Abstract Erhu is a traditional national stringed instrument in China and it is an important member of the Hu Qin family.After thousands of years of development,erhu has gradually flourished and become a comprehensive art integrating performance,teaching and creation.Tibetan xianhu,also known as niujiaoqin,biwang,biwang,etc.,is a stringed instrument made by the Tibetan people from local materials.It is an art treasure of the snowy plateau.It is often used as the main accompaniment instrument of Tibetan rap art "beiweng",folk song and dance"Xianzi" and "rebahi".It has rough,deep,thick,solid and unique voice color and unique singing and expressive force Deeply loved by the Tibetan people.As an important representative of huqin art in Han and Tibet,with the development of society,the change of cultural context and people’s cultural psychology,erhu art and Tibetan xianhu art gradually permeate,refer to,quote and imitate each other in the aspects of musical instrument form,artistic function,teaching inheritance mode,music creation and performance,artistic expression form,etc.,causing a wide range of concerns Note and discussion.Based on the theory of intertextuality,this paper makes an in-depth study of the Intertextuality between Erhu art and Tibetan xianhu art since the 20th century from a synchronic perspective,and probes into how to grasp the "degree" in the development of the Intertextuality between Tibetan xianhu art and erhu art,which is in a weak position.As two different forms of traditional music art,the intertextuality research on Erhu art and Tibetan xianhu art is the general trend.It can not only make more people understand the charm and value of Erhu art and Tibetan xianhu art,but also feel the inclusive and diversified fusion of the two arts,and also make the value of the two music cultures sublimate in the collision,so as to resist the popular music culture Prosperous tide,better inheritance and development of traditional national music culture.This paper mainly uses the method of comparative study to make a comparative study of Erhu art and Tibetan xianhu art from five parts:in the first part,from a macro point of view,it summarizes the significance of the topic,the concept of intertextuality,and is related to this topic.A review of the current research situation,research ideas and methods;in the second part,it makes a comparative study of Erhu art and Tibetan xianhu art from the development history and music characteristics;The third part first expounds the feasibility of applying the theory of intertextuality to the study of this topic,on this basis,the central discussion of this paper is to put Erhu art and Tibetan xianhu art in the context of cultural exchange,from the aspects of musical instrument form,music creation and performance,education and inheritance,etc.This paper discusses the Intertextuality between the two kinds of arts since the 20th century.The fourth part explores the origin of the Intertextuality between Erhu art and Tibetan xianhu art from various perspectives,such as the era background provides a broad space for the two kinds of art exchange and mutual learning,the fusion of audience groups in the national integration,the integration and innovation of "resources" under the guidance of mass media,and the"strong" cultural pair The fifth part analyzes the positive significance of the Intertextuality between the two arts,and focuses on the discussion.In the intertextual development of erhu art and Tibetan xianhu art,how should Tibetan xianhu art take into account its own function and value. |