Suona Art

Name of China's national intangible cultural heritage: suona Art (jushuiwuyin)

Applicant: Baokang County, Hubei Province

Item No.: 68

Project No.: Ⅱ - 37

Time of publication: 2008 (second batch)

Category: Traditional Music

Region: Hubei Province

Type: Extension Project

Applicant: Baokang County, Hubei Province

Protected by: Baokang Cultural Center

Suona Art (Ju Shui Wu Yin)

Applicant: Baokang County, Hubei Province

Suona is a transliteration of "surna" in Arabic. It was widely spread in many countries in Asia, Africa and Europe, and was introduced to China not later than the Jin and Yuan Dynasties. In Chinese folk, it also has copper flute, tin flute, pear flower, sea flute and other names. In addition, the small suona used in Fujian Nanqu performance is called "Aizai" or "Nanai"; the suona used in Puxian opera accompaniment is called "Meihua" or "chubian", and the larger one is called "Dalong" or "Dahai Flute"; the all wood suona of Uygur nationality is called "surnai"; the suona of Tibetan, Miao, Mongolian, Korean and other nationalities also have different shapes.

Suona is composed of whistle, core, air disc, rod, copper bowl and other parts. It is arranged in order according to the seven sound levels according to the sound holes. The distance between each hole is basically equal. It can flip the seven tones, and the range is generally two octaves plus two degrees. Suona has many kinds of playing skills, such as glide, vomit, air arch, air top, purr, circulation (continuous blowing for a long time) and so on. It is a kind of solo instrument with strong expressive force.

Suona is one of the indispensable musical instruments in the percussion band. In ancient times, besides playing military music, it was also used for the accompaniment of Yamen drum blowing, opera, song and dance, etc. in folk daily life, it was mostly used for festivals, weddings and funerals, and drama scenes.

Jushuiwuyin is a kind of folk percussion music which is popular in Baokang County, Hubei Province. It flourished in Jingshan mountain area in pre Qin period, and has been handed down for thousands of years. It is mainly used for sacrificing the distant ancestor zhurong (God of fire) and the dead, and has obvious characteristics of ritual music. In thousands of years of inheritance, this music practice has changed from mainly used for sacrificing gods to celebrating and entertaining people, which can be seen in the red and white wedding scenes.

The performance band of JuShui Wuyin is composed of trombone, Wuyin trumpet, war drum, side drum, hook Gong, Bao Gong, Ma Gong, Yin Gong, cymbal, wooden fish, bamboo flute and other musical instruments. The Wuyin trumpet is longer than the ordinary trumpet and thicker than the ordinary trumpet, and its pronunciation is low and depressed. The performance program of jushuiwu music is very standard, and the structure of the music is consistent with the nine songs of Chuci, which is composed of three parts: head, abdomen and tail. The music adopts the five tone modes of Zheng, Yu, Gong, Shang and qingjiao. The melody is progressive, stretching and upward, and the jump is firm and treacherous. The rhythm is simple and steady, which fully reflects the custom of advocating Zheng in Chu. In terms of melody, in addition to the two pieces of "relying on the pot" and "falling leaves", other music can be used for red events. The music is spread by the artist's "hum sing", touching the music with two fingers and paying attention to the rhyme. The dim and ethereal sound and the large and slow flicker sound used in qingjiao and Yuyin are the most distinctive sound in JuShui sound. Among them, the most representative sound is Wuyin. It is these sounds that make JuShui sound present a simple, elegant, mysterious and illusory style.

Jushuiwuyin contains the unique way of thinking, spiritual characteristics and cultural cognition of Chu. It is an important basis for understanding and studying Chu culture, and has important reference value in the study of history, folklore and musicology. At present, most of the old performers have died. Under the impact of modern cultural practice, Ju Shui Wu tune, which is strictly standardized and difficult to play, is becoming less and less popular. It is facing the crisis of extinction and urgent need of rescue and protection.