Knowledge of vertical konghou

Vertical Konghou Knowledge

Vertical Konghou is a plucked string instrument of China's ancient northern minority. Also known as vertical head Konghou, Hu Konghou, now referred to as Konghou. The shape is diverse, both in appearance and Western instruments like the harp horn-shaped konghou, there is also the head of the decorated phoenix head konghou and dragon head konghou. Angle-shaped Konghou and have a big Konghou, small Konghou points. It has a long history and a long history of origin, with a wide range of sound, soft and clear tone, and strong expressive power. In the Sui and Tang dynasties, it was used in the music of Xiliang, Guzi, Shule, Goryeo and Tianzhu, and spread to Japan. In the Ming Dynasty, it was used less and less, and then lost for three hundred years, and after the 1930s, people in the music industry and musical instrument industry tried their best to revitalize this ancient musical instrument, and in the late 1970s, they started to explore the road of modern Konghou, and in 1984, the development of transcription Konghou, which is the peak of musical instrument science and technology, was a great success in our country. Nowadays, the ancient music of the millennium has been changed into a variety of new vertical konghou, which has been used for solo performance, repertoire, instrumental ensemble, song and dance accompaniment or concerto with the band, and has become a member of the national orchestra and national orchestra, which is very popular among the people of all ethnic groups, favorite and highly praised.

Khonghou has a long history. The initial name is Kanhou or empty Hou, there are lying, vertical two types. As far as the beginning of the Spring and Autumn period and the Warring States period, China's southern state of Chu has been with the qin, ceramic like lying Konghou. Han Dynasty Liu Xiang "Shiben? The book "has: ? Khonghou, made by Khongguo Hou? and ? Konghou, made by Shi Yan, also the sound of music. Out of the Pu Shang, take the name of the empty state of the Hou also? The record. Liu Xi "interpretation of the name" is also the same as the "Shiben". The empty marquis was the music officer of King Zhou of the Shang Dynasty. Shiyan was made by the king of Zhou in the Shang Dynasty. The song was composed by Shi Yan, a music officer of King Zhou of the Shang Dynasty. It was composed by Shi Yan, a music officer of King Zhou of the Shang Dynasty, and it was written in Pu Shang. King Zhou was the last ruler of the Shang Dynasty. Pu Shang, that is, above the Pu water, in the territory of the ancient state of Wei, that is, the area of Puyang, Henan Province today. This shows that the history of lying Konghou has been more than three thousand years. East Han Ying Shao "customs" cloud:? Empty Hou, according to the Han Book? Suburban Sacrifice Zhi": ? Xiaowu Emperor Sei South Vietnam, prayer shrine Taiyi, after the earth, began to use the musicians Hou tone, according to the piano for the music of the Can Can, that its Can Can should be rhythm also, Hou with the family name of the crown chapter ear. Or said empty Hou take its air. The qin and se are all empty, why only kanhou ye "historical records? The Book of Chanceling" in the book:? (Emperor Wu) Sei South Vietnam, prayer shrine Taichi, after the earth, began to use music and dance, and more call songs, made 25 strings, and empty Hou, qin and se from this beginning. Sima Qian's account shows that the ancient lying Konghou is a stringed instrument with a column. In the Han Dynasty, the horizontal konghou was used as a musical instrument. The representative musical instrument of the Chinese It was included in the "Qing Shang Music". Qing Shang Music In the Qing Shang music, it had five strings and more than ten columns, with bamboo as the groove, played with wooden plucking, popular not only in the central plains of China and the south, but also spread to the northeast and North Korea, and in the Sui and Tang dynasties also spread to the east of Japan. At the time of the Eastern Han Dynasty, a horn-shaped konghou was imported from Persia to the Central Plains of China through the Western Regions. In order to avoid confusion, from the end of the Sixth Dynasty, respectively, to create the name of lying, vertical and show the difference. Horizontal konghou was used in the Sui and Tang dynasties in the Goryeo music. The Tang Dynasty Du You "Tongdian" contains:? Konghou, the old system of a zither system, according to the shape of the small, seven-stringed, plucked, such as pipa also. Afterwards, it was gradually disappearing in China, so that the instrument lost its sound and was replaced by the expressive qin and zheng. However, in our friendly neighboring countries of Korea and South Korea, the horizontal konghou has been handed down and has been improved and passed down through the generations to become the genkum of today. In Japan, it was introduced by the Baekje Kingdom (Goryeo and Baekje were the ancient names of Korea), and was called the Baekje koto. Today, although we can not see the specimens of lying Konghou in kind, but still from the Gansu Jiayuguan Wei Jin tomb brick paintings, Liaoning Zhuan Northern Wei tomb mural and Zhuan Goguryeo tomb mural in the visual images of its musical instruments, a glimpse of lying Konghou playing style.

As early as two hundred years ago in the Eastern Han Dynasty, the vertical konghou with? The Silk Road? On the Silk Road, from Persia (now Iran) through the Western Region into the Central Plains of China. In the Tang Dynasty, Changsun Wuji and other compilations of the Sui Book? Music Zhi" in: "Today's curved lute, vertical head pipa. Today, the pipa and konghou are from the West, not the old Chinese instruments. On its form, the Tang Dynasty Du You "General Dictionary" has the cloud: "vertical Konghou, Hu music also. Vertical konghou, hu music also, han lingdi (liu hong) good. Body curved and long, twenty two (one for three) strings, vertical hold in the arms, with two hands play, commonly known as arm Konghou. In the Southern Song Dynasty, Fan Ye's "Book of the Later Han Dynasty? Five lines of the Zhi", has contained: "Lingdi good hu clothing? Emperor Lingdi's good Hu clothing? Hu Konghou, Hu flute, Hu dance, Kyoto nobles are competing for. Emperor Lingdi Liu Hong reign of the Han Dynasty for the year 168? 188 years, according to this vertical Konghou at least nearly two thousand years of history. This kind of curved *** sounding groove, and has a foot post and ribs, open more than 20 strings of the Konghou, in the Chinese music scene in the Eastern Jin Dynasty to the Tang and Song dynasties. Song Dynasty Wu Zimu "Meng Liang Records" (Volume III) has described as follows: ? Three feet high, shaped like half a wooden comb, black lacquer openwork gold painting pedestal, open twenty-five strings, a person kneeling and crossing arms. This is a large vertical konghou, there is also a smaller vertical konghou, is the left hand holding the konghou, the right hand playing, mostly used in ceremonial music. Today, the ancient vertical konghou in kind has not survived, but in China from the Northern Wei Dynasty to the Tang and Song Dynasty, Datong Yungang Grottoes playing music reliefs, Dunhuang? Sui dynasty band? Murals and Chengdu five generations of the former Shu emperor Wang Jian tomb of the reliefs can be seen playing the harp images, they are exactly the same as the Assyrian reliefs on the harp, Persia is the origin of the Assyrian harp. Vertical konghou in the Sui and Tang dynasties court of nine, ten music, used in Xiliang (Gansu Wuwei), Guzi (Xinjiang Kuche), Shule (Xinjiang Shule), Gaochang (Xinjiang Turpan) music and Goryeo (North Korea) music, Tang common music also use it. In the ancient royal music, Konghou is indispensable, and in the performance or one of the main instruments. Because it has several sets of strings, it can not only play melodies, but also chords, and is superior to other instruments in solo performance or accompaniment. The vertical konghou has also spread to Japan, and in the Shokurain of Nara Todaiji Temple, there is still a lacquer konghou and two inlaid groove konghou remnants made in the Tang Dynasty, which is a historical testimony to the cultural exchanges between China and Japan.

In ancient poetry, Konghou is very common. China's Han Dynasty, there is a jasper little housewife, Jiao Zhongqing's wife, Liu Lanzhi, brilliant, was chanted: ? The peacock flew southeast, wandering five miles, thirteen can weave pigments, fourteen learn to tailor, fifteen play Konghou, sixteen recite poems and books. It means that Konghou was already a favorite instrument for women at that time, as popular as the electronic piano today. Cao Zhi of the Han and Wei dynasties wrote a five-character poem called "Introduction to Konghou". In Liang Jianwen's "Fugaku konghou", he wrote: "It is the first time to pick and blow, and it is the first time to make the music. The twisting of the konghou is late in the beginning, and when it's in a hurry, it urges the dance. The strings are ringing, and the shirt is halfway back to the pillar. If you want to know that your heart is not at peace, you should look at your eyebrows. It is also said that a woman is accompanying the dance. In the Tang Dynasty, Konghou entered the golden age of history, and its playing skills reached a very high level and were widely circulated, making it a treasure in the treasury of China's traditional music and culture. Li He, a famous poet of the Tang Dynasty, wrote in his masterpiece "Li Ping Konghou Quotation": "Wu Silk, Shu Tong, Zhang Gaoqiu, Wu Silk, Shu Tong, Zhang Gaoqiu. Wu Silk Shu Tong Zhang Gao Autumn, empty mountain condensation cloud decadence does not flow. Jiang'e cries bamboo and vegetarians are sad, Li plays Konghou in China. The phoenix screams as the jade shatters in Kunshan, and the hibiscus weeps and dews as the orchid smiles. The twelve gates are filled with cold light, and the twenty-three filaments move the purple emperor. Nuwa refines the stone to mend the sky, and the stone breaks the sky to tease the autumn rain. I dreamed of entering the sacred mountain to teach the goddess, and the old fish jumped into the waves and danced with the thin scaly scales. Wu Qi is not sleeping and leaning on the osmanthus tree, and the rabbit is wet from the dewy feet. This is one of Li He's masterpieces and one of the most famous Tang poems on the subject of music. It takes the beginning and end of an autumn rainstorm as its clue, explicitly describes the weather changes, implicitly describes the process of playing, and borrows mythological characters to write about the audience, which is full of strong romanticism. The poet uses strange fantasies and extreme exaggeration to describe the power of music that pierces through the clouds and cracks the rocks, so that the sound of konghou played by the court instrumentalist Li Zhi a thousand years ago still shakes the reader's heart. Tang Dynasty poets such as Cen Sen, Gu Fong, Yang Juyuan, Lu Tong, Yuan Zhen, Zhang Hu, Li Shangyin and Wang Renyu also wrote poems about Konghou. Thousands of hooks and locks shake the golden bells, and ten thousand real pearls fall from the jade bottle. It was just when the hall was full of people who wanted to be drunk, and it was only when they touched the light that they woke up for a while. This is a poem by Zhang Hu in "Chushu Zhongchen Wei Konghou", which describes the moving sound of Konghou. In Gu Fong's "Li Feng Feng playing Konghou Song", the cloud: play quickly, late is also good; appropriate to listen to the distance, appropriate to listen to the near; the left hand is low, the right hand lifted, easy to transfer the sound of heaven with. The big strings are like the geese in the fall, and they are connected to the Longguan Pass. Small strings like spring swallows, murmuring to people. The hand is fast, the wrist is soft, come and go as the wind rolls. The sound is clear and cold, and the pearls and jade fall in the air. The big strings are long, the small strings are short, the small strings are tight and the big strings are slow. The initial tone is resounding, like the mandarin ducks making new sounds on the water; and the deeper tone is like the crane swimming in the secret hall of the Taiqing Immortal. This perfectly expresses the playing skills and wonderful sound of Konghou. In the Tang Dynasty, the famous konghou performers include Zhang Hui, Li Ping, Zhang Kid and Ji Qi Gao.

Western . Harp and China's vertical konghou, their appearance is very similar, the playing method is also very similar, in the plastic arts and acoustics, have reached a more perfect situation. Although they have been handed down in different regions, and their internal structures are also significantly different, but tracing their origins, they are the same out of an ancestor, is the same source of different streams of musical instruments. The earliest? Harps? The harp appeared in ancient times, but it was very simple at that time. According to legend, people prepared bows and arrows to go hunting, and when they tried to test the bowstring to see if it was tight, they strummed it and found that it gave out a beautiful musical sound. So people consciously plucked the bowstring again and again, and listened to the sound it made like singing. Later on, people used the hunting bow as a musical bow and played the bowstring as a lute, which is the simplest stringed instrument. In Europe, the bow was passed down and improved for many centuries, and gradually many strings were added to the only string to become the ancient harp. It is also shaped like a vertical bow and the name of the harp. 18th century, its structure is still relatively simple, is to change the pitch by hand, can not do skills complex performance. 18th century 70's, France made thirty-seven-stringed harp, become a masterpiece of art, not only the column carved with a refined foliage ornamentation, the head of the piano is also carved into a violin-style symmetrical spiral, very chic, in the strings of the axial plate on both sides of the transparent glass window embedded in the axial plate. On both sides of the axial plate, the harp is also embedded with transparent glass windows, and the internal parts are finely crafted and compact. The harp is currently in the Musical Instruments Museum of the Conservatoire National de Paris, where it was acquired in 1820 by the great French pianist Sébastien Erard (1752). In 1820, the great French pianist Sébastien Ellard (1752-1831) enriched the expressive power of the harp by replacing its pedals with a mechanical structure of compound pedals. After continuous improvement, the harp has reached such perfection that it has become one of the jewels of Western musical instruments, capable of both solo performance and accompaniment, with one or two seats in the general orchestra. The harp's internal structure is highly precise, and the shape of the arts and crafts is also particularly exquisite, and the manufacturing technology is extremely complex, and at present, only a few countries in the world, such as Britain, France, the U.S.A., Japan, Russia, Germany, and Italy, have the production of the harp. Our country successfully manufactured the first harp in 1958, when the Soviet Union National Symphony Orchestra visited China for a performance, and the Soviet harpists I? Soviet harpists I. Shlezgal and Na. The Soviet harpists I. Shrezgal and Na. Tolstaya wrote in the guestbook after playing our harps with satisfaction: "The first harp made in Beijing is the first harp made in China. The first harp made in Beijing has a beautiful shape, fine craftsmanship, excellent choice of materials, very soft sound and easy to use. To the talented maker congratulations on this achievement.

Konghou continued to be used in China during the Song and Yuan dynasties, and the Song dynasty's Yang Chen's "Book of Music" records the various forms of Konghou that existed at the time, with their images. The Song Dynasty lyricist Han Qian's "Winking Konghou": ? Misty Gods and Immortals in the Window of Clouds and Mist. I have told Suzhou that I have not yet broken my heart. The smoke and moon fall from the lake. Waking up Chang'e, the spring bamboo shoots are long and slender. The lute on the horse is half made up. I've been thinking about you for a long time, and I've been thinking about you for a long time. A dream of clearing up into Xiaoxiang. I'm not sure if I've ever seen a woman like you before, but I'm sure you've never seen a woman like me before. The description of the literati's thoughts and the wonderful sound of Konghou is mesmerizing. From the Song Dynasty onwards, Konghou was gradually lost in the folklore and became an exclusive musical instrument of the court, which was confined for a long time, restricting its development, degrading its playing skills and losing its vitality. In the Ming Dynasty, Konghou instruments and musicians were already a rare breed. In the Qing Dynasty, Konghou disappeared and eventually became extinct for three hundred years, but it is still documented and pictured in the "Qing Dynasty Renewal of Documents".

Beijing China Academy of Art Music Research Institute of the Chinese Musical Instrument Museum, there are two framed vertical konghou, are modeled after the "Qing Dynasty renewed documents" painted? vertical konghou? Image and production. The history of the book: "vertical konghou, eighteen strings, eighteen strings, eighteen strings. Vertical Konghou, eighteen strings, by the handle of a string of ten products, ***28 words, four groups of sound. Played in the middle and low two parts of the second hand to hold the bullet, the soprano part of the left pin right to play the strings, wheel finger clip bullet can be added. The strings are divided into three types: large, medium and small, and the one by the handle is especially small. The strings are attached to a live carabiner in the groove of the handle and to a small soundboard. The soundboard can raise the pitch of the strings by one degree and has the function of chanting and brisk playing. It is twice as loud as the pipa. It can be played on a table. This kind of konghou was already more powerful than the one described by Wu Zimu of the Song Dynasty in Mengliang Lu. This kind of konghou has been improved from the one described by Wu Zimu of the Song Dynasty in Mengliang Lu. Konghou has been improved by the addition of a wooden column on the side of the bass strings, and although the column is still thin, it has initially taken on the framework of a harp, laying the foundation for future development. One of the Konghou, made of red sandalwood, 138.5 centimeters high, 49.5 centimeters long and 10 centimeters wide at the bottom, for the frame vertical Konghou. *** sound box at the bottom, narrow box-shaped, 41 cm long, 19 cm high, 6.5 cm wide, both sides of the surface covered with tung wood panels, the top of the two money eye sound holes, the right side of the surface of a long bamboo zither horse. The head of the instrument is in the shape of a concave spiral. There are 21 mahogany fiddle-type string spindles (10 on the left and 11 on the right) on the angular curved wood. There are 21 silk strings of two thicknesses, the upper end of which passes through the center of the wood and wraps around the axle, while the lower end of the strings is tied to 21 mahogany binding strings under the right side of the case. The lower end of the strings is tied to the 21 mahogany bindings on the right side of the case. On the lower end of the wood on the side of the treble strings, there is a fingerboard made of ebony, with nine brass pieces embedded in it. The base is painted in black lacquer, depicting a golden dragon, and the column is decorated with a dragon pattern in gold. The instrument is placed on the table and played with both hands. This instrument is a modern product, once by the famous Chinese zither Zheng Yingsun collection. Another konghou, made of rosewood, 137 cm high, bottom length 47.5 cm, 12 cm wide, for the frame vertical konghou. The bottom of the narrow box-shaped **** sound box, 42 centimeters long, 19 centimeters high, 6.5 centimeters wide, both sides of the surface of the Tung wood board, the top of the two by the five money eyes composed of the sound window, the right side of the surface of a redwood bar horse. The head of the instrument is of concave spiral shape, with 23 mahogany fiddle-type string shafts (11 on the left and 12 on the right) on the angular curved wood. There are 23 strings of three kinds of thicknesses, and the lower ends of the strings are tied to 23 rosewood binding strings under the right side of the case. There is a fingerboard at the lower end of the wood on the treble string side, with nine bone pins embedded in it. The whole body is painted with red lacquer, depicting golden double dragons playing with pearls, dragon patterns, cloud patterns and other decorations. When playing, it is placed on the table, with both hands holding and playing, and can be pressed on the treble strings on the fingerboard. This instrument is a modern product, which was once treasured by Mr. Cheng Yanqiu, a famous Peking Opera performer, and was donated to the country by Mr. Cheng in 1958. These two ancient vertical konghou imitations are finely crafted and beautifully decorated. Although they have not been on the music stage, they are fine examples of China's national musical instruments, and are invaluable treasures for future generations to learn from and learn from. Has been included in the large picture book "Chinese musical instruments illustrated".

Since the 30s of the century, China's music industry, musical instruments, began the revival of Konghou. China's famous national music society Shanghai Daitong music society, concentrated at that time quite prestigious instrumentalists and instrument makers, in their made in a set of 143 pieces of ancient and modern national musical instruments, had 20 pieces of musical instruments to reform attempts, one of which is the vertical konghou. This vertical konghou, the upper part of which is the same as the one contained in the "Qing Dynasty Renewal of Literature"? vertical konghou? The upper part of this vertical konghou is the same as that of the vertical konghou contained in the Qing Dynasty's General Catalogue of Continuing Documents. The upper part of the harp is the same as the "vertical konghou" in the "Tongkao of the Qing Dynasty", with a column, strings, and a live carabiner attached to the handle slot. In the lower part, the narrow box-shaped **** sound box was changed to a pipa-shaped **** sound box, which was an unprecedented and groundbreaking move. The strings are attached to the small soundboard from below. The strings are attached to the small soundboard at the bottom. The strings were tied to the small soundboard from the bottom of the soundboard and changed to the lower right side of the box, with a pin post on the panel (right side) as a conductor of the string sound. This reform attempt significantly expanded the volume, enriched and embellished the tone, and gave a new development to the ancient instrument of Konghou. Unfortunately, this Konghou due to years of war or other reasons have not been handed down, and now there are only photographs of the instrument, stored in the Museum of Chinese Folk Musical Instruments of Shanghai Folk Musical Instruments Factory.

In 59 years, Beijing Musical Instrument Research Institute senior instrument engineer, the famous violin maker Mr. Wang Mei and the director of Yao Wenlin and others, had reference to the ancient musical instrument pictures and modern imitations, and according to the modern harp modeling and structural principles, the design and trial made a frame vertical konghou, but could not be used for music practice.