Category: Computer/Network

Problem description:

Can anyone tell me authoritatively: pop music, classical music, ethnic music, light music, rock The characteristics and differences of music and jazz!! Thank you

Analysis:

In the 1990s, a new term appeared in world pop music - "World Music". In the late 1980s, some works containing elements of "world ethnic music" began to appear in the Western music market. Such as the success of Paul Simon's African music album "Graceland" in 1986 and Latin American music's "The Rhythm Of The Saints" in 1990; Enigma from Germany's purer world music album "MCMXC" that blends medieval music and electronic music A.D.", also achieved commercial success. And another point is that the decline of Western culture has given them unprecedented interest in exploring third world culture, which is also the background for the rise of world music. So, what is “World Music”? The "Rock Music Guide" published in the United States explains "World Music" as follows: Generally, it is considered to be mainstream rock and pop music styles in the United States and Europe. It usually integrates rock music, pop music and modern technology into A kind of contemporary music among the traditional music of a certain region. This term is not very comprehensive. World Music (World Music) is actually a mixture of multiculturalism and the crystallization of three different kinds of music. It has brought great benefits to the development of popular music. A huge leap forward. From a conceptual analysis, world music can be said in two ways: one is world music in a broad sense, which generally refers to national music from all over the world; the other is a narrow concept, which is the theme of this article, national music, traditional music and pop music A mixture of phase crystals. Since the 1980s, the concept of world music has been continuously promoted in popular music, and slowly it has become a development trend of international popular music. In fact, world music has appeared in rock and pop music very early. For example, the psychedelic rock band "Kaleidoscope" in the 1960s used a lot of Middle Eastern music in their album "Rampe Rampe"; The "Santana" band, Carlos Santana perfectly blended Latin American rhythm and blues music; the Jamaican singer Bob Marley, who introduced Caribbean reggae music to the world with the help of rock music; and the Talking Heads band, in their The album "Remain In Light" cleverly adds the rhythm of African music; Senegalese singer Youssou N'Dour, who is very popular in the United States, plays African pop music; therefore, world music is everywhere exists in popular music. However, what is different from now is that in the past, Third World music (or folk music) was only used as a musical element dotted in rock or pop music. Judging from people's appreciation habits, this music is first of all mainstream pop music, and secondly the musical elements it contains. As musicians, they are simply borrowing rather than exploring third world music, and what they accomplish is a mixture rather than a creation. From the late 1980s, musicians began to truly enter the third world to study and explore new music, thus forming a trend of world music. But when these trends took shape - that is, when they achieved certain expected results in business, Westerners' attitudes towards third world folk music immediately changed. They no longer had the mentality to explore and study music. For third world music, they intend to turn it into a commodity labeled "world music", just like they first set foot on the African continent in the 16th century. In their view, folk culture is as valuable as local products, and they firmly believe that only they can unearth this folk music, and only they can turn this folk music into a world-wide music.

In fact, this is indeed the case. Economic backwardness prevents musicians from the third world from excavating and sorting out these rich musical heritages. Western record companies rely on their economic, technical, and especially technical and angle advantages. The advantages are definitely unmatched by musicians from the third world. Another point is that Western musicians and Third World musicians have different understandings of folk music. As a kind of folk music, it has become a part of local people's lives. They have become accustomed to the music that has grown up with their lives, so they often lose their sensitivity to music. Western musicians are different. They have the freshest experience with an unfamiliar music, so they can often capture the best parts of folk music. You can feel this from the music of Enigma and Deep Forest, which also includes Chinese music. If you listen to Enigma's "The Eyes Of Truth" and Deep Forest's "Lament", you will find our confusion** * song, but it’s definitely not something we’re proud of. This is a very helpless result. On the one hand, the music of the third world spread through the hands of Westerners, which played a great role in the integration of world civilizations and allowed the whole world to have a taste of it. Opportunities for Third World Culture. But on the other hand, the soul of third world culture is easily lost when Westerners dig into it, and this is often the saddest thing about third world culture. This helplessness actually poses serious challenges to musicians in the third world. Therefore, some third-world musicians realize that they should use their talents and wisdom to spread their own nation's music to the world. While we are still struggling to imitate the West or Hong Kong and Taiwan in packaging to achieve international standards to prove that our music is progressing, Western musicians have extended their most sensitive touch to China. What’s even more ridiculous is that when we flaunt the ability to accept and perform Western rock music as avant-garde or fashionable, Westerners have already come behind us to exploit our cultural treasures. On the surface, this is a kind of cultural communication and integration. In fact, this kind of communication and integration is based on inequality. We passively accept other people's things, and others take the initiative to take our things. What we take is not necessarily the best, but what others take is not necessarily the best. They must have gone the best way, just like they knew what was most valuable in the Old Summer Palace back then. This may be the confusion faced by the entire third world culture. This is the inequality in cultural integration caused by economic differences. Nowadays, Western musicians are increasingly interested in Chinese music. They have discovered that China has rich and colorful folk music, but they have also discovered that since China has more than 50 ethnic groups, each ethnic group has its own traditional music culture, and, The particularity of China's geographical environment prevents them from fully understanding Chinese music. But this did not hinder their confidence in exploring Chinese folk music. They still flew over the Himalayas and turned Chinese folk songs into popular songs on radio stations in Western countries. Facing the "gold rush" of Chinese music in the West, most Chinese people who work in music are indifferent. This can not but be said to be a sad thing. Do we have to wait for Westerners to recognize our national music before we take it seriously? If we can view the phenomenon of "world music" dialectically, its emergence is a rare opportunity for China, which gives us the opportunity to show Chinese music to the world. China has many outstanding musicians, but what it lacks is a sense of innovation, and this is where Westerners take advantage. If we can face the richness of Chinese music with new concepts, new angles, new consciousness and new techniques, I believe that in the future it will be us who will show our own music to the world instead of hearing "Chinese music" made by others. .

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