Strange On The Song

As one of China’s national erhu pull strings, since the Song Chen Yang "music book" records, has experienced more than a thousand years of historical development, but as a solo instrument aboard the music hall, but less than a hundred years. Liu Tianhua, Hua Yanjun, Sun Wenming, Jiang Wind and other ancestors made a great contribution to this end. In the process of rapid development in the arts erhu, Shaan’xi erhu music style is characterized by its unique style has become an important branch of the erhu genre. Among them, the kuyin phenomenon as highlighted in the Shaan’xi-style music phenomenon has been widely used in the erhu, the erhu Shaan’ xi embodies a unique style of music.This paper discusses through four chapters:Background factors misery melodic music of the second part of Shaanxi characteristics and formation. This part of the main line of musical styles, Shaanxi, Shanxi characteristics through the formation interval of "Huan Yin","bitter tone" melody, indicating these two parts constitute the major part of the erhu,"Elegy characteristics, and the formation of misery background music in Shaanxi Province factors are discussed, these contextual factors affect both the Guanzhong, northern Shaanxi, southern Shaanxi musical and cultural development.The third part of Shaan’xi opera folk music influence on erhu art."Huan Yin" and "kuyin" Shaan’xi music two special scales, especially widely used in local drama, kuyin scale with its wealth of emotion more use in the performance of sad sad music. The kuyin in part through the use of drama in the works elicit effects on the erhu, and a comparative study with the joy of sounds, the kuyin phenomenon is reflected in their use of the erhu in Shaan’xi opera art works were studied.Part IV Shaan’xi opera folk music influence on erhu of the arts. This part of the kuyin phenomenon into erhu playing style, from the creation of the characteristics of Shaan’xi erhu music, spin characteristics of the method, the use of playing techniques to find local music styles, which are detailed in the use of different techniques, like finger glide, extensor portamento, different sound with finger pressure playing techniques such as the use of kneading, the phenomenon reflects the kuyin of the music fragments were analyzed. The last part is the conclusion of this article, through the collection of data, organize, process research, to summarize the article, the emergence of the erhu, formation, development carried Overview of Shaan’xi erhu music special phenomenon to sort out, the opera music the impact of the kuyin and use to summarize the importancaaae of this phenomenon in the local music recognition. I learned from kuyin phenomenon starting to collate and study of Shaan’xi erhu music phenomenon of playing style, Yi kuyin in the description of phenomena associated with the Shaan’xi erhu music styles.