{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,7,1]],"date-time":"2026-07-01T19:14:07Z","timestamp":1782933247588,"version":"3.54.5"},"reference-count":169,"publisher":"University of California Press","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":[],"published-print":{"date-parts":[[2020,3,1]]},"abstract":"<jats:p>This paper addresses the importance of singer-songwriters to understanding China's contemporary folk music ethos. Instead of considering singer-songwriters as those who perform their own material, this paper examines them as a discursive field that involves the notion of authorship. The first part of the paper revisits the history of singer-songwriters as a thickening process of the aesthetic and sociological voices in their singular authoritarian role. Drawing on Negus's \u201cunbundling\u201d concept, the myth of singer-songwriters' heightened investment of authorship is deconstructed via analysis of the dynamic relationships between the song, the performance and the real author. We then demonstrate three kinds of authorship across three phases of the making of folk singer-songwriters, namely confession, parody and scenius. The analysis reveals why and how the making of singer-songwriters and the issue of authorship are useful to the understanding of contemporary folk ethos in China. Overall, the transformation of authorship in the making of singer-songwriters reveals the complexity of textual narratives, the expansion of performance approaches, and the enhancement of sociological agency in the evolution of contemporary folk music. Folk music carves out a distinctive space for reflection on the process of urbanization and its effects on the thought and practice of people of different cultural, social and ethnic backgrounds.<\/jats:p>","DOI":"10.1525\/jpms.2020.32.1.78","type":"journal-article","created":{"date-parts":[[2020,2,21]],"date-time":"2020-02-21T00:24:22Z","timestamp":1582244662000},"page":"78-105","source":"Crossref","is-referenced-by-count":4,"title":["The Making of Singer-songwriters"],"prefix":"10.1525","volume":"32","author":[{"given":"Shuwen","family":"Qu","sequence":"first","affiliation":[{"name":"Jinan University"}],"role":[{"vocabulary":"crossref","role":"author"}]},{"given":"Jian","family":"Xiao","sequence":"additional","affiliation":[{"name":"Sun Yat-sen University Email: jx.jianxiao@yahoo.com"}],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"408","reference":[{"key":"2020071807271927100_","unstructured":"This research is supported by the grant awarded by The National Social Science Fund of China (Project No. 18CD179). We would like to express our sincere gratitude to the reviewer's critical and insightful suggestion for the revision of this paper. We are also grateful to Mark Davis, Liu Fei and Zhou Shuyan for their constructive comments on an earlier version of the manuscript, and responsibility for these arguments remains our own."},{"key":"2020071807271927100_r1","doi-asserted-by":"crossref","unstructured":"Britta Sweers, Electric Folk: The Changing Face of English Traditional Music (New York: Oxford University Press, 2005); Allan Moore, \u201cAuthenticity as Authentication.\u201d Popular Music 21, no. 2 (2002): 209\u201323.","DOI":"10.1093\/acprof:oso\/9780195174786.003.0008"},{"key":"2020071807271927100_r2","unstructured":"Yaxiong Du, \u4e2d\u56fd\u6c11\u8c23\u5730\u56fe [The Map of Chinese Folk Songs]. (Hefei: Anhui Arts Publisher, 2013); Heping Yang, \u4e2d\u56fd\u6b4c\u79cd [Chinese Folk Song]. (Shanghai: Shanghai Conservatory Publisher, 2011)."},{"key":"2020071807271927100_r3","unstructured":"Helen Rees, \u201cUse and Ownership: Folk Music in the People's Republic of China,\u201d in Music and Cultural Rights, ed. Andrew N. Weintraub and Bell Yung (Champaign: University of Illinois Press, 2009), 42\u20133."},{"key":"2020071807271927100_r4","unstructured":"Yaxiong Du, \u4e2d\u56fd\u6c11\u8c23\u5730\u56fe."},{"key":"2020071807271927100_r5","unstructured":"Zuobin Dong, \u770b\u89c1\u5979 [See Her]. (Taipei: Oriental Cultural Books Publisher, 1970). In 1918, intellectuals and students launched the \u201crescuing\u201d campaigns during the \u201cNew Culture\u201d movement to collect extinct and \u201ccensored\u201d vernacular folklores from across the country."},{"key":"2020071807271927100_r6","doi-asserted-by":"crossref","unstructured":"Changtai Hong, Going to the People: Chinese Intellectuals and Folk Literature, 1918\u20131937 (Cambridge, MA: Harvard University, 1985).","DOI":"10.2307\/j.ctt1tg5kc9"},{"key":"2020071807271927100_r7","doi-asserted-by":"crossref","unstructured":"Helen Rees, \u201cEnvironmental Crisis, Culture Loss, and a New Musical Aesthetic: China's \u2018Original Ecology Folksongs\u2019 In Theory and Practice.\u201d Ethnomusicology 60, no. 1 (2016): 53\u201388.","DOI":"10.5406\/ethnomusicology.60.1.0053"},{"key":"2020071807271927100_r8","doi-asserted-by":"crossref","unstructured":"Nimrod Baranovitch, China's New Voices: Popular Music, Ethnicity, Gender, and Politics, 1978\u20131997 (Berkeley: University of California Press, 2003).","DOI":"10.1525\/9780520936539"},{"key":"2020071807271927100_r9","doi-asserted-by":"crossref","unstructured":"Jeroen de Kloet, China with a Cut: Globalisation, Urban Youth and Popular Music (Amsterdam: Amsterdam University Press, 2010); Jeroen Groenewegen, \u201cThe Performance of Identity in Chinese Popular Music,\u201d (Ph.D. diss., Leiden University, 2011).","DOI":"10.5117\/9789089641625"},{"key":"2020071807271927100_r10","unstructured":"This article was first published in Yan Jun's book Ashes to Ashes (2006), and the revised version was released online in Animal Archives (2014). Jun Yan, \u201cAnimal Archives,\u201d Accessed March 2019, http:\/\/www.subjam.org\/wp-content\/uploads\/2014\/12\/animal_archives-v1.pdf."},{"key":"2020071807271927100_r11","doi-asserted-by":"crossref","unstructured":"Lars Eckstein, \u201cTorpedoing the Authorship of Popular Music: A Reading of Gorillaz' \u2018Feel Good Inc.\u2019\u201d Popular Music 28, no. 2 (2009): 239\u201355.","DOI":"10.1017\/S0261143009001809"},{"key":"2020071807271927100_r12","doi-asserted-by":"crossref","unstructured":"Keith Negus, \u201cAuthorship and the Popular Song.\u201d Music and Letters 92, no. 4 (2011): 607\u201329.","DOI":"10.1093\/ml\/gcr117"},{"key":"2020071807271927100_r13","unstructured":"John Potter, \u201cSinger-Songwriter,\u201d Grove Music Online, Accessed November 2018, http:\/\/www.oxfordmusiconline.com.easyaccess1.lib.cuhk.edu.hk\/subscriber\/article\/grove\/music\/46855."},{"key":"2020071807271927100_r14","doi-asserted-by":"crossref","unstructured":"David R. Shumway, \u201cThe Emergence of Singer-Songwriter,\u201d in The Cambridge Companion to the Singer-Songwriter, ed. Justin A. Williams, Katherine and Williams (Cambridge, UK: Cambridge University Press, 2016), 57\u201386.","DOI":"10.1017\/CCO9781316569207.002"},{"key":"2020071807271927100_r15","unstructured":"Sweers, Electric Folk, 1\u201322. Sweers argues that Anglo-American folk underwent two Folk Revivals: the traditional revival culture (in the early 1900s) and the modern Revival (around 1960s). The modern revival has developed in two directions: the leftist folk in 1950s and early 1960s, and the poetic folk since the late 1960s."},{"key":"2020071807271927100_r16","unstructured":"Shumway, \u201cThe Emergence of Singer-Songwriter,\u201d 63; Potter, \u201cSinger-Songwriter.\u201d"},{"key":"2020071807271927100_r17","doi-asserted-by":"crossref","unstructured":"Tim Wise, \u201cSinger-Songwriter,\u201d in Continuum Encyclopedia of Popular Music of the World, Genres: North America, ed. David Horn and John Shepherd (London, UK: Continuum, 2012), 6.","DOI":"10.5040\/9781501329203-0021059"},{"key":"2020071807271927100_r18","unstructured":"Shuwen Qu and Danzhou Li, \u201c\u5531\u4f5c\u4eba\u4f5c\u4e3a\u65b9\u6cd5\uff1a\u8bba\u6d41\u884c\u97f3\u4e50\u7684\u539f\u771f\u6027\u548c\u4f5c\u8005\u6027 [Singer-Songwriter as Method: On Authenticity and Authorship of Popular Music].\u201d Theoretical Studies In Literature and Art, 39, no.1 (2019): 72\u201381."},{"key":"2020071807271927100_r19","unstructured":"Self-written material is preferred. During the Second Revival of the mid-1960s, a group of songwriters began to write and perform their own material. Unlike the songwriters who were employed to write songs and lyrics for others in Tin Pan Alley, those singer-songwriters sang their self-written material. For details, see Sweers, Electric Folk, 25\u20136."},{"key":"2020071807271927100_r20","unstructured":"Shumway, \u201cThe Emergence of Singer-Songwriter;\u201d Wise, \u201cSinger-Songwriter,\u201d 5."},{"key":"2020071807271927100_r21","unstructured":"Sweers, Electric Folk, 27."},{"key":"2020071807271927100_r22","doi-asserted-by":"crossref","unstructured":"John Shepherd and John Horn, eds., Continuum Encyclopedia of Popular Music of the World: Volume II: Performance (New York: Bloomsbury Academic, 2003), 198\u2013200.","DOI":"10.5040\/9781501329234"},{"key":"2020071807271927100_r23","unstructured":"Wise, \u201cSinger-Songwriter,\u201d 3."},{"key":"2020071807271927100_r24","unstructured":"Ibid., 108. Also at Jason Toynbee, Making Popular Music: Musicians, Creativity and Institutions (London, UK: Arnold, 2000)."},{"key":"2020071807271927100_r25","unstructured":"Sometimes they can sing others' works. Under this layer, the loose relationship is expressed in the singer\/songwriter."},{"key":"2020071807271927100_r26","unstructured":"Mingjian music \u6c11\u95f4\u97f3\u4e50 (folk mass music, our translation) includes many forms of Chinese traditional music, with its meanings changing along the development of music history. Scholars have referred to minjian music as \u201cfolk music\u201d \u6c11\u95f4\u97f3\u4e50 (China Music Institute 1964) and \u201cmass music\u201d \u5927\u4f17\u97f3\u4e50 (Zeng Suijin 2003). According to Groenewegen's study (2011, 55) of the book Introductions to National Music (1964), which foregrounds the \u201cdominant folk music \u6c11\u95f4\u97f3\u4e50 anthologies and overviews\u201d in China, minjian music is defined as folk music against non-folk music as a result of the \u201ccommunism ideology.\u201d The latter covers literati music, court music and religious music, and the former includes song, dance music, narrative singing, opera and instrumental. Similarly, music sociologist Zeng Suijin (2003) refers to minjian music as all of the \u201cmass music\u201d in secular world against that in court and literati societies. Zeng further breaks down mass music into several sub-categories, including the traditional Chinese minge \u6c11\u6b4c (folk songs), dance music, quyi \u66f2\u827a, xiqu \u620f\u66f2, and ethnic folk instrumentation music \u6c11\u65cf\u6c11\u95f4\u5668\u4e50\u97f3\u4e50. We agree with these scholars but propose an integrated term \u201cfolk mass music\u201d as the English translation of \u201cminjian music\u201d (Groenewegen used tradition music to refer to minjian music in general), for we think folk mass music is more specific and inclusive to capture the ideological tensions mentioned above."},{"key":"2020071807271927100_r27","unstructured":"Meilan Chen, \u201c\u53f0\u6e7e\u5730\u533a\u2018\u73b0\u4ee3\u6c11\u6b4c\u2019\u7684\u6587\u5316\u6cbb\u7406\u8109\u7edc [Mapping the Cultural Governance of \u2018Modern Folk Songs\u2019 in Taiwan (1970\u20131980)].\u201d Fujian Forum (Social Science and Education), 2010(12): 63\u20135. Manli Luo, \u201c\u6c11\u6b4c\u4e0e\u5927\u4f17: 1970 \u5e74\u4ee3\u53f0\u6e7e\u73b0\u4ee3\u6c11\u6b4c\u8fd0\u52a8\u7684\u5de6\u7ffc\u652f\u8109 [Folk Songs and the Mass: The Leftism Development of the Taiwan Modern Folk Songs Movement].\u201d Literatures in Chinese, 2013(6): 52\u201361."},{"key":"2020071807271927100_r28","unstructured":"Xiaoshi Wei, \u201c\u65b0\u6c11\u8c23\u5728\u4e2d\u56fd: \u8c01\u7684\u5e7b\u60f3\uff1f [New Folk in China: Whose Fantasy?].\u201d Book Town, 2010 (4): 13."},{"key":"2020071807271927100_r29","unstructured":"Fei Liu, \u201c\u65e5\u4e45\u4ed6\u4e61\u662f\u6545\u4e61: \u201c\u65b0\u6c11\u8c23\u201d \u7684\u5386\u53f2\u8bb0\u5fc6 [Time Makes Alien Land Hometown: The Historical Memory of \u2018New Folk\u2019].\u201d Arts Criticism 2 (2011): 48\u201352."},{"key":"2020071807271927100_r30","unstructured":"Wan Li, \u201c\u6c11\u8c23, \u6c11\u8c23 (\u4e00\u4e5d\u56db-\u4e8c\u25cb\u4e5d)-\u2018\u516d\u5341\u5e74\u4e09\u5730\u6b4c\u2019 [Folk, Folk (1994\u20132009) in Sixty Years across Three Areas].\u201d Reading 4 (2012): 147\u201356, 154."},{"key":"2020071807271927100_r31","unstructured":"Prison songs and slang songs were popular in the mid- and late 1980s. Prison song was initiated by the famous male actor Chi Zhiqiang, who was in jail because of his immoral acts with other women. Upon release, the cultural promoter Zhou Yaping produced several songs based on Chi's story and experience in jail; however, \u201cthe style eventually came to comprise songs by other ex-convicts and old songs by zhiqing, educated urban youth who were sent during the Cultural Revolution to the countryside for reeducation through hard labor\u201d (Baranovitch 2003, 26). Slang songs were set to folk tunes with simple and straightforward descriptions of ordinary people's daily lives and used many colloquial and vulgar expressions alluding to sexual activities. Baranovitch, China's New Voices, 2003."},{"key":"2020071807271927100_r32","unstructured":"Sweers, Electric Folk; Moore, \u201cAuthenticity as Authentication,\u201d 63."},{"key":"2020071807271927100_r33","unstructured":"We conducted a chronological search for the term \u201csinger-songwriter\u201d \u5531\u4f5c\u4eba on various resources, including the major search engines Baidu and Google, news media, and papers found on China's key national information database CNKI (China's National Knowledge Infrastructure). The result shows that the term was introduced in China around 2003, with the launching of new prizes for \u201cBest Singer-songwriter of the Year\u201d (Top Chinese Music Awards \u97f3\u4e50\u98ce\u4e91\u699c in 2003) and \u201cPowerful Singer-songwriter\u201d (The China Music Awards \u534e\u8bed\u699c\u4e2d\u699c in 2004)."},{"key":"2020071807271927100_r34","unstructured":"This map is inspired by Finnegan's work on music making in an English town. Ruth H. Finnegan, The Hidden Musicians: Music-Making in an English Town (Cambridge, UK: Cambridge University Press, 1989)."},{"key":"2020071807271927100_r35","unstructured":"Zhao Yong, \u201c\u4ece\u6447\u6eda\u5230\u6c11\u8c23: \u2018\u6279\u5224\u73b0\u5b9e\u2019 \u7684\u97f3\u4e50\u8f68\u8ff9 [From Rock to Folk: the Music Trajectory of \u2018Critical Reality\u2019].\u201d China Book Review 12 (2012): 42."},{"key":"2020071807271927100_r36","unstructured":"Ibid."},{"key":"2020071807271927100_r37","unstructured":"Wan Li, \u591a\u5c11\u6b21\u6563\u573a\u5fd8\u8bb0\u4e86\u5fe7\u4f24: \u516d\u5341\u5e74\u4e09\u5730\u6b4c [How Many Times We Left, Forgetting the Sadness] (Beijing: Join Publishing House, 2012), 221, 244."},{"key":"2020071807271927100_r38","unstructured":"Ibid."},{"key":"2020071807271927100_r39","unstructured":"Zhao Yong, \u201c\u4ece\u6447\u6eda\u5230\u6c11\u8c23,\u201d 42."},{"key":"2020071807271927100_r40","doi-asserted-by":"crossref","unstructured":"Simon Frith, Performing Rites: On the Value of Popular Music (Cambridge, MA: Harvard University Press, 1996), 41.","DOI":"10.1093\/oso\/9780198163329.001.0001"},{"key":"2020071807271927100_r41","unstructured":"Jun Yan, \u7070\u98de\u70df\u706d: \u4e00\u4e2a\u4eba\u7684\u6447\u6eda\u4e50\u89c2\u5bdf [Ashes to Ashes: Personal Observation of Rock Music] (Guangzhou: Flower City Publisher, 2006), 154."},{"key":"2020071807271927100_r42","unstructured":"Ibid."},{"key":"2020071807271927100_r43","unstructured":"The city dwellers refer to the industrial laborers who were laid off and migrated to cities for job opportunities, while the urban bourgeoisie is associated with white collar workers, intellectuals and college students in big cities. Wang Qian points out that the consumers of China's rock (and its later development of folk) vary in the early 1990s and late 1990s. In the early 1990s they were college students, intellectuals and self-employed entrepreneurs, whereas in the late 1990s the consumers were largely urban youth, intellectuals, white collar and industrial workers. For details, see Qian Wang, \u6447\u6eda\u5371\u673a: 20\u4e16\u7eaa90\u5e74\u4ee3\u4e2d\u56fd\u6447\u6eda\u97f3\u4e50\u7814\u7a76 [Rock Crisis: Research on Chinese Rock Music in the 1990s] (Shanghai: Shanghai Bookstore Publishing House, 2015), 107\u2013108."},{"key":"2020071807271927100_r44","unstructured":"Wei Xiaoshi, \u201c\u57ce\u5e02\uff1a\u73b0\u4ee3\u6c11\u95f4\u97f3\u4e50\u7684\u673a\u4f1a [City: an Opportunity for Modern Folk Music],\u201d Book Town 1(2011): 20\u201325."},{"key":"2020071807271927100_r45","unstructured":"Jinhua Dai, \u9690\u5f62\u4e66\u5199 [Invisible Writing: Cultural Studies in China in the 1990s] (Beijing: Peking University Press, 2018), 1\u201312."},{"key":"2020071807271927100_r46","unstructured":"Zhang Xinying, \u201c\u5f20\u695a\u548c\u4e00\u4ee3\u4eba\u7684\u7cbe\u795e\u753b\u50cf [A Spiritual Portrait of Zhang Chu and his Generation],\u201d China's Writers, Accessed March 2019, http:\/\/www.chinawriter.com.cn\/56\/2007\/0109\/1608.html."},{"key":"2020071807271927100_r47","unstructured":"De Kloet, China with a Cut."},{"key":"2020071807271927100_r48","unstructured":"Dadi Music Company was founded in Hong Kong by lyricist Liu Zhuohui and his friends. It set up its Beijing branch in 1992 and introduced the stardom system to record business in Mainland China."},{"key":"2020071807271927100_r49","unstructured":"Qiao Huanjiang, \u201c\u5927\u9646\u65b0\u6c11\u8c23:\u524d\u5386\u53f2\u4e0e\u4eca\u9762\u5411 [New Folk in Mainland China: Prehistory and Current Situation].\u201d Art Panorama 1(2014): 45\u201350."},{"key":"2020071807271927100_r50","unstructured":"Keith Negus, \u201cAuthorship and the Popular Song,\u201d 608."},{"key":"2020071807271927100_r51","unstructured":"Wang Shuo, \u201c\u4ece Beyond \u5230\u73b0\u5728 [From Beyond Till Now],\u201d accessed November 2018, http:\/\/tieba.baidu.com\/p\/913477966."},{"key":"2020071807271927100_r52","unstructured":"Baranovitch, China's New Voices, 165."},{"key":"2020071807271927100_r53","unstructured":"Ronald D. Lankford, Women Singer-Songwriters in Rock: A Populist Rebellion in the 1990s (Lanham, MD: Scarecrow Press, 2010)."},{"key":"2020071807271927100_r54","unstructured":"Ying Li, \u6821\u56ed\u6c11\u8c23\u5fd7 [Annals of Campus Folktune] (Beijing: China Renmin University Press, 2006). The folk music coverage imitated both Taiwan campus songs and American country folk singers (Bob Dylan, John Denver, the Carpenters, and Paul Simon and Art Garfunkel). For more, see Jingbo You, \u4e2d\u56fd\u6d41\u884c\u97f3\u4e50\u901a\u8bba [General Introduction to Chinese Popular Music] (Beijing: Art and Literature for the Masses, 2011), 209."},{"key":"2020071807271927100_r55","unstructured":"The Chinese lyrics read \u201c1997 \u5feb\u4e9b\u5230\u5427\uff0c\u6211\u5c31\u53ef\u4ee5\u53bb Hong Kong\u3002 1997 \u5feb\u4e9b\u5230\u5427, \u8ba9\u6211\u7ad9\u5728\u7ea2\u78e1\u4f53\u80b2\u9986\u30021997 \u5feb\u4e9b\u5230\u5427, \u548c\u4ed6\u53bb\u770b\u5348\u591c\u573a\u30021997 \u5feb\u4e9b\u5230\u5427, \u516b\u4f70\u4f34\u8863\u670d\u7a76\u7adf\u600e\u4e48\u6837?\u201d The English version is the authors' translation."},{"key":"2020071807271927100_r56","unstructured":"Fei Liu, \u201c\u65e5\u4e45\u4ed6\u4e61\u662f\u6545\u4e61,\u201d 52."},{"key":"2020071807271927100_r57","unstructured":"Dai Jinhua, \u9690\u5f62\u4e66\u5199 [Invisible Writing], 26."},{"key":"2020071807271927100_r58","unstructured":"The Chinese lyrics is \u201c\u59d0\uff0c\u6211\u60f3\u56de\u5bb6, \u7275\u7740\u6211\u7684\u624b, \u4f60\u4e0d\u8981\u5bb3\u6015\u201d. (The English translation is the authors'.)"},{"key":"2020071807271927100_r59","unstructured":"Zhang Xinying, \u201c\u5f20\u695a\u4e0e\u4e00\u4ee3\u4eba\u7684\u7cbe\u795e\u753b\u50cf\u201d."},{"key":"2020071807271927100_r60","unstructured":"The Chinese lyrics is \u201c\u6211\u4e0d\u77e5\u9053\u5230\u54ea\u91cc\u53bb, \u6211\u4e0d\u77e5\u9053\u53bb\u54ea\u91cc\u201d. (The English translation is the authors'.)"},{"key":"2020071807271927100_r61","unstructured":"Fei Liu, \u201c\u65e5\u4e45\u4ed6\u4e61\u662f\u6545\u4e61,\u201d 50."},{"key":"#cr-split#-2020071807271927100_r62.1","unstructured":"Steen, Andreas. \"Sound, Protest and Business. Modern Sky Co. and the New Ideology of Chinese Rock.\" Berliner China-Hefte 18 (2000): 40-64"},{"key":"#cr-split#-2020071807271927100_r62.2","unstructured":"Jeroen de Kloet. \"Commercial Fantasies: China's Music Industry,\" ed. S.H. Donald, M. Keane and Y Hong, in Media Futures in China, Consumption, Content and Crisis (London & Surrey: Routledge\/Curzon Press, 2002: 93-104)."},{"key":"2020071807271927100_r63","unstructured":"Qu Shuwen, \u201cHer \u2018Vocal Authority\u2019: the Semiotic and Cultural Soundscape of Chinese Female Rock Singers' Voices.\u201d Social Semiotics 3, no.28 (2018), 349\u201370. Dakou CDs refers to the cut-out CDs and cassettes that have been gashed with a saw to prevent resale in the Western countries, but that manage to be exported to China and be resold in informal shops. For more on dakoued culture in China, see De Kloet, China with a Cut, 19\u201324."},{"key":"2020071807271927100_r64","doi-asserted-by":"crossref","unstructured":"David Harvey, The Brief History of Neoliberalism (New York: Oxford University, 2005), 150.","DOI":"10.1093\/oso\/9780199283262.001.0001"},{"key":"2020071807271927100_r65","unstructured":"This period, from the late 1990s to the early 2000s, is known as the underground rock period. For details, see Shuwen Qu, \u4e2d\u56fd\u72ec\u7acb\u97f3\u4e50\u7684\u8bdd\u8bed\u6d41\u53d8\u4e0e\u573a\u666f\u91cd\u6784 [The Discursive Mapping and Scene Reconstruction of China's Indie Music], Literature and Art Studies 11(2017): 115\u201328."},{"key":"2020071807271927100_r66","unstructured":"Jun Yan, \u7070\u98de\u70df\u706d [Ashes to Ashes], 153\u20139."},{"key":"2020071807271927100_r67","unstructured":"Frith, Performing Rite, 39."},{"key":"2020071807271927100_r68","unstructured":"Wan Li, \u201c\u771f\u8bda\u7684\u8868\u8fbe\u4e0e\u5f62\u5f0f\u4e3b\u4e49\u63a2\u7d22 [Authentic Expression and Formalistic Exploration].\u201d Arts Criticism 7 (2010): 68."},{"key":"2020071807271927100_r69","unstructured":"Negus, \u201cAuthorship and the Popular Song,\u201d 623."},{"key":"2020071807271927100_r70","unstructured":"Ibid."},{"key":"2020071807271927100_r71","unstructured":"Ibid., 616."},{"key":"2020071807271927100_r72","unstructured":"Ibid."},{"key":"2020071807271927100_r73","unstructured":"Douban was founded in 2005, and is now one of the largest UGC online platforms on the discovery and comments of music, books and movies."},{"key":"2020071807271927100_r74","unstructured":"Li Wan, \u201c\u7528\u65b9\u8a00\u5531\u6b4c\u7684\u80e1\u5417\u4e2a [Hu Mage who Singing with Dialect],\u201d Xici Hutong, accessed February 2019, http:\/\/www.xici.net\/d4917662.htm."},{"key":"2020071807271927100_r75","unstructured":"Eu, \u201c\u624d\u534e\u771f\u662f\u6a2a\u6ea2\u554a [How Talented He Is],\u201d Douban, accessed February 2019, https:\/\/music.douban.com\/review\/5398944\/."},{"key":"2020071807271927100_r76","unstructured":"Ibid."},{"key":"2020071807271927100_r77","unstructured":"Groenewegen, \u201cThe Performance of Identity,\u201d 94\u201395."},{"key":"2020071807271927100_r78","unstructured":"Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990), 146."},{"key":"2020071807271927100_r79","unstructured":"Groenewegen, \u201cThe Performance of Identity,\u201d 227."},{"key":"2020071807271927100_r80","unstructured":"China Music Business, \u201c\u4e2d\u56fd\u4e16\u754c\u97f3\u4e50\u7684\u51fa\u8def\u5728\u54ea\u91cc? [Where will China's world music go?],\u201d Accessed April 2019, http:\/\/3g.163.com\/news\/article_zhwnl\/DGOQJ5PH0517HP9B.html."},{"key":"2020071807271927100_r81","unstructured":"During the \u201cUp the Mountains and Down to the Countryside Movement\u201d of the late 1960s and early 1970s, educated urban youth were sent to mountainous areas or farming villages to be re-educated by farmers and workers. Being away from home and separated from their loved ones, educated youth composed new songs or rewrote the lyrics of old songs to express their sorrow and bewilderment. These songs were called \u201csongs for educated youth.\u201d As the depressing thoughts and private emotions expressed were not in line with the dominant ideology, \u201csongs for educated youth\u201d were not allowed to appear during formal occasions. It was not until the late 1980s that \u201csongs for educated youth\u201d resurfaced (Li Chunbo being a representative figure) and were absorbed into popular music (prison songs, in particular). For more details, see Jun Yan, \u7070\u98de\u70df\u706d [Ashes to Ashes], 156."},{"key":"2020071807271927100_r82","unstructured":"Groenewegen categorizes four strategies for claiming folk authenticity in folk rock and ethnic folk: idyllic perfection, Bohemianism, documenting (Li Zhi and Hu Mage), and root seeking (Wide Children). He identifies idyllic perfection as the politics of city dwellers moaning for the loss of the countryside (Hong Qi); Bohemianism as the intellectual tradition of folk renditions of poems (Zhou Yunpeng); documentation as the approach of recording dialect songs, street sounds, and barns; and root seeking as the adaption of northwestern Chinese folk tunes. These approaches exhibit overlaps. Groenewegen, \u201cThe Performance of Identity,\u201d 89."},{"key":"2020071807271927100_r83","unstructured":"Xiao He started his alternative rock band Perfect Pharmacy \u7f8e\u597d\u836f\u5e97 in early 2000, but later entered the folk scene to become a pioneering figure. Song Yuzhe also played in a rock band first, but later switched to his world music project Dawanggang \u5927\u5fd8\u6760 in collaboration with various musicians."},{"key":"2020071807271927100_r84","unstructured":"Straw examines how British musical celebrity Norman Cook changes his name for different music genres, which in turn adds asset value to his name. Will Straw, \u201cAuthorship,\u201d in Key Terms in Popular Music and Culture, ed. Bruce Horner and Thomas Swiss (Malden, MA: Blackwell, 1999), 207."},{"key":"2020071807271927100_r85","unstructured":"Attali, Noise, 14."},{"key":"2020071807271927100_r86","unstructured":"Ibid."},{"key":"2020071807271927100_r87","unstructured":"The underground period refers to the late 1990s and early 2000s, when regional records left Mainland China and small local records emerged. Non-Beijing rock musicians gathered in Beijing to adopt a Bohemian and collective way of music making. Both rock musicians and labels negotiated the \u201cexplorative\u201d modes with the music industry. See the \u201cparody\u201d section and fn 65."},{"key":"2020071807271927100_r88","unstructured":"Jaro, \u201cDawanggang,\u201d accessed March 2019, https:\/\/www.jaro.de\/artists\/Dawanggang\/."},{"key":"2020071807271927100_r89","unstructured":"Quote from his comments during the show in March 2013 in Shenzhen."},{"key":"2020071807271927100_r90","unstructured":"This is from a literary allusion to Su Dongpo's poem. The poet Su Dongpo wrote a poem to Buddha to express his meditation of Buddhism. It reads \u201cAlmighty Buddha is glowing over the land, and eight winds cannot break his purple-gold lotus\u201d (\u7a3d\u9996\u5929\u4e2d\u5929, \u6beb\u5149\u7167\u5927\u5343. \u516b\u98ce\u5439\u4e0d\u52a8, \u7aef\u5750\u7d2b\u91d1\u83b2). He sent his attendant to give the poem to Buddha across the river. The \u201ceight winds\u201d refer to \u201cpraise, ridicule, slander, repute, benefit, misfortune, joy, and bitterness.\u201d Buddha, however, replied, \u201cBullshit.\u201d This made Su Dongpo very angry, so he crossed the river to confront Buddha. Buddha answered, \u201cIf eight winds do not shake you, why bother to cross the river for a fart?\u201d"},{"key":"2020071807271927100_r91","unstructured":"Horsehead fiddle, also known as the morin khuur, is a traditional Mongolian bowed stringed instrument."},{"key":"2020071807271927100_r92","unstructured":"Toynbee, Making Popular Music, 51."},{"key":"2020071807271927100_r93","unstructured":"Email Interview with Song Yuzhe in February 2014."},{"key":"2020071807271927100_r94","unstructured":"Ibid."},{"key":"2020071807271927100_r95","unstructured":"Wei Xiaoshi, \u6c11\u6b4c\u7b14\u8bb0 [Folksong Liner Notes: Music Archives in the Fieldworks] (Beijing: Publishing House of Electronics Industry, 2016), 136\u201338."},{"key":"2020071807271927100_r96","unstructured":"Baranovitch, China's New Voice, 106\u2013107."},{"key":"2020071807271927100_r97","doi-asserted-by":"crossref","unstructured":"Ho, Wai-Chung. \u201cSocial change and nationalism in China's popular songs.\u201d Social History 31, no. 4 (2006): 435\u201353.","DOI":"10.1080\/03071020600944876"},{"key":"2020071807271927100_r98","unstructured":"Achilleas Sourlas, \u201cSong Yuzhe: \u2018Collection of Short Broken Songs\u2019,\u201d accessed May 2019, https:\/\/axilleassourlas.wordpress.com\/2015\/01\/27\/song-yuzhe-collection-of-short-broken-songs\/."},{"key":"2020071807271927100_r99","doi-asserted-by":"crossref","unstructured":"Jocelyne Guilbaut, \u201cWorld Music,\u201d ch. 8 in The Cambridge Companion to Pop and Rock, ed. Simon Frith, Will Straw and John Street (Cambridge, UK: Cambridge University Press, 2001): 176\u2013201.","DOI":"10.1017\/CCOL9780521553698.011"},{"key":"2020071807271927100_r100","unstructured":"Roy Shuker, Understanding Popular Music, 2nd ed. (London: Routledge, 2001), 115. Frith, Performing Rite, 57."},{"key":"2020071807271927100_r101","unstructured":"Paisle Livingston, \u201cCinematic Authorship,\u201d in Film Theory and Philosophy, ed. Richard Allen and Murray Smith (Oxford: Clarendon Press, 1997), 132. 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