博士 / 國立交通大學 / 社會與文化研究所 / 101 / This study reconstructs the sound and cultures of early stage of Chinese popular music, which was formed and developed in Shanghai during 1927 to 1949. I delineate the changing process and the cultural meanings of music technique and aesthetics, also discuss how this genre brought the cultural and hearing enlightenment by the form of sound.
In my analysis, Jing-hui Li, the pioneer of Shanghai popular music, set the aesthetic standard and demonstrated the way of ‘modern life’ via multiple media before 1936 by his popular songs. In name only, Li’s erotic lyrics violated traditional ethics, his melody appropriated foreign music elements, his ‘Bright-Moon Song and Dance Troupe’ functioned as a modern ‘performing company,’ and the ‘little sister voice’ of all his songstresses of ‘Bright-Moon’ was scorned by contemporary intellectuals. The first chapter of this research examines those viewpoints, identifies a mode of ‘outward modernity with inward tradition’ as the core style of Shanghai popular music.
In the second chapter, I divide Shanghai Popular music into four periods. While music composing techniques reached maturity after 1946, the borderline of
imported and domestic music elements of this so-called ‘blend of Chinese-Western’ music was getting obscure. This genre tended to wrongly imitate and appropriate foreign music styles, it sounded like other Western genres, but not quite, just like what Homi Bhabha called ‘colonial mimicry.’ I suggest the reason of this sonic colonial mimicry is not to ‘copy’ other genres, but to establish a cultural subject with an unique sound.
This study also exhibits how the sound technology formed a cultural ‘acoustic mirror,’ which constructed a new perception of cultural Self and imagined community. In the third chapter, I propose that Shanghai popular music subtly shaped the ‘I’ and ‘we’ of this imagined community, and the sound of technology not only affected the mass hearing, but also influenced upon the singing style of songstresses.
This dissertation aims to reveal the cultural meanings of the composing technique in Shanghai popular music. I regard music as part of polyphonic cultural network, and attempts to show the intertexuality between Shanghai popular music and literature, culture, philosophy and aesthetics. From this perspective I re-define the methodology of popular music history, and reconstruct and seize the cultural structure and aesthetic order by music sound.
| Identifer | oai:union.ndltd.org:TW/101NCTU5054056 |
| Date | January 2013 |
| Creators | 洪芳怡 |
| Contributors | 周慧玲 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 187 |
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