Culture is one of the hot topics that both academia and business circles are thinking about at present, and it is becoming a sunrise industry. The humanistic rock concerned in this paper also has historical relevance and significance. It involves many aspects, such as history and reality, Chinese and foreign, classical and modern, global and local, "Chun Xue" and "Xialiba people", which has repeatedly triggered various unprovoked discussions or explorations.
These discussions are beneficial to the development of China's music culture, but there is a gap that needs to be filled: at present, there are various cultural and artistic levels in China. Within a specific culture, there are always several different cultural and artistic levels, which are combined into a whole that is opposite to each other and mutually * * *.
As an important part of China's music, how to be independent and carry forward the humanistic rock spirit of music in today's integration of art and commerce. As far as the basic composition of China's music culture is concerned,
What are the factors in our music culture? What is the relationship between them? The question of who is the leader or leader of this theme is raised.
I don't intend to talk about the historical aspects of the development of music culture in general, but to analyze it from the perspective of music culture of China humanistic rock music, that is, to provide an imaginary framework and a review theory for promoting the development of music and cultural industries through the music culture of humanistic rock.
Because humanistic rock is the most expressive, imaginative and humanistic cultural form in the cultural industry, it can undertake the task of infiltrating the cultural industry and lead the cultural industry in China to take an inestimable step and turn a new page in the future.
Looking at the development of pop music, there is a sadness that it is nowhere to be popular. Let's take a look at the current situation of Chinese rock music, but now rock music (in fact, many things) has gone bad, and there may be the same sadness and mystery of exploration that may never be solved.
In the past 20 years, apart from some famous overseas singers who occasionally caused sensation and popularity, how many people went to listen to the live performances of mainland singers? How many people are interested in holding such a concert? Musician Paula Tsui said in an interview a few days ago: "Last year, the national live performance income was only about 654.38 billion yuan.
This shows that China pop music has become a cripple who only walks on one leg of the record company? . ""I'm standing on the earth, and the sun is above my head. I pretend that I am the only one in the world. I close my eyes and cling to the wall. I pretend I don't have a long head on my shoulders. I don't want to leave. I don't want to exist I don't want to live too real. I want to leave. I want to exist. I want to start all over again after I die? This is the lyrics of Cui Jian's new song "Start Over".
However, how can China pop music start all over again before it comes out of its initial failure, singer's depression and shrinking market? ? Rock is a special cultural symbol in China.
The uniqueness of rock and roll lies in its own expansion and puffiness. It always exists in this world with a dazzling but merciful attitude. This kind of music cultural form, which has been blown to the skies, far exceeds its own content and connotation. Cui Jian once said, this is also the meaning: "Rock and roll is mainly a form of entertainment, and its social function is imposed by others." ?
Chinese rock started in the early 1980s, and now, it has experienced a process from heat wave to trough, and finally returned to calm. The uniqueness of these rock artists' artistic attitude and spiritual position runs through their lives. In a sense, the artistic value and spiritual value contained in this uniqueness are enough to rise to a cultural and artistic height.
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