First, the first issue is mysterious music score, and then ten music scores are published in Piano Music Score.
See the following table: the year when the composer wrote the publication (A.D.), the title of the song, the number of paragraphs, and the magical secret of lyrics, in the first year of Hongxi, Zhu Quan, 1425, Long (Zhao Jun v.), eight tones without Zhejiang, piano score Gong Jinghong Zhi, four years ago, 149? Years ago, Longxiang Caoba published a new score 1530 for the 9th year of Jiajing in Ming Dynasty and Longshan in Ming Dynasty, Zhao Jun complained about the Eight Xuanpin by the wind, the 18th year of Jiajing in Zhu Houyi 1539, the score of Wugang in Qichubao, Zhao Jun and the 25th year of Jiajing in Huang County 1546, and Zhao Jun cited eight works without revealing the Qin Dynasty in the west. In the 28th year of Jiajing, 1549, Zhao Jun complained (Qu), and there was an addendum to Taiyin in Xingzhuang. In the thirty-sixth year of Xiao Luan Jiajing, 1557, he held a New Moon Exercise (Long Xiang Exercise) and recorded eight piano scores. In the forty years of Jiajing, Yang, 15 1, Zhao Jun quoted eight volumes and one word to reconstruct the true piano score. In the 13th year of Wanli, 1585, Zhao Jun v. (Dragon Vanilla) Eight Qin Books, in the 18th year of Wanli, Jiang Keqian, 1590, Zhao Jun introduced eight books, but there was no new explanation. In the forty-six years of Wanli, Zhang and Zhao both sued for the same tune of eight strings, and both used the "yellow bell tune" of "tight five and slow one". For the first time, a side character was added to Yin Zhe Cross Genealogy. After that, there were occasional digressions, the content of which was nothing more than being forced to marry far away, which was unlucky, mixed with Cai Wenji's eighteen beats of Hu Jia and Tang poetry. The lyrics are not artistic, so it is difficult to make do with singing on the piano. The second edition was also circulated in the Ming Dynasty, and was first published by Xie Lin in the sixth year of Zheng De in the Ming Dynasty (15 1 1). The title of the song was Zhao Jun's Complaint, and later Huang Shida's supplement, The Legacy of Taikoo, was recorded again. In the twenty-fourth year of Wanli (1596), Wen Hui Tang pu was compiled, and in the thirty-ninth year of Wanli (16 1 1), Taigu pu was compiled, all of which were named Zhao Jun's resentment. The beginning of this group is somewhat similar to the last group, but the main part of the tune is not the same, so it can only be considered as another piece. The lyrics are also different from the previous group, which is adapted from Song of Complaint and Thinking written by Wang Zhaojun in Cao Qin. Perhaps it is because the artistic level of this kind of handicraft is lower than the previous one, so it is not as popular as the previous one.
Wanli period of Ming dynasty (1end of 6th century to1beginning of 7th century). The "Yushan" Piano School, with Yancheng, Changshu, Jiangsu as its master, has sprung up in the piano field in China. This piano school advocates the piano style of "clear, subtle, light and far away", opposes fast playing and complicated sounds, and rejects piano music that they consider "vulgar". Of course, the long Cao Shuo was also excluded by Wei Yan, because it is also a piano piece with many words (most of which are words). Or considered as piano music). Therefore, there is no place for the dragon in the earliest piano score of "Yushan" school compiled by Yan Cheng, and because of the far-reaching influence of "Yushan" school in the national piano field, some important piano scores will follow.
By the early Qing Dynasty, the style of Yushan School had actually changed a lot. On the basis of this school, the New Guangling School rose in Yangzhou. Guangling School doesn't oppose complicated sounds and reject piano music like Yan Cheng, but its first piano music, Piano Music of Chengjiantang, has not been published yet, but another piano music with completely different tunes and timbre has appeared. During the decades from Kangxi to Qianlong, this music score was reprinted three times. Another first edition of "Zhao Jun Fen" was later published by Shi Qin Pu (most of the titles were renamed as "Dragon Vanilla"), and its playing method has been handed down from generation to generation by piano players until today (Mr. Zhang Ziqian, an 88-year-old Guangling pianist, is known as "Zhang Longxiang" for playing this song).
In this way, the once popular famous song "Dragon Cao Shuo" (or Zhao Junfen) has even less noticeable influence on body doubles. Since the appearance of the last piano piece in Wanli period of Ming Dynasty, this ancient famous piece has been silent for more than 300 years, and it was not until 1950s that people began to ask about it. After liberation, with the photocopying and publication of the rare piano score "Magic Secret Score" in 1955, many ancient treasures were discovered by the piano players one after another, and Long Caoshuo, who had been silent for hundreds of years, finally got a chance to play again. Comrade Chen Changling, a young pianist from Beijing, first interpreted and popped up this score, and published the article "Talking about Dragon Vanilla and Long Caoshuo" in the third issue of Music Research 1959. After analyzing a lot of materials, he basically sorted out the ins and outs between dozens of piano music versions. Later, the recording of his performance was included in "Guqin Music Internal Information Album" (this album has 22 faces, and only ten sets have been published nationwide). Because the attached music provided by Comrade Chen Changling for research after the publication of the paper is relatively simple, it is still difficult to play the whole piece according to the music, and there is no public radio recording or record, so this excellent piano piece has never been circulated in the national piano field. The study of this ancient famous song also needs further development.
The changeable title of this song.
The reason why the version of this piano piece is so complicated and confusing is first caused by the changeable title. In the mysterious handbook, the title of the song in the catalogue is Long Cao Shuo, but the title of the song is printed as Yang Long Yue Cao. Obviously, this "YueYang" is misprinted, because its glyph is similar to "Shuo". Soon, Yin Zhe's cross score was mistaken for Long Xiangcao from Yang Longcao. It is also because the name of this song is accompanied by the fine print "Old Name Zhao Junfen" in The Magic Secret Song, so from the beginning of the Ming Dynasty, dragon, dragon vanilla and Zhao Junfen have become different names for the same song. Later, another book with different tones, Tomb of Zhaojun, also mixed the names of Long Caoshuo and Long Vanilla. As for "Fei Ming" in "Fei Ming Qu", it refers to Zhaojun, which was the name used to avoid Si Mazhao in the Western Jin Dynasty.
The title of Long Cao Shuo in The Secret Spectrum of Magic has the word "old name Zhao Jun resentment", while Zhao Jun resentment is consistent with the theme of Zhao Junyuan's marriage in Xie, so why did Zhu Quan change it to Long Caoshuo? We can find the answer from the preface of the Magic Secret Spectrum: "... whose name is vulgar, listening to the piano is more important." Zhao Junfen is really like the name of a folk tune or qupai. Under the guidance of Zhu Quan's thought of respecting elegance and eliminating vulgarity, the easy-to-understand Zhao Junfen was changed into the puzzling Long Caoshuo. What does "Long Shuo" mean? There is a phrase "Longsha" in the Biography of Ban Chao in the Later Han Dynasty, which generally refers to the desert land beyond the Great Wall; In Tang Du Fu's poem about Zhaojun Village in Zigui, there is another sentence: "She left the Purple Palace and entered the desert". "New Moon" is synonymous with "North", and "Shuomo" here also refers to the northern desert. Therefore, comrades think that "Longshuo" is "the north of Longsha", that is, "Zhaojun is out of the fortress". Mr. Cha Fuxi once pointed out in his research note "Bo Bo Ji" that "Longshuo" is the residence of Xiongnu Khan, which is based on Yin's poem "The land is horizontal, the Longshuo is connected with sand and the mountains are more important than the five rings" in the Tang Dynasty (see Volume 492 of the whole Tang Dynasty). However, what is certain is that It is precisely because of the obscurity of Dragon Tale that centuries of misinformation and confusion have been caused-it cannot be said that Zhu Quan did something wrong.
The Time of Long Caoshuo's Formation and Spread
Zhu Quan wrote "Long Caoshuo" as the title in "The Secret Spectrum of Magic", and noted "the old name Zhao Jun complained".
Before Jiading in the Southern Song Dynasty (A.D. 1208- 1224), there was a three-volume piano anthology "The Legacy of Taikoo" written by Tian Zhiweng. During the years of Jiading, someone renamed this book "Notes on Qinyuan" and presented it to the court. More than 200 years later, in the early Ming Dynasty, 14 13, Zhu Quan added, deleted and reprinted this collection of Qin Lun, which was divided into two volumes. It is still named "The Legacy of Taikoo" (see Zhu Quan's preface), but the title of the first volume is printed as "The Complete Works of Taiyin New Publication".
At the end of this volume of Qin Lun Ji, the name of 6 1 Kubinashi was published, including "Zhao Jun's resentment", which coincides with Zhu Quan's "old name Zhao Jun's resentment" with the inscription "Long Cao Shuo" in The Magic Secret Spectrum. The chords used in the two versions of Zhaojun Tomb are also the same Yellow Bell Tune. Although Zhao Junfen in the newly published Complete Works of Taiyin has no music score, its chords are marked as "Huang Zhongyi" and "Relaxation". This has exactly the same meaning as the "yellow middle tune" and "tight five and slow one" in the Magic Secret Music, and it is a "external tune" that is not commonly used in Qin music, which shows that the "dragon" in the Magic Secret Music is a new title of "Zhao Jun's resentment" in Tian Zhiweng's The Legacy of Taikoo more than 200 years ago! Besides, The Complete Works of Lunar New Publications and The Magic Secret Spectrum were both compiled by Zhu Quan (these two books were compiled immediately afterwards), and they are not easy to make mistakes.
At the same time, evidence can also be found in Yuefu poems compiled by Guo Maoqian. When solving the Wang Mingjun problem, the book Twenty-Nine Poems copied a large number of poems and piano names related to the theme of "Ming Jun" in ancient books after the Han Dynasty, and clearly wrote: "Pressing the piano has the same resentment." The source is not indicated here, but the name of the poem and the name of the piano music copied earlier. It is possible that this kind of piano music popular in the Southern Song Dynasty was not very old at that time. The above materials show that the book Long Cao Shuo or Zhao Jun Fen, which was published in The Secret Book of Magic in the early Ming Dynasty, was circulated among the people in the Southern Song Dynasty.
Among the numerous piano scores printed in the Song Dynasty, only two small scores can be seen today, but two precious lists of tracks are left behind. One is Piano Score compiled by the monk Ju Le, which contains 223 pieces of Kubinashi's music. The other is "Qin Shu's Songs" (seen in the series "Qin Yao Yuan Lu", the author is unknown), in which 253 Kubinashi's music scores were published. In these two repertoires, there is a title "Zhao Jun's Complaint". According to the textual research of Comrade Xu Jian, these two materials with unknown publication dates were not included in the works of the Southern Song Dynasty and can be regarded as the products of the Northern Song Dynasty (see History of Qin Dynasty). Then, before Jiading in the Southern Song Dynasty, under the premise that the title of "Zhao Jun Fen" was circulated among the people, Zhao Jun Fen in the two music lists in the Northern Song Dynasty was probably the same song of the former.
From the end of the Han Dynasty to the Tang Dynasty, a large number of Qin music creations such as Ming Jun appeared. Cai Yong's "Cao Qin" at the end of Han Dynasty was the earliest piano piece with lyrics written by Wang Zhaojun. Later, in Fu Qin written by Ji Kang in Wei and Jin Dynasties, there was a title of "Wang Zhao" (that is, "Wang Zhaojun"), which was classified as "ballads and customs", and it may be a well-known Qin Song. In the Southern Dynasties, Xie's Qin Lun recorded 36 flat beats, Hu Jia's Ming Jun recorded 36 beats, Qing Dynasty recorded 13 beats, chord recorded 9 beats, Shu Dynasty recorded 12 beats, Wu Dynasty recorded 14 beats, and Ming Jun recorded 20 beats. In the Tang Dynasty, it was recorded that "Hu Jia's Ming Jun had four lanes, dancing up, dancing down, playing up and down the middle chord. There are more than 300 "Ming troops" and four good people. There are also five tricks in Hu Jia's "Farewell to a Gentleman", which are also correct. " In the meantime, among the 59 Qin titles after the manuscript "Carving the Orchid at Jieshi" in the early Tang Dynasty, 9 Qin titles with the theme of "Ming Jun" were included.
Although these recorded piano pieces only have titles, we can still see the similarities between them. For example, most of them are related to the ancient Saibei wind instrument "Hu Jia". Today, we can see that more than a dozen pieces of music are related to Hu Jia's voice, all of which are taken from Wang Zhaojun, Cai Wenji or other contents related to Saibei. Chords are all in the same "yellow bell tune" and have similarities in tone. We confirmed the piano music Zhao Junfen or Long Caoshuo, which was widely circulated in the Song and Ming Dynasties. Probably as early as the Tang Dynasty.
Simple rotation and "balanced symmetry" curve body
The whole song is divided into eight paragraphs, of which the first and eighth paragraphs are actually the introduction and end of music. The second to seventh paragraphs are the main body of music. These six paragraphs consist of three different materials that are repeated once:
(1) The second paragraph is exactly the same as the seventh paragraph, and the timbre is mainly composed of scattered sound and bent sound. Every phrase is composed of the relationship of "spread and diffusion": the music idea is further affirmed, repeated or changed after being presented, thus generating new pleasure, repetition and extension ... This kind of "spread and spread" rotation is very common in guqin music, just like classical prose poems, and the sentence structure is relatively free. This piece of music has deep feelings and strong charm.
(2) The third and fifth paragraphs are beautiful overtones, three paragraphs are played in the same degree of "lower accuracy" and five paragraphs are played in the same degree of "upper accuracy", and the tunes are basically the same. The whole paragraph is a variation around the ending of the two phrases "feather" and "angle". The upper and lower sentences in each group are the same length. The next sentence is a four-degree shift of the previous sentence, which is very symmetrical. Due to the ingenious change of gradual change in rhythm, the square structure between the upper and lower sentence groups is completely broken. The last long sentence is completed in one go, indicating that the paragraph is willing to summarize (there are traces of the connection between the upper and lower sentences in the middle). The music is lively and fresh, as if people saw Zhao Jun's graceful and changeable dance:
The previous sentence (falling feather sound) and the next sentence (falling horn sound)
(3) The fourth and sixth paragraphs are mainly composed of sliding tones, which are composed of three groups of relatively balanced upper and lower dialogue sentences and final complement sentences. The fourth paragraph is played in the "lower quasi" and the sixth paragraph is played in the "upper quasi" one octave higher, and the tunes are basically the same. The melody of this paragraph is concise and lively. Under the exquisite decoration of the left hand, it is full of the rhythmic beauty of poetry recitation without losing the tenderness of women. The technique of variation is very simple, but the first sentence of a phrase changes constantly in the repetition of the upper and lower sentences.
The first and eighth paragraphs, which are equivalent to the introduction and the end, are changed from some materials of overtones and dissolved into the tone fragments of the other two paragraphs.
Because the third paragraph, the fourth paragraph, the fifth paragraph and the sixth paragraph are all question-and-answer structures of the upper and lower sentences, they often give people a clever, rigorous and balanced aesthetic feeling. If a central axis is drawn between the fourth paragraph and the fifth paragraph in the middle of the music, then we can see that the whole melody structure is also this wonderful "balanced and symmetrical" form, which is quite in line with the aesthetic habits of China ancient architectural art and other art categories. We can often see that some passages in traditional piano music are symmetrical to each other, but it is rare to see such a complete "balanced and symmetrical" form of the whole music: a long solo "Dragon" is like many biographies of Tang and Song Dynasties in "The Secret Music". Its music material is not complicated. In the rotation method, repetition, variation, repetition and development are the main means, and different materials between paragraphs infiltrate each other skillfully, and the internal connection of the whole song is strengthened by the beginning and end of paragraphs with similar tones. It is today that these "limited" and "simple" composition techniques are used to weave such a wonderful melody and depict such a moving musical image, which is amazing.