Inheritance Research On Henan Bantou Tune

Henan Bantou tune, a kind of instrumental music performed by sanxian, lute and guzheng, is an essential part of string ensembles in Henan province. The Bantou tune, mainly spreads over Nanyang, Henan, is one of the rare fork arts in Henan or even the whole country, and it is one of the cultural gems in Central China. The Bantou tune was once very popular in Central China. However, with the rapid development of modern civilization and the growing multicultural prosperity, alternative means of recreation have greatly increased, plus lack of appropriate research and propaganda, the Bantou tune gradually lost its popularity and even was in danger of dying out. In 2006, the Bantou tune was listed in the first human oral and non-material cultural heritage lists, which aroused great attention in the academic circles.In 2008, Song Guangsheng was announced by the Ministry of Culture as representative successor of the Henan Bantou tune, the national non-material cultural heritage. So far, the research on the Henan Bantou tune has attained its definite authentication on a large scale. However, the fact that the Bantou tune has received national attention merely proves that the Bantou tune is now in its fading status. The previous studies on the Bantou tune are relatively objective, which primarily focus on musical substantialism or historical materials, this thesis is different in that it lunches a deep field research on the inheritor, aiming to make a deep and profound illustration of the inheritance context and artistic features of the Bantou tune with the analysis of guzheng. The thesis consists of four parts. The first part is an introduction, which introduces systematically the Bantou tune from three aspects, namely historical environment, current state of research and the relationship between the Bantou tune and Dadiao tune. The second part is to summarize the current situation of Henan Bantou tune's inheritance and analyze the inheritance as well as the features of the Bantou tune through field research carried on Song Guangsheng, the inheritor of the Bantou tune. Part three focuses on guzheng performance, whereas in part four, some issues are put into consideration and constructive proposes are presented.