Erhu has many names among the people, such as Nanhu, Huqin, Omzi, etc. Focusing on the performance of the mid-to-high range, the timbre is close to the human voice, the emotional expressiveness is extremely high, and it is widely accepted by the public. Due to the wide range of the erhu, the sound is mellow, graceful, skillful and rich in expressive power. Because it is widely used in Peking Opera, Ping Opera and other opera music accompaniments, instrumental ensembles, and solos, its performance range, popular areas, and public popularity are unmatched by other Huqin instruments.

Next, I would like to express my feelings about Erhu music from the origin, representative figures, representative works and characteristics of Erhu. 1. The Origin of Erhu There are different opinions about the origin of Erhu, but the more accepted one is that it originated from the Huqin in the Tang Dynasty and evolved from the Huqin in the Tang Dynasty. Zhao Houqi and Xiang Yang, in their articles "A Study of Huqin" and "Reanalysis of Huqin Bowed String Instruments" respectively, through their understanding of the word Huqin, believed that Huqin in the Tang Dynasty referred to instruments such as Hulei and other instruments like pipa. On the basis of the two forms of the Tang Dynasty, the Huqin in the Song and Yuan Dynasties formed a new type of "Huo Bu Si" bowed stringed instruments by continuously integrating and borrowing from bowed stringed instruments, and contributed to the emergence of the "horsetail bow" and Widely used. The name "Erhu" was officially established in the Qing Dynasty. Since the emergence of the Xiqin in the Tang Dynasty and the formal establishment of the name Erhu in the Qing Dynasty, the instrument has experienced four major changes in its shape, playing methods and names: The first is the emergence of Xiqin-like stick-and-bow string instruments in the Tang Dynasty. , which laid an important foundation for the maturity of the modern erhu in terms of nature and playing methods; the second time was the widespread use of the "Huo Bu Si" huqin type, which promoted the emergence and widespread use of the horsetail bow, thus marking the huqin type bow string The musical instrument changed from "stick rubbing" to "bow rubbing"; the third time was the emergence of "violin" in the Ming Dynasty. Horsetail bow scratching was used instead of "bamboo piece rolling" to make the huqin type completely enter the "bow rubbing" stage, which greatly improved It improved the expressive power of the bowed string instrument and laid a solid foundation for the establishment of the basic form of modern erhu; the fourth time was that the traditional Xiqin type Huqin was unified in name with the "Huo Bu Si" type Huqin, and "Huqin" had a new In the Qing Dynasty, the name Erhu officially appeared. 1 In the first half of the 20th century, the artistic practices and musical ideas of Zhou Shaomei, Liu Tianhua, Hua Yanjun, Yang Mengliu, Chen Zhenze, Jiang Fengzhi and others were based on inheriting the characteristics of erhu culture such as diversity, integration and openness, and injecting elegance into them. culture, Tao culture, folk culture, new culture and other privacy, thus greatly enriching the erhu cultural treasure house, and following the trend of thought that negated traditional culture and advocated total westernization since the "May 4th" New Culture Movement, it has been imitated in the cause of music culture construction for a long time The trend of the European, American and Soviet systems has injected vitality into the development of the entire national music thought along the road of traditional culture.

Due to the efforts of musicians who were passionate about Erhu art in the 20th century, Erhu art has developed greatly. To this day, Erhu music exists as a unique music form in my country and is protected. 2. Representative figures and works of Erhu 1), Abing and his Erhu art 1. Abing’s life In the 19th year of the reign of Emperor Guangxu of the Qing Dynasty (August 17, 1893) Abing was born in “Yihe Mountain” next to Leizun Hall in Wuxi. house". His father, Hua Qinghe, was the head Taoist priest of Lei Zun Hall, Sanqing Hall Taoist Temple in Wuxi City, and was good at Taoist music. Hua Yanjun lost his mother when he was 4 years old and was raised by his aunt of the same race

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Raised by mother. At the age of 8, he followed his father as a young Taoist priest in Lei Zun Hall. He studied in a private school for three years, and then learned drums, flutes, erhu, pipa and other musical instruments from his father. At the age of 12, he can already play a variety of musical instruments, and often participates in activities such as worshiping, chanting sutras, and playing music. At the age of 18, he was hailed as an expert performer by Wuxi Taoist music circles. When his father died when he was 25 years old, he succeeded him as the head Taoist priest of Lei Zun Hall. Later, due to careless friendships and bad habits, he lost his sight in both eyes at the age of 34. In order to make a living, he took to the streets with his erhu on his back, composed and sang his own songs, rapped about the news, and became a street performer. At the age of 40, he lived with his widowed brother. Singing every afternoon in the paddock in front of the Sanwanchang Tea House in Chong'an Temple. After the January 28th Incident, he also composed and sang the news of "The 19th Route Army Heroically Fights against the Enemy Enemies in Shanghai" and played the "March of the Volunteers" on the erhu. Many of his news stories sang the voices of the masses and were deeply loved by ordinary citizens. Every night, he walked through the streets and alleys, playing the erhu while walking, and his tone was touching.

"Two Springs Reflect the Moon", which is famous in the international music scene, was created during this period. After the Japanese army invaded Wuxi, A Bing and Ji Di took refuge in their hometowns. Soon he went to Shanghai and worked as a pianist in the Xianni Club of the Kun Opera Troupe, playing the three-stringed instrument. He also played an extra role as a blind man in the movie "Seven Heavens". At this time, he composed "Listening to the Pine", a heroic and emotional erhu solo, expressing his patriotic passion for not being a slave to the country's subjugation. In the 28th year of the Republic of China, he returned to Xicheng and resumed his old business. He went to the teahouse every morning to collect various news, came back to conceive and create, and sang in front of the Chong'an Temple teahouse in the afternoon; at night he played the erhu on the street and played his composition "Cold Spring Wind". He is very good at playing the lute. He can play the pipa on top of his head, and he can also use the erhu to imitate the sounds of men, women, old and young talking, sighing, laughing, as well as the crowing of cocks and the barking of dogs. After the victory of the Anti-Japanese War, he was banned from rapping news in a fixed place in Chong'an Temple. In the 36th year of the Republic of China, he suffered from lung disease and was bedridden and vomited blood. From then on, he stopped performing on the streets and made a living by repairing huqin at home. 2. A Bing's works During the Anti-Japanese War and the period of the enemy and puppets, he could often be seen in Wuxi city, carrying a pipa on his shoulder and carrying an erhu, singing and singing along the streets, begging for a living, and then fell to the lowest level of society. The profound sentiments of selling food on the street conveyed a message to the orchestra, and he has composed more than 70 folk music pieces. It's a pity that Qu has passed away now, leaving endless regrets in the end. The knowledge left to us Yang Mengliu and Cao Anhe rescued and recorded the erhu songs "Er Quan Ying Yue", "Listening to the Pines", "Cold Wind Wind", and pipa songs "Zhaojun Leaving the Fortress", "Big Waves Washing the Sand" and "Dragon Boat" 》 and 6 other works. Among them, the most famous one is "Two Springs Reflecting the Moon". Regarding the origin of "Er Quan Ying Yue": Zhu Shikuang once published an article "The Process of Naming the Music" in Wuxi News. He wrote in the article: "After the recording, when Mr. Yang asked A Bing the name of this piece, A Bing said: "This piece has no name. I just picked it up randomly and over time it became what it is now." Mr. Yang asked again: "Where do you often play it?" A Bing replied: "I often play it on the street." Mr. Yang blurted out, "Let's call it "Two Springs"!" I said, ""Two Springs" doesn't seem like a complete title. There is a Cantonese song called "Three Pools Reflecting the Moon." Is that okay? How about calling it "Two Springs Reflecting the Moon"? Mr. Yang said: "The printing is copied and not good enough. We have a Yingshan River in Wuxi, so let's call it "Two Springs Reflect the Moon"." A Bing immediately nodded in agreement. The title of "Two Springs Reflect the Moon" was decided in this way. The composition and characteristics of "Two Springs Reflect the Moon": Excerpt 1: Following the long introduction, the melody goes up from Shang Yin to Jiao Yin, and then to Zheng and Jiao Yin. Pausing for a moment, it ends with the sound of a palace sound, and the melody line is like a wave, just like the author sitting by the spring meditating on the past. Fragment 2: The second phrase only has two bars, and it appears six times in the whole song. The ending of the first phrase begins at the upper octave, swirling up and down around the palace sound, breaking the silence before it, and starting to rise up, showing the author's infinite emotion. Fragment 3: When entering the third sentence, the melody is in the high range. It flows, and new rhythm factors appear. The melody is soft but strong, and the mood is more exciting. The theme gradually changes from calm and deep at the beginning to exciting and high-spirited, profoundly revealing the author's inner life feelings and tenacious and proud will to live. His frequent use of notes in his performance gives the music a slightly sad mood, which is the emotional expression of a blind artist who has experienced the bitterness and pain of the world.

The whole song has five variations on the theme. , with the statement, extension and expansion of the music, the emotions expressed are more fully expressed. The variation technique is mainly through the expansion and contraction of the sentence length, combined with the rise and fall of the melody's active range, to express the music. Development and circuitous advancement. Its multiple variations are not to express contrasting different musical emotions, but to deepen the theme. Therefore, the musical image created by the music is relatively single and concentrated. The speed of the whole song does not change much, but its intensity changes greatly. From pp to ff. Whenever a note longer than a quarter note is played, the weight of the bow changes, and the music rises and falls, which is exciting. 2) Liu Tianhua and Erhu Art 1. Liu Tianhua’s life 909-1911. During his studies at Changzhou Academy, Liu Tianhua participated in the school's Kunqu Opera, Military Music, and Traditional Chinese Music groups, starting from learning trumpet and military flute, and then formally studied music in 1912, when he followed his elder brother Liu Bannong to Shanghai. To make a living, he was admitted to the band of Shanghai Kaiming Drama Society. Kaiming Drama Society was a drama troupe that performed "civilized dramas" at that time, and the band attached to the theater mainly played Western instruments.

Working here gave Liu Tianhua extensive exposure to sunset musical instruments of the time. In addition to improving his brass performance, Liu Tianhua also learned piano and violin. After being exposed to Western music, and through the comparison of Chinese and Western music, I came up with my own original idea of ????improving Chinese music. Once when he was celebrating the New Year in Jiangyin from Shanghai, he said with emotion at home: "Chinese people still like their own music the most. Western music has its own beauty, but it is not as kind and easy to understand as Chinese music is to us. But it is a pity that Chinese music now With such a low status, no one paid attention to and promoted it, so I had to work hard to improve Chinese music." In 1914, the Kaiming Drama Club was disbanded, and Liu Tianhua had to return to his hometown again to serve as a music teacher at Huashu Huacheng Primary School. . In 1915, Liu Tianhua began composing his first erhu work "Singing in Sickness", and also began to compose the first drafts of music such as "Moonlight Night" and "Birds on the Empty Mountain". In 1915, he served as a teacher at Changzhou Middle School. During the seven years of teaching in the middle school, Mr. Liu Tianhua also worked hard to learn folk music. In 1917, he invited Zhou Shaomei to Jiangyin to learn from him the traditional playing techniques of pipa and erhu, as well as many traditional folk music such as "Hua Liuban" and "Sihe Ruyi". In 1918, Liu Tianhua went to Southeast University in Nanjing and asked Mr. Shen Zhaozhou, a pipa master of the Chongming School who taught there, to learn "Yingzhou Ancient Tune". In 1922, Liu Tianhua taught at the Music Transmission Institute of Peking University, where he taught erhu and pipa instruments. This was the first time in the history of Chinese music that erhu was included in the curriculum of higher education institutions. "Moonlight Night" was finalized in 1924. In 1927, he initiated the establishment of the Chinese Music Improvement Society and edited the "Music Magazine". He composed the erhu pieces "Jianjiao Cao", "Song and Dance Introduction" and "Elegy". In 1928, he composed the erhu songs "Good Night", "Idle Life" and "Birds on the Empty Mountain". In 1931, he composed the Erhu song "Guangming Xing". In 1932, he completed the composition of the Erhu song "Candle Shadow Shakes Red". In June 1932, while collecting folk music at Tianqiao, he contracted scarlet fever and died unfortunately. 2. Liu Tianhua’s works 1. Songs of Sickness 2. Moonlight Night 3. Songs of Depression 4. Elegy 5. Good Night 6. Songs of an Idle Life 7. Birdsong in the Empty Mountain 8. Walking in the Light 9. Du Xian Cao 10. Candle Shadow Shakes Red 3), Other Erhu Artists and Their Works In addition to Abing and Liu Tianhua, there are many artists who have made great contributions to the development of Erhu music. Zhang Shao (1927--) was born in Wujin, Jiangsu Province. He is a famous erhu performer and educator, a professor at the Central Conservatory of Music, and the former president of the Chinese Erhu Society. Over the years, he has composed solos and more than 60 etudes such as "The Rising River", "Huagu Diao", "Autumn Song Variations", and "Happy Grassland", and has trained countless students. Among them are: Liu Changfu, Wang Shuliang, Zhang Yuming, Yu Hongmei, etc. Wang Guotong (1939--) was born in Dalian, Liaoning Province. He is an erhu performer and educator. He began to learn erhu at the age of ten. In 1955, he was admitted to the Middle School Affiliated to the Central Conservatory of Music and studied under Hu Art Seniors such as Chen Zhenduo and Jiang Fengzhi. In 1958, he entered the Folk Music Department of the Central Conservatory of Music for further study. In 1960, he graduated with excellent results and stayed at the school. In 1972, he was appointed the principal erhu of the Broadcasting Chinese Orchestra. He is currently a director of the Chinese Musicians Association, an executive director of the Beijing Erhu Research Association, and a visiting professor at the Central Conservatory of Music. As early as the 1960s, Wang Guotong played "Sanmenxia Rhapsody" with innovative techniques and was honored as "opening up a new style of erhu performance" and "an epoch-making milestone in erhu performance." In terms of erhu composition, he composed and adapted songs such as "Nostalgic Song" and "Running on the Thousand Miles of Grassland". In terms of the reform of erhu instruments, we cooperated with Man Ruixing to develop the square and round erhu, the low-key thick-stringed erhu and the flat octagonal erhu. Min Huifen (born in 1945), a native of Yixing, Jiangsu Province, is the vice-chairman of the Chinese Musicians Association and a famous erhu performer. She graduated from the Shanghai Conservatory of Music and has representative repertoire such as "River Water", "Erhu Reflects the Moon", and "Listening to the Pines". Her father is Min Jiqian, a disciple of the famous erhu player Liu Tianhua. She was influenced by her family. She learned erhu since she was a child and formed an indissoluble bond with it. In 1958, he entered the High School Affiliated to the Shanghai Conservatory of Music and majored in Erhu, studying under Erhu education teachers Wang Yi and Lu Xiutang. In 1963, at the 4th "Shanghai Spring" Concert National Erhu Competition in Shanghai, she conquered the judges and the audience with her song "Singing in Sickness" and won first place. After that, he visited and performed abroad many times and became famous in the international music scene. She has also composed and adapted music such as "Red Flag Canal Water Circling Taihang" and "The Wish of the People of Honghu Lake". She was called "one of the greatest string players in the world" by Seiji Ozawa. 3. Characteristics of Erhu music Take Abing’s works as an example.

In the melody of A Bing's works, the melody line rises sharply between phrases. According to the different timbres and expressiveness of each position of the erhu, the musical ideas are developed very rigorously, hierarchically and logically. The stepped melody line rises and Direct Fall is A Bing's bold creation based on the melody of folk music. This kind of breakthrough is exactly what is needed for the extremely unstable inner feelings. For example, in the music "Listening to the Pine", there are many large jump intervals. He boldly tried and made new innovations. The second section of "Listening to the Pine" includes jumps in the fifth and seventh degrees, as well as a flick in the octave, expressing passionate emotions. In the first section of "Two Springs Reflecting the Moon", the melody between each phrase is connected by an octave jump. 4. Personal feelings Erhu, as a musical art originated in my country, has a long history of development and contains profound Chinese cultural heritage. Erhu, as a kind of string instrument, has its own melodious characteristics. It can express that kind of heavy and long-lasting emotion and create that kind of deep artistic conception. Erhu music can always express touching stories and tell them in a lucid and fascinating way. For example, A Bing's "Two Springs Reflect the Moon". Whenever I listen to it, I feel the helplessness and misery in life that is revealed. In addition, Erhutong has very close social connections and is very close to folk culture. Because the creation of Erhu works often comes from the folk. Therefore, what is narrated is also the real stories and real emotions of ordinary people. I sometimes meet erhu artists on the street, but most of them are poor beggars. They play erhu just to win people's sympathy and rely on people's charity to make a living. Perhaps it can be said that why do some poor people choose the erhu as a means of expressing their emotions and making a living? Perhaps the erhu can express that sad mood and win people's sympathy. Erhu, as a unique musical art in my country, has the shadow of Chinese culture, which is why it is sought after by some people. With the development of the times, it is not only necessary to preserve the Erhu artistic creations of artists of all generations, but also to study, develop and carry forward them.