Professor Liang Ruihua Dulcimer Art Dynasty

This article describes Professor Liang Ruihua with his Yangqin artistic career, analysis of and sort out of his creation and adaptation of the yangqin music, sum up his outstanding achievements of standarding yangqin notation, summarize his exploring on the technique of yangqin performance with attacking strings, scientific method of holding the bamboo stick, and furthermore, observed Professor Liang Ruihua contributions on the art of yangqin at present.Professor Liang Ruihua is a notable dulcimer educator and theorist. He studied the violin in the early, dulcimer, erhu, sanxian, piano and other instruments of music in 1956, graduated from the The Music Academic in Central-South China (the predecessor of Wuhan Conservatory of Music). Since then, he has been working in Wuhan Conservatory of Music as Yangqin teacher, devoted his life to the Wuhan Conservatory of Music as well as professional development Dulcimer in central-south region of China.On the aspect of teaching, he trained numbers of professional players of dulcimer, who made a great contributins to the development of contemporary Chinese dulcimer all over the country. Under his leadership, through development of 50 years, Wuhan Conservatory of Music has become a center of dulcimer education in Central-South China, forming a teaching programme system of yangqin education from primary to post-graduate.On the aspect of theory, Professor Liang help to standardization of names and symbols for yangqin technique, such as definition of the"three-finger holding bamboo stick", and improved this traditional skills according to the lever principle. He also proposed the idea of "using both of hands with intention, colorful the sound and imagination" and improve both of the psychological quality and aesthetic standard of dulcimer performer.On the aspect of dulcimer composition, he created various music theme and genre, adaptation or arragement a numbers of works with different styles either at home or abroad work. He was the first one to use of the piano polyphonic two-part texture in dulcimer music, and rearranged to a numerous of Guangdong music for the dulcimer solo, which filled the gaps of that Guangdong music without dulcimer solo.