Using sound studies theories and frameworks, this book examines the sonic nature of Cantopop, not as a music genre but as the sound of Hong Kong, in terms of the practices of listening and sound (re-)production. It traces Cantopop's sonic and aural roots and its connection to its main production site in Hong Kong.

In more ways than one, Hong Kong is a place on the edge of its former and current ruling countries, Great Britain and China. This book urges a change in the listening habits among Cantopop audiences and invites readers to listen actively to the music and to learn about the territory. Through four case studies, it examines the sounding of mainstream Cantopop made possible by technological advancements, such as re-contextualization, re-arrangement, re-performance, and re-production of sound/voice. The selected case studies demonstrate the relevance of the music to Hong Kong, as well as the urgency to analyze and document the sounds of Cantopop.