The main characteristics of Chinese art songs! Urgent Urgent!

You are a few classes of the Hopscotch Division ah, this is my search for the answer oh. I haven't finished looking for it yet, so give me a copy if you have one.

The twelve keys of ancient music. Ancient musicology term, is an ancient method of fixing the tone. That is, using the three-part loss and gain method to divide an octave into twelve non-identical semitones of a rhythmic system. From low to high, each law is as follows: Huang Zhong, Daliu, Tai Lu, Jie Zhong, Gushu, Zhong Lu,蕤宾, 林钟, 夷则, 南吕, 無射, Ying Zhong.

The Twelve Laws

The Twelve Laws are divided into two categories: the six odd-numbered laws are called Yang Laws, and the six even-numbered laws are called Yin Laws. In addition, the odd-numbered laws are called "lu", and the even-numbered laws are called "lu", so the twelve laws are also called "lu lu" for short.

A Bing

A Bing, formerly known as Hua Yanjun, was a folk musician. He was blinded by an eye disease. He studied hard to improve, and widely absorbed folk music tunes, a lifetime **** created and performed more than 270 folk music. There are six surviving pieces of erhu music, including "Two Springs Reflecting the Moon", "Listening to the Pines", "Cold Spring Breeze" and pipa music, including "The Great Wave", "The Dragon Boat", and "Zhaojun's Exodus from the Frontiers of the Frontiers of the West".

Zhao Yuanren (1892-1982) was a linguist and a musician. Word Yizhong, Jiangsu Wujin (now Changzhou) people. He composed more than 40 songs, one large-scale choral piece and several piano sketches. The most influential ones are "Ballad of Selling Cloth", "Teach Me How Not to Think of Him", "Sea Rhyme" and so on. Zhao Yuanren

Zhao Yuanren was a native of Jinwu, Jiangsu Province. He was a famous linguist in China, and also had quite outstanding professional training and creative talent for music. In his lifetime, he composed more than one hundred songs, a large-scale choral piece called "Sea Rhythm" and some instrumental sketches, etc. He was also one of the most famous Chinese musicians in China.

The important ones of his song compositions include "Heavenly Lord", "Also Weak Clouds", "Teach Me How Not to Think of Him", "Ballad of Selling Cloth", "Weaving Cloth", "Labor Song", "Sounding the Hue and Cry of March 18", "I am a Man of the North", "Song of the Two Ocean Mirrors", "Song of Supporting a Boat on the Yangtzee River", and "With Guns on His Back", among others.

Operationally, Zhao Yuanren endeavored to create music with a national flavor. He used the pentatonic scale as the basis for the "Chinese School" tunes, and dealt with the relationship between words and tunes according to the acoustic-rhythmic characteristics of the Chinese language to explore the national flavor of tune writing, some of which were written in close to the tone of the chants, and some were absorbed by the tones of the absorbed or national minor tunes to develop them. The first is to use the tone of the poem, and the second is to draw on the tone of the national tune to develop it.

In terms of harmony, he boldly explored "Chinese" harmony, including the use of parallel fourths and fifths.

In terms of musical image, he pays great attention to the independent meaning of image portrayal, especially in the use of piano accompaniment, and pays attention to the portrayal of a poetic image of the expressed person or of the outside world.

"Zhao Yuanren always stood for democracy and patriotism in his music creation. His creations have demonstrated a rare and bold spirit of innovation in the choice of themes, the exploration of musical national styles, and the borrowing of Western compositional techniques, which have had a profound impact on the creative development of modern music in China."

The song collections published by Zhao Yuanren include New Poetry Collection (1928), Children's Day Songs Collection (1934), Xiaozhuang Songs (1936), Popular Education Songs Collection (1939), Xingzhi Songs Collection, and Zhao Yuanren Songs Collection (1981). In 1987, at the suggestion of He Luting, director of the Shanghai Conservatory of Music, and under his promotion, the Shanghai Music Press published a In 1987, at the suggestion of He Luting, director of the Shanghai Conservatory of Music, the Shanghai Music Publishing House published the pentatonic version of Zhao Yuanren's Complete Musical Works (edited by his eldest daughter, Zhao Rulan, a professor at Harvard University), which contains eighty-three songs, twenty-four arrangements of songs, nineteen arrangements of folk songs, and six instrumental sketches, for a total of one hundred and thirty-two works.

In 1909, Zhao Yuanren was admitted to study in the U.S.A. and majored in Mathematics, Physics, and Music at Cornell University, and in 1921, he and his wife came to the U.S.A. together, and he became a lecturer of Philosophy and Chinese Language and researcher of Linguistics in Harvard University, and in 1925, he returned to Tsinghua University to teach Mathematics, Physics, Chinese Phonetics, Common Linguistics, Modern Chinese Dialects, Chinese Music Scores, and Western Music Tunes. He taught mathematics, physics, Chinese phonetics, general linguistics, modern Chinese dialects, Chinese musical scores and tunes, and Western music appreciation.

Bright Line: Erhu Solo, by Liu Tianhua. The piece consists of four main passages plus introduction and coda, and absorbs the techniques of arpeggio progression and transposition of the major triad in Western music, and the technique of playing also adopts the big dun bow, with a fresh, bright and optimistic musical style, expressing the author's joy in the pursuit of a better future.

Kunshan Cavity: Opera voice, also known as Kun Cavity, Kunqu, the end of the Yuan and the beginning of the Ming Dynasty in Kunshan, Jiangsu Province. It was originally a popular folk singing cadence of southern opera in the Kunshan area, and was named after its founder, Gu Jian, who lived in the Kunshan neighborhood. During the Jiajing and Longqing years of the Ming Dynasty, Wei Liangfu spent ten years carrying out major reforms of the Kunshan cadence in terms of tunes, singing style, and orchestra, making it one of the most accomplished and influential of the Ming Dynasty's opera cadences.

Li Shutong: (1880-1942) One of the representative figures of the school music song. Formerly known as Wentao, also known as Bank, the word rest frost. His achievements cover the fields of calligraphy, seal cutting, painting, theater, poetry, music, etc. He trained artists and musicians such as Feng Zikai, Liu Qiping and Wu Mengfei. In his lifetime*** he composed more than 50 musical songs, and his masterpieces such as "Spring Journey" and "Farewell" have had a wide influence in the society. Li Shutong

Li Shutong (1880-1942), known as Wentao, also known as Shishi, and known as Shutong, was a man of many talents, versatile in poetry and literature, lyrics and music, drama, painting, calligraphy, and seal cutting. He was good at charcoal sketching, oil painting, watercolor painting, Chinese painting, advertising and woodcutting. He is one of the pioneers of Chinese oil painting, advertising painting, and woodcutting.

He studied in Japan, majoring in painting, and also studied in Japan with Pu Xiaogu founded China's first drama group - "Chunliu Society".

In 1906, he founded China's first music publication "Music Small Magazine" (published only one issue). He contributed to the development of art, music, calligraphy and seal cutting at that time.

Many of his song compositions can be found in the Li Shutong Song Collection, among which three songs, "Song of the Motherland", "Farewell" (a two-part chorus), and "Early Autumn", are more famous, and among them, "Spring Journey" is the most prominent one.

Most of his songs reflect the life of young people, and some of his works are his personal touch. Most of his songs are selected from the popular folk songs in Europe and the United States to fill in the lyrics, beautiful tunes, smooth, vivid and beautiful rhetoric, but also rich in meaning and flavor, whether in the artistic image or sound and rhyme, words and music are combined very well. He wrote songs, in the artistic standard of his contemporaries clearly exceeded

1, try to describe the ideological content of the school song, the origin of the tune and historical significance

School song refers to the late Qing Dynasty and the beginning of the Republic of China's new school singing class singing songs taught in the class. The emergence of school music is closely related to the historical background of that time. After the Opium War, China suffered greatly from the bullying of the Western powers. Some insightful people thought that if they wanted to get rid of the invasion of the great powers, they had to enrich the country and promote the reform of China's politics, military, economy and culture, so they began to call for improvement, and initiated the Restoration and Reform of China, the Foreign Affairs Movement, etc. The establishment and innovation of the education system were also closely related to the historical background. The establishment of the education system and innovation is also pushed to the forefront of society, in 1898, Kang Youwei petitioned the emperor, requesting the German and Japanese education system to set China's school system, "all the provinces, counties and townships of the school". But because of the failure of the reform, its proposal was not adopted. 1901, the faltering Qing court announced "abolition of the imperial examinations, the school", the implementation of the "New Deal". To 1904, "playing the school constitution" was officially announced, the new education system began to be implemented in the country. After that, the new style of school has been established in various places. Most of the new-style schools offered singing classes, and school music began to emerge gradually. After the Xinhai Revolution, along with the popularity of the new style of school, the school music songs became popular in the society, and eventually spread all over the country.

The ideological content of the school songs was mainly expressed in the following aspects:

Firstly, they publicized the patriotic ideas of enriching the country, strengthening the army, and glorifying the motherland. These works occupy a large proportion in the school music songs, the main works are "When will I wake up", "Chinese men", "gymnastics - soldier gymnastics", "Yellow River", "Motherland Song", "Yangzi River" and so on. Among them, "Chinese Men" and "Why Wake Up" are the most prominent.

Secondly, it shows the content of women's liberation. Such as "Women's Gymnastics", "Heavenly Foot Song", "Vigorous Women's Rights", "Footbinding Bitterness" and so on.

Thirdly, it publicized the bourgeois liberal democratic ideology, preaching **** and overthrowing the imperial system. For example, "Two Masters of Europe and America", "Speech", "Revolutionary Army", "Celebration of **** and", "Memorial of the Restoration".

Fourth, to publicize a new way of life, against feudal superstitions. For example, "Earth", "The Pioneer", "Dancing", "Civilized Marriage", "Gezhi", "Sports Day", etc.

Fifth, children's songs. Such works also occupy a large proportion in the school music songs. Such as "Spring Tour", "Bamboo Horse", "Farewell", "Blacksmith", "Boat Race", "Tortoise and Hare", "Mianxue", "Spring Tour", "Farewell", "Remembering Childhood" and so on.

In addition, there are a small number of music songs in the school loyal to the emperor and respect for the hole and the propaganda of feudal ethics and morality content of the works. For example, "honoring Confucius", "performing Confucius song", "loyalty to the king", "the five Confucianism" and so on.

The source of the tunes of the school music songs is basically based on the ready-made tunes and lyrics, with fewer independent compositions. Most of the tunes were chosen from the school songs or popular tunes of Europe, America and Japan, and few of them were adopted from the folk tunes of China. On the whole, it seems that the source of the tunes of the school songs are as follows:

One of them is the tunes of European and American songs. For example, the widely circulated "Farewell" is based on the American Ordway's "Dreaming of Home and Mother" tune; "Dance Party" is based on the British national anthem tune; "Mianxue" is based on the American song "Rosa Lee" tune. Lee," to the tune of the American song "Rosa Lee.

The second is the use of Japanese songs and popular tunes. For example, "Chinese Men" is based on the Japanese song "The Old Bucket in the Hostel"; "When Will I Wake Up" is also based on the Japanese tune "Munan Gong"; "Revolutionary Army" is based on the Japanese military song "Brave Sailor".

Third, the selection of folk tunes in China. There are works such as "Vigorous Women's Rights", "Tea Picking Song", and "Bitter Footbinding".

The fourth, the creation of tunes. There are "Beautiful China", "Yellow River", "Spring Tour", "Soldier's Guns and Bullets", "Lotus Picking Song" and several others.

With the development of music and song in the school, western music culture was fully imported into China, including the piano, violin and other musical instruments, performance methods, performance forms; a variety of songs and singing forms; five-line notation, simple notation and other notation; basic theoretical knowledge of western music, etc. And there were Shen Xinguong, Li Shuji, and other artists. And there appeared a group of musicians such as Shen Xinguong, Li Shutong, and Zeng Zhiyi, etc. A group of initial music and song collections such as Shen Xinguong's School Singing Collection and Reorganized School Singing Collection, Li Shutong's National School Singing Collection, and Zeng Zhiyi's Educational Singing Collection were published. The rise and development of the school song, training a group of music education personnel, the enlightenment of China's new music and the establishment of a new type of music education system has an important

School song

School song is placed in the early twentieth century in China's school, "music and song class" of the song taught, and its emergence in the social and cultural relations at that time, has a great deal to do. The relationship between society and culture at that time. At the end of the Qing Dynasty and the beginning of the People's Republic of China, learning from the West demanded the abolition of the imperial examinations and the running of the academy, and the change of the law and the restoration of the country became the unanimous voice of the Chinese public, and some of those who had returned from studying in Japan or Europe opened the music and song class in the new school in China to teach and sing some new songs, which was called "music and song" at that time, and later on the music industry collectively referred to the songs of the school in this period as "school music and song".

The content of the school song, most of the reaction to the Chinese bourgeoisie molecules at that time demanded the blood vain European scientific civilization, to realize the "rich and powerful" and other patriotic ideas, the idea of its creation is mainly from Japan, Europe and the United States song tunes to fill in the new words, but also to change the song to remember the words, and some of the song is a creative song, and some of the traditional Chinese folk songs are used. is the use of traditional Chinese folk song tunes.

School music is the beginning of modern democratic music culture, it is the collective singing of this new situation has been established and spread; popularized the simple score, acceptance of the pentatonic score and western music knowledge; its state of the genre of music creation on the subsequent influence of the Secretary of the music; "music and song movement" influenced the training of a number of musical talents, so all of this has a pioneering significance of the Enlightenment period. All of this has the pioneering significance of the Enlightenment period. It directly affected the development of music and culture after the "May Fourth" movement in China, represented by Shen Xin Gong, Li Shutong, Zeng Zhiyan and so on.

See the next book 140 new method of secret law: "new method of secret law" scientifically solved the three points of gain and loss method caused by the "yellow bell can not be restored" of the ancient problems, Zhu Zaiyu used the method of square to calculate the length of the law, so that the twelve intervals between the law to achieve strict uniformity, which is the reason why he has a special responsibility for the development of music. uniformity, which is his "new method" different from the three-part gain and loss method. The new method is the earliest appearance of the principle of "twelve equalized laws" in the history of music and culture.

There was an epoch-making event in the history of Chinese music in the Ming Dynasty - the invention of the "New Method". The invention of the "Xinfa Mi Ratio", the twelve equal temperament laws, was based on the calculation of the most precise ratio between the twelve equal temperament laws by finding out the exact average pitch relationship between each law. His invention was about a century earlier than that of the West. However, due to the limitations of musical instruments at that time, his invention could not be used in the practice of music, and later, even his doctrine was either gradually forgotten or its profound revolutionary significance could not be seen. But rhythmically speaking, the invention of the twelve equal temperament was the foundation of music from ancient times to modern times. The inventor is Zhu Zaiyu, who is known as the "Oriental Renaissance man". He is a scientist, a legal calendar scholar, a literary scholar, and a musician, a scientific and artistic superstar of the Ming Dynasty, and a great man in the history of Chinese music and even in the history of world music.

Nie Er's musical creations were mainly mass songs and lyrical songs, the former such as "Open Road Marching Forward", "Dock Workers' Song", "March of the Volunteers", "Forward Song", etc. In these songs, he expressed with strong feelings the high enthusiasm of the struggle of the people of all strata in China at that time as well as their confidence in the struggle against the empire; in particular, the theme song "Children of the Stormy Clouds", which he composed for the movie In particular, the theme song "March of the Volunteers" for the movie "Children of the Wind and Cloud", which greatly inspired the determination and courage of the people to revolutionize to the end, was chosen as the national anthem of the People's Republic of China at the time of the founding of the new China.

Nie Er

Nie Er was a native of Yuxi, Yunnan Province, born in Kunming. He was a leading representative of the left-wing music movement and was admitted to the Mingyue Song and Dance Theater in 1931. Afterwards, he worked in Lianhua Film Company and Baidai Records Company, and formally started his music creation. In his creative career of only two years, he has created nearly forty songs for many dramas and movies. His representative works include "March of the Volunteers", "Graduation Song", "Song of the Great Road", "Pioneer of the Road", "Dock Worker", "New Woman", "Newspaper Selling Song" and so on.

He was good at extracting characteristic tones and rhythms from life and the tone of lyrics, and at drawing useful things from folk music and foreign music. His combat mass songs, such as "March of the Volunteer Army", "Graduation Song", "Forward Song", etc., blend the tones and rhythms of Chinese and foreign works and genres; they have a great impact and uplifting effect; while his labor songs absorb the tones and rhythms of the corresponding labor horns to portray a variety of different images of laborers; and in his lyrical songs, such as "Singing Maidens Under the Iron Hoof", "Village Maidens in Plugged Outside the Sea", "Plum Niang Song", etc., there are also many different images of laborers. Meiniang Song", etc., also seeped into the folk songs, rap and other tonal factors.

Nie Er's songs are characterized by a strong spirit of the times, nationalism and mass appeal, and also by a fresh, bright, and impassioned musical style rich in revolutionary optimism, which is unique to him. (He died in 1935, at the age of twenty-three)

Liu Tianhua, in the next book, 142

Zhao Yuanren, in the next book, 147

The Yellow River Cantata reflects the lives and feelings of the hard-working and brave people on both sides of the Yellow River, conveys the heartfelt feelings of the laborers, and expresses the great strength and indomitable spirit of the Chinese nation, with a strong national character.

The music is based on the essence of the mass songs (i.e., the tones) and draws on the folk music of northern Shaanxi and Shanxi to create the material. The composer did not simply copy these musical materials, but creatively utilized the national music style, folk music materials and folk performance forms to reflect the current struggle of the Chinese children for the anti-Japanese national salvation. The composers succeeded in creating a large-scale vocal suite in the form of a combative new national form, a combination of national style and contemporary features, laying the foundation and direction for the nationalization of China's musical creation.

In the melodic composition of the Yellow River Cantata, the musical language is both concise and lucid, easy to understand. For example, "Riverside Counterpoint" is written in Shaanxi and Shanxi tones, with a strong local flavor. The question-and-answer style is a major feature of folk songs, and "Yellow River Cantata" adopts this form, which is easy and interesting. The Yellow River Boatmen's Song draws directly on the rhythms and rhythms of the boatmen's horns, and the musical images are vivid and combative.

The achievement of "Yellow River Cantata" on the issue of national style is closely related to the author's scientific worldview and revolutionary outlook on life. The composers have always insisted on the belief that creating works with a strong national style is treated as a question of how to combine themselves with the masses, and recognized as a true reflection of life and expression of the people's thoughts and feelings. So in the "Yellow River Cantata", it has both distinctive national characteristics and strong spirit of the times, radiating a permanent artistic fragrance.

The Yellow River Cantata: The Cantata, with lyrics by Guang Wei Ran and music by Xian Xing Hai. With the Yellow River as the background, the work shows a magnificent historical picture of the anti-Japanese struggle, glorifies the people's spirit of struggle, accuses the invaders of their evil deeds, and shapes the image of the firm and unyielding heroes of the Chinese nation, which is a musical epic reflecting the liberation movement of the Chinese nation. In the musical composition, Xian Xinghai used various singing forms, such as solo, chorus, rounds, duets, chorus, etc. He also creatively utilized western compositional techniques, such as the canon. Between the various movements, they are both interconnected and relatively independent, constituting a sharp contrast in terms of performance content, singing form and musical image. The scale of the whole piece is grand, majestic and thick, and the tone absorbs folk music materials such as labor horn, making the work with distinctive national characteristics, and it has become one of the most important achievements since China's May Fourth New Culture Movement.