What kind of folk music is there in China?

Chinese folk music refers to traditional folk music played with traditional Chinese instruments in solo or ensemble form. History of Folk Music 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, yu, drums, percussion, and qin. At that time, qin masters such as Shi Juan and Shi Kuang and famous qin tunes such as "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. In recent times, various genres and forms have been inherited and developed from the traditional ones. The main repertoire of folk instrumental music consists of solo performances of various instruments, as well as repertoire and ensemble performances of various combinations of instruments. Different combinations of instruments, different repertoires and styles of playing form a wide variety of instrumental music. The solo music of various instruments is an important part of national instrumental music. The zither piece "Guangling San", "Three Plum Blossoms"; the pipa piece "Ambush on Ten Sides", "Sunset Drums"; the zheng piece "Fishing Boat Singing in the Evening", "Crows Playing in the Water"; the suona piece "Hundred Birds Toward the Phoenix", "Little Open Door"; the flute piece "Five Clappers", "Partridge Fly"; the erhu piece "Two Springs Reflecting the Moon", etc., are all excellent solo pieces. Purely with percussion instruments such as gongs and drums ensemble of the Qing gong music, rich in tone, rhythmic, good at showing warmth and red-hot, lively and light, such as the interest of life. 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), "The Eight Bathing Brothers" (Xiangxi Tujia "Playing Slippery Pipes") and so on. The stringed music played by various stringed instruments is characterized by beauty, lyricism, simplicity and elegance, and is suitable for indoor performance. For example, "Sixteen Boards" (Thirteen Sets of Strings), "High Mountains", "Flowing Water" (Henan Boards) and so on. Silk and bamboo music played by wind instruments and string instruments is characterized by a meticulous style of playing, which mostly expresses a light and lively mood, such as "San Liu", "Walking Street" (Jiangnan Silk and Bamboo), "Raining Bananas", "Walking Horses" (Guangdong Music), "Eight Stallions", "Plum Blossom Exercise" (Fujian Nanyin) and so on. The wind and percussion ensemble of wind and percussion instruments plays in a rough style, suitable for outdoor performance, and is good at expressing warm and cheerful emotions. For example, "General's Order" (Southern Jiangsu Blow and Beat), "Da Yuan Men" (Eastern Zhejiang Drums and Gongs), "Putian Le" (Shandong Drums and Blows), and "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 at the same time, 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. Generally speaking, the popular blowing music in the north emphasizes "blowing" and has high blowing skills, while the popular blowing music in the south emphasizes "playing", and the gongs and drums play an important role in the blowing music. Traditional folk instrumental music is mostly combined with folk wedding and funeral celebrations, welcoming the gods and races and other customs, as well as court ceremonies and religious rituals, etc., and is less likely to take the form of pure instrumental performances. The practicality of folk instrumental music has led to changes in many instrumental songs as they are used for different occasions. Traditional folk instrumental music has a title, which is divided into two categories: name and meaning. The labeling title only gives the name of the piece 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 Continuous Rings", "Ten Scenes of Drums and Gongs" and so on. The title of the piece is based on the name of the piece, the section labeling and the explanation of the content of the piece, such as "Flowing Water", "The King Unloads His Armor", and "Sail the Dragon for the Brocade". Classification of Folk Music Folk instrumental music is traditionally divided into two categories, namely, "single song" and "suite". A 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 musical structure, there are mainly variations, cycles, combinations and syntheses, etc., among which variations and combinations are the most common. Variations and combinations are the most common among them. Variations are widely used in the creation of music. When folk artists play a song repeatedly, they are good at using all kinds of playing techniques to decorate the melody with flowers and form variations, such as "happy meeting" (flute), "wedding song" (suona), etc. The "slowing down and adding flowers" is the most common technique. "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" (Chaozhou String Poem) and other music pieces all place the "slow down and add flowers" passage before the "mother song". 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 kind of structural order change 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 various fine traditional repertoire, so that the original spirit of the music has been more perfectly expressed, and a large number of new works have also emerged. As for the reform of musical instruments, great progress was made in unifying the meter, improving the sound quality, enlarging the volume, facilitating transposition, increasing the 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.

Editing the Introduction of Chinese Traditional Music

We can see the word "national music" in many folk music CDs, which refers to the "national music" that has been handed down from the ancient times and has been developed in the modern times, which belongs to the "national essence". This "national music" refers to the music that has been passed down from ancient times and developed in modern times, which belongs to the "national essence", so it can be seen that the time of the creation of "national music" refers to ancient times; "new music" refers to the music that has been written by those who have studied western music, such as the music songs of the school, so it can be seen that the time of the creation of new music is in the 18th century. New music was composed after the Opium War in 1840. "Chinese music" refers not only to music inherited from ancient times, but also to music composed and adapted by Chinese people according to Western theories. "Traditional Chinese music" refers to the music created by Chinese people using their own methods and forms, and characterized by their own forms, including not only ancient works produced in history and handed down to the present day, but also contemporary works. It can be seen that traditional music includes "national music" but not "new music", but they are all "Chinese music". Traditional music is an extremely important part of China's national music. The difference between traditional music and new music does not lie in the sequence of the time of creation, but in the form of expression and style characteristics. For example, the erhu solo piece "Reflecting the Moon in Two Springs" and "Fishing Boat Singing in the Evening" are recent musical works, but their performance forms are inherent to the Chinese nation, so they are also traditional music. On the contrary, the school music song and the piano solo piece "Piccolo for Shepherd Boys" are not traditional music because their musical form characteristics are borrowed from Western music.

Editing New Folk Music

Folk music is a term that became widely popular in the late 1990s. It has a more defined meaning of its own. Simply summarized, it is the use of modern instruments and artistic means (such as electro-acoustic instruments, reformed folk instruments, or traditional instruments with a certain combination of modern technology, modern vocal techniques, etc.) to reinterpret the original classical works of folk music, including instrumental music and vocal music. There is also the use of traditional instruments to perform works created using contemporary compositional techniques. Most of these works abandon the traditional Chinese artistic concepts of beauty and harmony, and pursue the so-called color, impression, deconstruction, and surrealism. In order to seek a special effect that is different from both modern and classical music, it is an attempt to pursue an art form that combines the classical and the modern. The new folk music mentioned so far is mainly the former. One of the important ideas of new folk music is to drag the sacred "art" from an elegant position in the Chinese people's conception and make it a product of popularization. It should be said that this has a great relationship with the influence of the recent post-modern trend. The operation of market economy has provided a good opportunity and market for the development of new folk music. It can be approximated that new folk music is a necessity of the commodity society. New folk music is extremely expressive in national style. However, ethnic bands again lack width in frequency response, especially in the lower frequencies. Because of the strong individuality of each conventional folk instrument, the overall acoustic integration of the folk band is poor. The limitations of the sound range and playing skills of the instruments themselves can no longer satisfy the audience's ever-increasing aesthetic requirements. New Folk Music combines folk instrumental music, electro-acoustic band and MIDI music together, together with popular orchestration techniques, complementing each other's strengths and weaknesses; it makes the personality of folk music better displayed, and actually enriches the artistic expression of folk music. However, folk music's dazzling technique + popular accompaniment = new folk music is a simplification of the problem. Tradition and modernity, classical and popular, maintenance and development is a big issue; MIDI's shortness is exactly the strength of folk music, and the skillful combination of the two is the direction of new folk music. The more popular Twelve Girls' Music Ensemble and young erhu player Wang Xiaonan have a lot of good tunes. For example, "Sleeve Shadow", "Soul of Dance", "Maiden of Loulan", "The Sun Shines on Tashkurgan" and so on. But in retrospect, new folk music is sometimes not combined very successfully. Some rhythms in order to meet the market or trend, change with the tune itself is not coordinated, there is no rhyme, sounds like a mess; some of the classic repertoire of the adaptation is a failure, it is very contrived. Of course, there is no lack of good works. In fact, the definition of new folk music is rather vague to me. However, I think that traditional folk music is thinner in performance, the background is not thick, not very atmospheric, combined with Western and modern music, it can make up for the shortcomings, but too much is not enough. If these things are abused too much, it will not emphasize the characteristics of folk music, and it will seem unorthodox.

Editorial Chinese traditional folk music instruments

There are many kinds of traditional Chinese instruments, including drums, flower drums, tambourine drums, tai ping drums, drums, drums, drums, drums, drums, gongs, cymbals, bells, chimes, ocarinas, xiao, xiao, octagonal drums, flutes, suona, sheng, three-stringed, Ruan, pipa, konghou, erhu, jinghu, yangqin and guqin, and new varieties are added as time goes by. And with the passage of time, the new varieties continue to increase, so there is a need to categorize. Trace the earliest musical instruments to be categorized, when it began in the Western Zhou Dynasty "eight sounds". Its classification method is based on the production of musical instruments based on the material, "Zhou official * spring official * masters": "are sown the eight sounds - gold, stone, soil, leather, silk, wood, lagenaria, bamboo." This classification is not scientific, since the Zhou Dynasty to the Qing Dynasty for more than three thousand years, but has always occupied a traditional position, which can be seen on the classification of traditional Chinese musical instruments have a great influence.