Its predecessor was a famous pipa solo, originally named "Sunset Flute Drum". The title of "The Sunset Flute Drum" was first seen in the Textual Research of Modern Music by Yao Xie (185-1864) of Qing Dynasty. The music score of this pipa song was first found in Ju Shilin (about 1736- 182)' s Pipa Score of Idle Narration (Long Fei's press: what we see now is the copied copy of his disciple Xianfeng Geng Shen's year in 186), and in 1819, the year of Jiaqing in the Qing Dynasty, the true biography of the pipa score of the two schools of North and South, and the year of Daoguang Renyin. The song "Sunset Flute and Drum" in Chen Zijing's Manuscript of Pipa Music has listed seven subheadings: "Returning to the air, turning away from the moon, facing the water, climbing mountains, screaming, watching at night and returning to the boat". (Long Fei Press: The latest paper on the origin of this song is Wang Lin's < Moonlit Night on the Spring River > Qu yuan and the author's exploration. According to this article, in the County Records of Chongming, Jiangsu, there is a record of Song Heng's "self-innovation as" Sunset Flute and Drum "during the Xianfeng period of Qing Dynasty. )
In p>1895, Li Fangyuan, a pipa player of Pinghu School, included this piece of music in the new score of 13 Daqu Pipa of Nanbei School (Gongchi score) and renamed it Xunyang Pipa. Since then, some people have named this piece of music "Xunyang Moonlit Night" and "Xunyang Song". Li Fangyuan's "Xunyang Pipa" has ten sub-titles, such as "Sunset flute and drum, flowers scattered around the wind, the mountain near the moon, the setting sun near the mountain, the autumn sound of maple, the Chihiro in Wuxia, the sound of the flute in the mangrove, the night view of the river, the fishing boat singing late, and the boat returning home in the sunset shadow".
In p>1923, the Shanghai Datong Music Club (founded by Zheng Jinwen in 192) was adapted by Liu Yaozhang and Zheng Jinwen into an ensemble of various national musical instruments based on Wang Tingyu's pipa solo score "Moonlight in Xunyang", and the title of the song was also easier to be "Moonlight on a Spring River". The subtitle of this song is different from that proposed by Li Fangyuan, which is: "Bells and drums on the river floor, Dongshan on the moon, winding water, flower shadow terrace, deep water and clouds, fishing singing late, lapping on the shore, singing far away, alas, returning to the boat and ending".
* * * * *
People have always had different viewpoints and interpretations of a certain "image connotation" of this piece of music.
Of course, the so-called "image connotation" of "music" is not an "object event" that triggers the composer's creative mentality, nor is it directly equivalent to the composer's "creative mentality"; It is an abstract "walking situation" of "heterogeneous homomorphism" with a French nature and a musical nature, which exists between the "object event" that triggers the composer's creative mentality, the composer's creative mentality transformed from this "object event" and the "music-like pleasure" transformed from this "creative mentality". (Refer to the author's "A New Music Art Model-An Overview of Automorphism Transformation Cluster", published in Journal of Xinghai Conservatory of Music, Guangzhou, No.2, 1992, and published in China Renmin University, Beijing, No.8, 1992; Three Notes on Music Philosophy, journal of the central conservatory of music, No.1, 1994; The perspective and field of music philosophy (the outline of the special lecture of Xi 'an Conservatory of Music on May 3, 1996) is contained in Xi 'an Symphony, No.3, 1997, pages 9-13, and also in the copy of books and newspapers of China Renmin University, Beijing, No.2, 1998, pages 16-2. )
As far as Moonlit Night on a Spring River is concerned, the so-called "image connotation" can not directly appeal to the "object event plot" and "creative mentality concept" of "language" and "writing". (See the author's "Apparatus and Tao-Comment on Music Criticism", published in the second issue of Huang Zhong in 1994. )
However, the so-called "music" is not a real "pure art" that can be completely divorced from other civilized phenomena. Composers, performers, and appreciators' cultural patterns, philosophical concepts, life experiences, artistic accomplishments, and natural talents all restrict their musical art practice in different degrees, and they are concerned about the connotation of the so-called "musical art" in the domain of "source", the information in the domain of "channel" and the information in the domain of "destination". (See the author's Three Notes on Music Philosophy, published in journal of the central conservatory of music, No.1, 1994. )
Therefore, the understanding and interpretation of the title of music, to a certain extent, affects and restricts the "performance molding" of the "acoustic dynamic model"; And more or less change the "behavior", "mood" and "charm" of the music.
The purpose of this paper is to study the "text" of the "title" of A Moonlit Night on a Spring River; Reveal some connotations of "should" and "may" of this "title text"; Furthermore, according to the aesthetic tradition of China's classical art, this paper deeply explores the characteristics of China ancient literati and China ancient musicians' feelings about nature, history and life, so as to provide another possible interpretation of China's famous classical song "A Moonlit Night on a Spring River", which is different from the current mainstream interpretation.
* * * * *
Originally, the title "Sunset Flute Drum" reminds people of the famous sentence "When the sun sets, heartbroken people are at the end of the world" in Ma Zhiyuan's ditty "Tianjingsha"; It can't help but remind people of the famous sentence in Emperor Wu of the Han Dynasty's "Autumn Wind Poetry", "The flute and drum are singing and singing, and there are many joys and sorrows. When will you be young and strong? " And trigger our deep feelings about life.
Even the two titles "Xunyang Pipa" and "Moonlit Night on a Spring River" imply that Li Fangyuan and others' understanding of this piece of music is still not unrelated to the poems of Bai Juyi's Pipa Trip and Zhang Ruoxu's "Moonlit Night on a Spring River", which still has a certain meaning of "touching the scenery". . The so-called "on flowery spring mornings and moonlit autumn nights, I have often taken wine up and drunk it all alone"; "I was bidding a guest farewell, at night on the Xunyang River, we had heard a sudden sound, a guitar across the water, … the feasters, all listening, covered their faces, … this Jiujiang official. My blue sleeve was wet"; As the saying goes, "Who sees the moon at the first sight by the river, and when does the river shine on people at the beginning of the year?" Life has been endless from generation to generation, and Jiang Yue is only similar every year. I don't know who Jiang Yue is waiting for, but I see the Yangtze River sending water. " (Long Fei Press: Ten subheadings of Li Fangyuan's "Xunyang Pipa", such as "Sunset flute and drum, scattered flowers and wind, closing the mountain to the moon, setting the sun on the mountain, the sound of maple and autumn, Chihiro in Wuxia, the sound of flute in the mangrove, the night view on the river, the fishing boat singing late, and returning to the boat in the sunset shadow", and the adaptation of Liu Yaozhang and Zheng Jinwen. )
If we compare the Sunset Flute and Drum (Moonlit Night on a Spring River) with another China classical song, Fishing Boat Singing Night, which is more detached, clear and fresh; Then, the deep and vast mood of "Sunset Flute and Drum" should enable us to accept the understanding of the title of this song as mentioned above.
However, due to various reasons, people's understanding of the title of this piece of music and even their interpretation of this piece of music have undergone a qualitative change. For example,
"This song is probably about playing Xiao and Drum on a boat in the evening, and it is a beautiful and lyrical piece of music (Analysis of National Music Forms and Works by Jun Chi and Li Xi 'an, Music Publishing House, June 1964).
"The spring is bright, birds are singing and flowers are fragrant, and the shadows of the moon, figures and flowers overlap in the river. In the quiet night, birds are flapping their wings and flying away" (see You Huihai's Happy to See Several National Dances, People's Pictorial, No.8, 1978);
"The twilight river is still, and the spring flowers are in full bloom; The waves will go to the moon, and the lake will bring stars. The night dew is full of flowers, and the spring pool overflows Yue Hui. This is a poem written by the Sui people, Moonlit Night on the Spring River. It is full of poetic and picturesque scenery in the south of the Yangtze River, such as Mujiang River, Spring Flowers, Liubo and Xingyue. Liu Yaozhang, a close friend, was adapted into the orchestral music of silk and bamboo according to the ancient pipa song "Sunset Flute Drum", which was renamed as "Moonlit Night on the Spring River", thus making us associate the poem chapter with the movement and remember it from the movement chapter "; "This piece of music not only has the artistic conception of' Alas, the landscape is green, and the wind returns to the water, and the sunset shines red', but more importantly, it expresses the admiration for the natural scenery and the great rivers and mountains of the motherland through music" (Gao Houyong's "Beautiful Brief Talk about National Orchestral Music <: Moonlit Night on the Spring River > ",November 28, 1978, Xinhua Daily);
"Beautiful and lyrical Wen Qu has a strong flavor of Jiangnan folk music. It perfectly expresses the artistic conception of' sunset, fishing boats returning late, beautiful mountains and picturesque scenery' and expresses people's attachment to the beautiful rivers and mountains of the motherland "(see Sha Hankun's <; Moonlit Night on the Spring River > The structural characteristics and spinning method of ",in Music Art, No.3, 198);
"Some of the titles of various schools are simple, while others pursue elegance and avoid vulgarity. ..... Although both of them show the literati's interest to a greater or lesser extent, the latter reveals the self-generated mood of avoiding dust "(Gao Houyong's Introduction to National Instrumental Music, Jiangsu People's Publishing House, 1st edition, June 1981);
"From this, we can clearly see the implication of the arranger (Long Fei Press: referring to Liu Yaozhang and Zheng Jinwen) and the interpretation of the music. Although the title is similar to the poem "on flowery spring mornings and moonlit autumn nights, I have often taken wine up and drunk it all alone" in Pipa, the musical interest has gone beyond the autumn of "where maple-leaves and full-grown rushes rustled in the autumn" and emphasized the spring beauty of "moonlight on the spring river". "It vividly depicts the beautiful scenery of the moonlight on the riverside in the south of the Yangtze River, and expresses appreciation and love for the great mountains and rivers of the motherland" (see Zhou Zonghan's folk instrumental music <; Moonlit Night on the Spring River > ","National Instrumental Music Broadcasting Lecture ",People's Music Publishing House, August 1981, p. 37);
"It depicts the beautiful scenery of mountains and rivers in China, with elegant music and novel style. It is a nocturne of the richest man in the East"; "It shows the harmony between man and nature with idyllic artistic conception and affectionate feelings" (Li Xi 'an's Piano Music <; Sunset flute and drum > Music Analysis, China Music, No.1, 1982).
"Praise the splendid rivers and mountains of the motherland, and describe the picturesque natural scenery" (see Xu Guangyi's Talk about Excellent Classical Music <; Moonlit Night on the Spring River > ",People's Music, No.2, 1983);
"The description of fishing boats returning late at sunset praised the splendid rivers and mountains of the motherland" (Ye Dong's Genre and Form of National Instrumental Music, Shanghai Literature and Art Publishing House, February 1983).
"This song describes people having an outing between mountains and rivers in a freehand way. There are drums and songs, which means that there are so many beauties in the country. " (Lin Shicheng's "Yangzhengxuan Pipa Spectrum" and "Quqing Redundant Language", People's Music Publishing House, September 1983. )
"The music shows the author's feelings and love for the natural scenery through the depiction of the sunset and the return of the boat on the river"; "Show the beautiful scenery of the waterfront in the evening" (National Instrumental Music edited by Yuan Jingfang, People's Music Publishing House, March 1987).
As the book Introduction to National Music compiled by China Institute of Music of the Central Conservatory of Music says, "The original pipa" Sunset Flute Drum "was changed to the title of" Moonlit Night on a Spring River "after being adapted into an ensemble music of silk and bamboo. Perhaps the renamed person explained this music according to the imagination of" Moonlit Night on a Spring River "(at least today's performers explain it this way). (Music Press, March, 1964)
The book "Introduction to National Music" also said: "In terms of melody, the two are basically the same; In terms of color, there will naturally be some changes due to different musical instruments. It seems that this title change is not how much the music has changed, but the interpretation is different. It does not distort the original work, so it can be accepted by everyone. "
However, in my opinion, dominated by this aesthetic value orientation, the speed of playing this song is faster than before, and the style is increasingly extravagant, completely losing the original feeling of "the limitations of life" and the charm of "mourning without hurting". (Case: This is the so-called "consumption classicality", that is, "vulgarization of elegant music". )
* * * * *
There is a saying in "Wen Xin Diao Long Looking for": "In the Spring and Autumn Period, the yin and yang were miserable, and the heart was shaken when looking for it." Generally speaking, people's psychology and natural search are synchronous homomorphism. For example, "Wen Xin Diao Long Looking for" said: "It is to offer the new year to make spring, and to be happy with Yu; Meng Xia, Yu Tao's heart is condensed; The sky is clear and the sky is gloomy; The snow is boundless, and I am deeply worried. There is something in the age, and there is something in it; Feelings move with things, and words are sent with feelings. A leaf is welcome, and the sound of insects is enough to attract the heart; The breeze is the same night as the bright moon, and the daytime is facing the spring forest. "
However, people's minds transcend objects and time and space. "Everything has a constant posture" and "the mind is uncertain" ("Wen Xin Diao Long Looking for"). People's psychology does not always "correspond" to the search for nature. Because of their different experiences, experiences, values, modes of civilization and so on, different subjects in different times have different, different, even diametrically opposite and relative reactions to the same search.
* * * * *
For the "beautiful" "spring", people don't just "spring mountains are more successful, enjoying the night and forgetting to go home. With the moon in hand, the flowers are full of clothes "(Tang Yuliang's" Spring Mountain jathyapple ") and other superficial feelings. For the literati and musicians who are deeply impressed, the beautiful spring is more likely to touch the sorrowful string in their hearts! This is just as Su Shi's "Shui Long Yin" said: "Spring scenery is divided into three parts, dust is divided into two parts, and water is divided into one part. In detail, it seems that it is not Yang Hua, but a little bit is a tear! "
Mr. Ye Jiaying once said: "As the saying goes, the heart is shaken when looking for something, and the signs of life recovery, especially the beauty and gentleness of spring, are the best enough to arouse some kind of recovered feeling of boundless pursuit in the poet's heart" ("On the Poetry of Jialing from the Draft and the Repetition of Old Poems", Zhonghua Book Company, April 1984, p. 162).
As early as the Book of Songs in July, there was a famous saying, "Spring is late, ... women are sad". "Biography" said: "Spring, women are sad; Autumn, sorrow; Feel its materialization. " (There is also a saying in "Lie Hong Miao Xun in Huainan" that "spring women think, autumn people are sad, but they know materialization". "Injury to Spring" and "Sorrow for Autumn" are an eternal theme in China's classical art. Here, as Ming Chen Jiru's "Small Window Notes, Volume Five Elements" said: "Seeing the spring, my cheeks are full of blood and tears, and I am sad for autumn."
This timeless theme, in Qu Yuan's Evocation, is even more intense because of its passion of grieving and turning grief into hatred.