Research On Contemporary Chinese Folk Ballads And Their Communication In Media Field

The media has brought a great impact on China' s current cultural life.This article takes the dissemination of contemporary Chinese folk music as its research object,and mainly ilustrates how the media influences the production as an "extension of people",dissemination and consumption of folk music.Judging from the process of its dissemination and development,both the form and content of the media,the role of the media is very important.The emergence of the new media gives a profound intrinsic meaning to the "new ballad".Marked by the widespread use of new media(digital media),contemporary Chinese folk music can be roughly divided into two stages:"urban folk songs" and "campus folk songs" from the late 1980s to the mid-to-late 1990s."New folk song" from the point of view of media communication,these two phases correspond to the development of the mass media,namely,the first media era dominated by broadcast transmission methods such as printing,broadcasting,and film and television,and the second media represented by the Internet Times(New Media).According to McLuhan's view,the emergence of new media technologies will inevitably influence and change the original text form,and the original power structure system will also be dismantled.Similarly,as a new force in the current popular culture commodity,Chinese folk music are influenced by the media in their production,circulation,distribution/consumption,and reproduction.Therefore,the purpose of this paper is to analyze the production,dissemination,and consumption of contemporary folk music in mainland China under different media styles.That is to say,firstly taking the time line as a horizontal axis to diachronically discuss the similarities and differences of the transmission methods between the early folk songs and the new folk songs.Secondly taking the space as a vertical axis to regard the dissemination of folk music as a holistic and systematic object of observation.And on the basis of the cornerstone of subculture theory of the Birmingham School and the European and American media ecology theory,it concludes the style symbol features of folk songs under visual threshold of the media,based on which,he tried to decode the process of gradually incorporating commercial music and ideology as one of the subculture forms of folk music.The symbolism has changed from a "ritual resistance" to a pan-entertainment popular carnival.In the current consumer society,in the face of complex digital media environment,folk music should adhere to differences and independence,and form a benign communication relationship between musicians,communicators and audiences.Musicians need to shoulder the heavy responsibility of rebuilding the spirit of contemporary folk songs,reconstruct the relationship between musical forms and national subject identities,and devote themselves to creating a fusion of popular and pioneering,world music and folk music traditions,with more diversity.At the same time,it also means that the audience must actively participate in the interpretation of media texts,so that the media construction really becomes part of the folk communication practice,so as to achieve a win-win situation in the coordination of the public aesthetics and individual interests,commercial value and musical value.