The Value And Significance Of Xinjiang Yangqin “Chang” Reform

As a cosmopolitan music instrument,dulcimer has a long history,a great variety and a wide distribution.Different countries and nations call dulcimer different,and have formed distinct national characteristics on dulcimers in terms of shape and structure,performance technique and musical style.Xinjiang,located in the hinterland of the Eurasian continent,is an important passage of the ancient Silk Road with quite unique culture,and has formed a musical art with regional characteristics and attracted a large number of composers to create Xinjiang style music,making the music creation of Xinjiang style have a leap development.The Xinjiang Yangqin “Chang” has strong Xinjiang characteristics and is unique among dulcimers all over the world.Over the years,“Chang” has always been the main accompaniment instrument of 12 Mukam,and occasionally performed solo music,or the melody in Xinjiang folk songs and folk dances.However,there are few solo works of “Chang” itself.With the progress of the times,Xinjiang composers and Yangqin artists have continuously created many Xinjiang Yangqin music works through continuous efforts.In order to conform to the development trend of the times,meet the appreciation needs of audience,and meet the requirements of composers,“Chang” has undergone many reforms: one the one hand,it absorbs the production principle of Yangqin of the ethnic Han,improves the production technology and broadens the range of the vocal range;on the other hand,it combines its own regional culture to develop and add damper pedal.Through these reforms,it not only guarantees the quality of the musical instrument,inherits the traditional culture of ethnic minorities,but also enables new innovation and development of the musical instrument.It is hoped that through the reforms of the music instrument,“Chang” can show a richer musical expression in the creation of new works or in the performance skills.The first chapter expounds the historical overview of the Xinjiang Yangqin“Chang” and introduces the characteristics and changes of the shape and structure,tone,and phonotactics of each reformed “Clang”.The second chapter expounds the Xinjiang Yangqin music work creation and the application of “DieMeng Chang” in the works.For the part of Xinjiang Yangqin music creation,this paper expounds the development status of Xinjiang Yangqin music creation and the characteristics ofXinjiang Yangqin music,in which the characteristics of Xinjiang Yangqin music are reflected in the use of moving tones,the completeness of the structure,and rhythm and beat.For the part of the application of “Butterfly Dream Chang” in the works,this paper takes the classic work “Tash Vay” and a modern creation work “Singing Sound Caprice” as examples to introduce the effect and comparison of the performance of“DieMeng Chang” and the important influence brought by the reforms of “DieMeng Chang” respectively.The third chapter expounds the positive meaning and role of the“Chang” reforms from three aspects of creation and performance,teaching and practice,culture and communication,making our young generation of Yangqin players understand more about the inheritance and development of traditional Chinese folk music,and contributes their meager strength to the spread of Chinese folk music.