VI. Participation in international music theory seminars

From the end of 1970s to 1980s, we had made unprecedented achievements in the translation and research of music theory and techniques.

In 1978, the first “References to Foreign Music” was published by CCOM. 40 issues had come out from 1978 to 1986. There were large numbers of translation on the latest achievements, academic trends, and music news of foreign music studies in the journal, which was widely popular with musicians. Some of the translated articles exerted influence on music composition and performance, such as “Composition Techniques in the 20th Century” by Zhang Hongmo, “History of the Melodic Art” by Situ Youwen, and “Realm of Conductors” by Diao Beihua. Some of the articles were published as monographs. Apart from translations, research had been carried out step by step. There had been some achievements in the research on foreign music and music aesthetics. The translations and monographs on music techniques and theories produced in CCOM and Shanghai Conservatory of Music played a non-neglectable role in boosting the development of the cause of Chinese music and due artistic level.

Besides, some international music festivals and theory exchanges became bridges between the Chinese music and the international music arena. In 1988, Chinese Music Academic activities were held in the U.S. and Chinese Music Research Association was set up in Columbia University. Oriented to the tradition and future of the Chinese music, a series of academic activities were carried out. 20 Chinese composers were specially invited to introduce their works, composition status and their understanding on east and west music. The discussion covered tradition and innovation, music techniques, nationality and times, style and expressions, etc. These activities provided a good opportunity for the international music arena to know more about the current status of the Chinese music.

In September 1988, the Chinese New Music Festival was held in the UK and lasted for 5 days, introducing the new Chinese music from a multi-faceted perspective. During the festival, five concerts were put on, mainly covering the works of contemporary Chinese composers, such as Qu Xiaosong, Tan Dun, Guo Wenjing, and Chen Yuanlin. The performances were given by the BBC Symphony Orchestra and the Scottish Music Group. The local media were exceptionally passionate about the music activity. There were at least one to three reviews on the local paper every day, arguing that the works of contemporary Chinese composers had broken through the influence of the European mode, and apparently displayed the rebellion of the European tradition.

In February 1990, Foundation for Chinese Performing Arts in the U.S. held the first Concert on Modern Chinese Composers in Boston, staging “Li Sao” by Zhou Long, “Sextet” by Chen Yi, and “Trio” by Tan Dun.

In the same year, International Exchange of the Chinese Guqin Art was held in Chengdu, with participants from the U.S., FRG, Japan, Australia, Hong Kong and Taiwan appreciating the Guqin Recitals and taking part in seminars.

In 1991, an international seminar on the influence of the Chinese music on the music of the 20th century was organized by Association for Chinese Music Research and American University Music Society in Chicago. Over 800 scholars attended the meeting. They attached great importance to the influence of new Chinese musicians on the Chinese music and the world music. During the meeting, Chinese Music Classes were set up and the first Sheng and String Ensemble International Competition was held.

VII. The debut of musical instrument fabrication in the international music arena

China has been weak in the fabrication of western musical instruments. The emerging of Zheng Quan, a young violin-making master, was a breakthrough. Zheng Quan has won one prize after another in international competitions, which started a new era for violin making in China. Zheng Quan had studied in Italy for many years and made a great coup at the end of 1980s. The violins and violas made by him had won prizes in all kinds of international competitions consecutively. Zheng Quan has also become a celebrity in the international music arena. In June 1990, he took part in the 1st International Tchaikovsky Violin-making Competition. His viola won the Best Sound Quality Gold Medal, and two of his violins won Winner’s Prizes. It shows that his violin-making techniques had reached a high level. As early as 1987, Zheng Quan had won the first prizes in viola and violin-making in the 2nd Bulgaria Sofia International Competition for Violin and Viola Making. Till now, Zheng Quan has won a dozen of international prizes and high reputation in the world violin-making arena. After his return to China, Zheng Quan has set up his own violin-making workshop, and was dedicated in making world-class musical instruments with domestic materials. Meanwhile, he has been teaching in violin-making classes where students have been attracted by his fame and gathered from all over the world. In 1993, Eastman Brass was produced by Tianjin Musical Instrument Factory and an American company jointly, and was highly praised by fellow musicians.

Editor: Li Cheng