On the evening of September 20, the Concert Hall of the National Grand Theater held the "Chinese Music '8+1, Ideological and Political+X' curriculum system undergraduate teaching repertoire performance - the teaching demonstration concert for young teachers of the National Music Department of the China Conservatory of Music". The concert was held by Professor Wang Liguang, Dean of the China Conservatory of Music, as the artistic director, Shao En, a distinguished professor of the China Conservatory of Music, and the chief conductor of the Chinese Philharmonic Orchestra. The young teachers of the National Music Department Zhang Qianyuan, Cheng Yuyu Shang Zhongyuan, Song Xinxin, Yang Tingting and Tan Wei joined hands with the Central National Orchestra to play. This concert is also the first one of the "Undergraduate Teaching Track Performance of Chinese Music School '8+1, Ideological and Political+X' Curriculum System" of the China Conservatory of Music, attracting the attention of people from all walks of life and the media.

The concert, with Chinese musical instruments as the core, started with the Suona Concerto "Dance of Fire", followed by the pipa concerto "Hua Mulan", the three string concerto "Red Plum", the zither concerto "Cang Ge Yin" and the pipa concerto "Cloud Thoughts and Flower Thoughts", and ended with the erhu concerto "The Second Erhu Rhapsody". The solo instruments involve three major categories: blowing, plucking and bowstring. Among them, Hua Mulan is the first pipa concerto in the field of Chinese national orchestral music, and Hong Mei is also the first three string concerto in China. They are of great significance in the development history of Chinese instrumental music. The creation background of the six tracks is mostly rooted in Chinese traditional culture. For example, the inspiration for the creation of Cloud Thinking and Flower Thinking comes from Li Bai's poem "Qing Ping Music", and "Cang Ge Yin" is selected from "Er Ya · Shi Tian", "Spring is heaven and summer is heaven". These works also permeate the pitch and structural characteristics of traditional Chinese music. For example, "Rhapsody of the Second Erhu" uses the characteristic feather mode of Hunan folk flower drum opera as the material, and designs an artificial nine tone mode on this basis, so that the works not only retain the regional style of folk music, but also reflect the new concept of modern composition thinking. Of course, the artistic quality of each track is different, but it is the teaching content category of the main course standard of the "8+1, Ideological and Political+X" curriculum system of the Chinese music school, and it is also a masterpiece for both refined and popular tastes. It can be seen that the Chinese Music Department of the China Conservatory of Music, in addition to playing skills and artistic appeal, should also conform to the traditional Chinese culture and temperament, and report the undergraduate teaching content of the school's curriculum system at a high professional level to show the unique style of Chinese instrumental music culture.

Adhering to the school running concept of "inheriting Chinese culture, promoting national charm, cultivating national instruments, and strengthening the nation's voice", the China Conservatory of Music made its first appearance in the undergraduate teaching repertoire performance with the teaching demonstration concert of teachers of the National Music Department, which is enough to show that the school attaches great importance to the training of Chinese instrumental music talents. The six teachers who participated in the performance were all young post-80s and post-90s generation. They were spirited and brave. Most of them received professional training at the China Conservatory of Music (Affiliated Middle School) when they were young, and later won the first prize in the "Golden Bell Award", "Wenhua Award" and other government awards. They were outstanding performers of the young generation. Zhang Qianyuan was the first person to perform the "Dance of Fire" created by Luo Meishuo, an associate professor of the composition department of the China Conservatory of Music. The work highlights the time and space of "competing playing" between suona and orchestra. The melody of suona performance is broad and flexible, and the sentences are coherent and long. There should be no obvious separation between sentences. Zhang Qianyuan's performance is very exquisite. Her skilful performance skills skillfully realize the equal emphasis on skill and music, which can be called a perfect interpretation. She vividly depicts the audience's impression of the worship of fire and the pursuit of light thousands of years ago. The second piece, Hua Mulan, is played by Cheng Yuyu as a solo lute. She uses delicate and smooth flicks and fingers to explain the sound and painting scenes, which is full of literary temperament and vividly demonstrates the purity and innocence of Hua Mulan as a girl; When portraying the scene of fighting bravely against the enemy, sweeping strings and chanting and kneading are handled cleanly to show the style of martial arts, in order to praise Mulan's "women are not inferior to men" after joining the army. Cheng Yuyu's treatment of a large number of loose structures has also become a highlight, bringing the Chinese musical atmosphere of relaxation and relaxation to his fingertips, thus strengthening the drama of music. Another lute concerto in the concert is Cloud Thinking and Flower Thinking, which was created by Wang Danhong, an outstanding alumnus of the China Conservatory of Music. Yang Tingting's treatment of Cloud Thinking and Flower Thinking is remarkable. She pays attention to the echo relationship between the lute and the band, making them more inclusive in the process of mutual cooperation and confrontation. Any minor musical emotion is expressed incisively and vividly, and the music is like a fleeting moment at her fingertips. With her meticulous performance, Li Bai's "clouds like clothes, flowers like appearance, spring breeze blows the threshold of Revlon" is full of poetry, showing the interaction of poetry and music in the works. The wonderful performance of the two pipa players also made the audience feel the musical instrument attribute of "big strings are noisy like rain, and small strings are like whispers". The three string concerto "Red Plum" was composed by Huang Xiaofei and Xiao Jiansheng, the older generation musicians of China Conservatory of Music, according to the melody of "Red Plum Praise", and Shang Zhongyuan played the solo. The rapid conversion of the sound zone and the position is a great test for the performance technology. The character of the work is "tight inside and loose outside". The performer vividly reappears the glorious image of Jiang Jie's tenacity and indomitability with implicit but not losing tension. Song Xinxin, a young zither player, was the first to appear in the second half. She played the "Cang Ge Yin" created by Chen Zhe, an external teacher of the China Conservatory of Music. As close friends on the art path, they have cooperated tacitly on the stage for many times and won high praise. During the performance, Song Xinxin closely followed the theme of "Spring" and fully integrated herself into the music. Her performance was sincere and philosophical, delicate and enthusiastic. After playing the song, many audiences marveled at it and added color to the work. The finale of the concert is "The Second Erhu Rhapsody" created by Wang Jianmin. Tan Wei plays the erhu solo. Her performance is extremely natural, which makes the work more local and closer to the audience. The performance of a large number of loose pieces of music is calm. When fast segments are played in the super high pitch area, their intonation and time value are controlled accurately, and the performance of dense notes is also orderly, which makes the whole concert a successful conclusion. The enjoyment of hearing and vision brought by the six outstanding young teachers is unforgettable. Their performance is elegant and elegant, fresh and refined. Whether they control the macro music structure or pay attention to the micro Guanyin high cells, it reflects their higher artistic accomplishments and musical pursuit. As a second creation, the performer not only needs to have excellent performance ability, but also needs to fully understand the creation background of the work and the intention that the composer wants to express, so as to more accurately interpret the subtleties of music for the audience. Therefore, they all try to integrate their familiar Chinese musical vocabulary with western instrumental music genres, adapt modern and contemporary performance techniques to traditional culture, in order to find the best balance point, so that the audience can enjoy the most perfect performance. As a performer, he also shoulders the development mission of realizing the eclectic development of Chinese instrumental music. In addition, while the six performers became new leaders and backbone in the field of national music, they also focused on teaching and educating people on the three foot platform, making contributions to the training of new national music talents.

The sound lingered for three days. The wonderful performance of the concert also benefited from the hard work of the conductor Professor Shao En and the Central National Orchestra. Professor Shao En has always maintained an attitude of excellence in his interpretation of the works, and earnestly treated every note written by the composer, striving to be perfect. He paid special attention to the balance between solo instruments and bands, which made the music not only retain the dazzling technical characteristics that the concerto should have, but also give full play to the personality of the performer and the sense of hierarchy of the band. With its rich stage experience and superb performance skills, the Central National Orchestra has enriched every individual performer, demonstrating the profound cultural heritage and eclectic character of Chinese instrumental music. Harmony of silk and bamboo, melodious national music. As a teaching demonstration concert, the performance on that night was undoubtedly a success. It gave an excellent play to the unique role of Chinese musical instruments in the contemporary multicultural background, perfectly presented the excellent quality of the classical teaching repertoire of Chinese music, and fully demonstrated the strong faculty of the National Music Department of the Chinese Academy of Music and the school's emphasis on the training of Chinese instrumental music talents.