Hunan Satellite TV "Singer" has been broadcast for eight periods, and the whole program has been broadcast for eight seasons.

The whole program has been a little tired, and the contestants have also shown great controversy, which also indicates that these "years of play" in Chinese music are far from inheriting their predecessors.

One aspect that everyone agrees with is that their music is "not good enough".

Of course, this is not absolute, but it is the general trend.

Here is a scientific analysis. Why don't you like China music now?

Music is just a commodity, which is closely related to the economy.

As we all know, the modern scientific world was opened by Europe and America, and Japan was the only developed country in Asia after the Meiji Restoration. It rose again after World War II, and its popular culture has always been the first in Asia.

Established developed countries have the greatest advantages, talented people, accumulated experience and mature industrial chains.

European and American pop music has always been the number one in the world.

Japan is the second peak after Europe and America, and has long occupied the first place in Asian pop music.

In the 1970s, the "Four Little Dragons of Asia" rose economically, but the development of popular culture lagged behind.

Except for Singapore (because of population and geography, talents were absorbed by Hong Kong and Taiwan), the pop culture of Hong Kong and Taiwan rose in the 1980s and 1990s, and the pop music of Taiwan Province Province was due to the accumulation of population and market (Putonghua-speaking areas).

After 2000, the revolution of Jay Chou and others was successful, and its influence continues to this day.

The development of Korean pop culture is later than that of Hong Kong and Taiwan. What is certain is that after 2000, the soft power of pop music culture is mainly reflected in the singing and dancing idol groups.

The results of pop music rankings are as follows:

1: Europe and America (USA) ranked first in absolute value.

Although Japan is declining, it is still the first in Asia.

South Korea came from behind and is now on the eve of decline.

4. The lean dead camels in Chinese mainland, Hongkong and Taiwan Province are bigger than horses, which still have a great influence on the current Chinese music scene.

Let's go back to China music.

Not earlier.

What was China's music like in 1980s, 1990s and 2000s?

Music is related to the current social situation, and the national conditions in Europe and America are different from those in China.

If you copy European and American music, there is no chance, just like the "Four Kings" in Hongkong, Tayu Lo and Jonathan Lee in Taiwan Province. Their music is in line with the social conditions of Hong Kong and Taiwan in the 1980s and 1990s, and it belongs to an era of vigorous and rapid development.

In addition, at that time, because of the competitive first-Mover advantage, the industrial chain of pop music was more mature.

As the audience now comments on China's original music:

"The songs of that year have been tempered by the long history and finally passed down as classics."

so

From around 2000 to 20 10, Chinese mainland was particularly fond of pop music from Hong Kong and Taiwan.

In addition to the earlier economic development in Hong Kong and Taiwan and the more mature music industry, the mainland music scene needs to learn.

It is also because everyone is common in cultural spirit. After all, all China people are in the golden age!

The economy of the three places across the Taiwan Strait reversed, and the music of Hong Kong and Taiwan declined.

After 2000, the decline and prosperity of China music, especially Hong Kong and Taiwan music, was largely brought about by the scientific and technological revolution.

At first, Hong Kong and Taiwan pop music occupied the world record market. Piracy and the rise of online music were quickly seized by the market, and musicians changed from being very profitable to not being very profitable.

At that time, Chinese mainland's two mainstream pop music, rock and folk songs, first entered the underground development mode.

Because of the unbalanced economic development, Hong Kong and Taiwan's pop music began to prevail in the mainland around the 1990s. At the same time, there was Taiwan Province pop music, and the only revolution succeeded in leading the trend.

That is the successful upgrade of Taiwan Province provincial music represented by Jay Chou.

In fact, Jay Chou is just two tricks, the sinicization and Chinese style of r & ampb.

The era of Jay Chou's rise coincides with the computer age, and people's pursuit of cultural innovation is also reflected in the innovation of music.

At the same time, Jay Chou also grasped people's emotional pursuit of retro and traditional aesthetic feeling.

At that time, the Hong Kong music scene had already declined, leaving only one Eason Chan who could hardly support himself.

At that time, the mainland music scene was still in the rock wave initiated by the predecessors, and then to folk songs. Musicians in the music market are basically neck and neck with the music scene in Hong Kong and Taiwan.

In the final analysis, due to the economic development of Chinese-speaking areas, Chinese music has been learning to integrate context.

That is, Europe and America preceded Japan, South Korea developed later than Hong Kong and Taiwan, and then South Korea.

The same is true of the development of mainland music after 20 10.

The source is Europe and America, then Japan, and finally the declining Hong Kong and Taiwan.

In 2003, James J.S.Wong said in an interview with Actually, the world is deaf: "Pop music itself is a commodity, and the composition of the audience has the greatest influence on pop music."

After 20 10, the Chinese pop music center moved from Hong Kong and Taiwan to the mainland.

Behind it is the reversal of science and technology economy in the three places, which leads to changes in the music market and audience.

This landmark event is a great success after The Voice of China and I am a singer. China's original music and musicians need the packaging of Hong Kong and Taiwan music circles to spread all over the country, and it has completely become a state that they need to go to China for variety shows to spread all over China.

The above is an overview of music development in China.

Now, let's go back to the fact that people don't like China's music now.

Everyone likes listening to China music, economic factors and the composition of China audience.

The reason is basically the diversity of the first two points and the reversal of economic development in the three places across the Taiwan Strait. However, as China is a big country with a population of 654.38+0.4 billion, the gap between urban and rural development is not the same.

But on the whole, the whole China market tends to be traditional in music aesthetics.

We make a comprehensive analysis and divide the audience of China pop music, and the results are as follows.

After 50, 60 and 70:

This is due to the historical environment. Their adolescence was in the seventies and eighties, and their education popularity was not high due to the restriction of economic development.

The popular music that the three generations of China people listened to the most was that of Teresa Teng, Hong Kong and Taiwan in the period of 8090, and even traditional music such as Peking Opera and traditional opera.

Cui Jian's rock, folk songs and mainland folk songs are also listened to.

There are also pop music in Europe, America and Japan, but the proportion is not too high.

Phoenix Legend is popular in mainland China, and short video songs from Tik Tok and Aauto Quicker can also be heard.

After 80 s and 90 s:

The two generations of China audience listened to the most, and it was also the pop music of Hong Kong and Taiwan in the period of 8090. Cui Jian represents mainland rock and folk songs, as well as mainland folk songs.

However, traditional music such as Beijing opera and traditional opera has decreased; Popular music in Europe, America and Japan has increased, but the scope will not be too wide.

Phoenix Legend stands for pop, and Tik Tok stands for short video songs, covering a wide range.

The Chinese style, ancient style and animation music born in the new era have also begun to occupy, but the scope is not as good as that of the last two generations.

Among them, the pop music with the largest increase in audience must be the pop music of Taiwan Province Province represented by Jay Chou and others after 2000. After all, the Jay Chou era was the youth of the 8090 audience.

After 95, 00, 10:

They are the music styles of all times, and music from all over the world will be listened to.

If you want to measure the crowd, it is probably as follows.

The older people get, the fewer musicians there are, such as Hong Kong and Taiwan music in the Teresa Teng era and mainland rock music represented by Cui Jian, not to mention the earlier Republic of China, Beijing opera and national drama.

Recently, China pop music is still the mainstream.

For example, Hong Kong and Taiwan pop music in 1980s and 1990s, and Hong Kong and Taiwan pop music represented by Jay Chou after 2000.

Rock music in mainland China, represented by Cui Jian, declined greatly in the 1990s, and after the "underground decade" in 2000, rock music in mainland China.

For example, Miserable Faith, New Pants and various indie bands. Then there are mainland folk music in the same situation, such as Li Jian and Dongye. S, Zhao Lei and so on.

These mainland pop music is not only the mainstream of the post-95 s and post-00 s audience, but also the mainstream of the post-80 s and post-90 s audience in China.

By contrast.

Pop music represented by Phoenix Legend and short video songs represented by Tik Tok.

The audience of the former has decreased to a certain extent, because it is no longer the time for them to grow up with them. The latter is still very common, because this is the era of their participation.

Among them, there are roughly two kinds of pop music with the largest audience.

First, the well-known music of the idol of love beans, which forms a "rice circle", belongs to the degree of self-satisfaction of enclosure.

Because this self-study entertainment product from Japan and South Korea began to develop in China after 20 10 years. The main audience is teenagers after 95 and 00.

After 8090, a few people have never been mainstream, let alone older listeners.

Second, all kinds of music in the world, all kinds of independent music in the Chinese music scene.

This is due to two practical reasons. First of all, the development of science and technology network makes it easy to spread culture, and it is easy to meet all kinds of independent musicians on the network.

Although the level is somewhat mixed, in the era of more and more exquisite aesthetics and circles, various minority independent musicians have satisfied all kinds of circle audiences.

Secondly, the higher the level of education, the easier it is to get in touch with popular cultures around the world, and the cultural aesthetics of teenagers are becoming more and more diverse and meticulous.

Different languages, different civilizations, different countries and different races-

It doesn't matter, it's easy to reach through the internet, and it sounds fun and nice through education-

For example, China's national style, new Chinese style, Hanfu circle-Japanese ACG circle, American superhero circle, and the "fan circle" introduced by Sean some time ago.

Whether it is music or not, the circle and audience of popular culture are getting thinner and thinner.

China has a complex population of 654.38+0.4 billion, which can also form a contempt chain in music and culture.

I won't go into details here, but because the workers in the mainstream society are still mainly from the post-60 s and post-70 s, the middle-aged post-80 s and post-90 s gradually move toward the center, but they are still not the mainstream.

Finally, we return to Chinese pop music, the most mainstream pop music accepted by most audiences.

Take the median, I believe everyone has the answer.

The change of Hunan Satellite TV's The Singer and the change of Chinese music behind it.

How to distinguish a song, if you use technical methods, is what composition, lyrics, arrangement, live singing and so on.

If so, let's take a macro view of the whole program "Singer".

After eight seasons, it's just a manifestation of the change of China pop music.

20 13 Hunan satellite TV's "I am a singer in the first season" lasted until the fifth season.

At that time, the singer was almost a cultural context, that is, the choice of musicians in the first three seasons, which was very suitable for audiences of all ages in China.

In the first season, mainland musicians, from champion Yu Quan to Huang Qishan, Sha Baoliang and Zhou Xiaoou.

They are all about 2000 mainland rock singers, and then the choice of style singers.

In the first season, Hong Kong and Taiwan musicians Chyi Chin, Paul Wong, Terry Lin, Xin Yongqi and Peng Jiahui.

They were the mainstay of Hong Kong and Taiwan musicians in the 1980s and 1990s, followed by the choice of style singers, among whom Chyi Chin was the first to make his debut and the highest in the music world.

At that time, Laure Shang and Aska Yang were the first generation.

However, Laure Shang, whose style is novel, was eliminated, and Aska Yang, whose strength is superior, came late.

The second and third seasons lasted until the fifth season, and the choice of musicians among singers was consciously or unconsciously the age composition of Chinese music scene and the median value of China audience.

Among them, a younger musician and a player with different musical styles joined in with the change of time.

The first is the internationalization attempt of China's music variety behind the singer.

From the Malaysian song Shila Amzah in the second season, to the Korean singer Soon Won Jeong in the third season, and now to the Japanese diva Mihia.

The second is the new generation of singers in the Chinese music scene who constantly appear in The Singer.

If G.E.M. in the second season is already the only son of post-90s musicians.

In the fourth season, three new generation singers, Lala Hsu, Su Yunying and Elvis Wang, appeared one after another around 20 10, and were presented by China Music Variety Show.

"I am a singer in the fifth season" is the watershed of this variety show, and the participating musicians are both before and after.

20 18, the original eighth season has become "Singer 20 18", and the participating musicians are already leaning towards a younger and more diversified style.

The new generation singers are GAI, Zhang Tian, Hua Chenyu, Juno, KZ Tan Dinggen and Henry.

In contrast, Yisa, who debuted earlier, is only half a senior.

Singer 20 19 has changed a lot. Although the invited musicians are similar to the previous ones, it shows the creativity of China's music.

In addition to removing the restriction of "only cover", the invited musicians are all representatives of the peak of Chinese music in the past.

For example, Chyi Yu, a Taiwanese folk singer, is known as "the first person in Teresa Teng".

For example, Liu Huan, the master and leader of mainland pop music.

For example, Gong Linna, the explorer of folk songs and artistic music in the mainland in the new period.

The singer 20 19 is different. In the previous "I am a singer", everyone ridiculed that "whoever has the loudest voice will win" and gradually turned into the previous "expression".

In all fairness, the singer 20 19 is more "expressed" in the past tense.

Chyi Yu, Liu Huan, Gong Linna and other musicians' groups are mostly Chinese music that once radiated all the age groups in China, so it can be said that they still take the "median".

China music is bad now? And the role of "singer's performance year"

Today in 2020, China's music variety has reached the next stage.

If you don't become an idol trainee, create 10 1, and so on, you can choose idols of men's and women's teams.

Then you can only explore one or two independent music types, such as "Sound in the Heart" and "Summer of the Band".

The year of singer performance in 2020 is not based on the median value, but on the new generation of musicians born after 80, 90 and 00 behind the audience.

The musicians selected by the Year of the Singer are younger and more stylized.

Such as soul music, R& etc. Tia Ray of B.

In summer, for example, it became a mirror image of Tia Ray, with the same European and American music.

For example, from the original psychedelic rock, Hua Chenyu constantly broke through other music styles.

Others are Charlie, who is a little traditional but very "ACG", Jam Hsiao, who has been breaking through from pop rock to rock band, and Mao Nan, a representative of the new generation of folk musicians.

Not to mention how young and fashionable a few surprise musicians are.

Electronic music, hip-hop and national style, and then to Liu Baixin of hiphop+urban.

When these new generation musicians express their music and think about Chinese music.

The previous analysis of "China audience age composition and music aesthetics" has been made clear enough.

Previously, the musicians selected by The Singer all followed their own "median", but the choice of musicians in The Singer's Playing Year was biased towards the post-80 s, post-90 s and post-00 s.

Even in the 1980s and 1990s, these new generation musicians were not the mainstream of their youth.

In this new era of more and more diversified aesthetics and more exquisite circle culture, these new generation musicians are also very close to the circle and have such exquisiteness.

Let's go back to the development of pop music in China, led by Europe and America, followed by Japan, Hong Kong and Taiwan.

After 20 10, the Chinese music scene gradually declined with the pop music in Hong Kong and Taiwan. The new generation of China musicians are more inclined to learn Japanese pop music directly, even European and American pop music.

However, no matter how advanced music and advanced singing methods are, the audience will also have aesthetic fatigue and cultural barriers that are not acclimatized.

What is important is how to make your music more beautiful, powerful and localized, so as to spread it to the public for a longer time.

Instead of blindly flaunting individuality and flaunting advanced, it ignores aesthetic feeling and localization.

Don't jump out of the bar at this time. The so-called localized popularity is "imitating cats", but it is a balance between the professional style of music and the aesthetic feeling of melody.

In the past, China musicians basically achieved this balance.

The new generation of musicians in Chinese music seems to only care about the advanced art in their own understanding and completely ignore the local pop, so this is the case.

If you don't like China music now, that's right.

The two have always influenced each other, and there is no distinction between advantages and disadvantages.

Finally, the singer's performance year is a very good excavation and attempt.

Singers can't concentrate on exploring a music genre like "The Voice in the Heart" and "Summer in the Band" during the year of jumping.

I hope a new generation of China musicians can find their own way!