Tracing erhu's development trajectory in modern times

Since the beginning of the 20th century, a number of legendary figures from Jiangyin, a county-level city of Wuxi, Jiangsu province, have played an important role in enhancing the artistry of erhu, a two-stringed Chinese vertical fiddle.

One shining example is Zhou Shaomei (1885-1938), pioneer of Chinese erhu music. He transformed the erhu into an instrument with upper, middle and lower positions, enhancing its fingering flexibility. Along with Zhou Ronggen and Tao Hongmao from Changshu, he also increased the length of the erhu neck from 76 to 90 centimeters, expanding its playing range.

Following in Zhou's footsteps, Liu Tianhua (1895-1932) increased the erhu's positions to five, further enhancing its versatility. By incorporating techniques of Western musical instruments like violins and other Chinese folk musical instruments such as the pipa (a four-stringed Chinese lute) and guqin (a plucked seven-string Chinese musical instrument), Liu create a unique erhu playing style.

On the theoretical side, Liu Bannong (1891-1934), the elder brother of Liu Tianhua, discovered that Zhu Zaiyu from the Ming Dynasty (1368-1644) was the first individual in the world to identify the 12-tone equal temperament, which is now recognized as a general standard in modern music.

In contrast to all the figures mentioned above, Zheng Jinwen (1872-1935) spearheaded a revolution in Chinese folk music, elevating the erhu from local roots to a higher stage. He crafted antique-style instruments, revamped folk musical instruments, assembled a folk orchestra and compiled books on musical theories. In 1920, he founded the Great Unity Music Society in Shanghai, pioneering the exploration of orchestration in Chinese folk music.

A performance by members of the Great Unity Music Society is underway. [Photo/wuximusic.com]