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中韩摇滚乐传入初期的比较研究

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영문명
A Comparative Study of the Early Introduction of Rock Music in China and South Korea
발행기관
YIXIN 출판사
저자명
Xing Xinyu
간행물 정보
『Journal of musicological studies』Vol.2 No.2, 66~73쪽, 전체 8쪽
주제분류
사회과학 > 교육학
파일형태
PDF
발행일자
2025.06.30
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국문 초록

This paper mainly studies the representative musicians of the early introduction of rock music in China and South Korea, namely Cui Jian and Shin Joong Hyun and their first albums, to analyze the early presentation of rock music in the two countries. Through literature investigation and music analysis, it elaborates on the birth of Western rock music and the origin of the term “rock music”. Then, it conducts historical analyses of the introduction methods in the two countries, finding that the emergence of rock music in China was an active acceptance, while in South Korea it was a passive acceptance. Among the early musicians, the most pioneering and milestone figures were Cui Jian and Shin Joong Hyun. By analyzing the representative music in their first albums, it is found that both integrated elements of their own national music into Western rock music to varying degrees. At the same time, the cultural roles and social significance brought by rock music after its introduction into China and South Korea also have different degrees of differences. This research fills the gap in the comparative study of the early stages of rock music in China and South Korea, providing a textual basis for the in-depth study of the localization of rock music in the two countries.

영문 초록

本文主要研究中韩两国摇滚乐传入初期的代表音乐人,崔健和申重铉(신중현)的第一张专辑,来分析摇滚乐在两国的早期呈现。通过文献调查和音乐本体分析,对西方摇滚乐的诞生方式和摇滚乐这一名词的起源进行阐述。再对两国的传入方式分别进行历史分析,发现中国摇滚乐的产生是主动的接受,韩国摇滚乐的产生是被动的接受。在最初的音乐人中最为先锋和具有里程碑意义的音乐人分别是崔健和申重铉。在分析其第一张专辑中代表音乐中发现,两者都在不同程度地将本国音乐元素融入西方摇滚乐中。同时摇滚乐在传入中韩两国后所担任的文化角色和带来的社会意义也有着不同程度的差异。此研究弥补了对中韩摇滚乐初期对比研究这一领域的空白,对两国摇滚乐本土化深化研究提供了文本基础。

목차

Ⅰ. 引言
Ⅱ. 摇滚乐的起源
Ⅲ. 中韩摇滚乐的传入
Ⅳ. 中韩摇滚乐传入初期的比较
Ⅴ. 结论
参考文献

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APA

Xing Xinyu. (2025).中韩摇滚乐传入初期的比较研究. Journal of musicological studies, 2 (2), 66-73

MLA

Xing Xinyu. "中韩摇滚乐传入初期的比较研究." Journal of musicological studies, 2.2(2025): 66-73

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