What is the ancient music score of Suona?
Yang Jiusheng, an 82-year-old retired from Shenyang Conservatory of Music, is trying to let more people see the "true content" of these ancient scores through his hard work. The old man also has a wish: he hopes that after decades of collection and sorting, the ancient suona music scores in Liaoning will be compiled into a book, so as to leave a precious material for future generations.
On March 3, at Yang Jiusheng's house, the reporter saw piles of ancient suona scores on his desk. The old man carefully unfolded one of the rolls. On the thick white paper, there was a dark yellow score that had been carefully repaired and pasted. The old man has already sorted out more than 100 ancient suona music scores, and according to his estimation, there are about 300 existing music scores in Liaoning.
Wind instruments are the main national musical instruments in Liaoning, among which the suona is the main representative. In the history of Liaoning, the suona music score used by folk artists was "gong-chi (chě) score". From the appearance point of view, Gongchi notation is very different from the commonly used musical notation. The former is composed of several fixed Chinese characters, while the latter is mainly composed of Arabic numerals.
Yang Jiusheng, who has been dealing with ethnic music theory all his life, realized that the ancient suona scores in Liaoning area might be at risk of being lost more than 30 years ago, so he began to collect them. He has collected the earliest work-scale spectrum from the Guangxu period of the Qing Dynasty.

It is not easy to collect a complete gongchi score, because in the past, folk artists regarded their gongche score as a means of making a living and refused to communicate with the outside world easily. forever gone." Furthermore, with the influx of Western music, more and more suona artists began to use simplified notation, and Gongchi notation was gradually abandoned, which also caused difficulties in collection. Yang Jiusheng did not give up. He took the measures of exchanging, translating, and recording and recording folk artists.
As a student of Yang Jiusheng, Li Fang, a teacher at Shenyang Conservatory of Music, was one of the organizers. She introduced that Yang Jiusheng had high requirements for finishing work. On the one hand, he asked them to clearly mark the "board" and "eye" on the score, and on the other hand, he asked them to be accurate when restoring the musical score to the ancient score. Li Fang said that the process of sorting is also a process of learning again, and "the harvest is very big."
Yang Jiusheng said that at present, the ancient musical scores have entered the later stage of sorting, and it is expected that the work will be published next year after the sorting is completed.