A "Flash Girl", an exciting folk music festival, folk music has long been rooted in the deepest memory of every Chinese, Liu Yan said that she has also seen this movie, watching the children perform national instruments vigorously, trying to awaken everyone's love and respect for folk music, and can't help but think of the diligent self in the past. "The guzheng is something left by our ancestors and cannot be lost."
Looking at Liu Yan's serious expression, we almost forgot that she was more than half a hundred years old, but when she talked about the guzheng, she gushed endlessly and exuded a different vitality. Raising his hands and feet, he looked like a neat and neat black short hair, a simple and elegant cotton and linen top, and his smiling and crooked eyes were shining, like a little girl's simplicity and sincerity.
The sound kite, so for the kite. From the beginning of her relationship with Guzheng at the age of eight, to this day, dozens of four seasons have become an indispensable part of her life. When I lived with my parents in the Palace of Culture as a child, I attended the first folk music concert, "There are only two words, that is, 'shock'." "A carnival of so many national instruments, it is the sound of the guzheng that touches her keen ears, and once they meet, they accompany her for a lifetime." She said that she didn't know why, the route of the car would be forgotten, what to eat would be forgotten, where she would be forgotten, that is, she would not forget the score of the kite, saying that the slightly rough hand was compared on the tea table, as if playing with the invisible strings.
As a professor at the School of Art of Soochow Vocational University, Liu Yan has never been cold at all, and is not so much a teacher's talk as it is more like a philosopher's eloquence. Although I have consulted a lot of materials and documentaries about guzheng, Liu Yan's narration always makes people feel comfortable and happy, listening to the various aspects of guzheng in history that are related to liturgy and folklore, it is as if experiencing the endless life of guzheng.
When it comes to national instruments, it reminds me of the guzheng. Just like mentioning Western instruments, I think of the piano. Liu Yan said she didn't want to say things like "Where should the guzheng, a national musical instrument, go?" "Can guzheng go global?" Such a big proposition, based on the present, how to inherit and carry forward is the primary concern. "It's raining outside, don't you want to put your coat on, it's cold." Her eyes suddenly looked out the window and she said with concern.
"How to say it, I have taught nearly 10,000 students, but this is what I should do." A few days ago, Liu Yan also won the title of "Top Ten Most Loved Teachers of Suzhou Vocational and Technical University" with the first place vote in the audition. "What should be done" is the few words that Liu Yan said the most. As a guzheng professor, she often takes students to do projects, do research, write papers, the closer to the guzheng, the more she understands, the more she finds that the roots of national musical instruments are in the fertile soil of traditional Chinese culture, which is completely inseparable from the deep historical background and cultural connotation of Chinese culture.
"The sunset and the lone bird fly together, and the autumn water is long and colorful." The fishing boat sang in the evening, sounding the shore of the poor PengLi; the geese were frightened, and the sound broke the pool of Hengyang. A song "Fishing Boat Singing Evening" borrowed the famous sentence from Wang Bo's "Preface to the Tengwang Pavilion" as the title, and then changed it according to the tone of "Return to the Word". Throughout the ages, cold and summer, "Fishing Boat Singing Evening" has become a well-known and well-known classic song in the guzheng industry, and Wang Bo's tortuous life experiences have slowly faded with the torrent of history.
Separating the score from the culture is undoubtedly "shape" without "rhyme".
The long historical background and rich cultural connotation of guzheng not only reflect its strong musical instrument heritage, but also lay the foundation for its status as folk music in the minds of Chinese. In fact, as one of the national musical instruments, the development process of Zhengle is closely related to China's liturgical music system, social customs, folk music, folk customs and other aspects, and its rich cultural accumulation is inseparable from the infiltration and edification of Chinese classical literature, especially poetry and song.
Talking about the popularity of guzheng today, Liu Yan is very confident: "The current volume of students in our country can be said to be very large. But she also expressed concern that many students do not know why they learn guzheng and practice zheng to take the exam as a lean-on skill, that's all. Whenever the lecture talks about the traditional cultural story and historical background behind the practice repertoire, the children seem to be dizzy. Is it that our traditional culture has lost its "charm"? Liu Yan felt that it was not.
In the costume drama, the woman dressed in luo clothes, her clothes fluttering, her sideburns flying with the wind, the delicate jade hands leisurely caressing the kite, the bamboo forest pine wind through the hall, the sound of the wisps of the kite spread outward like ripples, this scene, who can not love? Liu Yan said that in the process of guzheng teaching in today's society, young teachers can express our traditional culture in a more novel way, whether it is short videos, or telling historical stories, putting slides, these are new attempts, "interest is the best teacher." ”
At the age of eight, he studied the zither "Happiness Canal", "Xinkaiban", "Hanjiang Rhyme" and "Hillside Sheep"; at the age of thirteen, he studied the zither songs "Battle Typhoon", "General Order", "Thirty-three Plates", "Yue'er Gao" and "Lin Chong Night Run" from the Shanghai Chinese Orchestra Guzheng player, educator and descendant of the Zhejiang Zheng Sect. Then, under the appreciation and guidance of the master Professor Ding Chengyun, he fully mastered the music such as "Banana Window Night Rain", "Rain Splashing Begonia Flower", "Embroidered Gold Plaque", "Qingjiang Release Row" and so on. At present, Liu Yan is basically familiar with the five major Zheng sects in China. In her daily life, she often talks to her friends and colleagues about the "guzheng inheritance", and the loss of traditional music is often the pain of the older generation of artists. For example, the characteristics of Chaozhou music are "heavy six tones", "light six tones", "living five tones", etc., if you want to play a Teochew music, you must first know what key is the role? The Teochew Zither used the "two or four scores" as a notation method earlier, and sang in the Teochew dialect, but most of the current performers do not sing the "two or four scores", "this is the lack of roots." And the so-called "Teochew rhyme" may not be authentic.
Innovation is the proposition of the times. But innovation is not about abandoning all traditions, nor is it about reinventing itself. Traditional national musical instruments rooted in China's unique cultural soil have given up their "roots" and have no "soul". A strong sense of mission and responsibility made Liu Yan eager to make everyone realize this, she took out her mobile phone, flipped through the group chat box with guzheng experts and colleagues, "As soon as I have time, I will send some good historical and cultural articles in the group, share and share with everyone, (remind) this awareness." "Social development is changing with each passing day, and the big waves have washed the sand, and what is left behind must be a golden gem." General Secretary Xi Jinping once pointed out that excellent traditional culture is the foundation of the inheritance and development of a country and a nation, and if it is lost, it will cut off the spiritual lifeline. At the same time, Liu Yan also attaches great importance to the combination of modern guzheng music and the sense of the times, she believes that this is a "two-pronged" process, but also "not conflict", we must not only awaken what we Chinese bones, but also follow the development of the times and inject new vitality, so that such national musical instruments have a steady stream of vitality.
"Singing kites in front of the golden millet pillar, in front of the jade room." Listening to the kite, but also listening to yourself. The lonely heart of a paulownia tree resonates with the perception and sigh of life. It was getting late, and when she got up to say goodbye, Liu Yan kept saying softly, "We'll see you next time!" I have said so much today unconsciously, in short, guzheng is my life's work. "Humble, knowledgeable, Suzhou woman's gentle and jade temperament, want to come like a guzheng qianli qingya, raise your hands and feet, the picture suddenly comes like a night spring breeze: night moonlight quicksand, candle shadow one person, the sound of the kite is leisurely, occasional gains, Tao Ran forgot the opportunity.
"In short, I have taught so many students, they are all the hope of our Chinese national musical instruments, I believe it will get better and better!" At the end, she rolled down the window and waved cutely.