二十世紀的中國器樂藝術
喬建中
為「中國民族器樂典藏」而作
在中國數千年的音樂歷史上，二十世紀有十分特殊的地位和意義。
百餘年間，順應中國社會、經濟、文化全面轉型的歷史潮流，幾代音樂家上下求索、勤於創造，審慎而又智慧地處理了一次次迎面而來的中—西、古—今、雅—俗等多重關係，目標如一地致力於從傳統到現代的轉接，最終為二十世紀的中國音樂文化事業做了兩件彪炳史冊的大事。其一，全面系統地記錄、整理了存活於各民族各地區豐富多彩的傳統音樂遺產，將其公開出版，使之成為中國民族文化的寶典。其二，以中國傳統音樂資源為基底，廣泛吸收、借鑒西方專業音樂的理念、技藝，創造出一種不同於傳統音樂體裁、風格的全新的音樂，如歌曲、合唱、歌劇、舞劇、器樂獨奏、交響樂、協奏曲、民族管弦樂等，從而使二十世紀中國音樂結構發生了全局性的轉變。這兩個業績，前者是以音樂學家為主體做出的，後者是由作曲家和表演藝術家共同完成的。在中國音樂史上，如此功德，前無古人。
中國的器樂藝術，源遠流長，積累豐厚。上古文獻中所謂「擊石拊石」、「鼓琴鼓瑟」、「鼉鼓逢逢」、「金聲玉振」的描述以及「伯牙摔琴」的傳說可以看作是它精彩的「開篇」。而漢魏時代的的《琴賦》（嵇康）、《琴操》（蔡邕）、《長笛賦》（馬融）、《琵琶賦》、《箏賦》、《笳賦》（傅玄）《笙賦》（潘安仁）、《洞簫賦》（王子淵）諸文所論，則反映了各類樂器獨特的表現力和當時在演奏上所達到的藝術成就。此後，唐代羯鼓、七弦琴、琵琶、箏等演奏技藝高度成熟。宋元以降，一方面由於說唱、戲曲逐步形成而促進了樂器伴奏的專門化，另一方面，民間祭祀、節日、禮俗活動的迫切需要而使鑼鼓樂、絲竹樂、鼓吹樂、弦索樂等不同樂隊組合活躍於廣大民間社會。在長達千年的表演實踐中，無論是少數長於獨奏的樂器，如琴、琵琶等，還是各類小型合奏樂隊，不僅積累了大量的優秀曲目，而且，在樂器演奏技法的擴展、提高、規範方面，也都自成系統，日臻完善，使器樂藝術成為歷代音樂不可或缺的組成部分。
儘管如此，我們還是要指出，二十世紀以前的中國器樂藝術並不是一個完全獨立的表演藝術門類。如歷代宮廷樂隊，雖然樂器齊備，規模龐大，但它們主要是為宮廷禮儀服務，任何用樂，都要受到禮儀制度的制約，而不能自由而充分地發揮樂隊自身的表現性能。它們與宮廷禮儀相存相依，我們可以稱之為「宮廷禮樂型」的器樂藝術。又如各類鼓吹、吹打樂隊，它們又都幾乎是在民間節日、慶典、婚喪嫁娶、儀式信仰活動中演奏的，具有與民俗文化共生的性質。因此，對於民俗事象有很大的依賴性。這應該是一種「民俗型」的器樂藝術。再如為說唱、戲曲、歌舞伴奏的民間樂隊，它們僅僅是說唱、戲曲等這類綜合性表演藝術的一個組成部分。其表現力的運用、發揮，取決於這一綜合藝術本身的需要，而不可能單獨自由地表演。這可以說是中國式「劇場」的器樂藝術。合奏藝術如此，獨奏藝術呢？文獻中記載最多的是琴、簫、琵琶、箏等。但它們的「表演」場所，大多數是官邸、青樓茶館或文人私齋，其目的主要是為少數人觀賞或「以樂會友」，民間稱之為「雅集」。在這種場合，表演者與聽眾的關係被淡化，而更強調的是現場參與者的「自娛」、「自賞」。這是一種「雅集型」的器樂藝術。[注1]總之，數千年的演奏實踐和藝術積澱，使中國器樂藝術的資源無比豐富。但它自身特殊的成長環境，即與宮廷禮儀、民俗事象、戲曲曲藝表演、文人意趣的長期「共生」及對它們的過分依賴，使這門藝術先天缺少對專門技藝、審美趨向的刻意追求，從而也就導致了它缺少作為一個專門領域的某種獨立性。
進入二十世紀之後，封建制度的徹底結束，五四新文化運動的發生和由於中西文化的廣泛交流而出現的嶄新的學術景象，不僅造成中國政治、經濟的世紀性轉折，而且，也催生了新文學、新音樂、新藝術的出世。其中就包括器樂表演藝術。
一九一五年，劉天華先生創作並演奏了他的處女作—《病中吟》，它同時也是二十世紀音樂家在西方專業音樂創作思想的影響下、具有現代精神的第一首二胡獨奏曲。一九一九年，鄭覲文先生在上海創立「大同樂會」，隨後又於一九二四年組建了包括吹打拉彈諸類傳統樂器、多達四十位演奏者的大型樂隊。該樂會的宗旨是：「對於西樂主專習，對於中樂主稽古與改造，務使中西方得相濟互助之益，然後摯其精華，提其綱領，為世界音樂開一新紀元，以完本會大同二字之目的。」[注2]劉天華的二胡創作和大同樂會組建新型樂隊的嘗試，正式拉開了二十世紀中國樂器獨奏藝術和合奏藝術的序幕，不僅意義重大，而且產生了極為深遠的影響。自此以後的八十餘年間，中國器樂藝術在作曲家和民族樂器演奏家同心協力之下，改革創新，反復試驗，一路前行，逐步將這門藝術推向了前所未有的一個巔峰。
二十世紀的中國器樂藝術，所以能成為一門相對獨立又頗有成就的現代表演藝術類別，獲益於以下諸因素。
一、音樂院校將民族樂器納入專業行列，是二十世紀中國器樂成為獨立的藝術表演門類的第一個標誌。眾所周知，自一九二七年上海「國立音樂院」成立之際，琵琶、二胡、古琴就成為該校的一個專業。雖然僅有兩三件樂器享此殊榮，但它為後來的音樂院校確立了一種原則。因此，一九五○年代各地音樂學院成立時，不但增加了很多樂器，而且設置了「民族器樂系」，這就為更多樂器成為一門專業，並為培養大批專門的器樂演奏人才提供了最有力的保障。近幾十年來絕大多數優秀的民族器樂演奏家，幾乎都出自專業音樂院校。本質上講，以學校教育取代沿襲數千年來家族或社會的「自然傳承」方式，是二十世紀中國器樂藝術邁向高度專業化的重要一步。
二、演奏場合和表演功能的改變，是二十世紀中國器樂成為獨立藝術門類的又一個要素。如前所述，以往的器樂演奏，多半依託於民俗事象或某種綜合性藝術，其功能也具有「自娛」性質。但自一九二○年代起，受到西方專業表演方式和理念的影響，民族器樂演奏也單獨登上音樂會舞台。這種情形到了一九五○年代以後更加普遍，而且成為中國器樂藝術演示的主要方式。器樂藝術表演舞台化，最終使之脫離對民俗事象、綜合藝術的依賴而完全獨立，成為「音樂會型」的器樂藝術。對於全面提高每類樂器的演奏技藝，實現器樂藝術的審美追求，這種「音樂會」型態，遂成為理想的表演空間。
三、民間藝術大師進入音樂院校，為培養新一代演奏家發揮了關鍵作用。一九五○年代，在多次全國性文藝會演中，湧現出一批堪稱大師的笛、管、笙、古箏、古琴、嗩呐、板胡、琵琶等器樂演奏家，他們隨後陸續被請到音樂院校或專業團體從事教學和表演。由於他們身懷絕技，傳統功底深厚，到教學崗位後，在教學上發揮了巨大的作用。人們戲稱他們為「一傳手」，因為他們把傳統藝術直接帶進現代教育領域；稱他們的學生為「二傳手」，因為他們既師從民間大師學習，又系統學習專業音樂理論，成為從傳統到現代教育的紐帶。其後，他們又陸續培養了一批批各種樂器的青年演奏家。於是，由民間器樂大師和他們的一代又一代學生組成演奏家隊伍，就成為二十世紀器樂藝術的中堅力量。
四、傳統音樂經典、民間優秀曲目的整理改編和作曲家的創作曲目，直接呈現了二十世紀器樂藝術的綽約風姿。豐富多樣的作品，是構成一個獨立的藝術領域的根本基礎。二十世紀中國器樂藝術的曲目，主要來源於三個方面，一是歷經千百年演奏實踐的磨煉而被公認為是經典的許多傑作。二是經過重新整理、改編、加工的一大批民間樂曲。三是作曲家介入中國器樂創作之後的新作。三類作品各有自己的價值。前兩類已經是公認的傳統文化遺產，可以遠播萬代。後者則是推動中國器樂藝術不斷向前、擴大其內在表現力、提升它的現代審美價值、讓它永遠充滿創造活力的關鍵。數十年來，活躍於中國器樂創作領域作曲家不僅為許多樂器譜寫了大量獨奏作品，也為民族管弦樂隊完成了多種體裁、不同規模的新作，為這門藝術的成熟貢獻了自己的一份力量。
五、組建大型民族管弦樂隊，為充分展示中國器樂合奏藝術的獨特魅力而進行長期試驗。「大同樂會」的新型樂隊雖然時間不長，成就有限，但它開了風氣之先。一九五○年代，這種吹、打、拉、彈齊備的新型民族管弦樂隊先後在北京、上海等地陸續成立。一九七○年代後，香港、台灣、新加坡也成立了大體相同的民族管弦樂隊。數十年來，民族管弦樂隊經過演奏家、指揮家、作曲家的實踐和努力，作品、體裁日益增多，表現力日益豐富，演奏技藝全面提高，已經成為現代中國合奏藝術的一種範式，也是全世界公認的有影響的民族管弦樂隊之一。
總之，專業音樂院校的建系設科、表演的舞台化、優秀的演奏人才、豐富的表演曲目、專業作曲家的深度參與，最終完成了從傳統器樂藝術到當代器樂藝術的轉型，使器樂藝術成為二十世紀中國音樂的一個燦爛的篇章，它也是二十世紀的音樂家回應時代的要求而用自己的創新精神獻上的一份厚禮！
自一九九○年代以來，龍音製作有限公司一直致力於中國器樂音響文獻的出版，製作了一批有價值、高質量、十分精美的音響專輯，不僅在民族器樂界獲得佳評，而且，也為廣大器樂愛好者稱道。這一次，他們以「典藏」方式，集古琴、二胡、琵琶、箏、笛及其它弓弦樂器（板胡、中胡、高胡、墜琴、京胡、大擂、馬頭琴）、吹奏樂器（笙、管、簫、嗩呐、塤、口笛）、彈撥樂器（三弦、揚琴、阮、月琴、柳琴、箜篌）以及合奏、協奏於一系，合傳統經典、舊曲改編、現當代新作於一集，名家齊聚、體裁多樣、曲目豐富、流派紛呈，集中而全面地反映了二十世紀中國器樂藝術的總體面貌。編者對這一藝術門類瞻矚之高遠，希望之熱切，珍愛之深摯，皆融注於每一集、每一曲、每一裝禎設計中。故，聽之賞之，閱之讀之，我們不僅會為二十世紀的中國器樂藝術取得的高度成就所震撼，而且，也會被本系列編者的文化自覺精神所感動！
有感於此，筆者不揣冒昧，以「二十世紀的中國器樂藝術」為題，權且充作序言，不當之處，恭請各位方家正之。
[注1]關於「民俗型」、「雅集型」、「劇場型」的理論，請參照黃翔鵬：《論中國古代音樂的傳承關係》一文，見《傳統是一條河》，人民音樂出版社1992
[注2]鄭覲文：《大同樂會之新組織》
喬建中 寫於2007年10月10日，京東南三環醫院。
喬建中：
前中國藝術研究院音樂研究所所長
中國音樂家協會民族音樂委員會委員
中國傳統音樂學會副會長
國際傳統音樂學會中國大陸地區聯絡員
20th century Chinese instrumental music art
Qiao Jian-zhong
Wrote on 10 October, 2007
At San Huan Hospital, East-south of Beijing
In the thousands of years of Chinese Music history, 20th century has the extremely special status and the significance.
During more than hundred years, complied with the Chinese society, the economical, the cultural comprehensive reforming historical trend about several generation of musicians seeks, is industrious at the creation, careful and also the wisdom processes the center which a front surface came – west, ancient – now, elegant – has been vulgar and so on the multiple relations, goal like place devotes to from the tradition to modern switching over, finally was 20th century Chinese music cultural establishments has achieved two splendid annals great accomplishments. First, comprehensively systematically the record reorganized the survival to various national various areas richly colorful tradition music inheritance, its public publication, causes it to become the China national culture the precious book. Second, take the Chinese tradition music resources as the basis, the widespread absorption, profits from the western specialized music the idea, the technique, creates one kind to be different with the traditional music literature style, the style brand-new music, like song, chorus, opera, ballet, instrumental music solo, symphony, concerto, national orchestral music and so on, thus caused 20thcentury China music structure to have the overall situation transformation. These two achievements, former is makes take the music scientist as the main body, latter is completes together by the composer and the performing artist. In the Chinese music history, they are extremely unprecedented.
Chinese instrumental music art 1s well-established and the accumulation is rich. In the antiquity literature so-called “strikes Shi Fushi”, “the drum Qin drum Chinese zither”, “the drum meets”, “Jin Shengyu inspires” the description as well as “the primary tooth falls the qin” the fable to be allowed to regard as is it splendid “the introduction”. But Chinese Wei time “Qin Bestows on” (Ji Kang), “QinHolds” (the Cai Nanning), “Flute Bestows on” (horse to melt), “Pipa Bestows on”, “Zheng Bestows on”, “Bestows on” (teacher to be unreliable)”Sheng To bestow on” (Pan Anren), “Vertical bamboo flute Bestows on” (prince deep pool) Zhu Wen theory, then had reflected each kind of musical instrument unique performance strength and at that time the artistic achievement which achieved at the performance. Hereafter, performance technique and so on the Tang Dynasty jie drum, seven string qin, pipa, zheng is highly mature. Song Yuanyi falls, on the one hand because the traditional entertainment involving talking and singing, the drama gradually formed promoted the musical instrument accompaniment specialization, on the other hand, the folk sacrificial offering, the holiday, the ritual vulgar activity urgent needed happy to cause the gong music, the string and woodwind instruments, to promote happy, the string is happy and so on the different orchestra to combine enlivens to the general folk societies. In long reaches the millennium the performance to practice, regardless of is minority is long to the solo musical instrument, like qin, pipa and soon, or each kind of small instrumental ensemble orchestra, not only accumulated the massive outstanding programs, moreover, in musical instrument performance technique expansion, enhancement, standard aspect, also all from becomes the system, consummates day by day, causes the instrumental music art to become all previous dynasties music indispensable constituent.
Although so, we or must point out, 20th century before Chinese instrumental music art certainly was not a completely independent performing arts class. If all previous dynasties palace orchestra, although musical instrument prepared, the scale 1s huge, but they mainly are serve for the palace etiquette, any uses happy, all must receive the etiquette system the restriction, but cannot freely and fully displays the orchestra own performance. They save with the palace etiquette rely on one another, we may call it “the palace ritual music” instrumental music art. Also like each kind of promotion, blows bugle and beats drums the orchestra, they all nearly are in the folk holiday, the celebration, the weddings and funerals, the ceremony believe in the activity to play, has with the folk custom culture paragenesis nature. Therefore, has the very big dependence regarding the folk custom phenomenon. This should be one kind “the folk custom” instrumental music art. Moreover for the traditional entertainment involving talking and singing, the drama, the dance accompaniment folk orchestra, they merely is the traditional entertainment involving talking and singing, the drama and so on at his kind of comprehensive nature performing arts constituent. Its performance strength utilization, the display, is decided by this synthesis art itself need, but is impossible alone freely to perform. This may say is China -like “theater instrumental music art”. Instrumental ensemble art so, solo art? In the literature records many is the qin, the Xiao, the pipa, the zheng and so on. But they “the performance” the place, the majority is the official mansion, the brothel teahouse or the writer private room, its goal mainly is watches for the minority person or “by the happy society member”, the folk calls it “Ya Album”. In this kind of situation, the performer and audience’s relations are desalinated, but emphasizes is scene participant “the self-entertainment”, “from enjoys”. This is one kind “Ya Album” instrumental music art. [ Note 1 | in brief, counts the millennium the performance practice and art accumulates, causes the Chinese instrumental music art the resources incomparably to be rich. But it own special growth environment, namely with palace etiquette, folk custom phenomenon, drama acrobatics performance, writer interest long-term “paragenesis” and to their excessively dependence, congenitally causes this art to lack to the special technique, the esthetic trend sedulously pursue, thus also caused it to lack an achievement special domain some kind of independence.
After entering into 20th century, the feudalism thorough conclusion, 54New Culture Movement occurrence and the brand-new academic picture which appears as a result of the China and the West culture wide-ranging exchange, not only creates the Chinese politics, the economical century transition, moreover, also has expedited the new-vernacular literature, the new music, new artistic being born. Includes the instrumental music performing arts.
In 1915, Mr. Liu Tianhua created and plays his maiden work – “To get sick Recites”, at the same time it also was 20th century musicians in under the western specialized music creative idea influence, has the modern spirit first Erhu solosium. In 1919, Mr. Zheng Jinwen established “the Datong Lohwei” in Shanghai, afterwards set up in 1924including has played the ball various kind of traditions musical instrument, reaches 40 performers’ large-scale orchestras. This Lohwei’s objective is: “Specially practices regarding Western music host, searches into ancient matters regarding the center happy host with the transformation, is sure to hit the west to aid profit the cooperation, then the sincere its essence, proposes its guiding principle, opens a new era for the world music, by this meets goals of the Datong two characters.” [ Note 2 ] the Liu Tianhua Erhu creation sets up the new orchestra with the Datong Lohwei the attempt, officially has pulled open 20th century China musical instrument soloart and the instrumental ensemble art prologue, not only watershed, moreover has had the extremely profound influence. Under from now on during more than 80 years the later, Chinese instrumental music art will work with concerted efforts in the composer and national musical instrument performer, the reform will innovate, the repeated test, a group vanguard, gradually pushed this art to an unprecedented mountain peak.
20th century Chinese instrumental music art, therefore can become to be relatively independent quite has the achievement the modern performing arts category, obtains benefits to the below various factors.
First, the music colleges and universities bring into line with the national musical instrument the specialized ranks, is 20th century China instrumental music becomes the independent artistic performance class the first sign. Time it is well known, Shanghai “the state-run music courtyard” had been established from 1927, the pipa, Erhu, the guqin become this school a specialty. Although only has 23 musical instruments to enjoy this great honor, but it has established one kind of principle for the afterwards music colleges and universities. Therefore, 1950 ages each place conservatory had been established time, not only increased very many musical instruments, moreover has established “the national instrumental music department”, this becomes a specialty for more musical instruments, and played the talented person for the raise large quantities of special instrumental music to provide the most powerful safeguard. Near for several dozens year overwhelming majorities outstanding nationality instrumental music performer, nearly all stems from the specialized music colleges and universities. Essentially says, follows the number millennium by the school edition substitution to come the family or the society “the nature inheritance” the way, is 20th century China instrumental music art steps to the high specialization is important step.
Second, the performance situation and the performance function change, is 20th century China instrumental music becomes the independent artistic class an essential factor. As aforesaid, former instrumental music performance, mostly depends on to the folk custom phenomenon or some kind of comprehensive art, its function also has “the self-entertainment” the nature. But got up from 1920 ages, receives the western specialized performance way and the idea influence, the national instrumental music performance also alone mount the concert stage. Has later been more common this kind of situation to 1950 ages, moreover becomes the Chinese instrumental music art demonstration the fundamental mode. Instrumental music art performs the stage, finally causes it to be separated from to the folk custom phenomenon, the synthesis art dependence but is completely independent, becomes “the concert” the instrumental music art. Regarding comprehensively enhances each kind of musical instrument the performance technique, the realization instrumental music art esthetic pursues, this kind “the concert” condition, and then becomes the ideal performance space.
Third, the folk art master enters the music colleges and universities, for trained new generation of performer to play the key role.
1950 ages, in the nationwide theatrical festival, emerged one batch to may be called instrumental music performer many times and so on master’s flute, tube, Sheng, zheng, guqin, suona, board Hu, pipa, they afterwards one after another welcome were engaged in to the music colleges and universities or the specialized association the teaching and the performance. Because they have on one’s person the unique skill, the traditional foundation of basic skills is deep, after the teaching post, has played the huge role in the teaching. The people play called they are “as soon as pass on the hand”, because they directly take into the traditional art the modern education domain; Called they the student is “the passer”, because they already study from the folk master, also is the series study specialized music theory, becomes from the tradition to the modern education link. After that, they have trained one group of each kind of musical instrument young performer one after another. Thereupon, forms performer the troop by the folk instrumental music master and their generation of generation of student, becomes 20th century instrumental music art the nucleus.
Fourth, the traditional music classics, the folk outstanding program reorganization reorganization and composer’s creation program, has directly presented the 20th century instrumental music art graceful bearing. The bountiful work, 1s constitutes an independent artistic domain the basic foundation. 20th century China instrumental music art program, the main origin to three aspects, one is has been through repeatedly the tempering which in 1100 played practices to recognize for is the classical many masterpieces. Two is the process reorganizes, the reorganization, processing large quantities of folk musics. After three is the composer involves the Chinese instrumental music creation newly to do. Three kinds of works respectively have own value. The first two kinds already were the recognition traditional culture inheritances, but beyond broadcasts throughout the ages. Latter is impels the Chinese instrumental music art unceasingly to among them front, the expansion in the performance strength, to promote its modern esthetic value, to let it forever be full of the creation energy the key. For dozens of years, enlivened to the Chinese instrumental music creation domain composer not only have composed the massive solos work for many musical instruments, also completed the many kinds of literature styles, the different scale for the nationality orchestra have newly done, have maturely contributed an own strength for this art.
Fifth, sets up the large-scale nationality orchestra, for fully demonstrated Chinese instrumental music instrumental ensemble art the unique charm carries on the long-term test. “Datong Lohwei” the new orchestra although the time is not long, the achievement is limited, but it has opened the atmosphere first. 1950 ages, this kind blew, hits, pulls, the ball prepared new nationality orchestra successively in places such as Beijing, Shanghai one after another establishes. After 1970 ages, Hong Kong, Taiwan, Singapore have also established the more or less the same nationality orchestra. For dozens of years, the nationality orchestra after performer, compere, composer’s practice and diligently, the work, the literature style day by day increases, the performance strength is day by day rich, the performance technique comprehensive enhancement, already became the modern China instrumental ensemble art one kind of model, also was one of entire universally accepted influential national orchestras.
In brief, specialized music colleges and universities constructing is increasing, the performance stage, the outstanding performance talented person, the rich performance program, the specialized composer’s depth participation, finally has completed from the traditional instrumental music art to contemporary instrumental music art reforming, causes the instrumental music art to become 20th century China music a bright chapter, it also is 20th century musicians responds the time the request to use a generous gift which own innovation spirit offers!
Since 1990 ages, the dragon sound company continuously has devoted to the Chinese instrumental music sound literature publication, manufactures one batch to have the value, high grade, the extremely fine acoustic special edition, not only obtains in the national instrumental music good comments, moreover, also praises for the general instrumental music amateur. This, they by “the book reservation” the way, the collection guqin, Erhu, the pipa, the zheng, the flute and other stringed musical instruments (board Hu,center Hu, Gao Hu, fall qin, jinghu, greatly strike, horse’s headqin), the wind instrument (Sheng, tube, Xiao, suona, batardeau, mouthflute), the plectrum musical instrument (samisen, Yang Qin, Ruan, yukin, willow qin, harp) as well as the instrumental ensemble, the association play to a department, gathers the tradition classical, the old tune reorganization, the present age newly does to a volume, the famous expert oligomerization, the literature style diversely, the program 1s rich, the school numerously assumes, The centralism but comprehensively has reflected 20th century China instrumental music art overall appearance. The editor gazes to this artistic class stares at high far, the hope is earnest, the treasure loves the depth sincere, all melts the note to each volume, each tune, each as soon as installs the decoration and the design. Therefore, listens to 1tto enjoy it, reads it to read it, we not only can be 20th century Chinese instrumental music art obtain highly the achievement to shock, moreover, also can be moved by this series editor’s cultural aware spirit!
Has the feeling to this, the author ventures to, take “20th century Chinese instrumental music art” as the topic, the power also acts as the preface, does not work as place, respectfully requests fellow FangJiazheng it.
[ Note 1 ] about “folk custom”, “Ya Album”, “theater” the theory, please refer to the Huang Xiang huge mythical bird: “Discussed China Ancient times Music Inheritance Relations” an article, saw “Tradition Is a River”, people’s music publishing house 1,992
[ Note 2 ] Zheng Jinwen: “Datong Lohwei New Organization”
