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 to join the "Anti-Manchu Youth League" military band, and 19 14 taught music in Jiangyin and Changzhou middle schools. 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. 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.
achievements of art
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 * * * wrote ten Erhu songs: A Heart-broken Song, A Moonlight Night, Sorrow, An Empty Mountain Bird, A Lonely Song, Night, A Bright Walk, A String Dance and A Candle Shadow Shakes Red (when Liu Tianhua died). Three Pipa Songs: 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.
Chronology of Mr. Liu Tianhua
1895:
Born in Jiangyin County, Jiangsu Province on February 4th.
1909-1910/year (14-16):
When I was studying in Changzhou Middle School, I joined the school's military band and learned to play the trumpet and flute.
19 1 1 year:
19 1 1 After the closure of the Revolution School in 1911, he returned to join the Youth League military band and played the bugle. From this time on, I started my music work.
19 12- 19 14 ( 17- 19):
I went to Shanghai, joined the Shanghai Western Enlightenment Drama Club and became 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:
1998, the drama club was dissolved and returned to teach at Huashu Huacheng Primary School.
19 15 (20 years old):
That spring, he lost his father, was penniless and unemployed, and was in a bad mood. I went to the city to buy an erhu and played it every day, followed by the first draft of the melody "Singing in Illness", expressing 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):
Marry Ms. Yin Shangzhen.
19 17 (22 years old):
Learn pipa and erhu from teacher Zhou Shaomei.
19 18 (23 years old):
Xia studied pipa with 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 and got tinea and scabies.
192 1 year (26 years old):
A summer seminar on folk music was organized in Jiangyin, and songs such as Singing in a Disease, Moonlit Night and Empty Mountain Birds were awarded.
1922 (27 years old):
I went to Beijing and taught at Peking University Conservatory of Music. In the autumn of, I taught in the Music Department of Women's Normal School. At the same time, learn three-string opera.
1923 (28 years old):
Learn the violin from Tonov.
1924 (29 years old):
The final version of moonlit night.
1926 (3 1 year):
Besides Peking University and female teachers, she also teaches at the Art College. Create "suffering". Learn Kunqu Opera.
1927 (32 years old):
Learn theoretical composition from foreign professors of 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. Introduction to song and dance, improved practice, elegy creation.
1928 (33 years old):
He wrote "Songs Apart from Night" and "Idle Singing", and published the final version of "Birds in the Empty Mountain".
1929 (34 years old):
Create a "virtual lai".
1930 (35 years old):
In March, I continued to study in Tonov until I got sick. Mei Lanfang's score dictation.
193 1 year (36 years old):
In Gaoting Company, he played the erhu song Yin in a Disease and the Empty Mountain Bird, singing and dancing with pipa and flying flowers and green flowers.
1932 (37 years old):
Create "A String of Exercises" and "Candle Shadows Shake 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).