Research On The Percussion Suite Of Jizhong Concer

Percussion in traditional Chinese music is a field with profound history and rich colors.Since the 1950 s,Yang Yinliu recorded and sorted out the "ten gongs and drums" in southern Jiangsu and presented the notation method as a unique sequence mode,which established an unprecedented expression paradigm for percussion research.Follow-up scholars carried out a series of collation studies on the percussion of folk music and built a new style of percussion research.Therefore,the relevant cultural connotations have obtained space for interpretation.Based on the ontological analysis paradigm of "Ten gongs and drums" and the "sounding instrument concept" of music anthropology,the paper focuses on the percussion suites "Hexi Cymbals" and "Pink Butterfly" of the Jizhong Concert,recording and sorting out folk scores,rhyme scores and percussion performances,trying to present the rhythm sequence,structural patterns and Performance system,which illustrates local knowledge in the region.The hit points of the hit set of Jizhong Concert include singular,decreasing,battles and mutual answer sentence patterns,which reflect the same rhythmic sequence and sequence patterns as the ten gongs and drums in southern Jiangsu,which can be connected with poetic rhythms and step-by-step setbacks.The presentation of harmony across thousands of miles,compared with the recorded melody spectrum,presents characteristics that are easier to observe,thus providing an internal way to display patterns,which is conducive to the ontological analysis and cognition of musicology.The percussion symbol used in the concert challenges the traditional way of notation.In practice,it is indeed to experience the process of transforming the identity of outsiders of national music to convert a word of the folk manuscript and a pronunciation in the musician’s rhyme score into a four-line score of "drum board and cymbals",list it into a general score,and become a measurable score that is easy for contemporary musicians to understand.Based on the field investigation,the paper recorded two sets of songs of the two concerts.Jizhong percussion set is not just a percussion instrument,but also accompanied by a set of dance movements flying up and down,opening and closing left and right.Some movements are very exaggerated,reflecting the unique aesthetic characteristics of folk instrumental music.These parts,known as "dancing and cymbals" in historical classics,provide room for interpretation of the "performance theory" of ethnomusicology.The four musical instruments of the Hebei-China Concert Percussion Group,"Drum Board and Cymbals",in the process of going to each other,harmony and different percussion,embodies the cooperative spirit of the community,turning the gongs and drums celebrating together into a link between members,and turning community cooperation and community spirit into observable and sensible carriers.This is the place where musicological narrative is most based.