1 What are the five categories of traditional music in China? Please tell me the artistic features of China folk songs and the relationship between folk songs and other folk music.
"China traditional music" refers to the music created by the people of China in their own ways and forms, including both ancient works produced in history and contemporary works. China traditional music is formed and developed in the exchange and integration of Central Plains music, Four-domain music and foreign music centered on He Dian Valley. Therefore, it can be said that the music of the Central Plains, the music of the Four Domains and the foreign music are the three sources of traditional music in China.
Five categories of Chinese folk music-folk songs, folk dances, rap music, opera music and national instrumental music.
The main characteristics of China traditional music culture are: popularity, serious local flavor, obvious regional differences, strong inheritance habits and little innovation.
Brief introduction of China traditional music: We can see the word "national music" on many folk music CDs. This "national music" refers to music handed down from ancient times and developed in modern times. It can be seen that the creation time of "national music" refers to ancient times; "New music" refers to music written by people who have studied western music, such as school songs. It can be seen that the creation time of new music was after 1840 Opium War. "China Music" not only refers to the music handed down from ancient times, but also refers to the music created and adapted by China people according to western theories. "China traditional music" refers to the music created by the people of China in their own ways and forms, including both ancient works produced in history and contemporary works. It can be seen that traditional music includes "national music" but not "new music", but they are all "China music".
Traditional music is an extremely important part of China national music. The difference between traditional music and new music lies not in the order of music creation, but in its expression form and style characteristics. For example, Erhu solo "Two Springs Reflecting the Moon" and "Fishing Boat Singing Night" are modern music works, but their playing forms are inherent in the Chinese nation, so they are also traditional music. On the contrary, the school song and piano solo "Shepherd Boy Piccolo" are not traditional music because they borrow the musical morphological characteristics of western music.
The division of traditional music was first seen in the Introduction to National Music compiled by China Conservatory of Music, which can be divided into five categories: songs, song and dance music, rap music, traditional opera and instrumental music.
Actually, "national music", "traditional music" and "folk music" are three different concepts: "national music" includes traditional music and new music; And "folk music" is just a category of traditional music. And our national music is very rich, besides folk music, it also includes court music, religious music and literati music.
Mr. Du divided China traditional music into: folk music, literati music, religious music and court music; Among them, folk music includes folk songs, national instrumental music, national songs and dances, opera music and rap music; Literati music includes guqin music, poetry chanting and literati self-tuning; Religious music includes Buddhist music, Taoist music, Christian music, Iranian music, Shamanism and other religious music; Court music includes sacrificial music, court music, welcome music, sightseeing music and banquet music.
Second, the structural characteristics of China traditional music:
1. Learn and inherit the narrative structure of traditional music.
(1) China traditional music is different from western music in melody, scale, timbre and rhythm.
(2) The presentation of China traditional music has its own characteristics, including some specific termination methods; China folk music embodies the charm of China traditional culture.
2. The structural relationship between China traditional music and China traditional literature: there are couplets in literature and sentences in music; There are four quatrains in literature and a similar ditty in music. There are eight metrical poems in literature, and there is a "sixty-eight-sentence style" in music that is very similar to its structural principle and exists in instrumental music (the same eight sentences, but one of them is not as regular as metrical poems); Literature has chapters and music has divertimento; There is a habit of using idioms in literature, and there is also a habit of using ready-made musical ideas in music. In literature, there are game poems controlled by sequential forms such as "jujube and stone poems", and in music, there are corresponding structural forms such as "golden olives". Sixty-eight beats are pipa.
3. The influence of China's traditional music structure on modern music-the influence of Tang Daqu and traditional opera music on modern music structure. The progressive principle of "scattered-slow-medium-fast" in Tang Daqu and the linear structural thinking of later operas organized by plate-type speed structure are the highest achievements of China's traditional music structure. The highest achievement of western music structure is sonata. The musical structure characteristics of Tang Daqu are as follows: ① Music is a multi-segment structure. (2) It embodies a fast dance (equivalent to "breaking") from "starting" to "entering" and then becoming "complicated and urgent" by singing and dancing lightly; At the end, the rhythm also has a gradual speed layout of "dispersion" (that is, "long lead at the end of the song"). At the beginning of the whole piece, every player began to tune the piano. They tuned the piano in advance. In this way, they transferred the audience's feelings to the music. ③ improvise with the core sound (instead of theme or qupai) to develop musical ideas. ④ New voice control relationship. This is a modern western technology, and it is written in the same way as traditional music in China. ⑤ New playing methods and new timbre. For example, the musical instrument Xiao's Dare to Blow, and the modern multi-voice language that emphasizes intuition and acoustics. Wing-fai Law's Collection of Thousand Chapters accords with the creative idea of "controlling accidents" in modern western music.
Characteristics of China Traditional Music
Traditional music in China mainly includes Buddhist music, Taoist music, rap music, traditional opera music, folk music and dance music.
China's traditional music stretches for thousands of years and contains many aesthetic characteristics. It is the concentrated expression of the special essence of a certain musical thought and the crystallization of musical thought. The thinking habits of a country and a nation play an important role in the formation and development of its aesthetic consciousness.
1. China traditional music regards "harmony" as the highest principle of musical beauty.
In China's traditional music, the pursuit and expression of "harmony" has always occupied a dominant position, regarding "harmony as the foundation of five tones". The definition of music in Yue Ji, the first theoretical work of music in China, is "the sum of heaven and earth of musicians". Many scholars in the pre-Qin period have realized the role of harmony, such as Shi Bo's viewpoint of "harmony but biology" and Yan Ying's viewpoint of "complementarity" and "mutual assistance".
After the emergence of Confucian school, music was regarded as a tool of education, and the social function of "ruling the world with music" was emphasized, and the esteem of "harmony" reached a new height. After Emperor Wu of the Han Dynasty "ousted a hundred schools of thought and respected Confucianism alone", the Confucian concept gradually became the mainstream concept in society. Confucius demanded that music should be "happy without lewdness, sad without injury", with moderate feelings, "perfect" in the content and form of music, and play the role of "governing the road with people's hearts". The orientation of "harmony" in traditional music is various, including the harmony between man and nature, the harmony between people and, of course, the harmony between various elements in music. The pursuit of harmony between man and nature often leads to the themes of mountains and rivers, the moon and fishing firewood in traditional music, such as Mountains and Rivers, Xiaoxiang Water Clouds, Shui Long Yin, Sleeping at Night in Qiu Jiang, Moonlight on the Spring River, Yueergou, Guan Shanyue, Two Springs Reflecting the Moon, Fishing Songs and Fishing Boat Singing Late. These works not only explain the beauty of nature, but also show people's spiritual realm and pursuit, so that heaven, earth and people can achieve unity and harmony. The pursuit of harmony between people, giving music more educational colors and pursuing the harmony of various elements in music makes China traditional music have its own characteristics in terms of interval coordination, beat and music structure.
China traditional music attaches importance to harmony, which makes a very obvious difference between Chinese and western traditional music: western music emphasizes intensity, while China music emphasizes depth. The charm of western music lies in its strong shock. Listening to western music shakes not only the mind, but also all the senses and the whole body. For example, Strauss's waltz "Blue Danube", whose melody is gentle, beautiful and harmonious, does not make you calm down, but makes you suddenly feel the urge to dance. The charm of China's music lies in the intoxication it brings to your body and mind, as Ye Xie said when commenting on poetry in Qing Dynasty: "The beauty of poetry lies in its directness, its subtle thinking, its absent image, its complete absence from discussion and its poor thinking, which attracts people to God."
"Neutralization"
China's traditional music works, whether folk music, religious music, literati music or court music, all emphasize "neutralization". Compared with western classical music which emphasizes the principle of contrast, China traditional music which emphasizes the principle of gradual change truly adheres to the "golden mean". Shi Bo put forward the harmony law of China traditional music earlier. He put forward that "he is a real creature" and "he is the sum of others". Then Yan Ying put forward the viewpoints of "complement each other" and "complement each other", which actually emphasizes the harmony and unity among the elements of music. In the evaluation of various kinds of music, Ji Zha more prominently embodies the aesthetic characteristics of "neutralization" and points out the basic types of "neutralization" aesthetic feeling, such as "mourning without worrying about anger" and "being happy without poverty". Confucius played an important role in the development and basic maturity of neutralization theory. It laid a foundation for the display of Confucian traditional music aesthetics in China feudal society. Confucius asked music to be "happy without lewdness, sad without injury" in order to achieve the golden mean; Require music to be "perfect to beautiful, to achieve the unity of beauty and goodness; People's music poems are also required to play the social role of "arousing, appreciating, gathering and telling" to achieve harmony between individuals and society. It is also required to play "Zheng", tune "elegance" and tune elegance and peace. Yue Ji basically perfected the aesthetic category of the beauty of neutralization. It is pointed out in Yue Ji that "happiness is in harmony with heaven and earth ... so everything is not lost", and "the musicians cultivate it, and the sum of heaven and earth is also the sum of all things". In other words, between heaven and earth, everything must be "harmonious", and with "harmony", everything can flourish. The essence of "harmony" is: "heaven and earth are in harmony, and heaven falls: yin and yang grind, and heaven and earth swing." Drum with thunder, brave with wind and rain, moving with four o'clock, warm with the sun and the moon, thriving. So, the sum of heaven and earth is also. "From the ontological point of view, the aesthetic realm in China's traditional music aesthetics has never been restricted by external factors. People get aesthetic pleasure and self-affirmation in the wonderful harmonious integration of man, nature and music. Beyond reality, its category and concept are not strictly defined. The neutralization of music is the embodiment of Confucian doctrine of the mean, and it is the harmonious unity of music and nature, music and society, and music itself. Influenced by national concepts and traditional philosophy, China traditional music has always pursued the path of neutralization in its aesthetic value orientation. For thousands of years, Confucian scholars advocated the "beauty of neutralization" of music by combining the "golden mean" of ethics and morality, and made it one of the most important aesthetic features of China traditional music. The beauty of life rhythm, the cultural background of human subject, inner cultivation and virtue ethics are the formation of returning to all things in music aesthetics, and the ultimate pleasure of surpassing reality in the world with the principle of extensive harmony. Chiang Kai-shek's peaceful spiritual personality is the essence of China's music culture.
2. China traditional music takes "emptiness" as the highest realm of musical beauty.
China's traditional music pursues implicit beauty, taking the combination of reality and reality, the complementarity of yin and yang and the existence of images as the highest artistic realm. This concept is the product of Taoist thought. Laozi, the founder of Taoism, advocates "insipid and tasteless". He said: "If Ming Dow is ignorant, if he retreats ... if he is humiliated and generous, he will make great achievements in the future." Zhuangzi further developed this idea, saying, "What is invisible and what is inaudible. I saw it alone in the dark, and I heard it alone in the silence. " This view develops the view that "the sound is born from the heart" in Yue Ji, and emphasizes the role of the heart in understanding nature, life and society with heart, which is a correction to the Confucian overemphasis on the educational function of rites and music. This aesthetic orientation, which attaches importance to inner feelings, not only influences the traditional music aesthetics, but also conforms to today's understanding of "appreciation is re-creation", leaving room for the appreciator's imagination and still has great aesthetic value.
China's traditional music, like the western traditional music, all want to express an idea, which is consistent, but the meaning orientation of their thoughts is quite different. The thought of western music tends to express "truth" and create "meaning"; China's music tends to show "nothingness" and cancel "meaning". In western culture, nature always exists as a meaningful entity, so we tend to observe and study it and try to reveal its mystery. Therefore, western music is always true, fixed and clear, with few ethereal effects. Coupled with the crisscross of western music and the texture laid by the network, it is even more heavy and highlights its authenticity. China music is different. China's music is often not the real core of music, even though it shows a real object. The charm of music mainly comes not from the object itself, but from the special charm and spacious artistic conception created in the process of expressing the melody of the object, which gives people a feeling of "sweeping the chest and clearing the intestines". When talking about the "ethereal spirit" in poetry, Wu Diaogong once described the characteristics of this kind of works, that is, "less is better than more, more density, more colors, and eternity in an instant." Tang Junyi, a scholar in Taiwan Province Province, China, pointed out in the book "Spiritual Value of China Culture": "The less material realm, the more spiritual realm expressed, which can be regarded as a resting place for humanistic spirit, and its value should be the highest." This implicit beauty may be the mystery of oriental culture.
In practice, China's traditional music often makes the theme abstract and illusory with the help of melody, which is different from western music's theme of expressing concrete reality with the help of harmony, polyphony and orchestration. It can be said that western music is mainly characterized by "profundity", while China music is characterized by "profundity", which is quite different in content and effect. The profundity of western traditional music mainly refers to the thoughts and emotions embodied in music. Its structure emphasizes logic and conflict, and the duration of music is based on rational thinking. The profoundness of China's traditional music refers to the experience and understanding expressed in musical thinking. As far as the artistic conception of music is concerned, China traditional music pursues elegance, profundity, implication and indifference, and its duration is based on psychological feelings. The "profundity" of western music is static, fixed and clear, which can be appeal to reason; The "profundity" of China's music is dynamic and wandering, with no intention of being precise and vivid. It can't resort to reason, but can only rely on understanding and intuition. It is an aesthetic quality outside the theme.
The beauty of "image", "meaning" and "image" is widely used as music aesthetics. The two pairs of aesthetic categories of "meaning" and "image" have had a far-reaching impact on the aesthetic creation and appreciation of China traditional music. In the creation of the beauty of China's traditional music, its concentrated expression is: freehand brushwork-based, realistic and freehand brushwork. The Book of Changes put forward the idea of "setting the image to the maximum", in which "meaning" is the artistic conception and "image" is the image. Wang Bi said in the Book of Changes: "The husband is like, and the meaning is also; The speaker is also a bright image. Try to be like an elephant, words are born like elephants, and you can find words to see the image; Elephants are born with meaning, and we can find them to observe meaning. Meaning is exhausted by images, and images are spoken. Therefore, the speaker is so clear about the image that he forgot to say that the elephant is so meaningful and complacent. The highest realm of artistic creation is to "create an image to the fullest", while traditional music in China requires the "charm" in music expression to achieve the purpose of "vivid" and finally to achieve the realm of "freehand brushwork". It is the most commonly used technique in China's traditional music to express people's feelings as much as possible by "setting up images" of natural scenery. China's traditional music pursues "a realm similar to the religious realm, but subtly different from it, that is, artistic conception". In the artistic conception, emotion and scenery blend and penetrate each other, and deep feelings are excavated from the scenery, which gradually deepens and induces layers of illusions, forming a unique universe and brand-new images. (2) Because the highest state of China traditional music is "to set an image to the fullest", it requires both the creator and the appreciator to exert their aesthetic association through abstract acoustics and feelings, and to pursue their "meaning", that is, the so-called "detachment from reality", in order to obtain their profound interest.
Thirdly, China traditional music takes "rhyme" as the highest grade of musical beauty.
"Rhyme" is the soul of China traditional music and the unique aesthetic orientation of China traditional music. "Rhyme is alive; Without rhyme, you die; Rhyme is elegant, but no rhyme is vulgar; If there is rhyme, it will ring, but if there is no rhyme, it will sink; If there is rhyme, it will be far away, and if there is no rhyme, it will be a game. " China traditional music, like western music, involves the relationship between subject and object, the emotional expression of self and the image description of object. The value scale of western music is based on "truth", which always swings between the appearance of the outside world and the expression of self-mind, and there are few other pursuits. Its music either imitates nature rationally and calmly, giving people a sense of reality; Or completely self-venting, giving people a sense of reality. Traditional music in China is different. It is not a simple expression, but a new method beyond copying and expression: freehand brushwork. Interpreting the rhythm of life and its own charm through the treatment of timbre and the ups and downs of music series is an in-depth experience, feeling, capture and expression of the inner rhythm of life, the noumenon of China art, the highest realm pursued by China music, and the charm and interest of China traditional music.
"The hope of sound"
"Loud voice music" is one of the important musical aesthetics in China's traditional aesthetics. Li Er, a famous thinker and founder of Taoism in the Spring and Autumn Period, put forward a musical aesthetic view. "If you don't hear it, it's called hope." The aesthetic view of "big sound and musical sound" produced by Laozi's thought of "Taoism is natural" holds that "musical sound" which conforms to the nature of "Tao" is "big sound", that is, the sound of "Tao" itself, and it is also the most beautiful and purest sound in the world. Laozi called this kind of music "great sound and happy sound", not only because it is silent, but also because silence conforms to Tao's inaction and natural, simple and empty characteristics. He asked music to create a distant, hazy and broad "virtual" artistic conception. This "empty" artistic conception is the unspeakable "Tao", and reaching "Tao" is the highest realm of music. In his view, everything in the world originates from Tao. The Tao that produces the sound of "hope" here is not the Tao that "only man's Tao can be the Tao", but the Tao of Laozi is the absolute spirit independent of the objective world. In other words, this kind of sound is the product of human spiritual activities, and it is produced by people's hearts. Laozi's structural principle of nothingness constitutes an important feature of China's traditional art (including music): the realm includes not only the image, but also the void beyond the image. The artistic conception expressed by China's traditional music is an ethereal realm. Although it is composed of "reality" of sound and "emptiness" of meaning, the focus is on "emptiness". Therefore, it is logical to derive the aesthetic theory of "beauty without words" from Laozi's "singing loudly" and Zhuangzi's "being happy without thinking about music". The aesthetic categories of China traditional music, such as nothingness and artistic conception, have become one of the important aesthetic features of China traditional music.
The artistic features of China folk songs: 1. Liquidity and variability.
2. Oral creation, collective processing and improvisation. 3. The high combination of poetry and music
4. Be good at expressing people's inner world
The relationship with other national music: different and interdependent.