Application Of Qupai Music In Wind And Percussion

"hillside sheep" is one of the major songs of the Song and Yuan dynasties.It was also called Shanli Yang(Suwu Muyang)for a long time and a wide range.It is both vocal music and instrumental music,and has a huge "family" of variations of the same ancestor and different names with the same melody.It not only exists in opera,quyi,instrumental music,folk songs,dance music but also widely used in religious,court music.It can be used as both sanqu xiaoling and divertimento in the North and South Qu.In the Ming and Qing Dynasties,it was widely used in the instrumental accompaniment of string music in the north,and gradually became an important tune for folk instrumental music.This paper studies the application of "Hillside Sheep" Qupai in folk music,which is different from the previous research on the musical form of this Qupai.Through diachronic development analysis and synchronic music analysis,combined with history,culture,geography,religious background,social function and other factors to grasp the survival and development law of "Hillside Sheep" Qupai in the wind and percussion music system,so as to observe the unique music creation thinking of instrumental music qupai music.This paper consists of introduction,text and conclusion.The introduction section explains the reasons and backgrounds for the selection of research objects,and discusses the research status,research significance and practical value,research methods and angles of "Hillside Sheep" song cards and blowing music.The first chapter is the relevant definition of traditional Chinese music and blowing music,including the introduction of the basic situation of chinese traditional music music in the use of Chinese folk blowing and playing music.Chapter two: "hillside sheep" Qupai has a long history,strong practicability and wide distribution.There are many variations,including changes in track names.The first section is to trace the historical development of "hillside sheep" Qupai;The second section elaborates the evolution of the name of "hillside sheep" Qupai;The third section is the carding of its instrumental development and evolution.The third chapter analyzes the regionalization and categorization of "hillside sheep" Qupai in the specific use of folk music from five aspects.Firstly,the environment of mountain sheep playing music in cultural areas was observed and analyzed from a geographical perspective.Secondly,it analyzes its musical form,draws on Mr.Yuan Jingfang’s "Lemu family" mode analysis and other methods,compares the gong tone,musical structure and melody composition of vocal music and instrumental music of Qupai of the same family,so as to explore the evolution of "hillside sheep" Qupai.Then,through the performance of the main instrument division,comparative analysis of the characteristics of different instruments used in the wind and percussion music,summarizes the transplant between the instruments,the law of development;In addition,it is the study of performance forms,comparing the different performance forms of "Hillside Sheep" in music.Finally,the article combs the folk activities in each region to explore its social and cultural functions.The fourth chapter,from the perspective of communication,discusses the inheritance and development of the "Hillside Sheep" song card,analyzes the choice of music and aesthetic tendencies,summarizes the condensation and retention of traditional elements and the development in contemporary context.Through the case study of the "Hillside Sheep" song card,it is attempted to interpret the use of traditional Chinese music music in folk blowing and playing music.