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The Development of Guqin in China During 1949-1966── The Case Study of Activities of Beijing Guqin Research Association
Guqin,Beijing Guqin Research Association,Ethnical Music of Central Conservatory of Music,Chinese Musicians Association,Zha Fuxi,Lu Ji,Yang Yinliu,
|Publication Year :||2012|
At the beginning of the 20th century there was a rise of utilization of western culture and knowledge to reconstruct and innovate within traditional music. In the period of Republic of China, musicians and musical associations all over the country have found themselves in a social environment which emphasized westernization. Their continuation and implementation of the Guqin is its first turning-point in contemporary development. After the Communist Party of China established the regime in 1949, the government enforced the policy of art and literature in accordance with Mao Ze-dong’s lecture in Yan-an Literature and Art Forum in 1942, valuing mass art and literature. It succeeded in using Chinese traditional art and literature to serve socialism and people. Then, the Guqin underwent activities for adaption to the policies, which then became the second turning-point in its development.
This research focuses on 17 years before the PRC was established to discuss how the Guqin musicians continued the Guqin learning experience during the Republic Era with the goal of enhancing and developing the Guqin. Simultaneously, through observation of activities in the Beijing Guqin Research Association, it probes into how they built the road of continuance of the Guqin under the guidelines of art and literature, and therefore recognized the characteristics of the qin study and activities during mid 20th century.
By means of interviewing and analyzing the relevant texts, this paper explores that the Beijing Guqin Research Association received assistance from the Ethnical Music of Central Conservatory of Music and Chinese Musicians Association. Furthermore, the Guqin culture was preserved and promoted with support from people in charge of the association, including Lu Ji, Yang Yinliu, and Zha Fuxi. Based on the inclinations of the political environment, 1958 was the boundary between two different periods. Due to the loose policy of art and literature, the Beijing Guqin Research Association could just concentrate on preserving the traditions of the Guqin. Owing to the more intense impact of political movements, the activities in the associations were gradually transformed to those to carry out reforms and innovation of the Guqin. In addition to coordination with the government’s activities of art and literature, the content of these reforms involved the re-orientation of the Guqin as one of the “folk musical instruments” that connected Guqin music with folk music. From then on, different from the tradition that regarded the way of the Guqin, the implication of the Guqin was re-constructed from as the way of the Guqin returning to a musical instrument.
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