| Popular music in China has undergone a transformation from the "same song" at the beginning of the reform and opening-up period to the recent transformation of the differentiation of creation and appreciation.In terms of time,this transformation is a slow development and evolution of the overall landscape of popular music since the 1980 s to the present,but if we classify and project it from an intergenerational perspective,we can intuitively see the differentiated characteristics of different generational groups in creation and acceptance.When the "Same Song" never appear again,the "Voice of the Times" no longer owns the era,comments on popular music began to diverge,exploring the presentation of such a differentiated and the causes behind them can find a way to understand the past,present,and future of Chinese popular music.This article takes time as a clue and generation as a unit to exposes the intergenerational differences in popular music,explores how popular music is created,how the audience appreciates it,and the intergenerational population differences contained in it,and answers relevent questions.The dissertation is divided into the following four chapters.The first chapter focuses on generational theory and examines how generational theory is used by generational divisions in popular music.The second chapter mainly presents and analyzes the narrative of popular music creators,which is based on the logic of cultural evolution,the analysis of popular music texts takes the lyrics,compositions,arrangements,singing,recording and mixing in the record industry assembly line as the main aspect of analysis,supplemented by the content of the concepts related to text groups in popular music semiotics.The third chapter is about the narrative of popular music receivers.The third chapter presents and analyzes the narratives of pop music receivers,with a focus on exploring the acceptance status and evaluation criteria of popular music by various generations of music fans to various generations of singers or creative groups.This process has nothing to do with value judgments,but is only an objective sorting out.The last chapter is an exploration of the reasons for the differences in the intergenerational narratives of popular music,which contains two main paths of inquiry.The first is an analysis of the intergenerational characteristics of music fans under the social,cultural,economic,and political environment;the second is an analysis of the ecological and contemporary characteristics of the popular music industry and its survival scene.This study examines the triple narratives of popular music,which are the creator narrative,the receiver narrative,and the integrated landscape narrative based on the above two.The study shows that the polarization of popular music reception depends on the differences in the output of different generational groups in the creative dimension and the demands of the reception dimension,which are motivated by the differences in the generational characteristics of music fans and the differences in the characteristics of popular music survival scenarios.Further,this paper reflects on the research perspective,tools,methods,content,findings,and discusses the intention and presentation of the overall framework and outline of the article,as well as the unavoidable risks that may be involved. |
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