1. Historical records and historical evolution

The building is an ancient stringed instrument more than 2,000 years ago in our country. It was very popular as early as the Warring States Period. According to the "Warring States Policy Qi Ce", Linzi, the capital of Qi State at that time, had a developed economy and a prosperous culture.
"Historical Records · Assassin Biography" also has the record of "Jianli Jianzhu", "Above Yishui, the ancestors, the way, Gao Jianli Jianzhu... All the scholars were weeping and weeping." Later, "Jianli Jianzhu" was used as a metaphor. Generous elegy or elegiac farewell. After Jing Ke attempted to assassinate the King of Qin, only because Qin Shi Huang loved Ting Zhu, he cherished his talents, pardoned Gao Jianli for the death penalty, and kept him by his side to attack Zhu. However, he gradually moved away from the "lead in the building" and attempted to kill the King of Qin again, and then he could not escape death. When this matter ended, the King of Qin was furious, and then the court music of the Qin Dynasty no longer used the building, so the building was not further developed in the Qin Dynasty.
Until the Han Dynasty, "Han Book of Emperor Gaodi" records that after pacifying the rebellion of the Huainan King, Liu Bang, the ancestor of the Han Dynasty, returned to Pei County as a victor, built the Jiupei Palace, built it with wine, and recited the "Gale of the Great Wind". The building that was hit by the solid has since then been called "Peixu". According to "Xijing Miscellaneous Notes", Liu Bang's favorite concubine Mrs. Qi was "good at drumming and building". Liu Bang loved Zhu and often sang together with Mrs. Qi, who spent sleepless nights and forgot to eat. Under his influence, the building was popularized throughout the country in the Han Dynasty. Due to the needs of the repertoire and range, the building gradually transitioned from the five-string to the thirteen-string (there is a patriotic poet Yan Ermei in the late Ming Dynasty. Hearing strikes and building thirteen strings" is evidenced by the verse). In the Han Dynasty, it can be said that Peizhu reached its peak of development. During the Han, Wei, Southern and Northern Dynasties, Peizhu was mostly used to accompany Xiang and Songs. Most of the related cultural relics unearthed today are from the Han Dynasty. We can also feel the flourishing scene of Peizhu playing on many precious Han portrait stones.
During the Sui and Tang Dynasties, it was built in the ninth and tenth music of the court band, mostly accompanied by Qing music. Li Bai, a famous poet of the Tang Dynasty, expressed his feelings about the life of a young man in "Youth Xing": "Strike the building and drink fine wine, and the sword sing and the water is easy... The youth is full of vigor and enthusiasm." However, since the Song Dynasty, the building has gradually been lost, and then disappeared. For thousands of years, this musical instrument carrying the soul of the Chinese has only been recorded in historical materials, but future generations have never had the opportunity to listen to its timbre.

2. The evolution of the building and the reasons for its loss

(1) The evolution of architecture
In history, the development of many musical instruments has been influenced by different regions and ages, and has diversity, and the building is no exception, there will be the phenomenon of "same name and different production". Through studying all kinds of documents, the author found that the historical records of buildings in the north are the most, and Peizhu also originated here, especially in the Han Dynasty.
1. The evolution of the shape - based on the data we have seen so far, the buildings can be roughly divided into three types in terms of shape, namely Chu, Wuyue, and North. The building in Chu has five strings, four long rods, a large head and a thin neck; the building in Wuyue is shaped like a zheng, with thirteen strings; the building in the north is like a qin and big, and the resonance box is obviously large, also with thirteen strings.
2. The evolution of the playing form - as seen from the Han statues unearthed in various places, when the Zhu in Chu played, one end of the building was on the ground, and the player's left hand held the narrow neck of the building, so that one end was off the ground but the angle with the ground was not large. , and the right hand holds the bamboo slice to strike the string to pronounce. The building of Wuyue is represented by the building of Shaoxing. The performer will put Zhuping in front of him, sit on his knees, strike the strings with a stick in one hand, and press the strings with the other. For the building in the north, the performer will hold the building vertically, place the tail on the shoulders, hold the building in one hand, and strike the strings with bamboo pieces in the other. But the common denominator is to play "strike" with bamboo ruler. As for the "strike" after the Tang Dynasty, it gradually evolved from "strike" to "roll" (it has been verified by experts, and no research will be carried out here).
(2) Reasons for loss of transmission
All things move forward in development and change, and the successive dynasties of the dynasties have also witnessed the rise and fall of emperors and the replacement of dynasties in the aesthetic needs of people and the changes of the times, constantly evolving until they are lost. There are many theories about the disappearance of Zhu.
1. According to the conjecture of Master Hao Jingchun, the inheritor of the development, restoration and performance of Peizhu, a famous folk craftsman in my country, he has traveled to major libraries and museums across the country, visited many experts and scholars, and explored the restoration in the first ten years. It was found that the early building was made of a whole piece of wood carving. Because the panel was too thick and the resonance cavity was small, the volume was weak and the sound was not transparent.
2. It can be seen from the unearthed cultural relics that the building gradually changed from the original five-string to the thirteen-string in the Han Dynasty and even the twenty-one string later. The string has a column under it, and its sound range continues to expand; from the initial whole wood production to the later one. The composite structure of "Zimu" as the bottom plate and "Tung wood" as the top plate, the volume keeps increasing; from the initial solo to the later accompaniment and band ensemble, the building's performance forms are constantly enriched, and the scale of performance is constantly increasing. grow. However, after the Tang Dynasty, it began to decline. Experts and scholars of traditional Chinese musical instruments have deeply demonstrated that the disappearance of Zhu is likely to evolve into "Zheng". Due to the gradual replacement of "Zheng" and other bowed string instruments, Zhu has retreated to this type of The ancestors of musical instruments are buried in the world.
3. Some historians believe that the disappearance of Zhu may be due to the fact that after the Han Dynasty in Tokyo, many of the remaining movements were missing and could not be restored. Later, after the Yuan Dynasty destroyed the Song Dynasty, the rulers ignored the Han culture and wantonly destroyed, attacked and persecuted the Han people (especially the literati musicians), and reduced the Han people to the lowest class of society and enslaved them. To a certain extent, it inhibited the development of part of the Han culture and the music and musical instruments of the Han Dynasty.

3. Research significance and research value of Peizhu regeneration

Musical instruments are spiritual objects, which carry the profound cultural history of a country and a nation, embody the musical wisdom of ancestors, and precipitate people's continuous pursuit and improvement of musical beauty for thousands of years. As the saying goes, what belongs to the nation is what belongs to the world, and musical instrument culture is also a representative art form in Chinese culture. The rebirth of Peizhu is by no means accidental. It can be admired by the world and recognized by the times. It is the fruit of the joint efforts of several generations of craftsmen of the Hao family in Peixian County, and it is the inheritance of the spirit of craftsmen. It has far-reaching significance and high research value.
(1) Research significance
1. Inspiring contemporary young people to rethink Chinese traditional music culture
Pei Zhu's regeneration infuses traditional Chinese music with elements that are both fresh and ancient. Chinese traditional music has profound humanistic spirit and significance of the times, which makes modern society full of humanistic atmosphere. Chinese traditional music pays attention to the complementarity of emotional expression and personality shaping, takes harmony as beauty and pursues the beauty of artistic conception and charm, which is of great educational significance in today's society.
In today's society, vigorously advocating the aesthetics of traditional music can cultivate a new generation of young people's noble moral sentiments and deep patriotic feelings, and inspire them to rethink traditional music culture. By accepting the influence of traditional music melody and sound quality, one can achieve spiritual peace and tranquility in the impetuous society.
But at the same time, the regeneration of Peizhu also has certain risks. In the process of globalization, when various Eastern and Western music cultures collide and blend with each other, it is necessary to properly handle the relationship between independence and integration. On the one hand, the younger generation must protect traditional Chinese music like they protect their own lives, and inherit the musical instruments of our Han nationality; on the other hand, they must conform to the current social environment and accurately position traditional music, so as to carry out longer-term development and evolution. , we can't let this musical instrument with the soul of the Chinese be lost again in this generation.
2. Cultivate the elegant aesthetic taste of piano learners
Peizhu has a long history, unique style and profound cultural heritage, which has attracted the attention of people from all walks of life since its inception. Its timbre is pure and beautiful, containing the sound of gold and stone, both simple and clear, with a long aftertaste, full of the national characteristics of traditional Chinese instrumental music in the Han Dynasty. Because the pitch is relatively fixed, beginners can use the bamboo ruler to strike the strings, which is simple and easy to use, and the left hand can press one end of the strings, and the left and right brains can work at the same time. The depression of leisure life, the cultivation of elegant aesthetic taste, and the joy of self-cultivation are suitable for all ages. The author is also surprised to find that it is very easy to attract people's attention, and it has certain adjuvant treatment significance for autistic and mildly depressed patients.
3. Improve the cultural self-confidence and cultural innovation of our country

In 2014, entrusted by the Ministry of Foreign Affairs of the People's Republic of China, the five-stringed Peizhu made by Master Hao Jingchun was used as a national gift and presented to the Queen of Belgium by Madam Peng Liyuan, the wife of the State President, and permanently preserved in the Belgian Musical Instrument Museum. Peizhu is a kind of harmony and friendship. The tool of cultural diplomacy has since stepped onto the stage of world history. After that, you can see its figure and hear its heavenly voice in major events and occasions at home and abroad. The successful restoration of Peizhu is a great contribution to history, and it is also a great contribution to the promotion and inheritance of Han culture. It shows the spirit of craftsmanship and the cultural confidence of our great country.
Innovation is the cornerstone of inheritance, and national instrumental music should be developed in inheritance and inherited in development. In the process of inheritance, it is only possible to integrate new elements through innovation, and it is possible to regenerate the tradition. If the future of the past is the present, then the present is the tradition of the future. Tradition is our mirror, we must vigorously promote and spread the excellent culture. Today's Peizhu, through the innovative research and development of Master Hao Jingchun, was reformed and invented on the basis of the prototype of the Han Dynasty, and gradually developed five strings, thirteen strings, twenty-six strings, forty-two strings, and even fifty-six strings. Obtained national invention patent. Among them, the 13-string Peizhu piano box adopts the double-sided radian of the violin, which increases the resonance of the sound to a certain extent. At the same time, it absorbs the same degree winding method of the piano, which increases the volume and produces the beauty of chords, but he still chooses the traditional The silk strings are wound, and while inheriting and innovating, they retain the original and antique tone of Peizhu; the fifty-six-string Peizhu is also named "Zhonghuazhu", which has a profound meaning. Each sound represents the harmony and unity of the fifty-six ethnic groups in China. It can be used both as a soloist and as an accompaniment for an orchestra. It can naturally switch to twelve keys and play polyphonic works, successfully integrating with world music. As the years go by, the sound of the thousand-year-old ancient music is even better, and the ancient rhythm is passed down to the world.

(2) Research value

1. It provides the possibility for constructing the discourse system of music theory in the Han Dynasty and the way of teaching reform practice.
At present, the teaching of music education in colleges and universities in our country is still dominated by Western music thinking and Western-style teaching methods. However, the rhythm, tuning, score, musical instruments, bands, creative techniques, singing techniques and styles of traditional Chinese music obviously have little correspondence with the Western music system. A fatal blow to ideology, ritual music culture and traditional music learning and inheritance.
The reason why we vigorously promote the Han culture and learn the ancient traditional instrumental music of our Han nation is to let the contemporary normal music students implement the learning and practice of the core socialist values, absorb the essence of traditional Chinese music culture, and integrate them into the music. Music classrooms in primary and secondary schools are passed down from generation to generation. Through education reform, gradually realize the "transformation" in thinking and teaching method. How to establish the characteristic system of traditional music theory discourse in the Han Dynasty, further form Chinese ideas and thinking, and then recognize the problem of Chinese traditional music form and music culture is worthy of our musicians' in-depth exploration. However, the re-emergence of Peizhu offers this possibility. The author tries to propose two more specific ways of value research:
(1) Cognize the historical form and continuously think and summarize in combination with the current living inheritance
"Chinese Music Dictionary" includes ten categories of temperament, key, notation, instrument, music, music language, music name, musician, institution, and writing, which should be paid attention to in traditional music theory. Among various types of sound techniques, the form of instrumental music is the most typical research object for the coexistence of ritual music and vulgar music. Therefore, instrumental music creation has always been the first choice for national ritual music. While grasping these research objects as a whole, we should cut in and integrate them from different domains and perspectives. Since it involves institutions and musicians, it is natural to recognize the norms of the state system in the Han Dynasty, study the attribution, living conditions, and the concept and scope of music use of musicians, and also consider the relationship between music and dance in the Han Dynasty. Similarity, dissimilarity, etc., cultivate academic sensitivity, return to the historical context, and continue to think and summarize in combination with the current status of the living inheritance of folk artists and folk orchestras.
(2) Guiding sound teacher Fan Sheng's social practice - in-depth literature, to the folk
Teachers of music education should continue to explore, structure and enrich traditional instrumental music forms into teaching and teaching materials, guide students to go deep into literature, go to the folk, walk out a path of traditional music practice with Chinese characteristics, and grasp the historical context of the development of Chinese instrumental music as a whole. , Cognitive identification and analysis of the living existence of traditional music in the Han Dynasty, forming a vertical and horizontal echo with historiography; using a variety of methods (pattern analysis, comparative research, etc.), multi-perspective (historical evolution, music function, social attributes, family Inheritance, etc.) to grasp and discuss; while arranging and summarizing music history and literature materials, it pays attention to the living meaning of traditional music, and conducts a deeper systematic exploration of traditional music theory in the Han Dynasty through practice.
2. It has set a milestone in the new era for the exchange and development of the "Belt and Road"
The ancient Silk Road is one of the important sources of China's high economic and cultural development. From the perspective of the development of folk music, since Zhang Qian's mission to the Western Regions in the Han Dynasty, Chinese traditional national musical instruments and foreign musical instruments have been fully integrated with each other. The traditional national musical instruments (huqin, pipa, etc.) are all from the ancient roads of the Western Regions, and have become an important part of Chinese music culture and have been passed down to this day. National musical instruments are also part of people's spiritual life in today's national cultural life.
The proposal of the "Belt and Road" initiative is a new concept for my country to carry out international cooperation under the new situation. Music, a language without borders, is an important link connecting the countries along the "Belt and Road". Using "Peichu", a native Chinese national musical instrument that condenses the soul of the Chinese, to spread the excellent traditional Chinese culture, and let the Han nationality music inspire the people in the construction of the "Belt and Road", which can strengthen the Silk Road on a larger scale and at a deeper level. The sense of cultural identity and national integration of the countries and regions along the road will promote the healthy development of Chinese music culture, and at the same time, it will better communicate with the world with bright and distinctive cultural business cards.
The author intends to implement the "One Belt, One Road" policy of General Secretary Xi Jinping with a correct attitude, from an academic point of view, but also from a practical point of view, to set up new cross-border research ideas, new research directions, and new research topics in the academic field and education reform, so as to provide Contribute to the academic research field of traditional Chinese music; closely focus on the "two innovations" policy, strive to create Peizhu works that are warm and popular in our era, study and compile Peizhu's performance techniques, innovate and inherit Peizhu's production skills, and serve The prosperity of Chinese national culture has contributed to making national music an important channel for interconnection, win-win cooperation and foreign cultural exchanges in the “Belt and Road”. It is the most important work for our art workers and front-line teachers to realize the Chinese dream of the great rejuvenation of the Chinese nation.