Introduction Chinese music dates back to the Zhou Dynasty. Traditionally, the Chinese believed that universal harmony was sound influenced (Hong Kong Museum of History, 2002). Thus, rather than amusement, music in these ancient times was widely used to purify personal thoughts, i.e. get rid of lust and unrest. Although in ancient China a musician was not held in such high regards, it is widely known that folk songs were seriously taken by all emperors. These emperors would use songs collected by officers to find out what their subjects wanted i.e. popular folk songs would say it all in this (1122BC – 1911) era. In these times, “Yin Yueh” (music) was fundamentally part of the functioning society (Liang, 19850). A bureau of music had officially been founded in every single dynasty, state and republic in all historical times. Hong Kong a former British colony is now one of the most influential cities in the People’s Republic of China. The music scene of this traditionally homeland for the punti, Hakka, Tanka and Hoklo ethnic Chinese group took a turn right from the entry of the British. Up to these current times, it is regarded as having a slow fade in its traditional Chinese culture and picking up on Western cultures. This same effect holds true to music especially after 1945 (Liang, 1985). This is widely attributed from the fact that Shanghai capitalists immigrated to Hong Kong after World War II along with their entertainment modes which were different from what was there previously. Canton-Pop Cantonese is a widely spoken language in Hong Kong. It thus doubles up as an identity for the natives and it is also a language used officially in contexts. Canton-pop on the other hand derived from the words “Cantonese pop music” can be described as a multi-million dollar music industry. It caters for its vast audiences worldwide and especially so in Hong Kong. Being a British colony the city had better stability and thus influence inevitably came in from its western masters. The shaping of the canton-pop music was slow such that by 1970’s it was yet to make an impact. Opera pieces of Cantonese, commercial jingles, drama plays in radios and movie theme songs can be said to have formed early canton-pop. Though at infancy, major following from grassroots communities is Hong Kong had already been realized. Introduction of commercial radio stations saw slots being allocated for this music type. Major boost however came from post 1970 generation’s acceptance of Cantonese performance for example a song like “The Fatal Irony” became a hit after being broadcasted in television and radio stations. (Friesen, 1988) Such events caused a major shift by record companies and performers to produce this type of music. With different music types being produced for example love, about life etcetera. Canton-pop was fostered into Hong Kong’s music mainstream. Mandarin-Pop Mandarin yet another official mainland china language has Mandarin-pop named after it. This type of pop music became popular soon after World War II among the so called upper crust dwellers of Hong Kong. By 1950’s and 1960’s Mandarin-pop had already become hits in Hong Kong. This period ended with Teresa Teng’s (1953 -1995) song. However it looks likely to continue especially with constituting of Mandarin language under basic law as a standard language (School of M