The Development History of Pop Music in Mainland China

The Development History of Popular Music in Mainland China

It means a process of progress and change from the birth of things, a continuous renewal of things. The following is the history of the development of popular music in mainland China that I have helped you organize.

The first stage of development: 1917-1936 (Shanghai period)

Starting from the musical activities of Mr. Lai Kam Fai, the pioneer of popular music in China, and taking his anti-feudal Mingyue Opera Society as a clue, the first children's song and dance dramas such as "The Three Butterflies," "The Sparrow and the Child," the song and dance show "The Poor Qiu Xiang", "Cold Clothes Song", etc., and then composed the first batch of family love songs in China, i.e. the popular songs "Hairy Rain", "I Love You, Sister" and "Special Express". This period ended with the dissolution of the musical group Mingyue Opera Society, and most of the singers entered the movie industry.

The Second Stage of Development:

First: 1937-1949 (Shanghai period)

This period began with Zhou Xuan's entry into the movie industry, and the two interludes she sang in the film The Angel of the Road, The Singing Maiden of the End of the World and The Song of the Four Seasons, which were widely sung throughout the country. She created a generation of songs that influenced the entire Chinese singing scene.

During this period, there were no singing or dancing groups. The singers who sing exclusively on records and radio broadcasts are in the minority, and most singers are filming movies and singing movie interludes in the form of film-song bi-amputee. After the founding of **** and the country, most of the major representative singers were transferred to Hong Kong until the development.

Later: 1950-1969 (Hong Kong period)

This period started with Yao Min and Yao Li, the siblings, and many of the main representative singers moved to Hong Kong. Initially, it was still mainly film and song, and as time went by, the proportion of singers who relied on singing and recording albums increased. Instead of the actors themselves singing the interludes in the movie, the professional singers were asked to sing the backing vocals, but there were still no obvious influential singing and dancing groups performing.

By the late 1960s, Mandarin pop songs were declining in Hong Kong, and Cantonese songs were emerging and dominating the music scene. The main representative was Sam Hui.

The third stage of development: 1970-1981 (Taiwan period)

From the late 1960s, Taiwan's pop music gradually developed. It took the place of Hong Kong's singing scene, where Mandarin pop songs were declining. The symbol is Xie Lei's "Manly" red throughout Southeast Asia, establishing the leading position of Taiwan's pop music scene.

Before that, the songs sung in Taiwan included folk songs of the Han Chinese and various ethnic minorities (including Minnan songs); Mandarin pop songs from the Shanghai and Hong Kong eras; and Japanese-influenced compositions. Later on, they gradually created period songs with their own characteristics between Shanghai-period pop songs and modern urban pop songs. This style of song was not in decline until the early 1980s, when it was replaced by new urban pop songs.

In the mid-1970s, there was a famous campus folk song movement in Taiwan. First initiated by students to write and sing, it had a far-reaching impact, so much so that it spread to Hong Kong and the mainland songwriting scene. It was not until the early 1980s that it converged with popular music, fused together and developed, injecting fresh blood into popular music.

The fourth stage of development: after 1982 (the period of diversification of the center of gravity)

At the end of the 1970s, Taiwan's Mandarin pop songs began to decline, due to Luo Dayou a "Zi Xianghua" album, followed by Su Rui a "wrong train" album, changed the style of Taiwan's singing scene, laid the new urban pop songs The foundation of the new urban pop song was laid.

The style of songs in this period was far from the original Chinese tradition, and was influenced more y by Europe and the United States, with the rapid development of Chinese pop music led by Taiwan. Because during this period, with the continuous development of science, high-tech means applied to music production, coupled with a more obvious tendency towards commercialization, which all played a role in promoting the development of pop music. Chinese pop songs blossomed all over the world. Coupled with the reform and opening up of the Mainland and the implementation of the market economy policy, pop music has also developed. In this way, its market has become broader, forming a diversified pattern of center of gravity.

During this period, there was a clear polarization of the audience, with pop music almost becoming the preserve of the young and unacceptable to most older listeners. This is very different from the Shanghai period of popular music and folk music, serious music are not very strict boundaries, the formation of the young and old, elegant and popular **** appreciation of the situation is very different.

Commercial Chinese pop music emerged in tandem with the gramophone, which was first brought to Shanghai's Xizang Road by the Frenchman Labansat. Bai Dai was one of the first record labels to create a Chinese pop music industry.

In the 1920s, Chinese pop music was known as songs of the times. They were seen as the prototype of Chinese pop music. Geographically, Shanghai was the center of Chinese pop music. Lai Jinhui, considered the "father of Chinese pop music", was the founder of the genre. His 1920s work Mao Mao Yu is regarded as the earliest Chinese pop music.

In the 1930s and 1940s, a large body of Chinese pop music emerged in Shanghai in the true sense of the word, and many musicians grew up. With the help of records, movies, songs and dances, broadcasting and other communication media, a new style of song singing craze that had never been seen before was set off in China and even in the Far East at that time. Some experts believe that the old Shanghai songs of that era had already manifested a modernity.

The original "Seven Singers" of the Republic of China established Chinese pop music in Asian society. These singers combined the techniques of traditional Chinese ditties and Japanese pop music to create a style of singing that was unlike any other Chinese music before them. At this time, the infant Chinese film industry was growing and recruiting singers to act in movies or sing in movie songs.

Because of her successful singing and movie acting career, Zhou Xuan is considered one of the most iconic Chinese pop stars of the era. This generation has witnessed the rise of female singers from "songstresses" to "stars" in the eyes of the public. Their sweet voices were heard on radio stations in major cities, and their records were packaged by record labels as attractive entertainment products. The era was disrupted by the occupation of Shanghai by Japanese troops during China's war with Japan, but eventually continued into the late 1940s.

Expanded Information

The development of popular music in China is now more than eighty years old, counting from the time when the founder, Mr. Lai Kam Fai, was engaged in music activities. According to the changes in song styles and the shift in the center of gravity of development, it can be divided into four stages of development. The second development sub-phase in the middle of the shift in the center of gravity is divided into two periods before and after, plus the history of the development of Chinese popular music before the school music songs, so that **** there are six parts.

Before the emergence of popular music, only in the school students sang the school music song. First sung among students, and later also widely circulated among the masses. It can be said that there is no pop song before the emergence of pop songs. The main songwriters represented by Li Shutong (Hongyi), Zhao Yuanren and Shen Xinguo.

China's Music Education Status and Development Prospects Essay

I. China's current stage of the development of music education

(a) the rich traditional music culture and its encounters at the present time

China is an ancient civilization with a long history, with an extremely rich and diverse musical cultural resources. The history of Chinese music can be traced back to more than 8000 years, and the breadth and diversity of Chinese traditional music is rare in the world. According to incomplete statistics, there are 394 types of Chinese opera, more than 400 types of music, more than 600 types of folk instrumental music, with a repertoire of nearly 10,000 songs; Chinese folk songs are even more vast, according to incomplete statistics, there are about 45,000 songs. However, with the strengthening of globalization and the accelerated process of modernization, China, like many countries in the world, the cultural ecology in recent years has undergone tremendous changes. Popular music, backed by powerful commercial operations, and various other factors have had a great impact on folk music culture, bringing resistance to the preservation and inheritance of folk music. At present, the intangible cultural heritage has been subjected to an increasing impact, relying on the cultural heritage of oral and behavioral inheritance, the survival environment has deteriorated sharply and is disappearing, the protection and inheritance of folk music culture is also facing a serious situation, and strengthening the protection of China's intangible cultural heritage has been a matter of great urgency.

(2) The huge music education system and its lack of power in the inheritance of folk music

China has the world's largest education system, with nearly 200,000 music teachers providing music education for more than 200 million students in universities, middle schools, and primary schools, and 388 higher music education institutions training music teachers of all kinds. Music education in these schools plays an extremely important role in the transmission of national music culture. However, contemporary Chinese music education is unsatisfactory in reflecting cultural diversity. According to actual surveys, many students are unfamiliar with and unaware of their own ethnic music, and do not like traditional ethnic music, but are enthusiastic about Western pop music.

The reasons for the current state of music education in China

(a) Historical reasons

Looking back at the historical origins of modern music education in China, we can see a line of development from the twentieth century onwards, which is known as the "western music to the east". Initially, most of the tunes sung in the "school songs" were songs from Japan, Europe and the United States; after the 1920s, the educational model and basic theories of German and Austrian music were accepted, and the traditional music culture was criticized as a part of the feudal dictatorship; in the 1950s, the Soviet Union's model of professional music education was borrowed; and in the 1980s, the West was introduced to modern compositional techniques and theories from Hong Kong, Taiwan and China. In the 1950s, the model of professional music education was borrowed from the Soviet Union; in the 1980s, modern compositional techniques and popular music from Hong Kong, Taiwan, Europe and the United States were introduced. In other words, the dominance of "Eurocentrism" has been a basic fact in the development of music education in schools in recent times. Due to the impact and influence of western music, the concept of national music culture has not been reflected in the guiding ideology and actual teaching materials of Chinese school music education in a fundamental and systematic way, and it is not easy to promote the inheritance of national music in school education.

(2) Reality

With the implementation of China's reform and opening-up policy, mass media such as film and television and the Internet have developed at an unexpected speed, gradually becoming the main channels for people to receive and obtain cultural information, and their value orientation plays a more and more significant role in the formation of the youth's aesthetic interests. At present, Chinese teenagers are familiar with American blockbusters, rock music, pop songs, Broadway operas, TV movies, and even various periodicals and magazines, novels and books, etc., and the influence of these media is evident. The pursuit of maximizing economic benefits brought about by the marketization of the mass media has made popular music culture so pervasive that it has had a huge impact on the youth population.

(3) Institutional reasons

For a long time, the inheritance of Chinese folk music culture has been mainly carried out by social literary groups, professional folk music organizations and folk music associations, with the cultural sector (including the system of cultural halls and stations at all levels) being responsible for supporting them; and school music education (including higher teacher education) has mainly focused on the new music that has been performed in schools since the Song of Songs, and has not made good use of folk music culture. Failure to make good use of national music and cultural resources, especially the introduction of local national music and cultural resources, coupled with the great influence of popular music on students in the social and musical life, can not help but think that it is one of the reasons for the current students' indifference to the concept of national music and culture, and the threat to the oral cultural heritage of national music.

Three Reflections and Explorations on China's Music Education

(1) Reflections on School Music Education since the 20th Century

1. Proposing to Overcome the Negative Influence of Eurocentrism and Calling for School Education to Emphasize the Inheritance of Ethnic Music In launching a comparative study of music education in China and foreign countries in the modern era, scholars have found it impossible to find China's own music education system. In a comparative study of modern Chinese and foreign music education, scholars found that they could not find China's own music education system because our music education was either "European or American", which was introduced to China in the 20s and 30s, or "Soviet", which was introduced to China in the 50s, but not Chinese. All these phenomena have led scholars to ask the question of the century, "Where is China?" and to propose that contemporary Chinese music education should be examined from a cultural perspective, pointing out that "it is necessary to grasp the core of China's musical and cultural experience, to carry forward the traditions, and to make every effort to develop music education as a culture! "

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2. Proposing the establishment of music education with Chinese culture as the mother tongueMusic education with Chinese culture as the mother tongue should include the philosophical foundation, way of thinking, aesthetics, morphology, and values of Chinese music, and its theoretical system should be established in the longitudinal and in-depth study of the historical development process, and in the comparative study of the music cultures of all the nationalities of the East and West and of all the local nationalities; while the "mother tongue" should be the basis for the development of Chinese music. The connotation of the "mother tongue" system will include traditional, folk, minority, contemporary, and national aesthetic psychology of historical precipitation, and so on.

3. Propose to let every child sing the song of his hometown, pay attention to the diversification of Chinese folk music itself China is a multi-ethnic country, 56 ethnic groups have their own unique musical culture. Therefore, the inheritance of different ethnic groups' own musical cultures and the musical cultures of different regions of the same ethnic group is also an important and complex subject. With the in-depth thinking on the issue of the inheritance of ethnic music in schools, scholars are paying more and more attention to the pluralistic characteristics of Chinese music itself as well as the multi-ethnic and multi-regional characteristics.

(II) Exploring the Practice of Ethnic Music Inheritance in School Music Education

From the end of the 1980s of the last century, the inheritance of Chinese ethnic music in school education has been comprehensively carried out in terms of syllabus, teaching materials, teaching practice, teacher training, and research on the subject.

1. Revision of Syllabus and Teaching Materials

In order to familiarize primary and secondary school students with traditional ethnic cultures, the Ministry of Education has issued a series of guiding documents since the 1980s, stipulating the proportion and types of ethnic music in the teaching content of music classes, and providing policy support for the inheritance of ethnic music in schools.

2. Physical Exploration--The Development of Teaching Practice

With the introduction of a series of guiding documents and the compilation and publication of a variety of teaching materials, many music teachers across the country have been physically exploring a great deal of teaching practice. They start from the local or national music that students are most familiar with, adopt flexible and diversified teaching methods, and try to combine classroom teaching with extracurricular activities, which has achieved better results and accumulated some successful experiences for the inheritance of national music.

3. Seize the key link--teacher training

Many higher teacher training colleges and music and art colleges have realized that the key link to the success of the inheritance of folk music is the training of teachers with the quality of folk music. These colleges and universities have added ethnic music courses to their teacher training programs and have opened local music courses according to the specific conditions of each region, so that future music teachers will truly have the qualities of ethnic music culture. Some teacher training colleges have also begun the exploration of local ethnic music teacher training.

4. Theoretical support - the advancement of scientific research and the results it has achieved

In fact, the reflection on school music education in recent times has gradually unfolded along with the research on the subject of ethnic music inheritance in schools, and therefore the development of related scientific research projects and the results they have achieved have provided theoretical support for the practical exploration of ethnic music inheritance.

Current Tasks and Future Prospects of Music Education in China

Now there are many scholars who have published a large number of articles on the "Ideas and Suggestions for the Implementation of Multicultural Music Education", which deal with the current tasks and future prospects of multicultural music education.

(1) Fully Recognizing the Important Role of Education in the Inheritance of Ethnic Music and Culture

Reflecting on school music education in recent times, and exploring the achievements made by schools in the inheritance of ethnic music, people have provided us with some successful experiences in our research, and the education departments of all levels and primary and middle school teachers as well as teachers of higher education institutions in many regions have begun to pay attention to and strengthen the content of ethnic music in the curriculum of music education. Teachers at all levels of education and primary and secondary schools in many areas, as well as teachers in higher education, have begun to emphasize and strengthen the content of folk music in their music education curricula.

(2) Establishing the goal of school music education based on the diversity of musical cultures

Establishing the goal of school music education based on the diversity of musical cultures is an important task for music education in China at present. How to establish school music education based on musical cultural diversity? First of all, it is necessary to solve the problem that school music education and music culture inheritance should be based on each other, i.e., school music education should be based on national music culture inheritance, and national music culture inheritance should be based on school music education. On the one hand, from the perspective of education, school music education should be based on national music cultural heritage.

(C) Introducing diversified music cultural resources and realizing the organic combination of traditional music cultural inheritance and school education

Introducing the inheritance of ethnic music in school music education involves, after all, the structural reform of the totality of a school's music education, the overall construction of a music education system based on ethnic music, and even the reconstruction of local ethnic music culture. The goal it hopes to achieve cannot be accomplished overnight. In introducing diversified traditional music and cultural resources, we will encounter more conflicts between the heritage of diversified music traditions and the modern education structure. Therefore, how to harmonize the two different systems and realize the organic combination of traditional music cultural heritage and school education is particularly important, and the main tasks are focused on the preparation of teaching materials, teacher training, traditional music pedagogical heritage, institutional reform and so on.

Education is the main channel of cultural inheritance, so education is the foundation of cultural inheritance. How to carry out to get students out of school, participate in community culture and folklore activities, combining education and cultural inheritance, it is possible to make the inheritance of music and culture to obtain sustainable momentum, and lead to the reconstruction of diversified music culture.

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