The formation period

The period before 1921 was the formation period of Guangdong music. It was first formed in the late Qing Dynasty and the beginning of the Republic of China (the beginning of the 20th century). It developed rapidly and soon became popular all over the country and in Hong Kong. It is also very popular in places where overseas Chinese live together in Australia, Australia and Southeast Asian countries. At the end of the Qing Dynasty, many "cut scenes" were popular in Guangzhou and the Pearl River Delta - "also known as Baozi, that is, when the silk string band has no singing, the music score of each string is also called" and "minor score", Guangdong music is Developed on the basis of these folk music. The instruments used during this period include two-stringed instruments, fiddles (non-Western violins, Chinese instruments with the same shape as banhu, which appeared around the Ming Dynasty), three-stringed instruments, yueqin, and flutes (or flutes), commonly known as "five-stringed instruments." Also known as "hard bow". In the early music, the notes were scattered and the rhythm lacked changes. In the long-term development, it gradually formed new characteristics. A variety of decorative sound patterns were added to the progression of the tune, called "flowers". The tone was crisp and bright, and the melody was smooth and beautiful. , the rhythm is lively and cheerful. The music of this period was a collective creation circulated among the people. Yan Gongshang appeared in the early 20th century and was a representative figure of Guangdong music. Representative repertoire of this period include "Thunder in the Dry Sky", "Linked Buttons", "Inverted Curtain", "Three Ponds Mirroring the Moon", "Hungry Horse Rattles the Bell", "Little Taohong", "Autumn Moon in the Han Palace", "Double Voices of Hate", "Rain Beats the Plantains", etc.

The prosperous period

The 1920s to the 1930s was the prosperous period of Guangdong music, with the emergence of professional composers and performers such as Lu Wencheng, He Liutang, Yi Jianquan, and Yin Zizhong. At home, the original "hard bow" band also developed into a "soft bow". Since the 1950s, Guangdong music has continued to develop. Around 1926, influenced by the silk and bamboo from the south of the Yangtze River, Lu Wencheng introduced the erhu to Hong Kong and Macao, switched to steel strings, and moved the strings higher to become the Cantonese hu (also known as Gaohu) with crisp and bright pronunciation. Yangqin and Qinqin are added, and Gaohu is used as the main instrument, which is called "three-piece head", also known as "soft bow". Later, on the basis of the "three-piece", silk and bamboo instruments such as dongxiao, flute, and coconut coco were added, and the band expanded. It was not until around 1930 that the band was finalized. Representative songs include He Liutang's "Dragon Race to Win the Gold", "Birds Alarmed", "Drunkard Man Fishing for the Moon", "Seven Stars Accompanying the Moon"; Lu Wencheng's "Backgammon", "Pinghu Autumn Moon", "Awakening Lion", "Qishan Mountain" "Phoenix", "Jiao Shi Ming Qin"; Yin Zizhong's "Heroes of Huazhou" and Yi Jianquan's "Birds Throwing into the Forest", etc.

Trough

During the Anti-Japanese War, Guangdong music once reached a trough, and some vulgar works appeared, such as "Sweet Sister" by He Dasha, "Whispers" by He Yunian, etc. .

Restoration of development

Since the 1950s, Guangdong music has developed greatly. Music workers have collected and organized Guangdong music, and analyzed the harmony and harmony of Guangdong music. He carried out research and reforms in orchestration and other aspects, published a lot of music scores, and composed and performed a large number of excellent pieces, such as "Spring Horse Trial in the Suburbs" by Chen Deju, "Spring Comes to the Fields" by Lin Yun, and "Fish Swimming in the Spring Water" by Liu Tianyi and "Spring Morning in the Mountain Country" by Qiao Fei.