Yang (1899 ~ 1984), born in Liufang Lane, Wuxi, in the 25th year of Guangxu reign of Qing Dynasty (1899), was born on1October 8th. Father Yang Zhonglin.

19 16 autumn, after graduating from high school, Yang was admitted to the Third Normal School of Jiangsu Province (now Wuxi Normal School). At the age of 22, he graduated with honors and served as the national language instructor of the fifth higher primary school in Shitangwan County. A year later, I entered Wuxi Fu Jen Middle School to study English and math. 1923 graduated. In the same year, he entered St. John's University in Shanghai and studied in the Department of Economics and the Department of Literature. During my school days, I served as the president of the school's national music club and often attended concerts held by universities.

Yang loved music since he was a child. Whenever Taoist priests had something to do, he always went to listen to their performances. When he was seven or eight years old, he studied flute, flute, sheng and other national musical instruments with Yang, the brother of Yingquan, a young Taoist in Sanqingdian. He studied pipa from A Bing, a Taoist priest in Leizuntang. Unfortunately, his father didn't like A Bing, and A Bing only taught him for two and a half days. /kloc-when he was 0/2 years old, he entered the society through the introduction of his teacher and studied under Wu. Tian Yunshe is a famous folk music (Kunqu Opera) group in the south of the Yangtze River. Its friends are all celebrities in Wuxi music industry. Its president, Wu, has a profound knowledge of flute, sanxian and pipa, and has studied phonology. After joining the club, Yang became interested in the phonology, temperament and musical instrument structure. In addition to learning musical instruments, he also participated in the Sino-Western music exchange activities between the Tian Yun Club of the Anglican Church and the visiting American musician Henry Aisim.

In the early years of the Republic of China, Ms. Hao, an American, came to Wuxi Episcopal Church to preach. She has a high musical accomplishment. Yang studied English, piano and western music theory from Hao. 192 1 year, he learned western composition methods such as harmony, counterpoint and polyphony from her.

1925 after the May 30th massacre, Yang was suppressed by the school for taking an active part in the anti-imperialist patriotic movement. In a rage, he left school to study in the Economics Department of Guanghua University run by China people. In order to meet the needs of demonstration and propaganda, he added the lyrics of "Man Jiang Hong" written by Yue Fei, a national hero of the Song Dynasty, to the tune of "Jinling Nostalgia" to inspire people. This song has far-reaching influence and is still widely circulated throughout the country. 1February, 926, dropped out of school because of family poverty. After returning to China, he has taught in Fu Jen Middle School, Industrial and Commercial Middle School, County Junior Middle School, Rongshi Girls' School, Wuxi Academy of Fine Arts and Yixing Middle School. In the meantime, he served as the director of Wuxi Universal Education Museum for a short time.

From 65438 to 0929, Yang was employed by the American Episcopal Church to edit hymns in Nanjing and Hangzhou. 193 1 year, Christianity established the joint chanting committee of six guilds, with Yang Ren as its member and director-general. From 65438 to 0932, he went to Beijing with Dr. Liu Tinglao from yenching university to edit hymns, and co-edited the columns of hymns and sacred music in religious periodicals Amethyst and Truth and Life. This work continued until 194 1 year. Yang's hymn collection "Ode to the Putian" won the editor's Excellence Award in the International Bible Exhibition, and the hymns contained in it were widely sung by Christians at home and abroad.

During his stay in Beijing, Yang studied composition, western music history and music appreciation in yenching university Music Department. And read a lot of professional books about music in Britain, France and other countries in the school library.

65438-0936, researcher of Harvard Yanjing Society, professor of yenching university Music Department, history of China's music. 1937 I went back to Wuxi in the summer vacation, but later I couldn't go north because of the "July 7" Lugouqiao Incident. In late August, he went to Nanjing to temporarily act as the general manager of Central Machinery Factory. Moved to Xiangtan with the factory in February, and moved to Kunming in August of the following year.

1939 works in the audio-visual education Committee of the Ministry of Education. 1940 moved to Chongqing. 1941September served as professor of the national conservatory of music, director of the national music group and research office. During his stay at Chongqing National Conservatory of Music, he supported students' progressive activities and funded the publication of China Folk Songs by the Folk Song Society. 1947 When he was a professor at Nanjing National Conservatory of Music, the school wanted to expel progressive students on trumped-up charges. Yang is outspoken and openly opposes the reactionary measures taken by the school. After War of Resistance against Japanese Aggression's victory, the National Conservatory of Music moved to Nanjing, and Yang was employed as a professor at Jinling Women's University.

After the liberation of China, he served as a professor of the Central Conservatory of Music, a researcher in the research room, a deputy director and director of the Music Research Institute, a consultant of the China Academy of Art, an executive director of the China Musicians Association, a director of the Folk Music Committee, a member of the National Committee of the China Federation of Literary and Art Circles, and a member of the third, fourth, fifth and sixth sessions of the Chinese People's Political Consultative Conference.

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

Yang has made outstanding achievements in the study of China music history. As early as 1925, he wrote a paper "Outline of China Music History" in English. 198 1 year completed the first draft of China Ancient Music History, which was published by People's Music Publishing House in 650,000 yuan and 19565438. This is the fruitful result of his comprehensive research on music history, national music and temperament, which makes the music history of China a music history with scores.

Through calculation and experiment, the monographs and papers on music law were published, which raised the research on the problems and history of music law often encountered in China's national music practice to a new level.

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

Yang Yisheng's works are abundant. Besides his masterpiece "China Ancient Music History Draft", he has published 27 kinds of works and nearly 100 papers, which occupies an important position in China's national music academic thought treasure house.

Yang rescued and sorted out the music of the blind in Wuxi, and compiled it into A Bing Songs. His achievements in this field are universally acknowledged.

He is very concerned about the music industry in his hometown. Every time he returned to Wuxi, he always guided the folk music group "Huaguang Chinese Orchestra" and took pains to demonstrate. I was so excited that I even agreed to lead the performance. He can play many kinds of musical instruments, especially the bamboo flute, and got a biography of Wu Yiqing, which made him famous. When playing, the treble is crystal clear and the bass is delicate, which is known as "Yang". He once ranked the quality of old mahogany pipa for Wuxi Musical Instrument Store, solved the problem of bamboo flute intonation and improved the quality of musical instruments. According to a large number of experimental results, a flute ruler is made, which can open flute holes according to the ruler.

During the "Cultural Revolution", Yang was assigned to the May 7th Cadre School in Huailai County, Hebei Province. At 1973, he had a sudden cerebral spasm and his emphysema became more and more serious. 1984 On February 25th, Yang died in Beijing at the age of 84.

Modern pianist Cha Fuxi. When I was a child, I learned to play the piano in my hometown. Later, I engaged in piano learning activities in Changsha, Jiangsu and Shanghai, and organized today's Qin Yu Society. After the founding of People's Republic of China (PRC), he served as the vice chairman of China Musicians Association, the director of the national instrumental music department of the Central Conservatory of Music and the president of Beijing Guqin Research Association.

Liu Tianhua (1895- 1932): A native of Jiangyin, Jiangsu. China, a master of Chinese music, is an outstanding composer, performer and music educator of national musical instruments in China. He combines Chinese and western music and pays equal attention to theory and art.

Liu Tianhua's father, Liu Baoshan, attached great importance to education and co-founded a primary school in his hometown.

Liu Tianhua 1909 was admitted to Changzhou Middle School, joined the school military band as an amateur, and learned to play trumpet and flute. 19 1 1 During the Revolution of 1911, Liu Tianhua returned to Jiangyin, joined the "Anti-Manchu Youth League" military band 19 14, and taught music in Jiangyin and Changzhou middle schools successively. 19 15, father died, unemployed and ill, still learning erhu by himself. It was at this time that the debut erhu song "Yin in Disease" was created. In the second year, he was hired as a music teacher by Jiangsu No.5 Middle School, where he organized two bands, the Silk and Bamboo Department and the Military Music Department. During this period, he devoted himself to learning erhu from Jiangnan folk musician Zhou Shaomei and Chongming pipa from Shen Zhaozhou. I even used the summer vacation to go to Henan to learn guqin from experts, and also visited folk artists along the way to collect folk music everywhere.

192 1 year, Liu Tianhua went to Shanghai to join the "Enlightened Drama Club" and organized the "National Music Research Society" in Jiangyin. 1922 Up to now, Liu Tianhua has been a national music tutor of Peking University Conservatory of Music, and a professor of erhu, pipa and violin in the music departments of Beijing Women's Teachers College and National Art College. His students include Cao Anhe and Wang Junyi. During his teaching, he also studied violin with Russian professor Tonov and studied western music theory seriously. In addition, he often invited street singers to his home, recorded the music scores they sang and played, and paid them, leaving two manuscripts: Buddhist Music Score and Anci County Noisy Music Score.

1932 At the end of May, gongs and drums were collected at Beijing Tianqiao. Unfortunately, he contracted scarlet fever and died on June 8.

[Edit this paragraph] Artistic achievements

Liu Tianhua studied violin and western composition theory after teaching, absorbed western music and performance skills on the basis of national music, and made outstanding achievements in the creation and performance of national instrumental music.

Liu Tianhua chose erhu as a breakthrough to reform China's music, borrowed from violin's long tremolo bow and other techniques and western instrumental music creation techniques, and combined pipa wheel finger pressing and guqin overtone playing to create and apply the multi-position playing method. All these have added the profundity of artistic expression to the erhu from music to performance, thus making this neglected national instrument in ancient times become a modern professional solo instrument and the protagonist and representative of China national music. Therefore, Liu Tianhua is regarded as the founder of modern erhu playing school.

Liu Tianhua has written ten erhu songs: Poems on a Sick Heart, Moonlight Night, Sorrow, Birds in the Empty Mountain, Poems on a Lonely Night, Walking Lightly, Solo Dance and Candle Shadows Shake Red (at the memorial service for Liu Tianhua's death, there were three pipas: Introduction to Song and Dance, Improved Practice and Xu Lai). The ensemble "Variant New Water Preface" consists of 47 erhu etudes and 15 pipa etudes, and also adapted 12 Chongming traditional pipa songs. Among them, his adaptation of "Flying Flowers and Cuisine" was recorded by Gaoting Records Company at 1928, and now it has become a pipa classic.

The above-mentioned famous songs were composed and circulated on 19 18, and the rest taught erhu and pipa in Peking University Music Studio, Beijing Women's Teachers College and Beijing Institute of Art on 1926, and in Cai Yuanpei, Xiao and Professor on 1927.

Liu Tianhua was also the first person to edit the score of Mei Lanfang's songs in Beijing Opera with modern notation. In addition, he organized the National Music Improvement Society and edited and published Music Magazine, which had a great influence on the society. There are also unfinished Buddhist music scores, Anci County's social music scores and some writing and translation articles.

Preface to Mei Lanfang's Songs

Interpretation of Moonlit Night and Song Beyond the Night

Pianist Jia Zhi's farewell speech.

National Music Improvement Association

Mei Jun, Hua, Ru Shan, etc. China opera will be introduced to people from other countries in North America and asked to compose a musical score. In the past few months, Yu and Mei Jun have been bound by their positions, and they have rushed into these eighteen songs before they can fully discuss them. I was afraid that there were still many mistakes, so I had to rush to print.

The achievement of this spectrum is what Mei He expected, but it is also slightly contemptuous and can be published here.

China opera is a duet, so the saying goes, "Go to play". Singing is fun. However, if you don't sing a monologue, you will have fun, even if you raise your hand and cast your feet. Even all colors are white, which implies will. Therefore, the foundation of China opera is based on music, and music is also indispensable. I'm a layman in drama, but today I talk about music.

Music has music, and language has words. The virtue of learning can be spread for a long time, and the merits of words are also. China's music originated from offering sacrifices to farmers, flourished in the Zhou Dynasty, and was abused in the Tang and Song Dynasties. Its origin is not far away. However, the joy of offering sacrifices to farmers is hard to hear, even the joy of Tang and Song Dynasties is ridiculous. Moreover, the notation is not complete. China's ancient music is not without music scores, such as Tang's Orchid Score, Zhu Xi's Twelve Books of Rites, and Jiang Baishi's Ci Score. , or only prepared music, or only contains simple words, spectrum is not enough music, it only costs archaeologists Zhang Zhou, which is not helpful. Although the scores of Qin and Kun in modern times are recorded in detail, there are still many shortcomings that cannot be circulated for a long time. Changed can be divided into high and low, light and heavy, cadence, impetuous. It is complete only if its spectrum can be analyzed weakly and carefully, but the old spectrum can't. Today, Chinese music is dying out and Chinese opera is in jeopardy. Although there are different reasons, there is no complete spectrum, which is really fatal. If the method of notation was prepared in the past, Tang Yu's joy is still there today. How can Guangling San be a masterpiece? To put it bluntly, those who learn to live today will not say that they live in Tan, but that they live in Wang. However, if you are absolutely like Wang Tan, you will never get one, that is, occasionally, you will not devote yourself to Wang Tan in the same way. Why, there is no spectrum to prove it. When Tan Wang Sheng was born, he did his best to study the energy spectrum. Why don't people who worship the wall today get the point?

And people don't have to study an art all their lives, whether they can create it or not. It's better not to be sad if you set it up and let the creator die. Simi Xizi, Zhang Erkui, Cheng Changgeng and Yu Sansheng. He created many works in his life and has a long history. So it is a great loss for the art world to learn that their bones are the same.

There are three ways to learn music: listening, watching and speaking. Although the three complement each other and are indispensable, the first one is the disadvantage of hearing, the ambiguous distortion is the disadvantage of words, but the visual sense is the most real. Therefore, composers in Europe and the West can make wonderful sounds in the music circles of various countries as long as they write a piece of paper. In the second world of China's music and drama, there are still blind educators listening and giving orders. It is not difficult to talk about progress.

It is based on the drama and music circle in China today. If you want to make progress, you must have a complete score. It is also important to cultivate the ability of actors and musicians to read and record music. You know, in the future academia, everything must be scientific and accurate in order to have a foothold. If the cloud drama is played randomly, the future of the two worlds of drama and music will be bleak.

Of course, the notation used to make this booklet is not complete. As the world is, it is true. Now that Mu Tao has voted, I still look forward to a gift from Qiong Yao from the second world of music and drama.

[Edit this paragraph] Chronology of Mr. Liu Tianhua

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

1909-1910/year-old (14-16): when I was studying in Changzhou middle school, I joined the school's military band and learned to play the bugle and flute.

19 1 1 year: Xinhai revolution, after the school was closed, he returned to China to join the youth league military band and play the bugle. From this time on, I started my music work.

1912 ——1914 (17 years old ——19 years old): went to Shanghai to join the Shanghai West Ming Kai Drama Club and work as a band. During this period, I studied various western musical instruments, such as orchestral music, piano, etc., especially brass instruments, and many of them have further research.

19 14: The drama club was dissolved and returned to China to teach at Huacheng Primary School.

19 15 (20 years old): in the spring of 2000, I lost my father and was in a bad mood. I went to the city to buy an erhu, played it every day, and made the first draft of the melody "Singing in Illness" to express his frustration and inner ambition at that time. In autumn, he taught at Changzhou Alma Mater and established a military band and a bamboo band for his alma mater.

19 16 (2 1 year): married Ms. Yin Shangzhen.

19 17 (22 years old): Learn pipa and erhu from teacher Zhou Shaomei.

19 18 (23 years old): Xia Shi studied pipa from teacher Shen Zhaozhou. Around this year, I began to write the first drafts of songs such as Yin in Disease, Moonlit Night and Empty Mountain Birds.

1920 (25 years old): I went to Henan to study guqin in summer, contracted tinea and scabies, and returned home sick.

192 1 year-old (26 years old): organized a summer China music workshop in Jiangyin, and taught songs such as Singing with a Sick Heart, Moonlit Night and Empty Mountain Birds.

1922 (27 years old): I went to Beijing to teach at Peking University Music Training Institute, and in the autumn of 2008 I taught in the Music Department of Women's Normal School. At the same time, learn three-string opera.

1923 (aged 28): studied violin with Tonov.

1924 (age 29): It was finalized on a moonlit night.

1926 (3 1 year old): In addition to Peking University and female teachers, she also teaches at the Art College. Create "suffering". Learn Kunqu Opera.

1927 (32 years old): studied theoretical composition with a foreign professor in yenching university Music Department. Because Tonov went to Tianjin, he transferred from Orrob. In June, Orrob left Beijing and stopped. He founded the National Music Improvement Association and edited music magazines. Create songs and dances, improve exercises and elegies.

1928 (aged 33): He wrote Singing Apart from Night, Idle Life, and published the final edition of Empty Mountain Birds.

1929 (34 years old): Creating Xu Lai.

1930 (aged 35): In March, I continued to study in Tonov until I fell ill. Mei Lanfang's score dictation.

193 1 year (36 years old): Playing Erhu Opera Yin in a Disease, Empty Mountain Birds, Pipa Song and Dance and Flying Flowers and Green Flowers in Gaoting Company.

1932 (37 years old): He wrote a series of exercises, and the candle shadow shook red. On June 1 day, he went to Tianqiao to collect gongs and drums, contracted scarlet fever, fell ill for only one week, and died at 5: 20 am on June 8. 37 years old (38 years old recorded elsewhere, calculated according to imaginary age).