![]() ![]() The earliest extant notation is in the collection Shenqi Mipu (1425), which is the version heard here. He therefore abandoned the concerns of this world, but relied on wine to attain his goal in life.” The music is attributed to Yuan Ji, a composer who was active in the third century CE. Zhu Quan (1378–1448), the editor of a collection of notation in 1425, wrote, “This piece is composed by Yuan Ji, who lamented that the Tao was lost, and that he lived in the wrong time. ![]() Bell Yung learned the piece from Tsar Teh-yun. The earliest extant published notation is found in the collection Yinyinshi Qinpu (1960), which is the version heard here. The earliest known sources for this piece are Gong Guangbiao, who died in 1907, and Yu Weichun, who died in 1913. The flowers bloom in the splendor of my hometown-who is there to appreciate it? Yet the moon continues to rise night after night. Momentous events were long past, where are the heroes now? Three lines of it capture the essence of the composition: This anonymous piece is sometimes sung to a poem of the same title. See the slideshow for Chinese paintings that feature the moon. Bell Yung learned this piece from Tsar Teh-yun (1905–2007). The earliest extant notation is in the 1931 collection Mei’an Qinpu, which is the version played on this podcast. It roams among the vast and hazy sea of clouds.Ī strong wind travelled for ten thousand miles from the West,Īrriving at the frontier fort of Jade Pass. The bright moon rises out of the mountain peaks of Tianshan This piece is sometimes sung to a poem of the same title by the poet Li Bo (701–762). The instrument Bell Yung plays dates from 1640 and has its name, “Pines from Ten Thousand Gullies,” carved on the reverse. It is played mainly for one’s own enjoyment or for a small group of friends, often amidst the grandeur of nature. It is associated with scholar-officials, as depicted in works of art in the Freer Gallery. In its current form, the qin has been documented in China for about two thousand years. Since the qin has no frets or bridges, the performer uses the right hand to pluck the strings while the left hand slides along and stops them. Thirteen markers run along the outer edge. The instrument has seven strings made of twisted silk and mounted on a hollow, lacquered wooden box. Some of the most distinguished qin musicians in Chinese history were Buddhist monks, who played this type of zither in the seclusion of their temples and passed on their art to their younger disciples. Taoism and Buddhism contrast with Confucian ideology by rejecting human society altogether, turning for inspiration instead to the simplicity of nature and to the inner spiritual world of the individual. For example, Confucianism provided many stories to the qin repertoire that address the hierarchy of the five cardinal social orders, such as loyalty to one’s emperor. While all three systems exerted influence over the history, ideology, and aesthetics of qin music, each also played its role in different aspects of the tradition. The first two systems developed originally in China, while the last of these arrived from South Asia via the Silk Road in the first century. Its repertoire embodies China’s three major religious-philosophical systems of Confucianism, Taoism, and Buddhism. The history of the qin (pronounced “chin”), or guqin (ancient qin), dates back at least two millennia. ![]()
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