What are the top ten ancient Chinese songs? Allusion to each

Top Ten Songs

1, high mountains and flowing water

Legend has it that Yu Boya, a qin master in the Spring and Autumn period, once played the qin in the wilderness, and Zhong Ziqi, a woodcutter, was able to comprehend that this was a depiction of the "lofty aspirations of the mountains" and the "ocean of aspirations of the flowing water". ". Bo Ya was shocked and said, "Good, Zi Zhi's heart is the same as mine." After the death of Ziqi, Bo Ya lost his soulmate, broke his qin and never played it, hence the song of "High Mountains and Flowing Water".

Introduction of the piece

The song "High Mountains and Flowing Water" is based on the story of "Boya's encounter with his soulmate", and there are many kinds of scores. There are two kinds of music: zither and zheng, both of which have the same name and different styles.

Ancient zither music. In the Warring States period, there was a story about the qin tune of "High Mountains and Flowing Water", so it was also rumored that "High Mountains and Flowing Water" was made by Boya. The earliest sheet music is found in the Ming Dynasty's "Magical Secret Score", and the explanation of this score's "High Mountains" and "Flowing Water" has the following title: "High Mountains" and "Flowing Water" are only one piece of music. The first one is about high mountains, which means that the benevolent people are happy with the meaning of mountains. Later, it is about flowing water, which means that the wise man is happy with the water. To Tang is divided into two songs, not divided into segments. To come, it was divided into four segments for high mountains and eight segments for flowing water." For more than 2,000 years, the two famous guqin tunes, "High Mountains" and "Flowing Water", together with the story of Boya's encounter with his soulmate by drumming the qin, have been widely circulated among the people.

With the development of the art of zither playing since the Ming and Qing dynasties, "High Mountains" and "Flowing Water" have changed a lot. The Secret Record of the Legend was not divided into sections, while the later zither scores were mostly divided into sections. Since the Ming and Qing dynasties, a variety of music scores to the Qing dynasty Tang Yiming edited the "Tianwenge music score" (1876) in the collection of the Sichuan school of qin Zhang Kongshan adapted the "running water" is particularly distinctive, increased to "roll, whisking, nicked, note" techniques for the sound of running water of the sixth paragraph, also known as "seventy-two roll whisking running water It is also known as "Seventy-two Rolls and Flowing Water", and has been popularized for its distinctive image and scenario. According to zither experts, before the release of the Tianwenge zither score, all the zither scores of "Flowing Water" did not have the sixth section played by Zhang Kongshan, and the whole piece had only eight sections, which was in line with what was stated in the explanation of the "Magical Mystery Score", but the score of Zhang Kongshan's biography had been increased to nine sections, which was the basis of the score that was later used by zither players.

There is also a zheng piece called "High Mountains and Flowing Water", the music of which is very different from that of the zither, and is also based on the story of "Boya's encounter with his soulmate". There are a variety of existing schools of music. The most widely circulated and influential is the Zhejiang Wulin School's spectrum, with elegant melody and timeless flavor, which has the appearance of "towering mountains and flowing water". The Shandong School's "High Mountains and Flowing Water" is an alliance of four small songs, also known as the "Four Sections" and "Four Sections of Jin", with the "Zither", "Wind Swinging on Cuizhu", "Quiet Night" and "Book". Henan School of "High Mountains and Flowing Water" is taken from the folk "old six boards" board head song, the rhythm is fresh and fast, folk artists often play at the first meeting, to show respect for the friendship. These three and the guqin song "high mountains and flowing water" between no **** the same place, are the same name and different songs, style is also completely different.

The song "Flowing Water" was recorded on a gold record and launched into space on August 22, 1977, to preach the wisdom of the Chinese nation and the message of civilization to the advanced creatures of the cosmic planets.

2. Guangling San

According to "The Qin Exercise", Nie Zheng's father, who was casting swords for the King of Han in the Warring States period, was tragically killed because of the delayed date. Nie Zheng was determined to avenge his father's death, so he went to the mountains to learn the qin for ten years, and became a master of the art, which made him famous in Korea. When the king of Han called him to play in the palace, Nie Zheng finally realized his long-cherished wish of killing the king of Han and died of disfigurement. Based on this story, the descendants composed a zither piece, which is generous and magnificent, and is one of the famous great pieces of the guqin.

Introduction of the piece:

Guangling San: Guqin piece. Also known as the "Guangling stop", according to the "Strategies of the Warring States" and "Historical Records" in the record: South Korean Minister Yan Zhongzi and Chancellor Man Lei have a long-standing enmity, and Nie Zheng and Yan Zhongzi friendship, he assassinated the Minister of South Korea for the Yan Zhongzi, embodied a kind of "soldier for a friend to die" sentiments. This is a relatively common view, and the title of this piece in the "Secret Record of Magic" is derived from this story. The earliest surviving score of "Guangling San" is found in "The Miraculous Secret Score" (1425) compiled and printed by Zhu Quan of the Ming Dynasty, which contains information about "stabbing Han", "rushing to the crown", and "getting angry", The music score has sub-titles about "stabbing Han", "charging the crown", "getting angry", "reporting the sword", etc. Therefore, the ancient qin music composers regarded "Guangling San" and "Nie Zheng Stabbing the King of Han" as different names and the same song.

The East Han Cai Yong's "qin manipulation" talked about the historical story related to the song: Nie Zheng is a Korean during the Warring States period, his father because the king of Han casting sword, violated the deadline, was killed by the king of Han. Nie Zheng failed in his assassination attempt to avenge his father's death, but when he realized that the king of Han was fond of music, he disfigured his face and went into the mountains to learn the zither for more than 10 years. When he returned to Han, no one recognized him. So, when he found a chance to play the zither for the king of Han, he pulled out a dagger from the belly of the zither and stabbed the king to death, and of course, he himself died a heroic death. The modern qin writer Yang Shibai, in the "qin mirror" of the "qin study series" edited by him, believed that this song originated from the "Nie Zheng Lash the King of Han Song" of the Hetian Miscellaneous Songs.

According to the "Shishu Xinyao" records: Jikang very favorite "Guangling San", often play it, so that many people came to seek advice, but Jikang not teach. Before his death, he played this song, and sighed long and hard: "Guangling San" is now absolutely gone. Nanjing Xishanqiao Nan Dynasty tomb unearthed molded Jikang portrait brick, depicting Jikang sat down to play the piano, the image of the gas.

3, Pingsha falling geese

Ming Dynasty this song called "falling geese Pingsha". The melody is melodious and smooth, through the hidden and sometimes appearing geese, depicting the scene of the geese circling in the sky and looking forward to the landing of the geese.

Introduction to the piece:

Falling Geese in Pingsha: A Guqin piece first published in the Ming Dynasty in the Guyin Zhengzong (1634), also known as Falling Geese in Pingsha. Since its inception, the publication of the spectrum of the collection of more than 50 kinds, there are a variety of genres to pass the spectrum, only published in 1962, "Guqin Song Collection" the first collection of six zither player's performance of the spectrum, about the author of this song, there is the Tang Dynasty Chen Liang said; Song Dynasty Mao Minzhong, Tian Zhiweng said, and said that it is made by the Ming Dynasty Zhuquan. Because of the lack of reliable historical information, it is difficult to confirm whose hand it came from.

The meaning of the song Ping Sha Falling Geese is different in various music scores. In the "Ancient Tone", it is said that this song: "The high and clear autumn, the wind is quiet and the sand is calm, the clouds are ten thousand miles away, and the sky is singing. Borrowing the faraway ambition of the partridge, write the heart of the scholar also. ...... The rhythm of the body where three up and three down. The first play like geese to guests, extremely cloudy misty, sequence of geese line and song, abruptly hidden abruptly apparent, if to if to come. It wants to fall also, back to the circle, hovering in the air; it will fall also. Rest sound oblique swept, around the continent three turns, its both fall also, this call and the other echo, three or five into groups, flying and singing and hosting, get the right mood: son and mother with the male and female to let, but also can taste it." The description of the nature of the geese in this passage is extremely profound and vivid. The whole piece is graceful and fluent, meaningful and fresh. Now most of the circulating is seven paragraphs, the main tone and musical image is more or less the same, the melody rises and falls, stretches on and on, beautiful and moving; the tone is quiet and beautiful, but there is movement in the quiet.

4, ten ambush music

The song depicts the final duel of the Chu-Han War in 202 BC under the Ohio . Xiang Yu cut his own throat on the Wujiang River and Liu Bang won the victory.

Introduction to the piece:

Ambush on Ten Fronts "Ambush on Ten Fronts" is a traditional large set of martial arts pieces for the yarrow-named pipa, the score of which first appeared in Hua Qiu Ping's Pipa Score of the twenty-third year of the Qing Dynasty's Jiaqing period (1818), and before this score, there was only the "Chu and Han", which depicts the same subject matter. In Wang Yuding's "Tang Pipa Biography" of the Ming Dynasty, there is a record of Tang Yingzeng, who was known as "Tang Pipa", playing the "Chu and Han": "When the two armies dueled, the sound moved heaven and earth, and the tiles and roofs 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, Russia and no sound, long time there is a grudge and hard to understand, for the sound of the Chu song; poignant and strong, for the king of the Xiang song of generosity, Farewell to the sound of the concubine. Trapped in Dazhe have to chase the sound of riding, to the Wujiang River has the sound of the king of Xiang cut his own throat, the remaining riders trampled on the sound of fighting for the king of Xiang. So that those who heard the beginning and excited, both fear, and finally sniveling from nowhere." From this description, we can see that Tang Ying had played "Chu Han" and "Ambush on Ten Sides" in the plot and theme of the same, which shows that as early as before the 16th century, this song has been circulating in the folk.

"Chu Han" was popular around the Jiajing and Wanli periods of the Ming Dynasty and was well received by pipa players. Since the introduction of the Pipa Score compiled by Hua Qiuping in 1818 A.D., various subsequent collections of pipa scores have contained scores of "Ten Faces". Each version differs in its sections and subsections:

The Huashi Genealogy is called Ten Faces, which was passed down by Wang Junxi of Zhili province, with thirteen sections; the Li Genealogy is called Huaiyin Pingchu, written by Qin Hanzi of Sui province; the school of Zhou Ruiqing Haoqing of Jinshan province has eighteen sections; the Yangzhengxuan Genealogy is called Ten Faces, and is called Huaiyin Pingchu, with eighteen sections; and the Ancient Tones of Yingzhou is called Ambush on the Ten Faces, with ten sections.

The Ten Ambushes can be said to be the culmination of the ancient pipa performance art, creating a solo performance of a single instrument in the form of a magnificent epic scene (which in modern times often requires a symphony with a big orchestra), and to this day the Ten Ambushes is still the most representative of the traditional masterpieces in the field of pipa performance art.

5. Fisherman and Woodcutter

This piece expresses the enjoyment of the fisherman and woodcutter in the green mountains and waters.

Introduction:

Fisherman and Woodcutter: Guqin piece, the score first appeared in the "Xingzhuang Taiyin Renewal Score" (written by Xiao Luan in 1560): "The rise and fall of the ancient and modern worlds is as if it were in the palm of my hand, and the green mountains and green water are solidly unharmed. A thousand years of gains and losses, right and wrong, all pay the fisherman and woodcutter a word only". This piece reflects the yearning of a recluse for the life of a fisherman and a woodcutter, hoping to get rid of the constraints of the mundane world. Through the fishermen and woodcutters in the green mountains and green water between the interest of self-enjoyment, expressed the pursuit of fame and fortune to the contempt of the people. The melody is elegant and elegant, showing the relaxed and carefree demeanor of the fisherman and woodcutter. The music is vivid and precise.

Fishermen and Woodcutter's Questions and Answers is a famous piece of music that has been passed down for hundreds of years, and now there are many kinds of scores. The "Beginner's Guide to the Study of the Qin" says, "The meaning of the piece is deep and long, and the spirit is free, while the loftiness of the mountains, the ocean of the water, the ding-ding of the axe, and the oar sound of the sculls are hidden under the fingertips." Because of the accuracy and vividness of the musical image, it has been widely circulated among zither players in recent centuries.

The music begins with a leisurely tune, showing an ethereal and spontaneous tone, and the echoes of the upper and lower phrases create the mood of a fisherman and woodcutter answering each other. The theme of the tone changes and develops, and constantly adding new tones, coupled with the use of the roll whisking technique, to the seventh paragraph to form a climax. The music adopts the dialog between the fisherman and the woodcutter, with a rising tune for the question and a falling tune for the answer. It portrays the hermit's unrestrained and elegant mood. The strong sound caused by the technique of splashing and triple-playing is harmonized with the syncopated rhythm, which makes people feel the lofty mountains and the woodcutter's thumping axe sound. The thematic tones presented at the end of the first section are shifted and varied and repeated throughout the piece, leaving a deep impression.

6, sunset xiao drum

It is a lyrical piece of music, around 1925, the Shanghai Daitong music society according to the song adapted into a silk and bamboo music "Spring River and Moonlit Night".

Introduction:

The Sunset Pipa and Drums is a famous traditional pipa piece, which has been in circulation for a long time in the Ming and Qing Dynasties, and was first adapted for silk and bamboo ensemble by Liu Yaozhang and Zheng Jiwen of the Shanghai Daitong Music Society in 1925.

The score was first recorded in the handwritten manuscripts of Ju Shilin (before 1820) and Wu Wanqing (1875), and was included in Li Fangyuan's compilation of the New Pipa Score of Thirteen Songs of the Northern and Southern Schools, titled Xunyang Pipa in 1895, and was named Xunyang Pipa in 1929, and in Shen Haochu's compilation of the Pipa Score of Yuzhengxuan in 1929, it was called Sunset xiaojiu Drums; and it was changed into a silk and bamboo ensemble in 1925 by Liu Yaozhang and Zheng Hajiwen from the Shanghai Daitou Lehui. In 1925, Liu Yaozhang and Zheng Jiwen of the Shanghai Grand Concert Association changed the name of the piece to Silk and Bamboo Ensemble, and at the same time renamed it "Night of Spring River Flowers and Moon" based on the phrase "Night of Spring River Flowers and Autumn Moon" in "Pipa Xing". This lyrical piece has a beautiful and smooth melody. Through the euphemistic and simple melody, smooth and varied rhythm, the piece visualizes the charming scenery of the Spring River on a moonlit night, and praises the beautiful scenery of the Jiangnan water town.

The whole piece is the most common multi-part structure in national instrumental music. Peng Xiuwen, conductor of the National Orchestra of the Central Broadcasting Orchestra and a master of folk music, is extremely delicate in the artistic treatment of this piece, and he makes full use of the rich instrumental colors of the big band, and skillfully arranges the musical instruments to increase and decrease, so that the orchestra sound is rich in the change of high, low, thick, light, thick, thin, and the level is clear. In terms of musical expression, it not only carries forward the elegant tone of classical music, but also makes the music full of inner passion, quite charming and full of life. Chinese classical guitarist Yin Biao changed this piece into a solo guitar piece "Xunyang Night Moon", which won the classical guitar championship in the guitar competition held in Guangdong, Hong Kong and Macao in 1988. And Lai Haiying adapted it for piano solo. Liu Zhuang adapted it for Mori Tube Quintet, and Chen Peixun adapted it for Symphonic Soundscapes.

7. Autumn Moon in the Han Palace

This piece is intended to express the sadness and sorrow of the oppressed court ladies in ancient times, and to arouse people's sympathy for their misfortune.

Introduction of the piece:

The Autumn Moon in the Palace of Han was originally a pipa piece of the Chongming School, and now there are a variety of scores in circulation, which have evolved into different scores from the score of a single instrument and have been recreated using their own artistic means in order to portray a different musical image, which is a common situation for folk instrumental music in circulation. The performance forms of "Autumn Moon in the Han Palace" are Erhu, Pipa, Guzheng and Jiangnan Silk and Bamboo. It mainly expresses the ancient palace maiden's sad and sorrowful emotion and a kind of hopeless, lonely and cold life mood.

Erhu "Autumn Moon in the Han Palace": the first section of the pipa song of the same name from the Chongming School was transplanted to a Cantonese minstrel song, played by the Cantonese hu, also known as "Three Pools and the Indian Moon."

Liu Tianhua recorded the score of the record Cantonese hu song "Autumn Moon in the Han Palace," which was changed to be played by the erhu (in one position only).

Jiang Fengzhi organized and performed "Autumn Moon in the Palace of Han", which was greatly abridged to avoid the lengthy performance. The slow tempo, the delicate bowing, the frequent short rests and staccato in the melody, the intermittent sound, the soft tone of the erhu, the use of the minor third note, and the repeated appearance of the characteristic change of leitmotifs, expresses the sadness of the courtesan, and is extremely infectious.

Jiangnan Silk and Bamboo "Autumn Moon in the Han Palace": the original B key (A Gong) was used, and the score was passed down by Sun Yude. The original Shen Qichang "Yingzhou ancient tune" (edited in 1916) silk and bamboo literary ensemble with the main Palace tone (G Palace). The pipa is still tuned in the B mode, lowering the strings by two degrees and expressing the delicate and far-reaching feelings of grief and bitterness of the ancient courtesans. The middle section utilizes the strength of the orchestration, and the voices play with each other, complementing each other and giving people a sense of pursuit and yearning. At the end, all the instruments play the whole slow movement, showing that the moon is sinking in the middle of the sky, and the earth is returning to silence.

Pipa Song "Autumn Moon in the Han Palace": also known as "Chen Sui". The lonesomeness of the harem is written in the image of song and dance, which makes it clearer and more depressing, and there are different genealogies. At present, it is generally based on the Wuxi Wu Wanqing, but Liu Dehai added many timbral variations and intentional diffusion of fingerings, a chant and three sighs, both scenarios, very infectious.

8, Plum Blossom Sanlang

The Plum Blossom Sanlang is a Guqin piece, adapted from a flute piece.

Introduction of the piece:

Plum Blossom Sanlang: Guqin piece. It is also known as "Plum Blossom Lemonade" and "Jade Concubine Lemonade", which is a masterpiece of traditional Chinese art that expresses the plum blossom. It was later transplanted by later generations as a zither piece.

Guo Maoqian's "Lefu Poetry Collection," Volume 24 of Liu Song Baozhao's "Plum Blossom Falling" explains the title, "Plum Blossom Falling" is also a flute song, and "the sound of the song is still alive today. Today's survival of the Tang poetry also has a lot of flute song "plum blossom fall" description, indicating that the Southern Dynasties to Tang, flute song "plum blossom fall" more popular.

About the music content of "Three Plum Blossoms", the music scores of all the generations have been introduced, and most of the flute music "Plum Blossoms" from the Southern Dynasty to the Tang Dynasty expresses the emotion of sorrow and separation.

Ming and qing zither music "plum blossom three fiddles" more to plum blossom frost and cold, noble and unyielding temperament and temperament for the performance of the content, "huan yi out of the flute blowing three fiddles of plum blossom of the tune, high and exquisite, the descendants into the piano." "The plum is the clearest flower, and the zither is the clearest sound. To write about the clearest thing with the clearest sound, it is appropriate to have a frosty tone." "The meaning of "Three Lemonies" is to take the overtones of three sections, with the same strings and different levies." (Ming Bo Ya Xin Fa) From here, it can be seen that it was first a flute piece, and later adapted into a guzheng piece (it is difficult to determine who the author was).

Today's scores include the Yushan School's "Harmonized Sound of the Qin" (Zhou Xianzu, 1820), which has a more regular rhythm and is suitable for ensemble playing; and the late Guangling School's "Banana-an Qin Score" (Qin Huaihan, 1868), which has a freer rhythm and a refreshing change of key before the end of the piece.

The piece is structured in a cyclical manner, repeating the entire theme three times, with overtones played each time, hence the name Sanlang. In 1972, Wang Jianzhong adapted this piece for the piano in the key of Mao Zedong's "Winged Plum Blossom," the theme of which is "The Plum Blossom.

9. Yangchunbaixue

It is said to have been composed by Shikuang of Jin or Liu Juanzi of Qi during the Spring and Autumn Period. The surviving zither score of "Yangchun" and "White Snow" are two instrumental pieces, and the "Miraculous Mystery Score" says in the explanation, "Yangchun" takes the meaning that everything knows spring, and the wind is light and swinging; and "White Snow" takes the sound of awe-inspiring cleanliness, and the sound of snow and bamboo linings."

It is a fresh and fluent melody, lively and brisk rhythm, vividly expresses the winter to spring, the earth is recovering, all things to flourish, the vibrant scene of early spring.

Introduction:

Yangchunbaixue (White Snow in Spring): A pipa suite consisting of several variations of the folk instrumental music instrument "Eight Panels" (or "Six Panels"). It is a cyclical reproduction of the "Eight Boards" variant, where the individual "Eight Boards" variants are combined to form a variant relationship, and new material from "Hundred Birds Toward the Phoenix" is inserted, so it is a variant structure with a cyclical element.

There are two different versions of Yangchunbaixue in circulation, "Big Yangchun" and "Small Yangchun," with "Big Yangchun" referring to the ten- and twelve-part scores organized by Li Fangyuan and Shen Haochu. The "Little Yangchun" was handed down by Wang Yuting, also known as the "Quick Board Yangchun," and was widely circulated. Presented here is the Xiao Yangchun.

10, Eighteen Beats of Hu Jia

At the end of the Eastern Han Dynasty, there was a great chaos, and there were beacons for many years. Cai Wen Ji was captured by the Xiong Nu in her flight and was exiled to the outside of the Seychelles, and she later married with the King of Zuo Xian, and gave birth to two sons and daughters. She spent twelve springs and autumns outside of the city, but she missed her hometown all the time. After Cao Cao had pacified the Central Plains and made peace with Xiong Nu, he sent his envoy to ransom Wen Ji with a large amount of money, so she wrote the famous poem "Eighteen Beats of Hu Jia", which recounted her unfortunate life experience. There are versions of "Big Hu Jia", "Small Hu Jia" and "Eighteen Beats of Hu Jia". Though the tunes are different, they all reflect the extremely contradictory and painful feelings of Cai Wenxilu, who missed his hometown but could not bear the separation of his flesh and bones. The music is so sad that it tears the liver and intestines.

Introduction of the piece:

Hu Jia Eighteen Beats: a guqin piece, rumored to be composed by Cai Wen Ji, a vocal suite of 18 songs, accompanied by qin. "The name of "Hu Jia" is the result of the melting of the sound of the instrument with the mournful sound of Hu Jia.

Huang Tinglan, a zither player in Tang Dynasty, was famous for playing this song. Li Chip's poem "Listening to Dong Da playing Hu Jia" has the following words: "Cai female used to make Hu Jia sound, there are eight beats in one play, the Hu people shed tears and stained the grass on the border, and the Han ambassador broke his heart and returned to the guests. In the zither music, Wen Ji moved her feelings to the sound, borrowed the sound of Hu Jia, which was good at expressing homesickness and grief, and integrated it into the tone of the guqin, which showed a kind of vast and grievous spirit.

There are two kinds of scores in circulation, one is the qin song with lyrics in the "qin suitability" of Ming Dynasty (published in 1611), whose lyrics are the narrative poem of the same name made by Cai Wen Ji; the other one is the solo piece contained in the "qin score of Cheng Jian Tang" of the beginning of the Qing Dynasty and the scores thereafter, and the latter one is more widely circulated in the world of the qin, especially in the "qin score of Wang Zhi Zhai", the score of the qin score is the most representative.

The whole piece ****18 paragraphs, the use of the palace, levy, feather three modes, the music of contrast and development of a clear hierarchy, divided into two levels, the first ten to beat the author of the main in the hu land of the hometown of love; the latter level of the author of parting with the son of the hidden pain and sadness expressed. The whole piece is inseparable from a "miserable" word, was adapted into a pipe solo, with the pipe to play that kind of mournful sound straight into the hearts of the people, high is pale long miserable, low is deep sadness.

Cai Wenji's "Eighteen Pieces of Barbarian Pipe" was described by Guo Moruo as "one of the most appreciated long lyric poems since Qu Yuan's "Li Sao"".