Mandopop
Mandopop, short for Mandarin popular music, is a subgenre of C-pop defined by commercial pop songs performed primarily in Mandarin Chinese, drawing from Western styles such as pop, rock, R&B, and hip-hop while incorporating emotive lyrics and cultural homages.[1] Its origins trace to the Shidaiqu jazz-influenced music of 1920s–1930s Shanghai, which evolved amid political upheavals into a modern form centered in Taiwan from the 1970s onward, where government promotion of Mandarin fostered a hub for production and export to Greater China.[1][2] Key characteristics include polished production, strong vocal delivery, and fusions blending traditional Chinese instruments like the erhu or dizi with contemporary beats, enabling emotional depth in ballads and upbeat tracks alike.[1][3] Influential figures such as Jay Chou, dubbed the "King of Mandopop" for pioneering "Zhongguofeng" styles merging ancient poetry with hip-hop, alongside Jolin Tsai and JJ Lin, have driven its dominance in Asian charts and streaming platforms.[1][4] The genre's reach spans Taiwan, mainland China—despite content regulations limiting lyrical freedom—Singapore, Malaysia, and diaspora communities, contributing to a regional music economy where Taiwan's popular music sector alone generated NT$28.836 billion in revenue in 2023.[5][6]History
Origins in Shanghai and Shidaiqu Era (1920s–1940s)
Mandopop's roots lie in the Shidaiqu genre, which originated in Shanghai's vibrant cosmopolitan scene during the 1920s, blending traditional Chinese pentatonic melodies with Western jazz, foxtrot, and Tin Pan Alley influences amid the city's international concessions.[7] Composer Li Jinhui, regarded as the father of Chinese popular music, pioneered this hybrid style after returning to Shanghai in the early 1920s, following his education in progressive music and publication of early works in 1923.[8] His 1927 composition "Drizzle" (Maomao Yu), sung by daughter Li Minghui, marked the first recognized Shidaiqu recording, featuring Western instruments and rhythms overlaid on Chinese folk elements.[9] In 1930, Li Jinhui founded the Bright Moon Song and Dance Troupe in Shanghai, training performers in Mandarin songs to promote national language standardization while dominating the entertainment industry through compositions like "The River of Peach Blossom" and "The Express Train" in the 1930s.[8] Shidaiqu proliferated via radio broadcasts, film soundtracks, and recordings from labels like Pathé, which established a factory in Shanghai as early as 1916, though the genre's commercial surge occurred post-1927.[10] By the mid-1930s, with Shanghai's population reaching 3 million, the style embodied urban romance and sophistication, sung exclusively in Mandarin.[7] The 1930s and 1940s constituted Shidaiqu's golden age, despite disruptions from the 1937 Japanese invasion and occupation, which scattered artists but sustained the genre's output in films and nightclubs.[11] Prominent singers including Zhou Xuan, who achieved stardom in 1937 via the film Street Angel, Bai Hong, Yao Lee, and Gong Qiuxia popularized hits reflecting themes of love and longing, establishing Mandarin pop's foundational lyrical and melodic conventions.[12] This era's innovations in harmony and instrumentation laid the causal groundwork for Mandopop's evolution, prioritizing accessible, melody-driven songs over traditional opera forms.[11]Post-War Shifts to Hong Kong and Taiwan (1950s–1960s)
Following the Chinese Civil War and the establishment of the People's Republic of China in 1949, the epicenter of Mandarin-language popular music production migrated from Shanghai to Hong Kong, as numerous artists, composers, and industry executives fled communist rule for the British colony's relative stability and freedom from censorship.[13] Shanghai's film and recording sectors, key to Shidaiqu dissemination, relocated operations there in the late 1940s, transforming Hong Kong into the primary hub for Chinese entertainment output by the early 1950s.[13] Record giant Pathé-EMI shifted its base to Hong Kong in 1950, enabling the revival and continuation of Shidaiqu-style Mandarin songs, which were exported across Southeast Asia via films and records.[10] In Hong Kong, Mandarin pop retained its jazz-inflected Shanghai roots during the 1950s, with productions emphasizing melodic covers and original compositions tied to cinema, though local Cantonese elements began emerging amid the colony's bilingual audience.[14] This era saw sustained popularity for Mandarin tracks in urban nightlife and radio broadcasts, sustaining the genre's pre-war appeal without immediate ideological constraints.[15] Parallel developments occurred in Taiwan, where the retreating Kuomintang government in 1949 imposed Mandarin as the official language, requiring its dominance in broadcasting, education, and public media to promote national unity and counter mainland influences.[2] This policy spurred Mandopop's institutionalization, with state-backed radio stations and labels producing Shanghai-style "modern songs" alongside adaptations influenced by U.S. military bases during the Cold War era.[16] Covers of pre-1949 Shidaiqu proliferated in Taiwanese recordings and performances throughout the 1950s and 1960s, bridging wartime nostalgia with local adaptation.[17] By the late 1960s, Taiwan's burgeoning Mandopop output started penetrating Hong Kong's market, signaling an emerging rivalry between the two hubs and laying groundwork for Taiwan's later preeminence in the genre.[18] This dual shift preserved Mandarin pop's continuity while adapting to distinct political and cultural contexts, prioritizing melodic accessibility over radical innovation.[14]Taiwanese Dominance and Mainland Recovery (1970s–1980s)
During the 1970s, Taiwan's music industry expanded amid rapid economic growth and the campus folk song movement, which blended Western influences with Mandarin lyrics to foster a distinct Mandopop style emphasizing melodic introspection and social themes.[19][20] This period saw Taiwanese productions saturate the Mandarin-speaking market, with artists drawing from enka-inspired ballads and light rock to appeal to urban youth under martial law restrictions that limited overt political expression.[14] Teresa Teng emerged as a defining figure, her 1977 hit "The Moon Represents My Heart" exemplifying the soft, emotive vocals that defined the genre's accessibility, selling millions across Asia and establishing Taiwan as the production hub.[21] Teng's music penetrated Mainland China via smuggled cassette tapes starting in 1978, with songs like "On the Other Side of the Water" and "I Only Care About You" captivating listeners despite official bans labeling them "bourgeois" and unsuitable for broadcast.[22] This illicit popularity fueled demand for Taiwanese Mandopop, which dominated informal markets as China's post-Cultural Revolution liberalization under Deng Xiaoping's 1978 reforms gradually thawed cultural controls, though state media prioritized revolutionary model operas until the mid-1980s.[22] By the early 1980s, Taiwan's output—bolstered by improved recording technology and export-oriented labels—outpaced local alternatives, with Teng's transnational appeal bridging divides and inspiring imitation across the strait.[21] In the 1980s, Luo Dayou advanced Mandopop's evolution through singer-songwriter albums like his 1982 debut Zhi Zu De Xing Fu, incorporating rock elements and lyrics critiquing modernization and identity, which resonated in Taiwan and later Hong Kong.[23] His work, produced under independent ventures like the Music Factory label, shifted the genre toward narrative depth, influencing subsequent artists and solidifying Taiwan's creative lead amid the island's democratization signals.[24] Mainland recovery lagged, with pop music reemerging tentatively after the Cultural Revolution's suppression of non-revolutionary forms; the 1983 CCTV Spring Festival Gala debut of Li Guyi's "Nostalgia"—the first officially recognized mainland pop song—marked a milestone, yet it echoed Taiwanese balladry in structure and sentiment.[22] Local composers like Gu Jianfen produced school anthems such as "The Youth Friends Gather Around," but infrastructural deficits and ideological scrutiny limited output, leaving Taiwanese imports—via Hong Kong intermediaries like Roman Tam—to fill the void until domestic labels formed in the late decade.[22] This era's asymmetry highlighted Taiwan's dominance, with Mainland consumption exceeding production by wide margins until policy shifts in the 1990s.[25]Commercial Explosion and Pan-Chinese Integration (1990s–2000s)
During the 1990s, Taiwanese Mandopop experienced rapid commercial expansion, fueled by Taiwan's established record labels and the opening of mainland China's consumer market amid economic reforms. Taiwan's Mandopop dominated sales and airplay in the People's Republic of China (PRC) throughout the decade, leveraging Mandarin as a unifying language to penetrate urban youth audiences in cities like Beijing and Shanghai.[5] Artists such as A-Mei Chang emerged as pivotal figures, with her 1996 debut album Sisters achieving multi-platinum status in Taiwan and widespread bootleg circulation in the mainland, underscoring the genre's transnational appeal despite official restrictions on cross-strait cultural imports.[5] This period saw album shipments in Taiwan peak, with several domestic releases exceeding 800,000 units, reflecting a mature CD market before piracy eroded legitimate revenues.[26] The 2000s amplified this growth through superstar breakthroughs and broader market integration across Chinese-speaking regions, including Hong Kong, Singapore, and Malaysia. Jay Chou's self-titled debut album in November 2000, blending R&B with traditional Chinese instrumentation, sold millions across Asia, establishing him as a pan-Chinese icon and revitalizing Mandopop's production standards via labels like Alpha Music.[27] Chou's subsequent releases, supported by international distribution from Sony Music, facilitated tours and endorsements that bridged Taiwan with the mainland, where his music topped unofficial charts amid rising disposable incomes post-WTO accession in 2001.[5] Pan-Chinese integration deepened as Taiwanese producers incorporated overseas talent, exemplified by Singaporean Stefanie Sun's 2000 debut Yan Zi, which integrated seamlessly into Taiwan's ecosystem and expanded Mandopop's footprint in Southeast Asia's ethnic Chinese communities. This era's commercial dynamics highlighted causal tensions between legitimate sales and rampant piracy, particularly in the mainland, where unlicensed copies of Taiwanese albums outnumbered official imports by ratios exceeding 10:1 by mid-decade, yet failed to halt the genre's cultural consolidation.[26] Group acts like S.H.E, debuting in 2001 under HIM International Music, exemplified integration by drawing on Hong Kong-style choreography while targeting a unified youth market, with their albums shipping over 1 million units regionally and fostering cross-border fan events.[5] By the late 2000s, Mandopop's pan-Chinese framework had evolved into a shared industry hub in Taiwan, exporting not just music but production expertise to emerging mainland labels, setting the stage for later digital transitions despite uneven regulatory enforcement on content flows.Mainland Market Ascendancy and Digital Shifts (2010s)
During the 2010s, mainland China's Mandopop market overtook Taiwan and Hong Kong in scale, fueled by population size exceeding 1.3 billion, rising disposable incomes, and urbanization that expanded access to entertainment. By 2010, mainland music sales approached 150 million USD, compared to Taiwan's less than 100 million USD, reflecting a shift where domestic production increasingly catered to local tastes rather than relying on imports from Taiwan.[26] This ascendancy was marked by the emergence of homegrown talent, including solo artists like Hua Chenyu, who won Sing! China in 2014 and topped charts with emotive rock-infused tracks, and the rapid proliferation of idol groups adapting K-pop-style training systems to Mandarin content.[14] The decade's idol boom was epitomized by TFBoys, a boy band debuting on August 6, 2013, whose cover of Mayday's "Onion" went viral online, propelling them to over 80 million fans by mid-decade and generating hundreds of millions in merchandise and concert revenue.[28] [29] Their clean-cut, patriotic image aligned with state preferences, securing endorsements and media exposure while spawning imitators like SNH48, which adapted Japanese idol formats for mainland audiences starting in 2012.[30] This fan-driven economy emphasized youth-oriented, high-energy pop with themes of perseverance and national pride, contrasting earlier Taiwan-dominated sentimental ballads, though content faced scrutiny under cultural regulations limiting "vulgar" or foreign-influenced material.[28] Digital platforms revolutionized Mandopop's ecosystem, supplanting physical sales amid widespread piracy and enabling direct artist-fan engagement. Streaming revenue, led by Tencent's QQ Music (launched 2005 but peaking in user base by 2015 with over 600 million monthly active users) and NetEase Cloud Music (gaining traction post-2013 for its social commenting features), grew from negligible paid shares in 2010 to dominating the market by 2019, with total recorded music sales reaching 5.6 billion RMB (about 800 million USD).[31] [32] [33] Innovations like algorithm-driven playlists and live virtual gifting shifted monetization toward subscriptions and virtual items, reducing piracy through exclusive licensing deals, while Weibo and early short-video apps amplified virality for acts like TFBoys, whose 2013 debut single amassed millions of streams pre-release.[34] [28] By late decade, these shifts consolidated mainland dominance, with domestic artists claiming over 80% of top charts on platforms like QQ Music, though challenges persisted from state censorship—such as bans on "sissy" aesthetics in 2016—and uneven revenue distribution favoring tech giants over creators.[35] This digital pivot not only scaled Mandopop's reach but embedded it in China's tech ecosystem, foreshadowing further integration with e-commerce and social commerce.[31]Contemporary Trends and Challenges (2020s–Present)
The 2020s have seen Mandopop bolstered by explosive digital streaming growth in China, where the overall digital music market reached approximately RMB 35 billion in revenue by the end of 2020, expanding to an estimated RMB 42 billion shortly thereafter, driven by platforms like Tencent Music Entertainment and NetEase Cloud Music.[36] Globally, the genre amassed over 500 million monthly streams on Spotify by September 2023, reflecting a 45% year-over-year increase and broadening appeal beyond traditional Chinese-speaking audiences.[37] Veteran performers such as Jay Chou, JJ Lin, and G.E.M. have sustained dominance, with Chou and Lin ranking as Spotify's top-streamed Mandopop artists in 2023, while newer acts like Xiao Zhan leverage short-video apps such as Douyin for viral dissemination, adapting production to favor visually dynamic, algorithm-friendly tracks.[1] International expansion efforts have accelerated, with Mandopop artists increasingly targeting non-Asian markets via streaming and social media, evidenced by Spotify's promotion of genre playlists and live listening events since 2023.[38] In Taiwan, however, a trend toward multilingual releases incorporating Hokkien, English, and indigenous languages has diluted pure Mandarin dominance, reflecting audience preferences for localized authenticity amid cross-strait cultural tensions.[5] Regulatory challenges in mainland China have intensified, with government mandates prohibiting lyrics referencing drugs, sex, or dissent compelling artists to self-censor, thereby constraining thematic depth and innovation in pop production.[39][40] Inconsistent copyright enforcement and platform algorithms prioritizing viral conformity exacerbate content quality issues, while economic headwinds—including post-2020 pandemic disruptions to live events and heightened scrutiny on entertainment spending—have slowed idol group investments and revenue diversification.[41] Competition from K-pop's structured exports and Western genres further pressures Mandopop's domestic market share, necessitating adaptations like hybrid audiovisual strategies for short-form platforms.[42]Musical Characteristics
Core Elements: Melody, Harmony, and Rhythm
Mandopop melodies emphasize emotional expressiveness and vocal adaptability, often prioritizing melodic contour over the lexical tones inherent in Mandarin Chinese. Unlike Cantopop, where pitch contours more closely preserve Cantonese tones, Mandopop compositions allow melody to dominate, enabling composers to shape rising and falling lines for dramatic effect without rigid adherence to syllable pitch levels dictated by tones. [43] [44] This approach facilitates catchy, hook-driven structures suited to pop formats, with studies of Chinese songs indicating that around 97% of syllables (649 out of 668 analyzed) still show partial alignment between lyrics and melody, reflecting a negotiated balance rather than strict rule-following. [45] Melodies frequently incorporate stepwise motion and occasional pentatonic inflections blended with diatonic scales, drawing from earlier Shidaiqu influences while adapting to modern ballad and upbeat styles. [46] Harmony in Mandopop relies on Western functional tonality, featuring diatonic chord progressions that provide familiarity and emotional resolution akin to global pop. Common sequences include variations of I-V-vi-IV and related cycles, as seen in works by artists like Jay Chou and JJ Lin, which underpin verse-chorus frameworks and facilitate sing-along appeal. [47] In subgenres like R&B-influenced tracks, harmony expands to include extended chords, seventh chords, and blue notes for added tension and color, though core pop remains grounded in simple triadic structures to support vocal prominence. [48] This harmonic simplicity contrasts with more complex traditional Chinese heterophony, prioritizing accessibility over polyphonic depth. [49] Rhythm in Mandopop adheres predominantly to duple meter, with 4/4 time signatures enabling steady pulses that range from languid ballad tempos (around 60-80 BPM) to mid-tempo grooves (100-120 BPM) for dance-oriented tracks. [50] This aligns with a broader Chinese musical preference for even divisions, though pop adaptations introduce syncopation and backbeats borrowed from Western rock and R&B to enhance drive and accessibility. [51] Rhythmic emphasis serves melody and lyrics, often subordinating percussion to maintain focus on vocal delivery, while contemporary production layers electronic elements for subtle variation without disrupting the foundational pulse. [52]Instrumentation and Production Techniques
Mandopop instrumentation blends Western pop and rock elements with selective use of traditional Chinese instruments, creating a hybrid sound that evolved from early fusions to contemporary electronic dominance. Core Western components include electric guitars, which gained prominence in the 1960s, alongside drums, keyboards, and pianos for rhythmic and harmonic foundations.[46][53] Synthesizers and electric organs emerged as staples in the 1970s, enabling expansive timbral palettes and marking a transition toward synthesized textures over purely acoustic setups.[46] Traditional instruments like the erhu (two-stringed fiddle), pipa (lute), and guzheng (zither) appear sporadically, often for melodic ornamentation or cultural evocation rather than as primary drivers, as seen in Jay Chou's tracks combining them with hip-hop beats and R&B grooves.[4][53] This integration reflects a deliberate stylistic choice in "Zhongguofeng" subgenres, where producers layer these timbres atop modern beats to balance heritage and accessibility, though full traditional ensembles remain rare outside niche or fusion experiments.[4] Production techniques prioritize studio polish and digital manipulation, drawing from global pop standards with multi-track recording, auto-tuning for vocal clarity, and heavy reliance on software for arrangement.[53] Synthesizers facilitate sampling of traditional sounds—replicating erhu glissandi or pipa plucks via digital emulation—to achieve seamless fusions without logistical challenges of live instrumentation.[54] Contemporary Mandopop often employs layered synth pads, programmed drum machines, and effects processing for dense, beat-driven tracks, as in Jolin Tsai's EDM-influenced anthems, emphasizing electronic production over organic acoustics for commercial sheen and streaming optimization.[4][53] Chord progressions remain straightforward, favoring I-V-vi-IV patterns adapted to Mandarin phrasing, which supports melodic focus amid elaborate production.[46]Lyrical Themes and Linguistic Features
Mandopop lyrics predominantly revolve around romantic love, heartbreak, and unrequited affection, often framed through personal introspection and emotional vulnerability. Ballads, a staple of the genre, frequently depict scenarios of isolation, loneliness, and anomie, reflecting listeners' relational struggles in urban, fast-paced Chinese societies.[55][56] These themes extend to resilience amid personal setbacks, with artists articulating inner turmoil to foster empathy among audiences navigating modern life's complexities.[57] Influences from traditional Chinese poetry infuse lyrics with symbolic natural imagery—such as the moon evoking longing or falling leaves signifying transience—to convey subtle emotional layers, blending classical motifs with contemporary sentiments.[58] While romance dominates, select works incorporate nationalism or identity reflections, particularly in Taiwan-originated tracks responding to cross-strait dynamics, though commercial imperatives often prioritize universal appeal over overt socio-political commentary.[59] Linguistically, Mandopop employs standard Mandarin as its core, leveraging the language's tonal structure and homophonic potential for rhythmic rhyme schemes and phonetic play, which enhance melodic flow.[60] Lyrics favor rhetorical, poetic phrasing with concise syntax to evoke imagery, drawing on classical literary allusions for depth while maintaining accessibility for mass consumption.[61] Code-switching with English words or phrases has grown prevalent since the 2000s, serving aesthetic enhancement, cultural signaling, and rhythmic variety, as seen in hybrid expressions that blend global pop idioms with Mandarin phrasing.[62] This bilingualism underscores the genre's adaptation to diaspora and youth markets, promoting biliteracy without diluting Mandarin's primacy.[63]Industry Dynamics
Key Record Labels and Production Hubs
Taiwan has served as the primary production hub for Mandopop since the 1970s, with Taipei emerging as the epicenter for songwriting, recording, and artist development due to its concentration of studios, talent agencies, and media infrastructure.[19][2] This dominance stems from government policies mandating Mandarin-language media post-1949, fostering a robust ecosystem that attracted composers and performers from across the Chinese-speaking world.[2] By the 1980s, Taiwanese labels had solidified control over production pipelines, exporting hits to Hong Kong and overseas diaspora communities.[64] Key Taiwanese labels include Rock Records, established in 1980, which became a cornerstone of the industry by nurturing acts like Chyi Chin and producing chart-topping albums that blended pop with traditional elements.[64] Linfair Records, founded in 1961, pioneered early Mandopop dissemination through vinyl and tape releases, emphasizing melodic ballads that influenced subsequent generations.[64] HIM International Music, active since the 1990s, has focused on high-production-value releases for artists such as Fish Leong, leveraging advanced studio techniques to compete in pan-Chinese markets.[64] Additionally, JVR Music, launched by Jay Chou in the 2000s, represents artist-driven production, securing a global distribution deal with Universal Music Group in December 2023 to expand Mandopop's reach.[65] On the mainland, Beijing and Shanghai have grown as secondary hubs since the 2000s, driven by state-backed media conglomerates and digital platforms, though production often relies on Taiwanese expertise for creative direction.[4] Modern Sky, founded in 1997 in Beijing, stands out as China's largest independent label, initially indie-rock oriented but expanding into Mandopop hybrids with over 100 artists by 2022.[66] These centers facilitate integration with streaming giants like Tencent Music, which handle distribution but outsource much core production to Taiwanese hubs. Historically, Hong Kong functioned as a transitional hub in the 1950s–1970s, with labels like Capital Artists (1971) bridging Cantopop and Mandopop before Taiwan's ascendancy.[67]Market Distribution, Streaming, and Exports
The primary markets for Mandopop distribution remain Greater China, encompassing mainland China, Taiwan, and Hong Kong, where streaming platforms dominate revenue generation. In mainland China, the recorded music market reached $1.45 billion in 2023, with digital formats accounting for the majority, driven by platforms such as QQ Music, KuGou Music, and NetEase Cloud Music.[68][69] Taiwan's overall music market generated approximately NT$27.26 billion (about $850 million USD) in 2023, with digital music projected to reach $333 million in 2025, largely through streaming services like KKBOX and Apple Music.[6][70] Physical distribution, once prominent via CDs and cassettes, has declined sharply, representing less than 5% of revenues in both regions as of 2023, supplanted by on-demand audio and video streaming.[71] Streaming constitutes the core of Mandopop consumption, with China's music streaming sector valued at $3.87 billion in 2024 and forecasted to grow to $8.39 billion by 2030, fueled by subscription models and algorithmic recommendations favoring Mandarin-language tracks.[72] Domestically, over 90% of musicians derive income from these platforms, which prioritize high-streaming Mandopop acts through exclusive deals and live-stream integrations.[73] Internationally, Mandopop amassed over 500 million monthly streams on Spotify as of September 2023, reflecting a 45% year-over-year increase, with top artists like Jay Chou, JJ Lin, and Eason Chan leading global listens.[37][74] This shift has enabled independent distribution via digital aggregators, reducing reliance on traditional labels for market access. Exports of Mandopop extend primarily to Southeast Asian nations with significant Chinese diaspora populations, including Malaysia, Singapore, and Indonesia, where it competes with local genres but maintains cultural resonance through shared linguistic ties.[75] Historical exports trace back to the 1960s, when Taiwanese Mandopop gained traction among overseas Chinese communities, a pattern persisting via streaming and diaspora-driven demand.[76] Taiwan continues to serve as a creative export hub, channeling talent and productions to mainland and regional markets despite regulatory hurdles in China.[19] Global reach remains limited beyond diaspora networks, with Western penetration constrained by language barriers, though platforms like Spotify facilitate niche growth in non-Chinese markets.[38]Performance Metrics: Charts, Sales, and Revenue Data
Mandopop's commercial performance is predominantly measured through China's recorded music sector, where it constitutes the core of domestic output, alongside contributions from Taiwan and Southeast Asian markets. In 2023, China's recorded music market generated $1.45 billion in revenue, reflecting a 25.9% year-over-year increase and positioning it as the world's fifth-largest music market. This growth was driven primarily by streaming, which accounted for the majority of revenues, with digital music surpassing $1.5 billion annually amid expanding platform adoption. Overall Chinese music industry scale reached 492.9 billion yuan (approximately $68.59 billion) in 2024, up 4.97% from the prior year, though this encompasses broader segments beyond recorded music.[68][77][78] Album sales remain a key metric despite streaming dominance, with physical and digital units highlighting Mandopop's enduring appeal. Jay Chou's Greatest Works of Art (2022) sold 7.2 million units globally, topping the IFPI Global Album Sales Chart and marking the first Mandopop release to achieve this distinction. Earlier successes include Cai Xukun's Mi (2021) at 3.47 million units. Career totals for leading artists underscore scale: Jay Chou has sold over 30 million albums across his discography. In Taiwan, a secondary Mandopop hub, the market valued $92 million in 2022, ranking 27th globally.[79][80][1][71]| Artist | Album | Year | Sales (units) |
|---|---|---|---|
| Jay Chou | Greatest Works of Art | 2022 | 7,219,772 |
| Cai Xukun | Mi | 2021 | 3,473,680 |