Three Japanese musical instruments (shakuhachi, sanxian. . What's the connection with the history of China?

shakuhachi

Eight feet, made of bamboo, with five holes (the first four holes and the last one), is a wind instrument that vibrates and screams. It gets its name because the pipe is one foot eight inches long. Its timbre is desolate and vast, which can express the ethereal and quiet artistic conception.

Edit the inheritance history of this shakuhachi in China.

As early as the Eastern Han Dynasty, Qiangdi, the predecessor of shakuhachi, had been circulated among the people.

During the Sui and Tang Dynasties, shakuhachi became the main musical instrument in the court. Biography of Lv Cai in the New Tang Dynasty: "During the Zhenguan period (627-649), the ancestral music was damaged, which was more difficult than that of musicians Wang Changtong and Bai Mingda. Emperor Taizong wrote a letter to courtiers, praising them ... courtiers Wang Jue and Wei Yan, claiming that they only made shakuhachi, and all the twelve pieces were different in length, which was in line with the law. "

Eight shakuhachi handed down from the Tang Dynasty in China are still preserved in the Masakura Yard of Toda Temple in Nara, Japan. One of them is carved with a bamboo ruler and is 43.7 cm long. The upper end of the pipe is open, and there is a hole behind the five holes in front of the pipe body. The edge of each sound hole has a circular pattern. It is beautifully made, engraved with patterns and ladies. The first hole is engraved with two women, one bent over to pick flowers and the other stood behind to make sleeves. In a hole in the back, a woman stood with a fan in her hand, and another woman sat playing the pipa. The rest are decorated with Hua Niaowen. In addition, there are jade shakuhachi, tooth shakuhachi, stone shakuhachi and birch tape measure.

Five-hole shakuhachi was formed in the Song Dynasty and spread to Japan through the Tang Priest sent by Japan at that time, and it has been preserved to this day. Its technique is complex, and its timbre is unique and ancient. Shen Kuo's "Meng Qian Bi Tan" contains: "The flute given by Ma Rong in the later Han Dynasty is bottomless, with five holes on it and one hole on the back, and now it is eight feet."

After the Song Dynasty, with the fault of Chinese culture, folk musical instruments such as Xiao and Di gradually replaced the position of shakuhachi as court music, so that this ancient musical instrument has disappeared in China. At present, the vertical bamboo wind instruments circulating in China are Xiao, Nanyin and Guangdong. The main difference between it and shakuhachi is that Xiao and Guangdong are internally dug U-shaped pores, which are often capped; Nanyin Dong Xiao (Xiaonan) is a V-shaped mouthpiece without a cover. The mouthpiece of shakuhachi is a half-moon shaped external cutting mouthpiece. Xiao is obviously different, and the mouthpiece is obviously different from shakuhachi. The openings of shakuhachi and Xiao are also different. Take shakuhachi as an example. Its drum sound is D, and the pitch of each hole is F, G, A, C, D ... In addition, there are significant differences in inner diameter and timbre between shakuhachi and Xiao.

In recent years, with the popularity of Japanese shakuhachi in the world and the roots of Japanese shakuhachi circle to China, modern Japanese five-hole shakuhachi with external incision gradually returned to China.

The shakuhachi was introduced to Japan more than 300 years ago/kloc-0. According to records, the shakuhachi was introduced from China from the end of the Southern and Northern Dynasties to the beginning of the Tang Dynasty (58 1-6 18), which was equivalent to playing elegant music in the Tang Dynasty in Nara. From the 20th year of Emperor Gaozu (600 years) to the period of Shoto Kutaishi in Japan, Japan sent "envoys of Sui Dynasty" and "envoys of Tang Dynasty" to China, and many Chinese musical instruments, such as shakuhachi and dragon flute, also spread to Japan. There are still many kinds of shakuhachi made in Tang Dynasty in Masakura Research Institute of Japan. The shakuhachi, which was first introduced to Japan, has only six holes and is used in court music. It is called "Ancient shakuhachi" and is often used as a plaything for dignitaries, so it is also called "shakuhachi". It is said that Shoto Kutaishi, a Japanese, especially likes shakuhachi. The shakuhachi he used in China at that time is still in Horyuji, Nara.

The five-hole "shakuhachi", which was popular in Japan at the 2008 international shakuhachi conference held in Sydney, Australia, was in the Kamakura period (from the second year of Zhao Qian in the Southern Song Dynasty to Shunyi in the early Yuan Dynasty). The Zen monk of the Japanese Puhua School came to China to learn the playing methods of shakuhachi from Zhang Shen, who was also a layman, and brought back shakuhachi and other shakuhachi songs, such as Virtual Bell and Void. Later, Xin Jueluo founded the popularization school, taught the skills of shakuhachi, and integrated shakuhachi performance into meditation, which was called blowing Zen. Therefore, the shakuhachi he taught is called the cosmic shakuhachi.

187 1 year later, the cosmic shakuhachi spread to the people. The modern Japanese shakuhachi evolved from the popular shakuhachi, which is generally composed of three sections and five holes (now the seven-hole shakuhachi is more popular). It has different lengths and sizes, and there is no film hole, so it can play both classical music and modern music. He often cooperates with Zheng and Sanweixian, and can also cooperate with western orchestras and electronic organs. Japanese modern shakuhachi improved the change of inner diameter, making the timbre more perfect and in line with the rhythm.

There are also eight shakuhachi handed down from the Tang Dynasty in the Masakura Yard of Nara Toda Temple. One of the sculptures is a foot eight, 43.7 cm long, with an opening at the upper end of the tube and a hole behind five holes in front of the tube. The edge of each sound hole has a circular pattern. It is beautifully made, engraved with patterns and ladies. The first hole is engraved with two women, one bent over to pick flowers and the other stood behind to make sleeves. In a hole in the back, a woman stood with a fan in her hand, and another woman sat playing the pipa. The rest are decorated with Hua Niaowen. In addition, there are jade shakuhachi, tooth shakuhachi, stone shakuhachi and birch tape measure. Suzhou No.1 National Musical Instrument Factory once carved a shakuhachi.

187 1 year later, "Puhua shakuhachi" spread among the people. At present, the shakuhachi used in Japan is evolved from the universal shakuhachi, and its length is unlimited. Generally, there are three sections and five holes (the first four are behind 1) without membrane holes. It is the main folk wind instrument in Japan, which can play both classical music and modern music. He often cooperates with Zheng and Sanweixian, and even cooperates with western orchestras and electronic organs.

In addition, it was introduced into Japan from China. In the 1970s, American kaizan introduced shakuhachi from Japan to the United States.

In addition, in the 1970s, American kaizan introduced shakuhachi from Japan to the United States. Nowadays, the modern shakuhachi attracts more and more attention from the world.

Japanese three-stringed instrument

Sanweixian (Japanese: Sanweixian) is a Japanese stringed instrument.

origin

It is generally believed that Sanxian originated in China and was formed around15th century. China's traditional musical instrument Sanxian passed through Ryukyu Kingdom (now Okinawa), resulting in the early Okinawa Sanxian, which was later spread to Japan and gradually formed. The early Okinawa Third Line, later influenced by the local Sanwei Line, was improved to the present Okinawa Third Line.

Note: In the traditional Japanese music circle, "Sanwei Line" is directly called "Three Roots", and China's national musical instrument "Sanxian" is directly transliterated as "Sanxian". But in Chinese, because only using Chinese characters will confuse the two, Japanese national musical instruments are generally called "Sanwei Line".

Japan Zheng

Ying Shao in the Eastern Han Dynasty said in the Romance of Customs: According to Li Yueji, "a piano with five strings was built". Accordingly, the original Zheng is five strings. During the Three Kingdoms period, the guzheng completed the change from bamboo to wood. Due to the widening and lengthening of the piano body, a twelve-stringed piano (Three Kingdoms Shu Wei) appeared. After more than 800 years of circulation, it was not until the Sui Dynasty that a string was added to become a thirteen-string Zheng. For more than 300 years in the Tang Dynasty, guzheng was very popular, with twelve strings and thirteen strings coexisting for a long time, which were used for elegant music and popular music respectively. China's Tang Zheng system was introduced to Japan in the first half of the 7th century. A large number of "Tang envoys" sent by Japan came to Chang 'an, China, to study and inspect China culture and the thirteen-string system in ancient China, the holder of Nara era in Japan. At first, it was used to play the elegant music of the royal court. In the following 1000 years, Zheng gradually became the main instrument of Japanese national music. Modern Japanese Zheng basically follows the standards of the Tang Dynasty, and its cultural brand is in the same strain as the spirit of the Tang Dynasty. Since the Zhengzheng period, Japanese Zheng has also made some innovations, including the twenty-string Zheng suitable for playing modern music. Over the years, the elegant and melodious guzheng music has been favored by people. Even today, this classical and harmonious sound is still fascinating. In recent years, guzheng and western musical instruments have blended with each other, opening up a new field of music without losing the original aristocratic style.

The Japanese zither spectrum is the same as that of China in Tang Dynasty, and the same as that of Si Er, which spread in Lingnan, China. The tune of Twenty-four Scores is consistent with that of the Tang Guzheng. Twenty-four-stringed musical notation was produced after the demise of the Southern Dynasties, which is a simplification of the thirteen-stringed musical notation in ancient China.

In the History of Oriental Music, Japan's Uexiong Tanabe once suggested that the zither was introduced to Qin from the west at the end of the Warring States Period, but it was not accepted by the world.