info@turkcindostlukvakfi.org.tr

+90 312 446 58 15

Chinese Music


müzik.pngOrigins and Characteristics

Chinese music can be traced back as far as the third millennium B.C. Manuscripts and instruments from the early periods of its history are not extant, however, because in 212 B.C., Shih Huang-ti of the Ch'in dynasty caused all the books and instruments to be destroyed and the practice of music to be stopped. Certain outlines of ancient Chinese music have nevertheless been ascertained. Of primary significance is the fact that the music and philosophy of China have always been inseparably bound; musical theory and form have been invariably symbolic in nature and remarkably stable through the ages. Ancient Chinese hymns were slow and solemn and were accompanied by very large orchestras. Chamber music was also highly developed. Chinese opera originated in the 14th cent. as a serious and refined art.

Tone and the Instruments

In Chinese music, the single tone is of greater significance than melody; the tone is an important attribute of the substance that produces it. Hence musical instruments are separated into eight classes according to the materials from which they are made—gourd (sheng); bamboo (panpipes); wood ( chu, a trough-shaped percussion instrument); silk (various types of zither, with silk strings); clay (globular flute); metal (bell); stone (sonorous stone); and skin (drum). Music was believed to have cosmological and ethical connotations comparable to those of Greek music. The failure of a dynasty was ascribed to its inability to find the properhuang chung, or tone of absolute pitch.

The huang chung was produced by a bamboo pipe that roughly approximated the normal pitch of a man's voice. Other pipes were cut, their length bearing a definite mathematical ratio to it. Their tones were divided into two groups—six male tones and six female. These were the lüs, and their relationship approximated the Pythagorean cycle of fifths. Legend ascribes their origin to birdsong, six from that of the male bird and six from that of the female, and the tones of the two sets were always kept separate.

The lüs did not constitute a scale, however. The scale of Chinese music is pentatonic, roughly represented by the black keys on a piano. From it, by starting on different notes, several modes may be derived. The melody of vocal music is limited by the fact that melodic inflection influences the meaning of a word. Likewise, quantitative rhythms are not easily adaptable to the Chinese language.

Chinese Instruments

Ruan


The ruan is a popular plucked string instrument. It is a lute with a fretted neck and four strings, resembling the yueqin. It is said that the ruan got its name from Ruan Xian, an ancient Chinese scholar and virtuoso of the instrument. During the fourth century the bent-necked pipa was introduced to China from the Western Regions and soon gained national recognition. The straight-neck pipa with a circular body was known as the ruanxian.

Since the 1950s, the ruan has been modified to cover a wider range. Its playing techniques have also developed since they now combine traditional playing with the modern techniques used for other plucked instruments. Classical pieces: Camel Bells on the Silk Road (Si Luo Tuo Ling).

Xiao

The xiao is an ancient flute hedl vertically and blown at one end, with normally six to eight finger holes. It can be made of various materials including bamboo, ceramics, jade and metals such as copper.

The xiao and dizi (transverse flute) are very similar in terms of appearance and playing techniques, however, the xiao has a lower pitch, It features in solo sor as part of ensembles, and its contralto-like tone evokes peace and tranquility. Classical pieces: Autumn Meditation at the Dressing Table (Zhuang Tai Hu Qiu Yue), Plum Blossom Melodies (Mei Huan San Nong), Wild Goose Descending on the Sandbank (Ping Sha Luo Yan), and Moon over the Frontier Mountain (Guan Shan Yue).

Morin Khuur (Matouqin)

The morin khuur, or horse-head fiddle, is a string musical instrument well loved by Mongolians. The instrument consists of a one-meter-long wooden frame to which two strings attached, and a trapezoid sound-board. Its sound is deep and mellow. The name comes from a legend about a shepherd who lost his pony. To commemorate the horse, he made a horse-head fiddle, using his horse bones for its neck, horse hair-hair for strings and a horse-head sculpture decirating the top of the frame. Thus, the first morin khuur was assembled.

The morin khuur is the best choice for playing the Mongolian Long Song, as its tones can accurately express the freedom of the people on the boundless grassland, their happy and sad moods, as well as the sounds of their everyday life such as the clip-clop of horses’ hooves and shepherds’ singing. Classical pieces: Thousands of Horses Galloping (Wan Ma Ben Teng), Mongolian Tune (Meng Gu Xiao Diao), Black Steel (Hei Jun Ma) and My Hometown Horqin (Horqin Jia Xiang).

Hulusi

The hulusi, or gourd flute is a popular folk instrument among the Dai, Yi, Achang and De’ang ethnic groups in China’s Yunnan Province. The traditional hulusi belongs to the family of free reed wind instruments. It has two to three bamboo pipes that pass through a gourd wind chest. The hulusi usually features in the smooth melodies and dance songs of the folk genre. It is the best instrument for producing sustained notes and has a gentle and harmonious effect  that reflects the players’ emotions. Because the hulusi is easy to learn and portable, it is widely favored by students, mucis lovers and travelers. Classical Pieces: Night in a Dong Village (Dong Xiang Zhi Ye), Song of Horse Herders (Fang Ma Shan Ge), By the Butterfly Spring (Hu Die Quan Bian) and Hani Love Song (Hani Ai Qing Ge).

Yangqin (Dulcimer)

The yanqgqin is a hammered dulcimer of the same family as the piano. It features loud and clear sounds that can be both powerful and soft. It can feature in solos, as part of ensemblesor as accompaniments to story-telling, songs and folk operas. It is known as the “Chinese piano” as it has an indispensable role in Chinese music accompaniments.

According to historical records, in the second half of the 14th century, the santur, a popular instrument of the time was introduced to China from ancient Persia, initially gaining popularity in today’s Guangdong Province. Its appeal soon spread throughout the country and as Chinese musicians modified it to suit their needs, it evolved into today’s yangqin. Now, Chinese instrument makers have developed several modern froms of yangqin, such as the high-and-low pitched yangqin and the electric yangqin. Classical pieces: Dragon Boat (Long Chuan), Ode of Mulan Variations (Mu Lan Ci Bian Zou Qu) and Happy Grassland (Huanle De Caoyuan).

Guqin

The guqin, or qin, is the earliest plucked instrument of the Han Chinese with a history dating back 3,000 years. The guqin is the most prestigious instrument of Han culture, ranking first among the Four Arts of the Chinese Scholar: qin, the game of go, Chinese calligraphy and painting. Men of letters in ancient China believed the guqin represented elegance; therefore, they often used the guqin to accompany their singing. Learning the guqin was essential for men of letters in ancient China. In 2003, guqin music was proclaimed one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO. Classical Pieces: Guangling Melody (Guang Ling San), Towering Mountain and Running Water (Gao Shan Liu Shui), Three Variations of Yangguan (Yan Guan San Die), Eighteen Songs of a Nomad Flute (Hu Jia Shi Ba Pai), Thinking of an Old Friend (Yi Gu Ren) and Ambushed on all Sides (Shi Mian Mai Fu).

Suona

The suona, also called the laba, is a type of pipe. It was first introduced into China from Persia and has been popular since the 16th century. The suona has a conical wooden body. Its upper end has a copper tube to which a small reed is affixed, and at its lower end is a copper bell. The suona has a distinctively loud and high-pitched sound and is often played on special occasions, such as weddings, funerals and sacrificial rituals. It is also a common choice for the accompaniment of regional folk operas, dances and choral performances. Through years of improvement and development, it has become an ideal instrument for solos with its rich playing techniques and fine expressive force. Classical Pieces: All Birds Paying Homage to the Phoenix (Bai Niao Chao Feng), A Posy of Flowers (Yi Zhi Hua), Harvesting the Date Fruits (Da Zao), and Happy Family (Quan Jia Fu).