Research Assingment Paper: Chinese Zheng Music Genres (Essay Sample)

The Chinese Zheng Music
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The Chinese Zheng Music
The guzheng is a traditional plucked musical instrument of the Chinese tradition that has been in existence for approximately two and a half millennia. It is made of more than 16 strings with movable bridges CITATION Den06 \l 1033 (Deng, 2006). Wutong wood is used to make the large resonant cavity of the guzheng. Other structural and aesthetic components of the guzheng are made of other woods. Finger picks are usually won by ghuzeng players on their hands, especially the right hand. This picks are usually made of materials such as hard plastic, resin, tortoise shell, or ivory CITATION Den06 \l 1033 (Deng, 2006). A lot of Asian zither instruments are modified imitations of the Chinese guzheng. Such instruments include: The Korean gayageum; the Japanese koto; and the Vietnamese dan tranh CITATION Den06 \l 1033 (Deng, 2006). Today, the modern guzheng differs from the traditional guzheng made thousands of years ago. This is largely due to the large environmental changes that have occurred over the years and incorporation of western styles of music into the Chinese zheng music. Modern ghuzeng has steel strings as opposed to the traditional ghuzeng which had silk strings CITATION Den06 \l 1033 (Deng, 2006). The steel strings have been effective in improving ghuzeng's timbre, volume and other capabilities. CITATION Den06 \l 1033 (Deng, 2006) This paper discusses the genres in zheng music and classifies the Guzheng Solo-Waterlily and the Guzheng Solo by Hui Weng into the various genres identified.
The techniques for playing the guzheng are numerous, the basic being plucking the instrument. These techniques are the ones that influence the classification of zheng music into various genres CITATION Den06 \l 1033 (Deng, 2006). The right hand is normally used for plucking guzheng's right portion while the left portion is normally pressed by the left hand. The left hand pressing has the effect of producing vibrato and pitch ornaments while the right hand plucking produces a melody CITATION Den06 \l 1033 (Deng, 2006). Plectra (picks) can be done by both hands in non-traditional performances. The index finger and the right thumb can create ornamentation, known as tremolo, by plucking a particular note rapidly and repeatedly CITATION Den06 \l 1033 (Deng, 2006). Another commonly created ornamentation is the vibrato, which normally results when the bridge's left side is repeatedly pressed by the left hand. The left portion of the guzheng is commonly known as the huayin while the right portion is the sheng CITATION Den06 \l 1033 (Deng, 2006).
Ghuzeng playing styles/genres are classified into two: The modern playing styles; and the traditional playing styles. Majority of zheng music that are traditional are monophonic. Modern zheng music are polyphonic CITATION Den06 \l 1033 (Deng, 2006).
The traditional guzheng playing styles are further classified in two groups/genres. There is the northern playing styles (school), and the southern playing styles(school). The Shanxi, Shandong and Henan form the Northern playing styles CITATION Den06 \l 1033 (Deng, 2006). Zhejiang, Kejia and Chaozhou form the Southern playing styles CITATION Den06 \l 1033 (Deng, 2006). Northern playing styles are characterized by faster glides and wider vibratos than the Southern playing styles. An example is the da chan (dynamic vibrato, the bending usually around a major second or exceeding a major second) of the Henan school. This technique expresses sorrowful or vigorous feelings very well CITATION Den06 \l 1033 (Deng, 2006). Kejia, of the Southern school does not have dynamic vibratos but is usually characterized by slow bending CITATION Den06 \l 1033 (Deng, 2006). Both these two traditional playing styles aim at communicating musical spirit and feelings. This traditional styles aim at self-cultivation and are closely tied to the ancient Chinese philosophies of spiritual sensibilities, human virtues, and higher self. These traditional styles are free. Musicians can remove or add notes, change speed, vary rhythmic patterns abruptly, vary sliding speeds, bend pitches, and shift vibratos according to their temperament, musicality and feelings in that moment CITATION Den06 \l 1033 (Deng, 2006).
The modern guzheng playing styles are different from the traditional playing styles. They are a mixture of the traditional zheng music with the western classical music CITATION Den06 \l 1033 (Deng, 2006). Modern zheng music is not for self-cultivation but for community recreation. Modern zheng music offers career opportunies. The meaning and use of huayin has been transformed tremendously by the modern playing styles. A great emphasis is placed in nurturing stage performances. Modern composers are producing polyphonic textures by plucking the sheng with both hands. Modern zheng music use the left hand to provide bass notes and harmony, which is an influence of western music CITATION Den06 \l 1033 (Deng, 2006). This allows for harmonic progression while limiting subtle ornamentation that is a characteristic of traditional zheng music. The modern zheng music performance is in an audience-seated concert hall. Formal training of modern zheng music involves a national examination on zheng music, which has created standards and ideologies for modern zheng music. Modern zheng compositions have extended the context of zheng music ideas and potential by breaking traditional norms of zheng music CITATION Den06 \l 1033 (Deng, 2006).
The ghuzeng solo- water lily, is a traditional zheng music, particularly of the Southern school. The performer of the water lily is dressed in Chinese regalia CITATION Last \l 1033 (Guzheng solo-Water lily), which implies she is playing Chinese traditional music. The video shows no audience CITATION Last \l 1033 (Guzheng solo-Water lily) which is a characteristic of traditional zheng music. The performers perform the music for themselves to help cultivate them spiritually and emotionally. It helps the performer express one's feelings and be at peace with oneself. The performer plays the water lily slowly. This is to demonstrate pure spirit as demonstrated by the water lily. The spirit of emerging from mud purely without being dirtied. This is the spirit that the music “water lily” expresses. Water lily shows that even in difficult life circumstances, one must preserve one's true spirit and soul. The performer enriches the right hand melody and creates an eloquent feeling by perfectly bending the huayin. The first phrase feeling is sus...