Nanguan (music)
From Wikipedia, the free encyclopedia
Fujian is a mountainous coastal province of China. Its provincial capital is Fuzhou, while Quanzhou was a major port in the 7th century CE, the period between the Sui and Tang eras. Situated upon an important maritime trade route, it was a conduit for elements of distant cultures. The result was what is now known as nanguan music, which today preserves many archaic features.
It is a genre strongly associated with male-only community amateur musical associations (quguan or "song-clubs"), each formerly generally linked to a particular temple, and is viewed as a polite accomplishment and a worthy social service, distinct from the world of professional entertainers.[1] It is typically slow, gentle, delicate and melodic, heterophonic and employing four basic scales.[2]
Styles and instruments
Nanguan repertory falls into three overlapping styles, called zui, po and khiok (zhi, pu and qu in Mandarin), differentiated by the contexts in which they occur, by their function, the value accorded them by musicians and by their formal and timbral natures. The Zui (指) is perceived as the most "serious" repertoire: it is a purely instrumental suite normally more than thirty minutes in length, of two to five sections usually, each section being known as a cu or dei ("piece"). Each is associated with a lyric that alludes to a story but, although this may denote origins in song or opera, today zui is an important and respected instrumental repertory. However, the song text significantly eases the memorising of the piece.Khiok (曲) is a vocal repertory: two thousand pieces exist in manuscript. It is lighter and less conservative in repertory and performance than zui. Most popular pieces today are in a fast common metre and last around five minutes. Po (譜) literally means "notation" - these are pieces that have no associated texts and thus must be written down in gongchepu notation. It is an instrumental style that uses a wider range than zui and that emphasises technical display.[3]
A nanguan ensemble usually consists of five instruments. The pie (muban (木板) or wooden clapper) is usually played by the singer. The other four, known as the dinxiguan or four higher instruments, are the four-stringed lute (gibei, pipa (琵琶) in Mandarin), a three-stringed, fretless, snakeskin-headed long-necked lute that is the ancestor of the Japanese shamisen, called the samhen, (sanxian (三線) in Mandarin), the vertical flute, (xiao (簫), also called dongxiao), and a two-stringed "hard-bowed" instrument called the lihen, slightly differing from the Cantonese erxian. Each of the four differs somewhat from the most usual modern form and so may be called the "nanguan pipa" etc. Each instrument has a fixed role. The gibei provides a steady rhythmic skeleton, supported by the samhen. The xiao, meanwhile, supplemented by the lihen, puts "meat on the bones" with colourful counterpoints.[3]
These instruments are essential to the genre, while the eixiguan or four lower instruments are not used in every piece. These are percussion instruments, the chime (hiangzua), a combined chime and wood block called the giaolo, a pair of small bells (xiangjin) and a four-bar xylophone, the xidei. The transverse flute called the pin xiao (dizi in Mandarin) and the oboe-like aiya or xiao suona are sometimes added in outdoor or ceremonial performances. When all six combine with the basic four, the whole ensemble is called a zayim or "ten sounds".[3]
Diaspora
From the 17th century the Hoklo immigrated from Fujian to Taiwan and took with them informal folk music as well as more ritualized instrumental and operatic forms taught in amateur clubs, such as beiguan and nanguan. Large populations of similar background can also be found in Malaysia, Guangdong, Hong Kong, Philippines, Singapore, Burma, Thailand and Indonesia, where they are usually referred to as Hokkien, ("Fujian" in the Min Nan language). There are two nanguan associations in Singapore[4] and formerly there were several in the Philippines: Tiong-Ho Long-Kun-sia is one that is still active. Gang-a-tsui and Han-Tang Yuefu have popularised the nanguan ensemble abroad. A Quanzhou Nanguan Music Ensemble was founded in the early 1960s, and there is a Fuzhou Folk Music Ensemble, founded in 1990.References
- Wang, Ying-Fen (September 2003). "Amateur Music Clubs and State Intervention: The Case of Nanguan Music in Postwar Taiwan". Journal of Chinese Ritual, Theatre and Folklore (141). Retrieved January 2, 2014.
- Wang, Xinxin. "Nanguan Music: Appreciation and Practice (course description)". Graduate Institute of Musicology, National Taiwan University. Archived from the original on January 19, 2010.
- Chou, Chenier. "Nanguan Music". University of Sheffield. Archived from the original on March 12, 2007.
- Koh, Sze Wei (May 30, 2006). "Nan Yin — A Historical Perspective". Save Our Chinese Heritage. Retrieved January 2, 2014.
External links
Video
- Nanguan videos
- Nanguan videos http://en.wikipedia.org/wiki/Nanguan_%28music%2
- http://www.jstor.org/discover/10.2307/833866?uid=3738392&uid=2129&uid=2&uid=70&uid=4&sid=21104323447153
The Music of Nanguan - Lin PoChiThe Lâm-koán is called “Nanyin”(南音) in southeastern China and “Nanyue”(南樂) in southeastern Asia. It used to be popular in locations where the Minnan language was spoken including Quanzhou and Xiamen. It then came to Taiwan around the Ming Dynasty and followed the prevalence of Taiwanese migration communities in southeastern Asia. Lâm-koán’s current style of singing preserves that of ancient times. It is sung with the accent of Quanzhou so it is also therefore named “Chôan-Chiu Hiân-koán”(泉州絃管). Modern Lâm-koán performances have preserved the form of Daqu (大曲) in the Tang Dynasty. The main parts of the ensemble are called “Siau-koán”(簫管) or “Téng-sì-koán”(上四管) meaning “the core four parts” collectively.
Siau-koán
Sỉp-imWhen “Téng-sì-koán” plays with “Ē-sì-koán”(下四管, translated as “the peripheral four parts”) and “Ài-á”(噯子), it is called “Sỉp-im”(十音).
Many scholars argue that the music of Lâm-koán is a “living fossil” of Chinese music. The fact that the Lâm-koán singer holds the “Phek” to direct the ensemble has proved that the tradition of “Siang-Ho Ker”(“相和歌”) of the Han dynasty (206 BC-AD 220) still remains. The construction of instruments (such as Pê, Jī-hiân, Tōng-siau and others) also preserved Tang (618-907) and Song (960-1279) styles. Furthermore, titles of Lâm-koán repertoire are often from poems and names of tunes that already existed. This living fossil or living tradition of Lâm-koán is still taught with oral instruction in Taiwan and has a distinct difference from the Chinese style.
The music aesthetics of Lâm-koán music found its base from concepts of Chinese literature and Taoism. Music starts from morality, and in the ensemble the concepts of “Five elements” (五行) and “Yin and Yang”(陰陽) are apparent. For example the five parts of Téng-sì-koán (Siau, Jī-hiân, Sam-hiân, Pê, and Phek) are seated in order and clockwise. The percussive tone color of Pê and Sam-hiân are strong like “Yang”, and the linear and continual tone color of Siau and Jī-hiân are soft like “Yin”. The mixture of the percussive and linear tone colors represents the complimentary “Yin and Yang”. In the ensemble of Téng-sì-koán and Ē-sì-koán, the principle ”Metal Controls Wood” (“金木相剋”) is adopted; therefore, metallic and wooden instruments are played in alteration. The presentation of music emphasis is not on individual techniques but the tacit understanding among all parts. Thus, the Sam-hiân follows the Pê like a shadow, and the Jī-hiân fills in for the leading instrument Siau which requires occasional breathing. Both Sam-hiân and Jī-hiân do not surpass their leading parts.
Instrumentation
1. Phek: made of five long pieces of wood, held by the singer who strikes the Phek on every beat to control the tempo.
2. Pê: aka Nanguan Phi-pha, the leading part of the ensemble. It has a curved-neck like the Tang and Song Phi-pha, but unlike the modern Phi-pha, it is played horizontal. It has four bars and ten frets on the fingerboard with four strings tuned d-g-a-d1 (工、士、下、工）.
3. Sam-hiân: its resonance box is covered with snake skin on both sides. Unlike Pê its neck has no frets. Its three strings are tuned A-d-a (下、工、一). Its fingerings are the same as those of Pê’s and sounds an octave lower than Pê.
4. Jī-hiân: The Jī-hiân stick is made from bamboo and usually has 13 nodes. One must follow certain strict rules when selecting the bamboo material for Jī-hiân. The resonant box is made from the root of the Pandan (Nâ-tâo) tree. Its pegs are on the same side as the strings. The strings are silk and tuned to g- d1(士、工). Its bow is soft.
5. Siau: It is made from the root of bamboo. It has 10 flats and 9 nodes within the length of 1 “meter” and 8 “inch” of Tang (唐制一尺八寸, about 54 cm). The lowest pitch is d1 (「工」).
6. Híun-tsóan: A tiny gong hung from a small bamboo frame and struck with a small padded mallet. Its rhythm is basically the same as that of Pê except that it rests on the beats that the Phek strikes（金木相剋）.
7. Sì-tè: also called “Sì -pó”, meaning “four treasures”. The Sì-tè player holds two clappers in each hand. It plays quickly and in vibration to reflect the Pê’s tremolo or strikes once to reflect the Phek’s beat. The tacit part of its rhythm is the same as that of Pê’s.
8. Siang-im: Also named “Siang-tseng” or “Siang-lêng”, the player avoids playing on the beat.
9. Kiò-lô: Consisting of a small gong and a temple block. The gong is usually played one-half beat after the Híun-tsóan, and the temple block usually falls on the downbeats.
10. Aì-á: A small Sōna, also called “giok-aì”. It appears in the “Sip- im” ensemble. It is never played in a loud dynamic but “sings” softly as a person does when singing Lâm-koán.The Lâm-koán music is divided into “Tsuín” (指), “Kheh” (曲) and “Phóo” (譜). “Tsuín” and “Kheh” both have lyrics; however, the lyrics of “Tsuín” are only for the purpose of memorizing the music and not sung in performances. “Kheh” is the center part of all activities in Lâm-koán. “Phóo” is purely instrumental. In a concert, the music must follow the order of “Starting with Tsuín”, “Into Kheh”, and “Ending with Phóo” (起指、落曲、煞譜).
"Phóo"
"Kheh"© TNUA School of Music Department of Traditional Music | TEL: 02-2893-8247 | FAX: 02-2893-8748 http://trd-music.tnua.edu.tw/en/intro/c.html
Taiwan Journey Part One: Nanguan Music with Wu Hsin-fei
https://vimeo.com/13859136 This performance is amazing!http://www.culture.tw/index.php?option=com_sobi2&sobi2Task=sobi2Details&sobi2Id=326&Itemid=175
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Nanguan’s reluctant innovator
Wang Xinxin, lauded as one of the foremost practitioners of nanguan music, is receiving international recognition with concert and lecture tour of Europe
By Ian Bartholomew / Staff reporter
Nanguan (南管), an ancient style of Chinese music that has seen a
gradual revival over the last couple of decades, is about simplicity —
the kind of simplicity that can only be achieved by a lifetime of
dedication. Wang Xinxin (王心心), the founder of the Xinxin Nanguan
Ensemble (心心南管樂坊), has established herself as one of the foremost
exponents of nanguan music on the contemporary scene, and her
achievements are being given international scholarly recognition in a
concert and lecture tour to Paris, Lisbon and Heidelberg later this
week.
The origins of nanguan are lost in the mists of time, but by the end of the first millennium, it was already associated with China’s southern province of Fujian, particularly to the then prosperous port of Quanzhou (泉州). The word nanguan translates as “southern pipes,” and its primary development has been in the form of chamber music, usually a quartet, sometimes with vocal accompaniment. It is particularly known for its extremely slow thematic exposition, a feature that has made it a hard sell to contemporary audiences.
Wang’s love of nanguan’s almost meditative simplicity is at odds with her role as a performing artist in contemporary Taiwan. Nanguan’s roots in amateur musical associations in which musicians performed primarily for their own pleasure have created obstacles for its development as a public entertainment. Taiwan’s Han Tang Yuefu (漢唐樂府), one of the first groups to develop nanguan as a theater event, derives much of its impact from creating lavish visual settings that provide a feast for the eyes when the slow pace of the music leaves audiences floundering.
Wang, a Quanzhou native and former member of Han Tang Yuefu, established her own company in 2002 to pursue a different vision. Her productions are not without theatrical elements, for as she admitted — with regret — this is the only way nanguan can survive as a performance art in the modern world.
Speaking of the art of nanguan singing, Wang said “the performer should not respond to any of the emotions expressed in the lyrics. Everything is expressed through tone, timbre, and other aspects of musical expression. Every hint of theatricality should be banished. In nanguan, we talk about going to ‘hear’ a show, not to ‘see’ a show. Many people at a nanguan performance may even sit there with their eyes closed, their bodies moving trancelike with the music.”
The stage effects and narrative links in Wang’s shows are intended to provide a doorway into the music.
“We try to create a meditative atmosphere through our stage settings. In some respects, you might almost say it adds to a performance. It sets the mood for the audience; the visual elements aim to sooth and calm their emotions before the music begins. If they had to get straight into the music, for modern audiences, this would be very difficult,” Wang said.
Wang’s main interests are in fusing nanguan with classic Chinese poetry, adding to the music’s already heavily literary associations, especially with the great romantic tales of Chinese literature (which almost invariably end in tragedy). She is also interested in exploring musical possibilities in combination with other instruments. In the case of her current tour, she has joined together with guqin (古琴) master Huang Chin-hsin (黃勤心). The combination of nanguan music and guqin is a radical departure from tradition, though perhaps not particularly obvious to outsiders.
Wang sees herself very much as an innovator, and sees plenty of potential for innovation from within the Chinese tradition, a refreshing change from the monotonous refrain about East-West fusion that dominates Taiwan’s arts establishment and seems to be the key to government funding.
Still, Wang has not completely escaped the need to conform to contemporary cultural dogma, and has ventured into collaborations with multimedia. As a professional company, the demand for visual stimulation is ineluctable. Costumes, projected backgrounds, stage sets and narrative links have all been included in some of Wang’s shows. “What people don’t always understand is that things that seem simple, such as a group of musicians playing music in a bare performance space, takes years of dedication and also costs money,” she said.
Although Wang has proved reasonably successful in accessing the limited government funds and somewhat more generous corporate sponsorship available, there is a sense of regret that nanguan needs to become such a circus. Wang has established monthly small venue performances at her studio and at the Taipei’s Dadaocheng Theater (大稻埕戲苑), where her stripped down style of nanguan is given a regular airing.
Wang’s unwavering focus on the more abstruse appeal of music over showy oriental exoticism has kept the Xinxin Nanguan Ensemble small, but it has won considerable respect from curators of international arts festivals, particularly in Europe. On her current tour, Wang will speak at the Sorbonne in Paris (Sept. 14) and at the Maison des Cultures du Monde (Sept. 15) about preserving cultural traditions in a contemporary context, and perform at the Orient Museum in Lisbon (Sept. 17), the Musee Guimet in Paris(Sept. 25) and the French Senate House in Paris (Sept. 26).
http://www.taipeitimes.com/News/feat/archives/2012/09/10/2003542387/1
Nanguan music is important in the areas that worship Chen Jinggu.
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