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\uff08\u4e03\uff09<\/b><\/p>
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\u96a8\u8457\u6c11\u65cf\u6c11\u9593\u5668\u6a02\u85dd\u8853\u5728\u6559\u80b2\u548c\u8868\u6f14\u5718\u9ad4\u5efa\u8a2d\u65b9\u9762\u7684\u767c\u5c55\uff0c\u6c11\u65cf\u6c11\u9593\u5668\u6a02\u7406\u8ad6\u7814\u7a76\u4e5f\u5f97\u5230\u9577\u8db3\u9032\u6b65\uff0c\u5f9e\u4e2d\u592e\u5230\u5730\u65b9\u666e\u904d\u5efa\u7acb\u4e86\u85dd\u8853\u7814\u7a76\u6240\uff0c\u800c\u4e14\u5728\u97f3\u6a02\u7814\u7a76\u65b9\u9762\u591a\u4ee5\u7814\u7a76\u50b3\u7d71\u97f3\u6a02\uff08\u5305\u62ec\u5c11\u6578\u6c11\u65cf\u97f3\u6a02\uff09\u70ba\u4e3b\uff0c\u9084\u80fd\u7d93\u5e38\u53ec\u958b\u6709\u95dc\u7684\u570b\u969b\u3001\u570b\u5167\u5b78\u8853\u4ea4\u6d41\u6703\uff0c\u4e26\u53d6\u5f97\u4e86\u76f8\u7576\u8c50\u78a9\u7684\u6210\u679c\u3002<\/p>
\u5728\u9019\u4e00\u6642\u671f\uff0c\u6c11\u9593\u6d41\u4f48\u5341\u5206\u5ee3\u6cdb\u7684\u9f13\u5439\u6a02\u3001\u947c\u9f13\u6a02\u3001\u7d72\u7af9\u6a02\u7b49\u985e\u5c6c\u7684\u539f\u6709\u6a02\u7a2e\uff0c\u540c\u6a23\u5f97\u5230\u4e86\u85dd\u8853\u4e0a\u7684\u63d0\u9ad8\uff0c\u5728\u5404\u6c11\u65cf\u3001\u5404\u5730\u5340\u5ee3\u5927\u4eba\u6c11\u81ea\u5a1b\u7684\u6c11\u4fd7\u6d3b\u52d5\u4e2d\u4ecd\u4fdd\u6301\u8457\u5f37\u5927\u7684\u751f\u547d\u529b\uff0c\u5176\u54c1\u7a2e\u4e4b\u591a\u3001\u5f62\u5f0f\u4e4b\u8c50\u5bcc\uff0c\u96e3\u4ee5\u6578\u8a08\uff0c\u6210\u70ba\u6c11\u9593\u6587\u5316\u751f\u6d3b\u7684\u91cd\u8981\u65b9\u9762\u3002<\/p>
\u7279\u5225\u901a\u904e\u9019\u6b21\u6709\u8a08\u5283\u5730\u5c0d\u6c11\u65cf\u5668\u6a02\u6587\u5316\u9032\u884c\u7684\u5ee3\u6cdb\u6df1\u5165\u7684\u7de8\u8f2f\u51fa\u7248\uff0c\u61c9\u8a72\u8aaa\u662f\u4e00\u6b21\u9ad8\u77bb\u9060\u77da\u7684\u63aa\u65bd\u3002\u53ef\u4ee5\u9810\u6599\uff0c\u96a8\u8457\u6b77\u53f2\u7684\u63a8\u79fb\uff0c\u9019\u4efd\u6c11\u65cf\u6c11\u9593\u5668\u6a02\u6587\u5316\u907a\u7522\uff0c\u5c07\u8d8a\u4f86\u8d8a\u986f\u793a\u51fa\u5979\u7684\u71e6\u721b\u5149\u5f69\u548c\u6df1\u9060\u610f\u7fa9\u3002<\/p>
\u4f5c\u8005\u55ae\u4f4d\uff1a<\/strong><\/p> \u4e2d\u570b\u97f3\u6a02\u7406\u8ad6\u5bb6<\/p> \u524d\u4e2d\u592e\u97f3\u6a02\u5b78\u9662\u526f\u6559\u52d9\u4e3b\u4efb<\/p> \u524d\u4e2d\u570b\u97f3\u6a02\u5b78\u9662\u9662\u9577<\/p> \u524d\u4e2d\u592e\u6b4c\u821e\u5718\u5718\u9577<\/p> \u524d\u4e2d\u592e\u6a02\u5718\u5718\u9577<\/p> \u524d\u4e2d\u570b\u97f3\u5354\u526f\u4e3b\u5e2d<\/p> \u00a0<\/p> A General Description of Chinese Traditional Instrumental Music<\/strong><\/p> Li Ling<\/p> In the history of China, there has been some collection of Chinese folk music, such as \u201cGuo Feng\u201d (a collection of folk lyrics and music) in the Summer and Autumn Period (770BC-476BC) and the Warring States Period (475BC\u2014221BC). Compilers of verses written for music in the two Han Dynasties (West Han Dynasty, 206BC\u201425AD, and East Han Dynasty, 25AD\u2014220AD), Sui Dynasty (581 AD\u2014618AD) and Tang Dynasty (618AD\u2014907AD) have also had some researches on the Chinese folk music. However, if Chinese folk musical instruments are discussed, I should say we haven\u2019t had any systematic and wide-ranged researches on the music played with instruments which were widely popular among our people, except for some on the episodes played usually with gugin (a kind of seven-stringed zither and China\u2019s oldest stringed instrument.) It is, therefore, an unprecedented effort for the State Central Government to organize talents from various scholarly fields all over the country to deeply and widely research on folk musical instruments and cultures, and plan compiling ten collections for publication.<\/p> Descriptions about Chinese folk music and instrument actually scattered in dribs and drabs in our old scriptures, such as \u201cNuWa Plays Sheng (a kind of mouth organ made of bamboo or metal) and Beating Reed (also a kind of instrument played with mouth)\u201d and \u201cWuXian Plays Drums\u201d. \u201cLu\u2019 s Commentary on Spring and Autumn Period\u201d (work by Lu Buwei finished around 239BC) once said, \u201cEmperor Huang Di (named as Zhuan Xu, and one of the earliest emperors in Chinese history) ordered the entertainer to play some tunes.\u201d Heng Tan described Emperor Yu like this in his \u201cOn Qin Principles\u201d, \u201cIn the old times of Xia (2070BC\u20141600BC), the flood covered the land and mountains. Emperor Yu (one of the earliest emperors in Chinese history) played gin and sang songs with clear voices. The music and songs flowed slowly and beautifully in the air, and told us Emperor Yu\u2019 s high ambition in controlling the flood.\u201d However, tales are tales and we can\u2019t fully believe them according to the scripts.<\/p> Nevertheless, some descriptions in those old scriptures are quite reliable and traceable about such musical instruments as bell, drum, ging (a king of sounding stones), yu (a kind of pipe instrument and smaller type of sheng), sheng, gin (same as gugin) and seh, and about some musical players and masters. Between 1986 and 1987, archeologists unearthed 16 pieces multiple-holed bone flutes exquisitely made of MENGLI foot bones, which can produce tunes of six to seven musical scales, at the Wuyang Jiahu New Stone Age Relics of Henan Province. According to the primary carbon-14 dating evaluation, those flutes can be dated back to seven to eight thousand years ago. Many unearthed antiques and historical scripts tell us a long-reaching tradition of Chinese folk music and instrument as one essential part of Chinese culture.<\/p> The development of Chinese music culture originated from the combination of singing, music and dancing, and the musical instruments appeared first to the accompaniment of singing and dancing. Later, the dancing part became more and more independent, and the music to the accompaniment of the dances obtained more and more unique structures, then music itself played by various instruments developed as well during the Spring and Autumn Period and the Warring States Period. For example, \u201cSheng Jian Zou\u201d (sheng solo in between) was a pure musical part separated gradually from the dances accompanied by music.<\/p> In 1978, archeologists unearthed the tomb of a King of Zeng State, named \u201cYi\u201d and buried at the early Warring States Period (around 433BC), at the suburb of Suizhou in Hubei Province. They found remains of 21 ladies buried together with the king as well as 124 exquisite musical instruments, including a set of chimes consisting of 64-piece bells of double-tymapanitic notes, a qing set consisting of 32-piece stone gings, and many drums (handy drums, hanging drums and drums with sticks), ten-stringed qins, five-stringed qins, seh, pan-flute, sheng and chi (bamboo flute with 8 holes). This showed us at what a large scale and high level the musical band in the court at that time had already been. The exquisiteness of the craftsmanship, the width of the musical scales, the preciseness of the tones, and the musical philosophy of the tomb epigraph all reflected a considerably high level of civilization the Chinese musical culture had developed two thousand and four hundred years before.<\/p> Li Si was the premier of Qing State (306BC\u2014221BC) in the Warring States Period. He once wrote in \u201cOpinion about Expelling Non-Qing Residents\u201d like this, \u201cPeople in Qing used to pat on their buttocks and sing songs happily, blowing the urns, knocking on the potteries and playing zhengs (a kind of string instrument usually made of wood). All the music is authentic music of Qing!\u201d (see \u201cA Collection of History\u2014Story of Li Si\u201d ). The story later also said Li Si continued his opinion as following, \u201cAll such music types played in Zheng State and Wei State as \u201cShao\u201d, \u201cYu\u201d, \u201cWu\u201d and \u201cXiang\u201d are not local. Now, we abandon Urns and Potteries, and play music \u201cShao\u201d and \u201cYu\u201d from Zheng State and Wei State with zhengs. Why 1s it like this? Because they are for the same purpose\u2014to make people happy.\u201d This paragraph proves that kings of Qing State, at that time, not only enjoyed music from local Qing regions, but also that from central and western part of Chinese regions.<\/p> Stories about gin masters Boya and Cheng Lian, etc., tell us something about the origins of musical pieces such as \u201cGao Shan (High Mountains)\u201d and \u201cLiu Shui (flowing waters)\u201d. Those qin masters belong to the hierarchy of scholars in the Spring and Autumn Period. \u201cLie Zi\u2014About Tang Wei\u201d tells us the following story about Boya and Zhong Ziqi. \u201cBoya excels in playing gin, and Zhong Ziqi is good at understanding his music. When Boya plays some pieces displaying his ambitions as high as mountains or as torrential as flowing waters, Zhong Ziqi can fully understand and appreciates Boya\u2019s devotion and ambitions. Once Boya visited the south of Tai Mountain and was stopped by a sudden rainstorm below a rock, when he fell into a mood of sadness. He then took the gin over and began playing an episode called \u201cLin Yu\u201d (linyu rain).\u201d Later, he was more and more absorbed in playing and began an episode called \u201cShan Beng (the mountain collapses).\u201d Whenever the new episode started, Zhong Ziqi could tell out Boya\u2019s mind right away. Boya thus abandoned his qin and said, \u2018You are really excellent. You can tell whatever my mind wants to say. How can I be hidden away from you?\u2019<\/p> From above-mentioned vivid stories, we can profoundly feel that in ancient Qing period, not only the music players achieved very high performance levels in combining their wills, principles and mood into music, but also the listeners had thorough understanding of those sentiments displayed in the music. The music repertoire \u201cGuang Ling San\u201d played by Ji Kang in Wei State of Three States Period (220AD To 280AD) is the proof of a high level of performance on the side of players as well as of understanding and acknowledgement of the philosophy in the music on the side of listeners in the development of Chinese folk music. Later, the cultural exchange with foreign regions in Sui and Tang dynasties, especially the wide absorptions of foreign music and culture into the dancing music and court music in the most prosperous Tang period, gave fresh injections to Chinese folk music and instruments for fast and great development.<\/p> After the 11″ century, the musical cultures of China, including instrumental music, prospered greatly. Chinese folk cultures of instrumental music kept exuberant vitality among people of various ethnic groups until the 15th century, when China was in the middle of Ming Dynasty (1368\u20141644). Such cultures had different development features at different period of time.<\/p> [I] In ancient Qing Dynasty (221 BC\u2014206BC), some early scriptures about dances and music could be found in \u201cShangshu\u2014Story about Shun\u201d (\u201cShangshu\u201d is a collection of stories happening from old period of Emperor Yao and Emperor Shun (both emperors were among the earliest emperors in ancient China) to Mid Spring and Autumn Period or records of kings\u2019 words of those times. It is one of the most ancient collections of historical stories in China.) It says, Lessee Kui (the official responsible for music in the reign of Emperor Shun) said, \u201cWhen the stone ging 1s tapped, the music is so attractive that even beasts and animals begin dancing. \u201c According to the unearthed relics and historical scripts, there were already over 30 types of instruments in ancient Qing Dynasty. People classified such instruments according to materials they were made of into 8 categories, so-called \u201cBa Yin\u201d (8-tuned musical instruments or 8 kinds of sounds produced by such instruments\u2019 \u2014instruments made of metals, stones, strings, bamboo, calabashes (lagenaria vulgaris), clay, animal skins and wood.<\/p> Music players in the court of Zhou Dynasty (1046BC to 256BC), such as Shi Guo, Shi Kuang and Shi Hua, were all good at playing gugin. Gugin became the favorite of scholars in Qing Dynasty (221BC\u2014206BC). There was description in \u201cThe Analects of Confucius\u201d about the seh like this, \u201cKongzi (Confucius) asked his students about their ambitions. Zeng Dian (one student of Confucius) was playing seh when Confucius asked, \u2018Dian, what do you want to do?\u2019 Then, Dian gradually slowed down his music and answered his teacher.\u201d It shows how popular seh was among scholars at that time. Yi was also very important at that time in the court. Descriptions about music playing can be found in \u201cHanfei Zi\u2014Neichu Theories\u201d (Hanfei 71 was the famous philosopher and essayist in the Warring States Period (275BC to 221BC) and the founder of Legalism in China. The collection of his theories is \u201cHanfei Zi\u201d and \u201cNeichu Theories\u201d is part of the collection focusing on seven methodologies of controlling the courtiers.), such as \u201cKing Xuan of Qi State usually asked three hundred people to play yu at the same time,\u201d and \u201cYu (reed yu) is the most important one among all the music instruments. Once yu is blown, chimes and seh will follow yu, and so will other instruments.\u201d It is obvious that yz was the leading instrument in the band at that time.<\/p> China was unified in Qing Dynasty. Its emperor did several good things in the history, such as \u201cunifying the characters and standardizing the wheels of vehicles\u201d. Among the engraved scriptures unearthed from tombs of Qing\u2019s first emperor Ying Cheng, we found some chimes with Qing\u2019 s sealed character (a style of Chinese calligraphy, often used on seals) \u201cMusic Bureau\u201d , which showed that there was already special government department responsible for music development in Qing Dynasty.<\/p> [II] Economies in Han Dynasty (West Han Dynasty, 206BC\u201425AD, and East Han Dynasty, 25AD\u2014220AD) changed a lot, generating some new development for the culture of the country. At this period of time, China then had more exchanges with the Turkestan regions (currently close to Xinjiang Uighur Autonomous Region), and export them such instruments as bells, chimes, gugins and shengs as well as many music players and musical theories. In return, China then imported such instruments as giang flute (flute of Qiang ethnic group), hujia (hujia reed pipe), vertical k ung-hou (a kind of vertical ancient musical instrument with 23strings), bili (a kind of ancient wind instrument made of bamboo, and its reed made of bulrush), guxiang pipa (pipa 1s a kind of Chinese lute), as well as some musical theories. Liu Bang, the first emperor of Han Dynasty, liked music and he could play zhu (a kind of five string lute). He wrote in \u201cThe Ode of Wind\u201d, \u201cHeavy wind starts and blows the cloud to move so fast! I have won some victories and now come back to my hometown with honor. However, can I always have loyal supporters to help me keep my emperor stable and prosperous?\u201d It is said that he organized 120 children to sing this song at his hometown Pei County and he played zhu and led the dancing himself.<\/p> It is said that armies of Han Empire used music played with drums and mouth organs to \u201cstrengthen their power and prestige.\u201d Later, such music developed greatly in the court and Chinese folk people, and spread among minority people as well. According to old scripts, there were four types of performances in the court with music played with drums and mouth organs.<\/p> When music played by drums and mouth organs got popular, guqins, sehs and xiaos were also welcome by the courtiers, scholars and folk people. In old scripts of Han Dynasty and Wei Dynasty, there were already descriptions about solo instrumental performances, the music of which was called \u201cdanqu.\u201d Some of the repertoires played with gugins, zhengs, shengs and zhus include \u201cGuangling San\u201d, \u201cHuanglaotan Feiyin\u201d, \u201cLiu Chu\u201d, etc. Then, the solo guqin performance was in its peak season, and Cai Yong (???), Cai Yan (???) and Ji Kang (???) were among the most famous players at that time. The important folk music collection then was \u201cXiang He Ge (Xianghe Song Collection)\u201d. The \u201cJinshu\u2014Yue Zhi\u201d (Story Collection of Jin Dynasties\u2014About Music<\/u>) (one of the 24 most famous collection of historical stories compiled by Fang Xuanling, etc., in Tang Dynasty) says, \u201cXianghe, a kind of ceremonious solo singing type in old Han Dynasty; later, 1t developed to be songs accompanied by music played with stringed and bamboo instrument.\u201d It showed that Xianghe songs were usually accompanied by stringed and bamboo instruments, and before the songs, there were usually solo instrument performance. In the reign of Emperor Liu Che (157BC\u201487BC), folk music from States of Yan, Zhao, Chu, Qi, Qing and Lu was collected and popularized, and he even appointed Li Yannian to be the coordinator in charge of music development and collection of music tunes. In \u201cHanshu\u2014Li Yuee Zhi (Story Collection of Han Dynasties\u2014On Ceremonious Music)<\/u>\u201d, (\u201cHanshu\u201d was written by Ban Biao and his son Ban Gu in Han Dynasty and 1s one of the most important historical collections), there were words as \u201cwriting verses of 19 chapters\u201d. It also described Han Dynasty absorbed many music types from Zheng Sate and Wei State, therefore \u201cfrom the court to the music bureau, Zheng\u2019s tunes resounded all over.\u201d It is obvious that people widely absorbed music types of many regions so as to create new ones at that time.<\/p> [III] Due to the economic development and promotion of the court in Sui and Tang dynasties (Sui Dynasty (581AD\u2014618AD) and Tang Dynasty (618AD\u2014907AD)), popular court music won great prosperity, and largely activated the instrumental music culture to enter a new historical era. Popular court music in Sui and Tang dynasties had its far-reaching effect on Chinese music history. It was the music to the accompaniment of court dances for the enjoyment of kings (emperors) aggregating the achievements of different nations. \u201cSui Shu\u2014Yin Yue Zhi (Sui Shu\u2014On Music\u201d<\/u> (\u201cSui Shu\u201d is a collection of historical stories of Sui Dynasty compiled by Wei Zheng, the premier of Tang Dynasty in reign of Emperor Li Shimin, the second emperor of Tang Dynasty) says, \u201cAt the beginning of its (Sui\u2019s) establishment, the government set up seven schools of music: Guoji School, Qingshang School, Ancient Korean School, Ancient Indian School, Anguo School, Ancient Kutsi School (kutsi is now in Xinjiang Uighur Autonomous Region) and Wenkang School.\u201d Emperor Yang Guang (the second and last emperor of Sui Dynasty) added two schools-\u201cKangguo School\u201d and \u201cShule School\u201d (Shule is now in Xinjiang Uighur Automonous Region), and changed \u201cGuoji School\u201d to \u201cXiliang School\u201d (Xiliang is now in Gansu Province) and \u201cWenkang School\u201d to \u201cLibi School.\u2019\u2019(Libi means the ceremonious rites end.) Then finally, we had nine-school music.<\/p> \u201cSeven-school music\u201d and \u201cnine-school music\u201d included many solo instrumental musical pieces. Due to the influence of musical cultures from the old Turkestan regions, the composition of court bands also greatly changed. They began using larger amount of exotic instruments, such as phoenix-headed k\u2019ung-hou, vertical k\u2019ung-hou, pipa (Chinese lute), five-strings, bili,cymbal, maoyuan drum (a kind of kutsi drum which can be tapped on both sides), duxian drum (smaller type of maoyuan drum), jie drum ( a kind of drum with both sides covered by skins and the belly part thinner, and originated from Jie ethnic group in turkestan regions), dala drum (similar to jie drum and usually played by people in kutsi and shule regions), yaogu drum (drum played when hung on waists and originated from regions close to current north Sha\u2019an x1 Province) and jilou drum.<\/p> \u201cZuobu Ji\u201d (music types played when sitting) and \u201cLibu Ji\u2019 (music types played when standing) in Tang Dynasty were inherited and developed from the popular court music of Sui Dynasty, and usually consisted of 14 repertoire. Among them, \u201cLibu Ji\u201d included 8 repertoire, \u201cAn Yue\u201d (music of tranquility), \u201cTaiping Yue\u201d(music of peace and security), \u201cPozhen Yue\u201d(music when breaking the disposition of enemies\u2019 troupes), \u201cQingshan Yue\u201d (music to eulogize the good), \u201cDading Yue\u201d (music to show off the great stability\u201d, \u201cShangyuan Yue\u2019(music to celebrate Chinese Spring Festival\u201d, \u201cShengshou Yue\u201d(music played for celebration of kings\u2019 birthday), and \u201cGuangsheng Yue\u201d (music in honor of the holy). \u201cZuobu Ji\u201d included 6 repertoire, \u201cYan Yue\u2019\u2019(court banquet music), \u201cChangshou Yue\u2019(music for long life span), \u201cTianshou Yue\u201d (music to show emperors were appointed by the holy), \u201cNiaoge Wansui Yue\u201d(music about all birds singing long live to emperors), \u201cLongsha Yue\u201d and \u201cXiao Pozhen Yue\u201d (shorter Pozhen Yue). Among the 14 repertoire, \u201cAn Yue\u201d was created by Emperor Yuwen Yong in North Zhou Dynasty (543A D\u2014578AD); \u201cTaiping Yue\u201d was the additional part for \u201ckutsi music\u201d in the \u201cten-school music\u201d. All the rest were dancing music created in Tang Dynasty and the products of the prosperity of that period. Performances of \u201cLibu Ji\u201d were especially spectacular among all, and were usually played by 60 people at the least and 180 people at the most. The spectacle was really full of power and grandeur accompanied with heavy drums. The scale of \u201cZuobu Ji\u201d performances was smaller. Usually 3 to 12 people played the music, which was ethereal, expressive and emotional. Playing of such music emphasized personal skills very much.<\/p> \u201cDa Qu\u201d is large-scaled dancing music repertoire consisted of multiple chapters. Some repertoire of \u201cDa Qu\u201d with elegant styles and features of Qingshang School in the court are also called \u201cFa Qu\u2019. The famous repertoire \u201cNishang Yuyi\u201d (rainbow-colored and feathered costumes) in Tang Dynasty is one \u201cFa Qu\u201d in the bigger category of \u201cDa Qu.\u201d<\/p> The \u201cGucui Yue\u201d (music played with drums and mouth organs) played during banquets was also important Tang popular music, and greatly influenced future folk instrumental music. According to \u201cYuefu Za Lu (Story Medley of the Music Bureau)\u201d compiled by Duan Anjie in Tang Dynasty, there were over 300 types of music instruments at that time. There were not only musical notations in Chinese characters, but also \u201cnotations by simplified characters\u201d and earlier \u201cgongchi notation (notation in several pre-regulated signs).\u201d<\/p> Thanks to the instrumental music development in Tang Dynasty, a lot of famous instrument players and musicians appeared, such as pipa master Cao Miaoda, He Huaizhi, Lei Haiqing, Duan Shanben and Kang Kunlun; bi\/i players Guan Cui, Li Gun and Li Guinian; and other players like Li Ping (k ung-hou), Li Mo (flute), Li Zhou (zheng) and Xue Yangtao (ia), etc.<\/p> [IV] In Song Dynasty (960\u20141279), \u201cZa Ju\u201d (a kind of Chinese dramatic theatre, combining many theatrical types), which absorbed many excellent folk cultural features, prospered. Some of the beautiful gupai (ancient people wrote titles of music on announcement boards and thus gupai, meaning title boards, emerged), and interval music in return were absorbed by future folk instrumental pieces. Gugin also won great development in Song Dynasty. Emperor Zhao Kuangyi (939–997) himself composed \u201cDa Qu\u201d and \u201cXiao Qu\u2019, and revised old music pieces as described in \u201cSong Ming Yinyue Shiliao (Music History of Song and Ming Dynasties)\u201d compiled by Ji Liankang (page 241), \u201c A total of 390 new music pieces were revised out of the old ones.\u201d Serving the Emperor there was a musician called Zhu Wenji, who was named as \u201cNumber One Master of Gugin.\u201d Emperor Zhao Ji (Huizong of Song) was also addicted to gugin, and once established \u201cWan Qin Tang\u201d (hall of thousands of guqins), used for holding thousands of valuable guqins he collected from all over the country. \u201cXiangxiang Shuiyun\u201d (mist and clouds over Xiao and Xiang rivers) composed by Guo Mian (around 1190\u20141260) was one of the masterpieces at that time. Music by mouth organs had considerable development as well in Song Dynasty. One court music player Chan Zhongxin, based on earlier chao sheng (19-piped mouth organ) and he sheng (13-piped mouth organ), standardized shengs\u2019 shapes and norms, and therefore the 19-reed shengs emerged. In Sichuan area, a kind of 36-reed \u201cphoenix shengs\u201d also appeared.<\/p> Instruments emerging in Song Dynasty included the following.<\/p> Mouth organs: chashou flute, guan flute, giang flute, xia flute, xiaohu flute, zhegu, hushing, gixing, xiaoguan (a kind of pan-flute), vertical pan-flute, peisi, yinzi zhongguan and zhongguan beiwu, etc.<\/p> String instruments: giao gin, xi qin, horsetail urheen, calabash qin, bohai qin,shuang yun and san xian (three strings qin), etc.<\/p> Percussion instruments: yun\u2019ao (an instrument consisted of 13 gongs made of copper), tongzi, yugu (a kind of instrument made of bamboo), tonggu (very big drum played when hung at the waist) and shuizhan (a kind of instrument made of copper and tapped by iron stuff), etc.<\/p> Instruments emerging in Yuan Dynasty (1206-1370) included gobuz (a kind of Mongolian instrument in similar shape to pipa), 72-stringed pipa, I-stringed qin and xinglong sheng. In the dancing music \u201cBaisha Xiyue\u201d (\u201cwhite sand and beautiful music\u201d) of Naxi ethnic group in Yunnan regions then, such instruments were also used as vertical flute, horizontal flute, luguan, sugudu (a gobuz-like instrument played in Naxi area),erhuang (two-reed qin) and urheen. Many Yuan pieces popular in northern part of China at that time also spread to Yunnan regions. \u201cCounty Annals of Lijiang\u201d in Yunnan says, \u201c(Those pieces) include \u201cNanbei Qu\u201d (south-north tunes), \u201cDaodao Ling\u201d, \u201cYiteng Shu\u201d (one letter) and \u201cJisheng Cao\u201d (mistletoe), etc.\u201d<\/p> There emerged in two Song dynasties (North Song and South Song) an amount of papers on musical theories and commentaries with considerable historical and cultural values.<\/p> \u201cYue Shu\u201d (Book on Music)<\/u> compiled by Chen Yang (1064\u20141128) included altogether105 volumes, commenting on laws of music, dancing music in past dynasties, instruments, miscellaneous music, theatres, ceremonies and proprieties. \u201cQin Shi (History of Qiny)\u201d<\/u> compiled by Zhu Changwen (1041\u20141100) collected descriptions about gins made by 156 persons from old Qing State to the early Song Dynasty, and was the earliest book especially on gins in Chinese history. The book greatly contributed to the development of studies on gins. \u201cMengxi Bitan<\/u>\u201d (article collection of Mengxi, a style name of Shen Kuo) written by Shen Kuo (1033-1097) was one epoch-making literary work comprehensively on many subjects of natural and human sciences. In the music part of this work, Shen Kuo made in-depth researches and penetrating comments on ancient musical norms, musical critics, instrumental performances, banquet music of Tang and Song dynasties, instrument production, and the resonance phenomena of vocal and music.<\/p> [V] In Ming Dynasty (1368-1644) and Qing Dynasty (1636\u20141911, including the period when Qing was still based in north-east), the folk instrumental cultures continued its improvement and popularization with the development of theatrical cultures, and many new types of music emerged and got popularized in wider areas. Those new music types included Xia\u2019an Drum Music, Fujian South Music, Beijing Temple Music, Shanxi Badatao (eight grand series of musical pieces), Mid-Ji Woodwind Music (Ji is currently Hebei Province), Jiangsu Shifangu (multi-repetitious wind and percussion ensemble of currently Jiangsu Province), Shifan Luogu (multi-repetitious gong and percussion ensemble), Ensemble of Mouth Organs and Percussions of Zhejiang Province, and Ensemble of Mouth Organs and Percussions of Shandong, Liaoning and Jilin provinces. In Year 1814 during the reign of Emperor Aixinjueluo Yongyan (1760-1820), the Mongolian scholar Mingyi (style name Rongzhai) compiled the ancient pieces popular among the court and folk people at that time into the book \u201cXiansuo Beikao (Reference for Stringed Music)\u201d, which collected 13 masterpieces like \u201cShiliu Ban\u201d , \u201cQin Yin Ban\u201d , \u201cOin Yin Chuan\u201d, \u201cPing Yun Chuan\u201d, \u201cYue\u2019er Gao\u201d (moon is high in the sky), \u201cQin Yin Yue\u2019er Gao\u201d (moon is high in the sky played with qins), \u201cPu\u2019an Zhou\u201d (curse of Pu\u2019an Temple), \u201cHai Qing\u2019, \u201cYangguan Sandie\u201d (three refrains of the Yang Pass theme) of melodies about Yangguan boarder), \u201cSongqing Yeyou\u201d (riding at night), \u201cWu Ming Ma\u201d (dancing horses), \u201cHe Huan Ling\u201d (happy reunion), and \u201cJiangjyun Ling\u201d (orders from the general). Due to that, this book was also named as \u201cXiansuo Shisan Tao\u201d (13 masterpieces about Chinese traditional string music), displaying the old tradition and development of Chinese string music in north part. In the meantime, because of the rapid development of theatres, there emerged a lot of vocal cavities, which pushed the culture of accompaniment to go solo and gradually mature. Several schools came into beings in the development of gugin culture, and the most important ones were Guangling School (based in Yangzhou), Zhucheng School (based in Shandong Province), Yushan School (based in Changshu), Zhe School (based in Zhejiang Province), Lingnan School (based in Guangdong Province), Jinling School (based in Nanjing), and Shu School (based in Sichuan Province). The representative gin pieces at this period of time included \u201cPingsha Luoyan\u201d (wild geese descending on the sandy beach), \u201cQiu Ming\u201d (birds\u2019 crying in autumn), \u201cYuJiao Wenda\u201d (questions and answers between the fisherman and woodman), \u201cBoya Diao Ziqi\u201d (Boya memorizes Ziqi), \u201cLongxiang Cao\u201d (souring dragons\u2014about Zhaojun theme), \u201cZuryu Cangwan\u201d (evening song of the drunken fisherman), \u201cChangmen Yuan\u201d (lament at Changmen Palace), etc. According to the record in \u201cTang Pipa Zhuan (Biography on Pipa Player Tang)\u201d in the \u201cSizhao Tang Ji (Collection of Sizhaotang Hall)\u201d compiled by Wang Youding (1598\u20141662), famous pipa (Chinese lute) player Tang played around 100 masterpieces such as \u201cChu Han\u201d (about contention between Chu leader Xiang Yu and Han leader Liu Bang\u201d, \u201cHuyia Shiba Pai\u201d (eighteen passages of huja music\u2019), \u201cSai Shang\u201d (at a border fortress) and \u201cDongting Qiusi\u201d (autumn thoughts of Dongting Lake), and among those pieces, his playing of \u201cChu Han\u201d especially overwhelmed people and thus he enjoyed quite a fame for a long time.<\/p> During the reign of Emperor Zhu Houzhao (1506–1521) and Emperor Zhu Houcong (1522– 1566), Zhang Xiong, one pipa master in current Henan Province, was most well-known for playing \u201cHaiging Na Tian\u2019e\u201d (haiqing seizing swan); Zhong Xiuzhi from Zhengyangguan of Shou County of current Anhui Province was also good at playing pipas and three-stringed gins; Li Jinlou, a blind pipa master in Beijing, was honored by people as one of the \u201cEight Great Achievements of the Capital\u201d. Other pipa players recorded in scripts of Ming and Qing dynasties also included Li Dongyuan, Jiang Duifeng, Jiang Shanren, Yang Yanguo, Wang Junxi, Chen Mutu, Hua Wenshan (also named Hua Quuping), Li Zu, Chen Zijing, Shen Haochu, Li Tingsen, Li Fangyuan, Shen Zhaozhou, Wang Huisheng and Yin Jiping, etc.<\/p> It requires attention that many stringed instruments, like urheen, and reed instruments, like so-na (trumpet) were very popular among the folk people. Besides the o\/d two-stringed urheens, there were also four-stringed urheen, jing urheen (usually found in Beijing opera), ban urheen (flat urheen), ye urheen (simular to flat urheen), datong, new two-stringed urheens, as well as Mongolian matougin (Morinhuur, horse-head scrolled two-string fiddle), aijieke of Uighur ethnic group, biwang and iron gins of Tibetan people and three-stringed urheen of Axi people and Sani people of Yi ethnic group as well as maguhu (urheen made of horse bones) of Zhuang ethnic group.<\/p> As for the solo folk instrumental music, it courageously absorbed many theatrical tunes and melodies from many titled musical pieces (cipai and gupai) sung to lyrics of Song Dynasty, dramas of Yuan Dynasty and operas in Ming and Qing dynasties, and became very popular in cities and countryside of China.<\/p> Qing Dynasty inherited the set-up of the court musical band of Ming Dynasty and developed in its scale and variations. Qing became one of the Chinese dynasties when court music was most treasured. For example, there were 204 players in the band for \u201cZhonghe Shaoyue\u201d (a ritual music piece which derived from the Shao music associated with the legendary emperor Shun (2258-2211BC) mentioned by both Confucius and Mencius in their writings) played in ritual fetes, and 116 musicians in the ritual band of \u201cLubu Dayue\u201d played when emperors paid tributes to their ancestors or in court banquets. Besides these two pieces, emperors of Qing Dynasty also organized a band of 24 players and played, standing, with big drums, fangxiang, yunluo and woodwind instruments, the piece called \u201cDanbi Dayue\u201d. When the discussion subjects in the court meetings involved sending troops for battles or winning victories, the band would add \u201cNaoge Yue\u201d (music played with naos to the accompaniment of dances). In banquets held on the three festivals\u2014the first day of the year, emperors\u2019 birthdays and the starting of winter, not only the above-mentioned pieces would be played, but also such pieces as \u201cQing Yue\u201d (pure music), \u201cQinglong Dance\u201d (dance to celebrate prosperity), \u201cJia Cui\u201d (music played with hujia), \u201cFanbu Hezou\u201d (ensemble of western musical pieces), \u201cGaoliguo Pai\u201d (ensemble of Korean musical pieces), \u201cWa\u2019erkabu Yuewu\u201d (music and dances from Wa\u2019erka tribes) and \u201cHuibu Yueji\u201d (ensemble of musical pieces of hui ethnic group). There were strict regulations about when to play which kind of music in the rituals. Some of those pieces were from minority ethnic groups and foreign countries, such as \u201cJia Cur\u2019, \u201cFanbu Hezou\u2019, \u201cGaoliguo Pai\u201d and \u201cWa\u2019erkabu Yuewu\u201d.<\/p> The religious music, however, waned gradually after certain time of prosperity in Ming and Qing dynasties.<\/p> The instrumental music in Buddhism had strong connection with traditional music. The setup of instruments among various temples was almost similar, however, enjoyed difference from South to North. Temples to the south of Yangtze River usually followed the principle of \u201cwoodwind and string\u201d in various works of Buddhism; while northern temples usually followed the principle of \u201cmouth organs and percussions\u201d mentioned in \u201cChanmen Risong\u201d (a book compiled in 19th century for a collection of rituals, philosophies, etc. in Buddhism). Mountain Wutai in Shanxi Province is one of the four mountains most famous for Buddhism in China, and also the central point for Buddhism music in China\u2019s north part. The music in Qingmiao Temple of Mountain Wutai had close relationship with the folk Shanxi music \u201cbadatao\u201d. Researches on the Buddhism music of Daxiangguo Temple of Kaifeng and Zhihua Temple of Beijing, and the music of Buddhism of Tibetan School popular among Tibetan and Mongolian people, as well as other temple music among Yugu, Dai and Naxi ethnic groups are therefore very meaningful for understanding Chinese Buddhism and traditional music.<\/p> Music in Taoism also had its long origins and was wide-spreading in China. The sacred places of Taoism in China were so many that people described them as \u201cforests all over the country.\u201d Early in East Han Dynasty (25\u2014220), \u201cTaiping Jing\u201d(scriptures of peace and security) already described the musical theories and believed the music could move the heaven and the earth, could help people reach the holy and make the country secure and peaceful. Taoist Kou Qianzhi in North Wei Dynasty (1386\u2014534 _jchanged the literal reading of scriptures in Taoism into singing with music. Music of Taoism developed to a high level in Tang Dynasty, and sounded so harmonious and beautiful that it was praised as \u201cmusic from the heaven and sung by fairies\u201d (refer to Volume 54 of \u201cCefu Zhi Gur\u2019\u2014 a book compiled in North Song Dynasty and mainly about stories and histories happening in Tang Dynasty). This showed the unique feature of Taoism music in Chinese religious music, such as the elegance and dainty like from \u201cthe heaven and fairy\u201d. The rich connotations implied by the Taoism Music of Wudang Mountain (one Taoism mountain in Hubei Province) collected in Volume of Hubei Province fully displayed its important status in Chinese traditional music culture. The Taoism music of Wudang Mountain developed to its peak of power and splendor in Ming Dynasty, when the Taoist followers established \u201cSheng Le Guan\u201d (literally meaning a Taoism temple where the saints are happy as well) \u2014a palace especially for dances and music. The court supported over 400 dancers and music players, and often bestowed many instruments on the palace in Wudang Mountain. The Ming emperors even gave titles to the official responsible for management of the palace.<\/p> China enjoyed the fame of being a nation of \u201cpropriety and music,\u201d and the people over the nation respected the philosophy that \u201cproper propriety and music bring a peaceful and secure nation.\u201d After Confucius died, Chinese people honored his hometown Qufu of Shandong Province as the sacred birth place of \u201cpropriety and music.\u201d Yayue (elegant music) of Confucius Temple of Qufu became the source of music that Chinese people all over the world use to pay their tribute to Confucius. For such kind of trinity performance which combined dance, music and songs, courts of different dynasties and emperors all had very strict rules about the composition of the bands, usually consisting all of the \u201cBa Yin (eight sounds)\u201d as jin (metal), shi (stone), string (silk), zhu (bamboo), ge (skins), mu (wood), pao (Lagenaria vulgaris), and being in large scale. From Ming Dynasty to the beginning of 20″ century, the music piece used in ceremonies for memorizing Confucius was gradually stabilized to \u201csix chapters,\u201d and the band was normally around 100 people or above. The ceremonies were grand and the atmosphere was serious and solemn.<\/p> Dancing music of the ethnic minority people in Ming and Qing dynasties developed very much as well. Famous ones were \u201cMu Ka Mu\u201d of Uighur in Xinjiang region (a combination of music from many old Turkestan regions\u2014current Xinjiang regions\u2014from 14″ to 16″ century), \u201cLang Ma\u201d of Tibetans (a kind of Tibetan dancing music originated from folk people, but later mainly played in the interior halls of Potala Palace. Lang Ma actually means \u201cinterior halls\u201d of the Potala Palace.) , Tiao Yue\u201d (dancing at the moonlit night) of Miao and Yi people, and many of them were pure instrumental performances and possessed considerable cultural level.<\/p> In the field of musical rules and theories, it is worth mentioning of the \u201cNew Musical Theory\u201d written by Zhuzaiyu (1536\u2014\u20141614), the famous musicologist, who first established the theory about the Twelve-Tone Equal Temperament in the world and made careful calculation on the problems of temperament with the Jar-metric principle. His calculation helped answer questions that many musicologists in China and overseas had been trying to answer but never answered before him, and therefore obtained very important status in world\u2019s history of musical temperament. His theories exerted far-reaching effect on the instrumental music of modern times as well as the production of instruments.<\/p> [VI] At the end of Qing Dynasty and beginning of Republic of China (1912\u20141949), music by violin, piano and fenggin (western organ) became popular in some Chinese regions. Some scholars even composed songs and music for the playing of such instruments. However, it was not until after \u201cMay 4″” Movement\u201d that such music was in explosively fast development.<\/p> The earliest slogan of the \u201cMay 4″ Movement\u201d was for \u201cdemocracy and science\u201d and was against \u201cold (out-of-date) cultures\u201d. The movement promoted writings in the vernacular, and opposed Confucius and old etiquettes….Much of Chinese classic music was also in the list of opposition, because Confucius was the founder of Yayu (elegant ancient music) Sect.<\/p> In later period of 1920s\u2019, there appeared Liu Tianhua (1895\u20141932), a musician who was devoted to the advancement of traditional instrumental music. Liu was not only good at ancient music and playing erhu (a kind of two stringed fiddle) and pipa, but also learned western brass music and playing piano and violin. Affected by the democratic thoughts of \u201cMay 4″ Movement\u201d, he began promoting Chinese traditional instrumental music, especially in reforming erhus and pipas, and composing new melody pieces. He composed ten masterpieces such as \u201cBing Zhong Yin\u201d (the sound of agony in sickness), \u201cYue Ye\u201d (moonlit night), \u201cKumen Zhi (another name is \u201cKu Zhong Le\u201d and means the happiness in wave of depression\u201d), \u201cBei Ge\u201d (elegy), \u201cLiang Xiang\u201d (nocturnal peace), \u201cXian Ju Yin\u201d (mediation in retirement), \u201cKongshan Niaoyu\u201d (song of birds in a desolate mountain), \u201cGuang Ming Xing\u201d (towards a bright future), \u201cDu Xian Cao\u201d (melody on a single string) and \u201cZhuying Yaohong\u201d (dancing by candlelight).<\/p> After the revolutions of Liu Tianhua, the music range of erhus was enlarged to be 3 octaves and five???24, iL, and standardized such playing skills as \u201chua yin\u201d (sliding sound), \u201cfan yin\u201d (scattered or floating sound), \u201cdun yin\u201d (paused sound), \u201clian yin\u201d (unstopped sound) and \u201czhuangshi yin\u201d (sound for decoration). At the same time, he set up many rules on music mode, structures and transitional paragraphs, and made aggressive explorations on describing people\u2019s minds and thinking vividly through various kinds of music.<\/p> At the same period of time, due to the recovery of the cultural life in urban cities, string and bamboo music also prospered in south of Yangtze River, and many music types emerged with different schools, musicians and repertoire. Hua Yanjyun (1893-1950) (also named as A Bin) was a blind music player and he composed large amount of excellent pieces including \u201cErquan Yingyue\u201d (the moon reflected on the two springs), \u201cTing Song\u201d (listen to the sound of pine trees), and \u201cDalang Taosha\u201d (big waves wash the sand).<\/p> At the beginning of 20″ century, there was a \u201cCantonese Opera Revolution\u201d happening in the theatrical field of Guangzhou Province, and \u201cCantonese Music\u201d also gradually separated from opera music and became a lively new music type. Musicians like Lu Wencheng, Yan Laolie and He Liutang, etc., began revising ancient pieces and composing short Cantonese pieces with special features of Southern China. In around 20 years, they composed around 100 to 200 pieces, which formed very important music type thanks to the promotion of recorders and cinema. The masterpieces included \u201cHan Tian Lei\u201d (thunderstorms in dry season), \u201cEma Yaoling\u201d (bells from hungry horses), \u201cPinghu Qiuyue\u201d(autumn moonlight in peaceful West Lake), \u201cYule Shengping\u201d (peace, happiness and security), \u201cXiao Taohong\u201d (little Taohong), \u201cYuda Bajiao\u201d (rains beating plantain), \u201cLianhuan Kou\u201d (interlink chains), \u201cShuangsheng Hen\u201d(deep hatred), \u201cSailong Duojin\u201d (winning in dragon-playing tournament), \u201cBu Bu Gao\u2019(stepping high), \u201cZou Ma\u201d (riding horses???), \u201cNiao Tou Lin\u201d (birds going back to the forest), \u201cQishan Feng\u2019(phoenix in Qishan Mountain???), and \u201cFengyun Hui\u201d(???).<\/p> About the recording and compilation of folk instrumental music pieces, LiuTianhua had one of the most important and creative contribution in the 20s of 20th century, when he collected and recorded the tablature of chaozihui (a kind of mouth organ music) of Ding County of Hebei Province. In 1920, Mr. Zheng Jinwen (1872\u20141935) initiated an association in Shanghai, actively involved in spreading the folk instruments\u2019 playing skills, and in compiling and revising traditional pieces. A group of players and musicians were trained there, and many pieces, such as \u201cXiyang Xiaogu\u201d (xiaos and drums played in twilight), became popular for generations after their revisions. Mr. Gan Tao (1912\u20141995) also did careful collection and proof-reading of Cantonese music after the 20s.<\/p> Chongqing was the alternate capital of Republic of China in 1943 during the war against Japanese invasion. In the central radio station at that time, there was a traditional music orchestra established, and Mr. Chen Jilue (1905\u20141990) was the responsible person. Then, there were only over 10 members, including Gan Tao and Huang Jinpei (1919–) as the players, and Zhang Dinghe (1916–) as the responsible person for compilation of music pieces. The instruments included nanhu (erhu popular in South), pipa (Chinese lute), yang gin(dulcimer), pan-flute, flute, gong, and drum.<\/p> Before the foundation of People\u2019s Republic of China, the music played with string and bamboo instruments in south of Yangtze River and Cantonese music got prosperous, other ancient music types such as drum music of Xi\u2019an, Chaozhou music, shifan\u2019gu (multi-repetitious drum ensemble) and shifan luogu (multi-repetitious gong and drum ensemble) were still popular among folk people, and traditional music started improving in general thanks to the promotion of Liu Tianhua. However, despite of all of those, the classic folk music was in its waning period in general.<\/p> On the other hand, in the regions controlled by communist armies of China with Yan\u2019an as the centre, under the direct leadership of Chairman Mao Zedong and especially with the guidance of Mao Zedong\u2019s \u201cSpeech in Yan\u2019an Cultural Meeting\u201d, a large group of revolutionary cultural followers enlarged their areas for activities. On one hand, they actively encouraged more people to join in the wars against Japanese invasions; on the other hand, they began in-depth learning of and researches on the folk music in the boarder regions of Sha\u2019anxi, Gansu and Ningxia provinces as well as Hebei, Shanxi, Shandong and Henan regions where communist armies were in major control. In March of 1939, they established \u201cChina Folk Music Society\u201d (simplified hereafter as \u201cthe Society) in Yan\u2019an Luxun Academy of Cultures and Arts (simplified as \u201cLuxun Academy\u201d). Later, they established offices of the Society in more regions where communist armies gradually controlled, and began to collect, introduce and research on the folk music with more order and organization. Such activities left future work with more experiences and inspirations after the national liberation on the continuing development of folk music and establishment of policies.<\/p> [VII] The whole China took on a new outlook after the founding of People\u2019s Republic of China, and historical and comprehensive changes happened in various fields of politics, economies and cultures. The State government paid high attention for the recovery and development of our national folk music. With the promotion of Chinese communist party and the national government, we made good accomplishment in popularizing and improving national folk music. On one hand, the country sent many musicians to travel around, visiting folk music players, collecting traditional pieces and playing with local ethnic players, so as to keep and inherit many old music types of different places. For example, Xi\u2019an drum music, Shanxi badatao (eight grand series of musical pieces), Jizhong cuige (music played with mouth organs in middle part of Hebei Province), shifan luogu, shifan gu, Chaozhou music, Fujian music, Cantonese music and music played with string and bamboo instrument in south of Yangtze River. All those music types greatly enriched our people\u2019s life. On the other hand, many research institutes were set up by the central to local governments and they began the work to collect and compile folk music. One of them was China Folk Music Research Institute attached to China Central Music Conservatory. At that time, promoted by Mr. Lu Ji (1909–), Mr. Yang Yinliu (1899\u20141984) and Cao Anhe (1905–) made many collections and recordings, including \u201cShifan Luogu\u201d in south of Yangtze River regions, and \u201cWoodwind Music Collection of Ziwei Village of An County\u201d in Hebei Province. They also compiled and proof-read the simplified music scores and three-string tablatures, and published \u2018Volume I and Volume II of Yayin (elegant ancient music)\u2019, \u201cTwelve Pieces of Wenban(x 4%.???)\u201d and \u201cMouth Organ and Percussion Music of South Jiangsu Province.\u201d There was also the \u201cXiansuo Shisan Tao\u201d (13 masterpieces about Chinese traditional string music) , for which Cao Anhe, Jian Qihua (???) and Wen Yan (????) recorded the music score, and Yang Yinliu made the final proofreading. In the meantime, many local institutions did very worthwhile collection and reservation work on the gupai derived from opera and theatre and on the pieces from Cantonese music, Chaozhou music, Fujian music and shi\u2019er kamu music from Xinjiang regions. Through various performances in national and exchange meetings, more and more excellent pieces and talented musicians were discovered. Many folk music instruments also entered the higher education since all Chinese music conservatories set up departments of folk music and offered courses on music history, theories and commentaries. Some master players from the folk groups were invited to teach in those music conservatories and became \u201cprofessors\u201d, and many traditional music pieces were compiled into school books. Generation after generation of folk music players graduated and began their music career in large cultural orchestras all over the country, which normally had quite complete setup of traditional music bands or orchestras. Such bands or orchestras had rich performance programs and activities, and became one important contribution part to the power for enriching people\u2019s life and promoting international cultural exchange.<\/p> Together with the development of the folk instrumental culture in the fields of education and establishment of performance bands, our researches on folk music and instrumental theories proceeded with success. Most central and local governments established their cultural research institutes mainly on traditional music (including minority ethnic people\u2019s music), and they often held international and domestic seminars to exchange the research results.<\/p> At this period of time, old music types played with mouth organs and percussion instruments, by gongs and drums, and by string and bamboo instruments also improved a lot, and maintained lively development in wide areas among local people, who enjoyed themselves in playing such music. There were so many types and derivations of such music that they became very important cultural life all over China.<\/p> Therefore, we are now especially organizing programs to conduct in-depth surveys, researches and collections of the folk instrumental music and cultures in the whole country, and, based on current administration mapping (on provinces, autonomous regions and municipalities), compiled and published 31 volumes of \u201cChina National Folk Music Encyclopedia.\u201d The encyclopedia will conserve in good order various music types, religious music and court music, and should generate strategic effects on the development of our music cultures. It 1s expected that such a collection of rich heritage of folk instrumental music will display its brilliant splendor and far-reaching historic significance with the passage of time.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":" \u4e2d\u570b\u6c11\u65cf\u6c11\u9593\u5668\u6a02\u7d9c\u8ff0 -\u674e\u51cc A General Description of Chinese Traditional Instrumental Music Li Ling 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