Study On The Historical Evolution And Form Of Zheng Music Playing Skill In Tang Dynasty

In the flourishing political,economic and cultural environment of the Tang Dynasty,Zheng music was widely used in the court and among the people during this period,and had a profound influence on zheng music outside the region.Up to now,the existing Tang zheng transcription,Tang Dynasty ancient books and documents,Tang Dynasty murals and pottery figurines and other ancient cultural relics materials have described and described the comprehensive content of zheng instrument type,zheng person,zheng music,zheng music style,playing form and so on.In the above atlas classics,we can all find the scenes and words of the Tang Dynasty court or folk playing zheng music technique.As a key part of the communication of zheng music,the performance skills of Zheng music in Tang Dynasty condensed the important achievements of the development of Zheng music in this period.This paper aims to demonstrate the development and form of zheng music performance in the Tang Dynasty from the perspectives of semiotics,philology,iconography,aesthetics and other multidisciplinary studies.In the aspect of semiotics,this paper for the first time conducts a comparative study on "Zheng case notation",the two zheng score sets of Renzhi Yaolu and Xiang Zheng Zhiyao.According to the information of its musical surface,during this period,the right hand played with a combination of single or multiple fingers,and the left hand slid with "push" or "take" to change the intonation of the strings.Zheng music had formed a set of systematic and standardized techniques and notation in the Tang Dynasty.From the perspective of philology,the music section of the official historical documents containing the performance information of zheng music in the Tang Dynasty mostly records the types of zheng,and folk documents such as folk books and miscellany of notes,as well as the literature literature of zheng music in the Tang Dynasty represented by the Poems of the Whole Tang Dynasty include the skills of "playing,smoothing,pressing and hiding" used by other plucked instruments.Through comparative analysis,it can be seen that "column shifting,string pulling,repressing,finger sliding,rolling and rotation" are roughly the unique skills of Tang Zheng performance.In the aspect of image study,this paper studies the characteristics of "visualization" of musical figures.The image of Zheng and uki mostly appears in the mergeformat music and dance of Dunhuang murals,the music and dance murals of tombs,the stone and brick engravings of stone statues in tombs of Tang Dynasty,and the music and dance,song and uki and pottery figurines of Tang Dynasty.In the image of zither,the right hand plays the string and the left hand plays the string,and the detailed gestures of the hand playing shown in the picture are basically the same as the zither playing skills recorded in the first two chapters of this paper,so the zither playing skills in the Tang Dynasty can be supplemented and mutually verified from multiple perspectives.Finally,from the perspective of aesthetics and sociology,this paper reflects the aesthetic artistic connotation of Zheng music through the above three perspectives.Zheng music at this time has the aesthetic commonality of elegance and common appreciation.In addition,the official context of Tang Dynasty reflects the harmony of zheng music under the integration of "Hu,Han and vulgarity".In the folk context of Tang Dynasty,Zheng music has the aesthetic characteristics of exquisite timbre,strong contrast of rhythm and "blank" structure.Among Southeast Asian countries,Midaguk,Japan and Shilla zheng music,due to their regional and national cultural differences,zheng music presents individual aesthetics.For example,Midaguk zheng music is religious,Japan is natural and solitary,and Silla has dynamic aesthetic style.