CC BY
0ART STUDIES
EXPERIENCE IN THE PERFORMANCE OF CHINESE TRADITIONAL GONGS AND WORKS
HanYu Xue,
National Skaorod Normal University in Ukraine
Master student
main research direction: Chinese traditional folk music
Abstract
In the ancient national musical instruments in China, and has a unique form and artistic expression. After the Ming and Qing Dynasties, the art genre began to take shape, and there were Gentle and no Gentle. The emergence and development of different genres promoted the development of literary and martial arts. Our country's music has cultural beauty, historical beauty and human beauty, especially the literary music, which attaches great importance to the beauty of melody. It is a must-have performance and teaching repertoire. The traditional lyrics are an important part of the art. The artistic expression is strong, the playing skills are rich, and the lyrics and freehand brushwork are attached. They have the common characteristics of traditional Chinese music and the unique musical characteristics of the lyrics. This article mainly discusses the experience of playing traditional Chinese lyrics.
Keywords: Gentle; traditional PiPa works; performance experience
It is a foreign musical instrument, and the national musical instrument formed by the fusion with the Chinese Han dynasty has obvious Chinese cultural characteristics and is called the "king of folk music". His artistic expression is rich and he has unique playing skills. There are many kinds of music, mainly divided into Wenqu and Wuqu. There are hundreds of traditional lyrics, such as "Han Gong Qiuyue", "Spring River Flower Moon Night", "Yue Er Gao", "Sai Shang Qu", "Sunset Drums", "Chen Chen" and so on. The literary music is a classification concept derived from the traditional Chinese cultural thinking. Although it is not strictly defined, it has been widely recognized and used. The most concise summary of the literary verse is freehand and lyricism. The traditional lyrics show the profound cultural heritage of China and the simplicity, elegance and delicate temperament of the ancients. First, the development of the literary verse (1) The development of ancient literary works In the fifth century AD, the pear-shaped songs were introduced into China, and the pear-shaped songs were from Persia, and they were created and evolved in China. The first climax of the development history was the description in the Sui and Tang Dynasties, especially in Bai Juyi's Minhang. At that time, there was no exact analysis of Gentle and no Gentle, but in some poems, there were different expressions of literary and martial arts [1]. During the Song Dynasty, based on the development of the Sui Dynasty, the style and melody of the music were further reflected. In the Tang Dynasty to the Southern Song Dynasty, the foundation for the performance of the pipa and the melody of the melody was played, and the performance of the pipa was changed from wild to soft. During the Ming and Qing Dynasties, in the private sector, rumors spread widely, deep love of celebrities, civilians, etc., as well as professional personnel research, appeared a family of playing cricket.PiPa entered the second climax of development. The development of music, poetry and opera has also promoted the development of crickets, playing and performing rumors, spreading from north to south [2].
The lyrics of the Ming and Qing Dynasties were different from those of the Tang Dynasty, and different schools gradually established and developed. From the seventeenth to the eighteenth centuries, it was generally divided into the Northern School, represented by Wang Xijun, also known as the Zhili School, and the Southern School, represented by Chen Mufu, also known as the Zhejiang School. At the end of the Qing Dynasty, Yu's playing style and playing fingering were more diverse, laying the foundation for more genres. The styles of Qi Wenqu and Wu Qu are gradually clear. Yan Wenqu focuses on the left-handed technique, playing soothing and elegant, soft and fresh, such as "Han Gong Qiuyue" and "Sai Shang Qu". Yan Wuqu focuses on the right finger method, playing styles such as Ma Hongda, wild and unrestrained, such as "10-face ambush", "Overlord Unloading", "General Order" and so on. Since the twentieth century, under the influence of the new music culture, there has also been innovation [3]. With the establishment of the Shanghai School, it entered the third climax of development. Due to the inheritance and development of the musicians in the past, the art of our country has been continuously improved.
(2) The evolution of modern lyrics
From the 1980s to the 1990s, China's shackles gained new development and vitality, which is of epoch-making significance. There are obvious reforms and innovations in the form of the music, the composition of the songs, and the structure of the phonology. There are obvious changes in the theoretical system and creative forms of PiPa [4]. In 1973, the Little Sisters of the Prairie broke through the portability and appeal of traditional matching. The combination of traditional Chinese music and modern Western orchestral music showed positive significance. The expression form of the PiPa is mainly Chinese, supplemented by the West, and enters the period of creation blowout, constantly pouring into the expression techniques of many Western music. With the reform of Yule, there has been a deeper expression. Many creators have begun to use the transformation of the tone, use the soundtrack in multi-
ple dimensions, break through the traditional music theory creation, enhance the expressiveness of the performance, and give full play to the characteristics of the instrument.
(3) Definition of traditional lyrics
PiPa occupies an important position in traditional Chinese music, has rich artistic expression, and unique playing skills. It is a solo national musical instrument with Chinese cultural characteristics [5]. According to the length of the music structure, there are two types of Gentle, one is the slate and the other is the syllabus. The form of these two types of music in performance is actually a literary genre. In short, the essence of the music, or the situation, is "sentimental freehand". The relatively long structure is the set of texts, such as "Song on the song." The relatively short structure is the text board, such as "Flying Flower Green". Different from the indifferent, quiet and quiet pianos, the literary verses are refined, soft and simple, embodying the idea of unity between man and nature.
Second, the characteristics of the literary works and classic works
(I) Cultural analysis of traditional Chinese music
Music is an important part of the cultural field. To
fully grasp the musical connotation of traditional lyrics, it is necessary to understand the relevant cultural background and appreciate the culture in the literary verse. The traditional lyrics absorbing a large number of guqin songs, as well as the Chinese classical poetry culture, fully embodies the wisdom, simplicity and femininity of the ancient Chinese. The traditional lyrics "Spring River Flower Moon Night" and " Sai Shang Qu" can all appreciate the atmosphere of romance, elegance and ambition. China's traditional literary verses have profound cultural connotations. This cultural connotation is related to the humanistic spirit and is inseparable from China's profound traditional cultural heritage [6]. The title of the traditional lyrics is very rich, and the cultural connotation is reflected in the title. The titles of traditional lyrics are freehand, such as "Yue Er Gao", etc., but also realistic, such as "Flying Flower Cui", "Mountain Flowing Water" and so on. The realistic title describes related scenes, historical events, and so on. The title has already reflected the fun and emotional connotation of the traditional lyrics. The cultural connotation of the traditional lyrics is mainly reflected in three aspects. First of all, the traditional lyrics show the literati temperament and the essence of literature. Secondly, the timbre, volume and performance concept of the traditional lyrics reflect Confucian culture [7]. In the end, the performers should deeply understand the spirit of the creator, thus perfectly interpreting the traditional lyrics, fully demonstrating the reflection of the lyrics on life, and embodying the traditional view of life and art.
(II) Structural analysis of traditional Chinese music
Structure is an important factor embodying the value of art works. The specific law of traditional lyrics is contained in the internal structure of literary music. The structural value of traditional lyrics is very important. The structure is integrated with the cultural and
artistic connotations to make the works more expressive [8]. In the initial appreciation of traditional lyrics, there will be a lengthy and scattered feeling. When you are quiet and reminiscent, you will find that the internal structure of the literary music is interlocking and intriguing. The set and the text board have different structural features. The text set "Songsong" consists of five parts, each of which is a three-segment structure. Each piece can be used as an independent piece during performance. The set of songs is also a structural feature of traditional lyrics, such as "Ping Sha Luo Yan", " Chen Chen", "Yue Er Gao" and so on. As the mood of the protagonist changes, the music works are constantly changing and closely connected [9]. The structural characteristics of the traditional lyrics are consistent with the overall musical concept, the theme development logic is the same, and the main purpose is clear, so that the audience has a sense of temperament.
(3) Analysis of the artistic conception of traditional Chinese music
The traditional lyrics use the combination of virtual and real to express the artistic conception in the works. Therefore, it has the artistic effect of turning into reality. Yan Wenqu "Yue Er Gao", from the title of the audience can produce associations, and then gradually understand the story of the Guanghan Palace, the application of historical material experience works, through the moonlight, starry sky and other scenes, grasp the artistic conception of the work. The "Moon High" in front of the audience became a wonderful space concept. Virtual reality, using the scene to express the author's emotions. Through the integration of the situation, the artistic conception of the work can be better interpreted [10]. When further digging into the deeper connotations of the work, the audience can feel the sad feelings expressed by the protagonist. The traditional essays use the techniques of depression and cheerfulness to express this feeling, and embody the thoughts of the protagonist through interspersed methods. The traditional lyrics "Qing Lian Yue Fu" expresses the poetic and artistic scene. The performer needs to fully display the poetry of the work, highlighting the elegance and simplicity.
Third, the traditional characteristics of the traditional essays
(1) Formal characteristics The form of music is a symbol of the high development of music art, and it is the structure, pattern, and skill formed in countless practices. Among the expressive factors of music, the dominant one is expression, which measures whether it is the highest standard of musical sound and expression.PiPa is a traditional plucked instrument, and the most basic form of sound is the sound line and sound point. Sound lines and sound points are also important sound forms, as well as references to timbre features. Point sounds are an important feature of PiPa. In order to truly play the aesthetic characteristics of the shackles, it is necessary to grasp the characteristics of the singer's voice, to exert the charm of the music, and to create the effect of harmony. The traditional lyrics are mainly to express lyrical and freehand feelings. When playing traditional lyrics, the techniques commonly used include playing,
squatting, pulling, pushing, overtones, wheel fingers, belts, etc. [11]. In the traditional lyrics performance, the rhyme skills such as and so on are strong, and have the effect of improving the sound quality and beautifying the residual sound. In the traditional lyrics, in order to render the atmosphere and shape the music image, it also uses the portamento. The portamento can stimulate the vitality of the music, decorate the melody, and deepen the expressive power of the music.
An important artistic expression in traditional lyrics is the sound cavity. The rhyme conveys the characteristics of Chinese traditional culture and condenses the understanding, belief and expression of beauty. It is based on ethnic customs, local customs, and Chinese charm that we can fully express the beauty of the sound. The sound cavity of the traditional lyrics is the result of the national aesthetic accumulation and the long history accumulation. The emotional color, rhyme, language and style of the rhyme make it different from other style techniques. The finger changes the tension of the string, and the process of sound and sound is used to express the music space, forming a rich and varied rhyme, and the sound has the characteristics of mind, mind and emotion. To a large extent, the formation of music is related to the rhyme technique. In the rhyme technique of the Gentle, the tension of the chord is controlled by both hands to display the phonology and sound cavity. As the pitch changes, people's mindsets, emotions, etc. are fully expressed. The spiritual experience and knowledge acquired by the performer in the non-music world determine the aesthetic taste and performance of the rhyme. The beauty and artistic conception of the rhyme, the acceptance and sensibility constraints. The sound of the traditional lyrics affects the aesthetics of the audience and has a national understanding of the beauty of music.
The hidden structure corresponds to the structural form in the sense of the surface layer. It is a hidden skeleton in the surface form of the music melody. It is the internal structure of all music, and the structure in the deep sense cannot be directly distinguished from the surface. Traditional lyrics, while having inherent regularity, carry rich artistic and cultural connotations. Some scattered and lengthy structures, carefully explored, will reveal deep hidden structures and support music from the hidden aspect [12]. The traditional lyrics have a synthesizing set, and some of the first sixty-eight plates are composed of small songs. The sixty-eight plates are a common structural form in Chinese traditional music, and the modern notation is 68 bars. For example, "Water Lotus", "Jackie Water", "Song Song" and so on. Each song has its own unique characteristics, but in the whole song, it has a certain commonality, which is independent and closely related. On behalf of the literary song "Sai Shang Qu" consists of five small songs, each song can be played independently, are three-segment structure, 68 bars. "Shangshang Qu" began as a short theme fragment, and then gradually appeared in the theme material, appeared in "Si Han", "Xiang Yu Tears" and so on, and is the beginning or end, called "Hetou", "Hehe tail". "Sai Shang Qu" completely narrates the story of Zhao Jun and the pro through the succinct songs. Use "Head" and
"Heft" to penetrate multiple passages of different melody and tell Zhaojun's resentment and sorrow. The music passages are organized in an orderly manner, with a clear theme and a strict structure. The unified music image is presented to the audience. With the change of feelings, the theme plot is gradually unfolding, and the structure of the music is consistent with the overall conception of the music and the theme logic [13]. This set of songs formed by the theme of the plot, the overall structure is "starting, bearing, turning, and combining", the theme of development along the natural context, with obvious rules, such as "month child high", the theme with the pre-designed concept The veins flow, with regularity, present a huge and complete structural system, reflecting the beauty of ups and downs.
The traditional lyrics have a variety of performance techniques, and a variety of performance techniques change and unify, fully demonstrating the expressive power of the instrument and forming a rich acoustic effect. In the practice of music, the choice of tone is based on the connotation of music. Method and skill are based on music selection, perfect integration of method skills, music performance, is a unique performance technique. The traditional lyrics are mainly lyrical, expressive and implicit, and closely match the real and imaginary sounds in the playing technique. More use of fingering, squatting, banding, hitting, squatting, squatting, etc. usually only requires left-handed touch. Form a virtual sound, hands with a solid sound. In the whole song, there is a change in the change, and there is a change in the unity. Unity is the foundation, change is development, change and unity complement each other.
(2) Content characteristics
The traditional lyrics works, focusing on the second creative nature of the performer. The application of the initial ruler spectrum is to record the most basic content, including the string order, rhythm, pitch, etc., and the rest is tasted by the performer. The West often labels accurate expressions, speeds, and dynamics. However, traditional lyrics are different. Because of its simple notation, it is very important for teachers to learn. At the same time, the performers also have a lot of space for creation. Usually, the teacher-study relationship is the main line, and the teachers and students reach a relative consensus on the works, thus creating their creations. The understanding of the music, the grasp of emotions, the playing techniques, the composition of the paragraphs, etc., give the player a space to play. On the basis of inheriting the predecessors, we will learn from each other, integrate ourselves, and exert individual talents to form our own style. With the development of history, a variety of genres and scores will appear, innovating artistic style, tunes, and content. The traditional lyrics "The Sunset Drums" has four names, not only "Sunset Drums", but also "Spring River Flowers Moonlight", "Yangyang", "Chuyang Night Moon", and there are many different version of. The process of playing traditional lyrics is also a process of innovation, perfection and development. The traditional lyrics and western music are different in performance. In the same piece of music, the traditional
lyrics can be expressed in many forms to create aesthetic images. Western music is mainly based on the emotional experience of the creator. In the traditional lyrics "The Jackdaw Plays Water", some performers show slowness and solemnity, and some performers are born and lively. There are also different understandings of "Flying Flower Green", some focusing on sublime and simple, and some focusing on delicate and feminine.
The charm of music is the expression of the inner spirit of music. Unlike the stringed instruments such as violin and erhu, PiPa expresses the pronunciation through the connection of points and points, and the stringed instruments pass lines and lines. The advantage of PiPa is the point, and the disadvantages are also points. Every singer should pay attention to the beautification and retention of the reverberation. Because the reverberation of "dot" is relatively short, it is easy to disappear quickly if you don't pay attention. The remaining sounds have the effect of keeping the music between the real and the real, and the swaying of the sound, so that the single voice changes [14]. The residual sound can be extended by some technique, and the residual sound contains "taste", which produces rhyme. The sound is full of emotions, in order to have long features, so that the potential rhythm, melodies. The rhyme produced in the pipa is mainly the right hand chord, with the left hand technique, note, push, pull, etc., resulting in a residual change. Through the rhyme of the left-hand technique, the feminine beauty of the reverberation is expressed. The player has different understandings of the literary music, which will produce different phonology. The "rhyme" reflects the player's style and aesthetic taste, and is a vague concept that needs to be perceived through hearing. Therefore, the performers should strengthen their daily accumulation, enhance their self-cultivation, and form a unique style and charm. In the first paragraph of the lyrics "Shang-shangqu", the sliding is slow, and the slow-sliding sound is used to reflect the euphemistic affection, delicate and soft, and the phonology is long.
Fourth, the experience of Chinese traditional lyrics
(1) The use of performance techniques
The traditional lyrics contain a lot of artistic conception and emotions. The commonly used techniques of playing are harmonics, wheel fingers, cymbals, pulls, belts, cymbals, etc., with reasonable virtual sounds and real sounds. The real sound needs the cooperation of two hands, and it is the technique of using pull and wheel finger. The virtual sound is a technique of using belts, cymbals, and playing, and is performed by using the left hand alone. In the traditional lyrics "Fuyang Moonlight Night", it is necessary to comprehensively apply various techniques such as push and squat, and fully display the poetry and connotation of the works. The player needs to be proficient in the characteristics of the performance. In "Fuyang Moonlight Night", you need to use "Jianglou Bell". The player must first pick it up, or pick it up in half a turn, then speed up, simulate drum sounds, snoring, show the sunset, the river is red. Scenes. Then apply techniques such as ^ and , to introduce the theme of music and create
a profound artistic conception. In a lot of performance practice, the player can find that the sound is relatively soft in the position away from the double hand, and the sound is relatively rigid in the close hand, and the sound is relatively rigid [15]. In the chord point, there are upper, middle and lower parts. For a more precise position, the lower is about two centimeters from the hand. It is in 23 products. It is in 11 products. The player must constantly change the tone, volume, etc., and can constantly adjust the string points to convey the emotions of the works.
The earliest appearances before and after the modern times were the Wuxi School. With Hua Qiuping as the founder, he edited the three volumes of the "North-South School Secrets and True Story" with his brothers, eighteen pieces of the Southern School, and six of the Northern Schools. The characteristics are both rigid and soft, and both north and south. Li Shi, a generation of five generations, is the representative of the art of Pinghu. During the Guangxu period of the Qing Dynasty, Li Fangyuan compiled and published "Li's Genealogy", which had far-reaching influence in modern times, including six pieces of cultural relics. The Pinghu School played the literary genre, soft and swaying, and it was melodious, breaking through the restricted area without the pinky of the little finger, in order to strengthen the residual effect, the right hand with the virtual soothing work. The founder of the Pudong School is a gentleman named "Jiangnan First Hand". Among the disciples of Shishilin, Cheng Chuntang is good at playing the literary music, and Chen Zijing is good at playing the literary music. Chen Zijing's disciple, Shen Haochu, edited the "Ningzheng Xuan's Spectrum", which included four pieces of cultural repertoire. The Pudong School plays the literary genre, characterized by exquisiteness and softness, and strictly distinguishes the Wuqu, Wenqu and Daqu. The representative figures of the Chongming School are Xu Lizhen, Liu Tianhua, Shen Yuzhou, etc. The Chong-ming School is good at Wenqu. Shen Yuzhou compiled "Zhuzhou Ancient Tunes", which included five posters, twenty-two slow-motion songs, and seventeen Allegro pieces. The most characteristic of playing is the slate song, the slow slate song, the requirement is quiet, delicate, slow, and the tuning of the string is not high. Playing fingering should be done in a proper manner. The wheel finger is good at the next round, the sound is soft and delicate, and there is a sense of slimness and leisure. The stencil is heavily clamped to the light wheel, which emphasizes the clip and the single tone. Since the twentieth century, the important genre in China's music is Shanghai Wangpai, with Wang Yiting as the representative. The influence of the Shanghai School until the end of the 1950s was the third climax of the history of development. Wang Yuting compiled "Wang Yuting's PiPa » ", which included many traditional lyrics, "Ping Sha Luo Yan", "Han Gong Qiu Yue", "Yang Yang Yue Ye", "Sai Shang Qu" and so on. Shanghai Wangpai pays attention to the popularization and improvement of music, and promotes the artistic improvement of the literary and martial arts.
(2) Correctly grasp the musical style
The player must correctly master the style of the music to improve the performance. In the performance of traditional lyrics, different genres often have different approaches. In the Pinghu School, the performers should be skilled in applying law enforcement, effectively arrange the rhythm, and use the flowering technique at the same time, that is, through flexible decoration, highlighting the delicate and refined style, reflecting the method of the Pinghu School. Mr. Lin Shicheng, a descendant of Pudong, used the contrast of timbre as the key point when playing "Sai Shang Qu". The use of the right hand to touch the string point to form different tone changes, highlighting the delicate handling of the Pudong party music. The tradition that the Pudong faction has continued is to pay attention to the change of tone, and to pursue the crisp, loose, tang, sharp and explosive sound. Crisp is a crisp sound. Pine is not harsh and flexible. The hall is full of bass and has resonance. The tip is bright and clean. Explosion is explosive, not dragging water. The five sounds are a perfect blend of the Pudong style. The Pudong faction controls the change of the tone mainly by adjusting the chord angle and the chord speed and strength of the right hand. Mr. Lin Shicheng clearly marked the string point, the lower tone is dry and hard, the middle position is soft and bright, and the upper tone is illusory. When playing, use the chord points, strong and weak contrast, so that the music does not have a sense of redundancy. Wang Pai played the natural beauty and simplicity of pursuing music. Compared with the Pudong School, Wang Pai's performance techniques are not numerous. Wang Pai pays attention to the changes in inner emotions and the performance of performance. In expressing the changes in emotions, Wang Pai is good at using rhyming fingerings, such as pushing, pulling, dragging, and squatting. Rhythmic fingering can refine the sound and is used universally in the music. Because Gentle pays attention to inner feelings, rhyme fingering is more common in Gentle. Overall, Wang Pai's playing style is more masculine and domineering.
Even if the performers are from the same genre, there will be differences in dealing with traditional lyrics. Each player has his own understanding of the genre, and has his own performance characteristics. There will also be differences in mastering the genre. Some performers deal with "Jackie Water", focusing on lyrics, and some players focus on the treatment of the landscape. Different cognitions and understandings, as well as different playing concepts, enable the performers to perform artistic traits, artistic features,
In short, art is an important part of traditional Chinese music and an excellent achievement of long-term accumulation and precipitation. There have been three climaxes in the development of history, and many classic works have been published, and many outstanding performers have emerged. Under the continuous inheritance and development of artists of all ages, the development of the art of literary arts has been promoted.
With the development of the times, the traditional lyrics are constantly innovating, highlighting the unique artistic charm. The performers must correctly master the playing skills, fully understand the musical style, and show the excellent national cultural connotations in the traditional lyrics.
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