What is Chinese Traditional Songs

Introduction of Chinese traditional music:

We can see the word "national music" in many folk music CDs, which refers to the music that has been handed down from ancient times and has been developed in modern times, which belongs to the "national essence". was after the Opium War in 1840.

The term "Chinese music" refers not only to music handed down from ancient times, but also to music composed and adapted by Chinese people according to Western theories.

"Traditional Chinese music" refers to music created by the Chinese people using their own methods and forms, and characterized by their own forms, including not only ancient works that have been produced and handed down throughout history, but also contemporary works. It can be seen that traditional music includes "national music" but not "new music", but they are all "Chinese music".

Traditional music is an extremely important part of China's national music, and the difference between traditional music and new music does not lie in the sequence of the time of creation, but in the form of its expression and stylistic features. For example, the erhu solo piece "Two Fountains Reflecting the Moon" and "Fishing Boat Singing in the Evening" are recent musical works, but their performance forms are inherent in the Chinese nation, so they are also traditional music. On the contrary, the school music song and the piano solo piece "Piccolo for Shepherd Boys" are not traditional music because their music form features borrowed from Western music.

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The structural characteristics of traditional Chinese music

1. Learning and inheriting the structure of the statement of traditional music

(1) There are differences between traditional Chinese music and Western music in terms of melody, scales, timbre and rhythm.

(2) The presentation of traditional Chinese music has its own characteristics, among which there are some specific terminations; the flavor of traditional Chinese culture is reflected in Chinese folk music.

2. The Structural Relationship between Traditional Chinese Music and Traditional Chinese Literature

When there are couplets in literature, there are up and down lines in music; when there are four verses of poetic stanzas in literature, there are similar four-stanza compositions; when there are eight verses of metered poems in literature, there are very similar and numerous compositions with similar structural principles in music. The "sixty-eight panels" (it is also eight lines, only one of them has an internal expansion, not as neat as the rhythmic poetry) is very similar to the instrumental music; there are chapters in literature and suites in music; there is the habit of using idioms in literature, and there is the habit of using ready-made music in music, such as the set piece. ......; in literature, there are "jujube kernel poems" and other playful poetic forms controlled by numbered sequences, and in music, there are "golden olive" and other structural forms to correspond to them. The Sixty-eight Beats is a pipa piece.

3. The Influence of Traditional Chinese Music Structures and Formats on Modern Music

The influence of Tang Daqu and opera music on modern music structures. The gradual change principle of "scattered-slow-medium-fast" in Tang Daqu and the linear structural thinking of later operas, which were organized with the help of plate speed structure, are the highest achievements of China's traditional music structure. The highest achievement of Western music structure is the sonata. The song structure of Tang Daqu is characterized by:

①The music is a multi-part structure.

②It embodies a kind of rapid dance (equivalent to "breaking") from "scattering" to "entering the beat" and changing into "complicated sound and rapid rhythm" through light singing. In the closing, the tempo has a gradual change of tempo from "scattered" to "in beat" and then to a fast dance (equivalent to "broken") with "complicated and rapid rhythm". At the beginning of the piece, each player tunes the piano, without tuning it in advance, in such a way as to tune the listener's senses into the feeling of the piece.

3) Using core tones (rather than themes or motifs), improvising variations to develop musical ideas.

④New vocal control relationships. It is a modern Western technique and is also the same as the way traditional Chinese music is written.

⑤New playing method and new tone color. For example, the instrument Xiao's "bubble blowing" and the modern polyphonic language that emphasizes intuition and sound. Luo Yonghui's "A Thousand Chapters of Sweeping" is in line with the modern Western concept of "controlled chance" in music.

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