This is closely related to the nature of Chinese music and Western music.
Different countries and nations have different social environments and different cultural backgrounds, so they should have different music practices and different music theories. On the surface, Chinese music also has pentatonic, seven-note and twelve rhythms, and is similar to the Western rhythms of 2/4 and 4/4, such as one-and-three-eyes and one-to-three-eyes. However, the Chinese music formed in the atmosphere of the traditional philosophical thought of the Chinese nation Music is fundamentally different from Western music. Chinese music theory follows the principle that "the sound has no fixed pitch, the beat has no fixed value, and the score has no fixed method; the performer (or singer - the same below) should shape the musical image according to his or her own understanding of the music." In short, it is An open music system; while Western music theory - especially music theory - emphasizes that "pitch and tone value are the basic elements of melody and must be played according to the score. Any change in pitch or tone value will inevitably "Change the image of music" is a closed music system. The two are completely different things, so they each have their own characteristics: Chinese music emphasizes the second creation of the performer because he promotes the development of music; while Western music respects the labor of the original author because he is the musical heritage an important part of. However, China's "Three Nos" do not mean that you can do whatever you want without any rules. Performers must follow certain rules and have a full understanding of the music they play. Only in this way can they ensure that the musical images they create are similar and have some differences in inheritance. developed. "Performing according to score" cannot guarantee that the musical image created will be exactly the same due to imperfect notation and different understandings of the performers. The fact that different performers play the same piece of music in different styles fully illustrates this point.
Due to the above factors, the structure of Chinese musical instruments is generally simple, and the key to the skill of the instrument and even the processing of music lies in the performance of the player. To give a very simple example: most Chinese wind instruments can play portamento; in Western wind music, only trombones in brass instruments can play portamento, and no woodwind instruments can play portamento. This illustrates the problem. As for the guzheng and harp, the guzheng's portamento is very distinctive; but when have you heard the harp's portamento?
Of course, the improvement of Chinese musical instruments has never stopped. Especially since the 1950s, the emergence of eleven-hole bamboo flutes, keyed suonas, keyboard shengs and other musical instruments are filling this gap. And it has also achieved gratifying results. To paraphrase you: “I won’t give you all examples.”