Cpop

Cpop, short for Chinese pop music, is an umbrella term for pop music performed in Chinese. It primarily covers Mandopop (Mandarin-language pop) and Cantopop (Cantonese-language pop), but may also include pop sung in Taiwanese Hokkien and other Chinese languages. The term denotes a transregional music scene centered on Mainland China, Taiwan, Hong Kong, and the Chinese-speaking diaspora, with artists often active across markets.

Cantopop developed in Hong Kong during the 1970s and 1980s, blending Western genres with Cantonese lyricism. It produced enduring stars such as Anita Mui, Leslie Cheung, and Jacky Cheung. Mandopop emerged in Taiwan in the 1980s and 1990s, expanding to Mainland China; Teresa Teng set international standards, while later figures such as Jay Chou, Leehom Wang, Jolin Tsai, and Stefanie Sun helped define contemporary Mandopop.

More recently, Mainland China’s market, digital platforms, and cross-border collaborations have driven rapid growth. Streaming services (Tencent Music, NetEase Cloud Music, etc.), social media, and online concerts have reshaped distribution and promotion. The sound of C-pop has diversified to include ballads, hip-hop, EDM, and traditional instruments, often blending Western production with Chinese melodic and linguistic elements.

Impact and reception: C-pop is a major force in Chinese-language media, with influence on film and television soundtracks and a sizable international audience among Chinese-speaking communities. It is governed in part by regional market conditions and regulatory frameworks that influence releases and creative choices, particularly in Mainland China. Notable artists span multiple generations, illustrating the genre’s adaptability and resilience.