A 15-word paper on studying the differences between Chinese and Western music.

the origins of Chinese and western music are different, except for the color differences caused by nationality, which are mainly manifested in that China music

pays attention to emotion, while western music pays attention to harmony.

Tracing back to the origin, the harmony of the West stems from the scientificity and mathematical coordination of mathematics and geometry in ancient Greece and Rome. And China's charm can be said to be derived from the philosophy of pre-Qin philosophers, or even from the patterns of ancient Zhong Ding and the soaring images of animals painted on the original wall. Because the beauty of "dancing"

has always been the main feature of China's various arts, and the contemporary aesthetic giant

Bo Zong Baihua also thinks that "dancing" is the soul of China's artistic conception.

In the final analysis, the

differences between Chinese and Western world views are the fundamental reasons for the different musical styles between China and the West.

Westerners look at the world with a scientific and mathematical attitude, which is "the opposition between things and me". China people, on the other hand, are totally at odds with each other, such as Lao Zi and Zhuang Zi, who think that the universe is an empty space, and

only the "Qi" that encourages "everything" is real.

Therefore, China people's space consciousness is that people are in "emptiness" and

emptiness, which is the creation of the universe; People are comfortable in the void, "crouching

complacent", and I don't care, and I become one.

There are two aesthetic views inherited from China's history, namely,

the beauty of "wrongly carved gold" and the beauty of "fledgling hibiscus". Before the Han Dynasty < P >, the beauty of art was still the beauty of "picking gold by mistake"; Up to the Wei and Jin Dynasties, there was a change in

, and it was put forward that "early hibiscus" was juxtaposed with "wrong mining

and carving gold". Up to the Song Dynasty, the aesthetic point of view changed to "early prosperity

Rong", which was more beautiful than "wrong use of gold". This is also a development of China's

ancient philosophy-since an

empty space is full of "stirring up the life of all things", why

carve gold by mistake? Return the "universe" to its true colors.

So art is no longer decorative, but has added the ideological color of progress

. Therefore, the monophonic music system in China, which was based on the emphasis on rhyme, was further developed (although there were sprouting

buds to polyphonic music in the Tang Dynasty).

the concept of "harmony" is different between China and the west. For example, when

refers purely to sensory stimulation, people in China think that monophony is

the most harmonious (refers to musical sound), followed by octave superposition, and then

fourth and fifth degree superposition. This can also be seen from the traditional folk musical instruments in China

: the tuning of the huqin is generally four or five degrees, and the special value

is Sheng, whose traditional fingering determines that one

"tonic" and one or two "consonants" sound at the same time, thus

forming a chord overlapping four or five degrees. For the western chord

, foreigners think that the third degree superposition is the most harmonious, at least

it is semi-harmonious, while the fourth and fifth degree overlapping chords are

unharmonious! Actually, harmony should be relative. I

think that the effect of three-dimensional superposition is not to pursue its harmony,

but to pursue its fullness.

If "formal" beauty is a very important link in art, it is not the case for China. Of course, harmony is also needed, and

science is also needed, but everything should be subject to "charm" and

to "emotion". For western music, the beauty of "form" is the main part of

. "Imitating nature" and "formal beauty" are the two centers of western aesthetic thought.

since the late romanticism, the writing techniques of western music

have become increasingly rich. His rebellion against tradition started from Straw

s, went through Debussy's "qualitative leap", Schoenberg's "alienation", and went all the way to Stravinsky, Mei Xian and Stokehausen. His techniques became more and more sophisticated, and there were many decorative factors

, which can be said to be the aforementioned "wrong use of gold". People in China

are more accustomed to the lasting appeal of music, and "emotion" and "rhyme" have always penetrated into the guiding ideology of China's music. Therefore, all

techniques (including writing, singing and playing) revolve around the word "emotion,

rhyme".

Can it be mentioned that China's music only focuses on "ethereal" and not

on "enrichment"? I think this problem needs to be treated dialectically. China's music is based on the consciousness of emptiness in China's artistic conception, so it should be "ethereal" and emphasize "emotional charm". Although there are great differences between

Taoism and Confucianism on "reality" and "emptiness", they all show that

emptiness is the most "reality" and the sublimation of "reality". So

, China's music is more virtual than real? No! China Yin

enjoys its development, and in order to constantly achieve perfection, it has been striving to overcome the shortcomings of its "not thick" sound; This is true from the evolution of folk musical instrument

and from the development of folk opera singing

. I'm afraid that westerners today will be surprised

when they see the court music in the Tang Dynasty, because of its huge band

. But this "thick" music disappeared in the Song Dynasty. Of course, in terms of enrichment, western music

pays more attention to science, and it is easier to express than China

music in terms of the combination sound of orchestra and vocal music. However, China's music has found another way

, instead of focusing on acoustics, it has turned to

rich connotations and profound artistic conception.

A little girl in China played A Bing's "Two Springs Reflecting the Moon" on the erhu, and

The case of an international music master prostrating himself on the spot fully illustrates this problem. In this way, China's music

is not without emphasis on "enrichment".

can China's music express something "magnificent"? It's true that, in terms of rich acoustics, western music is more suitable for things that look

magnificent. Beethoven's "Egmont" overture

, the first f note is the full performance of the band. Anyone who has heard this

song will never forget how

the full F sound is shocking! If China's traditional band is used to play < P >, its sound thickness is far from reaching. It can be said that the traditional band of China

can't compare with the western orchestral band

in terms of range, timbre

integration and sound balance, but "magnificence is only a psychological feeling of people, and it can be said to be magnificent as long as this feeling can be evoked." For example, Chai

Kokowski's fantasy overture to Romeo and Juliet

conflicts with China's ancient song "Ten Miles Ambush", which also shows

the sword and shadow in the current fighting. Can you say who is more exciting

? Similarly, after listening to the complete song, can you name which

arouses more "magnificent" psychological feelings?

It is true that music is the art of hearing, and China's music

does not conform to the original meaning of this art after all. Therefore, it is necessary to continue to "enrich" the perfection of

, and of course, to "enrich" it on the premise of inheriting

tradition (paying attention to emotion).

One pays attention to "rhyme" and the other pays attention to "harmony". From theory to practice, there are two paths from beginning to end, which

is the root of the difference between Chinese and western music.

Editor-in-Charge Pan Xiaoping