In 1990s, there have been more visiting performances by well-known foreign music groups. In terms of elegant music, world-class masters had come to China, including Ashkenazy and Argerich, the pianists, and Perlman and Mutter, the violinists. The only performance that Ashkenazy gave was in Beijing Concert Hall in 1995. The most expensive ticket was sold at RMB 500. But the music fans in Beijing still bought the concert tickets eagerly. The music hall was full that night. The performances given by foreign symphony orchestras culminated in 1996, which was regarded as the “International Symphony Year” in China. Many famous symphony orchestras came to China, including the American Philadelphia Orchestra, French National Symphony Orchestras, Israel symphony orchestras, and Amsterdam symphony orchestras, creating one sensation after another. 1997 witnessed an International Opera and Dance Year in China, with many foreign musicians performing for the Chinese audience.

Richard Clayderman

In 1993, Richard Clayderman, a French romantic pianist, came to China and was warmly received. Many of his audio-visual products became a fashion at that time. The performance by world-renowned Roxette Band from Sweden enabled an on-site participation of the fans of modern popular music. In 1996, Bjork, a female singer from Iceland who was engaged in another type of music, performed in Beijing, which provided an opportunity for the exchanges of growing modern music in China. In 1997, Yanni, a much acknowledged American composer and performer and his band came to China and created a big sensation.

Besides, the annual International Jazz Festival since 1993 has been eye-opening for the Chinese musicians and audience. In every Jazz Festival, a dozen of Jazz bands from different countries gave their performances. The performance level is improving. The Jazz Festival has become an event for jazz fans and the modern music arena. Furthermore, the orchestra of the Vienna Strauss Family came to China several times and put on Strauss Waltz Concerts, which illuminated the Chinese music arena.

III. Teaching and studying abroad of Chinese musicians

Since the reform and opening-up, the isolation of the Chinese music arena prevalent during the Cultural Revolution has been changed. When large numbers of foreign artists came to visit China, we sent many musicians to give lectures and study abroad. The musicians sent abroad in 1980s spread almost in all the countries developed in music art. Their mission was to upgrade their music knowledge and experiences, understand the development of the world music, and broaden their artistic vision. Most of the teachers and researchers sent by education and research organizations returned home as scheduled and became backbones of their organizations. After study tours to other countries, teachers in Chinese music conservatories are finding out new education modes adjusted to the Chinese context. It is not an overall copying of the experiences of any other countries, but seeking our own path to the international music arena from a global perspective based on the current status of China. Their works and educational achievements have won great respect in the international music arena.

Upon entering 1980s, well-known Chinese musicians had been invited by foreign music academies, associations and groups to give lectures or act as the judges in international music competitions. Since 1981, there had been 19 teachers acting as judges in more than 40 international music competitions. In the famous Tchaikovsky music competitions, Chinese musicians were almost invited as judges in every competition. In the 9th Tchaikovsky music competition in 1990, Gao Zhilan, a famous Chinese singer, Yang Bingsun, a violinist, and Situ Zhiwen, a Chinese cellist, were present as judges, proving that Chinese musicians had their own places in the world music arena.

In 1980, Zhou Guangren, a professor in the Piano Department of CCOM went to the U.S. to teach “History of the Chinese Piano Music”, where he also did some demonstration performances. It was the first time that the foreign colleagues got to know the development of piano art in China systematically. Zhou Guangren was very popular then and received the honor of Professor Snow of University of Missouri. During the recent decade, there have been more experts and scholars from CCOM teaching abroad, such as Lan Yusong, Lin Shicheng, Han Li, Wang Yuhe, Wang Guotong, Li Xiangting, Yuan Jingfang, Zhong Zilin, and Zhang Qian.

With more international exchanges, the understanding of the proficiency and reputation of Chinese musicians by foreign colleagues has been enhanced. Many Chinese musicians have been included in the Dictionary of International Celebrities. Some famous musicians have received titles from abroad. For instance, He Luting was elected a Honorary Member of the International Music Council in 1979; Tan Shuzhen was given a honorary doctorate in music by San Francisco Conservatory of Music in 1982; Ma Geshun, a choral conductor, was awarded Honorary Fellow and Honorary Doctorate in Arts by Westminster Choir College and Wartburg College of the United States respectively. It has proved that Chinese musicians got involved into international music affairs quickly relying on their achievements and reputation after the reform and opening-up started. They have fully showcased their vigor and role in international music affairs.