1. The formation period of China traditional music (about 21st century BC to 3rd century AD)
This period includes Xia, Shang, Western Zhou, Spring and Autumn Period, Warring States Period and Han Dynasty. In terms of music genre, it has experienced the evolution from primitive music and dance to court music and dance. In terms of melody tone and scale form, it has gone through the period from the original intermediate music to the system of "(just page) and" Zeng ",which emphasized that the palace, Shang, Zheng and Yu were three degrees above and below, and the pentatonic characteristics of China's traditional music rotation were initially established by the" three-point profit and loss method ". In the aspect of music aesthetics, the debate between hundred schools of thought in the pre-Qin period laid the theoretical end point of their respective theories. In this period, the most representative music art form is the bell and drum band.
2. The new period of China traditional music (from 4th century to 1th century)
This period includes Wei, Jin, Southern and Northern Dynasties to Sui and Tang Dynasties. The political turmoil in Wei, Jin, Southern and Northern Dynasties, the southward migration of northern people and the inward migration of ethnic minorities constitute the impact on China's traditional music: first, the impact of metaphysics on Confucianism has caused changes in musical thoughts; The second is the introduction of minority music and foreign music, and the introduction of new factors in musical instruments, music laws, music and music theory. As a result of its impact, China's traditional music changed, and a new generation of music style was created. On the one hand, it is the China of the world music, including the China of foreign music, the use of foreign musical instruments, the introduction of foreign tunes, the nationalization of foreign bands, and the contribution made by foreign musicians to the development of China music. On the other hand, it is the globalization of China's music, that is, China's music has exerted an important influence on many countries in the world (especially neighboring countries, such as North Korea and Japan) with its brilliant achievements.
3. The arrangement period of traditional music in China (from 1th century to 19th century)
includes Liao, Song, Jin, Ming and Qing dynasties. Its political characteristics are: from chaos and division to relative unity, from north-south opposition to the establishment of a unified political power in a multi-ethnic country, and its relative stability for a long time. Music culture has secular and social characteristics. The so-called secularity is to keep close contact with the ordinary civilian class. The traditional music of this period has a broader social foundation in terms of performers, audiences and listeners. In the aspect of music theory, it shows the tendency of inheriting and cleaning up the previous period. The musical morphological characteristics have gradually tended to be solidified and stereotyped. Its representative music art form is opera art and its music. This art form inherits the previous generation and the next generation, and widely absorbs the new achievements of contemporary music, becoming a music treasure house that integrates ancient and modern music.
the development of Chinese folk music
pre-Qin: bells rewrite the music history of pre-Qin
Professor Li believes that the bells of Zeng Houyi unearthed in Hubei Province of China during the Warring States period are the most representative musical instruments in the pre-Qin period. Its excavation changed the view that pre-Qin music had only five tones in the field of national music for a period of time, and completely rewritten the whole music history of pre-Qin.
It is understood that after the tomb of Zeng Houyi was excavated, there were 64 chimes buried with him. Judging from the contents reflected in the chimes and the inscriptions on them, China was able to produce chimes with seven tones and twelve tones as early as more than 2, years ago, which can also be rotated in the palace. Therefore, these chimes are regarded as a historic symbol in archaeology and national music. In the society at that time, the chime had many social functions, which was not only a symbol of social status, but also a sacrifice for peace.
Tang dynasty: the era of gorgeous romantic folk music with plucked music as the main body
With the improvement of social living standards and the impact of foreign culture, the manufacture of musical instruments has also undergone profound changes. The music of the Tang Dynasty is characterized by plucked music. Professor Li believes that as an important cultural period in the history of China, the economic level of the Tang Dynasty has been unprecedentedly improved compared with that of the Qin Dynasty. Correspondingly, in the field of national music, the relatively rough chimes played outdoors in the pre-Qin period gradually declined, while the plucked music and song and dance bands with romantic and gorgeous colors developed rapidly. In addition, under the influence of foreign cultures, music from Korea, Hu people, Western Regions and other places began to spread to the Central Plains, greatly enriching the varieties of China national musical instruments.
after entering the song dynasty, plucked music began to decline, and orchestral music developed, which was also related to the historical background at that time, and this trend had a lot to do with the constant war situation in the song dynasty. "In fact, music is actually a microcosm of economy, culture and society." Professor Li reached the above conclusion.
Yuan Dynasty: the prosperous Yuan Qu era promoted by literati
There was no imperial examination system in Yuan Dynasty, so a large number of literati turned to the creation of folk art.. Yuanqu therefore has a strong storyline, attracting a large audience and further promoting its prosperity. On this issue, Professor Li particularly emphasized that the difference between China's Yuanqu and foreign operas lies in the fact that China's Yuanqu has formed a series of brand names, and each new creation uses the already formed brand names. There is no such "format" for foreign operas, and all the creative structures are brand-new.
after the Qing dynasty, the minority musical instruments in China flourished, and the erhu, which appeared in the late Ming and early Qing dynasties, was a microcosm of the development of national musical instruments in this era. Chinese music has always been dominated by "single words", such as Xiao, Di, Qin and Zhong, which we are familiar with. The two-character musical instruments that usually appear in musical instruments are mostly imported from foreign countries into China folk music, such as the familiar suona and erhu.
Modern times: the development of national music is difficult
The "Two Springs Reflecting the Moon" by A Bing, a blind man, is familiar to most audiences, but Professor Li thinks that in the modern development period of China, the development of national music has entered a faltering stage, and the two iconic figures in this period are A Bing and Liu Tianhua.
Liu Tianhua is a famous national musician in China, Professor Peking University, and the younger brother of the poet Liu Bannong. He is a famous erhu player and composer at the same time as the blind A Bing. His classic masterpieces include Moonlight Night, Birds in the Empty Mountain, Beautiful Night, Bright Walk and so on. Professor Li particularly emphasized the contribution of this master of folk music to China folk music, and thought that he was the first person to develop China folk music. Starting from him, China's national music entered a period of school development, which made a qualitative change in China's national music.
After the founding of the People's Republic of China, the national music has grown rapidly.
After the founding of the People's Republic of China, a new atmosphere of prosperity has emerged in China society. The atmosphere of China's construction of a war between heaven and earth has aroused great emotion from all walks of life, and the development of China's national music has reached an unprecedented height. With the development of the revolutionary cause and the extensive development of agricultural production, a large number of folk music with the characteristics of the times have appeared, such as Horse Racing, Love to See a Thousand Waves in the Wheat Field and other works that are familiar to many people are representative works of this period. During this period, some old ideas of national music were eliminated, and some new elements in many western music were used for reference.
In the Spring Festival of p>25, Tianjin Song and Dance Theatre held the "China Folk Concert in the Year of the Rooster" in the Golden Hall of Vienna, which was a great success. The concert was not only transmitted to China by satellite live broadcast, but also provided by Houston Audio & Video Company of the United States for free, and will be made into a CD for distribution all over the world.
Since 1998, when the Central National Orchestra represented Chinese folk music for the first time, the "China Spring Festival National Concert" held in the "Golden Hall" has become a famous brand of China national music for eight years.
From the performance of Jasmine and Erhu at the closing ceremony of the Athens Olympic Games, and the rave reviews of modern folk music groups such as 12 girls band in Southeast Asia, to the increasingly active performance of national orchestras in international and domestic markets in China, the accumulation of economic power has gradually transformed into national self-confidence and brought about the return of national music in China with sustained and high-speed economic growth. Chinese folk music is reviving through communication and innovation.