Music sense refers to people's awareness of the existence of the meaning of each sound in a musical work, the feeling of the subtle relationship between the sound and the sound, as well as the memory ability and imitation ability in music. When people perform musical activities, they will generate various associations through the perception of musical language, so as to further feel the beauty of music. Therefore, it can be said that the sense of music plays a role in musical activities by means of association.

The sense of music in erhu performance is mainly reflected in the following aspects:

First, the sense of tone

Because the erhu has no fingerboard and taste, the pitch is completely controlled by hearing. The ability to distinguish the pitch of the auditory and the feedback ability of the fingers constitute the player's sense of intonation. The sense of intonation can be divided into two levels: high and low. The low-level intonation only grasps the basic accuracy of the pitch, and has not changed according to the different needs of the music. The high-level intonation is to make the intonation rise to the artistic realm of rhythm beauty. The beauty of the rhythm of the erhu is reflected through various subtle pitch changes in the music, which are the crystallization of the performer's musical sense and artistic accomplishment.

Second, the sense of rhythm

Rhythm is the backbone of music, and without it, music would be a jumble of jumbled, meaningless notes. Accurately completing the rhythm of the music score is the most basic requirement for the performer, which is still a low level of rhythm. Rhythm is the internal movement law of music rhythm. It is usually hidden in the melody and not shown on the score, but it is the key to the musical spirit. The sense of rhythm is the player's inner rhythm experience, which can only be obtained by the player through meticulous music analysis. Moreover, it relies heavily on the depth of the player's inner experience of the natural rhythm of life, as well as the rhythm and rhythm found in various art forms. The same piece of music, if the rhythm sense is well mastered, can make the performance lively and full of brilliance; if the rhythm sense is not mastered well, the performance will be dull and dull. This shows the important role of rhythm in erhu performance.

Third, the sense of strength

Intensity is the degree of control and application of power in erhu performance. It is an important means of musical performance and runs through the performance from beginning to end. From the perspective of musicality, there are two different levels of requirements: high and low. The low-level requirement of dynamics is the size of the volume, but the appreciator's feeling of the strength of the music does not only depend on the size of the volume, but largely depends on the inner tension of the performance. Selected from Erhu Art Network, the inner tension of this performance is the high-level requirement of strength. The sense of dynamics is an important part of the musical sense of erhu. A good dynamic layout can more clearly reflect the structure and level of the music, and express the emotions of the music more profoundly, thus making the performance more expressive and appealing.

Fourth, the tone

Music, by its very nature, is a language in which people communicate ideas and information. Since it is a language, there must be a sense of tone when speaking. Then, the sense of tone in the erhu performance is not difficult to understand. The commonly used tones in erhu performance include restraint, yang, soft, rigid, continuous, pause, chant, sing, surprise, sigh, question and answer and echo, compare, call, accuse and so on.

Five, Linear Image Sense

Image thinking plays a very important role in erhu performance. During the performance, the performer always generates various images or pictures in his mind through imagination or association, and then conveys his thinking information to the audience through specific performance actions. This completes the music re-creation process. Image thinking can be divided into two types: concrete image sense and linear image sense. In the actual performance, image thinking does not appear every moment with specific objects, but to a large extent is a linear image thinking. The performer first converts the score into linear graphics in his mind according to his own understanding of the music, and then plays the music according to the graphics. The graphics of a piece of music are not all presented in the player's mind at the same time, but only the graphics within the sense of advance can be presented in the player's mind. Once the note is played, the corresponding graphics disappears. , is replaced by a graphic corresponding to the new note in the sense of advance, so "metabolized" until the end of the music performance. It should be said that the figure constructed by the performer for a piece of music is not static, but has great improvisation. When the performer is dealing with the music, he only constructs a general melody figure, so as to leave a certain leeway for the performance to be played to the fullest, thus forming the improvisation of the performance. It is this improvisation that makes the stage performance more charismatic than the record.

Six, the air

In the erhu performance, the sense of qi is divided into two different levels: high and low. The low-level sense of breath is the sense of breath, which is mainly reflected in the beginning of the sentence, the sound at the end of the sentence, the clause, the connection of the sentence, the accent, the syncopated rhythm, etc., which is related to the breathing principle in vocal singing. close relationship. The high-level qi sense of erhu performance is the qigong state of playing, which is the ability to "lead the qi with the mind and transform the power with the qi". From the perspective of qigong, the process of playing is also a process of "generating gong". In addition, in the erhu performance, the idea is not limited to the guidance of "Qi", it is also a general term for many feelings and image thinking. Training the low-level qi sense (that is, the sense of breath) can start with singing the music score. To practice high-level qi sense, it is best to practice qigong at the same time, or play Taijiquan, and experience the feeling of qigong state in depth.

Seven，texture

Texture is the player's aesthetic sense of sound quality, and it is a kind of associative thinking that controls the timbre of the erhu. We often use "golden velvet beauty" to describe the violin's moving timbre; "nightingale-like voice" to praise the charming voice of the soprano singer, etc. These all refer to the texture of the sound. In our daily life, we are in contact with all kinds of substances all the time. These many substances will get different textures when we touch them with our hands and see them with our eyes. When playing the erhu, the timbre and the texture produce associative thinking, so that the sound is placed on a certain substance, which is the texture of music. If the performer can establish the associative thinking in this respect with the music, the timbre of the erhu performance will be ever-changing and colorful.

Eight，music structure and shape sense

The big things in the world are made up of many small things. The orderly combination of several small things in a big thing is the structure. Looking at erhu works from this angle, the small ones are like a farmhouse with small bridges and flowing water, which is natural and simple; the middle ones are like a villa with a garden and a western-style building, with different layouts; But no matter the size of the building, at its root, it is nothing more than a brick and a wood. Similarly, a piece of music and a work is also a whole composed of many small "parts". When dealing with a piece of music, we must first analyze the overall structure of the work and draw a three-dimensional overall image in our mind. Then start with one part, and construct a split image of each part in your mind. Finally, further the specific description of the line shape of the phrase, which is the method of constructing the structure shape of the large and small pieces of music.

Nine, dynamic

When erhu performers are playing, they often use the sense of various behaviors and movements in daily life to make the music have a specific demeanor through associations. In terms of pronunciation alone, there are various forms such as "pulling, holding, flowing, chopping, bursting; lifting, throwing, stretching, pushing, wrapping" and so on. In a broad sense, all behaviors and actions in life can be applied to erhu performance as a kind of dynamic feeling, which greatly broadens the expressive power of erhu.

Ten, sense of Character

People are the main body of music description. It can be said that any work is inseparable from the character image, and erhu music is no exception. Therefore, the ability to shape the character image of the music is also a yardstick to measure the musical feeling of an erhu player. There are roughly three types of characters in erhu music: (1) The author's own image. (2) Group image. (3) A specific image. In addition to realistically and vividly portraying the characters of the music, the performer must integrate the characters created by the music with himself to achieve the realm of "no self". Such performance is truly moving. play.

Eleven, lens sense

Lenses are originally a unique means of expression for visual arts such as movies, TV dramas, photography, etc. There are different scenes such as panorama, medium shot, close-up, and close-up; There are various lens montages; there are many techniques such as shaking, pulling, and pushing; as well as various angles such as flat, tilted, and high, it can be said to be infinitely varied and extremely rich. In the erhu performance, the feeling of these shots is often used for reference, so that the music has the same expressive ability as a movie.

Twelve，the sense of place

my country has a vast territory and many ethnic groups. There are local dialects, folk songs, and local operas in various places. Coupled with many factors such as climate, diet, water and soil, many music pieces have a strong local style. The art of erhu requires the performer to play the music of any place, and there will be the flavor of the place. The player's mastery and understanding of the musical styles of various regions is the sense of place in the sense of erhu music.

Thirteen, the sense of the times

Music works have always been the product of the times, and what kind of music works are produced in what kind of times. On the other hand, each work also contains a strong atmosphere of the times. Selected from Erhu Art Network, the sense of the times of the music is reflected in three different aspects: the first is the sense of the times given to the works by the time of the composition; the second is the sense of the times given to the works by the content of the music; the third is the performance of the music Times give the work a sense of the times. The three sides complement each other, forming a sense of the times in Erhu works.

Fourteen, sense of Proportion

What art pursues is just rightness, and just rightness is a sense of proportion, so it also

It can be said that the sense of proportion is art. The ancients said: "Excessiveness is not enough." This means that excesses and deficiencies are equally imperfect, indicating that the ancients have long pursued the sense of proportion as the ideal realm of art. The sense of proportion plays an important role in all aspects of performance. It can be said that the masters of playing can be called masters, and the "absolute" is absolutely in the grasp of the proportion.

"Music" is an infinitely wide and infinitely rich ocean, and there is still a lot of content worth exploring. For an erhu player, only after entering the world of musical sense can the performance be meaningful and fun; otherwise, learning the erhu will be a boring chore. If the reader is interested in this, you can read the book "Erhu Techniques and Famous Music Playing Tips" (written by Zhao Hanyang), which discusses the musicality of the erhu in detail with nearly 100,000 words.