The Historical Origin of Suona Art

The original suona is a musical instrument that spread in Persia and Arabia. Even the name Suona is a transliteration of ancient Persian Surnā. Suona appeared in China in the 3rd century, and the image of playing suona can be found in the geisha music murals in Cave 38 of Qizil Grottoes in Baicheng, Xinjiang. In the Jin and Yuan Dynasties more than 700 years ago, it spread to the Central Plains of China. There are records about suona in ancient books of Ming Dynasty: suona was widely used in China during Zhengde period of Ming Dynasty (1506 ~ 152 1). Qi Jiguang (1527 ~ 1587), a military commander in the Ming Dynasty, used suona in military music. Ji Xiao said in his new book Wu Beizhi: Whoever plays the trumpet is playing the suona. There are more detailed records in "Three Stories Painting Meeting" (1607) edited by Wang Qi in the Ming Dynasty: suona is made of a seven-hole trumpet; Both ends are made of copper, and the pipe is made of wood. I don't know when it originated, but it is also a pleasure to be in the army. Nowadays, people use it more. In the Ming Dynasty, Wang Pan's Ode to the Horn Emperor is the best article to describe the suona: the trumpet is big, the tune is small and the cavity is big. The official ship is in a mess, and the price increase depends on you. The army worries about the army, and the people are afraid of the army. Where can we judge officials? Is it true?/You don't say. Seeing this, I blew the house down and hurt that one. I just blew the water away. In the late Ming Dynasty, suona played an important role in China traditional opera music, which was used to accompany singing and cut cards. In folk instrumental music based on traditional opera music, suona has also become an indispensable instrument. According to legend, Zhu Zaiyu, an imperial clan in the Ming Dynasty, developed the eye tube on the basis of the Suona Eight-tone Hole, which made great contributions to the development of national wind music in China. It is said that he once founded the Golden Drum Club in Jiufeng Temple. Every year on September 23rd of the lunar calendar, suona classes from all over the country meet here. In the late Ming and early Qing Dynasty, there were music clubs and Jiaban, and in the Qing Dynasty and the Republic of China, there were suona performance organizations such as Ma Jin Ban, Ban Ban and Yinhe Ban, which had great influence in the local area. There is a saying in Qinyang that the big sedan chair is blown with hemp, but you won't get married without hemp blowing, and Mao Dan can't blow the sedan chair when a woman and a husband arrive, which reflects the influence of these suona classes. According to the region and technical style, Qinyang suona can be divided into four schools and two schools as a whole. With the Qinhe River as the boundary, it is divided into Qinbei School and Qinnan School. The northern Qin school is represented by Zhang, He and Ma, while the southern Qin school is represented by Jia. This can be seen from its prosperity. Under the influence of the four great masters, the scale of suona society and suona artists in Qinyang has been expanding and the number is very considerable. From the founding of New China to the 1980s, there were more than 30 suona classes in Qinyang, with more than 400 suona performers, showing the situation that there are suona in rural areas and music is available in every village. According to incomplete statistics, Qinyang suona played more than 300 songs. In modern and contemporary folk customs and artistic life, folk artists have created some new representative tracks on the basis of inheriting the tradition, such as Ode to Hometown, Love Story in Jiu Feng, Qinyangchun and so on. 1997 65438+In February, Qinyang City was awarded the honorary title of the hometown of folk art in Henan Province by the Henan Provincial Department of Culture, and was later named the hometown of Chinese folk art by the Ministry of Culture.