The pluck is paddled on the pipa decorated with a pluck, and the sound is bright, that is, Bai Juyi Xunyang Jiangtou has heard the "big pearl and small pearl falling jade plate"; the dancing woman quickly rotates, the dress flutters, and the rhythm of the Hu whirling dance is relaxed and continuous -- the concert of "The Music of the Silk Road, Tang Yun Echo" recently staged at the Shangyin Opera House is a wonderful Tang Dynasty music and dance feast presented by the Shangyin people on the basis of a large number of musical documents and research on the excavated and excavated cultural relics, with carefully restored Tang Dynasty musical instruments, arranged ancient music, and combined with multimedia design.
After more than a thousand years, how the Tang Le Tang Dance is, it is not easy to reproduce, the Song people have mentioned in the notes "Biji Manzhi" that the Tang Dynasty "Neon Dress Feather Song" and other music creations circulated a variety of theories. Over the years, scholars at the Shanghai Conservatory of Music, such as Ye Dong, Chen Yingshi, He Changlin, Zhao Xiaosheng, and Ying Youqin, have continued to study Tang Dynasty music. Among them, Professor Zhao Weiping has visited many overseas studies, focused on the remaining Tang Dynasty musical instrument scores, collected nearly 20,000 pages of high-definition ancient music scores, explored the melody, pitch and rhythm of ancient music, and led the team to copy more than 30 Tang Dynasty musical instruments such as the four-stringed lute and the five-string straight pipa according to the size and material of the cultural relics. It is precisely in the translation and interpretation of hundreds of overseas existing musical scores, in the speculation and suspense of Dunhuang murals and excavated cultural relics, that the beauty of tang dynasty music and bamboo, the vivid charm of music and dance, have crossed the millennium time and shone the glory of the Tang Dynasty in front of the audience.
The purpose of this concert is to show the history close to the truth, and the selected repertoire is from the literature and notation records, including the Tang Dynasty teaching workshop song "Urgent Hu Xiang Qing" played by a small band composed of 筚篥, Sheng, Shakuhachi, Pipa, Ruan Xian, Karma Drum, And Clapping Board, as well as the repertoire of solo instruments. Among them, the pipa solo "Pouring Cup Music" is based on the translation score of the two "Pouring Cup Music" in the "Dunhuang Pipa Score". The Tang people's notes have clouds, and this piece of music is related to the dance of horses during the time of Tang Xuanzong. Tang Xuanzong once divided the dancing horse into two parts, left and right, and ordered the emissaries of the tribute horse outside the region to tame the teachings, all of which were perfect. When playing "Pouring Cup Music", the dancing horses are draped in splendid embroidery, and the gold, silver and jade are decorated with manes, and they shake their tails in the music, and the movements are all in line with the beat of the song. It is said that there was also a three-tiered slab bed at that time, which made people ride on horses and rotate like flying. In this exciting music, you can imagine what a majestic scene it is to fly the horse's flying posture and the neat and consistent beat of the ground! Several musicians stand on the left and right, all dressed in pale yellow clothes and jade belts, young and beautiful, in stark contrast with the power of the dancing horse, reconciling the robustness of the music and forming a rich aesthetic layer. This music and dance is more than the performance of The Diligent Government Downstairs on Tang Xuanzong's Birthday Thousand Autumn Festival, and can still be found on the silver pot of the dancing horsebit cup pattern hidden in the Shaanxi History Museum. Although the dancing horse no longer exists, in the lute sound of the Shangyin Opera House Theater, the memory fragments of historical documents are activated, and the Tang Dynasty music of "Pouring Cup Music", which is a combination of rigidity and softness and the fusion of Chinese and foreign cultures, echoes in the ears, which is a visit to the Tang people today.
The pursuit of the musical culture of the Tang Dynasty can be said to have begun from the same era of Japan. Shoso-in temple in Kyoto, Japan, built in 750 AD, is the heyday of the Tang Dynasty, tang style gradually eastward, Sino-Japanese exchanges are frequent, many of the Japanese Emperor Shengwu tools treasured in Shosoin are derived from the Tang Dynasty, including the famous spiral rosewood five-string pipa, which is the only surviving tang dynasty five-string pipa, providing an extremely precious object for today's Tang Dynasty music research and even instrument reproduction. The name of the concert's solo guqin "Shishang Liuquan" was originally recorded in the sixth-century guqin score, and the original song was introduced to Japan by the Tang envoys, and later preserved in the pipa score at the end of the twelfth century in Japan. After comparative research, the performers of the Shanghai Conservatory of Music found that playing with the guqin was more in line with the laws of the music itself, so the use of the guqin restored to present its original appearance. The sound of the piano is babbling, evocative, and the source of culture has been flowing back and forth for more than a thousand years.
It is precisely because of the yearning for the civilization of the Tang Dynasty, the music and dance pictures on the Dunhuang murals, the treasure flowers in the grotto algae wells, the pattern of the Tang bronze mirrors, the clothes of the Silk Road music and dance figurines... All of them became the source of material for the stage design at this concert. Compared with the traditional silk strings, the multimedia design allows the Tang Dynasty music to have more variations of the carrier, the Tang people on the stage makeup, or sitting or standing musicians bring flowing music, and behind the stage at the same time there are scrolls slowly unfolding, bringing one scene after another changing scenes: or heavy eaves Hua Xun, making people feel as if they are in the Dunhuang Buddhist country listening to the wonderful sounds; or the reeds swaying, the bright moon is gradually rising, the mountain night and timbre are integrated, that is the instrumental ensemble of "Xijiang Yue"; or the remaining Dunhuang ancient music score, The written record and the live performance are combined into one - the artistic conception and background in the Music of the Tang Dynasty perfectly echo and complement each other, bringing the audience a glittering performance, which should be said to be the embodiment of the multi-faceted research results of Tang Dynasty culture.
Tracing the subtleties of Tang Dynasty music culture is an important part of the study of traditional Chinese culture. And this kind of artistic presentation of seeking truth and beauty will undoubtedly receive high attention from the audience. This kind of attention begins with our desire to understand traditional culture, and also from our motivation to create and share beauty in the temple of world culture.
The Tang Dynasty notebook "Records of The Karma Drum" records a small story: In the early morning of February, the rain was early and sunny, the scenery was bright, and Tang Xuanzong, who loved music, took the karma drum and hit a song "Spring Is Good", accompanied by the sound of the drum, and the willow apricot sprouted...
We have reason to hope that this concert that dances the Tang Dynasty and is full of music will also bring a good spring song.
Author: Zhu Hong (Associate Researcher, Institute of Literature, Shanghai Academy of Social Sciences)
Editor: Fan Xin
Planner: Xing Xiaofang
Editor-in-Charge: Wang Yan
*Wenhui exclusive manuscript, please indicate the source when reprinting.