Kids like to beat drums and gongs. This time the 'big kid," Chu Tzung-ch'ing, who also likes to beat away at the drum, has found a few younger companions with the same interest. The adults made all the hand movements while the children sang along. The result was a record called "Let Us Grow Up Beating in This Way," which was released before Children's Day.

It's hard to avoid mistakes when children, without any special kind of training, give a vocal performance. For example, there's one line in "The Little Donkey" which goes like this: "I don't know hua la la la la." There was always someone who would sing an extra "la." The child was corrected several times but to no avail. In order to save time he was asked to step down in a way so as not to make him feel hurt. Chu said, "Young friend, everyone's tired from singing. Why don't you step down first, and take a rest, then we'll all take turns at resting. How 'bout that?"

When things aren't sounding so harmonious, Chu has a very special way of tackling the problem--he'll say, "My young friend, it seems like you're the only one doing things right around here. Everyone else is wrong; be wrong with them, okay?"

Using children's language to communicate with children is one of Chu's finer sides.

His face is round and full, the corner of his mouth slightly curved upward, and his eyes always seem to be laughing. The first impression his students have of him is that he's full of energy, funny, and very easy to get along with.

Daphne Lai, editor-in-chief of Music Monthly, a publication of Linfair Magnetic Sound Ltd., visited Chu on his return to the R.O.C. and had this to say, "He's very interesting and unlike most artists we are familiar with, who lead a romantic life style without order. Chu Tzung-ch'ing's way of thinking is very clear; he knows just what he wants to do. His planning skills are strong, and he has a strong sense of responsibility. He's an artist with a lot of potential."

With Chu's musical talent, Linfair Magnetic Sound Ltd. was sure not to let him slip away. Three years ago Linfair Magnetic Sound Ltd. made a proposal to Chu to record, but Chu felt that the timing just wasn't right--that is, until last year, when he signed a contract with them.

With so many domestic musicians, what's so special about Chu Tzung-ch'ing? And with his percussion performance only in the beginning stages, isn't this taking a big risk when seen from a business point of view?

Lai feels that in addition to having real musical talent and a personal appeal, if someone wants to become a musician for Linfair, then he (or she) must have the potential to enter the international market. Chu meets all of these qualifications. Although percussion instruments are still not as popular as the piano or the violin domestically, Lai says, "What we are choosing here is people, not instruments."

In September last year, Chu recorded his first album, "From Generation to Generation." In just six months more than 40,000 copies were sold, a phenomenon which is seldom seen with classical music on the domestic market. On the evening of November 25, the percussion band led by Chu made a record sell-out at the National Concert Hall, and the hall celebrated by opening up the bubbly.

In June 1982, after earning a degree from the Vienna Music Conservatory, Chu returned to the R.O.C. and began to take part in seminars, solo concerts, and every kind of musical activity imaginable. Chu Tzung-ch'ing has brought percussion music to every corner of Taiwan and to every level, from Taipei to Kaohsiung, and from the National Concert Hall to the Tsu Shih Temple in Sanhsia. Keyboard musician Ch'en Yang describes Chu's promotion of percussion music as almost evangelistic.

Chu says, "In a country where music is developing, in addition to creating and performing, musicians should, at the same time, play the role of promoter and educator--actions speak louder than words."

Since returning to the R.O.C. Chu has held almost one hundred seminars and solo performances, making others more aware of percussion music. Under his soliciting and promoting, music departments at various colleges and universities have set up percussion groups, and have purchased various percussion instruments to accompany world famous percussionists to perform in Taipei.

In mid-September last year, Chu planned another "offstage performance." With three truckloads of percussion instruments, he went to the Chiang Kai-shek Park in Keelung to share the joy of percussion instruments with local people.

He was a bit nervous at first thinking, "Will they think I'm a lunatic?"

In the audience there were people in their underwear, workers in slippers, elderly, and children. Their response was unlike those who had been dressed in a suit and tie, and sitting in some fancy concert hall shouting "Encore!" but they did shout, "More! More!"

Chu Tzung-ch'ing had an even more unforgettable experience at a performance at the Lung Yuan Temple at Lungtan. It was raining that day, and the wind was howling away. While on stage he suddenly became nervous and asked himself. "Am I doing this right? How much applause will I get?" The crowd gradually increased in size with people peeping from underneath their umbrellas to view the performance. It was as if they were waiting for Chu to bring sweet music to their ears in the rain and give them something very special to remember. His doubts began to vanish, and he rewarded them with an even better performance.

Shen Hsueh-yung, professor at the music department at the National Taiwan Academy of Arts has added the following concerning Chu's sincerity and accomplishments: "My, this young person! He has given domestic music lovers such a vast sense of sight and sound. In the past, who would have thought that a percussionist could give a solo performance? Somehow he managed to do it."

Actually, Chu's plans include not only advocating percussion music, but breaking through the entire music world too.

Chu's experience of working with domestic musicians and receiving fervent applause from the audience has given him the confidence to work with other domestic lyricists.

The biggest reason for doing this is to enter the international stage.

After his plans were made known, he seems to be afraid that he has spoken too soon. He waved his hand saying, "I better not mention this in order to prevent others from saying that I'm writing a bad check here."

Well, up to now he's never had a check bounce. This time I don't think it will be an exception.

[Picture Caption]

Totally involved in the performance, Chu Tzung-ch'ing makes a name for himself and opens a whole new door to music.

You've got to beat the drums if you want them to sound. Collecting drumsticks is also the schoolwork of a percussionist. (photo by Vincent Chang)

From a close distance you can feel the crowd's response to the music.

Moving the stage outdoors is something new and has received an unexpected round of applause.

In the recording studio Chu Tzung-ch'ing works hard at conducting some young children as they sing.

Father and son sit with arms crossed as they conceal their potbellies.

When the drumsticks are in his hand, it's as if they, like the music, are brought to life.

From a close distance you can feel the crowd's response to the music.

Moving the stage outdoors is something new and has received an unexpected round of applause.

In the recording studio Chu Tzung-ch'ing works hard at conducting some young children as they sing.

Father and son sit with arms crossed as they conceal their potbellies.

When the drumsticks are in his hand, it's as if they, like the music, are brought to life.