The narrow definition is to leave a memory and a memorial for youth. Because everyone has had a campus life, this is also the original intention of creating campus folk songs.
65438+70s: Classical songs of campus folk songs: orchids, nostalgia, returning to Shacheng, visiting spring, temple fairs, scenery in the rain and olive trees.
Representatives: Shi Xiaorong, Wang Menglin, Chyi Yu and Steven Liu.
In 1970s, campus songs entered a brand-new period. Due to political and social reasons, it first sprouted quietly in Taiwan Province Province, the southernmost island in China. At this time, it has a more popular nickname-campus folk songs.
The meaning of "folk songs" has been generalized here. Traditional Taiwan Province folk songs should belong to local aborigines. Of course, the folk songs brought to Taiwan Province by the ancestors along the southeast coast of the mainland are also important. It is these factors that gave birth to the once widely circulated pure and simple local ballads such as Missing and Gao Shanqing. Although familiar names such as Liu Xuean, He Lvting and Chen Dieyi are very old to us now, ballads such as Autumn Water and Shangri-La are still full of youthful vitality and memorable.
Folk local culture: it is urgent.
There are still some twists and turns when folk songs turn to campus. As we all know, the special environment of Taiwan Province Province was originally occupied by the Japanese. Influenced by Japanese culture, its singing style of crooning and shallow singing has a certain relationship with Japanese popularity. Secondly, because of the deep protection of the United States, American culture is deeply imprinted. In addition, The Dream of Ten Miles in Shanghai can be said to be full of mud and sand, with different levels and complicated music collocation.
This European and American music craze reached its climax-the phenomenon of worshipping foreign things and obsessing foreign things and the prevalence of popular decadent music-and a rebellious result was produced: the idea of emphasizing self-expression was deeply rooted in people's hearts and directly promoted the birth of campus folk songs.
After all, the awakening of local culture has reached an urgent point.
1On June 6th, 975, Yang Xian and Hu Defu held the "China Modern Folk Night" concert at the Sun Yat-sen Memorial Hall in Taipei, which became a landmark event at the beginning of the campus folk movement. The nine songs released in this concert were included in Yang Xian's first album "Modern Folk Songs in China" published in the same year, which also marked the official beginning of the folk song movement and folk song era.
1976 12.3, Li Shuangze, a young painter who returned to Taiwan, asked the audience loudly at the western folk song concert held by Tamkang University, "Why do you sing all western works?" What about our own works? " He threw a coke bottle at the audience and shouted angrily "Sing your own song". The college students in the audience immediately shouted, and the voice of approval became one. This is the famous Tamkang incident in the history of campus folk songs. On behalf of all young people who love music and have a strong sense of social responsibility, Li Shuangze shouted the strongest voice in the history of pop music in Taiwan Province Province.
The change of music first began on campus. In this sense, it is the songs on campus that promote the development of Taiwanese music. At the beginning of the movement, the works were first borrowed from celebrities: there were masters Hu Shi and Xu Zhimo in the history of new literature, as well as famous artists Yu Guangzhong and Zheng Chouyu at that time. Musically, they broke the restrictions of old Shanghai and traditional Taiwan Province folk songs, highlighted the simple and catchy style of their works, borrowed a lot of western musical instruments, created a brand-new Taiwanese folk song form and sang their own songs. It started to be elegant for a while.
The lyrics of this "Orchid Flower" originated from Hu Shi's poem "Hope". This poem, which had spread to Peking University in its early years, drifted to Taiwan Province Province with Mr. Hu Shi's twilight years. Its simple tone, emphasizing little girls, is more childlike and fresh and poetic.
A gentleman loves to associate with orchids, and it is difficult for people who don't know to associate them with men. Mr. Hu's faint childlike feelings reveal a deep homesickness between the lines.
That's why it's not too creamy to listen to Steven Liu sing "I come from a mountain with orchids", because you can feel his sincerity.
Yu Guangzhong, a poet in Taiwan Province, is another literary master in the folk song movement after Hu Shi. From 65438 to 0974, Yu Guangzhong was hired as a professor of Chinese Department by the Chinese University of Hong Kong. The ten years in Hong Kong can be said to be the most stable, comfortable and enjoyable days in his life. This is also an important period for Yu Guangzhong's prose to make new progress. He writes poetry with his right hand and prose with his left.
"Homesickness" Yu Guangzhong's Ci "Yang Xian Qu"
"When I was a child/homesickness was a small stamp/I was here/my mother was there/when I grew up/homesickness was a narrow boat ticket/I was here/my bride was there/later/homesickness was a short grave/I was outside/my mother was inside/now/homesickness is a shallow strait/I am here/the mainland is there"-Homesickness
Yu Guangzhong said: My homesickness is not the association of my hometown, nor is it the relationship between a province, a county or a village. Because homesickness can be sublimated or summarized as the emotional sustenance of the whole nation. So in this way, homesickness is not completely pinned on a certain geographical point, it is not only geographical, but also historical, which can be said to be historical homesickness and cultural homesickness. If homesickness has only pure distance and no vicissitudes, it is thin.
This "Homesickness" written on 1972 has spread all over the country. Homesickness is a homesick song of Taiwan Province compatriots and the people of China. Later, Taiwan Province singer Yang Xian wrote eight poems for Yu Guangzhong, such as Nostalgia, Four Rhymes of Nostalgia and Folk Songs, which became the source of popular songs on campus and were widely loved by Chinese mainland compatriots. During his visit to the United States, Yu Guangzhong admitted that his poems were influenced by the popular rock music at that time, and he paid more attention to rhythm, so it was easy for composers to set music.
1970s: The Golden Rhyme Award for Campus Folk Songs came into being.
Later, Taiwan Province singer Yang Xian wrote and sang Yu Guangzhong's eight poems, including Nostalgia, Four Rhymes of Nostalgia and Folk Songs, which became the source of popular campus songs and was also loved by Chinese mainland compatriots. During his visit to the United States, Yu Guangzhong admitted that his poems were influenced by the popular rock music at that time, and he paid more attention to rhythm, so it was easy for composers to take a fancy to composing music.
Many students have devoted themselves to the creation of folk songs, so they applied for the Golden Rhyme Award. From 1976, Taiwan Province Xinge Record Company held the "Golden Rhyme Award" folk competition for four consecutive years, which really turned folk songs to campus singing until they became popular. At that time, the Golden Rhyme Award stipulated that only "teenagers above high school" could participate, and all the entries required originality and advocated pure and simple style, which really made folk songs widely sung and spread in depth on campus. Relying on the campus in turn makes folk songs popular, and at the same time, a large number of talented campus singers stand out and join the team of folk songs creation. Therefore, although most of the songs are rural folk songs, people call them Taiwan Province campus songs. Young people in twos and threes on the grass played and sang softly with guitars, which became a major feature of campus life in Taiwan Province Province in the late 1970s.
In the heyday of folk songs, many works were very popular, and I believe many people are still familiar with them, such as Shi Xiaorong's Return to Shacheng to Visit Spring, Temple Fair in Wang Menglin, Scenery in Rain, Olive Tree in Chyi Yu and so on.
After entering the 1970s, campus folk songs became such a musical phenomenon: firstly, they were sung by campus singers with persistent pursuit of music, which made them popular in colleges and universities in Chinese mainland, and then they quickly became popular in the whole society because of a successful commercial operation, and had a great response. Campus folk songs record the cultural atmosphere of an era, a school, the dreams and pursuits of a generation of students, and the nostalgia for fleeting youth.
The music of the 1970s is a simple folk style, which is very similar to American pop music and early disco. Its content is characterized by "being close to life".
In this period of Chinese mainland, due to the special historical period, only children's campus songs are unique.
Liang Maochun, doctoral supervisor of the Central Conservatory of Music, said: "Children's songs during the Cultural Revolution experienced an abnormal development, that is, they were politicized as a whole, and children's songs were also high, fast, loud and shouting to express a special emotion. But some composers have written some good children's songs under such conditions. For example, the song "I love Tiananmen Square in Beijing" is also a tribute to the leaders and producers of * * *, but the image is lively and can reflect the characteristics of children. This is probably the most representative nursery rhyme during the Cultural Revolution. "