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Semiotics of Music: Analysis of Chinese Rock and Pop in the Post-Cultural Revolution Era |
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Abstract:
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This article provides a detailed semiotic analysis of popular music in China, particularly in the post-Cultural Revolution era. In considering the importance and the complexity of signification of Chinese rock and pop, I view pop music as a sign and describe its surrounding complex of symbolic values and activities. Also taken into consideration is the need of tools for the application of semiotic concepts in pop music analysis, as well as the need for understanding and differentiating areas and relevant points of view. One song in particular, “Nothing to My Name,” performed by Cui Jian – the father of Chinese pop music – at the Tiananmen Square in 1989 is analyzed. To this end, this article helps readers better understand pop music references to and interpretations of experiences caused by phenomena in the larger post-modernist and sociocultural set of reality of which pop music is an integral part. |
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music (198), pop (96), chines (92), semiot (86), rock (63), cultur (50), china (44), popular (41), p (38), sign (37), symbol (36), lyric (35), new (32), song (30), use (27), also (27), interpret (24), cui (23), instrument (22), jian (21), mean (21), |
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Association:
Name: International Communication Association
URL: http://www.icahdq.org
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Citation:
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MLA Citation:
| Matusitz, Jonathan. "Semiotics of Music: Analysis of Chinese Rock and Pop in the Post-Cultural Revolution Era" Paper presented at the annual meeting of the International Communication Association, New Orleans Sheraton, New Orleans, LA, May 27, 2004 <Not Available>. 2009-05-26 <http://www.allacademic.com/meta/p112486_index.html> |
APA Citation:
| Matusitz, J. A. , 2004-05-27 "Semiotics of Music: Analysis of Chinese Rock and Pop in the Post-Cultural Revolution Era" Paper presented at the annual meeting of the International Communication Association, New Orleans Sheraton, New Orleans, LA Online <.PDF>. 2009-05-26 from http://www.allacademic.com/meta/p112486_index.html |
Publication Type: Conference Paper/Unpublished Manuscript
Review Method: Peer Reviewed
Abstract: This article provides a detailed semiotic analysis of popular music in China, particularly in the post-Cultural Revolution era. In considering the importance and the complexity of signification of Chinese rock and pop, I view pop music as a sign and describe its surrounding complex of symbolic values and activities. Also taken into consideration is the need of tools for the application of semiotic concepts in pop music analysis, as well as the need for understanding and differentiating areas and relevant points of view. One song in particular, “Nothing to My Name,” performed by Cui Jian – the father of Chinese pop music – at the Tiananmen Square in 1989 is analyzed. To this end, this article helps readers better understand pop music references to and interpretations of experiences caused by phenomena in the larger post-modernist and sociocultural set of reality of which pop music is an integral part. |
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| Page count: |
30 |
| Word count: |
8334 |
| Text sample: |
| Semiotics of Chinese Rock and Pop 1 Semiotics of Music: Analysis of Chinese Rock and Pop in the Post-Cultural Revolution Era Abstract This article provides a detailed semiotic analysis of popular music in China particularly in the post-Cultural Revolution era. In considering the importance and the complexity of signification of Chinese rock and pop I view pop music as a sign and describe its surrounding complex of symbolic values and activities. Also taken into consideration is the need of |
| 7. East Asia: China Japan and Korea (pp. 87-93). New York NY: Routledge. Semiotics of Chinese Rock and Pop 30 Wong V. (1998). Live from Taiwan. Billboard 110(32) 1-3. Wu B. (2002). Archeology and history of musical instruments in China. In Robert C. Provine Josihiko Tokumaru and J. Lawrence Witzleben (Eds.). The Garland encyclopedia of world music Vol. 7. East Asia: China Japan and Korea (pp. 105-114). New York NY: Routledge. Yingshi C. (2002). Theory and notation in China. |
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The 1950's Cultural Revolution: Race, Music and the American Popular
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