The Research On The Female National Instrumentalist After The Reform And Opening-up

The image of a big country includes not only the economic political and military image, but also the cultural image. With the rise of China’s international status and the recovery of the national self-confidence, enhancing cultural soft power needs are top-down consensus. Just a few decades, national instrumental music has undergone a huge transition. Contemporary women performers active in the national instrumental stage, grew up under the emphasis of the country and the government in the1970s and1980s. Whether they accepted the social popularity of music education or professional music education, they are beneficiaries from the increasing efforts of State and Government to train the national music talents.Selected from this group of women folk musicians, I chose Song fei, Zeng gege and Wu Yuxia as the objects of study. Song fei was born in a musical family, Zeng gege was born in a family of music lovers, and Wu Yuxia was born in the ordinary family nothing to do with music. Their experience reflected the upbringing heritage from the traditional family, the community music universal institutions, and the role of professional music training institutions for music talent, respectively. In addition to the role of professional performers, they have many other different roles for the development of national music. Many attempts Zeng gege paid in a combination of traditional and popular folk music, Song fei’s effects for the training of professional folk music talent, and Wu Yuxia dedicated herself to popularizing folk knowledge to the community personally. Their path in life is not only a personal exhibition of the art of life, but also raise the status of contemporary social and cultural consciousness, self-confidence of women and it is the microcosm of the development of folk music as well.