The Rock Dream Cannot Come True in China, Research Paper Example

Introduction

The strong vitality of rock music has dozens of forms, such as country rock, rock, punk, after the British rock, reggae, metal, independent rock, luxuriant rock, industrial rock, and numerous others (Chen, Clark, Gottschang, & Jeffery, 2001). Attention is paid to the music so that it is constantly enriching and transcending the field and style, deriving a lot of schools, such as industrial metals, Nordic metal, metal, gold and new torrent classical metal (Chen, Clark, Gottschang, & Jeffery, 2001). Not only is this classification fine, the standard is fixed, and rock music has the ability to actively absorb other music styles and fuse extremely different styles of music into one, innovative sound (Steen, 2000). The metal style created inspires an emotional interpretation that is a reflection of the social environment and rock music, as represented by the Beatles and other popular, respected rock and roll musicians of the 20th century, deeply impacting the whole cultural and political development process. This brief dissertation will analyze the development of rock music in China and its effect on the development of the political, social, and cultural environment.

Rock Music and China

The marks of the rock culture run so deep that some even say rock music is the world’s second God (Steen, 2000). Chinese rock is described as an unnatural growth against traditional tools, and against mainstream ideology of innovation. The young people who like rock music use the music to pour out life and thought, political outcries, human nature, reflections, impressions of cruel warfare, inspiration, and to praise life, the last of which is the of the main themes of rock music (Liu, 2010). The consciousness of the rich cultural movement of the last century inspired by rock music has been unique, originating in Europe and America, and then spreading to China, carrying with it an inherited spirit that inspires the pursuit of freedom and liberation. The strong practical critical spirit and the conflict of leading values is the most fundamental element inherent in all forms of rock music spirit and is one of the most fundamental characteristics of the culture associated with this type of music. Today, when we turn on the TV, walked into the record shop, or open the music web site, rock music will rush out, standing in front of us all, no matter if it is liked or rejected.

In the 20th century, of the ten most popular albums, eight of them are rock music, which is an indication of the tremendous consumer consumption and the entertainment market value position of rock music (Steen, 2009). The facts tell us, rock music has stood at the top of the mainstream music market and the economic value added is limitless (Liu, 2010). Foreign investment contribution for China rock music is limitless and it is not just the production power of Hong Kong and Taiwan, but also from Japan, South Korea, and even America has become a producer of Chinese rock music cooperation objects (Artan, 2011). Currently the world’s biggest music genre, rock music has a solid, constant, rapidly growing entertainment consumer base whose overseas counterparts’ drives to raise the level of Chinese rock. the value of rock music business is a derivative of rock culture’s infinite potential market value, which is constantly confirmed through the rallying of rock music festivals, and record sales is the biggest form of rock music.

We can see, within rock music itself, a kind of cultural and artistic value of music, and from its economic value perspective, the potential of its own cultural and artistic value (Kajzer & Lotring, 2009). It differs from the popular music and fast food network song, which has no creativity and vulgar, boring themes, rock music is a valuable aspect of domestic entertainment and consumer groups have fully accepted as a formidable attribute of rock music (Artan, 2011). Foreign investment has an enlightenment role in the origins of the modern recording industry’s development process and several overseas investors injected fresh concepts, although some defects of policy caused small blemishes in the procedural formalities (Liu, 2010). However, producers were able to face problems such as the shortage of funds, policy barriers, the lack of technical conditions, and the environment (Bennett, 1993). At that time no one could guarantee the market benefit, but the aspects of sign making, designing, and releasing all the important music of the recording industry have all been influential on shaping various elements of Chinese culture through their influence on Chinese youth. There is no doubt that, because of the money and the advantage of experience, in European rock music, foreign investments’ biggest contribution for Chinese rock, and no subtle influence on the ideas shaping American rock music (Bennett, 1993). The highest achievement of Chinese rock musicians all received generous inspiration from foreign influences; although no one knows they will be the rock heroes they become while they are developing their talents. These foreign companies cherish this new music talent and the value of the work, give them equipment, living expenses, material support, and created a superior development environment for them (Wong, 2006). In other respects, China’s rock music has many problems, a major one being that the people didn’t really understand rock music and in China, many people use the words to talk about rock music, but rock music is considered an art beyond mere words (Chen, Clark, Gottschang, & Jeffery, 2001).

Although China had free speech, under the influence of anthropophagi for thousands of years, due to cultural differences preventing an understanding of song styles in the East, there was a lack of rock and roll spirit, and most people in China were not allowed to sing rock and roll music (Wong, 2006). Over the next several years, Chinese music began to infiltrate record shops, and this would not have been possible without foreign infusion into the birth of Chinese rock and roll. It has been about 88 years since rock and roll first entered the music business overseas Beijing, foreign investment and contribution to China’s development of rock in the early days and thereafter has inspired tremendous support from the people (Artan, 2011). Despite all the political hindrances due to the communistic government and their disapproval of the influences of rock and roll music, idealistic followers have still managed to acquire rock music illegally and the phenomenon continued to grow in China (Kajzer, & Lotring, 2009). Their contribution has affected every aspect of Chinese rock in this decade and inspired the most influential rock musicians to the highest achievements in Chinese rock and roll, from the old Black Panther of the Tang dynasty to the Dou Wei Cui Zhang Chu Yong Jun Zheng (Bennett, 1993; Steen, 2000).

Almost without exception, all these rock and rollers have received generous support and assistance from foreign influences, although not all of them are considered to fulfill the height of today’s rock and roll hero roles and tend to be considered amongst the dregs of society with no chance of life development (Artan, 2011). They also are perceived as the bad guys in the community. The value of these foreign companies produce brands of rock and roll music that paints a picture of outstanding energy, making the advantages of excellence a part of the artist. When the Tang dynasty then signed a contract with magic stone, there are only two more complete works, which is rarely in the history of Chinese and foreign record labels, that include the rock records that identify the courage really reminiscent of stirring in the martial arts novel (Chen, Clark, Gottschang, & Jeffery, 2001). Foreign investment in the development process of the modern Chinese recording industry acted enlightenment for the construct of Chinese rock and roll.

Through the introduction of MIDI and DAT formats to early Beijing rock and roll, many bands were introduced to electronic music and sampling (Liu, 2010). Among the most noteworthy is the magic stone records, which they put a lot of effort into over a period of ten years, the recording industry in the Mainland has set up nobody’s high standards. The pursuit of rock and roll music has produced great musical works of great design and creative cooperation. Regardless of the singer’s personality, those individuals color and create wonderful record. The excellent production quality of China’s rock musicians has had a great influence on the development of Chinese rock.

This credits the largest producers in China, Jia Minshu, Zhang Peiren, for helping the Chinese to shed over 91 years of the Tang dynasty regulations through recording rock music (Chen, Clark, Gottschang, & Jeffery, 2001). Despite a tumultuous beginning, including bands whose works could not align, most of this group of people at that time had not seen a recording studio, playing experience in theory are not enough recording levels. Using amazing attributes of patience and perseverance, accompanied with technology and devices, difficulties of inspiration and creativity were overcome in the most impossible of situation. There is no doubt that owing to financial and experience advantage, over a long period of time, had been overseas peer-led to the improvement of Chinese rock. Now RTHK has not only produced power from Japan, and Korea, even British and American funds and producers have become objects of Chinese rock and cooperation (Chen, Clark, Gottschang, & Jeffery, 2001).

Zhang Ya Dong and United Kingdom companies signed a personal album by Pet Shop Boys producer, which is standard in recent years of Chinese rock and gradually to the world line of a welcome signal (Steen, 2000). But the biggest contribution of foreign investment to China’s rock and roll industries is invisible and built on the beliefs, ideas, and subtle inspiration (Liu, 2010). Chinese rock and roll also has had a fight in underground music circles attempting to adhere to the belief of controlled youth and traditional music styles. A large number of outstanding musical works have found their way from the rehearsal room into the record stores, onto radios, and allowed more people hear, like, and come to understand what rock and roll is all about. The Chinese rock band and rockers may appear as monster in the eyes of traditionalists, but in the eyes of most Chinese, rock music and pop music is most vivid in the Mainland and has one of the liveliest commercial values because of the significant influence it has over the whole world and not just the Chinese (Wong, 2006). Although in mainland China, the emergence of rock and roll singers in Hong Kong and Taiwan accounted for over half of the market, pop in contrast has a weak musical hold on Chinese youth (Artan, 2011). From quality to maturity to the packaging, rock and roll is hard to compete with and Taiwan music and Taiwan singers are forced to scramble for whatever portions of the market share they can get (Chen, Clark, Gottschang, & Jeffery, 2001). While some forms of rock have been slow to develop, other rock bands of the early investors are seeing huge potential of the mainland market working on it, and rock and roll also did give them huge returns. Many years of records from the Mainland, top ranking in total sales of almost all rock band, rock is naturally subject to shock, but is this at the worst of the depression, the market, rock and roll records also were better than pop music (Kajzer, & Lotring, 2009). Then Chinese rock music is early input and publicity spent too large, results some records although sales good, is made does not get too much money.

The mainland music industry regulations do not sound records company face by check band of suddenly dissolved often helpless. This makes many companies both love and hate rock music, in overall depression of market status Xia more can’t easily lay. Some minds are shrewd businessmen began to think local music; they quickly found a way to completely overcome the two major challenges -a new band of rock plates. Over the years a variety of rock records became popular, which caused new bands to be very low of paid for their works. In addition, without publicity, there is a no longer in the future to manage, which created a desire to resolve contract disputes. Rock circles in Beijing, like Castle Peak and the band, can form a one-time cooperation, starting a large number of associations specifically designed for recording a song the band set up (Chen, Clark, Gottschang, & Jeffery, 2001; Steen, 2000).

Such alliances ensure almost no music waste out of dozens of varieties in several years, and because of the surprisingly low cost, make money. Unfortunately, this also destroys the music industry because many of these lead to piracy and illegal distribution of music. This is often the only way many Chinese gain access to rock and roll music, as most of the varieties were not easily available to Chinese youth. In recent years the production of low-cost ways to become the mainstream of rock music of the Mainland, in the 98 years and fortunately punk boom, glorified as low cost Lo-Fi, has become a symbol of avant-garde fashion (Liu, 2010). Many record companies started to fish a lot making Punk music, and production costs are often very low, with a combined production of 10 million, Yuan RMB, a Beijing company collection of the four bands of the silly army Punk double album production costs even lower, only 5 million (Chen, Clark, Gottschang, & Jeffery, 2001).

Conclusion

The metal style created inspires an emotional interpretation that is a reflection of the social environment and rock music, as represented by the Beatles and other popular, respected rock and roll musicians of the 20th century, deeply impacting the whole cultural and political development process. Chinese laws enforce very strict censorship, infringing on those whose lyrics demonstrate too many freely expressed thoughts, or simply are too racy to be printed on the song page, as is done on underground music pages. No band is the exception in regards to Chinese law. Of course, these new expressions of the band were asked to modify already established songs that are not political, are mostly of dirty words, and related terms. But after all, progress, songs still now generally involves only the lyrics for the music publication review, and artists have full freedom in the form of music.

References

Artan, Z.S. (2011, March). China with a cut: Globalisation, urban youth and popular music. Contemporary Sociology, 40(2), 245. Retrieved from Research Library.

Bennett, T . (1993). Rock and popular music : Politics, policies, institutions. Florence, KY, USA . Routledge ,. E-book .

Chen, N.N., Clark, C.D., Gottschang, S.Z. & Jeffery, L. (Eds.). (2001). China urban ethnographies of contemporary culture. Durham & London: Duke University Press.

Kajzer, J. & Lotring, R. (2009). Full metal Jackie certified. Boston, MA, USA . Course Technology. E-book.

Liu, J. (2010). The tough reality of copyright piracy: A case study of the music industry in China. Cardozo Arts & Entertainment, 27, 621-661.

Steen, A. (2000, October). Sound, protest and business: Modern Sky Co. and the new ideology of Chinese rock. Berliner China-Hefte, 19, 40-64.

Wong, C.P. (2006, Summer). China’s new voices: Popular music, ethnicity, gender, and politics, 1978-1997. Asian Music, 37(2), 147-181. Retrieved from Research Library.