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Traditional Music in China Is Played on Solo Instruments Or in Small Ensembles of Plucked and Bowed Stringed Instruments, Flutes

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Traditional Music in China Is Played on Solo Instruments Or in Small Ensembles of Plucked and Bowed Stringed Instruments, Flutes china Traditional music in China is played on solo instruments or in small ensembles of plucked and bowed stringed instruments, flutes, and various cymbals, gongs, and drums. The scale is pentatonic. Bamboo pipes and qin are among the oldest known musical instruments from China; instruments are traditionally divided into categories based on their material of composition: animal skins, gourd, bamboo, wood, silk, earth/clay, metal, and stone. Chinese orchestras traditionally consist of bowed strings, woodwinds, plucked strings and percussion. Instruments •Woodwind and percussion dizi, sheng, paigu, gong, paixiao, guan, bells, cymbals <bottle gourd silk> •Bowed strings erhu, zhonghu, dahu, banhu, jinghu, gaohu, gehu, yehu, cizhonghu, diyingehu, leiqin •Plucked and struck strings guqin, sanxian, yangqin, guzheng, ruan, konghou, liuqin, pipa, zhu Chinese vocal music has traditionally been sung in a thin, non resonant voice or in falsetto and is usually solo rather than choral. All traditional Chinese music is melodic rather than harmonic. Chinese vocal music probably developed from sung poems and verses with music. Instrumental pieces played on an erhu or dizi are popular, and are often available outside of China, but the pipa and zheng music, which are more traditional, are more popular in China itself. The qin is perhaps the most revered instrument in China, even though very few people know what it is or seen and heard one being played. The zheng, a form of zither, is most popular in Henan, Chaozhou, Hakka and Shandong. The pipa, a kind of lute, believed to have been introduced from the Arabian Peninsula area during the 6th century and adopted to suit Chinese tastes, is most popular in Shanghai and surrounding areas. Ethnic Han music Han Chinese make up 92% of the population of China. Ethnic Han music consists of heterophonic music, in which the musicians play versions of a single melodic line. Percussion accompanies most music, dance,talks, and opera. Han Chinese Folk Music had many aspects to it regarding its meaning, feelings, and tonality. This genre of music, in a sense, is similar to the Chinese language. This relationship is made by tones, sliding from higher tones to lower tones, or lower to higher tones, or a combination of both. These similarities mean that the instrument is a very important part in mastering technique with both left and right hands (left hand is used to create tonality on the string, right hand is for plucking or strumming the string), particularly for the classical (literati) tradition. Sometimes, singing can be put into the music to create a harmony or a melody accompanying the instrument. Han Chinese Folk's feelings are displayed in its poetry-like feeling to it with slow soothing tempos that express feelings that connect with the audience or whoever is playing the piece. Han Chinese Folk is delivered in a way, using silences that alter its meaning, this also creates a sound similar to poetry. Han folk music thrives at weddings and funerals and usually includes a form of oboe called a suona and percussive ensembles called chuigushou. Ensembles consisting of mouth organs (sheng), shawms (suona), flutes (dizi) and percussion instruments (especially yunluo gongs) are popular in northern villages; their music is descended from the imperial temple music of Beijing, Xi'an, Wutai shan and Tianjin. Xi'an drum music consisting of wind and percussive instruments is popular around Xi'an, and has received some popularity outside China in a highly- commercialized form. Another important instrument is the sheng, pipes, which is an ancient instrument that is an ancestor of all Western free reed instruments, such as the accordion. Parades led by Western-type brass bands are common, often competing in volume with a shawm/chuigushou band. In southern Fujian and Taiwan, Nanyin or Nanguan is a genre of traditional ballads. They are sung by a woman accompanied by a xiao and a pipa and other traditional instruments. The music is generally sorrowful and mourning and typically deals with love-stricken women. Further south, in Shantou, Hakka and Chaozhou, erxian and zheng ensembles are popular. Sizhu ensembles use flutes and bowed or plucked string instruments to make harmonious and melodious music that has become popular in the West among some listeners. These are popular in Nanjing and Hangzhou, as well as elsewhere along the southern Yangtze area. Sizhu has been secularized in cities but remains spiritual in rUral areas. Jiangnan Sizhu (silk and bamboo music from Jiangnan) is a style of instrumental music, often played by amateur musicians in teahouses in Shanghai, that has become widely known outside of its place of origin. Guangdong Music or Cantonese Music is instrumental music from Guangzhou and surrounding areas. It is based on Yueju (Cantonese Opera) music, together with new compositions from the 1920s onwards. Many pieces have influences from jazz and Western music, using syncopation and triple time. Patriotic / Revolutionary Main article: Guoyue Guoyue are basically music performed on some grand presentation to encourage national pride. Since 1949, it has been by far the most government-promoted genre. Compared to other forms of music, symphonic national music flourished throughout the country. In 1969 the cantata was adapted to a piano concerto. The Yellow River Piano Concerto was performed by the pianist Yin Chengzong, and is still performed today on global stages. During the height of the Cultural Revolution, musical composition and performance were greatly restricted. A form of soft, harmonic, generic, pan-Chinese music called guoyue was artificially created to be performed at conservatories. After the Cultural Revolution, musical institutions were reinstated and musical composition and performance revived. At the height of the Mao Zedong era, the music accelerated at the political level into "Revolutionary Music" leaning toward cult status and becoming mainstream under pro-Communist ideology. Katho india Rabab Santoor Sarod Seni Rabab Sitar Surbahar Surshringar Swarabat Swarmandal Tambura Veena Magadi Veena Mohan Veena Nakula Veena Rudra Veena Saraswati Veena Vichitra Veena Chikara Dilruba Esraj Kamancha Mayuri Vina or Taus Pena or Bana Ravanhasta Wind instruments [edit] Flute Alghoza - double flute Bansuri Bombashi or Bommbanshi Pullanguzhal Venu (Carnatic flute) [edit] Single reed Pepa Pungi or Been [edit] Double reed Kuzhal Nadaswaram Shehnai Sundari [edit] Free reed Gogona Morsing [edit] Free reed and bellow Surpeti Hand-pumped harmonium Percussion instruments Membranophones •[edit] Idiophones •Chimpta - a fire tong with brass jingles Chengila •Chande or Chenda •Pakhavaj • Daf - a tambourine Panchamukha vadyam Ghatam • • • •Dhadh or Damru •Pung •Ghungroo •Dhol •Shuddha madalam or •Jal tarang •Dholak Maddalam •Khartal •Dollu •Tabla •Kasht tarang •Esraj •Tabla tarang •Manjira or jhanj or•Ghumot tala •Tasha - a kettledrum •Thaarai •Idakka •Tamak' Kanjira Tamte •Thappatai • • •Khol •Thanthi Panai •Maddale •Tumbak •Mizhavu •Thappu or Parai •Mridangam •Thavil •Nagara - a pair of kettledrums •Urumee •Udukai japan String Plucked Biwa (琵琶) - pear-shaped lute Ichigenkin (kanji: 一絃琴) - one-string zither Koto (琴, 箏) - long zither Junanagen (十七絃) - 17-stringed zither Taishogoto (大正琴) - zither with metal strings and keys Kugo (箜篌) - an angled harp used in ancient times and recently revived Sanshin (三線) - three-string banjo from Okinawa Shamisen (三味線) - three-string banjo Yamatogoto (大和琴) - ancient long zither; also called wagon (和琴) Tonkori (トンコリ) - plucked instrument used by the Ainu of Hokkaidō [edit] Bowed Kokyū (胡弓) - bowed lute with three (or, more rarely, four) strings and a skin-covered body Wind Flutes Japanese flutes are called Fue. there are eight different flutes Hocchiku (法竹) - vertical bamboo flute Nohkan (能管) - transverse bamboo flute used for noh theater Ryūteki (龍笛) - transverse bamboo flute used for gagaku 神楽笛 御神楽 高麗笛 ryūteki 尺八 篠笛 つちぶえ 土笛 篳篥 Shō 笙 竽 法螺貝 陣貝 Drums percussion Kakko (羯鼓) - small drum used in gagaku Taiko (太鼓), literally "great drum" Ōtsuzumi (大鼓) - hand drum Shime-daiko (締太鼓) - small drum played with sticks Tsuzumi (鼓) - small hand drum Tsuri-daiko (釣太鼓) - drum on a stand with ornately painted head, played with a padded stick Ikko - small, ornately decorated hourglass-shaped drum San-no-tsuzumi (三の鼓), hourglass-shaped double-headed drum; struck only on one side Den-den daiko (でんでん太鼓) - pellet drum, used as a children's toy [edit] Other Hyōshigi (拍子木) - wooden or bamboo clappers Mokugyo (木魚) - woodblock carved in the shape of a fish, struck with a wooden stick; often used in Buddhist chanting Shōko (鉦鼓) - small gong used in gagaku; struck with two horn beaters Sasara (ささら) - clapper made from wooden slats connected by a rope or cord Ita-sasara (板ささら) - clapper made from wooden slats connected by a rope or cord Bin-sasara (編木, 板ささら; also spelled bin-zasara) - clapper made from wooden slats connected by a rope or cord Kokiriko (筑子, こきりこ) - many people confuse the kokiriko with the sasara and sasara are often sold in the West under the name kokiriko. In fact, the kokiriko is a pair of sticks which are beaten together slowly and rhythmically. Kagura suzu - hand-held bell tree with three tiers of pellet bells Kane (鉦) - small flat gong Shakubyoshi (also called shaku) - clapper made from a pair of flat wooden sticks .
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