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As a product of "digital technology + music", online music has appeared in China since the end of the 20th century and has developed into a huge industry system.
Statistics show that as of June 2021, the number of online music users in my country has reached 680 million, accounting for 67.4% of the total Internet users.
At present, what are the characteristics of the development of online music, what are the bottlenecks encountered, and what are the development prospects?
These issues are worthy of in-depth discussion.
Open creation, strong sociality, anytime, anywhere: the basic characteristics of online music
Open creation is an outstanding feature of the existence and steady development of online music.
Since the emergence of online music, there has been a different practice path from traditional music.
Take creation as an example. The main body of traditional music creation is professional musicians. The creation process is a process of independent thinking by the composer. It is a process in which the creation subject transforms individual and social experience into music and acoustics. The purpose of creation is to pursue artistic works. The uniqueness and non-replicability.
Online music has the characteristics of openness and spontaneity. The subject of creation may be either a professional musician or a non-professional musician with musical literacy and familiar with digital technology. The creative medium can be a personal computer or a variety of mobile intelligence. At the terminal, everyone can become a musician with the help of arranger software. Through human-computer interaction, traditional independent thinking music creation is transformed into a "group consciousness" music production. The uniqueness of traditional art is also easily spread by online music. Reproducibility can be broken.
还有就是强社交性。音乐的社交功能早在音乐产生之初就已经很明确，无论古今中外，音乐在社会生活中都发挥着不可或缺的作用。古典主义时期，音乐会、沙龙是上层人士聚会交友的场合，人们利用音乐活动开场前的酒会、中场休息和结束后的冷餐会三五成群聊天，结识新朋友。进入20世纪，随着大众音乐的盛行，利用音乐进行社交的场合变成酒吧、俱乐部、舞厅和室外广场，社交圈子和参与社交的群体更倾向于平民化和世俗化。20世纪末，网络音乐的出现，改变了古典音乐会、现代流行演唱会等主体在场的聆听方式，进而消解了传统音乐活动的社交功能。为了弥补群体经验的缺失和提升网络音乐体验，网络平台的“虚拟共同体模式”应运而生。比如，通过算法为客户匹配喜好的歌曲，用户可以收藏歌单、分析数据并分享自己喜爱的歌曲等。国内开发音乐社交功能的平台鼓励用户创建歌单、发表评论并与他人互动，基于共同的音乐兴趣打造属于自己的音乐好友圈，有的在这个基础上开发弹幕、歌曲评论和私信功能，进一步加强产品的社交属性。
Then there is anytime, anywhere sex.
Traditional music performances and appreciation are mainly based on oral teaching and on-site participation. Music activities are mostly limited to families, churches, courts and concert halls.
With the advent of notation and printing, music has been widely disseminated, and the groups participating in music activities have become more diverse, but they still need to be performed in fixed places.
For hundreds of years, music performance and listening have always maintained a face-to-face approach, regardless of family private gatherings or public concert halls, instant emotional response and interaction is the only way to generate musical perceptual experience.
In the second half of the 19th century, when Edison invented the first phonograph, the acoustic form of music was no longer confined to a certain fixed space and time. This was an unprecedented great change for music.
With the advent of vinyl records, radios, cassettes, CDs, VCDs, televisions, the Internet and other media, music has been completely liberated from the fixed space. This change is especially manifested in the way the audience listens.
People can listen or watch repeatedly at the right time and place according to their needs.
The concert hall is no longer an inevitable place for music practice. In modern life, relying on new media means, you can listen to music in different scenes such as work, entertainment, dining, driving, and waiting.
As far as online music is concerned, anytime, anywhere is not only reflected in the subject’s independent and random selection of music scenes and music styles, but also in the real-time communication and comments surrounding music, and the resulting music social circle. This is young people The most important way to participate in music practice activities.
Authenticity, Aesthetic Experience, Values: Issues that need to be faced directly in online music
Online music has brought new winds to the field of literature and art. At the same time, there are a series of problems worth considering in its development process, and there is even the danger of deviating from the correct course.
比如关于真实性的问题。对音乐真实性的讨论，均与现代科技发展有关，包括电子音乐和网络音乐。前者涉及声音维度的真实，后者涉及视觉维度的真实。电子音乐，相对原声音乐(乐器)而言，源自20世纪50年代电子技术在音乐创作、表演和乐器制作中的使用。电子音乐的出现，改变传统音乐建立在自然音和乐音基础上的创作实践，大量噪音和非自然音的使用，引发了人们对“什么是音乐”的思考。网络音乐，基于音乐厅音乐、广场音乐而言，是20世纪90年代互联网科技发展的产物。网络音乐就是指现实音乐的网络移植或所有与网络相关的音乐实践。早期网络音乐的讨论焦点大多集中在现实音乐网络化后对传统音乐形态的冲击，包括网络音乐版权的合法化问题。未来，现实音乐会、演唱会或其他音乐实践活动，将以虚拟全息影像的方式在网络中实时存在，参与活动的主体同时具有两个身份，一个是现实的，一个是虚拟的。现实人可以进入网络成为虚拟人，虚拟人也可以跳出网络成为现实人。哪个才是真实的？这将是未来网络音乐所面临的重要问题之一。
In addition, there are questions about aesthetic experience.
There are many purposes for artistic creation, and obtaining a good aesthetic experience is particularly important. This is the fundamental feature that distinguishes art from other things.
In the field of music, the generation of aesthetic experience is inseparable from the way, purpose and mode of the subject's experience of music.
The way refers to the way to obtain music, the purpose refers to why you want to engage in music, and the mode refers to the different ways of perception of the subject formed due to different purposes in the process of engaging in music.
Generally speaking, the musical aesthetic experience before the 20th century was a "quiet mode" based on the subject-object dichotomous paradigm, and the listener always kept a distance from the music works.
This distance is not only on the physical level, but also on the psychological level.
For example, in the traditional listening mode with a concert hall as the mainstay, the stage divides the physical space into onstage and offstage, and divides the group into performers and listeners. This is an aesthetic paradigm constructed based on the concept of "art above life".
Entering the 20th century, with the rise of popular music, musical perceptual experience has transformed into an "intervention mode" or "participation mode".
Bars, clubs, and outdoor squares have become spaces for popular music activities. Although there are still formal stages, psychological distance and boundaries have been erased. Usually, the audience sings together on stage and the actors and audience dance together.
The professional music field in the 20th century also reflected the same tendency, integrating the subject into the object and becoming a part of the composition of artworks. This is the embodiment of the "ontological turn" of aesthetics in the 20th century in artistic creation, which promotes the pan-life trend of contemporary aesthetic experience. , Art is life.
In the future, music aesthetic experience will be generated more through online music activities. Compared with the "quiet mode" and "participation mode", this is a whole-hearted "immersion mode".
The physical subject obtains experience in the holographic image space through the virtual subject. Although the physical presence of the body is not required for the generation of experience, it does not affect the subject's mental and physical body pleasure through the VR device.
Due to the anytime and anywhere nature of the "immersion mode", the aesthetic experience will further show the characteristics of fragmentation and fragmentation.
The issue of values is the most critical.
Values are the basic principles for people to recognize, understand, and judge things. The formation of human values will be affected by the surrounding environment, including the social, family, and educational environment.
As an expression of social culture, music can play an important role in establishing and transmitting social values.
Online music is of course no exception.
Since the audience of online music is young people, what kind of values to establish and convey has become the focus of attention from all walks of life since the birth of online music.
Many online music works are straightforward, vulgar, and have no style, becoming representatives of vulgarity.
It is also popular on the Internet to tamper with classic lyrics and convey distorted values. For example, the song "The Moon Represents My Heart" is changed to "You ask me how much money I have. Is my background good? My heart does not move, and my love does not change. , The passbook represents my heart..." These phenomena have caused widespread concern and criticism in the society.
The online music market should adhere to the correct value orientation and actively encourage the creation and dissemination of nationally original, healthy and progressive online music products.
In the future, with the popularization and application of Internet immersive scenes, online music needs to pay special attention to the issue of music values in virtual time and space. This is the "lifeblood" for the rapid and healthy development of online music.
(Author: Liu Yan, Professor of Musicology Department of Tianjin Conservatory of Music)