1876 "Tian Wen Ge Qin Pu" came out, which marked the official entry of Shu Guqin, which was recorded as far back as the Sui Dynasty, and completed the establishment of the genre from three aspects: performance style, performance spectrum and performance inheritance.
Tian Wen Qin Ge Pu's most famous tune is running water, commonly known as "seventy-two rolling streams"; Because of its unique playing technique and system with both form and spirit, it has been highly praised by pianists all over the world. It has become a compulsory song for many musicians. Drunk Fishing at Night is a medium-sized piece of music (only six paragraphs) that is not very eye-catching among many piano pieces in Tianwenge Piano Score. However, the spiral trend of music and the application of techniques have added a lot of color to the Shu Guqin art, thus expanding its playing style, techniques and expressive force in depth. From the metaphor of "running water" to "drunken fisherman", Shu school's Qin music shows profound aesthetic value.
However, all these aesthetic values must be obtained from sound. Therefore, the excavation and exploration of the musicality of ancient music is a crucial link in "drumming with music". Look at the music with high exposure that is often listened to at present, such as running water, plum blossom three lanes, Xiaoxiang water cloud and so on. They are all piano music with distinct musical images, clear melody lines and clear sentence structure. This is a successful example of exploring the musicality of music.
First of all, about musicality
What is musicality? This seemingly simple question can be translated as: it has the nature of music. So what is the essence of music? A series of notes or sounds? Obviously not. Music is composed of musical sounds, and musical sounds are composed of sounds with inherent vibration laws. Compared with other art forms, music has certain particularity. It has no fixed semantics and cannot convey accurate language information like literary works. It is also different from painting, sculpture, etc., which uses visual images as a means of expression and uses images to present content. Therefore, music that seems to exist always surrounds us in the form of sound that we can't really grasp, and always expresses secular desires and joys and sorrows in life in a unique form. Therefore, it is impossible to interpret music in a single way, but only by various existing means (such as words, images, pictures, etc.). ) to get a glimpse of its internal principle.
Musicality includes two levels: external form and deep connotation. Externally, music consists of a series of tones with inherent laws and rules, including various internal factors such as temperament, scale, mode, tonality, rhythm, sentence pattern and music structure. From the deep connotation, a series of musical sounds are not meaningless mathematical combinations, but are made by composers to express some spiritual needs. But also under the influence of society, culture and politics in a certain era, it is a high summary of life experience and aesthetic purport. So the deep connotation can also be called "the artistic conception of music". Looking at music in ancient and modern times, there is no doubt that it is composed of two levels: internal and external. Of course, the theory of "pure music" in music is beyond the scope of this paper.
There is no doubt that the simplified Chinese character score of Tianwenge's piano score "Drunk Fishing at Night" fully meets this kind of music demand.
Second, about "Tian Wen Qin Ge Pu"
The piano score of Tianwen Pavilion was engraved in the second year of Guangxu in Qing Dynasty (1876), edited by Tong Tou of Yizhou Tang and Qingcheng Zhang Kongshan, and proofread by Ye of Chengdu. Piano score 16, containing 145 pieces of music, including a piece by Zhang Kongshan. Other music scores are selected from eight music scores in the early Qing Dynasty, such as Liaohuaitang Music Score (1702), Chuncaotang Music Score (1744) and Ziyuantang Music Score (1802). The first volume "Up, Middle and Down" contains the theory, study notes and piano system of piano learning, which is a great achievement of piano learning, profound and unique. In particular, several piano pieces composed by Zhang Kongshan undoubtedly showed the playing style of Sichuan Guqin, which played a decisive role in the establishment and spread of Sichuan Guqin.
Third, the piano music "Drunk Fishing Night Singing"
Drunk Fishing and Singing at Night was first seen in the book Xilutang Qintong, which was written in the 28th year of Jiajing in Ming Dynasty (1549), followed by Song Xianguan Qinpu, Dahuangge Qinpu and Zilitang Qinpu. Among them, four scores of Xilutang Qintong, Taiyin Bu, Wuzhizhai Qinpu and Yizhizhai Qinpu contain problem solving, five scores of Songfengge Qinpu, Chengyitang Qinpu and Wuxueshan Fangqinpu contain postscript, and two books of Xilutang Qintong and Taiyin Bu contain ten scores and subtitles. However, the music score of Drunk Fishing at Night contained in Tian Wen Ge Qin Pu has no inscription, postscript, title and other words, but only six paragraphs. However, Drunk Fishing Night recorded in the piano score of Tianwen Song has become the most widely circulated and popular music score over the years. Since its publication, it has been handed down by many piano players for many years. The collection of Guqin music (commonly known as "Old Eight Pieces") played by Wei Zhongle and other musicians of the older generation comes from the Tianwenge Piano Score. Drunk Fish Qu, which is often heard now, is also a kind of music score circulated by famous Sichuan artists, of which Gu is an outstanding representative. At present, the music played by the Qin family in Chengdu has been passed on from Zhang Kongshan to his disciple Ye, and Ye has been passed on from Liao to Shaoze, and has been widely circulated again.
"Drunk Fisherman Singing Late" in Tian Wenqin's Song Score was arranged by Zhang Kongshan, and "Tian Wenqin's Song Score Singing Late Seven Signs" was engraved on the outside of the score page. It can be inferred that this song was composed or arranged by Zhang Kongshan. The notation is still the form of simplified Chinese notation [1] inherited from the Tang Dynasty. At present, the word spectrum and simplified word spectrum in piano music handed down are the playing method spectrum of recording fingering and phoneme; It is a series of organically related directional symbols to guide players to find pitch and phoneme. It is impossible to intuitively understand musical elements such as melody lines and sentence patterns just by looking at the music spectrum, and it is even more difficult to find another essential element of music-rhythm in the existing specific phoneme pitch indication. Therefore, since the appearance of music score, "drumming according to music score"-playing music score has become a unique piano learning activity in the ancient piano art that has never stopped. The revival of a piano music can only show its unique charm after repeated pondering and research by musicians, and the process of playing music is the full embodiment of musicians' creative thinking activities.
"Drunk Fishing Night" in "Tian Wen Ge Qin Pu" is clear in spectrum, without any uncommon fingering and clear in paragraphs. Melody lines from simple to complex, plus large and small strings, the sound effect is gradually enhanced. The most commonly used and distinctive technique in the song is the use of "square" and "two adjacent strings with the same wheel", which makes the sound effect of this song strong and rich. Although there is no written explanation in the spectrum, the timbre between the loose and the solid that appears constantly constitutes the ups and downs of the melody line, which makes the scene of boating and drunk singing in Songjiang vivid. If it is only about the scenery, such melody and sound are enough, but this spectrum does not seem to stop at the scenery, but has a deeper meaning. Progressive two-tone melody (continuously adding big and small fingers, double-string wheel fingers, etc.). ) there seems to be unfinished expression, not just boating drunk. In this way, we have to delve into its music source. The first part of this paper points out that the deep connotation of musicality is that composers express some spiritual needs through music. But also under the influence of society, culture and politics in a certain era, it is a high summary of life experience and aesthetic purport.
The first record of this song, Xi Lu Tang Qin Tong, contains a record of solving problems: Wang Yupi attacked the United States and went boating in Songjiang. When he saw the fisherman's drunken song, he wrote this song. In front of Mount Cisse, peach blossoms are flowing, which is quite interesting. According to this misinterpretation, we can find the key information of composers-poets Lu Guimeng and Pi Rixiu in the late Tang Dynasty.
Pi Rixiu Xian Tong, a poet in the late Tang Dynasty, served as the secretariat of Suzhou for ten years (869) and met Lu Guimeng. The two were like-minded, and they hit it off at first sight and were hired as aides. I often sing poetry and drink, lamenting the world. From a poem by Lu Guimeng, I can read their situation and mood at that time. "A few years nothing along the river's lake, drunk Huang Gong wine. I don't know if I am covered in flowers and shadows on the bright moon. " This poem seems to be the poet's feeling of leisure under the drunken moon, and the poet tries his best to express his carefree mood with a natural and leisurely style. However, with the greatest talent of the poet, he has been immersed in life, so he has to "have nothing to do with the rivers and lakes" and follow the sages Ruan Ji, Ji Kang and others to "get drunk before getting drunk". Between the lines, it seems that I still can't help but show deep unwillingness. A word "full" has its own infinite interest in it. The combination of "flowers", "moon", "shadows" and "intoxicating people" has become the charming charm, beautiful scenery, poetry and nobles of spring. At first glance, it is intended to rewrite the joy of drunkenness, which is natural and unrestrained and full of interest. When I read again, I had a sad feeling that I was drunk today and felt helpless. This is an unspeakable coincidence with the drunken fishing night singing method in Tian Wen Ge Qin Pu.
From the scene of Pi and Lu, we can find the source and root of Qin Le's melody sound level, which is progressive step by step and gradually enriched. The syncopation rhythm, which is constantly switching between dispersion and pressure, draws a stumbling drunkenness by writing the rhymes of the oars and the gestures of the two-string wheel fingers. The theme variations in different sound areas express the hesitation and resentment of depressed mood, and the big and small strings play the integrity of binge drinking and lofty mind. Then find out the melody consonants played by left-handed fingering such as "bean", "retreat" and "advance" from the word spectrum to fill them, and the plump and perfect musical vocabulary will present an inexhaustible vivid artistic image. The dense collocation and flexible response between paragraphs make the musical conception reach its climax in an orderly way. The six sections of the whole song are compact, interlocking, simple, incisive and concise, and fascinating. There is no long-winded, dull, pedantic state, and it is hearty in one go.
Perfect external technical means express the deep meaning under the appearance, from which musicality comes into being, and music is so beautiful that it "goes around the beam for three days without stopping"
Four. conclusion
To sum up, music is not a simple list of notes, other music is not, and Guqin music that has been passed down for thousands of years will not be. Therefore, the interpretation of ancient music can not only stay on the existing information such as word spectrum, problem solving, postscript, title and so on. Instead, we should explore the maximum space and possibility of its performance from the technique. Investigate its roots and explore its reasons, so as to open a broader expression space for Guqin music. And return to the highest artistic realm of "flying sand and walking stones, dancing cranes".
The relationship between playing methods and timbre
"Fan Yin, born from the heart. When the heart moves, everything does its best. Emotion is moved by things, so it is shaped by sound. The sound is corresponding, so it changes and becomes a square, which is called sound. It's fun to be happier than sound. " "Musicians, voices are born; It is based on people's hearts and feelings about things. Therefore, those who feel sad have only evil voices; Those who feel happy, their voices are slow; ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉ ┉. The origin of music lies in people's perception of external things, so a sad heart will make anxious and urgent sounds. A happy heart will make a spacious and gentle sound. This is a simple literal translation of the pre-Qin classic Ji Le Ben, but it is also one of the core of the playing methods to be discussed in this chapter. At present, the playing method is usually called the playing method of various musical instruments. For example, how to exercise the joints of both hands reasonably, how to exert strength reasonably and so on. Yes, this is the most conventional, common and basic way to explain how to play. It's about the methodology of "technique", but it doesn't mean the complete gameplay! The complete gameplay should be "technical progress on the road"!
"Mind moves with things" and "the progress of technology from Tao to nature" are often ignored in today's gameplay. However, "the mind moves with things" and "technology advances on the road and becomes natural" are the two poles of the same thing. The former is the beginning of sound, and the latter is the end of music. All "sounds" are formed by people's feelings about foreign things, and the "sounds" emitted by different emotional infections, such as "joy, anger, sorrow, joy, respect and love", are different. In the realm of "technology becomes nature", music reverts to the sound of nature, the sound of nature. Just like Liao Jia's trip around the world is not a simple trip from the starting point to the starting point. What should be the path between the two-heart, mind, ears and qi are its paths, which is also the realm of another kind of play, tentatively called spiritual play. In other words: practice internal strength.
Heart: heart, ventricle and heart valve; This is a materialized human organ. The heart here is the antenna to perceive the world, the source of response, and the basis of expressing emotions. Touching from the heart, feeling from the heart and origin from the heart should be the beginning of the performer's performance, rather than simply knocking out a few notes, paragraphs, songs or doing some superficial ups and downs and lightning speed. The performer's heart should be sensitive, broad, full of enthusiasm and compassion, in order to capture the seemingly insignificant bits of information and emotion in life; Proper reason and control. "from the heart, but stop at reason" and "controlling desire with Tao, you will be happy." It is a yardstick to stop the vulgarity and indulgence of music. It can be concluded that the more authentic, authentic and natural the basic timbre is, the closer it is to the piano track.
Meaning: concept, consciousness and artistic conception. These three different levels of spiritual activities are all circles of "meaning" and the only way to Qin Dao. It is also the second step of spiritual expression. From "thinking" to "knowledge" and from "knowledge" to "environment", the spiritual transmission from "sound" to "music" and from subject to object is completed. The legend of "high mountains and flowing waters meet bosom friends" illustrates this point well. From "thinking" to "realm", association and imagination are essential, and images, abstractions, concreteness, visualization, processes, scenes and even some dreamy and neurotic spiritual experiences should be enriched in all appropriate music. Artistic conception is gradually created by such rich association and imagination. To reach this level, a performer should not only master the authenticity of timbre, but also have the ability to change at will, so it is not a simple change of strength.
Ears: ears, hearing. It is both material and spiritual. As one of the five senses, the ear has a direct effect on all kinds of external sounds. So keen and sensitive hearing is very important for distinguishing timbre and creating artistic conception. Dulcimer is used to distinguish the received sound by hearing, which is only applied to the surface function of the ear. It is the "representation" of matter; The more important function of the ear is to listen to the sound that has not yet been emitted, which is a kind of spiritual "silent hearing". Players should hear the sound effects that they should make when playing before playing, and constantly adjust the sound effects that they are making now, so as to gradually approach the sound effects that they hear. However, the sound effects you hear are not groundless, but a conscious long-term accumulation of beautiful sound effects. Only by rationally analyzing the connotation of music and mastering the playing skills can we gain something. It is self-evident that "listening" plays an important role in tone blending and tone innovation.
Qi: It can be simply breathing, or it can be the "Qi of heaven and earth" described by Zhuangzi, and then the "Qi of the universe" described by Zhang Zai, a philosopher in the Song Dynasty. "Qi" in music is breath and charm. Breath is a rhythmic flow and harmony, and charm is the result of flow operation. Cao Pi's Dian Lun. Paper: "The text is mainly based on qi, and the turbidity of qi is clear and tangible, so it cannot be forced. For example, all kinds of music, although uniform in curvature, have the same rhythm. As for uneven deflation, it is skillful and well known. Although it is in the history of the father, it is impossible to pass on disciples. " This paper clearly advocates that the movement of qi is used to drive the movement of music, and the rhythm of qi is used to arouse the rhythm of music, so that there will be no "uneven intake, skillful and skillful" situation, and the smooth and unobstructed sense of breath is an essential step to achieve the charm. Breathing is tangible, perceptible and even physical. Such as "counting breath" in traditional Chinese medicine and "practicing qi" in Buddhist meditation. However, charm is fluid and elusive. As an artistic standard, charm is an aesthetic realm from feeling things, responding to the heart and finishing the whole process of creation. For example, in the creation of landscape painting, first of all, the painter has accumulated a wealth of impressions and feelings about nature through full swimming and jumping, resulting in an impulse to create, so the impressions and feelings obtained are refined from the coarseness in his mind, and the generalization and refinement of art are eliminated from the reality. This process is also a process of relying on things and integrating feelings with reason; When the artistic image of the unity of reason and emotion has been formed in the mind, the painter tries to create a vivid artistic image and a unique aesthetic mood that originates from nature and is higher than nature. The poem on the back of a donkey by Xu Wei, a painter in the Ming Dynasty, makes people vaguely feel the charm of the donkey's hoof. The infiltration of breath can reach the charm, and through the organic operation of "Qi", it can reach the vivid artistic highest state of "Qi". And the art of music is the art of time, and then taste the flow of sound and the charm of music in the passage of time. The whole process of performance creation is not only to grasp and explore the essential beauty of aesthetic objects (music scores), but also to show and sublimate the players' thoughts and feelings and performance mentality. The organic combination of the two can achieve the effect of "the scene is born of love, and the scene is alive because of love", and with the help of emotional musical means-melody, rhythm, timbre and other changes in reality and movement, the form and spirit, emotion and reason, things and me are vividly displayed. At this point, timbre can no longer appear in a single form, but should be based on "qi" to create "rhyme" and "rhyme" to create "sound" Because the movement and transformation of "Qi" conveys the truth and beauty that I have forgotten, which is beyond the image.