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二胡乐器上的“南乐北渐”——二胡艺术形成的文化阐释 被引量:1

The ″Northward Spread of the Southern Music″ in Erhu:A Cultural Interpretation of the Origination of the Art of Erhu
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摘要 所谓“南乐北渐”,就是指中国南方的音乐逐渐向北方传播的文化现象。由于地理环境、生产生活方式等各方面的原因,中国传统音乐文化历来就南北有别,孔子日:“……夫先王之制音也,奏中声为中节,流入于南,不归于北。南者生育之乡,北者杀伐之域。故君子执中以为本,务生以为基,故其音温和而居中,以象生育之气。”呵见,早在先秦时期,南北音乐的不同风格已经形成。 In the 1920's,Liu Tianhua came to Beijing alone from the South bringing his Erhu and the three works he had composed,namely,″ Groaning in Sickness″,″ The Moonlit Night″ and ″ Song of Birds in Desolate Mountain″,and after years of hard working,he finally managed to create the art of Erhu as a solo instrument.From the perspective of cultural communication,this is another example of the so-called ″ northward spread of the Southern music″ phenomenon in terms of the musical instrument Erhu,or a proof that the regional music culture in the South of the Yangtze River was spread to the North of China.In the spring of 1922,Liu Tianhua came to work at the Music Institute of Peking University as Pipa professor while at that time,Huqin,often regarded as instrument for beggar,was not included in the university curriculum at all.But Liu,so persistent in attempting to reform Chinese musical instruments by taking Erhu as a breakthrough,believed that the folk instrument Erhu would become a perfect solo instrument which could parallel other Chinese instruments such as Pipa,Guzheng and Guqin.However,due to lack of the same Erhu tradition in Beijing as in the South,it seemed hardly possible to have recognition of his Erhu music from the music circle in Beijing.Liu never gave up his ambition.He tried all his efforts to make his experiment.When he was teaching Pipa at the Music Institute,he often taught Erhu to his students in secret,instructing them to play his three Erhu pieces ″ Groaning in Sickness″,″ The Moonlit Night″ and ″ Song of Birds in Desolate Mountain″,in anticipation of raising Erhu to the same high position as Pipa and Guqin.Meanwhile,he asked for more opportunities to play Erhu in concerts as he was aware that it was necessary to discover the artistic charms of Erhu as a solo instrument if he wanted it to catch up with other solo instruments like Pipa ang Guqin.In fact,a successful concert given by him and his students paved the way to the fianl acceptance of Erhu into the official curriculum program.In the autumn of 1923,Liu Tianhua had a chance at last to play his own works ″Groaning in Sickness″ and ″Song of Birds in Desolate Mountain″ with his own Erhu at a concert in the Music Institute of Peking University,where the unique music language of his Erhu music and his great playing techniques won him high applause from the audience.His colleagues including Cai Yuanpei,then president of Peking University,highly appreciated Liu's performance.At the end of that year,Xu Binglin,a student of the Mathematics Department,also a student of Erhu playing that Liu Tianhua had taught secretly,played the ″Groaning in Sickness″ at a concert in the Peking University Third Hospital,and enjoyed the same acclaim from the audience.Soon later,the melody of the piece was often heard on campus as students hummed the music while it was also spread to all the other universities and colleges in the city.What Liu Tianhua and his student Xu Binglin did at the two concerts changed to a great extent the prejudice against Erhu.Moreover,Liu Tianhua and his Erhu music earned recognition and respect from the leaders and staff of the Music Institute.As a result,the institute finally set up the regular course of Erhu.No doubt,without Liu Tianhua and his student's successful performances that had produced great impact upon the intellectuals in Beijing,it would be hardly possible for Erhu to be included in the teaching curriculum of the Music Institute.From then on,with Liu Tianhu's great efforts,the art of Erhu that was gaining momentum in the South of Yangtze River,was introduced to the North where it was officially recognized and later disseminated gradually to the other parts of the country.How could Erhu as a folk music instrument from the South survive and develop in Beijing and finally turn up to be an art of solo instrument playing芽 In my opinion,this depends upon the geographical nature and the times of Liu Tianhua's Erhu music.First,in terms of its geographical nature.After several processes of ″northward spread of the Southern music″ in the Chinese history,the Southern music in the style of implicity and elegance gradually became the leading force in the Chinese music culture.Chinese people from various regions had the same recognition and love of this kind of music.A musical analysis of Liu's Erhu works proves that his music,in typical developing forms with more progressive type than leaping type,played in silk and bamboo music techniques and presented in the unique charms of tenderness and gracefulness,was characterized by the taste of music from the South.When Liu Tianhua came northward to Beijing bringing such kind of Erhu music with implicity,tenderness and elegance,the intellectuals in Beijing were familiar with this already,and were ready to appreciate it,simply taking this as another process of ″northward spread of the Southern music″.Second,in terms of the times.Although Liu Tianhua's Erhu music is rich in the Southern music style,it is totally different from the f e stive,self-entertaining traditional folk music.Most part of Liu's life covered the first three decades of the 20 th century when,with the end of the feudal system,the changing social system led to immense transformation of human mind.Under the influence of advanced modern Western civilizations,the Chinese intellectuals appealed for spiritual liberation,and the ″ New Culture Movement″ in favour of science and democracy was encouraging the intellectuals to participate more actively in the drive for the national independence and social development at the time when the nation was suffering from turmoils and splittism.This was exactly shared by Liu Tianhua.And because of this,Liu's music could easily arouse the passion of Chinese intellectuals.As early as during their years of studying at Changzhou City Middle School,Liu Tianhua and his elder brother Liu Bannong took an active part in the anti-feudal revolution and joined an anti-Manchurian organization.Liu Bannong later became a leading figure in the May 4 th New Culture Movement,who greatly influenced Liu Tianhua,the latter then progressive in reforming Chinese music under the impact of the democratic ideas of the May 4 th Movement.
作者 李祖胜
出处 《人民音乐》 CSSCI 北大核心 2012年第3期58-60,95,共3页 People’s Music
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