The influence of regional culture on national music/Periodical.Articles/anysfxyxb/2005/04/anysfxyxb200504061.html
The development history of Chinese national music
Ancient times, slaves Early Society
China is a country with ancient civilization and its music culture has a very long history. From about 50,000 years ago to 5,000 or 6,000 years ago. Years ago during the Neolithic Age, our ancestors created simple musical instruments, music and dance. Bone whistles and pottery xuns belonging to this period were unearthed from Jingcun in Wanquan, Shanxi (now part of Wanrong County) and Hemudu site in Yuyao, Zhejiang. Some of them can play simple melodies composed of two or three tones. There are also drums, Chimes and other percussion instruments and wind instruments.
The original music is a representation of human labor life and is directly produced from labor. Music in primitive times was often combined with poetry and dance.
Primitive music, singing and dancing are so closely related to working life, and its social function is also obvious. However, as society continues to develop and social production relations become increasingly complex, the content and role of music and art have also expanded, and it is widely used in various aspects of social life such as physical exercise, expressing emotions, worshiping gods and praying for good luck, as well as entertainment, courtship and other aspects of social life; The element of beauty has increased, and the forms of music have become richer and more diverse. Since then, music has been an independent art form, and as one of the social ideologies, it has continued to develop with the evolution of society.
Primitive society began to collapse by the time of Xia Yu, slave society gradually formed, class distinctions emerged in society, and music and art gradually injected class consciousness. For example, the representative music and dance of the Xia Dynasty, "Mansion", directly praises the rulers of the Fa Dynasty themselves. It is very different from the past when totemic ancestors were sung. Legend has it that "The Mansion" praises Xia Yu for his merits in controlling floods. The class differentiation of music is also reflected in the use of musical instruments. The slave society created valuable musical instruments such as chimes and chimes, which is a manifestation of musical progress. However, this type of musical instrument can only be the exclusive property of the aristocratic ruling class from the beginning. Not to mention slaves, it is impossible for ordinary tribesmen to prepare and use it. At most, they can only play relatively simple instruments such as xun. The ancients often referred to aristocratic families as "houses with bells and dishes", which is a true portrayal of this.
Western Zhou Dynasty
The Western Zhou Dynasty was the period when the slave system reached its peak. Based on various regulations and systems of the Yin and Shang Dynasties, it formulated a set of ritual and music systems to maintain and consolidate feudal rule. The rulers of the Western Zhou Dynasty paid special attention to the social role of etiquette and music, believing that etiquette could distinguish between high and low classes. Music can make people harmonious and respectful to each other. The combination of the two can maintain the hierarchical order of the nobility and effectively rule the people.
The palace music of the Western Zhou Dynasty can be roughly divided into six types of music, Yayue, Songyue, Fangzhong music and Siyi music. The Music of the Six Dynasties refers to six large-scale music and dances passed down from past dynasties. These music and dances are mainly used to worship heaven and earth, mountains and rivers, and ancestors. They are characterized by their grand scale and plain and slow tone, giving people a sense of solemnity and tranquility. Ode is also a grand ceremony song, used in important ceremonies such as the emperor's ancestor worship, shooting, inspection, and the meeting between two monarchs. The content is mostly epic, often with some mythical color; the tone is also characterized by slowness, but it is slower than the six The music of Dai Zhi may be clearer and clearer, and the harp is used for accompaniment when sung.
Elegance can be divided into elegance and elegance. The content of Daya is similar to that of odes, and the occasions used are roughly the same; Xiaoya is closer to folk songs or adapted from folk songs. It is often used in the drinking ceremony of scholar-bureaucrats. When singing, it is accompanied by harp or harp, which is called "string song". Fangzhongyue is a kind of music sung and played by the concubines when serving banquets in the palace. It is mainly folk songs such as Zhou Nan and Zhao Nan. No bells or chimes are used when singing, only qin and harp are used for accompaniment. Siyi music refers to music from various ethnic groups in the border areas such as Qin, Chu, Wu, and Yue. Most of it is of the nature of singing and dancing, and the accompaniment is mainly wind instruments.
From ancient times to the early days of slave society, my country’s music gradually took shape and began to develop. In the Shang Dynasty, the development of smelting and other industrial technologies promoted the progress of musical instrument manufacturing. Bells, cymbals and other copper percussion instruments appeared, and wind instruments also developed.
Spring and Autumn and Warring States Era
In the Spring and Autumn and Warring States era after the Western Zhou Dynasty, Chinese society experienced the transformation from slavery to feudalism. Social thinking was active and a hundred schools of thought contended.
Under the influence of the new trend of thought, the old ritual and music system was impacted and on the verge of collapse. Folk music developed greatly and attracted the attention of some princes and scholar-bureaucrats who were inclined to political reform.
Folk music first prospered in areas with rapid feudal economic development such as Zheng, Wei, Song, and Qi, so later scholar-officials used "Zheng Wei Zhi Yin" or "Zheng Sheng" as folk music. pronoun.
Folk songs and folk songs and dances are the most important among popular music. From the existing styles of the fifteen countries collected in the "Book of Songs", we can generally see the richness and variety of folk songs at that time. In terms of content, in addition to general labor songs and love songs, there are songs that talk about the painful life of farmers, such as "July"; there are songs that curse the feudal forced marriage system, such as Zhaonan's "Xinglu"; ??there are also satirical songs that expose the ruling class's gain for nothing, such as Wei Feng's "Dai Tan" and so on.
The lyrics are mostly in four-character style, and there are also long and short sentences or Chu Sao style. The music is mostly in the form of stanza songs. In the folk songs and dances "Nine Songs" and "Li Sao" compiled or imitated by Qu Yuan, there are also There are structural names such as "Shaoge" and "Luan". Chaos is the climax of the music, indicating that the large-scale musical works at that time had new developments in structure.
The so-called Zheng and Wei music is folk music with lively rhythm and rich expressions, which is in sharp contrast to the "peaceful and tranquil" of court elegant music. Therefore, it attracted the attention of some enlightened politicians. At that time, such as Wei Wenhou, Liang Huiwang and later Qin Shihuang, etc. all paid attention to the use of secular music. Regarding this, there was also a great debate among thinkers at that time. The Confucian school represented by Confucius and Mencius strongly advocated the maintenance of old rituals and music, believing that vulgar music and obscene music were not conducive to the consolidation of feudal rule; the Mohist school represented by Mozi argued that They objected to any music activities conducted by the rulers, saying that this was a waste of money and money. Since their opinions were not in line with the wishes of the emerging rulers, they were not adopted.
The prosperity of popular music has promoted the improvement of performing arts, and many famous singers have emerged. It is said that Qin Qing's singing has the potential to "vibrate the forest trees", and Han E's singing can give people a "reverberating sound" The impression of "three days without stopping". From the Western Zhou Dynasty to the Spring and Autumn Period and the Warring States Period, musical instruments also developed greatly. Stringed instruments include qin, zither, zither, and zhu; wind instruments include pipes, flutes, yu, and shengs, with various shapes; chimes and chimes are also increasingly complete. There are sixty-four bells in the Warring States Period unearthed in Suixian County, Hubei Province. Each bell can produce two tones, and can play a complete semitone sequence within about three octaves in the central range, which shows the height of musical instrument manufacturing. level.
The level of playing musical instruments has also made great progress, and there have been soloists on qin, zither, and zhu, such as Shi Kuang and Boya, who are good at playing the qin; Gao Jianli, who is good at playing the zither; and Gou, who is good at playing the harp. Ba and so on are all famous.
With the advancement of music, theories about scales, modes and modulations emerged in the Spring and Autumn Period and the Warring States Period. The so-called "pentatonic, six temperament, twelve tubes, and rotating phases are palaces." The pentatonic at that time The scale is composed of five tones: Gong, Shang, Jiao, Zheng and Yu; adding Bian Gong and Bian Zheng becomes a seven-tone scale, but it is different from the modern popular seven-tone scale.
"Six Temperaments" refers to a hexaphonic scale that uses only one "change". Twelve pipes refer to a group of pipes that can play twelve unevenly tempered semitone sequences. The names of the twelve rhythms first appeared in "Guoyu". They are Huang Zhong, Da Lu, Tai Cu, Jia Zhong, Gu Xi, Zhong Lu, Ruibin, Lin Zhong, Yize, Nan Lu, Wu She and Ying Zhong.
The so-called Zheng and Wei music is folk music with lively rhythm and rich expressions, which is in sharp contrast to the "peaceful and tranquil" of court elegant music. Therefore, it attracted the attention of some enlightened politicians. At that time, such as Wei Wenhou, Liang Huiwang and later Qin Shihuang, etc. all paid attention to the use of secular music. Regarding this, there was also a great debate among thinkers at that time. The Confucian school represented by Confucius and Mencius strongly advocated the maintenance of old rituals and music, believing that vulgar music and obscene music were not conducive to the consolidation of feudal rule; the Mohist school represented by Mozi argued that They objected to any music activities conducted by the rulers, saying that this was a waste of money and money. Since their opinions were not in line with the wishes of the emerging rulers, they were not adopted.
The prosperity of popular music has promoted the improvement of performing arts, and many famous singers have emerged. It is said that Qin Qing's singing has the potential to "vibrate the forest trees", and Han E's singing can give people a "reverberating sound" The impression of "three days without stopping". From the Western Zhou Dynasty to the Spring and Autumn Period and the Warring States Period, musical instruments also developed greatly. Stringed instruments include qin, zither, zither, and zhu; wind instruments include pipes, flutes, yu, and shengs, with various shapes; chimes and chimes are becoming increasingly complete. There are sixty-four bells in the Warring States Period unearthed in Suixian County, Hubei Province. Each bell can produce two tones, and can play a complete semitone sequence within about three octaves in the central range, which shows the height of musical instrument manufacturing. level.
The level of playing musical instruments has also made great progress, and there have been soloists on qin, zither, and zhu, such as Shi Kuang and Boya, who are good at playing the qin; Gao Jianli, who is good at playing the zither; and Gou, who is good at playing the harp. Ba and so on are all famous.
With the advancement of music, theories about scales, modes and modulations emerged in the Spring and Autumn Period and the Warring States Period. The so-called "pentatonic, six temperament, twelve tubes, and rotating phases are palaces." The pentatonic at that time The scale is composed of five tones: Gong, Shang, Jiao, Zheng and Yu; adding Bian Gong and Bian Zheng becomes a seven-tone scale, but it is different from the modern popular seven-tone scale.
"Six Temperaments" refers to a hexaphonic scale that uses only one "change". Twelve pipes refer to a group of pipes that can play twelve unevenly tempered semitone sequences. The names of the twelve rhythms first appeared in "Guoyu". They are Huang Zhong, Da Lu, Tai Cu, Jia Zhong, Gu Xi, Zhong Lu, Ruibin, Lin Zhong, Yize, Nan Lu, Wu She and Ying Zhong.
Qin and Han
During the Qin and Han Dynasties, "Yuefu" began to appear. It inherited the Zhou Dynasty's system of collecting folk music, collecting, organizing and changing folk music, and finally achieved the results of a large number of musicians playing at banquets, suburban sacrifices, court greetings and other occasions. These lyrics for singing are called Yuefu poems. Yuefu was later extended to refer to various lyrics that are suitable for music or not. Even some operas and Qiyue are also called Yuefu.
The main song form in the Han Dynasty was Xianghe song. It evolved from the original acapella singing of "one person singing and three people harmonizing" to the "Xianghe Daqu" with silk and bamboo musical instruments accompaniment, and has a "colorful - trending - chaotic" music structure, which was very important to the Sui and Tang Dynasties. It had an important influence on the songs and dances of the time. During the Han Dynasty, drumming music emerged in the northwest frontier. It uses different arrangements of wind instruments and percussion instruments to form a variety of blowing forms, such as horizontal blowing, riding blowing, Huangmen blowing and so on. They were played on horseback or on the march, and were used in military ceremonies, court banquets, and folk entertainment.
The folk wind and percussion music that still exists today should have traces of the advocacy of the Han Dynasty. In the Han Dynasty, "Baixi" appeared, which was a program that combined singing, dancing, acrobatics, and sumo wrestling.
The achievement of temperament in the Han Dynasty was that Jingfang divided the octave into sixty temperaments using the three-point gain and loss method. Although this theory is meaningless in musical practice, it reflects the subtlety of temperament thinking. Theoretically, the effect of the fifty-three equal law is achieved.
Three Kingdoms, Two Jins, Southern and Northern Dynasties
The Qing merchant music developed by Xiang Hege received the attention of the Cao Wei regime in the north, and the Qing merchant office was established. The war between the two Jin Dynasties caused Qing business music to flow into the south and merged with Wu songs and Western music in the south. During the Northern Wei Dynasty, this kind of Qing Shang music that merged the north and the south returned to the north and became an important type of music spread throughout the country. Since the Han Dynasty, with the smooth development of the Silk Road, songs from the countries in the Western Regions began to spread to the mainland. During the Northern Liang Dynasty, Lu Guang brought Qiuci (now Kuqa, Xinjiang) music to the mainland, which played an important role in the Yan music of the Sui and Tang Dynasties.
At this time, the guqin, a representative instrument of traditional music culture, became mature. This is mainly reflected in the fact that in the Han Dynasty, a monograph on guqin called "Qin Cao" appeared with explanations of the titles of qin music. Ji Kang, a famous qin player during the Three Kingdoms period, recorded in his book "Qin Cao" that "the jade of Zhongshan is the emblem." This shows that people at that time were already aware of the generation of Hui-bit overtones on the guqin. At that time, a large number of literati qin players appeared one after another, such as Ji Kang, Ruan Ji, etc., and a number of famous pieces such as "Guangling San" ("Nie Zheng Assassins the King of Qin"), "Yilan Cao", "Jiu Kuang" and so on came out.
In the late Southern and Northern Dynasties, a kind of song and dance drama with storyline, characters and costume performances, singing and dancing, as well as singing and orchestral accompaniment was also popular. This is already a small prototype opera.
Important achievements in temperament during this period include Xun Mao's discovery of the "tube correction number" for wind instruments in the Jin Dynasty. In the Southern Song Dynasty, He Chengtian created a new law that is very close to the law of twelve equals by using the method of arithmetic superposition on the three-point profit and loss method. His efforts initially solved the problem that Huang Zhong could not restore the three-point profit and loss law.
Sui and Tang Dynasties
In the Sui and Tang dynasties, the political power was unified. Especially in the Tang Dynasty, the politics were stable and the economy was prosperous. The rulers pursued an open policy and had the courage to absorb the culture of outer cities. In addition, the integration of music and culture of various ethnic groups that had been nurtured since the Wei and Jin Dynasties laid the foundation. Finally, the music and dance music as the main symbol sprouted. The peak of the comprehensive development of music art.
The music played at court banquets in the Tang Dynasty was called "Yan music". The Qibu music and Jiubu music in the Sui and Tang dynasties belong to Yan music.
They are folk music of various ethnic groups and some foreign countries, mainly including Qing Shang music (Han nationality), Xiliang (now Gansu) music, Gaochang (now Turpan) music, Qiuci (now Kuqa) music, Kangguo (now Russia) music Samarhan) music, Anguo (now Bukhara, Russia) music, Tian (now India) music, Goryeo (now North Korea) music, etc. Among them, Qiuci music and Xiliang music are more important. Yanle is also divided into Zuobuqi and Libuqi performances. According to Bai Juyi's poem "Libuqi", the performance level of Zuobuqi players is higher than that of Libuqi.
The popular song and dance songs of the Tang Dynasty are unique and wonderful works of Yan music. It inherits the tradition of Xianghe Daqu, integrates the essence of music from all ethnic groups in the nine-part music, and forms a structural form of San sequence - middle sequence or beat sequence - break or dance. There are 46 titles of Tang Daqu recorded in "Jiaofang Lu". Among them, "Nude Dress and Feather Dance" is praised by the world because it was composed by the famous emperor musician Tang Xuanzong and has an elegant style of French music. The poet Bai Juyi wrote a poem "Nancy Dress and Feather Dress Dance Song" describing the performance of this opera.
The prosperity of music culture in the Tang Dynasty is also reflected in a series of music education institutions, such as Jiaofang, Liyuan, Da Le Department, Advocacy Department, and Liyuan Special Education Garden, which specializes in teaching young children. These institutions use strict performance appraisals to produce batches of talented musicians.
Tang poems, which are unique in literary history, could be sung to music at that time. At that time, Kabuki took pleasure in being able to sing poems by famous writers; poets also measured their writing skills by how widely their poems became popular after being put into music.
In the bands of the Tang Dynasty, the pipa was one of the main instruments. It is almost the same shape as today's pipa. Today's Fujian Nanqu and Japanese pipa still retain some of the characteristics of Tang pipa in form and playing methods.
Influenced by Qiuci music theory, the music theory of eighty-four tones and twenty-eight tones of Yanle appeared in the Tang Dynasty. Cao Rou in the Tang Dynasty also created the Guqin notation method of subtracting character notation, which has been used until modern times.
Song, Jin, and Yuan Dynasties
The development of music culture in the Song, Jin, and Yuan Dynasties was marked by the rise of citizen music, which developed more deeply than the music of the Sui and Tang Dynasties.
With the prosperity of urban commodity economy, amusement parks "Washe" and "Goulan" that adapt to the cultural life of the citizen class came into being. In "Washe" and "Goulan", people can hear the singing of art songs such as shouting, pur singing, small singing, singing and singing; they can also see rap music types such as Yaci, Taozhen, Guzici, etc. The palace tunes, as well as the performances of dramas and operas, can be said to be full of excitement and beauty, and a hundred flowers bloom. Among them, the two musical form structures of Maoling and Maangda in singing and making money had a certain influence on the musical structure of later operas and instrumental music. The drum lyrics influenced the drum lyrics of later generations of rap music. Zhugong Diao is a large-scale rap genre that matured during this period. Singing plays an important role.
Inheriting the legacy of the development of tunes and lyrics in the Sui and Tang Dynasties, tune music in the Song Dynasty achieved unprecedented development. This literary genre of singing with long and short sentences can be divided into word card forms such as lead, slow, close, pai, ling and so on. In terms of word-writing techniques, there are already "spreading", "reducing characters", "stealing sounds", etc. Jiang Kui of the Southern Song Dynasty was a famous lyricist and musician who could not only compose lyrics but also compose music based on his lyrics. He has seventeen self-written songs and one qin song "Ancient Resentment" with reduced word notation handed down to the world. Most of these works express the author's concern for the people of the motherland and depict a quiet and desolate artistic conception, such as "Yangzhou Slowness", "Mei Ling of Gexi", "Apricot Blossom Sky Shadow" and so on.
Guo Chuwang’s representative work "Xiaoxiang Shuiyun" in the Song Dynasty pioneered the guqin genre. The work expresses the author's love for the mountains and rivers of his motherland. In the long history of the development of bowed string instruments, records of "horsetail huqin" appeared in the Song Dynasty. In the Yuan Dynasty, the emergence of the national musical instrument Sanxian is noteworthy.
In music theory, records of Yan music scales appeared in the Song Dynasty. At the same time, early Gongchi notation patterns also appeared in Zhang Yan's "Etymology" and Shen Kuo's "Mengxi Bi Tan". A kind of Gong Chi spectrum popular in modern times was directly derived from this time. The Song Dynasty was also an era when Chinese opera matured. Its symbol is the emergence of Southern Opera in the Southern Song Dynasty. Nan Opera is also known as Wenzhou Zaju and Yongjia Zaju. Its music is rich and natural. Initially, some folk tunes could be sung without the restrictions of palace tunes. Later, when it developed into Qupai style opera music, there was also the form of "collection" that organized several phrases from different Qupai to form a new Qupai. Nan Opera has various singing forms, including solo singing, duet singing, chorus singing, etc. Three kinds of Southern opera scripts handed down from ancient times, such as "Zhang Xie Zhuangyuan" and others, can be found in "Yongle Daqu".
Drama art reached its peak in the Yuan Dynasty represented by Yuan Zaju.
Yuan Zaju first flourished in the north, then gradually developed to the south and merged with southern opera. The representative playwrights of the Yuan Dynasty include Han Qing, Ma Zhiyuan, Zheng Guangzu, Bai Pu, Wang Shifu and Qiao Jifu, who are known as the Six Great Masters in the world. Typical works include "The Injustice of Dou E" by Guan Hanqing, "Single Sword Club", and "The Romance of the West Chamber" by Wang Shifu. Yuan dramas have a strict structure, that is, each work is composed of four folds (acts) and one wedge (prologue or cutscene). The same palace tune is used within one fold, the rhyme is the same to the end, and one character (mo or dan) is often the lead singer. These rules are sometimes broken. For example, Wang Shifu's "The Romance of the West Chamber" has five volumes and twenty folds. The influence of Yuan dramas on southern operas led to the further maturity of southern operas (called legends in the Yuan and Ming Dynasties). A series of typical plays appeared, such as "Worship the Moon", "Pipa" and so on. These plays have been passed down from generation to generation and are still performed today. At that time, the styles of northern and southern music had been initially established. Northern music was Shenxiong, which was mainly based on heptatonic scale; Southern music was soft and gentle, which was mainly based on pentatonic scale.
With the development of opera art in the Yuan Dynasty, the earliest monograph summarizing the theory of opera singing appeared, namely Yan Nanzhi'an's "Singing Theory", while Zhou Deqing's "Central Plains Phonology" was the first monograph to summarize the theory of opera singing. In the earliest rhyme book, he divided northern languages ??into nineteen rhymes, and divided the tones into four types: Yinping, Yangping, rising tone, and falling tone. This had a great impact on later phonology research and the development of opera and rap music.
Ming and Qing Dynasties
As the society of Ming and Qing Dynasties already had the germination of capitalist economic factors, the citizen class was growing day by day, and the development of music culture was more secular. The content of folk ditties in the Ming Dynasty Rich, although the good and the bad are mixed, its influence is so wide that it has reached the level of "regardless of men and women" and "everyone gets used to it". As a result, private collection, editing, and publication of ditties became a common practice, and private editions of everything from folk songs to arias, operas, and piano music were published. For example, "Folk Song" edited by Feng Menglong, the earliest Qin music "Magical Secret Score" edited by Zhu Quan, etc. During the Ming and Qing Dynasties, rap music was extremely colorful. Among them, the Tanci from the South, the Drum Ci from the North, as well as Paiziqu, Qinshu, and Taoqing rap music are more important. Suzhou Tanci has the greatest influence among the beautiful southern Tanci.
In the Qing Dynasty, three styles appeared in Suzhou: the desolate and vigorous Chen tune represented by Chen Yuqian; the straightforward and hearty Ma tune represented by Ma Rufei; and the beautiful and gentle Yu tune represented by Yu Xiushan. important genre. Later, many new schools spawned. Among the drum poems in the north, Shandong drum is more important, while the wooden drum in Jizhong, Xihe drum and Jingyun drum are more important. The rap of Paizi music includes single strings, Henan major tunes, etc.; the rap of Qinshu includes Shandong Qinshu, Sichuan Yangqin, etc.; the rap of Daoqing includes Zhejiang Daoqing, Shaanxi Daoqing, Hubei Yugu, etc., and some raps of ethnic minorities also appear. The music is like a Mongolian storyteller or the Bai nationality's masterpiece. During the Ming and Qing Dynasties, song and dance music developed greatly among people of all ethnic groups, such as various Yangges of the Han people, Muqam of the Uyghur people, Nangma of the Tibetan people, bronze drum drums of the Zhuang people, peacock dance of the Dai people, moon dancing of the Yi people, Miao Lusheng dance and so on.
Characterized by the spread of tunes, opera music in the Ming and Qing Dynasties reached a new peak of development. The four major tunes in the Ming Dynasty include Haiyan, Yuyao, Yiyang, and Kunshan tunes. Among them, Kunshan tune was reformed by Wei Liangfu and others in Taicang, Jiangsu Province. It has won people's favor because of its delicate and smooth tunes and its pronunciation that pays attention to the beginnings, abdomens, and endings of characters. . Kunshan opera merged with northern and southern operas, forming Kun Opera, which was the crown of opera for a time. The earliest Kun Opera repertoire is "The Story of Huansha" by Chenyu of the Ming Dynasty. Other important repertoires include "The Peony Pavilion" by Xianzu of the Ming Dynasty and "The Palace of Eternal Life" by Hongsheng of the Qing Dynasty. With its flexible and changeable characteristics, Yiyang tune has had an important influence on dialect operas in various places, resulting in an increasing number of small operas in various places, such as various high-pitched operas. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, Bangzi Opera in the north, represented by Shaanxi Xiqin Opera, developed rapidly. It affected Puzhou Bangzi in Shanxi, Tongzhou Bangzi in Shaanxi, Hebei Bangzi, and Henan Bangzi. This high-pitched and bold Bangzi tune has been popular in the northern provinces for a long time. In the late Qing Dynasty, Pihuang tune, composed of two basic tunes, Xipi and Erhuang, took shape in Beijing. From this, Peking Opera had an influence all over the country.
During the Ming and Qing Dynasties, the development of instrumental music was reflected in the emergence of various forms of folk instrumental ensembles. For example, Beijing Zhihua Temple Wind Band, Hebei Blowing Song, Jiangnan Sizhu, Shifan Gong and Drum, etc. Qin music such as "Goose Falling on the Sand" from the Ming Dynasty and "Flowing Water" from the Qing Dynasty, as well as a rich collection of Qin songs such as "Yangguan Sandie" and "Hujie Eighteen Beats" are widely circulated. Pipa music began to appear in the late Yuan and early Ming dynasties, with famous songs such as "Haiqing Naiwan" and "Ambush from Flying Daggers" coming out. In the Qing Dynasty, the earliest "Pipa Score" edited by Hua Qiuping appeared.
At the end of the Ming Dynasty, the famous musicologist Zhu Zaiyu calculated the length ratio between two adjacent temperaments (semitones) of the twelve equal temperaments, accurate to twenty-five digits. This achievement in temperament was the first in the world.
Modern Period
This period began with the Opium War in the late Qing Dynasty. After a series of anti-imperialist and anti-feudal peasant revolutions, the Reform Movement of 1898, the Revolution of 1911, and the May 4th Movement, Movement", and the New Democratic Revolution under the leadership of the Communist Party of China. Over the past 100 years, the development of music culture has been intertwined with traditional music and Western music introduced from Europe. However, the development of music culture is based on democracy. Science is the main trend. Traditional music first started with the development of revolutionary folk songs, such as "Hong Xiuquan Uprising" which reflected the Taiping Revolution, "Forced Relocation Song" which protested against the invasion of Tsarist Russia, and denounced warlords for betraying the motherland during the "May Fourth" period. Common people's urban ditties such as "Hold on to the End" and "Bitter Common People", etc. In red base areas, border areas, and liberated areas, revolutionary songs have excellent traditions, such as "Tian Xin Shun", "Embroidered Gold Plaque", etc. The influence of Peking Opera in opera music has spread throughout the country, with the emergence of a generation of famous actors such as Cheng Changgeng, Tan Xinpei and later Mei Lanfang, Cheng Yanqiu and Zhou Xinfang. Various local operas, Pingju opera, Yue opera, Chu opera, etc. have also developed rapidly. National instrumental music is characterized by the emergence of various folk instrumental music societies, such as "Tianyun Society", "Datong Music Club" and so on. . This reflects that the development of national instrumental music has a profound foundation in folk activities. This characteristic of national music and folk activities has produced many outstanding folk artists, among whom Hua Yanjun (Blind Man Bing) is an outstanding representative.
In addition, more and more various musical scores and pipa scores have been compiled and published. Although the introduction of Western music to China can be traced back to the Yuan and Ming dynasties, as a cultural form, it should be the school folk song movement in the late Qing Dynasty and the early Republic of China that influenced China.
At that time, some reformist intellectuals who wanted to imitate Europe and the United States and enrich the country and strengthen the army initiated this movement, such as Liang Qichao, Shen Xingong, and Li Shutong. As a music teaching material for students, school songs are used to promote patriotism and anti-imperialism, support for Japan and Japan, and learn about European and American science and civilization, such as "Chinese Man", "Gymnastics-Military Exercises", etc. These songs are not only circulated in schools, but also It has a wide impact on all sectors of society. Most of these songs have lyrics based on foreign tunes, a few have lyrics based on local tunes, and a few have created tunes. Under the influence of the "May 4th" New Culture Movement, my country began to spread Western music and improve traditional Chinese music activities, and established some music societies, such as "Peking University Music Research Society", "Chinese Aesthetic Education Society", "National Le Improvement Society".
Professional music education was originally established on the basis of these music societies. In the 1920s, Xiao Youmei founded the National Conservatory of Music in Shanghai, which was the beginning of formal professional music education. Xiao Youmei devoted her whole life to the cause of early professional music education in my country.
During the "May 4th" period, the famous linguist and composer Zhao Yuanren was one of the representatives of early professional music creation in my country. He paid attention to the combination of national language tones and song tones, and was good at absorbing traditional music. With the nutrition, he wrote the works that have been passed down to this day, such as "The Ballad of Selling Cloth" and "Teach Me How to Miss Him".
National musician Liu Tianhua explored ways to improve Chinese music by studying Western music, founded the "Chinese Music Improvement Society", and wrote "Bright Journey", "Birds on the Empty Mountain", "Sickness" "Yin" and other erhu solos, and the erhu has been included in professional music education courses.
Li Jinhui created a large number of children's musicals, such as "The Little Painter", "The Sparrow and the Child" and the song and dance performance "Poor Qiuxiang". These works are also the early stages of the creation of new operas in our country. explore.
As my country's first generation of musicologists, Wang Guangqi has made groundbreaking contributions to Chinese music history and comparative musicology.
Huang Zi, a famous music educator and composer in the 1930s, did a lot of work to consolidate and improve professional music education. He cultivated a group of professional musicians such as Liu Xue'an, Jiang Dingxian, He Luting, etc. His artistic songs such as "Three Wishes of a Rose" and "Nanxiangzi" still reverberate on today's concert stages. He also wrote my country's first oratorio "Song of Everlasting Sorrow".
During this period, the development of professional music took songs as the main genre, and instrumental music was relatively weak.
However, there have also been some better works in terms of nationalization of instrumental music, such as He Luting's piano piece "Shepherd Boy Piccolo", Qu Wei's piano piece "Flower Drum", Ma Sicong's violin piece "Inner Mongolia Suite", Marco's orchestral piece "" "Northern Shaanxi Suite", national instrumental music such as "Spring River Flower Moonlight Night", and Hua Yanjun's "Two Springs Reflect the Moon".