The aesthetic ideas contained in the guzheng music "Honghou Yin"

Abstract: The guzheng music "Honghou Yin" is based on the poetic meaning of "Li Ping Honghou Yin" by the Tang Dynasty poet Li He of. Li He's "Li Ping

Honghou Yin" is the "most onomatopoeic text" among the musical poems of the Tang Dynasty. In his poem, he boldly imagined and romantically described Li Ping's playing of the konghou

The magical depiction of doctrine is the best musical depiction of poetry in its time. Let us analyze the aesthetic ideas contained in this poem and apply it to the performance of the guzheng music "Konghou Yin", so that the audience can feel the charm of the Tang Dynasty's harp playing in a wonderful musical realm. .

Keywords: Li He; Li Ping Konghou Yin; musical aesthetic thought; guzheng performance

1. Li He and his "Li Ping Konghou Yin"

Li He (790-816), a famous poet in the Tang Dynasty, with the courtesy name Changji, was known as the "Three Lis" of the Tang Dynasty along with Li Bai and Li Shangyin. Li

He was one of the most important writers of the Tang Dynasty in China. one. Because of the chaotic political situation and his own frustration, his poems mostly exposed the ills of the times and expressed resentment and dissatisfaction. There are both high-spirited and sentimental moods; there are both passionate and unrestrained expressions, and there are also desolate and illusory artistic conceptions

; there are both simple materialistic thoughts and the decadence of carpe diem. He wrote poems with a serious attitude, painstaking efforts, and innovation

, forming a unique style with strange imagination, strange thinking, and wonderful diction. It was unique among the Han, Meng, Yuan and Bai families of the same era, and inspired the poetry creation of the late Tang Dynasty. However, due to being too unconventional, some works are obscure and dangerous. "Li Ping Konghou Yin

" was written from the sixth year of Yuanhe (811) to the eighth year of Yuanhe. The poet used a large number of rich and unique imaginations and metaphors to describe music, fully

Full of romanticism and stunning. This poem is a famous poem describing music in Tang poetry. We can get a glimpse of Li He's musical aesthetics in his poetry from this poem.

Wu Si, Shutong and Zhang Gaoqiu, the empty mountain is condensed with clouds and no flow,

Jiang E cries about the sorrow of the bamboo plain girl, and Li Ping plays the Chinese harp.

The broken jade in Kunshan screams as a phoenix, the hibiscus weeps and the dew fragrant orchid smiles.

The cold light melts in front of the twelve doors, and the twenty-three silk threads move the purple emperor.

Where Nuwa refines stones to mend the sky, the stones break the sky and make Qiu Yu startle.

I dreamed of entering the sacred mountain to teach the goddess, and the old fish danced on the thin dragon dance.

Wu Zhi stayed sleepless and leaned on the osmanthus tree, flying wet and cold rabbits with his feet exposed.

Li Ping and Li He were contemporaries who were good at playing the harp. Li Ping's music was vivid and impressive, and his skills were superb. After introducing Li Ping, the poet made a rich imagination about the music and expressed the touching power of music. The music played by Li Pingyan is vividly described using onomatopoeic writing. This is the uniqueness of the poet.

This poem vividly describes the texture, material, and sound of the harp and the artistic expression of the harp music played by Li Ping. It is very imaginative and romantic.

, which can be used as a reference for artistic conception when we play. The guzheng music "Konghou Yin" is based on the poetic meaning of "Li Ping Konghou Yin" written by Tang Dynasty poet Li He. The speed of the first half of the music fluctuates and changes, and the melody complements the virtual and the real.

It sometimes disappears and appears, depicting the fantasy state of "Kunshan's broken jade phoenix screams, hibiscus weeps and fragrant orchid smiles. Cold light melts in front of the twelve doors, and twenty-three strings move the purple emperor"

The second half is a magical dance, which is both light and rough; it has both dancing steps and the passion of the sky. It depicts "the place where Nuwa refines stones to mend the sky, Shi Potian was startled and amused by Qiu Yu. He dreamed of entering the sacred mountain to teach the goddess, and the old fish danced on the thin dragon dance."

It is a strange and magnificent artistic conception.

2. The musical aesthetics reflected in "Li Ping Konghou Yin"

Heidegger once put forward a series of important aesthetic insights, two of which are particularly worthy of attention.

First of all, he believes that art is the occurrence of truth.

This means that works always speak, and speaking is poetry. Therefore, all artistic works are poetry, and art is essentially poetic. The so-called poetic means unusual and creative. He said that art opens an open place where everything is different from ordinary things, because speech is a speech that prepares what can be said, and Bringing the unspeakable into the world.

Music is an aesthetic world. It presents the music world with the help of musical instruments such as notes, rhythm, and musical form.

This world is close to real life, and the hidden emotions such as joy, gratitude, and comfort are experienced by those who can hear it in a tangible way such as music

So music is Touching.

Secondly, Heidegger believes that art is a kind of creation, art is higher than technology, and artists are higher than craftsmen, but for great

arts and works, artists are insignificant. He opposed viewing creation as the main activity of genius. In his opinion, artistic creation activities

can be said to be "absorption", and artists are almost like a channel that destroys themselves in creation. More importantly, he believes that art is not only creation, it is also a kind of preservation, the creative preservation of truth in works. The truth of art is not only preserved in the work, it

is also preserved through appreciation, criticism, and interpretation. Art not only has history in an external sense, but also changes and corrects history in the changing times. In the sense of establishing history, art is history. "Kunshan's broken jade phoenix screams, hibiscus weeps and dews fragrant orchids laugh." These two sentences embody the auditory aesthetic function achieved by Li Ping's harp playing. The music is exciting and crisp, just like the beauty of Kunlun.

The sound of jade breaking is soothing and soft, just like the pair of dancing phoenixes singing melodiously, and the music is so bright and smooth, just like the orchid vomiting

Smiling like stamens, these sounds: onomatopoeia, allowing people to imagine the vague and faint sounds from the rhythm of the harp playing. This is the poet's creation of musical sound and rendering of artistic appeal, showing readers the musical realm created by the performer. Heidegger once put forward a series of important aesthetic insights, two of which are particularly worthy of attention.

3. How to improve the technique of playing the guzheng piece "Honghou Yin", so as to fully reflect its aesthetic ideas

"Yin" is a structural form of traditional Chinese music, originally a suite A part of the structure that is located after the prologue and before the song. It is later used as the title of an independent piece of music. The guzheng piece "Konghou Yin" is a contemporary guzheng work written by the composer Zhuang Yao based on the poetry of Li Ping's "Li Ping Konghou Yin"

. The formal structure of music and the structure of poetry are interrelated and influence each other.

The core tone of the music is derived from the core tone of the minor second interval that is characteristic of the ancient Western Region mode. It has a long sequence, uses ups and downs

rhythms, and alternates between virtual and real melodies. The texture expresses the fantasy state of "Wu Si, Shutong and Zhang Gaoqiu, the empty mountains are condensed and the clouds are stagnant, Jiang E cries about the bamboos

female sorrow, and Li Ping plays the Chinese harp". The speed, intensity, and strength of the largo can be slightly freely played, presenting a dreamlike artistic conception. The sextuplets in the first measure and the free repetition from slow to fast and then slower in the second measure should be emphasized in the weak points to highlight the core tone.

The third section moves down from slow to fast. With the cooperation of the bass part's dots, it quickly descends from the high range to the low range. The sound points are required to be clear and the fingers are playing. The intensity should be even. The octaves with decorative sounds are repeated in measures 4 to 6, causing changes in rhythm. From the 6th bar to the 12th bar, the music should be connected in one go. The middle section of the sequence starts from the 15th hour.

It is smooth and gentle. The melody alternates between virtual and real, and sometimes disappears and appears. Here, pay attention to the appropriate covering of strings and emphasis on accents to highlight the fall of the music

Ups and downs. The last beats of bars 18, 22, and 23 are dense and play the role of over-connection. When playing, be sure to be clear and powerful.

The short phrases at the end of the sequence, bars 44 and 45, require a series of sixteenth notes to be played heartily and with a strong graininess.

Section A presents a dance-like rhythmic texture, and the performance of bars 47-50 should be concentrated and flexible. Highlight the accent,

Clean, agile, and dynamic. In the first variation, bars 64-71 should be played roughly and boldly. The second variation, 72-75

The melody in the high-pitched area of ??bars 72-75 should be crystal clear and dexterous, with a contrast between strength and weakness. In the third variation, bars 81-91 should have a thicker and fuller tone, and the emotions will become more intense every time. The theme of section B starts from bar 98, using both hands to play in parallel octaves, presenting fluid music that gradually becomes faster from slow to fast, and from weak to strong. This pave the way for the subsequent cadenza. At the beginning of section 105, there are two weak and crescendos, and the contrast of dynamics needs to be handled well. In the technical passage starting from bar 111, you should pay attention to the left hand's note point being clear and powerful while maintaining strength and speed. In bars 130-134, the off-beat accents should be played well to make the music full of dynamics.

The tone of the theme in section A1 is raised, the rhythm is widened, strong intensity appears again, and the music is warm and unrestrained. Bar 137 is a reappearance of the core music of the opening theme, with extensive scraping and strumming, showing a broad sense of pride. Bar 159 begins to enter the end of the music. Under the regular strumming, the music is full of vitality. Under the simultaneous action of fast speed and intensity, the music reaches a climax

. Finally, the whole song ends with strong scraping by both hands.

The performance of this piece must be performed in conjunction with its creative background in order to interpret the aesthetic conception of this piece of music and this poem

.

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