Stydy On Playing Art Of Jiangnan Erhu

The art of Erhu playing has many styles,which can be mainly divided into Southern Faction and Northern Faction according to the regional characteristics.Southern Faction has many styles,such as Jiangnan style,Sichuan style,namely Shu Style,Hunan style,Yunan styel,Guangdong style.Northern Faction has Hebei style,Shandong style,Shannxi style,namely Qin style,Henan style,Inner Mongolia style,Xinjiang style,Tibet style,and so on.Jiangnan style is one of the most representative styles in Southern Faction.The art of Erhu playing in Jiangnan style is closely connected with Jiangnan regional culture,and with Jiangnan regional opera and Jiangnan traditional stringed and woodwind instruments as well.Author of this thesis discusses characteristics of Jiangnan Erhu from four aspects of mode,the method of turning,music plate and intensity,combining with the Jiangnan regional opera.First,the octave contrast style and the fish bites the tail style are characteristic melody developing methods of Jiangnan Erhu music,weakened rhythm is the most representative feature of Jiangnan Erhu intensity.Secondly,the author exemplifies the playing techniques of Jiangnan Erhu.The most typical technique of left hand is pad—finger portamento.In the joyous period,,the pace of portamento is a little faster.However,in the lyric period,the pace of portamento is a bit slower.The common characteristic of all these portamentos is weak intensity,light amplitude.The most typical technique of right hand is cross section connection,the function of which is to closely connect music,break the original rule of music beats.The author has been learning Erhu from childhood and master Erhu playing,study and research Jiannan Erhu in undergraduate school,therefore,this thesis not only provides theoretical foundation for Erhu learner,but offers practicality as well.