Later, the fourth uncle's "Moonlit Night on a Spring River" was adapted, which was not only more expressive, but also removed the theme of expressing the sadness on the river in the original "Pipa". Moonlit Night on a Spring River by folk music ensemble not only carries forward the elegant style of classical phonology, but also makes the music full of inner passion, emotion and vitality, and the theme expression is more delicate. 1925, Shanghai Datong Music Association adapted it into an ensemble of silk and bamboo, which was further improved after liberation. In particular, the orchestral "Moonlight on a Spring River" adapted by Peng Xiuwen, the Central National Orchestra, has reached a superb realm of poetry and painting, and has repeatedly shined in the international music scene. After constant adaptation and integration, Moonlit Night on the Spring River has many versions, but what remains unchanged is that you can know the artistic conception after listening to it, which is memorable. These adaptations retain the traditional artistic conception of China, but also have the three-dimensional sense of western symphony music, and keep pace with the times. This is the embodiment of China culture and the brilliance of traditional music in China. Moonlit Night on the Spring River is a classic of Chinese classical music and a positive progress of classical culture.
? Moonlit night on the spring river belongs to wuyue music. Wuyue, geographically, generally refers to the region centered on the Yangtze River Delta, mainly including southern Jiangsu, Zhejiang and Shanghai. Wuyue is located in the southeast of Anhui in the east, southeast of Anhui in the west, northeast of Fujian in the south, north of Jiangsu and connected with Shandong. Traditionally, people call this area "Jiangnan area". Judging from the aesthetic characteristics of music, wuyue's music is euphemistic and elegant, with emphasis on female beauty. Soft melody, slow rhythm and metaphorical lyrics express implicit inner feelings. "Moonlit Night on the Spring River" vividly depicts the charming scenery of the riverside on the moonlit night with erhu, pipa, guzheng, flute, bell and drum, and praises the charm and grace of Jiangnan water town through euphemistic and simple melody, smooth and stretched rhythm, ingenious and delicate orchestration and exquisite performance.
The whole song is divided into ten sections, just like a meticulous scroll, with soft colors and beautiful and elegant landscapes. It shows the charming scenery of nature on a quiet night in spring, with the moon rising from Dongshan, boats rippling on the river and flowers swaying gently on both sides. Music uses a variety of structural ways, so there is a lot of contrast and unity between paragraphs. Although the new elements of each melody are endless and varied, showing the artistic conception of music from different angles, at the end, there are many different ways to lead to the same phrase, which sounds natural and harmonious and has the image of "the unity of all things in life". Ten pieces of music are accompanied by poetic subtitles to arouse people's association.
(1) Jianglou bell and drum
The first paragraph of the music, "Jianglou Bell and Drum", begins with the simulation of drum sound of pipa changing from slow to fast. Subsequently, the ensemble of Xiao and Pipa, like the light waves on the river, has a beautiful and smooth melody, showing a serene scene of dusk and sunset. Finally, the band played in unison, beautiful as a song, euphemistic and calm, and the guzheng played slightly, which perfectly showed the calmness of the twilight in the south of the Yangtze River.
(2) Dongshan Mountain on the Moon
In the second paragraph, the theme melody of the folk music ensemble moves up, and through the rising melody, it depicts the scene of the sunset and a bright moon rising from Dongshan, showing a beautiful picture of the floating moon shadow on the river.
(3) Qushui return air
The melody of the third paragraph falls layer by layer and then rises again, and the melody line fluctuates, which increases the movement of music and shows the infinite changes of nature.
(4) The cascade of flower shadows
In the fourth paragraph, after the slow tune, there are four fast-paced phrases in the music, which are in sharp contrast with the quiet artistic conception in front, showing the chaotic cascade of flowers and shadows in the water, showing the self-pity of flowers and shadows, and forming the beautiful scenery of "flowers and shadows overlapping" on the Chunjiang River.
(5) Deep water clouds
The tune is played with pipa, erhu and Hu Zhong in the bass area, which is mellow and deep, and then shows the harmonious beauty of water and clouds with different playing techniques. The different vocal areas of this piece of music set each other off into interest, vividly depicting the endless artistic conception of Tianshui, and making the artistic conception of the whole song change from beautiful to magnificent.
(6) Fishing boats sing late
The sixth paragraph is the melody of a fishing song. The singing melody of Xiao and Pipa, accompanied by the intermittent sound of wooden fish, is simple and true. When you hear the sound, you will see people, and suddenly a scene of Jiangnan fishing boats returning late is vividly displayed.
(7) returning to shore.
At this time, the music was fast and enthusiastic, and entered the climax of the whole song. After the pipa played strong music by "sweeping the wheel", the folk music played in unison, depicting the scene of the boat racing home and the spray splashing. All kinds of timbres in folk music ring together, showing the ups and downs of the river, and the sound of knocking on the river bank is like an ear.
(8) Guang Lai Akira
The music of the tune is rising repeatedly, and the sound of the guzheng is like the flow of the river and the sound of rowing when returning to the ship, showing the artistic conception of surging waves and the sound of rowing from far to near.
(9) Alas, it is the return of the ship.
The whole song reached its climax again. Under the background of guzheng and pipa sound, the band ensemble changes from slow to fast and from weak to strong, showing the artistic conception of returning to the boat and breaking water, splashing waves and crisp sound.
(10) conclusion
? In the bass area, melodious, slow and lyrical tones are played at a slow speed and free rhythm, as if the picture had returned to the beautiful scenery of returning to the boat at the beginning of the music, and all was silent and the river was quiet. The band outlined the aftermath of the river rolling with sporadic guzheng sounds, as if everything was attributed to the calm under the moonlight.
The whole song goes in one go. The pipa vividly simulates the sound of bells and drums and the rushing waves lapping on the shore. At the end of the song, the erhu expresses lingering thoughts and distant feelings that people can't see. The guzheng focuses on simulating the flowing waves, and Dong Xiao expresses melodious fishing songs. The bells are quiet, and the drums add momentum to the river in the twilight. All kinds of musical instruments show the same theme, which makes music more beautiful and shows the endless changes of natural scenery.
The spring night is so beautiful, the moonlight by the river is thick and beautiful and natural. This is the beauty of Chinese classical music and the inheritance of Chinese folk music. Pursuing beautiful things is everyone's nature, and respecting nature is a long-standing tradition. The combination of music and artistic conception is the inheritance of China national music. Moonlit Night on the Spring River is a classic among the classics. We need to learn more than that, inherit the classics and respect nature.
Chinese folk music (edited by Guanghua Deng)
? Baidu baike
? Baidu baike
? Baidu baike
? Baidu baike
? Baidu baike
? Baidu baike
? Baidu baike
? Baidu baike
? Baidu baike
? Baidu baike