The finale of the costume drama "Menghualu" has come out, and Song Yinzhang, a pipa master in the "Big Heroine Group Portrait", ushered in a "highlight moment" in the last episode - not only did he find clues to solve the case in the Gongqi spectrum, but also because of his outstanding performance His playing level has become a hand-picked "offer", and he has become a high-level "civil servant" in one fell swoop. Although Song Yinzhang is not the female number one, she has always been the focus of the topic in "Meng Hualu", whether it is her posture of holding the pipa and playing, or the "Ancient Song" "Liangzhou Daben" for which she won the inscription "Feng Gu" , has sparked a heated debate. "From ancient times to the present, what are the postures of playing the pipa?" "Is there really a piece of "Liangzhou Dabian" in ancient times?" The excellent traditional Chinese culture behind it is attracting more and more keen attention.

Not only "Meng Hualu", but also in recent years, "Feng Qi Longxi" and "Qing Ping Le" and other costume dramas have demonstrated the style, performance and cultural characteristics of Chinese national instrumental music through soundtracks or through plots. "Film and television dramas can restore this cultural phenomenon and allow traditional music to survive in the aesthetic experience of modern people, which is undoubtedly a good thing for the popularization of national musical instruments." Liu Hao, a professor and composer of the Department of Folk Music at the Shanghai Conservatory of Music, said that he hoped that in the future More and more elements of folk music can be seen in the film and television dramas of China, and I hope that film and television practitioners can dig deeper into the culture behind the national instrumental music, so that the continuation of traditional music will not stop at "mere appearance".

Is it right for Song Yinzhang to hold the pipa horizontally? There is a profound culture behind the national instrumental music

During the broadcast of "Menghualu", the pipa became a hot topic. In the play, Song Yinzhang was set as a famous pipa player in the south of the Song Dynasty. Whenever she played the pipa, netizens would ask questions from time to time in the barrage: "Is this a pipa? Regarding the view that the pipa should be played vertically, Shu Yin, an associate professor of the Folk Music Department of the Shanghai Conservatory of Music and a pipa performer, told reporters: Historically, the pipa has been held vertically or horizontally.

Pipa is a Chinese musical instrument with a long history, dating back about two thousand years. The earliest known pipa in the academic circles is found in the historical documents, which is the "Release of Names and Musical Instruments" by Liu Xi of the Han Dynasty. It wrote: "The original of the batch came from Huzhong, and it was drummed immediately. When pushing the hand, it was called the batch, but when the hand was led, it was called the handle. It was like a drum, because of the name." The instrument played forward is called "Ba", and the backward is called "Ba"; according to the name of the fingering it plays, it is named "Ba Ba".

"In the frescoes in the Mogao Grottoes in Dunhuang, or some unearthed musical figurines, or in the "Han Xizai Night Banquet" in the Southern Tang Dynasty, you can see the state of playing the pipa in a horizontal hug." As for the playing state of the pipa in the Song Dynasty, Shu said Yin mentioned the verse of the Song Dynasty poet Lou Key, "The pipa continues to play while leaning on the side, and the husband sits and listens to Hu Zhongqu", which proves that it is also played sideways. I think it is still in line with the history of the pipa."

According to experts, there are not many records about the Song Dynasty pipa in the materials currently available. Ouyang Xiu's poems mention two Song Dynasty pipa songs, "Woodpecker" and "Jade Chain". In addition, at that time, there were few pipa’s pipa’s pipa’s pipa and its appearance (the pipa’s pipa’s pipa’s pipa and pipa’s pipa were both made of different materials, the pipa pieces were generally made of mahogany, bone, jade, etc., and the pipa pipa pieces were generally made of bamboo), and the techniques were not as complicated as those of the contemporary pipa. Diverse. Unlike the way of fingerpicking now, it was mostly played with a large plectrum.

The Qing Dynasty was the peak period of the rapid development of the pipa art. In 1819, the first collection of musical scores in the history of the pipa, "Huaqiu Ping Pipa Score", included the well-known music such as "House of Flying Daggers" and "Moon's High". . During this period, with the development of the pipa art, the shape of the pipa also changed - the quality and phase gradually increased, and it was very close to the current pipa. At the same time, the state of holding the lute also changed, and it was gradually established as a vertical hug and played with fingers.

Is there a piece of music called "Liangzhou Dabian" in ancient times? More and more platforms are making folk music a craze for breaking the circle

"If you can't take this breath, just use the pipa in your hand as a sword and stab it back fiercely." Before Song Yinzhang went to perform in the palace of Xiao Xianggong, the male protagonist Gu Qianfan encouraged her. In the official performance session, Song Yinzhang's qin skills were praised by Ke Xianggong, who also inscribed the word "style bone" on her pipa. In "Menghualu", Song Yinzhang made a name for himself in Tokyo by playing "Liangzhou Daben", which was like a golden horse and an iron horse. Some viewers are curious: Was there really a piece of music called "Liangzhou Daben" in ancient times?

Shu Yin told reporters that "Liangzhou" is a famous Daqu in the Tang Dynasty; Dabian is a term used in Tang and Song Daqu. "In addition to the Qing Dynasty, the Tang Dynasty was another peak period for the development of the pipa. At that time, a large number of pipa players and music emerged. Court bands and folk singing were indispensable to the pipa, which became a very popular musical instrument at that time. This kind of grand occasion was in ancient China. There are a lot of records in the poems." For example, in his famous poem "Pipa Xing", the Tang Dynasty poet Bai Juyi gave a very vivid description of the performance of the pipa and its acoustic effects: "The big strings are noisy like rain, the small strings are cut and cut. Such as whispers", "noisy and cut miscellaneous bullets, big beads and small beads falling on the jade plate" and so on.

In the book "Chinese Pipa Culture Series", Zhuang Yongping has related research on the big song "Liangzhou" (also known as "Liangzhou"): "Jiaofang Ji" records the name of this song, and the music at that time was all Named after border areas, such as Liangzhou, Yizhou, Ganzhou and the like. Yuan Zhen's "Pipa Song" in the Tang Dynasty wrote "Liangzhou is the most arrogant and noisy", indicating that the style of this song is relatively rough. According to the description in the poem, Li Guaner, a pipa player in the Tang Dynasty, played this song. After the Song Dynasty, this song was widely circulated, such as "Liangzhou Order", "Liangzhou Paibian" in Song Dynasty, "Liangzhou" in Yuan Dynasty and so on.

"Speaking of "Liangzhou", it reminds me of the earliest pipa solo piece "Haiqing Takes Swans", which is the earliest pipa historical material that can be tested and is still active in teaching and on stage. In Luanjing Zayong, it is written that "the new tune is translated into Liangzhou music, and the swans are popped to avoid Haiqing". Comparing "Haiqing Takes Swans" with the "Liangzhou" Daqu, one can also see the music "Liangzhou" does exist. "However, we can only understand the original appearance of Liangzhou from the descriptions in the literature. As for the sound of the pipa in the play "Menghualu", it is closer to the range and timbre of the modern pipa."

In recent years, film and television dramas including "Meng Hualu" have appeared with elements of folk music such as pipa. On the highly active social media and video platforms of Generation Z, such as Station B and Douyin, outstanding folk music performers and new folk music works have also received a lot of attention. Not long ago, Shanghai launched an 8-hour live broadcast of new national music. One of the live broadcast participants was Man Baojiang, a popular post-90s anchor who promoted Konghou culture. She broadcasts live broadcasts on Douyin every week, and the audience orders songs on the spot. She notes on the spot and plays with Konghou. She can not only play the two-dimensional Divine Comedy "Nine Nine Eighty-One" with Konghou, but also the popular songs "Meet" and "Broad Ocean", as well as Western classic music "Canon", movie music "Out of Egypt", etc., Konghou Of course the traditional classics go without saying. At present, the number of likes of Man Baojiang on Douyin has exceeded 6 million. She said that as long as someone knows Konghou through her Douyin account, she will keep playing and teaching. "We are the group of people who are going to promote the development of folk music in the future."

"On these online platforms, we can see not only ancient songs, traditional songs, but also adaptations or transplants of film and television music, game music, pop music and even Western classical songs. On the basis of inheritance, innovations that fit the times are integrated." Liu Hao, a professor and composer of the Department of Folk Music of Shanghai Music, believes that there are still many well-known folk music performers, students majoring in folk instrumental music in professional colleges and folk music lovers on the same stage to communicate with each other on the same stage. It has a broad platform and high-quality soil.