Research on the Chinese suona art

Author: Liu Yong
Publisher:
Publish Date: 2006-01-01
Features: This article is based on the academic achievements of senior scholars and the author's field research, comprehensively applying theories and methods from disciplines such as musicology, ethnomusicology, instrumentology, and music theory to conduct a relatively thorough study and discussion of Chinese suona music, while also proposing some new perspectives. The full text consists of four main parts: The introduction discusses the origin of the suona and its historical spread in China. Chapter discusses the material composition of Chinese suona music, primarily organizing various band formation styles, summarizing types, and highlighting the connections between different band forms and the different stages of suona music development, as well as their correlations with the economic development conditions of their popular regions. Additionally, this chapter also discusses the distribution and usage of musical scores. Chapter discusses the cultural ecology of suona music, covering its use in various folk customs, rituals, and religious ceremonies. Chapter discusses the artistic characteristics of suona music, emphasizing the significant influence of folk vocal genres on suona music; pointing out the historical evolution of performance methods and their connections with repertoires and band formations; in the study of modes, explaining the decisive role of melody and bass in fingerings and pitch positions, noting that the positions of various modes in a musical genre merely reflect the melodic techniques of different tunes on the instrument. Furthermore, it analyzes the meaning and historical evolution of "zheng."