‘상하이 7대가후(上海七大歌后)’와 ‘시대곡(時代曲)’의 해부학— 1940년대 중국 대중음악의 휘황기(輝煌期)에 대한 再考
Reconsidering ‘Seven Great Singing Stars’and the Early Chinese Popular Music
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In this article we raise the question of terms that are customarily used in the process of establishing the history of Chinese popular music based on Shanghai in the early 20th century, and aim to establish the starting point and perspective of Chinese popular music history research for a critical review. First, we analyze the meaning and origin of the term “Seven Great Stars in Shanghai” which is customarily used to refer to major singers of the period song. This includes seven leading female singers, Zhou Xuan, Gong Qiuxia, Yao Lee, Bai Hong, Bai Guang, Li Xianglan, and Wu Yingyin, who mainly worked in Shanghai in the 40s. We insist that the way the seven singers collectively referred to as one category is no good in understanding early Chinese popular music. In addition, we would like to examine whether it is appropriate to categorize their music into the concept of Shidaiqu. After empirically reviewing the careers and music of these seven female singers, we aims to examine what errors and omissions occurred in the process of categorizing and historicizing them.
Abstract
In this article we raise the question of terms that are customarily used in the process of establishing the history of Chinese popular music based on Shanghai in the early 20th century, and aim to establish the starting point and perspective of Chinese popular music history research for a critical review. First, we analyze the meaning and origin of the term “Seven Great Stars in Shanghai” which is customarily used to refer to major singers of the period song. This includes seven leading female singers, Zhou Xuan, Gong Qiuxia, Yao Lee, Bai Hong, Bai Guang, Li Xianglan, and Wu Yingyin, who mainly worked in Shanghai in the 40s. We insist that the way the seven singers collectively referred to as one category is no good in understanding early Chinese popular music. In addition, we would like to examine whether it is appropriate to categorize their music into the concept of Shidaiqu. After empirically reviewing the careers and music of these seven female singers, we aims to examine what errors and omissions occurred in the process of categorizing and historicizing them.
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