First, historical documents-from scratch, getting better and better
From 1962 to 2004, the author collected 77 articles about clarinet in various newspapers and periodicals in Chinese mainland. According to the content, it can be divided into four categories: introduction and analysis of works, playing skills and teaching, clarinet art history, musical instrument manufacturing and technology. See the table below for the number and proportion of articles.
Of the 1 1 articles on the introduction and analysis of works, 8 articles introduced the classic works of Europe, and only 3 articles introduced the works of China. Mr. Zhang Renfu, a veteran clarinet player, introduced Variations in Subei Tune (arranged by Zhang Wu), Rondo (composed by Xin Huguang) and Lyric (composed by Yang Shuzheng) in his short essay "A Brief Comment on Three Clarinet Solos" with less than 700 words, pointing out that clarinet playing technology has made amazing development. I hope that composers and performers can better establish creative friendship and contact, and at the same time make bold creations? . [3] When introducing a clarinet solo by Chen Qigang, Mr. Xi Weilong said: "Morning Song maintains some tonality factors of China traditional music in melody style, and makes innovations on this basis, forming a unique melody development technique, which makes the music fresh, lively and full of vitality. He also made a fuss about the performance of musical instruments, which greatly played the role of clarinet and piano. ? He thinks "Morning Song" is enlightening to us, and its creative technique can be? Used in similar modern music works, especially those with China national style? . [4]
There are 36 literatures about playing skills, accounting for 46% of the total. In the second half of the 20th century, foreign clarinet players have explored and introduced new techniques such as circulation ventilation, Shuang Tu, polyphony, vibrato and sliding, but among the above 36 articles, except two New Voices for Clarinet and Repeated Vomiting and Clarinet Instruments translated by Wei (note),
In the third kind of literature, Mr. Li Huashan's History of Clarinet Art comprehensively introduces the development of western clarinet art. This paper not only introduces the development of musical instrument manufacturing technology and its application by composers, but also evaluates the main works in various historical periods. The author also made special mention of China composer Hu Bijing's clarinet concerto "The Voice of Pamirs", pointing out? It is very distinctive and melodious, and it is a very good and popular clarinet solo work? . [6]
In 16' s literature on musical instrument manufacturing and technology, Xi Wei Long and Jiang Cunfa's research on clarinet whistle is the most prominent, and their research methods have reached a quite high level. In this paper, the longitudinal photos of the whistle taken by electron microscope and the test data of performance spectrum prove that the whistle made of Arundo donax after anti-corrosion treatment has purer timbre and longer service life. The author also pointed out that the quality of Arundo donax produced in Xiaoshan, Zhejiang and Fengyang, Anhui is very good, but no one in the local area is engaged in planting. [7]
The chronology results of these documents are shown in Table 2:
Zhang Renfu's essay "A Brief Comment on Three Clarinet Solos" is not only the only article published in 1960s, but also the only article introducing China's works. Only one article was published in 10, indicating that clarinet art was still in its infancy in China at that time, and the research on performance technology and teaching, art history, musical instrument manufacturing and technology had not been carried out.
Compared with1960s,1970s made some progress. Among the six published articles, except one translation is about playing techniques, the other five articles are all about the manufacture and technology of musical instruments, mainly discussing how to make whistles, mouthparts and other parts. Because it's in there? xxxxx？ During this period, it is almost impossible to introduce and analyze clarinet works, and there is no condition to study clarinet art history. What about these two aspects? Hand in a blank sheet of paper? Not surprising. The total number of articles published in this period is much higher than that in the 1960s, which shows that clarinet art in this period has developed in China through the efforts of clarinet players and manufacturers.
With the reform and opening up, clarinet art has also ushered in spring. In the 1980s, * * * published 24 articles, four times that of the 1970s. The publication of five papers on clarinet art history has filled the academic gap in this field in China. Papers 1 1 were published in 1980s, accounting for more than 45% of the total number of papers, which was higher than that in 1990s. Most of these articles introduced the most basic techniques such as breathing, fingering and tongue playing, indicating that people paid more attention to the discussion and teaching of basic playing techniques at that time. The number of papers on musical instrument manufacturing and technology has also increased compared with the 1970s. However, the number of papers on the introduction and analysis of works has not increased compared with the 1960s.
On the surface, the total number of papers published in the 1990s is lower than that in the 1980s. In addition to the introduction and analysis of works, the number of papers in other categories has decreased. For example, the number of papers on musical instrument manufacturing and technology has been reduced from 7 to 2. However, the quality of papers in this period has been greatly improved compared with that in the 1980s. For example, the article "Study on Clarinet Whistlepiece" mentioned earlier, published in the 1990s, has high academic value, and has aroused widespread concern in the domestic and foreign music circles. Literature on introduction and analysis of works increased from 1 in 1980s to 4, but none of them introduced China's works, which is a pity.
The number of papers published in the first four years of 2 1 century not only exceeded the 1990s, but also exceeded the 1980s when most papers were published. The proportion of papers discussing performance techniques and teaching has reached more than 55%, which shows that this is a hot topic of concern. It can be predicted that the number of clarinet literature published will reach a record high in 2 1 0 years before the century. How to ensure and improve the quality of articles while increasing the quantity is a problem we are facing.
Second, discipline development-rooted in tradition, looking at the world.
Since 1980s, China's clarinet art has developed rapidly, and its research field has been continuously broadened, which is encouraging. However, from reading the literature, I can see that there are still some problems in the academic research of clarinet. If it cannot be solved in time, it will definitely affect the development of clarinet art in China.
The development of any art of a country or a nation is inseparable from its traditional cultural soil. In his book The Formation and Development of Piano Culture in China, Bian Meng believes that the reason why piano art has developed and prospered rapidly in China in the past hundred years is because China people have brought foreign countries? The seeds of piano culture are planted in the soil of their own unique national traditional culture. ? [8] To promote the development of clarinet art in China, it must also be planted in the soil of China traditional culture, especially traditional music culture. However, in the 20th century, we did not do enough in this respect. 2/kloc-in the 20th century, if clarinet art is to take root in the soil of China traditional culture, we must vigorously advocate the creation and promotion of China's works, learn traditional music, sum up experience in time, and establish a clarinet teaching system in China as soon as possible.
Professor Hu, an old-timer in China piano field, once pointed out:? Write more good works that are accepted and welcomed by China people? . Bian Meng thinks: Only with excellent China's works can we have our own China characteristics in piano performance and establish our own unique performance characteristics, otherwise the establishment of China Piano School will be empty talk? . [9] Although more than 50 years ago, Mr. Zhang Renfu hoped that composers and clarinet players would establish creative friendship and contact, China composers also created many works for clarinet. (13) The published clarinet literature almost only introduces and analyzes foreign works, and rarely introduces China's works, which reflects that musicians are not interested in China's works. Compared with foreign classic works, China's existing works may have some problems, and his writing skills may not be mature enough. However, performers should actively support and encourage China composers' attempts and efforts in this respect, and should vigorously advocate the performance of China's works, so as to promote the publication of more and better China's works. Only by accumulating a certain number of China's works can clarinet art be further developed in China. The proposal put forward by Mr. Zhang Renfu half a century ago is still of great practical significance. There is an urgent need for performers to strengthen friendship and cooperation with composers and create conditions for the publication of good works.
Because clarinet is a foreign musical instrument, many people think that clarinet learners just need to learn the skills of westerners. They don't need to learn China traditional music, and there are no techniques and methods for them to learn from in China traditional music. Facts have proved that this view is completely wrong.
As we all know, clarinet playing techniques developed greatly in the west in the second half of the 20th century, and some of them (such as circulating ventilation) came from Orientalism. According to the textual research of Mr. Wang Hanhua, the first person who used the circulation ventilation method was a suona artist in China. In the early 1950s, China flute player Zhao Songting successfully applied this technique to flute. Some foreign wind musicians are also competing to learn it and have achieved certain success. ? [10] Wang Hanhua's article was published as early as 1983. At that time, national instrument players such as suona and Di Zi had generally mastered this method, but most clarinet players in China knew almost nothing about it. Until 1998, the clarinet art festival sponsored by the International Clarinet Association (ICA) was held in Beijing. When Dr. Robert-Spring, Chairman of ICA, used this clarinet originated in China? New technology? When Rossini's introduction, theme and variations were played, it was the first time for many players in our country to hear them. Some participants even said with emotion: We never dared to think about this method in the past! ? . If a clarinet player dared to ask questions and learn from folk artists or national wind instruments in the 1950s, we might have mastered this technique long ago, and foreigners would come to learn this method from us. Circulating ventilation? Export to domestic sales? It shows that while trying to learn advanced foreign experience and expand exchanges with foreign counterparts, we have neglected the study of Chinese traditional music and traditional playing techniques and paid no attention to the exchanges with domestic counterparts in the field of national music. If we can't improve this aspect, clarinet art will never be rooted in the soil of China's traditional music culture, and will never be able to develop by leaps and bounds in China.
At present, after long-term research and practice, according to the principle of circular ventilation, which was originally used only for long notes, the method of applying circular ventilation to note spitting has been invented, and it has been applied and popularized in bamboo flute and suona instruments. We should learn this ventilation method from them as soon as possible, and don't let it come again? Export to domestic sales? .
Because to develop clarinet art, we must learn from foreign experience, so it is necessary to introduce the history of clarinet development in Europe, but to sum up our own experience. This includes summarizing the history of clarinet development in China and the historical experience of clarinet manufacturing in China. Now, students can also hear some history of the early clarinet art in China from their teachers. If we don't carry out this research, should we put? Word-of-mouth records, in more than ten years, this history can no longer be filled. The development of a musical instrument in a country is closely related to the ability, scale and technology of making this musical instrument in this country. The rapid development of piano and violin art in China is unimaginable without the development of manufacturing industry and the improvement of manufacturing technology. At present, the research on clarinet manufacturing and its technology in China is a very weak link. We should strengthen the research in this field and sum up the existing experience in time to promote the development of clarinet art in China.
1980, internationally renowned clarinet player donar de? When Mr westlake was invited to visit our country, he thought. China's beautiful language fully meets the basic requirements for the formation of a striking clarinet school in China. "He also predicted China? Will it cultivate a master of art who shocked the world music scene? . [ 12]
Establishing clarinet schools with China characteristics should be a lofty goal of clarinet circles in China. In order to achieve this goal, we must establish a teaching system with China characteristics. Because teaching is the central link in the development of instrumental music art, if we don't study teaching, the quality of teaching can't be improved, and there is no successor, let alone development, let alone school building. According to statistics, from 1979 to 1990, more than 80 papers on piano teaching have been published in China. The depth and breadth of theoretical research [1 1] greatly promoted the development of piano teaching, and laid a solid foundation for China players to climb the world piano art peak and establish a unique piano school in China. There are many introductions to playing techniques in clarinet literature, involving playing techniques and teaching, but there are few discussions on teaching problems. Strengthening the research of clarinet teaching is an important task we are facing.
In the 2 1 century, if we can root clarinet art in the national cultural soil with thousands of years' history, the great goal of establishing clarinet school with China characteristics will certainly be realized.
refer to
[1] Tao Yabing's Historical Draft of Cultural Exchanges between Chinese and Western Music [M], China Encyclopedia Publishing House, 1994, p. 2 10.
[2] Wang Yuhe's History of Modern Music in China (second revised edition) [M], People's Music Publishing House, 2002, p. 95.
[3] Zhang Renfu's brief comments on three clarinet solos [J], People's Music,1962,9, P.10; Morning Song for Clarinet by Xi Wei Long and Chen Qigang [J], Symphony 200 1 9.
[4] Ni? Ramsey's pronunciation and clarinet instrument [J], Foreign Music Reference, No.4-5, 1983, p.183; New clarinet sound [J], Ling Huang,No. 199 1.
[5] Li Huashan clarinet art history [J], Qilu Art Garden, 1987, 1, p. 45.
[6] Study on Clarinet Playing by Xi Wei Long and Jiang Cunfa [J], Huang Zhong, No.2, 199 1.
[7] Zhang Renfu's brief comments on three clarinet solos [J], People's Music, No.9, 1962, p. 10. ..
[8] Xi Wei Long and Chen Qigang's "Morning Song" [J], symphony, 200 1, No.9.
[9] Wang Hanhua? Sound continuous ventilation? Application in Wind Music Performance [J] Music Art, No.3, 1983, pp. 50-53.
[10] A talk between Wang and clarinet expert westlake [J], Music Art, 1982,No. 1, No.8 1.
Lecturer, School of Music and Art, Hangzhou Normal University
(Editor Zhang Ning)