First, professional piano players.
Shi Zhong, Zhao Ding and Long De were drummers in the court in the middle of the Western Han Dynasty. At that time, while collecting folk songs, the rulers also selected some outstanding folk artists from all over the world. These people come from the people and have extensive contacts with the people, and their performances have had a far-reaching impact among the people. Shi Zhong was a famous pianist in Donghai Xiapi (now Suqian, Jiangsu) during the reign of Emperor Wu of the Han Dynasty.
Under his influence, many local people like to play the piano. More than a hundred years later, Liu Xiang wrote in "Don't Record": "Today, there are still many good pianos." Zhao Ding is from Bohai, and Longde is from Liang. During the reign of Emperor Gaozu Xuan Di, the emperor "wanted to promote the coordination of laws" and was selected by the prime minister from the people and summoned to the court.
According to records, Zhao Ding is a quiet man who doesn't like to talk, but when he plays the piano, he can make the audience "cry for it" (Notes on Liu Kun in the Later Han Dynasty). Listening to the piano was moved to "cry", which shows the high level of the performer. At the same time, it also shows that the listener has the corresponding appreciation ability. Shi Zhong, Zhao Ding and Long De have all written works, among which Long De is the most.
"Han Yi Wen Zhi" wrote: "There are seven stone families, ten Zhao families and ninety-nine dragons." The title of the book is not recorded, but because Liu Xiang said, "Everything about Ya Qin is in Long De's Miscellaneous Notes on Zhu Qin." I just know that there is a name called Miscellaneous Notes in the dragon's works. This Zhu Qin Miscellaneous Notes is probably a masterpiece, but the original has long since disappeared, and even the paraphrased fragments are hard to see.
Second, the literati piano player
Sima Xiangru (179+ 1 18 BC) was a native of Chengdu, Shu county, and was famous for his ci. He is a famous writer who wrote songs for Yuefu of Emperor Wu of the Han Dynasty. In his early years, he was "besieged on all sides" and was relatively poor. On one occasion, he was a guest at the rich man Zhuo Wangsun's house and played the piano impromptu, which aroused the admiration of Zhuo Wangsun's daughter Wen Jun. Despite his father's opposition, Zhuo Wenjun resolutely eloped with Sima Xiangru (Biography of Historical Records and Sima Xiangru).
According to this story, the piano circle created "Wen Jun Qu", "Phoenix Seeking Phoenix" and other works to praise their love. Legend has it that after Sima Xiangru became rich, he planned to "marry a Maoling woman as a concubine". Zhuo Wenjun was very angry, and sang the piano song "White-headed Songs" to express his refusal and protest, thus preventing Sima Xiangru's attempt to marry a concubine (Miscellanies of Xijing).
Most of these love songs and legends are from the early feudal society. With the change of the status of the landlord class and the strengthening of the control of Confucianism, such themes are rare in Qin music.
Sima Xiangru won Zhuo Wenjun's love for playing the piano, which shows that his piano sound is very attractive. He mentioned the piano music "You Lan" and "Snow White" in "Beauty Fu". In the "Changmen Fu", the specific situation of guqin performance is further described: "Give Ya Qin a tone change, not long to play sad thoughts; The case turned to Xi, and her voice was young and beautiful.
Take a look, I am generous and self-sufficient. Using the fingering of "pressing" with the left hand and "turning" with the right hand, the music changes from weak to strong, from melancholy to generosity, and the mood gradually develops and changes. After being snubbed by Emperor Wu of the Han Dynasty, Empress Chen stayed in the palace alone and begged to write "Changmen Fu" to impress Emperor Wu of the Han Dynasty. This is the origin of Nagato Bin.
Later generations used this theme to create the piano music Nagato's Complaints. Sima Xiangru was one of the earliest literati who had an influence on the piano field in Han Dynasty, and his use of a piano named "Luqi" made him famous.
Liu Xiang (79 BC-8 BC) was the son of Zheng. During Yuan Di's reign as emperor, he wrote many times to impeach eunuchs and consorts, and was imprisoned twice. He is a well-read scholar. From Emperor Wu of the Han Dynasty to the time when he proclaimed himself emperor, it was a "hundred-year-old mountain of books".
Liu Xiang has been in charge of proofreading books for more than 20 years and talked a lot about Qin. Qin Shu's Complete Book in Ming Dynasty contains his Qin Shuo. The original text is: "There are seven situations in drumming: one is to understand morality, the other is to feel ghosts and gods, the third is to observe beauty and customs, the fourth is to observe the heart, the fifth is to control the sound, the sixth is to be elegant, and the seventh is to teach well."
It is understood that the first three functions of Qin are: first, ideological content, second, artistic appeal, and third, social effect of changing customs. The last four talks about the creative process: first observe the objective situation with "wonderful mind", then create the tone that reflects it, then process and polish it, and finally show it through perfect performance.
These seven cases briefly summarize the playing purpose and creative method of Qin music. Because there is no explanation, we can further explore the understanding of the above original text. In a word, we should pay attention to the Qin theory that came into being two thousand years ago.
Huan Tan's father (about 23 BC, 50 AD) was Emperor Taileling of the Han Dynasty. He has received music education since he was a child, and he himself has been a doctor in charge of music. He has a strong interest in music and once said, "I am interested in listening to music all day, but my heart is insufficient." Listening to music all day is not enough, which shows his love for music.
He is an expert in music, so he is very dissatisfied with those formal "elegant music" and advocates new creation in music. He publicly admitted that "Yu Po Biya fucked more innovative" (New Theory). In the view of the conservative forces at that time, this was obviously a big violation of the law. In particular, his performance was appreciated by Emperor Guangwu, causing their dissatisfaction and attacks.
General Hong Song, relying on his power, called Huan Tan to his official residence. Without letting him sit down, he sternly reprimanded him with a straight face: "It's not bad to let you be an official and rule the country with virtue, but you' expect Zheng Sheng to praise elegance'! Do you want to be punished? " Under such pressure and threats, Huan Tan is in a very difficult situation.
When Emperor Guangwu asked him to play the piano again, he looked unnatural, and even Emperor Guangwu thought he was quite abnormal. So Hong Chu took the opportunity to give lectures on the way to praise Ya, and cancelled Huan Tan's official position of "giving things to people" in the palace ("Collection of Arts and Records" quoted "History of the East View").
Huan Tan insisted on materialism in philosophy and dared to oppose the divination theology that the emperor was keen on. Therefore, he was accused of being a "non-saint", demoted and exiled, and died on the way.
Huan Tan wrote a new theory, refuting the Confucian concept of destiny. Among them, Qin Daopian is devoted to Qin. The original work no longer exists. According to the incomplete information compiled by later generations, Qindao Pian includes several aspects, such as the theory of Qin, the history of Qin and the introduction of Qin music. According to the Records of the Later Han Dynasty, Huan Tan's Qindao Pian was not completed, but it was later completed by Su Zong.
Judging from the existing materials, many places reflect the Confucian music thought, which is quite contradictory to Huan Tan's view in Historical Records. Especially in the aspect of Qin theory, it is basically a retelling of the relevant remarks in Yue Ji, such as: Qin is the first of the "eight tones" because it can communicate with everything and prohibit evil spirits.
There are two sentences in this article, "The loud voice is not Zhenhua, but overflowing, and the quiet voice is not annihilated, but inaudible", which means that the strength of the piano should not be excessive, and it is often quoted because it is quite reasonable. In the aspect of Qin history, the legends and deeds of Qin people such as Zhou and Zhou are introduced. When discussing the creator of Qin, it is considered as Shennong or Fuxi. "It is impossible to make a detailed decision as many scholars have said."
When introducing the saying that "Wen Wang and Wu Wang each add a string, thinking that there are fewer officials and fewer businessmen", he pointed out: "There are different opinions." For the discussion and introduction of the above issues, an objective attitude was adopted.
At the end of the Eastern Han Dynasty, under the attack of the peasant uprising, the contradictions within the ruling class became more acute. Cai Yong, a famous scholar and pianist, lived in such a political environment.
Cai Yong (A.D. 132- 192) was born in Li (now Qixian County, Henan Province) and was famous for playing the piano since childhood. The powerful people in the DPRK recommended him to be an official and transferred him to Luoyang, the capital city, through Mrs. Chen Liutai. But Cai Yong was dissatisfied with the eunuch's autocratic power, so he set out from his hometown and returned to his hometown on the way. After I came back, I wrote a poem "Travel Narrative", which satirized the extravagance of the authorities through what I saw along the way.
He expressed his feelings of "being angry about this" by describing the bleak scene that "people are frozen in Russia and many people can't live their own lives". Later, although he became a doctor, negotiator and other officials, he was exiled to the north for impeaching eunuchs and dignitaries. After coming back, he was rude to Wuyuan, a local eunuch force, and was persecuted again.
Since then, he has been in exile for 12 years. During this period, he created the famous piano music Cai's Five Alleys.
Cai's Five Fang Ji includes five works: Youchun, Lishui, Youju, Sitting Sorrow and Qiu Si. It is said that these five piano pieces were written three years after he visited Mr. Guigu in the mountains. These five works attracted people's attention at that time, and enjoyed great reputation through several generations until the Tang Dynasty. Ji Kang listed it as a popular "folk custom" work in Fu Qin.
These five tracks are listed in Qin Li in Sui Dynasty and Youlan in Tang Dynasty. Poets like Li Bai, Li He and Wang Wei have all written poems on these themes. Zhu, a poet in the Song Dynasty, said: "The sadness of the past is covered in these five songs, and it is specially named after it." There is reason to think that he is relying on the scenery to express his grief.
Cai's "Five Hutong" is an existing score of Ming Dynasty, not an original work at that time. Its lyrics are all from Yuefu poems, and the tunes are mediocre. It is a later work and has no research value.
Cai Yong has a great influence in the field of piano. During the Han and Wei Dynasties, in his hometown of Chenliu, Ruan, Ruan Ji, Ruan Xian and other famous people who were famous for playing the piano appeared successively. Gu Yong, the former prime minister of Wu, was also Cai Yong's favorite pupil when he was in Wu. Cai Yong's daughter, Cai Yan, was deeply taught by her father and was famous for her poetry and temperament. There are many stories about Cai Yong among the people.
Biography of Cai Yong said: When Wu people were cooking, they heard the sound of wood cracking, and Cai Yong immediately recognized that it was a good material for making a piano. After using it as a piano, the sound is really good. Because the tail has been burnt by boiling fire, it is called "mating" piano. Today, the piano tail is also called "mating", which is based on this story.
Another example: Cai Yong plays the piano and occasionally breaks a string. His daughter pointed out which string was broken according to the sound, her father deliberately tried to break the other strings, so she could tell, and so on. These stories not only show the keen hearing ability of Cai Yong's father and daughter, but also express their admiration for their superb musical literacy.
There is an important document about Qin called Cao Qin, which is also said to be written by Cai Yong. It is the most abundant and detailed monograph introducing pre-Qin music works. The original book was lost and later generations compiled it into a book. Including five poems, nine quotations, twelve exercises and more than twenty Hejian miscellaneous songs.
The book introduces the story content of each work. These stories have a strong folklore color and are often quite different from historical books. Therefore, "Yuefu Solving Problems" said: "Cao Qin Nianpu is contrary to this biography." In fact, it is one of the characteristics of folk creation to process and create according to people's wishes without sticking to historical facts. This book seems to be a collection of folklore.
Most of the more than 50 works included in the book are pre-Qin themes, and only two or three are Western Han themes, so the book should be completed no later than the Han Dynasty. At the same time, most of the works in the book are accompanied by lyrics or interpreted as "songs", which is also the characteristic of early works. There are different opinions about who is the author of this book.
The main reason is that Cao Qin was not included in Han Zhi, while the records in Sui and Tang Dynasties Literature and Art Annals were written by Kong Yan in Jin Dynasty. It is absolutely reliable that there are no mistakes in the historical record. Liu Kun in the Six Dynasties and Li Shan in the Tang Dynasty clearly affirmed that Cao Qin was written by Cai Yong.
In Qing Dynasty, Ma thought it was a part of Cai Yong's narrative music, while Kong Yan was only the narrator. Judging from the fact that the book mainly used a large number of themes before the Han Dynasty, it is more credible to say that it was written by Cai Yong, because he had extensive connections with the piano industry at that time.
Extended data
Gio Qin Wei
When Cai Yong was in Wudi (now Jiangsu and Zhejiang), he heard a piece of paulownia wood burst in the fire. Knowing that it was a good piece of wood, he picked it out and made it into a piano. The timbre is beautiful, but the tail of the wood is still burnt, so people called it Jiaoweiqin at that time. At first, Cai Yong lived in Chenliu. One of his neighbors prepared a table and invited him to dinner. When he went, his neighbor was already drunk.
There is a guest playing the piano behind the screen. Cai Yong went to the neighbor's door, listened quietly and said, "Ah! What's wrong? " So I went back. The person who called him told the host, "Mr. Cai just came and left at the door." Cai Yong has always been revered by the villagers, and his master hurried to ask why. Cai Yong told him everything, and everyone was disappointed.
The guest who plays the piano said, "When I was playing the piano just now, I saw a mantis about to pounce on the cicada. The cicada will fly away before it flies away, and the mantis is in tandem. " I'm a little worried in my heart, for fear that mantis will lose the opportunity. Is this the so-called killing heart revealed to music? "To CAI said with a smile," this is enough to show. "
After Cai Yong was killed, Jiao was kept in the Royal Library. It is said that when Emperor Qi Ming was in office, he took out his piano and asked the guqin master Wang Zhongxiong to play it. Wang Zhongxiong played for five days in a row, improvising "Hate Song" for Ming Di. Later, it was given to Li, the owner of the Southern Tang Dynasty, and later presented to. After Li Yu's death, he belonged to Songshi. It is said that Wang Fengnian, a native of Kunshan in the Ming Dynasty, also collected the symphonic piano made by Cai Yong.