CC BY
0RESEARCH ON CHINESE TRADITIONAL MUSICAL ART PERFORMANCE
Yu Yatong
Ph.D. student
National University of Karazin in Ukraine Ph.D. candidate at the National Skaorod Normal University in Ukraine main research interests are: Chinese traditional folk music and instrumental performance.
Abstract
Among the excellent traditional cultures in China, traditional music culture is only one of the important components, which has the function of promoting national pride and cohesiveness. However, as far as the development of traditional music and art performances in China is concerned, there are still many problems that need to be improved. The research in this paper focuses on the development of traditional Chinese music and art performances, including the aesthetic thoughts, the status quo and the way of inheritance. In particular, it is necessary to carry out the work of inheritance in the current environment.
Keywords: traditional culture; traditional music art; performance; inheritance
The traditional Chinese music culture is not only the music formed by Chinese characteristics and the integration of traditional culture in the process of music creation from ancient times to modern times, but also an important cultural wealth. It contains not only ancient fine works of art, but also some modern works. At present, the connection between Chinese culture and other cultures in the world has become more and more close, and the development of traditional music culture has also been adversely affected. In order to preserve and continue the traditional high-quality culture, it should increase its attention and inheritance.
First, the concept and development of Chinese traditional music
(1) Concepts and characteristics of traditional Chinese music
Concept definition
Conceptually, Chinese traditional music represents a kind of music created by methods and intrinsic forms that have traditional Chinese characteristics. The range of musical works involved is not what we have understood in the traditional sense. It is just ancient traditional music, but also contains new music in the new era. China can see the word "national music" in many national music CDs. This is also a manifestation of the national music that has been passed down from ancient times to the present and has been developed at present. It can be seen that the characteristic of the national music is that its creation time is ancient. The new music represents related music created by some people who have studied Western music culture, such as school songs. It can be seen that the overall time of new music creation should be after the Opium War. Chinese music not only refers to the cultures with traditional characteristics that have been handed down from ancient times, but also contains some cultures produced in modern times [1].
The essential difference between Chinese traditional music culture and new music mentioned in this study is not reflected in the order of appearance, but in the style and form of expression. For example, "Fishing Boat Singing Night" and "Two Springs Reflecting the Moon", although appearing in modern times, are still unique musical performance forms in China, so they can also be included in the category of traditional music. On the contrary, some piano solo music and other
cultures that draw on Western music do not belong to the scope of traditional music.
As for the division of traditional music, it can be divided into five different types, namely songs, opera, instrumental music and song and dance music. However, many schools have songs and dances directly alongside folk songs, so now there are mainly four types.
2. Characteristic analysis In music development, the score is usually used to complete the recording, because the music can record the music in the form of text, so that the music can be preserved for a longer time [2]. But it is not all forms of music, nor can it represent all forms of music. We must not simply equate music and music directly. Music is not as scientific as mathematics. If you pay too much attention to scales, you will put the cart before the horse and let the charm of music itself be lost. Our ancestors performed very well in this regard.
In our traditional music culture, a lot of traditional music has left a full development space for post-deduction and people, which is expressed in terms of pitch and rhythm. Since everyone's experience with the same song can vary widely, there is a lot of room for music form and content. Such as the ruler spectrum, which only has the eye. Others require the performers to improvise themselves. The subtraction spectrum is also a very popular way at that time, which is to locate the pitch [3]. In the actual performance of the performance, the fingering can be performed according to the fingering, and the player himself can express the relevant music connotation by combining his own emotions. For example, "The Ten Faces Ambush" is a distortion of the historical theme. In order to better play this scene, our country's pipa player Tang Ying once played the kind of war scene that was performed at that time according to his own sentiment.
(2) The development of Chinese traditional music 1. Traditional musical instrument development To understand the development of traditional Chinese music, we first need to review the development and evolution of some traditional Chinese musical instruments. China's cultural heritage is profound, and music has appeared in the Xia and Han dynasties. Only the number of related instruments contained in the
Book of Songs has exceeded 30, and the number of instruments in the Zhou Dynasty has increased to more than 70. After the opening of the Silk Road in the Han Dynasty, many foreign musical instruments flooded into China and interacted with traditional Chinese culture [4]. Since the Tang Dynasty, the instrument has changed its role, not only for ensembles and accompaniment, but also for solo performance and enhanced expressiveness. In the Tang Dynasty, there was also a cymbal performance method, which appeared to expand the range, and also called the shackles of traditional cymbalsj!§ has also become an instrument that can be played independently. There are similar developments on other instruments. In the cave paintings in Xinjiang, it was also shown that the film appeared in the Tang Dynasty, which enhanced the expressiveness of the flute and liberated the function of the instrument. In the Song Dynasty, the emergence of the syllabary, the emergence of this instrument can achieve a rapid transfer, so that you can also have multiple tones in the study, so that the efficiency of the performance is effectively improved. During the Tang and Song Dynasties, the development of national music in China was very glorious. Especially in the Song and Ming Dynasties, there were rap music and opera music, which confirmed the development process of Chinese traditional music [5].
2. Changes in the external environment of traditional music
In the current urban context, China's traditional music has quickly entered the modern society, and it is inevitably integrated into the characteristics of some modern society. Under the constant close relationship between countries in the world, especially in the context of the increasing popularity of Western music culture, Western aesthetics and taste have become the dominant force in the development of music culture in all countries of the world. Based on this environment, the development of traditional music is faced. A more severe external environment. After the country entered the 20th century, the structure of the traditional contract form also changed with the introduction of Western music and musical instruments. In the early stage of the last century, Liu Tianhua practiced a large number of erhu songs, including many violin playing methods. The original meaning was to improve the performance of our country. However, in fact, it has played a guiding role in the development of national instrumental music. In many music schools, there are also many Etudes of erhu music.
In the 1950s and 1960s, instrumental improvements appeared one after another. In order to combine the instruments of cymbals and zithers in Western music, the five-level body sounds were weakened or abandoned. In the process of the past ensemble of Chinese national musical instruments, the content is mainly concentrated in the high-pitched and mid-range [6]. At that time, there were even many people who believed that traditional Chinese music must be combined with Western music culture to conform to the development of the times. However, the absorption of reference does not mean losing the dominant position of traditional music culture.
Especially in recent years, China's traditional music culture has been greatly influenced by Western culture, leading to more serious conflicts between Chinese and Western cultures. As an ancient civilization, India has performed very well in traditional culture because they have always maintained a unique attitude towards their traditional culture.
Second, the aesthetic thought in Chinese traditional music art performance
The music performance evaluation includes the content and the thoughts conveyed. In ancient times, there are quite a few literary works that record the relevant content of traditional Chinese music and art performances. It also contains some aesthetic ideas, including the form, content and emotional aspects. Mainly as follows:
(1) Study of the form of beauty
From the aspect of the form of performance, the level of singing performance in China during the Spring and Autumn Period has been relatively high. For example, in the Spring and Autumn Period and the Warring States Period, Qin Guo Qin Qing, whose singing voice is wonderful, can be described by "sounding forest trees". South Korea's Han Yu's singing is very touching. Shi Yan is a famous Qinqin in history. In Huainanzi, it is also mentioned that the teacher can adjust the temperament very accurately without using the instrument. In addition to the excellent listening skills of music, there are also high performance skills. The violinist of the steamer was eager to learn from a young age. After many consultations, he came up with the relevant skills of the piano playing. For example, the "hands-on" generalized piano playing skills came from the relevant viewpoints of the teacher about playing the piano. At the same time, there is also a description about singing art in "Legend", which probably means that the singer should be high-spirited when the treble is high, and the bass should be stable and steady. The sound must be sharp and angular when the music turns. No matter what changes in the tune of music, it is necessary to do a good job in the connection [7].
In ancient China, there were related researches on the performance and form of music, but the main content of the study was concentrated on vocal performance and the performance of Guqin. In addition to the research of people who specialize in music, there are also scholars who have studied the relevant forms of music. For example, in the Tang Dynasty, Bai Juyi not only knew the temperament, but also had excellent playing skills. In his "Minhang", he described the performance and emotions of a highly skilled female musician. Some of the words used in poetry, "slow and slap in the face" are all techniques in the performance of the piano. In the performance, these are also some basic playing skills, so that the fingers and strings are perfectly blended, and the "Big Beads and Jade Drops" is the change of the sound of the performance.
(2) Research on the beauty of performance content
The content contained in traditional Chinese music is relatively rich, and each specific type of music also contains a lot of details. In traditional music, it not only integrates some of the main folk traditional re-
sources, but also contains a very rich historical resources, and is a living fossil. Our traditional Chinese music content includes instrumental music, opera, folk songs and folk dance music.
First, traditional music of instrumental music. Traditional instrumental performances can be divided into two different types of solo and ensemble. Solo music can also be further subdivided, such as percussion, plucking, blowing, and bowstrings. The ensemble music can also be subdivided into different categories such as blowing, blowing and blowing. These forms of performance are also the main forms of traditional music performance in China.
Second, drama music. There are still more than 300 types of local operas in China. According to the characteristics of the drama and the form of performance, it is also possible to divide the opera music into two parts: the Kunming cavity, the leather yellow cavity, the scorpion cavity and the high cavity.
Third, folk songs. This is an important foundation for the development of various folk music in China. China has a vast territory and a large population. There are also different types of folk songs in different places. In general, folk songs can be divided into three specific types, such as labor songs, minors, and folk songs.
Fourth, folk traditional dance music. This type of music is currently popular among tea-picking dances, drum dances, and yangko.
From the point of view of the content, Chinese traditional music contains more content. There are also many types of works related to it. In the "Xishan Qin-qin" in the late Ming and early Qing dynasties, some specific contents about the aesthetics of traditional music were put forward. Specific to the Guqin performance, it is necessary to use the Guqin playing method as the relevant basis, and then analyze the aesthetic thoughts contained in it, and also provide a lot of experience for future generations to draw a rich theoretical foundation.
(3) Performing emotional beauty research
We all know that the essence of music is to convey emotions and emotions. Therefore, it is necessary to convey relevant emotions through music. In the "Legend of China", a special introduction to the content of singing art was given. Everyone's temperament and personality are different, so there should be differences in the types and forms of music that should be played. If the songs being sung can be matched with their own characteristics, then the appeal of music will be better played and it will be of great success. The characteristics of the song are also closely related to the singer. In the actual singing process, the structure of the song must be fully understood, and the vocal performance can be repeated by means of variations and harmony. Make the final result better.
This is a core content and an important criterion for judging the music in China. As the name suggests, singers are required to make a real word when singing music works, and the words and sounds can be coordinated. The vocal music theorists of the Ming Dynasty also carried out research and analysis on the vocal singing technique. That is, if the singer only has a good voice, it should be more clear and accurate, so that the
connotation of the work can be presented. If the words are not clear when singing, the class will affect the artistic charm of the music works. Li Yu pointed out that some singers sang the whole song, and everyone could not hear a word, but left a vague impression. This is the singer's own attention to the wording is not too much attention, just pay attention to the cavity when singing. In order to meet the standards, it is necessary to master some of these basic singing techniques. For example, the word circle needs to be based on clear words, and it is also an upgrade and a higher aesthetic pursuit. Speaking words should follow the truth, while the line of words pursues beauty, and the two can be combined to achieve the goal of sound and emotion.
The sound of emotion is that when performing music works, in addition to being clear in words, it is necessary to integrate feelings. It also incorporates the corresponding aesthetic ideas, which can be said to be important evaluation criteria and aesthetic rules. The realization of this goal also emphasizes the artistic sentiment to sing. Love is the root of sound, and sound is the product of emotion. In actual singing, you need to be sensational and lyrical. It refers to the beauty of the human being, and the key content of the singing performance. The relationship between sound and emotion is more like an internal relationship, which ultimately forms the whole of art. Regardless of which specific goal is to be achieved, the artistic performance of traditional music should be regarded as an important overall research. For the inner logic between sound and emotion, Shen Kuo pointed out that the two are dialectical relations that cannot be ignored. Only by achieving unity can we achieve a touching and deep purpose. A successful musical performance should be consistent with the word and the song, and then the singer should fully express the connotation of the song while singing. Let the singer achieve the effect of combining the work with the work. If the singer only has a beautiful singing voice, it is not able to convey rich feelings. Instead, he needs to fully understand the works of the performance first, and then use the performance to convey the emotions. Singing can reach a higher artistic realm after the singer's voice, the sentiment of the work, and the expression are coordinated. At the same time of singing, we must balance the emotional transmission and achieve the same feelings. These aesthetic thoughts have already appeared in a more detailed discussion when they developed to the Ming and Qing Dynasties. For example, in Li Yu's "Emotional Love", it is pointed out that the performer must clear the specific music plot before singing. Knowing what the artistic conception is included in the music, based on this foundation, can the expression of the music be reflected. If you can't meet these standards, the singer's singing activities will be more boring than endorsement. Xu Dazhao also pointed out that the method of singing songs not only pays attention to vocalization, but also conveys the content and emotion of music through singing. If the singer does not know the background of the song, his singing may be out of the actual situation and will inevitably be rejected by people. In addition, he also pointed out that the singer should also master the content of the singing art. Only by imagining himself as a character in the
song can the true expression of the characters in the song be truly more realistic, otherwise the performance will only become a fine detail. Can not be touched by people.
Third, the status quo and inheritance of Chinese traditional music and art performances
(1) Current status of traditional Chinese music performances
1. Analysis of the current situation of education
The spread of heart has always been one of the important ways of inheriting traditional Chinese music. After the emergence of music education, it also increased the systematic approach to school education. First of all, in terms of the way the folk heart spreads, although the customary environment and rich communication experience can make the inheritors more easily accept the core content of traditional music art. But we also saw the shortcomings of this mode of communication, that is, the lack of advanced educational equipment and the imperfect education system. Many young people prefer to live in big cities, and many traditional music cultures are in the folk and cultural areas. This has led to this form of music becoming flashy. How to make the actual process of this educational method more humanistic, and let the traditional culture pass down to the original, has become one of the important issues that need to be solved urgently [8]. Another way of school music education should be to combine specific practical activities with theoretical education content, based on specific practices to draw rich nutrition from folk music culture. Or it is necessary to actively learn from the rich experience of foreign countries and promote innovation. The traditional, super-high level of traditional music must be preserved and included in the important protection. Teachers engaged in music education need to constantly improve their own cultivation, update the knowledge system in a timely manner, and pass the latest content to students, so that students' horizons can be broadened. Although school music education has increased the intensity of reform in recent years, there are still many problems. For example, more emphasis is placed on theoretical research, and attention to practical education is still insufficient. The ability of the final students to develop in actual performance is relatively lacking. This will not only have a negative impact on the normal employment of students. It will also affect the wider spread of Chinese traditional culture. For some other music-related people, some of them pay too much attention to the commercial value and profit of music. They are not just elements of traditional Chinese music for inheritance, but more because they want to make more profits.
2. Popularization
Many of the current traditional music and art performances are only accessible to students who specialize in musical performances. But these students who come into contact with traditional music are not as complete as they are. Because many of the universities in China currently do not set up special Chinese traditional music courses, they integrate them with other music courses as a minor course. Based on the current status of traditional Chinese music art, it is not optimistic. It should also consider setting up a special Chinese
traditional music major, or use it as an elective course, so that more students can deeply understand China's traditional music culture and cultivate quality. The higher level of music performing artists has further improved the overall quality of the people of our music performances. At present, the state has also established some specialized institutions for the protection and development of traditional culture, but more is to protect the entire traditional culture. There are fewer units for specific music fields, and the relevant responsible management system is not sound enough. This will hinder the wider spread of traditional Chinese music.
3. Emphasis on importance
Our traditional culture is based on thousands of years of development history and the life and production experience of the Chinese people. It is also an important symbol that distinguishes it from the nationalities of other countries. Traditional culture is also an important feature of the Chinese nation and an important part of the national spirit. As a music culture in traditional culture, it plays an important role in promoting people's spiritual development. The related music activities of various traditional cultures can help people find a sense of belonging and national self-confidence. In the new era, traditional culture, including traditional music, has greater development potential and development space. If it can be developed into a traditional cultural industry in combination with new development concepts, then the material and spiritual benefits will be considerable.
(2) Ways of inheriting Chinese traditional music
art
1. Based on traditional mother culture
In many cases, the development of music culture requires some original cultural characteristics, that is, it should have the relevant genes of traditional culture, otherwise the culture will be alienated in the process of development. However, traditional music in our country pays attention to the sound cavity and needs to have a special charm. Although it lacks scientificity and nor-mativeness, it reflects the core content of art to some extent. Therefore, we should still retain the tradition of inheritance. However, it is necessary to change the method of copying and copying the Western knowledge music system, so as to prevent the people who are finally cultivated from adapting to the characteristics of the country. Or it is a misunderstanding and understanding of traditional culture. Therefore, we must integrate the traditional music's vocal scores, notation, etc. If the situation allows for relevant measures, there should be no wrong judgment.
2. Balanced development of music education
In music education, school education at all stages should attach importance to the inheritance of traditional culture to enhance national consciousness. Therefore, for primary and secondary schools, it is necessary to change the existing teaching materials and add more traditional music. And we must put this reform into practice. Colleges and universities should timely adjust the students' existing knowledge structure, enhance students' understanding of traditional culture, and improve their own musical quality. Traditional cul-
tural education and compulsory courses should be offered in more music colleges. The specific courses can cover archaeology, law and literature. At the same time, the geographical distribution is also uneven. We should adopt policies and media propaganda to encourage the development of traditional music in rural areas and western regions.
3. The media increased the positive publicity
Few people now read newspapers and magazines,
and more people get information through TV or the Internet. Therefore, positive publicity should also be enhanced in the promotion of traditional Chinese music culture. Both CCTV and local TV stations should pay more attention to this report and encourage more original performances. Broadcast some very authentic and high quality original music. Or it is to hold some traditional Chinese music performance competitions, so that the traditional culture that is about to disappear into our sights can renew your attention.
4. Enhance the combination of theory and practice
In the process of inheriting traditional music in
China, the work on the theoretical aspects is still relatively in place. However, there are still many problems in the combination of theoretical and practical activities. In terms of theory, we have achieved the following results: researching the relevant law styles of traditional law, melody development techniques, etc., and also analyzing the traditional creative techniques and organizational structure of musical tones. However, some of the theoretical results obtained through the research have been shelved. Failure to apply these theoretical results to actual practical activities is tantamount to wasting those research results.
In the future, we should not over-emphasize some foreign theoretical or practical achievements. Rather, it is necessary to set up a special organization to carry out special analysis on excellent traditional music, law and structural relations, and combine the relevant achievements that have already been made to form a more complete and practical theoretical system to guide the practical work. In practice activities, you can set up relevant majors in ethnic music in colleges and universities, so that they can apply Chinese thinking more skillfully in performance, creation and learning.
Fourth, summary
This study focuses on the relevant content of traditional Chinese music and art performances, expounds the basic concepts, the development status and the aesthetic characteristics of this type of music, and points out the current problems and proposes methods of inheritance, such as the current China. As the mother culture, the overall culture plays the role of different media and increases the propaganda of this kind of music mode. I also hope that the traditional Chinese culture will be carried forward in the future.
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