Different styles and emotions of Guangdong music and Jiangnan silk and bamboo music

Random talk on silk and bamboo in Jiangnan

Chen Shanghai Institute of Art

-Speech at the Jiangnan Silk and Bamboo Performing Arts Seminar

Today, I listened to some predecessors and peers in the silk and bamboo industry in Shanghai, and expressed my views on the origin, repertoire and performing arts of silk and bamboo in the south of the Yangtze River, which was very rewarding. I studied under Mr. Gan Tao, Mr. Jin Zuli and Mr. Lu Chunling, but I know little about the silk and bamboo in the south of the Yangtze River. Nevertheless, I am not ignorant. I'd like to take this opportunity to express my humble opinion and ask for your advice.

First, the relationship between Jiangnan silk and bamboo and music and opera

Jiangnan Sizhu, Nanyin and Cantonese music are all important music categories in southern China. They are closely related to local operas. But this relationship is very different. Nanyin (referring to the form of instrumental music performance) was originally attached to Nanyin singing, while Cantonese opera, an instrumental music performance form, was originally attached to Cantonese opera, playing the cut of Cantonese opera. This understanding is probably not very outrageous. Therefore, it can be said that the history of Nanyin and Cantonese opera is shorter than that of traditional opera, which can be traced back to the history of local opera. There is also a certain relationship between the silk and bamboo in the south of the Yangtze River and the local opera in Shanghai. But this relationship is quite different from Nanyin and Cantonese opera.

Jiangnan music of silk and bamboo is a popular music form in Jiangsu, Zhejiang and Shanghai. Shanghai's local opera is Shanghai Opera, formerly known as Ancient Painting Opera, which came into being at the end of18th century. /kloc-At the end of 0/9th century, ancient paintings and dramas flowed from rural areas to cities, and were renamed as local beach springs (Bentan). Judging from the sounds (records) left at the beginning of this century, this beach has no accompaniment form since the1940s. Therefore, there is no dependence between Jiangnan silk and bamboo and Shanghai opera. At the beginning of this century, the performance form of Jiangnan bamboo silk flowed into Shanghai from the countryside and became an important form of entertainment for Shanghai citizens. Since then, the altar has been renamed "Qu Shen" after imitating the names of Kunqu Opera and Peking Opera to improve its social status. At this time, the accompaniment forms, especially Hu Kun's bow and finger movements, as well as melody and coloratura, all have a strong Jiangnan silk and bamboo playing style. Therefore, today's Shanghai Opera master Hu (a performer) can play the Jiangnan silk and bamboo without distorting the rhyme. In addition, Huai Opera, which flowed into Shanghai from northern Jiangsu and developed in Shanghai, was also influenced by the performance methods of Jiangnan silk and bamboo to varying degrees.

Second, the formation of new Phyllostachys pubescens

In February 2004, Mr. Liu met with the head of Datong Music Club. After being introduced by Mr. Zheng, Mr. Liu formally learned pipa from his teacher. 1In June, 924, Datong Music Club held an ancient music and dance conference in the then Shanghai City Hall. Give tickets and invite Liu to watch. After the meeting, Mr. Zheng asked Mr. Liu to talk about it. Mr. Liu said that although ancient music is good, it is high and rare, and it is not easy to dig. It is better to adapt other music into the well-known form of silk and bamboo, which is easy to be accepted by people. Entrusted by Mr. Liu, on 1925, Professor Xun Yang was successfully adapted into a bamboo and silk ensemble, A Moonlit Night on a Spring River. 1927, the moon height that no one could play at that time was excavated and named Cai Yu. On July 2nd, 1927, in order to hear Cai Yu's first public performance, Shanghai music lovers braved the downpour to attend the summer concert of Datong Concert, and the concert was still packed.

The successful performances of "Moonlit Night on the Spring River" and "Colorful Feathers" have made Shanghai music groups seek music scores from Datong Concert. However, Zheng Jinwen thought the two songs were unique to the club and refused to spread them. These two pieces were mainly played by pipa, and only Mr. Liu mastered their fingering at that time. 1In the autumn of 929, Mr. Wei Zhongle joined Datong Music Club, and was highly praised by Mr. Zheng Jinwen for his unique talent. The playing methods of these two songs were taught by Mr. Liu to Mr. Wei Zhongle. At that time, Mr. Cai Jintai, director of Lin Le National Music Club, decided to join Datong Music Club in order to make the pipa performance of "Moonlit Night on a Spring River" fail.

It is precisely because of the delay in the spread of Moonlit Night on the Spring River that the China Music Research Association and the Shanghai Meng Xiao Orchestra put the pipa solo "Xunyang jathyapple", "Autumn Moon in the Han Palace", "Qinglian Yuefu" and "Song of Frontier Defense" on the stage of silk and bamboo music. At that time, Shanghai residents called these pieces of music "New Sizhu" to distinguish them from the original Jiangnan Sizhu music. Today, some Jiangnan silk and bamboo groups in Shanghai still often play these music.

Third, the prosperity of repertoire and music types.

To prosper, a kind of music needs not only a well-educated performance team, but also a wide audience and distinctive repertoire. Although most of the performances of Jiangnan silk and bamboo have the purpose of self-entertainment, they also have the function of entertaining people. In addition, there are often some listeners who will enrich the performance team. As far as bands, audiences and tracks are concerned, I think tracks play a leading role. Because a large number of distinctive tracks, not only have a strong cohesion to the band members, but also can improve the quality of the band members, which is conducive to listening? It is also very attractive.

When it comes to Jiangnan Sizhu, people will naturally think of the eight famous songs of Jiangnan Sizhu. Players of Jiangnan Sizhu often claim that Jiangnan Sizhu is not just eight famous songs. As a matter of fact, people all know that there are eight famous songs in Jiangnan Sizhu, and no one will mistakenly think that there are only eight famous songs in Jiangnan Sizhu. However, can our Shanghai Sizhu Troupe play all these eight famous songs fluently? I'm afraid it's a little difficult. Because of the eight famous songs, slow six forbidden and slow three-four-four combined, many silk and bamboo groups don't play them often. Jiangnan Sizhu Band is very good at expanding the purpose of playing music. In addition to the "new silk bamboo" mentioned above, folk music in other provinces and cities is often absorbed and transformed into Jiangnan silk bamboo music. For example, the folk music "Partridge Flying" in Hunan, "Little Nishang" in Zhejiang and "Homesickness" in Fujian are all examples.

However, the creation of new songs by Jiangnan Sizhu is far less than Cantonese music, and successful new works are almost as rare as the morning star. What is the reason? I think this has something to do with the composer's creative thinking. The performance of Jiangnan Sizhu has always been that each player improvises melodies according to the characteristics of his own musical instruments and his own personal interests. Now even new works are playing procedures for adagio, adagio and allegro. Although Adagio is still slowing down and adding flowers, Allegro is also simplifying Adagio, but the performance is often a grand ensemble, lacking the unique polyphony of Jiangnan music, thus losing the true essence of music. Therefore, if our composer (whether professional or amateur) can give a general hint on polyphony, the effect will definitely be much better.

Fourthly, the flute and flute in Jiangnan silk and bamboo music.

Jiangnan silk and bamboo performance has two characteristics. First, the performance lineup can be large or small, so small that only two people can partner; Second, there is no fixed dominant musical instrument, such as flute, erhu, pipa and dulcimer. Whoever has deep qualifications can take the lead temporarily. Nevertheless, the flute is often dominant because of its crisp tone, strong penetration and easy to add flowers to the melody.

In recent years, I always feel that the volume of the flute is too loud and the melody is too colorful. Other musical instruments seem to be the foil of the flute. The flute's refusal to give in is not only unfavorable to the development of various musical instruments, but also often leads to the loss of overall harmony in playing. For example, in "36", it is often heard that all the melodies are played into eight sixteenth notes from beginning to end. There are at least three disadvantages to playing like this: first, players don't have enough time to breathe for every phrase (they can only steal gas), so they play hard; Second, although the rhythm is stable, the melody is lost in the contrast of density, which seems unremarkable; Third, the balanced sixteenth notes make the sentences of phrases ambiguous to read. When I was a teenager, my teacher Gan Tao often warned the author: "Fast is not fast, slow is not slow; Strong is not strong, weak is not weak; If you don't spend it, you won't make an appointment. " Professor Gan Tao's words are the simplest explanation of artistic dialectics. Today's flutes are complex but not simple, which can't reflect the beauty of Jiangnan silk and bamboo music.

Nowadays, Dong Xiao is rarely used in the Jiangnan Silk and Bamboo Band, which should be paid enough attention to. The flute reflects the weak volume of the flute. Because of this, Dong Xiao looms in the Jiangnan Silk and Bamboo Band and is regarded as dispensable. In fact, Dong Xiao belongs to the tenor part of wind instruments, and its high audio-visual flute is far softer than the flute, which just complements the timbre of the flute. In addition, the role of flute and flute is also different, that is, the music of Jiangnan silk and bamboo played with flute, such as Ode to Joy, San Liu, Yun Qing, Walking in the Street and so on. You should add flute completely, and the playing effect will be enhanced after adding flute. However, there are still some silk and bamboo music in the south of the Yangtze River that only use flutes but don't use flutes at all, such as Little Nishang, Palace of Death (also known as Knife Eight Plates and Palace Tune, which was mistakenly called the Vatican Palace), as well as so-called new silk and bamboo music, such as Moonlit Night on the Spring River, Colorful Feathers, Xunyang jathyapple and Qinglian Yuefu. Without Xiao, it is difficult to get good grades. However, there is also a situation that flute players are mostly flute learners. Players often only pay attention to the "similarity" between flute and flute, but ignore the "difference" between them. Playing the flute too much like a flute will lose its gentle, beautiful and elegant charm, which will inevitably affect the playing effect. About Dong Xiao's timbre, you need to ponder carefully to master it.

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