The Research Of The Accompaniments In Some Of The Northern Quyi In Ethnic Han

Quyi music consists of singing and accompaniments. It is generally accepted that "Quyi" is given priority to singing and accompaniments are complementary but in fact they two are actually interdependent and symbiotic. There is a jargon that music consists of thirty percent of singing and seventy percent of accompaniments, which reflects the dialectical relationship between singing and accompaniments vividly and demonstrates the status and function of the accompaniments directly. Currently, most of the academic study of accompaniments remains in the simple instruction of the instruments and techniques, and specialized research of accompaniments does not attract too much attention. So it is of great necessity and far-reaching significance to do the research of accompaniments, which is a complement in the area of Quyi music and a extension in that of instrument.Therefore, the accompaniments of the Northern Quyi in Ethnic Han are focused as the research objects, including Jingyun Dagu, Meihua Dagu, Danxian, Tianjin Shidiao, Shandong Qinshu, He’nan Zhuizi and so on. These sort of Quyi are spread widely in large areas with fully-developed accompaniments. Also, it includes different dominant instruments and various music tune structures. As a result, the research is allowed to be a complete one.The analysis of the historical materials and music forms and the field study is the basis of the six chapters. Through these chapters which stand for different aspects, the main features of the accompaniments in Quyi and the influence of accompaniments on building a complete music structure are illustrated.Since the research of the accompaniments is based on the overall features of Quyi,the first chapter is the analysis of the nature of Quyi music, thus presenting the three main characters.Among these, the combination of the tunes and accompaniments which are rarely paid attention to is the main research object. The second chapter is a presentation of the history, through which people can find the origination of the modern form of accompaniment. In the third chapter, the effect of the dominant instruments in accompaniments on constructing local music character and some other issues are mainly discussed. The fourth chapter is about the relationship between singing and accompaniments and that among the instruments. As the dominant creators,they are the main body of the accompaniment but are always neglected. The sixth chapter is analyzed in the prospect of aesthetic, including the functions and the revolution process.