Open classification: figures, musicians, composers, Panyu, anti-Japanese music.
Xian Xinghai (1905 ~ 1945) was a famous musician in modern China and a composer in China. He used to be Huang Xun and Kong Yu. Born in Panyu, Guangdong Province, he was born in a poor boatman's family in Macau. /kloc-0 was born in macau on June 3rd, 905. 19 18 entered the violin school affiliated to lingnan university in June, and 1926 entered the Peking University conservatory of music and the music department of the national academy of arts. 65438-0928 entered Shanghai National Conservatory of Music to study violin and piano, and published the famous music prose "Cosmic Music". From 65438 to 0929, he went to Paris to work and study, and studied under the famous violinist Pani Obedov and the famous composer Paul Dukas. 193 1 was admitted to the Paris Conservatory of Music. Studying in the choir composition class. During his stay in France, he created more than ten works, such as The Wind and Roaming Sonata in D minor. 1935 After returning to China, he took an active part in the anti-Japanese national salvation movement, wrote a large number of combative mass songs, and composed music for progressive films such as Top Gun, March of Youth, Drama Resurrection and Thunderstorm. After the beginning of the Anti-Japanese War, he joined the Second Team of Shanghai National Salvation Drama, and then went to Wuhan with Zhang Shu to be responsible for the national salvation singing movement. From 1935 to 1938, he created various types of vocal music works, such as Salvation Army songs "I'm afraid I can't resist", "Guerrilla Army Songs", "The Road is ours", "The Boundless Siberia", "Children of the Motherland", "Going Behind the Enemy" and "On Taihang Mountain". From 65438 to 0938, he served as the director of the music department of Lu Xun Art College in Yan 'an, and taught part-time in "Women's University". After teaching, he created immortal masterpieces such as The Yellow River Cantata and Production Chorus. 1940 went to study and work in the Soviet union, 10 died in Moscow on October 30th.
In his short life, Xian Xinghai wrote and lived for about 10 years. * * * He has composed hundreds of songs (currently more than 250), 4 choruses, 65,438+0 operas, 2 symphonies, 4 orchestral suites, 65,438+0 rhapsody, and many solo and ensemble works of violin, piano and other instrumental music. Among Xian Xinghai's creations, the most numerous and influential are all kinds of pop songs. Among them, China People's Anti-Japanese Struggle, Salvation Army Song, Youth March, Defending Lugou Bridge, Going Behind the Enemy Line, etc., appeared in the form of summoning and fighting March. There are Taihang Mountain, Guerrilla and Counter-offensive, which show the magnificent battle scenes of the people's war and combine lyricism with agitation or descriptive with generality. There are "Top Difficult", "Plough Song", "Shifu Song" and "We Open the Road", which show the working life of workers and peasants and are written in a specific labor tone and rhythm. There are also "I'm afraid I won't resist", "Children of the Motherland" and "Women's Day Songs written for women and children in War of Resistance against Japanese Aggression" and so on. In these mass songs, Xian Xinghai created musical images with different personality characteristics according to different contents, or expressed passionate and generous feelings and majestic momentum with an impactful rhythm and a tall and angular melody; Or embody the rich inner world of the revolutionary people with broad melody, slow and calm rhythm and lyrical tone.
The Yellow River Cantata is the most important and influential representative work of Xian Xinghai. Introduction to the Yellow River Chorus
The Yellow River Cantata is the most important and influential representative work of Xian Xinghai. /kloc-0 was made in March, 1939, and was rearranged and processed in the Soviet Union in June, 1994/kloc-0. With the Yellow River as the background, William. J, a poet, enthusiastically eulogized the glorious history of the Chinese nation and the indomitable fighting spirit of the people of China, complained bitterly about the brutality of the invaders and the profound disasters suffered by the people, widely displayed the magnificent picture of War of Resistance against Japanese Aggression, issued a battle warning for national liberation to China and the whole world, and created a heroic image of the giant of the Chinese nation.
The Yellow River Cantata was written in the period of War of Resistance against Japanese Aggression, 1938 autumn and winter. The author marched with the anti-Japanese troops to the northwest bank of the Yellow River. China's magnificent mountains and rivers and heroic soldiers inspired the author's creation, and the call of the times prompted him to write a large-scale recitation poem Ode to the Yellow River with high patriotic enthusiasm, which was later rewritten into the lyrics of the Yellow River Chorus. The work consists of eight movements, showing the heroic spirit of the sons and daughters of the Yellow River with rich artistic images, magnificent historical scenes and majestic momentum.
history
1938165438+10 After the fall of Wuhan in October, the famous poet Guang William. J led the third team of anti-Japanese drama to cross the Yellow River eastward from Hukou, Yichuan County, Shaanxi Province, and transferred to Luliang Mountain Anti-Japanese base area. On the way, I witnessed the Yellow River boatman struggling forward in the stormy waves, listening to the sonorous boatman's horn. After arriving in Yan 'an in June+the following year 10, 5438, he wrote the poem Yellow River and recited it at this year's New Year's Eve party. Xian Xinghai was very excited after hearing this, and said that he would create The Yellow River Cantata for the crew. In a crude earthen kiln in Yan 'an, Xian Xinghai persisted in writing for six days, and finished this historic large-scale vocal work The Yellow River Cantata. After that, it premiered in Yan 'an Northern Shaanxi Public School Auditorium, which caused great repercussions and soon spread all over China.
The Yellow River Cantata provided a brilliant example for China's modern large-scale vocal music creation. In the late 1960s, it was also adapted into a piano concerto.
Ode to the Yellow River is the lyrics of a solo song in War of Resistance against Japanese Aggression's famous symphony The Yellow River Cantata. The author's creative intention is to arouse people's love for the Chinese nation and national consciousness of defending their homeland to the death in War of Resistance against Japanese Aggression. Although its creation date is far from us, its heroic, heroic and forceful poems and strong feelings can still arouse our voices and our pride as descendants of the Chinese nation.
Creation background
Xian Xinghai's return to China was deeply painful for the nation's peril, and he knew the sufferings of the people. At the critical moment of national peril, he stood in front of the national struggle. He is convinced that the China * * * production party is the mainstay of the Chinese nation, and he joined the China * * * production party. For the sake of national liberation and "roaring for the war of resistance", he wrote songs with a vertical pen. 1939, he went to visit the young poet in his hospital bed, listened to him recite Ode to the Yellow River, and told the magnificent scene of the roaring and flowing Yellow River. In a week and a half, I finished the score of eight movements and all the accompanying music. He wrote the musical epic of the Chinese nation in this era.
The Yellow River Chorus, under the baptism of the beacon fire of the Anti-Japanese War, quickly grew into the horn of China people's patriotic salvation; At the same time, it has been widely recognized by overseas Chinese and the world anti-fascist front for its spiritual strength and national personality. In times of peace, like a founding father with many meritorious military achievements, it continues to gallop in the music scene at home and abroad and has become an artistic wealth that the Chinese nation is proud of.
As soon as The Yellow River Cantata came out, he quickly sang the land of China, which became the spiritual horn of the Anti-Japanese War and saving the nation. Promoted the development of unity and resistance to Japan. At the premiere, the band only had two or three violins and twenty national musical instruments. Bass stringed instruments are made of kerosene barrels, percussion instruments are washbasins and a large number of spoons swaying in enamel jars ... This original band set off more than 40 potential young people and sang loudly. Since then, the Yellow River Chorus has spread all over Yan 'an, China and the world, one after another, reverberating, shocking and enduring. Chairman Mao was very happy after watching the performance. He stood up and clapped hard and repeatedly said, "Good! All right! Good! " Premier Zhou also wrote an inscription for Xian Xinghai: "Shout for the war of resistance and speak for the people!"
Lyric solo songs play an important role in Xian Xinghai's song creation, and most of them are interludes for stage plays and movies. These works reflect the experiences and inner feelings of specific people in real life from different aspects, or pour out their love for the motherland and the people, or express their feelings of longing for battle. Such as: "Singing at Midnight" and "Don't mention it", full of passion and fantasy, sang the painful feelings and battle cry after being persecuted by feudal forces and losing their land; "Hot Blood" and "Love in the Yellow River" are both generous elegies, expressing the strong will to fight for freedom and the confidence to win; Making cotton-padded clothes, marching in the south of the Yangtze River and hypnosis in wartime. Express the patriotic feelings of women in the Anti-Japanese War with beautiful, cordial, simple and fresh folk tones.
In order to express the broad real life and make songs more national, Xian Xinghai also explored and created some song styles with the characteristics of the new era. Among them, there are songs that organically combine different expressive features of lyricism and militancy, such as "On Taihang Mountain" and "Song of March 8 Women's Day"; An Acura "Praise for New China"; There are also narrative songs that combine folk rap music with combative mass songs, such as Liang Hongyu and Down with Wang Jingwei. He is very good at exploring the rhythmic beauty of lyrics language and giving it musical play on the premise of expressing the theme image. He is also very good at using various forms of singing, such as solo, chorus, lead singer, chorus and rap. Especially in the form of round singing and two-part chorus, it had innovative significance and extensive influence in the anti-Japanese war singing at that time. In addition, during his visit to the Soviet Union, he mainly used China's classical poems to create artistic songs, and also made achievements in exploring new genres and national styles.
Another important contribution of Xian Xinghai to music creation is the creation of a chorus with national characteristics, which expresses the revolutionary struggle of our people. The four choruses are the same in the realism of theme and content, the nationalization and popularization of expression techniques, but they are treated differently according to different themes and contents, which makes each work have different characteristics. The production chorus, composed in March of 1939, combines singing, dancing and drama performances, and shows the productive labor and anti-Japanese life of the people in the liberated areas through four scenes: spring ploughing, sowing for war, autumn harvest assault and bumper harvest. Music has a folk flavor, and the chorus is rough and simple. Among them, "February Comes" and "September 18th Chorus" created to commemorate the eighth anniversary of the September 18th Incident are narrative choral works with the formal structure of symphony and Rondo. The whole song runs through and appears repeatedly with a musical theme with dance characteristics and a long and deep sub-theme, which is interspersed with many paragraphs with different personalities, showing the people's review of the course of the Anti-Japanese War when celebrating their victory and inspiring their determination to carry it through to the end. Among them, the female solo and chorus passage "Midnight Song of September 18th" uses the plate variation technique in traditional Chinese opera and rap music, which has dramatic effect. The band accompaniment of "September 18th Chorus" and "Production Chorus" is very distinctive in the application of national percussion instruments and the rhythm of China music style. "Ximeng Choir" was created in March of 1940. It is a mass song choir for the anti-Japanese death squads who sacrificed the National Salvation Corps in Shanxi Province. It includes six paragraphs, including chorus, solo, rotation and chorus, and has a distinctive local color.
The Yellow River Cantata's most representative works.
This work was created in 1939, with the Yellow River as the background. It warmly praised the Chinese nation's perseverance, strong will and spirit of struggle to overcome any difficulties and obstacles, as well as its long cultural history. It highlights the noble character of China people who are hardworking, simple, love freedom and broad-minded, angrily accuses people on both sides of the Yellow River of the profound disasters caused by enemy invasion, and finally plays the song of China people with passionate melody. From beginning to end, the whole work inspires people to fight for truth and justice with gripping artistic appeal, and is full of confidence in the future and victory. The Yellow River Cantata is an excellent work that reflects the struggle of China people for national liberation, national independence, democracy and freedom, and also has high artistic achievements and originality.
After the performance of the Yellow River Chorus, it caused a sensation throughout Yan 'an. 1939, 1 1 In May, Mao Zedong watched the performance personally conducted by Xian Xinghai at the party celebrating the first anniversary of the founding of Luxun Art School, and repeatedly praised it. In July of the same year, Zhou Enlai also watched The Yellow River Cantata's performance and wrote an inscription for Xian Xinghai: "Roar for the War of Resistance! Speak for the public! " Guo Moruo wrote in the preface of The Yellow River Cantata: "The Yellow River Cantata is the most successful new song produced during the Anti-Japanese War. The majestic and changeable syllables make the original emotional sentences, like the waves in the storm, shocking people. "
The appearance of The Yellow River Cantata greatly encouraged the anti-Japanese national liberation struggle.
ancestors
1940 12, Xian Xinghai came to the Soviet union, it was the last five years of his life. During this period, he was able to concentrate on further revising several large-scale works and finally finishing them. 194 1 In June, the "Soviet-German War" that shocked the world broke out. Years of war, drift from place to place, no life, coupled with the lack of medical care, Xian Xinghai, who was originally weak and sick, was not treated in time, and his life was dying. At the beginning of 1945, the Soviet authorities sent him to the Kremlin hospital in Moscow for treatment. As soon as he was admitted to the hospital, Xian Xinghai began to compose the orchestral Rhapsody of China. However, the disease is merciless. 19451On October 30th, he died in the Kremlin Hospital at the age of 40. In the same year165438+1October 14, Yan 'an held a grand memorial service for Xian Xinghai, and President Mao Zedong wrote an inscription: "Mourning the people's musician Comrade Xian Xinghai".
Xian Xinghai years.
Xian Xinghai (1905- 1945) is a composer and music educator.
19 18
He was admitted to the middle school affiliated to Lingnan University to study violin. When I was working part-time in the middle school affiliated to Lingnan University in Guangzhou, I joined a band, worked as a violin and clarinet player, and conducted.
1926
He studied in Peking University Conservatory of Music and the Music Department of National Art College successively, taking violin as an elective course.
1928
Enter Shanghai Conservatory of Music to study violin and piano. During this period, there were music reviews such as Cosmic Music.
1929
After being forced to drop out of school because of the student movement, he went to work and study in Paris. He studied violin with V.D'INDY and composition theory and composition with Ducas.
193 1 year
Entered the Paris National Conservatory of Music, Shola? Cantom composition class. During my study abroad, I created more than ten works, such as Wind, Ode to a Wanderer, Violin Sonata in D minor, and Ancient Poems of China.
1935
After graduation, he returned to China, actively participated in the anti-Japanese war song creation and national salvation music activities, created a large number of mass songs, and composed music for progressive films such as Top Gun and March of Youth and plays such as Resurrection and Thunderstorm. Later, he joined the Second Team of Shanghai National Salvation Drama, and went to Wuhan with cutie to be responsible for the national salvation singing movement.
1935 to 1938
His works include Song of Salvation, I'm afraid I can't resist, Song of Guerrilla, We Open the Way, The Boundless Siberia, Forget it, Love of the Yellow River, Blood, Singing at midnight, The Song of Tilling, Children of the Motherland, Going Behind the Enemy Line and In China.
1938
He is the head of the Music Department of Lu Xun College of Literature and Art in Yan 'an, and also teaches at Yan 'an Women's University. When he was the head of the music department of Lu Xun Art College in Yan 'an, he wrote this famous music masterpiece for William. J Guang's The Yellow River Cantata lyrics. And created famous works such as "Production Chorus".
1940
Studying in the Soviet Union; After the outbreak of the Soviet Patriotic War the following year. Because of hard life and illness, I can't return to China.
1945 10 October 30th
He died in Moscow Kremlin Hospital. He died in Moscow at the age of 40.
Catalogue of representative works of Xian Xinghai Department
Xian Xinghai has created hundreds of musical works and a large number of musical papers in his short life, including: symphony National Liberation, Jihad, Orchestral Suite Manjianghong, China Orchestral Rhapsody and Violin Guo Zhier? Bi Dai and other works. There are nearly 300 existing works, including four choruses, two opera music, two symphonies, four symphonies, more than 200 songs and more than ten instrumental music. He has published more than 30 music papers, such as Nie Er, the Creator of China's Emerging Music, and On the National Form of China Music.
Pioneering songs, Meng chorus, little orphan girl, heart hate, lyrics, midnight singing, singing in praise of new China, going to Taihang Mountain, wartime hypnosis, children of the motherland, making cotton-padded clothes, blood, youth in March, roaring the Yellow River, pastoral songs, national liberation, vast Siberia, we open the way, Liang Hongyu, September 18th chorus, March Jiangnan, Yellow River love, March women.
Xian Xinghai's famous saying
I have my personality and conscience, which money can't buy. My music should be dedicated to the motherland, to the working people and to the national crisis.
Everyone has experienced misfortune and pain in his life. Some people only think of themselves in suffering, pessimistic and negative, and cry out in despair; Some people still think of others, the collective, ancestors and descendants, the motherland and all mankind in their sufferings, and they gain optimism and self-confidence.
The victory of the liberation of the Chinese nation is to ask every citizen to contribute his pure patriotism.
Tv series of the same name
Length: 20 episodes
Founder:
Producers: Zhang Huijian and LiHaiyuan.
Chief planner: Zhu, He.
General Counsel: Every Prophet, Jin Chongji.
Chief producer: Wang.
Chief Producers: Fang Jianhong, Bai Ling and He Ridan.
Director: Duan and Cheng Shengsheng
Screenwriter: Wang
Main actors:
Ma-plays Xian Xinghai Tang Guoqiang-plays.
Liu Jin-plays Zhou Enlai Marie Yong-plays Louise.
Liu Lin-as Qian Yunling and Fran? ois-as Ducas.
Serious-such as Huang Suying and Song Xiaoying-such as Chamu.
Synopsis of story:
1929, Xian Xinghai, who was determined to save the country through music, bid farewell to his relatives in his hometown and embarked on a trip to study in Paris. In a foreign country, he suffered humiliation and hardships; I also enjoyed the sweetness of affection, friendship and love; Also harvested the fruits of music.
When the Japanese invaders set foot on the land of China, Xian Xinghai resolutely left his lovestruck Parisian girlfriend. Back to the motherland, he wrote passionate music with full blood, which awakened the people and inspired their fighting spirit.
In Yan 'an, Xian Xinghai composed The Yellow River Cantata, a world-famous large-scale musical work, which became the clarion call for Chinese people to love their country and save the country.
After the death of Xian Xinghai, Comrade Mao Zedong wrote a farewell message in his own hand in grief: "Mourning the people's musician Comrade Xian Xinghai!"
The Yellow River Cantata's Introduction and Appreciation
There are five versions of The Yellow River Cantata. One is Yan 'an Edition, written by Xian Xinghai in Yan 'an, with a simple score. Because the conditions in Yan 'an were very difficult at that time, it was impossible to form a real orchestra. At that time, there were only a few violins, and the rest were erhu, sanxian, flute, guitar and harmonica. Most people can't read the staff, so they use simple music. The second version is the "Soviet version", which is a version of Xian Xinghai's re-orchestration in the former Soviet Union, and some adjustments have been made in the main theme and voice. The third edition is Shanghai Orchestra Edition, which was adapted by Li Huanzhi on 1987 according to Xian Xinghai's Soviet Edition. The fourth edition is "Central Orchestra Edition", which is adapted from Xian Xinghai 1975 Yan 'an Edition by Yan Liangkun and others. This version has the greatest influence and the widest spread. What you can hear today is this version. The fifth edition is the piano accompaniment edition. This version was edited by Qu Weilai, mainly for the convenience of performance.
The Yellow River Cantata as a "chorus". The so-called "chorus" is "cantata", which is an important vocal genre in Baroque Europe. Although there is no complete story of opera in Oratorio, drama still exists. The Yellow River Cantata, as the chorus of China, also has this play. Each chapter of The Yellow River Cantata's eight movements is connected in series through recitation and band as the background. Although each movement has its own emphasis or difference in form of expression, artistic image and ideological content, the whole work runs through a theme, that is, "resisting Japan and saving the country", and it also praises the great Chinese nation and the people of China.
The first movement "Yellow River Boatman Song" is a mixed chorus. Here is the timbre material of "Yellow River Boatman Song". This movement is divided into three parts. The first part depicts the scene of the boatman fighting with the wind and waves, and the music is full of fighting power. The second part is based on the theme melody at the beginning, which broadens the rhythm and slows down the speed, showing the relief of the boatman crossing the rapids and approaching the river bank. This shows that the people of China have seen the dawn of victory despite the difficulties in the War of Resistance. In the third part, the music returned to the speed at the beginning of the movement, but gradually weakened from strong to far. This movement symbolizes the increasingly fierce national contradiction between the people of China and Japanese imperialism through the struggle between the Yellow River boatmen and steep waves and hidden sand.
Ode to the Yellow River in the second movement is a baritone solo, which expresses the poet's praise for the Yellow River, the mother river. This movement consists of three paragraphs. At the beginning, the band played an introduction with a wide range and deep breath, which was the theme of this movement and showed the magnificent spirit of the Yellow River. Next, the baritone sang warm praise from the heart. Here, the Yellow River has a long history and twists and turns, symbolizing the long history and vast territory of the Chinese nation. The second paragraph begins with "Ah, the Yellow River" and enters a passionate musical passage, praising the great and glorious revolutionary tradition of the Chinese nation. Then came another song, Ah, Yellow River. This is a passionate conversation, and the music is more enthusiastic. It seems to say that the Chinese nation has stood up, and we are not afraid of violence or sacrifice, and we are determined to fight against foreign enemies to the end. At this time, the music reached its climax. Then the third song "Ah, Yellow River" made the music enter the third paragraph. At this time, the music became 4/4 beats, and the breath was very wide, flowing down like the Yellow River. This chapter expresses the poet's praise for the Yellow River, but compares it vividly to our great Chinese nation. Therefore, the praise of the Yellow River here is also a praise of the Chinese nation.
The third movement, how the water of the Yellow River moves out of the sky, is a poetic recitation with music. At first, it was accompanied by three turns, and later by pipa. In this movement, Xian Xinghai absorbed the tonal materials of the March of the Volunteer Army's "Man Jiang Hong", telling the national tragedy and praising national heroes. It is the poet's further praise for the Yellow River and the Chinese nation. At the same time, it also implies that the Yellow River or the Chinese nation will face extinction. But unfortunately, it is difficult for us to hear this movement in today's concert, because it is often omitted for the sake of performance!
The fourth movement is "Yellow Water Ballad", which is a two-part chorus of female voices. This is a three-part folk song with a very beautiful tune, which expresses people's love for life and infinite affection for the motherland to the fullest. The first paragraph shows the peaceful and quiet life of people on both sides of the Yellow River. The music is smooth and peaceful. In the middle, the atmosphere got worse. People have suffered since the Japanese came. This passage shows that the Japanese invaders invaded China, trampled on the great rivers and mountains of the motherland, and the people of China were in dire straits. The third paragraph is the reappearance of the first paragraph, but it becomes depressed and sad emotionally. This movement is the turning point of the whole song, and the contradiction between tragedy and drama of the whole work begins.
The fifth movement is riverside duet, which is a male duet and mixed chorus. The folk music structure with repeated segments is adopted, and the music absorbs the tone of Shanxi folk songs, and the method of gongs and drums accompaniment is adopted. The whole movement is a dialogue between two exiles. Here, through the dialogue between two exiles, the author tells the tragic experience of the vast number of refugees who have been displaced and left their homes. Lead the chorus to shout "Go home".
The sixth movement "Yellow River Complaints" is a female solo. Sing the pain and sorrow of the oppressed and humiliated women in the occupied areas in a tragic and touching style. This passage is the inner monologue of a desperate woman. A woman's husband was displaced, not only to leave, but also her son was killed by Japanese devils, and he was destroyed by Japanese devils. Finally, he had to jump into the arms of the Yellow River mother and commit suicide. The reason why the author has such an idea is to stimulate the fighting spirit of the people of the whole country through the death of a woman. This is the most dramatic passage in The Yellow River Cantata. As a solo song, it is very skillful and is the touchstone for testing soprano.
The seventh movement "Defending the Yellow River" is a first-round chorus, and it is also the most familiar one. Here, the polyphonic technique of "cannon" is adopted, which gives people an artistic effect of one after another, exciting and Ma Benteng. First, there were two rounds of singing, then three rounds of singing. The interlude of "Long Ge Dragon" enhanced the musical atmosphere, which made people feel that the anti-Japanese forces were growing and unstoppable.
The eighth movement "Roaring the Yellow River" is a mixed chorus. It is a summary and sublimation of the theme of the whole work, and it is also like a review. With its poetic and romantic style, it fully expressed the confidence of China people in defeating Japanese imperialism. The Yellow River is Roaring, the Yangtze River is Roaring, and the Pearl River is Roaring describes the situation of the national war of resistance. Finally, a "combat warning signal" was issued and repeated many times. The whole song gives people great appeal, which is undoubtedly a declaration of war against fascism and invaders!
Although the whole work is not as complete as the story of an opera, it has a rigorous theatrical conception, which gives people a strong sense of contradiction. This kind of contradiction and conflict lies in the conflict between man and nature at the beginning, the struggle between boatmen and dangerous beaches and waves, and the contradiction and conflict between the Chinese nation and Japanese imperialism in the second half. But they echoed each other, that is, through the struggle between man and nature, they showed the courage and tenacity of the people of China, thus paving the way for the people of China to defeat Japanese imperialism and solve ethnic contradictions. The whole work is to express this contradiction (yellow water ballad), intensify this contradiction (yellow river resentment) and solve this contradiction (defending the Yellow River). The display, intensification and resolution of this contradiction is precisely its drama.
Works: The Yellow River Cantata (Chorus), Going Behind Enemy Lines, February Comes, Singing at Midnight, Singing on Taihang Mountain (Song), Violin Sonata in D minor (Chamber Music), etc.
Song audition: /m? z = 0 & amp； cl = 3 & ampct= 1342 17728。 sn = & amplm=- 1。 cm= 1。 sc = 1 & amp； bu = & amprn = 30 & ampbaidump3 & ampword = % D9 % FE % D0 % C7 % BA % A3 & amppn=0
Xian Xinghai has published more than 20 music papers and compiled some music teaching materials. Before going to Yan 'an, he published short articles such as "The Task of Saving National Music during the Anti-Japanese War" (1937), "Singing Movement for Saving National Salvation and the Future of New Music" (1938) and "Nie Er, the Creator of Emerging Music in China", which concentrated on summing up the experience of singing movement for saving national salvation against Japan and discussed the direction and development prospect of emerging music represented by Nie Er. After arriving in Yan 'an, he successively published papers such as On the National Form of China Music (1939), China Folk Songs and New Music (1940), and Some Problems of the New Music Movement in China at the Present Stage (1940). From the viewpoint of dialectical materialism epistemology, he expressed many important opinions on the development of China's new music, the historical experience of China's new music development, the popularization and national form of China's new music, and the characteristics and research of China's folk songs. He advocated using Marxist art theory to guide the construction of China's new music. He believes that both the national form and the popularity of music should be based on the development of workers' and peasants' music in China. Through actual investigation, collection and research, he preliminarily draws the conclusion that China folk songs are realistic, intuitive and local, and thinks that absorbing the factors of folk music in music creation can reflect people's life and the language of the public more truly and vividly, and create richer music works with the most national characteristics and international characteristics. Guided by Mao Zedong's new-democratic theory, he briefly commented on the history and stages of the development of China's new music around the May 4th Movement, as well as the historical role of representing musicians and music works, discussed the essential features and formal features of new music, and pointed out that China's new music must develop in the direction of "new democracy in content and nationalization in form". His theoretical works played an important role in the theoretical construction of China's revolutionary music!