The Development And Localization Element Research Of Xinjiang Contemporary Popular Music

In 1930s and 1940s, musical workers represented by Wang Luobin were engaged in the collection, classification and creation of Xinjiang folk songs. During this period of time, they made some changes in melodies and rhythms of songs, and filled up Xinjiang localized lyrics in Chinese. But they still maintained the basic elements of folk songs. It was proved that these attempts made a large number of folk songs more popular. Many other musicians like Liu Chi, Lei Zhenbang, Tian Ge, Liu Shuming also contributed a lot in this task. The recomposition and recreation of folk songs brought epochal character to itself, so that it could cater to people's aesthetic value at that time.With the tremendous changes in social culture and people's life-style after the reform and openness, contemporary popular music gradually becomes an influential musical form in the whole country. It's also all over different regions and nationalities in local Xinjiang. In the early 1980s, popular music culture from Hong Kong, Taiwan and the inland was introduced to Xinjiang. But our own folk music still kept its epochal character. Besides the recomposition by musicians, Xinjiang folk songs began to blend in pop elements in composing work and instruments. Modern media technology was also applied in performing and expressing. Meanwhile, the sprout of popular music in minorities came out. Inland pop music was flourishing and in the later period of 1980s. But local folk songs in Xinjiang represented by Wang's work were also very popular. Many public dancing halls and singing halls were built up, thus popular music culture came closer to people's life. In 1990s, more and more local musicians were engaged in popular music creation, and they created a multitude of original local pop songs. Minority musicians represented by Askar and Avanti Band began to create Chinese pop songs which absorbed more international ideas. Han musicians paid more attention on the applications of Xinjiang minority music elements. They added minority instruments in their work, highlighting the characteristics of Xinjiang local music by their unique tones. All the phenomena mentioned above show the maturity of Xinjiang-style pop music, and contemporary popular music culture appears to be localized. In 21st century, the styles of Xinjiang contemporary music become more various. Local music and inland pop music communicate with each other more frequently. Musicians represented by Arken and Dao Lang drive Xinjiang-style pop music to a peak.The thesis concludes localized elements of Xinjiang contemporary popular music as the following 3 aspects: the collection, classification and creation of Xinjiang folk songs by musicians represented by Wang Luobin;the acceptance of contemporary popular music by minority musicians and the development of it; the popularized recomposition of folk songs by Han musicians and their original creation practice of Xinjiang-style pop songs and general music. Xinjiang contemporary popular music tends to be diverse with national and popular character.