The Role of Folk Music in Popular Music

"Whether it's the southeast wind or the northwest wind, it's all my song", along with this beautiful and unique stylized melody, the creators of the popular music world have finally sung their own sorrows and joys. Isn't the music of the fifty-six nationalities of the Chinese family all our own songs? At this time, the unique personality and popularity of the "Northwest Wind" swept in, and its representative works include "Journey to the Heavenly Palace", "High Slopes of the Yellow Earth", "My Fervent Hometown", "The Sun in My Heart", "Young Man with a Strong Ambition" and so on, which take the folk tones of northern Shaanxi, and also contain a number of other songs based on the folk music of the north, clearly introducing the European and American rock thinking. Obviously introducing European and American rock thinking, it taps and draws on the great energy of China's northern music, which shows off in China and even in the world pop music scene with the bleak, bracing masculinity of the Huangtu Gao slope albatross, which is a great breakthrough in the process of the development of China's popular music. What is more meaningful is that the inversion of its warm melodic heritage, to give the nation an enlightenment: the sense of life of Chinese folk music in the historical flavor of the landscape of the melting, the interpretation of its meaning is far from being exhausted. Since then, China has created its own nationalized popular music of various genres and styles, based on the fertile soil of its own national music culture.

From the geographical point of view, there are styles from the Northeast, Northwest, Lingnan and Jiangnan. Following the end of the eighties after the TV series "Longing", the pop music world set off a "new northwest wind", composer Lei Lei and her husband, Mr. and Mrs. Yi Ming, Xu Peidong and Zhang Qua's partner's works are popular, "Good People Life Peace", "Shadow of the Fence Wall", "Bittersweet Years" and so on. Gao Feng sings "Great China", an organic combination of Northeast rice-planting songs and Jiangsu "Jasmine" music; Chen Xiaoqi's "Nine Nine Daughters' Red" originates from the Northeast folk song "Lullaby"; and Lingnan-style "The Sound of the Waves Remains the Same", "The Curved Moon", "The Wind Contains the Love and the Water Contains the Smile", and "Blue Blue Nights and Blue Blue Blue Dreams".

From the aspect of music genre, instrumental music, dance music, opera and other folk music sources are also the source of material for popular music creation. For example, Yao Ming's and Yan Su's "Front Door Love - Big Bowl Tea" and "You Walked Into Our Hutong", which were once widely circulated, are songs based on the basic tones of the folk rap "Beijing Rhythmic Drums"; "Dreaming Back to the Tang Dynasty" by Tang Dynasty, which was written in the same vein as "Dreaming Back to the Tang Dynasty" by Tang Dynasty, is also a source of popular music creation. The song "Dreaming of the Tang Dynasty" incorporates the rhymes of Peking Opera into rock music; "Chinese Kung Fu" and "Boys Be Strong" choose the melody of the Peking Opera song "General's Order", and Tian Zhen sings "Unfinished Love" with Peking Opera rhythms. The musical body of the Taiwanese pop song "Nine Hundred and Ninety-Nine Roses" draws on the tones of China's famous pipa song "Yi Dance"; "Big China" A period of time was written in the tune of northeastern rice-planting songs, and Chen Hong sang "Always Come Home to See", which is a melting blend of northeastern duo and the tunes of the opera of appraisal. Feng Xiaoquan's "Chinese ballad" is the rap music into the song, Tengger's early creation of some rock songs is the Mongolian song "Hao Lai Bao" of the number of boards and characteristic tunes used.

From the use of folk songs and ballads, the music of various ethnic minorities has provided another broad world for the creation of pop songs, and the music of ethnic minorities is like a beautiful flower that adds new colors to the creation of pop music of different styles. The Mongolian style includes Tengger's "Mongolians" and "Paradise", Zero Point's "Zandan Hoo Still", Sichin Gegele, and the series of songs in Zang Tianshuo's "New Long March" album, including Na Ying's "Thinking of You", which is also derived from the tune of the Neimenggong folk song "Running Horses on the City Walls". Minority style in Xinjiang are Wang Fulin's "Loulan Girl", Chen Ming's "For You", "Happy Old Home", Knife Lang's music album "Lover", "Ailipu and Sai Naim", new music and modern appreciation of the strong R&B and RAP and other elements. Tibetan style songs to Zheng Yun's "back to Lhasa" unveiled the mystery of Tibetan style pop music, this piece of ancient magical land has for the creation of pop music into the blood. Han Hong, Li Na, Zhang Qianyi, Rong Zhongerjia, Yadong and a group of musicians' works such as "Tibetan Plateau", "Everest", "Plateau Red", "Magical Jiuzhai", "Aspire to the Eagle", etc., in addition to "A Sister's Drum" by He Xuntian and Zhu Zheqin, which made the world impressed by China's pop music. They use simple and ancient music language and modern music techniques to tell the holy snowy mountains, the heart of the plateau and the piety of Tibetans. The albums "Out of the Daliang Mountains" and "You are Innocent" sung by Ni Ruisi, which are made by the southwestern ethnic minorities "Mountain Eagle Group" and "Yi People", seek to deconstruct the old music with new musical paradigms, "out of the folk, out of the mountains, and into the world," have become the most popular contemporary music. and to the world has become the development trend of contemporary Yi original music." Zheng Yun sang "Cinderella", Wang Yan's "Eye Mei" and with the Dai folk song style, Li Jie's "Smile" has a Yunnan Bai tone.

Likewise, folk songs of Han Chinese from all over the world are another source of pop song writing. A Hebei folk song "Cabbage" has been sung by Cheng Lin for the Taiwan song "wine dry drip sell no", Liu Qing creation, Na Ying sang "mountains not water turn" provides the basis for the creation of the melody direction and phrases of the fall sound is very similar to the "Cabbage", RuJia Chen's "Love in the Homeland" taken from the Sichuan folk song "picking grapes", GuJianFen's "Mom's Kiss" with the Jiangsu folk song "MengJiangMei" not only the similarity of spinning, the A section of four lines of the fall sound is also the same; ZhangHuiMei's "smile" has the Yunnan Bai tone; LiJie's "smile" has the Yunnan Bai tone. The same sound; Zhang Huimei's "Sisters" and the shadow of Taiwan's alpine folk songs, created by Zhao Jiping, sung by Liu Huan, "Song of the Good Man" evolved from the Henan folk song "Wang Daniang nail tank", due to the appropriate use of folk elements, so that the song is more popular factors, more folk, folk nature.

In summary, the connotation and extension of popular music is very clear. The ubiquitous national style in popular songs spreads widely and rapidly with the help of "popularity as a fast channel and infects the whole nation, reinforcing the national plot, which will greatly promote the civilization and development of the country and the nation." The vitality of the popular song itself will also flourish on the road to nationalization. The reason why it has become a popular form of music in everyone's musical and cultural life is that, in addition to the subject matter and content, it has a melodic aspect that is acceptable to the public and doubly friendly and beautiful national and folk music language, easy-to-understand, near-language singing, cathartic tones and lively and dynamic rhythms, and an aesthetic sense of secular music that is close to the general public. Therefore, China's modern popular music must be rooted in the soil of national music, study the direction of the development of music and art with Chinese national characteristics, create their own nationalized music works, and make China's nationalized music works unique in the world music scene.