The so-called "rhyme" refers to a more microscopic level than "sound". In the performance of guzheng, guqin and other musical instruments, a sound is often broken down into several subtle processes: beginning, neck, abdomen and tail. These changes in the micro-world are called "rhyme".
Indeed, it should be said that "making rhyme" is the soul of Zheng music. Through the application of the left-handed sound sweeping technology and the unique charm it produces, it has established its position in national music and extraordinary stage effect. Life experience is the basis of natural expression. From ancient times to the present, people are good at discovering and capturing the beauty in life with their own life experiences and aesthetic feelings, and expressing the melody that can touch the soul most with various pitch changes, so as to achieve individuality and unusual purposes. For example, when the language in Henan suddenly dropped in high school, its guzheng music had prominent glide and vibrato. In the fresh and clear introduction of Yuanxiao, a long string of scraping music leads to a cheerful melody. On the long sliding sound and vibrating sound, from symbol to symbol, from angle to symbol, from symbol to angle and other phoneme effects. They are all played, reflecting the straightforward temperament and high-pitched timbre of Henan people. In the lively folk custom of Lantern Festival, the passionate melody of Zheng music is integrated into the cadence of Henan opera music, which is hearty and diarrhea.
Among the rhyming techniques, left-handed vibrato is a self-contained expression technique, which is called "vibrato system", including general vibrato, continuous vibrato, rhythmic vibrato, repetitive vibrato and sliding vibrato. Such a variety of vibrato is used in various schools of Zheng music in various ways. It is not a mechanical and fixed deviation and regression at all, but a unique "micro-melody" with endless changes. Or Qingyuan Junior 3, or beautiful, or elegant and indifferent, or bold and warm, or affectionate and warm, or humorous, or solemn and dignified, or majestic, or naive and beautiful, or exquisite and natural, or bohemian, or formal and solemn, or resolute and awe-inspiring, or flying, or old-fashioned, or naive and childlike, depending on the player's music. The experience of Mr. Yang, a famous Chaozhou opera teacher, is that "playing Zheng should pay attention to charm and expressiveness". The expression and charm are exactly the same. This is the irreplaceable essential attribute of the art of Zheng music, the most exquisite and profound mystery in the unity of formal beauty and artistic conception beauty of Zheng music, the concentrated expression of the wisdom, talent, experience and labor crystallization created by the artist freely, and the natural expression of the artist's character cultivation, cultural accumulation and life experience. Because of this, it can arouse people's aesthetic feeling. In the words of "aesthetics of unfinished music", this is an expression of "life phenomenon" of "dynamic balance" in the micro-world, and life phenomenon is only one of the sources that make people feel beautiful.
The highest realm of Hegel's formal law is "harmony", which Hegel interprets as "mutual infiltration of opposites", that is, the two opposing sides form a relationship of "you have me and I have you". This mutual penetration of opposites is not only reflected in the relationship between various factors in music, but also in the relationship between subject and object. When the subject finds himself on the object, when the viewer experiences mankind in "rhyme". Only at this time can we reach the artistic realm of "things and me are the same" as the ancients said.
The key to distinguish organic life from inanimate inorganic matter lies in organic structure. According to Piaget's analysis of "organism", the structure of organism has three characteristics: integrity, transformation and self-regulation. "Integrity" means that all factors are combined into an inseparable whole, and this whole has produced a new quality-a new image, which is a new quality that all isolated factors do not have when they exist alone. "Transitivity" means that the generation process of structure is a hierarchical development process. The so-called development is the transformation from a lower level to a higher level, which constitutes a spiral rise. There is an isomorphic relationship between different levels, the lowest level is equivalent to cells, and the highest level is equivalent to the whole life. "Self-regulation", as Mr. Fei Deng Hong discovered. The beauty of melody is manifested in the dynamic balance between deviation and regression in free movement. No matter how free the movement is, it always constitutes deviation and returns to a hidden middle line. This seemingly random deviation and regression "amount" are actually roughly equal, just like a person's breathing, no matter how casual, the amount of breathing and inhalation is roughly equal. This is a phenomenon of life. Only machine life can realize self-regulation. Constantly breaking the old balance and constantly establishing a new balance, life is maintained in this dynamic balance.
If general music works pay attention to the beauty of this dynamic balance, then "rhyme" is the dynamic balance of deviation and regression of free movement at the micro level. This kind of music with "rhyme" can make people feel better than music without this kind of micro-happy dynamic balance. Mr. Zong Baihua once pointed out: "The realm of life includes economy, politics, society, religion, science and philosophy. All this can be reflected in literature and art. "Life phenomenon is not only biological, but also social, which is concentrated in people's mental state. The expressive force of "rhyme" is extensive, which is not only lively on the whole, but also contains rich connotations such as humanity, personality, emotion, temperament, style, psychological accumulation and cultural inheritance. The premise of the success of "making rhyme" is the experience and understanding of "people", which is by no means limited to music literacy. Lu You, a patriotic poet in the Song Dynasty, famously said that "Kung Fu is beyond poetry" is of great educational significance.
The "charm" and "expressive force" in Zheng art depend not only on the technical level of the performer, but also on the depth and breadth of the performer's cultural and artistic accomplishment and life experience. In the teaching of guzheng, there is a phenomenon that some students spend a lot of time practicing the piano, ignoring the study of other courses besides guzheng and the accumulation of cultural heritage, and even have no contact with vocal music closely related to musical instruments. Such a single way of thinking is undoubtedly unfavorable for training guzheng performance. People often say that the art of playing is a second creation, and the real second creation is not limited to playing according to the score, but involves aesthetic judgment first, which requires the performer to express the background of the times, cultural trends of thought, regional melody personality and aesthetic views. From the coordination of dexterous hands and the combination of perceptual factors and rational factors, we can consciously expand our knowledge and deeply express the connotation of musical thinking.
The "rhyme making" of Zheng music has developed in history. People will never forget that the precious products left over from more than two thousand years of traditional Zheng music are also the natural source of cultural wealth. On the basis of traditional guzheng music, it is a realistic and contemporary problem to increase the sense of innovation and make guzheng performance more dynamic. Over the years, composers have learned the musical mysteries of the masters of past dynasties, gained the true meaning, and accumulated and thought very attentively on the scale of grasping phonology, which can be described as "the confluence of ancient and modern, the combination of Chinese and western, the integration of great strength and vertical and horizontal integration". Create a batch of Zheng music that reflects the spirit of the times, and the colorful Zheng rhyme permeates the dynamics of the times. For example, in "Drama Rhyme", the traditional Peking Opera music materials are combined with the application of modern composition techniques, and the multi-tone series overlapping arrangement method is adopted in the tuning, which makes the music provide various possibilities in the aspects of lateral tonality change, vertical harmony combination and tonality superposition. In the performance, the cadence charm and cheerful and warm style are highlighted. In the free structure, there are various ways of expression, especially the vivid expression of the plate-like changing characteristics of singing, reading, doing and playing in traditional Chinese opera music and the artistic image of dance, which is a new bright spot in guzheng's creative works. At the same time, some works based on modern consciousness and concepts have come out one after another, such as a guzheng solo "Chapter 3 of Landscape", which shows the emotional integration between man and nature, creates the technique of plucking the strings in the left area of the code, and absorbs the rapid repetition of the pipa wheel finger, the harmony of the dulcimer and the rapid insertion of the piano cadenza. What moves me even more is that the combination scale of the charm and difficult skills of this song is very appropriate. No matter in the casual soft sixteenth note playing, or in the fast hand-switched melody, or even in the three or four-degree jumping and arpeggio, the performer's skill of "creating rhyme" can be realized, so that the audience can have a more accurate positioning of the performance and performance characteristics of Guzheng, an ancient traditional instrument, when they feel the new acoustic effect. I think these successful Zheng music works should represent the development direction of creation and performance in our time.
The past and present of China Zheng music are closely related to the future. The eternal soul of Zheng music should pay more attention to the internal tension and the foundation and source of its appeal. Now the music life in China tends to be rich and active, and the performance of guzheng needs professional training. The key points of each stage should be drawn step by step, the boundaries of degree should be clear, and the students' tolerance should be considered from the content. At the same time, the subject of guzheng is more systematic, scientific and creative. Faced with a large number of skill standards, the study of guzheng rhyme is the most important. I believe that in the new era, the art of guzheng will be improved day by day.