Theory Of Folk Play Kind Of Way Of Inheritance

Each music system, with its own advancement, gradually develops unique writing style and inheritance pattern which are culture specific so as to ensure the continuous development of the cultural system it is set in. Generally speaking, the writing style and inheritance pattern of music are decisive factors for mutual dependence, and this relationship has been one of the major research topics of ethnomusicology and was used to be the important basis of western scholars to divide the music system. In previous studies, the writing style and way of spreading of Chinese traditional music was frequently described as "simple musical notation but complicated singing, handed down through oral teaching that inspires true understanding within". Then how to transmit the rich and complete melodies behind the succinct musical notations? How to combine the notations and oral teaching and reflect the relationship between them in instrumental performances? Systematic discussions about these questions will help us better understand the system characters of music notations in the inheritance of Chinese traditional instrumental and the cultural identity of music formed.This paper focuses on some folk ensemble musical genres with "Gong-che Pu", mainly including mid Hebei Sheng-guan Yue, Xi’an Gu-yue, Shanxi Gu-chui Yue, Northeastern Gu-chui Yue, northern Shanxi Gu-chui Yue, Chaozhou Xian-shi, Fujian Nan-yin, etc. With long histories and profound cultural accumulations, these genres have been recognized as ones worthy of academic researches and full of cultural values and in-depth researches on them have been quite fruitful. Although based on previous research achievements and fieldwork findings by the writer, this thesis is not a comprehensive description of any single genre, nor a cultural elaboration of any ritual process in these genres, but a discussion about the ways and processes of inheritance of these genres by means of Gongche notations and an insight into the music styles and cultural identities shaped in the inheritance system.In line with the research objective, the framework of this paper is constructed following theoretical issues in musical inheritance and each chapter discusses one major issue, which is also the main link in and feature of the inheritance. Chapter One talks about the reading and singing pattern of Gong-che Pu and raises the concepts of "primary notation" and " Touching up words ". Concentrated on the relationship between them, the chapter reveals the significance of the "primary notation" in music inheritance and the creativity and music pursuit of folk musicians reflected in their procession of "Touching up words ". Chapter Two discusses the relationship between the phoneme and fingering of the Gong-che Pu, and accordingly expounds the dual functions of Gong-che Pu as both the phoneme notation and fingering notation and its influence on the inheritance manner and music system of folk ensemble music genres. Chapter Three discusses the relationship between the fundamental framework and improvisation of the Gong-che Pu. A review of the improvisational pattern and inheritance character of Chinese traditional ensemble genres proves that the improvisation of Chinese traditional ensemble reflects an understanding based on the behavior acquired conventionally. Finally, on account of the continuity and stability of the "primary notation" of the Gong-che Pu in its inheritance, the richness of "run-cavity characters" in notation reading and the variability of " Touching up words" in improvisation, the writer puts forward the overall cultural character of "regular variability" of Chinese traditional ensemble music genres in their inheritance and reflects on the inheritance situation of this character under modern social background. In a word, theoretical issues are the paradigm of this paper. One major issue (the title of the paper) consists of three sub-issues (three chapters), and the discussions present and in return, echo the theme of the major system characters and cultural identities of Chinese traditional ensemble music genres in their inheritance. Supported by comprehensive argument materials, the study on each sub-issue, as a further step after antecedent researches, is of theoretical value and innovative significance in the function division and classification of "Touching up words", argumentation of the fingering function and understanding of improvisational inheritance patterns.