A Study On Aesthetic Issues In Erhu Performanc

The research on the aesthetics of erhu performance is to dig out,extract and elaborate the aesthetic problems that can be reflected in the process of playing the traditional Chinese musical instrument erhu.Comparatively speaking,timbre,tension,breath,musical sense and realm are the important contents that erhu art can embody aesthetic characteristics or contain aesthetic quality.Erhu is one of the most distinctive traditional Chinese Musical Instruments,which is first reflected in its timbre,that is,its unique timbre "close to human voice".The formation of this tone is not a coincidence,the ancient Chinese aesthetic tradition of valuing human voice is the cultural reason behind it.The change of shape and system closely related to erhu timbre can also reflect the ancients’ deep pursuit of erhu timbre.Based on the timbre advantage of human voice,Hu Qin was entrusted with an important task in opera music,and in order to adapt to the singing characteristics of various places,various kinds of Hu qin with different voices began to be derived.However,not only the basic tone,the expressive timbre of the erhu is also a reflection of the "close human voice".From the visual level of timbre into the interior of sound,it is necessary to pull out the problem of "tension".There are three kinds of tension in erhu performance composed of two opposite "forces" : sound on tology tension,music shows tension and psychological experience tension.The three have different styles and construction paths of tension,and their relations are as follows:sound tension is the manifestation,music shows tension is the drive,and psychological experience tension is the origin.The three are interlinked and interpenetrating.While discussing "tension",the problem of "breath" has been more or less involved.The breath in the erhu performance is distinct from explicit and implicit.Explicit has its form,implicit has its way,the function of the two is not consistent.Whether explicit or implicit,the accessibility and comprehensive coverage of breath make it dominant in erhu performance.If breath tests the ability of integrating the inner breath with the musical breath,then this ability is derived from the perception and understanding of the music performance subject,namely "musical sense".Musical sense is the collection and embodiment of various abilities,and it needs to be perfected in the future.But when this consciously cultivated ability is played in music,it is presented in a spontaneous state.Based on the difference between the musicians of the possession of musical sense,so that the richness of the aesthetic feeling of music becomes possible.When tension,breath,musicality and other content are achieved and well played,it means that the performance of the player from "image" into "situation".However,it does not mean that the performance is over,the player still needs to present the first two "realms" satisfactorily in some ideal state,so as to reach the highest realm of subject-object integration and universal unity namely the "fusion realm" of erhu performance.