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Web of Proceedings - Francis Academic Press

The Art of “Acousticization” in Erhu Performance

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DOI: 10.25236/icallh.2021.022


Yutong Li

Corresponding Author

Yutong Li


The “voiceization” of erhu performance has recently become a hotly discussed new word. In fact, this phenomenon has existed since ancient times. Erhu is the most representative stringed instrument among the national musical instruments. Its sound is thick, sweet, pure and elegant. Lyricism and singing are very strong. This created the basic conditions for the “voicing” of erhu performance. The abundant use of left-handed playing techniques provides more technical conditions for “voicing”. This article studies the four aspects of the “voicing” of erhu performance, representative works, common performance skills and representative figures, trying to explore the value and significance of the art of “voicing” erhu performance. Erhu performance has a long history of “voicing”. In an era when people are constantly tracing the original flavor of tradition and integrating traditional phonology into the creation of new works, the “voicing” of erhu performance is increasingly being used in erhu works, among which, classic songs are transplanted authentically Some of his works include stylistic instrumental works adapted from local characteristic dramas, as well as new creations that add traditional “voice-like” characteristics. How to accurately grasp the style of these music? How to choose the appropriate performance skills to interpret the music? What problems should be paid attention to in actual performance? These are all worthy of our study. In the process of collecting data, it is found that there are not many documents and works related to this kind, which brings inconvenience to writing. Therefore, I hope to use some examples of music to analyse the performance skills and characteristics of the “voicing” of erhu performance, analyse the problems that should be paid attention to in performance, study the artistic theoretical achievements and performance thoughts of representative figures, and combine my own performance experience to explain from reality. The “voicing” of erhu comes from vocal tune. It absorbs the essence of vocal tune. It is a reference and re-creation of vocal tune. It makes the erhu musical instrument “sing” the human voice effect; at the same time, it is higher than vocal tune., It absorbs the essence of the art of sound tune, and inherits the traditional cultural connotation endowed by sound tune.


Erhu, Acousticization study, Performance learning