流行歌曲歌词修辞手法的相关研究及理论基础
1.1.1流行歌曲的界定
Scholars around the world have varying perspectives on what constitutes a pop song, with notable differences between Western and Eastern interpretations Researchers in Europe and America have developed their own definitions and criteria for identifying pop music.
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 mainstream music that is widely sung and enjoyed As it travels through different cultures, the term takes on various meanings: in Germany, it is known as "schlager"; in France, it is referred to as "chanson populaire"; and in Italy, it is called "canzone," encompassing modern popular music This evolution highlights how traditional societies adapt and reinterpret music within their cultural contexts.
In the absence of modern mass media that compresses time and space, the world exhibits a low degree of homogenization, leading to pronounced cultural differences As a result, "mass culture" inevitably contrasts with "folk culture."
Antonio Gramsci identified three types of popular songs: those created by the masses for the masses, those written for the masses but not by them, and those neither written by nor for the masses but accepted by the public because they express popular thoughts and feelings This classification highlights the complexity of popular music and helps clarify the distinctions between folk culture and popular culture, as well as between popular and mainstream music.
Theodor Adorno, a key figure in the critical theory movement, critiques popular music from a cultural perspective, asserting that it represents "mass culture" and is a product of the culture industry He argues that popular music is characterized by standardization and mass production, with features such as interchangeability and false individuality, serving as a tool for cultural manipulation by the elite Adorno posits that popular music emerges as a counterpoint to Western classical music; however, he believes that traditional Western musicology is inadequate for studying popular music.
中越当代流行歌曲歌词中的修辞手法对比研究
Criticism of popular music primarily remains within the realm of Marxist ideological critique In contrast to Adorno, Benjamin's perspective on popular music is notably more open and fair; although he did not comment directly on it, his work "The Work of Art in the Age of Mechanical Reproduction" clearly reflects his cultural attitudes In recent years, while Adorno's ideas have faced increasing scrutiny, his pioneering contributions and insights 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 engage with and understand the complexities of popular music, emphasizing its cultural significance and the diverse meanings it holds for listeners.
The "mass" label contrasts with terms like "popular" and "folk," highlighting pop music as a pervasive form of contemporary mass music culture The emphasis lies 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, indicating a shift in research perspectives and paradigms.
Bruno Nettle defines pop music in a flexible and dynamic manner, emphasizing that it originates from urban environments and is aimed at urban audiences He highlights that pop music is performed by professional musicians who may lack formal education, maintains stylistic connections to folk music with a lower degree of refinement, and is primarily disseminated through mass media such as radio and records Nettle also notes the difficulty in clearly distinguishing between classical, folk, and pop music in Western contexts Building on Nettle's framework, Manuel proposes that by refining these aspects, a definition of pop music can be applicable to both Western and non-Western contexts He adds additional criteria for defining pop music, including secular entertainment, production and consumption mechanisms, celebrity culture, and rapid innovation, asserting that these elements are relevant regardless of cultural context.
中越当代流行歌曲歌词中的修辞手法对比研究
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 nature of music but also its existence as a valuable cultural model with significant social implications.
It is essential to acknowledge that the foreign influences on pop songs do not diminish their unique cultural characteristics Understanding these songs requires a perspective that goes beyond external viewpoints Mainland pop music calls for new theories and interpretive 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
The term "时代曲" refers to a specific category of popular songs that carry distinct historical significance, characterized by their overly sentimental and frivolous nature, often deemed unhealthy and vulgar, including what is traditionally labeled as "yellow songs." Culturally, these songs represent a commodified form of music stemming from capitalist production, with an overall negative inclination Critics of popular music adopt a resolutely dismissive stance, viewing songs, music, and art as reflections of noble human nature and carriers of mainstream cultural values This narrow perspective, which judges popular music against traditional standards, fosters deep-seated biases by applying outdated aesthetic criteria to evolving cultural phenomena, ultimately undermining the entertainment value of art Such definitions highlight a cultural shock and moral panic in the face of new cultural paradigms.
British cultural theorist Stuart Hall emphasized that all cultural production is merely a representation of the world, involving the manipulation and operation of symbols and discourse He noted that for any given state of affairs, there are multiple representational options available Within this discourse space, the way a cultural practice is represented generates specific cultural values and meanings Popular songs serve as a cultural representation of their respective eras.
中越当代流行歌曲歌词中的修辞手法对比研究
Popular songs reflect the cultural atmosphere and spirit of their specific eras, making them a quintessential form of contemporary music culture characterized by "fact selection and emotional acceptance." It is inappropriate to judge them by past standards While no culture is perfect and periods of rapid expansion often lead to a mix of quality, the prevalence of popular music is not an isolated or meaningless cultural phenomenon The dramatic changes in Chinese society during the 1930s and 1980s are prominently mirrored in popular songs Therefore, discussing the artistic value of popular music without considering its historical context is at least unfair.
流行歌曲即现代通俗歌曲。如前所述，为了缓解争论各方的矛盾，