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Beyond band

2019-05-31 来源: 51due教员组 类别: Essay范文

下面为大家整理一篇优秀的essay代写范文- Beyond band,供大家参考学习,这篇论文讨论了Beyond乐队。Beyond是香港的一个音乐团体,是中国摇滚音乐史上最重要的乐队之一。当人们谈论中国摇滚乐时,大多数人可能会提到崔健,他是中国第一个具有影响力的摇滚音乐家。然而,中国大陆的摇滚音乐非常有限,至少在它发展的初期是如此。而Beyond乐队的歌曲的真实性和所传达的信息,为让中国人了解和热爱摇滚乐做出了最大的贡献,推动了中国摇滚乐的发展。

Beyond,Beyond乐队,essay代写,作业代写,代写

Unlike many other countries, the development of rock music was not easy in China since it was painted with a dominant political color. Due to this political factor, Chinese rock music has been developing underground since it first rooted in China. Beyond, a Hong Kong musical group, was one of the most significant bands in the history of Chinese rock music. When people talk about Chinese rock music, most people may mention about Cui Jian, who was the first popular idol and rock musician of large-scale influence in China. In my opinion, however, rock music in the mainland China was extremely limited, at least in the beginning of its development. It was a band from Hong Kong named Beyond, that made the greatest contributions in letting the Chinese people know about and love rock music, thanks to the authenticity of their songs and the messages they conveyed, pushing the progress of rock music in China.

Since rock music embodies the characteristics of individualism, freedom, and criticism of authority, it should be forbidden in a communist country where the government tightly controls everything and does not allow any judgment about the issue. Although rock music suffered resistance in China, it was not completely ban in the country because of new policies of socialism was being implemented by China’s communist party. When the “Open Door” policy was first announced by Deng Xiaoping in 1978, the conflict between traditional Chinese culture and western culture became unavoidable, and effort to ban something so popular as rock music was practically impossible. The “Open Door” in the older generations referred to the official policy of intercultural contact, limited to a tightly controlled selection of technology and trade. However, in the younger generation, it adopted the same word “opening”, which means to accept a broader range of foreign cultures which threatened official orthodoxy by embracing new patterns of life from other countries (Hao Huang 3).

Kindles of rock music was brought into China and first heard by the pioneers of Chinese rock music, which quickly developed into a wild fire and an entirely new music genre nurtured by the unique communist soil (Wong 1). As a result, rock music survived miraculously in China.  The growth of Chinese rock music is regarded as a symbolic struggle in the political arena of China. Since the mid-1980s, it played an important role of resistance against and escape from the Chinese political system. Chinese radical students used rock music to express their frustration with the severely limited life choices in the Communist Party controlled state (Hao Huang 1). Therefore, rock music had not been integrated into the mainstream culture of China until decades after it entered the country. Instead, it has been slowly developing underground with little commercial value since the 1980s.

Meanwhile, a rock band, Beyond, was formed by five young men in Hong Kong in 1983. In the early years, the band’s musical style was still experimental, as they imitated a lot of Western rock music styles, such as punk, psychedelic, and heavy mental. Thus, pure rock music is presented in their first three albums, <Goodbye My Ideals>, <Forever Waiting>, and <Arabian Dancing Girl>. The song “Goodbye My Ideals” is the most representative one during that period. A long-time electric guitar solo is applied in the beginning and the instrument break section of the song. The language used is Cantonese, but the lyrics, on the one hand, express the distinction between the ideal and reality since rock music suffered strong resistance, desolate and helpless; on the other hand, lyrics also express that they will not give up playing rock music no matter how cruel the reality is. The repeating lyrics, “Let’s shouting rock and roll together”, at the end of song show the spirit of unyielding in the band. Beyond’s instruments in “Goodbye My Ideals” include electric guitar, drum set, and acoustic guitar. The rhythm of the song is duple meter with slow tempo.

Although their popularity increased a little in public thanks to these songs, people still couldn’t accept the roaring sounds in rock music and their avant-garde image was often criticized by the mainstream. In order to let the people embrace rock music and increase their popularity, Beyond decided to commercialize and seek a balance between rock music and commercial value. Therefore, in their later albums, there are always two or three songs that fused Cantopop element with pure rock, making them appear less “aggressive”. The rest of songs in each album are B-Side conducted, making their rock music more acceptable by a wider range of audience. The album <Secret Police> published in 1988 can be seen Beyond’s turning point. Their commercialized songs successfully drew people’s attention. “Da Di” (Land), a song between rock music and Hong Kong pop music, is the first nationalist song they created and the most famous song in this album. It was created when they knew that the Taiwanese government for the first time allowed veterans of the Chinese civil war to go back to mainland China and visit their families since Chiang Kai-shek, who was the leader of Chinese capitalist party, had lost the Chinese civil war to the communist party led by Mao Zedong and retreated to Taiwan. The language of the song is Cantonese, and the lyrics are nationalism with the hope that Taiwan would soon return to and unify with China. The instruments used in “Da Di” include electric piano, drum set, and guitar, playing in duple meter.

Since then, more and more people began knowing about Beyond and their songs. Rock music was for the first time accepted by the majority of Chinese people as a new form that fused Cantopop elements (Chu and Leung 66). In Beyond’s success, authenticity of their songs played a major role. In the aspect of authenticity of primality, all the songs were original ones composed by themselves.  In the early phases of development, many artists chose to mimic the existing works of successful artists, sometimes awkwardly so. However, this mimicking phase for Beyond was amazingly undetected, and high quality original productions flew almost effortlessly in the prime years of the band. Although Beyond was formed in the golden era of Hong Kong showbiz in the late 1980s to the 1990s, when a lot of singers simply reworked foreign pop songs and covered with Chinese lyrics (Global Times), the band never quit their pursuit for originality and songs that truly surpassed their times. In the aspect of authenticity of positionality, rock music is what Beyond always pursuits. While their songs are commercialized, rock music was still used as fundamental element. In the aspect of authenticity of emotionality, most of their songs express their feelings and ideas about what they saw in the society, in plain, honest but powerful language that echoed with the majority of an entire young Chinese generation.

In conclusion, rock music in China suffered from years of segregation and marginalization by both the state and the market, when it first entered the country. The political soil of China back then was not contributive to the development of rock music in the early years. The voice of the majority was still suppressed by the political atmosphere. In addition, the Chinese people did not appreciate some of the representative elements of rock music at all, which to them were no different from noise. Beyond was the first band in China that mitigated the aggressiveness in pure rock with Cantopop, creating a distinctive rock genre to the taste of the Chinese audience. Their style has had profound influences on generations of Chinese rock musicians. The strategy of commercialization and mitigation successfully brought rock music into the mainstream. More importantly, Beyond represented the previously unheard voice of the Chinese younger generation in a politically tense era. The combination of originality, expressionism and nationalism has made Beyond one of the greatest bands in the history of Chinese rock music.

Works Cited

Chu, Yiu-Wai, and Leung, Eve. "Remapping Hong Kong Popular Music: Covers, Localisation and the Waning Hybridity of Cantopop." Popular Music, vol. 32, no. 1, 2013, pp. 65.

Wong, Yan C. C. Exploring the Spaces for a Voice: The Noises of Rock Music in China (1985–2004), ProQuest Dissertations Publishing, 2006.

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