It means that things are a process of progress and change from birth and are constantly updated. The following is the development history of Chinese mainland pop music that I compiled for you. Welcome to reading. I hope you will like it.
The first development stage: 19 17- 1936 (Shanghai period)
Starting from the music activities of Mr. Li Jinhui, the forerunner of China pop music, and taking his anti-feudal Yue Ming Drama Club as a clue, starting from children's music performances such as Three Butterflies, Sparrows and Children, Poor Chou-heung and Cold Clothes Song, the first batch of family love songs in China were created, that is, popular songs such as Rain in Mao Mao, Sister I Love You and Express. This problem ended with the dissolution of the Music Group of Yue Ming Opera Association, and most singers entered the film industry.
The second stage of development:
Early period: 1937- 1949 (Shanghai period)
After entering the film industry from Zhou Xuan in this issue, two episodes sung in the films "Street Angel", "Sing Girl" and "Four Seasons Song" spread all over the country. She created a generation's singing style and influenced the whole China music scene.
The whole situation of this period of music is that there is no singing and dancing troupe to perform. Only a few singers specialize in recording and radio broadcasting. Most singers mainly make movies, and the shadow songs that sing movie episodes appear in amphibious form. In this issue, after the founding of the Republic, most of the main representative singers moved to Hong Kong for development.
Later period: 1950- 1969 (Hong Kong period)
This issue started with Yao Min and Yao Li, and many lead singers moved to Hongkong. At first, it was mainly movies and songs, but as time went on, the proportion of singers who sang and recorded records increased. The interlude in the film was not sung by the actors themselves, and professional singers were invited to accompany it, but there was still no obviously influential song and dance group performance.
At the end of 1960s, Mandarin pop songs gradually declined in Hong Kong, while Cantonese songs flourished and occupied the dominant position in the music scene. The main representative is Samuel Hui.
The third development stage: 1970- 198 1 (Taiwan Province Province period).
Since the late 1960s, pop music in Taiwan Province Province has gradually developed. Replaced the declining status of Mandarin pop songs in Hong Kong music scene. Its symbol is that Xie Lei's "Mary" is popular in Southeast Asia, which has established a leading position in the pop music scene in Taiwan Province Province.
Previously, the songs performed in the music scene of Taiwan Province Province included folk songs of Han nationality and various ethnic minorities (including songs in Minnan); Mandarin pop songs in Shanghai and Hong Kong; And songs influenced by Japan. Later, he gradually created a time song with his own characteristics between Shanghai pop songs and modern urban pop songs. This style of songs did not gradually decline until the early 1980 s and was replaced by popular songs in new cities.
In the mid-1970s, a famous campus folk song movement took place in Taiwan Province Province. Students initiated the creation and singing, which had a far-reaching impact and even spread to the music circles in Hong Kong and the Mainland. It was not until the early 1980s that pop music was introduced and developed together, injecting fresh blood into pop music.
The fourth stage of development: after 1982 (period of diversification of center of gravity)
At the end of 1970s, the popular songs of Mandarin in Taiwan Province Province began to decline. Because Tayu Lo's album "Who are you" followed Julie's album "Riding on the Wrong Bus", it changed the style of Taiwan's music scene and laid the foundation for new city pop songs.
The song style of this issue is far from the original domestic tradition and is deeply influenced by Europe and America. Chinese pop music, led by Taiwan Province Province, has developed rapidly. Because during this period, with the continuous development of science, high-tech means were applied to music production, and the commercialization trend became more obvious, which promoted the development of pop music. There is a scene that China pop songs are blooming everywhere in the world. Coupled with the market economy of the mainland's reform and opening up policy, pop music has also developed. In this way, its market will be broader, forming a diversified pattern of focus.
During this period, the audience was obviously divided, and pop music almost became the patent of young people, which was unacceptable to most elderly listeners. There was no strict boundary between pop music, folk music and serious music in Shanghai, which resulted in a completely different situation in Xian Yi.
China commercial pop music appeared at the same time as the phonograph, which was first brought to Shanghai Tibet Road by the Frenchman Labansat. EMI is one of the earliest record companies to establish China's pop music industry.
In the 1920s, China pop music was called time songs. They are regarded as the archetypes of China pop music. Geographically, Shanghai is the center of China's pop music. Li Jinhui, known as "the father of China pop music", is the founder of this genre. His work Rain in Mao Mao, which was written in 1920, is regarded as the earliest pop music in China.
In 1930s and 1940s, a large number of China pop music works emerged in Shanghai, and many musicians grew up. With the help of records, movies, songs and dances, radio and other media, an unprecedented new upsurge of singing has been set off in China and even the Far East. Some experts believe that the old Shanghai songs of that era have shown a modernity.
The "Seven Singers" in the early Republic of China established the position of Chinese pop music in Asian society. These singers combine the singing skills of China traditional ditty and Japanese pop music, and their singing style is different from any previous China music. At this time, the film industry in China, which is in its infancy, is developing and expanding, recruiting singers to work as film actors or film songs.
Because of his success in singing and film performance, Zhou Xuan is regarded as the most representative pop star in China in this era. This generation witnessed the process that female singers jumped from "singing girls" to "stars" of public opinion. Their sweet songs are also transmitted to the radios of every household through radio stations located in major cities, and records have become attractive entertainment commodities under the packaging of record companies. This era was disturbed by the occupation of Shanghai and War of Resistance against Japanese Aggression by Japanese invaders, but it lasted until the end of 1940s.
Extended data
Since the founder Mr. Li Jinhui engaged in music activities, pop music has developed in China for more than 80 years. According to the change of Song style and the shift of development focus, it can be divided into four development stages. The second development is divided into two stages and two periods. China pop music develops prehistoric school songs, so it has six parts.
Before pop music appeared, there were only school songs sung by students in the school. First sung among students, then widely circulated among the masses. It can be said that there would be no pop songs without pop songs. The main songwriters are Li Shutong (Master Hongyi), Zhao Yuanren and Shen Xingong.
The Present Situation and Development Prospect of Music Education in China
First, the current development of music education in China
(A) rich traditional music culture and its current experience
China is an ancient civilization with a long history, with extremely rich and diverse musical and cultural resources. China has a history of more than 8,000 years, and the breadth and diversity of traditional music in China are rare in the world. According to incomplete statistics, there are 394 kinds of traditional operas, more than 400 kinds of quyi, more than 600 kinds of folk instrumental music and nearly 10,000 tracks in China. There are countless folk songs in China. According to incomplete statistics, there are about 45 thousand songs. However, with the intensification of globalization and the acceleration of modernization, China, like many countries in the world, has undergone tremendous changes in its cultural ecology in recent years. The powerful commercial operation behind pop music has brought great impact to the national music culture and resistance to the protection and inheritance of national music. At present, intangible cultural heritage has been impacted more and more. Cultural heritage passed down by oral and behavioral means is rapidly degenerating and disappearing. The protection and inheritance of national music culture is also facing a severe situation. It is urgent to strengthen the protection of China's intangible cultural heritage.
(B) the huge music education system and its weakness in inheriting national music
China has the largest education system in the world, with nearly 200,000 music teachers providing music education for 200 million primary and secondary school students, and 388 higher music education institutions are training all kinds of music teachers. Music education in these schools plays an extremely important role in the inheritance of national music culture. However, contemporary music education in China is not satisfactory in reflecting cultural diversity. According to the actual investigation, many students are unfamiliar with their own national music, do not like traditional national music, but are keen on western pop music.
Second, the reasons for the status quo of music education in China
(A) historical reasons
Looking back at the historical origin of modern music education in China, we can see a development thread named "Western Music Entering the East" since the 20th century: the original tunes sung in "School Music Songs" are mostly Japanese, European and American songs; After1920s, German-Austrian music education model and basic music theory were accepted, and traditional music culture was criticized as a part of feudal autocracy. In 1950s, the professional music education model of the Soviet Union was used for reference. In 1980s, it was a basic fact of the development of school music education that the introduction of western modern composition techniques and pop music from Hong Kong, Taiwan, Europe and America dominated, that is, "Eurocentrism". Due to the impact and influence of western music, its cultural concept of national music has not been fundamentally and systematically reflected in the guiding ideology and practical teaching materials of school music education in China, and it is not easy to carry out the inheritance of national music in school education.
Realistic reasons
With the implementation of China's reform and opening-up policy, mass media such as film and television and Internet have developed at an unexpected speed, and gradually become the main channels for people to receive and obtain cultural information, and their value orientation plays an increasingly important role in the formation of young people's aesthetic taste. At present, young people in China have a great influence on American blockbusters, rock music, pop songs, Broadway operas, TV plays and even various periodicals, magazines and novels. The pursuit of maximizing economic benefits brought by the marketization of mass media has made pop music culture flood to the point of omnipotence for a time, which has made pop music culture have a great influence on young people.
(3) Institutional reasons
For a long time, the inheritance of China's national music culture has been dominated by social literary and art groups, professional national music institutions and folk music associations, and the cultural departments (including cultural centers and stations at all levels) are responsible for supporting it; However, school music education (including higher normal education) mainly focuses on the new music since self-taught music songs, so it fails to make good use of national music cultural resources, especially the introduction of local national music cultural resources. The great influence of pop music on students in social music life cannot but be considered as one of the reasons why students' national music cultural concepts are indifferent and the inheritance of national music oral culture is threatened.
Third, the reflection and exploration of music education in China.
Reflection on school music education since the 20th century.
1. Put forward to overcome the negative influence of Eurocentrism and call on school education to attach importance to the inheritance of national music. In the comparative study of modern Chinese and foreign music education, scholars found that China's own music education system could not be found, because our music education was either "European-American style" introduced to China in the 1920s and 1930s, or "Soviet style" introduced to China in the 1950s, with no Chinese style. All kinds of phenomena make scholars in the century ask "Where is China?", and propose to examine contemporary music education in China from a cultural perspective, pointing out that "we should grasp the core of China's music culture experience, carry forward the tradition, and fully develop music education as a culture".
2. It is proposed that the establishment of music education with China culture as its mother tongue should include the philosophical basis, mode of thinking, aesthetics, morphology and values of China's music, and its theoretical system should be based on the longitudinal in-depth study of the historical development process and the comparative study with the eastern and western ethnic groups and local ethnic music cultures; The connotation of "mother tongue" system will include traditional, folk, minority, contemporary, national aesthetic psychology and historical accumulation, and so on.
3. Put forward that every child can sing the songs of his hometown and pay attention to the diversity of China folk music itself. China is a multi-ethnic country, and 56 ethnic groups have their own unique music culture. Therefore, it is also an important and complicated subject to inherit the music culture of different nationalities, the same nationality and different regions. With the in-depth thinking on the inheritance of school folk music, scholars pay more and more attention to the multi-ethnic and multi-regional characteristics of China music itself.
(B) Explore the practice of inheriting national music in school music education.
Since the end of 1980s, the inheritance of China folk music in school education has been carried out in an all-round way from the following aspects: teaching syllabus, teaching materials, teaching practice, teacher training, subject research and so on.
1. Revise the syllabus and teaching materials
In order to make the majority of primary and secondary school students familiar with and understand the national traditional culture, the Ministry of Education has issued a series of guiding documents since the 1980s, which stipulated the proportion and types of national music in music teaching content, and provided policy support for schools to inherit national music.
2. Practical exploration-the development of teaching practice
With the introduction of a series of guiding documents and the compilation and publication of various teaching materials, many music teachers all over the country have carried out a lot of teaching practice exploration. They started with the local or ethnic music that students are most familiar with, adopted flexible and diverse teaching methods, and tried to combine classroom teaching with extracurricular activities, which achieved good results and accumulated some successful experiences for the inheritance of ethnic music.
3. Grasp the key link-teacher training
Many normal colleges and music art colleges have realized that the key to the success of national music inheritance is to cultivate teachers with national music quality. These colleges and universities have added national music courses to the teacher training plan, and set up local music courses according to the specific conditions of each place, so that future music teachers can truly have the quality of national music culture. Some normal universities have also begun to explore the training of local ethnic music teachers.
4. Theoretical support-scientific research and popularization of its achievements.
In fact, the reflection on school music education since modern times is gradually carried out with the research on the inheritance of school folk music. Therefore, the development and achievements of relevant scientific research projects provide theoretical support for the practical exploration of national music inheritance and have guiding significance.
Fourthly, the current task and future prospect of music education in China.
At present, many scholars have published a large number of articles about "ideas and suggestions for implementing multicultural music education", involving the current tasks and future prospects of multicultural music education.
(A) fully understand the important role of education in the inheritance of national music culture.
People reflect on modern school music education and explore the achievements of the school in inheriting national music, which provides some successful experiences for our research. Teachers in primary and secondary schools in many areas and at all levels, as well as teachers in normal colleges, have begun to attach importance to and strengthen the content of national music in music education courses. Facts have proved that all schools that have made efforts in this regard have improved students' understanding and love of national music.
(B) the establishment of school music education goals based on the diversity of music culture.
It is an important task of music education in China to establish the goal of school music education based on the diversity of music culture. How to establish school music education based on the diversity of music culture? First of all, we should solve the problem that school music education and music culture inheritance are based on each other, that is, 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 the inheritance of national music culture.
(3) Introducing diversified musical cultural resources to realize the organic combination of traditional musical cultural heritage and school education.
Introducing the inheritance of national music into school music education, after all, involves the overall structural reform of school music education, the overall construction of a music education system based on national music, and even the reconstruction of local national music culture, and its expected goal cannot be achieved overnight. When introducing diversified traditional music cultural resources, we will encounter more conflicts between the traditional inheritance of diversified music and the modern educational structure. Therefore, how to coordinate the two different systems and realize the organic combination of traditional music culture inheritance and school education is particularly important. Its main tasks focus on the compilation of teaching materials, the cultivation of teachers, the inheritance of traditional music teaching methods and the reform of the system.
Education is the main channel of cultural inheritance, so education is the foundation of cultural inheritance. How to get students out of school, participate in community cultural and folk activities, and combine education with cultural inheritance can make the inheritance of music culture gain sustainable power and lead to the reconstruction of diverse music culture.
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