As a long poem of narrative music, the structure of the poem is relatively rigorous and meticulous, and the plot is also very tortuous, with ups and downs. Lots of good looks, the latest chapter access:. However, when Qin Fangge was made into music, it could not be completely in accordance with the poem, and it had to be expanded and changed as necessary.

In the past, there is no shortage of musical works with a structure like a ballade. But that's mostly in Western music, and it's based on the freedom and inspiration of the composer. In many cases, people can only guess after listening to it, rather than confirming that it must be what it is.

Like Qin Fangge, if you create on the basis of poetry, the difficulty will increase too much.

Moreover, Qin Fangge has very high requirements for himself, whether it is to write the feeling of "coming out after a thousand calls, still holding the pipa and half-covering his face" in the music, or the background emotions, various accents, suspense, etc., he wants to be perfect. Of course, the requirements for pipa players are even higher.

Especially in the second paragraph, when describing the pipa girl and the pipa music she played, the difficulty of the performance, Qin Fangge himself is a little big.

Bai Juyi is indeed worthy of a generation of writers, and uses poetry to depict the musical effect vividly. profoundly and vividly reveals the inner world of the Pipa Girl. It can also be seen that Bai Juyi is particularly knowledgeable about music, rhythm, and even performance techniques.

In the pipa line, the pipa girl described by Bai Juyi is "unwilling" because of "no ambition in life" and "the beginning of the prison call". He also used the description of the tone of the pipa to show the superb playing skills of the pipa girl.

Qin Fangge wanted to reproduce these techniques one by one, and before that, there must be more than one composer who wanted to do this. But when you really do it, you know that this is completely different from imagination, and it is not surprising to say that it is more difficult than climbing to the sky.

Qin Fangge, this guy, also relies on his high talent, and his kung fu in performance is not bad, and he rises to the challenge.

"The hinge plucks the strings three or two times, and there is love before the tune is formed", this realm alone is completely at the level of a pipa master. Qin Fangge is even the super high performance level and realm of the pipa girl.

"The strings cover up the sound and thoughts, as if they are not willing to live in life. The low-brow letter continued, saying that there are infinite things in my heart. Gently twist and slowly wipe and pick up, at the beginning of the neon dress after six years. The big strings are noisy like a torrential rain, and the small strings are like whispers. Noisy and staggered, big beads and small beads fall on the jade plate. The bottom of the flower is slippery, and it is difficult to go under the drift ice of the secluded spring. The ice fountain is cold and astringent, and the condensation will not be silent for a while. Don't have gloom and hatred, silence is better than sound at this time. The silver bottle burst into the water slurry, and the iron rider stood out with a knife and a gun. At the end of the song, beware of drawing, the four strings sound like cracks. ”

Qin Fangge wanted to do a good job in this music, and he had already memorized the verses to the point of being ripe, and all the emotions and in-depth understanding had reached the point of incredible. And this piece of music is also the most difficult in the whole pipa song.

Knock the strings with your fingers, knead the strings with your fingers, pluck them with your hands, and pluck them with your backhand, and the pipa girl moves skillfully and naturally. When he himself composes, he also follows this performance technique to reproduce the glory of the past.

The thick strings are heavy and majestic, "like torrential rain", and the thin strings are broken like "whispers". The update is fast, the website page is refreshing, there are few advertisements, I like this kind of website the most, I must praise it crisp and mellow, such as the size of the beads falling on the jade plate, and like the warbler at the bottom of the flower, from the visual and auditory point of view. The following six sentences of "strings and strings cover up the sound and thoughts" are always written in the playing process of "the beginning is the sixth after the neon dress", which not only uses "low eyebrows letter procedures to continue playing" and "light and slow twisting and wiping and re-picking" to describe the demeanor of playing, but also uses "seems to tell the life of the unwilling" and "say all the infinite things in the heart" to summarize the thoughts and emotions expressed by the pipa girl through the music.

For this reason, Qin Fangge also has to restore the song of the neon clothes and feathers and the song and dance song. This is also a difficult task, such a work has long been lost, and Qin Fangge has to create it himself.

The next fourteen sentences are even more exquisite, and Qin Fangge feels incredible every time he reads it.

Because when Bai Juyi uses the rhyme of language to copy music, he uses various vivid metaphors to enhance its imagery. "The big strings are noisy like torrential rain", both the overlapping word "noisy" is used to imitate the sound, and "like torrential rain" is used to visualize it. The same goes for "small strings cut like whispers". This is not enough, "noisy cut miscellaneous", has reproduced the "like a torrential rain" and "such as a whisper" two melodies of the staggered appearance, and then with the "big beads and small beads falling on the jade plate" comparison, the visual image and auditory image are revealed at the same time, dazzling, dizzying.

When Qin Fangge was composing, he also wanted to achieve such an effect, the big and small strings were intertwined, like big beads and small beads falling on a jade plate. The timbre and sound quality of the pipa are particularly demanding, and not all sounds can be called beads falling on the jade plate.

Later, the melody continued to change, and there were two artistic conceptions of "slippery" and then "astringent".

The sound of "Jianguan" is light and fluent, and this sound is like "the bottom of the warbler's language", and the beauty of the visual image strengthens the beauty of the auditory image.

The sound of "pharyngeal" is sad and choked, and this sound is like "under the flowing ice of a spring", and the coldness of the visual image strengthens the coldness of the auditory image. From "cold" to "condensed", it is a process of "sound gradually stopping", and the poet uses the good sentence of "don't have gloom and dark hatred, at this time silence is better than sound" to describe the artistic realm of lingering sound and endless meaning, which is amazing.

At this point, I thought it was over. Who knew that the "gloomy and dark hatred" accumulated infinite power in the process of "sound gradually stopped", and it could not be suppressed, and finally like "the silver bottle was broken", the water slurry rushed, such as "the iron horse protruded", and the sword and gun roared, suddenly pushing the undercurrent of "condensation" to **. Only to reach **, that is, to collect a painting, abruptly stopped.

Although the song is over, the heart-wrenching and thrilling musical charm has not disappeared. The poet also used the environmental description of "the east boat and the west boat are silent, and only the autumn moon in the heart of the river is white" as a side accent, leaving the reader with a broad space for the aftertaste.

It is no wonder that Chen Tianhong admires the pipa line so much, and this description of pipa performance alone is a must.

Qin Fangge himself is also wondering whether to restore all the works such as Ni Clothes and Feather Song, as well as Liuyi, just listening to Bai Juyi's description in the poem, it makes people yearn for and feel.

The art and culture of the Tang Dynasty was also flourishing in the ancient culture of Huanghuang.

At that time, literati, like Bai Juyi, were proficient in piano, chess, calligraphy and painting. Their poems are originally very rhythmic, and they can be recited softly, or they can be drunk and carnivaled, and they can sing highly.

In Li Bai's poems, there are a lot related to music, listening to the Shu monk playing the piano, "I don't feel that the blue mountain is twilight, and the autumn clouds are dark"; "There are students who are particularly familiar with it," Li Bai was about to go on a boat, and suddenly heard the sound of singing on the shore. The Peach Blossom Lake is thousands of feet deep, not as deep as Wang Lun to send me love. ”

Han Yu's listening to Yingshi playing the piano, Li He's Li Pinggong Hou citation and other works are also masterpieces of writing music, and "

Baixiang Mountain" is known as the three unique music descriptions of the Tang Dynasty. The most beautiful music is recorded in the poems with vivid words, and when I read it to this day, it is as if I have traveled through time and space, and I have the feeling of being there.

The famous "Yangguan Three Stacks" is the most famous art song directly based on a song composed by Wang Wei, a poet of the Tang Dynasty and the patriarch of landscape painting.

If you study it carefully, the music culture of the Tang Dynasty, scattered in the bits and pieces of Tang Dynasty culture, can be written into a book.

Music, among the six ancient arts, is or indispensable, and it is also a reads that successive dynasties have paid special attention to;. The joy of the court and the joy of sacrificing to the heavens are extremely important. This is also due to the social environment formed at that time, a relatively stable environment, open political and cultural atmosphere, so that the culture and art of the Tang Dynasty in various fields, can be said to have reached the peak of ancient Chinese history. Among them, poetry and music are the most dazzling twin stars.

It also makes Qin Fangge, who has been thousands of years old, feel inexplicably cordial when he picks it up again.

Because it was an era of music and poetry, and both of them had reached the water level. The point of blending. Writing music has also become a favorite thing for poets. Moreover, these romantic talents frequently go in and out of the palace and even various entertainment occasions such as the Qinglou, and can chant, play, and sing anytime and anywhere.

Outside the long pavilion, by the ancient road, the grass is green, and when it comes to farewell, there are countless poetry masterpieces that combine the beauty of music and art.

In the Tang Dynasty, there were specialized and huge music institutions, and a strict music education system was formulated.

When it comes to this, I have to say Taijoji Temple.

Taichang Temple was the highest administrative organ in charge of ritual music in the Tang Dynasty, and was supervised by Taichang Qing, and the scale was very large. It is recorded in the ancient book as follows: "In the heyday of the Tang Dynasty, all music people, sound people, children of Taichang miscellaneous households, subordinate to Taichang and advocating summer heat, all went up, and the total number of sound people reached tens of thousands." At that time, the population of the Tang Dynasty was only 50 million, and there were tens of thousands of people in Taichang Temple alone.

There are two institutions under Taichang Temple, the first is the Great Music Department. The Department is in charge of the training and assessment of musical artists, and it is in charge of both Yale and Yan music, and has a number of musicians in charge of teaching. At that time, the government had a very strict system for the training and performance assessment of music artists.

The second Propaganda Department, as the name suggests, is the unit that manages the drum and drum music, which is in charge of the drum music used in the honor guard activities and court etiquette activities, and is also in charge of the general name of various kinds of operas, music and dances in ancient times. The so-called Lu book, refers to the ancient imperial dignitaries when they went out, the guard of honor that was hugged in front of and behind included the wind band, the number of people varied, there were more than 100 people when it was less, and more than 1,000 people when it was more.

The Great Music Department and the Propaganda Department are under the jurisdiction of Taichang Temple, and the following two music institutions are under the jurisdiction of the palace, the first is the teaching workshop, which is the institution that manages the musicians and leads the performances of artists. At the beginning of the founding of the Tang Dynasty, Tang Gaozu set up an internal teaching workshop, which was under the jurisdiction of Taichang Temple, and belonged to the music education department specially designed within the palace, with the purpose of providing entertaining song and dance performances for the emperor. According to the records of the workshop, the members of the workshop were men, women, and children, and the total number of members could reach more than 10,000. The education requirements of the teaching workshop are strict, "where the music is practiced, the teacher is established to teach, and the teacher's coursework is the third class, above the Ministry of Rites." "During the reign of Xuanzong of the Tang Dynasty, he paid special attention to the professional music education institution of the teaching workshop, which greatly expanded the scale of the teaching workshop. There are five workshops, and the form of music education is oral teaching.

The establishment of the teaching workshop objectively provided many conditions for the continuous development of folk music, promoted the division of music, trained a large number of court musicians, and gradually spread musical skills to the people, promoting the development of folk music.

The second is the pear orchard, which was a place in the court to cultivate talents in singing, dancing and instrumental performance. Formed by the emperor himself and often rehearsed by the emperor himself, most of the music education content in the pear garden is French music, and there are also some instrumental ensembles, and most of the compositions of Tang Xuanzong are also handed over to the pear garden for performance. It can be said that it is the place where the essence of court music and art is most concentrated. On the whole, the learning content of Liyuan is relatively narrow, and the main task is performance and rehearsal, and Liyuan has created a large number of musicians with a high level, such as Li Guinian, Lei Haiqing, Yongxinnu, etc., all of whom are pear garden artists. These people became the essence of the national music industry, and played a major role in the development of the high prosperity of music in the Tang Dynasty and the development of its musical division of labor.

A more complete music form and content must have a high-level musical talent that is suitable for it; A highly prosperous music culture is a sign and the best illustration of the remarkable achievements in the cultivation of musical talents. Therefore, music education provided an important foundation and favorable conditions for the music culture of the Tang Dynasty, which not only promoted the prosperity of music in the Tang Dynasty, but also had a positive impact on the development of music in the future.

Regarding these, Du Fu wrote a poem about the year of Li Turtle in the south of the Yangtze River, "It is common to see it in King Qi's house, and Cui Jiutang has heard it a few times before." It is a good scenery in the south of the Yangtze River again, and the season of falling flowers is a good time. ”

In Bai Juyi's pipa line, the pipa girl "learned the pipa thirteen, and the name belongs to the first part of the teaching workshop." Qu Ba once taught good talents, and made up every time he was jealous of Qiu Niang. ”

This workshop, which was the official office of the Tang Dynasty to manage the court orchestra, was a professional music management body, and felt even more professional than today's various conservatories.

Most of the music performances in the Tang Dynasty were instrumental music, songs, and dances, so later researchers basically attributed them to "Tang Daqu", and the study of Tang Dynasty music was basically based on "Tang Daqu".

The song of the neon clothes and feathers that Qin Fangge wants to restore also belongs to the Tang Dynasty, and this name alone can make future generations think about it and imagine the majestic atmosphere of the prosperous Tang Dynasty. In the Dunhuang murals, you can also find a lot of valuable information.

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