大同樂會
1919年5月，受五四新文化運動影響，上海「琴瑟學社」創辦人鄭覲文，為求中西音樂之大同，將學社改名為「大同樂會」，在會址掛出「大同樂會籌備處」牌子，自任樂會主任。1923年，大同樂會初步完成籌備工作，設有研究部（研究樂律、樂理，學習演奏、演唱和舞蹈）、編譯部（編譯各種樂書和曲譜）、製作部（製造各種中西樂器）。1933年4月，增設國樂編輯部，搜集古代名曲；國樂養成所，培養國樂人才。有記錄表明，大同樂會會員定期排練，舉行年度演奏例會，應邀參加國內重要慶典演出和外事接待。所得收入半數充作活動費用，半數為製作仿古樂器集資。樂會從音樂教育入手，積極培養音樂人才。1924年7月，大同樂會借兩江女子體育師範學校校舍，首次開辦暑期班，設琴瑟、琵琶、絲竹、昆曲和京劇科，由鄭覲文、汪昱庭、歐陽予倩、程午加、李樹森、羅曼麗等執教，後吳夢非、柳堯章、楊子永等加入教師行列。1928年增設「製樂科」，由主任鄭覲文親自教授。1934年2月，大同樂會還曾計劃籌備組建國樂專科學校。樂會把挖掘、整理和改編中國古曲作為一項主要工作。大同樂會成員柳堯章根據汪昱庭所教的琵琶獨奏曲《潯陽夜月》改編成絲竹合奏譜。1925年10月，《潯陽夜月》完成十二行總譜的編配。此曲曾易用《秋江月》為名，1926年春，鄭覲文正式將此曲定名為《春江花月夜》。此曲在當時首演即獲成功，影響很大。1927年4月，柳堯章根據華秋蘋《琵琶譜》挖掘整理出《月兒高》一曲，初名《難得人間曲》，後定名《霓裳羽衣曲》。同年7月2日，在三馬路（今漢口路）慕爾堂夏季音樂會上作首次公演。1930年1月，在上海市拒毒會舉辦的遊藝會上，樂會改編的新國樂《國民大樂》作首次公演。演出時恢復古樂演奏“參軍制”，參軍手執簡、牘，以司起始。至1931年1月，大同樂會全套仿古樂器製成，共計163件。其中彈撥樂器35種，拉絃樂器20種，吹奏樂器43種，敲擊樂器60種，並附音律樂器5種。這套樂器曾陸續陳列在法租界福開森路（今武康路）世界學院（後改名世界社）供中外人士參觀。但在新中國成立前夕已損失無存，其中部分樂器的資料照片據說收藏於上海民族樂器廠。為擴大保護和傳承中國國樂力量，1929年5月，由大同樂會發起，聯合汪氏琵琶學社、宵雿樂團、韓江絲竹社、琴侶齋、精武體育會國樂組、中華音樂社、辛酉學社、華樂團、儉德儲蓄會國樂組等共十個團體，組成國樂聯合會。希望能夠組織40人規模的大樂隊，由於各方原因，終究未果。大同樂會決定自組樂隊，1930年1月《國民大樂》的首演，也是該新型民樂隊的第一次完整亮相。樂隊主要成員是職員、教師、醫師等業餘民樂愛好者。擁有規範的樂隊和多部完整合奏大曲，大同樂隊不僅在蘇州、南京等地作巡迴演出，還應政府、訪滬外國團體、個人之邀演奏中國國樂。其中最具中西融匯效應的一次演出是1933年5月21日在大光明電影院，大同樂會與上海工部局管弦樂隊合作演出“GRAND CHINESE EVENING”（大中國之夜）。音樂會的第一部分表演有兩項，大同樂會的合奏《國民大樂》，及衛仲樂琵琶獨奏《十面埋伏》。1933年1月，為參加在美國芝加哥舉辦的萬國博覽會，大同樂會把全套樂器拍攝成照片，樂會的演奏攝製成影片參展。1935年2月，大同樂會主任鄭覲文病逝，原副主任衛仲樂接任其職。1938年7-8月，衛仲樂等人在香港以「大同樂會」名義，為難民募捐義演。而此前1938年2月20日，鄭覲文之子鄭立蓀，在重慶《新華日報》登出“「大同音樂會徵求會員」廣告，稱該組織為“「江蘇大同樂會抗日宣傳流動隊」。1940年9月，衛仲樂訪美返滬，應聘於滬江大學，並創建仲樂音樂館，上海不再有大同樂會的活動消息。1940年鄭立蓀主持成立的 “重慶大同樂會”，活動持續到抗戰勝利後，直到1949年才正式解散。
Datong Music Society
In May 1919, influenced by the May Fourth Movement of the New Culture Movement, ZHENG Jin-wen, the founder of the “Qinse Study Society” in Shanghai, renamed the society to “Datong Music Society” in order to seek unity between Chinese and Western music. He appointed himself as the director of the society. In 1923, the Datong Music Society completed its initial preparations and established a research department (studying music rhythm and theory, learning instrumental and vocal performance, and dance), a compilation department (compiling various music books and scores), and a production department (manufacturing various Chinese and Western musical instruments). In April 1933, a Chinese music editing department was added to collect ancient Chinese melodies, and a Chinese music training institute was established to cultivate Chinese music talents.
Records show that the members of the Datong Music Society regularly rehearsed, held annual performance meetings, and were invited to perform at important domestic celebrations and foreign receptions. Half of the income earned was used for activity expenses, while the other half was used to fund the production of replica ancient musical instruments. The society actively cultivated musical talents through music education. In July 1924, the Datong Music Society held its first summer class at the Liangjiang Women’s Physical Education Normal School, offering courses in qin, se, pipa, silk and bamboo instruments, Kunqu opera, and Peking opera. The classes were taught by ZHENG Jin-wen, WANG Yu-ting, OUYANG Yu-qian, CHENG Wu-Jia, LI Shu-sen, Romanelli, and others. Later, WU Meng-fei, LIU Yao-zhang, YANG Zi-yong, and others joined the teaching staff. In 1928, the “Instrument Making Department” was established, and ZHENG Jin-wen personally taught in that department. In February 1934, the Datong Music Society even planned to establish a specialized Chinese music school.
The society focused on excavating, organizing, and adapting traditional Chinese melodies as one of its main tasks. Member LIU Yao-zhang of the Datong Music Society adapted the solo pipa piece “Moonnight of Xunyang” taught by WANG Yu-ting into a silk and bamboo ensemble score. In October 1925, the complete 12-line score of “Moonnight of Xunyang” was completed. The piece was initially known as “Moonlit on the Autumn River” but was officially named “Moonlight over the River in Spring” by ZHENG Jin-wen in the spring of 1926. The piece was a great success at its premiere and had a significant impact. In April 1927, LIU Yao-zhang excavated and organized the piece “The Moon is High” based on “HUA’s Brothers Pipa Score,” initially titled “Rare Human Tune” and later named “Nishang Yuyi”. It was performed for the first time at the Muer Hall Summer Music Concert on July 2 of the same year on Sanma Road (now Hankou Road). In January 1930, the newly adapted Chinese music “Traditional Orchestral Music” premiered at the Shanghai Anti-Drug Association’s entertainment event. During the performance, the traditional system of playing music was restored, with musicians holding a baton and a music score, led by a conductor. By January 1931, the Datong Music Society had completed a full set of replica ancient musical instruments, totaling 163 pieces. Among them were 35 plucked instruments, 20 bowed instruments, 43 wind instruments, 60 percussion instruments, and 5 pitch instruments. This set of instruments was displayed for visits by Chinese and foreign visitors at the World Academy (later renamed the World Society) on Fukaersen Road (now Wukang Road) in the French Concession. However, most of the instruments were lost or destroyed before the establishment of the People’s Republic of China. Some of the instrument’s data photos are said to be preserved in the Shanghai Traditional Musical Instrument Factory.
In May 1929, initiated by the Datong Music Society, a Chinese Music Federation was formed, consisting of ten organizations including the Wang’s Pipa Study Society, the Xiaozhao Music Group, the Hanjiang Silk and Bamboo Society, the Qinluzhai, the Jingwu Sports Club Chinese Music Group, the China Music Society, the Xinyou Study Society, the Hua Orchestra, the Jiande Savings Association Chinese Music Group, etc. They hoped to organize a large band of 40 members, but due to various reasons, this plan was not realized. The Datong Music Society decided to form its own band, and in January 1930, the premiere of “Traditional Orchestral Music” was also the first complete appearance of this new type of Chinese music band. The main members of the band were amateur music enthusiasts such as staff, teachers and doctors. With a standardized band and several complete orchestral pieces, the Datong Music Society not only performed in cities like Suzhou and Nanjing, but also played Chinese music at the invitation of the government, foreign groups, and various cultural events. The society played a crucial role in the preservation, promotion, and development of Chinese music during that time.
The most significant performance that showcased a fusion of Chinese and Western elements took place on May 21, 1933, at the Daguanming Cinema. The Datong Music Society collaborated with the Shanghai Bureau of Public Works Orchestra to perform the “GRAND CHINESE EVENING”. The first part of the concert included two performances: the Datong Music Society’s orchestral piece, “Traditional Orchestral Music”, and WEI Chung-loh’s solo performance on the pipa with “Ambuscade from All Sides.”
In January 1933, in preparation for their participation in the World Exposition held in Chicago, the Datong Music Society photographed their entire instrument collection, and the performances of the society were filmed for exhibition.
In February 1935, the director of the Datong Music Society, ZHENG Jin-wen, passed away, and WEI Chung-loh, the former vice director, took over his position.
From July to August 1938, WEI Chung-loh and others organized charity performances in Hong Kong under the name of the “Datong Music Society” to raise funds for refugees. Prior to this, on February 20, 1938, ZHENG Jin-wen’s son, ZHENG Li-sun, placed an advertisement in the Chongqing-based “Xinhua Daily”, calling for members to join the organization known as the “Jiangsu Datong Music Society Anti-Japanese Propaganda Mobile Unit”.
In September 1940, WEI Chung-loh visited the United States and returned to Shanghai, where he was employed by the University of Shanghai and established the Chungloh Music Institute. Afterward, there was no further information about the activities of the Datong Music Society in Shanghai.
The “Chongqing Datong Music Society” established and led by ZHENG Li-sun continued its activities until the victory of the War of Resistance Against Japan in 1945 and officially disbanded in 1949.