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Music and instruments: Yangqin（扬琴）
Music and instruments: Yangqin（扬琴）
Yangqin, one of the essential struck string instruments in Chinese ethnic orchestras, is a remarkable one among Chinese national instruments with a blend of national and global characteristics. Introduced to China from Persia at the end of the Ming Dynasty, Yangqin has undergone nearly four centuries of evolution and development. Through the transformation by Chinese folk artists and the influence of various regional music cultures, it has not only embraced traditional elements but also cultivated a distinctly Chinese national flair.
1. Origin Introduction
According to historical records, before the Middle Ages, an instrument called the Santur (the ancestor of the clavichord) was popular in ancient Middle Eastern countries such as Assyria and Persia. During the Ming Dynasty (1368-1644), with the increasingly close friendly exchanges between China and West Asia as well as Southeast Asia, the Santur was introduced to China by sea from Persia in the eighth year of the Wanli period of the Ming Dynasty (1580). Initially, it gained popularity along the coastal areas of Guangdong and later gradually spread throughout China. After being modified by Chinese folk artists, the Santur gradually evolved into what is now known as the Chinese Yangqin. In the late Qing Dynasty, courtly music was on the wane, while folk instruments gained in popularity, with Yangqin finding its place in the rich tapestry of local folk music performances. With the emergence and growth of rap music and local operas, the yangqin was widely used as an accompaniment for rap and operas.
2. Structural Components
Yangqin is composed of a resonator, nuts, bridges, strings, bamboo mallets, etc.
The resonator forms the body of Yangqin, which is crafted by joining two side panels—front and back—with the left and right sides of the instrument head to create a frame, followed by capping it with thin panels on both the top and bottom.
The nuts are long wooden strips on both sides of the soundboard. It is made of rosewood and serves to hold the strings in place. The length of the string from the nut to the bridge is the vibrating part that produces sound.
The bridges are in the shape of long strips with peaks and valleys. They are made of bamboo, rosewood, or cow bones. There are usually 2 to 5 bridges placed on the soundboard. The ones on the left are for high-pitched strings and are called high-pitched bridges, while those on the right are for low-pitched strings and are called low-pitched bridges. The protruding peaks of the bridges are used to hold the strings in place, and the recessed valleys allow other strings to pass through.
The strings are made of steel wires (originally, they were made of copper wires). The high-pitched part uses bare strings made of steel wires numbered from 27 to 31, while the low-pitched part employs wrapped strings which are formed by winding fine steel wires around the bare strings.
The bamboo mallets are two small elastic hammers made of bamboo, which are used to strike the strings to produce sounds.
3. Range of Yangqin
Different types of Yangqins have different ranges. Commonly used Yangqins fall into three categories in terms of range: the eight-tone type (actually producing twenty-four notes), the ten-tone type (actually producing thirty notes), and the twelve-tone type (actually producing thirty-six notes). Their ranges are as follows: for the eight-tone type, it is from f1 to c2; for the ten-tone type, it is from d1 to d3; and for the twelve-tone type, it is from c to e3.
4. Performance Methods
On the basis of inheriting traditions and absorbing the technical features of the musical instruments of sister ethnic groups as well as foreign musical instruments, Yangqin has developed its own unique style, with rich and colorful playing techniques and means of expression. To sum up, they can be generally divided into seven categories: single notes, double notes, tremolo notes, tremolo strokes, broken chords, two-voice part arrangements, and color techniques. Among them, single notes and tremolo notes are the fundamental and core skills of Yangqin. During performances, Yangqin is placed on a stand, with the player holding a bamboo mallet in each hand to strike the strings on either side of the bridges. There are two traditional bamboo mallet techniques, namely the “left bamboo mallet technique” and the “right bamboo mallet technique”. In the late 1950s, Mr. Wang Yifu summed up the “Eight Techniques of the Yangqin”, which include plucking, tremolo, tremolo strokes, glissando, dotting, plucking (in a different way), rubbing, and hooking. With the development of Yangqin, the single bamboo mallet technique in the past has evolved into a mixed bamboo mallet technique that gives full play to the initiative of both hands.
5. Recommended Piece
The Joyous Torch Festival composed by Liu Xisheng. The annual Torch Festival is one of the significant traditional festivals for the Yi people. On that night, people light torches and dance with abandon, turning the villages into a sea of torches and joy. Young men and women also take this opportunity to express their feelings to each other. The music depicts this touching ethnic custom. The theme with the flavor of the Yi people is full of vitality. The melody of the music ranges from lively to passionate and unrestrained, showing the scene where people dance and sing with torches in their hands. The tunes, sometimes gentle and nimble, sometimes graceful and bright, are like the affectionate whispers of the young people. The strong rhythm at the end vividly portrays the carnival atmosphere, immersing the listener in the festive celebration.
6. Current Situation
Since the 1950s, nine higher music institutions, over fifty art academies, normal universities, and ethnic colleges in China have successively established the Yangqin major, steering Yangqin education from a folk and amateur status towards standardization and professionalism. Concurrently, a relatively complete and distinctive music education system has been formed, including music academies and some primary schools. The China Conservatory of Music began enrolling the first batch of Yangqin master’s students in 1985, signifying a further deepening and development of Yangqin education in China. In recent years, the Ministry of Culture has organized national symposiums on Yangqin teaching in art colleges, promoting teaching and research work in the Yangqin major. Lately, art academies have placed great emphasis on the construction of Yangqin teaching materials, and a large number of collections of traditional and creative Yangqin pieces, books, and theoretical works on technical training and playing methods have been published successively.
However, research on Yangqin theory has been limited to vertical studies on the instrument itself in China. To leverage its professional strengths and potential, it is essential to expand both professional music education and amateur music promotion. Only by focusing on both aspects can the art of Yangqin truly develop and flourish.
Then, how can we effectively promote the culture of Yangqin? First and foremost, we should enhance public awareness and education. By organizing concerts, exhibitions, and other engaging events, we can introduce the distinctive allure and deep cultural significance of the dulcimer to a broader audience. Additionally, leveraging new media platforms will help us extend the reach of dulcimer culture even further. Next, we need to focus on nurturing talent. By bolstering dulcimer education, we can develop a new generation of exceptional dulcimer artists and educators. Initiatives such as scholarships and competitions can serve as powerful incentives, encouraging more young individuals to immerse themselves in the preservation and evolution of dulcimer artistry. Lastly, we must champion innovative growth. It's essential to inspire musicians and artists to innovate and explore new frontiers while honoring the rich traditions of dulcimer culture. Collaborative efforts across different disciplines and the integration of novel ideas will be crucial in fostering the seamless integration and growth of dulcimer culture within the context of contemporary society.