Women Of The Early Pop Songs Theme (1927-1949),

Since the late 1920s, the thinking of the Chinese people was reflected and recorded by a new art form which is more prevalent, more closely related to life. That is popular songs. Though they undergo a change of the times and society over eighty years, the melodies did not vanish without trace but prevail in the 21st century. This can be contributed to the vitality of early popular songs.When we turn on the acoustic apparatuses, special flavored female voices will linger on in our ears, telling about themselves, pouring out their pains, confiding their joys. The city popular songs, which evolve simultaneously with modern city females, enable us to observe, conjecture and understand the heart of new females of that times, from which we seem to hear the battle cry of new females to fight for freedom and liberation, feel their lofty sentiments to leave home for society to seek for their own value and also resound the moaning of those who are oppressed by feudal culture, hence, lose their ego….If we focus on the different voices, representing profound and deep life consciousness and human nature, we will easily find that the early popular songs in China are actually a symbol of females of different times as well as a symbol of those are to be aroused. And they also show rich cultural meaning and humanistic luster. Our objective is to dig out the culture meaning and significance of popular songs from the perspective of females in city culture.This dissertation is divided into five parts. Chapter one is the Female Arousal in Shanghai's Early Popular Songs, which describes the birth and development background of popular songs in historical context, exploring the cause of the formation of the female subject. Chapter two is the Female Subject in Shanghai's Early Popular Songs, basing on the enlightening meaning of city culture, probing into the female subject through three layers: the arousal of female subject consciousness, the establishment of female family and marriage outlook, and the realization of female subject behavior by intensive reading. On the basis of Chapter two, Chapter three, the Art Representation of the Female Subject in Shanghai's Early Popular Songs, makes an analysis of the art approaches of producing those songs and tries to grasp the particularity of male producers describing females through the female discourses and female images. In chapter four, the Female Image in Shanghai's Early Popular Songs, different art images are depicted at different space-time by means of analyzing the images of female performers and the different types of acoustic apparatuses. In this way, I expect to grope for the essence of the musical images and discover their humanistic inside information and times value. In chapter five, the Aesthetic Value and Cultural Meaning of Shanghai's Early Popular Songs, the popular songs, whose new aesthetic spirit was formed at the May Fourth Movement Period, realize their"harmonious genders"city cultural meaning and social value, meanwhile they promote the cultural course of our society via the visual angle of culture. This provides a new dimension for studying the cultural meaning of the early popular songs. And it fills up a vacancy in studying popular songs recurring to the perspective of the female subject.