Bangdi Heritage And Development Research

This thesis mainly takes the accompaniment position of Bangdi in China's local Bangdi opera as starting point, analyses its inherence and development, and summarizes its integration period from accompaniment to solo and from the confined Er-ren-tai and the old tune Bangdi music of north flute group tradition to the south and north flute group, and then develops into a leading music under a multi-cultural background. During each historical period, Bangdi experiences change and innovation.However, the real historical leap of Bangdi is after the founding of new China. This thesis will explore it from five chapters.The first chapter is an introduction to the research object, significance, methodology, content and current research of this thesis.The second chapter explores the history of Bangdi, in which the historical background of Bangdi and the definition of Bangdi are explored. Then the conclusion is made that Bangdi comes from Chinese local opera Bangdi opera, it is named for the the accompaniment of Bangdi opera, and it is the source of China's bamboo flute artistic creation and performance.The third chapter discusses the musical features between Bangdi and "Er-ren-tai" and "the old tune Bangdi music". Through a detailed discussion of the raising position of Bangdi from accompaniment to solo, this thesis concludes that Bangdi absorbs nutrients from the musical structure, the rotation characteristics of the method, the form of performance and flexible performance of the two opera music. During this time, some flute solo composers and performers emerge and create a lot of excellent works. Their works are based on local folk music and folk songs, and most of the works reflect northern local folk customs and the happy life of the working people. Feng Zicun, who opens up a new era of the solo form of flute music, is the first man to put flute music onto stage in the form of solo. Together with Liu Guanyue, also a lover of flute art, they influence a number of followers of flute art and cultivate a lot of talents of flute art.The forth chapter is a main part which explores the further innovation of the north flute group and integration of the north and south flute group. In the traditional sense, based on the north flute group, a new generation of flute artists innovate and improve the playing skills, playing style and performance characteristics of flute. From the early days of the founding of China to the reform and opening up, the north flute group develops a lot in playing skills and creating styles with its representatives as Kong Jianhua, Chen Dake, Zeng Yongqing, Liu Sen as well as Jian Guangyi, Lizhen, Wei Xianzhong, Gao Ming and Qu Xiang who make great breakthrough in Bangdi art. They combine and modify the playing skills of the traditional north flute group, create skills like stack portamento, spit sound, broken spit, cross-strike skills and smartly apply them to their works which greatly expand the flute playing areas and artistic appeal. With the development of society, flute artists realize that the soul of flute music are the music content, music image and depiction. All playing skills serve for music content. Thus, the integration of the north and south flute group is formed on the basis of this aesthetic standards, which break down the boundaries between different groups. Just as Zhao Songting noted,"As long as it is helpful to the performance of the musical content, we have to learn and absorb it".The fifth chapter implies the development status and prospects of Bangdi, which is a main point of this thesis. In this chapter, the author analyzes the appearance of Chinese bamboo flute art in the international spotlight under a multi-cultural background and the flute artists try to find an integration point of Chinese bamboo flute art and international art. Thus, innovation is made and elite works appeared like Huo(《惑》),Gu(《箛》),Windy Days(《刮风的日子》),Cang(《苍》)and so on.In conclusion, Bangdi, from its formation to development of tradition flute group to the integration of south and north flute, seeks for convergence with the international music art. From those series of development and inherence, we find that people pay more attention to the pursuit of spiritual civilization, artists in flute circle continue to explore and study the integration point of the art of China's bamboo flute and international art. The author of this thesis believe that in the near future, China's bamboo flute art will become a wonderful work in the international music and arts.