Music – Page 5 – Taiwan Insight

Eggplantegg: Taiyu Language Proliferation and Linguistic Diversity in Taiwan’s Popular Music Scene

2 July 2021 Editor

Written by Max Lembke-Soh. EggPlantEgg 茄子蛋 has fast become a significant player. Rocketing to popularity in 2017, EggPlantEgg received multiple Golden Melody Awards and nominations recognising their distinctly Taiwanese vibes, making full use of Taiyu’s broad intonation range to melodise lyrics across a variety of sounds. The band has no shortage of commentators lauding their style, highlighting their passionate use of Taiyu to express everything from love and yearning to relationships and loss.

Which Nation’s National Music? – A Critical Introduction of Contemporary Chinese Orchestra in Taiwan

30 June 2021 Editor

Written by Min-erh Wang. From the late nineteenth century onwards, Chinese musical culture has been significantly impacted by the importation of Western music. Chinese musicians and intellectuals, therefore, began to organise an orchestra with Chinese instruments as a way for pursuing musical modernisation. The establishment of the music section at the Central Broadcast Station in Chongqing in 1935 was the most prominent example of this trend. By presenting this new ensemble at international occasions, the modern Chinese orchestra was further promoted as ‘Gou Yue (國樂),’ meaning ‘national music,’ in the first half of the twentieth century.

Confessions from a Former Fan Girl

29 June 2021 Editor

Written by Ellie Koepplinger. I remember being thirteen with vivid clarity. You are at once gangly, disproportionate, and uncomfortable with yourself, confused and delighted in equal measure by your budding independence. You are constantly trying to untangle a knotted web of hormones, education, and friendships, convinced that one poor decision would permanently impact the chasm of life that stretched before you. At that tender inflexion point, falling in love with fictionalized Taiwanese pop idols was the one thing that kept me grounded.

Music as Political Commitment: The Reception of Pablo Casals in Taiwan before the 1970s

4 May 2021 Editor

Written by Min-Erh Wang. Historical musicologists focus on studying Western classical music written by Western or Western-trained composers, while ethnomusicologists primarily concentrate on traditional and vernacular music research. Against this background, music scholars in Taiwan tend to pay attention to the musical works and composers or the cultures of traditional genres, such as nanguan and the music of aboriginal people, while leaving the reception of Western classical music overlooked. However, from the late nineteenth century onwards, Western classical music has deeply rooted in Taiwan as well as other East Asian countries as part of the modernisation agenda. Furthermore, during the Cold War, Western classical music was adopted by both the US and Soviet Russia to disseminate their influence over Third World countries.

Rethinking Self-Identity and Taiwanese Indigenous Musicians’ Contemporary Presentation on Social Media

30 April 2021 Editor

Written by GuoTing Lin (Kuing). This work uses digital ethnography to consider how Taiwanese indigenous musicians utilise Facebook as their primary official platform for audience communication. I go about this by analysing cover images, profiles, photos, and feeds on Facebook, which is used to depict the details of the texts, photos, and videos. It thus shows the self-presentation and the communication of Taiwanese indigenous musicians concerning cultural and social issues. Moreover, I argue that indigenous musicians perform their identity through online self-presentation in everyday life.

When 50 Steps is Further than Taipei: Indigenous Contemporary Art and Temporal Orientation

29 April 2021 Editor

Written by DJ Hatfield. Over the past ten years, images of Indigenous people have increased both in Taiwan and international representation. Indigenous people appear in depictions of Taiwan’s relationships to Southeast Asia and the Pacific, in promotions of Taiwan as a tourist destination, in discourses of sustainability, and images of environmental protest. In relationship to these representations of Indigenous people, Taiwanese Indigenous contemporary artists maintain an ambivalent footing, aware that current indigenous visibility rearticulates Taipei (here referring broadly to settler power) rather than displacing it.

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