Study on the Enlightenment of Southern Music Festival on the City Image Construction of Guangzhou: Based on its Inheritance of the Intangible Cultural Heritage in Lingnan Area Feng Yizhang, Zhu Hong * College of Arts, South China Agricultural University, Guangzhou, 510640, China *Corresponding author(zhu Hong, E-mail: 794151606@qq.com) Abstract Lingnan music has been playing a significant role in the long history of Chinese music development. Lingnan music, as well as Lingnan musicians has made great contributions towards Chinese music development, and also promoted the progress of it in almost every historical point. With the all-round perspective of history, reality, and future, Southern Music Festival is an event that can inherit the national classics, and even create the national classic. It can also inherit the intangible cultural heritage of Lingnan area, which promoted the city image construction of Guangzhou. This paper firstly summarizes the history of Lingnan music through literature review, and then confirms the important role of Southern Music Festival in inheriting Lingnan music with empirical study. Eventually, it puts forward the enlightenment of Southern Music Festival on the city image construction of Guangzhou, basing on its inheritance of the intangible cultural heritage in Lingnan area. Key words: Southern Music Festival, Lingnan music, Cantonese music, intangible cultural heritage, city image construction 1. INTRODUCTION It has been more than half a year from Southern Music Festival which was held from 25th, November to 1st, December in 2016.The First Southern Music Festival contained eight concerts in all, involving various performing forms, such as chorus, ensemble, traditional folk music, national symphony, crossover, instrumental performance, and even some combinations. Some elements of the times were merged in the organization, planning and performance, which enriched the content and simplified the arrangement. On the one hand, full performance space was supplied to those works with innovational improvement on the basis of traditional works, on the other hand, a broad platform was provided to new works and new musicians. During the festival, two theoretical seminars with the theme of Paying homage to the classic and New Cantonese Music were held.the achievements of the Festival were uplifting, especially the two thematical seminars greatly benefit the Flower City, Guangzhou, which is like spring all the year round, and also one of the sources in China's modern democratic revolution. How to inherit and carry forward the humanistic spirit of Lingnan music, and how to reestablish the soft power and influence of Lingnan music, have very important historical and practical significance on constructing the city image of Guangzhou, as well as inheriting the intangible cultural heritage of Lingnan area. If we say, the mountains and rivers in the north part of Yellow River produced the music with tremendous momentum as Eulogizing the eastward river with iron plate and copper lute, while the bright and beautiful scenery in the south part of Yangtze River nurtured the graceful and gentle music, then, Cantonese music generated in Guangdong, where trees are always green, flowers are always blooming, shipping was early developed and people were gathering from everywhere, appeared to be as natural as a mix of both regional characteristics and current times with gorgeous tone and lively rhythm. Geography is the foundation of history, while humanity is the origin1.throughout the inheritance and development of Cantonese music today, we can see that from ancient times, both the main place where culture was generated and the real cradle where culture was developed appeared to be the oasis, and valleys, harbors, slopes, temperate plateau, and highlands with abundant water were the intersection points of natural passages. How did those music center with over one thousand years history in Europe develop? All these centers were the center of water, such as areas crisscrossed by waterways, coastlines, highlands with abundant water, or coastal areas. 2 As the saying goes, Each place has its streams in from all over the country, people living in different areas possess different cultural characteristics due to different environments, including geographical climate and humanity history, as well as different ways of acting, thinking, and living. According to the literature, Cantonese music formed in the late nineteenth century, performed active in the Pearl River Delta which is the confluence of east, west and north rivers in Lingnan area. This area possesses evergreen trees, warm climate, rich productions, prosperous business, and has always been a land with fish and rice, which provided a positive natural and humanistic environment for the development of Cantonese music. 1078
In order to study the humanistic spirit of Cantonese music, and how it inherited and created the classic, it is necessary to learn the developing rules of human civilization. That is each place has its streams in from all over the country, and each basin has its own way of nurturing culture. Lingnan area was a wild land for the reason that its development was relatively late in China s farming era, and there always had immigrants and relegated officials from central plains, whose coming promoted the integration and development of Baiyue culture and central plains culture. While Guangdong province is adjacent to South China Sea, and it initiated the foreign trade and overseas culture communication since Tang dynasty when the overseas trade management agency was established. Therefore, Lingnan culture is actually an immigrated culture with central plains culture as its main body, and a variety of cultures merged together. The merging characteristics determine the three features of Lingnan culture: not stick to one pattern, not set up one authority, and not keep in one corner. Not stick to one pattern indicates the pragmatic characteristics Lingnan people possessed, not set up one authority refers to the equality between people they pursued, and not keep in one corner presents the open and enterprising spirit they kept. 3 Some people say that, compared to central plains culture, the former Lingnan area was separated by the Five Ridge, and kept away from the core of traditional Chinese culture. It is regarded as a wild land, while people in Lingnan area knew themselves well and decided to blend new knowledge with their own one, not being afraid of reformation. Therefore, the enterprising spirit of ascending "traditional orientation " and daring to be the first in the world burst out here.with the leading of this spirit, after thousands of years, the Pearl River basin was no longer the wild land being away from Chinese civilization and became one of Pacific Rim districts with highest economic activities. It also helps Cantonese musicians blend the essence of foreign music and western music with Cantonese music. 2. The Integration of Ancient and Modern, Chinese and Western As one of the three national folk performing treasures, including Cantonese music, Cantonese drama, and Cantonese opera, Cantonese music adheres to the essence of Lingnan culture, and possesses distinct characteristics as open and compatibility, but less conservation and coagulation. It doesn t stick to one pattern, and takes on colorful performance.according to the relevant history and popular repertoire, the source of Cantonese music can be traced to the ancient music in central plains, Kunqu opera, Yiyang opera, and the ditty in the south part of Yangtze River. These foreign music culture integrated with local music culture in the Pearl River Delta, which experienced a long period of influence with local customs, language, culture, and folk art. While the real formation of Cantonese music and its high-speed spreading to both in and abroad greatly benefited from the powerful promotion of foreign trade and speedy development of productivity in the Pearl River Delta after entering the late Ming and early Qing Dynasty. The prosperity of industry and commerce, as well as the provincial chambers of commerce, stimulated the rise of various cultural and recreational activities in folk, especially the so-called Private Bureau which is a folk music club appearing to be very popular. In Shawan town, Panyu District, Guangzhou, there is an ancient building with long history, which is the site to be protected for their historical and cultural value in Panyu District. It is the old site of San Ren Hall, which is a private bureau set up by He Bozhong, who is one of the founders of Cantonese music in earlier times. It is proved that, Dragon Boat Racing, Rains beating the Musa basjoo, and other famous classic Cantonese music composed by famous Cantonese musicians He Bozhong, his grandson He Liutang, his family member He Yunian, and He Shaoxia.The exhibition in the hall displayed a detailed record of performing, researching, and composing activity He Bozhong and several Cantonese musicians in his families conducted here in Qing dynasty (1821-1850). These activities greatly contributed to the formation and talents cultivation of Cantonese music in the process of absorbing and integrating foreign music culture. And in 2000, Shawan town in PanyuDistrict was named as Cantonese music town by the National Ministry of Culture. From the view of foreign trade ports, Guangzhou has been the starting point of Maritime Silk Road since Qin and Han Dynasties, and been increasingly rich. That is why people always say that south China has fertile soil and people in charge was always getting rich here. There is an old saying that as the provincial governor of Guangzhou passed through the city gate, 30 million was earned.4in Tang Dynasty, even the capital Chang an also imposed a curfew, while Guangzhou opened the night market, which usually kept open till dawn. That is the prosperity brought by the foreign trade. There is a poem written by Zhang Ji in Tang Dynasty, "The night market is bustling with noise and excitement, and the sea is washing the seashore".5in Song Dynasty, the foreign merchant ships went in and out of Guangzhou were almost with the length of 66.66 meters, which is 6 or 10 meters higher than the water, possessing a broad plank road, and being able to carry more than 600 hundred people and 375 thousand kilos goods."6a poet Liu Kezhuang in Song Dynasty described the Polo Temple Fair, which is held in the Temple of South China Sea, also known as East Temple in his poem. Words are as following, Kids were playing in the East Temple, and ships were setting sail for economic prosperity. How similar today s Guangzhou is to ancient Yangzhou.7Due to the prosperity of foreign trade, Guangzhou has naturally become a communication center for Sino-Western culture. The piano people know today was 1079
brought with the merchant ship to Guangzhou 400 years ago by Matteo Ricci, an Italian missionary, who preached everywhere in China.Later, in 1842, the British businessman had transported a number of pianos to Guangzhou for sale. And then, in 1846, chant and tweedle on Western religion were heard from the East Stone Baptist, located in the east corner near Ba Qi Er avenue.8yin Zizhong, one of the four famous kings of early Cantonese music, the 20s in the twentieth century, was the first one who introduced the violin into Cantonese music, and He Dasha first used guitar in Cantonese music. The composer Chen Wenda, and the xylophone musician Lin Haoran both studied in Hong Kong English College, and had received the education from Western music.lvwencheng, honored as a master of Cantonese music, studied violin and western music theory in Shanghai from Situ Mengyan, the shipbuilding engineers, violin performer and producer, who studied in the United States and then returned to Shanghai. Teacher Su Xia, who is the professor in the Central Conservatory of Music, as well as the doctoral tutor majoring composition and theory of composition, stated in his book A Brief Comment on Part of LvWencheng s Musical Compositions that, LvWencheng's logic on instrumental music shared the same target with that in European classical music. That is to use the cohesion of musical ideas to illustrate characters psychological activities and to express feelings. Lv is native, with national and regional characteristics as well as artistic personality. In order to develop a Chinese-style symphonic music, plenty of experience can be learnt from the his composition. To conclude, Cantonese music had stepped on the path of integrating ancient and modern, Chinese and western since the very beginning. Liu Sifeng wrote in his book Cantonese music and Lingnan culture that, It sounds incredible that although Cantonese music was formed in Lingnan area, mainly of which was music with heavy regional characteristics in the Pearl River Delta, it tramped over ridges and far crossed the ocean to all over the country and even spread overseas over the past 100 years, receiving thousands of listeners. There is no doubt that it appeared to be a legend in the history of modern Chinese music. Figure 1. Guangdong folk music Cantonese music has gone through a hundred years development. After the inheritance and development by generations, a large number of outstanding classic repertoire were accumulated, whose artistic value is eternal. For example, LvWencheng's "Climbing up step by step, He Bozhong's " Dragon Boat Racing, and QiuHechou's "Entertaining", were performed in the two sessions and major state banquets, which indicated a praise and affirmation to Cantonese music from the history. With the retrospection of the 100 years development of Cantonese music, classic works emerged in an endless stream. Works like Rains beating the Musa basjoo, Starving horses rattles, Thundering in dry days, Inverted curtains, Chain buckles, left by HeBozhong and Yan Laolie who were the representatives opening the composition of Cantonese music, are the classics in the classics today. With their influence and promotion, Cantonese music ushered in an unprecedented prosperity. In the 1920s and 1930s, Cantonese music talents came out in succession, and a large number of famous performers, who are also composers, emerged. More than 60 composers had works been published, and numerous songs were composed, among which over 500 songs possessed both names and scores. Most of the outstanding works can be published in music collections and recorded discs. There are some outstanding performers who are also composers. For example, He Liutang, He Yunian, and He Shaoxia, known as He s three talents from Shawan Town in Panyu District; and LvWencheng, Yin Zizhong, He Dasha, and He Langping, the known "four kings" of Cantonese music. Besides, other outstanding talents are QiuHeChou, Shen Yunsheng, Yi Jianquan, Chen Deju, Liang Yizhong, Chen Wenda, Chen Junying, Lin Haoran, Tan Peiyun, Huang Longlian, Tan Boye, Shao Tiehong, Guo Liben, Lu Jiachi, and so on.9 1080
Figure 2. Guangdong music playing pictures 3. Southern Music Festival: Paying homage to the classic In 2016, Southern Music Festival restored after a 17-year-suspension, and the festival was named as Yang Cheng Music Festival which used to be a feast of Cantonese music. This year, Southern Music Festival contains eight concerts with different themes, they are "Paying homage to the classic", "The harmony in southern Cantonese music", "Eulogizing the friendship", "The rhyme in Lingnan music", New Cantonese music, "Today s southern Cantonese music", Southern popular music show, "New sounds in southern China". Concretely, "Paying homage to the classic" performed the classic original music in recent one hundred years in Guangdong, "The harmony in southern Cantonese music" presented a choral concert of outstanding works in Guangdong, "Eulogizing the friendship" was a concert held with the theme of One belt one road, "The rhyme in Lingnan music" collected a series of original symphonic music with dominant Lingnan characteristics, New Cantonese music showed a crossover pop concert in a fresh outlook, "Today s southern Cantonese music" was performed in the form of a national orchestral concert, Southern popular music show provided a stage for Cantonese pop musicians to perform their music, and "New sounds in southern China" appeared to be the achievement of one to one recommendation activities from famous Cantonese musicians.the eight thematic concerts were performed centering on Lingnan culture, with the basis of national traditions and local original music, and positively promoted the spreading of Lingnan culture after exploring the classic music, extracting the classic elements, and recreating the music. Compared to the previous "Yang Cheng Music Festival", the first "Southern Music Festival" possessed less influence than the former. The first "Yang Cheng Music Festival" was held in 1962, but suspended due to historical reasons. While the second "Yang Cheng Music Festival was held until 1980, 18 years later.nevertheless, during the 16-day event, nearly 2,000 staff performed 24 concerts. Competitions of Gao Hu and violin as well as multiple academic seminars and theoretical seminars were held with nearly 200,000 audience. Later, although the scale of following sessions of "Yang Cheng Music Festival" were reduced, it still retained the concerts, seminars, music competitions and other forms of activities. From the view of influence scope, "Yang Cheng Music Festival" was not only a show of national folk art, but also a feast to explore talents and excellent works, and to lead the ideological trend. In contrast, considering the propagation effect; this year s "Southern Music Festival" is not as good as before, because 8 concerts and 2 academic seminars were confined to discussions between academic schools, which still needed more expression in a popular way. How to break through this dilemma and attract the masses to participate in? Here are two ways can be used. First, applying new and young forms of music, and taking advantage of network and new media to attract young audience. Second, taking root on local culture to create advantages of music in Lingnan area.lingnan culture is open and inclusive, and Lingnan people works hard and responsibly, behaves brave and pragmatic. Therefore, only after truly understanding the living attitude and aesthetic taste of local residents, can musicians compose works local residents like, and can Southern Music Festival truly become people s "Music Festival". Now, we are in an era with multiple culture shocks from the world, and Guangzhou needs an explicit positioning and clear goals so as to develop a strong culture in the city. Guangzhou is the birthplace of Lingnan culture, the starting point of Maritime Silk Road, and one of the sources of the modern revolution in China. It has also been a stage to present new thoughts, new theories, and new ideas.in order to shape the city image of Guangzhou to be a cultural city, the regional nation culture resources can be made full use of. The spiritual wealth created by Cantonese musicians since hundreds of years ago is surely to be the inexhaustible "soft resource" which can promote the inheritance of Cantonese music. 5. CONCLUSIONS 1081
Cantonese music is one of the first batch of national intangible cultural heritage protection projects in China, which is also a beautiful card of Lingnan culture. It has distinctive local characteristic and unique artistic style, which brings great influence on overseas Chinese. Cantonese music, which is pretty unique comparing to other Chinese folk music, possesses rich cultural foundation and profound contents, and after a hundred years inheritance and development, it formed its own system.despite the call for protecting intangible cultural heritage, the authority has begun to pay attention to the future and fate of Cantonese music. However, the potential basis, which could finally advocated the inheritance and continuous development of Cantonese music, still existed in the folk, and also in the music ecological environment which decided whether creative ideas and behaviors of musicians, which is independent to the real world, can be guaranteed.nowadays, when developing a strong culture of city, and forging a "city of music", it is necessary to pay homage to Cantonese music, and to the classic Cantonese music, because it is the basis of inheriting the intangible cultural heritage, and helping Guangzhou construct the image of international music city. Acknowledgements This dissertation is supported by the project of Guangzhou philosophy and social science, China, (Project number:2016gzqn07). REFERENCES Cantonese Music: Preface. Yang Kuizhang. Lingnan Library, Guangdong People s Publishing House, 1st, Jan, 2003. Melody History (1st edition). Szabolesi, B. People's Music Press, 1983, 301-302. An interview record to Liu Sifen on the new look of Lingnan culture. Liu Sifen. 21st Century Business Herald, 19th, Aug, 2016. Nan Qi Shu. Li Tian, Huang Jiaqi. Cantonese Music (vol 32), Guangdong People s Publishing House, 1st, Jan, 2003. Tai Ping Yu Lan. Li Tian, Huang Jiaqi, Cantonese Music (vol 79), Guangdong People s Publishing House, 1st, Jan, 2003. Farewell to Zheng Shangshu for guarding the South China Sea. Zhang Ji (Tang Dynasty), Collected Tang Poems (vol 384). The copied Song poetry: Added copies. Four impromptu poems. Cantonese Music. Li Tian, Huang Jiaqi. Lingnan Library, 8. Guangdong People's Publishing House, 1st, Jan, 2003. Cantonese Music. Li Tian, Huang Jiaqi. Lingnan Library, 49. Guangdong People's Publishing House, 1st, Jan, 2003. C.Krstev, and A.Trtovac, (2014). Teaching Multimedia Documents to LIS Students, The Journal of Academic Librarianship, 40 (2), 152-162. S.Jian-hua, L.hong, (2012). Explore the Effective Use of Multimedia Technology in College Physics Teaching, Energy Procedia, 17, 1897-1900. R.A.Sabella, (2010). School counselors perceived importance of counseling technology competencies, Computers in Human Behavior, 26, 609-617. C.Zhang, X.Chen, (2012). Use of Multimedia in Gross Infective Pathogen Experimental Teaching, Procedia Engineering, 37, 64-67. 1082