This period began with the Opium War in the late Qing Dynasty, and experienced a series of anti-imperialist and anti-feudal peasant revolutions, the Reform Movement of 1898, the Revolution of 1911, the May 4th Movement, and the new-democratic revolution under the leadership of China's * * * production party. Over the past hundred years, the development of music culture has been intertwined with traditional music and western music introduced from Europe, but the development of music culture is democratic. Traditional music first takes the development of revolutionary folk songs as a craze, such as Hong Xiuquan Uprising, which reflects the revolution of the Taiping Heavenly Kingdom, Forced Relocation Song, which protests against the invasion of tsarist Russia, and urban tunes such as Perseverance and Suffering People, which denounced warlords for betraying their motherland and suppressing the people during the May 4th Movement. In red base areas, border areas and liberated areas, revolutionary songs have more excellent traditions, such as Tian Xin Shun and Embroidery. The formation of Peking Opera in traditional Chinese opera music has influenced the whole country, and Cheng Changgeng, Tan Xinpei and later Mei Lanfang, Cheng Yanqiu and Zhou Xinfang have appeared. Various local operas, Pingju Opera, Yue Opera, Chu Opera, etc. have also achieved rapid development, while national instrumental music is characterized by the emergence of various folk instrumental music clubs, such as "Tianyun Society" and "Datong Music Club". This reflects that the development of national instrumental music has a deep foundation of folk activities. The characteristics of this folk music activity have produced many outstanding folk artists, among which Hua Yanjun (A Bing, a blind man) is an outstanding representative. In addition, the compilation and publication of various piano scores and pipa scores have also increased. Although the introduction of western music into 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, such as Liang Qichao, Shen Xingong and Li Shuping, who demanded to emulate Europe and America and Qiang Bing, a rich country, advocated this movement. School music songs, as music teaching materials for students, focus on promoting patriotism and anti-imperialism, supporting * * * and learning European and American scientific civilization, such as "China Men" and "Gymnastics-Military Exercises". These music songs are not only popular in schools, but also widely affect all walks of life. Most of these songs borrow foreign tunes to write lyrics, some write lyrics according to their own tunes, and some create tunes. Under the influence of the May 4th New Culture Movement, China began to spread western music and improve Chinese music, and established some music societies, such as "Peking University Music Research Society", "Chinese Aesthetic Education Society" and "Chinese Music Improvement Society". Professional music education was originally established on the basis of these music societies. In the 192s, Xiao Youmei founded the National Conservatory of Music in Shanghai, which was the beginning of formal professional music education. Xiao Youmei was disgusted with blood and devoted his life to the early professional music education in China. During the May 4th Movement, Zhao Yuanren, a famous linguist and composer, was one of the representatives of early professional music creation in China. He paid attention to the combination of national language tone and song tone, and was good at absorbing the nutrition of traditional music, and wrote such works as Selling Cloth Ballads and Teaching me how not to think about him. Liu Tianhua, a national musician, explored the way to improve Chinese music by learning western music, founded the "Chinese Music Improvement Society", wrote erhu solos such as Bright Walk, Birds in the Empty Mountain, and Singing in Illness, and incorporated the erhu into the professional music education curriculum. Li Jinhui has created a large number of children's musical dramas, such as The Little Painter, Sparrows and Children, and the musical performance "Poor Chou-heung", which are also the early explorations of Chinese new opera creation. As the first generation musicologist in China, Wang Guangqi has made pioneering contributions to the history of music and comparative musicology in China. Huang Zi, a famous music educator and composer in 193s, did a lot of work to consolidate and improve professional music education. He trained a group of professional musicians such as Liu Xuean, Jiang Dingxian and He Lvting, and his artistic songs such as Three Wishes for Roses and Nanxiangzi still reverberate on today's concert stage. He also wrote the first oratorio "Song of Everlasting Sorrow" in China. During this period, the development of professional music took songs as the main genre, and instrumental music was relatively weak. However, there are also some good works in the nationalization of instrumental music, such as He Lvting's piano piece The Shepherd's Piccolo, Qu Wei's piano piece The Flower Drum, Ma Sicong's violin piece The Inner Mongolia Suite, Kyle's orchestral piece The Northern Shaanxi Suite, national instrumental music such as A Moonlit Night on a Spring River, and Hua Yanjun's Two Springs Reflecting the Moon.