중국 신시기 ‘民族风’ 음악의 大众화 연구 — 施光南의 ‘新疆风’가곡을 중심으로

Abstract

After the Cultural Revolution, popular music from Hong Kong and Taiwan was introduced to the mainland through various media outlets and developed with an absolute impact on the industrialization, diversification, and commodification of native music. Moreover, with the introduction of a market economy and a political upheaval, the creation of music by mainland China, which had been suppressed for a long time, resumed again, bringing about new developments in the way music was created and the quality of music. In this issue, we will study the first generation composer, the people’s musician, and the singer of the time. Since the opening of the reform, it can be said that shiguangnan’s creative music has represented the achievements of the continental lyricism of the early New Year and the trend of the times. Most of his songs have the simple and intimate characteristics of private houses because they have been artistically processed by finding and applying the visitors of rich and beautiful minorities from various parts of China. In this study, the musical creation of shi-guangnan focuses on the musical characteristics of the “Minjufeng”, the most important phenomenon of Chinese culture, and on the folk music of Chinese minority Uighur people. It will also focus on looking at lyricism, which was popular in the mainland during the new era, and the phenomenon of nationalism in early days of pop music.