readx;

c_t; Zhang Jiashi believes that the military band he has formed is not just a matter of performing corresponding songs and dances on specific occasions. Read the full text of the latest chapter of the pen &www.biquge.info amp; fun & pavilion

According to Zhang Jiashi's idea, the military band should be planned accordingly in some units with a relatively large number of people, just like some equipment in later generations, and if this point can be successful, it will inevitably have a corresponding impact on the combat effectiveness of the army.

Under the premise of this line of thinking, the specifications of the musical instruments carried must be light and easy to carry, and preferably not hindered by marching on the basis.

However, many musical instruments cannot be used in this aspect at present, especially among the pre-Qin musical instruments, which occupy a large proportion of chimes.

............................................................ Dividing line ..........................................

Chimes are a large or even giant percussion instrument invented by the Han people in ancient China. It is made of bronze and consists of oblate round bells of different sizes arranged in the order of pitch, hanging on a huge bell stand, and striking the bronze bells with a T-shaped wooden hammer and a long rod respectively, which can produce different musical sounds, because each bell has a different tone, and can play a beautiful piece of music by striking according to the musical notation. A group of bronze bells of different tones are hung on a wooden frame, and the music is played by ancient maids with small wooden mallets.

In the Shang Dynasty, there were chimes in China, but most of the bells at that time were in sets of three. Later, with the development of the times, the number of chimes per set also increased. In ancient times, the chimes were mostly used for court performances, and they were rarely circulated among the people, and they were played every time they were engaged in battles, court meetings or sacrifices.

The representative of the bell of the early Warring States period unearthed in later generations, the bell of Zeng Hou Yi, can be regarded as huge in terms of specifications.

The bell frame of this set of bells is tall, vertically intersected by two facades of different lengths, in the shape of a curved ruler, 7 painted wooden beams reinforced with a dragon pattern copper sleeve at both ends, supported by 6 saber samurai-shaped copper pillars and 8 cylinders, constituting the upper, middle and lower three layers. There are 246 bell frames and hooks (including components that can be disassembled and assembled). The short frame (left) is 335 cm long and 273 high, and the long frame (center and right) is 748 cm long and 265 cm high. It was mainly popular in the Shang and Zhou dynasties and the Spring and Autumn Period and the Warring States Period.

There are 65 pieces of bells in total, divided into eight groups: 3 groups of bell bells on the upper layer, 19 pieces, 3 groups of south bells on the middle layer, 33 pieces, divided into three types of short, no bell and long piece, and two groups of large long bells on the lower layer, 12 pieces, and another piece of beat. The largest piece is 1523 cm high and weighs 2036 kg, while the smallest piece is 202 cm high and weighs 24 kg. The total weight of the bell body is 2,567 kg, and the bronze part of the bell frame (including hooks) makes a total of 4,42148 kg. There are three ways to hang the bell: the lower bell is hung with a ring, the hook is a crawler collar and a double-rod collar, and the middle bell is hooked and hooked, and the hook is a frame hook and a welding hook; There are 3,755 inscriptions on the bells, frames, and hooks, which contain numbers, notes, transcriptions, and music theory. Most of the inscriptions are wrong gold. The inscription on all the bells is "Zeng Hou Yi is held" 5 characters, indicating that the maker and user of the bell is Zeng Hou B.

The inscription on the bell records that Xiong Zhang, the king of Chu (King Hui of Chu), cast Zong Yi for the Marquis of Zeng. The phonetic inscription clearly indicates the position of the bell or the part of the striking and the name of the sound it is pronounced, which constitutes the system of twelve semitones. The theory of music and rhythm describes the correspondence between the names of the laws of Zeng and the states of Chu, Jin, Qi, Shen, and Zhou. Zhong Ming saw 28 law names and 66 rank names, most of which were new materials unknown before. The inscription on this set of chimes is an important treatise on the theory of music rhythm in ancient China. The full set of chimes has a wide range, a full range of sounds, and a beautiful timbre. Each bell has two musical tones in a third interval, which can be fired separately without interfering with each other, or can be fired at the same time to form a pleasant harmony, which confirms the law of two tones per bell in ancient Chinese chimes. The full set of chimes has a deep and rich bass, a mellow and unpretentious midrange, and a crisp and crisp high. Its vocal range ranges from C2 to D7, with twelve semitones in the central range, which can be modulated and played in a variety of works on the seven-tone scale. The copper components of bells and bell frames are alloys of copper, tin, and lead, and the ratio of alloys varies depending on the application. It is made of volatile casting, sub-casting, soldering, brazing, casting and inlaying, wrong gold, and grinding, and the craftsmanship is exquisite.

The assembly and layout of the chimes are very reasonable in terms of mechanics, aesthetics and practical operation. The decoration of the whole set of bells, humans, beasts, dragons, flowers and geometric patterns, adopts a variety of techniques such as round carving, relief carving, yin carving, color painting, etc., with red, black, yellow and bronze natural colors against each other, it looks solemn and solemn, exquisite and magnificent. There are 6 T-shaped painted wooden poles and 2 painted bell-striking wooden sticks that come out with the bell. According to this and the experimental judgment, the use of this set of bells requires a total of 5 people: 3 people hold a small mold with both hands and play the middle and upper bells, and 2 people each hold a wooden stick to hit the bell and play the lower bells.

According to the relevant records, high-level chimes are no longer able to move at will, and although they can be disassembled, they are more of a problem with transportation.

In the case of Zeng Hou Yi's chime, if it was used as an accompanying instrument according to this specification, it was estimated that ten sturdy pack horses and five carriages would be used to accompany the army, which was unacceptable to Zhang Jiashi.

However, chimes are not a rare thing in the army, because some parts of the current chimes are called cymbals in the army.

The cymbals have long handles to hold, and the mouth is struck with objects and struck while marching, and from this description, the cymbals are a kind of chime part, and the weight of the cymbals in the army is not too large, and if necessary, the cymbals can be transported with drums and other musical instruments.

However, the tone of a single cymbal is monotonous, and it cannot be used as an orthodox military musical instrument.

And there is a corresponding record in "Xunzi Han Soldiers": "Hear the sound of drums and advance, and hear the sound of gold and retreat." "The intention is to beat the drum and order the attack, and the Ming Jin orders the troops to be withdrawn.

Regarding the origin of "drumming gold", there is a legend for your reference: the Yellow Emperor made leather drums when he fought against Chiyou. He hunted an animal called 'Kui' from the Liubo Mountains of the East China Sea, which was shaped like a cow, with a blue-black body and a faint light, no horns on its head, and only one leg. This animal has eyes like lightning and cries like thunder, and it is very powerful and majestic. At that time, the Yellow Emperor was overwhelmed by its cry, so he peeled off its skin to make eighty drums, and let Xuannu Niangniang personally beat the drum, and suddenly the sound was like thunder, and it was transmitted for five hundred miles. This is the origin of the later generations of "beating the drum to march and Mingjin to collect the troops". Another theory is from the Yin and Yang Five Elements of the saying, in ancient times, the east, west, north, south, and middle corresponded to the five elements, namely, East Wood, West Gold, South Fire, North Water, and Middle Earth. Due to the underdevelopment of ancient science and technology, the troops were generally collected before sunset in the war. At sunset, the sun was in the west, hence the saying that Ming Jin had withdrawn his troops. That is, the horn of the setting sun is sounded, and the warrior returns to the city to rest.

...................................................... Dividing Line................................................

In addition to the chimes, the other musical instruments are relatively small, among which the playing instrument is mainly the guqin.

Guqin, also known as Yaoqin, Yuqin, Silk Tong and Lyre, is a traditional plucked string instrument of the Han nationality in China, with a history of more than 3,000 years, and belongs to the silk in the eight tones. The guqin has a wide range, a deep timbre, and a long aftersound.

Since ancient times, "qin" has been its special reference, and since the 20s of the 19th century, it has been renamed guqin in order to distinguish it from the piano. At the beginning, it was 5 strings, and since the Han Dynasty, it has been customized to 7 strings, and there are 13 emblems that mark the rhythm, which are also ritual instruments and music law instruments. The qin is the most noble musical instrument in Han culture, and it is said that "the scholar does not withdraw the qin without reason" and "the left qin and the right book". Ranked first among the four arts of traditional Chinese culture, "qin, chess, calligraphy and painting", it was regarded by the literati as a representative of elegance and an accompaniment instrument when the literati sang, and has been a necessary knowledge and compulsory subject for many literati since ancient times. The story of Boya and Zhong Ziqi becoming bosom friends with "mountains and flowing waters" has been passed down to this day, and the Qintai is regarded as a symbol of friendship. There is a figure of the piano in a large number of poems and texts.

The origin of the qin is not verifiable, but the various clan leaders at the beginning of Chinese civilization in ancient times[2] are related to the founding legends of the qin, such as Fuxi making the qin, Shennong making the qin, Tang Yao making the qin, the Yellow Emperor making the qin and Yu Shun making the qin, etc., but there is no archaeological support and confirmation, so it should be a secondary theory. The oracle bone inscription contains the word qin, but it may have developed from a Middle Eastern harp such as the Konghou, whose earliest excavated specimen is in Jimo County, Xinjiang Province, dating from 400 to 200 BC.

For example, the guqin originated from Konghou, Zhang Jiashi said hehe, because since there is a description of the qin character on the oracle bone inscription, it must be much older than Konghou. It can be seen that the guqin is an invented musical instrument, not an improvement of the gonghou.

(Konghou has a long history and a long history, with a wide vocal range, soft and clear timbre, and strong expressiveness.) In ancient times, in addition to the use of court music, it was also widely spread among the people. It is often used for solo, ensemble and song and dance accompaniment, and is used in large national orchestras. In ancient times, there were three forms of "Historical Records Feng Zen Book": "So the South Vietnam, the Prayer Shrine Taiyi, the Houtu, began to use music and dance, Yi Zhao Song, and made twenty-five strings and empty Hou Qinse. "Historical Records of Filial Piety and Martial Piety": "So the South Vietnam, pray for the temple Taiyi, Houtu, began to use music and dance, Yi Zhao Song, and made twenty-five strings and Gong Hou Se from then on. "Tang Dynasty Du You's "General Dictionary": "Emperor Wu of the Han Dynasty made the music of the Hou Tune...... Now according to its shape, it seems to be small, seven strings, and it is played like a pipa with a pluck. "This belongs to the lycopodium of the genus of the Qin Se class. Judging from the brick book of the Wei and Jin tombs in Jiayuguan, Gansu Province, there is no pillar on its panel. Vertical Gong Hou, introduced from Persia in the Han Dynasty, was later called "Hu Gong Hou". "Sui Book Music Chronicle" records: "The pipa and the vertical head of the gonghou are from the Western Regions, and are not Chinese musical instruments. ”

According to research, Konghou has a history of more than 2,000 years.

In addition to the use of court bands in ancient times, Konghou was also widely spread among the people. During the Tang Dynasty (618-907) in China, with the rapid development of economy and culture, the art of gonghou performance also reached a very high level, and it was during this period that ancient Chinese gonghou was successively introduced to neighboring countries such as Japan and Korea. In the temple of Todaiji Temple in Nara, Japan, there are still two remnants of Tang Dynasty Gonghou. However, this ancient instrument, which had fallen out of fashion since the late 14th century, slowly disappeared, and only a few patterns of gonghou can be seen on the frescoes and reliefs of the past.

And in "Peacock Flying Southeast", he once said that "thirteen can weave, fourteen learn tailoring, fifteen play gonghou, and sixteen recite poetry books." Seventeen is a gentleman's wife, and her heart is always bitter and sad. The king is a government official, and he keeps the festival unswervingly. The concubines leave empty rooms, and they often see each other rarely. The rooster crows into the weaving, and the night does not stop. Five horses were broken in three days, and the adults were too late. If it is not for the weaving to be late, it is difficult for the wife of the Jun family to do it! The concubine is unbearable, and there is nothing to do in vain14. can be sent back in time. It is mentioned in the Konghou. ）

The earliest written record of the qin is found in the Book of Songs, and the oldest object similar to the qin is the Zhuhe ten-stringed qin in the tomb of Marquis Yi of Zeng. The length of the building is similar to that of the modern qin, while the length of the ten-stringed qin is half of that of the modern qin, the body is thicker, the surface is uneven, and there is no emblem. In the middle of the Warring States period and the Western Han Dynasty, a lyre that was shorter than the modern qin was unearthed. The top of the ten-stringed piano unearthed by Zeng Houyi is curved, the headpiece is slightly high, the waist is concave, the tail is upturned, and there is a foot below, which is very similar to the one-legged kui, a symbol of ceremonial vessels.

Zhong Yi of the Western Zhou Dynasty is one of the earliest professional qin players in the extant records. According to historical records, there were pianists in the court of the princes in the Spring and Autumn Period, and most of them took "Shi" as their clan, such as Shi Kuang, Shi Wen, Shi Xiang and Shi Juan. History records that they all have superb piano skills. In the pre-Qin period, the qin was used for accompaniment and singing, and was called "string song".

There are also a large number of records about the qin in literary works such as the Book of Songs, which shows that the qin had a relatively rich expressive power at that time. During the Warring States Period, with the continuous progress of music, qin music has also been greatly developed and popularized, resulting in the emergence of a large number of qin people, such as the classic recitation of the mountains and rivers in the Boya and Zhongzi periods. As the main musical instrument, the qin was endowed with the function and aesthetics of the ritual system and cultivation of the mind by the scholars, and the so-called "gentleman's close qin, this ritual is also, not to be sympathetic" and "the scholar does not withdraw the qin". Confucius, the founder of Confucianism, admired the piano very much, could play the piano and sing 300 poems, and also learned the piano from his teacher, becoming a model for later generations. Later generations will also compose two piano pieces, "Confucius Reading Easy" and "Weeping Yan Hui". During this period, famous qin people also included Shi Kuang, Liezi, Boya, Yongmen Zhou, Confucius, etc.

According to this statement, in the Spring and Autumn Period and the Warring States Period, in addition to the development of the guqin, it was correspondingly improved, and a special musical instrument was extended - se.

Therefore, in this regard, the ancient Chinese guqin has no corresponding relationship with the imported musical instruments.

Although Zhang Jiashi himself is an idiot of musical instruments, he also knows the allusions of one of the four famous qins, so in this regard, he is very scornful of the invention of the guqin that Gong Hou guided.

......

The four famous pianos in ancient China are the bell of the Duke of Qi Huan, the winding beam of the King of Chuzhuang, the green qi of Sima Xiangru and the Jiaowei of Cai Yong.

The bell is a famous piano of the Zhou Dynasty. The sound of this piano is so loud that it is like a bell ringing and a horn ringing for a long time, which is deafening. Legend has it that the outstanding ancient pianist Boya once played the "Horn Bell" harp.

Later, the "bell" was passed to the hands of Qi Huangong. Duke Huan of Qi was a wise monarch of the Qi State and was well versed in music and rhythm. At that time, he collected many famous instruments, but he especially cherished this "bell" instrument. He once ordered his subordinates to beat the horns of the ox and sing to help the music, and he himself played the "trumpet bell" to echo it. The sound of the horn and the song were poignant, and the "trumpet bell" played a sad melody, which moved the waiters on both sides to tears.

Today's people have the saying "the aftermath lingers, and it will not stop for three days". Its language originates from a story in "Liezi": During the Zhou Dynasty, the famous Korean female singer Han E went to Qi and ran out of money and food when she passed by Yongmen, so she had no choice but to sing and beg for food. Her mournful song echoed in the air, like a lonely goose. Three days after Han E's departure, her singing still reverberates between the beams of the house, which is unforgettable.

The name of the piano is "winding beam", which shows the characteristics of the timbre of this piano, and it must be a continuous aftersound. It is said that "Winding Liang" was a gift from a man named Hua Yuan to the king of Chuzhuang, and the age of its production is unknown. Since King Chuzhuang got the "winding beam", he played the piano and made music all day long, and reveled in the piano music.

Once, King Chuzhuang did not go to court for seven consecutive days, leaving all the major national affairs behind. The princess Fan Ji was extremely anxious and advised the king of Chuzhuang: "King, you are too immersed in music! In the past, Xia Wei was so fond of Yu Xi that he was killed; Now, the king loves the 'winding beam' harp so much, and if he doesn't come to court for seven days, is he willing to lose his country and his life?" He couldn't resist the temptation of "winding the beam", so he had to endure the pain of cutting his love, and ordered someone to beat the piano with Tie Ruyi, and the body of the piano was broken into several sections. Since then, the famous piano "Winding Beam", which is envied by tens of thousands of people, has never sounded.

The appearance of these two famous qins was earlier than that of Konghou, and it is the legend in this regard that shatters some of the ideas that later generations believe.

As for Luqi, since the legend does not mention its production time, Zhang Jiashi does not make relevant considerations in this regard.

"Luqi" is a piano played by Sima Xiangru, a famous literati in the Han Dynasty. Sima Xiangru originally came from a poor family with four walls, but his poetry was extremely famous. King Liang asked him to make a gift, and he wrote a "jade endowment" as a gift. This is a magnificent rhetoric and an extraordinary charm. King Liang was extremely happy, so he gave back his collection of "Luqi" piano. "Luqi" is a famous piano, and there is an inscription in the piano that says "Tongzi Hejing", that is, the essence of the combination of paulownia wood and catalpa wood. It is like getting "green Qi", like getting a treasure. His exquisite piano skills and the wonderful timbre of "Lu Qi" made the "Lu Qi" famous for a while. Later, "Luqi" became another name for the guqin.

Once, Sima Xiangru visited a friend, and the rich and wealthy King Sun set up a banquet to entertain him. When the wine was in full swing, everyone said: "I heard that you play 'Luqi' very well, please play a song, let my generation feast on it." "Xiangru had long heard that Wenjun, the daughter of King Zhuo, was talented and proficient in the piano, and admired him very much. Sima Xiangru played the piano song "Phoenix Seeking Phoenix" and courted her. After listening to the piano, Wen Jun understood the meaning of the piano song, and couldn't help blushing and being fascinated. She fell in love with the literary talent, and in order to reward the "bosom friend encounter", she went to the residence of Xiangru at night to conclude a good relationship. Since then, Sima Xiangru pursued Wenjun with the qin, which has been rumored to be a good story for the ages.

...