During the Chinese People's War of Resistance Against Japanese Aggression, many fighters sang Yue Fei's "Full River Red" when they launched the national salvation movement and went to the battlefield. The composer of this song is Yang Yinliu, the founder of Chinese ethnomusicology.
Born in Wuxi in 1899, Yang Yinliu has loved music since he was a child. He often went to see Taoist priests and enjoyed their performances. At the age of seven, he studied traditional music with Taoist priests. Later, he studied Pipa. At the age of 12, he joined the "Tianyun Society" and learned Kunqu Opera, Pipa, Sanxian, and other musical instruments from the famous musician Wu Wanqing.
In 1920, Yang met Louis Strong Hammond, the American woman missionary, and was baptized to be a Christian. Louis loves Chinese culture and learned traditional Chinese music from Yang, such as Kunqu Opera and playing sheng. Louis taught Yang English, piano, harmony, composition, and other western music knowledge.
In 1923, Yang entered St. John's University. Two years later, the May 30th Massacre broke out. Yang participated in the anti-imperialist patriotic movement and was opposed by some Westerners at the university. He left the school to study in the Economics Department of Kwang Hua University.
During this period, he was moved by Yue Fei's "Full River Red: Hair on End." So he composed this poetry with the tune of the ancient song "Jinling Nostalgia" to be a song "Full River Red," which was sung all over China once it came out.
In 1928, the Chinese Anglican Church, the Church of Christ in China (Reformed Church), the Methodist Episcopal Church, and other Christian sects decided to compile a universal hymn book. Yang was elected to be the general secretary of the Editorial Committee and participated in the editing and translation of hymns. He collaborated with Liu Tingfang and published the collection of hymns "Praise of the World" in 1936. A total of 548 hymns were collected.
In 1932, Yang went to Beijing and joined the Yenching University Music Department. In 1936, he taught the course Chinese music history. During this period, he cooperated with Liu Tingfang and co-edited the "Hymns and Sacred Music" column in the religious periodicals Amethyst and Truth and Life.
After 1940, Yang went to Yunnan, Hebei, Guangxi, Jiangsu, and other places many times for research and collected many precious musical materials. In the second half of his life, he devoted himself to the collection and arrangement of national musical heritage and the study of Chinese music history, music rhythm, phonology, and ancient music scores.
In 1981, Ancient Chinese Music History Draft written by Yang was published, which is valuable for people today to learn, understand, and inherit Chinese music.
Note: This article is written by a freelance writer, a Christian in Xiamen.
Translated by Oliver Zuo
在抗战时期，不少抗日志士都是吟唱着岳飞的《满江红》，开展救亡运动，奔赴抗日战场的。而这首音乐的谱曲者是中国民族音乐学奠基人杨荫浏。（==当summary）
1899年杨荫浏生于无锡，他从小就酷爱音乐，经常去看道士做法事，欣赏他们的演奏。七岁时他曾和道士学习传统音乐。后来又学习琵琶。12岁起加入“天韵社”，从名曲师吴畹卿学唱昆曲及演奏琵琶、三弦等乐器。
1920年，杨荫浏认识了美国女传教士郝路易，受洗成为基督徒。郝路易酷爱中国文化，跟杨学习昆曲、吹笙等传统音乐。而郝路易则教他英文，钢琴、和声、作曲等等西洋音乐。
1923年，杨荫浏进入圣约翰大学学习，两年后“五卅惨案”爆发，杨参与到反帝爱国运动中。遭到学校某些西方人的反对，于是他离校，到光华大学经济系就读。
正是在这一时期，他被岳飞的《满江红·怒发冲冠》所感染。于是将这首词用古曲《金陵怀古》的曲调填词，写成一首歌曲《满江红》，一经问世，就在全国得到了传唱。
1928年，中华圣公会、中华基督教会（改革宗）、美以美会等等基督宗派决定编写一本通用的赞美诗歌本。而杨荫浏被推选为编辑委员会的总干事，参与赞美诗的编辑与翻译。他与刘廷芳合作，于1936年出版《普天颂赞》圣诗集。共收入548首赞美诗。
1932年，杨荫浏前往北京进入燕京大学音乐系，同时在1936年讲授中国音乐史。在此期间，他与刘廷芳合作，共同主编宗教期刊《紫晶》及《真理与生命》刊物中的“圣歌与圣乐”专栏。
40年代后，杨荫浏曾多次去云南、河北、广西、江苏等地调研，搜集了许多珍贵的音乐资料。其后半生生致力于民族音乐遗产的搜集整理和中国音乐史、乐律、音韵、古谱的研究。
1981年，杨荫浏所著的《中国古代音乐史稿》出版，对于今人学习、了解、继承中华音乐有价值。
注：本文为特约/自由撰稿人文章，作者系厦门一名基督徒，
岳飞《满江红》的谱曲者，是一位著名的教会音乐家-福音时报--基督教资讯门户网站 (gospeltimes.cn)
岳飞《满江红》的谱曲者，是一位著名的教会音乐家
During the Chinese People's War of Resistance Against Japanese Aggression, many fighters sang Yue Fei's "Full River Red" when they launched the national salvation movement and went to the battlefield. The composer of this song is Yang Yinliu, the founder of Chinese ethnomusicology.
Born in Wuxi in 1899, Yang Yinliu has loved music since he was a child. He often went to see Taoist priests and enjoyed their performances. At the age of seven, he studied traditional music with Taoist priests. Later, he studied Pipa. At the age of 12, he joined the "Tianyun Society" and learned Kunqu Opera, Pipa, Sanxian, and other musical instruments from the famous musician Wu Wanqing.
In 1920, Yang met Louis Strong Hammond, the American woman missionary, and was baptized to be a Christian. Louis loves Chinese culture and learned traditional Chinese music from Yang, such as Kunqu Opera and playing sheng. Louis taught Yang English, piano, harmony, composition, and other western music knowledge.
In 1923, Yang entered St. John's University. Two years later, the May 30th Massacre broke out. Yang participated in the anti-imperialist patriotic movement and was opposed by some Westerners at the university. He left the school to study in the Economics Department of Kwang Hua University.
During this period, he was moved by Yue Fei's "Full River Red: Hair on End." So he composed this poetry with the tune of the ancient song "Jinling Nostalgia" to be a song "Full River Red," which was sung all over China once it came out.
In 1928, the Chinese Anglican Church, the Church of Christ in China (Reformed Church), the Methodist Episcopal Church, and other Christian sects decided to compile a universal hymn book. Yang was elected to be the general secretary of the Editorial Committee and participated in the editing and translation of hymns. He collaborated with Liu Tingfang and published the collection of hymns "Praise of the World" in 1936. A total of 548 hymns were collected.
In 1932, Yang went to Beijing and joined the Yenching University Music Department. In 1936, he taught the course Chinese music history. During this period, he cooperated with Liu Tingfang and co-edited the "Hymns and Sacred Music" column in the religious periodicals Amethyst and Truth and Life.
After 1940, Yang went to Yunnan, Hebei, Guangxi, Jiangsu, and other places many times for research and collected many precious musical materials. In the second half of his life, he devoted himself to the collection and arrangement of national musical heritage and the study of Chinese music history, music rhythm, phonology, and ancient music scores.
In 1981, Ancient Chinese Music History Draft written by Yang was published, which is valuable for people today to learn, understand, and inherit Chinese music.
Note: This article is written by a freelance writer, a Christian in Xiamen.
Translated by Oliver Zuo
Composer of Yue Fei's 'Full River Red' Is Famous Church Musician
