What are the negative effects of school songs?

This is the information I collected before. Please tidy yourself up. There are still some, because of the number of words, can not be sent.

At that time, the main purpose of establishing new schools and offering music classes was to arouse the patriotic enthusiasm of the people (mainly young students, including soldiers of the new army), so as to achieve the goal of "enriching Qiang Bing". Intellectuals, mainly reformists, also consciously use it to educate young people on bourgeois enlightenment, hoping to finally meet the political requirements of "reform and reform" like Japan. In this way, the general music education, which should be mainly used for aesthetic education and popularization of music knowledge for teenagers, shoulders the load that greatly exceeds its original mission. However, it is precisely because of this starting point that is closely related to the fate of millions of people and the nation-state that people gave unimaginable enthusiasm to the implementation of school music education and the spread of school songs at that time, which painted the construction and development of this work with lofty sacred glory and gave it an unusual sense of urgency.

According to the preliminary analysis of existing data, it can be divided into the following categories:

1, the patriotic spirit of strongly demanding "Qiang Bing as a rich country" from different angles to resist foreign bullying was the largest and most influential mainstream at that time. Representative works include When to Wake Up, Military Songs, China People, Historical Songs of Han Nationality, Yellow River, Geographical History of Eighteen Provinces, Gymnastics-Military Exercises, Mourning for the Motherland and Songs of the Motherland.

2. The representative works to celebrate the victory of overthrowing the imperial system and establishing the New Deal of the Republic of China include Revolutionary Army, Hua's Monument to the Recovery of the People's Republic of China, Ci, and Zhu's Beautiful China. Most of these songs were written after the success of the Revolution of 1911.

3. Cooperate with all kinds of so-called "military songs" that carry out so-called "military national education" for primary and secondary school students, such as "Discharged from the Army", "Song of Joining the Army", "Female Soldiers Joining the Army", "Naval War", "Marine War", "Gun Song", "March" and "Student Army". This may be because the school music education in China was influenced by the Japanese school music education at that time, and it is also related to some patriotic intellectuals' eagerness to quickly realize the ideal of "enriching Qiang Bing".

4. Representative works calling for women's liberation and advocating equality between men and women include Qiu Jin's Women's Rights in Cotton, Women's Gymnastics (also known as Women's Gymnastics), Bing Lan's Pain in Foot Binding, Tianzule, Ye Zhonglong's Female Soldiers Joining the Army, and Hua's Female Revolutionary Army. It is worth noting that these songs did not clearly put forward the slogan of "equality between men and women" at that time, nor did they deeply touch on the anti-feudal nature of this issue. They just call on women to stand on their own feet and strive for their due status and role. In the lyrics of the song "Wedding Speech" edited by Li Shutong, the idea of changing "men are superior to women" and realizing "equality of power" was put forward. In addition, the number of songs on this theme is still relatively small. However, under the historical conditions at that time, if someone can boldly raise this question, its significance cannot be underestimated.

5. Advocate the theme of learning new culture, getting rid of old customs and establishing new atmosphere, such as ambition, earth, telegraph, sports meeting, dance, civilized marriage, war banquet, hunting, boating, railway, exposition and speech. Some of these songs also reflect the author's patriotic thoughts.

6. Combined with the actual school life, ideological education is mainly carried out for teenagers who study hard, love life and love nature. Representative works include Mianxue, Shi Ye Stone, Zhu Naisheng, Ant, Boat Race, Bamboo Horse, Tortoise and Rabbit, and Leng Ye. This kind of songs were not many in the school songs at that time, but a considerable part of them were deeply loved by the majority of teenagers at that time, so they were widely circulated.

7. Advocating traditional feudal ethics such as loyalty to the monarch and respect for Confucius, such as Chen Songping, Kang Youwei, Hu Zhongjun, Wu Lun and Confucius sage. It used to be thought that these songs were mainly written by Westernization School and Constitutionalism School. In fact, even reformists believe that loyalty to the monarch and respect for Confucius are traditional morality. Therefore, these songs are also included in their song collection, although, on the whole, the number is very small. Because, in any case, such themes are not so attractive, and these songs are rarely widely circulated.

"School Music Song" is one of the concrete products of the new school education reform in the late Qing Dynasty and the early Republic of China. It was originally put forward by Kang Youwei, the leader of the "Reformists", in a letter to Guangxu in May 1898: "Please open a school discount". After the failure of the "Reform and Reform", the "reformist" literati headed by Liang Qichao still actively appealed. Some patriotic intellectuals who support education and music reform, such as Xiao, Zeng Zhimao, etc. , take the initiative to go to Japan to inspect the experience and methods of the new school of singing that Japan has actively developed since the Meiji Restoration, and learn the knowledge and skills of western music, so that China can follow suit. Especially in 1903, Shen Xingong's concrete practice in Shanghai Nanyang Public School, Longmen Normal School, Wuben Girls' School and other schools first caused rapid and extensive social influence. Many intellectuals who support reform automatically write "music songs" in order to instill the enlightenment education of new democracy in young students through the practice of singing music songs. For a time, a large number of books and teaching materials of various new schools of singing were published one after another. Therefore, "school music" is first of all a historical phenomenon of educational reform and capitalist ideological enlightenment education. At that time, many ancestors who actively participated in the implementation of "school music songs" greatly exceeded the significance of artistic aesthetic education in terms of political enlightenment.

According to the singing experience of new schools in Japan and the national conditions in China at that time, the artistic form of "school music songs" in China is collective singing in schools. By learning to sing these songs, we can learn western notation (staff and notation) and basic music theory knowledge. But for the arrangement of these songs, at that time, foreign (Japanese, European and American) ready-made songs were mixed with China's self-made lyrics, and few songs were mixed with the tones of China's traditional music, let alone written with China musicians' own tunes. In addition, at that time, most of these songs took the form of "single voice singing" (that is, chorus tunes), and rarely took the form of multi-voice chorus. Besides, apart from Li Shutong, there are generally no specific accompaniment requirements.

At the beginning of the century-the era of school songs (1901-1912)

School music songs

-The beginning of modern music in China.

Wang Mei, Music Department of Qinghai Normal University.

For thousands of years in ancient times, the people of China created splendid culture, which had a far-reaching impact on the culture of the East and even the world. From the pre-Qin dynasty to the Ming and Qing dynasties, it can be said that it is the peak of generation after generation, which is a spectacle. In modern times, due to the invasion of foreign capitalism, China became a semi-colonial and semi-feudal society, and politics, economy and culture suddenly faced many new problems. After the "Gengzi Incident" in the Sino-Japanese War of 1894-1895, there appeared an educational system that copied the Japanese model and the European and American model-school music songs. This paper expounds the background, content, form and development experience of school songs in detail, aiming to let more people know and be familiar with school songs as the beginning of modern music in China.

The background of school music songs

After the Opium War, there appeared a Westernization Movement in China to learn from the West. Since 1860, the Qing government opened new schools to resist foreign aggression and cultivate urgently needed talents. Although these schools have no school music education in the modern sense, they have objectively prepared for the emergence of modern school music education in China. The failure of the Sino-Japanese War declared the complete bankruptcy of the Westernization Movement. The treaties that humiliated the country again and again forced the political elites to realize that only by learning from Japan and taking the western road can we avoid the danger of national subjugation. Due to the limitation of geography, transportation and communication, China people first saw the world of "Fusang Island" in Japan, so it became a fashion to imitate Japan. Together with Liang Qichao, Kang Youwei enthusiastically publicized the great educational role of music in ideological enlightenment, actively advocated the establishment of music and song departments in schools, developed music education, recorded music and song authors and critical works, and put forward the idea of reforming music. Kang Youwei advocated: "Far Germany, recently, decided on the academic system"; Liang Qichao thought: "If you don't engage in education today, you can sing a subject, which is really indispensable in school. No one in the country creates new music, which is a shame for society. " "The concert hall is gradually developing. It can be said that the future of China's education sector is lucky."

In order to establish a modern school system nationwide, the Qing government promulgated a series of articles of association. Among them, "Music" is listed as one of the compulsory courses in "Revision of the Constitution and Curriculum Provisions of Primary Normal Schools" promulgated by 1903, and the teaching target is mainly the students of women's normal schools; 1907 promulgated the "regulations on the establishment of girls' primary schools", stipulating that girls' junior and senior primary schools should offer "music" classes; After 1909, the revised primary school curriculum clearly stipulates that all primary schools must offer "music songs" and higher primary schools should add "music songs". 19 12 After the founding of the People's Republic of China, although political and economic chaos still plagued people from all walks of life in China, the education authorities at that time attached importance to continuing to implement the new education system and developing new school music education. Remarkable new progress can also be seen in large and medium-sized cities in coastal areas and a few cities in inland areas (such as Chengdu, Kunming and Wuhan). These educational constructions were the most important foundation to promote the development of school music and songs at that time. For example, Li Shutong's teaching in Zhejiang Normal University prompted him to continue to engage in school music and song creation activities, and created a series of works that are deeply rooted in the hearts of the people. For another example, in 19 14, Sichuan Normal University set up a "special music and song class" and hired Ye Bohe, who had just returned to China, as its music professor. He not only opened a series of music courses there, but also wrote many school music songs (see Gu Hongqiao's Ye Bohe and his Music History of China, music research 198).

Artistic forms of school music songs

The creation of school music songs is in the primary stage of modern music culture in China. It is the result of many serious scholars' efforts to explore, and he is deeply influenced by the reform movement and reform thought. Like other aspects of learning from the west, we also boldly learn from music creation, and we can "take it" as long as we think it is useful.

At that time, the school songs were basically chorus songs recorded by simple notation or line notation commonly used in the West and Japan for students to sing collectively. Later, in the government's primary school music curriculum, it was clearly stipulated that "monophonic songs (that is, chorus songs)" should be taught. Around the Revolution of 1911, a small number of chorus songs (called "polyphonic songs" at that time) began to appear. There are few works with simple piano accompaniment. Most of these songs are based on ready-made songs, but the number of self-made songs by screenwriters is very small. This may have something to do with the way of composing poems, words, songs and other works that can be sung in the past, which is to fill in new words according to ready-made tunes and qupai, and it is also related to the fact that people who were engaged in the creation of school music songs at that time knew little about professional composition techniques.

Later, I gradually changed to choose European and American songs to write lyrics, and Shen Xingong made a special explanation on this. For example, Shen Xingong's Sleeping Snow is based on the song of American artist Rosa Lee. And his "La Xian Xing" is based on the tune of Russian folk song "Volga Boatman Song". Shen Xingong's Farewell is based on the tune of the original French folk song An Hour and a Half of Game in An Song, and the influence of this song continues to this day. In addition, Li Shutong's Farewell is based on the tune of Home and Mother's Dream, which was written by American pop songwriter Odway. Li Shutong arranged "Greater China" according to the March of the band in the third scene of the first act of the Italian composer Bei Lini's opera Norma, and wrote lyrics; Leng Ye arranged The Ball according to the tune of the British national anthem at that time. Feng Liang wrote "The Spirit of Martial Arts" based on a dance from the comedy opera "The Country Prophet" written by Rousseau, a famous French enlightenment thinker.

There are not many school songs with China national tone. Representative songs are: Women's Rights in Cotton composed by Qiu Jin (in tune with Gymnastics composed by China); Shen Xingong's bitter foot binding (in tune with Shen Xingong's flies); Shen Xingong's Song of Tea Picking; Women Revolutionary Army in Hua's Works: Women Joining the Army edited by Li Yanxing and Li Chu; The Peach Blossom Garden written by Wen Jun; And that song of the motherland compose by Li Shutong mentioned above.

This situation has both objective and ideological reasons. The objective reasons are as follows: on the one hand, because of the emergence of school songs in China, it was originally developed with reference to the experience of early Japanese school songs, and at first it was mainly written with foreign ready-made songs; On the other hand, at that time, the authors who were keen on writing school songs in China were mostly new intellectuals who studied abroad or actively supported domestic reforms. Most of them were not familiar with China traditional music, especially folk music. At the same time, from the beginning of this century, the Qing court turned to support the reform idea of "abolishing the imperial examination and rejuvenating the school" In order to meet the urgent needs of the rapidly developing new schools for school teachers, a large number of Japanese teachers were once hired to teach in China, including a certain number of music teachers in primary and secondary schools and "kindergarten nurses", who were even less familiar with the traditional folk music in China. The subjective reason is that the political, economic and cultural reforms in China at that time mainly introduced the systems and experiences of Europe, America and Japan, while the traditional old culture (including the traditional "old music") closely related to the feudal system was to be changed. So at that time, many intellectuals who demanded reform thought that only western music could inspire people and boost morale. Although this kind of ideological understanding at that time was in line with most progressive ideas that actively supported the reform requirements, it seems to be one-sided today. Because in fact, Song of the Motherland and Encouragement for Women's Rights, two lyrics with China traditional accent, were popular school songs at that time and did not give people any lazy influence. Of course, this phenomenon gradually changed after the Revolution of 1911.