Mr. Liu Tianhua was born in Jiangyin, Jiangsu in February 1895. Throughout his life, he has always been devoted to exploring the development of national music, reforming Chinese music, promoting it, and making it "synchronized with the world".

When we commemorate Mr. Liu Tianhua, we want to inherit his persistent pursuit of spirit. Influenced by the "May 4th" New Culture Movement and Mr. Cai Yuanpei's "Aesthetic Education" and "Promoting the Improvement of Chinese Music", Liu Tianhua was determined to improve Chinese music. When the "National Music Improvement Society" was established, he wrote: "Guo Er, on the one hand, we are the descendants of the Yellow Emperor, and we cannot continue to carry forward family music, and we can't deal with the sages of thousands of years; on the other hand, as a member of mankind, only If I can eat the fruits created by Westerners, but cannot contribute the fruits created by my ancestors to human beings, how can I shake hands with people from other countries as a forging.” Liu Tianhua hopes that the new national music can “wake up the soul of a nation”. He is eagerly looking forward to the day when the national music can "keep pace with world music". This lofty ambition and persistent pursuit to make Chinese national music stand in the world is the common goal of a generation of patriotic musicians, and it is also the goal we should strive for today. In order to find a way to develop folk music and improve the status of folk music, Liu Tianhua devoted his whole life to his determination, and his persistent spirit is worthy of our respect and inheritance.

When we commemorate Mr. Liu Tianhua, we want to carry forward his revolutionary spirit. Liu Tianhua's contribution to the improvement of Chinese music is highlighted in the reform of national musical instruments, especially the reform of the structure and performance skills of erhu, pipa and other musical instruments. Erhu originated from ethnic minorities in the north and spread to the Central Plains for many years, but its technique has not developed much. Its use is limited to the accompaniment of folk songs and dances, operas and religious music. vulgar musical instrument. However, Mr. Liu Tianhua believes that the erhu has rich connotations and potential to be tapped. He broke through the feudal tradition, persevered in learning, and asked for advice from many sources. He has made a lot of innovations in the structure and playing skills of erhu, pipa and other national musical instruments. On the basis of inheriting the traditional erhu playing techniques, he boldly borrowed the playing techniques of Western musical instruments, creatively integrated the violin playing techniques into the erhu performance, expanded the traditional three positions of the erhu to more than seven positions, and broadened the range of the erhu. , developed the bowing and fingering of the erhu, and standardized the notation and performance skills of the erhu. These technological innovations have greatly improved and enriched the musical expression of the erhu.

We commemorate Mr. Liu Tianhua to learn from his innovative and creative spirit. Liu Tianhua adheres to "the culture of a country can't be counted by copying other people's fur. On the one hand, it adopts the essence of the country, on the other hand, it accommodates foreign trends, and creates a new path in the harmony and cooperation between China and the West." He was the first person in the history of Chinese music to apply Western techniques to the creation of national instrumental music, and opened a new chapter in the development of national instrumental music. He composed 10 erhu songs including "Singing in Sickness", "Moon Night", "Ode of Depression", "Elegy", "Birds in the Empty Mountain", "Song of Leisurely Residence", "Good Night", "Bright Walk", "Single String Exercise" and "Shaking the Red Candle". The solo pieces, together with the three pipa pieces including "Song and Dance Introduction", "Xu Lai" and "Improvement Exercise", are the artistic treasures of my country's national instrumental music library. He also used the teaching methods of violin to make useful explorations on the scientific teaching system of national instrumental music, and compiled 47 erhu etudes and 15 pipa etudes, which changed the teaching of traditional Chinese music from master-apprentice dictation to The scientific teaching method of step-by-step technique training has opened a new era of Chinese modern erhu music art.

Looking back on Mr. Liu Tianhua's life, he promoted and popularized Chinese music education, combined Chinese and Western techniques to improve erhu techniques, meticulously composed and played famous songs, and further promoted music creation, teaching, performance and musical instrument reform, which brought vitality to Chinese traditional music and opened up new horizons. It brought the erhu, which was originally mediocre and lowly, to a supreme position, became the protagonist of folk music, and promoted the erhu to enter the music hall of higher professional education and performance, which was the first in history. His musical feelings and charisma are deeply engraved in our hearts; his dedication and firm belief in music improvement will always be worth learning from; his innovative creation and fighting spirit have always inspired us to move forward bravely.