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The Double Bass Development in China THE LITHUANIAN ACADEMY OF MUSIC AND THEATRE FACULTY OF MUSIC STRING DEPARTMENT SHAONAN LI THE DOUBLE BASS DEVELOPMENT IN CHINA Study Program: Music Performance (Double Bass) Master’s Thesis Advisor: assoc. prof., dr. Audra Versekėnaitė (signature)... ...................................... Vilnius, 2020 LIETUVOS MUZIKOS IR TEATRO AKADEMIJA SĄŽININGUMO DEKLARACIJA DĖL TIRIAMOJO RAŠTO DARBO 2020 m. gegužės 21 d. Patvirtinu, kad mano tiriamasis rašto darbas „The double bass development in China“ yra parengtas savarankiškai. 1. Šiame darbe pateikta medžiaga nėra plagijuota, tyrimų duomenys yra autentiški ir nesuklastoti. 2. Tiesiogiai ar netiesiogiai panaudotos kitų šaltinių ir/ar autorių citatos ir/ar kita medžiaga pažymėta literatūros nuorodose arba įvardinta kitais būdais. 3. Su pasekmėmis, nustačius plagijavimo ar duomenų klastojimo atvejus, esu susipažinęs(- usi) ir jas suprantu. Shaonan Li (Parašas) (Vardas, pavardė) 1 Abstract Master thesis “The Double Bass development in China” presents the introduction and development of this musical instrument in China. In the first chapter, the double bass in China, I will describe the efforts of early Chinese double bassists such as Zheng Daren (b. 1927) and Shao Genbao (b. 1930) to help the advancement of the instrument in the country. I will also portray the background of musical education in China at that time (1949–1979), with a focus on Zhengkai Ye (no information available so far), who strove to improve Chinese double bass students’ performance skills. I will also introduce some traditional Chinese folk instruments with similar techniques of playing, such as the erhu, a very beautiful traditional string instrument. Both the double bass and the erhu need a wonderful vibrato and good control of the player’s right hand, and both can be used to play the same repertoire, such as 《二泉映月》 (Two Springs Reflect the Moon), composed by Yanjun Hua (1893–1950) in 1949, or 《梁祝》 (Butterfly Lovers), composed by Zhanhao He (b. 1933) in 1957. The second chapter, Chinese double bass contests, presents the various musical competitions that reflect the level of the Chinese double bass performance skills. I will focus on the most important contest in China, the Alto Cup, to analyze its contribution to the development of the double bass in the country. 2 Anotacija Magistro darbe " Kontraboso įsitvirtinimo XX a. Kinijos muzikoje istorija", pristatoma kontraboso atsiradimo ir įsitvirtinimo Kinijos muzikos kultūroje pradžia. Pirmajame skyriuje pateikiama informacija apie pirmųjų Kinijos kontrabosininkų, tokių kaip Zheng Daren (gim. 1927), Shao Genbao (gim. 1930) veiklą populiarinant Kinijoje kontrabosą. Taip pat darbe bus pristatomas kontraboso Kinijoje mokymo (1949-1979 m.) panorama. Kontraboso įsitvirtinimo Kinijos muzikos tradicijoje didelę įtaką turėjo Zhengkai Ye, kuris aktyviai formavo studentų kontrabosininkų atlikimo įgūdžius. Magistro darbe taip pat bus pristatomas tradicinius Kinijos liaudies instrumentuas, turintis panašumų su kontrabosu. Tai - erhu - labai gražaus skambesio styginis instrumentas, kurio grojimo principas bei grojimo technikos yra labai panašios grojant kontrabosu. Pavyzdžiui, norint, kad tiek vienas, tiek kitas instrumentas skambėtų̨ puikiai, reikalinga gera atlikėjo dešines rankos koordinacija bei gražus vibrato. Kūriniai, sukurti ehru instrumentui, tinkami atlikti ir kontrabosu. Kinijoje populiarūs šie erhu ir kontraboso atliekami kūriniai kaip Yanjun Hua "Du pavasariai atspindi Mėnulį" (1949) ar Zhanhao He "Drugelių mylėtojai" (1957). Antrajame magistro darbo skyriuje yra pristatoma Kinijoje organizuojami kontrabosininkų konkursai. Aptarus esmines keturių konkursų ypatybes, analitinis žvilgsinis sukoncentruotas ties svarbiausiu šiuo metu kontrabosininkų konkursu - "Alto" taurė, kuris organizuojamas Pekine nuo 2005 m. Darbe yra analizuojama kokią įtaką šis konkursas padarė (ir tebedaro) grojimo kontrabosu įgūdžių Kinijoje tobulinimui. 3 CONTENT INTRODUCTION ......................................................................................................... 5 1. THE DOUBLE BASS IN CHINA ............................................................................ 6 1.1. EARLY EVIDENCE OF THE DOUBLE BASS IN CHINA ................................ 6 1.2. THE DOUBLE BASS IN MUSIC CONSERVATORIES AND FIRST PROFESSORS OF DOUBLE BASS ............................................................................................................ 9 1.3. METHODS OF TEACHING OF THE DOUBLE BASS .................................... 10 2. THE ROLE OF COMPETITIONS IN DOUBLE BASS EDUCATION IN CHINA16 2.1. OVERVIEW OF THE DOUBLE BASS COMPETITIONS ................................ 17 2.2. THE INFLUENCE OF “ALTO” CUP COMPETITION TO THE DEVELOPMENT OF DOUBLE BASS IN CHINA ....................................................................................... 18 2.2.1. THE HISTORY OF THE “ALTO” CUP DOUBLE BASS COMPETITION ... 19 2.2.2. “ALTO” CUP DOUBLE BASS COMPETITION'S INFLUENCE TO THE CAREER OF THE WINNERS .................................................................................................... 20 2.3. CRITICAL EVALUATION OF DOUBLE BASS COMPETITIONS IN CHINA 22 CONCLUSIONS ......................................................................................................... 26 BIBLIOGRAPHY ....................................................................................................... 28 4 Introduction The double bass is an important instrument in the Western symphony orchestra. Its establishment in China was difficult due to a lack of knowledge in the early days. However, due to the joint efforts of many outstanding Chinese musicians and double bassists, the double bass is flourishing in the country. Professional music academies were gradually established in China, which allowed for the development of a good education model. The Chinese double bass musical competitions have matured, thanks to many outstanding Chinese double bass players who take part. Relevance of thesis topic - Research limitation: The limitation of this thesis is the lack of historical studies about the development of the double bass in China. There is very little information about the first Chinese teachers of double bass. Research aim is to present the history of the development of the double bass in China and to evaluate the role of competitions in the double bass education in China. Research tasks: 1. To summarize the history of the development of the double bass in China 2. To identify the most important competitions for double bass performers in China Research methods: historical, analytical, descriptive. 5 1. The Double Bass in China 1.1. Early Evidence of the Double Bass in China As a Western musical instrument, the contrabass has a relatively short history in China. China has its own traditional music and musical instruments, China's traditional music system is very different from the Western music system, There is also a big difference in the pursuit of musical effects, In traditional Chinese music performances, there is no Chinese traditional orchestra as large as the Western Symphony Orchestra, In traditional Chinese music performance, a small band usually consists of 6-8 people. Because of the different musical culture differences, the development of Chinese symphony orchestra and double bass is late. Double Bass has largest size and the lowest pitches in the string’s instruments. It is the pillar of the sound in the band, the basis of the basic rhythm1. In the symphony, the most common way to play the double bass is to play the same score with the cello. When he plays the same score with the cello, the double bass and cello actually play at octaves. This kind of bass sound is very effective. If there is no double bass, only the cello, the sound is not deep enough. If there is no cello, only the double bass, the sound is not clear and flexible. The combination of the two is the best. In the low range, the double bass leads the bass part. In the middle and high range, the cello leads the bass part. There are less common examples where the cello and the double bass play the same melody successively. Special contrast effects, such as Shostakovich's seventh symphony first movement. (https://www.baidu.com/sf_bk/item/低音 提琴/352937?ms=1&rid=7623890369743215791) 1 The double bass is about 180~220 cm high.There is a pillar at the end,In shape, the double bass is similar to the cello.When playing the double bass, put the instrument on the ground.Stand up or play in a chair.The four strings of the double bass are E,A,D,G.To avoid adding too much line on the music,Its sound is one octave lower than the actual score.Sometimes add the 5th string,It is C.Or add a mechanical device to the neck of the instrument to lengthen the E string.Make it possible to play the C sound below 6 Picture No 1. (photo from http://m.sohu.com/a/198716137_822669 ) The earliest Western strings appeared in China during the reign of Emperor Kangxi 38th (June 21st, 1699), and the first double bass appeared in China can trace back to 1919 (Shanghai). The Shanghai Government Symphony orchestra (Predecessor of Shanghai symphony Orchestra) expanded and added the strings section (Hao fang,1953:898). On November 27, 1927, Educator Cai Yuanpei and music educator Dr. Xiao Youmei (1884-1940) created the National Conservatory of Music (Predecessor of Shanghai Conservatory of Music) in 1927. Dr.Xiao Youmei is the founder and pioneer of professional music education in China, and he is a great music theorist and composer2. In order to create
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