In recent years, cucurbit flute has become a popular musical instrument among national musical instruments. People are keen on learning and playing cucurbit flute, and at the same time, they have also made certain achievements in the theoretical research of cucurbit flute. Theoretical research is a tedious job. It requires researchers not only to have a solid foundation in performance, but also to have a rich knowledge reserve and a tireless spirit of exploration. It is a disciplinary constructive issue. The purpose of theoretical research is to better guide practice. Therefore, theoretical research must be scientific and practical in order to have guiding significance. From the perspective of comparative musicology, the author observes the cucurbit flute and other musical instruments of the same or different sects, finds out the external and internal connection between them, and conducts a correlation study with the cucurbit flute as the center from the cause of national instrumental music. 

1. The duality of bamboo in form

The musical instrument classification method "Ba Yin", which began in the Zhou Dynasty, is the earliest musical instrument classification method in my country. It systematically and scientifically classifies musical instruments into eight categories from the perspective of production materials, namely gold, stone, soil, leather, silk, and wood. There are eight types of , 寏, and bamboo, among which the interpretation of "叏" is the meaning of gourd. At that time, the representative musical instruments of this category were the sheng series (sheng, nest, he, and yu), and bamboo musical instruments included Chi, Xiao, etc., including later generations. bamboo flute. From the point of view of the traditional cucurbit silk production materials, mainly gourd and bamboo, which are taken from natural materials like the scorpion and bamboo musical instruments. The gourds are generally grown in the south. Due to climate reasons, the walls of the gourds in the south are thick, and they are not easy to crack whether carved or punched on the gourd. Bamboo tube has a wide range of options, including purple bamboo, bitter bamboo, and phoenix-tailed bamboo. As for the reeds of cucurbit silk, the early reeds were made of bamboo, but due to their short service life, they were later made of ring copper. From the point of view of the production materials, the cucurbit silk has the common characteristics of both the bamboo and the bamboo musical instruments, so the cucurbit silk has the dual characteristics of the bamboo and the bamboo in the production material.

The second aspect is in terms of appearance. Taking Sheng as an example, the ancient Sheng bucket is a gourd, and the modern Sheng bucket is mainly made of copper, while the gourd Sheng is mainly made of natural gourd. The second is the reed, both the sheng and the cucurbit silk are free reeds. The sheng is mainly a tube and a reed. The reed is large and thick, rectangular, and the reed tongue is flat with the reed. How many tone beads to set the tone. The reeds of the cucurbit silk are small and thin, and the reed tongue is wide at the tip and tail, which forms a certain angle with the reed surface. Third, the sheng has one pipe and one sound, and the sound is produced by the sound window. The head of the cucurbit flute is similar to the flute and xiao, and one pipe is porous. Therefore, the cucurbit flute and bamboo musical instruments also have the characteristics of duality in appearance.

2. The complex nature of the legal system

The study of temperament is the abbreviation of the study of music temperament. It integrates various disciplines such as mathematics, physical acoustics, etc. The study of temperament is the principle of temperament to use in the production of musical instruments. The history of music development in my country is largely based on the study of temperament. Development is the core of history. For thousands of years, different legal systems have appeared in different historical periods, from the three-point profit and loss law in the pre-Qin era to the Jingfang Liulu, Xunxu flute, and Ho in the Han, Wei, Southern and Northern Dynasties. From the new laws of the whole sky, the eighteen laws of the Song Dynasty, the laws of the qin, and the new secret laws of Zhu Zaiyu of the Ming Dynasty, our country has experienced two thousand years of history in the process of exploring the twelve equal laws.

As far as the current situation is concerned, the production of national musical instruments mainly adopts two kinds of temperament: the five-degree mutual law and the twelve-equal temperament. In the process of artistic practice, these two kinds of temperament have their own advantages and disadvantages. What kind of legal system this is a question that has to be considered. The five-degree phase-sheng law originated from the three-point profit and loss method, and the results of this law were recorded in the "Guanzi. In the article "Diyuan Pian", the scales of the adjacent fifths are calculated by the method of three points benefiting one and three points losing one, and they are Gong, Shang, Jiao, Zheng and Yu. The directness of this kind of temperament has resulted in the scale system based on the pentatonic scale in my country. Due to the monophonic texture and prominent melody lines used in music in various parts of our country, most of the national musical instruments in our country adopt the temperament system. It is the law of five degrees of mutual growth. The twelve equal laws originated from the new secret laws of Zhu Zaiyu in the Ming Dynasty, and are now widely used in the world. Free transfer is not possible. From the point of view of cent value, among the twelve semitones of the twelve equal temperament, the cent value of each adjacent semitone is 100, and the interval between each adjacent whole tone is 200. The cent value of the interval is 90, and the interval between each adjacent whole tone is 204, so it is a twelve uneven temperament, so it is impossible to freely transpose in the system of the law of fifths. But from the perspective of folk music practice, the law of fifths can better reflect the national character of the melody. From the perspective of the current production of national musical instruments, it is a bit unrealistic to tune the sheng rhythm completely in accordance with the fifth degree, because the development of national musical instruments is inseparable from the world. .

As a national musical instrument with strong melody, the cucurbit flute should strictly be tuned in accordance with the law of fifths. The second law is equal. What the author wants to propose here is that in order to make the cucurbit flute better reflect the national character, a compound temperament system should be adopted in the production of musical instruments to minimize the error of the cent value, so that it can not only Keep the original flavor of cucurbit silk, and be able to keep in line with international standards and develop in the long run.

3. Variation in the spread of playing techniques

No matter which musical instrument is played, it includes two parts: basics and skills. Playing skills are like a business card for musical instruments. The performance characteristics of each musical instrument are basically reflected through performance skills. There are general skills of similar wind instruments, and there are skills developed from other instruments, so there is a characteristic of spread and variation.

The playing skills of wind music can be basically divided into three categories: one is intraoral skills, including tonality, tongue, and guttural sounds; the second is finger skills, including stacking, hitting, and vibrato; the third is breath skills, such as abdominal vibrato. Etc., when many of these techniques are used on cucurbit silk, they are changed on the basis of reference, such as tongue-out and tongue-pulling, these two techniques belong to the intraoral skills on the cucurbit silk, and they all produce sheng when used on the cucurbit silk. Due to the variation, the sheng is used for both breathing while playing, while the cucurbit flute is only used when exhaling. When the exhaling tongue is used on the sheng, due to the harmonic factor of the sheng and the soft characteristics of the reed tongue, the strength of the breath is It is very small, the effect of using the tongue to produce Sheng on the cucurbit is not the real effect of the tongue, but similar to the effect of the tongue vibrato, because the strength of the breath emitted when the tongue vibrato is used can make the cucurbita normal pronunciation. Tongue pulling is also one of the skills on the sheng. It is a technique invented by Tang Fu, a sheng performer at the Heilongjiang Song and Dance Theater. From the point of view of the tongue movement, when the tongue flutters, the tongue moves back and forth, while tongue pulling is a left and right movement. The strength of the breath can also make the cucurbita normal pronunciation. There is also the use of the tongue, which is a common technique in wind music. According to the vibration amplitude of the tongue, the tongue can be subdivided into thick tongue, pop tongue, and fine tongue. It is used in sheng, flute, suona and other instruments. Among them, these kinds of tongue effects can be achieved, but when the tongue is used on the cucurbit silk, in order to suit the characteristics of the instrument itself, the fine tongue is generally used, that is, the "dulu" effect issued by the vibration of the tongue tip.

There are also many techniques borrowed from the cucurbit flute on the fingers, such as the use of finger tremolo (also known as inter-hole vibrato), which is suitable for expressing grassland style music. The vibrato effect of the tenth degree is also closely related to the jumping in of the fourth and fifth degree of the grassland folk songs. Therefore, this decorative vibrato has a strong grassland flavor. Liyin is also a technique that has often appeared in cucurbit music in recent years. This technique is common in sheng and flute, and it is also similar to the short glissando and scratching effects in stringed instruments, showing more warm and cheerful situations. There are many other techniques that Hulusi has borrowed from other musical instruments, so I won’t list them all. In actual use, although some techniques have the same name, the actual performance and effect are still different, which reflects the spread and variation of techniques. sexual characteristics.

4. The Aesthetic Significance of Title Freehand

Since China and the West have different ways of thinking and aesthetic concepts in music creation, it is manifested in two aspects: creation form and aesthetic pursuit. In terms of creative form, Chinese musical works focus on the creation of title music, while Western musical works are mainly in the form of pure music. The title feature of our country's national instrumental music works enables people to intuitively feel the composer's creative intention through the title of the work, and understand the composer's heart through the audio-visual, so this title helps the audience to understand. Comprehension and feeling of music. In the title work of Hulusi, we can also directly understand the regional style of the work, which has a certain prompting effect on our grasp of the style when playing. For example, the title of "Snow Lotus Opening" will remind people of the intention of "Tianshan Snow Lotus", which basically locks in the regional style. The expression of this regional style in the title of national instrumental music can be found everywhere, such as "Spring to Xiangjiang" and "Journey to Gusu" in Dizi music, "Jin Diao" and "Weishan Lake Boat Song" in Sheng music, Pipa music "Prairie Heroes and Sisters", Guzheng music "Eight Sceneries of Chang'an", Erhu Song "Henan Ballad", etc., so this title creation form is a common form in the creation of national instrumental music.

In terms of aesthetic pursuit, the most common form of expression in Chinese musical works is "borrowing scenery to express emotions and blending scenes". This freehand aesthetic pursuit reflects the natural beauty and ethereal beauty in national music. In terms of the function of music It also reflects the characteristics of entertainment. Freehand brushwork, originally a school of Chinese painting, is widely used in other art forms as an aesthetic norm. "Yi" has two pairs of aesthetic categories, form and spirit and meaning and image, and form and spirit refer to form With Shen Yun, meaning and image are meaning and image, that is, two pairs of aesthetic categories must be reflected in freehand musical works. This freehand aesthetic standard is not only widely reflected in cucurbit flute works, but also in other national musical instruments. The works are also very common, which is also a common feature of national instrumental music works.

5. the gradient of the plate structure

Banyan is a kind of plate structure unique to my country. In a fixed melody, through the change of banyan, a variety of plate styles can be sent. This is relatively complete in the development of opera music, especially in banqi All operas are based on the changes of the banyan, such as the guide plate, the original plate, the rocking plate, the slow plate, etc. in Peking opera. The plate structure is not as rigid as opera music, but relatively free. analysis, we can see the concentrated slab gradient structure in the works.

The gradient plate structure is relatively free in use, as long as it meets the emotional needs and the layout of the material, it can be freely selected, so this gradient plate structure is widely used in the creation of music.

As a member of the national musical instrument, cucurbit flute has a unique aspect in many aspects, and also has a common aspect with other musical instruments. This shows that when conducting a case study of cucurbit flute, we should observe the microcosm on a macroscopic basis, as well as from the microcosm. Reflect the macro, so that the construction of the theory of cucurbit silk can be more scientific and comprehensive.