For each of the following trends in Chinese popular music fill in a brief definition with approximate dates and representative artist and/or music

What will be an ideal response?

Film songs –
• From the 1930s popular Chinese music was associated with the film industry centered in Shanghai. "Many film songs were performed by a small band using jazz- and Tin Pan Alley-inflected idioms to accompany a predominantly pentatonic melody sung in Mandarin by a female film star. . . . A minority of film songs drew on Chinese folk tunes accompanied by Chinese instruments or by a mixed Western-Chinese ensemble." Lyrics dealt with "charming, romantic images," or "social inequalities" if by artists hoping to stir up a progressive social awareness.
E.g., "Full Moon and Blooming Flowers" by Yan Hua, sung by Zhou Xuan (available online as "Full Moon and Blooming Flowers."

State-sponsored and national music
• After 1949 film song music and similar music was greatly diminished in mainland China to be replaced by "the more martial strains of massed song and by further developments of the nationalistic songs already mentioned. These latter were infused with yet more patriotic intensity and increasingly came to be sung by members of state-run ensembles. . . [T]hey still occupied much of the public entertainment sphere in the early 1990s."
E.g., Liao Shengjing's "Joyous Festival of Lunar New Year's Day"

Popular music industry in Taiwan and Hong Kong
• "The popular music industry shifted to Taiwan and Hong Kong. In these locations Shanghai-derived film music was gradually reshaped through contact with new trends in Western and Japanese popular music . . . Later the rise of television was significant, with soap opera playing a major role in popularizing certain types of songs and their singers. . . .
• Examples from the 1980s and 1990s include Jacky Cheung . . ."
• "Scent" performed by Taiwanese singer Winnie Hsin (1994) This song also won a major mainland song prize and represents the sentimental mainstream of popular music at that time.
Follow the Active Listening guide and lyrics as you listen to the music.

Reintegration of a commercial music industry in mainland China
• " . . the gradual reintegration of the mainland as a market from 1980 saw many singers produce Mandarin versions of their songs for sale there . . .
• E.g., the new local style xibei feng (Northwest wind or Northwest style) featuring a deliberately rough vocal style and lyrics that commented on "the hardships of contemporary life."

Chinese rock –
• Although rock has yet to become part of the musical mainstream in China, rock singer Cui Jian also featured a rough vocal style and lyrics associated with prodemocracy protests, which sparked military suppression in 1989.

Karaoke –
• A karaoke performance, for example, of Hsin's "Scent," "forms one of the major outlets through which songs like this are popularized and experienced throughout the Chinese-speaking world. By stepping into Hsin's place in karaoke performance, other women put themselves forward as maltreated but unfaltering lovers, claiming an affecting position parallel to (but updated form) that expressed in the wedding lament text cited much earlier in this chapter."

New opportunities for female musicians and performers -
• Continued strength of Chinese national sentiment is seen in the overseas success of groups such as the Twelve Girls Band and its electronically mediated arrangements performed on Chinese instruments, such as erhu, zheng, pipa, and dizi. The musical arrangements otherwise lie very close to the style of national music compositions described above