During The Cultural Revolution Erhu Music Study

During ten years of the Cultural Revolution, culture and arts field suffered heavy losses under the influence of the ultra-Left trend of thought. As a representative of traditional music instruments, Erhu failed to survive. In this period, within the official literary system, Erhu music developed totally around the focus of"serving for proletarian politics", so there was a giant difference from the previous ones no matter in quantity or in quality, with unitary aesthetic orientation and expressive form. However, Erhu music in this period was not a blank. According to present documents, 33 Erhu works were published during this period, which took obviously the mark of times, but still had value for research.For a long time, the music research in the Cultural Revolution has lagged behind, which is mainly focused on two periods of Chinese modern Erhu music creation, i.e. in the first half of the 20th century and the years after 1978. Until now, the research result specializing on this period is rare. Absolutely experiences can be concluded from musical creation peak, but for the low ebb, necessary experiences can also be drawn. Especially for the low ebb like the Cultural Revolution which is among two peaks, a further deep review is quite necessary.On the basis of tremendous previous research fruits, this thesis makes a comprehensive observation, and a global grasp as well as a deep research of Erhu music in the Cultural Revolution. There are three chapters with six sections in this thesis, which includes the introduction and conclusion. Chapter One: Summary of music in the Cultural Revolution. It gives a general description of the music thoughts and"Mass animadvert"in the Cultural Revolution, with a brief review of the music condition under the guidance of this trend, and an overlook of the background of Erhu music development in this period. Chapter Two: Historical vein of Erhu music development and analysis of typical works in the Cultural Revolution. The first section gets a clear path of Erhu music development in the Cultural Revolution and makes a list of all the Erhu publications and records which can be found now. The second section gives musical ontological analyses on seven representatives of Erhu music in cultural revolution. Chapter Three: Characteristics of Erhu music in the Cultural Revolution and historical reflection. This chapter summarizes the characteristics of Erhu music in the Cultural Revolution and makes a historical reflection of it, for the purpose of providing references for the development of Erhu music.Research finds out that the title of Erhu music in cultural revolution which has serious political causes under the influence of thoughts, such as"Three Conversions","Three Emphasis"and"Music for proletarian politics", etc., The music mainly focuses on extolments of socialistic political situation as well as economic and social development."Extolment"is the center for music works. The music structure is very unitary, with three segments model of"A-B-A", and speed patterns of"Fast-Slow-Fast"or"Slow-Fast-Slow". Most works are in a single tonality distribution with"One tonality through". Few works with modulation are only adopting limited close relationship modulation. The technical application is rather conservative. The book"Selection of Erhu Music for Exercising"is distinctively outstanding, as a compulsory course for Erhu learners.Knowing and grasping the characteristics and conditions of Erhu music development in the Cultural Revolution is significant for objective and complete understanding of the history of Erhu music development, and even for the Chinese national instrumental music development since the establishment of China. A review of history is for a better vista of future. The summary of experience and lessons of Erhu music development in the Cultural Revolution can give a better understanding of the future trend of Erhu music, and can be used for reference for current music development.