Erhu's Artistic Characteristics Essay

Erhu Artistic Characteristics Essay1

Abstract: The erhu is the most influential, the most widely circulated, the most representative and the most Chinese temperament and flavor of stringed instruments in China.

Erhu development so far in maintaining the original characteristics of the basis, through continuous improvement, the unique material base gives the erhu unique personality of the tone, erhu distinctive artistic characteristics make it wherever they go, can make people feel its vitality.

Keywords: erhu art, traditional ethnic culture, sound quality, tone, playing skills

First, the development of erhu history

Chen Yang's Music Book of the Song Dynasty, compiled by Emperor Xining of the Song Dynasty and Yuanfeng of the Song Dynasty, was completed in the year of the first year of the establishment of the State of Jingguo, which lasted for nearly 40 years, and is rich in text and pictures, and is of a large scale, with a large number of volumes.

This is the earliest written record of the erhu that can be found.

The term huqin already appeared in the Tang Dynasty, when the western and northern peoples became the hu people, and huqin was the collective name for the instruments imported from the western and northern peoples.

By the Song Dynasty, the huqin was named ? Jqin?

Shen Kuo, a great scholar of the Song Dynasty, wrote in his "Supplementary Notes? Music and Law" in the record:? Xining in the palace banquet, the workshop actor Xu Yan play JI Qin, square into the wine and a string off, Diffractive more not easy piano, only a string to end its song. This shows that in the Northern Song Dynasty has a very high level of erhu performance.

During the Yuan Dynasty, the art of erhu was further developed, and the art of erhu was further disseminated.

The Yuan Dynasty, "Yuan Shi? Rituals and Music" contained? The huqin system is like a fire not Si, roll Gu dragon head, two strings with a bow twisted, the bow of the string to the horse's tail? The production principle of the huqin is clearly explained.

During the Ming and Qing dynasties, the huqin became the common name for stringed instruments and spread throughout the country.

It was not until the modern era that the huqin was renamed the erhu.

For more than half a century, the level of erhu playing has entered a period of prosperity.

Mr. Liu Tianhua, the originator of the modern school, boldly and scientifically positioned the erhu in five positions, thus expanding its range, enriching its expressive power, and establishing a new artistic connotation.

As a result, the erhu emerged from the folk accompaniment and became a unique solo instrument, laying the foundation for the later entry into the elegant concert halls and music colleges.

Erhu Art Characteristics Analysis

1. The profound traditional national culture is the source of erhu art

The erhu is the most representative of the essence of Chinese national art.

The erhu art is rooted in the soil of traditional Chinese culture, and draws on the spirit of the Chinese nation and the aesthetic tradition of our nation.

Erhu has a unique static beauty and natural beauty, which contains rich connotations.

Erhu's soft tone, delicate lyricism, emphasis on charm and interest, and respect for natural beauty are valuable aesthetic traditions of the Chinese nation.

The history of the development of the instrument in China has a long history, and some of the literature says that it is Fuxi or Shennong, the two primitive clans. The Qin was created by cutting down the tung for the zither and stringing it with the rope. And created, some say? Shun made a five-stringed zither to sing "South Wind"? Some say, "Shun made a five-stringed zither to sing the South Wind". Emperor Jun gave birth to Yanlong, is the beginning of the qin?

Exactly how, because there is no empirical evidence, there is no conclusion.

As far as the known information is concerned, the qin did exist in the Zhou Dynasty.

In the ancient documents, there are records that the Qin can? The Qin was recorded in the ancient texts as being able to "still be quiet and quiet sound, and to decide to be quiet and quiet sound". [1] In addition, the "Music Records" in the feeling of the piano described vividly: "The sadness of the heart feel into, the sadness of the heart feel into, the sadness of the heart feel into. The sadness of the heart feeling into the sound of chewing to kill, the sound of the heart feeling, the sound of cicadas to slow down, the joy of the heart feeling, the sound of the hair to disperse, the anger of the heart feeling, the sound of the sound and to soft. The development of erhu art is y influenced by the national culture, from the playing method to the aesthetic interest without exception, the pursuit of the world is the realm of one. [2]

The inspiration for music creation comes from all aspects of life, such as the worship of gods and spirits, the evocation of scenery, the passion in the heart, the impact of reality, the struggle for individuality, the search for structure, and so on, and it is only through the rich experience of life that one can inspire the creation of a moving melody.

Erhu's moving image not only benefits from the deep heritage of our national culture, but also gives full play to its inspiration on the basis of the traditional folk music of China.

The Dream of the Red Chamber describes Daiyu as being the most compassionate of flowers, feeling that after the flowers fall, they are buried in the soil, which shows that she has a unique view of beauty.

She wrote a poem about burying flowers, which is one of the most beautiful poems in the Dream of the Red Chamber.

There is a conversation between Bao Yu and Dai Yu during the burial of the flowers, which becomes the perfect song to clear up misunderstandings between lovers in the Dream of the Red Chamber.

Lin Daiyu's "Burying the Flowers" is a representation of all the lamentations of Lin Daiyu's lamentations about her life, and is an important work that author Cao Xueqin used to shape this artistic image and express her character traits.

[3] The erhu piece "Daiyu burying flowers" is taken from the commentary piece "The flowers are buried in the sky". The flowers fly all over the sky, and the fragrance of the red is broken, who has mercy? The performer uses a gentle and slow twisting technique to reproduce the feelings of Lin Daiyu, who has a low self-esteem, self-respect, and self-pity. Self-abasement, self-esteem, self-pity? The sad artistic image of Lin Daiyu, let a person have pity like infinite feelings of sadness.

Man Jiang Hong is a Song dynasty national hero Yue Fei's lyrics, Song Wang Shan and modern composers have composed music for it, widely circulated in China.

The authors have combined a variety of materials into a single composition, skillfully blending the music of the Sichuan yangqin with kunqu, in order to express the glorious image of the national hero Yue Fei.

The erhu concerto inspires hatred of the invaders through the depiction of the ancient heroes.

The motherland's great mountains and rivers have gone through hardships and dangers, but the heroic Chinese nation has been able to defeat all invaders, and history has proved this fact.

The whole song fully expresses the deep emotion, generosity and sadness of the music theme, which has a historical theme of the required simple colors, but also make full use of the richness of the folk material.

2. Pure sound quality and simple timbre are the life of Erhu art

Sound quality and timbre are two different concepts.

Tone quality refers to the quality of the sound, such as the purity of the sound, the clarity, the degree of noise or murmur.

Tone refers to the properties of sound, which is determined by the number of harmonics, and the relative strength of the harmonics.

Such as the sound of bright, sweet, mellow, simple and so on.

[4] In the world of music, a variety of instruments have their own special sound quality, timbre, which constitutes a complex and wonderful sound phenomenon.

The erhu is one of the most important instruments in Chinese folk music. The sound of the erhu is one of the strongest instruments in Chinese folk music. The erhu is one of the most flavorful instruments in Chinese folk music.

The so-called? The second one is a sound phenomenon that is not only a sound phenomenon, but also a sound phenomenon.

The reason why the erhu is said to have a "cadence" is that it is not the most powerful instrument in the world. The reason for this is that the erhu is very rich in sound.

At the same time, the erhu is also known for its melodic expression of the delicate, lingering, mournful, and tender beauty of music.

The Erhu's varied timbre is one of the characteristics and highlights of traditional folk instruments.

It is because of this unique feature that the erhu has a rich expressive and infectious power, and a more ethnic and Chinese flavor.

The charm of national music culture can be reflected in it.

Through the changes in the sound of the erhu, the audience can realize the unique artistic charm of the instrument, and then grasp the content and emotion of the music, so that the audience can have a full aesthetic experience.

3. Various playing techniques are the characteristics of the erhu art

The erhu's playing techniques are very varied, with a strong national flavor and unique style characteristics.

The fingering of the left hand and the bowing of the right hand are colorful and distinctive.

Erhu playing skills are relatively rich, mainly divided into two categories of fingering and bowing, the left hand has a slide, vibrato, pizzicato, vibrato and other playing skills; the right hand has a jump bow and bowing, pizzicato, broken bow and other skills, of which the left hand's slide and vibrato, the right hand bowing in the erhu performance appears to be the most distinctive.

The glissando is the articulation of the fingers on the strings by sliding them consciously.

Different methods of sliding produce different glissando effects.

The glissando is one of the most characteristic techniques of the left hand of the erhu.

Its function is to express the music and to adjust the technique.

The function of glissando is to embellish the tone and deepen the emotional color.

The strength, speed, amplitude and direction of the glissando have a significant impact on the pronunciation.

These four factors are often intertwined, both constrained and integrated.

[5] The fan-shaped rolling of the fingers on a particular pitch on the string is called "vibrato". Vibrato?

[5]The fan-shaped rolling of the fingers on a certain pitch on the strings is called "vibrato", and vibrato makes a wave-like sound, which makes the melody more singable and enriches the Erhu's playing skills.

Vibrato brings endless beauty to the erhu music art. For example, in order to express the specific character, staccato rhythm, and trembling inner emotion in the erhu song "River Water", the vibrato technique is used.

Conclusion

To sum up, the erhu is the most influential, the most widely spread, the most representative and the most Chinese temperament and flavor of stringed instruments in China.

The development of the erhu has been based on the maintenance of the original characteristics, and through continuous improvement, the unique material foundation has given the erhu a unique personality of the tone, the distinctive artistic characteristics of the erhu, no matter where it goes, can make people feel its vitality.

References:

[1]Zhu Tongjun. With Gusai zither theory four volumes [M].

[2]Zheng Yanli. Aesthetic thinking of music in traditional Chinese culture[J]. Huang Zhong,2006,(z1).

[3]Li Qingxia. Who can solve the problem of autumn heart--The inquiring consciousness of Lin Daiyu's poetry[J]. Journal of Hainan University,2002,(1).

[4]Yu Mu. The variability of erhu timbre[C] . Erhu anthology.

[5]Su Shaining. Dual function of the erhu glissando[J]. Musical Instrument, 1993,(4).

Research on the regional characteristics of the erhu art2

Abstract: In recent years, the research on the art of the erhu in China has been developing, especially from the perspective of time to study the development of its vein, the techniques of playing and the art of style genres are more, but the research on the regional nature of which is relatively weak, and the attention to the regional and spatial factors is often insufficient.

In this paper, we try to shift from the ephemeral study of time to the spatial ****temporal study, and make a brief discussion on the regional characteristics of erhu art, in order to raise the question from a new perspective, and explain our personal viewpoints in this regard.

Key Words: Erhu Art Regional Characteristics

I. Overview of Regional Characteristics

People always live in a certain natural geographical environment, and one side of the water and soil raises one side of the people.

Therefore, there are obvious regional differences in people's physique and social life style; as big as different countries, different nationalities, as small as different villages, different offices, the differences in their regional spatial characteristics are very obvious.

People's cultural and other activities, but also inevitably with its natural and human environment has an inseparable link.

This first and superficial assertion is supported by the science of geography and other related disciplines.

The so-called geography, or cultural geography, is the study of the distribution, diffusion and change of cultural phenomena in relation to the natural environment and social factors in the place where they occur, and the division, identification, definition and analysis of cultural areas is the basis for such studies.

China is a vast country, and the largest natural geographic divisions are between the South and the North.

The topography of the north and south is different, the climate is different, the products are different, the folk customs are different, and the way of life and the spiritual temperament of people are also different, so people have been accustomed to dividing China's cultural forms into north and south in their daily lives.

Although this division may not be completely consistent with the geographic boundaries, but from the scholars of the past generations and people can generally feel the social phenomenon, such a division is consistent with the objective reality.

Throughout history, there have been many cultural differences between the north and south of China.

From the simplest point of view, clothing, South silk and cotton; food, South rice and North face; live, South bed and North bed; line, South boat and North car; as for? As for the southern accent, it is much closer to the realm of music.

Through these lists, it can be explained that the differences in regional culture, not just the concept can be interpreted, it is actually infiltrated in the specific and subtle life, not only will the day to day time to our lives, but also can be shaped little by little different temperaments and interests, and these temperaments and interests, which is the source of the literary and artistic creations.

Therefore, we can see or feel some differences in ancient and modern literary works due to the different cultures of the North and the South.

The regional characteristics of erhu art development

The regional characteristics of erhu art development can be seen from the following perspectives.

From the point of view of published works, the erhu works in the Northwest area mainly include "Grapes are Ripe" (Zhou Wei), "The Sun Shines on Tashkurgan" (arranged by Chen Gang, transplanted by Liu Tianhua, and adapted by Liu Changfu), "Shepherd's Daughter" (arranged by Cao Yuande), and "Heavenly Mountain Flavor" (arranged by Wang Jianmin), etc.

Due to the special characteristics of the Erhu art development, it can be seen from the following perspectives.

Because of the special geographic location, climatic phenomena, human customs, endowed with a warm and unrestrained style of music; from the melodic tone, generally used to increase the interval of the second degree.

Such as the penultimate bar and the penultimate bar of "The Grapes are Ripe", especially "The Sun Shines on Tashkurgan", this kind of situation can be seen everywhere.

From the beat, perhaps the rugged mountain trails this special geographical environment, so that the music of this region in the beat of the eight-five, eight-seven, eight-nine beat.

Objectively speaking, non-homogeneous rhythm like this, on the one hand, the music of the dynamic, dance, on the other hand, adds a special musical effect.

For example, in the song "The Sun Shines on Tashkurgan", the above beats are used several times.

In terms of playing technique, the erhu solos from this region pay special attention to the play of realistic techniques in both hands.

For example, in bars 144 to 151 of "Grapes are Ripe", the pizzicato strings of the left hand and the pulling of the right hand in the same rhythmic pattern vividly reflect the scene of people singing and dancing with a tambourine in the harvest time.

This is obviously related to the lifestyle and environment of the local people.

The erhu works in the south, such as "Mountain Village Changed" (Zeng Jiaqing), "Spring Colors in the South" (Zhu Changyao, Ma Xilin), "Spring Dawn in Gusu" (Deng Jiandong), "Memory of the South" (Min Huifen), and so on, also due to its special geographic location, climatic phenomena, and human customs, which gives the place a delicate and soft musical characteristics; from the melody tone, the majority of natural intervals of the gradation, and the piece "Memory of the South", which is the first of the two pieces to be played.

From the melodic tone, most of them are graded natural intervals, the theme of the piece "Memory of the South River" is so.

From the beat, it seems that because of the geographical conditions of the Jiangnan Plain, the music theme here is often used in a smooth and smooth rhythmic rhythmic sense of four-two beat or four-four beat.

In terms of playing technique, the erhu solos of this region pay more attention to the play of the writing skills.

For example, the piece "Spring Colors of Jiangnan" depicts the beautiful scenery of the Jiangnan water town through the use of the characteristic glissando, pad-finger glissando, and rounded and full tones of the Jiangnan silk bamboo.

To sum up, the erhu art has developed so far, and the author believes that there is no absolute standard for evaluating the merits and demerits of regional erhu works, and the high and low performance skills, and that any judgment based on the current popular aesthetics is not a scientific evaluation.

However, for various reasons, there are differences in the styles and playing methods of erhu works between the north and the south, and there is no doubt about it.

So, from what angle or based on what principle should we study the regional style of erhu art or describe the regional erhu phenomenon?

First, geographical conditions are not directly proportional to regional cultural and artistic achievements.

In terms of the smallest subject matter in music? Folk songs, Shanxi Hequ is a real poor countryside, but the artistic achievement of folk songs there is very high.

Especially in the expression of the love of the hard, hard life of these elements of the folk songs, is even more shocking.

The Netherlands is a small country, and Spain is a very remote place, but the artistic achievement there is very high.

The same is true of the erhu.

Browsing through the official publication of about 300 works in the past 50 years in the country's more classic 50 works, it is not difficult to find that, among them, the "Qinqiang Theme Random Songs", "Blue Flowers Narrative Song", "Shaanbei Lyric", "Tune", "the Red Army brother came back" and other very rich in local characteristics, rich style of the works, formed in the art of the erhu in China, the impact of the larger, more significant weight of the system of the large faction of erhu art. The Qin School of Erhu is known as the Qin School of Erhu. The Qin school of erhu.

In this regard, in Mr. Zhu Daozhong's article "My Opinion on the Humanistic Spirit of Erhu", he said: "The Qin school of erhu is a very important part of the Chinese erhu art. This? wind? from the highland plateau of the Yellow Earth to the east has intoxicated the land of China, and the people of the country are all amazed to draw their necks and look west to Chang'an. West looking at Chang'an? The people of China are all astonished to look westward at Chang'an and realize that there are eight hundred miles of Qin River. Beijing is the center of Chinese politics and culture, and also the most concentrated place for music and art, however, the erhu works created with the theme of Beijing style and rhythm are not as popular as the Chang'an School, either in quantity or influence. The Chang'an school of music is not as popular as the Chang'an school of music.

Therefore, geography and regional cultural achievements cannot be generalized.

Secondly, the regional characteristics of the erhu are far and near, but not high and low.

There is a difference between the center and the periphery within a country, and a difference between developing and developed countries in the world.

But the development of culture and the characteristics of art are not divided into high and low by geographical boundaries.

We cannot say that the culture of the developed countries is good, and the culture of the developing countries is bad; by the same token, the erhu art of Beijing has its very obvious advantages, while the erhu art of other provinces and cities has its unique flavor and characteristics, objectively speaking, each has its own strengths, and there is no distinction between them.

Third, the difference in quantity and quality standards.

The value of art lies mainly in its intrinsic quality and not in the extrinsic quantity.

The study of erhu regional phenomenon should not only pay attention to the number of works, playing skills, but also pay more attention to the height and depth of the cultural value of that one side of the soil and water, reflected by the regional erhu art, or that should pay more attention to the deep and heavy cultural connotations of its condensation.

Fourth, consider the time factor.

Space and time are indivisible, and different spaces often carry different degrees of historical civilization.

The 17th century, for example, was a time of great sophistication in Chinese feudal culture, but people in remote areas of China were probably still in the stage of hunting culture at that time.

Even now, when science and technology are more advanced and the economy is growing at a rapid rate year after year, there is a disparity between the rich and the poor.

This suggests that the same age is not necessarily within the same civilization.

In this way, many special artistic phenomena can be produced due to regional cultural differences.

The erhu is no exception.

It is not a new idea to consider the role of space and environment in the study of the erhu.

Dana, in his Philosophy of Art, argued that the creation of a work of art depends not only on the spirit of the times, but also on the spirit of the world. The spirit of the times? and also depends on? surrounding customs?

People living in a certain region are inevitably influenced by the natural and cultural atmosphere of the region.

Their works and the people who play them, even non-locals, inevitably harbor traces of this regional culture or imagine and feel it when they enjoy them.

It can be said that no one who composes, plays, or appreciates a delicate and melodious piece of Jiangnan music ever captures or feels a thousand miles of ice, or ten thousand miles of snow.

Why is that?

In recent years, the study of the erhu art in China has been developing, but the regional study is a relatively weak link, with little attention paid to regional and spatial factors.

It is natural and reasonable to study the development of erhu art from the perspective of time, but this is not the only perspective.

? History is not only the river, the river is not only one. History is not only a dynamic change in time, but also a static difference in the space on which it depends, i.e., there is also a vertical curve ? The spatial characteristics of history and its combination.? In my opinion, this view is very much in line with the study of the history of the development of the art of erhu.

If we can raise the question from a new angle, and combine the historical research focusing on time with the spatial***temporal research, we can add a three-dimensional and vivid breath to the research of erhu art.

References:

[1] Zhu Daozhong "Erhu humanism in my opinion" China Erhu 2004 2nd series

[2] Cheng Minsheng "Developing the space of history? Ruminations on the geographical study of history" Guangming Daily, June 25, 1999, page 7

Erhu's Artistic Charm Essay 3

Abstract: The erhu is an important instrument in China's national musical instruments, and it is self-supporting in the world's music and art with its unique artistic charm.

In this paper, the artistic merits of the erhu, the artistic achievements of the erhu, and the artistic innovation of the erhu are the three major theoretical dimensions of the erhu's artistic charm for a comprehensive and systematic, in-depth and detailed research and discussion.

It tries to provide a dual reference system of rational thinking and artistic practice for the prosperity of erhu art.

Keywords: erhu; art; charm; strength; achievement; innovation

The erhu is one of the most important national musical instruments in China, standing on its own in the world of music and art with its unique artistic charm.

The study of the artistic charm of the erhu, for the prosperity and development of the art of erhu, has an important theoretical reflection value, but also has an important time reference significance.

To this end, this paper is dedicated to the erhu's artistic charm for a comprehensive and systematic, in-depth and detailed discussion, for which attention and discussion.

Specifically, the artistic charm of the erhu can be broken down into the following three levels of analysis and interpretation.

First, the artistic merits of the erhu

As a stringed instrument in China's national musical instruments, the erhu has its own obvious artistic merits.

First, it has a long history.

Erhu has a very long history, according to the literature, as early as the Tang Dynasty, that is? Rolling Qin? Xiqin?

The Northern Song Dynasty's Chen? In his book "music book" said: "Xiqin, this Hu music also. Xiqin, this Hu music; out of the string drum and shape is also similar to the Xi Department of good music. Covering the system, the two strings are tied with bamboo sheets, which are still used by the people. ① In the Yuan Dynasty, changed to use the horse's tail to play, "Yuan History.

Rites and Music Zhi: ? Huqin, system such as fire not Si, roll neck, dragon head, two strings, with a bow twisted, the bow of the string to the horse's tail. ② Ming Dynasty, the erhu has been played with a horse-tail bow clamped between the two strings, and there is a? The second is the "qing dynasty".

Qing Dynasty, the erhu appeared a variety of types.

? May 4th? After the movement, the reform of the two masters, Ah Bing (Hua Yanjun) and Liu Tianhua, pushed the art of erhu to a new artistic peak and made it to the world.

The second is the diversity of functions.

The erhu is not only an ideal solo instrument, but also an ideal instrument for repertoire, concerto and ensemble.

Not only can it play national music, but it is also an indispensable accompaniment to national opera, folk music and dance, as well as stringed music, silk and bamboo music, drums and drums, blowing and beating music, etc., and some of them have even become the main instrument.

Mr. Mei Lanfang was the first to introduce the erhu into the Peking Opera.

Thirdly, it has a beautiful sound.

The erhu has an intimate and beautiful tone, rich in artistic expression, and is characterized by the aesthetics of national music, such as subtlety, elegance, and comprehensiveness.

The fourth is the richness of skills.

Erhu playing skills are divided into two major parts: fingering skills and bowing skills.

Fingering techniques include vibrato, sliding vibrato, pressure vibrato, glissando, vibrato and so on; and bowing techniques include long bow, split bow, continuous bow, fast bow, bow change, string change, combination bow and so on, which show rich characteristics.

From this, we can see that the Erhu's artistic merit is all-round, which is the foundation and guarantee of its artistic charm.

Erhu's artistic achievements

Erhu's artistic achievements are very remarkable.

First, the repertoire is large and of high quality, and there are many fine arts and world music treasures in the period.

For example, people are familiar with "River Water", "Two Fountains Reflecting the Moon", "Listening to the Pines", "Sickness", "Brightness", "Horse Racing", "Good Night", "The Village Has Changed", "Catching the Market", "Walking the Streets", "Birdsong on the Empty Hill", "Xiangjiang River Music", "The Colors of Spring in the South of the Yangtze River", and so on.

Especially "Two Springs Reflecting the Moon", which was honored in 1993 as one of the ? Twentieth Century Chinese Art Excellence? One of the ten most famous songs in the international music world, it has become famous both in China and abroad.

In the country also reached a household name, women and children know the transformation.

? Works of artistic achievement in the success of melodic creation, is not to be ignored, melody profound lyrical beauty, this time in the later understanding of the work and performance should be enlightened.? ③Japan's famous conductor Seiji Ozawa, after hearing the recording of "Two Fountains Reflecting the Moon" played by Bing, he could not help but burst into tears and said excitedly and reverently: ? Such music should be listened to on one's knees! Another famous erhu piece, "Chanting in Sickness," the first of 10 erhu pieces composed by Mr. Liu Tianhua, is also his masterpiece, and in 1993 it was also named one of the ? Chinese Artistic Excellence of the Twentieth Century?

The perfect combination of ideological content and artistic form of this famous piece fully expresses the Chinese style and Chinese style, and it is loved by Chinese people and overseas Chinese.

The second is the emergence of famous artists, brilliant results.

Outstanding erhu composers include Ah Bing, Liu Tianhua, Liu Wenjin, and Zhao Yanchen.

Outstanding erhu players include Ah Bing, Liu Tianhua, Min Huifen, Zhang Shao, Zhang Jijiang, Zhang Huiyuan, Zhang Lingjie and so on.

Thirdly, it has wide influence and far-reaching significance.

The art of erhu has influenced various artistic fields such as national instrumental music, national vocal music, national opera, national song, national dance, etc., and it has made a great contribution to the creation of national art and national culture.

Thus, the artistic achievement of erhu is of high standard, which is the core and symbol of its artistic charm.

Third, the artistic innovation of Erhu

All the arts of all the countries and all the nations in the world take innovation as their life and soul, and similarly, the artistic innovation of Erhu is also the life and soul of Erhu art.

? Time is the only standard to test the truth?

One of them is the innovation of works.

Such as Liu Wenjin's "Sanmenxia Fantasy", "The Great Wall Fantasy", Wu Houyuan's "Red Plum Fantasy", etc., are all successful innovations.

The second is the innovation of the performance.

Such as the women's twelve music in the erhu player's standing side of the dance while playing; Zhao Benshan and Lang Lang's erhu and piano mixed duet "Racehorse"; Beijing? The National Music Tianjiao women's music with the French piano prince Richard Clayderman's mix and match performance and so on. Clayderman's mash-up performance, etc., are refreshing.

It can be seen that the artistic innovation of the erhu is deep, which is the support and power of the charm of the erhu art.

Notes:

①② Wang Xiaohong. Systematics of Ethnic Musical Instruments [M]. Beijing: China Theater Press, 2008: 163.

③ Zhang Huiyuan. Interpretation of the Collection of Works for the Full Live Erhu (Amateur) Examination [M]. Beijing: Aviation Industry Publishing House, 1996: 243.