Qing And Yun In The Art Of ErHu Performance

Erhu, One of the stringed instalments, is the most representative one in the Chinese traditional folk musical instrument. Although the art performed by ErHu appears later than other Chinese traditional ones, it requires fluency in rhyme and vividness in performance, which comes in line with the perfection combination of Chinese traditional musical aesthetics, the criterion for tasting and Qing and Yun. It is highly concerned that what is the Qing and Yun and how the performance make the best understanding of the works. We may get the idea from the articles made by the composers to introduce their experiences and more and more people have regarded the Qing and Yun as the Chinese traditional music as well as the spirit of the Erhu performance, any negligence will dim the traditional charm in art. At the same time the articles that have the deep insight into the aesthetics, philosophy and psychology is very rare. Therefore I take the Qing and Yun as my direction in researching the art made by Erhu. On the foundation to succeed to the predecessor and continue to make a discuss of the interior law, meanwhile making a further development of the stronger expressive and affecting force, I have extensively collected some 90 thesis on the Erhu performance and browsed some ancient articles. With the experience accumulated in practice for a long while and study the art of Erhu performance from my noted master, I will make a deep thought into my experiences, the dissertation made by the predecessor and other people's experiences in order to heighten the realization and understanding of the art of Erhu performance.The first and second chapters in this thesis will analyze Qing and Yun in the art of Erhu performance respectively. The chapter one consists the sector one, understanding of the Qing in music, the sector two, the performer's Qing in the works and the sector three, the expression of the Qing in the live performance. All above iterate Qing in the art of Erhu performance in three aspects. The chapter two comprises the narration of Yun in the art of Erhu performance. Following the such clue as "Language---folk music, theatrical plays, drama---music made by folk musical instruments---performance of Erhu, I will divided the chapter two into three parts: the first, the relationship between the Chinese language and Chinese traditional folk music, the second, the impact that the folk song, drama music have put on the Yun of the Erhu performance and the three, the use of Yun in the Erhu performance for other folk musical instruments' reference. All the three parts illustrate the source of Yun in Erhu performance. Then I make a detailed narration on how to use the complex technique of the Erhu performance to express the Yun in the music. While in the chapter three, I have picked the four most representative pieces in the solo made by Erhu, to analyze Qing and Yun in the compound angleIn my opinion, the acute sense and the profound culture and exertion in the Two-Time Creation in the performance made by Erhu composer must have the background of the culture and foster of the folk music. How to succeed the tradition, to absorb the nutrition from the folk and to perform the modem art of Erhu is an issue deserved to discuss. In this thesis, I succeed to thefindings made by the predecessor and conclude my own experiences in both study and performance and hope to contribute my little effort to carry forward the grand art of our national musical tradition.