(Translated by https://www.hiragana.jp/)
Guoyue - Wikipedia
Wikipedia

Guoyue

Further information: Music of China

Guoyue (國くに樂らく; literally "national music"; also minyue (民みん乐), huayue (華はな樂らく) or zhongyue (中樂ちゅうらく)), nowadays refers to the music composed for Chinese musical instruments,[1] which is an extension of the Chinese traditional music.[2][3] It is often written for some form of grand presentation through a large Chinese orchestra, as well as performances with solo instruments. It is frequently broadcast on radio and television in the People's Republic of China, and it is also the primary form of Chinese music taught in conservatories in China,[4] as well as in Taiwan and Singapore.

Guoyue
Traditional Chinese國くに樂たのし
Simplified Chinese国くに乐
Literal meaning"national music"
Transcriptions
Standard Mandarin
Hanyu Pinyinguóyuè

Terms and definitions

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Names

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The term guoyue appeared in various ancient texts and had various different meanings before the 20th century. It was used as early as the Sui-Tang period to refer to court music or yayue.[5][6] In the Music Record section of History of Liao, it was used to distinguish the music of the Khitan rulers from that of the Han Chinese.[7] During the Qing dynasty it was used to refer to the kind of ceremonial court repertoire that was seen as a representation of China.[8]

In the early 20th century, guoyue became a popular term used loosely to include all music written for Chinese instruments in response to a particular nationalistic consciousness.[8] Later, after Communist victory in 1949, a new term minyue, short for minzu yinyue (民族みんぞく音おん乐) meaning national or people's music, was used in mainland China to encompass all compositions and genres for traditional instruments including music of ethnic minorities. In Taiwan it continues to be known as guoyue, but in other Chinese communities, it may also be referred to as huayue (for example in Singapore and Malaysia) or zhongyue (in Hong Kong).[9]

Usage of term

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In the early 20th century, the term guoyue was widely used to distinguish between imported Western music and traditional Chinese music. It therefore included all Han Chinese music but excluded anything written for Western instruments.[3] In its broadest sense it includes all Chinese instrumental music, opera, regional folk genres, and solo pieces.

Not everyone however agreed on its modern definition, and what constituted guoyue changed with time and locations. Originally it only referred to the music of Han Chinese, later it also included the music of various ethnic minorities in China. Some argued that it should only refer to music of Confucian rituals (yayue) and the literati, while to others it included all Chinese forms of music as long as it is not European. In the new Republic of China in Taiwan, Guoyue emphasized the traditional music of mainland China over the Taiwanese local traditions.[8]

The guoyue that was envisioned in the early 20th century was not entirely traditional. To many, part of the idea was to reshape Chinese folk and art music fit for the modern age. To composer Xian Xinghai, "traditional music should be improved by adding harmony and counterpoint", while to musician Zhao Feng the national music culture would be the combination of Chinese melodies and Western professional techniques.[10] Some also made a distinction between the regional music as performed by untrained folk musicians, i.e. the raw material from which guoyue is drawn, and the more polished national music.[11] In this view guoyue is therefore a polished, modernized form of traditional Chinese music.

Some forms of traditional music were also excluded at various times. In mainland China after 1949, folk music was promoted but classical Chinese music was also condemned as decadent and reactionary and became sidelined. During the Cultural Revolution classical Chinese music virtually disappeared, and some only survived by being reworked in a "light" style. Much of what was taught and performed as classical music consisted of arrangement and recompositions of older repertory; however, there have been more interest in the original classical repertory since the 1990s.[12]

History

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Origin

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In the early part of the 20th century after the fall of the Qing dynasty, Chinese intellectuals were interested in modernizing and revitalizing traditional Chinese music. Cai Yuanpei, the president of Peking University and an important figure in the May Fourth Movement, proposed using certain aspects of Western music to compensate for the perceived weakness in Chinese music.[13] As part of the New Culture Movement of the period, the guoyue music genre emerged to promote greater patriotism In the 1920s. Many groups in Shanghai associated themselves as "National Music Clubs" such as the Great Unity National Music Club (大同だいどう國こく樂らく會かい) founded by Zheng Jinwen (鄭てい覲文).[3][14] Chinese regional music become incorporated into modern education institution, for example by Liu Tianhua at the Peking University, where the Institute for the Improvement of National Music (國くに樂らく改あらため進しん社しゃ, Guóyuè Gǎijìnshè) was founded in 1927.[15] A periodical, the Music Magazine (音樂おんがく雜誌ざっし, Yīnyuè Zázhì), were also established. Liu Tianhua promoted what was then regional folk instruments such as erhu, adopted Western music techniques and methods of teaching for such instruments. He composed music pieces for erhu and adopted violin playing techniques to the instrument. National identity and pride also became important during the Second Sino-Japanese War and the Chinese Civil War throughout the 1930s.

Development of modern Chinese orchestra (1930s-1960s)

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Main article: Chinese orchestra

The Chinese orchestra represents a significant force in the development of guoyue. Although there were orchestras in ancient times, the Chinese orchestra that is now commonly found in China and overseas Chinese communities is a modern creation that gradually developed through a series of experimentation starting in the 1920s.[16] It is modeled on Western symphony orchestra but drawn initially from traditional sizhu ensemble (sizhu, 絲竹いとたけ, literally "silk and bamboo", are two traditional classifications for string and wind instruments). In Beijing, Liu Tianhua formed a sizhu ensemble and wrote for the ensemble, expanding on traditional musical notation so it may be used for an orchestra, specifying ornamentation details and tempo and the use of particular instruments in specific sections.[17] Another major contributors to its development was Zheng Jinwen, who first experimented by increasing the number of player in a Jiangnan sizhu ensemble to 35, and separated the instruments into different sections. He also started the process of standardization of the instruments, for example inventing method to resolve the problem of traditional instruments such as dizi where the fundamental tuning for various instruments may be different.[18] In the past each player may also embellish the parts at will, but in this new orchestra, Zheng wrote specific music for each instruments or sections.

In 1935, a music ensemble was formed at the Broadcasting Corporation of China (BCC) in Nanjing for the broadcasting of traditional Chinese music.[17] Due to the Sino-Japanese war, the ensemble later moved to Chongqing, where it held its first public performance in 1942.[19] The ensemble also held classes, and it quickly expanded with extra instruments added. It became known as the BCC Chinese Orchestra, often considered the first Chinese orchestra formed. The orchestra was organized along the line of a Western orchestra in a form that is recognizable today, with a conductor, full scores for musicians, and four different sections - wind, plucked strings, bowed strings, and percussion.[17] The plucked strings section is unique to Chinese orchestra due to the large number of traditional Chinese lute-type instruments.[20]

In 1953, the PRC government established its first Chinese orchestra, the Central Broadcasting Station Orchestra in Beijing, based on the early models. The tuning of the instruments was shifted to the equal-tempered tuning system. Further instruments were also added to enhance the sound and range of the orchestra. New pieces based on regional music and other traditional Chinese music were composed for the orchestra.

By the 1960s, a largely standardized form of Chinese orchestra had emerged.[10] The modern Chinese orchestra has since become a cultural institution in China as well as Chinese communities outside of mainland China. Amateur Chinese orchestras are commonly found in Taiwan, Hong Kong, Singapore, Malaysia organized by clan associations, community centres and schools. Professional Chinese orchestras include Shanghai Chinese Orchestra, China Central Chinese Orchestra, Hong Kong Chinese Orchestra, Singapore Chinese Orchestra and Taipei Chinese Orchestra.

1980s

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In 1980 the Chinese Musicians' Association was formally elected to the "International Musicological Society". Chinese musical groups toured foreign countries, and foreign musical organizations performed in China. In the mid-1980s popular ballads, western folk and classical music still drew the greatest audiences, but other kinds of music, including previously banned western jazz and rock and roll, were being performed with greater acceptance especially among the youth.

2000s

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Guoyue music made its comeback into mainstream popular music in the 2000s by Taiwanese composer Jay Chou and songwriter Vincent Fang, who coined the term Zhongguo Feng (中國ちゅうごく風ふう; lit. Chinese Wind) to describe the style of the album The Eight Dimensions which fuses modern rock and contemporary R&B together with traditional Chinese music.

Repertoire

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Many of the early pieces composed were based on regional and traditional pieces. The early compositions may be written for a Jiangnan sizhu ensemble or other instruments, some may be developed later into orchestral composition. A well-known orchestral piece is the Dance of the Yao People which was based on the folk music of the Yao minority. It was originally written for a Western orchestra, but later also arranged as a Chinese orchestral piece. Similarly other popular pieces such as Butterfly Lovers' Violin Concerto were also reworked for Chinese orchestra as a concerto piece for erhu or pipa.

Many solo pieces for various Chinese instrument have also composed, and these pieces may be performed solo or arranged with accompaniment by other instruments or a full orchestra. Examples of these solo pieces are "Night Song of the Fisherman" (漁舟ぎょしゅう唱晚) which was composed for the guzheng in 1936 based on an old Shandong piece "Double Beat" (雙そう板いた), Dance of the Yi People composed for the pipa in 1965, and "The Moon Mirrored in the Erquan Pool" (二に泉いずみ映うつ月つき) composed for the erhu by Abing. Many of these tunes have also been arranged for a Chinese orchestra, most notably by Peng Xiuwen.

Solo pieces

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Some of these are traditional pieces, and new composition may also be based on older traditional tunes, although some are entirely original. Many of these have also been arranged for larger orchestra.

Title Chinese Composers/Arrangers Year Instruments Note
The General's Command 將軍しょうぐん令れい Guzheng
Night Song of the Fisherman 漁舟ぎょしゅう唱晚 Lou Shuhua (婁樹華はな) 1936 Guzheng Based on a traditional tune
Jasmine Flower 茉莉花まりか Erhu/Guzheng 18th century composition
Horse Racing 賽さい馬ば Huang Haihuai (黄海こうかい懷ふところ) 1959 Erhu
The Moon Mirrored in the Erquan Pool 二に泉いずみ映うつ月つき Abing (阿おもね炳) 1930s Erhu Later orchestral arrangement by Peng Xiuwen
The Purple Bamboo Tune 紫竹しちく調ちょう Dizi/Erhu Traditional, orchestral version by Peng Xiuwen
Suzhou Travel 姑しゅうと蘇そ行こう Jiang Xianwei (江こう先さき渭) 1962 Dizi
Partridge in Flight 鷓鴣飛ひ Dizi Based on a Hunan tune
Phoenix Spreading Their Wings 鳳凰ほうおう展翅てんし Hu Tianquan (胡えびす天てん泉いずみ), Dong Hongde (董ただし洪ひろし德とく) 1956 Sheng
Hundred Birds Pay Homage to Phoenix 百ひゃく鳥ちょう朝あさ鳳おおとり Ren Tongxiang (任にん同どう祥さち) 1953 Suona Based on a traditional tune, later piano arrangement by Wang Jianzhong
Ambushed from Ten Sides 十じゅう面めん埋伏まいふく Pipa Qing dynasty composition
Dance of the Yi People 彝つね族ぞく舞曲ぶきょく Wang Huiran (王おう惠めぐみ然しか) 1965 Pipa
Spring Flowers on Moonlit River 春江はるえ花はな月夜づきよ Liu Raozhang (柳やなぎ堯章), Zheng Jinwen (鄭てい覲文) 1925 Pipa/Guzheng Rearrangement of a traditional pipa tune (夕陽ゆうひ簫しょう鼓こ)

Orchestral works

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Earlier orchestral pieces

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English Title Chinese Title Composer Year Note
Coloured Cloud Chasing the Moon 彩雲さいうん追おい月がつ Ren Guang (任にん光こう) 1932 Later piano arrangement by Yin Chengzong and Wang Jianzhong
Dance of the Golden Snake 金蛇かなへび狂きょう舞まい Nie Er (聂耳) 1934 Arranged from a traditional piece, later Western orchestral arrangement by Tang Jianping
Beautiful Flowers on a Full Moon 花はな好こう月つき圓えん Huang Yijun (黄き貽鈞) 1935 Later orchestral arrangement by Peng Xiuwen
Dance of the Yao People 瑤よう族ぞく舞曲ぶきょく Liu Tieshan (劉りゅう鐵山てつざん), Mao Yuan (茅ちがや沅) 1952 First written for a Western orchestra
Full of Joy 喜き洋洋ようよう Liu Mingyuan (刘明源げん) 1958 Based on Shanxi folk songs

Modern compositions

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The following are several examples of pieces written for large modern Chinese orchestra. These musical works utilise Western musical composition techniques, as well as the inclusion of Western instruments like cello, double bass, harp and Western percussion.

English Title Chinese Title Composer Number of Movements List of Movements Elaboration
Symphony No. 2 "Ode to Peace"[21] 第だい二に交响曲きょく"和平わへい颂" Zhao Jiping 赵季平ひらた 5 I: Jinling and the Yangtze River 金きん陵りょう·大江おおえ,
II: The Tears of the River 江こう泪なみだ,
III: The Sorrow of the River 江こう怨,
IV: The Fury of the River 江え怒いか,
V: Ode to Peace 和平わへい颂 		A five-movement symphony that depicts the infamous Second Sino-Japanese War and the Nanjing Massacre.
Journey to Lhasa 拉ひしげ萨行 Kuan Nai-chung 关乃忠ただし 4 I: Potala Palace 布ぬの达拉宫,
II: Yarlung Tsangpo River 雅みやび鲁藏布ぬの江こう,
III: Heavenly Burial 天てん葬そう,
IV: Vanquishing Demons 打だ鬼おに 		Composed in 1984, this four-movement symphonic suite depicts the scenery of Tibet and the culture of the Tibetan people.
Reminiscences of Yunnan 云うん南みなみ回かい忆 Liu Xing 刘星 3 I: Moderato 中庸ちゅうよう的中てきちゅう板ばん,
II: Lento 呆ほけ滞とどこお的てき慢板,
III: Allegro 机つくえ械的快かい板いた 		A three-movement concerto for zhongruan and modern Chinese orchestra. Also known as "Zhongruan Concerto No. 1" (第だい一いち中ちゅう阮协奏そう曲きょく).
Impressions of Chinese Music 印象いんしょう国こく乐 Jiang Ying 姜きょう莹 3 I: 小しょう鸟乐,
II: 前世ぜんせい今生こんじょう,
III: 大曲おおまがり
A Glimpse of the Taklamakan 塔とう克かつ拉ひしげ玛干掠かすめ影かげ Jin Xiang 金きむ湘 4 I: 漠ばく原はら,
II: A Lost Empire in the Desert 漠ばく楼ろう,
III: 漠ばく舟ふね,
IV: 漠ばく州しゅう 		This four-movement tone poem depicts the grand Taklamakan Desert in northwest China.
The Silk Road 丝绸之の路みち Jiang Ying 姜きょう莹 Standalone piece Also known as "Kumtag" (库姆塔とう格かく).
Variations of Emotion 抒情じょじょう变奏曲きょく Liu Changyuan 刘长远 3 Unnamed movements; the three movements are simply labeled "Movement I", "Movement II", "Movement III". This piece consists of 15 variations based on one main theme, divided into three movements.
The Yellow River Capriccio 黄河こうが畅想 Cheng Dazhao 程ほど大だい兆ちょう Standalone piece It is the finale in the symphonic suite "Roots of the Chinese" (華はな夏なつ之の根ね).[22]
Spring 春はる Lu Lianghui 卢亮辉 Standalone piece
Summer 夏なつ Lu Lianghui 卢亮辉 Standalone piece
Autumn 秋あき Lu Lianghui 卢亮辉 Standalone piece
Winter 冬ふゆ Lu Lianghui 卢亮辉 Standalone piece
The Terracotta Warriors Fantasia 秦はた·兵へい马俑幻想曲げんそうきょく Peng Xiuwen 彭修文ぶん Standalone piece
Impressions of the Mountain and the Sea 山海さんかい印象いんしょう Su Wenqing 苏文庆 Standalone piece
The Age of Dragon 龙年新しん世よ纪 Kuan Nai-chung 关乃忠ただし 4 I: The Sun 太ふとし阳,
II: The Moon 月がつ亮あきら,
III: The Stars 星辰せいしん,
IV: The Land 大地だいち 		A four-movement concerto written for Chinese percussion, Western percussion and modern Chinese orchestra.
Dabo River Caprice 达勃河かわ随想ずいそう曲きょく He Xuntian 何なに训田 2 I: Adagio 柔やわら板ばん,
II: Allegretto 小しょう快かい板いた 		Composed in 1982, this musical work depicts the exotic beauty of the Dabo River in Sichuan and the life of the Baima Tibetan people living in the area.
Three Melodies of West Yunnan 滇西土せいど风三さん首しゅ Guo Wenjing 郭かく文ぶん景けい 3 I: A Va Mountain 阿おもね佤山,
II: Gino Dance 基もと诺舞,
III: Sacrifice, Torches, Potent Liquor 祭祀さいし·火ひ把わ·烈れつ酒しゅ 		This three-movement work depicts the cultures of three different tribal groups based in western Yunnan.
Symphony No. 1 "Jinling" 第だい一いち交响曲きょく"金きん陵りょう" Peng Xiuwen 彭修文ぶん 3 I: Remembrance of Things Past 怀古,
II: The Qinhuai River 秦しん淮,
III: Vicissitudes of Life 沧桑 		This three-movement symphonic work depicts the rich history and culture of Nanjing, formerly called Jinling.
The Desert Smoke Suite 大だい漠ばく孤こ烟けむり直ちょく组曲 Zhao Jiping 赵季平ひらた 4 II: Seek 音おん诗-觅,
IV: Elegy 悼歌
Northwest Suite 西北せいほく组曲 Tan Dun 谭盾 4 I: The Timely Rain Fall from High Heaven 老ろう天てん爷下甘あま雨う,
II: 闹洞房ぼう,
III: 想そう亲亲,
IV: The Sidedrum in Stoneplate Form 石板せきばん腰こし鼓こ 		Also known as "Northwest Suite No. 1" (西北せいほく第だい一いち组曲).
The Mohe Tribe Suite 靺鞨组曲 Liu Xijin 刘锡津つ 6 I: Warriors 武士ぶし,
II: Princess 公主こうしゅ,
III: 百ひゃく戏童,
IV: 酒さけ舞まい,
V: The Battle of Hualin 桦林大だい战,
VI: 踏垂舞まい
The Legend of Shadi'er 沙すな迪すすむ尔传奇き Liu Yuan 刘湲 Standalone piece Also known as "The Uyghur Tone Poem" (维吾尔音诗).
The Great Wall Capriccio 长城随想ずいそう Liu Wenjin 刘文金きん 4 I: Strolling Through the Mountain Pass 关山行ぎょう,
II: Beacon March 烽火ほうか操みさお,
III: Memorial for the Patriots 忠魂ちゅうこん祭さい,
IV: Looking Afar 遥はるか望のぞむ篇へん 		A four-movement concerto for erhu and modern Chinese orchestra.
Empress Earth 后きさき土ど Tang Jianping 唐から建けん平ひらた Standalone piece

Guoyue performers

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Conductors

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See also

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References

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  1. ^ 吳ご學まなぶ忠ちゅう (2004). 音樂おんがく天地てんち 2004年ねん第だい12期き > 關せき於對"國こく樂らく"一いち詞し的てき解析かいせき. 陝西せんせい省しょう音樂家おんがくか協會きょうかい. p. 第だい42頁ぺーじ. 特とく指ゆび從したがえ近代きんだい開始かいし的てき所有しょゆう中國ちゅうごく音樂おんがく
  2. ^ 吳ご學まなぶ忠ちゅう (2004). 音樂おんがく天地てんち 2004年ねん第だい12期き > 關せき於對"國こく樂らく"一いち詞し的てき解析かいせき. 陝西せんせい省しょう音樂家おんがくか協會きょうかい. p. 第だい42頁ぺーじ. "國こく樂らく"既すんで是ぜ中國ちゅうごく傳統でんとう音樂おんがく在ざい近代きんだい的てき延のべ續つづけ，又また是ぜ"新しん音樂おんがく"在ざい近代きんだい形成けいせい、發展はってん的てき新しん的てき起點きてん
  3. ^ a b c Frederick Lau (2008). Kai-wing Chow (ed.). Beyond the May Fourth Paradigm: In Search of Chinese Modernity. Lexington Books. pp. 210–211. ISBN 978-0739111222.
  4. ^ Thrasher, Alan R. (2001). "I. Introduction: historical, regional and study perspectives". China, People's Republic of. Grove Music Online. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.article.43141. ISBN 978-1-56159-263-0. Retrieved 21 June 2021. (subscription or UK public library membership required)
  5. ^ 歷代れきだい樂たのし quoting Suishu 隋ずい書しょ. Original text: 國くに樂らく以雅為ため稱たたえ，取と《詩し序じょ》云うん，「言げん天下でんか之の事こと，形かたち四方しほう之の風ふう，謂いい之の雅みやび。雅みやび者しゃ，正也まさや。」
  6. ^ "国こく乐（國くに樂らく）". Zdic.
  7. ^ 遼りょう史し/卷まき54 Original text: 遼りょう有ゆう國こく樂らく，猶なお先王せんおう之の風ふう；其諸國こく樂らく，猶なお諸侯しょこう之の風ふう。故こ誌し其略。
  8. ^ a b c Frederick Lau (2007). Music in China. Oxford University Press. pp. 30–34. ISBN 978-0195301243.
  9. ^ Viniti Vaish, ed. (2010). Globalization of Language and Culture in Asia: The Impact of Globalization Processes on Language. Continuum International Publishing Group Ltd. p. 21. ISBN 978-1847061836.
  10. ^ a b Charles Hamm (1995). Putting Popular Music in Its Place. Cambridge University Press. pp. 279–280. ISBN 978-0521471985.
  11. ^ Frederick Lau (2007). Music in China. Oxford University Press. p. 59. ISBN 978-0195301243.
  12. ^ Charles Hamm (1995). Putting Popular Music in Its Place. Cambridge University Press. pp. 283–284. ISBN 978-0521471985.
  13. ^ Tsui Yingfai (16 September 1998). "The Modern Chinese Folk Orchestra: A Brief History". In Tsao Penyeh (ed.). Tradition and Change in the Performance of Chinese Music, Part 2. Routledge. p. 21. ISBN 978-9057550416.
  14. ^ Hoi Yan Cheung (2011). Chinese Music and Translated Modernity in Shanghai, 1918--1937. p. 157. ISBN 978-1243526014.
  15. ^ Tsui Yingfai (16 September 1998). "The Modern Chinese Folk Orchestra: A Brief History". In Tsao Penyeh (ed.). Tradition and Change in the Performance of Chinese Music, Part 2. Routledge. p. 22. ISBN 978-9057550416.
  16. ^ Frederick Lau (2007). Music in China. Oxford University Press. pp. 36–41. ISBN 978-0195301243.
  17. ^ a b c Tsui Yingfai (16 September 1998). Tsao Penyeh (ed.). Tradition and Change in the Performance of Chinese Music, Part 2. Routledge. pp. 23–24. ISBN 978-9057550416.
  18. ^ Frederick Lau (2008). Kai-wing Chow (ed.). Beyond the May Fourth Paradigm: In Search of Chinese Modernity. Lexington Books. pp. 212–215. ISBN 978-0739111222.
  19. ^ Edward L. Davis, ed. (2 August 2004). Encyclopedia of Contemporary Chinese Culture. Routledge. ISBN 9781134549535.
  20. ^ Han Kuo-Huang (16 December 2009). Marvelene C. Moore, Philip Ewell (ed.). Kaleidoscope of Cultures: A Celebration of Multicultural Research and Practice. R&L Education. pp. 64–65. ISBN 9781607093039.
  21. ^ "上海しゃんはい之の春はる国こく际音乐节 Shanghai Spring International Music Festival".
  22. ^ "展示てんじ悠悠ゆうゆう歷史れきし的てき交響樂こうきょうがく《華はな夏なつ之の根ね》--文化ぶんか--人民じんみん網もう". www.people.com.cn. Retrieved 2018-09-19.
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