www.eveleung.info

Welcome

2013-12-31T02:32:00.000-08:00

Welcome to Eve Leung’s website.

Please navigate using the centre and middle panel

last updated: Oct 2011

Academic Contribution

2013-10-06T09:35:00.000-07:00

Academic Contribution:

July 2006, conference paper: ‘The 1997 Handover Effect: Localisation and Internationalisation in Hong Kong popular Music’, University of Cambridge, National Graduate Conference for Ethnomusicology

February 2007, workshop paper: ‘Using e-technology in Popular Music Research’, Music research Study Day, the Fieldwork Experience, SOAS, University of London

March 2007, academic researcher: ‘Songs of the Earth’, BBC (the British Broadcasting Cooperation) World Service

June 2007, conference paper: ‘The 1997 Handover Effect: Political influences over Cantopop’, Shanghai University, Inter-Asia Cultural Studies Society Shanghai Conference,

July 2007, conference paper: “What are we listening to? Glocalisation in East Asian Popular Music” ‘New Media and Urban Culture’, University of Tokyo, Ubiquitous Conference organised by Theory Culture and Society

July 2007, conference paper: ‘The emergence of adolescent labour in Hong Kong popular music industry’, Temple University in Tokyo and Sophia University, ‘Youth and Imaginative Labor, East Asia and Beyond’

July 2007, contributor: ‘SOAS, A Celebration in Many Voices’, published by Third Millennium Information Group

Mar 2008, conference paper, ‘Glocalisation in Hong Kong popular music’, Hong Kong Heritage Museum, organised by Chinese University Hong Kong and Radio and Television Hong Kong (RTHK), Hong Kong Pop Symposium

Jan 2009, seminar, ‘Glocalisation movement in the Hong Kong music market since the 1980’s’, SOAS Music Department Research seminar, SOAS

May 09, Book: ‘Riding a Melodic Tide – The Development of Cantopop in Hong Kong’ sponsored by Hong Kong Heritage Museum

July 09, conference paper: ‘Glocalisation in Hong Kong Popular Music’, Inter-Asia Cultural Typhoon 2009, Tokyo University of Foreign Studies

July 09, conference paper 'Globalisation movement in Hong Kong music market from 1980’s', University of Liverpool, The International Association for the Study of Popular Music Conference

Apr 10 conference paper ‘Glocalisation in Cantpop: the user of cover music’, University of SydneyPreserving Tradition, Facing the Future Conference

Oct 10, graduate seminar ‘Conducting fieldwork in the popular music industry: From an experience in Hong Kong’, Tokyo University of Arts
Apr 11, conference paper ' Transnational musician: a study on how ethnicity is promoted in East Asian popular music industry', panel: “Music Making People Move” - The Travelling Production and Consumption of Asian Pop Musics at the Asian American Scholar Conference, Hawaii Convention Center
Jan 12 'Hong Kong' in The International Recording Industry edited by Lee Marshall, London Routledge
Pending Journal Publication: ' Remapping Hong Kong Soundscape: The Use of Cover Music in Cantopop' co-written with Prof Stephen Yiu Wai Chu, Popular Music special issue on East Asian popular music

Eve Leung will be attending the AAS conference in Hawaii

2011-03-07T00:18:00.000-08:00

Eve Leung will be presenting a paper on East Asian music under the topic ' Transnational musician: a study on how ethnicity is promoted in East Asian popular music industry' with scholars from Germany.

Date: 1st Paril 2011
Panel: Session 339: “Music Making People Move” - The Travelling Production and Consumption of Asian Pop Musics

Discussant:

Alain Mueller, University of Neuchatel, Switzerland

Patrick R. Froelicher, University of Heidelberg, Germany

Michael Fuhr, University of Heidelberg, Germany

Kerstin Klenke, Independent Scholar, Germany

Oliver Seibt, University of Heidelberg, Switzerland

Eve Leung, SOAS, United Kingdom

Link: http://www.asian-studies.org/absts/2011abst/abstract.asp?Session_ID=275&year=2011&Category_ID=1&area=Interarea%2FBorder-Crossing&Meeting_ID=20

Informal Seminar at University of Arts, Tokyo

2010-10-05T08:26:00.000-07:00

I'll be talking about my PhD experience and conducting fieldwork in University of Arts Tokyo, thanks to the invitation of Dr .Yoshitaka Mouri

Date: 3rd Nov, 2010
Venue: University of Arts, Tokyo
Time: 16:00

Appointed Visting Scholar, University of Sydney

2010-04-01T07:28:00.000-07:00

very quick news:

Just been appointed as Visiting scholar to University of Sydney.

Also presenting at the Preserving Tradition, Facing the Future in Asian musical and visual cultures conference between the 8th to 10th April, in Sydney Conservertorium of Music.

Presenting on the 9th April at 4pm.

Contact Me

2009-10-28T13:46:00.000-07:00

Contact:

email: eve@eveleung.info

msn: eve0317@hotmail.com

SOAS Concert series 09/10

2009-10-06T09:54:00.001-07:00

SOAS CONCERT SERIES 2009/10

FREE ADMISSION TO ALL CONCERTS - NO BOOKING REQUIRED
Venue capacity is limited and we operate a first come first served system.
We advise you to arrive early to avoid disappointment.

ALL CONCERTS START AT 7PM
VENUE: BRUNEI GALLERY LECTURE THEATRE
SOAS, University of London, Thornhaugh Street, Russell Square, London WC1H 0XG

ENQUIRIES: TEL 020 7898 4500, EMAIL musicevents@soas.ac.uk

www.soas.ac.uk/concerts

CONCERT PROGRAMME 2009/10

Tue 13 Oct 09
Tsuruga Wakasanojo
Shinnai: Dramatic Musical Narration from 18th-Century Japan
Shinnai is a style of musical storytelling that was created in 18th-Century Japan. It is classic and intense, emphasising human feeling and passion as opposed to narration and description. Shinnai is accompanied by the shamisen zither and can convey excitement or subtlety, elegance or drama, strength, urgency, happiness, sadness and passion.
This performance is a rare opportunity to experience this old tradition. It will be led by the most important performer of Shinnai alive today, Tsuruga Wakasanojo IX, who was recently designated a Living National Treasure.

Thu 22 Oct 09
Mamane Baraka
The Roots of Desert Blues
As a nomad of Niger’s Toubou tribe, Malam Mamane Barka is the indisputable son of the desert and the world’s only remaining master of the biram, an enormous boat-shaped five-string harp. The biram is the sacred instrument of the Boudouma, an ethnic group of nomadic fishermen, which they believe is protected by the spirit of the lake Kargila. Barka keeps alive this unique mystical tradition single-handedly, bringing the instrument to the world’s attention with his own unique blend of desert blues.

Mon 09 Nov09
Ngoma Vuma
From South Africa with Love
Ngoma Vuma Afrika is a percussion group based at the Music Department of the North-West University in South Africa. Ngoma is both a Swahili (East & Central Africa) and a Xhosa and Zulu (South Africa) word that means drum, dance, music or rhythm. Vuma means agreement, so the group’s name may be translated as ‘African drums of agreement’, reflecting the importance of the communal spirit in African musical performance. The group performs a mixed repertoire from East, Central and Southern Africa, as well as some high energy dances.

Fri 20 Nov 09
Club do Choro
European Roots, Brazilian-style
The first choro groups emerged in Rio de Janeiro in the late 19th century. The term choro was generically used to describe a small group of musicians, typically with flute, cavaquinho and 7string guitar and percussion instruments like pandeiro and surdo. The musicians, often workers in the customs or post office or the railroad, had music parties at their houses where they played the popular salon music of the bourgeoisie, but in their own style. In the hands of the choro musicians, polkas, waltzes, and schottisches became rather distinct from their European roots. The choro was, in its essence, a way of playing. London-based Club do Choro is inspired by the greats of this style, such as Pixinguinha and Jacob Do Bandolim.

Tue 8 Dec 09
Asere
Cuban Son with a Contemporary Edge
Drawing their inspiration from traditional Cuban son, the seven young musicians of Asere came together in the 90s to create music with a contemporary edge that also maintained the feeling of the songs performed by their forefathers. Staying true to an acoustic base they developed a fresh sound with inventive songwriting and a soulful groove. Since 2006 they have been working on a collaborative project with legendary drummer Billy Cobham, honing their skills and growing through the experience, eager to explore new horizons. A special treat for the SOAS Concert Series!

Fri 22 Jan 2010
El-Andaluz
1001 Nights Around the Mediterranean
El-Andaluz play classical Arabic and Andalusian music, led by oud player Yazid Fentazi who has performed with Cheb Mami, Cheb Sahraoui and the Turqui Brothers. He is accompanied
by Karim Dellali on darbouka, Frank Biddulph on violin and Hamid Bouri on bass. With their music they take the audience on a wonderful journey around the southern shores of the Mediterranean: from a poetic Andalusian nuba to the trance-like Sufi music of the Sahara, on to a classical Egyptian raqs sharqi dance, often ending the evening with the celebratory chaabi music of Algeria, which never fails to get the audience up on their feet and dancing.

Fri 05 Feb 2010
KK & Sound Archive
Mandika Soundscapes feat. Kadialy Kouyate
KK & Sound Archive perform original music inspired from the West African griot repertoire of the Mandinka tradition of historic storytelling and praise singing. The music weaves sparkling melodious lines from the kora into a multi-layered tonal palette complimented by double bass, cello and percussion. This unique combination of instruments allows the group - led by SOAS’ very own Kadialy Kouyate - to blend together sounds from around the world into one gorgeous package that is at once joyous, haunting, grooving, beguiling, invigorating and much, much more.

Tue 26 Feb 2010
Merlin Shepherd Quartet
Klezmer Clarinet from Shtetl to Souk
Bringing together the music of Jewish Eastern Europe, Greece and Turkey, the Merlin Shepherd Quartet takes us on a journey that not only crosses continents but also takes us deep into ourselves. Merging elements of klezmer, fasil and demotika into a new repertoire and using rhythms and grooves both reminiscent of the shtetl and the souk, the four musicians entice and seduce us with music old and new, and with excellent musicianship and lots of charm. “Britain’s finest Klezmer clarinetist” (Songlines)

Thu 11 Mar 2010
Soumik Datta
Young Star on the Sarod
Soumik Datta is a rising music talent in the UK. He is amongst the few, who despite being brought up in a Western society, managed to stay close to his roots and to master the art of the Classical Indian sarod. Trained by the legendary Pandit Buddhadev Das Gupta, Soumik, now 25, is widely recognized as a leading artist of his generation. He has toured internationally, recorded several albums and collaborated with Talvin Singh, Beyonce Knowles, Jay-Z and Akram Khan. Soumik also explores new paths of acoustic world music with his quintet SAMAY, and trains for a Master Degree in Music Composition at Trinity College of Music.

Tue 23 Mar 2010
London Bulgarian Choir
Vocal Resonances of the Heart
The London Bulgarian Choir is a vibrant, sociable and open-hearted group of singers embracing all nationalities, ages and abilities. It was founded in 2000 by Dessislava Stefanova, a former member of the legendary Philip Koutev Ensemble. The group takes us on a journey around Bulgaria, exploring the landscapes of the voice, searching for that ancient resonance in the depth of the human heart that is so central to the traditions of this land. They sing of maidens shining like the stars, of dancing so fast that that you drop to earth like a ripe pear, of socks and peppers, love and pain.

Wed 21 Apr 2010
Grupo Lokito
Explosive Latin-Congolese Cocktail
Fusing Salsa and Congolese Rumba in an exuberant explosion of sound, Grupo Lokito features some of the wonderful musicians who have chosen to make London their home. The driving force behind the band is the dynamic partnership between sought after Kinshasa-born singer & dancer José Hendrix Ndelo and top salsa pianist (and SOAS performance teacher) Sara McGuinness. Around them they have gathered an exciting group of musical wizards spanning generations and continents, including world famous guitarists Burkina Faso & Limousine. An absolute SOAS favourite!

Thu 29 Apr 2010
Zimbaremabwe
Calling the Spirits with the Mbira
The mbira (a lamellophon or thumb piano) is central to the Shona culture and the music of Zimbabwe, and is traditionally played at spiritual ceremonies. Zimbaremabwe led by Linos Wengara Magaya was founded in Zimbabwe and enjoyed much demand for spiritual sessions. Linos came to England in 1997 and has since played with artists like Chartwell Dutiro, Stella Chiweshe and Thomas Mapfumo as well as establishing his group as a UK-based band. For this evening at SOAS Zimbaremabwe will play traditionally, using the mbira with percussion and Shona vocals to create a musical performance sure to lift your spirits.

Programme subject to change.

New schedule 2009-10

2009-10-03T11:19:00.001-07:00

New schedule 2009-10

March 10: visit to Hong Kong and Taiwan

April 10: editing complete /end of continuation status

June 10: conference attendance in Hong Kong

Oct 10: wedding

December 10: World Recording industry book publish

The meaning of music – Khalil Fong's Latest Album – Timeless Classical (Covers)

2009-08-12T06:54:00.001-07:00

The meaning of music – Khalil Fong's Latest Album – Timeless Classical (Covers)

Returning from my trip in France, Khalil Fong's latest album Timeless Classical was waiting for me at the doorsteps. Khalil has always been a fascination for me, nevertheless, he grew up in such a hybrid world. Hawaii, Shanghai, Hong Kong and believing in a very ancient religion makes him stands out from crowd. His music has been a hit and miss, trying to market as a Mandarin singer in a Hong Kong market was difficult enough, thank god he has moved out and target the Greater Chinese region more as a whole.

The reason for this review is more on a note of hybridity. My recent research has made me listened to more covers than ever. From very old records of Shoka to the latest covers made by various artist (such as joey yung, Aoi Teshima etc) all covered the best of the best music around. I think covers brought the worst and the best of people, because you started comparing the original version side by side. Yet, Khalil's covers has brought out the best in him, and in which, I prefer Khalil's covering compare to his original music.

Why did I say that? Because if you think how the way musician learnt to sing, they cover. That's the way how we learn, we are effectively playing someone else's composition. How notation is invented is to copy, or 'cover' a piece of music. Improvisation was originally the way how music is played (Think Chinese and indian traditional music), we were given the skeleton of music and improvise our way. Notations, in particular the way how Western notate transcript every single note and expression on a piece of music. Music exams are graded not on the way how well you express yourself, but how well you follow the music.

When I listen to some covers around, there are surprise and there are disappointment. Khalil seems to bring back the origin of music, which is improvise and make others feel his presence. His presence was felt through, the orchestration the arrangements and his musical style, shone through the covers. Despite the covers he sang came from all around the world, he managed to combined into an album which makes it a great easy listening choice.

This album also brings the question of the origin of music. Even someone might say I am trying to stretch it, but if improvisation was the origin of music then therefore Khalil did a good job here. He improvises from well done tune and make it his own. His cover version of 'Bad' by Michael jackson actually made me forgot it was his own tribute to MJ. There is a mix of female and male covers included, of course for the intended Cantonese audience, his cover on 'Wild tides' wows audience.

I hope I can anticipate Khalil's own composition album as much as I do in this cover album, sometimes before the music is sunk into you, you never know.

Upcoming schedule

2009-07-28T14:47:00.001-07:00

Upcoming schedule

University position applications (Deadline: 31 ^st july and 15 ^th August)

Resonance article submission (Deadline: 1 ^st September)

IASPM Preceedings submission (Deadline 30 ^th September)

JLPT Level 2 exam : 6 ^th December

MEXT application Next April

End of SOAS registration Next May

Book Chapter on HK recording (to be publish in December 2010) June 2010

deadlines and deadlines

Tokyo and Liverpool Conference

2009-07-25T14:30:00.001-07:00

After Conference

so that's it. I'm done with conferences and presentation for a while now. Just to say I had a very successful conference season, especially in Liverpool.

So here you go, just a quick recap of the conferences:

Tokyo:

Decided to do a topic on cover music, as I think I have enough material to talk for 20 minutes on cover music, and since the source of cover music comes in Japan it is quite nice to do it in the place of origin.

The audience was kind on me, meaning no questions asked. Maybe I'm not good? I don't know. But I had great panel (yes I'm the panel organiser) and everyone was just great to overcome the usual, technical problems.

HJ took some pic of me, thanks to him he treated us wine to celebrate the end of session as well.

Went to a sake place for a get-together lets bitch about things dinner. I was busy to entertain my fellow SOAS collegeu and missed out many conversations. Oh well. It went well and I made all my necessity shopping hehe

Liverpool:

Many thanks go to AF. He helped with accommodation and many many things. I decided to change my presentation slides the very very last minute. And to be honest, I didn't even know what i'm going to talk about on that morning! I decided to redo my slides and combined some old presentation and went into the room without.. a PAPER!!

but this was the best audience ever. I never saw so many hands showing (maybe again an indication they don't really understand what I meant?)

but I got an invite to write a chapter in a book about the recording industry in Hong kong. So it was good, and best results.

Again HJ helped to take photos, although relectantly, he gave it to me saying it is bad photos

so that's all from me... maybe and update soon on err... next project?

日本記－東京研究篇

2009-07-08T21:58:00.000-07:00

很久沒有用中文寫blog, 發現其實看這個blog 的人應該也會說中文的，還是把東京的事寫下來。
以我這個研究頻率，我差不多每2年到東京一次，不是為了開研究會不去。東京是我又愛又恨的地方，愛是愛他的國際化，恨是他真的太貴了，這次經過大會安排一晚的酒店還是要7000yen，還是東京郊區，o，東京真是有錢人才去的地方。

這次的大會在東京外國語大學，在多磨，從酒店轉2次火車才到，大約20分鐘。學生很國際化，為什麼呢？我每次出國一定要把附近的美食統統尋找一片才安心，在尋找美食時認識了一個在那邊留學的新加坡男孩，其他美食當然也有，例如咖哩等，我的最愛lawson 就沒有。

大會共3天，第一天覺得不聽也罷，所以，跟小天使一起去吃shabu shabu，還是任食的那一種， 1700yen，我再付也可以。
第2天，聽了兩個presentation，有感而發，回來酒店改改改，努力找音樂example。晚餐在開會之中解決。
最後一天，跟小天使一起去shopping，我買我買我買，重要是吃了satou 的松板牛肉的牛肉球，沖繩料理，買了鞋，然後才回去。還有去了井之頭公園，漂亮還有有小攤子的擺賣，哦哦，東京真好。

發佈會
這次是我安排的，幾個比我履歷更深更多的要聽我的。不是，應該說organisation 這種事，要很多admin time, 最好有人做。這次我講的是改篇曲對香港音樂的影響，從一個新的角度來看看，日本人對這個題目反應很大，我在播我的音樂example 的時候，很多staff 也偷偷來了聽（對啊，我是看到你的）觀眾對我的paper 好像沒有問題，很好。
朱教授的paper 也特別，大家也是解釋香港音樂的問題，但是他從比較政治上的角度去了解。這是我做不到的。
小天使的paper 更特別，如何在正經的發佈會上說粗口，應該是在香港hip hop 中粗口的運用。
耀輝的paper 講了中國風，其實中國風是一路來都有（這是個人意見）從音樂的編排到用詞，一路以來也有所謂的‘中國風’音樂，但是最近的熱衷是因為在音樂製作方面，大家從視角的角度去看這個事情，變成新的東西，很多也有提到mv 上中國風的運用，其實想一想，中國風一路存在，只是周董把它發揚光大。

這次的研究會另外一個特別的地方就是很多鼎鼎大名的學者也有來，他們的脾氣，只可以說不是平易近人。對於一路在一個小小的研究學院做研究的我，這些場面很陌生。鼎鼎大名又如何，我的supervisor 也是鼎鼎大名，還是要照顧我。好了，吐槽說完了。

這次的大會還是好玩，利物浦再見。

記：香港研究日記

2009-06-25T08:40:00.000-07:00

這次回香港是在太匆忙，忙結婚，忙見朋友，忙工作。
最後的一個禮拜還是匆匆的做了一點對研究有關的事情
特別鳴謝黃志華先生，騰出來時間來解答了問題。
我一路有個問題，為什麼關於香港本土的早期音樂的研究那麼少？為什麼大家把集中力放在上海音樂上，香港音樂很流行，有中國人的地方就會聽到，是香港人自己不關心？還是覺得香港音樂太土，沒研究價值？

這次也為了歌潮．汐韻一書回來，終於等到它出版了。
寫了3個多月，從英文版到中文版，從不會打中文，到現在可以跟人在網上用中文聊天，不容易，看到這本書，真的很開心，希望這本不是我第一還有最後的書吧。

現在忙的是日本還有利物浦的研究發報會，一次要寫兩個presentation，辛苦！我還沒有寫耶。。。

要加油了

My book is finally published

2009-06-12T18:06:00.001-07:00

Book name: 歌潮．汐韻 ── 香港粵語流行曲的發展

Please buy!!!!!

ICAS-6 Conference paper accepted, financial grant offere

2009-02-27T12:52:00.000-08:00

ICAS-6 Conference

it is a conference for young scholar like me. so since I have not been to Korea for research purpose. I put in an application in my university for a grant to travel, an application from the organization to help with the other expenses. And it seems all three wishes is granted.

But it is paid in won.. it is the price of 3 bb cream, so I emailed to ask how much it cost for a cheap meal. I really wanted to go but it is the wrong time. Just come back from HK, Liverpool and possible trip with scholars around UK, the fly out again to Korea. Wow. Wait.. there’s a trip to france to see the lavender fields… where’s my summer??? Isn’t it far too exciting?

I’ve attach my abstract here that’s been accepted. Now.. I just need some books on traveling in Korea.

Title of the Paper:
The 1997 Handover effect: Localisation and Internationalisation in Hong Kong popular music
Theme: Arts and Culture
Other theme:
Paper Abstract (500 words):
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. Since then, very few research has been focused on Hong Kong popular music and its development in the 21st Century. In this paper, I propose: what if ‘local’ Hong Kong music does not exist in the first place? And when ‘natural/native’ music (Adorno) is not ‘traditional’ music, but is a mixture of foreign music, how do you define internationalisation? 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 2003). Appadurai’s 1995 article mentioned globalisation and localizing processes reinforcing with each other, this process became Cantopop.
The widely use of Western music covers since the 1970's, the use of Japanese covers in the 1980's and the use of Korean covers in 1990's has dominated the Hong Kong music scene. According to the state sponsored radio station Radio Television Hong Kong, in 1992, 7 out of 10 of the 'Best Song of the Year' was indeed a cover version from Japan. And in 1995, cover music has completely disappeared from all music award list.
One of the biggest reasons on the disappearance on covers was because a different style of Cantopop emerged around the political 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, including 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, a outspoken musician promoting localisation in Hong Kong pop music. During the turmoil, 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. However, this new soundscape did not help Hong Kong music industry from declining sales and loss of revenue. International music companies has also been the driving forces of the Internationalisation and Localisation of the Hong Kong music industry. The recent merger of Song-BMG and Universal publishing department also signified s localisation forces International music companies into different directions. This will also be discussed in the paper.
After working in the music industry, I would bring my personal experience from Hong Kong music production to discuss the future options for the Hong Kong music industry compare to James Wong, one of the most important figures in Cantopop, who wrote his PhD on the topic in 2003.

SOAS Research seminar

2009-01-19T15:35:00.001-08:00

Departmental Research Seminar

The presentations next week (20th January) will be:

Eve Leung

Glocalisation movement in the Hong Kong music market from 1980

Morgan Davies

Musical theory and practices of the Langā and Mānganiyār musicians
from Western Rājasthān

On the 27th the series of presentations by research students
continues. The speakers will be Cloris Lim and Jutama

I hope to see you there.

__________________________________________
For those who are reading.
I know the seminar is tomorrow.. guess what. I'm still writing.

Leiden next week

2008-11-19T12:56:00.000-08:00

Being invited to be a discussant to Yoshitaka Mouri sensei next week in Leiden. It is really a honour and I whole-heartedly thanked Dr. HyunJoon Shin giving me such opportunity to attend and participate in this event

Those who are interested, this is the website:

http://www.iias.nl/?q=east-asian-popular-music-small-sounds-big-places

Now I just need to listen to many many j-pop (not Macross) and hopefully update myself of the jpop scene. this is my first discussant experience, and seriously I dunno what to do. hehe. Mouri told me to relax and just give opinions.. however it makes me going back to those notes I've written on J-pop/globalisation to see if I can take any reference there

I just came back from SOAS with 10 books on my library record. and I have successfully returned 2, after decided they're not that useful for my phd.

another 6000 words to go on my chapter 2. amen

Software to use in PhD

2008-09-19T10:29:00.000-07:00

Oh yes, after I just acquired (hmm... yes yes it is Steven's) a EEEPC, I spent time on my laptop (and my primary computer) on what you need to do a phd degree (in ethnomusicology)

1) word process
Definitely, and absolutely don't use Office 2007. It is absolutely imcompatible with any library software you are trying to use.
After a trial for just over 4 months on 2007 because of my cousin's comment 'it is good if you're used to it' I gave up and admitted I am getting old and downloaded openoffice. However, it is not compatible with Endnote, and finally I gave up and simply install the good old version of Office XP

Why?
Office Xp is actually a mature software, therefore, the majority of other software (such as Library search, bibliography software) is adapted to be used. Also, as many academics uses Mac, you must save in .doc, this is confused by office 2003 which uses xml code (docx) and my supervisor computer crashes every time he reads my draft.

2) bibliography software
Endnote is recommended, it actaully automatically connects to your library database and can download the information of a book automatically (i.e. british library, soas library)
It is useful even if you're just a UG student. I find I should really saves all my note somewhere and what I have read somewhere during my UG. I spent time in reading books/articles which I have read before. This organise everything and your lecturer will love how many books you've read in an essay

3) audio
in order to cut the suitable clip for conference presenation. I uses audacity. It is free, easy to use, and suitable for beginngers. I even made most of my ringtones for my colleagues with this software.

4) tables
I prefer openoffice calc. Because excel does not have some of the text function it has on openoffice

Hardware:
a laptop/pc
good laptop - will definitely help. spilling coke is not great...
Also, I recommend anyone who uses a laptop and carries it all the time to find a 12inch monitor laptop. this will fit in most of the A4 size bag, and you can carry it around.
if you decide to invest on a cheaper version, get a P4 computer running on XP plus 2GB Ram with around 200GB will be fine. Then et a EEEPC for under £200 and you're fully equipped for fieldwork as well

Camera
my supervisor suggested DSLR, but I opted for a gd video function and good camera from canon. you need something with fast shutter as well to caption those important moment. I said there's no use of a mic for interview as many ppl feel intimitated by the presence of a mic.

ring binded scribble book

if technology is not for you (or the on/off is not fast enough for you to write things down) you need a notebook. I find the idea size is around 1inch think and C5 envelope size, again easy to carry is a must!!
I'm a fan of fountain pen, but fountain pen is banned... coz if it rains... oh no....

VEGA 蘋果日報碟評

2008-03-21T16:31:00.000-07:00

有碟話碟：《 VEGA 》四重奏新星登場

四人新晉組合 VEGA 切實地把流行曲變成 classical pop ，肯定是香港音樂巿場的第一次。初次認識 VEGA 是在某商場騷，打扮新潮的兩男兩女，開口竟是四重唱，但聽過他們的首張同名大碟後，有怪怪的感覺。
怪是因為廣東話發音令高音部份變得惹笑， VEGA 的《大城小事》和《第二最愛》，男高音的 intro 就像少爺占扮聲唱歌，兩首歌到中段再唱男高音已不覺得怪，前者厚厚的背景人聲襯托出縈繞不散的哀愁，後者的跳脫 ad lib 混合四重唱，又很有生氣，所謂怪的感覺，相信是古典跟流行磨合的必經過程。
VEGA 肯定對陳奕迅情有獨鍾，連玩他三首作品。《黑夜不再來》加《孤獨探戈》而成的《黑夜不探戈》最正路，比原作更風格化；本是結他爽勁的《與我常在》落在 VEGA 手上，卻不及原曲灑脫，反而《夕陽無限好》就變得氣勢磅礡，在三首中最成功。
香港唱片銷量已跌至新低，在最壞的時刻更應勇於嘗試。 VEGA 的 classical pop 雖是舊酒新瓶，起碼測試到市場的接受能力，總好過唱片公司繼續發掘一百幾十個走音 K 歌歌手。
撰文：皇后大盜

Historical or Analytical? a crossroad for my paper

2008-03-02T06:24:00.000-08:00

Been busy in concentrating on my paper, but difficult as it is my first paper in a group of expertise, it is perhaps the closest thing to a viva... being examined

Anyway, been struggling coz difficult to decide the direction of the paper. Should I plainly write it in a historical point of view, or with personal analysis into the events?

Been reading hard... and it is only 5 days before I'm stuck on the plane to go to HK!!!

my conference draft

2008-02-19T05:49:00.000-08:00

Glocalisation movement in Hong Kong music market from 1980

Eve Leung

PhD Candidate

School of Oriental and African Studies, University of London

Since the import of Shanghai music in the 1930’s, Hong Kong has been in a position of an adaptor of musical style and influence from International Music Company in publishing and recordings. However, since the 1980’s, coincide with the signing of Hong Kong Handover agreement in 1982, Hong Kong music market has tried to establish its own root and slowly brewed localisation movement within the industry and media. The major turning point was in 1992 when Commercial Radio decided to broadcast and award locally composed music only, localisation movement took a step forward under the guidance and scrutiny of International Music Cooperation. My paper will evaluate the major events since the 1980’s that pushed localisation movement, and how globalisation slowly turned into glocalisation to what we see today.

Conference annoucement

2008-02-19T05:44:00.000-08:00

Hi Guys.

a countdown to Eve's HK trip soon. I'm afraid I can't stay that long, and due to loads of reason (jet leg, and a possible operation pending) that's a chance I won't meet you all.

Anyway, the main reason is that I'm there for a conference organised by Chinese University Hong Kong, Radio Television Hong Kong and Hong Kong Heritage Museum. It will take place on the 15th March at the museum (shatin)

You're more than welcome to join me and the various people for the symposium. And indulge in my horrible academic Chinese speech....

see you there

10:00 – 10:15	Registration and Opening 註冊及開幕

10:15 – 10:30	Welcoming Speech 致歡迎辭

10:30 – 11:30	Development of Hong Kong Cantopop I 香港粵語流行曲的發展(一) Mediated Melody: Media Technologies and the Changes of Cantopop 傳媒科技與香港粵語流行曲的演變 Prof. Anthony Fung Associate Professor, School of Journalism and Communication, The Chinese University of Hong Kong 馮應謙教授香港中文大學新聞與傳播學院副教授 Early Development of Cantopop: A Study of 13 Cantonese Film Songs 十三不詳？──從十三首粵語電影原創歌曲看早期粵語流行曲的發展 Mr. Wong Chi Wah Cantopop Historian 黃志華先生資深流行曲研究員

11:30 – 11:45	Break 小休

11:45 – 12:45	Development of Hong Kong Cantopop (II) 香港粵語流行曲的發展 (二) Glocalisation Movement in Hong Kong Music Market from 1980 香港音樂市場的全球/本土化運動 Ms. Eve Leung Ph.D. Candidate, School of Oriental and African Studies, University of London 梁曉芙女士倫敦大學亞非研究所博士生候選人 A Preliminary Study of Post-1997 Hong Kong Cantopop Lyrics 後九七香港粵語流行歌詞概說 Prof. Chu Yiu Wai Professor, Department of Chinese Language and Literature, Hong Kong Baptist University 朱耀偉教授香港浸會大學中文系教授

12:45 – 14:00	Lunch 午膳

14:00 – 15:00	Consumption and Production of Cantopop 粵語流行曲消費與生產的變遷 The Transformation of Cantopop: From Music Consumption to Production 18變：從聽歌到寫詞、從消費到生產、從理論到實踐看我（們）的變化與變遷 Mr. Chow Yiu-Fai Ph.D. candidate, Department of Communication, University of Amsterdam 周耀輝先生阿姆斯特丹大學博士生候選人 “Triumph in the Skies”: Internationalising Cantopop “衝上雲宵”：國際化香港流行音樂 Dr. Liew Kai Khiun Postdoctoral Fellow, Asia Research Institute, National University of Singapore 廖繼權博士新加坡國立大學亞洲研究學院博士後

15:00 – 15:15	Break 小休

15:15 – 16:15	Fusion between East and West 粵語流行曲的中西融合 The Indigenization of Hip Hop Music in Hong Kong: Cantopop Influences and Genre Hybridity 香港Hip Hop音樂之本土化: 粵語流行曲的影響與文體混種 Prof. Angel Lin Associate Professor, Department of English and Communication, City University of Hong Kong 練美兒教授香港城市大學英文與傳播系副教授 Cantonese Lyrics and Western Musical Theory: Cantopop’s Successful Fusion of Two Potentially Antagonistic Systems 廣東歌詞與西方音樂理論：廣東歌之成功融合 Prof. Sean Tierney Assistant Professor, School of Journalism and Communication, The Chinese University of Hong Kong 狄尚恩教授香港中文大學新聞與傳播學院助理教授

16:15 – 17:15	Keynote Speech: The Rise and Decline of Cantopop 主題演講：回顧香港粵語流行曲的興衰 Moderator 研討會主持人 Prof. Anthony Fung Associate Professor, School of Journalism and Communication, The Chinese University of Hong Kong 馮應謙教授香港中文大學新聞與傳播學院副教授 Keynote Speaker 主講者 Mr. Ng Yu CEO of Emperor Entertainment Group, Chairman of Hong Kong Music Fair Organising Committee 吳雨先生英皇娛樂集團總裁、香港音樂匯展籌委會主席

www.eveleung.info

Welcome

Academic Contribution

Eve Leung will be attending the AAS conference in Hawaii

Informal Seminar at University of Arts, Tokyo

Appointed Visting Scholar, University of Sydney

Contact Me

SOAS Concert series 09/10

New schedule 2009-10

The meaning of music – Khalil Fong's Latest Album – Timeless Classical (Covers)

Upcoming schedule

Tokyo and Liverpool Conference

日本記－東京研究篇

記：香港研究日記

My book is finally published

ICAS-6 Conference paper accepted, financial grant offere

SOAS Research seminar

Leiden next week

Software to use in PhD

VEGA 蘋果日報碟評

有碟話碟：《 VEGA 》四重奏新星登場

Historical or Analytical? a crossroad for my paper

my conference draft

Conference annoucement

Registration and Opening

Welcoming Speech

Mediated Melody: Media Technologies and the Changes of Cantopop

傳媒科技與香港粵語流行曲的演變

Lunch 午膳

The Transformation of Cantopop: From Music Consumption to Production

18變：從聽歌到寫詞、從消費到生產、從理論到實踐看我（們）的變化與變遷

Mr. Chow Yiu-Fai

Prof. Angel Lin

Associate Professor, Department of English and Communication, City University of Hong Kong

Keynote Speech: The Rise and Decline of Cantopop 主題演講：回顧香港粵語流行曲的興衰

Moderator

www.eveleung.info

Welcome

Academic Contribution

Eve Leung will be attending the AAS conference in Hawaii

Informal Seminar at University of Arts, Tokyo

Appointed Visting Scholar, University of Sydney

Contact Me

SOAS Concert series 09/10

New schedule 2009-10

The meaning of music – Khalil Fong's Latest Album – Timeless Classical (Covers)

Upcoming schedule

Tokyo and Liverpool Conference

日本記 － 東京研究篇

記：香港研究日記

My book is finally published

ICAS-6 Conference paper accepted, financial grant offere

SOAS Research seminar

Leiden next week

Software to use in PhD

VEGA 蘋果日報碟評

有 碟 話 碟 ： 《 VEGA 》 四 重 奏 新 星 登 場

Historical or Analytical? a crossroad for my paper

my conference draft

Conference annoucement

Registration and Opening

Welcoming Speech

Mediated Melody: Media Technologies and the Changes of Cantopop

傳媒科技與香港粵語流行曲的演變

Lunch 午膳

The Transformation of Cantopop: From Music Consumption to Production

18變：從聽歌到寫詞、從消費到生產、從理論到實踐看我（們）的變化與變遷

Mr. Chow Yiu-Fai

Prof. Angel Lin

Associate Professor, Department of English and Communication, City University of Hong Kong

Keynote Speech: The Rise and Decline of Cantopop 主題演講：回顧香港粵語流行曲的興衰

Moderator

日本記－東京研究篇

有碟話碟：《 VEGA 》四重奏新星登場