The Influence Of The Musical Aesthetic Thought Of "Ling Ran Xi Yin" On The Performance Of The Erhu Works "Jiang He Yun Meng"

The twenty-four poetry is known as the outstanding representative work of ancient Chinese aesthetic theory.The book is formed by four-word sentences which are short and pithy and divided into twenty-four chapters,so it is called the Twenty-four Poetry.Twenty-four Poetry reflects the aesthetic interest and spirit of variety,reveals the theory of yin and Yang,shows consistency of the unity of opposition,embodies the character of immanent transcendence and focuses on the aesthetics.The highest realm of the erhu art is the beauty of timbre and artistic conception.In the social background of the increasingly cultural plural,music and literature are regarded as the two important branches of China traditional culture,and exchange and integrate constantly.Starting from "Ling ran xi yin" music aesthetics of the book the Twenty-four Poetry and combining people’s practice and aesthetic experience,the paper will analyze "Ling ran xi yin" music aesthetics which is used in Erhu Concerto "Jiang HeYun Meng".Starting from the introduction,this paper analyzes the source of the subject,purposes and significance of the research and the current research status at home and abroad.The reference source is mainly divided into literature information and music aesthetics.The feasibility of the study content is evaluated.The second chapter and the third chapter are the core chapters of this thesis.The second chapter describes the effect of the Twenty-four Poetry which impacts Taoist music aesthetics.From performance skills,timbre requirements,and artistic conception creation of “Jiang He Yun Meng”,the third chapter reveals the aesthetic connotation of "Ling ran xi yin" music thought,which promotes the China traditional aesthetics in the erhu art.