In The Culture Perspective Of Chinese Pop Music

In the process of modernization of nation state, pop music has become the mainstream music,which participates in the change of China’s social civilization paradigm and cultural ecology, develops adiverse culture, aesthetic and political criticism “public space”. From the “modernity” angle and twodimensions of material (consumption, technology), spirit (ideology, aesthetic), four research the study ofChinese pop music from four aspects can show “facts and debate” of Chinese pop music in therelationship between production and consumption and draw the outline of Chinese pop music cultureunique circumstances.First of all, the occurrence of Chinese popular music and rheological studies. Through thecontroversy of concept, cultural identity, theme, style and artistic value, aesthetic tool theory paradigmfaded. Chinese pop music has shifted from the edge to the central part of the culture.“Shanghai oldsongs” marks the occurrence of Chinese pop music. Along with the acceleration of nationalmodernization process, the mainland pop music gradually returns to its commercial nature, which facesthe idol age of “idols thriving songs” and provides popular “Chinese style” and “national style”. Since2000, the entire Chinese music has present the other side of the modernity, different from the traditionsuch as instant, liquidity and lust and so on.Second, the study of Chinese pop music media broadcasting and its material technology change.Along with the controversy of “Mass” identity, technology and humanities spirit, art popularization, popmusic nationalization, elegance of popular music and serious music popularization and talent show, apopular entertainment aesthetic paradigm thrives. Chinese popular music has become a mass medium,showing an exciting modern form; Pop music, on the other hand, has increasingly become a means ofpresenting technology and exposed that Chinese pop music is still in the stage of “cultural paste” withthe ornament of elegant and national material in post-media era.Third, the study of Chinese pop music ideology and its communication pattern. In the clash ofdisputes such as “aesthetic ideology” and “Chinese rock mainstream”, a pop music “public sphere” hasappeared. Aesthetic criticism paradigm welcomes a preliminary development, and Wang Feng becomesa winner on the balance beam of ideology and has pushed Chinese rock and roll to the mainstreammarket.Fourth, the study of Chinese pop music aesthetic modernity. The controversy of “Kitsch” interestin Chinese pop music exists all through, and “kitsch” has gradually become a kind of common publicaesthetic experience, since2000to the extreme. Kitsch exists here and there, the tension of aestheticmodernity and social modernity decreasing gradually. Fang Wenshan “Chinese style” is the witness ofthe co-existing of Chinese pop music social modernity and aesthetic modernity. Zhang Yimou’s filmmusic can be rated as the creative breakthrough model of the mass culture aesthetic because of its“honor west but not only”,“honor benefits but not only” and “honor low threshold but not only”.To sumup, although the Chinese pop music modernity awakens under the stimulus of the western aestheticmodernity, the path of the modernity of Chinese popular music shows that Chinese pop music aesthetic modernity is the “modern” of Chinese aesthetic tradition itself, which is also the reflection of China’sown social modernity. Different from the traditional, western aesthetic paradigm and value standards, itsperformance is the characteristic of “modernity” culture.