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Zusammenfassung
Schaut man auf die Geschichte der Populärmusik Asiens im 20. Jahrhundert zurück, kann man kaum eine komplexere Gestalt als die Sängerin Deng Lijun (Teresa Teng) finden. Im Folgenden wird erforscht, wie ihre Musik zum großen soziokulturellen Umbruch beitrug. Der Beitrag folgt dabei drei Hauptlinien in der Analyse: Zuerst wird die spezifische Rezeption der chinesischen Musikfans innerhalb der jeweiligen sozialen Kontexte und der historischen Hintergründe untersucht. Zweitens wird gefragt, welche Rolle ihre Musik im Aufbau der Pop-Musik-Industrie nach der Kulturrevolution spielte. Und abschließend wird untersucht, wie Deng Lijuns ,dekadente Musik chinesische Studenten in der demokratischen Bewegung der 1980er Jahre beeinflusste und wie sie dabei zu einer treibenden Kraft für die Jugend in China wurde.
China's Mass Culture Scene during the Cold War Period
In the Cold War period, the Kuomintang of China (KMT) and the Communist Party of China (CPC) contested with each other in areas ranging from the economy and the military to cultural and political ideology. The CPC's policy on mass music mainly followed the proposition of the left-wing politicians and intellectuals. Jones stated that the Chinese popular music scene of the 1940s had mainly two trends: 1 the first trend was 'yellow songs', propagated by composer Li Jinhui.2 In terms of musical style, this music was influenced by Western jazz, with lyrics narrating feelings and emotions. Some representative songs of this genre were Love You, My Sister (Mei mei wo ai ni, 1929), Fast Express (Te bie kuai che, 1931), and When Will You Return (He ri jun zai lai, 1937). Music was not just limited to concerts and became popular culture enjoyed and consumed by the audience. Contrary to this first trend, which went against official political party ideology, the second trend was left-wing mass music which used the popularity of the phonograph as an important tool to drive the mass public. Music served primarily national political requirements, but had no commercial support and natural acceptance from mass audiences. Jones treated this music proposition as the concept of 'Phonographic Realism', a term which indicates that popular music played an important role as a tool to drive the mass public. In the 1940s, the CPC advocated that music should reflect the people's voice and act as a vehicle for reflecting...