Appreciation of the piece "Ambush on Ten Sides

An Appreciation of the Music of Ambush on Ten Sides

Ambush on Ten Sides is a famous large-scale pipa piece, and the magnificent splendor of the music content and the majestic and peculiar style are rare in classical music. The following is my collection of "Ambush on Ten Sides" music appreciation, welcome to learn and reference, I hope to help you.

"Ambush on Ten Sides" Music Appreciation 1

"Ambush on Ten Sides" is a famous large-scale pipa piece, and the magnificent splendor of the content of the piece and the majestic and peculiar style of the piece are rare in classical music. This piece of music is based on the historical fact that in 202 B.C., when Chu and Han fought a duel in Gaixia (southeast of Lingbi County, Anhui Province, today), the Han army set up an ambush on ten sides, thus completely defeating the Chu army and forcing Xiang Yu to commit suicide by cutting his own throat in the Wujiang River, and then composing the piece in a centralized manner.

The Battle of Gaixia is a famous battle in the history of China. At the end of the Qin Dynasty, Chen Sheng and Wu Guang rose up. Under the fierce blow of the windy peasant revolt, the Qin Dynasty was declared dead. At this time, Liu Bang's Han army and Xiang Yu's Chu army started the struggle for the Central Plains and world domination. By 202 B.C., the two sides of Chu and Han had been fighting for several years, and due to the arrogance and indecisiveness of Xiang Yu, the king of Western Chu, he repeatedly missed the opportunity to eliminate Liu Bang's Han army, while Liu Bang escaped from several defeats and regrouped again. At the duel at Gaixia, Liu Bang surrounded Xiang Yu's 100,000 men with 300,000 men. Late at night, Zhang Liang's blowjob and the soldiers' singing of Chu songs made the Chu army feel desperate, forcing Xiang Yu to break through the siege with 800 cavalrymen and flee, while the Han army pursued with 5,000 cavalrymen, and finally a duel was fought by the Wujiang River, where Xiang Yu cut his own throat due to being outnumbered, and the Han army gained a glorious victory. The pipa song "Ambush on Ten Sides" brilliantly utilizes musical means to express the fierce battle conditions of this ancient war, and is a vivid and touching sound painting of the ancient battlefield.

"Ambush on Ten Sides" was first recorded in 1818 with the publication of the "Pipa Score of Hua Qiubing", and in 1895 with the publication of the "New Pipa Score of Thirteen Great Songs of the Northern and Southern Schools" by Li Fangyuan, which was renamed "Huaiyin Pingchu". However, it is a traditional piece of music that has been passed down in the folklore. As early as the end of the sixteenth century, Wang Yuding of the Ming Dynasty wrote in his book Sizhoutang ji (The Collection of the Four Illuminated Halls) of the lively performance of Chu Han by a famous pipa player of the time, Tang Yingzeng. In the book, the famous pipa player Tang Yingzeng played the song "Chu and Han", which was written as follows: "When the two armies were dueling, the sound moved heaven and earth, and the tiles and houses were like flying and falling. Xu and check, there is the sound of gold, drums, swords and crossbows, horses and men to open up the sound, a long time, there are complaints and difficult to understand the sound of the Chu song; poignant and strong for the king of Xiang song of generosity; trapped in the big zephyr with the sound of chasing riders; to the Wujiang River with the sound of the king of Xiang cut his own throat; the rest of the riders fighting for the king of Xiang, so that those who hear the beginning of the excitement, and both the sadness, and ultimately, and then fall snot of the no one from also. It is so touching." This text shows that the content, structure and musical image of "Ambush on Ten Sides" is largely consistent with that described in the song "Chu and Han", which proves that it has been in circulation for a very long time.

The pipa piece Ambush on Ten Faces takes the form of China's traditional large suite structure. The whole piece*** has thirteen small paragraphs, each of which is crowned with a highly generalized title. These titles are:

I. Lining up the camp;

II. Blowing and beating;

III. Pointing out the generals;

IV. Lining up the formation;

V. Walking in formation;

VI. Ambush;

VII. Small battle on Jiming Mountain;

VIII. Battle on Nine Mile Hill;

IX.

The whole piece can be divided into three main parts

The first part describes the preparations of the Han army before the big battle, focusing on the performance of the mighty and majestic Han army formation. *** It consists of the first five subsections.

"Lianying" is actually the introduction to the whole piece. The rhythm is relatively free and rich in change. At the beginning of the use of "wheel whisk" technique, rendering a strong war atmosphere. The resounding rhythm is like the sound of war drums, and the long and high pitch sound is like the horn sound that shakes the valley, depicting the unique sound of drums and horns in the battlefield. After that, it uses all kinds of expressive methods to show the people's voices, beat the drums three times, the military artillery, the iron horsemen, and other spectacular scenes, which aptly summarizes the typical environment of the ancient battlefield tension and intensity.

"Blowing and beating" is the only melodious and lyrical passage in the whole piece. The long tones played by the pipa with wheeled fingers simulate the marching tones of ancient wind instruments. This interlude is very similar to the magnificent scene of ancient marching with sheng and pipes, portraying the image of the disciplined Han army marching forward with great vigor, from far to near, and with great strides. This music in the music of the artistic image of the molding of a high level of verve.

"Generals", "formation", "walk" three paragraphs in the actual performance is a change and trade-off. They are the same characteristics of the rhythm is neat and compact, the tone jumps rich in elasticity, the performance of Liu Bang Han army before the battle of high morale, drill in the formation of rapid changes and the soldiers pace of the image of robust. The methodical structure of the piece makes the development of the mood step by step, for the transition to the battle scene to make a full padding.

The second part of the piece consists of three short passages, six, seven and eight, and is the centerpiece of the piece. It depicts the fierce battle between the two armies of Chu and Han.

The music of "Ambush" and the mood it depicts are very distinctive. It utilizes the rhythmic pattern of one and one relaxation and the melody of modal development, creating a tense and terrifying atmosphere. It gives a person a kind of night shrouded ambush soldiers rise up in all directions, the ghost of the approaching Chu army of the eerie feeling.

"Jie Ming Mountain battle" in the pipa used the unique "brake string" technique, the image of the two sides of the short military skirmish scene. The sound emitted by the pipa is not a pure musical sound, but an effect that contains the sound of metal, as if swords, spears, swords and halberds were hitting each other. The gradually accelerating tempo and the up-and-down molding of the melody add to the tension.

"The Battle of Nine Mile Hill" is the climax of the piece. The musicians used a variety of pipa techniques to depict the thunderous cries of thousands of soldiers and horses, as well as the fierce battles with swords and swords in the sky and the earth. The pipa's simulation of the noisy and fierce battle sound is very outstanding, making people feel as if they were there, with a strong infectious force. The whole piece depicts the conflict between the two armies of Chu and Han, which has developed to the point where the victory has been decided and the conflict has been resolved.

The third part includes the last five sub-paragraphs, the first two paragraphs written Xiang Yu's failure to commit suicide at the Wujiang River, the low musical atmosphere and the previous climax to form a sharp .

The third part consists of the last five sub-parts. The first two paragraphs describe Xiang Yu's suicide by the Wujiang River after his defeat, and the low musical atmosphere forms a sharp contrast with the previous climax. The melody of "killing oneself on the Wujiang River" is poignant and tragic, which shapes Xiang Yu's artistic image of a generous song of sadness. The last three subparagraphs describe the Han army in the posture of the victor of all kinds of scenarios. However, the current performance is generally abridged, some omitted the entire third part, some abridged to "the army playing Kai" after three subparagraphs, the purpose is to make the music mood to focus on, to avoid lengthy.

"Ambush on Ten Sides" is a masterpiece of traditional instrumental music of China's large-scale pipa martial arts. The traditional pipa Chinese music is generally lyrical and beautiful melody, gentle rhythm, skills more left-handed push, pull, chanting and kneading techniques. They are good at depicting beautiful natural scenery or expressing delicate inner feelings. The martial arts music is intense and majestic, with complex and changing rhythms, rich in drama, and more powerful playing techniques with the right hand, which is good at expressing strong atmosphere and emotions. Therefore, this piece of music is majestic and exciting, with a distinctive artistic image.

"Ambush on Ten Sides" Appreciation 2

"Ambush on Ten Sides" depicts the battle of Gaixia in the Chu-Han conflict. It is a typical representative of pipa music. Therefore, a correct understanding of the musical image of "Ambush on Ten Sides" is conducive to understanding the long tradition of our country's excellent music culture, cultivating the feelings of love for the motherland's excellent music culture, and promoting the inheritance of the motherland's long culture and the significance of music culture.

Second, the body of the "Ambush on Ten Sides" as a typical representative of ancient music. As a contemporary secondary school teacher students for this type of music appreciation is very lacking. For the appreciation of ancient music can also be said to be ignorant. First of all, they do not know the pipa instrument. Secondly, they don't know its musical background. Again, I don't know how to appreciate it. After the song is finished, it is puzzling, not understanding the beauty and essence of it at all. So, from what aspects of the "Ten Ambushes" for appreciation?

The ancient pipa music is mainly appreciated from its compositional structure, playing instruments, rhythm, timbre, and musical background.

This piece depicts the battle of Gaixia in the Chu-Han War in 202 BC. The protagonist is Xiang Yu, the key passages are: "Song of Chu", "Farewell My Concubine", the music is dull and sad. The whole piece is magnificent, filled with the sound of killing. The whole piece is divided into 13 sections:

1, camping (camping, drums, applause, hoofbeats);

2, blowing and holding;

3, pointing generals;

4, line up, walking in line;

5, ambush

; 6, skirmish;

7, shouting;

8, big battle;

9, Defeat (Xiang Yu's defeat in Gaixia when Chu's army was heavily surrounded);

10, Cutting one's own throat in Wujiang River;

11, Struggle for success;

12, Triumph;

13, Returning to the camp. The 13 sections of the piece can also be divided into three main parts. The music starts from the preparation stage of the war, the rhythm is slow and fast, and the pipa is used to simulate the sound of war drums, which is thick and majestic; then there is a section of blowing and beating music, which is played by all the fingers to simulate the sound of horns. Then there is a section of wind and percussion music, all played with wheel fingers to simulate the sound of a bugle. Then there is a line-up, a general's roll call, and so on, which are the necessary contents of an ancient war. The whole piece is characterized by the layout of "start, carry on, turn and merge". The first part contains five sections as "starting, bearing part", the second part contains three sections as "turning" part, the third part contains two sections as "combining part". The really wonderful and intense in the combat part: ambush performance of the ambush, the Chu army was surrounded by the scene, and then to the Jiu Li Mountain battle is the climax of the whole song, the use of pipa superb and complex strings of skill real reproduction of the war's tragedy: the sound of the people back hissing, blades clashing, hoofbeats, shouts, etc., thrilling, exhilarating. Hidden through the four Chu song, suggesting Xiang Yu defeat.

This song is played on the pipa. Pipa, an ancient and peculiar musical instrument, the sound of the Williamson, as if reading through the vicissitudes of life, the world of the old man, but also if the passionate, generous youth, since the Qin and Han, has been used as a variety of stringed instruments of the general term. This is a sensitive and sentimental thing, in another thing is just a vague memory of things, however, in its sensitive mind, has been repeatedly and y carved in the memory of the heart of the plate.

Early in the late Ming and early Qing dynasties, the "Four Shining Hall Collection" of the "soup pipa biography", has recorded the pipa player Tang should have played the "Chu and Han" piece of the scene: "When the two armies duel, the sound of heaven and earth, the roof tiles if the flying fall. Xu and check, there is the sound of gold drums, sword worn out sound, the sound of horses and men ...... so that those who heard the beginning of the excitement, followed by fear, sniveling from nowhere. It is so touching. This can be seen in its skill. The entire piece of music in the hands of a pipa to complete a variety of difficult sound interpretation, the war of the people and horses, drums, soldiers and killers to show the most. Sometimes the sound of the drums is simulated, and sometimes it is the thrilling and exhilarating sound of the battle. In the middle, there is a section of pipa long wheel simulating the sound of xiao, vaguely revealing the song of Chu on all sides, suggesting Xiang Yu's defeat. At this time, the pipa is bleak and tragic, as if the Chu-Han struggle is right in front of us. It can be said that the pipa uses only one instrument but plays at a high level that a symphony orchestra can achieve. The pipa's simulation of the noisy sound is excellent and infectious. The tone is complex and varied, high and low, mysterious and weird, like a mysterious strange woman, it is puzzling.

"Ambush on Ten Faces" is one of the best representative works of pipa music. Most of the traditional pipa compositions are lyrical and beautiful, with a gentle and steady rhythm, while this piece is fierce and majestic, with a complex and varied rhythm, a majestic and impassioned momentum, and a distinctive and prominent image. The whole piece has ups and downs. The first part of the piece describes the preparation of the Han army before the big battle, and the use of resounding rhythm emphasizes the mighty and majestic lineup of the Han army. The second part is the center of the whole piece. It graphically depicts the fierce battle between the two armies of Chu and Han, with a compact and fast rhythm, showing a tense atmosphere. The third part describes the defeat of the king of Chu and his suicide. The tempo changes from the previous exciting rhythm to a low and slow one, emphasizing the tragic scene. The "Blowing and Striking" is the more melodious and majestic tune in the whole piece, and the pipa uses the delicate "wheel fingers" to play long tones, imitating the playing of the ancient army's Wicker Man. The "Pointing Generals", "Formation" and "Walking in Line" are characterized by neat and compact rhythms and elastic and jumping tones. "Ambush" is a piece of deep music. The rhythmic patterns and melodic developments create a tense, mysterious and fearful atmosphere. The movement of the melody in "The Battle of Jiuming Mountain" is first ascending and then descending, with ups and downs, varied beats and continuous rhythmic patterns without intervals. The climax of the piece is the "Battle of Jiu Li Mountain". The pipa's rapid "clip sweep" expresses the sweeping momentum of a million soldiers. The "Defeat of Xiang Yu" uses the slow and fast homophonic melody and the rhythmic pattern of the horse's hooves to express Xiang Yu's struggle to break through the siege. The piece "Cutting one's own throat in Wujiang River" is poignant and tragic. At the end, the four-stringed violin "scratches" and then stops abruptly, sounding like a crack, and the music stops abruptly. The whole piece uses a contrasting rhythm to depict the preparation for war, the intensity of the war, and then the bleakness of the post-war period, which is a classic of the pipa martial arts piece.

A piece of "Ambush on Ten Fronts", which has been played for thousands of years, is a rare artistic treasure in classical art, no matter from which aspect it is studied. It can be said that the ancient pipa performance art to the peak of excellence, creating a single instrument solo form to express the magnificent epic scenes. Until today, "Ambush on Ten Sides" is still the most representative traditional masterpiece in the field of pipa performance art.

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