On The Shape And Spirit Of The Three Different Stages Of Zheng Music

Zheng is one of China's unique and important national musical instruments.After thousands of years of development,it has spawned a number of schools with different characteristics.With the enhancement of the country's overall strength and the continuous improvement of international prestige,China's ancient national musical instrument—Zheng—is increasingly favored by people of all countries.The ancients are known as the “machine of virtue and wisdom”.Today,people regard zither as an art of spiritual civilization.Since modern times,composers have continuously innovated in the practice of playing and created a group of excellent zither works.At the same time,many outstanding performers emerged to gradually let this traditional instrument go abroad and face the world.As one of the forms of human art expression,music is rich in artistic beauty,and so is zither music.The perfect presentation of a work needs the realm of beauty of rhythm,beauty of artistic conception and beauty of expression.In the Guzheng art,it is inseparable from the mutual fusion of the form and the connotation.It is also the combination of the two that subtly and perfectly shows the artistic beauty expressed in the performance.Among them,form is the essence of connotation.Through the use of performance techniques,body language and other techniques,the work presents a natural expression of external appearance;Connotation is the soul of form,and is an inner support of the main content of works and the expression of musical emotions.Form and Connotation are the two aspects of “outside” and “inside” are an important part of Guzheng music.In this paper,the use of access to information,literature research;search for audio and video,and practical research;from the aesthetic point of view,on teh shap and spirit of the three different stages of guzheng music's characteristics of connotation and other ways,extensive collection of literature,music scores,audio and video data,analysis.Comprehensively,comparing and summing up,it is proposed that zither playing should focus on the form and the connotation of the divine,that is,the view of the performance form and the content of the performance.This thesis discusses on the shape and spirit of the three different stages of zheng music,exploring the development law of Guzheng track creation,and proposing new ideas and theoretical support for contemporary Guzheng composition and performance.