Study On The Relationship Among Different Forms Of Flutes .
Advances in Social Science, Education and Humanities Research, volume 572Proceedings of the 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021)Study on the Relationship Among Different Forms ofFlutes and Tang PoetryNingbo Zhou1,*1Mianyang Teachers' College, Mianyang, Sichuan 621000, ChinaCorresponding author. Email: 1046290187@qq.com*ABSTRACTThe flute is closely related to the development of music in the Tang Dynasty. Judging from the poems of theentire Tang Dynasty, the flute is quite popular throughout the Tang Dynasty. In daily life, the flute is widelyplayed, which contributes to the form of always being chanted in the appreciation of poetry, which forms avirtuous circle. This article introduces the types of flutes appearing in Tang poems in terms of types, materials,and shape characteristics, and expounds a literary poetic relationship between flutes of different shapes and Tangpoems.Keywords: Tang poetry, Musical instrument, Form.1.INTRODUCTIONJade is a special material, and its culture alsosymbolizes the historical charm of China for morethan 7,000 years. As a special form of existence inChina, it fills the entire history. The Chinese alsolove jade exclusively, so there is also a sayingabout respecting jade, loving jade, admiring jade,appreciatingjade,andplayingjade."Xunzi · Faxing" records the dialogue betweenConfucius and Zi Gong.Zi Gong asked Confucius: "What is the reasonwhy a gentleman cherishes precious jade anddespise jade-like stone? Is it because there are fewprecious jade but many minshi?" Confucius said:"This jade is used by a gentleman to comparecharacter: It is gentle, moisturized and shiny, likebenevolence; it is hard and textured, like wisdom; itis strong and unyielding, like righteousness; It hasedges and corners and does not cut people, it is likebehavior; it does not bend even if it is broken, it islike courage; Its spots and defects are exposed, likehonesty; knocking on it makes the voice clearer andlouder, and stops abruptly, like the beauty of words.Therefore, even if the jade-like stone has a colorfulpattern, it is not as white and bright as jade."Jade, it is moist and gentle, hard and organized,strong and unyielding, sharp but not hurtful, andrather unyielding. It never conceals itsshortcomings, hitting it, the sound is clear andmelodious, but it can stop properly. Because of thehistorical tradition and humanistic spirit, whengentlemen meet jade, they will treat it gentle andelegant, humble and easy-going, and whencompatriots treat jade, there will be differentfeelings. Jade is a treasure in stone, and with theinfluence of culture, it has naturally become amaterial for making flutes. In this way, entrustingmusic and emotions to the jade flute gives moreexpressiveness. ("Figure 1")Copyright 2021 The Authors. Published by Atlantis Press SARL.This is an open access article distributed under the CC BY-NC 4.0 license -http://creativecommons.org/licenses/by-nc/4.0/.36
Advances in Social Science, Education and Humanities Research, volume 572Figure 1 Jade flute.The ancients paid attention to elegance andartistic conception. In terms of timbre, althoughjade is inferior to bamboo, it has a slightly higherstatus in the hearts of the people. The jade flute hasalso become a treasure for many literati. Poets inthe Tang Dynasty produced many verses about jadeflutes, such as in Li Bai's "Hearing a Flute on aSpecial Night in Luoyang", there are: "谁家玉笛暗飞which is difficult for the player to control well, andthe timbre is not as clear and pleasant as bamboo.Secondly, jade is a valuable item, and it isinconvenient for ordinary people to use it due toeconomic 闻折柳，何人不起故园情。Nowadays, talking about the dragon flute, mostpeople speak the Japanese dragon flute, which isthe transverse flute imported by the Tang Dynastyduring the Nara period or close to the Nara period,and later remoulded by imitating the Tibetan flute.In terms of classicality, it is used in the ZuofangMusic (Tang Music) of gagaku or Hisasue.(From whose house comes the voice of flute of jadeunseen? It fills the town of Luoyang, spread bywind of spring. Tonight I hear the farewell song ofWillow Green. To whom the tune will not nostalgicfeeling bring?)"1 Li Bai's poem is about listening tothe flute, the sound of the flute is moving, and thenight is quiet. The poet's hearing and imaginationfilled the city of Luoyang. It seemed that othervoices disappeared. And it seemed that all thepeople in the city were listening attentively. Thepoet expressed his longing for his hometownthrough the sound of the flute, making the poetrymore touching. Li Bai contributed immensely to therecitation of jade flute poems in the Tang Dynasty.The jade flute is the same as the bamboo flute interms of shape and system, it is played horizontallyand has six holes. However, due to the material, itis slightly inferior to bamboo in pitch. Althoughjade is popular among the public, the reason whymost of bamboo is used to make flutes is that it isrestricted by the productivity level at that time. Theproductivity level is low and the production toolsare relatively simple. In the end, people chosebamboo that is simple to make and has bettereffects in all aspects. The inner wall of jade is thickand it is not easy to make holes. Therefore, theerror will increase during the production process,and the increase of the error will reduce theaccuracy of the sound a lot. Moreover, the vibrationfrequency of jade is higher than that of bamboo,2.DRAGON FLUTEAs "Figure 2" shows, it has seven holes, and nomembrane holes. It is about forty centimeters longand has an inner diameter of about one centimeter.Except for the mouthpiece and each finger hole, thesurface of the bamboo tube of the dragon flute is allwrapped in cherry tree bark or rattan bark, and thencoated with lacquer to fix it. The end near the headof the mouthpiece is sealed with a cork and coveredwith a red brocade. The head end and themouthpiece are sealed with wax. In order to balancethe weight of the left and right ends of themouthpiece, and the lead is put in the wax. Whenplaying, the fingers do not completely cover thefinger holes. Instead, the players need to use thetechnique of playing with a half-hole cover, andthey can change the pitch by lifting their fingerslightly. The Japanese dragon flute is a traditionalhorizontally blown woodwind instrument, made ofbamboo. The dragon flute was introduced to Japanthrough the Silk Road. It may have evolved fromthe flute in Europe, and together with the nohkanand the shinobue, they are considered to be theprototypes and ancestors of all transverse flutes inother Japanese musical instruments.1.(Qing Dynasty) Peng Dingqiu, Complete Poetry ofthe Tang, Vol.125 [M]. Zhonghua Book Company, 1960, p571.37
Advances in Social Science, Education and Humanities Research, volume 572Figure 2 Dragon flute.The dragon flute of the Tang Dynasty,influenced by the traditional Chinese dragon culture,was formed by carving the appearance of a dragonon the flute. Since this type of flute was made bymusicians in the Tang Dynasty, it will be discussedin this chapter. According to Ma Rong's "FluteOode": " 龙 鸣 水 中 不 见 已 ， 截 竹 吹 之 声 相 似 。 (Thedragon screams in the water but does not show thedragon body, and the sound of the Qiang peoplecutting bamboo and blowing is similar to thedragon's chanting.)" It can be seen that the sound ofthe flute is similar to the sound of the dragon. LaterTang people also called it the dragon flute becauseof such sustenance. Of course, the birth of thedragon flute has an inseparable relationship withthe dragon, which is a legendary animal.The dragon legend and dragon culture are oneof the most representative cultural symbols of theChinese nation. It is often used to symbolizeauspiciousness and is one of the four sacred beasts;the dragon is the totem of the Chinese nation andthe symbol of the unity of the Chinese nation; italso symbolizes the supreme power andunquestionable dominance. Chinese are even moreproud of the descendants of the Yan Emperor andYellow Emperor and the descendants of the dragon.People will hold some festive activities such asdragon and lion dances and dragon boat races everyChinese New Year, praying for the prosperity of theweather, the prosperity of the country and thepeople, and the good food and clothing.Speaking of the dragon flute, it is similar to thejade flute, with more emotion and image. Therewere also poems about the relationship betweenflute and dragon's chanting in the Tang Dynasty,such as Wang Wei’s "Long Tou Yin":国，节旄空尽海西头。(TheGreat Wall boy is a knightwho committed suicide, boarding the tower at nightto see Taibai's military spirit. The bright moon onLong Mountain shines high on the border, andpedestrians on Long play Qiang flute at night. Theveteran from the western pass region was full ofsorrow, and he stopps his horse, and couldn't helpcrying when listening to the flute. The veteran hasexperienced more than a hundred battles, large andsmall, and his subordinates have all been sealed asprinces of ten thousand families. After returning tothe Han Dynasty, Su Wu was only worshipped asan official of Dianshu, which is so grievous that theflag fall to the west end of Beihai." 2This poem reflects the hardships of life infrontier fortresses in Tang Dynasty. The poet usesthe flute to express his sad thoughts, and the brightmoon echoes with the flute player, adding to thedesolate atmosphere. Li Bai's "Wuchang NightDrinking Nostalgia with Song Zhongcheng" is alsorelated to dragon flulte: "清景南楼夜，风流在武昌。 ��霜。 (The night in the south buildingis so refreshing, and the romantic people havegathered in Wuchang. Master Song Zhongchengloved to admire the autumn moon just like YuliangGong in ancient times, and sat on the Hu bed withjoy. The sound of the jade flute is like flowingwater and Qingchan; the silver frost all over theground is slowly descending from the Milky Way.I'm still in the mood, I really miss Yuliang'schicness, let's have a toast and drink up the wine!)"The sound of the dragon flute is like flowing water,and the silver frost all over the ground is slowlydescending from the Milky Way. The scenedepicted in the poem through the flute expresses Li" �头明月迥临关，陇上行人夜吹笛。 �经大小百余战，麾下偏裨万户侯。 苏武才为典属2.(Qing Dynasty) Peng Dingqiu, Complete Poetry ofthe Tang, Vol.283 [M]. Zhonghua Book Company, 1960, p1456.38
Advances in Social Science, Education and Humanities Research, volume 572Bai's deep friendship with Song Zhiti, so SongRuosi is also quite respectful.3.REED PIPEReed pipe is the double reed direct blowbamboo wind instrument. ("Figure 3") Because thewhistle is made of reed, so it is called as reed pipe.The name reed pipe is the Chinese name. The Baipeople have no native appellation on the reed pipe.Figure 3 Reed pipe.Today, it is only spread in a small amountamong the Bai people in the county of Jianchuan,Jinhua, and Shibaoshan in Yunnan. Bai nationalityreed pipes are mostly made by musiciansthemselves, with fine shapes. The pipe body ismade of ordinary thin bamboo, and the two endsare covered with copper leather snares. The wholebody is black painted, with seven holes on thesurface and one hole on the back. The range ofperformance is from d in the first small letter groupto b in the second small letter group. Its timbre isrough and bright, and it has a strong rustic flavor.This instrument is good at playing sad, slow music.The playing method is relatively simple, basicallyonly playing legato. But it needs to pay moreattention to the control of timbre and breath, andpay more attention to avoid making harsh sounds.The reason why the author got this discussion isbecause there are many poems about reed pipe inTang poems. Such as "Listening to the MonkBlowing the Reed Pipe" by the famous female poetXue Tao: ��阅梵书聊一弄，散随金磬泥清秋。 (Dawn’s sobbing cicadasor sad orioles at night. Such earnest speech is of tendigits born. Just play when you have read theSanskrit tome: It will join gold bells to mix withautumn.)" The poem describes the deep and quiettone of a monk blowing the reed pipe, creating apeaceful and long-distance Zen state. It can be seenthat reed tubes are also mostly found in temples.The first sentence uses a metaphor to write thesadness of the music, which reflects the deepfeelings of the monk when playing; the secondsentence praises the monk's flexible fingers, whichshows that he is diligent in practice and rich inmusic content. The monks play the reed pipe forfun in their spare time studying Buddhist classics.Although the sound is sad, it does not contradict theclear tone of the metal bell. All sounds are madefrom the heart, and the monk has a pure heart, andhe plays any music without distracting thoughts. Inthis way, the whole poetic mood is out of theordinary, and the Zen sound is fresh and fragrant.There are many poems about Lu Guan in theTang Dynasty, such as Cen Sen's "Reed Pipe Songfrom General Pei's Residence":" �怜新管清且悲，一曲风飘海头满。 �狼河北堪愁恨，玄兔城南皆断肠。 高堂客未回，祗将芦管送君杯。 �客爱之听未足，高卷珠帘列红烛。 (In the eastern part ofLiaoning, the reed leaves will be broken inSeptember, and children in the eastern part ofLiaoning will make reed pipes. The sound of thenewly-made reed pipe is so clear and beautiful, anda piece of music floats all over the sea with thewind. The trees on the seashore were withered andthe sky was frosted, and the sound of the reed pipeswas loud and the moonlight was blue; Bordersoldiers of Bailang River are the sad and sorrow,and all the people who leave the village in the southof Xuantu City are heartbroken. The guestsgathered in the house of General Liaodong in39
Advances in Social Science, Education and Humanities Research, volume 572Chang’an, let the beautiful woman hold the reedpipe to blow the music. The tune of the reed isbetter than the flute, and the sound of the tune is sofar away that it beats the flute. In the middle of thenight, the guests in the lobby said that they onlyblew the sound of reed pipes to persuade each other.The delicate voice alarmed the willows on the sideof the road, and fell back to the garden like plumblossoms. The guests in the seat like to watch andglance and do not want to leave, and the red candlesare inserted through the high rolling bead curtainand then the banquet is restarted; General Liaodongrefused to give up when he was drunk and danced,and ordered the beauty to hold up the reed tube andplay another song.)"It can be seen that the reed pipes in the TangDynasty are not as they are now, but are made fromthe root canals of reeds and collected in Septembereach year. The newly collected reed tubes are notyet able to produce the best timbre, so the sound iseven sadder. In this poem, the protagonist describedby the poet, General Pei, loves the reed pipe morethan the vertical bamboo flute and the transverseflute, and many listeners also linger in the music.This shows the popularity of the reed pipe in theTang Dynasty.The poet Li Yi also has a good poem about thereed pipe: ��知何处吹芦管，一夜征人尽望乡。 (The sandy land beforeHuilefeng is white as snow, and the moonlightoutside the city is like late autumn hoarfrost. Thedesolate reed tube was blown from nowhere, andthe soldiers who provoked the conquest weremissing their hometown all night.)"3 In this poem, itcan be seen that the reed pipe not only exists intemples and the homes of officials and eunuchs, itisalso a good carrier for soldiers on the battlefieldto place their emotions on them. Because of its lowcost and easy access to materials, it is more suitablefor people who are far away to express theirlonging for their relatives in their homeland.4.QIANG FLUTEQiang is the ethnic name of the Qiang people inancient China. They lived on the Qinghai-TibetPlateau and its fringe a long time ago. Qiang fluteoriginated and became popular here. Eastern HanDynasty Ma Rong "Flute Ode": "近世双笛从羌起，羌from the Qiang people, and the Qiang people'sfelling of bamboo failed to stop. The dragonscreams in the water but does not show the dragonbody, and the sound of the Qiang people cuttingbamboo and blowing is similar to the dragon'schanting.)" Its shape: " 故 本 四 孔 。 (It has fourholes)" From this, it can be seen that the Qiangflute is made of bamboo and has four holes. In theHan Dynasty, it has spread in Qinghai, Sichuan andother places.Qiang flute: As shown in the "Figure 4", thedouble pipes are connected side by side with athread wound together. The life span is 13-19 cm,the diameter of the nozzle is about 2 cm, and theupper end of the flute is equipped with a 4 cm longbamboo mouthpiece. The front of the mouthpiece isflattened by the knife, and a thin slice at about 3 cmfrom the upper end to serve as a reed is cut by aknife. Qiang flute is a rare instrument containingreeds in China, and it is more common in SichuanAba, Beichuan Qiang Autonomous County andother areas. According to the heirs of the intangiblecultural heritage of the Qiang flute in Aba, Sichuan:The earliest Qiang flute was made from bird legbones or lamb leg bones. It has two uses, either as awind instrument or as a riding whip for horse riding.So it is also called "horse whip" or "blowing whip".The Qiang flute, now popular in the Qiang area ofthe upper reaches of the Minjiang River in Sichuan,is a double-pipe vertical flute arranged in a six-tonescale. The tube body is cut from oily bamboo,which is a special product in the upper reaches ofthe Minjiang River. The shape is like a squarechopstick. Two bamboo tubes with the same tubediameter and length are selected, and the outer skinof the bamboo is cut off to form a square column.The three places are tied with thin threads at thehead, middle, and tail. Due to the different holesizes of the Qiang flute, the pitch and intonation ofeach flute are slightly different. The sound of theQiang flute is crisp, high-pitched and bright, with asense of sadness and resentment. The commonlyused method of performing the Qiang flute is toventilate the cheeks, which is the cyclic ventilationmethod people now use in the bamboo �经，截竹吹之声相似 。 (In modern times, the double flute emerged3.(Qing Dynasty) Peng Dingqiu, Complete Poetry ofthe Tang, Vol.199 [M]. Zhonghua Book Company, 1960, p949.40
Advances in Social Science, Education and Humanities Research, volume 572Figure 4 Qiang flute.Qiang flute became popular very early in China,and Ma Rong of the Eastern Han Dynasty wroteabout "the modern double flute from Qiang" in"Flute Ode". By the Tang Dynasty, there weremany poems describing Qiang flute. The TangDynasty frontier poet Cen Sen's "Singing in WhiteSnow Sending the Wu Panguan Return toChang'an" has a description of Qiang flute: " 瀚海阑bumpy life experience and experience of the blindA Bing; Qiang flute's sound is bleak and deep, orwith some hoarseness and choking, but it does nothave the sadness of the erhu. Qiang flute, like themen in the border village, hobbled but stubbornlyfaced the millennia of wind and sand, even if thespring breeze didn't come, they would have noregrets.干百丈冰， �琴琵琶与羌笛。 (The boundless desert is covered with thick5.ice, and the sky is full of bleak clouds. In the headcoach’s tent, wine was placed for the returnees, andthe Huqin, Pipa, and Qiang flute ensemble wereadded to the excitement.)"4 The poet uses romanticand exaggerated techniques to depict the overallimage of the snow in the world, which also showsthe enthusiasm and grandeur of the farewell. Abanquet was set up in the commander in chief'sarmy, singing and dancing, and drinking happily.The banquet lasted until dusk. The Yellow Riverflowing far away and the lonely city among the tenthousand deserted mountains together form adesolate artistic conception, and the sad sound ofthe Qiang flute is endless in the wilderness anddistant mountains, like a cry like a song. When thesound of the Qiang flute came with the familiarmelody of "Liangzhou Ci", the flute sound was fullof sadness, lingering in the lonely mountains andplains. It was the sergeant on the border playing thefarewell song. Qiang flute only loves frontierfortress poems, and most of the frontier fortresspoems in our country have an inseparablerelationship with Qiang flute. The poets used theQiang flute to express the miserable and unattendeddays of the frontier fortress, and at the same timereflected their longing for their families. Comparedwith the lavish sound of silk, bamboo and orchestra,the sound of Qiang flute should be a bit harsh anddesolate. But it is not like the kind of self-pity andsigh of the erhu, the sound of the erhu is a sad andmiserable sentiment and helplessness, just like theCONCLUSIONBased on the above, different forms of fluteappear sooner or later, and the connotations of theimages shown are also different, including farewellimagery, homesickness imagery, sadness imagery,love imagery, and war imagery. They are not onlyused as a medium of expression in Tang poetry, butas a means of expressing various artisticconceptions in Tang poetry, thus making Tangpoetry more expressive. Even though the Tangpoems have only a few words, they can makepeople feel the jaw-dropping sight and emotions.AUTHORS' CONTRIBUTIONSThis paper is independently completed byNingbo Zhou.REFERENCES[1] Ren Bantang, Tang Music Poem [M].Shanghai: Shanghai Classics PublishingHouse, 1982. (in Chinese)[2] Wu Xiangzhou, A Study on the RelationshipBetween the Creation of Tang Poems and theTransmission of Songs [M]. Beijing: PekingUniversity Press, 2000. (in Chinese)[3] Zhu Qingquan, Historical Study on theAncient Chinese Flute Family Instruments [D].Zhengzhou: Henan University, 2004. (inChinese)4.(Qing Dynasty) Peng Dingqiu, Complete Poetry ofthe Tang, Vol.199 [M]. Zhonghua Book Company, 1960, p949.41
Advances in Social Science, Education and Humanities Research, volume 572[4] Luo Zongtao, Chinese Poetry Studies [M].Taipei: Central Supply Agency of CulturalRelics, 1985: 334. (in Chinese)[5] Wang Qing, Research on Ancient Dizi [D].Wuhan: Wuhan Conservatory of Music, 2006.(in Chinese)[6] Mao Yungang, On the Dizi Art in the Sui andTang Dynasties [J]. Movie Review, 2008. 06.08. (in Chinese)42
through the sound of the flute, making the poetry more touching. Li Bai contributed immensely to the recitation of jade flute poems in the Tang Dynasty. The jade flute is the same as the bamboo flute in terms of shape and system, it is played horizon
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Chính Văn.- Còn đức Thế tôn thì tuệ giác cực kỳ trong sạch 8: hiện hành bất nhị 9, đạt đến vô tướng 10, đứng vào chỗ đứng của các đức Thế tôn 11, thể hiện tính bình đẳng của các Ngài, đến chỗ không còn chướng ngại 12, giáo pháp không thể khuynh đảo, tâm thức không bị cản trở, cái được
Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. Crawford M., Marsh D. The driving force : food in human evolution and the future.
Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. 3 Crawford M., Marsh D. The driving force : food in human evolution and the future.
