries made their way to the central stage before the Singapore Chinese audience. This thesis aims to examine Singapore’s “two-way exchange” role in the development of Mandarin Pop Music, as well as visualizing the historical context of Singapore’s Mandarin Pop Music. This form of communication has intensified since the xinyao (Singapore ballads) era, whereby Singaporean singers, musicians and record company has actively played crucial roles, inserting new elements into the Mandarin Pop Music industry. The achievements and regional recognition gained by these individuals has further strengthened Singapore’s role in the core of Mandarin Pop Music.