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Starting from the Opium War in the late Qing Dynasty, this period experienced a series of anti-imperialist and anti-feudal peasant revolutions, the Reform Movement of 1898, the Revolution of 1911, the May 4th Movement, and the new-democratic revolution led by the China Producer Party. For more than a hundred years, the development of music culture has been intertwined with traditional music and western music imported from Europe, but the development of music culture is based on democracy and science. Traditional music first takes the development of revolutionary folk songs as a craze, such as Hong Xiuquan's uprising reflecting the Taiping Heavenly Kingdom revolution, the forced relocation song protesting against the invasion of Russia, and the urban tunes exposing the warlords' betrayal of the motherland and suppressing the people's perseverance and suffering during the May Fourth Movement. In red base areas, border areas and liberated areas, revolutionary songs have excellent traditions, such as Tian Xinshun and embroidery. The formation of Peking Opera in China's traditional opera music has influenced the whole country, with the emergence and later emergence of Mei Lanfang, Cheng and Zhou. Various local operas, Pingju Opera, Yue Opera, Chu Opera, etc. It has also achieved rapid development, and the national instrumental music is characterized by the emergence of various folk instrumental music clubs, such as "Tian Yun Society" and "Datong Music Club". This reflects that the development of national instrumental music has a deep foundation of folk activities. The characteristics of this folk music activity have created many outstanding folk artists, among which Hua (the blind) is an outstanding representative. In addition, the compilation and publication of various piano scores and pipa scores have also increased. Although the introduction of western music into China can be traced back to the Yuan and Ming Dynasties, as a cultural form, it should be the school music and song movement in the late Qing Dynasty and the early Republic of China that influenced China. At that time, reformist intellectuals such as Liang Qichao, Shen Xingong and Li Shuping advocated learning from Europe, America and Qiang Bing, a rich country. School music songs, as music teaching materials for students, focus on promoting patriotism and anti-imperialism, supporting * * * and learning European and American scientific civilization, such as "China Men" and "Gymnastics-Military Exercise". These music songs are not only popular in schools, but also widely affect all walks of life. Most of these songs borrow foreign tunes to write lyrics, some write lyrics according to their own tunes, and some create tunes. Under the influence of the May 4th New Culture Movement, China began to spread western music and improve China music, and established some music societies, such as Peking University Music Research Society, China Aesthetic Education Society and China Music Improvement Society. Professional music education was originally established on the basis of these music societies. In the 1920s, Xiao founded the National Conservatory of Music in Shanghai and began formal professional music education. Xiao Youmei hated blood and devoted her whole life to the early professional music education in China. During the May 4th Movement, Zhao Yuanren, a famous linguist and composer, was one of the representatives of China's early professional music creation. He pays attention to the combination of national language tone and song tone, and is good at absorbing the nutrition of traditional music, and has written works such as Selling Cloth Ballads and Teaching me how not to think about him. Liu Tianhua, a national musician, studied western music and explored ways to improve China's music. He founded the China Music Improvement Society, and created erhu solo works such as Bright Walk, Empty Mountain Birds and Singing in Sickness, and incorporated erhu into professional music education courses. Li Jinhui created a large number of children's musicals, such as The Little Painter, Sparrows and Children, and the musical Poor Chou-heung, which was also the early exploration of China's new opera creation. As the first generation musician in China, Wang Guangqi has made pioneering contributions to the history of China music and comparative musicology. Huang Zi was a famous music educator and composer in 1930s. He did a lot of work to consolidate and improve professional music education. He trained a group of professional musicians such as Liu Xuean, Jiang Dingxian and He Lvting, and his artistic songs such as Three Wishes for Roses and Nanxiangzi still reverberate on the concert stage. He also wrote China's first oratorio Song of Eternal Sorrow. The development of professional music in this period was dominated by songs, while instrumental music was relatively weak. However, there are some good works in the nationalization of instrumental music, such as He Lvting's piano music The Shepherd's Piccolo, Ma Sicong's violin music The Inner Mongolia Suite, Kyle's orchestral music The Northern Shaanxi Suite, and Hua's Two Springs Reflecting the Moon.