The Dizi Art Of The 20 Century

The introduction is the territory to research object of this study:Delimit the range of the study from the system, distinguish the origin of musical instruments from historical evolution, kinds of question of the belonging and so on, Carry on the summary to the research results which predecessors have completed of the 20th century.The first four chapters of this article state the development of China flute in the 20th century. Chapter one records that the Dizi take on different roles of proportion of the regional folk music during the beginning of the 20th century. For a long time, most players, either the soloist of recreating by oneself, or the players who play several kinds of musical instruments in the orchestra, all of them dispersed all over China and did not go down in the history because their social status. Sprout from "the new music" in China, the bamboo flute also joins this wave and becomes a member of the stage music gradually.Chapter two discusses the events which happened in 1953-1965. In 1953, Feng Zichun, participated in " The Performance Of The National Music And Dance", was a pioneer in the soloist of Dizi. Therefore, the performance form of Dizi in 20th century, the social status of the performers, the creation mode of Dizi music, completely reborn and there produced a batch of flute music which take folk music as a backing and performers who play this kind of music. In 1956, during the performances of "National Music Week", the Dizi piece "Morning" was published, and symbolized that the south and north flute music begin to coexisting in the same piece and the boundary of the region style begins to be eliminated gradually.Chapter three focuses on the discussion of the flute music in the Cultural Revolution period. Playing familiar red songs, and learn the "Yang Ban Xi" causes the flute music of this period has the specialities of melody. At the end of the frenetic times, the education was paid the attention again. Re-enrollment of the conservatories of music made the contact with "the reform and opening" and caused the flute music develops from "one" to diversification.Chapter four discusses the time from 1976 to the end of the 20th century. In 1982, Ministry of Culture held the demonstration performance of national instrumental music, and this activity also was the first nationwide instrumental competition after "the Culture Revolution". This competition makes the new generation bamboo flute performers become rising stars gradually, and this situation declares that new major personages become the owner of the Yellow River. Different from the music vocabulary with whole traditional rules, composers create different image space for flute music. Female performers joined in this stage. They were no longer limited and held in the traditional conservative social status and figure, but participated in the consumer culture boldly. The communication of the culture exchange across the Taiwan Strait is also the beneficiary of the reform and opening-up. Because of the opening acceptance of a lot of information, Taiwanese composers reshaped and relocated this classical flute music. In addition, holding the international China flute concerto competition and creating the new classical era promote the prosperous development of the flute music.The conclusion is the retrospect of the centurial China flute music course. By the summary of the passing development, hope that we can provide the experience and direction for the development in the future.