The Sounds Come Before The Tunes Joy And Sorrows On The Strings

In the1980s, Chinese folk music creation took on a situation of diversity,complementary and coexistence. In the wave of enthusiasm that the music industry set off to explore the national character of the Chinese contemporary music creation, the composers made extensive use of Chinese poetry, folk songs, drama and other elements of traditional music as well as popular folk material. A number of music works emerged, combining Chinese traditional music language with western composing techniques. Liuqin, as a newly minted solo instrument of Chinese folk musical instruments, has gradually presented a gratifying situation of a creative style pluralism and diversity of music content, though it’s been only a few decades since its exploration in the field of solo works. This thesis, oriented from 《Jian Qi》and 《Jiang Yue Qin Sheng》---two Liuqin works created in1980s and associated with Chinese poetry, starting from the different perspectives of the culture of traditional Chinese poetry by the two composers, aims at thinking about opening up and expansion of the1980s’ Liuqin performance art.