Ancient Greek music recorded the scores of vocal music and instrumental music in two different sets of words. Gregorian chants, Byzantine chants and early medieval polyphony also use music scores. The character spectrum that can still be seen in the world now is mainly1the number notation and letters that appeared at the beginning of the 9th century.
Numbered score
Eastern countries, including Indian, Japanese and China, have always used different scripts. China is unique to Gong Shang Pu, Lu Lu Pu, Gong Chi Pu and Gong Gu Pu, which are still widely used among the people.
Character spectrum
Use words, numbers, etc. To represent the pitch of each sound. The notation of expressing rhythm by other auxiliary means has existed since ancient times. For example, ancient Greek music used two different sets of text symbols for vocal music and instrumental music. The music scores that can still be seen now are numbered music scores and alphabetic music scores that appeared at the beginning of 19 century. Asian countries, including Indian, Japanese and China, use different languages. China's unique music is gongshang, Lv Lu, gongs wings and gongs and drums.
Table surface
It is to record the tuning method, playing technique and syntax of Guqin music in words. Most of the symbols used in Le Yan's half-character spectrum are similar to half a Chinese character, and they are mostly used to record Le Yan! Hence the name! Chord notation is a kind of notation, and its principle is similar to today's guitar notation. Lost so far! Tube chromatography is a kind of phoneme spectrum, which may be the evolution of fingering symbols of wind instruments at first. Folk figure spectrum is the predecessor of Miyachi spectrum. Twelve musical names are used to record the symbols of the sound height of a piece of music. China used this to record gagaku. It is still widely used in Japan and Korea.
Phoneme spectrum
Recording phonemes in different positions according to fixed lines began in ancient Greece. Staff courses
At that time, symbols were used above the lyrics to indicate the fluctuation and stress of the tone, not the pitch. Later, they were also used in Gregorian hymns and so on. In the 7th century, this method developed to use a line to represent the fixed pitch of F, and symbols above and below this line to represent different pitches.
music score
Use words, numbers or other symbols to represent the playing method of musical instruments, rather than the specific pitch. Around the16th century, players of ancient European plucked instruments, such as Liute, Stern and Bivela, often used this notation. The specific notation varies with the structure and playing method of musical instruments. After the staff is universal, there are still a few musical instruments attached to the staff for easy playing, such as guitar and banjo. Before World War II, the button accordion also used the ten-line notation.
Image spectrum
A method of recording music with images, marks and words. Compared with the original motivation spectrum, it does not represent a specific sound, but represents the basic melody type or motivation that constitutes music, such as Armenian hymns and Jewish hymns in the middle ages. Since the mid-20th century, some modernist composers in the west are not satisfied with the universal staff, and often invent or create some new notation, some of which are based on the staff with playing notation or new symbols, and then explained by words; Some music recorded by images, such as figurative music, accidental music and electronic music, all use image spectrum.
Grid spectrum
List twelve laws from low to high, and pay attention to the word "Lv Lu" in the rightmost line of pictophonetic characters. Each grid represents a semitone, and each grid represents a relatively equal-length time unit from left to right, which is too cluster law. Elegant score is a form of music score that records the music used to sacrifice Confucius in Ming Dynasty. Music score is a score that records tunes with zigzag lines. Eccentric shift spectrum is a music spectrum used by Tibetan Buddhism, which consists of various curves drawn on seven parallel lines. Chaba score is a kind of music score that draws curves with squares. Gong and drum is a percussion instrument. Also known as Palace Classic, Gong and Drum Music and Musical Instrument Music.
Pneumatic symbol
Later, it evolved into a quantitative notation, and gradually became a staff notation in the17th century, becoming a universal notation in the world. The lattice spectrum used in China's Yuan Song "Jiu De Ge" also belongs to this category.
Edit this paragraph difference
This symbol is very different in different countries and at different times. Various elements of music recorded in the score, including the absolute or relative height of sound, the duration of sound, the strength of sound, the decoration of sound, the playing method of musical instruments and expression marks, etc.
Edit this traditional notation of China.
There are basically 13 kinds, namely: Gong Chi spectrum, Qin spectrum, Yan Yue half-character spectrum, string spectrum, pipe spectrum, folk character spectrum, Lu Lv character spectrum, lattice spectrum, elegant music score, curve spectrum, central shift spectrum, tea bar spectrum and gongs and drums classics. At present, Chinese characters in China are mainly recorded by Gong, Shang, Jiao, Qing Jiao (and), Zheng and Yu. And draw diagonal lines (such as adding "qi") under Chinese characters and radicals next to Chinese characters. ) Use an octave to represent the pitch. The piano score is to record the plucking method, playing technique and syntax of Guqin music in words. Most of the symbols used in Le Yan's half-character spectrum are similar to half a Chinese character, and they are mostly used to record Le Yan! Hence the name! Chord notation is a kind of notation, and its principle is similar to today's guitar notation. Lost so far! Tube chromatography is a kind of phoneme spectrum, which may be the evolution of fingering symbols of wind instruments at first. Folk figure spectrum is the predecessor of Miyachi spectrum. Twelve musical names are used to record the symbols of the sound height of a piece of music. China used this to record gagaku. It is still widely used in Japan and Korea. The lattice spectrum is twelve laws listed from low to high. The rightmost line of the phonogram is marked with the word "Lu Lu badminton", each lattice represents a semitone, and each lattice represents a relatively equal-length time unit from left to right. Elegant score is a form of music score that records the music used to sacrifice Confucius in Ming Dynasty. Music score is a score composed of zigzag lines. Eccentric shift spectrum is a music spectrum used by Tibetan Buddhism, which consists of various curves drawn on seven parallel lines. Chaba score is a kind of music score that draws curves with squares. Gong and drum is a percussion instrument. Also known as Palace Classic, Gong and Drum Music and Musical Instrument Music.
Symbols of different periods
Word spectrum in Wei, Jin, Southern and Northern Dynasties; The voice of the Han dynasty; Simplified Chinese character spectrum in Tang dynasty; And the character spectrum of Yan Leban; Car spectrum in Ming and Qing dynasties.
China's musical instruments often use their own music scores.
For example, Guqin score, Zheng 24 score and so on. , and pipa spectrum is a skill spectrum added to the I scale spectrum. In Japan, pipa, flute, shakuhachi and Sanweixian also have their own music scores.
Please edit this paragraph for details.
China's earliest music score.
Before the Western Zhou Dynasty, more than 1000 BC, China recorded the music of the court sacrificial banquet with the music of Lu and Gong Shang. The former uses the names (Huang Zhong, Lu Da, Taiqun, Jia Zhong, Gu Xi, Zhong Lu,,,, Nan Lu, Yi Ze, Wu She and Ying Zhong) of China's Twelve Methods (twelve semitones within an octave) to record music. The latter recorded music with five ancient phonetic names (Gong, Shang, Jiao, Zheng and Yu). China wrote the Book of Rites in the Han Dynasty, which kept the drum music played in ancient times. Use "mouth" and "?" The "semi-"three kinds of musical characters describe the music played by two kinds of drums when playing the game of throwing pots. This is the earliest spectral record. The soundtrack of the recorded song has also been available for a long time. The book catalogue written in the first century BC records the music scores of songs. For example, there is a book in the catalogue called Seven Poems of Zhou Dynasty in Henan, and "Song Poetry" is "Lyrics". Another book corresponding to it is called "Seven twists and turns of Zhou Dynasty in Henan". "Twists and turns" means "Song tunes". This Song Tune is naturally a musical score. But how does it record music? Because the book has long been lost, there is no way to know. There is also a record of the coordination between "sound twists and turns" and songs and poems in Hanshu Yiwenzhi. These "sound twists" are the music scores when singing songs or poems.
China symbol
China folk used to record music with a variety of character spectrum. Such as subtraction spectrum, half-moon and half-word spectrum, gongs and drums, twenty-four-character spectrum and so on. The earliest recorded music score in the existing history is the ancient piano music "Jieshi Tiaolan" written in the Tang Dynasty. According to the Preface, You Lan was passed on by Qiu Ming (493-590) in the Six Dynasties. In fact, it is a 4954-character text, which records in detail which string, which position and which playing method each sound belongs to on the guqin. It shows that the character spectrum is a common spectrum of people in Sui, Tang and Qin Dynasties. The development from Chinese character notation to subtraction notation is an extremely important innovation of Guqin notation. This change was completed by Cao Rou in the Tang Dynasty. The specific method is to spell out some symbols with the strokes of subtractive strokes as the marks of left and right hand playing techniques on the phonemes of guqin. This is a notation that only remembers phonemes and playing methods, but not names. Because fingering is marked, it is also called "Finger Score", which was gradually finalized in the Southern Song Dynasty and is still in use today. Its appearance enabled a large number of piano scores before Sui and Tang Dynasties to be sorted out and passed down to later generations. Banquet music half-character spectrum, namely Gongchi spectrum, is one of the traditional folk spectrum in China. In the aspect of music theory, the scale of Yan was recorded in the Song Dynasty. Le Yan's Half-character Music originated in the Tang Dynasty, and it is also a notation based on the phonemes and techniques of musical instruments. It may be marked by the fingering of wind instruments (it was first discovered in the Thousand Buddha Cave in Dunhuang, and in the fourth year of Changxing in the late Tang Dynasty (A.D. 933), Mingzong wrote a "Tang Daren Music Score". Shen Kuo (1031095) and zhangyan (1248 1320? ) appears in etymology. The modern I scale spectrum originated directly from this time.
China traditional music notation
Miyachi notation is also a notation of characters, which is a very important and widely used notation. It is precisely because of this that a separate plate is set up. Le Yan Banzi Spectrum was basically finalized and widely used in Ming and Qing Dynasties through the popular Chinese Character Spectrum and Gongchi Spectrum in Song Dynasty. However, due to the different spread areas and time, its notation and roll call are slightly different. In the Gong-Chi scale, He, Si, Yi, Shang, Chi, Gong, Fan, Liu, Wu and B are the names of the volumes, which are equivalent to Sol, La, Si, Duo, Hot, Mi, Fa, Sol, La and Si, and the higher octave is accompanied by the radical "Qi", such as "Shang, Chi and Yi". Add a break at the end of each word in the lower octave (except compound words). Such as "Fan, Gong and Shang". The octave of six, five and b is sung as four, one and one. There are two kinds of characters: block letters and cursive scripts. The traditional writing format is from top to bottom and from right to left. The right side of the I-beam is marked with the rhythm (eye plate) symbol, the strong beat (head plate) symbol is ","or ",and the weak beat (eye and middle eye) symbol is". There is a space at the end of every sentence. Miyachi spectrum is the most widely used roll call spectrum in China. There are two kinds of roll call spectrum: "fixed roll call method" and "initial roll call method" The board (strong beat) eye (weak beat) symbol for recording rhythm has also developed more perfectly. Key signature is marked with the name of Gong Zheng and Hong Xiao. After the Song and Yuan Dynasties, most of the scores handed down by China were written in Miyachi notation. Among them, instrumental music works and opera vocals have the largest number. Miyachi notation is still of positive and special significance in studying and sorting out the heritage of national music and learning folk music. To this day, many old artists are still used to recording music or singing with Miyachi notation. However, due to the complicated notation, some valuable musical heritages in ancient China were distorted and lost. These notations have gradually been introduced into the historical stage.
Si Er spectrum
"Si Er spectrum" is also a kind of phoneme spectrum, and the Chinese characters "two, three, four, five, six, seven and eight" are used to represent the pitch of scales in turn, that is, "sol, la, do, re, mi, sol and la"; FA and SI are represented by "three" and "three", because they are on LA and MI, so LA and MI are often called "three" and "six". Of the five tones of two, three, four, five and six, three, six and five change due to various situations, and only two and four (sol, do) remain unchanged, so this notation is called "two-four spectrum". Ancient music score is of great significance for music dissemination and information recording. In China's musical forms, pictographic stick figures with suggestibility greater than dominance and implicitness greater than preciseness are permeated with the uniqueness of China's aesthetic spirit. The practical spirit of pre-Qin aesthetics, Buddhism and Zen in Wei and Jin Dynasties, as well as folk inheritance habits, and that kind of mind-reading and ear-teaching are all reflected in the way of recording the rhythm of ancient music in China to varying degrees, and the melody is simple enough to remember. With the expansion of the research field of ancient culture, we not only appreciate the tradition from the tone and melody of music scores, but also examine the tradition from the way of notation. However, it is these pictographic stick figures that "hint is more than clarity" and "implication is more than preciseness" that seriously affect the accuracy and integrity of music recording. All kinds of China ancient music can't record music more conveniently and truly like staff and notation, so it is difficult to popularize. Sharp tools can do a good job. The notation is unscientific, limited, inconvenient to popularize and not widely used, which is one of the main reasons for the loss of many excellent music works in history. China's Book of Songs. "The Wind of the Fifteen Kingdoms in Ancient Times" is an excellent folk song from all over the country, but its tune has not been handed down because there is no record.
Edit the defects of traditional annotations in this paragraph.
The traditional notation system of western music is based on the standard that each octave contains seven natural sounds. However, when 17 adds five variable sounds to the keyboard, the system has serious problems. In the traditional notation, 12 tones are not recorded equally in the spectrum, and the tone sandhi has no lines or spaces of its own. Therefore, at least one additional information (temporary tone sandhi mark or key signature) needs to be explained (which will affect the short-term memory of the spectrum reader). This inequality leads to two other difficulties. First, some key signature sounds monophonic (such as C), and some key signature sounds polyphonic (such as C-flat). In fact, their interval structure is exactly the same, but the absolute pitch is different. Secondly, the vertical proportion of notes on the spectrum is uneven. The pitch distance between two notes is not directly expressed from the position, but depends on the reader's understanding and memory of the harmonic clef he plays. In traditional notation, homonyms are not fixed on the lines or spaces of the spectrum, such as "C" with an octave difference, one on the line and one on the space. This is because the lines and spaces of the spectrum only show seven "natural" sounds. Clef can change the pitch position of notes on the score, which makes it more difficult to read the score. This is because the most effective sound area of a specific instrument or part should be fixed in the center of the score according to the corresponding clef. However, some musicians and singers can extend their musical range to more than three octaves, so they must read multiple clefs or multiple lines of music. In addition, due to key signature or other accidental reasons, the sound of the same pitch will be recorded in several different ways. In traditional notation, the symbols of sound values have to be mathematically calculated. For readers, they are not intuitive, but need an information processing process. Many notation innovators believe that expressing sound values with symbols of corresponding proportions is the preferred way to record music time. The traditional notation system is rooted in naturalism, so it is difficult to record atonal music and differential music. In addition, this system is not designed for complex musical instruments, harmony and rhythm developed since the Middle Ages. In the second half of this century, some avant-garde composers created new notation symbols for the traditional notation system. People always expect a more intuitive symbol system, less dependent on memory and mental arithmetic. Karl Cosca Karkoska said in his "New Music Score System" that in any new system, "the visual object must be the direct conversion of the corresponding auditory object.
A comparison between Chinese and western notation in editing this passage
Music is the art of time, but time is fleeting and beautiful sounds are gone forever. In order to preserve sound, people invented music score, trying to make music spread for a long time through the evolution of notation. However, different regions and different histories determine the differences between Chinese and western notation. To some extent, this reminds us that we should correctly examine the problem of notation in music teaching and practice and spy out its different values in the development of Chinese and western music. China is a great writing country. After thousands of years of reproduction and replacement, it has adapted to the characteristics of its own music language and formed its own unique notation. It can be said that the traditional music score has become the imprint of the development of ancient music culture. Music scores such as drum music, sound twists and turns, character spectrum, subtraction spectrum, music spectrum and scale spectrum have become the carriers of the spread of ancient music culture in China. Especially in the case of underdeveloped transportation in ancient times, music score shoulders the heavy responsibility of recording, spreading and preserving music information, and has made historic contributions to promoting the development of music and preserving music in various dynasties. Up to now, spectral formulas such as subtractive spectrum and I scale spectrum are still widely used in music teaching and practice. In Europe, with the spread and development of music culture, alphabet notation came into being. Catholic musicians invented "Neum score" and made four-line score, five-line score and simple score. Judging from the development of western music scores, staff is the mainstream. It took about seven centuries from the beginning of Newham music score in the 9th century to the appearance of15th century staff score, which was mainly the result of teaching musicians. It took about five centuries from the initial completion and comprehensive establishment of the staff in16th century, and the staff gradually moved from the church to the whole society and the people. /kloc-in the 8th century, the staff has formed the scale and theoretical structure of its application today, and has gone to the world with the development of European music culture. In the 20th century, the staff has developed into the only widely used music in the world. In music teaching and practice, the wide application of western staff has promoted the development of world music. China is one of the four ancient civilizations in the world, which developed earlier than western countries in many aspects. As far as the development of traditional music notation in China is concerned, it is about 600 years earlier than western music notation. Due to the differences of social systems and economic development in different countries, the development of music scores is also very different. China pays more attention to the expressive value of timbre changes than western countries, and fundamentally despises the rational abstraction of music score rhythm. According to historical records, when Emperor Tang Ming asked Huang Zanzhuo to design the clapper score, she drew an ear on it and said, "But if there is an ear canal, there is no rhythm." This is the clearest evidence. The "music score" in China's traditional music pays attention to the ever-changing music, which is composed of a fixed score and an indefinite tune, a fixed board and an indefinite cavity, but the ever-changing music cannot be separated from its primitive religion. This is also a prominent feature of China's music notation. For example, Miyachi notation only records the board eyes, while the detailed performance of music requires the subjective improvisation of the performer. However, western music notation is based on letters and symbols, which emphasizes "the sound has a fixed height", "the beat has a fixed value" and "playing and singing according to the score". Rhythm originates from the dance position, and the mainstream of its development is to solve and improve the pitch problem. It can be seen that the grasp of the difference in rhythm information forms the difference in the concept of melody rhythm between China and the West. China was restricted by the feudal system, and music served the interests of feudal owners and maintained the traditional ancient music in China. The western countries, under the control of the church, have promoted the spread and development of culture, making their music notation more and more perfect, especially the passage of staff and notation, which has become a trend in the world. As a result, the first batch of professional musicians in China's modern history, in the trend of "Western learning spreading to the East", completely misappropriated the line notation and notation with simple information and particularly complete rhythm system. Until today, music education in China still focuses on the fixed pitch of staff, while the performance of national instrumental music and the notation of traditional Chinese opera music always follow the concept of the first sound system of simple notation. This makes the music scene in China form a new music cultural trend which is different from the increasingly rigid and conservative China tradition and the West. It can be said that music score is an important medium to spread music, whether it is written music score, digital music score or staff score, it has its progress and limitations. With the continuous introduction of noise percussion instruments without fixed pitch in the band, the development of atonal music and noise music, the increasingly complex and free relationship between harmony and rhythm, and the awakening of composer's "music consciousness", more and more attention has been paid to parameters that are difficult to measure accurately, such as strength, timbre and playing method. The reform of notation is imminent, and there are accurate notation, action prompt notation and frame notation. It can be seen that this new notation, which is not fixed in modern society, has been more and more accepted by people. In our teaching and practical application, we should also change our cognitive concepts appropriately, and at the same time broaden our learning fields while mastering the basic music communication methods. Music score is no longer a set of restrictive instructions, which is the inspiration of music language in the trend of the times. Looking back on the development of China music in the past hundred years, whether it is the research and preservation of traditional music or the absorption of foreign music, the direct carrier is music score. The collection, arrangement and research of folk music, court music, religious music and literati music in China traditional music should be based on basic principles. China's traditional music has high cultural characteristics unique to the country. Under the cultural and historical conditions of China, it always carries identifiable historical information, which makes it possible to study the music itself. Therefore, the important problem in the process of composing music is to keep the traditional style and have a new contrast. To some extent, to adapt to the laws of music and blindly "connect with the world" instead of antique fruit juice will inevitably lead to the degradation of the "original ecology" of China music, and China music will lose its foundation, be unable to develop and have no way out. Since the last century, we have introduced the advantages of western music to make up for our shortcomings, which is understandable. However, we should see that the absorption of European music culture based on western notation is not enough for us. We should study it from the perspective of ethnomusicology and put it in the cultural background in order to understand its essence more deeply. Strive for a broader vision and a deeper study of western music. In the future, we should know China traditional music and China traditional music with a more pious mind, and learn the music culture of all nationalities in the world with a broader mind. Rooting in tradition, facing the world, actively combing and striving for innovation are the correct direction of China's music development.