China's national traditional musical instrument has the guzheng, what is his role. What role is equivalent to. Is it an emperor or a ranger?

Chinese folk music Refers to folk traditional music played in solo or ensemble form on traditional Chinese instruments.

Chinese folk instrumental music has a long history. From the Western Zhou Dynasty to the Spring and Autumn Period and the Warring States Period, folk music was popular in the form of instrumental music, such as playing the sheng, blowing yu, drumming, hitting the building, and playing the qin. At that time, qin masters such as Shi Juan and Shi Kuang, as well as famous qin tunes such as "The High Mountain" and "Flowing Water" emerged. In the Qin and Han dynasties, there was drum and blow music, in the Wei and Jin dynasties, there was Qing Shang music, in the Sui and Tang dynasties, there was pipa music, in the Song dynasty, there was fine music and Qing music, and in the Yuan and Ming dynasties, there were ten gongs and drums and strings, which made for a rich and varied form of music performance. The various genres and forms in recent times are the inheritance and development of the traditional forms.

Folk instrumental music includes solo performance of various instruments, and repertoire and ensemble performance of various combinations of instruments. The combination of different instruments, different repertoire and performance styles form a variety of instrumental music. The solo performance of various instruments is an important part of national instrumental music. The zither tune "Guangling San", "Three Plum Blossoms"; pipa tune "Ambush on Ten Sides", "Sunset Drums"; zheng tune "Fishing Boat Singing in the Evening", "Crows Playing in the Water"; suona tune "Hundred Birds Toward the Phoenix", "Little Open Door"; flute tune "Five Clappers", "Partridge Fly"; erhu tune "Two Springs Reflecting the Moon", and so on, are all excellent solo repertoire.

Purely with percussion instruments such as gongs and drums ensemble of the Qing gong music, rich in tone, rhythmic, good at showing warm red fire, lively and light and other life interests. For example, "The Eight Immortals" (East Zhejiang gongs and drums), "Eighteen, Sixty-four, Two" (South Jiangsu blowing and beating), "The Harrier Turns Over" (Shaanxi Guasha), "Barking" (Hunan Tujia "playing skateboarding"), etc. The music is played by a combination of percussion instruments and drums.

The stringed music played by a variety of stringed instruments is characterized by beauty, lyricism, simplicity and elegance, and is suitable for indoor performance. It is suitable for indoor performance, such as "Sixteen Boards" (Thirteen Sets of Strings), "High Mountains", "Flowing Water" (Henan Boards), etc.

Silk and Bamboo Music played by wind and string instruments is meticulous in style, and expresses the light and lively mood, such as "Three Sixes", "Walking Streets" (Jiangnan Silk and Bamboo), "Raining Bashanao", "Walking Horses" (Guangdong Music), "Eight Stallions", "Plum Blossom Exercise" (Fujian Nanyin), etc.

The music is composed by various stringed instruments, which is characterized by beauty, lyricism, rusticity and elegance.

The wind instruments and percussion instruments played by the ensemble of the blowing music, playing style rough, suitable for outdoor performance, good at showing warm and happy mood. For example, "General's Order" (Southern Jiangsu Blow), "Da Yuan Men" (Eastern Zhejiang Drums and Gongs), "Putian Le" (Shandong Drums and Blows), "Double Biting Goose" (Chaozhou Drums and Gongs). There are quite a few kinds of music of blowing and beating, using stringed instruments in the orchestra, thus the music has the characteristics of both silk and bamboo music, such as "Full Court Fang" (Southern Jiangsu blowing and beating), "Five Phoenixes" (Fuzhou Shifan), etc. In general, the popularity of the northern part of the country is very high, and it is not easy to find out what is the most popular music in the north. Generally speaking, the northern popular music emphasizes "blowing", and the blowing skills are high; the southern popular music emphasizes "playing", and the gongs and drums play an important role in the music.

Traditional folk instrumental music performance with folk wedding and funeral celebrations, meet the gods and other customs, as well as court ceremonies, religious rituals, etc., combined together, less purely instrumental form of performance. The practicality of folk instrumental music has led to changes in many instrumental music pieces as they are used for different occasions.

Traditional folk instrumental music has a title, which is divided into two categories: name labeling and meaning labeling. The labeling title only gives the name of the piece of music to show the difference between A and B. It has no direct connection with the music content, such as "Work Ruler", "Four Sections of Brocade", "Nine Linked Rings", "Ten Scenes of Drums and Drums", and so on. The title of the title with the name of the song, section labeling and interpretation of the content of the music, such as "running water", "the king of the unloading armor", "Sail the dragon for the gold" and so on.

National instrumental music is traditionally divided into "single" and "suite" of two categories. Single song is mostly a single independent song. Suites are made up of a number of songs or independent passages. Such as the North and South School of pipa thirteen sets of large songs, Jinbei eight sets, and so on. According to the type of song structure, there are mainly variations, cycles, joint body, synthesized body, etc., of which variations, joint body is the most common.

Variation techniques are widely used in the creation of music. Folk artists in a song repeatedly played, good at using a variety of playing techniques on the melody for flower decoration and the formation of variations, such as "happy meeting" (flute), "wedding song" (suona song) and so on. "Slow down and add flowers" is also a commonly used variation technique, which doubles the structure of the "mother song", while adding flowers for decoration. For example, "Song of Joy" (Jiangnan Silk Bamboo), "South Embroidered Lotus Bags" (Two People's Tablet Song), "Liu Qingniang" (Teochew String Poetry) and other pieces of music are all "slowed down and added flowers" placed in the "mother song" before the passage. Another variation technique is to change the structure of the theme. For example, the theme of the Erhu piece "The Moon Reflecting in the Two Springs" is expanded and tightened before, during or at the end of the subsequent five variations. In the pipa piece "Yangchunbaixue", the "Tiezeban Sheng" (sound of iron plates) is inverted in the structural order. This change in structural order is more common in gongs and drums.

Since the 1920s, Liu Tianhua and Nie Er have done some work on the inheritance and development of national instrumental music. After the founding of the People's Republic of China, music workers continued to organize, process, and adapt all kinds of fine traditional repertoire, so that the original spirit of the music has been more perfect performance, but also a large number of new works have emerged. As for the reform of musical instruments, great progress was made in the unification of meter, the improvement of sound quality, the expansion of volume, the convenience of transposition, the increase of bass, etc., and new varieties of music such as large-scale national orchestra ensembles were produced, which made a new development in terms of both content and form.

Chinese folk music, from the folk component is more, reflecting the folk component of sadness and misery is bigger (especially erhu music), is the mainstream of folk music, such as the two springs reflecting the moon, such as the river, such as the flow of the waves of the song, and so on, and the music of the ruling class, cultural class of the sadness and misery of the mood is less heavy, such as the night of the spring river and the moon, such as the Spring Festival Overture, such as the joyful news of Beijing to the border fortress and so on, but it is But this is not the mainstream of Chinese folk music. In this regard, the Chinese cultural class has not contributed as much to Chinese folk music as the folk artists.

European instrumental music for violin and piano is always moody.

Western music is aristocratic, Chinese music is poor. Western music is mostly created and processed by famous musicians who have been trained in formal conservatories, and it has an aristocratic pedigree and an elegant temperament. And Chinese folk music is mostly from the folk, no name, no name, like a beggar on the street moaning in pain, after one by one to sing slowly developed, although the melody is also very beautiful, but always with so a thick sad color.

Aristocratic music is suitable for public performances on social occasions, giving people the effect of momentum and shock, such as symphony, ballet music. And the poor music is suitable for late at night, when all the music is quiet, savor the flavor of life, its delicate and euphemistic style is more likely to move people from the depths of their hearts, on the individual's mood, temperament, and even the character of the more far-reaching and long-lasting impact.

People who study and listen to aristocratic music are easily inspired by the music and become passionate, as well as manic, arrogant, and unbearable; people who study and listen to poor people's music are easily demoralized and depressed, but it is also easier for them to make their hearts and minds quiet and at peace.

The erhu is the music of the common man (the pauper) Indeed!

It can also be said that the erhu cannot be taken as a representative of ancient Chinese musical instruments!

And in some foreign movies and TV shows, when there are scenes involving China, the erhu is usually used as background music, which I think is not reasonable! Especially in some Japanese animation, games, such as the Three Kingdoms, Fengshen Yanyi, etc., did the Shang Zhou. Did the erhu exist during the Three Kingdoms?

I think the guzheng is much more representative than the erhu, it's just a shame that the guzheng was pretty much adopted as the representative instrument of Japan after it was introduced to the country, whereas the erhu has become the representative Chinese instrument in the minds of most Japanese! It's the same thing with kimono, cheongsam!

This is the origin of the erhu from the Internet:

Erhu, also known as huqin, nanhu, buzz, huhu. Evolved from the Xiqin, Beam, and Huqin since the Tang and Song dynasties, the Erhu consists of a barrel, a pole, a stringed axle, a jack, and a bow. Erhu fixed strings, the range of about three octaves, tone just soft and changeable, there are delicate and flexible characteristics, pronunciation can be continuous, strong and weak changes in the natural, but also play a unique simulation effect.

The guzheng is one of the oldest musical instruments in China's treasure trove of national instruments. Regarding its history, the earliest recorded document of the guzheng is the article "The Records of the Grand Historian - Li Si's Remarks on the Eviction of the Guests" written by Sima Qian in the Han Dynasty, in which it depicts the scenario of accompanying the singing with guzheng and other musical instruments, and thus the guzheng was also called the zheng of the Qin Dynasty later on. However, according to "Wei Liao" written by Jin Yuhu, during the Spring and Autumn Period, Yu Chu, a doctor of Zheng State, was also good at playing the zheng, so the history of the zheng may be traced back to the pre-Qin period. There are other famous zheng players in the records, such as Luo Shi of Handan during the Qin Dynasty. According to the above historical facts, the koto has a history of at least 2,300 years in China. The earliest guzheng had only five strings, but by the end of the Warring States period, it had developed to twelve strings, then thirteen strings in the Tang Dynasty, and then sixteen strings in the Qing Dynasty, and the strings used began to be changed from silk strings to metal strings. In modern times, the guzheng has developed to twenty-one, or twenty-five strings

I think the representative instrument of Chinese folk music can not simply look at the history, if you look at the history, the erhu belongs to a kind of huqin, which is an exotic product (relative to the representative of the Han Chinese people), and the chances of it being elected as a representative instrument are not at all.

I think it is more important to look at the connotation of her expressive power, the degree of popularization, and the integration with people's thoughts. Undoubtedly, the erhu whether in the narrative or lyrical aspects, are in line with the Chinese nation's unique resilience, soft with a rigid temperament, the erhu issued by the kind of soft, low tone is more suitable for the appearance of some of the colorful tunes by the feelings, which is in line with the Chinese nation's many calamities and difficulties, the ups and downs of the history of the tone of the change. The erhu is the first choice of many folk music enthusiasts because of its simple structure, easy to carry, and the fact that it is not restricted by the venue in which it can be played. Chinese people are outwardly putative, but in their bones they are low-key, and their minds are more receptive to things that are more p civilianized.

And the guzheng is relatively less expressive, because the tones emitted have an elegant temperament, the construction is more complex, expensive, has been only in the aristocracy class circulation, so, does not have the universality of representing the Chinese nation.

Therefore, the erhu should be the representative of Chinese national musical instruments.

The Chinese zheng has a history of more than 2,000 years, and can be regarded as the most beautiful one among the flowers, with its rich and beautiful repertoire, ancient and elegant sound, colorful style and strong colors. Its style and color often have a close connection with the folk music, opera music and songcraft of the region where it is passed on. This is because the zheng music circulating in each region is itself a part of these sister musical arts, and it gradually stands out in the long-term artistic activities, and after repeated practice and refinement by generations of performers, it is continuously sublimated, thus forming a delicate and perfect guzheng solo piece. Therefore, people name the traditional zheng schools according to the region as Shandong zheng, Henan zheng, Chaozhou zheng, Hakka zheng, Zhejiang zheng, Fujian zheng, Inner Mongolia zheng (i.e., Yatog), Yanbian zheng (i.e., gabiqin) of Korean nationality, and Shaanxi zheng, which is known as the voice of the true Qin. The music of the nine schools is all over the country, as Mr. Cao Zheng, the famous guzheng master of China, said, it can be said that "the nine schools of the vast flow of China".

Shandong School: The style is rugged and simple, with strong local characteristics of Shandong. Its representatives are Li Lianjun, Gao Ziqi and so on. The representative repertoire of this zheng school includes: "Autumn Moon in the Han Palace", "Four Sections of Brocade", "The World is the Same", and "A Beautiful Woman Misses Her Homeland".

Henan School: Bright and smooth, lively style. Representatives include Wei Ziyou and Cao Dongfu. Representative repertoire includes: "Falling into the Courtyard", "Hepan", "Fighting Wild Geese", and so on.

The Chaozhou School: soft and gentle, with far-reaching rhythms. Representatives include: Guo Ying, Su Wenxian and so on. Representatives of the repertoire include: "Crows Playing in the Water", "Autumn Thoughts", and so on.

Hakka Zither: Elegant and quiet, beautiful and graceful. Representatives are: He Baoquan, etc. Luo Jiuxiang. Representatives of the repertoire are: "Out of the Water Lotus", "Banana Window Night Rain" and so on.

Zhejiang School: Lyricism, drama is very strong. Representatives include Wang Zhuizhi and others. Representative repertoire: "High Mountains and Flowing Water", "General Order" and so on.