5/30/2023 0 Comments Music pub apple![]() ![]() “The Lure of Sadness: The Fever of Yueju and The Butterfly Lovers in the Early PRC”. Revolution Postponed: Women in Contemporary China. “Sticky Tunes: How Do People React to Involuntary Musical Imagery?” Plos One 9/1: 1–9. Liikkanen, Kelly Jakubowski and Lauren Stewart. “Zhong Ziqi, Qin Shi #39”, (accessed 2 November 2016). “American Masculinity and Homosocial Behavior in the Bromance Era”. ![]() Cries of Joy, Songs of Sorrow: Chinese Popular Music and its Cultural Connotations. Cambridge, MA: Harvard University Asia Center. A Continuous Revolution: Making Sense of Cultural Revolution Culture. PhD dissertation, University of California, Los Angeles. “Onomatopoeia and Beyond: A Study of the Luogu Jing of Beijing Opera”. Scottsdale, AZ: American Psychological Society. Proceedings of the Society for Consumer Psychology Winter 2001 Conference, 66–67. “Identifying Properties of Tunes that Get Stuck in Your Head: Toward a Theory of Cognitive Itch”. Show Sold Separately: Promos, Spoilers, and Other Media Paratexts. Paratexts: The Thresholds of Interpretation, translated by Jane E. New York: Routledge.Ĭonnor Martin, Katherine. Gender Trouble: Feminism and the Subversion of Identity. How Musical is Man? Seattle: University of Washington Press.īutler, Judith. I have a proven track record in Audience Development with Year on Year growth with roles across many facets of the media business.Ive worked directly with High Profile International, Regional & Local Artists, Major and Indie Labels and Major Music Partners & Promoters. The Female Complaint: The Unfinished Business of Sentimentality in American Culture. British Journal of Psychology 101/4: 637–53. “Earworms (Stuck Song Syndrome): Towards a Natural History of Intrusive Thoughts”. ![]() Finally, I suggest why it may be that ‘Little Apple’ particularly can open out a space temporarily in which participants can experience a warm sense of human collaboration. The final sections of the article look at the production of gendered positions within the music video- noting that it is a love song sung by one man to another-and examine the public square dance setting where this song has been so widely picked up. This leads to a study of the emergent genre of shenqu (divine song), which is based on notions of virality, epic craziness and the earworm effect, and to which ‘Little Apple’ contributes. Its musical structure is presented, leading to questions as to its particular retro aesthetic. Ottieni accesso illimitato a 100 milioni di brani, a migliaia di playlist selezionate e a contenuti originali degli artisti che conosci e ami, tutto senza pubblicità. The analysis proceeds by introducing the song and its video, in the context of the Chopstick Brothers’ wider work. The music video draws on K-pop models but also on Western inspirations (biblical, historical and contemporary) and has proven hard to reduce to a single, definitive narrative or interpretation. This article analyses the music video of ‘Little Apple’ by Wang Taili and Xiao Yang, also known as the Chopstick Brothers, one of China’s most successful productions in 2014, and one that exemplifies certain emerging trends in Chinese popular music more generally. Chinese popular music, gender, genre, music video Abstract ![]()
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