Final Project

A distinguished Chinese composer, Yongkang Shi was born in 1929.
Currently, in his
90s he had held teaching posts at the Shanghai Conservatory of Music and Xinghai
Conservatory of Music and remains on the faculty of Xinghai Conservatory of Music.
His compositions cover a wide range including symphony, chamber music, and dance
music works. I had the privilege and it was a great honor for me to interview him in
his private residence in Guangzhou, China.
Prof. Shi received his initial education at an orphanage in Shanghai in the 1930s. In
late 1930 a professor from Shanghai National Music School(which later become the
Shanghai Conservatory of Music) gave a performance at the orphanage and Prof. Shi
felt attached to music and decided to pursue music as a career. “It was a tumultuous
time”, commented Prof. Shi during the interview, “as the Sino-Japanese War has just
begun”. He learned violin and composition at a secondary school shortly after the
victory of the war and entered the Shanghai Conservatory of Music in 1949. His
graduation work, “The story of the Yellow Crane” was premiered by Shanghai
Symphony Orchestra and gained high appraisal. That’s when his career finally took
off as he joined the faculty of Shanghai Conservatory.
In the years following his appointment, Prof. Shi composed a variety of works
orchestral, chamber music, as well as solo works. His orchestration publication has
been selected as a designated textbook by many Chinese conservatories. Many of his

students grown on to become faculty members in prestigious institutions around
China, some of them are also successful composers and conductors.
Already in his 90s, Prof. Shi remains on the faculty of the composition department at
the Xinghai Conservatory of Music. Today almost 100% of his income is made up of
teaching, with a slight income in occasional recording projects and national
allowance. Things were very different 20 years ago. 80%(around that, according to
Prof. Shi) of his income came from his conservatory teaching, while the remainder is
comprised of contribution fee of academic publications, as well as composition
contracts. Prof Shi says after nearly 70 years in this field, he enjoys working with
talented musicians in different generations and nurturing them, seeing them grow and
distinguish from time to time makes him feel accomplished.
If he could give himself advice at my current stage, he would suggest himself utilize
every possible resource to enrich himself mentally. The 1950s is not as tumultuous as
in the 1930s for Chinese people, but it was still considered a very difficult time. Very
limited musical resources were available at that time as the country was still healing
from World War II and the civil war. He would seize every chance to figure out any
question in mind and to lay the building block for a successful artist.
There were many pieces of advice that Prof. Shi was able to provide as a successful
musician. As a pedagogue, he encourages me to attend as many concerts as possible,

to shape a general mind of what music should be like. We should also explore lesser-
known works, as some of them are real masterpieces that people rarely perform or
even study. As a pianist, he encouraged me to do as much collaboration work as
possible, as chamber music is very much neglected in China(there was a stereotype in
China that chamber music is designed for people who lack solo techniques for a long
period). “It is really exciting when we get to collaborate with somebody we feel the
same”, says Prof. Shi during the interview. As a composer, he would advise all
composition students to never be afraid of improvising and innovating. His French
Horn Concerto “Memory” was a perfect example as unconventional harmonies and
textures are employed. Finally a piece of general advice to all students after being a
pedagogue for over fifty years: Be patient and wait for your unique opportunity.
I’ve known Prof. Shi for over a decade, although I’ve never been one of his students,
he has still grown to be my most admired musician and artist. As the first generation
musician that New China nurtured, his experience of living through tumultuous times
of China empowers him to be an assiduous composer and pedagogue. His insights of
life and his seriousness towards music continue to inspire me as a musician and urge
me to hold the highest standard in every aspect of my performance. I was honored to
interview him and his words have left me with great power.

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A distinguished Chinese composer, Yongkang Shi was born in 1929.

Conservatory of Music and remains on the faculty of Xinghai Conservatory of Music.

his private residence in Guangzhou, China.

off as he joined the faculty of Shanghai Conservatory.

been selected as a designated textbook by many Chinese conservatories. Many of his

China, some of them are also successful composers and conductors.

teaching, with a slight income in occasional recording projects and national

comprised of contribution fee of academic publications, as well as composition

distinguish from time to time makes him feel accomplished.

musician. As a pedagogue, he encourages me to attend as many concerts as possible,

even study. As a pianist, he encouraged me to do as much collaboration work as

possible, as chamber music is very much neglected in China(there was a stereotype in

composition students to never be afraid of improvising and innovating. His French

Horn Concerto “Memory” was a perfect example as unconventional harmonies and

of China empowers him to be an assiduous composer and pedagogue. His insights of

me to hold the highest standard in every aspect of my performance. I was honored to

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