Because of the traditional aesthetic of China's folk musical instruments in the production of what requirements?

Due to traditional aesthetic habits, China's national musical instruments are made of natural materials.

By the Western Zhou Dynasty, musical instruments of that time were already divided into eight categories according to the materials used in their production: gold (bells, bells, cymbals), stone (chimes), silk (qin, serpent), bamboo (xiao, qing), Lagenaria (sheng, yu), clay (ocarina, percussion), leather (rattle, thunder drums), and wood (bax, percussion).

Now generally popular are the qin, zheng, xiao, flute, erhu, pipa, silk bamboo, drums, etc., which are musical instruments representing the traditional Chinese music culture.

Expanded Information

China's national instrumental music is profound and profound, with a wide variety of musical instruments, among which minority instruments are even more varied and colorful. However, due to the influence of regional culture and many other factors, many ethnic instruments are little known, the author would like to share the experience of picking up several traditional ethnic instruments.

Generally speaking, folk music mainly refers to the traditional instrumental music of the Han Chinese. The types of instruments are generally categorized as: bowed string, mainly erhu, zhonghu, gaohu, jinghu, banhu, etc.; plucked string, mainly pipa, liuqin, zhongruan, guzheng, sanxian, etc.; wind instruments, mainly sheng, flute, xiao, suona, pipe, etc.; percussion, mainly drum, snare, gongs, cymbals and wooden fish, etc.

Many of these instruments originated from ethnic minorities; or originated from abroad and were introduced to the Central Plains after development in ethnic minority areas, such as the huqin and pipa. Some ethnic groups with a small number of people usually have only a few distinctive musical instruments, and cannot form a complete compilation system, making it difficult to form an orchestra with all of their own instruments.

These characteristic instruments generally have unique sound and expression, and when encountering musical works of their own style, they can play the role of the finishing touch, with their unique ethnic flavor and distinctive regional symbols, which cannot be replaced by conventional instruments. For example, the horse-head qin and the long tune make people think of the vast Mongolian steppe; the tambourine and the aijiek make people think of the strong Xinjiang flavor.

Many of these ethnic minority instruments have become the cultural totems of the ethnic groups and regions, and are also an important and indispensable part of the Chinese cultural treasury. I would like to introduce a few common and distinctive minority instruments and their picking methods in live performances.