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Music is an art that reflects the feelings of human real life (English name: music; French name: musique, Italian name: musica).
Music can be divided into vocal music and instrumental music, and can also be roughly divided into classical music, folk music, original ecological music, modern music (including pop music) and so on. Among the art types, music is an abstract art. Historically, music can be divided into oriental music and western music.
In the East, China's ancient theory, headed by China Hanle, is based on the five tones of industry, commerce, communication, righteousness and Yu, while in the West, it is dominated by seven tones. Music is pleasing to the eye and brings us auditory enjoyment. Music can improve people's aesthetic ability, purify people's hearts and establish lofty ideals. We express our emotions through music and let many of our emotions be released.
Chinese music
Gule
In ancient China, there was no distinction between "poetry", that is, literature and music were closely related. The poems in The Book of Songs, the earliest extant collection of poems in China, are accompanied by tunes and sung orally. This tradition has continued. For example, the integrated official poem in the Han Dynasty was called "Han Yuefu", and Tang poetry and Song poetry could also be sung at that time. Even now, there are pop musicians who compose and sing ancient poems, such as Su Shi's Shui Diao, which describes the Mid-Autumn Festival, and Li Bai's Thoughts on a Quiet Night.
In ancient China, musicians were despised, unlike painters, because China had a close relationship with calligraphy and painting, and painters belonged to the literati class. In the Song Dynasty, they could even be "examiners by painting" (in fact, it was also because of Song Huizong's extreme love for painting). Musicians have a low status and are only "actors" of aristocratic entertainment. Li Guinian, a famous singer in the Tang Dynasty, also had no political status. People know that he often appears in Tang poetry and is praised.
In ancient China, the "scholar-bureaucrat" class believed that a cultivated person should be proficient in "Qin, chess, calligraphy and painting", and the so-called "Qin" is the ancient Qin that has been circulated. However, guqin is only for the exclusive use of literati and cannot be played to the public. Guqin has a low volume and is also an advanced instrument.
Summary: China's ancient music theory developed slowly, and its position in the "official history" was not high, leaving no more written materials. But music, like literature, is a compulsory course for ancient intellectuals and undoubtedly plays an important role in the daily life of ancient China people. Folk songs are full of colorful melodies.
Xia and Shang dynasties
Xia and Shang Dynasties were a period of slavery society. According to the records of classical literature, music and dance at this time has gradually deviated from the characteristics of primitive clan music and dance, and was more occupied by slave owners. From the content, they gradually broke away from the original totem worship and became an ode to those who conquered nature. For example, Yu Xia managed water and benefited the people, so there appeared the music and dance "Great Summer" praising Yu Xia. Xia Jie had no choice but to cut it by Shang Tang, so there was a musical dance "Dami" that praised Shang Tang for cutting Jie.
Witchcraft prevailed in Shang dynasty, so there appeared wizards who dedicated sacrifices. They were raised by slave owners, danced and sang during sacrifices, and were the first people to take music as their profession. Slave owners sacrificed music and dance to emperors and ancestors, and at the same time indulged themselves with music and dance. When they die, they will be martyred by musicians. On the one hand, this cruel martyrdom system exposes the cruel rule of slave owners and objectively reflects the progress of productive forces in the primitive times, thus enabling the rapid development of music culture.
According to historical records, in the Xia Dynasty, crocodiles were used to cover drums. In the Shang Dynasty, there have been wooden cavity python drums, two birds gluttonous bronze drums and well-made birch plough stone pots. Influenced by the Bronze Age, bells and cymbals appeared in Shang Dynasty, and most of them were in groups of three.
The appearance of various percussion instruments embodies the development characteristics of percussion instruments in the history of musical instruments. Tao Kui, a body-singing instrument that began more than 5,000 years BC, developed from a monophonic hole and a diphone hole to a pentatonic hole at that time, and can emit twelve semitones. According to Tao Xun's pronunciation, the five tones, as the basis of China's national music thinking, appeared in the late Neolithic period, while the seven tones appeared at least in Shang and Yin dynasties.
Western Zhou Dynasty and Eastern Zhou Dynasty
The Western Zhou Dynasty and the Eastern Zhou Dynasty were historical periods in which slave society turned from prosperity to decline, and feudal social factors were increasing day by day. During the Western Zhou Dynasty, the imperial court first established a complete system of rites and music. In banquets and entertainments, officials in different positions are required to have different positions and dance teams. Summarizing the epic music and dance of past dynasties, we can see the so-called "six generations of music and dance", that is, Yunmen in the Huangdi era, Xianchi in the Yao era, Daxia in the Shao and Yu dynasties in the Shun era, Daxie in the Shang dynasty and Dawu in the Zhou dynasty.
The Zhou dynasty also had a system of collecting wind and observing people's feelings. Relying on this, a large number of folk songs were preserved, and after being deleted by Confucius in the Spring and Autumn Period, China's first poetry collection, The Book of Songs, was formed. It contains 305 poems1* * * about entering music from the early years of the Western Zhou Dynasty to the middle of the Spring and Autumn Period. The most wonderful part of The Book of Songs is "Wind". They are the songs of the 15th National Congress and spread around Henan Province, including several nearby provinces.
In addition, there are several genres of "elegance" and "elegance" created by literati, as well as the epic sacrifice song "Ode". According to the analysis of handed down figures, the songs in The Book of Songs can be summarized into ten musical structures. As the climax at the end of the song, a special name "Luan" appeared. Qu Yuan, a famous patriotic poet, edited nine Songs of the Chu based on The Songs of the Chu before and after the Book of Songs was written, which has strong Chu cultural characteristics. At this point, the two works with different musical styles complement each other in the North and the South.
The folk music life in Zhou Dynasty involved more than ten aspects of social life and was very active. The story of Zhong Ziqi's bosom friend began at this time. This reflects the improvement of performance technology, composition technology and people's appreciation level. In the performance of guqin, Qin people also summed up the psychological feeling that "only from the heart can we respond to musical instruments".
According to records, the famous singer Qin Qingneng "sings trees to stop flying clouds". Han E, a folk singer, sang "Rao Liang's reverberation lingers for three days". These are the high achievements of vocal music technology.
The highly developed music culture of the Zhou Dynasty can also be seen from the ancient musical instruments unearthed in Sui County, Hubei Province in 1978. This underground music treasure house, comparable to the Egyptian pyramids, provided a model of the court ceremony and music system at that time. Eight kinds of 124 musical instruments have been unearthed here. According to the classification of "eight-tone" musical instruments in Zhou Dynasty (gold, stone, silk, bamboo, jade, earth, leather and wood), almost all kinds of musical instruments are available.
Among them, the most important 64 kinds of chime instruments are arranged in three layers: upper, middle and lower, with a total weight of more than 5,000 kilograms and a total range of five octaves. Because this set of chimes has the characteristics that the chimes of Shang and Zhou Dynasties ring twice once, the twelve semitones in the local sound area are complete and can rotate in the palace, thus confirming the reliability of the records of the rotating palace in the pre-Qin literature. There are also inscriptions on the bells and dishes of the tomb of Zeng Houyi, which are about the music theory among the vassal States and reflect the high achievements of the music method in the Zhou Dynasty.
In the Zhou Dynasty, the theory of twelve laws was established. The names of the five tones (Gong, Shang, Jiao, Zheng and Yu) have also been established. At this time, people already know that the fifth or seventh scale is dominated by Gong Yin, and the change of Gong Yin's position is called Gong Xuan, so that the effect of tuning can be achieved. The "three-point profit and loss method" recorded in Guanzi Yuan Di has made outstanding achievements in law.
That is to say, on the basis of the chord length of Gong Yin, increase one third (gain one) to get a pure four-degree sign below Gong Yin; Subtract one third (loss one) from the chord length of the symbol to get the pure quintuple above the symbol; The chord length of each tone in the pentatonic scale can be obtained by further calculation.
According to this method, the chord length of twelve semitones (twelve laws) in full octave is calculated, which constitutes the "three-point profit and loss law system". This rhythm is formed by natural intervals of five degrees, and the tone produced each time is slightly higher than the five degrees of the average rhythm of twelve times, so that the octave higher than the original rhythm cannot be obtained after twelve times, resulting in the so-called "yellow bell cannot be restored", which causes inconvenience to the rotation of the palace. However, this legal system, which fully embodies the melody beauty of monosyllabic music, has continued.
Qin and Han dynasties
"Yuefu" began to appear in Qin and Han Dynasties. It inherited the system of collecting folk songs in the Zhou Dynasty, collecting, sorting out and changing folk music, and at the end of the performance, a large number of musicians played at banquets, suburban sacrifices and celebrations. These lyrics used for singing are called Yuefu poems. Yuefu, later extended to refer to all kinds of lyrics with or without music, and even some operas and July are called Yuefu.
The main form of songs in Han Dynasty is Song Xianghe. From the initial oratorio of "one person singing, three people harmony", it gradually developed into "Hehe Daqu" accompanied by silk and bamboo instruments, with a "gorgeous-inclined-chaotic" musical structure, which had an important influence on Song and Dance Daqu in Sui and Tang Dynasties. In the Han dynasty, drum music rose in the northwest frontier.
It consists of different wind instruments and percussion instruments, such as cross blowing, riding blowing, yellow door preaching and so on. They are played on horseback or on the move, and are used for military music etiquette, court banquets and folk entertainment.
The folk percussion music that exists today should have the legacy advocated by the Han Dynasty. In the Han Dynasty, "Hundred Drama" appeared, which is a program that combines song and dance, acrobatics and wrestling (sumo wrestling). The achievement of jurisprudence in Han Dynasty is that Fang Jing divided octaves into sixty laws by the method of three-point profit and loss. Although this theory is meaningless in music practice, it embodies the subtlety of legal thinking. Theoretically, the effect of fifty-three average law is achieved.
Three Kingdoms, Jin Dynasty, Southern and Northern Dynasties
Shang Qing music, which developed from Song Xianghe, was attached great importance by the northern Cao Wei regime, and the Shangqing Department was established. The war at the turn of the Jin Dynasty made Shang Qing music flow into the south and merged with Wu Ge and traditional Chinese opera in the south. In the Northern Wei Dynasty, this kind of Shang Qing music, which was integrated with the North and the South, returned to the North and became an important music spread throughout the country.
Since the Han Dynasty, with the smooth flow of the Silk Road, songs from western countries have been introduced into the mainland. During the Northern Liang Dynasty, Lv Guang brought Qiuci (now Kuche, Xinjiang) music, which played an important role in Yan music in Sui and Tang Dynasties, to the mainland. This shows that the communication between people of all ethnic groups in music was very common at that time.
At this time, Guqin, the representative instrument of traditional music culture, has matured, mainly in the following aspects: Cao Qin, a monograph on Guqin in Han Dynasty, explained the title of Qinle. Ji Kang, a famous pianist in the Three Kingdoms period, recorded in his book Cao Qin that "the emblem is Zhongshan jade". This shows that people at that time already knew the appearance of overtones on the guqin emblem.
At that time, a large number of literati musicians appeared one after another, such as Ji Kang and Ruan Ji, and a number of famous tracks such as Guangling San (stabbing King Koryo), Cao and drunkard appeared.
At the end of the Northern and Southern Dynasties, there was also a popular musical, with story lines, roles and makeup performances, singing and dancing, and accompaniment and orchestral accompaniment. This is already a small embryonic opera.
Important legal achievements in this period include Xie Xun's discovery of the "positive hole number" of wind instruments in the Jin Dynasty. In the Southern Song Dynasty, He Chengtian created a new law which is very close to the law of twelve averages by the method of arithmetic superposition. His efforts initially solved the problem that Huang Zhong could not restore the three-point profit and loss law.
Sui and Tang Dynasties
During the Sui and Tang Dynasties, the political power was unified, especially in the Tang Dynasty, with political stability and economic prosperity. The ruler pursues the open policy and dares to absorb the culture of other cities. In addition, the fusion of various ethnic music cultures since the Wei and Jin Dynasties laid the foundation, and finally sprouted the peak of all-round development of music art with song and dance music as the main symbol.
The music enjoyed by the court in the Tang Dynasty is called "Yan Yue". Seven-step and Nine-step in Sui and Tang Dynasties belong to Yan Music. They are folk music of various nationalities and some foreign countries, mainly including Shang Qing music (Han nationality), Xiliang music (now Gansu), Gaochang music (now Turpan), Qiuci music (now Kuqa), Guo Kang music (now Samarkand, Russia), Anguo music (now Bukhara, Russia), Tianzhu music (now India) and Koryo music (now North Korea).
. Among them, the more important ones are Qiuci Music and Xiliang Music. Yanle can also be divided into Zuobi and Bailey. According to Bai Juyi's poem Bailey, the performance level of his left arm is higher than Bailey's.
The popular song and dance Daqu in Tang Dynasty is a wonderful flower in Yan music. It inherits the tradition of Xianghe Daqu, and integrates the essence of all ethnic groups in nine pieces of music, forming a structural form of scattered sequence-middle sequence or beat sequence-breaking or dancing all over.
. There are 46 Tang Daqu's in Jiao Fanglu, among which "Dancing in Dress and Feather" is praised by the world because of its elegant style, which was written by the famous imperial musician Tang Xuanzong. Bai Juyi, a famous poet, wrote a vivid poem "Yi Yu Dance Song" to describe the performance process of this Daqu.
In the Tang Dynasty, the famous violinists Zhao Yili, Dong and Lei Shi joined in, which made the Guqin art more perfect. A new notation, subtraction notation, appeared in Guqin, which gradually replaced the original text notation, making the notation more convenient and faster, and promoting the popularization of piano music.
The prosperity of music culture in the Tang Dynasty is also manifested in a series of music education institutions, such as teaching workshops, pear gardens, big music departments, preaching departments and pear gardens dedicated to teaching young children. These institutions have trained a batch of talented musicians through strict performance assessment. Tang poetry, a must in the history of literature, was able to sing and laugh at that time.
At that time, geisha often sang famous poems quickly; After entering the profession, poets also measure their writing level by the popularity of poems. Pipa is one of the main musical instruments of the band in Tang Dynasty. Its shape is almost the same as today's pipa. Fujian Nanqu and Japanese Pipa still retain some characteristics of Tang Pipa in shape and playing method.
Influenced by Qiuci's music theory, the 84-tone and 28-tone music theory of Yan music appeared in the Tang Dynasty. In the Tang Dynasty, Cao Rou also founded the Guqin notation of subtraction notation, which has been used until modern times.
Song, Jin and Yuan Dynasties
The development of music culture in Song, Jin and Yuan Dynasties was marked by the prosperity of citizen music, which was deeper than that in Sui and Tang Dynasties. With the prosperity of urban commodity economy, amusement parks "Washe" and "Goulan" adapted to the cultural life of citizens came into being. In "Washe" and "Goulan", people can hear singing, singing, singing, earning and other artistic songs. You can also see rap music types, such as Cliff Ci, Tao Zhen, Drum Ci, Zhu Gong tune, as well as zaju and primitive performances. It can be said that a hundred flowers blossom.
Among them, tangling and tangling have certain influences on the musical structure of later operas and instrumental music. The drum words influenced the rap music drum words of later generations. Zhu Gong tune is a mature large-scale rap genre in this period. Among them, singing plays a very important role.
Quzi music in Song Dynasty inherited the heritage of the development of Quzi Ci in Sui and Tang Dynasties, and achieved unprecedented development. This kind of singing literary genre of long and short sentences can be divided into the forms of quotation, delay, proximity, beat and preface. There are already "spreading", "subtracting words" and "stealing voices" in the lyrics. During the Southern Song Dynasty, Jiang Kui was a famous lyricist and musician. He not only wrote lyrics, but also composed music according to the lyrics.
He has 17 self-directed and self-performed songs and a piano song "Old Hatred", which has been handed down from generation to generation. Most of these works express the author's concern for the people of the motherland and depict a quiet and sad artistic conception, such as slow Yangzhou, Meiling in Wanxi, and the response of apricot flowers. Guqin music in Song Dynasty started the Guqin school with Chuwang Guo's masterpiece Xiaoxiang Yunshui. The work shows the author's interest in loving the mountains and rivers of the motherland. In the long development of bowstring musical instruments, there was a record of "ponytail and huqin" in Song Dynasty.
In the Yuan Dynasty, the appearance of national musical instrument Sanxian deserves attention. In the aspect of music theory, the scale of Yan was recorded in the Song Dynasty. At the same time, the early Gong Chi Pu also appeared in Zhang Yan's Etymology and Shen Kuo's Meng Qian Bi Tan. A popular I scale spectrum in modern times comes directly from this time. The Song Dynasty is also an era when China's operas tend to be mature. Its symbol is the appearance of Southern Opera in the Southern Song Dynasty. Southern Opera, also known as Wenzhou Zaju and Yongjia Zaju, has rich and natural music.
At first, some folk tunes could be sung without the restriction of Gongdiao. Later, when it developed into Qupai-style opera music, many phrases with different Qupai were organized and formed a new Qupai "collection" form. There are many ways to sing the Southern Opera, including solo, duet and chorus. Three books handed down from generation to generation, Zhang Xie was the top scholar, which can be found in Yongle Daqu. China's traditional drama reached its peak in the Yuan Dynasty, represented by Yuan Zaju.
Yuan Zaju first flourished in the north, and gradually developed to the south, blending with southern operas. Representative writers of Yuan Zaju include Guan Hanqing, Ma Zhiyuan, Zheng Guangzu and Bai Pu, as well as Wang Shifu and Qiao Jifu, who are known as the six outstanding figures in the world. Typical works such as Guan Hanqing's Dou Eyuan, Single Knife Meeting and Wang Shifu's The West Chamber.
Yuan Zaju has a strict structure, that is, each work consists of four folds (curtain) and a wedge (preface or cut). The 10% discount is limited to the same palace tune, and one rhyme is always one word (late or Dan). These rules are sometimes broken. For example, Wang Shifu's The West Chamber is 20% off five books.
The influence of Yuan Zaju on Nan Opera made Nan Opera (the legend of Yuan and Ming Dynasties) further mature. A series of typical plays appeared, such as Yue Bai Palace and Pipa Story. These plays have been handed down from generation to generation and are still on today. At that time, the style of northern and southern music was initially established, and the northern music, which is dominated by seven tones, is heavy. Nanqu, which is dominated by pentatonic scale, is gentle and graceful.
With the development of the art of traditional Chinese opera in Yuan Dynasty, the earliest monograph summarizing the theory of traditional Chinese opera singing appeared, that is, Yan Nan Zhi 'an's On Singing, while Zhou Deqing's Rhyme of the Central Plains was the earliest northern music rhyme book. He divided the northern language into nineteen rhymes and divided the tones into four types: flat tone, rising tone, rising tone and falling tone. This has a great influence on the study of phonology and the development of traditional Chinese opera rap music.
Ming and Qing dynasties
Because in Ming and Qing Dynasties, capitalist economic factors had sprouted, the citizen class was growing day by day, and the development of music culture was more secular. The folk ditty in Ming Dynasty is rich in content, although it is mixed with good and bad, but its influence has reached the level of "regardless of men and women" and "everyone is Xi".
As a result, folk editing, publishing and engraving of ditties have become a common practice. From folk ditties to songbooks, operas and piano music, folk publications have come out one after another. For example, Feng Menglong's Folk Songs, Zhu Quan's earliest extant ancient piano score collection and so on.
The rap music in Ming and Qing Dynasties is rich and colorful. Among them, tanci in the south, drum ci in the north, brand music, piano books and Taoist rap songs are more important. Suzhou Tanci has the greatest influence on the beautiful Tanci in the south.
In Suzhou in the Qing Dynasty, there appeared a desolate and vigorous old tune represented by Chen Yugan. Rough and hearty horse tune represented by Ma Rufei; Yu Xiushan is the representative of beautiful and gentle residual tone. Later, many new schools were born.
Shandong drum, wooden drum, Xihe drum and Jingyun drum in central Hebei are more important drum characters in the north. Paizile's rap includes playing strings and Henan Daqu. Qin Shu rap includes Qin Shu in Shandong and dulcimer in Sichuan. Daoqing rap includes Zhejiang Daoqing, Shaanxi Daoqing and Hubei Yugu. There are also some rap songs of ethnic minorities, such as Mongolian storytelling and Bai's Big Ben.
During the Ming and Qing Dynasties, song and dance music developed greatly among people of all ethnic groups, such as Yangko of Han nationality, Denmukamm of Uygur nationality, Nangma of Tibetan nationality, bronze drum of Zhuang nationality, peacock dance of Dai nationality, Yuetiao of Yi nationality and Lusheng of Miao nationality. The opera music of Ming and Qing dynasties characterized by the spread of vocal cavity reached a new development peak.
In the early Ming Dynasty, there were four major vocal cavities: Haiyan, Yuyao, Yiyang and Kunshan. Kunshan dialect was transformed from Wei Liangfu and others in Taicang, Jiangsu Province, and won people's love for its exquisite and smooth tunes and exquisite pronunciation of prefix, abdomen and suffix. After the confluence of northern and southern songs, Kunqu Opera was formed in Kunshan cavity, which was once a top drama.
The earliest Kunqu opera repertoire is the Huansha Ji by Liang Chenyu in Ming Dynasty, and other important repertoires are the Peony Pavilion by Tang Xianzu in Ming Dynasty and the Fairy Palace by Hong Sheng in Qing Dynasty. Yiyang Opera, with its flexible characteristics, has had an important influence on local dialect operas, making the number of local operas increase day by day, such as various high-pitched operas.
At the end of Ming Dynasty and the beginning of Qing Dynasty, the northern Bangzi, represented by Shaanxi Qin Opera, developed rapidly, which influenced Shaanxi Zhou Pu Bangzi, Shaanxi Tongzhou Bangzi, Hebei Bangzi and Henan Bangzi. This sonorous and generous bangzi tune is enduring in northern provinces. At the end of the Qing Dynasty, a Pi Huangqiang composed of two basic vocal cavities, Xipi and Huanger, was initially formed in Beijing, which produced Peking Opera that influenced the whole country.
During the Ming and Qing Dynasties, the development of instrumental music was manifested in various forms of instrumental ensemble among the people. For example, Beijing Zhihua Temple wind music, Hebei Blowing Song, Jiangnan Sizhu, Fan Shi gongs and drums and so on. Qin Ge, such as Pingsha geese in Ming Dynasty and flowing water in Qing Dynasty, and a number of rich Qin songs, such as Three Layers of Yangguan and Eighteen Beats of Tiger Leaping, were widely circulated.
. Since the end of the Yuan Dynasty and the beginning of the Ming Dynasty, famous songs such as "The Swan in Christina" and "House of Flying Daggers" have appeared, and the earliest pipa music arranged by China appeared in the Qing Dynasty. Zhu Zaiyu, a famous musician in the late Ming Dynasty, calculated the length ratio between two adjacent laws (semitones) of the Twelve Mean Laws, which was accurate to twenty-five digits.
Modern Times
/kloc-At the end of 0/9, China was forced to open its southern coast and began to get in touch with western music and musical instruments. Guangdong music first absorbed western harmony methods, created new musical instruments-dulcimer and xylophone, and developed the music of band ensemble. Guangdong music still has its unique charm and is a successful example of combining Chinese and western music.
From 1838 to 1903 (that is, more than 60 years before the narrow sense of "school music and songs" movement), church music also had a great influence on modern music education in China. After the Opium War, the number of missionaries in China increased. When western missionaries preached in China, they often used hymns as auxiliary means, so the concepts of semitone were spread.
Folk musicians have created a new stage for the development of Chinese musical instruments. Liu Tianhua, an erhu composer, wrote a large number of erhu solos, such as Good Night, Bright Walk, Rivers and so on. Hua Chuang, a blind man, composed erhu music and pipa music "Two Springs Reflecting the Moon". Despite the turmoil at that time, Chinese folk music has made great progress in both solo and ensemble.
During the New Culture Movement from 19 10 to 1920, many China musicians studying abroad began to play European classical music and record new works with staff. A new symphony orchestra has been established in big cities, mixing European classical music and jazz, which is very popular in concert halls and radios. Shanghai reached its peak in the 1930s.
Although western musical instruments and musical means are used, pop music is still China's way, that is, melody is the mainstay and pentatonic scale is the mainstay, so that it can be loved by the most people. Zhou Xuan was one of the most popular performers at that time, and also a representative figure of pop music. His theme songs "Genv" and "Four Seasons Song" for the film "Street Angel" were very popular at that time, which was in line with the anti-Japanese sentiment of the people at that time and was called "Golden Voice".
Modern Times
After the founding of the People's Republic of China, in addition to revolutionary songs, Soviet songs translated into Chinese were also added. Symphony orchestras have been set up in various places to play western classical music and new works by China composers.
The Eastern European Orchestra has performed in China for many times, and the China Orchestra has also participated in many international performances. Musicians in China also tried to create music with China flavor with western musical instruments. The violin concerto Liangzhu adopted some melodies of Yue Opera, which was quite successful.
Exchanges with third world countries are also increasing. So the Oriental Song and Dance Troupe was established to learn to sing folk songs of various countries in Asia, Africa and Latin America, which is very popular in China. Since then, music from developing countries has begun to influence American music. The orchestration and ensemble methods of Chinese national bands have also been basically finalized, and many successful national instrumental symphonies have been produced.
In the 20th century, China's national music began to receive extensive attention from all countries in the world. Every Spring Festival, we are invited to hold the China New Year Concert in the Vienna Golden Hall, which is packed.
contemporary era
Since China's reform and opening up, pop music first entered the mainland from Hong Kong and Taiwan, especially the campus songs of Taiwan Province Province and the songs sung by Teresa Teng, which were very popular in the mainland.
Zhang Mingmin's My China Heart, which was performed at China CCTV 1984 Spring Festival Gala, became an instant hit in Chinese mainland, which was the first public performance of Hong Kong and Taiwan songs in China. Since then, Chinese mainland's pop songs have been combined with various styles and genres of music in other regions, resulting in many pop songs.
China's pop music has developed rapidly and has become a new force that can't be ignored in the world pop music scene. Pop music in Hong Kong and Taiwan has developed very rapidly, basically keeping pace with international pop trends. Especially in Hong Kong, because the authorities do not interfere in music creation, many famous singers and songs have appeared, which are not only popular in the mainland, but also worshipped by fans in Japan and South Korea.
Since 1984, Chinese pop music in Chinese mainland, Taiwan Province Province, Hongkong and other parts of the world has been continuously exchanged, showing a trend of mutual integration and convergence. So the general term "global Chinese pop music" began to appear. An outstanding performance: Chinese mainland is one of the largest consumer markets in the world, and the release and compilation of major pop music lists in Hong Kong, Taiwan and overseas are increasing.