Editor-in-Chief ：YU Hongmei

     YU Hongmei is the famous erhu maestro and educator. She is the President of the Central Conservatory of Music, the Vice Chair of the university council as well as the professor and PhD supervisor. Editor-in-Chief of the Journal of the Central Conservatory of Music. She also serves as the President of the Huqin Music Professional Committee of the China Nationalities Orchestra Society, council member of the Chinese Musicians Association, and Vice Chair of the Traditional Chinese Bowed String Instrument Society and Honorary Professor at Bard College Conservatory of Music in the United States.

     YU Hongmei graduated from the Central Conservatory of Music with a master’s degree and studied with Professors SU Anguo, ZHANG Shao, LAN Yu Song, and LIU Changfu. As a talented and influential erhu soloist and educator in contemporary era, YU Hongmei was awarded the Pro Musicis International Award in New York, USA. The album “YU Hongmei’s Erhu Concerto” won the Fourth China Golden Record Award. The album “Mi Hu” won the World’s Best Traditional Music Award of the Indie Awards held in the United States. This was the first time a Chinese musician had received this prestigious award since its establishment over 40 years ago. Additionally, her solo album “Hongmei’s Caprice” won the first-prize at the First “National Excellent Literary and Audiovisual Works Award.”

     In February 2002, YU Hongmei successfully held a recital concert at the world-renowned Carnegie Hall in New York City, USA. She became the first Chinese performer of traditional Chinese instruments to give a recital there. She won the First Prize of the “Excellent Young Teacher Award” at the 10th Fok Ying-Tong Education Fund, the “Bao Steel” Excellent Teacher Award, the “New Century Talent Funding Program” of the Ministry of Education, the “Gardener Award” of the “Wenhua Cup” Traditional Chinese Music Instrumental Competition hosted by the Ministry of Culture and Tourism. She established the “YU Hongmei Artist Studio of Chinese Bowed String Instrument Music” authorized by the Publicity Department of the Beijing Municipal Party Committee and supported by the Beijing Cultural High Level Talent Training Project. Additionally she organized and established one of the first Inheritance Bases of Fine Traditional Chinese Culture (traditional Chinese music) under the Ministry of Education. She was selected as one of “Hundred-Thousand-Million Talents Project” , awarded the title of “Distinguished Young Expert with Outstanding Contributions”，received the special government allowance of the State Council and was listed in the “Four Batches Talents Project” by the Publicity Department of the CPC Central Committee as well as one of the national leading talents of “Ten Thousand Talent Program” in Philosophy and Social Sciences. The erhu solo piece “Ink Plum Blossom”composed in 2019 was selected for funding by the National Arts Foundation. She served as the chief expert of Art Major Project titled “Research on the Inheritance and Development of Different Types of New Instrumental Chinese Music” funded by the 2019 National Social Science Grant. In recognition of her contribution, she was awarded the title of the first “Beijing Excellent Supervisor of Postgraduates” in 2022. The“National String Instruments Music”course was selected for the third batch of national-level first-class undergraduate programs in 2025.

    YU Hongmei has traveled extensively to Europe, the Americas, Africa, and Asia, successfully performing over a hundred solo recitals in countries such as the United States, France, Canada, Japan, as well as in many Chinese cities including Hong Kong and Beijing. She has also graced the world’s top music stages, performing at renowned venues such as the Golden Hall in Vienna, the Avery Fisher Hall in New York’s Lincoln Center, Carnegie Hall, the National Performing Arts Center in Washington, the Disney Hall in Los Angeles, the Symphony Hall in Chicago, the San Francisco Symphony Hall, the Champs-Élysées Theater in Paris, the Lucerne Music Hall in Switzerland, the concert hall in Amsterdam, the Cairo National Concert Hall, and many others. She has participated in significant performances such as the China Culture Tour in the United States, the China Culture Tour in Australia and New Zealand, the Prague Spring Festival in the Czech Republic, the China Arts Festival, the Beijing International Music Festival, the Shanghai International Arts Festival, the German Music Festival, and the Macao Arts Festival. She has also been invited to teach master classes and lectures at various music and art institutions, including the California Institute of the Arts and the City University of Hong Kong.

    YU Hongmei premiered numerous representative classical erhu works that reflect the spirit of her time: “Dreaming of Beijing,” “Eight Pieces,” “Heavenly Fragrance,” “Western Gate Melancholy,” “String Sounds at the Frontier,” “Amanisa,” “Poem Celebrating the Soul of the Nation,” and “Ink Plum Blossom” among others. Up to now, she has recorded and published 16 solo performance albums and was invited to record “Renowned Masters Teaching Erhu,” “YU Hongmei’s Erhu Solo Concert,” and the music video “Blooming Red Plum Blossom – YU Hongmei’s Performance Album.” In addition, she edited and published the “Erhu Concert Piece Collection” (three volumes), authored the instructional material “Erhu Scale System,” and co-edited the “ZHANG Shao Memorial Anthology.” She has also published academic articles such as “Dynamic Variations in Erhu Performance” and “The Performance Technique of ‘One Flower’”.

    YU Hongmei has consistently adhered to the teaching philosophy of “cultivating virtue and refining artistry, tailoring instruction to individual abilities.” The students she has taught have won gold medals in virtually all major international and domestic competitions, including the “Golden Bell Award of Chinese Music,” the “Wenhua Award,” and the “CCTV Traditional Instrumental Music TV Competition.” She founded the “Sheng Feng Chamber Orchestra,” which won the grand championship at the 2012 “CCTV Traditional Instrumental Music TV Competition,” the gold medal at the 2013 Ninth “Golden Bell Award of Chinese Music” competition for traditional music ensembles, and the top prize at the 2017 Sixth “National Youth and Minority Instruments Teaching and Learning Achievements Exhibition” event. The “Yi Jing National Chamber Orchestra,” which she established, won the championship in the traditional ensemble category of the 2019 Central Radio and Television Station “Chinese Instrumental Music TV Competition.”

     YU Hongmei’s performing style is characterized by its sincerity, simplicity, sensitivity, and passion. She seamlessly integrates herself with the instrument, providing a perfect interpretation of the music’s essence and offering unique artistic insights. The New York Concert Magazine once commented, “Her brilliant performance left everyone in awe.” “She is an outstanding performer who embodies the spirit of contemporary Chinese musical culture.” YU Hongmei continues to make significant contributions to the worldwide preservation, innovation, promotion, and development of traditional Chinese music.

Executive Deputy Editor-in-Chief：Huang Zongquan

    Huang Zongquan is a Professor, Doctoral Supervisor, and Executive Deputy Editor-in-Chief of "Journal of the Central Conservatory of Music" at the Central Conservatory of Music (CCOM). He holds a PhD in Music Aesthetics from CCOM, completed postdoctoral research at the Shanghai Conservatory of Music, and was a Visiting Scholar at Columbia University (USA).

     He serves as a Council Member of the China Literature and Art Critics Association, Academic Committee Member and Secretary of the Musicology Institute at the Key Research Base for Humanities and Social Sciences of the Ministry of Education (CCOM), Council Member of the Chinese Society of Music Aesthetics, Council Member of the Chinese Music Critics Association, Council Member of the Chinese Western Music Association, Committee Member of the CAAI Special Committee on Arts and Artificial Intelligence, Executive Committee Member of the CCF Computational Arts Chapter, Committee Member of the National Committee for Terminology Standardization in Music, Expert Panel Member for the Music Curriculum Standards of Regular Senior High Schools, and Member of the International Society for the Philosophy of Music Education (ISPME). He is also a Member of the Chinese Musicians Association, Contracted Critic of the Beijing Federation of Literary and Art Circles, and Committee Member of the Stage Art Professional Committee of the Beijing Critics Association.

    He is a contributing author for the China Art Development Report, and the person in charge of the Beijing Art Development Report (Music Volume). Since 2019, he has run the personal column "Zongquan's Critical Reviews" in the Music Weekly. He will run the personal column "Elegant Music in Poetry – Music in Chinese Poetry" in Music Lover.

    Monograph: The Attribute of Musical Aesthetic, People's Music Publishing House, 2019.

    Elected Publications and Research Projects (2020-2025)

1. "New Structural Thinking and the Spiritual Connotation of Traditional Culture – On the Creative Features of Jia Guoping's Myriad Ravines and Pine Winds". People's Music, Issue 2, 2020.

2. "Philosophical Reflections on Music Artificial Intelligence". Journal of the Central Conservatory of Music, Issue 3, 2023. 【This article was fully reprinted in Renda's Copy of Newspapers and Periodicals, Issue 6 (Part 2), 2023; selected for the China Art Yearbook (2024); and included in the "Compilation of Papers for the National Social Science Fund of China Art Projects 2023-2024" in 2025.】

3. "Portraying Historical Figures and Sounding the Grand Melody of the Era – A Review of the Original National Opera March of the Volunteers". Chinese Drama (PKU Core), October 2024 Issue. (As Contracted Critic of the Beijing Federation of Literary and Art Circles).

4.  Participant in the National Social Science Fund of China Major Project "Theoretical Research on Collaborative Innovation and Development of Music and Artificial Intelligence" (21ZD19) in 2021.

5. Leader of the National Arts Fund 2020 Small Opera Project Deep Tunnel (2020 project, published/released in 2021, in collaboration with composer Deqing Wen).

6. Leader of a Sub-project of the National Social Science Fund of China Major Bidding Project "Research on the 'Chineseness' in Music Creation" (22&ZD037).

7. Leader of a Sub-project of the Major Bidding Project of the Key Research Base for Humanities and Social Sciences of the Ministry of Education "Research on the Practice of Music Aesthetic Education in the Inheritance and Innovation of Musical Culture" (22JJD760002).

8. Participant in the China Musicians Association project "Chinese Aesthetic Spirit and Literary and Art Creation in the New Era (Music Volume)" and textbook compilation (2022).

9. 2023 "Central Conservatory of Music Research Funding Program" Key Research Project: "The Aesthetic History of Western Opera".

10. 2024 China Literature and Art Critics Association Project "Research on Contemporary Chinese Music Criticism" (Leader).

11. Participant in the 2023 Ministry of Education Philosophy and Social Sciences Research Major Project Bidding Project "Research on the Construction of the Chinese Classical Music System" (Project Approval No. 23JZD037) in 2024.

12. Textbook Principles of Music Sociology selected for the "14th Five-Year Plan" Key Textbook Construction Project of the Central Conservatory of Music (2025).

13. Translation The Cambridge History of Music Criticism approved for publication funding under the "Central Conservatory of Music Research Funding Program", Project No. 25CB01.

    Other Activities

    In 2025, served as the Planner and Chief Scriptwriter for the symphonic suite Listening to Beijing, and wrote the lyrics for the finale symphonic cantata Dreams and the Future

    Awards

    2021: "Third Prize of the 14th Fujian Provincial Outstanding Achievement Award in Social Sciences (2019-2020)" for the work The Attribute of Musical Aesthetic Feeling.

Editor：WANG Ting

    WANG Ting, Doctor of Literature, Associate Senior Editor. Began working in editing and publishing in 2003, serving successively at Higher Education Press and Foreign Language Teaching and Research Press before transferring to the Editorial Department of the Journal of the Central Conservatory of Music in 2011.

    Executive editorship has been undertaken for publications under major academic plans, such as the National Key Textbooks for General Higher Education (10th Five-Year Plan), the Beijing Philosophy and Social Sciences 10th Five-Year Plan Project, and the Ministry of Education's 9th Five-Year Plan Project for Humanities and Social Sciences.

Editor：Hu Yurong

    Hu Yurong is Senior Editor and Associate Research Fellow of the Journal of the Central Conservatory of Music. She holds a Master's degree in Musicology from the Central Conservatory of Music, where she completed both undergraduate and graduate studies beginning in 1999. Upon graduation, she joined the journal's editorial department, where she has since developed extensive expertise in scholarly publishing and musicological research.

    Hu is an active member of both the Music Aesthetics Society and the Music Criticism Society of the Chinese Musicians Association. Her research engages critical questions in music aesthetics, institutional history, and the evolving landscape of scholarly communication. She has contributed to several major funded research projects, including the Ministry of Education's Key Research Base Project for Humanities and Social Sciences, Music Aesthetics in the Context of Western Neo-Musicology (2015); the National Publication Fund Project, Sounds from the Field—A Compilation of Chinese Traditional Music Scores (2018); and the Central Conservatory of Music's Major Open Project, Research on the History of the Central Conservatory of Music  (2024).

Editor：Du Ying

    Du Ying, Ph.D. in Literature, Associate Researcher，Managing Editor.

    Publications & Research Output: Has published academic papers, music reviews, and translations in various Chinese and international journals, anthologies, and translated works, including: Journal of the Central Conservatory of Music; Art of Music; China Arts Review; People's Music; CCOM 40-Year Academic Anthology on Reform and Opening-Music Criticism Volume (I); China New Music Annual; Subcultural Sounds: Micromusics of the West by Mark Slobin (US); Western Ethnomusicological Theories at the Turn of the Century compiled and edited by Zhang Boyu;Music in China; among others. 

    Major Research Projects and Academic Project: 2021: Served as Executive Editor-in-Chief for the China New Music Annual (2018 Volume), a sub-project of the Major Project "Research on the Future Development of Chinese Professional Music Creation and Dissemination" (a key project of the Ministry of Education's Key Research Institutes of Humanities and Social Sciences in Universities and a major 13th Five-Year Plan project of the CCOM Musicology Research Institute, initiated in 2016).2022: The research project "A Study on the Constructive Logic of Northern Qu Suite" was approved as a Key Project under the CCOM Scientific Research Funding Plan.

   Awards:2020: Music review won First Prize in the 8th "Shangyin Yuanshe Cup" Music Review "Society Award" competition organized by the Chinese Music Critics Society；Book review won Second Prize in the Social Group category of the 9th "Shangyin Yuanshe Cup" Music Book Review competition.

Editor：Zhai Haoran

     Zhai Haoran, Master's degree, Assistant Researcher, Editor of the Journal of the Central Conservatory of Music. Graduated with a Master's degree in 2019 and joined the editorial office of the Journal of the Central Conservatory of Music in the same year. Obtained the Certified Mid-Level Publishing Professional (China), 2021. Core duties include: Responsible for manuscript preliminary review, Managing Editor, journal publishing, and other routine editorial tasks.

    Publications :On the Rise of French Grand Opera:A Case Study of Meyerbeer’s ‘Les Huguenots’(2018),Chinese Perspective on Musical Performance and Cultural Construction：A Summary of the Third National Academic Symposium on Musical Performance Research(2022)，A Case Study on the Reception of Musical Works: Reflections on the Popularity of Mendelssohn's Oratorio ‘Elijah’ in Victorian Britain(2022).

 Editorial Affairs：Zhi Zheng

      Educational Background: School of Economics and Management, Tsinghua University. In September 2008, Zhi Zheng was appointed as the Director of the Band College Program at the Central Conservatory of Music. In this role, she was responsible for overseeing the fundraising, management, and execution of the institution's public welfare education fund. She also supported the college's daily operations, coordinated inter-departmental collaborations, and ensured the seamless progression of both teaching and performances. Notably, Zhi Zheng spearheaded the U-MUSIC University Student Program, which successfully invited over 10,000 university students to experience classical music in concert halls. As a core founder of the Rainbow Choir, she partnered with the Beijing Rainbow Charity Foundation and local schools in Changping District to establish a program that significantly advanced the development of aesthetic education. In September 2025, she joined the editorial team of the Journal of the Central Conservatory of Music.