A Study of George Gao's Musical and Instrumental Innovation for Erhu

Abstract

This article takes George Gao as the research object, mainly discussing how George Gao's music experience and diaspora experience influence George Gao's music behavior and music practice process. By analyzing his growth experience and learning experience, the impact on his creation, including his Erhu Music And Erhu Innovation (Shaoqin). It also reveals his music and cultural studies under multiple identities. When George Gao's music outlook changed, his music practice and music creation also changed. The purpose of this article is threefold: First, through investigation and research to analyze the influence of George Gao's music experience on his music behavior and music outlook. The second discussion is the evolution and problems of erhu form in the modern 100 years, and George Gao’s Erhu Innovation. Draw conclusions through objective experimental data measurement and data analysis. The third study analyzes his erhu music composition and performance techniques, and provides a certain reference basis for related research and erhu performance learning in the future. Based on the above-mentioned problems and the current situation, through observation and analysis of George Gao’s series of musical behaviors, to explore the description of a typical scattered musician like him, to reach a general understanding of this social group, which can be learned from George Gao From his personal experience, he inquired about the basic situation and appearance of erhu art in a specific period, and was able to perceive various connections between music culture and social groups and social changes from individual musicians. I hope to inspire similar research in the future, provide a demonstration of necessity and feasibility, and provide a list of problems that the academic field may face in the future.