Study on Artistic Characteristics of Erhu Concertos before Reform and Opening-up

Abstract

The Erhu music development history in the second half of the 20 th century is also a history reflecting the reforms and developments of new China since its establishment. After reform and development in the first half century, Erhu music entered the period of great prosperity and development in the second half century. The names of Erhu music tracks could reflect and allude to the social and political situations at that time. The development of Chinese music in this period was restricted and influenced by the politics. The Erhu concertos which appeared in the 30s almost disappeared in the later dozens of years and were replaced by revolution tracks, movement tracks and fighting tracks in praise of the era. Artistic characteristics of Erhu concertos After establishment of the new China, the emancipated people, which became the owners of the country, were highly enthusiastically building the socialism. The music industry also answered the call, developing the creation of Erhu tracks in the premise of excavating, systemizing and studying folk music. The folk music's influence on original works at that time was far-reaching and the creation of Erhu concertos was still in the emerging and exploration phase. The lengths of Erhu music works in this period were generally short and crack, with a playing time of 5 or 6 minutes mostly. The playing time of concerto works was often about 10 minutes. There was no large-scale works in this period. At the end of 50s and at the beginning of 60s, the nationwide activities for investigation and research of literature and art largely boosted the creation and there was once a small vigorous and prosperous climax in the creation with Chinese traditional music instruments; many works with Chinese traditional music instruments with strong response and wining universal praises were created. Expansion of Erhu performance skills and acoustic effect In 1944, Zhang Zirui, a student of Nanjing State-run Music Technical College, imitated the violin's application of metallic strings to change the Erhu's strings into metallic strings, which not only changed the tone brightness, volume size and other acoustic effects of Erhu but also expanded Erhu's performance techniques and artistic expressive force, largely boosting the later creation of Erhu music. In the 60s, Central Conservatory of Music and other academies, literature and art groups, research institutions and musical instrument factories cooperated to formulate the unified standards for the fabrication specifications and quality of Erhu, reformed and reorganized the high-pitch, alto, bass and double bass instruments and determined the structural system pattern of orchestral band with the combination of flute blowing, Erhu and violin playing and drum beating. The string instrument Erhu in the alto voice acted as the principal music instrument in the string team, which is different from the violin acting as the principal music instrument in the high-pitched voice in the Western band. The band's organization system and acoustic effect were strengthened, further propelling the concerto between Erhu and band as well as the acoustic effect.