How did the red songs come from? Red songs are mostly the product of historical practice at that time and a true portrayal of revolutionary practice at that time. Many red songs are first sung among the broad masses of the people. They are widely known and easy to remember. How did the red songs come from?
How did the red songs come from? 1 The cultural implications of red songs in different periods in China are obviously different. During War of Resistance against Japanese Aggression's period, red songs played an inspiring role in revitalizing the Chinese national spirit and calling on the masses to unite against the enemy: during the revolutionary civil war, red songs played a role in disintegrating the enemy's will, supporting the wise decision-making of * * and praising the happy life brought by the party to the people; At present, the widespread singing of red songs among the people has its profound connotation of the times. Singing red songs by the elderly is a memory of lost time, while singing red songs by young people is a memory of heroes: guiding children to sing red songs, giving full play to the political education significance of red songs, and encouraging students not to forget history and lessons. However, no matter how different the psychology of each class is in singing red songs, generally speaking, red songs are the transmission of national spirit and the praise of national integrity. This attribute is inherent in red songs, and it will have new significance with the development of the times.
Definition of China's Red Songs
Red songs are widely spread in China, and in recent years, many scholars have also discussed its concept and extension. Wang Xinle put forward in "Random Thoughts on Red Songs" that "red songs" are "songs that praise and praise the revolution and the motherland". They generally have a strong emotional tone and a strong sense of singing and rhythm. " Here, the concept of "red songs" is very broad. That is, the content is "praising the revolution and the motherland", and works and songs with strong singing and rhythm in music can all be called red songs. A similar point of view is Zhang Jianguo's article "The Spread Status of" Red Songs "in China and Reflections on Music Culture". He mentioned: "The study of' Red Songs' has broadened its conceptual connotation, from traditional revolutionary songs to all patriotic and progressive songs ... Traditional red songs are the product of revolutionary wars; With the popularity of "Red Song Club" and red tourism activities, red songs have become synonymous with all kinds of excellent classic songs that are healthy, uplifting and inspirational in various periods. Scholar Xu Enxuan pointed out in the article "The Educational Significance of Red Songs to College Students": "Red songs can be understood as songs that praise and praise the motherland, revolution and people's heroes, with strong emotional tone and obvious sense of rhythm ... Red songs are healthy and progressive songs created during the May 4th Movement and the reform and opening up period in China, and the main types are liberation songs, War of Resistance against Japanese Aggression songs and Red Army songs. "
Some scholars have also discussed the specific time when red songs came into being. "Red songs in a narrow sense, or red songs in a strict sense, refer to songs produced during the period from the founding of People's Republic of China (PRC) in 1976 to the end of the Cultural Revolution. The songs around the Cultural Revolution, especially during the Cultural Revolution, are its core." "It (China Red Song) refers to outstanding revolutionary songs and inspirational songs written and sung by the people since the founding of the People's Republic of China." Many scholars have studied the age of red songs. Although many scholars have put forward different views on the specific age of red songs, their discussions on the content and melody characteristics of red songs are almost the same.
By combing the concept of "red songs", it is found that the definition of the concept of red songs focuses on the time limit. Broadly speaking, there is no time limit for red songs, and all works that express revolutionary spirit and national spirit can be called red songs; Red songs in a narrow sense are a concept put forward by Zhou Yun. Red songs in a broad sense are not limited by time, that is, all works related to revolutionary spirit and national spirit and works adapted from revolutionary old songs produced since the reform and opening up can be included in the camp of red songs, and the research scope is greatly broadened. As for their own aesthetic value, it remains to be tested by time. For the definition of red songs, we might as well look at it with a generous mood, not limited to the whirlpool of concepts. The author supports the definition of the broad concept of red songs, and the singing forms of red songs are very rich.
For a long time, red songs have been widely spread among the masses in the form of chorus. This is because many red songs were presented in the form of group singing. The form of chorus is easier to convey the "red" culture of red songs. Chorus, as an art form, has played a positive role in uniting the public and condensing the spirit in the process of communication. With the active exploration of western composing techniques in China's music industry, more and more composers began to think about the creation of music forms from the cultural field of their own nation, and created many well-known chorus works that conform to the trend of the times and the national characteristics of China. For example, the enduring chorus works of my people and my motherland, such as Guerrilla Song and Defending the Yellow River, which have been active on the stage for decades. These works, with their fresh vitality, let generations feel the high morale and optimistic revolutionary spirit inherited from the war-torn years. Works such as Yimeng Mountain Song and Pastoral Song express people's feelings about a better life with gentle and integrated timbre. Qin Yi Emei Mountain Pass combines Chinese and Western creative techniques and singing methods, which makes people feel not only the artistic characteristics of revolutionary model operas, but also the spiritual belief that a single spark can start a prairie fire in the revolutionary era. Red songs are not only the historical memory of special times, but also the promotion of revolutionary spirit in the times.
How did the red songs come from? 2. The meaning of singing red songs.
First, red songs can arouse people's red memories. Red songs are mostly the product of historical practice at that time and a true portrayal of revolutionary practice at that time. Many red songs are first sung among the broad masses of the people, and then collected, processed and arranged by the lyricists. They are widely known and easy to remember. Therefore, whenever people hear red songs, they will have memories of that revolutionary history. Lenin said: forgetting the past means betrayal! Singing red songs is a good way to arouse people's red memories and strengthen revolutionary traditional education.
Second, red songs can promote our reform and opening up. When it comes to red songs, some people think they are old-fashioned and have nothing to do with our reform and opening up. Actually, this view is not comprehensive. It is precisely because red songs were not only produced in the revolutionary war era, but also in the reform and opening up era. For example, The Story of Spring (composed by Wang Yougui, written by Jiang Kairu and written by Ye Xuquan) and Entering a New Era (composed by Qing Yin and written by Jiang Kairu) were all produced in the era of reform and opening up. The Story of Spring is very beautiful and amiable in terms of lyrics and melody.
Third, the lyrics of red songs are healthy and uplifting, and the music melody is beautiful and powerful. When people hear red songs, they feel very excited, and sometimes they sing along with them. With the ups and downs of melody and the singing of lyrics, people's hearts are uplifting, and people have been subtly educated over time. Red songs not only purify people's souls and inspire people's enthusiasm for participating in reform and opening up, but also educate people to love China and our motherland, and inspire people to be healthy, optimistic, open-minded, work hard and love life.
Fourth, red songs can make people enjoy art, and red songs are not abstract political slogans, nor are they the same. Music melody is a comprehensive art with specific materials. Many red songs are combined with film and television art to become an inseparable whole, which makes a film and television work icing on the cake and spread to this day. For example, the film "The Visitor on the Iceberg" and the ballet "The Red Female Soldier" are the perfect combination of red songs and film and television works. The audience not only received the education of the story of film and television works, but also learned to sing red songs.
Fifth, to strengthen ideological work in the new period, we might as well "indoctrinate", because advanced ideas will never come naturally. In order to carry forward the revolutionary tradition, inherit Chinese culture and promote our reform and opening up, we should directly recommend our cultural and educational departments and often recommend red classic songs to the people and children. Our leading cadres should also recommend red songs attentively, take the lead in singing red songs, promote our reform and opening up, and make red songs resound throughout China.
How did the red songs come from? On February 29th, 365438, Haidian Campus of Beijing Film Academy held a large-scale cultural performance to celebrate the centenary of the founding of the Party. Hundreds of red film and television songs selected by the audience and industry experts were officially released, including Unity is Strength, Singing a Folk Song for the Party and Let's Row.
On the occasion of the centenary of the founding of the Party, the Beijing Film Academy, together with the School of Sound and the China Film Music Research Institute, launched the "Selection and Release of 100 Red Film and Television Songs", which closely combined the study of Party history with the development of film and television music. The event invited the audience and industry experts to select hundreds of red classic film and television songs with far-reaching influence and great significance in the past 100 years to present gifts to the founding of the party in the past 100 years. After four stages of initial evaluation, expert selection, mass selection and final review, one hundred red film and television songs were finally released.
The episode "Good Life and Peace" and the theme song "Desire" in the film and television work "Desire" broadcast by 1990 are on the list. At the press conference, Lei Lei, the composer of Desire, told the story behind this song. It turns out that the songwriters of desire are husband and wife in reality. Yi Ming, the lyricist, can't find feelings when writing. One day, Lei Lei's improvised melody on the piano touched Yi Ming's inspiration. So there is the lyrics of "a long time, I want to say that I was so confused, but it was really difficult to choose".
There is a chorus in the song, and the lyrics used to be "the drizzle is boundless, the empty lane is lonely, and the hair dryer is neither cold nor hot." Yan array is shocked by the cold, its voice is prominent, and it affects tourists from south to north. "But Lei Lei's tunes are heated here, and the lyrics are soft and weak by comparison. So Yi Ming thought it over and over again, and finally decided that it was "a long road of life, searching up and down. "My heart yearns for a sincere life. Who can tell me if it's right or wrong? Ask the guests who are traveling from south to north. " The melody of the song is simple, without fancy decoration, and the rhythm is steady. With the lyrics, the life sentiment is slowly revealed. ...
After the release, Yan 'an Anyan, a large-scale literary evening arranged by the Academy of Performing Arts to celebrate the centenary of the founding of the People's Republic of China, took to the stage. The party consists of seven stories, starting from Wuhan to Yan 'an, with Wu Yinxian's Yan 'an behavior as the main narrative, and the enthusiastic northern Shaanxi Yangko as the prelude of the whole party.
Li Lin's letter tells the story of Li Lin, a revolutionary martyr in War of Resistance against Japanese Aggression. The fierce dance shows the guerrillas' tenacious belief in death.
The War to Resist US Aggression and Aid Korea tells the story of Song Amao, a hero of the Volunteers. In the melody of "One River is Spring and Water is Wide", the volunteers are willing to give and dare to sacrifice.
From "Socialist Construction" to "The Lost Half of Class 58", it tells the historical responsibilities of the students of the Film Academy in different historical periods, and praises their lofty aspirations and lofty sentiments of building a great motherland with their youthful selves. "Anti-epidemic" describes the touching story of the party leading the people to overcome the virus despite difficulties and dangers when the COVID-19 epidemic struck. At the end of the party, representatives of teachers and students sang Do not forget your initiative mind.
The evening party, with panoramic presentation and viewing mode, shows the struggle course of each generation of filmmakers under the leadership of China, and creates a sense of time and space crisscross through elaborate scenery and lighting design, aiming at conveying the artistic understanding of the "100" time span from an audio-visual perspective.