Introduce the development period of China's popular music, please!

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

Counting from Mr. Lai Kam Fai, the pioneer of Chinese popular music, engaging in music activities, in the middle of which his feudal Mingyue Opera Society was the clue, he started with children's songs and dances, such as The Three Butterflies, The Sparrow and the Child; and song and dance show tunes, such as Poor Chouxiang, Cold Clothes Songs, etc., and then he composed the first batch of China's family love The first family love songs in China were then composed, i.e. popular songs such as "Hairy Rain", "I Love You, Sister", "Peach Blossom River", "Special Express", and so on. This period ended with the dissolution of the musical group Mingyue Opera Society, and most of the singers entered the movie industry.

The style of singing in this period was not very graceful, and the singing style of class voice shouting was often used.

Representative singers include Lai Ming Fai, Wang Renmei, Lili Lai, Xue Ling Xian, Hu Jia, Yan Fei, Ying Yin, Xu Chun Ying, Cai Yiming, Qian Zhongxiu, Zhang Xianlin and so on.

Composers include Lai Kam Fai, Yim Kung Sheung, Hsu Ru Hui, Ren Guang and others.

Lyricists include Lai Kam Fai, Ko Tin Sut, An E, Wang Qian Bai, Wei Ru Hui, etc.

The Second Stage of Development:

Preliminary Period: 1937-1949 (Shanghai Period)

This period begins with Zhou Xuan's entry into the movie industry, and the two interludes she sang in the film The Roadrunner, Songs for the End of the World and Songs for the Four Seasons, spread throughout the country. She created a generation of singing style that influenced the entire Chinese singing scene. This style can be described as gentle, soft, loose and sweet. But the volume and intensity are not big.

The whole situation in this period is that there is no singing and dancing performance groups. Dedicated by the recording and radio broadcast to sing the singer is a minority, most singers are mainly filming movies, singing movie interludes in the form of film-song amphibious. After the founding of **** and China, most of the major representative singers moved to Hong Kong.

Representative singers include Zhou Xuan, Bai Hong, Gong Qiuxia, Yao Li, Yan Hua, Yao Min, Zhang Cuihong, Li Lihua, Bai Guang, Li Xianglan, Zhang Fan, Huang Feiran, Huang Yuanyin, Wu Yingyin, Ouyang Feiyin, Liang Ping, Yimin, Qu Yunyun, Jin Yiyi, Baiyun, Deng Baiying, Pei Nie, Zhang Yiwen, Han Jingqing, and so on.

Composers include Lai Kam Kwong, Chen Ge Xin, Yao Min, Yen Hua, Li Hou Xiang, Yen Folding Xi, Yen Yi Fan, Leung Lok Yin, Chen Rui Zhen, Liu Ru Zeng, Yen Gong Shang, Liu Xue An, He Lu Ting, Zhang Reed, Zhang Hao, and so on.

Lyricists include Wu Chun, Chen Dongsun, Li Junqing, Fan Yanqiao, Tian Han, Ye Yifang, Zhang Jun, Lu Xu, and Bao Yi.

Late Period: 1950-1969 (Hong Kong Period)

This period began with the transfer of many major representative singers to Hong Kong for development, led by siblings Yao Min and Yao Li. Initially it was still dominated by both movie and song, and the proportion of singers who relied on singing and recordings increased over time. Instead of the actors themselves singing the interludes in the movie, there were more instances of professional singers being asked to sing back-up vocals, but there were still no clearly influential singing and dancing groups performing.

The style of singing has not changed much, with the soft and delicate character being reduced and tending to be more natural and plain. In addition, due to the influence of Bai Guang, there was an increase in the number of singers who sang in a low register with alto characteristics; there was also an increase in the number of singers who sang with or borrowed more from traditional Western vocal techniques, which was influenced by Li Xianglan. In the late 1960s, Mandarin pop songs declined in Hong Kong and Cantonese songs emerged to dominate the singing scene. The main representative was Sam Hui.

The main representative singers in this issue are Pan Xiuchong, Cui Ping, Zhang Lu, Ge Lan, Liu Yun, Gu Mei, Xi Jingting, Pan Dihua, Dong Pei Pei, Pei Lei, Xia Meng, Shi Hui, Jiang Yan, Yang Guang and Shi Lin.

Composers include Li Ping, Yang Long, Reed Ming, Wang Fuling, Zhou Lamping, Gu Jiahui, Huang Lu, Xia Duanling (Japanese master composer Hattori Ryoichi), Jiang Shih, Ye Chunzhi, Kusuda, and Yu Jing.

Lyricists and composers Chen Dieyi, Tao Qin, Yi Wen, Lu Fangfang, Si Jingming and others.

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

From the late 1960s, pop music in Taiwan gradually developed. It took the place of the Hong Kong singing scene where Mandarin pop songs were declining. It was marked by the popularity of Xie Lei's song "Man Li" and Yao Su Rong's song "Not Going Home Today" in Southeast Asia, which established the leading position of Taiwan's pop music scene.

Before that, the songs sung in the Taiwan pop music scene included folk songs of the Han Chinese people and various ethnic minorities (including songs in Minnan language); Mandarin pop songs from the Shanghai and Hong Kong eras; and Japanese-influenced creative songs. 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, Taiwan had a famous campus folk song movement. First initiated by students to compose and sing, the influence was so far-reaching that it spread to Hong Kong and the mainland singing scene. It was not until the early 1980s that it merged into popular music, fused together and developed, injecting fresh blood into popular music.

(2)

Reply

1 floor

2012-07-22 17:35

Report |Personal Business Report Spam Report

19951106a

Walking Jun Road

11

Solo: Dear sincere do not know that there are vicissitudes, side by side

Combined: our spirit is above the sky, our thoughts are bright as the moonlight. We have to cultivate ourselves to be the role model of the new youth.

Solo: We must strive to be strong, to be the pillars of the new China

Collaboration: Dear sincerity to eliminate frustration, shoulder to shoulder to strive for glory.

This song encouraged young people to build a new China after the victory in the war. It is comparable to the Graduation Song. They played different inspirational roles for the youth in different historical periods.The interludes "Triumph Song", "Children's Song", and "Fancy Years" in the piece "Chang Xiang Si" made by Zhou Xuan in the same place in 1946 reflect the content of ****. Another example is Zhou Xuan in 1942 in Shanghai Guohua Film Company filmed "annoying spring color" interlude Zhongshan spring, singing Nanjing Zhongshan stone city calling ****. 1939 in the same place in the film "seven heavens" interlude "difficult folk song", 1941 in the same place in the film "interpretation of the language flowers" interlude "reluctance to elementary school students song", "relief of refugees song", from the title of the song at a glance that is to see the significance of its meaning in the ****.

Another typical is to sing about the people, to sing about the farmers mostly. For example, Zhou Xuan sang the interlude "Family Busy" and "Rice Planting Song" of "The Deciphering Flower"; Li Lihua sang the interlude "Little Mountain Song" (also known as "Rural Love Song") of "Resurrection" made by the Yihua Film Company; Yao Li sang the pop song "The Good People in the Hometown"; and the pop song "The Comfort of Whistling" sung by Yan Hua was about the hardship of the life of the urban workers. Zhou Xuan's 1943 film "The Fisherman's Daughter" at China Film Studio had a theme song that sang about the industriousness of fishermen. The interlude songs of her 1947 progressive film "Billion Jiangnan" at Cathay Pictures, "Everyone Says West Lake is Good" and "Mrs. Luo and Ms. Wang Ersi," sing about the hardships of tea pickers. There are also songs about other lower-class people, such as Zhou Xuan in the movie "Long Xiang Si" interlude, which sings about the helplessness and awakening of the songstress. Yao Li's "Jinshi Island" sings of the anguish of women in bondage and encourages them to fight for freedom. Gong Qiuxia sings "Newspaper Selling Song" eulogizing the newspaper boy. Baiguang 1949 in Hong Kong by the Great Wall Film Company shot "**" (China's third remake based on Tolstoy's famous book "Resurrection" of the screenplay, the aforementioned Li Lihua starring "Resurrection" is the second remake) sung by the interlude "Sigh ten sound", is sung by the woman's sadness of the fireworks.

Another major category of movie interludes, some of which have no obvious social significance, are written according to the needs of the plot. Most of them are based on classical masterpieces and folklore. For example, Zhou Xuan's 1940 film "Three Smiles" interludes "Pointing the Autumn Fragrance" and "Wishful Thinking" were filmed by Guohua Company in 1940. In the same year, Zhou Xuan produced "The Story of the Western Chamber" with the interludes "Cuffing the Red", "The Moon and the Flowers", and "The Butterfly's Song", etc. In 1944, Zhou Xuan produced the interludes "Burying the Flowers" and "Sorrowful Autumn" for "A Dream of Red Mansions" for the China Film Studio. In 1938, Zhou Xuan also wrote the interlude "When Will You Come Again" for the movie "Three Stars and the Moon" made by Yihua Company. Another of these songs, "Workshop", has the significance of producing national goods to resist foreign goods. These interludes are familiar to the masses and are well known to all. In 1937, Zhou Xuan's two interludes in the progressive film "The Angel of the Road" made by Star Company, "Songs of the End of the World" and "Songs of the Four Seasons", which sang about the Japanese invasion of the northeast of China and the displacement of the people, are even better known to the public.

Another genre is the folk song. Zhou Xuan, the queen of China's singing industry, has made an outstanding contribution to bringing folk songs to the stage. In the past, folk songs and ditties could not be sung on stage, but were only sung in tea houses and restaurants. She sang the most folk songs, such as the Hunan folk song "Picking Betel Nut", the Guangdong Meixian folk song "Selling Groceries", the Anhui folk song "Fengyang Flower Drums", the Suiyuan (present-day Inner Mongolia) folk song "Sending My Big Brother", the Shanghai folk song "Peach Blossom in Yuhua", the Northeastern folk song "New Pair of Flowers", and the Hubei folk song "Concentric Knot of the Fifth Night". The Songs of the End of the World" and "Songs of the Four Seasons" are Suzhou folk songs, "Knowing the Guests" and "Crying Seven Sevens" filled with lyrics. There are also a large number of songs written in the style of folk songs such as "Sending a Lover" and "Dreaming in a Dream".

There is also a category of singing the great rivers and mountains of the motherland, beautiful natural scenery scenery. Such as Yao Li sang "lovely autumn", "spring is full of people", "Malay scenery", "South China Sea in the morning", "Bai Lan Xiang". Yan Fei sings "Evening on the South Island", and Zhou Xuan sings the theme song "Flowers Beyond the Flowers" and the interludes "On the High Heights" and "Morning in Spring" in the movie "Flowers Beyond the Flowers", which are also of this type.

Commonly, they are love songs that sing about love. Some of the style is fresh, and the breath of life is very strong. For example, Yao Li sang "joking with you", which is sung by young lovers playing together. She sang another song "you have to explain" to sing the girl's delicate and sensitive, let the boyfriend to explain the problem. There are also a lot of singing affection, such as Yao Li sang "I love my mother"; Gong Qiuxia in the star company by the "Guta strange case" of the interlude "think of the mother", she was in the company in the Central Union of the "rose blooms everywhere" of the interlude "shake mother"; Mei Xi sang the film "rouge tears" interlude "think of the mother song", etc., are singing the greatness of the mother.

Reply

3F

2012-07-22 17:35

Report |Personal Business Report Spam Report

19951106a

Walking Jun Road

11

Which, in addition to the obvious social and even political significance, there are many enthusiastic Cheerful and positive, most of them sing the preferences of the people and are relevant to the thoughts and feelings of the people. The people like spring, the sun, flowers, grass, streaming clouds, snowflakes, raindrops; more like family, friendship, love and other beautiful emotions on earth. Pop songs have a deep mass base, which is clearly reflected in the early Chinese pop songs. Its was the culmination of the irreplaceable climax of the singing world back then, characterized by a glorious chapter in the history of China's popular music. To free it from the half-century-long dustbowl. Then it will not be drowned in the long isolation.

Music and pop music

There is a strange thing in our country's singing world, and that is not to call pop songs "popular songs". This is wrong, or at least imprecise.

There are only two major classifications of music: serious music and popular music. There are also a number of small classifications based on the characteristics and functions of music, which can never be compared with these two categories. They are not the same level and yuk. For example, art songs, lyric songs, school songs, team songs, etc. Popular music is a large range relative to serious music, probably including light music, light opera, folk music, folk songs, mass songs, marching songs, dance music, jazz, blues, rock, disco, alternative (non-mainstream), country songs, etc., which were first popularized in the United States. There is also a large branch of popular songs that are found in every country in the world. It can be seen that pop songs are one kind of popular music, which is covered within popular music, but not representative of all popular music. To use an analogy that may not be entirely correct, they are father and son rather than brother, not to mention the same thing. Nowadays, singing competitions are divided into "American", "ethnic" and "popular" singing styles, and this name has been followed in the successive Young Singers Television Grand Prix. According to the above classification, folk songs also belong to the category of popular music, so it is logical that the national singing style can also be called "popular singing style"! This would be a mess, wouldn't it?

There are so many experts in the music industry, don't they know the reason for this? It turns out that there was a specific historical background to this matter back then. In the 1930s and 1940s, the development of the climax of the popular song was considered to be "decadent", "yellow songs", after 1949, they were transferred to Hong Kong to develop, so 1949-1979 three decades, the mainland is no popular song Therefore, during the three decades from 1949 to 1979, there were no pop songs in the Mainland. Some people described pop music as being swept away. However, it did not stop developing in Hong Kong and Taiwan, and it was formed in the same vein as that of the Shanghai period. After the "Gang of Four" was crushed and the market economy was reformed and opened up, pop music returned to its motherland. Previously, young listeners do not know much about the experience; after the "Gang of Four" was crushed, the situation should still be fresh in their minds. Teresa Teng's tapes were first introduced to the mainland, and were banned several times. Based on her sensitivity as a singer, Li Guyi firstly applied the technique of qi sound in her performance of the episode of the TV movie "Legend of the Three Gorges", "Love in the Countryside", which caused a big uproar and a lot of criticisms. In fact, she was only a folk singer, not a pop singer in the true sense of the word. Cheng Lin, a real pop singer, has experienced three ups and downs. Even Su Xiaoming's "Night in the Military Harbor" was criticized. It is not surprising that these things happened at that time, because a planned economy would not allow pop music with obvious commercial characteristics to exist. This is the requirement of the economic base for its corresponding superstructure. But it should not be brought to political heights at every turn; pop music is not that bad! The attitude towards pop music reflects the contest between different economic systems at the time.

At a national conference on light music in 1983, the vast majority of experts believed that popular music could not be rigidly banned, and should be allowed to exist in order to serve the socialist market economy. But for the name, in order to avoid reminding people of the popular songs of the 1930s and 1940s, the name "popular songs" was set. This is understandable, because that was not now, after all, it was 1983. But since then, pop music has a legitimate identity, and the traditional Western singing songs, folk songs form a three-footed situation, but has been using the "popular song" this meaning of the name of the inaccurate.

Another industry insider mentioned that in the early 1980s, a number of lyrical songs began to appear in China's singing world, such as Li Guyi's "Love in the Countryside", Zhu Fengbo's "Beautiful Mind", Zheng Xulan's "Sun Island", and Su Xiaoming's "Night in the Harbor", etc. They were not really pop songs. They are not really pop songs in the true sense of the word, but other types of works in the same category of popular music. It seems that this is one of the grounds for calling pop songs "popular songs". In fact, these songs are only the transitional works of our country's singing world to pop music. If you were to sing these songs in the pop group of today's singing competitions in the same way you sang them back then, the judges wouldn't even recognize them.

Reply

4th floor

2012-07-22 17:35

Report |Personal Business Report Spam Report

19951106a

Walking Jun Road

11

Now that two decades have passed, the socialist market economy has been engaged. Popular music, as a cultural superstructure, has also flourished. It should no longer be called by the inaccurate name that it had to be called in 1983 in that particular historical context, and it should be called realistically. "The bell must be tied", this matter also rely on music experts and cultural management *** together to complete, the appropriate name back to the popular music.

What is a Chinese pop song

The relationship between popular music and pop music has been discussed above to show that it is inaccurate to call a pop song a "popular song". There is also the question of what is the term "Chinese pop songs", which often appears in today's singing world. What is the relationship between it and Chinese pop songs?

China has a long history, a high degree of civilization and a deep cultural heritage. In terms of popular music alone, it has a history of more than eighty years, in which there have been glorious chapters; there have also been irreplaceable development climaxes. Its influence is profound and wide-ranging, and it is clearly international in nature. Many countries and regions of the world have such popular songs. In the 1930s and 1940s, Southeast Asia spread Chinese popular songs. At that time, they were not yet able to compose their own songs, but sang Chinese pop songs directly. This problem has gradually become more obvious since the third stage of development of Chinese pop music - the Taiwan period - and has become very prominent today.

In countries other than China itself (including Hong Kong and Taiwan), especially some countries in Southeast Asia, such pop songs are also being sung, and all of them have good songwriting and music production. As we all know, Pan Xiuqiong, Lin Zhuyun, Chen Finland, Huang Luyi (Huang Yingying), Han Baoyi, Xu Meijing, Sun Yanzi, Yue Lei, Qin Yong, Li Sisong, Lai Fuwang is Singaporean; Hua Yibao, Zhang Xiaoying, Lan Ying, Liu Qiuyi, Ke Yimin, Robin, Zhuang Xuexue Si, Woo Kaixian, Wu Qi is a Malaysian national; good singing "Genghis Khan" of the Ai Huina is an Indonesian national; Weng Qianyu, Chen Meiling, Lulu is a Japanese national; The three L.A. brothers are of American nationality. Although they are all the children of the Yellow Emperor, then the administrative nationality is not China, just sung by these pop songs, the use of the language are Chinese, and Chinese pop songs are the same. However, because of the difference in nationality, it is more accurate to call them Chinese pop songs. Chinese pop songs are widely spread.

Of course, our Chinese pop songs also belong to the category of Chinese pop songs.

No pop songs in the mainland in the three decades from 1949-1979

Pop songs are a kind of popular music. It can be said to be a type of music that arises in the city, has a distinct dynastic nature, is easy to circulate widely among the masses, tends to be international in its development, and has obvious commercial characteristics. Artistically, it has many characteristics different from other music. Just from its compositional characteristics, you can see the difference between it and other music.

Early Chinese pop songs, especially in the first half of the second stage of development, the Shanghai period, represented by Zhou Xuan's style. The song has many decorative notes, up and down glissandos, long syncopations, and a clear contrast between treble and bass passages, which, together with the characteristic singing style, creates a euphonious, gentle, loose, and sweet tone. The new urban pop songs in the fourth stage of development nowadays are far away from the tradition, and the style is obviously different from the above. The long and short syncopations in the song are accompanied by a lot of syncopations, together with the inextricable connection of each beat inside and outside the bar, so that the arrangement of the lyrics is also intentionally dodging the rhythmic rhythmic movement along with the melody. Lyrics in the vernacular long sentence word count, arranged in a compact form of short note number. There are also a variety of beginnings, endless endings, and regular repetitions. Coupled with a variety of techniques such as whispering, gasping, sobbing, sighing, mumbling, crying, delayed processing, etc., the song exhibits a playful, new, lyrical and powerful style. The song is characterized by a playful, new, lyrical, and powerful style. The emotional ups and downs fluctuate greatly, as if whispering in a fluttering whisper at the low point, and as if the waves of the sea are rushing at the high point.

After the founding of the country in 1949, pop songs were gradually banned and considered to be "decadent music". From then on, in the mainland was swept away, and later transferred to the mainland outside of Hong Kong to develop. It has been said, "Wherever there is a crowd, there is music." It can be followed by "Wherever there is a city, there is a pop song." The people needed it and were not allowed to sing it, so they found substitutes. There were the mass songs of the time, folk songs, foreign songs, etc. These songs came to replace the popular songs, which themselves belong to another category of popular music. The definition of a popular song cannot be taken to mean simply that whatever can be widely circulated among the masses is a popular song. Pop songs have their own unique characteristics in various aspects. However, the name "pop song" itself is not literally strict enough. Because some other categories of popular music, such as the three mentioned above, can also be widely circulated among the masses. But because the customary name has become natural, just like some conventional things. In the case of understanding its true meaning, it is still relatively more appropriate to call it a pop song.

Reply

5th floor

2012-07-22 17:35

Report |Individuals Business Report Spam Report

19951106a

Walking Jun Road

11

The intervention of Hong Kong and Taiwan in the mid-to-late eighties prompted the The mainland pop music scene, which was "dead", began to change in the midst of the "pain". The outstanding performances of RTHK singers such as Zhang Mingmin, Pan Anbang, Chien Baihui, Fei Xiang, Nana Pao, and Ye Liyi at the previous Spring Festival Gala made the mainland musicians realize the importance of the music industry to flourish on the soil of the mainland. Famous mainland lyricists such as Gu Jianfen, Qiao Yu, Yan Su, Jia Ding, Guan Xia, Li Haiying and others began to emphasize the training of local singers and the creation of popular pop songs. As a result, a number of good mainland singers began to be active on mainland screens, and classic and easy-to-sing pop songs began to multiply. Songs sung by Liu Huan, Mao Amin, Wei Wei, Cheng Fangyuan, Shen Xiaozen, Cheng Lin, Su Xiaoming and Cai Guoqing began to be popular in the society, followed by songs sung by singers such as Hang Tianqi, Li Na, Lin Ping, Mao Ning, Ying Yang Jue, Xie Xiaodong, Na Ying, Tian Zhen, and Xianxiao, etc., which began to be popular in the south and north of China. Lin Yilun, Zhou Yanhong, Man Wenjun, Sun Hao, Xie Dong, Old Wolf, Weijia, Sun Nan, Han Hong, Sun Yue and other singers appeared one after another for the mainland's pop music scene continues to "add bricks and mortar", some of the familiar songs have also begun to become the KTV in the high rate of popular songs.

Blue Night, Blue Dreams, Bend the Moon, Knowing You, Love Devotion, Night at the Military Harbor, The Sound of the Waves Remains the Same, Thoughts of You, Please Come to the Ends of the Earth, Rain or Shine, Gently Telling You, Green Leaves and Roots, Love Birds, Smiley Face, Wishing You Peace, The Wind Contains Love and Water Contains a Smile, It's Not Like It Is, and Again. See Jasmine", "You at the Same Table", "Wine on September 9", "Xiao Fang" ...... all these songs were in a certain year in a certain month on a certain day, just all of a sudden the red half of the sky ......

Talking about those years of the mainland's pop music scene, there are still a few songwriting type singers have to be mentioned. Cui Jian, Gao Feng, Guo Feng, Zheng Jun and Xu Wei, mentioning the names of these people, I'm afraid no one familiar with Chinese songs does not know. As the first Chinese rocker, Cui Jian's "All for Nothing" has always enjoyed high popularity in China, while Gao Feng's "Big China" and Guo Feng's songs can still be considered classics of Chinese pop music. Later on, Li Quan, Li Chunbo, Wang Yan and Feng Xiaoquan also produced some very good works in a period of time, such as "Ice Sugar Gourd", "Chinese Ballad", "Farewell My Concubine", etc. These songs are all from the hands of Feng Xiaoquan, a young musician, who is familiar with songwriting after learning folk instruments. His songs are melodious and pleasing to the ear, and the lyrics are smooth like prose, making them unforgettable.......

Singers who have been active on the stage in recent years have also had a lot of good results, such as Jin Haixin, Park Shu and so on. Newcomers to the singing world have also emerged through the "talent show" program, coupled with some film and television actors involved in the singing world, the entire singing world seems to present a "chaotic phenomenon"......

< p>Overall, China's popular music still has endless room for development in the days to come, but the cultivation and fostering of musicians and music producers still need to be worked on. This, all need a gradual process, I believe that in the near future China's pop music will be the same as Hong Kong and Taiwan's pop music, has a belong to their own more broad sky .........

From:

/p/1742085422

The nineties are better in Hong Kong, like Jacky Cheung, Teresa Teng, Wang Jie, Leslie Cheung, Anita Mui and so on

And then Jay Chou, Fish Leung, XIAO Yaxuan, Eason Chan.

Now it is mainly network music this piece.

Wang Su Taki, Xu Liang, Xu Song and so on.

Wang Su-Taki, Xu Liang, Xu Song and so on.