conference paper accepted

Wahaha, my conference paper been accepted
Those who are interested in what I am really reading… here you go.
See you in Cambridge 2006

The 1997 Handover effect: Localisation and Internationalisation in Hong Kong popular music
Wai-Chung Ho (2001) published a paper on Localisation and Globalisation in Cantopop discussing the effects and influence from globalisation on local Hong Kong popular music, and on the historical account of such movement. In this paper, I will discuss the inverse, what if ‘local’ Hong Kong music does not exist in the first place? And when ‘natura/native’ music (Adorno) is not ‘traditional’ music, but is a mixture of foreign music, how do you define internationalisation?
The boundary of what music is local and international is blurred and can only be separated by songs’ use of lyrics. Traditional Hong Kong music does not exist, but is imported by many immigrants who came to Hong Kong after it became a British colony (Wong 2004). Appadurai’s 1995 article mentioned globalisation and localizing processes reinforcing with each other, this became Cantopop.
A different style of Cantopop emerged during the Handover in 1997 due to an urge by the middle class seeking an unique identity (Stephan Teo 1998), not as a British-Chinese, or Chinese-Chinese, but as Hong Kong Chinese. This identity is created by the mass media for political objectives via government sponsored organisations, using music. At the same time, the use of cover music from Japan was in decline due to opposition from the general public since the death of Wong Kar Kui. The music market has turned to Korea for creative ideas and cover sources which led to a rise in adopting musical styles from America, i.e. hip-hop and rap. These created a brand new sound for the 21st century Hong Kong popular music we listen to nowadays. The paper will also conclude on the current HK sound scape.