What are the top ten ancient songs in China? Their own allusions

Top ten famous songs

1, high mountains and flowing water

Legend has it that Yu Boya, a pianist in the Spring and Autumn Period, once played the piano on a barren land, but Zhong Ziqi, a woodcutter, can understand that this is a description of "ambition in the mountains" and "running water with ambition". Boya was surprised and said, "Well, my son's heart is with me." After the death of the hippo chef, Boya lost her bosom friend, her piano broke and she didn't exercise for life, so there was a song of mountains and flowing water.

Introduction to music

"Mountain Flowing Water" takes "Boya Guqin meets a bosom friend" as the main line, and there are many kinds of Le Shu. There are two kinds of Qin music and Zheng music, both of which have the same name and different styles.

Guqin music During the Warring States Period, there was a story of Qin Le about high mountains and flowing water, so it was also said that "high mountains and flowing water" was written by Boya. The music score was first found in the Secret Music of the Ming Dynasty. The solution of the music scores "Mountain" and "Running Water" is that "Mountain" and "Running Water" are two songs, but there is only one. The first ambition is to care about mountains and rivers, saying that benevolent people are Leshan. The ambition of the future is to care about running water, which means that the wise are happy with water. The Tang dynasty is divided into two songs, regardless of section. The highest mountain is divided into four sections and eight sections of flowing water. For more than two thousand years, two famous guqin songs, "Mountain" and "Running Water", and the story of Boya guqin meeting a bosom friend have been widely circulated among the people.

With the development of Qin's performing arts since Ming and Qing Dynasties, "mountain" and "water" have undergone great changes. The legendary secret score is not segmented, but later the piano score is segmented. Among all kinds of music scores since Ming and Qing Dynasties, Running Water, which was adapted by Zhang Kongshan, a pianist of Sichuan School, was included in Tian Wen Song Score (1876) compiled by Tang Dynasty in Qing Dynasty. The sixth paragraph of the technique of "rolling, brushing, dialing and noting", also known as "seventy-two rolling and brushing water", is widely used because of its vivid image and blending of scenes. According to the research of Qin family, before the publication of Tian Wenqin's Song Score, there was no sixth paragraph played by Zhang Kongshan in all Qin Scores, and the whole song had only eight paragraphs, which was consistent with the solution of the Magic Handbook. However, the biography of Zhang Kongshan was increased to nine paragraphs, and then the Qin family followed suit.

There is also a guzheng song "Mountain Stream and Running Water", the music is quite different from piano music, and it is also based on "Boya Guqin meets a bosom friend". There are many genres of music books. The most widely circulated and influential is the Biography of Zhejiang Wulin School, with elegant melody and meaningful charm, which has the appearance of "majestic mountains and flowing water". Shan Dong School's Mountain Flowing Water is an ensemble composed of four ditties, namely Qin Yun, Bai Feng Cui Zhu, Ye Jing Ling and Shu Yun. It is also called four-stage music and four-stage brocade. The Mountain Flowing Water of Henan School is based on the folk song Old Liu Ban, with a fresh and lively rhythm. Folk artists often play this song when they meet for the first time to show respect and make friends. These three songs have nothing in common with the guqin song "Mountain Flowing Water". They are all different songs with the same name and completely different styles.

The song "Running Water" was recorded on a gold record and launched into space on August 22, 1977/kloc-0, preaching the wisdom and civilization information of the Chinese nation to the advanced creatures in the universe and planets.

2. Guangling Powder

According to Cao Qin, during the Warring States Period, Nie Zheng's father cast a sword for korean king and was killed because he postponed the date. Nie Zheng was determined to avenge his father. He went to the mountains to learn piano for ten years and became a stuntman, which made him famous in South Korea. Korean king called him to the palace to play, and Nie Zheng finally realized his long-cherished wish to assassinate korean king. He died disfigured. According to this story, later generations composed it into piano music, which was impassioned and magnificent, and was one of the famous guqin music.

Introduction to music:

Guangling San: Guqin music. Also known as "Stop Guangling", in Historical Records of Warring States Policy, it is recorded that South Korean Minister Yan Zhongzi had an enemy with Prime Minister Xia Lei, and Nie Zheng made friends with Yan Zhongzi to assassinate Han Xiang for Yan Zhongzi, which reflected a feeling of "a scholar died for a confidant". This is a common view, and the title of this song in the magic secret score comes from this story. The extant spectrum of Guangling San was first found in the Magic Secret Spectrum (1425) compiled by Zhu Quan in Ming Dynasty, which contained subheadings about stabbing Korea, rushing to the crown, getting angry and reporting swords. Therefore, ancient Qin composers stabbed Guangling San and Nie Zheng to death in korean king.

The Cao Qin written by Cai Yong in the Eastern Han Dynasty tells a historical story related to the Song Dynasty: Nie Zheng was a Korean in the Warring States Period, and his father was killed by the Korean king for casting a sword. Nie Zheng failed to avenge his father's assassination, but he was disfigured and went to the mountains to learn the piano 10 for many years. When I returned to Korea with my stunt, I didn't know anyone. So, while looking for an opportunity to enter the palace to play the piano for the South Korean king, he drew a dagger from the belly of the piano and stabbed the South Korean king to death. Of course, he himself died heroically. Modern pianists admit that this song originated from the HeJian Zaqu in the series.

According to Shi Shuo Xin Yu, Ji Kang loved Guangling San very much and played it often, which attracted many people to ask for advice, but Ji Kang never taught it. On his deathbed, Suoqin played this song, sighing, "Guangling is scattered today." The statue brick of Ji Kang unearthed from the tomb of the Southern Dynasties in Xishanqiao, Nanjing, depicts the image of Ji Kang sitting on a violin, commanding and imposing.

3. Wild geese fall in Pingsha

In the Ming Dynasty, this song was called "Wild Goose and Flat Sand". The melody is melodious and smooth, describing the scene where geese hover in the sky and then land through the swaying geese.

Introduction to music:

Wild Goose in Pingsha: Guqin Song, which was first published in Gu Yin in Ming Dynasty (1634), also known as Wild Goose in Pingsha. Since its publication, more than 50 music collections have been published, and there are many music genres. Only 1962 published the first collection of guqin music, which included the performance scores of six musicians. The author of this song is Chen Li 'ang of the Tang Dynasty. What Mao Minzhong and Tian Zhiweng said in the Song Dynasty was also said by Zhu Quan in the Ming Dynasty. Because there is no reliable historical data, it is difficult to prove who wrote it.

There are different solutions to the meaning of "Pingsha Wild Goose" and various musical scores. The song "Authentic Ancient Sound" said: "Take autumn as an example. Autumn is crisp, calm, sandy and calm, with clouds in Cheng Wanli and sky flying. Write Yi Shi's heart from the perspective of Honghu Lake. ..... the perfect rhythm of three ups and downs. The first play is like the guest of the swan goose. The sky is very ethereal, and the geese are in harmony, hidden and obvious, if they come. It wants to fall, look around and hover in the air; Will also fall. The sound of breathing tilted and swept three times around the mainland. It's down. It needs another one. It's just right to fly around and sleep in groups of three or five: mother and son can give in and taste it. " This description of the nature of geese is extremely profound and vivid. The whole song is euphemistic and smooth, meaningful and fresh. At present, most of them are seven paragraphs, and the main melody and musical image are roughly the same, with ups and downs and continuous beauty; The timbre is quiet and beautiful, but there is movement in silence.

Step 4 ambush on all sides

The song describes the scene of the final decisive battle of the submarine Chu-Han war in 202 BC. Xiang Yu killed himself in Wujiang River, and Liu Bang won.

Introduction to music:

Ambush on all sides is a famous pipa tradition in Wu Qu. This spectrum was first seen in the Story of Pipa written by Hua in the 23rd year of Jiaqing in Qing Dynasty (18 18). Before this score, only Chu and Han painted the same theme. In Wang Youding's Biography of the Pipa in the Tang Dynasty in the Ming Dynasty, there was a scene in which Tang Ying, then known as the Pipa in the Tang Dynasty, played Chu and Han: "The two armies fought a decisive battle, and the sky shook and the roof fell. Xu and examine it, there are golden sounds, drums, swords and crossbows, horses and chariots, all silent. Those who have accumulated grievances for a long time are Chu ci; Sad and strong, send other voices for the generous voice of Wang Xiang's elegy. Trapped in osawa, there is the sound of chasing horses. When I arrive in Wujiang River, there is the sound of the king's throat. I ride a horse to fight for a Wang Sheng. Let the listener get excited at first, then be afraid, and finally cry. " From this description, we can see that the plot and theme of Tang Ying's "Chu Han and House of Flying Daggers" are the same, which shows that this song has been circulated among the people as early as16th century.

Chu and Han dynasties were popular around Jiajing and Wanli in Ming Dynasty, and were deeply loved by pipa players. Since the publication of Pipa Music edited by Hua in A.D. 18 18, every collection of Pipa Music has included ten faces. Segments and segment titles are different for each version:

"Fahrenheit Spectrum" is called "Ten Faces", which was handed down by Wang Junxi in Zhili, with thirteen paragraphs; The name of "Pu" is "Huaiyin Pingchu", which was written by Zi in Sui, Qin and Han Dynasties. Zhou Jinshan Ruiqing Hou Qing School, where there are eighteen subjects; Zheng Yang Xuanpu is called ten faces, one is Huaiyin Pingchu, the eighteenth section; "Yingzhou Ancient Carving" is called "House of Flying Daggers", with ten paragraphs.

"House of Flying Daggers" can be said to have brought the ancient pipa performance art to the peak, and created a solo form of a single instrument to express magnificent epic scenes (but in modern times, this often needs the symphony genre of big bands to complete). Up to today, "House of Flying Daggers" is still the most representative traditional masterpiece in the pipa playing art field.

5, fishing salary question and answer

This song shows the pleasure of firewood in green mountains and green waters.

Introduction to music:

Yuqiao Q&A: Guqin music, the music score was first seen in "Continued Music in the Taiyin Village of Xingzhuang" (1560 written by Xiao Luan in Ming Dynasty): "The ancient and modern prosperity is like a palm, and the mountains and green waters are solid. After a thousand years of gains and losses, this is just a word. "This song reflects a hermit's longing for the life of fishing firewood, hoping to get rid of the fetters of secular affairs. Music expresses contempt for those who pursue fame and fortune through the pleasure of firewood. The melody is elegant and unique, which shows the leisure of the fisherman. The music is vivid and accurate.

Yuqiao Q&A is a famous song that has been circulated for hundreds of years. There are many kinds of Le Shu now. "Qin Xue Jin Chu" cloud this song: "The meaning of the song is deep and long, and the expression is free and easy, but the majestic mountains, the magnificent water and the tintin of the axe are looming in your fingers." Music has been widely circulated among musicians in recent hundreds of years because of its accurate and vivid image.

At the beginning of the music, the tune is carefree, showing a kind of elegant and free style, and the echo of the upper and lower sentences arouses Yu Qiao's interest in answering. The change and development of theme tones, the continuous addition of new tones, and the use of scrolling techniques reach a climax in paragraph 7. The music adopts the way of dialogue between fishermen and firewood workers, with the rising tone indicating questions and the falling tone indicating answers. Describe a hermit's uninhibited situation. Among them, the strong sound produced by the technique of throwing three bullets should be coordinated with the rhythm of segmentation, so that people can feel the towering mountains and the sound of the woodcutter beating drums and axes. The theme tone presented at the end of 1 paragraph is repeatedly changed in the whole song, which leaves a deep impression on people.

6. Sunset flute and drum

This is a lyrical and freehand music. Around 1925, Shanghai Datong Music Club adapted the silk and bamboo music "Moonlit Night on a Spring River" according to the classics.

Introduction to music:

The Sunset Flute and Drum is a famous pipa tradition Wen Qu that has been circulating for a long time in Ming and Qing Dynasties. 1925, it was first adapted into bamboo slips ensemble by Liu and Liu of Shanghai Datong Music Association.

The music score was first seen in the manuscripts of Ju Shilin (1820 years ago) and Wu (1875). In 1895, this music was included in the compilation of "A New Collection of Pipa, the Thirteen Major Songs of North and South School", with the title Xunyang Pipa. 1929, when Shen Haochu compiled Yang Zhengxuan Pipa Music, he named it Sunset Flute and Drum. 1925, Liu He of Shanghai Datong Music Association adapted this piece into an ensemble of bamboo and silk, and changed its name to Moonlight on the Spring River according to Pipa. This lyrical and freehand Wen Qu has a beautiful and smooth melody. Through euphemistic and simple melody and smooth and changeable rhythm, music vividly captures the charming scenery of the riverside on a moonlit night and praises the beautiful charm of the water town in the south of the Yangtze River.

Quanqu is the most common multi-voice structure in national instrumental music. Peng Xiuwen, the conductor of the National Orchestra of the Central Broadcasting Orchestra and a master of folk music, handled this song artistically and delicately. He made full use of the rich instrumental colors of the big band, skillfully arranged, and the musical instruments increased and decreased, making the sound of the band rich in high and low, strong and weak, light and heavy, and the thickness changed, and the layers were distinct. In music performance, it not only carries forward the elegant style of classical rhyme, but also makes music full of inner passion, emotion and vitality. Yin Biao, a classical guitarist from China, adapted this piece into a guitar solo "Xunyang jathyapple" and won the classical guitar championship of Guangdong, Hong Kong and Macao on 1988. Li Haiying arranged it for a piano solo. Liu Zhuang adapted for Mori official quintet, and Chen Peixun adapted for symphony.

7. Autumn Moon in Han Palace

It is intended to show the bitterness and sadness of the oppressed maids in ancient times and arouse people's sympathy for their unfortunate experiences.

Introduction to music:

Autumn Moon in Han Palace was originally a pipa of Chongming School. Now there are many kinds in Le Shu, which have evolved from one instrument to different ones, and have been recreated through their own artistic means to create different musical images. This is a common situation in the circulation of folk instrumental music. The popular forms of Autumn Moon in Han Palace are erhu music, pipa music, guzheng music and Jiangnan silk and bamboo. It mainly shows the sad mood of ancient ladies-in-waiting and a helpless and lonely life artistic conception.

Erhu "Autumn Moon in the Han Palace": The first paragraph of the pipa of the same name of Chongming School was transplanted to Guangdong Xiaoqu, played by Yuehu, also known as "San Tan Yin Yue". Around 1929, Liu Tianhua recorded the music score of Autumn Moon, a Cantonese opera in Hangong, and played erhu (with only one hand).

Jiang Fengzhi arranged and played Autumn Moon in the Han Palace. In order to avoid the influence of too long space on the performance, the song was greatly abridged. Its speed is slow, the bow is exquisite and changeable, there are often short pauses and pauses in the melody, and the music is intermittent. In addition, the soft timbre of erhu, the use of three tones and the frequent occurrence of characteristic tone changes show the sad mood of ladies-in-waiting, which is very infectious.

Autumn Moon in Han Palace, a silk bamboo in the south of the Yangtze River: originally in B key (A Palace), handed down by Sun Yude. Originally, Shen Qichang's Yingzhou Ancient Tune (edited by 19 16) used Gong Zheng Tune (G Palace) as an ensemble of Sizhu and Wen Qu. Pipa still uses the method of "b" to tune the strings, which reduces the two-year tune and expresses the delicate and far-reaching sadness and anguish of ancient maids. The middle part uses the length of the orchestration, and each voice plays an interactive role and complements each other, giving people pursuit and yearning. Finally, all the musical instruments are played in adagio, showing the scene that the sky and the bright moon are gradually sinking in the west and the earth is silent.

Pipa Autumn Moon in Han Palace: also known as Sui Chen. Writing lonely harem in the image of singing and dancing is more about clearing resentment and depression, and there are different biographies. At present, it is generally based on Wu Chuan, but Liu Dehai has added a lot of fingering with timbre change and intention to spread, which is full of sense of scene and is very infectious.

8. Meihuasan Lane

"Three Lane of Plum Blossoms" is a guqin song, adapted from a flute.

Introduction to music:

Meihua Sannong: Guqin Music. Also known as Introduction of Plum Blossom and Introduction of Jade Princess, it is a masterpiece of plum blossom in China's traditional art. According to Magic Secret Music, this piece was first played by Huan Yi in the Eastern Jin Dynasty for Wang Xizhi. Later, it was transplanted into piano music by later generations.

Guo Maoqian's Poems of Yuefu (Volume 24) and Bao Zhao's Plum Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Plum Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom Blossom on the Flute, and those whose voices still exist today. In today's Tang poetry, there are also many descriptions of the flute "Plum Blossom Fall", which shows that the flute "Plum Blossom Fall" was more popular between the Southern Dynasties and the Tang Dynasty.

The music content of Three Lane of Plum Blossoms has been introduced in all previous dynasties, and the flute music Plum Blossom Fall from the Southern Dynasties to the Tang Dynasty mostly expresses the feelings of resentment and parting.

The piano music "Three Lane of Plum Blossoms" in the Ming and Qing Dynasties is characterized by plum blossom's arrogance, coldness, noble, unyielding moral integrity and temperament. "Huan Yi played the flute, played the plum blossom tune, and was superb, and later generations entered the piano." "Mei is the clearest flower, Qin is the clearest sound, and writing the clearest thing with the clearest sound should have the charm of ling frost." "Three strokes mean taking three overtones, which are different on the same string." As can be seen from here, it was first a flute music, and then it was adapted into a guzheng music (it is difficult to determine who the author is).

The music used in today's performance is composed by Qin and flute of "Qin Qu Harmony" of Yushan School (edited by Qing Xianzu and engraved on 1820), with regular rhythm and suitable for ensemble. In the late Guangling school, the Jiaoan musical score (Qin Huai Han Ji in Qing Dynasty, published in 1868) has a relatively free rhythm, and the mode before the end of the song is refreshing.

Structurally, this song adopts the method of circular reproduction, repeating the whole theme three times, and each repetition adopts the overtone playing method, so it is called "agriculture, countryside and farmers". Music praises the tenacious character of plum blossom in the wind without fear of frost and snow with noble sentiments. 1972, Wang Jianzhong adapted it for the piano, and the tone was taken from it, playing Mao Zedong's Yongmei.

9, Yangchun Baixue

According to legend, it was written by Liu of Jin State or Qi State in the Spring and Autumn Period. Yangchun and Snow White in the existing piano scores are two instrumental works. The magic secret spectrum said in solving the problem: "Yangchun takes everything as spring, and the wind is indifferent; Snow White is awe-inspiring and clean, and the sound of snow bamboo is beautiful. "

With fresh and smooth melody and lively and brisk rhythm, it vividly shows the scene of early spring when winter goes and spring comes, the earth recovers, everything is thriving and full of vitality.

Introduction to music:

Yangchun Baixue: Pipa divertimento composed of several variants of folk instrumental music "Eight Plates" (or "Six Plates"). The variation cycle of "Eight Bantou" reappears, the variation of "Eight Bantou" is combined into a variation relationship, and then the new material of "A hundred birds flock to the phoenix" is inserted, so it is a variation structure with cyclic factors.

There are two different versions of Yangchun Baixue, namely "Dayangchun" and "Xiaoyangchun". Da Yangchun refers to ten and twelve pieces of music edited by Li Fangyuan and Shen Haochu. Xiaoyangchun is a biography of Wang Yuting, also known as Allegro Yangchun, which is widely circulated. What is introduced here is Xiaoyangchun.

10, Hu Jia 18 beat

At the end of the Eastern Han Dynasty, there was chaos in the world, and there were bonfires year after year. Cai Wenji was captured by Huns during his escape and lived in the Great Wall. Later, he married Zuo and gave birth to two children. She spent twelve spring and autumn years outside the Great Wall, but she missed her hometown all the time. Cao Cao pacified the Central Plains, made peace with the Huns, and sent evil messengers to redeem Moon Hee with a large sum of money, so he wrote the famous long poem "Eighteen Beats of Hu Jia", describing the unfortunate experiences in her life. Qin Ge has editions such as Big Hu Jia, Little Hu Jia and Eighteen Beats of Hu Jia. Although the tunes are different, they all reflect the extremely contradictory and painful feelings that Cai Wen missed his hometown and could not bear to be separated. Music euphemistically mourns and tears the liver and intestines.

Introduction to music:

Hu Jia's Eighteen Beats: Guqin music is said to be written, and it is a vocal suite composed of 65,438+08 songs, accompanied by Qin. "Pai" is the "first" in Turkic, so it is named "Hu Jia", which is why the sound of the piano melts Hu Jia's sad voice.

Huang, a pianist in the Tang Dynasty, was famous for being good at playing this piece. Li Jie's "Listening to Dong Da's Exalting" has a saying: "Mrs. Cai wrote this song for 18 verses for a long time, and the Tatar shed tears and grass, and the Han made him sad." In Qin music, Wenxi empathizes with sound, borrows Hu Jia's music which is good at expressing homesickness and sadness, and blends into the timbre of guqin, showing a noble resentment.

There are two kinds of biographies at present. One is Qin Song in Qin Shi (16 1 1 year edition) in Ming Dynasty, whose ci is Cai Wenji's narrative poem of the same name; First, the solo music recorded in the piano score of Chengjiantang in the early Qing Dynasty and its later scores, the latter is widely circulated in the piano world, especially the notation in Wang Zhizhai's piano score is the most representative.

The eighteen passages of the whole song * * * use three modes: Gong, Zheng and Yu. The contrast and development of music are distinct and divided into two levels. The first ten beats mainly describe the author's homesickness when he was in Woody. The latter level expresses the author's hidden pain and sadness when bidding farewell to young children. The whole song of this song is inseparable from the word "sadness", which has been adapted into a wind solo. When playing a wind instrument, the sad voice penetrates people's hearts, the high one is sad, and the low one is deep and sad.

Cai Wenji's Eighteen Beats of Hu Jia was praised by Guo Moruo as "the most admired lyric poem since Qu Yuan's Lisao".