Scholarlink

This study, grounded in the theoretical framework of Bie-modernism, applies Bie-modernist cultural computing methods to quantitatively analyze the lyric imagery in Dao Lang’s three albums: Populus Euphratica in Kashgar (2004), 2011 Girl in a Colorful Dress (2011), and Mountain Songs Are Lonely (2023). The research uncovers the intrinsic logic behind his sustained, phenomenon-level influence over two decades. The findings reveal that Dao Lang, through the mechanism of “juxtaposition–dialogue–reconstruction” in lyric imagery, has shifted from passive representation to active critique in his creative approach. This artistic strategy not only introduces an innovative paradigm for Chinese pop music composition but also offers an interdisciplinary methodological case for digital humanities research.

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

Study on Dao Lang’s Lyric Imagery from the Perspective of Bie-Modernist Cultural Computing

  • 会议论文

  • 发表日期：

    2025年

查看全文
  • Hui Wang

摘要

This study, grounded in the theoretical framework of Bie-modernism, applies Bie-modernist cultural computing methods to quantitatively analyze the lyric imagery in Dao Lang’s three albums: Populus Euphratica in Kashgar (2004), 2011 Girl in a Colorful Dress (2011), and Mountain Songs Are Lonely (2023). The research uncovers the intrinsic logic behind his sustained, phenomenon-level influence over two decades. The findings reveal that Dao Lang, through the mechanism of “juxtaposition–dialogue–reconstruction” in lyric imagery, has shifted from passive representation to active critique in his creative approach. This artistic strategy not only introduces an innovative paradigm for Chinese pop music composition but also offers an interdisciplinary methodological case for digital humanities research.