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The Music of Hong Kong is an eclectic mixture of traditional and popular genres. Cantopop is one of the more prominent genres of music produced in Hong Kong. The Hong Kong Philharmonic Orchestra and the Hong Kong Sinfonietta regularly perform western classical music in the city. There is also a long tradition of Cantonese opera within Hong Kong.

In colonial Hong Kong, pipa was one of the instruments played by the Chinese,[1] and was mainly used for ceremonial purposes. Western classical music was, on the other hand, the principal focus amongst British Hong Kongers with the Sino-British Orchestra being established in 1895. In the beginning of the 20th century, Western pop music became popular. Mandarin pop songs in the 1920s were called Si Doi Kuk (). They are considered the prototype of Chinese pop songs.[2]

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In 1949 the People's Republic of China was established by the communist party. One of the first actions taken by the government was to denounce popular music as pornography.[3] Beginning in the 1950s massive waves of immigrants fled from Shanghai to Hong Kong.[4] Along with it was the Path Records (Hong Kong) record company, which ended up becoming one of the most significant popular record companies in Hong Kong.

The Western music was popular since 1950s as the official language was English at that time. Also, listening to Western music showed a person's good taste. Cantopop was not popular in 1950s to 1960s since the production of Cantopop was shoddy.[5] During the late 1960s and 1970s, Mandarin pop songs were getting more and more popular and became the mainstream of Hong Kong pop.[6] In the 1970s, Hong Kong audiences wanted popular music in their own dialect, Cantonese. Also, a Cantonese song Tai siu yan yun () became the first theme song of a TV drama. Cantopop was getting popular after that.[5]

As an "open economy", a vast variety of music is commercially available in Hong Kong. Most retail music stores in Hong Kong carry Cantopop, Mandopop, imported English language pop music, Japanese pop music and Korean pop music. Larger music stores, such as HMV in Hong Kong, stock a more extensive range which includes classical music, Cantonese opera in addition to the aforementioned genres. Like Japan, audio cassettes have never been big sellers in Hong Kong.

Prior to the development of popular music in the 1960s, Hong Kong's musical output was dominated by Cantonese opera and English pop. Prominent singers included Tang Kee-chan (), Cheng Kuan-min (). The godfather of Cantopop Roman Tam () made significant strides in the industry. The youth began to gravitate towards Cantonese pop in the 70s.

In 1980s, the surge of Hong Kong pop wave expanded rapidly. The music scene was dominated by pop icons Leslie Cheung, Anita Mui, Alan Tam, and Danny Chan. The industry used Cantopop songs in TV dramas and movies, with some of the biggest soundtracks coming from films such as A Better Tomorrow. There were also many Cantopop songs that were adapted from Japanese music.

While TV theme songs are still an important part of Hong Kong music, the arrival of the Four Heavenly Kings took Cantopop a stage higher. Today, Cantopop is the dominant form of music with strong associations to pop culture. Record companies have had a majority stake in the segment, and Hong Kong is considered the central hub of Cantopop in the world.[7]

After the Communist takeover in mainland China in 1949, the Mandarin pop music and entertainment industry shifted to Hong Kong. Mandarin also dominated the language of cinematography until the emergence of Cantonese counterparts in the mid-1970s. Many singers from Taiwan came to Hong Kong creating a spectrum of Mandarin pop. The period ended in its height with Teresa Teng. Her songs were popular even in mainland China. One of the TV series that emulate the 60s/70s mandopop club scene in Hong Kong is the TVB series Glittering Days.

The term English pop in Hong Kong does not mean pop music from England, but western style pop songs sung in the English language. In the 1950s, popular music of Hong Kong was largely dominated by pop songs in the English language until the Cantopop's emergence in the mid-1970s. Many well-known Cantopop singers of today, like Sam Hui and Alan Tam, began their early careers singing in English. Western culture at the time was specifically a mark of education and sophistication.[8] Inspired and influenced by imported popular music from the West such as Elvis Presley, Johnny Mathis and The Beatles,[3] Hong Kong artistes started to produce English language pop music in the 1960s.

Today, imported pop music in English language remains popular in Hong Kong, second only to C-pop. Most Hong Kong artists now sing primarily in Cantonese and Mandarin and occasionally perform in English. Artists who produced substantial works in English include Chet Lam, The Pancakes, Ghost Style, etc. Jacky Cheung released an English album in 2000. Other artistes who have native fluency in English include Jackson Wang, Teresa Carpio, Janice Vidal, Jill Vidal, Karen Joy Morris, Fiona Sit, Edison Chen, etc.

Western classical music has a strong presence in Hong Kong. Organisations such as The Hong Kong Philharmonic Orchestra, Hong Kong Sinfonietta and the Hong Kong Chinese Orchestra receives substantial annual funding from the Hong Kong Government and other major sponsors such as the Swire Group. The budget of Hong Kong Philharmonic Orchestra in 2002/2003 financial year was HK$86 million, of which 70% comes from The Hong Kong Government. Their production adds dynamics to the music culture. All primary and secondary school students in Hong Kong are required to take music class as part of their school curriculum.

IFPI Hong Kong certifies music recordings in Hong Kong. Like some other Asian countries, the sales requirements of domestic products are higher than foreign products and certifications are usually based on sales. The sales requirements are 25,000 and 50,000 copies for gold and platinum, respectively, before 2006. It was lowered in 2006 and 2008, due to declining sales. The sales requirements are 20,000 and 40,000 copies for releases between January 1, 2006 and December 31, 2007. Currently, the requirements are 15,000 copies for Gold and 30,000 copies for Platinum. International repertoire requires only half of the Gold and Platinum awards from the domestic ones, same as classical music albums. (Before 2006, 15,000 and 25,000 copies for gold and platinum for foreign repertoire, respectively).

Rewatched the clip a few days after as it was too cringeworthy at the first glance, anyone think this is actually quit disrespectful? I feel bad for any musician that actually care about music and see all these mirror bullshit getting promoted all over the media, pop music scene seems like a miniature version of HK, where incompetence people up there failing the job badly, everything has to be commercially driven, monopoly by big business, grassroots movement and creativity are discouraged, the list can go on and on

There are plenty of spots around town that provide live music performances as entertainment. Whether you want to unwind to smooth jazz or jam out to performances by local bands, here are the best venues in town to enjoy live music.

RECOMMENDED: Stay up to date with all the latest music and gigs happening in Hong Kong and Macao.

Located inside the historic Tai Kwun complex, Dragonfly is a cocktail lounge with an ambience inspired by the bohemian and art nouveau movements of the 19th and 20th centuries. Decorated with stained glass throughout their venue to create twinkling and dreamy lighting, Dragonfly has an out-of-this-world ambience. Catch live music performances on Friday and Saturday nights while you sip on their cocktail offerings.

Decorated with thousands of butterflies dangling from their ceiling, The Iron Fairies is a picturesque bar and lounge with a fairytale concept. Currently, The Iron Fairies has a daily rotation of local musicans performing at their venue, such as Iris and The Rubicube who perform classic rock blues, Merilyn who plays everything from R&B to Afro-Carribean beats, and more. The bar also holds jazz nights on Mondays and reggae nights on Sundays.

Lau Bak Livehouse is a bar, restaurant, and a performance space all in one. Their menu offers a classic selection of bar bites, pasta and risotto dishes, and even sharing plates like surf and turf with lobster and prime blade steak. When it comes to their drinks, Lau Bak's meu provides a selection of draught beers from local craft brewery Mak's. Most importantly, Lau Bak holds regular live music performances, which showcases the best that the city's music scene has to offer. Stay tuned to Lau Bak's Instagram to see their regularly updated schedule of live music sessions.

Step underground into live music restaurant Quality Goods Club, sibling to Shady Acres and Honky Tonks Tavern. Your night of entertainment starts as live music performances take place from dinner service until 10pm, before DJ sets that range from disco, house, soul, Latin tunes, and more take over until late into the evening. Stay tuned to their Instagram to find their full lineup events throughout each month.

With over 35 years as a historic institution of Hong Kong's live music scene, The Wanch is back with a vengeance to bring the rock 'n' roll energy to Wan Chai. At a stone's throw from their previous location, The Wanch has transformed from a live-music venue holding 20 at an intimate squeeze into a vibrant gastropub, along with a 183sq ft stage fully kitted out with high-quality audio, visual, and lighting equipment to hold live performances. Find their full list of upcoming events on their website.

Fanny M. Y. Chung is an Assistant Professor in Cultural Management, Faculty of Arts, The Chinese University of Hong Kong. She has published on music and arts education, cultural management, and cultural heritage of traditional Chinese theatre.