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|Title:||Shi-fan Music: Names, Evolution, and Clarification of Concepts|
Shi-fan music;Shi-fan Luo-gu (Shi-fan Gongs and Drums)
|Issue Date:||2018-06-26 17:10:36 (UTC+8)|
Even though traditional Chinese operatic novels often describe scenes of Shi-fan music activities, where multitudinous music-making takes place, definitions of Shi-fan Gu (Shi-fan Drums) and Shi-fan Luo-gu (Shi-fan Gongs and Drums) by literature from Ming and Qing dynasties are limited. In some cases, names such as Cu Shi-fan (Coarse Shi-fan), Xi Shi-fan (Fine Shi-fan), and Cu-xi Shi-fan (Coarse and Fine Shi-fan) are used, which remain ambiguous as to what they refer to exactly. This article first attempts to investigate the various Shi-fan names through the conceptual lens of ming-shi, literally name-reality, as well as the chronological evolution of Shi-fan music. Afterwards, I analyze that Shi-fan Gu and Shi-fan Luo-gu differ in instrumentation and structures of suites, and illustrate that the distinction between cu (coarse) and xi (fine) is applicable to both orchestral instruments and percussion instruments. While in the initial stage, Shi-fan Luo-gu in Jiangnan developed the improved Xi Luo-gu Yue-pu (Fine Score of Gongs and Drums) in response to the expansion of percussion instruments and the addition of string-and-bamboo instruments, the term Xi Shi-fan began to refer to the exclusive use of plucked string instruments and small percussion instruments when Shi-fan music spread to Tianjin. Therefore, the standards for telling between cu and xi are subjected to the different periods of Shi-fan music. In other words, what cu and xi meant in the initial stage (in Jiangnan) should not be assumed to be the equivalent of the same pair of terms used in Shi-fan musics found in different regions.
|Relation:||臺灣音樂研究, No.第23期, pp.1-28|
|Appears in Collections:||[中國文學系] 期刊論文|
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