{"id":3846,"date":"2023-07-07T21:25:26","date_gmt":"2023-07-07T13:25:26","guid":{"rendered":"http:\/\/yzzks.com\/index.php\/2023\/07\/07\/%e4%b8%ad%e5%9b%bd%e4%b8%8d%e7%bc%ba%e4%b9%8f%e4%bc%98%e7%a7%80%e6%ad%8c%e6%89%8b%ef%bc%8c%e7%bc%ba%e7%9a%84%e6%98%af%e4%bc%98%e7%a7%80%e7%9a%84%e5%8e%9f%e5%88%9b%e9%9f%b3%e4%b9%90\/"},"modified":"2024-03-15T10:26:33","modified_gmt":"2024-03-15T02:26:33","slug":"china-has-no-shortage-of-talented-singers-what-it-lacks-is-excellent-original-music","status":"publish","type":"post","link":"https:\/\/www.yzzks.com\/en\/fashion\/3846\/","title":{"rendered":"\"China doesn't lack good singers, what's missing is good original music!\""},"content":{"rendered":"

\n\tHuang He, a reporter for this magazine<\/span>\n<\/p>\n

\n\t\n<\/p>\n

\n\tWang Qian<\/span><\/strong>\n<\/p>\n

\n\tA renowned domestic talent agent and entertainment producer. A pioneer in China\u2019s original music and cultural industries, he is dedicated to building an innovative system for original campus music. He has long been involved in the cultural and economic sectors. He graduated from Shandong University of Finance and Economics with a degree in International Finance and completed postgraduate studies in cultural industries at Peking University. He currently serves as President of the Peking University Qingniao Music Group, Chairman of the Organizing Committee for the China College Student Music Festival, Founder of the Peking University Qingniao Youth Music Academy, and Executive Producer of the \u201cChina Music Series Charts.\u201d He has previously planned and produced the Hangai Music Festival, as well as concerts for artists such as Lao Lang, Shui Mu Nian Hua, Wang Feng, Xu Wei, and Zheng Jun.<\/span><\/strong>Large-scale concert.<\/span><\/strong>\n<\/p>\n

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\n\tMusic is the most common form of popular entertainment and artistic expression. As times have changed and the ways the public accesses music have evolved, the market share of traditional record releases has been steadily declining. This has disrupted a key revenue stream for musicians and record labels; however, in recent years, as copyright protection in the Chinese market has become increasingly robust, this trend has gradually improved. Musicians face a challenge that is \u201chalf sea, half fire.\u201d This is particularly true for original Chinese music. On this topic, Asia News Weekly interviewed Wang Qian, President of the Peking University Qingniao Music Group.<\/span>\n<\/p>\n

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\n\tReporter: Is copyright protection for original music still virtually nonexistent?<\/b><\/b>\n<\/p>\n

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\n\tWang Qian: The introduction of the \u201cMeasures for the Payment of Remuneration for the Broadcast of Recorded Works by Radio and Television Stations\u201d in 2010 offered a glimmer of hope to music creators. With the growing awareness of copyright among the market and the general public in recent years, I remain optimistic about the current music landscape. Although there are still many areas that need improvement\u2014and these issues cannot be completely resolved overnight\u2014they involve fostering legal awareness and refining relevant regulations. We\u2019ve seen many major investors acquiring music copyrights on a large scale over the past year or two, and suddenly, copyrights have become significantly more valuable. From what I understand, some partner platforms and major record labels generate annual copyright revenue of around 100 million yuan; before the relevant copyright laws were enacted, that figure might have been one zero less. Furthermore, companies like Kugou, Kuwo, Tencent Music, and Baidu have the financial resources to support paid copyright models. In a sense, the value of copyrights has increased, and the biggest beneficiaries are actually the musicians. Since they are the creators of the music and its content, their income has risen, their standard of living has improved, and they now have more energy to devote to creating new music. I believe that as laws and distribution terms become more reasonable and adhere to the principles of fairness, justice, and transparency, musicians\u2019 incomes will become more standardized and stable. China\u2019s music market is gradually improving its copyright protection system.<\/span>\n<\/p>\n

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\n\tReporter: How do you view and evaluate China\u2019s original music?<\/b><\/b>\n<\/p>\n

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\n\tWang Qian: Actually, this is a very broad topic, so I can only share my perspective based on the platform and environment where I work. First, I believe that original music is the true essence of music; it has the greatest longevity and vitality. That\u2019s why the Peking University Qingniao Music Group launched a major project called the \u201cChina College Student Music Festival,\u201d where all musical content must be original. Just as you mentioned earlier, as a music professional, I have both an obligation and a responsibility to encourage more young people to persevere in musical creation. After all, they are the future of Chinese music and the future of China\u2019s consumer market, so I do my best to tap into the source. Much of the music we first listened to was pop music from Hong Kong, Macau, and Taiwan, followed later by rock music, with the emergence of musicians from the Cui Jian era. They created many original songs back then\u2014perhaps drawing inspiration and motivation from their lives and work\u2014but why hasn\u2019t there been more original music since then?<\/span>\n<\/p>\n

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\n\tFirst, it\u2019s easier for musicians to generate commercial revenue by performing the song that first made them famous. Second, promoters expect\u2014or even require\u2014a singer to perform one of their hit songs. If a singer insists on performing new material, promoters are unlikely to book them. As a result, they end up compromising to meet market demands.<\/span>\n<\/p>\n

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\n\tReporter: The mainland music market has surpassed those of Hong Kong and Taiwan. What has driven this phenomenon?<\/b><\/b>\n<\/p>\n

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\n\tWang Qian: First of all, the consumer markets in Hong Kong and Taiwan, along with the income levels of musicians there, provide better support for their creative work. Musicians, producers, and songwriters from Hong Kong and Taiwan have almost all established careers on the mainland, and in the early days, they helped many mainland musicians. This phenomenon clearly demonstrates that the mainland\u2019s music market has attracted artists from Hong Kong and Taiwan\u2014after all, the sheer size of the population and the open, information-driven development of the market provide effective support. However, alongside these developments, mainland musicians have gradually closed the gap with their counterparts in Hong Kong, Taiwan, and overseas in terms of musical proficiency. Many mainland musicians have received professional and systematic musical training, whether domestically or abroad. From the perspectives of creative origins, market prospects, and the evolution of the times, China\u2019s music market is booming.<\/span>\n<\/p>\n

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\n\tReporter: Do you think the distinction between original music with a local flavor and original music in the Hong Kong and Taiwan styles will become increasingly blurred in the future?<\/b><\/b>\n<\/p>\n

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\n\tWang Qian: When it comes to creating musical content, everyone\u2019s living environment is different, and original art stems from life. A few years ago, the creative environment and new trends overseas were still relatively ahead of the curve, including production standards. However, I agree with the point you just raised\u2014in the past, information was subject to barriers. Now, as our standard of living has improved\u2014and technology has fostered seamless connectivity across the globe\u2014there are no longer any barriers, whether between the Eastern or Western hemispheres. This is a significant step forward. Another issue is production standards. Whether mainland musicians are seeking collaborations overseas or inviting artists from Hong Kong and Taiwan to co-create, the quality is virtually on par. So, I believe that for now, there may still be some differences\u2014after all, our living environments are different. It\u2019s impossible to create a culture native to Beijing while living in Hong Kong. It would be very difficult to imagine an old Beijing resident strolling down the street carrying a birdcage in Hong Kong. On this issue, I believe production standards will become increasingly similar\u2014and may even catch up\u2014but the cultures will never be the same. After all, the overall lifestyle and cultural differences between these two cities and regions are quite significant, and I think this is quite evident.<\/span>\n<\/p>\n

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\n\tReporter: What are your thoughts on the music variety shows that are popping up like mushrooms after rain, and the various music festivals flooding cities both large and small?<\/b><\/b>\n<\/p>\n

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\n\tWang Qian: I\u2019m really eager to answer this question, and I\u2019d like to share my thoughts through our newspaper. I just finished a segment on Xinhua Net where I was asked the exact same question. I have mixed feelings about this issue. How can I put it? The abundance of talent shows\u2014whether singing competitions, reality TV, or programs featuring internet celebrities\u2014shows that more platforms are available to help people realize their dreams. However, today\u2019s audiences and consumers have increasingly high expectations, and many shows have only mediocre ratings. Furthermore, many reality shows are leading young people astray. In their quest for sensationalism and to create false narratives that distort reality, they cause some contestants to lose sight of who they are and misguide them in their life paths. Consequently, some young people fail to adapt to the realities of life and become fixated solely on their dreams of stardom.<\/span>\n<\/p>\n

\n\t <\/span>\n<\/p>\n

\n\tI think the music festivals you mentioned are truly springing up like mushrooms after rain. Nowadays, almost every city\u2014whether it\u2019s a first-, second-, third-, or fourth-tier city\u2014has its own so-called music festival. Most of these festivals are supported by government and corporate platforms, rather than being driven by the commercial market. Furthermore, the production quality varies widely,80%<\/span>The format and content of this music festival are almost identical\u2014there\u2019s no creativity whatsoever. As for music festivals, the Strawberry Music Festival and the Midi Music Festival have been around for nearly20<\/span>Years! Musicians like Shen Lihui are pioneers of music festivals; his own life journey has been like a roller coaster. I remember that in05<\/span>,06<\/span>Back then, his company was on the verge of going under. Fortunately, his wife supported him by putting their house up as collateral, which allowed him to keep it afloat. The entire process was very difficult, but he persevered in building and enriching his brand\u2019s content. Nowadays, people go to the Strawberry Music Festival and the Midi Music Festival not so much to see celebrities, but rather to enjoy the music scene and a different lifestyle.<\/span>\n<\/p>\n

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\n\tReporter: There are many outstanding singers in China, but there isn\u2019t much good original music. Does Peking University Qingniao have any plans to support original music?<\/b><\/b>\n<\/p>\n

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\n\tWang Qian: Today, I\u2019d especially like to talk more about this issue. The Peking University Qingniao Music Group is currently developing the \u201cChina College Student Music Festival,\u201d the largest original music project in the country, with a nationwide reach.20<\/span>cities,17<\/span>One mainland city plus Hong Kong and Macau. The university offers in-person classes.200<\/span>Other universities, online1000<\/span>The universities I attend. We have4<\/span>There are four components: the first is the \u201cChinese College Student Music Super League,\u201d the second is the \u201cYouth Music Academy,\u201d the third is the \u201cNational College Student Concert Tour,\u201d and the fourth is the \u201cAnnual College Student Music Gala.\u201d This competition format is designed to engage more college students who love music and have musical dreams. Furthermore, participants must enter the competition with original works. Apart from music colleges, most participating universities are part of the regular national college admissions system, which means their creative capacity is limited. To address this, we\u2019ve launched an online platform for original works, while our offline events feature a mix of cover songs and original compositions\u2014we encourage everyone to participate and enjoy the world of music. The second phase is called \u201cYouth Music Academy,\u201d which serves as an incubation hub for original music, selecting participants from across the country for offline events30<\/span>Qianghe Online30<\/span>These dozens of contestants will enter the \u201cYouth Music Academy\u201d for over a month of grueling training. Crucially, we focus on nurturing the students\u201c original works; we guarantee that every student who graduates from the \u201dYouth Music Academy\u201c will have their own original compositions. During the third phase\u2014the \u201dNational College Student Concert Tour\u201d\u2014we\u2019ll have these students perform their own original songs and invite celebrities to cheer them on! This will boost public interest and make the event even more appealing!<\/span>\n<\/p>\n

\n\t <\/span>\n<\/p>\n

\n\tNow that we\u2019re back on campus, we\u2019re providing college students with a stage that can hold 10,000 people in a professional stadium. For college students, performing their original works on such a stage is a truly rare opportunity. We chose to hold the grand finale at the very end because our primary goal is to encourage original works. Throughout the entire process, all the renowned musicians we invited were original artists, in the hope that these mentors and students would connect on a deeper level.<\/span>\n<\/p>\n

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\n\tWe also plan to establish \"Blue Bird Music Creation Spaces\" in each school, with each one having approximately120<\/span>square meters; there is a nearly20<\/span>In our square-meter recording studio, we welcome more students to bring their inspiration here and create for free. We provide a creative space, but we still refuse to do cover songs! If someone writes lyrics, we\u2019ll help them put together a melody elsewhere, so we\u2019ll refine the work once again. Finally, we have another platform called the \u201cChina College Student Original Music Chart,\u201d through which we collaborate with Seagull Music, Kugou, Kuwo, and Tencent. When you open these music players, you\u2019ll see a chart called the \u201cChina College Student Original Music Chart.\u201d This chart features many original works by college students, allowing everyone to see and hear their creations. We\u2019ll provide college students with a large platform for their music so that more people can listen to and comment on their work. That\u2019s why original music has always been the core competitive advantage of the Peking University Blue Bird Music Group.<\/span>\n<\/p>\n

\n\t <\/span>\n<\/p>\n

\n\tChina has no shortage of talented singers and performers; what is truly lacking, however, is high-quality original music.<\/span>\n<\/p>\n

\n\t <\/span>\n<\/p>\n

\n\tIn addition, I\u2019d like to mention that Peking University Qingniao is partnering with the global brand \u201cGrammy.\u201d We will soon be hosting the Grammy Music Festival. We aim to bring this world-class music event to the domestic market, with all the performers90%<\/span>I am a Grammy Award recipient. Music is a timeless art form, and Bluebird Music will establish a systematic platform for international exchange to bring excellent music into the country and promote it abroad. As a musician, I will fulfill my professional and social responsibilities to better serve society.<\/span><\/p>","protected":false},"excerpt":{"rendered":"

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