Zhao Yuanren (November 3, 1892—February 24, 1982), a Han nationality, was originally from Wujin, Jiangsu (now Changzhou), with a pronounced and emphatic word. A descendant of Zhao Yi (Oubei), a famous poet in Qing Dynasty. Guangxu was born in Tianjin in the 18th year (1892). Modern famous scholars, linguists and musicians.

Zhao Yuanren has taught at Cornell University, Harvard University, Tsinghua University, China, Institute of History and Languages of Academia Sinica, University of Hawaii, Yale University, Harvard University and University of Michigan, and later taught at UC Berkeley (1947-1963) and retired in Berkeley. Zhao Yuanren has successively received honorary doctorates from Princeton University (1946), University of California (1962) and Ohio State University (197), "Professor Research Lecturer" from University of California (1967) and honorary professor from Peking University, China (1981).

Zhao Yuanren is a pioneer of modern linguistics in China, known as "the father of modern linguistics in China", and also a pioneer of modern musicology in China and one of the founders of "China Science Society". Zhao Yuanren's representative works in linguistics include: A Study of Modern Wu Dialect, Grammar of Chinese Language, Textbook of Mandarin Phonograph, etc. Zhao Yuanren's representative works in music include: Teach me how not to miss her, Haiyun, Xiamen University School Song and so on. Zhao Yuanren's representative works include Alice in Wonderland and so on. Basic introduction Chinese name: Zhao Yuanren mbth: yuan renchao alias: word: Xuan Zhong, Yi Zhong Nationality: American nationality: Han nationality birthplace: Tianjin Date of birth: November 3, 1892 Date of death: February 24, 1982 Occupation: professor? Linguist graduate school: Cornell University? Major achievements of Harvard University: China, the father of modern linguistics in China, is the representative work of modern musicology: A Study of Modern Wu Language, A New Rhyme of Mandarin. Gender: Male native place: Changzhou, Jiangsu, mother tongue: Wu Language foreign language ability: English/German/France/Japan/Russia/Greece/Latin? Dialect ability: can you speak 33 dialects such as Changzhou dialect? Life stories, major works, works, collections of songs, famous songs, translations, essays, contributions of characters, personnel training, Chinese studies, music creation, family members, anecdotes of characters, language genius, recognized hometown, new marriage, refusal to be a principal, ventriloquism travel, Shi's lion-eating history, promotion of Mandarin, dialect investigation, recording, character evaluation, character commemoration, character. My father is good at playing the flute in the middle of the year. Mother feng lai Sun Shan's Poems and Kunqu Opera. In 19, Zhao Yuanren returned to his hometown, Qingguo Lane, Changzhou, and studied in No.2 Middle School. In 196 (fourteen years old), he entered Changzhou Xishan Elementary School. In 197, he entered the preparatory course of Nanjing Jiangnan Higher School with excellent results. In July, 191, the Aesthetic Office of the Qing Dynasty Tours won the second place in Beijing (this time, 7 people were selected from the list). In August of the same year, he went to the United States to study mathematics at Cornell University. Take physics and music as elective courses. Received a bachelor of science degree in 1914. In 1915, he entered Harvard University, majoring in philosophy and continuing to take music as an elective. In 1918, he received a doctorate in philosophy from Harvard University. Young Zhao Yuanren In 1919, Zhao Yuanren taught physics at Cornell University, and in 192, he taught physics, mathematics and psychology in Tsinghua University. In the winter of 192, Russell, a famous British philosopher, came to China to give lectures, and Zhao Yuanren acted as an interpreter for him. On June 1st, 1921, she married Yang Buwei. In 1921, Mr. and Mrs. Zhao Yuanren came to the United States. Zhao Yuanren was a lecturer in philosophy and Chinese at Harvard University and studied linguistics. In 1925, Zhao Yuanren returned to Tsinghua University to teach mathematics, physics, China phonology, general linguistics, modern China dialect, China score music and western music appreciation. Together with Liang Qichao, Wang Guowei and Chen Yinque, he was called "Four Great Mentors" in Tsinghua. In 1928, as a researcher at the Institute of Linguistics of the Academy, he conducted a lot of language field investigation and folk music collection. From 1938 to 1939, he taught at the University of Hawaii, where he taught China music. From 1938 to 1941, he taught at Yale University. After five years, he returned to Harvard to teach and participated in the editing of Harvard and Yanjing dictionaries. In the meantime, he joined American citizenship. In 1945, Zhao Yuanren was elected president of the American Linguistic Society. In 1945, Zhao Yuanren was elected president of the American Linguistic Society (LSA). In 1946, Zhu Jiahua, Minister of Education of Kuomintang, sent a telegram asking Zhao Yuanren to be the president of Nanjing Central University. Zhao Yuanren called back: "I can't do it. Thank you! " In 1947, he taught China Chinese and linguistics at UC Berkeley. In 1948, Zhao Yuanren was elected as the first member of Academia Sinica in China and the member of American Academy of Arts and Sciences (AAAS). In 1952, he was appointed Professor of Oriental Language and Chinese Studies at the Aggasiz Foundation. In 1959, he gave a lecture at Taiwan Province University. In 196, he was elected president of American Oriental Society (AOS). In 1962, he retired from the University of California, Berkeley, and still served as a retired professor at the University of California. In 1973, just after the normalization of Sino-US relations, Zhao Yuanren and his wife went back to China to visit relatives with their granddaughter Zhao Bo and son-in-law Mike. From the evening of May 13th to the early morning of 14th, he was cordially received by Premier Zhou Enlai. Premier Zhou also talked with Zhao Yuanren about the character reform and the "Tongzi Scheme" that Zhao Yuanren devoted himself to studying. Also present were Guo Moruo, Liu Xiyao, Wu Youxun, Zhu Kezhen, li jinxi and other friends. In 1981, at the invitation of the Institute of Linguistics, Chinese Academy of Social Sciences, Zhao Yuanren, who had recently lost his wife, went back to China to visit relatives with his eldest daughter Zhao Rulan, his son-in-law Bian Xueshuang and his fourth daughter Zhao Xiaozhong. He was warmly received by President Chinese People's Political Consultative Conference and accepted the title of honorary professor awarded by Peking University. On February 24th, 1982, Zhao Yuanren died in Cambridge, Massachusetts, USA. At the age of 9. His main works include New Rhyme of Mandarin, Research on Modern Wu Language, Notes of Guangxi Yaoge, Introduction to Cantonese (English version), Various Aspects of China Society and Language (English version), Grammar of Chinese Language, Reading Materials of Chinese Language, Language Problems, Tongzi Scheme, Selected Linguistic Papers of Zhao Yuanren, Zhao Yuanren's Linguistic Essays, Types of Bursts in Chinese Dialects. (1939) Investigation Report on Hubei Dialect (1948) Zhongshan Dialect (1948) Taishan Corpus (1951) Common Chinese Plant Words (1953) Chinese Address Words (1956) Song Collection, New Poetry Songs Collection (1928) Children's Day Songs Collection Zhao Yuanren Song Collection (1981) The Multifunction of Phonemic Phonology, the famous songs, Xiamen University School Song, Yunnan University School Song, Northeastern University School Song, Teach me how not to miss her, Haiyun, etc. Alice in Wonderland. The essay "Shi's History of Eating Lions" contributed talents to cultivate Zhao Yuanren, a mathematician and physicist, who also had some attainments in philosophy. However, he is mainly famous as a famous linguist. He taught Tsinghua in 192 and retired from the University of California in 1972, and engaged in education for 52 years. Famous linguists in China, such as Wang Li, Zhu Dexi and Lv Shuxiang, are all his students, and they have "trained a huge team for the research of linguistics in China", which can be described as full of peaches and plums. The name "Zidiao", which distinguishes the intonation in Chinese studies, was created by Zhao Yuanren, and its reference is basically the same as that of "Tone" in Chinese linguistics and language teaching. Zhao Yuanren clearly realized that tone sandhi, tone sandhi and sentence sandhi are not the same thing. With the deepening of research, he gradually expounded the relationship between tone sandhi and intonation, and put forward three famous metaphors-"rubber band", "algebraic sum" and "* * * waves and small waves". These metaphors point out a shortcut to the study of Chinese intonation. Attach importance to the study of tone sandhi and light and heavy tones in Chinese. Zhao Yuanren's research on light and heavy tones in modern Chinese is groundbreaking. He pointed out that spoken Chinese is not a reading cavity, but also heavy and light, and the light and heavy sounds are very important in Chinese intonation. In his research, Zhao Yuanren almost mentioned all kinds of light sounds in Chinese, and distinguished them, which basically covered the phenomena that we often say today, such as word stress, sentence stress, light tone, light tone, intonation light tone, structural light tone and so on. Zhao Yuanren also noticed the differences between Chinese light and heavy sounds and western languages, and saw the relativity of stress. It is proposed that Zhao Yuanren, the prototype of Chinese intonation structure, has developed his own new trisection structure: adjusting the crown-turning around-adjusting the body, in which adjusting the body includes two parts: adjusting the core and adjusting the tail. Zhao Yuanren pointed out that Chinese intonation can be handled by segments. Besides introducing the concept of intonation structure, Mr. Zhao also introduced and created practical phonetic symbols for Chinese intonation, which were created by Zhao Yuanren considering the characteristics of Chinese and the universality of intonation. Zhao Yuanren first divided intonation into "neutral intonation" and "tone intonation", and he also divided tone intonation into 4 types according to "style", each style corresponding to one or more "functions". The first 27 kinds are mainly composed of the change of pitch and time, and the last 13 kinds are mainly composed of intensity and the nature of voice. In addition, Zhao Yuanren also regards the speed of speech as a constituent element of intonation (belonging to the category of time). Pointing out the direction and method of "future" intonation research In the aspect of Chinese intonation research, Zhao Yuanren pointed out that auxiliary words should be studied systematically, and there are still problems in the source and analysis of the corpus of intonation research. The symbols of tone modulation need to be improved, and the intonation classification may be refined, so the study of intonation should be strengthened. These aspects are still unsolved and urgent problems in intonation research today. In particular, Zhao Yuanren attached great importance to the role of auxiliary words in intonation. Music Creation Zhao Yuanren's music creation broke through the mode of "school music songs" borrowing foreign music scores to write lyrics, and began to compose and write lyrics entirely by China people, which made China's modern music enter a new stage of development. Therefore, he was one of the pioneers in China's modern music history and an excellent composer in China in the 192s. Although Zhao Yuanren's music creation activities began before the May 4th Movement, they were mainly concentrated in the 192s and 193s. His music creation is mainly divided into two periods. The first period was in the 192s after the May 4th Movement, and the representative works included songs such as Labor Song, Selling Cloth Ballad, Teaching me how not to think about him, Going Up the Mountain, Listening to the Rain, It's weiyun, and the chorus Hai Yun. These songs and some of his previous works, ***14 songs, were collected in the Collection of New Poems and Songs published by the Commercial Press in 1928. The 193s was Zhao Yuanren's second creative period, and his masterpieces included Song of Boating on the River and Song of the Western Mirror. He also composed songs for many children's poems by Tao Xingzhi and others, such as Long song's Hand and Brain, Children's Work Songs and so on, which were collected in Children's Day Songs (1934) and Xiaozhuang Songs (1936). Zhao Yuanren has the courage to innovate in art. The songs he created are distinctive in musical image, novel in style, beautiful and smooth in melody and lyrical. From the content point of view, his works are mostly based on the new poems since the May 4th Movement, which have both the characteristics of the times and the national style. Formally, his works not only effectively use western music creation techniques, but also creatively absorb the valuable experience of Chinese traditional music. His vocal music works are of high artistic level and have made important contributions to modern music creation in China. Many works have been handed down to this day, and they have been frequently performed in the teaching and concerts of music colleges. Zhao Yuanren's "Teach me how not to think about him" written in 1926 has become a classic art song in the treasure house of modern music in China, and it is also an excellent vocal teaching material in professional music institutions. Its lyrics are a new poem written by Liu Bannong when he lived in England in 192-"Teach me how not to think about her". The poet himself said that it expressed an overseas traveler's yearning for his motherland "mother". However, when Zhao Yuanren composed music for this poem in 1926, she changed the word "she" into "he", which expanded the space of "thinking" and made it more subtle and profound. As Zhao Yuanren himself later said: "He in the lyrics can be a man and a woman, representing all the beloved him, her and it." The melody of this song is beautiful and affectionate. On the one hand, it is full of "China charm" by using the singing voice of Chinese traditional opera, on the other hand, it is integrated into the multi-voice techniques such as western-style musical conception and modulation, which shows the deep affection of intertwined thoughts and yearning. Zhao Yuanren's other masterpiece "Hai Yun" (Xu Zhimo's Ci) is the earliest influential multi-segment chorus in China, which was created in 1927. The work vividly depicts the tragic story of a beautiful and brave girl who yearns for freedom, and is finally swallowed up by the turbulent waves despite the threat of violent winds and waves. The works show the romantic spirit of China youth's anti-feudalism and pursuit of individual liberation during the May 4th Movement. At the end of a song, people are often still immersed in strong singing and aesthetic reverie, which has strong artistic appeal and can be called China's choral music handed down from generation to generation. Zhao Yuanren is also the earliest composer in the history of modern music in China who arranged China folk songs in multiple voices. In 1935, he wrote the title song "Song of the West Mirror" for the film "Urban Scenery", which absorbed the tone of folk rap and exposed and criticized the darkness of urban life at that time. In 1942, he wrote "God" in the United States, and the lyrics adopted the folk songs of our country in the late Ming Dynasty, and had the style of folk rap narrative. "God" spread to China in the mid-194s, and was sung in the demonstrations of patriotic students against Chiang Kai-shek, which aroused strong repercussions. Since then, this song has been sung all over the country. Many years' language research work has a significant influence on Zhao Yuanren's music creation. He paid special attention to dealing with the relationship between lyrics and tunes according to the tone and phonological characteristics of China language, so as to make the rhymes of lyrics coincide with the tunes and make the songs full of charm and colloquial feelings. In his creation, he also pays attention to the local style of music language. For example, Listening to the Rain expands the tone of reciting ancient poems in Changzhou dialect, Maibu Ballad is created on the basis of the tone of Wuxi dialect, and Teach me how to miss him absorbs the tone of Xipi, a Beijing opera. In the aspect of song accompaniment, Zhao Yuanren attaches great importance to the role of piano in shaping the musical image. For example, in weiyun, Up the Mountain, Haiyun and other works, rich and vivid piano texture patterns are used, plus