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0a relatively fixed state of teaching in their respective institutions. Promote the thinking and research of participants in different disciplines.
Fourth, the conclusion
Through the research and understanding of minority music disciplines, the author starts from the actual situation of each institution that offers this discipline. The idea of establishing an exchange and communication mechanism for ethnic minority education art colleges and universities was put forward. And briefly explained some personal views. This article is only used to attract jade. I hope that more people with lofty ideals will be committed to promoting the construction and development of minority music disciplines. I hope that experts will correct the comments.
References
1. An Analysis of the Teaching Mode and Development Direction of Minority Instrumental Ensemble
Classroom-Taking the Encyclopedia of Minority
Instrumental Music in the Conservatory of Music of the Central University for Nationalities as an Example Cui Jian Music Time and Space 2015-11-12 13:47 Journal 5 Download 85 Share
2 My opinion on the application of innovative teaching methods for ethnic minority instrumental music-Taking the Mongolian plucked instrument fire-
fighting teaching application as an example Cui Jian Music Time and Space 2015-10-26 10:19 Journal 2 Download 36 Share
3 Suggestions on the Specialization Construction
of Minority Instrumental Music Discipline-Taking
the Development of Minority Instrumental Music Discipline in the School of Music of the Central University for Nationalities as an example Cui Jian Music Time and Space 2015-10-26 10:19 Journal 1 Download 29 Share
4Analysis of the artistic creation characteristics and artistic conception of Bayar's instrumental music
works-Taking the Mongolian plucked instrument
fire and not the works and the creation of the accordion as an example Cui Jian Music Time and Space 201510-20 13:21 Journal Download 24 Share
5 Commentary on the Musical Creation of Traditional Minority Instrumental Music-Taking Mongolian Plucked Instrument Fires as an Example Cui Jian Chinese National Expo 2016-01-15 Journal Download 23 Share
6 The pursuit of art and the persistence of education-Remember the Mongolian minority minority
instrumentalist and educator Bayar Cui Jian Music Time and Space 2015-10-20 13:21 Journal Download
THE PROSPERITY AND DECLINE OF THE ANCIENT FIVE-STRINGED CYMBALS
Wu Lele
China's Xinjiang Uygur Autonomous Region, sity Urumqi and Peking Opera Troupe,
National Second Performer, Band, Chief Performer
Abstract
Recently, the book "The New Perspective of Chinese History" by the late Chinese cultural scholar "Father of Grassland Culture Theory", Mr. Meng Chibei, is a book that re-examines and understands Chinese history from a new historical perspective. In the process of reading this book, it seems that I have touched a certain vein after China introduced the Central Plains from the Western Region. It has been flourishing in the Sui and Tang Dynasties and even in the past two thousand years, and has undergone the reform and production of the violinists. Qu Xiang has grown into a representative Chinese national musical instrument with beautiful shapes, diverse skills and rich expression. I think of it: the five-character musical instrument "Five Strings" (hereinafter referred to as the Five Strings), which was in the Sui and Tang Dynasties during the Sui and Tang Dynasties and the Song Dynasty, has gradually faded out of sight in the Song Dynasty and gradually disappeared in the long river of history. The sound disappeared and even lost, this problem is generally considered a mystery. In reading the works of Mr. Meng Chibei, he also referred to the work of Mr. Zhuang Yongping's "Handbook", and here he felt some kind of inspiration, which led to the inner sprout. As a reader, he is also a music worker. Here I will record my personal experience and hope to have a chat with people who are interested in it. In the following, this article will focus on the history of the five-string growth, the history of the decline
The roots are tested.
Keywords: ancient China; Wuziyu; development history; Xinjiang musical instruments
Historical records: The Northern and Southern Dynasties in the Sui and Tang Dynasties were popular in the Central Plains of China. The five-stringed pipa was a plucked instrument from the northwestern steppe nation. It was called "Hu Yu" or "Kuzzi", and the "Hu" was the ancient Central Plains people in the western and northern grasslands of China. The general name of the nomads, "Kurz" refers to China's southern Xinjiang, with the Kuqa as the center, including Baicheng, Shaya,
Xinhe and other counties. It was once a famous citystate in history.
The country "Kwaiz State".
The written records about Pipa can be traced back to the Han Dynasty: from the Han Dynasty, Zhang Wei cut through the Western Region, expanding the Silk Road and becoming a major channel for material and cultural exchanges between the East and the West. The Eastern Han Dynasty Liu Xi's "Release Name" said: "Hey, immediately drums, pushing the hand before the
sun, but the hand is awkward, like the drum, because of the name." The record of the five strings, first seen in Du You. "General Code" Cloud: "Since Xuanwu (post-Wei Shizong) has been, since the beginning of love Hu Sheng, squatting in the capital, Qu Zhi (Guizi) Pipa,
Wuxian, Hu Di, Hu drum, gongs, sandf^, MM,
flifffff, "Tongdian • Musical Instru-
ment" wrote: "The five-stringed cymbal is slightly smaller, and it is covered by the North. The old magazines are all made of wood." Among the ten music pieces of the Tang Dynasty, five parts used five-string, five-string and music items are representative of the traditional music instruments that play a leading role in the game.
In the Kizil Grottoes in Xinjiang, the Kumu Tula Grottoes and the Senmu Grottoes, there are many vivid images of the five strings in the murals from the Han and Jin Dynasties to the Sui Dynasty. In the Tiangong, the music is flying, the arms are embraced. The five-stringed heavenly man is elegant and dignified, especially the five-stringed flying scorpion at the entrance to the main room of the 8th Cave of Kizil. The painting is the most exquisite and the most preserved. It is not difficult to see that its resonance body is narrower than the song, slender as a stick, and the lower abdomen is a half-pear shape, straight item, and horizontal hug. In a five-string image of the Kizil 135 cave, the column arrangement clearly shows four compartments plus one solitary column. It confirms the record of "five strings and four separate columns". Some scholars have revealed that there are more than 50 five-string images in the grotto, which is the largest number of instruments in mural instruments. There are also a number of five-string flying and playing murals in the 85th Grottoes of Mogao Grottoes in Dunhuang, Gansu, including Caves 148 and 390. Henan Anyang not only unearthed a long sword-shaped head
The string, also unearthed a glazed porcelain flat pot in the tomb of the general lord of the Northern Qi Dynasty. The music and dance pattern clearly engraved the image of the Hu people playing the five strings. It can be said that from the western part of China to the central part, the footprint of the five-stringed Dongjin has been widely left.
As the name implies, there are five strings in the five strings, at different times in history and not
In the same area, the five-stringed individuals are large and small, and the five strings are arranged differently.
For the time being, it is divided into two types. The first one is small and once popular in Kucha. This small five-string, the piano face and the mountain pass are relatively narrow and thin, and the arrangement of the five strings may be arranged at different distances. It may be five and three-stringed. The piano surface is wide, the upper part is wide, the piano surface is narrow, and the chord is narrow. The narrow plate surface of the ancient five-string is one of the reasons for forming the five-string and making the three-stringed bullet. This not only reduces the space occupied by the five strings, but also makes the small five-string have a unique performance effect.
The Uyghur traditional national musical instrument, which is widely popular in Xinjiang, is considered by the academic circles to be the "playing pluck" of the ancient five-stringed variant. It is an example of five strings and a three-stringed bullet. Its pear-shaped smashing resonance box, head The straight item between the handles and the posture of the horizontally hung piano are similar to the five strings. The difference is that the handle is long, and the five pegs are short and the resonance box is small. One scholar said profoundly and vividly: "If you put the five strings up, you will become a plucked!". The body of the plucking wheel is different in length and length, generally about 1.4 meters. The pitch of the traditional folk plucking string is not fixed. The interval relationship between the chord distances is generally four or five degrees. The outer chord is a parallel double chord, the second chord (the middle chord) is a single chord, and the three chord (the inner chord) is a juxtaposed double chord that acts as an accompaniment and resonates.
The hot corrugations used by the Uighurs, especially the Kashgarwas used before the 1960s, use five strings, and the main string (outer string) is a parallel double-string, two-string (Medium) is a parallel double-chord, three-string (internal string) is a single string, two or three strings are mainly used for accompaniment and resonance, the interval relationship between the pitches, generally four or five degrees, the above two instruments, For double strings that are juxtaposed in the same degree, the chord is narrower, and the chords that are not adjacent to each other are wider. According to the famous scholar Mr. Wan Tongshu in the book "Uygur Musical Instrument": "The early hot tile has three strings, and later developed into four, five", and even worth noting: no matter how many The root string, as a string of the main chord (external string), is a double string of the same degree. This traditional chord feature is always the same.
In June 2006, Chinese archaeologists discovered a three-stringed scorpion in Damagou, Cele County, Xinjiang, and the Xinjiang Satellite TV made detailed reports on November 26 and 27, 2011. Placed in the "Damagou Buddhist Site Museum", this is a petite and amazing half-pear-shaped bar-shaped straight three-stringed cymbal. The shape of the head of the piano is similar to the three-string and five-string in the Kizil cave paintings. The body is kept intact. According to the relevant personnel, the resonance box on the back of the piano is made of walnut wood. The panel is made of mulberry wood (the local two kinds of wood are abundant), and the length is 68 cm, because the neck of the piano is broken, if the missing part is added. Its body length should be longer than the present, the width of the belly is 12 cm, the narrowest mountain mouth is only 1.6 cm, and there are two left and right sides of the panel; the moon-shaped sound hole, straight, three heads For the small hole of the string, (no see the scorpion), it is said that there is still a string on the piano when it is unearthed (now lost). According to the dictation of the party: the string is like "the same Tal string", it may be a string . There are horizontal scratches on the surface of the piano, indicating that the piano has been
played. It is a practical folk grass root instrument. Experts say that this is a relic of the history of China's Northern and Southern Dynasties when it was popular in the 150-1700 years. (It is also said to be in the 6th century AD). It can be said that it is the earliest excavation entity in China and even in the world. It is entirely from the people, closest to the grassroots of society, and the most pristine. If it is now, it is called "Original ecology" Pipa. The image of this three-stringed cymbal appeared in the mural of Cave 69 of the Kizil Grotto: a heavenly man squatting in space with a three-stringed raft. According to the historical evolution of Uygur Revo, the author gradually changed from three strings to five chords and multiple chords. It is hard to think that the traditional five-string cymbals in the ancient Western region may also be the three-string in this relatively primitive state. On the basis of Pipa, in the process of cultural development, gradually expand the resonance and increase the achievements of the strings. From the mural image to prove that this back is made by grooving, straight, the body is slender as a stick, the bottom of the belly is half-pear-shaped, and the small five-string is placed horizontally. It should be an intrinsic folk instrument widely popular in southern Xinjiang. The strings used in ancient times are mostly made of bird's ribs and animal's intestines. The pulling force is relatively strong. Such strings can be set higher and not easy to break. It is conceivable that the volume of the small five-string is large, the sound quality is high and rough. In addition, with the double-string of the bullet, the effect of the pronunciation should be shocking and not replaceable by other instruments. Very suitable for lively music.
In addition to the small five-string, the music is also popular with the big five-string, its belly surface is wider than the small five-string, so it has enough space to open five strings at equal distances. According to Tang "Le Yuan", it is recorded: "five strings and four partitions "Single column one", five different strings of pitches appear five empty strings of scatter, plus four separated by 20 sounds and a single column sound, a total of twenty-six sounds.
Compared with the small five-string, the five-string and the small five-string have wider sound range and softer sound quality. They can not only exert their special rhythm, but also express deeper euphemism and rich connotation in the display of the tone. In the murals of the late Tang Dynasty (827-907 AD) in the north wall of Cave 85 of Dunhuang Mogao Grottoes, it was shown that Wuxian was once the chief in the band. In the future development, the strings of the five strings may be changed to soft strings, or the hands may be changed. It can be seen that whether it is a small five-string or a big five-string, whether it is a play or a handbomb, they are juxtaposed with the songs in the Yan and Tang Dynasties, and each of them has its own sister instrument.
Imagine the ancient nomadic people in the vast land of Central Asia, on the sparsely populated grassland, between the deserted desert Gobi and the remote green state. In the long migration of water and grass, loneliness and loneliness, human emotional desire Get released and diarrhea, hoping to find a way to soothe
the soul and loneliness. If this moment is easy to move out, it is crisp, bright, beautiful, and even a rough sound. The melancholy and dull mind will be excited and awakened, the activity of life. It will be motivated immediately. This is a light, portable, rhythmic instrument that is suitable for playing and accompaniment in any singing and dancing entertainment. It exudes and impresses people with the most beautiful
The emotions are combined with the bold personality that can sing and dance. This is the horseback nation.
The personality of the grassland people loves it and cannot do without it. This is because the prairie people have spiritual needs in human geography. Therefore, it is the product of the typical grassland nomadic culture.
With the progress of history, following the pace of Buddhism's eastward transmission, the Kuzi music dance flourished in the Central Plains, and the five strings and songs were on the scene in the music scene. They showed their talents and played masters. The masters of the era who were famous in the Central Plains mostly came from the Western Region. The Central Plains whipped up the hot Western winds.
(two)
During the Sui and Tang Dynasties of the Southern and Northern Dynasties, the Central Plains ignited the fierce cultural style of the Western Regions. Here, the roots of the flowers were born, and the roots of its roots and the environment of the growing environment were provided in the book "New Perspectives on Chinese History". A full historical argument.
One of the core contents of Mr. Meng Chibei's work is that "the Chinese nation is not a purely single nation", it is mainly composed of the Central Plains farming people and mixed with various nomadic peoples (mainly nomads). "Chinese culture is the fusion of farming culture and grassland culture." "The reasons for the rise and fall of Chinese history have often come from the Western Region. The Western Region was once a region where nomads were hiring, and the Central Plains was a region where farming people lived. The ethnic groups of the class represent two different modes of production, that is to say, each has a culture different from the other.... The two ethnic groups often conflict and merge, resulting in a mixture of human races and cultures. Rich and heavy, the argument is incisive, this article will be more citations and some of the relevant arguments in the list of books, linked to personal ideas, to analyze the historical phenomenon. The cited chapter is hereinafter referred to as "Meng Wen".
First of all, it is necessary to understand the ethnic origin and national cultural composition of the Chinese nation, in order to explain the cultural phenomenon in its history, and to analyze its cultural factors. "Meng Wen": "The Chinese nation is a nomadic group of Aryan (Europa), a mixed-race of the Altaic nomads and the Chinese indigenous farming people." "There is a mixture of culture and blood." The author uses detailed historical evidence and archaeological materials. Detailed dialysis and elaboration of Xia Shang Zhou,
which was more than 4,000 years ago, is the fusion period of the mixed race of the Chinese nation. "After the Xia, Shang and Zhou Dynasties and the Aryans, the mixed race has brought about a difference. The mixed culture of quality and culture, the Chinese accepted the impact of a variety of information, became clever, and wise, so there was a brilliant Spring and Autumn Warring States civilization." In ancient times, in the different historical periods in northern China, many ethnic groups lived here and there. In addition to the Han nationality, there are also Xiongnu, Xianbei, Yiren, Shi, Yi, Tu Guyu, Man, Rouran, Turkic, creeping, Ding, etc. They are mostly grassland people who live by water and migrate. Since the year of AD 304, Liu Yuan claimed that the king had reigned China in 589 AD. During this nearly 300 years, the territory of northern China experienced the rule of the sixteen countries and the Northern Wei Dynasty, the Northern Qi Dynasty, and the Northern Zhou Dynasty. The Han regime is mostly a regime in which the nomads rule. From the end of the Eastern Han Dynasty to the Wei and Jin Dynasties, a large number of nomadic people entered the Central Plains, according to Zi Zhi Tong Jian. "The Emperor Jinwu Emperor Taikang Two Years" records: "Since the Han and Wei Dynasties, most of the tribes surrendered by Huhu, Xianbei, etc. lived in various groups within the Guansai." "Zi Zhitong Jian Jin Wu Di Tai Six Years" said: " At the beginning, the Wei people placed the five parts of the South Xiongnu in the counties of the Hezhou to live in harmony with the Han people." Jiang Tong said in the "Migration Theory": "There are more than one hundred thousand people in Guan-zhong." The five nomads are Xianbei, Yi, Shi, Yi and Xiongnu, among which the M, % and ^ are Europa species, and some of the tribes of the Xiongnu and Xianbei are also Europa." "In the three hundred years of confrontation between the north and the south, More than 10 million nomadic people have been integrated into the northern Han nationality. After such a large-scale mixed-race, they have become a new race. "After war conflicts, ethnic migration, and ethnic mixed populations have brought about the result of ethnic integration. The natural marriage, the forced marriage caused by the war, and the political marriages that the various tribal ruling groups often use to strengthen the alliance relationship by mutual marriage for some political purposes. "Meng Wen": "For the Hu rulers, it is difficult to maintain the rule of the Han nationality without absorbing the political system and culture of the Han nationality. Therefore, the intermarriage between the ruling classes is more frequent, and the speed of mixed blood is faster than that of the general public." This kind of intermarriage has happened in Chinese history too, the most famous, well-known; the Princess of the Han Dynasty, the princess of the sorrow, the marriage of the Western Regions, the Wusun, the Kunming, the hunters and the ancestors, to fight against the Xiongnu, and Wang Zhaojun's marriage. The Xiongnu was alone, Princess Wencheng went to Tibet to marry Songtsan Gambo, etc. In particular, in 568 AD, the Northern Zhou Emperor Wu Wenyu married the Princess Ashi Nashi as the Queen, introducing a large and excellent Western Music and Dance Troupe, especially It is
brought to the Kucha, the musician Su Supo, etc., "The Book of Songs and Music" contains: "When the Emperor Zhou Wudi first, there was a Kucha people who were only a woman, and they went from the Turkic Queen to the country, and listened to what they played.
There are seven sounds in one......." Su Dan's five-and-
seven-tone theory has played a historical and decisive role in promoting the reform of Chinese national music. "The marriage between the Han and the grassland people has enhanced the mutual understanding between the ethnic groups, and naturally it has enhanced the mutual absorption of culture." There are still many records of mixed marriages in the history of large-scale intermarriage, and this article will not list them one by one. As a result of intermarriage between different races and ethnic groups, a new type of Han Chinese has emerged in the north of China. This new Han Chinese not only changed the previous physiological state, but also changed the original psychological state: the body type increased, the constitution Strong, high nose, double eyelids, thick eyebrows, at the same time also changed the previous closed psychological quality, become fresh and open-minded, brave and good, open and optimistic.
"Meng Wen" "In the ruling class of the Sui and Tang Dynasties, the Yang Jian and Li Yuan families are members of the Northern Guanyu Group. This group is inextricably linked with the various generations of the Southern and Northern Dynasties and the minority regimes. It is often used to conclude marriages. Therefore, the Guanyu Group's mixed blood is the most frequent, and their blood vessels are filled with more horse-backed national blood than the average person, so their cultural psychology also focuses on the grassland culture.
Prairie people have their natural and special hobbies for music and dance. They have unique potential in this respect, especially with music and grassland instruments. The new Han ethnic group also has a special affinity for the culture from the grassland: Zhou Wudi of the Northern and Southern Dynasties not only advocates pleasure, but also likes to be jealous, and he is also good at impeaching: According to "North Qiqi Volume 11 • Biography Third • Six Kings": After the Emperor Wudi in the Yunyang feast Qi Junchen, self-playing Hu Wei, life test Yan flute." North Qicheng Emperor Gao Zhan, after the main high latitude, for Hu Le like endless, not only can play personally, but also personally composing The young master Gao Heng not only embraces the shackles, but also sings and sings himself. Because Hu Yu won the admiration and admiration of the aristocratic class, as the saying goes, "There is a good thing, the next must be very good", so many people will be impeached as fashionable, and even become a timely skill. Emperor Wen of the Emperor Yang Jian often relied on two songs, namely, "Geohara" and "Tiangao". Tang Taizong praised and encouraged the hand-cranking technique " Pipa" from Shule's master S S S, and sealed him as "too often happy". According to the "New Tang Book. Li Lezhi" records: "The five strings are as small as the shackles, the North is out, the old ones are made of wood, the music workers are sacred, the first hand is playing, the Taizong
Yuezhi, the later people are learning." In the history of the court, such as Feng Xiaoli, Cao Zhaoyi, Yang Guifei, Zhao Hui, Xiao Guanyin, etc., are the masters of their era.
The supreme rulers of the Tang Dynasty not only love music, but also can create music and dance. Tang Taizong created "Breakfast Music" and "Qing Shanle" Tang Gaozong wrote "Da Dingle", Wu Zetian created "Sheng Shou Le", "Tian Yin Le" "Long Live Music of Birds" and Tang Xuanzong created "Dragon Pool Music" and "Breaking Music". "The Western Region is connected to Central Asia, South Asia, India, close to the Middle East, and close to Persia. These regions have created advanced culture. The Western Region is close to the Central Plains, and the splendid culture of the Western Regions spread them to the Central Plains through the nomads, which has an immeasurable impact. , its significance is far-reaching."
"The "Nine Pieces", "Ten Music", "Yan Le",
"Qing Shang Le", "Xi Liang Le", "Gao Li Le", " Gao
Chang Le", "Tian Yu Le", "Popular Music" "Kurzie",
"Shu Lele", "Kang Guole", "An Guole". Most of them
are the music of the Western Region Prairie. The main
instrument is the one. The "General Code" contains:
"The seat is the Yanle "It is called Pipa Pipa Pipa □ □ it
"The court life is built in the mainstream position of social life, which in turn leads the social trend." Yuan Zhen's "Faqu" wrote: "Since Hu took the smoke, the hair is full of salty. The woman is Hu Hu Xuehu Makeup, skill into Hu Yinhu Hule. The fire is deep and swallowed, and the spring is long and long. Hu Yinhu and Hu makeup have been squandering for 50 years." Wang Jian's "Liangzhouxing" wrote : "Chengtoushan chicken horn corner, Luoyang family study Hu Le." It can be seen that: Western music in the Central Plains music occupies an overwhelming strong position, people's love of grassland culture is almost to the point of fanaticism. Hey, the leader of this plucked instrument, with its elegant shape, sturdy and soft tone, strong and bright rhythm, rich emotional expression ability deeply loved by people, up to the court nobles, down to The literati, the civilians, rushed to practice. There are countless poems describing and praising the literary world in the Tang Dynasty. The most famous one is the "Minhang", which has been used for centuries. He also has a number of poems describing the performance of the five strings: "Five Strings", "Five Strings" and so on. During the Sui and Tang Dynasties of the Northern and Southern Dynasties, many well-known pipa performers, composers, educators, and theorists such as Su Shipo, Yu Shenfu, Wang Wei, Zhao Bi, Kang Kunlun, Duan Shanben, He Huaizhi, and the Cao family were emerged. The inheritance of craftsmanship for many years. He has created a large number of outstanding works: such as "Yu Lun Pao", "Six Mo", "Liangzhou", "Xie Mei", "Tour Cup", etc., during the Tang Dynasty, set off the first development climax in the history of China. The five strings and the songs, which are from the sisters of the grassland people in the northwest of China, have taken root and have penetrated into the cultivated land of the Central Plains.
(three)
The grassland people belong to the Shangwu nationality and the cultural attributes belong to the dynamic culture. The music style is brilliant and high-spirited. It is magnificent and magnificent. It has the strength of shocking the heart and the ears. The rhythmic plucked instruments and the wind instruments play the tunes with rich ethnic style. The sound of the percussion synthesis is magnificent, creating a hot atmosphere. "Old Tang Book • Musical Records" has the following words: "Under the following dances, all of them are drums, mixed with the sound of the turtles, the sounds of the waves, the turbulent valley." Musical instruments for the grassland people, flexible, pick up the instruments Just play, the piano sings as soon as it sounds, and jumps when you open your legs. It is a means of fighting.
Agricultural culture is a static culture, social stability, step by step, gentle and gentle, and the aesthetic requirements for music are more dignified, deep, and euphemistic. "Meng Wen" describes: "In the cultural tradition of the Han nationality, a kind of piano culture is also formed. ... The Han people play the piano often to create an atmosphere, choose a quiet place, burn incense, screen sound, only use fingers and When the strings are in contact, it is not allowed to mix other sounds. In the silence, the emotional color can be distinguished from the flowing music, and the subtle heart sounds can be heard." Although the author describes "qin," from the Tang Dynasty The poetry can also feel this kind of sentiment, Bai Juyi's "Minhang", "the chords of the chords are three or two, and the melody of the songs is not the first. The strings are used to conceal the sound and sound, and it seems that the slogan is not ambition. If you say that the prairie people play musical instruments, it is a means of transcending reality.
After the Anshi Rebellion, the Tang Dynasty had dried up and suffered from a hundred holes. The scenery of the Tang Dynasty was no longer there. The wars of the Five Dynasties and the Ten Kingdoms continued, especially the peasants, who experienced deep disasters. They were deeply tired of war and longed for a stable and stable static society. Resume the development of the economy.
"Meng Wen"; "After gaining political power, the ruling class wants to consolidate political stability. If the agricultural society is to develop stably for a long time, the social customs must be changed from Shangwu to Shangwen." As early as the Sui Dynasty, Emperor Wendi invented the imperial examination system. A paper basket is used instead of a bow and arrow gun. "Wu Zetian issued 12 political programs, which is a political decree that resists the spread of grassland culture and political ideas." "Confucian moral principles in line with the wishes of the peasants: "Wen Liang Gong Li, loyalty and filial piety, the object of Xinyi peace education is naturally a new Han Chinese To transform their cultural psychology, to make the Han people of the north and the Han people of Jiangnan have a common moral sentiment." After hundreds of years of ruling with the Tang and hundreds of years of the Song Dynasty, the ethnic mixed ethnicity of the new Han ethnic group in the north gradually Desalination,
the density of farming culture is gradually increasing, and the psychological factors of grassland culture are gradually degrading. The book also wrote: 'The motivations for the rise and fall of Chinese history have often come from the Western Regions." For some historical reasons, especially the rise and prosperity of the maritime industry, the Silk Road to the Western Regions has gradually become cold. The winds of the grasslands in the Western Regions are no longer able to blow into the hinterland of the Central Plains.
Shang Jing is the goal pursued by the agricultural society. Facing such a social climate, it faces the problems of survival and retention for musical instruments from the grasslands. As the saying goes: the survival of the fittest, otherwise it will be the fate of being eliminated. In fact, after entering the Central Plains, in order to adapt to the requirements of the new humanistic geographical environment, he constantly adjusted himself. Let's say the five-string, the small straight, such as the straight, five-string, because of the high quality of the sound, the rhythm of the rhythm of the music, is no longer adapted to the psychological requirements of people in the real beauty of the static beauty, the inner beauty of the art, Therefore, it is rare to see its appearance in the Central Plains murals. In order to obtain a soft tone, a wide chord with a wide ventral surface is widely used. We can clearly see this entity from the Tang style five strings collected in the Japanese warehouse. The style of the performance is also changed from a high-pitched, rhythmic and rough type to a slow, peaceful, graceful, connotative, feminine or rigid-flexible type. See the five-string poem "Five Strings" by Tang Baijuyi: "Large and thick Hurricane and rain, whispering and whispering, and cutting the ghost language." This is a good portrayal.
"Meng Wen": "The rulers of the Song Dynasty have been devoted to the revision of the text, and in the history of China, the text has been brought to the point of beautiful beauty, creating a brilliant agricultural civilization." In a relatively stable social environment, agriculture The production has achieved considerable development. After the Song Dynasty, the rise of industry and commerce led to the prosperity of the market and the formation of many commercial centers, which made the birth of large and small cities. This provided a new service target and loose performance space for the exhibition of art. Song Dynasty folk music Great development. The Tang Dynasty began to go to the folks with music that mainly served the court performances, and participated in folk rap and later accompaniment of various operas.
The contents of the music, the posture of the piano, the reform of the instrument, and the playing techniques are constantly changing, gradually changing the original posture of the piano, gradually changing from the downward oblique to the horizontal, the upper oblique, and finally Reach the hug. According to the needs of the music, the phase is gradually increased, and the range is expanded. The material of the strings is made of silky dog sausage and silk. The width of the body is more reasonable and the drum is comfortable. The hand and the shape of the piano are also more elegant and beautiful. In order to pursue a delicate playing
style, it is necessary to have a meticulous playing style. Since the Tang Dynasty, there has been a pipa player from the Western Region Shule (now Kashi Shule County, Xinjiang). "Therefore, a variety of colorful right-handed playing methods have been derived, making Pipa the most characteristic plucked instrument.
In the Southern Song Dynasty, China's political, economic, and cultural center made a large-scale transfer from the Central Plains to the south of the Yangtze River. Jiangnan is a region with a high concentration of agricultural culture, which cannot but further affect the development of the country. Mr. Zhuang Yongping, an educator of the contemporary cricket theorists in China, wrote about the situation in this period in his "Handbook of Handbooks": "The art of the later period is from north to south, especially to Jiangsu and Zhejiang." "In particular, the generation of Song Ci As a result, the style of music and literature tends to be graceful." "The more unconstrained playing, the dumb, the lower the playing." "The singer of the Tang Dynasty is 'to drink, immediately urged', ' I wrote that Guanshan Road was still 'stringed and plucked after the court'. And the words in the lyrics are all related to the words of sorrow, resentment, tears, and weeping. Not only are the eyes narrowing down, but the mood is getting more and more sorrowful. Correspondingly, playing before the Song There are quite a few men, such as Wang Jian's poems in the poem "The Goddess of the Gods". After the Song Dynasty, due to the development of the city, the number of women's impeachment has increased. The instrument itself and the tone In the direction of the delicate direction." In the context of farming society and culture, the original Hu Wei was completely finished at this time.
The rhythm of the grassland culture is rough, and the high-spirited Kuiz music style has turned to the delicate and euphemistic style of Jiangnan agricultural culture. There is a big leap between them. After hundreds of years of difficult journeys, Qu Xiangyuan successfully completed this gorgeous turn. Although it has risen and fallen, it has always been invincible in the music world, but the five strings are out of date. The Western Five-string is a good-paced, fast-characterized instrument. Since entering the agricultural and cultural environment, his unique style has no longer adapted to the new social environment and fashion, and has gradually left people's sight. The author believes that the backwardness of the straight neck and five strings is not unrelated to its own structure. The establishment of vertical hugs and hand bombs is a revolutionary and epoch-making reform in the history of development: the left and right hands of the performers have been completely liberated, providing an unprecedented expansion of their innovative technology: right hand bombing, picking, The wheel finger and its derived various types of fingering. The left-handed push, pull, soft, and sturdy make the Qin effect unique, and the techniques are colorful and varied. These new techniques can only be played by the songs, but the five strings seem to be incapable, because the advantage of the songs is that the five strings can't be reached: the upper end of the string is passed through the mountain pass, and the rear bends nearly 90. Only enter the pupil, and
the string of the five-string straight item enters the pupil through the mountain pass with a slight curvature. The large curvature increases the pressure of the string on the mountain pass, so that the string is tightly embedded in the chordal groove and is not easy to escape. When the right finger is used to pick up the chord, the amplitude of the off-chord swing of the five fingertips is much larger than that of the general swing. The Yama-guchi of the song can fully withstand the fluctuation of this tension, but lacks the large string pressure. Straight items are unbearable. The left-handed press refers to the pulling method of pushing the string to the left and right on the phase of the product. It is also inconvenient to play on the five-string. Moreover, under the premise that the five-string ratio is slightly smaller, in the limited space, the five strings are arranged equidistantly, and the chord distance is not loose, so that it is not convenient to use the right fingering multiple fingering to play the space. Moreover, the tension of the chord of the straight string of the general straight instrument is softer than that of the song, and the pronunciation is less than the energy and potential of the song. Even if there is a big five-string of the song, it is replaced by the stringiness, tone, volume, and inability to transcend the song, no longer showing obvious personality. At the same time, the four-stringed curved neck squats in the centuries of the Central Plains performer and the luthier. The piano body is more and more beautiful. The increase of the appearance makes the sound field greatly widened, and the strings are updated many times. The finer and finer sound quality and tone have been greatly improved, and the playing techniques are varied and colorful. It can be said that the human body's ten-finger movement function has been fully exerted, and it is well-deserved as the king of plucking music, especially expressing the Han nationality. Human emotional psychology. It is able to play a literary tune that expresses the emotions of the human beings. He can also play the martial arts, the martial arts that smash the scenes, and the lively dance music of the rhythm. For a long time, people's appreciation habits have been satisfied with the spiritual feeling brought by the four-stringed scorpion, so inherited In the middle of the development of the Central Plains, the result of the fault is that the five strings are no longer selected for the five-string.
In the original place of the Western Region, the Five Strings also experienced the history of the history: the religious beliefs of the various ethnic groups have changed. People used to believe in Buddhism. They gradually converted to Islam in the 10th century. The Arab culture has had an impact on this place. Then the five-stringed cymbal develops toward the slender long shank shape. The resonance box is reduced to a smaller half-pear shape. Turning into today's sound quality, the
Uighur national instrument on the slanting style is "playing the pluck." It and the horizontally plucking, the timbre of the bright and hot songs, all inherited the Kucha five-string and the songs. The gene is the main instrument in the current Xinjiang Uyghur band. In modern times, Chinese musicians, scholars, and violin makers have made great efforts to find the five-stringed Fangying. Especially after the founding of the People's Republic of China, many related scientific research work has been carried out, which not only duplicates the five strings of ancient murals, but also replicates them. The Japanese-Tibetan-style Tang dynasty has achieved significant scientific research results, allowing this silk road treasure to re-emerge in the Chinese music scene and re-emerge its inherent brilliance.
My family has a modern five-stringed cymbal. This is the gift of Mr. Fang Jinlong, the outstanding pipa player of our country, a few years ago. It is also the only one of the five hexagrams in Xinjiang. It is based on the production of the four-string pipa, on the ventral surface. The Yamaguchi and the resurrection are slightly widened, and a thick bass string is added next to the tangled string. By practicing the author's feelings: adding a bass string, the range adds four to five degrees to the bass, which expands the width of the music melody and enhances the performance. Due to the addition of the bass string, the resonance is large, and the residual length is long. The pronunciation is heavy, especially when the right hand is played, and when the fingering is applied, the sound effect is very full, and it is filled more than the four strings.
After a thousand years of silence, the modern five-stringed scorpion re-entered with a new, shiny figure. It faces the need for the player to get used to it, accept it, and the composers need to create a lot of music for it. It needs to be further promoted and promoted in teaching, so that the flowers of the five strings and the songs of the sisters will be reopened in the Chinese music scene.
References
1. "New Perspectives on Chinese History" • Meng Chibei, New York Business Press, August 2008
2. "Handbook" • Zhuang Level, published by Shanghai Music Publishing House in January 2001
3. "East Asian Musical Instrument" • Lin Qiansan, Qian Dasun Translation, People's Music Publishing House
4. "Introduction" • Cao Anhe
5. "Uygur Musical Instrument" Wan Tongshu, Xinjiang People's Publishing House published in 1986
6. " Say with pictures'^Shanghai National Musical Instrument Factory Shanghai Chinese National Musical Instrument Museum, edited in October 2007
