The development history of Chinese pop music is as follows:

Commercial Chinese pop music appeared simultaneously with the gramophone, which was first brought to Shanghai's Tibet Road by the Frenchman Labansat. EMI was one of the earliest record companies to create the Chinese pop music industry. In the 1920s, Chinese pop music was called the song of the times. They are regarded as the prototype of Chinese pop music. Geographically speaking, Shanghai is the center of Chinese pop music. Li Jinhui, regarded as the "Father of Chinese Pop Music", is the founder of this music genre.

In the 1930s and 1940s, in Shanghai, a large number of truly Chinese pop music works emerged, and many musicians grew up. With the help of records, movies, singing and dancing, broadcasting and other media, an unprecedented new song singing craze was set off in China and even the Far East at that time. Some experts believe that the Shanghai old songs of that era have demonstrated a kind of modernity.

After 1949, Taipei became one of the new centers of Chinese pop music. Young people in Taiwan, especially those from the middle and upper classes, have been influenced by Japanese entertainment culture since the Japanese colonial period and were influenced by early Taiwanese pop music, so they are more likely to accept pop music. In the 1970s and 1980s, with the popularity of television in Greater China and other places, the pop music industry also achieved new growth with the help of it. Following movies, TV dramas have formed a mutually supportive relationship with Chinese pop music, including Chinese pop music.

Since 1977, with the beginning of opening up to the outside world, a small amount of Hong Kong and Taiwan pop music entered the mainland through Guangzhou. In 1979, Guangzhou Pacific Audio and Video Company was established, and the mainland China Record Corporation's exclusive monopoly on record production and distribution collapsed. Mass production of pop music began in the Mainland. Pacific Video Company produced 8 million cassettes within one year of its establishment. Almost all famous singers in the mainland are included. With the introduction of cassette recorders, cassette tapes of singers such as Liu Wenzheng and Teresa Teng began to flow into the mainland, arousing strong pursuit among mainland audiences.

In the 1990s, the most important change in China's popular culture industry was the substantial development of the entertainment industry. It is typically reflected in the rapid development of the karaoke industry in the mainland, the comprehensive introduction of celebrity packaging systems, and especially the entertainment-oriented media. This was all basically completed within three years in the early 1990s. With the development of new technologies, the economic and cultural ties between Greater China, including the Mainland, Taiwan, Taiwan, Asia and even the world are becoming increasingly close. This not only promotes the spread of various pop music, including Chinese pop music, around the world, but also plays a major role in promoting the development of the pop music industry.

Problems with the development of Chinese pop music:

Most singers lack a true musical attitude. Rough packaging and production have long lost the essence of music, and its essential meaning is just the sufficient benefits obtained by the planners. The production team is willing to spend more time on external packaging rather than improving the creation of lyrics and music. They pay too much attention to the external form and ignore the internal essence.