| Through the elaboration of Ruan’s acoustic features,the paper clarifies Ruan’s balanced performance in chamber music,declaring publicly the development potential of musical instruments of Ruan’s kinds.Ruan has a long history in China,which is favored by refined scholars.In addition to solo,Ruan,this ancient instrument is also very suitable for instrumental ensemble and each playing one part.Some part can be early seen from the story of playing Qin and Ruan of Ruan Ji and Ruan Xian,the uncle and nephew of "The Seven Sages of the Bamboo Grove".Because of the use of steel wire strings as well as nylon paddles,modern Ruan has a better sound effect,having the features of being round,transparent,plump,clean and soft and other features,making Ruan very amiable,being able to well wrap the penetrative point expression of other high pitched plucked instruments in chamber music performance,also connecting better the bass area meanwhile and well developing alto section,making the echo between bass and high music instrument have a "bridge of communication",letting the whole chamber music sound better glue into a whole.Also,the performer’s management of the angle of entering the strings,speed,strength and location during the performance process makes Ruan’s timbre and tone quality more colorful on this basis,which is also the reason why Ruan is indispensable in the combination of chamber music.The title of “chamber music” is introduced,but in the light of the form,China already has it in ancient times as a matter of fact.With the appearance of the class,musical instruments are not only used for the situations of religion,etiquette,sacrifice and other situations,but also mainly used for rulers,like "music in the house" in Zhou Dynasty,"yan music","Qing tone","Qing music" in Sui and Tang Dynasty,"thin music" in Song Dynasty,"small music" and "Hui hui music" in Yuan Dynasty as well as "south Yangzi string and pipe ensemble" which is spread till now,all of which are the performances of Chinese "chamber music" and this performance also clearly reflects that Chinese chamber music derived from the royal house,and then was imitated by the scholar officials,and finally going to the development process of the folk,declaring publicly that the performance form of national chamber music has a long history and thriving vitality.Starting from the origin and rheology of Ruan and along with Ruan’s development trace,this paper explains emphatically the sonority features of Ruan as well as the richness of its expressive techniques and the flexibility of its location,highlighting emphatically the fusion and plasticity of the timbre of Ruan.Through the origin of modern Chinese chamber music and its various expression forms in Chinese history,combining with the different allocations of modern chamber music,and the technical innovation of modern performers,to clarify the comprehensive and cooperative quality that the instrumental performers of modern chamber music should have.In the end,as the performer of Ruan,the author takes the personal participation in different forms of chamber music performance as an example,further explaining the excellent quality shown by Ruan instruments in cooperation as well as Ruan’s role in the whole sound balance of the indoor band.Starting from practical experience,the author looks up related data,trying to make an exploration like throwing away a brick in order to get a gem towards Ruan’s balance relation in chamber music cooperation. |
