According to Yuan Shi? Biography records that in A.D. 160 1 year, Italian missionary Matteo Ricci presented an ancient piano when he visited the Ming emperor in Beijing. According to the General Examination of Continued Documents revised by Ji Yun and officially revised in the year of Qingganlong 12 (A.D. 1747) (No.65438), its piano is three feet long, five feet wide and contains 72 middle strings, which are made of gold, silver or iron chains. Each string has a column, the end of which is connected to the outside, and the end of the drum corresponds to itself. "As soon as this clavichord entered the palace, it attracted the interest of the emperor, so he ordered four eunuchs to learn playing methods from Pang Di, a Spanish missionary who came with Matteo Ricci. After a period of study, four eunuchs learned a piece of China music named "Western Qin Quyi", and it was accompanied by a compliment, which greatly pleased the emperor. These four eunuchs can be said to be the earliest clavichord students in China, while Pontio is the earliest foreign clavichord teacher in China. ? In the Qing Dynasty, Emperor Kangxi was not only one of the few emperors in the history of China who were interested in western science, technology and culture, but also hired Xu Risheng, a Portuguese missionary who was proficient in music, to teach or play the classical piano in the palace. He also personally studied western music theory and classical piano. It is said that he can play the Chinese guqin "Puan Mantra" on the clavichord, which shows that he has considerable playing skills. Some people even painted the scene of Emperor Kangxi learning to pluck the clavichord, which was circulated in the palace. ? In the middle of Qing Dynasty, with the promotion and spread of foreign missionaries, western piano art became popular in the upper class of China. Early missionaries tried to use the piano as a carrier, hoping to open the door to China's music art, but the piano, a keyboard instrument based on the principle of multi-part music thinking, contradicted China's traditional linear thinking and musical aesthetic concept of monophonic system. Therefore, this kind of communication can only be a fruitless "secret love" at that time. It is this initial spread from the practice of piano education in China that enlightened China's thinking concept of piano education on a small scale. With a series of political events, such as the Opium War and the Reform and Reform in the late Qing Dynasty, China's feudal thoughts were forcibly changed, which promoted the reform of the education system at that time and the development of piano education in China. ? The real social status of the piano in China was realized in the "Learning Music" movement in the early 20th century. The "School Music Song" is an unprecedented music trend in the history of China music, with the school as the center and its influence extending to the whole society. Piano, as an ideal accompaniment instrument, took root and sprouted on the ancient land of China with the wings of "school songs". ? Since then, many music societies have been established in Beijing and Shanghai, most of which have piano teaching. On this basis, some colleges and universities have also set up more systematic and standardized piano teaching. Such as "Tianjin Chinese and Western Girls' Middle School", "Beijing Xishiku Conservatory of Music" and "Music Department of Beijing Institute of Art", these new educational institutions all offer piano courses. These missionary schools and new schools actively carry out piano teaching activities, and their teaching methods and contents are completely transplanted from the West, which constitutes the earliest piano teaching experience in China. ? Piano teaching activities in this period, as an important course of music education, have been paid attention to and played a role in the music education practice of "school music songs". At this stage, the piano teachers were mainly foreign missionaries, and some Chinese and foreign teachers who returned from studying abroad also actively participated in early piano teaching activities. They introduced a series of basic piano courses from Europe and America to China, which made important contributions to the early spread of piano instruments in China. ? Spring dance Lang Lang? -? Dragon? song

02

China piano figure?

Piano figures in China's early music scene, except Xiao He and Yang Zhongzi, who made outstanding contributions to piano education and piano culture, were mainly piano majors in some domestic art colleges. Most of them graduated from the Music Department of Shanghai Conservatory of Music or other colleges in their early years, which had a certain influence on the society at that time and made outstanding contributions to the piano education later. ? Xiao (1884 ~ 1940), a native of Xiangshan county, Guangdong province (now Zhongshan county), studied in Japan in 190 1 year, and studied in the middle school affiliated to Tokyo Normal University, Tokyo Conservatory of Music and the philosophy department of Tokyo Imperial University successively, studying pedagogy, piano and vocal music. 19 10 returned to China, 19 12 went to Germany to study, studied at Leipzig University and Leipzig Conservatory of Music successively, and 19 16 received a doctorate in philosophy from Leipzig University. /kloc-returned to China in 0/920, and together with Yang Zhongzi and others, he founded the music and physical education major course of Beijing Women's Normal University as the course director; After music and physical education, he served as the head of the music department. The following year, at the invitation of Cai Yuanpei, president of Peking University, he was hired as a lecturer in Peking University and served as a tutor of the Peking University Music Research Association. 1922, at his suggestion, Peking University Music Institute was changed to Music Communication Institute, and he served as academic director. 1923 concurrently serves as the director of the music department of Beijing Institute of Ethnic Arts. 1927, Peking University Conservatory of Music, Music Department of Beijing Women's Normal University, Beijing Institute of National Arts closed. He went to Beijing and Shanghai, and with the support of Cai Yuanpei, he established the Shanghai National Conservatory of Music, and successively served as professor, academic director and acting dean. 1929, the Conservatory of Music was reorganized into the National Conservatory of Music, and he served as the principal until his death. Xiao devoted all his life to the development of music education in China, from Peking University Conservatory of Music, Beijing Women's Normal University, and the Music Department of Beijing Institute of Arts for Nationalities to Shanghai Conservatory of Music. In addition to running a school, he is also directly involved in teaching and performing activities (as a band conductor, etc.). ), writing textbooks, publishing papers, and creating many musical works. Among them, the theoretical works related to piano education include organ teaching materials and piano teaching materials. ? Yang Zhongzi (1885 ~ 1962) was born in Nanjing, Jiangsu. 190 1 He was admitted to Nanjing Jiangnan Gezhi Academy, graduated three years later, studied in France, entered the Faculty of Science of the University of Gonde, France, and taught himself music theory and piano. 19 10 graduated with the certificate of chemical engineer from the Faculty of Science of schloss University. In the same year, he was admitted to the Geneva Conservatory of Music, majoring in piano and music theory. 19 18 returned to China to engage in art education in Peking University; From 65438 to 0920, he taught music and physical education at Beijing Women's Normal University, and served as a professor at Peking University University of Arts and Sciences and Beijing Women's College of Arts and Sciences successively. 65438-0932 Dean of Beiping Art Institute and Director of Music Education Committee of Ministry of Education. 1938 Up to now, he has served as a professor at the National Teachers College, the president of the National Conservatory of Music, and the director of the Music Education Committee of the Ministry of Education in Chongqing. Yang Zhongzi has many piano students. Besides piano education, he often participates in performances by himself. The figures who were active in the early piano music stage in China were Huiru Xie,,, Xu,. Chu Zhenhua, Tang, Ouyang Ai, Wu Bochao and Liu Yishun of Peking University Conservatory of Music; Li Huinian, Xiao, Yue from Beijing Institute of Ethnic Arts; In addition to the aforementioned Li, Ding Shande, He, Li Huifang, Zhang Juanwei, Pan Meibo, Wu Furong, etc., there are piano majors from Shanghai Conservatory of Music. ? Some early pianists in China went abroad for further study after graduation, such as Li, Ding Shande, Saharohua and later Wu. Some of them continue to study in China after graduation; Some later became piano players or piano educators, such as Zhang Juanwei, Fan Jisen and Yang Tilie. Others study theory or compose music, such as Jiang Dingxian and Wu Bochao. But at that time, their playing activities played a very important role in promoting piano education. ? 17? Adapted from 1 lang lang? -? Return? film soundtrack

03

China Piano Music History?

Piano music has a history of more than 300 years in Europe. Although the phenomenon of piano art has a long history in China, the piano art in the strict sense is only 80 years old. The study of China's piano music has only been paid attention to in recent years. Looking back on China's contemporary piano music, we will be pleasantly surprised to find that piano music has made unprecedented development in China's music creation, even breaking through the creative forms of European classicism, romanticism and impressionism, absorbing the creative techniques of national music, adopting traditional folk music materials, and enriching the expression forms of piano music. After decades and generations of thinking and discussion, the division of piano music in China has reached a consensus. According to the maturity, creative techniques, style and temperament characteristics of China's piano music works, it can be roughly divided into three stages: germination, maturity and prosperity. Of course, the purpose of this division is to facilitate the study of the development of China's piano music, and it does not rule out the debate on the difference of starting and ending time. ? (1) Embryonic period? The representative figure of this period is Zhao Yuanren, who composed the organ music "Miscellaneous Disks and Xiangjiang Waves" according to folk music tunes in 19 13, and performed it in the organ concert of Cornell University in May14, which indicates the enlightenment of China's keyboard music creation. Zhao Yuanren composed the piano music March for Peace. This piece is a piano sketch with a comprehensive westernized style, with distinctive musical image, vitality and rigorous structure. This imitation of European traditional techniques is very valuable in early music creation. At the same time, it can be seen that the integration of western culture was obvious in the early 20th century. Subsequently, Xiao Yu 1923' s piano piece "New Dress Feather Dance" is a large-scale professional piano work. , The River Gone for Never, The Three Wishes for Roses, Xiao Wen, Selling Cloth Ballads, etc., are all guided by European composition techniques, creating melodies with national tones and seeking harmony with national characteristics. ? (2) maturity? China's piano music made great progress in 1930s. 1934, he luting composed the piano music "the shepherd boy piccolo" with Chinese style, which marked that China piano music entered a new historical period. This is a three-step music structure with a title. He combined European comparative polyphony technology with China folk polyphony factors, and described the rural scenery of China in 1930s, with strong China characteristics, which was recognized as the starting point of the maturity of China piano music. During this period, China's piano music had an unprecedented development in quality and quantity, and the composer's creative techniques also sought a new technique suitable for China's piano music creation from the simple imitation of neoclassicism and impressionism. Representative works include Qu Wei's Flower Drum, Qiu Zhicheng's Joy of the Shepherd, Ding Shande's Spring Tour, Sang Tong's In that Far Away Place, Jiang Dingxian's Lullaby, etc. Among them, Flower Drum is a masterpiece of piano music that describes people's new life in the 1940s. Its music structure is rigorous, its tunes are fluent, its life atmosphere is strong, and it has a distinctive folk music style. In that faraway place is by far the earliest atonal modern piano music in China. Sixteen broken chapters and five short pieces won prizes in the 4th Venice International Composers Competition, which is the first time that China's piano music works won prizes internationally. ? (3) prosperous times? After the founding of New China, the state attached great importance to music education, which also made piano music creation take root. Under the guidance of Chairman Mao's musical policy of "making the past serve the present and making foreign things serve China", it has become the exploration direction of composers and pianists to express the style and characteristics of the Chinese nation with western musical instruments. A group of young composers and performers have grown up rapidly, and the older generation of composers have also shown great creative enthusiasm. In the first ten years of the founding of New China, he created many unprecedented new works, such as Ma Sicong's Three Dances, Jiang's Song of the Fisherman, Chen Peixun's selling groceries and Variations on the Theme of Butterfly Dancing, Du Mingxin's Etudes, Wang's Blue Flowers and Sonata, and Five Yunnan Folk Songs and Variations. Jiang's temple fair, Shi Fu's Tajik dance, etc. In their piano music creation, composers in this period mostly quoted ready-made folk tunes, with simple texture and changeable rhythm. By means of counterpoint, contrast and polyphony imitation, they changed traditional folk songs to give them new artistic vitality, which is the basic embodiment of piano music creation in China. ?