"yun" Of Guzheng Performance

Yun is one of the important category of aesthetics in China, and it arose great attention and research from the literator of every dynasty. From the harmonious and aftersound,Yun has been widely used in poems ,handwritings, articles and paintings. The connotation is constently changed.The first book that mentioned about Yun is Sie He's"famous record of antient painting"which has six Methods of its paintings. "Lively" is a later judged the highest standard of painting. Subsequently, Fan Wen, Song Dynasty,in his "Poem Qianxisi eye" in a more comprehensive, fully explain the "Yun" and define the historical evolution, that is "more than a means of rhyme," "Rhymes are great beauty" and other classics discussion. In the end "Yun" has become the traditional Chinese art of the highest aesthetic to the environment.To discover the meaning of Yun's historical evolution, the ultimate goal is to use in practice. Zheng is a native of "rhyme" instrument, in the absence of knowing the meaning of "Yun". Many players pay attention to the narrow sense of "to rhyme up sound," the tone, style, but not from the music to explore areas in "sustain," the study or stop at the aesthetic level of hearing. The real "rhyme" should be a metaphysical concept, "Sound Beyond Sound", "take the image out of" and "surplus meaning", a sound internal and external style combine to form the unity of aesthetic realm.How to realize the state of"Yun"in the performance can be found in the third and the fourth chapter. "Rhyme" is the skill to create obstacles in the absence of performance . If you play the sweet music with the aesthetic standards that are lower than hearing the words,you can not talk about "Yun" .Therefore, this chapter is from a "tone" of playing the technical aspect, following the "tone" of the four attributes (height, length, intensity, timbre) to start the discussion. Only the smallest music, the most basic elements of interpretation accuracy fully, it can complete the entire musical works. Since then, extended to the whole music (traditional and modern) of processing and analysis. Section III of this chapter, "the beauty of form," the content, rhyme on Chinese classical dance training reference for this body part, is the author's attention after years of dance and harvest the fruits. "Body Rhythm" in the "Art Breath", "Anti-mantle principles" momentum law is playing Guzheng performance that has been difficult to resolve the issue form. Then it is used in the teaching andreceived very good results, this reference was not found so far tried, it should be considered as an innovation, especially for zither playing. To realize " One man piano ", visual aesthetic have great significance.Chapter IV is mainly about the ability of the performer aesthetic aspects. As the saying goes: "If you don't have it in mind, you will not have it in hand." . As a superb performer, if he don't have a rich inner world and the aesthetic principles of high standards, his performance is very difficult to enter "Yun" realm. Therefore, this chapter from the music perception, imagination, understanding ability in three areas were starting to repeat, in order to learn as early as possible by the player with the perfect technology elevated to "Yun" realm.