Jiang Hui's Taiwanese pop songs of Dian-Jiang records are the subject of this research. As a "phenomenon" to understand and discuss the 1990s Chinese-Style phenomenon, study work should be together to focus the work itself and the impact of space-time background, includes Chinese-style phenomenon occurring in the mainly scenes - Taiwan's pop music industry. Therefore, the author discusses the impact inside and outside together, in turn to explore a complete "culture" of the forming process.
First, the author discusses of how the structural changes were occurred in the Taiwanese pop songs and Chinese pop songs. From KMT reign began, Taiwanese pop songs have experienced heavy oppression and tests. Because the "Chinese language policy" and "Broadcasting Act" policies, like mandatory norms, Taiwanese pop songs became vulnerable. Coupled with the rise of Chinese music in Taiwan, thus Chinese pop songs and Taiwanese pop songs reverse their status.
Next, new album ecological model was formed during the structure replacement of Taiwanese pop songs. There are gradually differences of Taiwanese pop music from the production, promotion techniques to the album packaging. By Jiang Hui singing career and record distribution experience, we can see that Taiwanese pop songs follow the typical approach to handle, including the night market-style singing, am radio promotional activities, like less funding for the small cost of customization and more focus on the music. The other was affected by the Chinese pop music industry. That is, commercial operations, a large record production processes are just the cost of promotional marketing methods, including singer image management and consumer-oriented planning methods to sell Chinese pop albums. Jiang Hui's Taiwanese Pop Songs of Dian-Jiang Records and 1990s Taiwanese pop songs favored the latter situation and made it more obvious.
Finally the author discusses this article itself. Statement is based on the analyses of Jiang Hui's Taiwanese Pop Songs of Dian-Jiang Records and range from singing, arranger mode, music style, as well as Taiwanese lyrics and lyrics subject to other aspects. By analyzing the musical content, author describes the "Chinese-style phenomenon" evidence, in response accustomed to Taiwanese songs listeners and accustomed to Chinese songs listeners, with their different positions comments. The author believes that "Chinese-style phenomenon" should be regarded as a result of bidirectional rendering in Chinese to Taiwanese and Chinese pop songs to Taiwanese pop songs. They influence each other while also enrich one another, and there is a lot of room for discussion. It depends on the angle from which to look at the "Chinese-style phenomenon" in Taiwanese pop songs. The author believes that this can only be said to be a type of culture under the times of evolution, there is no absolute good or bad.
Keywords：Taiwanese pop song, Chinese pop song, Chinese-style phenomenon, Jiang Hui, Dian-Jiang Records