The rise in popularity of ballads composed by young people has been one of the outstanding trends in musical development in the Republic of China in the latter half of the 1970s. These ballads are quite different from the classical songs, traditional folk songs, popular Mandarin songs or modern American music. But they are becoming increasingly listened to in such Asian areas as Taiwan, Hong Kong, Southeast Asia and even the Chinese mainland.

The origin of these "modern ballads" can be traced back five years ago when Yang Hsien presented his maiden work "Nostalgia," based on a piece by well-known poet Yu Kuang-chung. Previously, many young people were limited to singing or imitating popular Western songs. But no matter how attractive the results were, the feeling of alienation was always present.

After obtaining an M.S. degree in oceanology from the National Taiwan University, Yang passed his time playing the guitar, singing western songs, joining in choral and musical seminars, and learning composition theory from such well-known musicians as Hsu Chang-hui and Lee Kuei-jan. When he issued his first record, it was greeted with great enthusiasm and not a little controversy.

The main point of contention is how to classify the new songs. Some professional musicians think that Yang's works are too Westernized to represent China, and as he has never received any academic training, his techniques are not mature. They consider it inappropriate to call his works modern Chinese folk songs, and instead prefer such titles as campus songs, creative ballads, or even "songs for young men."

Others think classification is not important. What is to be considered is the young men's zeal and courage in producing creative works. If the songs are too Westernized, so be it. After all, society cannot escape the impact of the Western tide. In fact, when modern Chinese poetry, painting and novels first flourished in Taiwan, they were all more or less influenced by Western trends. As time passed, the influence gradually diminished. At the same time, many young people received the necessary training and background to improve their techniques.

The young balladeers soon found many sponsors for their songs. Tao Hsiao-ching, hostess of "Popular Music" of the Broadcasting Corporation of China, virtually turned her program into a vehicle for the presentation of the "new wave" songs. Hong's Foundation for Education and Culture and other recording companies also helped the new songwriters to make records. The artists included writers, physicians, teachers, journalists and students as well as professional musicians, who held their own shows and TV programs. Their original and natural style soon won many fans.

Among all the singers who led the campus ballad hit parade, Hu Teh-fu, an aborigine from Taitung County, is perhaps the most outstanding. In the summer of 1972, when he and Yang Hsien put on a concert of ballads at the International House in Taipei, his aboriginal songs and Yang's "Nostalgia" found immediate acclaim among the audience. Since then Hu has written his own songs, including his first effort, "Maple Leaves," followed up by such popular items as "In Haste," "Children Riding on an Ox" and "Tawu Shan."

Another outstanding singer in the genre is Wu Chu-chu. Among his most popular songs are "Hao Liao" ("Let it Be" in English), "Where Go the Boats" based on a poem by Robert Louis Stevenson, and set to a traditional Chinese melody; and "A Song for You." A guitar instructor, Han Cheng-hao has also scored a hit with such pieces as "Voices of Students."

Yang Kuang-jung, an ear, nose and throat specialist at the Chang Gung Memorial Hospital, was born in a music-loving family. While he was still studying at the College of Medicine of the National Taiwan University, he compiled five issues of guitar lessons, and organized four people to form the "Virus" choir to sing Western ballads at first, and their own songs later. Among Yang's best known works are "Memory of Spring," and "Mother, Don't Cry."

Chao Shu-hai is popular not only for his songs but also for the articles he has written. "Thinking of You," "Memory," "Roving at Midnight," and "Spring" are his most popular pieces. Wang Meng-ling is famed for being one of the first singers to sign contracts with TV stations. Besides the guitar, this versatile young musician is proficient in piano, electone and harmonica. Among the 30-odd songs he has written, "A Scene in the Rain," and "A Mei," were hits last year. He himself likes "For Mother" the most.

Ho Teh-chien's "Catching Mudfish," Tai Chao-mei and Shih Pi-wu's "If" and "Dedication" are also popular numbers. Some choirs, such as "The Travelers' Trio," "The Country Quartet," and "The Wooden Guitar" have experimented with singing traditional ballads and Taiwanese songs in a modern way. Even some professional musicians, such as Lee Tai-hsiang, Wen Long-hsin, Lin Erh, Chen Yang and Ma Shui-long have created new songs to express modern sentiment.

Though these professionals admire the young men's talent, they have encouraged them to undergo more academic training in music composition and theory. They emphasize that only with solid musical training can they create their own style, and open a new era for Chinese folk songs.

[Picture Caption]

Opposite: The young and lively balladeers romp through the grass. Above: Yang Hsien was the first to compose, sing and play songs of the new type. Below: Tao Hsiao-ching, hostess of the "Popular Music" program of the Broadcasting Corp. of China, is an enthusiastic sponsor of the campus songs. Her program has virtually turned into a vehicle for the new songs.

Balladeers Tai Chao-hsuen (left), Chao Shu-hai and Tai (above right) and Lee Chien-fu (below right) sing at their own concerts.

Opposite: Besides being a balladeer, Liu Chang-tai doubles up as hostess for TV and radio programs. Above Left: Wang Meng-ling is famed for being one of the first singers to sign contracts with TV stations. Below left: Chao, Liu and Lee singing on a college campus.

Tai Chao-mei is among the few female balladeers to have achieved popularity.

Chao Shu-hai is popular not only for his songs, but also for the articles he has written.

Yang Hsien was the first to compose, sing and play songs of the new type.

Tao Hsiao-ching, hostess of the "Popular Music" program of the Broadcasting Corp. of China, is an enthusiastic sponsor of the campus songs. Her program has virtually turned into a vehicle for the new songs.

Balladeers Tai Chao-hsuen （left）, Chao Shu-hai and Tai （above right） and Lee Chien-fu （below right） sing at their own concerts.

Balladeers Tai Chao-hsuen （left）, Chao Shu-hai and Tai （above right） and Lee Chien-fu （below right） sing at their own concerts.

Balladeers Tai Chao-hsuen （left）, Chao Shu-hai and Tai （above right） and Lee Chien-fu （below right） sing at their own concerts.

Besides being a balladeer, Liu Chang-tai doubles up as hostess for TV and radio programs.

Wang Meng-ling is famed for being one of the first singers to sign contracts with TV stations.

Chao, Liu and Lee singing on a college campus.

Tai Chao-mei is among the few female balladeers to have achieved popularity.

Tai Chao-mei is among the few female balladeers to have achieved popularity.

Chao Shu-hai is popular not only for his songs, but also for the articles he has written.

Chao Shu-hai is popular not only for his songs, but also for the articles he has written.