Who is the master of China's modern folk music generation?

Liu Tianhua.

Liu Tianhua (1895-1932), born in Jiangyin, was inspired by the rich folk music of his hometown since childhood. After the outbreak of the Xinhai Revolution, he joined the "Jiangyin Anti-Manchu Youth League" and took charge of the bugle.

In 1912, he went to Shanghai with his brother, Liu Bannong, and worked at the Kaiming Theater Company. In his spare time, he joined the Universal Music Ensemble, studied piano and violin, and began to come into contact with Western compositional theory. He taught at the Peking University Music Research Society and died in Beijing in 1932 at the age of 37.

His masterpieces include "Bright Walk", "Good Night", "Birdsong on the Empty Mountain", and "Song and Dance".

He was a pioneer in the reform of Chinese folk music, as well as the founder and pioneer of the modern school of erhu playing, successfully combining foreign techniques with China's folk music.

Character Achievements:

Liu Tianhua's musical creation achievements, mainly in the national instrumental music, *** works are ten erhu songs: "Sickness", "Moonlit Night", "Acura of Bitterness", "Lamentation", "Empty Mountain Birds", "Idle Habitat", "Good Night", "Brightness", "One-stringed Exercise", "Candle Shadow Shaking Red", and three pipa songs: "Dance and Dance", "Improvement Exercise", and "Imaginary Lai". A silk and bamboo ensemble piece "Variant New Water Order", compiled forty-seven practice pieces for erhu, fifteen practice pieces for pipa, and also organized twelve traditional pipa pieces of the Chongming School, of which his adaptation "Flying Flowers Pointing to the Cui" was recorded by Gao Ting Records Company in 1928, and has become a classic piece of pipa music.

In terms of improvement in the manufacture of musical instruments, he reformed the erhu and pipa, which he specialized in. He has changed and customized the materials and techniques used in the manufacture of the erhu to achieve a good tone and volume, adjusted the pitch of the two strings of the erhu, and increased the handle of the erhu to improve its expressiveness.

He also made a new pipa in accordance with the twelve equal temperament, and increased the number of pins and items on the pipa, so that the pipa can be accurately pitched and can play chromatic scales, and he also cooperated with instrument makers in the development of these musical instruments, with a view to achieving promotional results.