Yang Yinliu (1899~1984), whose courtesy name was Liangqing, nicknamed Erzhuang, and Qingru, was born in Liufangsheng Lane, Wuxi, on October 8th, the 25th year of the reign of Emperor Guangxu of the Qing Dynasty (1899). Father Yang Zhonglin.

In the autumn of 1916, after graduating from high school, Yang Yinliu was admitted to the Third Normal School of Jiangsu Province (now Wuxi Normal School). He graduated with honors at the age of 22 and was appointed as the fifth higher primary school in Shitangwan County. Chinese language teacher. One year later, he entered Wuxi Fu Jen Middle School to study English and mathematics. Graduated in 1923. In the same year, he entered Shanghai St. John's University and studied in the Department of Economics and the Department of Literature. While in school, he served as the president of the school's Chinese Music Association and often participated in concerts held by various universities.

Yang Yinliu has loved music since he was a child. Whenever Taoist priests perform rituals, he always listens to their performances. When he was seven or eight years old, he and his brother Yang Yinpu learned the flute, flute, sheng, huqin and other national instruments from Yingquan, a young Taoist priest of Sanqing Palace. Later, he learned pipa from A Bing, a Taoist priest of Lei Zun Palace. Unfortunately, his father did not like A Bing. A Bing only taught him for two and a half days. At the age of 12, he was introduced to Tianyun Society by his teacher Huang Xuchu and learned from Wu Wanqing. Tianyun Club is a famous folk music (Kunqu) group in the south of the Yangtze River. Its members are all celebrities in Wuxi music circles. Its president, Wu Wanqing, has profound flute, sanxian and pipa skills, and has devoted himself to the study of phonology. After Yang Yinliu joined the society, in addition to learning musical instruments, he also developed a strong interest in phonology, temperament, musical instrument structure, etc. He participated in the Chinese and Western music exchanges between Tianyun Society and the visiting American musician Henry Ahim in the Anglican Church. .

In the early years of the Republic of China, American Ms. Hao Louise came to Wuxi Anglican Church as a missionary. She had high musical accomplishment. Yang Yinliu learned English, piano and Western music theory from Hao Louise. In 1921, he also learned Western composition techniques such as harmony, counterpoint, and polyphony from her.

After the May 30th Massacre in 1925, Yang Yinliu was suppressed by the school because of his active participation in the anti-imperialist and patriotic movement. He left school angrily and studied in the Economics Department of the Chinese-run Guanghua University. In order to promote the demonstrations, he added the tune of "Jinling Nostalgia" to the lyrics of "Man Jiang Hong" by the national hero Yue Fei of the Song Dynasty to inspire people. This song has far-reaching influence and is still widely circulated across the country. He dropped out of school in February 1926 due to family poverty. After returning to his hometown, he successively taught at Fu Jen Middle School, Industrial and Commercial Middle School, County Junior High School, Rongshi Girls' School, Wuxi Art College, and Yixing Middle School. During this period, he served as the director of Wuxi Popular Education Center for a short period of time.

In 1929, Yang Yinliu was hired by the Christian Anglican Church to edit hymns in Nanjing and Hangzhou. In 1931, the United Christian Hymns Committee of the Six Churches was established, with Yang serving as member and director-general. In 1932, he went to Beijing to compile and revise hymns with Dr. Liu Tinglao of Yenching University, and co-edited the "Hymns and Sacred Music" column in the religious journal "Amethyst" and "Truth and Life". This work continued until 1941. The hymn collection "Praise to the World" edited and published by Yang won the Editorial Excellence Award at the International Bible Exhibition. The hymns contained in it are widely sung by believers at home and abroad.

During his stay in Beijing, Yang Yinliu attended composition, Western music history and music appreciation classes at the Music Department of Yenching University; and read a large number of professional books on music from Britain, France and other countries in the school library. .

In 1936, he served as a researcher at the Harvard-Yenching Institute, and at the same time taught Chinese music history at the Music Department of Yenching University. He returned to Wuxi for vacation in the summer of 1937, but was unable to go north due to the "July 7" Marco Polo Bridge Incident. In late August, he went to Nanjing to temporarily act as the general affairs director of the Central Machinery Factory. In December, he moved with the factory to Xiangtan and to Kunming in August of the following year.

In 1939, he worked in the Music and Education Committee of the Ministry of Education. Moved to Chongqing in 1940. In September 1941, he was appointed professor and director of the Chinese Music Group and Research Office of the National Conservatory of Music. While at the Chongqing National Conservatory of Music, he supported students' progressive activities and funded the Folk Song Society to publish Chinese folk songs. In 1947, when he was a professor at the National Conservatory of Music in Nanjing, the school wanted to expel progressive students on unfounded charges. Yang Zhengyi spoke out and openly opposed the reactionary measures of the school authorities.

After the victory of the Anti-Japanese War, the National Conservatory of Music moved to Nanjing, and Yang took up his original position and concurrently served as a professor at Jinling Women's University.

After the liberation of the country, he served as professor at the Central Conservatory of Music, researcher at the Research Department, deputy director and director of the Music Research Institute, consultant to the Chinese Academy of Arts, executive director of the Chinese Musicians Association, director of the National Music Committee, Member of the National Committee of the China Federation of Literary and Art Circles, member of the third, fourth, fifth and sixth sessions of the National Committee of the Chinese People's Political Consultative Conference.

He has visited Yunnan, Hebei, Guangxi, Jiangsu and other places many times to conduct in-depth investigations on ethnic folk music and collected many precious music materials. At the same time, a lot of research has been done on opera music and religious music.

Yang Yinliu has made outstanding achievements in studying the history of Chinese music. As early as 1925, he wrote the paper "Outline of the History of Chinese Music" in English. In 1981, he completed the "Manuscript of the History of Ancient Chinese Music", which cost 650,000 yuan and was published by People's Music Publishing House in 1951. This is the fruitful result of his comprehensive research on music history, national music, and phonology, making the history of Chinese music a music history with musical notation.

Through calculations and experiments, he has published monographs and papers on music and temperament, raising the research on temperament issues often encountered in the practice of Chinese national music and the history of music to a new level.

He has made considerable achievements and contributions to the excavation, rescue, collection, arrangement and research of my country's national music heritage, including folk music, opera music and religious music.

In addition to his masterpiece "History of Ancient Chinese Music", Yang Yinliu has published 27 works and nearly 100 papers throughout his life, occupying an important position in the ideological treasure house of Chinese national music scholarship.

Yang Yinliu rescued and organized the music of Abing, a blind man from Wuxi, and compiled it into "A Bing's Music Collection". His achievements in this regard are universally recognized.

He is very concerned about the music industry in his hometown. Every time he returns to Wuxi, he always gives guidance to the folk music group "Huaguang Chinese Orchestra" and takes the trouble to demonstrate; when he is interested, he even agrees to lead the performance. He can play a variety of musical instruments and is especially good at the bamboo flute. He was passed down directly from Wu Wanqing and has long been famous. When he plays, the high notes are crystal clear and the low notes are as thin as a hairspring, so he is known as "Yang Flute". He once arranged the grade of high-quality old mahogany pipa for a Wuxi musical instrument store, solved the problem of bamboo flute intonation and improved the quality of the instrument. And based on a large number of experimental results, a flute ruler was made, which can open flute holes according to the ruler.

During the "Cultural Revolution", Yang Yinliu was sent to the "May 7th" Cadre School in Huailai County, Hebei Province. In 1973, he suffered from sudden cerebral spasm and emphysema became increasingly serious. Yang Yinliu died in Beijing on February 25, 1984, at the age of 84.

Zha Fuxi: a modern qin player. He learned to play qin songs in his hometown when he was young. Later, he engaged in qin learning activities in Changsha, Suzhou, Shanghai and other places, and organized the modern Yu Qin Society. After the founding of the People's Republic of China, he served as vice chairman of the Chinese Musicians Association, director of the Department of Ethnic Instrumental Music at the Central Conservatory of Music, and president of the Beijing Guqin Research Association.

Liu Tianhua (1895-1932): a native of Jiangyin, Jiangsu. A great master of traditional Chinese music, he is an outstanding composer, performer and music educator of China's national musical instruments who is "good at both Chinese and Western music, both theoretically and artistically, and well versed in both".

Liu Tianhua’s father, Liu Baoshan, valued education and co-founded a primary school in his hometown.

Liu Tianhua was admitted to Changzhou Middle School in 1909. He participated in the school's military band in his spare time and learned to play the trumpet and military flute. During the Revolution of 1911, Liu Tianhua returned to Jiangyin to join the "Anti-Manchu Youth League" military band. In 1914, he taught music in Jiangyin and Changzhou middle schools. After his father passed away in 1915, he was unemployed and ill, so he still taught himself erhu. His debut erhu song "Yin in Sickness" was composed at this time. The next year, he was hired as a music teacher by Jiangsu Provincial No. 5 Middle School, and organized two bands, the Silk and Bamboo Club and the Military Band. During this period, he concentrated on learning Erhu from Jiangnan folk musician Zhou Shaomei and Chongming from Shen Zhaozhou. Send Pipa. He even used his summer vacation to travel to Henan to learn Guqin from experts. Along the way, he also visited folk artists and collected folk music from various places.

In 1921, Liu Tianhua went to Shanghai to join the "Enlightenment Drama Club" band and organized the "National Music Research Society" in Jiangyin. Since 1922, Liu Tianhua has served as a traditional Chinese music instructor at the Music Transmission Institute of Peking University and a Beijing Women's He is a professor of erhu, pipa and violin in the music department of Normal University and National Art College. His students include Cao Anhe, Wang Junyi, Han Quanhua, Xiao Boqing, Wu Bochao, etc. While teaching, he also studied violin with Russian professor Tonov, and at the same time studied Western music theory. In addition, he often invited street singers into his home to record the music scores they sang and played and paid them. He left two posthumous manuscripts, "Buddhist Music Score" and "Anci County Quarrel Club Music Score".

At the end of May 1932, while collecting gong and drum music at Tianqiao in Beijing, he unfortunately contracted scarlet fever and died on June 8.

[Edit this paragraph] Artistic achievements

Liu Tianhua studied violin and Western composition theory in addition to teaching, and absorbed Western music and performance techniques on the basis of national music. He has made outstanding achievements in composition and performance.

Liu Tianhua chose the erhu as a breakthrough in reforming traditional Chinese music. He drew on techniques such as the violin's large-scale vibrato bow and Western instrumental music creation techniques, and integrated the pipa's ring-finger pressing and the guqin's overtone performance. Established and applied multi-position playing methods. All these add depth to the artistic expression of the erhu from the music to the performance, thus turning this folk instrument that was not valued in ancient times into a modern professional solo instrument and becoming the protagonist and representative of Chinese folk music. Therefore, Liu Tianhua was He is regarded as the founder of the modern school of erhu performance.

Liu Tianhua composed ten erhu pieces: "Singing in Sickness", "Moonlight Night", "Song of Depression", "Elegy", "Birds in the Empty Mountain", "Singing in an Idle Residence", " "Good Night", "Bright Walk", "Du Xian Cao", "Candle Shadow Shakes Red" (when Liu Tianhua passed away, someone at the memorial meeting used the first characters of the titles of these ten famous erhu songs to form a picture that is easy to remember and quite interesting. An elegiac couplet with artistic conception: "A good month is painful and I am sick alone, and candlelight is a sad idle time"). Three pipa songs: "Song and Dance Introduction", "Kaimeng Cao" and "Xu Lai". A silk and bamboo ensemble piece "Variant New Water Order", compiled forty-seven erhu etudes, fifteen pipa etudes, and also compiled twelve traditional pipa pieces of the Chongming School, among which he adapted "Flying Flowers and Spotted Green" " was recorded by Gaoting Record Company in 1928 and has become a classic piece of Pipa music.

Except for "Singing in Sickness" which was composed and circulated in 1918, the other famous songs were taught in 1926 at the Music Transmission Institute of Peking University, Beijing Women's Higher Normal School and Beijing Art College. While teaching erhu and pipa at the university, and in August 1927, after the establishment of the "National Music Improvement Society" with the support of Cai Yuanpei, Xiao Youmei, Zhao Yuanren and others, he either created or revised the final version and then spread it widely. It is still the favorite of everyone today. A must-learn classic for Erhu learners.

Liu Tianhua was also the first to use modern notation to edit the Peking Opera music score "Mei Lanfang Song Score". In addition, he organized the "National Music Improvement Society" and edited and published the "Music Magazine". Other works that have had a huge impact on society include the unfinished "Buddhist Music Score", "Anci County Quarrel Club Music Score" and some writing and translation articles.

Preface to "Mei Lanfang Song Score"

Explanation of "Moon Night" and "New Year's Eve Sing"

Said at the farewell banquet of pianist Mr. Jiazhi A few words about the Chinese Opera Improvement Society

Mei Junwanhua, Qi Junrushan, etc., who will go to North America to introduce Chinese opera to other countries, asked them to compile this score . For several months, both Yu and Mei Jun were bound by their official duties and could not fully discuss it. They hastily composed these eighteen pieces. They were afraid of many errors and had to rush into printing due to the tight schedule.

The completion of this genealogy has attracted the attention of Mei and Qi, but I also have some disdain, which can be published here.

Chinese opera is a duet, so there is a saying of "listening to the opera", singing and having fun. However, singing alone is not a joy, even if you raise your hands or throw your feet, there will be music. Even the various expressions contain joy. Therefore, it is said that the foundation of Chinese drama is built on music. Yu Yu is a layman in drama studies, but now I talk about music.

Music has a score, just like language has words. The reason why moral scholarship can be spread for a long time is due to writing.

Our country’s music originated from Xi Nong, flourished in Youzhou, and flourished in Tang and Song Dynasties. Its origin is not far away. However, the joy of sacrifice farmers cannot be heard, and the joy of the Tang and Song Dynasties is also insignificant and meaningless. What's more, the method of notating music is incomplete. Our country's ancient music is not without scores. However, such as the score of "Youlan" in the scroll version of the Tang Dynasty, the score of twelve poems in Zhu Zi's Yili Jingchuan, and the score of Jiang Baishi's lyrics, etc., some only have rhymes or only simplified characters, and the scores are not enough to be comprehensive. Music is a waste of archaeologists' work and does not add to the facts. Although the records of Qin music, Kunqu music, etc. published in modern times are relatively detailed, they still have many shortcomings. It is impossible to spread them for a long time. Gai Le can be divided into high and low, light and heavy, melodious, fast and slow. Only if the score can analyze the subtle details and hit the right details can it be complete, but the old scores cannot. Nowadays, national music is on the verge of extinction, and national drama is also in danger. Although the reasons are different, the lack of a complete score is actually its fatal flaw. If the method of notation had been prepared in the past, then the music of Tang and Yu could still be heard today, and how could "Guangling San" have ceased to be famous? Yi Pihuang said that today, if Xi Xusheng is born, he will not be called Zongtan, but Zongwang. However, those who are absolutely like Tan Wang will not get one in a hundred. Even if they happen to happen occasionally, they will not be recognized by Tan Wang among their colleagues. Why, there is no evidence for this. When Tan Wang was born, he did his best to compose it. How come today, people who worship from afar by the door and wall can’t grasp the key points.

And if a person devotes his whole life to studying an art, it is not certain whether he will be creative or not. It would be better not to be miserable if it existed and the person who created it died. Xi Mi Xizi, Zhang Erkui, Cheng Changgeng, Yu Sansheng, etc., created many works in their lifetimes, and over the years they have come to realize that they will die with their bones. This is a great loss to the art world.

There are three ways to learn music, namely listening with ears, seeing with eyes, and transmitting through words. Although the three complement each other, one of them is indispensable. However, difficulty in remembering Yi Zhi is the disadvantage of hearing, and ambiguity and distortion are the disadvantages of speech, but sight is the most true. Therefore, European and Western composers, who have no room for work, can compose a piece of music on a piece of paper, and the music circles of various countries can produce its wonderful sound. In the two fields of music and drama in our country, there are still blind educators who practice listening and dictating. It is not difficult to talk about progress.

This is why in the two fields of theater and music in our country today, if we want to make progress, we must start with a complete musical score. It is also important to develop the ability of actors and musicians to read and notate music. We should know that in the future academic circles, everything must be scientific and precise in order to gain a foothold. If Yunxi plays randomly and just plays randomly, then the future of the two realms of drama and music will be bleak to the end.

This small booklet is made of a rudimentary method, and the notation method used is certainly not complete. Just as we are in this world, this is our true intention. Now that Mu Tao has invested, I hope that the Fang family in the musical and drama circles will not hesitate to give Qiong Yao a gift.

[Edit this paragraph] Chronology of Mr. Liu Tianhua

1895: Born on February 4 in Jiangyin County, Jiangsu Province.

1909-1911 (14-16 years old): When studying at Changzhou Middle School, he participated in the school's military band and learned to play the bugle and military flute.

1911: During the Revolution of 1911, after the school was closed, he returned to join the military band of the Youth League and played the bugle. From this point on musical work began.

1912-1914 (17-19 years old): went to Shanghai to join the Huxi Kaiming Drama Club and worked in the band. During this period, students learned all kinds of Western musical instruments, including orchestral instruments, pianos, etc., especially brass instruments, and many of them went on to further studies.

1914: The drama club was disbanded and he returned to teach at Huashu Huacheng Primary School.

1915 (20 years old): I lost my father in the spring of that year, fell into poverty, became unemployed, and was in a bad mood. I occasionally went to the market to buy an erhu, which I played every day, and then came up with the first draft of the melody of "Singing in Sickness" , expressing his frustration and inner ambition at the time. Qiu taught at his alma mater in Changzhou and established a military band and silk and bamboo ensemble for his alma mater.

1916 (21 years old): Married Ms. Yin Shangzhen.

1917 (22 years old): Learned pipa and erhu from Mr. Zhou Shaomei.

1918 (23 years old): Xia, learned pipa from Mr. Shen Zhaozhou. Around this year, he began to compose the first drafts of songs such as "Singing in Sickness", "Moonlight Night", and "Birds on the Empty Mountain".

1920 (25 years old): In the summer, I went to Henan to study guqin. I contracted ringworm and scabies and returned home.

1921 (26 years old): Organized a summer Chinese music research meeting in Jiangyin and taught songs such as "Singing in Sickness", "Moonlight Night", and "Birds in the Empty Mountain".

1922 (27 years old): Go to Beijing and teach at the Music Transmission Institute of Peking University. In the autumn of the same year, he teaches at the Music Department of the Women's Normal School. At the same time, he learned the three-stringed opera.

1923 (28 years old): Learned violin from Tonov.

1924 (29 years old): "Moonlight Night" was finalized.

1926 (31 years old): In addition to being a female teacher at Peking University, he also taught at the Art College. Composed "Song of Depression". Learn Kun Opera.

1927 (32 years old): Learned theoretical composition from a foreign professor at the Music Department of Yanjing University in Beijing. Intonov went to Tianjin and studied with Europa. In June, Europa left Beijing and stopped. Founded the Chinese Music Improvement Society and edited the "Music Magazine". Composed "Song and Dance Introduction", "Improvement Exercises" and "Elegy".

1928 (33 years old): Composed "Big Eve Sing" and "Hymn of a Leisurely Residence", and published the final version of "Birds in the Empty Mountain".

1929 (34 years old): Created "Xu Lai".

1930 (35 years old): In March, he continued to study with Tonov until he fell ill. Dictate a volume of "Mei Lanfang's Song Score".

1931 (36 years old): Recorded the erhu songs "Yin in Sickness" and "Birds on the Empty Mountain" at Gaoting Company, and the pipa songs "Song and Dance Yin" and "Flying Flowers and Spots Green".

1932 (37 years old): Composed Duxian Cao and Candle Shadow Shaking Red. On June 1, he went to Tianqiao to collect gong and drum music and contracted scarlet fever. He was ill for only one week and died at 5:20 am on June 8. He died at the age of 37 (the age of 38 is recorded elsewhere, which is calculated based on imaginary years).