The Inheritance And Development Of Hakka Zheng School Since The Founding Of New China

Based on the discrimination of literature and fieldwork,this paper analyzes the text of the “Water Lotus” performed by four representative musicians of Hakka Zheng School in four important historical occasions.On the basis of the music analysis of the combination of“performance sheet and live performance” of these texts,this paper combines the life history,style characteristics,historical field,music and social environment of each performer,and carries on the narration,description and analysis of the diachronic process.In order to review and construct the four main stages of the inheritance and development of the Hakka Zheng School since the founding of New China: the formal opening of the stage solo form in the 1950 s and 1960 s,Audio-visual products entered the market in the 1970 s and 1980 s,the inclusiveness of folk and colleges from the 1990 s to the beginning of the 21 st century,and the extension and development of specialization since the beginning of the 21 st century.From these four stages,the article also discusses the cultural phenomenon and cultural consciousness embodied in the process of inheritance and development of Hakka Zheng School,which can be summarized as follows: 1.Musicians have realized the transformation and orientation of identity and different cultural identity order in the specific performance time and space and historical context.2.Through the interpretation of the playing style of "elegance",musicians complete the ideal shaping of "elegant" culture,and construct the imagination of ethnic culture with Central Plains culture as the core and Confucian culture as the guide.3.Musical instruments are changing with the changes of musician identity,performance space and performance needs,reflecting the musician’s musical instrument improvement and application view of “changing according to needs and adjusting measures to music conditions”.4.The emotional identification,memory and accumulation of music by musicians in different times is an important basis for establishing the classicality of music.5.The creative use of technical forms and the resulting whole set of body posture constitute the composition view of practical music with body operation as the core.6.Based on the spirit of Hakka culture,musicians strive to follow the aesthetic commonness of “the unity of beauty and goodness” and “both form and spirit”in different historical performance contexts,and in the pursuit and recognition of the traditional Hakka Zheng school performance aesthetics,influenced by the times and individuals,they also focus on the aesthetic tendency of “harmony " and " sadness”.Through the above analysis,this paper holds that: first,the classicalization of Hakka Zheng music the “Water Lotus” has experienced a process of screening,accumulation and construction in the flow of cultural time and space;second,musicians use the material form,behavior form and consciousness form of traditional music culture to realize the transformation of Hakka Zheng school music and cultural capital,which also constitutes the internal mechanism of the inheritance and development of Hakka Zheng school.