Research On Musical Pattern Of Musical Instrument In Chinese Huqin Nationality

This dissertation is entitled A Study on Acoustic Modes of Chinese Huqin Instruments, the objectives of which cover two aspects, namely Chinese Huqin instruments and their acoustic modes. For the purpose of defining Chinese Huqin instruments, the classification of chordophones is readdressed on the basis of modern musical instruments classification by Hornbostel and Sachs. Four terms, zither, lute, lyre and fiddle are clarified as independent categories, and employed in this study to define the four categories of chordophones across the world. Therefore, world string instruments are further divided into plate box, neck rod, neck box, frame body in terms of shape; lying, embrace, vertical, horizontal in terms of positioning; plucked, stroked, scraped(bow, rod or revolve) in terms of playing; dotted and linear in terms of acoustics.By introducing such cultural anthropology concepts as cultural patterns or circles, this paper examines world folk instruments as a whole, summarizes musical instrument types with common attributes across different regions, based on which 10 cultural ecosystems of world folk instruments are identified. A comprehensive research into the above-mentioned 10 cultural ecosystems of world folk instruments leads to a clear distribution map of chordophones, under which bowed string instruments are selected and categorized into three types, i.e. neck rod, neck box, plate box, with the first two types as popular ones and the last as a rare one. Till now, no entity of the frame body instrument played in scrape has been found throughout the world. At this point, the basic categories and typical characteristics of Chinese Huqin instruments are clear, i.e., a chordophones with a neck rod played in scrape as the fundamental primitive feature of Chinese Huqin instruments. On the global level, Chinese Huqin instruments are the only type to possess this typical feature till the moment of writing, thus gaining themselves a unique status among bowed-scraped string musical instruments.Chinese Huqin instruments include two sub-categories according to material and vibrating system: one category is made of wood into a cylindrical resonance box structure, and gradually develops into a vibrating membrane system adopted by Erhu, Zhonghu, Gaohu, Sihu, etc., which use snake skin to cover their soundboxes; the other category applies such natural materials as coconut shells, gourd shell, etc. for soundboxes, called the prototype of fiddle, and later develops into a vibrating plate system adopted by Banhu, Yehu etc., which use plates to cover their soundboxes. The wood feature of Chinese Huqin instruments is related to their shape, the way the strings are bowed and the playing techniques, for their shape belongs to vertical spike fiddle, their sounds are produced by the friction of the bow with the two strings, the vibrating systems include membrane and plate and while performing, the bows shall be moved in a two-dimensional vertical position with the vibration plane.The second focus of this study is the physical acoustic mode of Huqin instruments, an area of research less explored at the moment in China. It takes the typical shapes and structures of Huqin instruments as samples, analyzes the spectrum on the basis of the relevant acoustic parameters and reveals the homogeneous acoustic feature and heterogeneous acoustic variations formed in maintaining the overall dynamic range of harmonics and summit value distribution. With musical acoustics as the theoretical foundation, this paper also tries to explore the unique acoustic mode of Chinese Huqin instruments by examining the relation between materials and crafts of musical instruments and acoustic modes, acoustic review on acoustic mode of Huqin instruments, constructing an objective and subjective evaluation system on the acoustic mode of Huqin instruments, cultural ecosystem and acoustic types of Chines Huqin instruments, the impact of the acoustic aesthetics of the Chinese nation on the development of the unique shape and structure and physical acoustic feature of Huqin instruments, etc. The acoustic modes of Chinese Huqin instruments are featured in three aspects: technical, artificial and aesthetic. Compared with the bowed string instruments in other regions and nations, Chines Huqin instruments are endowed with their unique culture values and profound acoustic meanings in material shape and structure, acoustic features, and aesthetic psychology related to acoustics.