The development of China's modern singing art began in the early 20th century, which is the product of the first collision between China's ancient traditional art and western music art.
First, the initial stage of China singing art
1. China modern singing.
The appearance of school music songs has brought singing lessons into the classroom. Therefore, this new education system began to spread throughout the country. Its main representatives are Shen Xingong (1903), Ceng Zhimin (1907) and Li Shutong (19 10) who returned from abroad and taught music in middle schools. They teach students to sing with foreign tunes and China lyrics reflecting new ideas. Their singing method adopts natural vocalization, and there is not much demand for voice skills. Shen Xingong's "Yellow River" and Li Shutong's "Spring Tour" marked the real beginning of China's modern music creation, which laid the foundation for future singing art creation.
The spread of foreign religious music in China occupies an important channel. Generally, as long as there is a church, there will be a church school and a choir necessary for religious activities. The members of the choir are mostly composed of members who sing some hymns and oratorios. But the teachers who teach singing are not necessarily professional teachers, so most of them are simple children's songs or interesting songs. This can be regarded as the forerunner of modern singing art in China.
The representative works of school music songs in this period mainly include: Shen Xingong's beginning of life aspires high, Ceng Zhimin's training, the Yangtze River, Li Shutong's farewell to the motherland and so on.
China's Singing Art in the 1920s
From 1920, Ms. Zhou Shuan returned from the United States, and first set up a singing class in Guangdong Women's Normal School, which may be the earliest bel canto education class in China. At the same time, Mr. Xiao, the founder of professional music education in China, returned to China on 1920, and with the support of Cai Yuanpei, president of Peking University, started music education activities. Since then, the spread of western singing represented by Bel Canto in China has contributed to the establishment of the earliest professional music education institution in China. For example, the Music Department of Beijing Women's Normal University (1920), Shanghai Normal University (1920), Peking University Conservatory of Music (1922), Beijing Art Institute (1926), especially Shanghai Conservatory of Music (/kloc-0). The main representative figures and singing works are: Xiao's Question, Patriotic Song in Memory of the May 4th Movement, Teach me how not to think about him, and Bought Cloth Ballad.
In addition, since the Opium War, under the influence of the collision and integration of eastern and western cultures and the May 4th New Culture Movement, children's musicals in Li Jinhui came into being. The works represented by Sparrows and Children, Angel of the Vineyard and Moonlit Night are healthy in content, beautiful in tune, vivid in image, vivid and novel, and touching in story. In the popularization of music education, they are not only welcomed by primary and secondary school students, but also bring great influence to the whole society and promote the development of singing art.
Second, the development stage of China's singing art
1.30 China's singing art in the 1940s.
193 1 year "9? The 18th Incident shocked the whole country, and patriots from all walks of life expressed their strong patriotic enthusiasm in different ways. Therefore, in the anti-imperialist and anti-feudal revolutionary movement and the climax of patriotism and anti-Japanese, China's singing activities were injected with vitality, and after the introduction of European traditional singing methods, new song types and styles characterized by singing and writing songs were formed, and a large number of singing activities were carried out to save the nation from peril, including teaching, writing and performance in Yan 'an Lu Yi and Northeast Lu Yi, as well as the progressive art activities of the Shanghai Left Alliance. They all liberated singing from the academy, combined with the masses, integrated singing activities with the fate of the motherland and the voice of the people, trained many talents, and produced excellent works, which made the music of modern China prosper for the first time and marked the first climax of China's singing art.
In 1930s and 1940s, with the development of professional music education and music creation in China, a number of outstanding composers emerged. In particular, the establishment and development of Shanghai National Conservatory of Music has provided many conditions for the creation and dissemination of modern art songs in China. The creation of artistic songs in this period was improved in quantity, quality, material selection and content depth compared with that in the 1920s, and the national style was actively explored in the creation, reflecting distinct personality. At the critical moment of national survival, they constantly created many excellent anti-Japanese and national salvation songs, and under the influence of the left-wing music movement, they gained the successful experience of mass song creation and mass singing, which had a far-reaching impact on the construction of music culture in China in the future. His main representative figures and singing works include: Three Wishes for Roses by Fu Denglou, Spring Thoughts by Fu Denglou, I Live at the Head of the Yangtze River, River of No Return by Jiang, Fishing by Nie Er's March of the Volunteers, and On Taihang Mountain by Xian Xinghai, etc.
With the influence of frequent visits to China by foreign musicians, professional performances have gradually increased, and the form of solo concerts has also begun to take root in China. A group of talented singers from China went to the United States and European countries to study singing, and returned to China to engage in bel canto teaching, forming the first batch of influential singers and educators in China, such as Zhou Shuan, Ying Shangneng, Zhou Xiaoyan, Yu, Lang,.
In addition, the development of "Yangko Opera Movement" and the vigorous rise and rapid development of "Yangko Opera" in this period have made good preparation and accumulation for the emergence of new opera art in China. The birth of the opera White-haired Girl is a milestone in the history of China's opera creation. It is the first inheritance and reference of Chinese and Western music, which has deeply influenced the development of China's national singing.
China's Singing Art in 1950s and 1960s
After the founding of New China, professional singing education has made great progress. Under the guidance of the policy of making the past serve the present, making foreign things serve China, letting a hundred flowers blossom and bringing forth the new, the "dispute between the land and the ocean" in the 1950s played a positive role. In the early 1960s, the state adopted new measures: on the basis of European traditional singing and China traditional singing, the two schools were separated, and it was advocated that one hand extended to the tradition and the other to the west, and under the general goal of revolutionization, nationalization, popularization and the establishment of Chinese singing school, all roads lead to the same goal.
Singing teaching represented by the Central Conservatory of Music and Shanghai Conservatory of Music, as well as singing teaching in local music art normal colleges, is more standardized and the teaching level is also significantly improved. With high political enthusiasm and novel creative techniques, Song writers in this period quickly and powerfully demonstrated the jubilant era of the birth of New China and the new life of the people after the founding of New China. In this way, with the support, excavation, arrangement and inheritance of organized and planned operas and folk songs, the establishment of the scale of singing education in colleges and universities, and the healthy and rapid development of singing art with national style and local style under the policy of letting a hundred flowers blossom, China's singing art has entered the second peak.
In the early days of the People's Republic of China, foreign singing experts came to China to teach, which also contributed to the development of singing art in China. At the same time, the country began to send outstanding domestic singers abroad for further study. Therefore, the influential singers and educators in this period mainly include: Zhang Quan, Guo Shuzhen, Li Guangxi, Shi Honge and Wen Kezheng.
The main representative figures and their singing works in this period include Qu Xixian's Listening to Mom's Past, The Visitor on the Iceberg, Five Golden Flowers, Liu Chi's My Motherland, Ode to Heroes, Let's Paddle, Li's Two Hours, Let's Walk on the Road, and Ma, Walk Slowly.
3. China's singing art during the Cultural Revolution.
The "Cultural Revolution" (1966-1976) was a special period in the history of China, and it was a decade of cultural autocracy. The development of national music is seriously hindered, so is the art of singing. However, the development of Peking Opera mode has played a certain role in the development of China's singing art.
Third, the unprecedented prosperity of China's singing art.
1976 since the end of the "cultural revolution", especially since the 1978 reform and opening up, international music exchanges have become more frequent. Excellent singers and groups from all over the world have come to China to perform and communicate, and the number of people studying singing abroad has doubled. China people's ability to sing European classical songs and operas and their teaching ability in this field have made a qualitative leap, reaching the international level. The rapid popularization, development and nationalization of commercial pop music have been warmly welcomed by young and middle-aged people as the main audience, which indicates that the development of China singing art has reached the climax of the third unprecedented prosperity.
During this period, China's famous singers and educators began to serve as judges of international competitions, and some famous young singers and outstanding students also won awards frequently in the world, which made today's Chinese and western music present his second collision. With the unprecedented activity in ideological and cultural fields, China's song creation has entered an unprecedented period of prosperity.
1.China's singing art in 1970s.
Lyric songs became popular during this period. Its main representative figures and singing works include: A toast by Shi Guangnan, Grapes Ripe in Turpan, Mourning for the Past, Singing with the tambourine, Spring in the Frontier by Wang Ming, and I Love You, China by Zheng Qiufeng. The famous singers in this period were Liu Bingyi, Li Guyi, Li Shuangjiang, Luo Tianchan, Ye Peiying and Zhu Fengbo.
2. Singing art in China after the reform and opening up.
Since the reform and opening up, China's singing career has achieved unprecedented prosperity and development, and a large number of singers, educators and young singers have emerged, which has made a good accumulation for the further improvement and development of China's singing career. Such as singer, singing educator Zhou Xiaoyan and Shen Xiang. Young singers Di Ribar, Wu Bixia and Liao Changyong.
After bringing order out of chaos and emancipating the mind, since the 1980s, song creation has gradually entered a harvest period of song creation in the new period. The songs of this period are characterized by paying attention to the fate of ordinary people, expressing public feelings and expressing the spirit of the times. They strive to adapt to the growing aesthetic needs of the broad masses of the people and pay more attention to the pursuit of distinctive national styles. Its main representative figures and singing works are: Shi Guangnan's On the Field of Hope, Tieyuan's Where Peach Blossoms Bloom, Elvis Presley's Tears of Sister Looking for Brother, Gu Jianfen's That's Me, Zhang Zhuoya's My Way, Wang Zujie's Grass, Lu Zaiyi's Motherland and Wang Liping's Kind Mother.
The development of China's singing in the last hundred years always shows the destiny, emotion and real life demand of modern China people for singing art. We should always feel the deep notch of the times, politics and history in the art of singing.
Here, looking back on the past and looking forward to the future, I hope that China's singing art will be richer and more prosperous.