{"id":6055,"date":"2019-11-15T07:32:29","date_gmt":"2019-11-15T07:32:29","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/liaoning-guyue-drum-music-liao-ning-gu-le\/"},"modified":"2019-11-15T07:32:29","modified_gmt":"2019-11-15T07:32:29","slug":"liaoning-guyue-drum-music-liao-ning-gu-le","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/mm\/liaoning-guyue-drum-music-liao-ning-gu-le\/","title":{"rendered":"Liaoning guyue (Drum Music) \u8fbd\u5b81\u9f13\u4e50"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
\u7c7b\u522b\uff1a\u6c11\u95f4\u97f3\u4e50
Category: Folk Music
\u5730\u533a\uff1a\u8fbd\u5b81
Region: Liao<\/em>ning Province
\u7f16\u53f7\uff1aII-39
Ref. No.: II-39
\u7533\u62a5\u5730\u533a\u6216\u5355\u4f4d\uff1a\u8fbd\u5b81\u7701
Nominating unit[s]: Liao<\/em>ning Province
\u8fbd\u5b81\u9f13\u4e50\u81ea\u53e4\u4ee5\u6765\u5c31\u5341\u5206\u76db\u884c\uff0c\u66fe\u5bf9\u4e1c\u5317\u5404\u5730\u7684\u9f13\u4e50\u4ea7\u751f\u8fc7\u6df1\u8fdc\u5f71\u54cd\u3002\u8fbd\u5b81\u7701\u8fbd\u9633\u5e02\u51fa\u571f\u7684\u6c49\u9b4f\u65f6\u671f\u53e4\u5893\u58c1\u753b\u4e2d\u5c31\u6709\u53e4\u4ee3\u7684\u9f13\u5439\u6f14\u594f\u56fe\uff0c\u5e76\u4e14\u9898\u6709"\u9f13\u5439\u6f14\u8dcc\u6b22\u620f"\u516d\u5b57\u3002
Since ancient times, Liao<\/em>ning guyue (wind and percussion ensemble) has been extremely pre<\/em>valent. It o<\/em>nce imposed far-reaching influence on wind and percussion music in many places of Northeast China. This can be proved by a fresco unearthed from ancient tombs of the Han and Wei Dynasties in Liaoyang City. It is an ancient drawing of wind and percussion music performance and inscribed with six characters – \u9f13(Drum), \u5439(Blow), \u6f14(Perform), \u8dcc(Tumble), \u6b22(Joy) and \u620f(Play).
\u8fbd\u5b81\u9f13\u4e50\u65e9\u671f\u4e3a\u7b19\u7ba1\u4e50\uff0c\u660e\u6e05\u65f6\u671f\u52a0\u5165\u4e86\u5522\u5450\u4e50\uff0c\u6e05\u4ee3\u4e2d\u53f6\u4e50\u961f\u5b9a\u578b\u5e76\u8d8b\u4e8e\u6210\u719f\u3002\u4ece\u66f2\u76ee\u4e0a\u770b\uff0c\u5b83\u4fdd\u7559\u4e86\u5c11\u90e8\u5206\u5510\u5b8b\u66f2\u724c\uff0c\u5927\u90e8\u5206\u5219\u662f\u5143\u660e\u5357\u5317\u66f2\u548c\u660e\u6e05\u66f2\u724c\uff1b\u4ece\u7ed3\u6784\u4e0a\u770b\uff0c\u9f13\u4e50\u66f2\u4f53\u5341\u5206\u4e25\u8c28\uff0c\u6bcf\u4e00\u7c7b\u4e50\u66f2\u90fd\u6709\u4e00\u5b9a\u7684\u7ed3\u6784\u6a21\u5f0f\uff0c\u677f\u6570\u89c4\u5b9a\u5341\u5206\u4e25\u683c\u3002\u7279\u522b\u662f\u5176\u4e2d\u7684\u6c49\u66f2\u3001\u5927\u724c\u5b50\u66f2\uff0c\u6709\u7740\u660e\u663e\u7684\u5510\u4ee3\u5927\u66f2\u548c\u5b8b\u4ee3\u66f2\u7834\u7684\u7ed3\u6784\u75d5\u8ff9\u3002\u4ece\u67d0\u4e9b\u4e50\u66f2\u7684\u97f3\u8c03\u4e0a\u770b\uff0c\u8fbd\u5b81\u9f13\u4e50\u66f2\u660e\u663e\u5730\u53d7\u5230\u4e86\u5317\u65b9\u5c11\u6570\u6c11\u65cf\uff08\u5982\u5951\u4e39\u3001\u5973\u771f\uff09\u97f3\u4e50\u7684\u5f71\u54cd\u3002\u5728\u4e50\u8c03\u65b9\u9762\uff0c\u8fbd\u5b81\u9f13\u4e50\u7528\u501f\u5b57\u624b\u6cd5\u5f62\u6210\u7684"\u4e09\u5341\u4e94\u8c03"\u5b9e\u9645\u662f\u6ee5\u89de\u4e8e\u5510\u5b8b\u7684"\u79fb\u5bab\u6362\u8c03"\uff0c\u5c5e"\u71d5\u4e50\u4e8c\u5341\u516b\u8c03"\u7684\u4f59\u7eea\u3002\u6b64\u5916\uff0c\u8fbd\u5b81\u9f13\u4e50\u4e2d\u5522\u5450\u7684\u4e03\u79cd\u8c03\u540d\u79f0\u8c13\u4e3a\u7814\u7a76\u5522\u5450\u5f62\u5236\u7684\u53d1\u5c55\u6f14\u53d8\u63d0\u4f9b\u4e86\u91cd\u8981\u7ebf\u7d22\u3002
Liao<\/em>ning guyue originated from the Sheng (a wind pipe instrument) music, enriched by adding Suona (Chinese clarinet) music in the Ming and Qing Dynasties, took shape in bands and gradually matured in the middle period of the Qing Dynasty. As for its repertoires, the majority are music from southern and northern regions in the Yuan and Ming Dynasties or of the Ming and Qing Dynasties, while o<\/em>nly a few are those retained from the Tang and Song Dynasties. This can be co<\/em>ncluded from its names of the tunes (Qupai) to which Qu (music) are composed. In respect of musical form, Liao<\/em>ning guyue is pretty rigorous with a fixed layout for each kind, and the number of its accented beats is also under serious specification. Particularly, Han Qu (one kind of folk music collected by a government office in the Han Dynasty) and Dapaizi Qu (music with a series of Qupai) obviously reflect the structures of Daqu (grand so<\/em>ngs and dance music) in the Tang Dynasty and Qupo (music without lyrics or dance inserted into Daqu) in the Song Dynasty. In a view of tones, some works show great effects on Liao<\/em>ning guyue posed by the music of ancient northern minorities such as Qidan and Nvzhen. As for modes of music, Liao<\/em>ning guyue formed "the thirty-five modes" by means of Jiezi (ba<\/em>sed on pentato<\/em>nic scale, vary the pitches of original melodies during performance so as to transform the mode). Indeed, such derivation method is "Yi Gong Huan Diao" (change the pitch of Gong (one of the traditio<\/em>nal five Chinese tunes and serves as the basic tune) to vary the mode) and those "thirty-five modes" pertain to the carry-overs of "Yanyue Music twenty-eight modes". Additionally, the appellations of seven tunes of Suona in Liao<\/em>ning guyue have provided im<\/em>portant clues for the researches on the evolution of the form and layout of Suona music.
\u8fbd\u5b81\u9f13\u4e50\u5148\u540e\u4ea7\u751f\u4e86\u4e00\u6279\u6280\u827a\u9ad8\u8d85\u7684\u4f20\u627f\u4eba\u5982\u738b\u6587\u5dde\u3001\u738b\u56fd\u537f\u3001\u738b\u56fd\u5168\u3001\u5218\u6c38\u5e74\u3001\u5218\u6c38\u5e86\u3001\u5218\u5b9d\u5584\u7b49\uff0c\u4ed6\u4eec\u4e0d\u4ec5\u5728\u672c\u5730\u6559\u6388\u5f92\u5f1f\uff0c\u800c\u4e14\u8fd8\u5411\u5916\u5730\u4f20\u827a\uff0c\u7531\u6b64\u4fc3\u8fdb\u4e86\u8fbd\u5b81\u4e43\u81f3\u4e1c\u5317\u4e09\u7701\u6c11\u95f4\u9f13\u4e50\u7684\u666e\u904d\u4f20\u627f\u3002\u5e38\u7528\u66f2\u76ee\u6709\u300a\u5de5\u5c3a\u4e0a\u300b\u3001\u300a\u6885\u82b1\u8c03\u300b\u3001\u300a\u4e0a\u83dc\u66f2\u300b\u3001\u300a\u53e5\u53e5\u53cc\u300b\u3001\u300a\u6842\u679d\u82b1\u300b\u3002
Generation by generation, there emerged a group of highly-skilled successors to the Liao<\/em>ning guyue. They are Wang Wenzhou, Wang Guoqing, Wang Guoquan, Liu Yongnian, Liu Yongqing, Liu Baoshan and so forth. These successors not o<\/em>nly accept and teach apprentices in Liao<\/em>ning Province, but also pass on this art in other places beyond this province. In this sense, they promote the promulgation of Liao<\/em>ning guyue even across the three major provinces of Northeast China. Their commonly-performed repertoires include "Gong Chi Shang (or Above the Kung-Chih)", "Mei Hua Diao (or Notes of Plum Blossom)", "Shang Cai Qu (Serving Melody"), "Ju Ju Shuang" and "Gui Zhi Hua (or Cassia Twig and Flower)".
\u76ee\u524d\uff0c\u8fbd\u5b81\u9f13\u4e50\u4f9d\u7136\u76db\u884c\u4e0d\u8870\uff0c\u4f46\u6f14\u594f\u7684\u4f20\u7edf\u66f2\u76ee\u5df2\u7ecf\u65e5\u6e10\u51cf\u5c11\uff0c\u5c24\u5176\u662f\u5927\u724c\u5b50\u66f2\u548c\u6c49\u66f2\uff0c\u80fd\u5b8c\u6574\u6f14\u594f\u8005\u5be5\u5be5\u65e0\u51e0\uff0c\u51fa\u73b0\u4e86\u9f13\u4e50\u6d3b\u52a8\u5174\u76db\u800c\u4f20\u7edf\u4e50\u66f2\u5374\u8d70\u5411\u6fd2\u5371\u7684\u5c34\u5c2c\u5c40\u9762\uff0c\u9700\u8981\u6709\u5173\u65b9\u9762\u52a0\u4ee5\u4fdd\u62a4\u3002
Despite unfading pre<\/em>valence of Liao<\/em>ning guyue, the number of traditio<\/em>nal works performed now is edging down. What’s worse, few performers are competent to the extent that they can completely perform music of Dapaizi Qu or Han Qu. It is awkward that there are many Liao<\/em>ning guyue events while its traditio<\/em>nal works are on the verge of extinction. So, it requires protection from relevant departments and parties.
\u76f8\u5173\u4f20\u627f\u4eba\uff1a
Inheritor:
\u5218\u632f\u4e49
Liu Zhenyi
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