流行歌曲歌词修辞手法的相关研究及理论基础
Popular songs, often referred to as pop music, are defined differently by scholars around the world, with notable variations in perspectives between Western and Eastern academic circles In Western countries, researchers have established specific criteria that characterize what constitutes a pop song, reflecting diverse cultural influences and musical trends.
从发生学角度考察，流行歌曲是西方舶来品。语言差异翻译成为文
The term "popular songs" refers to mainstream music meant for public singing After cultural exchanges, the meaning of popular songs varies across different cultures: in Germany, they are known as "schlager"; in France, they are called "chanson populaire"; and in Italy, they are referred to as "canzone," which encompasses modern popular music.
In a world lacking modern mass media to compress time and space, the degree of globalization remains low, leading to significant cultural differences As a result, the distinction between "mass culture" and "folk culture" becomes increasingly pronounced.
Folk culture is intricately woven together, as highlighted by Antonio Gramsci's classification of popular songs into three types: those created by the masses for the masses; those composed for the masses but not by them; and those neither created nor intended for the masses but accepted by them due to their expression of popular thoughts and feelings This categorization underscores the complexity of popular music and aids in distinguishing the boundaries between folk and popular culture, as well as between popular and mainstream music.
Theodor Adorno, a key figure in the critical school, critiques popular music from a cultural perspective, asserting that it represents "mass culture" and is a product of the culture industry characterized by standardization and mass production He highlights its fundamental traits of interchangeability and false individuality, viewing it as a tool for the manipulation of the masses by the culture industry Adorno posits that popular music emerges in opposition to Western classical music; however, he argues that the traditional Western musicology framework is inadequate for studying popular music.
Criticism of pop music largely remains within the realm of Marxist ideological critique In contrast to Adorno, Benjamin adopts a more open and fair perspective on pop music, although he does not directly comment on it; his essay "The Work of Art in the Age of Mechanical Reproduction" clearly reflects his cultural stance In recent years, while Adorno's ideas have faced increasing scrutiny, his pioneering and insightful contributions cannot be overlooked Beginning with Adorno, there has been a persistent call for new theoretical interpretations and research paradigms regarding pop music.
Contrary to the negative critiques of popular music by figures like Adorno, scholars such as Simon Frith, Davia Brackett, Anahid Kassabian, and David Schwarz actively seek to embrace and understand the complexities of popular music.
The "mass" label contrasts with terms like "popular" and "folk," highlighting pop music as a pervasive cultural form in contemporary society The focus is on the characteristics of mass consumption and the essence of entertainment culture This analysis and evaluation of pop music signify new achievements in pop music research and indicate a shift in research perspectives and paradigms.
Bruno Nettle defines popular music in a flexible and dynamic manner, emphasizing that its definition should encompass several key aspects: it originates from urban environments and is aimed at urban audiences; it is performed by professional musicians who lack formal advanced education; it maintains stylistic ties to indigenous music while being less refined; and its dissemination primarily occurs through mass media such as radio and records Nettle argues that distinguishing between classical, folk, and popular music in the West is challenging Building on Nettle's framework, Manuel suggests that by appropriately refining and clarifying these aspects, a definition of popular music can be applicable to both Western and non-Western contexts He adds further criteria for defining popular music, including secular entertainment, production and consumption mechanisms, celebrity culture, and rapid turnover, asserting that these elements are relevant regardless of the cultural context.
The article emphasizes the need to reinterpret and reconstruct existing cultural models by incorporating new factors, thereby enhancing their adaptability to evolving forms This definition highlights not only the intrinsic value of music but also its significance and social relevance within specific cultural contexts.
It is essential to acknowledge that the foreign influences in pop music do not diminish its unique cultural characteristics An external perspective cannot replace our understanding of pop music Mainland pop music calls for new theories and interpretative models, and exploring these frameworks is a vital cultural mission for us.
Chinese scholars define pop music as a cultural phenomenon that profoundly transforms the cultural structure of contemporary society in response to social changes However, the definition of pop music itself remains a topic of ongoing debate.
流行歌曲特指 20 世纪 30 年代在上海及其以后在港台流行的所谓
"Era songs," within this context, refer to popular music that carries specific historical significance, characterized by its overly sentimental and frivolous nature, often deemed unhealthy or vulgar, including what is traditionally labeled as "yellow songs." Culturally, it represents a commodified form of music produced under capitalism, with an overall negative inclination Critics assert that music and art should reflect the beauty of human nature and serve as vessels for mainstream cultural values This closed-minded approach, which evaluates pop songs against traditional musical standards, fosters deep-seated biases, viewing evolved cultural phenomena through outdated aesthetic lenses and dismissing entertainment value in favor of moral and educational functions This perspective highlights cultural shock and moral panic in response to new cultural paradigms British cultural theorist Stuart Hall noted that all cultural production is merely a representation of the world, with various possible modes of representation that create specific cultural values Thus, pop songs serve as cultural representations of their respective eras.
Popular songs are a reflection of the cultural atmosphere and spiritual structure of specific eras Today, they represent a typical style of contemporary music culture characterized by "factual selection and emotional acceptance," and should not be judged by past standards While no culture is perfect and rapid growth often leads to a mix of quality, the prevalence of popular songs is neither isolated nor meaningless The dramatic changes in Chinese society during the 1930s and 1980s are prominently expressed in popular music Therefore, discussing the artistic value of popular songs without considering their specific historical context is at least unfair Popular songs are essentially modern vernacular music, and addressing the contradictions among different viewpoints is crucial.
The term "popular songs" has become a reluctant compromise, yet it is crucial to distinguish between popular songs and folk songs, as they are not interchangeable concepts This distinction allows critics to label popular songs as modern folk songs, thereby avoiding direct criticism While various scholars emphasize different aspects, their definitions align with the cultural practices surrounding popular music Wu Guodong highlights that popular songs are a unique musical cultural form that emerged after industrialization, reflecting the characteristics of mass culture in the era of mass media From a phonetic perspective, popular songs refer specifically to a genre of popular music that originated in developed Western countries and spread rapidly through industrial production This classification acknowledges popular music as a cultural phenomenon, although many dismiss its artistic value and aesthetic function due to its "popular" label Notably, Zhang Lei and others recognize the mass communication traits, the expansion of non-musical factors, and the commercialization of popular songs, adopting a broader cultural perspective beyond simplistic definitions.
中越流行歌曲歌词中的修辞手法对比
课题研究结果对越南汉语教学的启发
第一章 流行歌曲歌词修辞手法的相关研究及理论基础
Pop songs are defined differently by scholars around the world, with varying perspectives particularly noted between Western and European academics Each region offers its own interpretation of what constitutes a pop song, reflecting cultural nuances and musical trends.
从发生学角度考察，流行歌曲是西方舶来品。语言差异翻译成为文
An important aspect of communication is the concept of "popular songs," which refers to accessible music meant for singing and is a staple of mainstream culture After undergoing cultural exchanges, the term "popular songs" has taken on distinct meanings in various cultural contexts: in Germany, they are known as "schlager"; in France, they are referred to as "chanson populaire"; and in Italy, they are called "canzone," encompassing modern popular music.
In a world where modern mass media has not compressed time and space, cultural differences are pronounced, leading to a lower degree of global homogenization Consequently, the distinction between "mass culture" and "folk culture" becomes increasingly evident.
Folk culture is intricately woven together, as highlighted by Antonio Gramsci's classification of popular songs into three types: those written by the masses for the masses, those composed for the masses but not by them, and those neither composed nor intended for the masses but accepted due to their expression of popular thoughts and emotions This categorization underscores the complexity surrounding popular music and aids in distinguishing between folk and popular culture, as well as between mainstream and popular music.
Theodor Adorno, a key figure in the critical school, views popular music as a product of "mass culture" and the cultural industry, which is characterized by standardization and mass production He argues that popular music serves as a tool for manipulating the masses, exhibiting features of interchangeability and false individuality Adorno positions popular music in opposition to Western classical music, yet he acknowledges that the traditional Western musicology framework is inadequate for analyzing popular music.
Criticism of popular music primarily remains within the realm of Marxist ideological critique In contrast to Adorno, Walter Benjamin's approach to popular music is notably more open and fair; although he did not comment directly on the subject, his work "The Work of Art in the Age of Mechanical Reproduction" clearly reflects his cultural stance In recent years, while Adorno's ideas have faced increasing scrutiny, his pioneering and insightful contributions cannot be overlooked Since Adorno, there has been a persistent call for new theoretical interpretations and research paradigms regarding popular music.
In contrast to the negative critiques of popular music by figures like Adorno, scholars such as Simon Frith, Davia Brackett, Anahid Kassabian, and David Schwarz actively seek to embrace and understand the complexities of popular music They argue for a more nuanced appreciation of its cultural significance and impact.
The "mass" label contrasts with "popular," "folk," and "mass," highlighting that pop music is an omnipresent cultural form in contemporary society Emphasizing the characteristics of mass consumption and the essence of entertainment culture, this analysis and evaluation of pop music signify new achievements in pop music research, indicating a shift in research perspectives and paradigms.
Bruno Nettle defines pop music in a flexible and dynamic manner, emphasizing that its definition should encompass several key aspects: it originates from urban settings and is aimed at city audiences, performed by professional musicians who lack formal higher education, stylistically connects to indigenous music with a lower level of sophistication, and is primarily disseminated through mass media such as radio and records Nettle argues that distinguishing between classical, folk, and pop music in the West is challenging Building on Nettle's framework, Manuel suggests that with appropriate limitations and clarifications, a definition of pop music can apply to both Western and non-Western contexts He adds further criteria for defining pop music, including secular entertainment, production and consumption mechanisms, celebrity culture, and rapid innovation Ultimately, he asserts that pop music is relevant in both Western and non-Western cultures.
The article emphasizes the need to reinterpret and reconstruct existing cultural models by incorporating new factors, enabling them to adapt to ever-changing forms This definition not only focuses on the essence of music but also highlights its intrinsic value and social significance within specific cultural contexts.
It is essential to acknowledge that the foreign influences on pop music do not diminish its unique cultural characteristics An external perspective cannot replace our understanding of pop music Mainland China's pop music calls for new theories and interpretative models, and exploring these frameworks is a vital cultural mission.
Chinese scholars define pop songs as a cultural phenomenon that profoundly alters the contemporary cultural structure in response to social changes However, the definition of pop songs themselves remains a topic of ongoing debate.
流行歌曲特指 20 世纪 30 年代在上海及其以后在港台流行的所谓
The term "era songs" refers to popular music with specific historical significance, characterized by its overly sentimental and frivolous nature, often deemed unhealthy or vulgar, including what is traditionally labeled as "yellow songs." Culturally, it represents a commodified form of music within capitalism, leaning towards negativity Critics of pop music argue that music and art should reflect the beauty of human nature and serve as vessels for mainstream cultural values This narrow-minded approach, which evaluates pop songs against traditional musical standards, fosters deep-seated biases and a cultural shock when faced with new cultural phenomena, often leading to moral panic British cultural theorist Stuart Hall noted that all cultural production is merely a representation of the world, with various ways to symbolize the same reality In this context, pop songs serve as cultural representations of their respective eras, carrying specific cultural values.
Popular songs inevitably reflect the cultural atmosphere and spiritual structure of their specific eras Today, they represent a typical style of contemporary music culture characterized by "factual selection and emotional acceptance," and should not be judged by past standards While no culture is perfect and periods of rapid expansion often lead to a mix of quality, the prominence of popular songs is never an isolated, accidental, or meaningless cultural event The dramatic changes in Chinese society during the 1930s and 1980s are vividly illustrated in popular music Therefore, discussing the artistic value of popular songs without considering their specific historical context is at least unfair Popular songs are essentially modern popular music, and as previously mentioned, addressing the contradictions among various perspectives is crucial.
The distinction between "popular songs" and "common songs" is often overlooked, yet they are not synonymous Some argue that popular songs should be viewed as modern common songs to sidestep criticisms associated with the term This perspective aligns with cultural practices surrounding popular music, particularly as noted by Wu Guodong, who describes popular songs as a unique musical culture emerging from industrialization and mass media While popular songs are categorized as a form of vulgar culture, this label can lead to a dismissal of their artistic value and aesthetic function However, scholars like Zhang Lei have recognized the broader implications of popular songs, including their mass communication characteristics and the impact of industrial production and commercialization, thus providing a more comprehensive cultural perspective.