Music Research On Cai Jiawa Wu Yin Da Gu And Other Relevant Forms

The thesis begins by introducing the rediscovery and the current situation of Cai Jiawa Wu Yin Da Gu, and proceeds to make clear about the relationship between Cai Jiawa Wu Yin Da Gu and other relevant forms, and take it as the subject for research through the study of the relevant materials and the oral materials and through sorting out the relationship between the Cai Jiawa Wu Yin Da Gu and Wu Yin Da Gu in other forms. Then the thesis provides an academic description about the basic form and the origin through the comparison between the tone of Cai Jiawa Wu Yin Da Gu and that of the relevant forms of melody.At the same time, the writer make his conclusion about what are the five tones of Wu Yin Da Gu and the existence of Wa Qin as an instrument. Therefore, the variety of assumptions of the musical formation, the historic origin, the meaning of its name and the special instrument are corrected objectively.The thesis states that Cai Jiawa Wu Yin Da Gu is derived from the Wu Yin Da Gu which has been persuasive in the northeast of Beijing. It is unique for its rich tones and the special instrument. It is closely related with the Jing Dong Drum in the process of its formation and evolvement. Its tone is mainly influenced by the Si Pingdiao Da Gu as well as the Lao Ting Da Gu,Ping Gudiao Da Gu and Zai Chenying Da Gu. Compared with other forms of drum music, it is not only unique in its artistic composition and also diverse in its connotation. It's unique and precious with two aesthetic function of speaking and singing in QuYi. as to the five tones in Wu Yin Da Gu, the writer is inclined to believe it refers to five instruments or five performers. As an instrument, Wa Qin must have been recreated or influenced by the musicians in the last Qing Dynasty in its formation and development. However, we can't deny the possibility that it is used and passed on by the folk musicians in entertaining and making their lives.