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F:\Kultura-Kina\1-7-MINA Taskovic.Vp MINA TASKOVI] Kineska narodna muzika je u toku svog razvoja po- darila veliki broj razli~itih muzi~kih oblika, razno- vrsnih dela i mnogo izvanrednih izvo|a~a. Jo{ za vre- mena dinastije ^ou, kada je i postavljen sistem ri- tualne muzike, dvorski ~inovnici i knji`evnici koji su u~estvovali u kreiranju tog sistem bili su u obavezi da ovladaju tehnikom sviranja na jednom ili na dva mu- zi~ka instrumenta. Ova tradicija trajala je oko 3000 godina. Dvorski ~inovnici, u~eni ljudi, ~ak i carevi, imali su u~e{}a u kreiranju muzike. Muzika se zapisi- vala, tako da je do danas sa~uvano oko 3000 muzi~kih dela sa oko 150 razli~itih interpretacija, pisanih za in- strument gu}in (guqin).Ve}ina klasi~nih muzi~kih de- la, uklju~uju}i i ona pisana za lautu i druge `i~ane instrumente, datira jos od kraja dinastije Ming po~et- ka dinastije ]ing. Klasi~na kineska muzika se ~esto posmatra u okviru dva pravca: ansambl i solo muzike. Forme i kompozicije ansambl muzike Kineska klasi~na ansambl muzika ima razli~ite izvore porekla, muzi~ke oblike, izvo|enja i na~ine preno- {nja. Uop{teno govore}i, geografsko poreklo je njena karakteristika raspoznavanja. Muzika duva~kih i uda- ra~kih instrumenata karakteristi~na je za severni deo Kine i obuhvata muziku duva~kih i udara~kih instru- menata Siana, “badato” muziku provincije Liaoning i shipan muziku grada Luojanga. Za ju`ni deo Kine karakteristi~na je muzika gonga i dobo{a ju`nih pro- I – 119 MINA TASKOVI] vincija \ingsu i Fu~ou, longchui muzika provincije ]uan~ou i shiban muzika jugozapadne provincije Fu- |ien. U kategoriju muzike `i~anih i duva~kih instru- menata spadaju pesme ju`nog dela provincije Fu|ien, poezija ^ao~oua u pratnji `i~anih instrumenata, mu- zika provincije Guangdung, muzika `i~anih i duva- ~kih instrumenata oblasti Jangcea i muzika `i~anih instrumenata sa severa. Raspodela umetni~kih grupa, koje su izvodile razne vrste narodne muzike, bila je u tesnoj vezi sa sistemom muzike kojeg je odre|ivao feudalni, carski dvor. Tada{nje carske prestonice da- nas su mesta gde se ova vrsta muzike izvodi i prenosi. (Orkestarska muzika Siana datira jo{ iz vremena di- nastije Tang kada je Sian bio prestonica; muzika hra- ma Dasiangguo kod grada Kaifenga razvila se za vre- me dinastije Sung kada je taj grad bio prestonica; muzika hrama Cihua i muzika duva~kog orkestra pro- vincije Hebei razvijala se za vreme dinastija Liao, \in, Juan, Ming i ]ing kada je Bei|ing bio presto- nica.) Muzi~ari grada ^engdea, letnje palate dinastije ]ing u provinciji Hebei, i danas izvode dvorsku mu- ziku uprkos ~injenici da je dinastija ]ing deo istorije. Jedna veoma va`na komponenta kineske muzi~ke umet- nosti je i ~injenica da narodni muzi~ari poseduju ve- like umetni~ke sposobnosti i vladaju razli~itim drev- nim tehnikama sviranja. Vrste muzike duva~kih i udara~kih instrumenata Muzika duva~kih i udara~kih instrumenata je jedan od najzastupljenijih oblika kineske muzike. Sve va`ne doga|aje iz `ivota obi~nog ~oveka (ven~anja, sahra- ne, festivale) narodni izvo|a~ do~aravao je duvanjem flauta i udaranjem gonga i dobo{a. Jedan od najpopu- larnijih narodnih instrumenata je suona (truba). Suo- na je kupastog oblika. Telo je izra|eno od drveta na kome se nalazi osam rupa (sedam napred i jedna pozadi). Na jednom kraju se nalazi tanka bakarna cev~ica sa vezom od trske, a na drugom {upljina kao kod trube. Najpoznatije delo komponovano za suonau je “Se- renada sto ptica feniksu” koje je prakti~no svakida- {nje u provincijama [andung, Anhui, Henan i Hebei. Posle nadahnutog uvoda ove kompozicije orkestar se sti{ava i postepeno postaje pratnja, pozadina melodiji suonae. Pti~iji cvrkut do~aran je virtuoznom i zvi`du- kavom melodijom suna-e. Bliskost imitacije pti~ijem cvrkutu izra`ava ljudsku ljubav prema prirodi i inten- I – 120 MINA TASKOVI] zivno promatranje `ivota obi~nog ~oveka o~ima na- darenog umetnika. Klasi~na melodija komponovana za suonau “Mladice cve}a” je tu`ni komad iz repertoara muzike duva~kih i udara~kih instrumenata provincije [andung. U ovoj kompoziciji souna slu`i za prikaz “pla~nog tona”. Za razliku od nje, vesela ]u melodija “Male rumene bre- skve” predstavlja stil brzog sviranja sa velikim brojem varijacija. Prema muzikologu Jang Juanhengu (Yang Yuan- heng), vode}i izvo|a~ muzike komponovane za flautu ovog veka, izvodi poznatu kompoziciju “Ve~na ra- dost” u sli~nom obliku kao {to je izvo|ena za vreme dinastije Tang. Sve~anost i jednostavnost ove melo- dije, ~este varijacije i promene tonova daju muzici jednu posebnu dimenziju u kojoj se ogleda uticaj di- nastije Tang. Melodija komponovana za fagot “Magarci na ispa{i” poti~e iz centralnog dela provincije Hebei i karakte- risti~na je za severni stil. Lagani deo ove kompozicije oslikava bogatstvo i optimizam seljaka kao i njihov ot- voren i mio karakter. Br`i deo je virtuozan i veseo, dok je melodija opu{taju}a i harmoni~na. Ovi efekti po- stignut su uz pomo} fagota, nizom tehnika, uklju~uju}i preskakanje perioda i trilovanje. Narodnoj instrumen- talnoj muzici provincije Hebei pripada i kompozicija “Re~ne vode”. Delo izvorno komponovano za duva~ke instrumente koje je 1950. godine Vang [ilu (Wang Shilu) prekomponovano za izvo|enje na flauti. Danas se izvodi kao solo komad na dve flaute. Muzika duva~kih i `i~anih instrumenata sa juga oblasti Jangcea Ova ansambl muzika vodi poreklo iz provincija \iangsu i ^e|iang i razvija se pod uticajem stila [angaja. Gla- vni instrumenti koji se koriste za izvo|enje ove muzi- ke su erhu, pipa, jang}in, tro`i~ani instrumenti i di, {eng, sjao duva~ki instrumenti. Udara~ki instrumenti, kao gong i dobo{, ponekad su uklju~eni u ove vrste ansambla. Broj izvo|a~a varira od dvoje, troje pa sve do sedmoro, osmoro. U toku izvo|enja svaki instru- ment ponaosob u~estvuje u oblikovanju harmonije. Melodiju odlikuju ~este varijacije; stil je prefinjen, miran, oslikava marljiv, kriti~ki i spartanski karakter ljudi koji naseljavaju oblasti oko ju`nog toka Jangcea. I – 121 MINA TASKOVI] Jedna od najpoznatijih kompozicija ovog muzi~kog stila je Zhounghua Linban. Ona se temelji na osnovama Lao Liubana, ali miran i kitnjast stil je razlikuju od osnovne melodije. Slobodnijeg je i sporijeg ritma (jedan takt originalnog dela biva zamenjen sa dva ili ~etiri nova takta), melodija je lirskog karaktera {to je karak- teristi~no za muzi~ki stil oblasti oko ju`nog toka Jangcea. Poznata melodija ]u Sihe Ruyi tako|e je jedno od prepoznatljivih dela ju`nog stila. Komponovana je iz osam delova, melodija koje su pisane na teme raz- li~itih pesama i koje kopiraju jedna drugu po tempu i raspolo`enju. Svaka od ovih osam melodija se izvodi na jedanom instrumentu. Instrumenti predaju melo- diju jedan drugom, tako da se mo`e primetiti tehnika upore|ivanja i povezivanja posebnih izvo|enja sa or- kestarskim izvo|enjem. Te varijacije komada “Sihe” poslu`ile su kao ukras kompozicijama “Yunqing” i “Pesma o radosti”. Komad “Sanliu” (u originalu “Me- ihua Sannong”) je tako|e komponovan od nekoliko razli~itih melodija. Ova vrsta “kru`nog” pokreta je ~esta u kineskoj instrumentalnoj muzici. Muzika provincije Guangdung Po~etkom ovog veka ne samo u Kini nego i u inostran- stvu, muzika oblasti Guang~oua i delte Biserne reke, po- ~ela je da sti~e veliku reputaciju i veliki broj sledbenika. Ranije ansamble su sa~injavali dvo`i~ani instrument, ti}in (instrument nalik banhuu), tro`i~ani instrument, jue}in i horizontalna flauta. Takvi sastavi su zvani ansambli “pet okvira” ili “te{ke grupe”. Solo muzika provincije Guangdung se naj~e{}e izvodila na instru- mentu pipa inajang}inu. Sredinom dvadesetog veka glavni instrument je postao gaohu, na kome se ~esto u pratnji jang}ina i }in}ina izvodila muzika. Ovaj trio poznat je i kao trio “mekih gudala”. Gaohu jeuos- novi sli~an instrument erhuu, samo ne{to manje muzi- ~ke kutije. Po~etkom dvadesetog veka, narodni umet- nik Lu Ven~eng (Lu Wencheng) zamenjuje svilene `ice erhua ~eli~nim, pove}avaju}i tonalitet za ~etiri, pet oktava i davaju}i zvuku svetliju boju tonova. Lu Ven~eng je tokom svog izvo|enja muzi~ku kutiju dr- `ao izme|u nogu radi lak{e kontrole visine tonova. Muzika provincije Guangdung je pogodna za oslika- vanje `ivotnih situacija i ljudskih ose}anja. Ona se ne bavi politi~kim i dru{tvenim pitanjima ve} opisima pejza`a i predstava koje se odnose na ose}anje spo- I – 122 MINA TASKOVI] koja i mira. Jedna od najranijih kompozicija ovog `anra je “Ki{a na zelenom li{}u”. Njena glatka i `iva melodija oslikava prijatno raspolo`enje `ivota na jugu Kine. Tonovi su ~isti i pogodni za do~aravanje zvuka lelujanja li{}a na ki{i i zadovoljstva koje ljudi ose}aju nakon dugog perioda su{e. Kompozicija “Gladan konj trese svoje praporke” je rezultat prekomponovanja instrumentalnog komada pisanog za pipa-u u komad pisan za `i~ane instru- mente. Melodiju oblikuju ~isti tonovi, osmotaktni ri- tam. Istaknuti tonovi sol i fa uspevaju predstaviti gla- dnog konja koji zveckanjem praporka `eli skrenuti gospodarevu pa`nju. Reprezentativno delo majstora muzike iz provincije Guangdung, Lu Ven~enga je i kompozicija “Jesenji Mesec nad mirnim jezerom”. Ovu melodiju Lu Ven- ~eng je komponovao u znak divljenja predivnom pej- za`u Zapadnog jezera koji je imao priliku da vidi tokom svoje posete Hang~ouu. Melodija ima i ele- mente narodne muzike provincije ^e|iang sa stilom muzike iz Guangdunga. Jedna od najizuzetnijih melodija u kineskoj instru- mentalnoj muzici je “Zmajev let i igra feniksa”.
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