Welcome to Francis Academic Press

Academic Journal of Humanities & Social Sciences, 2022, 5(9); doi: 10.25236/AJHSS.2022.050910.

Youth Popular Music Subculture Formation and Development in China: an Impact Analysis

Author(s)

Li Jia

Corresponding Author:
Li Jia
Affiliation(s)

College of Music, Shanxi Normal University, Taiyuan, Shanxi, China

Abstract

It was the goal of this research to examine the influence of China's young renowned music subcultures. It also pointed up China's difficulties in integrating the subculture of young popular music into everyday life. To better understand subcultures and young culture, this study employed ethnography to get a comprehensive understanding of a cultural and social group. Popular music and its social significance are heavily influenced by young people, and this approach focuses on them. Homeostasis differs in terms of freedom and self-expression within the youthful popular music subculture. It is made up of a variety of significant indications, such as positive attitudes, social standards, slang, and hobbies. They are all quite well-structured and adapt well to the shifting social and cultural influences on Chinese youngsters.

Keywords

Youth popular music, Subculture, Youth subculture, Subculture formation

Cite This Paper

Li Jia. Youth Popular Music Subculture Formation and Development in China: an Impact Analysis. Academic Journal of Humanities & Social Sciences (2022) Vol. 5, Issue 9: 60-70. https://doi.org/10.25236/AJHSS.2022.050910.

References

[1] Bennett, A. (2012). Cultures of Youth popular music. Trans. Qu Chuangliang. p.15. Beijing: Beijing University Press. 

[2] Blackman, S. (2005). Youth subcultural theory: A critical engagement with the concept, its origins and politics, from the chicago school to postmodernism. Journal of Youth Studies, 8(1), 1-20.

[3] Brake, M. (1995). The Sociology of Youth Culture & Youth Subculture in America, Britain and London. London: Routledge & Kegan Paul.

[4] Cai, Y. (2006). State and Laid-off Workers in Reform China: The Silence and Collective Action of the Retrenched. Abingdon: Taylor & Francis.

[5] Chen, S. W. (2005). The rise and generic features of Shanghai popular songs in the 1930s and 1940s. Youth popular music, 24(1), 107–125.

[6] Chua, B. H. (2004). Conceptualizing an East Asian popular culture. Inter-Asia Cultural Studies, 5(2), 200–221.

[7] Chun, A., Rossiter, N., & Shoesmith, B. (Eds.). (2004). Refashioning pop music in Asia: cosmopolitan flows, political tempos, and aesthetic industries. London, U.K. and New York, NY: Routledge.

[8] Cockain, Alex. 2011. Young Chinese in Urban China. London: Routledge.

[9] Dai, J. (1999). Invisible Writing: Cultural Studies in China in the 1990s: 90. Jiangsu Peoples Press.

[10] De Kloet, J. (2005a). Sonic sturdiness: The globalization of “Chinese” rock and pop. Critical Studies in Media Communication. 22(4), 321-338. 

[11] De Kloet, J. (2005b). Youth popular music and youth in urban China: The Dakou generation. The China Quarterly, (183), 609-626. 

[12] De Kloet, J. (2010). China with a Cut: Globalisation, Urban Youth and Youth popular music. Amsterdam: Amsterdam University Press

[13] Denzin, K. and Lincoln, S. (1997) Strategies for Qualitative Inquiry, 2nd ed., London: Sage

[14] Ju, Xi. (1993). 20 Century’s Chinese Music. p.124 Qingdao: Qingdao Press. 

[15] Marx, K. (1956). “Critique of Hegel’s ‘Philosophy of Right’”, in The complete works of Marx and Engels, Vol.1.p.346 Beijing: People’s Publishing House

[16] Levikova, S. I. (2004). Youth Subculture. Moscow: Fair-Press

[17] Lincoln, S. (2012) Youth Culture and Private Space, Basingstoke: Palgrave.

[18] Maffesoli, Michel. 1996. The Time of the Tribes: The Decline of Individualism in Mass Society. London: Sage. 17, 139-145. Print.

[19] Mittler, Barbara. 2013. A Continuous Revolution: Making Sense of Cultural Revolution Culture Cambridge, MA: Harvard University Asia Center.

[20] Sweetman, P. (2012). “Tourist and Travelers? ‘Subcultures’, Reflexive Identities and Neo-Tribal Sociality”. Ed. Andy Bennett et al. After Subculture: Critical Studies in Contemporary Youth Culture. pp. 97-98. Beijing: China Youth Press.

[21] Tao, J. (2004). An Introduction to Identity. Foreign Literature. No.2 Zhang, J. (2006). “Identity: the social allocation and identification of civil rights”. Studies on Identity. Ed. Zhang Jing. Vol.4. pp.4-9. Shanghai: Shanghai People’s Publishing House

[22] Thrasher, A. R. (1981). The Sociology of Chinese Music: An Introduction. Asian Music, 12(2), 17–53. https://doi.org/10.2307/834055

[23] Wong, I. K. F. (1992). The music of China. In Nettl, B., Capwell, C., Bohlman, P. V., Wong, I. K.F., Turino, T. (Eds.), Excursions in world music (pp. 70–104). Englewood Cliffs, NJ: Prentice Hall.

[24] Zhang, X. (1999). “Cui Jian: the Great Bastard of Our Times”, Southern Metropolis Daily. Sep. 14th.

[25] Zhou, X. (2011). The Displacement of Critique: Gramsci and the Turn of Cultural Studies. p15. Beijing: China Social Sciences Press.

[26] Zou, H. L. (2005). Patriotic songs sing more individualist tune. China Daily News. Retrieved from http://www.chinadaily.com.cn/english/doc/2005-03/17/content_425967.htm