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对于30岁以上的中国人来说,对当代日本流行音乐相对比较陌生的。他们对日本音乐的粗略认识,依然停留在《拉网小调》和《北国之春》的记忆中,歌者似乎永远是乘着酒兴击掌吟唱并把脑袋当节拍器使的那么一帮人。这种印象在佐田雅志访华演出后得以改善,那首朴实幽默的《男子汉宣言》以及抱着吉他自弹自唱的演绎方式令人眼界大开;再后来是电影《追捕》和《阿西门的街》的插曲盛行一时,而那个年代中国大陆的流行音乐还远远够不上通俗;但也恰恰从那时开始,随着港台与欧美流行音
For Chinese people over the age of 30, the contemporary Japanese pop music is relatively unfamiliar. Their rough knowledge of Japanese music remains in the memory of “net in the net” and “spring of the north”, and the singer seems to always be such a group of people who sing and clap their heads as metronomes. This impression was improved after Satya Ya-zi’s performance in China. The first straightforward and humorous Man’s Manifesto and the interpretation of guitars playing their own guitars widened their horizons. Later on were the films “Hunting” and “ Street ”episode prevailed for a while, and pop music in mainland China that era is far from popular; but it is precisely from that time, with RTHK and Europe and the United States pop