In 1929, Huang Zi taught at the Music Department of Shanghai Hujiang University, and in 1930 he became a professor of theoretical composition at the National Academy of Music, and concurrently served as the director of the Music Department. He Luting, Chen Tianhe, Jiang Dingxian, Liu Xue'an and other modern music pioneers were trained alone, thus becoming the first person to comprehensively, completely and systematically teach the theory of traditional European composition techniques in China's professional music education institutions, and the disciples were full of disciples.
The music of "Hundred Years of Masters" tells the life of Xiao Youmei, Liu Tianhua, He Luting, Huang Zi, Xian Xinghai, and Nie Er. On November 18, 2014, the music section of "One Hundred Years of Masters" was launched at the China Academy of Arts. The film crew of the "100 Years of Masters" went to the places where the masters studied, worked and lived, looking for the strongest sounds of China's twentieth century era. The entire story will be completed in 2017. Stay tuned!
Diligent in school, dedicated to music
In the autumn of 1924, Huang Zi graduated with honors from Tsinghua School, received Gengzi's compensation to study in the United States, and entered Oberlin University in Ohio to study psychology, while taking music courses such as music theory, sight singing dictation, and keyboard harmony. In 1926, he received a bachelor's degree in arts and was nominated by the university as a member of the Phi Beta Kappa, an academic honor organization for outstanding college students in the United States. In the same year, he stayed at the Oberlin Conservatory of Music to specialize in theoretical composition and piano. In September 1928, Huang transferred to the Yale Music School to continue his studies, focusing on theoretical composition. The following year, he received a bachelor's degree in music with a graduation work "Nostalgia" overture and performed at the yale University Music School's graduation concert. This is the first large-scale symphonic music work in China, and the first orchestral work Chinese performed abroad, becoming the first Chinese student to obtain this degree in composition.
Teaching and educating people, self-denial and mutual assistance
In 1929, Huang Zi taught at the Music Department of Shanghai Hujiang University, and in 1930 he became a professor of theoretical composition at the National Academy of Music, and concurrently served as the director of the Music Department. As a music educator who has fulfilled his responsibilities and selfless dedication, he is the pillar of teaching and teaching in the early days of the music school. He was the only full-time teacher in the theoretical composition group at that time, and he undertook 11 classroom teachings alone, in addition to teaching two school-wide common courses of Western music history and music appreciation, cultivating modern music pioneers such as He Luting, Chen Tianhe, Jiang Dingxian, Liu Xue'an, etc., thus becoming the first person in China's professional music education institutions to comprehensively, completely and systematically teach the theory of traditional European composition techniques, and the first person with a high degree of discipleship.
His disciple He Luting once commented that Huang Zi was "the first music educator to systematically and comprehensively teach domestic students the theory of modern professional composition techniques in Europe and the United States, and has the ambition to establish a Chinese national music school." ”
Huang Zi's wife, Wang Yinian, once recalled: "Every night Huang Zi was writing a book, and I silently helped each other... He once said: 'When a teacher must deeply understand the connotation of knowledge, must do a lot of pre-class preparation, and in class, can give students a very vivid lecture, in order to make students like your class.' He used to say to his students, 'You work hard, I work harder than you do.' It can be seen that Huang Zi's teaching is tireless.
Wei Hanzhang is a colleague of Huang Zi at the Shanghai National Music College and a long-time lyricist. When recalling Huang Zi, he said: "Huang Zi was born in a family of knowledgeable people and studied psychology, so he treats everyone with the same kind face. He was also generally kind and sincere to the students, but did not lose the dignity of the teacher. When the students saw him, they always felt that he was a kind and kind teacher, always loving him and respecting him. When there is a mistake in the student's work, he must find them one by one and correct them face to face, but never blame them. ”
Liu Xue'an, a disciple of Huang Zi and a well-known Chinese composer, recalled: "Although huang Zi was usually a taciturn person, when tutoring students and cultivating the new seedlings of Chinese music education, he was modest, approachable, and seductive, so that everyone had a sense of affection. Although he is a professor, he never 'is a good teacher' and never gets bored with people, but talks, inspires questions, and guides people to open up their minds; it is both a joke and a tireless teaching. Mr. Mister's voice and smile still come to my mind; Mr. Mister's tireless spirit makes me unforgettable; Mr. Mister's profound knowledge nourishes my heart like manna. ”
Promote music education and dedication to creation
Huang Zi promoted the development of Chinese music and spared no effort. In addition to composing music, Huang Zi also founded the Shanghai Orchestra, the first orchestra composed entirely of Chinese. In addition, Huang Zi also founded a music magazine with Xiao Youmei and others.
The music creations left by Huang Zi, with reference to the 47 works recorded in Liu Meiyan's "Huang Zi Research", can be divided into the following categories.
Art songs
The most influential of Huang Zi's works is art songs. Huang Zi was the most valuable and influential composer of the 1930s during the boom in artistic songwriting.
The characteristic of art songs is the use of "music, poetry, piano accompaniment trinity" creative techniques, is a highly artistic form of song. The creation of Chinese art songs in the first half of the 20th century is a song form with national colors that integrates the creative techniques of art songs from Western countries such as Germany and Austria into the Chinese music tradition. Schubert is a representative figure and model of Western art songs, while Huang Zi has undergone his own in-depth research on the basis of Schubert, which is a peak for Chinese composers in the art song industry.
When Huang Zi composes art songs, he attaches great importance to the combination of lyrics and music, and is good at expressing the poetic mood with refined musical language, and the lyrics are poetic and highly artistic.
Wang Yinian once recalled in the article "Remembering Huang Zi": "Because Mr. Huang Zi's Beijing dialect is not good, he often can't figure out the rhythm between words, so every time he gets a work, he always asks me to give him a demonstration first, and then he practices on his own, marking the relationship between each word and word." Sometimes once he couldn't hear clearly or didn't do it well, he would ask me to do the demonstration two or even three times until he figured it out. This shows That Shows Huang Zi's emphasis on the rhythm of the lyrics.
Wei Hanzhang, the lyric creator who often cooperates with Huang Zi, is similar to Huang Youzhang, and is committed to "combining poetry and music" and "blending song and song". Wei Hanzhang's lyrics are collected as "Wild Grass Words". The word style is gentle and thick, and it is dusty, and it does not eat human fireworks. The well-known musician Huang Youdi once summed up Wei Hanzhang's style of words as follows: "There is music in the words, and the words provide a rich musical realm." Therefore, Wei Hanzhang's words and Huang Zi's songs can be described as seamlessly matched.
The accompaniment part also plays an important role, setting off the mood of the singer in the singing, so as to interpret the deep meaning that the author wants to express. So its singing performance and accompaniment part is a closely related whole.
Huang Zi art songs can be further subdivided into three genres:
Lyrical: "Spring Thoughts", "Long Hate Songs", Oratorio: "Homesickness", "Three Wishes of Roses"
Ancient poems: "Flowers Are Not Flowers", "Bu Operators", "Dotted Lips Endowment"
Realistic category: "Tianlun Song", "Who Raised Me", "Sleeping Lion"
Zhao Yuanren made a more comprehensive and systematic evaluation of Huang Zi's music creation: "Huang Zi's melody is smooth", "Huang Zi's harmony is mostly simple as it is a person", "Huang Zi's rhythm of course changes a lot. By and large, it is inclined to the steady faction... Huang Zi's configuration of the light accent of Chinese characters in musical sentences can be said to be extremely strict, and among modern composers, there are few as strict as him. "His (Huang Zi's) strength is what he does, always very decent, always excellent at singing, and I used to call him the most singable composer in modern China." For this reason, I am in favor of the current composition students paying at least a small part of the work of studying Schubert, Brahms, etc. to the music of Huang Zi. (Zhao Yuanren, "Huang Zi's Music- Written for the May Ninth Music Festival")
His works include: "Homesickness", "Spring Thoughts", "Long Hate Song" Oratorio (published in 1957), "Tianlun Song", "Rose Three Wishes" (1935), "Dotted Lips", "Nanxiangzi", "Autumn Color Near", "Huainan Folk Song", "Lullaby".
School music
From 1932 to 1935, Huang Zi was commissioned by the Commercial Press to write the music textbook "Revival Junior High School Music Textbook" (adopted nationwide) together with Ying Shangneng, Zhang Yuzhen, Wei Hanzhang and others, starting with education and stabilizing the development trend of Chinese music. From 1933 to 1936, the textbook was reprinted in as many as 11 editions, which had a great influence on music education at that time.
Huang Zi was responsible for writing the two parts of "Appreciation" and "Harmony". There are a total of 69 songs in these six textbooks, of which 28 are composed by Huang Zi himself, such as: "Sleeping Lion", "West Lake After the Rain", "Autumn Suburb Music", "Words of the West Wind", etc., all of which are music textbooks created for middle school students, and many of them also belong to the category of art songs.
His works include: "Mutual Aid", "Agricultural Song", "Yan Language", "Ben", "Game", "Butterfly", "Farm Stay", "Autumn Suburb Music", "Cannon Song", "Picking Lotus Shake", "Xiajiangling", "Hua Fei Hua" (October 1935), "Bu Operator", "The Word of the West Wind", "Looking for Plums in the Snow" (October 1935), "West Lake After the Rain", "Four Hours Fisherman's Music", "Emei Mountain Moon Song", "Sending Graduation Classmates", "Welcome Athletes to Triumph".
Patriotic anti-enemy songs
In 1931, the September 18 Incident broke out, and China's internal and external troubles were intertwined. Huang Zi turned and created a large number of patriotic works and lyrical works, and used music to resist the enemy and serve the country. His "Anti-Enemy Song" (formerly known as "Anti-Japanese Song") is the first choral song in China with the theme of anti-Japanese salvation. Mr. Huang Zi has been called "the king of patriotic songs." ”
His works include: "Song of Resistance Against the Enemy" (1931), "Flag Fluttering" (1932), "Song of Blood", "Sleeping Lion", "The Master of New China", "China Must Be Strong", "National Flag Song", "Song of the Death of the Father of the Nation", "National Day Song", "National Day".
Orchestral music
Works include: "Nostalgia" and "Cityscape".
Adapt other people's works, or match the original with harmony
Works include: "National Anthem of the Republic of China", "Mulian Saves Mother", "Spring Suburb", "National Flag"
Heaven forbid talents, died young. Huang, the pioneer of modern Chinese music and the "Grandmaster of the First Generation", died of typhoid fever on May 9, 1938, at the age of 34. His last words before his death were to his wife: "Ask the doctor to come quickly." I can't just die, I still have half of my music history to write! ......”
<h1>Influence and evaluation of future generations</h1>
The inheritance of the "Four Great Disciples" of theoretical composition
The "Four Great Disciples" of Huang Zi's theoretical composition not only inherit the essence of his musical language condensation, but also have a rigorous structure and unique personality. Overall: He Luting is rich in local flavor in stability and composure; Liu Xue'an focuses on urban popularity and pursues melodic exquisite beauty; Jiang Dingxian has dramatic passion in lyricism, and "foreign atmosphere" is heavier; Chen Tianhe's artistic style highlights the fusion and lyrical temperament of traditional Chinese tones.
Huang Zi cultivates composing talents, eclectic, teaching according to talents, each with his own personality and achievements.
After the reform and opening up, it has regained the attention of the industry
In the modern stage of China's history, He Luting has always been a mainstay figure in the music industry. He Luting once published "Mourning Our Only Teacher, Mr. Huang Zi", after Huang Zi's memorial service, and called Huang Zi "the greatest benefactor" all his life, and some people blamed him. However, He Luting still reiterated: "I used to call Huang Ziself a teacher, and now I still call him a teacher, and his help to me cannot be denied, otherwise it will disturb my conscience." ”
After the reform and opening up, Huang Zi's contributions have regained the attention of the mainland music industry. Today, the bronze statue of Huang Zi is erected in the Shanghai National Music College Campus, which has always been gentle and smiling, standing immortal. As Huang Zizi said in "Music Criticism Series": "People's feelings are temporary, but art is permanent, and when commenting on music, no one can completely detach from the role of feelings, but a temporary destruction can neither make the genius creation permanently buried; the reputation of the moment is not enough to protect ordinary works from the elimination of the times." So only time is the fairest and most accurate music critic. ”
His disciple He Luting gave Mr. Huang Zi a very high evaluation and status to his creation, believing that Huang Zi's "works have indicated the direction of new Chinese music" and that "his merits are the same as those of Glinka in Russia." (Sun Jinan et al., Compendium of the General History of Chinese Music.) Jinan:Shandong Education Press,1993)
Mr. Huang Zi, the son of the people of Pudong and a generation of music masters, is the founder of a new era of modern Chinese music, who once cooperated with his uncle Mr. Huang Yanpei, Huang Yanpei filled in the lyrics and Huang Zi composed music, and jointly composed school songs for the private Sisheng Middle School (Note: The private Sisheng Middle School is one of the branches of Pudong Middle School). He formulated the standards of modern Chinese music education in the era of the National Music College, and made a substantial breakthrough in the systematization and standardization of children's music education. It has written a chapter of modern Chinese music education and awakened the awakening of a generation.
(This article is excerpted from the Shanghai Pudong Center Alumni Directory)
<h1>Biography</h1>
Huang Zi (1904-1938), a native of Chuansha, Jiangsu (now part of Shanghai). In 1916, he entered the Tsinghua School in Beijing and began to contact Western music. In 1926, he entered the Oberlin Conservatory to study composition. In 1928, he entered the Yale University Conservatory of Music to study composition. After returning to China in 1929, he taught at Hujiang University. In 1930, he became a professor of composition theory and director of the Shanghai National Conservatory of Music. In 1934, he founded the "Music Magazine" with Xiao Youmei and others. He resigned his teaching post in 1937 to devote himself to the preparation of professional textbooks. He advocated the path of national music in music creation, and left more than 90 musical works in his lifetime, including symphony, chamber music, piano polyphonic music, oratorio, chorus, solo singing, textbook songs and other genres.
<h1>Silhouette</h1>
Fu Gengchen, honorary chairman of the China Musicians Association, consultant of the music section of "One Hundred Years of Masters" and spokesperson of the promotional film of "Hundred Years of Masters", Jia Leilei, vice president of the China Academy of Arts, Qiao Rong, deputy secretary general of the Social Responsibility Management Committee of China Minsheng Bank, and Yang Jingdao, producer and chief planner of "Hundred Years of Masters", opened the opening ceremony of the music chapter of the large-scale series of biographical documentaries "Hundred Years of Masters"
Wang Wenwen, president of the China Academy of Arts and general counsel of "One Hundred Years of Masters", and Yang Jingdao, producer and chief planner of "Hundred Years of Masters", issued a letter of appointment for the music consultant of the 100-episode large-scale series of biographical documentaries "Hundred Years of Masters" jointly produced by the China Academy of Arts, CCTV, Central New Film Group and other units
Gao Feng, former deputy director of CCTV and chief planner of "100 Years of Masters", presented to Chen Zhen of CCTV a letter of appointment for the general director of the music section of "100 Years of Masters" jointly issued by the China Academy of Arts, CCTV and The Central New Film Group
The music chief designer of "One Hundred Years of Masters" is Yin Qing
Gong Xinhan, general adviser of "Centennial Masters" and former deputy director of the Central Propaganda Department, Fu Gengchen, honorary chairman of the Chinese Musicians Association, consultant of the music section of "Centennial Masters" and spokesperson of the propaganda film of "Hundred Years of Masters", Yang Qipeng, deputy secretary of the party group and vice chairman of the Jiangsu Provincial Federation of Literary and Art Circles, Zhou Tiegen, member of the Standing Committee of the Wuxi Municipal Party Committee and secretary of the Jiangyin Municipal Party Committee, and Yang Jingdao, producer and chief planner of "Hundred Years of Masters", jointly opened the opening of "One Hundred Years of Masters - Liu Tianhua"
On November 2, 2015, the music crew of "A Hundred Years of Masters" interviewed Chen Hui, daughter of Huang Zi's disciple Chen Tianhe, at the Silver Valley Art Museum in Beijing
On the afternoon of November 2, 2015, the film crew of the music section of "A Hundred Years of Masters" interviewed Huang Zi's disciple Jiang Dingxian's eldest son Jiang Zisheng at the Silver Valley Art Museum
At 9:00 a.m. on November 13, 2015, the music crew of "A Hundred Years of Masters" interviewed Ye Xiaogang, member of the Standing Committee of the 12th National People's Political Consultative Conference, chairman of the Chinese Musicians Association, member of the All-China Federation of Literary and Art Circles, director of the China Filmmakers Association, and vice president of the Central Conservatory of Music
Editor/Wan Fang
About us
Jointly produced by China Academy of Arts, CCTV, Central New Film Group, Centennial Yizun (Beijing) Culture Communication Co., Ltd., and Silver Valley Art Museum, and exclusively sponsored by China Minsheng Bank, the 100-episode large-scale series of character biographical documentaries "Centennial Masters" is the first large-scale and all-round filming and production in China about the 20th century painting masters, art masters, and literary giants, which is divided into fine art, calligraphy, Peking opera, drama, music, and literature. Photographing more than 40 outstanding representatives of Chinese literature and art in the 20th century on the scale of 100 episodes——
Art: Qi Baishi, Huang Binhong, Xu Beihong, Zhang Daqian, Pan Tianshou, Lin Fengmian, Fu Baoshi, Li Keyan, Liu Haisu, Wu Zuoren, Guan Shanyue, Wu Guanzhong, Li Kuchan, Jiang Zhaohe, Shi Lu, Huang Yin;
Calligraphy: Yu Youren, Shen Yinmo, Lin Sanzhi, Sha Menghai, Shu Tong, Zhao Puchu, Qi Gong;
Peking Opera: Mei Lanfang, Shang Xiaoyun, Cheng Yanqiu, Xun Huisheng;
Drama: Ouyang Yuqian, Tian Han, Jiao Juyin, Jin Shan;
Music: Xiao Youmei, Liu Tianhua, He Luting, Huang Zi, Xian Xinghai, Nie Er;
Literature: Lu Xun, Guo Moruo, Mao Dun, Ba Jin, Lao She, Cao Yu.
The first and second parts of the art section of "100 Years of Masters" have been broadcast on CCTV One, Three, Nine, Ten, Discovery Channel, International Channel (French, Russian, Spanish, Arabic), China Education Television, Beijing Television Station (Time and Yin, Expo Column), Chongqing Satellite TV, Zhejiang Satellite TV, Heilongjiang Satellite TV, Shandong Satellite TV, Henan Satellite TV, Gansu Satellite TV, Xinjiang Satellite TV, Qinghai Satellite TV, Ningxia Satellite TV, Tibet Satellite TV, Guangdong Satellite TV, Guangxi Satellite TV, Sansha Satellite TV, Beijing Documentary HD Channel, Shanghai Documentary Channel, More than 20 provincial-level satellite television channels such as Hunan Golden Eagle Documentary Channel, Tianjin Television Literature and Art Channel, Chongqing Television Science and Education Channel, Guangzhou Television Station, Anhui Television Character Channel, Shanghai Education Television, Wuhan Education Television Station, Anqing Television Station, Zhangzhou Television Station, Jiangyin Television Station and other local channels, as well as more than 40 domestic and foreign television stations such as Malaysia Television And Jiangsu International Channel. The broadcast platform of the documentary "100 Years of Masters" is spread throughout the major administrative regions of Northeast China, North China, East China, Central China, Northwest China, Southwest China and South China. Since the broadcast of "Centennial Masters", it has repeatedly set a new high in the ratings of similar documentaries and has been widely praised. At present, "One Hundred Years of Masters" has won five documentary awards.
As a textbook for the entry of elegant art into the campus, the series of books "Centennial Masters" has been distributed by the Ministry of Education, the Ministry of Culture and the Ministry of Finance for two consecutive years to nearly 300 colleges and universities across the country that undertake performances by national art academies and outstanding local art academies. The "Chinese Communist Party Member Network" of the Organization Department of the CPC Central Committee also used the first documentary and book of the art section of "A Hundred Years of Masters" as video teaching materials and knowledge lecture content.
The documentary "100 Years of Masters" has been selected as a funded project by the National Arts Fund for two consecutive years, and is also a funding and support project funded and supported by the China Literature and Art Foundation, the China Art and Culture Foundation, and the Beijing Municipal Cultural Innovation and Development Fund. In 2016, "Centennial Masters" officially approved the "Record China" communication project organized and implemented by the Central Propaganda Department and the Information Office of the State Council. In 2016, "Centennial Masters" won the major theme main line publicity and key topic selection of CCTV.