Many people have the experience of blowing bottles. When the blown air meets the edge of the bottle mouth, it will produce edge sound, and when the edge sound and the air mass in the bottle produce coupling vibration, it will produce purring sound. This has the basic conditions for making a musical instrument.
Primitive ancestors had many opportunities to consciously blow the cavity, and it was also possible to discover a musical instrument. They just need to find or make a cavity that can produce air mass, and open a blowing hole and several finger holes on it to complete a musical instrument.
The shape of this cavity used to be oval, fish-shaped, rod-shaped, gourd-shaped, bull's head-shaped, etc. , but most of them are oval; The first materials used are clay, animal bones, jade, wood and even synthetic materials, but the most used material is clay. The volume of this cavity can be large or small, and the pronunciation frequency of large cavity is low; Refers to the number and size of holes. The larger the opening area, the higher the frequency. Generally speaking, the range of finger hole opening and closing is only about ten degrees, which is called finger hole sound. After all the finger holes are closed, five or even eight tones can be blown by changing the blowing angle and strength. The lower the pitch, the lower the volume, which is called prone blowing. Although the volume of the overhead sound is slightly lower, it has a unique charm in timbre.
Our ancestors named this instrument "Fu", which can also be written as "Fu". Yan's timbre is rich and mellow, like a human voice, and no other musical instrument can find a similar timbre. However, due to its unique timbre and narrow range, it can only be a characteristic instrument.
Our country has a history of more than 7000 years. Unearthed and spread by the people, widely distributed.
Of course, the ancestors of foreigners will also have the opportunity to make such instruments. The English name of those foreigners is "ocarina".
Tao Di has not been paid enough attention in history, and is regarded as a small pear-shaped wind instrument for clarinet, with a sound quality similar to that of clarinet. It's small, just like a toy. (1) "even gave it a nickname called" sweet potato ". There was once a very popular song called "The Drummer", which literally translated from the original sweet potato piper, that is, "the sweet potato pipe drummer".
The blowhole in China is a very common round hole, which is easy to drill and shape, so it has a long history. And most of the blowholes in Tao Di are made into the same blowholes as clarinets. The making of flutes is much more complicated than that of round holes, so the history of Tao Di is only 140 years (it appeared in 1860). The whistle makes Tao Di's timbre close to clarinet, but it can't produce Yan's unique timbre. In addition, the whistle fixed Tao Di's air intake angle, which made him unable to play "prone blowing sound" and air sliding sound, which greatly compressed his range and weakened his expressive force.
Now some people in China call Tao Di Tao Di, because a CD played by Tao Di was translated into Song of Tao Di, and the name "Tao Di" was misrepresented. Translators don't know that "flute" is a kind of tube, which is produced by the vibration of air column. But Yan or Tao Di is not a tube, but an air mass vibrates, and their pronunciation rules are also very different. It is the most scientific to call Tao Di "the outpost" and "the ocean". It makes sense to address Tao Di directly by English name, but calling it "Tao Di" is the least scientific.
① A Dictionary of Foreign Music p539 Shanghai Music Publishing House1first edition in August, 988.
② Oxford Concise Music Dictionary p690 People's Music Publishing House 1 9911Beijing1version.
When we talk about the history of Yan, we always include those cavities with only one blowhole or several finger holes, which are difficult to play simple scales. Of course, they are not musical instruments, but toys at best. But when we trace the history of these two things, we can't separate them. In the process of development, one of them developed the attributes of music and became a musical instrument; The other kind strives for development in appearance, and has made whistle toys in the shape of heads, fish, turtles, cicadas, monkeys, chickens, quails, horses, deer and even boots. This paper only introduces the development of inkstone as a musical instrument in recent decades.
The revival and development of strictness
In ancient times, inkstone was one of the main musical instruments in elegant music bands. Elegant music is the music used in various rituals such as religion, politics and customs in ancient China. Prevalent in the Zhou Dynasty. After more than 400 years of prosperity, it gradually declined and disappeared during the Spring and Autumn Period and the Warring States Period. After the Han Dynasty, the main musical instruments of Yayue, such as chime, chime, pool and harp, were replaced by new musical instruments, such as pipa and cross-wind, and the field of musical instruments was greatly updated, and many musical instruments of Yayue gradually disappeared into the music garden. Therefore, although there are records of Yan in elegant music in many ancient books, it rarely appears in social music activities, and only a few scholars have a certain understanding of Yan.
Around 1980s, Yan suddenly attracted attention, and a large number of performers and composers participated in Yan's production and reform. Created a large number of Hu qu; He plays music on many occasions. The development history of this piece of music is based on China music culture from beginning to end, showing a strong Chinese style.
The study of Gu Xun is not the focus of this paper, but there is one achievement that must be mentioned. The known acoustic data of Neolithic Age and Bronze Age in Xiang Peng Huang and the development history of China scale were published in Music Essay May 1978 and Music Essay 10/0/980. 1978No. 10 "Cultural Relics" published Mr. Lu Ji's "Several Explorations from Primitive Clan Society to Pottery Pots in Yin Dynasty on the Formation Age of China Pentatonal Scale". Mr. Huang and Mr. Lu discussed the development of China's scale from the history of increasing Taoxuan's sound holes.
After 1980s, it developed rapidly, and many people who made it were directly or indirectly influenced by Cao Zheng, a professor of guzheng in China Conservatory of Music, and Chen Zhong, a professor of bamboo flute and pipa in Tianjin Conservatory of Music. Both Cao and others began to explore this system in the 1930s. But their development was influenced by Datong Music Club to some extent.
Cuan of Datong Music Club
19 19 Zheng Jinwen (3) immediately after organizing the Datong concert in Shanghai, he began to imitate various ancient musical instruments and put them into use. On June 3rd, 1923, the newspaper reported: "Santa Maria Girls' School held a concert in China ... There was a special China music class with 80 students. The musical instruments used are Qin, Hu, Chi, Sheng, Xiao, Guan and Di. Jiang Yinjun was specially invited as a tutor. Achievements have been made in the past two months. Last month, 18 held a Chinese concert on campus. …… "。 On June 8th1924,65438+1October 65438, our newspaper reported: "Datong Music Club has produced 18 kinds of ancient musical instruments, which have been played by Ou Yangyuqian in two" Hui Qin Er Huang "on the new stage, and the audience is full of praise. ..... In addition, there are flutes, flutes, air, pianos, etc. 1in the autumn of 925, when Cheng (4) was the conductor of the Chinese orchestra of Jiande Savings Association, he used it in the orchestra.
These are three precious news about the use of music in the 1920s. Unfortunately, there is no more detailed description of the music and instruments played.
According to Chen, a musician in Shanghai, there are three kinds of cymbals produced by Datong Music Club, with the tail number 1930. Nine-hole cymbals (one blowhole and eight finger holes) are called cymbals.
Liu ⑤ participated in the production of Datong couplet and tried to make it with cement. This is the earliest experiment known to try to get rid of the firing link, but I don't know how effective it is.
Wang Xun, a famous guzheng player from Zhejiang School, attended the Datong Concert after coming to Shanghai, and was also keen on making it. Wang Xunzhi invited Cao Zheng to teach at the Shanghai Conservatory of Music. I'm afraid that Cao Zheng's passion for making Xun has something to do with Wang Xun. Wang Kun is also known as the king of flute and flute, which may affect Mr. Chen Chong, who is good at flute and flute. China Conservatory of Music has nine holes and ten holes in Wang Xun and Sun Yude. 1936, Chen Zhongshi studied pipa and flute, and Sun's influence on Chen Zhong should be more direct in Lian's research.
Contributions of Cao Zheng, Chen Zhong and Zhuang.
In the 1980s, most people involved in blowing music didn't have a chance to understand the efforts made by Datong Music Association to restore ancient music half a century ago, so Cao Zheng and Chen Zhong naturally played a role as a bridge.
During the period from 1947 to 1948, Shanghai Radio once broadcast Kunqu Opera "Willow on the Shore" and Japanese nursery rhyme "The Moon is Out". During the period from 198 1 to 1982, Cao Zheng's duet "Mountain Flowing Water" and "Water Dragon Hidden" was played by Wang Mingjun and Qiu Dacheng, a guzheng graduate student of Cao Zheng. 1982, Cao Zheng published "Linzi and Linzi Making Technology", which had a great influence on the society. 1On May 26th, 985, at the third North China Music Festival "Song of Beijing" concert, Lu Jinshan played the solo "Dule Temple Nostalgia", which was a 12-hole novel created by Lu and explored and improved on the basis of Cao. In summing up Mr. Cao Zheng's achievements, he said: "Mr. Cao Zheng is ahead of us in expanding the range of sound by using the change of finger hole diameter." He changed the past habit of reducing the aperture size of all finger holes to make the bass lower and expanding the aperture size of high-pitched finger holes to make the treble higher, thus achieving the purpose of expanding the range. " They are all ten holes, so different finger holes are one or two degrees higher than those with the same size. "
Mr. Chen Zhong wrote the "rhyme" entry for the Music and Dance Volume of the Encyclopedia of China. He cooperated with Yixing pottery kiln to make purple sand pottery. On the basis of Yin, he enlarged the bore shoulder, increased the number of sound holes to ten, and increased the volume of transportation. He made three kinds of flutes, big, medium and small, with the tones of D, F and G respectively. Chen Zhong and his student Du Ciwen co-edited the famous Hu Qu Chu Ge. He also played "Pu 'an Mantra" at the 198 1 national symposium on the reform of national wind instruments and the Suzhou music industry get-together.
196 1 year, Mr. Zhuang of Taiwan Province Province produced Zhuang's semitone, which was divided into eight holes and sixteen holes. Teacher Zhuang also wrote a solo "Night in the Deep Mountains". Zhuang was a student of Wei Zhongle when he came to Taiwan, and some musical opinions were also influenced by Datong Music Club.
Although it came out early because of its simple structure, it is not easy to make an instrument in pitch. Some popular instruments are not necessarily qualified instruments, and the requirements for intonation are not high, so the production is very simple. Mr. Cao, Mr. Chen and others not only want to create melodious music, but also make contributions to music creation theory, composition theory and performance theory. Without these gentlemen, it is difficult for music to develop on a large scale in the future.
(3)( 1872- 1935) studied erhu and pipa since childhood, initiated and organized a Datong concert in Shanghai, and hired, Cheng and others to teach music. Musicians such as Liu, Wei Zhongle, Jin Zuli and Qin are all members. China Music Family Dictionary p 1 188
④ Cheng was born in 1902, a pipa player and music educator. He has worked in Shanghai International Academy of Fine Arts and Shanghai National Conservatory of Music. After the founding of New China, he taught in Shandong University, East China Art Institute and Nanjing Art Institute successively. The original four-phase twelve-grade pipa is ranked according to the twelve-average law. China Musicians Dictionary p90
⑤ Liu (1905), a native of Ningbo, Zhejiang Province, studied silk since childhood. /kloc-entered Shanghai Xuhui public school at the age of 0/0 and majored in piano, violin and cello with the principal, laying a good musical foundation. 1February, 924 studied pipa with Wang Xianting. 1In May, 925, the pipa solo Moonlight in Xunyang was adapted into an ensemble Moonlight in Chunjiang.1In June, 927, the pipa solo Moonlight was named "A Dress with a Feather". China Musicians Dictionary p540
⑥ Wang Xunzhi (1899- 1972) is a guzheng player. In the 1920s and 1930s, I often participated in music activities in Shanghai and Hangzhou. After the founding of New China, he has been teaching in Shanghai Conservatory of Music for a long time as a guzheng and sanxian teacher. Zhangyan, Xiang, Fan Shang 'e and Wang Changyuan have been trained successively. He is the founder of Zhejiang Zheng Art School. China Musicians Dictionary p865
⑦ Chen Zheng 1984 photocopied the abstract of Shenbao.
⑧ Xue Zhu's History of Chinese Musical Instrument O p556 Taiwan Province Commercial Press1983 September 1st edition.
Chuci and Chuge.
Since 1980s, Yun's music has made great progress. This page of history began with Yun's solo "Regret for the Past" and "Songs of the South".
grieved
1In June, 978, the bells of Zeng Houyi were unearthed from the No.1 tomb of Leigudun in Suixian County, Hubei Province, showing a set of ancient musical instruments during the Warring States Period in the fifth century BC, which shocked the world. After three years of preparation, Hubei Song and Dance Troupe copied a large number of unearthed musical instruments by itself. 1August, 983, a large-scale music and dance program named "Bell and Dance" was launched.
One of the solos, Mourning, only took more than 2 minutes, which made the audience feel the charm of mourning. Before that, it was difficult for people to hear music.
Mourning is composed by Gong and played by Zhao Liangshan. The music is based on the tonal phrases in the guqin song Lisao, and it is mixed with tearful folk singing, which shows Qu Yuan's feelings of being far away from the country and people in exile.
It is particularly important to note that there are no musical instruments unearthed from the tomb of Zeng Houyi. However, the performance of Yu added to "Bells and Dances" is completely in line with the practice of elegant music in the Warring States period.
Brother Chu
In order to participate in the 23rd Olympic Art Festival held in Los Angeles in 1984, the Central National Orchestra chose the duet "Chu Ge" by Lin and Zheng, which was adapted by Chen Zhong and Du Ciwen according to some paragraphs in the pipa "Overlord". Describing the battle between Chu and Han in 202 BC, Xiang Yu was trapped by Liu Bang and heard the sad scene of being besieged on all sides and saying goodbye to Yu Ji. Du Ciwen plays the violin and Yao An plays the guzheng. This three-stage, business-oriented tune gives full play to the deep, human-like effect of the cloud, making the scene of Concubine extremely tragic.
Du Ciwen played with Mr. Chen Zhong's purple sand.
The appearance of the solo prompted composers to consider the choice of accompaniment instruments. In fact, as early as 2,500 years ago, the Book of Songs had already talked about giving a violin a piano, leaving poems such as "Bo Shi plays the violin, Zhong Shi plays the violin" and "Like a violin, like a violin", comparing the violin to a brother. It shows that the two musical instruments complement each other.
The pool is shaped like a bangdi. Different from the flute, both ends of Chi are closed with bamboo joints or plugs. In the poems on the pool in the Northern and Southern Dynasties, the clear voice of the pool was described as "carving beams and painting buildings, and the light dust moved four or five times". In Shuo Wen Jie Zi, Han Dynasty described the sound of qi as "like a baby crying" and emphasized the sound of femininity. Qi is crisper and rounder than a high-pitched bamboo flute.
With the delicate and bright timbre of the pool and the rich and round timbre like a human voice, there are both their mutual integration and their own specialties, which are in sharp contrast, and the effect is of course very good. From this perspective, we can simply think that The Book of Songs is the first book about musical instruments in the world. The songs of Chu accompanied by the loud and intermittent sound of the zither are in line with the original intention of the poems in The Book of Songs. Later, the idea of accompanying Lin with Qiu and other musical instruments continued.
After the Los Angeles Olympic Games, the orchestra toured more than ten states in the United States. Chu songs created the history of performing abroad and attracted the attention of foreign musicians.
The successful performances of Songs of the South and Mourning show the unique timbre of Mourning. It has attracted the attention of film and television workers. After discovering this "new" timbre, they made great efforts to use it in film and television music and sound effects.
Sound in movies and TV programs
Tan Dun already knew about Lin. Before 1983, he used Lin extensively when composing music for the director's film "Burning Yuanmingyuan" and "Listening to Politics through Curtains" played by the Central National Orchestra. This is an example of early use in film music. The rapid introduction of music into movies shows that its unique timbre is suitable for expressing specific emotions, and it will achieve good results if used properly.
On April 20th, 2000, Changjiang Daily reported that the TV series Poem of Daming Palace used the solo music of "Mourning" in the scene of "The Princess Married", which constituted infringement. In fact, the music of "Chuge" is also widely used in Da Gong Ming Ci, but the author has not been held accountable.
Nowadays, Yan's voice is rampant in film and television dramas, but it seems that there are no more reports about copyright infringement. This is because film and television music editors have become smart, and they don't even have to write music scores. It's just that people blow out a sound without melody, which is also work, and naturally it won't infringe. However, this is a great sorrow for Yan, and it is also a great sorrow for film and television music.
Seriously composing music for film and television, there are three examples that make Yan stand out from the crowd.
First of all, the music of the film Snow Country was played by Chen Tao of the Central Conservatory of Music from beginning to end. Won the 1990 Berlin Film Festival Music Award.
Secondly, Zhang Yimou asked Zhang Weiliang to compose music for the film Ju Dou with only two hands. Later, the film won the 1990 Cannes Lewis Bill Film Critics Award and was nominated for the 199 1 Best Foreign Language Film Award.
Third, 1996 The TV series "Mountain Master" filmed by Zaozhuang TV Station in Shandong Province tells a story of greening a barren mountain. Music should not only show the depression caused by bad environment, but also show the pleasure when seeing the seedlings grow; We should not only show the feelings between family members, but also show the grief of losing children ... The director asked the whole play to end with a piece of music. Composed and played by Cao Jianguo of Beijing Film Orchestra.
Yan's vocal range is very narrow, her timbre is dignified and low, and her expressive force is naturally limited. Of course, these three persistent directors are very insightful, and the three musicians have accomplished their tasks well, but what effect will it have if the band is used to do this? Of course, we can't have a chance to compare the two.
The above three examples all happened in Yue Yue's early days, and his timbre can infect the charm of film and television directors. With the gradual familiarity with this timbre, the freshness will be reduced, and it is difficult to reproduce the situation that one foot supports a film independently.