Suona Art (Yongcheng percussion)

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

Applicant: Qijiang District, Chongqing

Item No.: 68

Project No.: Ⅱ - 37

Time of publication: 2008 (second batch)

Category: Traditional Music

Region: Chongqing

Type: Extension Project

Applicant: Qijiang District, Chongqing

Protection unit: Chongqing Qijiang District Cultural Center

Introduction to suona Art (Yongcheng percussion)

Applicant: Qijiang District, Chongqing

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.

Yongcheng CUDA is a kind of folk instrumental music popular in Qijiang, Chongqing. Its origin can be traced back to the late Ming Dynasty and the early Qing Dynasty. At that time, Sichuan was affected by war and pestilence, resulting in a sharp decrease in population, resulting in a large migration of population from Huguang to Sichuan. Many kinds of regional cultures were introduced into Sichuan, and mingled with the local folk customs. Yongcheng blow fight was formed and developed under this cultural background. The liujiale class in Qijiang, which plays Yongcheng percussion, has been passed on for 18 generations, and has had a great influence in the local area after more than 300 years.

Yongcheng percussion instruments are composed of Suona and percussion music. Suona has seven shapes: jinazi, Santai, ertai, Toutai and tetai. Percussion instruments include Sichuan cymbal, Tanggu, Zhujie drum, Sucheng, jiaozi, mahuo and Dagu. Yongcheng percussion is good at playing suona. It has a wide range of more than four octaves. It can form the prototype of two or three part polyphony. Its timbre is high and its momentum is magnificent. It is unique in folk percussion music. Yongcheng percussion can be divided into "sitting in the hall" and "traveling" according to the form of activities, and can be divided into "guanchuguanda" and "jiachujiada" according to the form of performance, and can be divided into "sad melody", "happy melody" and "Tongjiang" according to the music style. Yongcheng percussion has more than one thousand pieces of music, and the representative music includes "brother seeing off his relatives", "making a scene for the bride", "mourning", "lazy snake climbing the slope", "flame lamp moth" and so on.

Yongcheng percussion has won the favor of the local people with its rich repertoire and exquisite skills, especially the big stage (big suona) and special stage (double bass suona), which have important theoretical and practical enlightenment on the solution of the problems of bass performance, range broadening and rich color in the modern national orchestra. With the acceleration of the modernization process, Yongcheng percussion gradually lost the soil for survival. Most of its performers live in agriculture. Many people are forced to go out to work, which greatly weakens the stability of the traditional music class. At the same time, many highly skilled artists are old and lack of successors. Yongcheng is on the verge of danger and needs urgent rescue and protection.