Viya jokes about Wang Leehom.

Wang Leehom and his ex-wife Li Lianglei had a heated discussion, although Via followed closely. But it didn't end there. This matter is still very popular on the domestic network, but the entertainment gossip about the two will not be analyzed here. Let's talk about Wang Leehom's musical achievements.

Wang Leehom's achievements in Chinese pop music are still quite high, although not as high as that of Jay Chou at the same time. From the breakthrough of musical style, Jay Chou, Wang Leehom and Tao Zhe collected several songs of JJ Lin, except for the breakthroughs of hip-hop, R& and R & ampb.

Wang Leehom's biggest breakthrough in Chinese music should be the new Chinese style like Jay Chou's. He quoted American hip-hop music R&; Alienation of China's traditional culture. Other rock, hip-hop, R& and R & b also have some achievements, but not as high as Jay Chou, R & B It's not as good as Tao Zhe. Of course, their urban lyric songs are very good, and JJ Lin is good at them.

A few years ago, Tao Zhe collapsed. Now, with the collapse of Wang Leehom, Jay Chou and JJ Lin are the only four musicians left in Taiwan Province. Now with the collapse of Wang Leehom, of course, even if they didn't collapse, they have passed the peak of their creation. Now diving into the new Chinese style initiated by Jay Chou, Wang Leehom and Jay Chou, the rap music in the new Chinese style has completely failed.

The development of this Chinese style music is still very complicated in details, so I won't say it here. Then the question is, how did the Chinese music scene in Hong Kong and Taiwan develop?

After New China, most pop musicians in the Republic of China went to Hongkong and Taiwan Province (mainly Shanghai). For example, Chen Dieyi, the father of China's famous conductor Chen Xieyang, went to Hongkong. He once wrote Shangri-La, Night Bell in Nanping, Tears of Lovers, You are the only one in my heart without him, and Teresa Teng's Peach Blossom with Face are all his works. At that time, there were countless lyricists and musicians like him in Hong Kong and Taiwan. They all went to record companies and film companies, which laid the foundation for the development of music in Hong Kong and Taiwan.

However, this time, like the martial arts novels of Hong Kong and Taiwan at that time, the predecessors only laid a good foundation and did not reach the stage of later outbreak. Moreover, popular culture such as music, film and television dramas did not develop as early as novels, just like the peak of online novels and the development of Chinese mainland film and television dramas.

In the 1960s and 1970s, martial arts and romance novels in Hong Kong and Taiwan developed rapidly, but music and film and television dramas were still in the accumulation stage of rapid economic development. Take music for example. Before Samuel Hui and others innovated Cantonese songs in Hong Kong, and before the "New Folk Song Movement" in Taiwan Province Province, the songs they listened to at that time were Shanghai-style music in the Republic of China, followed by China's localized music, which was directly copied from Europe, America and even Japan.

Hong Kong music is the innovation of Cantonese songs by Samuel Hui and others, while Taiwan music scene is the innovation brought by Hu Defu, Liu Jiachang, Tayu Lo and singers Teresa Teng, Feng Feifei and Chyi Yu after the "Folk Song Movement". For example, Teresa Teng is a representative. She covered many songs of the Republic of China, sang many new folk songs at that time, and then went to Japanese songs and so on.

Samuel Hui and George Lam, as representatives of Hong Kong Chinese music songs, have a large number of Chinese music works. Looking back now, for example, Shao's Cantonese opera songs at that time can be regarded as the representative of that era.

The peak of Chinese style music in Hong Kong and Taiwan was in the middle and late 1980s, and then in the early 1990s. This peak is the peak of economic development in Hong Kong and Taiwan, and it is also the reflection of the peak of pop culture in music. At least two things have promoted this Chinese style song.

First, film and television soundtracks and Chinese songs. Although Hong Kong and Taiwan still liked to copy Japan until 2000, the film soundtrack of the peak era did write many excellent Chinese-style songs. At that time, kung fu films, martial arts films and all kinds of costume films were very popular in Hong Kong and Taiwan.

For example, David Henry Hwang and Hu Weili are the representatives of Hong Kong music, so let alone pure music score. Among these songs, James J.S.Wong's Laughter of the Sea, Men Should Strive for Self-improvement and Ghost Story are all songs with Chinese style.

There are also many masters of Chinese music in Taiwan Province Province, and Zuo Hongyuan is definitely one of them. He wrote Chinese songs for Teresa Teng, Yao Surong, Feng Feifei, Sammi Kao and other countries. Not to mention. One of the most familiar examples for China audiences is that he wrote all the new Huangmei tunes in The Legend of the New White Snake.

There are many such musicians in Hong Kong and Taiwan at the same time, so I won't give them one by one.

Second, there are many excellent Chinese musicians in the mature music scene in Hong Kong and Taiwan, even people who come into the house with pop music. Many songs with Chinese style are never tired of listening today, and they are definitely the representatives of Chinese style in Hong Kong and Taiwan.

At that time, few musicians in Hong Kong took Chinese style as their musical style, but many famous musicians wrote excellent Chinese style songs. For example, Leslie Cheung's Silence is Golden, Samuel Hui's Heartbroken Dream and Spring Dream, George Lam's In the Middle of the Water and so on.

In this era, there are more Taiwanese musicians who follow the Chinese style, and Emil Wakin Chau is the most typical one. Chinese-style music, such as "Sword as a Dream" and "Difficult Classics", has made great achievements, as have many other behind-the-scenes elites, such as "Bold and Beautiful" and "I can't put it down". There are a lot of bugs in Chinese-style music in Richie Jen.

Most importantly, there were many behind-the-scenes elites like Hong Kong and Taiwan musicians. In the late 1990s, with the opening of the market, Hong Kong and Taiwan entered the mainland market. Mature and excellent Chinese style music, like Hong Kong and Taiwan kung fu films and martial arts films, captured the mainland market and became the memory of Chinese style songs from generation to generation.

From the end of 1970s, their rise in Teresa Teng, like the Hong Kong music scene, reached its peak in 1990s. The old national music of Hong Kong and Taiwan has reached its peak, and this music style can rule for twenty or thirty years. They will all face the process of obsolescence, breakthrough and the rise of other musical styles, whether in the west or Japan.

The reason is also very simple. The old music style is exhausted, and the audience is tired of listening to aesthetics. If no major event causes great innovation, then the audience will listen to songs of other genres and musicians will write songs of other genres. This is a mutual relationship.

Modern music systems all over the world learn from Europe and America (only Japan in Asia). The old China music of Hong Kong and Taiwan reached its peak in the late 1990s, and the mode of learning western music and integrating it with localization also entered the shackles at that time. At this time, we need to learn from the west again and integrate with localization again.

The first person to achieve innovation is Tao Zhe, who has long been r&; B. Hip-hop wrote Chinese songs such as Girl in a Small Town, Butterfly and Looking at the Spring Breeze, and later susan Shuo wrote well, but history defined him as R&; Godfather b is not the godfather of new Chinese style.

The historical position of the godfather of the new Chinese style was given to Jay Chou, mainly because his Direct Answer was the watershed between modern popular Chinese style and classical Chinese style, because it met the standard of "three classics and three innovations" and was the product of the combination of classical style and western style, thus opening the era of Chinese style in Jay Chou. No matter Jay Chou or Fang Zhouzi, their works are excellent. When classical poems, operas and folk tunes are all used up, Jay Chou's musical features and singing methods, combined with Fang Zhouzi's reference to ancient poems and the lyrics of the May 4th New Poetry, have given new elements to Chinese style.

Jay Chou pushed the pop music with Chinese style to the peak, and then many musicians of his time wrote songs with Chinese style. In addition, the pop music scene is more or less influenced by Taiwanese musicians such as Jay Chou, such as mainland Chinese, Vae, King of Silence, etc.

However, compared with Jay Chou's high-yield and high-quality Chinese-style music recognized by the mainstream, few contemporary pop singers can surpass their records, and the closest is probably Wang Leehom. For example, Tiger Hu and Vae in the mainland also have a large number of Chinese-style songs, which are very classic, and many of them can be sung casually by the audience, but the problem is that the historical clarity is poor.

Jay Chou has opened a new Chinese style, and Wang Leehom has Chinked-out, Vae, which is Hu's Chinese style, Xu Shi's Chinese style, and its definition and achievements are somewhat different. Wang Leehom's Chinked-out really has a great influence on the achievements of China's pop music.

Wang Leehom is probably the only musician who has made a breakthrough in his musical style, and his influence and historical definition are comparable to Jay Chou's Chinese style. Tao Zhe is also very good, but his definition is a bit poor (he not only has to achieve high success, but also has to be named). It's a bit like Tao Zhe being called R&; Godfather B, Jay Chou, R & Wang Leehom; B I don't lose music, but my achievement is not as high as his.

Wang Leehom's Chinked-out can correspond to Jay Chou's Chinese style, and also to China's rap music. The overall level of other music styles is lower, but it is not bad. However, in terms of Chinese style music, Jay Chou and Wang Leehom's Chinese style music is a breakthrough, but it is also a huge retrogression from the overall level.

After all, musicians like Emil Wakin Chau, Bug and James J.S.Wong before them can be graceful and restrained, bold and unconstrained, Jianghu and human. The Chinese music in Jay Chou and Wang Leehom is good, and the integration and localization are also good, but the diversity of music is obviously inferior.

In fact, except the youngest JJ Lin, the music albums of Zhou Wang Taolin Generation continued to climb after 20 10, and the other three reached their peak before 20 10, and Jay Chou was stronger. There were several good albums after 20 10, while Tao Zhe and Wang Leehom basically failed around 20 10.

Taiwan Province's music scene is dying, and Hong Kong's music scene is already dying. Since the music scene is dying, Chinese style music is naturally dying. In terms of time, China musicians influenced by Jay Chou, such as Vae, Silence Wang, Liang Xu, etc., were around the world around 20 10, and then began to cut production around 20 15, and then the music scene in China entered a period of "disorderly dance".

The Chinese style in the mainland changed from Chinese style music in Hong Kong and Taiwan to network antique music, and then changed after 20 15. The development of Chinese style music in mainland China has the opportunity to make another analysis. Anyway, there won't be Jay Chou or Wang Leehom in the music scene in Taiwan Province province, if only the Chinese music scene is spoken.

Personally, I know Bonnie and Bi Qiu, two atoms engaged in electronic national style, but their ability and influence are not as good as those of the rock band Cao Dong and the pop band Gao Wu in the new generation of Taiwan Province. There is also Oriental Grass, telling five people that there is no influence of Zhou Wang Tao Lin in all aspects, not to mention Bonnie and Bi Qiu.

There will be no Jay Chou and Wang Leehom in Taiwan Province music scene, and there will be no excellent Chinese music scene.