Abstract: Erhu is a stringed instrument with the greatest influence, the widest spread, the most representative and the most China temperament and charm in China.
On the basis of maintaining its original characteristics, erhu has been continuously refined and improved, and its unique material foundation has given it a unique timbre. Erhu's distinctive artistic features make people feel its vitality wherever they go.
Keywords: erhu art, traditional national culture, sound quality and timbre playing skills
First, the development history of erhu
Yang Chen's "Le Shu" in Song Dynasty was first compiled in Ning and Yuan Feng years and completed in Jian Zhong and Jing years. It lasted for nearly 40 years, illustrated with pictures and texts, with a large scale and a large number.
This is the earliest erhu written record that can be found at present.
The word "Huqin" appeared in the Tang Dynasty. At that time, the western regions and northern nationalities were called Hu people, and Huqin was a general term for musical instruments imported from the western regions and northern nationalities.
In the Song Dynasty, Hu Qin was named? Qin Qin? .
Shen Kuo, a great scholar in the Song Dynasty, wrote a supplement? Music law record:? In Xining Middle School, there was a palace banquet in which Yan Xu, the actor of Jiao Fang, played Qin Qin. Only after drinking wine can one string be played, and it is even more difficult for Yan to play the piano. He completed his music with only one string. ? It can be seen that the level of erhu performance in the Northern Song Dynasty was already very high.
In the Yuan Dynasty, erhu art was further developed and spread.
The History of Yuan Dynasty? Is it included in Li Lezhi? Huqin system is like fire, rolling faucet, two-stringed bow, bowstring ponytail? The principle of making huqin is clearly expounded.
During the Ming and Qing Dynasties, Huqin became the general name of stringed instruments circulating all over the country.
It was not until modern times that Hu Qin was renamed Erhu.
For more than half a century, the erhu performance level has entered a prosperous period.
Mr Liu Tianhua is the originator of modernism. He boldly and scientifically defined the erhu as five, thus expanding the range of erhu, enriching the expressive force of erhu and establishing new artistic connotation.
As a result, erhu stood out from folk accompaniment and became a unique solo instrument, which laid the foundation for entering concert halls and conservatories in the future.
Second, the analysis of the artistic characteristics of Erhu
1. The profound traditional national culture is the source of erhu art.
Erhu is the most representative essence of China national art.
Erhu art is rooted in the soil of China traditional culture, absorbs the spirit of the Chinese nation and originates from our national aesthetic tradition.
The unique static beauty and natural beauty of erhu contain rich connotations.
Erhu art is a precious aesthetic tradition of our Chinese nation, with soft timbre, delicate lyricism, heavy charm, heavy taste and advocating the beauty of nature.
Qin has a long history of development in China. Some documents say Fuxi or Shennong, two primitive clans? Cut the tung for the piano and the rope for the string? Some people say, created? Made a banjo with the song "South Wind"? , some people say? Is it the beginning of Qin Dynasty that Emperor Jun gave birth to Yanlong? .
What it is, because there is no empirical evidence, there is no conclusion.
As far as the known information is concerned, Qin did exist in the Zhou Dynasty.
Is there a record of piano function in ancient literature? It's still quiet and promising, but it must be annoying. . [1] In addition, the feeling of the sound of the piano is vividly described in Yue Ji: sad heart, killing sound, soothing sound, happy heart, scattered sound and soft anger. ? The development of erhu art is deeply influenced by national culture, from playing methods to aesthetic taste, without exception, pursuing the realm of integration of heaven and earth. [2]
The inspiration of music creation comes from all aspects of life, the worship of gods, the induction of scenery, the passion in the heart, the impact of reality, the fracture of personality, the exploration of structure and so on. Rich life experience can stimulate people's melody creation.
The creative image of erhu art is moving, which not only benefits from China's profound national culture, but also gives full play to the inspiration on the basis of drawing lessons from China's traditional folk music.
In A Dream of Red Mansions, Daiyu is described as the most pitiable flower, and she thinks that it is the cleanest flower buried in the soil after falling, which shows that she has a unique view on beauty.
She wrote a funeral poem, comparing herself to a flower, which is one of the most beautiful poems in A Dream of Red Mansions.
A conversation between Baoyu and Daiyu when they buried flowers became a swan song between lovers in A Dream of Red Mansions.
In the book, Lin Daiyu's "Funeral Poems" is the representative of all the lamentations made by Lin Daiyu about her life experience, and it is also an important work by Cao Xueqin to shape this artistic image and show her personality characteristics.
[3] Erhu song "Dai Yu Buries Flowers" is taken from the repertoire of Pingtan? Flowers fade, flowers fly all over the sky, and who will pity if the red disappears and the fragrance disappears? The performer reproduces Lin Daiyu with gentle turning, subtle brushwork and passionate voice. Inferiority, self-esteem, self-pity? The sad artistic image makes people feel infinite sadness.
"Man Jiang Hong" is the inscription of Yue Fei, a national hero in the Song Dynasty. Song Dynasty poet Wang Shan and modern composers composed music for it, which was widely circulated in China.
Combining with the development of various materials, the author skillfully combines Sichuan dulcimer music with Kunqu opera, showing the glorious image of national hero Yue Fei.
The erhu concerto evokes hatred against the invaders by depicting ancient heroes.
The great rivers and mountains of the motherland have experienced difficulties and obstacles, but the heroic Chinese nation can defeat all aggressors. History has proved this fact.
The whole song fully shows the passionate, generous and tragic music theme, which not only has the quaint color needed by historical themes, but also makes full use of the rich nutrients of the people.
2. Pure tone quality and honest tone quality are the life of erhu art..
Sound quality and timbre are two different concepts.
Sound quality refers to the quality of sound, such as the purity and clarity of sound, the degree of noise or noise, etc.
Timbre refers to the attribute of sound, which is determined by the number of homophones and the relative strength of homophones.
Such as bright, sweet, mellow and honest voice.
[4] In the music world, all kinds of musical instruments have their own special sound quality and timbre, which constitutes a complex and wonderful sound phenomenon.
Erhu is one of the national instrumental music in China? Cavity? One of the strongest musical instruments.
So-called? Cavity? , refers to the vocal cavity in vocal music singing.
Why do you say erhu belt? Cavity? The reason is that erhu's rich singing and mellow timbre are similar to human voice, and the highest purpose of Chinese musical instrument performance is to give full play to the charm of human voice, and it is more important to be close to human voice.
At the same time, erhu is good at playing melodies and is famous for its delicate, lingering, sad and soft music.
The changeable timbre of erhu is a major feature and highlight of traditional national musical instruments.
It is precisely because of this unique feature that the erhu is more expressive and appealing, and has more national and China characteristics.
Can reflect the charm of national music culture.
Appreciators can reflect the unique artistic charm of erhu through the sound changes of erhu, and then can grasp the content and emotion in the music, so that the audience can get a full aesthetic experience.
3. The variety of playing skills is the characteristic of erhu art..
Erhu has a lot of playing skills, with strong national charm and unique style characteristics.
In the fingering of the left hand and the bowing of the right hand, his playing skills are colorful and have their own characteristics.
Erhu has rich playing skills, which are mainly divided into fingering and bowing. The left hand has playing skills such as sliding, rubbing, plucking and vibrato. The right hand has various skills, such as jumping bow, plucking string and breaking bow. Among them, the sliding of the left hand and the bowing of the right hand are the most distinctive in erhu performance.
Slippery is the pronunciation obtained by fingers consciously sliding on strings.
Different sliding modes produce different sliding effects.
Slippery is one of the most distinctive techniques of erhu left hand.
Its functions: first, to express music, and second, to adjust skills.
The musical expression function of glide is first embodied in embellishing timbre and deepening emotional color.
The strength, speed, amplitude and direction of sliding play have a decisive influence on pronunciation.
These four factors are often intertwined, mutually restricted and integrated.
[5] The fan-shaped rolling of a finger on a phoneme on a string is called? Knead the strings? Rubbing the strings will make a wavy sound. Proper use of kneading strings can make the melody more singing and enrich the playing skills of erhu.
Rubbing strings has brought endless beauty to erhu music art. For example, in the erhu song "Rivers", in order to express a specific character, a sense of rhythm and a trembling inner emotion, kneading technique is adopted, which is a unique method of erhu kneading technique. Its effect is to suppress anger, which has obvious internal potential and is more infectious.
Third, the conclusion
To sum up, Erhu is a stringed instrument with the greatest influence, the widest spread, the most representative and the most China temperament and charm in China.
On the basis of maintaining its original characteristics, erhu has been continuously refined and improved, and its unique material foundation has given it a unique timbre. Erhu's distinctive artistic features make people feel its vitality wherever they go.
References:
[1] Zhu proofread. Four volumes on ancient Zhai Qin [M].
[2] Zheng Yanli. Reflections on Music Aesthetics under the Traditional Culture of China [J]. Huang Zhong, 2006, (z 1).
[3] Li Qingxia. On the problem consciousness of Lin Daiyu's poems [J]. Journal of Hainan University, 2002, (1).
[4] Fishes. On the deterioration of erhu timbre [C]. Erhu anthology
[5] Su Shaning. The dual functions of erhu's sliding sound [J]. Musical instrument, 1993, (4).
Study on the Regional Characteristics of Erhu Art II
In recent years, the research of erhu art in China has been developing, especially from the perspective of time. There are many schools of development, playing techniques and artistic styles, but the regional research is relatively weak, and the regional and spatial factors are often not paid enough attention.
This paper attempts to change the diachronic study of time into the temporal study of space, and briefly discusses the regional characteristics of erhu art, with a view to raising questions from a new angle and expounding personal views.
Keywords: regional characteristics of erhu art
I. Overview of regional characteristics
People always live in a certain natural geographical environment, one side of the soil and water to support one side.
Therefore, there are obvious regional differences in people's physique and social lifestyle; From different countries, different nationalities, different villages and different offices, the differences in geographical and spatial characteristics are obvious.
People's cultural activities and other activities are also inextricably linked with their natural and human environment.
This superficial judgment has been provided by geography and other related disciplines with a reliable scientific basis.
The research method of regionalism or cultural geography is to consider the distribution, diffusion and change of cultural phenomena in connection with the natural environment and social factors where cultural phenomena occur, and the division, identification, definition and analysis of cultural regions are the basis of this research.
China has a vast territory, and the largest division in physical geography is north and south.
There are different landforms, different climatic products, different folk customs, people's lifestyles and spiritual temperament in the north and south, so people are used to dividing China's cultural forms into the north and the south in their daily lives.
Although this division can't completely conform to the geographical boundaries, it is in line with the objective reality from the discussion of scholars in previous dynasties and the social phenomena that people can generally feel.
Throughout the ages, there are indeed many cultural differences between the north and the south of China.
From the simplest point of view, clothes, south silk and north cotton; Food, south rice north; Live, south bed and north kang; Ok, south ship and north car; As for it? Southern accent to northern accent? That's closer to music.
From these lists, we can see that the differences of regional culture can not be explained by mere concepts, but actually penetrate into concrete and subtle life, which will not only affect our daily life, but also shape different temperament and interest bit by bit, which is the source of literary and artistic creation.
Therefore, we can see or feel some differences caused by different cultures in north and south from ancient and modern literary works.
Second, the regional characteristics of erhu art development
The regional characteristics of erhu art development can be seen from the following aspects.
Judging from the published works, the erhu works in Northwest China mainly include Grape Ripe (Qu), Sunshine Shining Tashkurgan (arranged by Chen Gang and transplanted to Liu Tianhua), Shepherdess (arranged by Cao Yuande) and Tianshan Style (composed by Wang Jianmin).
Due to its special geographical location, climate phenomenon and humanistic customs, it has been endowed with a passionate and unrestrained music style. Melody, generally used to increase the second interval.
For example, the tenth and penultimate bars of Grape Ripe, especially the song Sunny Tashkurgan, can be seen everywhere.
In terms of beat, perhaps it is the special geographical environment of rugged mountain roads that makes the music in this area adopt 85 beats, 87 beats and 89 beats.
Objectively speaking, the uneven rhythm like this, on the one hand, gives the music a sense of movement and dance, on the other hand, it also adds special musical effects.
For example, the above beat is used many times in the song "Sunshine Shines Tashkurgan".
In terms of playing skills, the erhu solo in this area pays special attention to the realistic skills of both hands.
For example, the music "Grape Ripe" from 144 to 15 1 vividly reflects the scene when people pluck the strings with their left hands, play with their right hands, play tambourines and sing and dance at harvest time.
This is obviously related to the lifestyle and living environment of local people.
Among the erhu works in the south, such as The Village Has Changed (Zeng Jiaqing), Spring in the South (Zhu Changyao and Ma Xilin), Spring Dawn in Gusu (Deng Jiandong), Memorizing Jiangnan (Min Huifen) and so on. Because of its special geographical location, climatic phenomena and humanistic customs, it is also endowed with delicate and feminine musical characteristics. Melody, mostly progressive natural intervals, is the music theme of Memory of Jiangnan.
From the beat point of view, it seems that because of the geographical conditions of Jiangnan Plain, the music theme here is often used in the beat with smooth and smooth bisection law and strong sense of movement.
In terms of playing skills, the erhu solo in this area pays more attention to the exertion of freehand brushwork skills.
For example, the music "Spring in the South of the Yangtze River" depicts the beautiful scenery of the water town in the south of the Yangtze River by using the unique sliding sound, pad finger sliding sound and round and full timbre of the silk and bamboo in the south of the Yangtze River.
To sum up, since the development of erhu art, the author believes that there is no absolute standard for the evaluation of regional erhu works and the level of playing skills. Any judgment based on the current popular aesthetic vision can not be regarded as a scientific evaluation.
However, due to various reasons, there is no doubt that the styles and playing methods of Erhu works in the north and the south are indeed different.
Then, from what angle or principle should we study the regional style of erhu art or describe the regional erhu phenomenon?
First, geographical conditions are not directly proportional to regional cultural and artistic achievements.
The smallest theme in music? As far as folk songs are concerned, Shanxi Hequ is a real backwater, but the artistic achievements of folk songs there are very high.
Especially in the folk songs expressing love and hardships of life, it is even more shocking.
Furthermore, Holland is small and Spain is partial, but its artistic achievements are high.
So is the art of erhu.
Looking through 50 classic works out of about 300 officially published works in China in the past 50 years, it is not difficult to find that the works with local characteristics and rich styles, such as Capriccio on the Theme of Shaanxi Opera, Blue Flower Ballad, Northern Shaanxi Lyric, Tune, Red Army Brothers Come Back, etc., have formed a major faction system with great influence and heavy weight in China erhu art, namely? Qin sent erhu? .
In this regard, Mr. Zhu Daozhong said in "My Opinion on the Humanistic Spirit of Erhu": Does Qin send Erhu? In this system, through inheritance, exploration, practice and innovation, it is unique in the northwest wind with extremely touching charm. This? Wind? From the Yellow Plateau to the East, the land of China was drunk, and all China people were stunned? Looking west at Chang' an? Qinchuan in 800 Li shocked me. ? Beijing is the political and cultural center of China, and it is also the most concentrated place of music and art, but the erhu works with the theme of Jing Feng and Jing Yun are not as good as in quantity or influence? Chang 'an Music School? .
Therefore, geographical conditions and regional cultural achievements cannot be generalized.
Second, the regional characteristics of erhu are far and near, and there is no high or low.
There is a difference between the center and the periphery within a country, and there are also differences between developing countries and developed countries around the world.
However, the development of culture and the characteristics of art are not divided by region.
It cannot be said that the culture of developed countries is good and that of developing countries is poor; By the same token, the erhu art in Beijing has its obvious advantages, while the erhu art in other provinces and cities also has its unique flavor and characteristics. Objectively speaking, each has its own strengths and is evenly matched.
Third, the difference between quantity standard and quality standard.
The value of art mainly lies in its internal quality rather than external quantity.
To study the regional phenomenon of erhu, we should not only pay attention to the number of works and playing skills, but also pay attention to the height and depth of the soil and water and cultural value reflected by the regional erhu art, or pay more attention to its concise and profound cultural connotation.
Fourth, consider the time factor.
Space and time are inseparable, and different spaces often carry different degrees of historical civilization.
For example, in the17th century, the feudal culture in China was highly mature, but at that time, people in remote areas of China were still in the stage of hunting culture.
Even at the moment when science and technology are relatively developed and the economy is growing at a high speed year after year, there are differences between the rich and the poor in different regions.
This shows that the same era is not necessarily in the same civilization system.
In this way, many special artistic phenomena can be produced due to regional and cultural differences.
Erhu art is no exception.
It is not a new idea to consider the role of space environment in erhu art research.
In "Philosophy of Art", Dana believes that the production of works of art depends not only on? Time spirit? , still want to see? The surrounding customs? Regional research is not only the study of mountains and rivers, but also regional culture and art.
People living in a certain area will inevitably be influenced by the natural and cultural atmosphere of this area.
Their works and performers, even non-locals, will inevitably have traces of this regional culture or imagine and feel this regional culture when enjoying these works.
It can be said that when no one is creating, playing and enjoying a delicate and melodious Jiangnan work, what he captures and feels is the scene of snow and ice falling in Wan Li.
Why is this?
In recent years, the research of erhu art in China has been developing continuously, but the regional research is a relatively weak link, and the regional and spatial factors are often ignored.
It is natural and reasonable to study the development of erhu art from the perspective of time, but this is not the only angle.
? History is not only a river, but also a river. History is not only the dynamic change of time, but also the static difference of the space in which it exists, that is, there is a longitudinal curve? Spatial characteristics of history and its combination. ? I think this view is very consistent with the research situation of erhu art development history.
If we can ask questions from a new angle and combine the historical study of time with the time study of space, we can add a three-dimensional and vivid atmosphere to the study of erhu art.
References:
[1] My Opinion on the Humanistic Spirit of Erhu by Zhu Daozhong, No.2 of China Erhu in 2004.
[2] Cheng Minsheng "Open up the space of history? On Regional Studies of History, Guangming Daily, 7th edition, June 25th, 1999.
Artistic charm of erhu papers 3
Abstract: Erhu is an important instrument among China national musical instruments, and it stands on its own feet in the world music art forest with its unique artistic charm.
This paper makes a comprehensive, systematic, in-depth and detailed study and discussion on the artistic charm of erhu from three theoretical levels: artistic Excellence, artistic achievement and artistic innovation.
This paper attempts to provide a dual frame of reference for rational speculation and artistic practice for the prosperity and development of erhu art.
Keywords: erhu; Fine arts; Charm; Youchang; Achievement; reform
Erhu is an important national musical instrument in China, and it stands on its own feet in the world music art with its unique artistic charm.
Studying the artistic charm of erhu has important theoretical thinking value and reference significance for the prosperity and development of erhu art.
Therefore, this paper makes a comprehensive, systematic and in-depth discussion on the artistic charm of erhu, which attracts attention and discussion.
Specifically, the artistic charm of erhu can be analyzed and interpreted from the following three levels.
First, the artistic charm of erhu.
Erhu, as a stringed instrument among China national musical instruments, has obvious artistic advantages.
One is a long history.
Erhu has a very long history. According to literature, it existed as early as the Tang Dynasty. Playing the piano , that is, the northern minority Xi tribe? Qin Qin? This is the predecessor of erhu.
Chen in the Northern Song Dynasty? In Le Shu, he said: Qin,,,; Because of the string, the shape is similar, and the joy of Xi is also good. Cover, the two strings are tied with bamboo pieces, which are still used by the people today. ? (1) the yuan dynasty, change to ponytail, the history of the yuan dynasty.
"Li Lezhi" contains: Huqin, made like fire, has a curled neck, a faucet and two strings, which are pressed with a bow, and the strings of the bow are ponytails. ? (2) The erhu in Ming Dynasty was played with a ponytail bow between two strings, wasn't it? Thousands of pounds? .
In the Qing Dynasty, erhu appeared in various forms.
? May 4th Movement? After the movement, erhu art was pushed to a new artistic peak by the reform of two masters (Hua) and Liu Tianhua, and went to the world.
Secondly, it has various functions.
Erhu is not only an ideal solo instrument, but also an ideal instrument for ensemble, concerto and ensemble.
It can play not only national music, but also national opera, folk art, folk songs and dances, as well as indispensable accompaniment instruments such as string Suo Le, bamboo and silk music, drums and percussion music, and some even become major instruments.
Mr. Mei Lanfang took the lead in introducing erhu into Peking Opera accompaniment.
The third is the beauty of timbre.
The timbre of erhu is kind and beautiful, full of artistic expression, showing the aesthetic characteristics of national music such as implication, grace and implication.
The fourth is rich in skills.
The playing skills of erhu can be divided into fingering skills and bowing skills.
Fingering techniques include string rubbing, sliding rubbing, pressure rubbing, sliding vibrato and so on. The skills of achievement also include long bow, split bow, connected bow, fast bow, variable bow, variable chord and closed bow, which show rich characteristics.
It can be seen that the artistic advantages of erhu are all-round, which is the basis and guarantee of its artistic charm.
Second, the artistic achievements of Erhu
The artistic achievement of erhu is remarkable.
One is the large number and high quality of tracks, and there are many fine works of art and world music treasures in the middle period.
For example, people are familiar with rivers and streams, two springs reflecting the moon, listening to pines, singing in illness, walking in the light, horse racing, nightly talk, village changes, market fairs, walking in the streets, empty mountains and birds singing, Xiangjiang music, and Jiangnan spring scenery.
Especially 1993' s award-winning "Two Springs Reflecting the Moon"? China's fine works of art in the 20th century? , and is called? Top ten famous songs in international music? First, it has become famous at home and abroad.
In China, it has also achieved a well-known change.
? The success of melody creation in the artistic achievements of the works can not be ignored, and the melody is lyrical and profound. The understanding and performance of the works should be enlightening to future generations. ? (3) Seiji Ozawa, a famous Japanese conductor, could not help but burst into tears after hearing the recording of "Two Springs Reflecting the Moon" played by A Bing, and said with excitement and piety. This kind of music should be listened to on your knees! ? Yin in Sickness, another well-known Erhu song, is the first of the 10 Erhu songs composed by Mr. Liu Tianhua and his masterpiece. Is it also the prize in 1993? China's fine works of art in the 20th century? .
The perfect combination of ideological content and artistic form of this famous song fully shows China style and China style, and is deeply loved by overseas Chinese at home and abroad.
Second, famous artists came forth in large numbers with brilliant achievements.
Outstanding erhu composers include Liu Tianhua, Liu and Zhao.
Outstanding erhu performers include A Bing, Liu Tianhua, Min Huifen, Shao Zhang, Zhang Jirang, Zhang Huiyuan and Zhang Lingjie.
The third is that it has a wide influence and far-reaching significance.
Erhu art has influenced national instrumental music, national vocal music, national opera, national folk art, national dance and other artistic fields, and made great contributions to the creation of national art and culture.
It can be seen that the artistic achievement of Erhu is of high standard, which is the core and symbol of its artistic charm.
Third, the artistic innovation of erhu.
The art of all countries and nations in the world takes innovation as its life and soul. Similarly, the artistic innovation of erhu is also the life and soul of erhu art. ..
? Time is the only criterion for testing truth? Facts have fully proved that the artistic innovation of erhu has achieved great success.
The first is the innovation of works.
For example, Liu's Romance of Sanmenxia, Capricorn of the Great Wall and Wu's Capricorn of Hongmei are all successful innovations.
The second is the innovation of performance.
For example, erhu players in 12 girl band stand and dance; Zhao Benshan, Lang Lang Erhu and Piano Duet Horse Racing; Beijing? National Music, Tianjiao Female Music and French Piano Prince Richard? Clayderman's mix and match performances and so on are refreshing.
It can be seen that the artistic innovation of erhu is deep-seated, which is the support and motivation of erhu's artistic charm.
Precautions:
① ② Wang Xiaohong. System theory of national musical instruments [M]. Beijing: China Theatre Publishing House, 2008: 163.
③ Zhang Huiyuan. Notes on all-site erhu (amateur) graded works [M]. Beijing: Aviation Industry Press, 1996: 243.