Du Li ‘独立’—Relocating the Notion of Independence in Popular Music to Mainland China: Process of Cultural and Conceptual Translation in Popular Music

Duan, Changbo (2025) Du Li ‘独立’—Relocating the Notion of Independence in Popular Music to Mainland China: Process of Cultural and Conceptual Translation in Popular Music PhD thesis, University of Liverpool.

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Abstract

This thesis examines the cultural and conceptual translation process in popular music. It focuses on how the notions of 'independent' and 'indie' have been translated and transformed into 'Du Li', a Chinese expression similar to its Western origin but has acquired more nuance. After decades of translation, readaptation, and reconstruction, Du Li has become a highly 'slippery' and subjective concept that differentiates itself from Western popular music practices. By combining international and domestic repertoires, musicians make their own version of Du Li, constantly being negotiated by external factors. Tensions and conflicts exist amongst music makers’ industrial, musical and everyday lifestyle practices. Six types of Du Li that are central to music maker’s values and beliefs have been identified to illustrate the value and significance that Du Li possess in the Chinese popular music context. By examining Du Li in the contexts of industry, music and lifestyle, we see its value for music makers in the Chinese society. The methodology applied in this research has been generated from music industry studies and popular music studies. The research uses the qualitative strategies of participant observations and semi-structured interviews. This thesis examines Du Li as a phenomenon largely associated with Tier-1 and Tier-2 cities (such as Shanghai, Guangzhou, Wuhan and Chengdu), to identify current understanding of Du Li based on music makers’ perspectives. 49 interviews and 28 observations were conducted. These music makers all associated with the notion of Du Li. Observations like talent show recording sessions also provide new perspectives of how Du Li is understood in the Chinese popular music context. My data shows that Du Li has become a significant cultural phenomenon for music makers who live in mainland China. An embedded confusion exists within the translation process of Du Li, which makes it a difficult concept for music makers to comprehend fully. Yet, music makers still find Du Li to be a significant concept to guides their musical and industrial practices. Where the Big Players in the Chinese music industry are reproducing Du Li as a symbolic product, music makers of the grassroots level inevitably need to negotiate their vision of Du Li. Therefore, six types of Du Li are generated: Du Li as entrepreneurship, Du Li as management of cooperation, Du Li as aesthetic preferences in creativity, Du Li as unrestricted creativity, Du Li as critical thinking in creative decision and Du Li as symbolic products. All of these incarnations are common in the Chinese popular music context, and they are vital to the music making experiences in mainland China, heavily influenced by the waves of commercialisation and digitisation in music, as well as the rapid change of the Chinese society.

Item Type:	Thesis (PhD)
Uncontrolled Keywords:	popular music, independent/indie music, Du Li, Chinese popular music study, Music Industry, Scene
Divisions:	Faculty of Humanities & Social Sciences Faculty of Humanities & Social Sciences > School of the Arts
Depositing User:	Symplectic Admin
Date Deposited:	15 Aug 2025 07:43
Last Modified:	15 Aug 2025 07:43
DOI:	10.17638/03193199
Supervisors:	Jones, Michael Cohen, sara
URI:	https://livrepository.liverpool.ac.uk/id/eprint/3193199
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