Acoustic Principle Of Wind Instruments Orchestration In Chinese Or Chestra

In the 1920s,Datong Musicians Society,a national music group,was established in Shanghai,which sets the stage for the exploration of Chinese Orchestra.As a result of the first development period after the founding of New China and the second development period after the Reform and Opening-up,an unprecedented large modern orchestra form has been established,which is based on the Chinese traditional string music and integrates the southern silk and bamboo instrument and the northern wind instrument,incl.four groups:pipe,plucked string,percussion and string.Among them,the wind instruments have a profound historical heritage.Not only contain soprano,alto and bass,but also has rich and colorful timbre to represent various styles and themes of national folk music.The routine compilation includes:Bang Di,Qu Di,Xin Di;Soprano Sheng,Alto Sheng,Bass Sheng;Soprano Suona,Alto Suona,Tenor Suona,Bass Suona;Pipe,and other color instruments and derivative instruments,eg.Xiao,Bawu,Alto Guan,etc.As the main carrier of the melody in the Chinese orchestra,the pipe instrument group is more personalized than other groups in terms of instrument performance and musical expression.Over the past century,while the Chinese Orchestra has been continuously developing and upgrading,we still have the issues in Orchestra construction,instrument reform and basic theoretical research.In the field of composing theory research,after several generations of efforts,there have been a lot of achievement in the Chinese orchestration,which have been perennially applied as the guidance of composing technology learning and creation.Since New China,the new orchestra has largely referred to the mode of Western orchestra,as the scientific basis of orchestral music?orchestration is based on instrumentation,instrumentation is based on music acoustics?.The Western acoustical measurement of orchestral instrument began with On the Sentsation of Tone,1877,by H.von Helmholtz in the 19^th century.In the 20^th century,a large-scale acoustic measurement and research work was carried out.By the mid of20^th century,the acoustic analysis of Western orchestral instruments had been systematically completed in Europe.However,the research in this field in China is almost blank.Therefore,it is an inevitable question in the study of orchestration of Chinese orchestral,that under the premise of adapting to the development of the times,how to begin with the basic work from an objective angle of view and by scientific means in order to preserve the national characteristics of the music as well as to posess long-lasting vitality.In this paper,the orchestration of wind instrument in Chinese Orchestra is the research objective.Via the summary of the existing research results of the orchestration of Chinese Orchestra and the analysis of the examples of Chinese Orchestra works,the deeper acoustics principle behind orchestration of wind instrument in Chinese l Orchestra is explored by music acoustics measurement,starting from the acoustic characteristics of the instrument.Eventually,this paper attempts to provide data reference for the orchestral instrumental method of Chinese orchestra,and to enrich the theory of Chinese orchestration,so as to increase the controllable elements in the creation of Chinese Orchestral works,and improve the rationality,effectiveness and diversity of orchestral process.