1930년대 黎錦暉 비판과 중국 대중음악의 분화
Criticism on Li Jinhui and Differentiation of Chinese Popular Music in the 1930’s
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In 1932, Nie Er published the article called “A Short Opinion on the Chinese Song and Dance” and publicly criticized Li Jinhui, the best selling popular song writer of the time. This article can be viewed in a broader perspective of history rather than being recognized as a clash between Nie Er and Li Jinhui. In this study, I argue this case mainly is a process of differentiation of existing popular music initiated by the Left Wing art which was newly formed and actively expanded. The Chinese pop music, which was initially led by Li Jinhui’s so called ‘Shidaiqu’, the popular music, was divided by the acceptance of leftist literary influence on ideology, material and form. This ultimately brings competition within the pop music market, boosting the development of Chinese pop music in the future. Through this process, various elements of Chinese pop music coexist. It reflected the tendency of the city's petit bourgeoisie and also equipped with a revolutionary music that can represent the difficulties and anger felt by people under Japanese aggression and social issues facing China. The style of jazz was also accepted through a contemporary song, and the style of new Soviet music was adapted to China through revolutionary songs.
Abstract
In 1932, Nie Er published the article called “A Short Opinion on the Chinese Song and Dance” and publicly criticized Li Jinhui, the best selling popular song writer of the time. This article can be viewed in a broader perspective of history rather than being recognized as a clash between Nie Er and Li Jinhui. In this study, I argue this case mainly is a process of differentiation of existing popular music initiated by the Left Wing art which was newly formed and actively expanded. The Chinese pop music, which was initially led by Li Jinhui’s so called ‘Shidaiqu’, the popular music, was divided by the acceptance of leftist literary influence on ideology, material and form. This ultimately brings competition within the pop music market, boosting the development of Chinese pop music in the future. Through this process, various elements of Chinese pop music coexist. It reflected the tendency of the city's petit bourgeoisie and also equipped with a revolutionary music that can represent the difficulties and anger felt by people under Japanese aggression and social issues facing China. The style of jazz was also accepted through a contemporary song, and the style of new Soviet music was adapted to China through revolutionary songs.
참고문헌 (28)
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