On the evening of November 8th, the undergraduate teaching repertoire of Chinese music school "8+1, Ideology and Politics +X" curriculum system -- the teaching demonstration concert of Chinese music masters from the Department of Chinese Music of China Conservatory of Music was staged at the National Center for the Performing Arts. China Conservatory of Music adheres to the educational philosophy of "inheriting Chinese learning, promoting national rhyme, cultivating national instruments and strengthening sound", and is based on the construction of "Chinese music school". In promoting the construction of music education system with Chinese characteristics, China Conservatory of Music gathers talents and embraces all rivers, which fully demonstrates the responsibility and responsibility of The Times. The concert was conducted by Xu Zhijun, director of the Department of traditional Chinese Music of China Conservatory of Music. Together with famous traditional Chinese musicians Dai Ya, Zhang Qiang, Jiang Kemi and Wang Zhongshan, the Central Chinese Orchestra presented a visual feast with a distinct theme.

The concert will cover four concerto included in the undergraduate curriculum of the China Conservatory of Music -- Qin Chuanqing, The Spring and Autumn Period, Flower Clapper Opera and Manjiang Red, as well as three ethnic orchestral works -- Festival Overture, Dance of Light and Shadow and Night Law, composed by Shi Wanchun, Zhu Lin and Luo Maisho, three generations of Chinese composers from the middle and young ages of the China Conservatory of Music. The unique concert planning, rooted in the excellent traditional Chinese culture, has a strong spiritual connotation.

The pipa concerto "Spring and Autumn" and guzheng concerto "Man Jiang Hong" carry a strong sense of history. The Spring and Autumn Annals was written by Tang Jianping to commemorate the 2,545 years since the birth of Confucius. The introduction of the music material of "Three Lanes of Plum Blossom" in the work draws on the music thought of Confucianism, and expresses the spirit and life force of the Chinese nation with the shocking sound, and expresses the praise and worship of the present people for the time-honored Chinese civilization with the ancient metaphor. Composer He Zhanhao's "All Over the River Red" takes the tragic fate of Yue Fei, a national hero of the Song Dynasty, as the theme, and uses some tones of the traditional tune of the same name as the musical motive, variation, development and creation. The melody is solemn and dreary, pathetic and sad, which deeply portrays Yue Fei was harmed by a treacherous minister.

The flute concerto "Qinchuan Feeling" and Banhu concerto "Flower Bangzi" combine the beauty of opera. Composed of four parts: introduction, adagio, allegro and stack plate, Qin Chuanqing is a masterpiece by flute player Zeng Yongqing in the 1990s. The music is closely combined with the opera tones of Qin Opera and Bowl Opera, with a strong Shaanxi regional style.  Composer Liu Yuan re-compiled his works into five parts: introduction, Adagio, allegro, Yuan Yuan and epilogue, showing his new musical scroll.

The transcendence of technology is excellent, reflecting the absolute strength of the famous musicians. Bamboo flute player Dai Ya's music is varied, relaxed, smooth and natural. His double spit is particularly clear and clean, with a strong graininess while ensuring full, coherent and elastic sound. The smooth kneading sound embellishment, such as the melody of the song, vividly mimics the sound of the bowl cavity played by the Banhu pressure string, and portrays the mood of the people of Qinchuan incisively and vividly. The passion of Qinqiang Opera flows freely between blowing and spitting, and you can see the vast scenery of Qinchuan for 800 miles. Banhu virtuoso Kang Kemi uses her finger glissando, bow pad and other bow fingers very carefully, especially her precise control of details.

It is the most authentic pursuit of musicians to combine music with music and music. Pipa player Zhang Qiang's sincere performance, rigor and tenderness combined with emotion and nature, injected soul into the music. He pays attention to the sense of space in music, the tone is elegant and transparent, the mood is interlocking, and the climax is repeated. His competitive playing with the percussion group of the orchestra vividly reflects the grand scene of a hundred schools of thought contenting and a great number of talents emerging in the Spring and Autumn Period. The answer to the string section and the wind section is a reflection of the integration of solo and concerto. The competitive playing and counterplay reveal the Confucian aesthetic pursuit of harmony and diversity. Guzheng player Wang Zhongshan's playing style has a magnificent and bold beauty, the sound has a strong explosive force, grief and anger sincere moving, full three-dimensional shape the hero's image. In the elaborate layout of his works, you can feel the ups and downs of emotional changes and tearless grief and anger. Allegro from the weak gradually stronger point, like a hero of steel clank from far to near pentium, the picture of the past bloody killing the enemy jumped on the paper. The sonorous sweep of the colorful passages will pull the beautiful thoughts back to the cruel reality, but also push the musical mood of the whole song to the climax. The trill of the recapitulation passages touches people's hearts and makes them grieved and tear-jerking. The song ends with an ambitious sweep, which, in one go, will give people endless financial grief.

Using music to decode Chinese civilization and empower contemporary cultural education is the focus of this concert. It is a living music phenomenon with epochal, national and artistic characteristics. It interprets the historical thickness and modern temperature of Chinese civilization from multiple perspectives such as history, philosophy, aesthetics, art and emotion, providing guidance and inspiration for people to explore Chinese culture. Learning the ancient without being impenetrable, breaking the law without going against the law, can pass down the generations to praise the eternal beauty of Chinese traditional culture. Folk music has fresh vitality only when it is rooted in its own country and the fertile soil of its national history and culture. Only with the unity of nature and man, innovation and innovation, can we continue to glow with vitality and vitality in the long historical process. The source dredge long, deep root leaves mau. Only by integrating the excellent traditional Chinese culture into the campus and cultivating the students' hearts can the deepest spiritual pursuit of the Chinese nation be passed on from generation to generation.