The Generation Of "taste" In The Performance Of Qin Music

"Taste" is an important part in Chinese traditional music aesthetics.The art phenomenon of "taste" is widely existed in the field of research and practice in traditional Chinese art.In the field of Guqin art,the art phenomenon of "taste" is not only scattered in the traditional theory,but also involved in the contemporary players and theorists.However,scattered arguments cannot form an effective theoretical system.The lack of systematic elaboration is bound to lack theoretical depth,and it cannot form effective theoretical persuasion.The research of this paper is to explore the formation mechanism of "taste" from the perspective of playing.Based on the current research status,the first is to expand the theoretical connotation of "taste" and interpret "taste" from different perspectives.Thus,the systematic research can be carried out.It is not limited to the "taste" in traditional literature and contemporary research results.After systematizing the connotation of "taste",it is necessary to discuss from the aspects of sound form,fingering and the understanding of Guqin art by contemporary players.It demonstrates the viewpoint through specific case analysis in discussion.It makes use of the theoretical knowledge of acoustics,psychology,and western aesthetics when arguing.The fusion of multi-disciplinary perspectives is one of the characteristics of this paper.Also,the "taste" of Guqin art is reexamined from the perspective of performance.It expands the theoretical perspectives that "taste" is understood as a dynamic process and the formation mechanism is revealed.Moreover,the study of "taste" in this paper is based on the accumulation of practical experience,which is of guiding significance to the Guqin performance.