Study on Modern Wu Dialect

Guangxi Yao song recording

Introduction to Cantonese (English version)

Society and Language in China (English Version)

Chinese grammar.

Chinese reading materials

Language problem

"Tongzi Plan"

Selected Papers on Linguistics of Zhao Yuanren

Types of Bursts in Chinese Dialects (1935)

Notes on Zhongxiang Dialect (1939)

Investigation Report on Hubei Dialect (1948)

Zhongshan dialect (1948)

Collected Works of Mount Tai (195 1)

Common Chinese Plant Words (1953)

Chinese address forms (1956) and collections of new poems and songs (1928)

Children's Day Songs (1934)

Xiaozhuangsong (1936)

Collection of popular education songs (1939)

Xingzhi songs

Zhao Yuanren Song Collection (198 1)

Multifunctional Phoneme Phonetic Alphabet Method and Xiamen University School Song.

Yunnan university school song

Song of Northeastern University

Teach me how not to think about her.

Haiyun, etc. Distinguish between tone and intonation

The name "Zidiao" was invented by Zhao Yuanren, and its meaning is basically the same as that of "Diao" in China's linguistics and language teaching. Zhao Yuanren clearly realized that tone sandhi, tone sandhi and tone 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 "big wave and small wave". These metaphors point out a shortcut for the study of Chinese intonation.

Attach importance to the study of tone sandhi and light tone in Chinese continuous reading

Zhao Yuanren's research on light and heavy sounds in modern Chinese is groundbreaking. He pointed out that spoken Chinese is not a pronunciation, but also a light tone, and the light tone is very important in Chinese intonation. In his research, Zhao Yuanren almost mentioned all kinds of light tones in Chinese and distinguished them, which basically covered the phenomena we often say today, such as word stress, sentence stress, light tone, light tone, intonation light tone and structural light tone. Zhao Yuanren also noticed the differences between Chinese light and heavy sounds and western languages, and saw the relativity of stress.

Put forward the prototype of Chinese intonation structure

Zhao Yuanren developed his own new trilogy structure: adjusting the crown-turning around-adjusting the body, in which adjusting the body includes adjusting the core and adjusting the tail. Zhao Yuanren pointed out that Chinese intonation can be handled in sections. In addition to introducing the concept of intonation structure, Mr. Zhao also introduced and created practical phonetic symbols of Chinese intonation, which were created by combining the characteristics of Chinese and the universality of intonation.

Chinese intonation can be divided into form and function.

Zhao Yuanren first divided intonation into "neutral intonation" and "tone intonation", and he also divided intonation into 40 types according to "posture", each type corresponding to one or more "functions". The first 27 kinds are mainly composed of pitch and time changes, and the last 13 kinds are mainly composed of dynamics and the nature of voice parts. 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, Zhao Yuanren pointed out that auxiliary words should be studied systematically, and there are still problems in the source and analysis of the language materials for intonation research. The symbols of tone modulation need to be improved, and the classification of intonation may be refined, so the study of intonation should be strengthened. These aspects are still urgent problems in intonation research. In particular, Zhao Yuanren attaches great importance to the role of auxiliary words in intonation. 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 modern music in China enter a new stage of development. Therefore, he is one of the pioneers in the history of modern music in China and an excellent composer in China in the 1920s.

Although Zhao Yuanren's music creation activities began before the May 4th Movement, they were mainly concentrated in the 1920s and 1930s. His music creation is mainly divided into two periods. The first period was in the 1920s after the May 4th Movement. The representative works included songs such as Song of Labor, Selling Cloth Ballads, Teaching me how not to think about him, Going up the mountain to listen to the rain, It's Wei Yun, etc., and the chorus was Hai Yun. These songs and some of his previous works, *** 14, were included in the Collection of New Poems and Songs published by the Commercial Press 1928. The 1930s was Zhao Yuanren's second creative period, and his representative works included Song of Boating and Song of the Western Mirror. He also composed many children's poems by Tao Xingzhi and others, such as Long Singer's Brain and Children's Labor Song, which were included in Children's Song (1934) and Xiaozhuang Song (1936).

Zhao Yuanren is brave in artistic innovation, and his songs have vivid musical images, novel styles, beautiful and smooth melodies and strong lyricism. 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 the western music creation techniques, but also creatively absorb the valuable experience of China 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 have been frequently performed in the teaching and concerts of the Conservatory of Music.

Zhao Yuanren's "Teach me how not to think about him", composed on 1926, has become a classic art song in China's modern music treasure house and an excellent vocal teaching material in professional music institutions. Its lyrics are 1920, a new poem written by Liu Bannong when he was living in England-"Teach me how not to think about her". The poet himself said that it expressed an overseas traveler's yearning for the motherland "mother". However, when Zhao Yuanren composed music for this poem in 1926, he changed the word "she" to "he", which expanded the space of "thinking" and made it more subtle and profound. As Zhao Yuanren himself said later: "He can be a man or a woman in the lyrics, representing all the beloved him, her and it." The melody of this song is beautiful and affectionate. On the one hand, the vocals of China traditional operas are full of "China charm", on the other hand, they are combined with western-style music conception, tone sandhi and other multi-voice techniques, showing the deep feelings of missing and yearning.

Zhao Yuanren's other masterpiece "Hai Yun" (Xu Zhimo's Ci) is the earliest influential multi-voice couplet chorus in China, which was written 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 raging 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 immersed in strong singing and aesthetic reverie, which has a strong artistic appeal and can be called chorus music handed down from generation to generation in China.

Zhao Yuanren is also the earliest composer in the history of modern music in China who adapted China folk songs with multi-voices. 1935 He composed the title song "Song of the Western 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. 1942 "God" written in the United States, the lyrics adopted the folk songs of China in the late Ming Dynasty, with the style of folk rap narrative. "God" was introduced to China in the mid-1940s, and was sung by patriotic students in anti-Chiang demonstrations, which aroused strong repercussions. Since then, this song has been sung all over the country.

Years of language research have had a great 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 that the rhymes of lyrics were consistent with the tunes and the songs were full of charm and oral sense. In his creation, he also pays attention to the local style of music language. For example, Listening to the Rain expanded the tone of reciting ancient poems in Changzhou dialect, and Maibu Ballad was created on the basis of the tone of Wuxi dialect. Teach me how to miss him absorbed 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 Wei Yun, Up the Mountain, Haiyun and other works, rich and vivid piano texture patterns are used to strengthen the artistic image and emotional changes of vocal music singing.