| “Xian Suo Bei Kao” is a collection of Chinese divertimento notes that mainly of stringed instrument which edited by Mongolian literati Ming-Yi et al.in the early 19 th century of Qing Dynasty.This note collection is recorded in Chinese Gongche Notation.Besides,it is also one of the earliest and the most complete note collection of “Xian Suo” music in the history of Chinese traditional music research.This note collection includes 13 complete Zheng notes that by far the earliest Zheng music for literati since the reach of Chinese Zheng music.It is also the most important part of Zheng music for literati,Chinese imperial court music and the reach of Zheng music.For more academic significance and research value,this note collection expands the direction of Chinese Zheng music.In the “Xian Suo 13 Set”,people can find out the musical form that were popular in the aristocrats of Chinese royal palace and the aesthetic orientation of the social features at that time.The main research object in this thesis is “Qin Yin Yue Er Gao” in “Xiao Suo Bei Kao”,include taking “Zheng Music adapted from Guqin Music by Wang Longzhang”as the original focus to go on the investigation and research.In one hand,the author of this thesis focuses on the writing,notes and annotation of handwritten “Xian Suo Bei Kao” by Rong-Zhai and look into the Standard tuning,Performance techniques,Tune structure,etc.,than explores the similarities and differences between “Qin Yin Yue Er Gao” in “Xiao Suo Bei Kao” and handwritten “Xian Suo Bei Kao” by Rong-Zhai,eventually the author's intention and method of adaptation by Wang Longzhang are explained;On the other hand,the author of this thesis reflects on the connection between Zheng Music and Guqin music by the way of Guqin music imitating.Meanwhile the author analyzes the emulation of guqin finge-notes,rhythm,tempo and artistic conception in this music,include exploring the relationship between notes,tunes and rhythm of Zheng performance,and thinks over the performance value and aesthetic value that contained in this music.In conclusion,base on developing the topic of “Xian Suo” and discussing the significance of “restoration & resurrection” as well as the inheritance of Chinese classical music.The author thereby draws the following conclusions:1.The Zheng music “Qin Yin Yue Er Gao” in “Xian Suo Bei Kao” is a solo performance with heavily smacks of literati.2.The contrast between Zheng Music “Qin Yin Yue Er Gao” and handwritten“Xian Suo Bei Kao” by Rong-Zhai has a visibly difference in artistic style and artistic conception.3.The form structure of Zheng music “Qin Yin Yue Er Gao” is “Qu Pai Lian Zhui Ti”(the names of the tunes)that with transitions in 4 parts called “qi-cheng-zhuanhe” which in terms of the aesthetic orientation from Chinese traditional music.4.The Zheng music “Qin Yin Yue Er Gao” has a distinctively performance techniques in reality and imagination of rhythms,that has high artistic value in music performance and music appreciation.5.The Zheng music “Qin Yin Yue Er Gao” has deeply significance and implication in artistic aesthetics,that not merely for imitating the performance techniques of guqin,but also hankering for the music appreciation of guqin.After research and repeatedly perform the Zheng music “Qin Yin Yue Er Gao”,the author of this thesis war complaining about the excellent performance techniques,aesthetic orientation and pure character of Arts from the people in 200 years ago.The Zheng music “Qin Yin Yue Er Gao” is certainly a gem in the history of the development of Chinese traditional music that provides a valuable template for the research and performance of Zheng music for literati,and also has a important academic significance in the research of music in the Ming and Qing Dynasties,including Chinese music aesthetics,music history,Zheng performance,etc. |
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