Dai Xiaolian

Dai Xiaolian

Dai Xiaolian (1963 -) is the successor of Guqin of modern Guangling school, professor and master supervisor of Shanghai Conservatory of music. Deputy director of Guqin Professional Committee of China Kunqu Opera Guqin Research Association of the Ministry of culture; vice chairman of Guqin Professional Committee of China National Orchestral Association; inheritor of Shanghai human oral inheritance intangible culture Guqin art. Its style is rigorous, bright, clear and vivid. It emphasizes that the technique should be controlled by the artistic conception and verve of the music.

Character experience

Dai Xiaolian, born in Shanghai, studied Guqin with her uncle and grandfather, Mr. Zhang Ziqian, a famous guqin player of Guangling school, and got her purpose. After that, he joined many famous guqin masters, including Wu JINGLUE, Wu Wenguang, Yao Bingyan, Gong Yi, Lin Youren and Cheng Gongliang. He graduated from Guqin major of Shanghai Conservatory of music in 1985, and is now a professor and master's supervisor of the Department of folk music of Shanghai Conservatory of music. Set up Guqin professional teaching, guqin music culture special theoretical courses, as the teaching work of graduate students and international students. Her Guqin teaching has its own characteristics. Many of her students have won gold, silver and bronze prizes in domestic competitions.

She has cooperated with famous musicians, composers and orchestras at home and abroad for many times, and has traveled all over China, including Hong Kong and Taiwan, as well as Europe and Australia. With Guqin's unique artistic personality and Chinese elements, we have participated in the performance, innovation and practice of high difficulty polyphonic ensemble, modern chamber music comprehensive combination and other music forms, which has greatly expanded the new energy and space of guqin, an ancient traditional Chinese instrument, and has a certain influence in the music circles at home and abroad.

style of art

Dai Xiaolian inherits the profound traditional knowledge of Qin. She is skillful and powerful. She is the successor of traditional Chinese Guqin music. At the same time, she is in the forefront of new music in modern music society. She has played Guqin in many international and international festivals and concerts. Her Guqin playing art has both personality and charm. It is based on the ups and downs of Guangling school, infused with her own elegant and changeable unique timbre, and has a profound interpretation of music. She can play both dynamic and static music with great tension, delicate and hierarchical processing.

Art activities

She is also an active activist of Guqin culture. She has held many lectures, concerts, international art festivals and other activities. In 2009, he organized a seminar on "commemorating the 110th anniversary of the birth of Guqin Master Zhang Ziqian" and published Mr. Zhang's "caoman art" CD. He planned and organized the first national seminar on Teaching in professional music colleges and Guqin and other musical instrument combinations in 2007, and organized "Q & A for fishermen and woodcutters" and "concert for Guqin masters".

Main works

In 1986, Dai Xiaolian participated in the CD of Guangling Qinyun, the first Guqin collection in China published by Hong Kong. She is a young representative of the three generations of old, middle-aged and young performers. After that, he successively published his solo album Guangling Qinyun 3 (Hong Kong), Guqin art (France), ripple solo album, Hechang ensemble album; teaching DVD "learn Guqin well", "classic music"; modern pop music "Qinge - drunken flower shade", "Sijun Collection - Teresa Teng music"; and more than ten collections. The first professional textbook of Guqin ensemble in China has been compiled. In 1991, he was a visiting scholar in the school of Chinese Studies of Leiden University in the Netherlands for ten months. More than 20 solo concerts of Guqin have been held in Hong Kong, Taiwan and at home and abroad. The recent concerts are the solo concerts of Shanghai Oriental Art Center in 2010 and Tianjin Concert Hall in 2011. He has participated in the international "European Chinese Music Research Annual Conference", "ICTM International Folk Music Society", various domestic Guqin academic seminars, and published several papers.

In academic research, she participated in the school's scientific research projects, guqin score research, theoretical research, etc. He has published several papers and scores in various domestic and international academic conferences.

She played a connecting role in the history of Chinese modern guqin music. In the 30 years of artistic activities, its artistic achievements are generally recognized by people, and have made certain achievements for the development of modern Guqin art.

Related articles

I didn't attend the graduation ceremony of the first phase students of Yuefu piano hall because I accompanied teacher Zheng Zhong to see the painting exhibition. In the evening, I still arrived at the piano hall. Before we left, all the female students changed into cheongsam or other Chinese formal clothes. They were as beautiful as blooming flowers. Two days ago, the museum owner Lao Lu bought a professional directional microphone, and all the performances were recorded. The first Guqin class consists of 15 students, once a week for three months. All of them are taught by Dai Xiaolian, the Guqin major of Shanghai Conservatory of music. At the graduation ceremony, a total of 11 students came on stage to perform. It is said that because of their diligent practice, several students mastered some music that was not taught in class, which surprised the teacher.

Because I often go to the piano house, I am familiar with most of the students. Most of them are foreigners working or studying in Shanghai, including four Macao students and a Canadian girl. These students include IBM, Chinese medicine, music major of East China Normal University, teachers of China Europe International Business College, and advertising design and business. The learning atmosphere of Yuefu piano hall is very good. Every night, there are students practicing and exchanging notes with each other. We often eat dinner together. We all pay for it in AA system. I have had several meals with them in the Northeast restaurant. In the first period, except for a few students who have the foundation of Guzheng or piano, most of them are dealing with musical instruments for the first time. They all love guqin music simply, and they have few other habits.

You tell me that teacher Dai's farewell song "Yangguan Sandie" is very touching. The level of handling the music is far higher than that of auvidis in France. Many students shed tears when they listen to it. Lao Lu began to play the recording in the afternoon. His money was not wasted. The recording effect was very good. It was much better than Lao Ba Zhang's recording. I even felt that he could compete with RTHK's professional recording.

As long as Wang Wei's original poem "sending two yuan envoys to Anxi" is Chinese people's Congress, it probably knows: "in the Wei City, the rain is blowing and the dust is light, and the guest house is green and the willows are fresh. I'd like to persuade you to have a glass of wine and go out of Yangguan in the West This song was widely sung in Tang Dynasty, and there were several singing methods in Song Dynasty, which Su Shi once sang. There are many existing scores, some of which are more than ten paragraphs long, and some of which are only three. In addition to Wang Wei's original poem, "Qinghe Festival is spring" is added in the front and "frost night and frost morning" is added in the back. Trent line, Trent line, long-distance cross guanjin, melancholy service this body. Bitter and bitter, bitter and bitter, should be treasured and treasured. " Finally, there is an ending: "eh, from now on, we will be apart from each other. We will miss each other and dream frequently. We will hear the wild goose guests." *

After a period of tuning, the piano starts very smoothly. Dai Xiaolian used to give people the impression that the sound of the zither was hard, but this time she felt a bit of Gaogu of her uncle and grandfather Zhang Ziqian. In the afternoon, I just talked with Lao Zheng about his daughter Haiyao's article for artist Xu Bing. Xu Bing is also highly respected in Western intellectual circles, especially his award-winning recent work, "as there is other from the first, where does the dust come from collection?", spilled on the museum floor with the dust from the ruins of 9 / 11, which made the Westerners have a great understanding of Oriental culture. Xu Bing's idea is very ingenious. He first put the font on the ground and then removed it after the dust settled, showing the hollow characters. Wang Wei, who once wrote an inscription for Huineng, has a deep affinity for Zen. In his poems, "there was nothing, where to cause dust" is not an afterthought of "color is emptiness", but a very transparent background from the beginning. The sentence "the rain and the dust in Weicheng" is about to have the flavor of "there is nothing in the world, where can it cause the dust?" Dai Xiaolian's handling of the sentence is very accurate to my ears, which shows the charm of the original poem.

From the sentence "guest house Qingqing", everyone can hear the feelings in the music. Life is just like a journey. Life is just a guest. I urge you to have a cup of wine and leave Yangguan in the West. I really can't think of any better words to describe this kind of life experience than Wang Wei. Although Chinese Guqin is a single melody music, after thousands of years of tempering, various fingering methods can show a variety of rich timbre. In addition, the friction sound of pressing and kneading strings can make people experience the feeling of "polyphony", but this feeling is more ethereal and sensitive. In order to stabilize the sound quality, increase the volume and durability, the silk string is generally changed into steel string, and the contrast between the kneading sound and the piano sound has become smaller. "Yangguan Sandie" is not a very difficult tune, but the same melody is repeatedly expressed with different fingerings. The listener's emotions fluctuate with the change of timbre, and the simple lines appear rich and thick. At that time, I heard the name of the bird in the music hall. Lao Lu said that it's easy to identify the "Yuefu version" of the recording in the future.

After the Triassic, there is a overtone, and the feather tune turns into the Shang tune again. At the end, it comes back to the empty Ming Pingyuan school. Maybe she realized that she was playing too much in front of her. Dai Xiaolian was very calm and fastidious at this time. She had the artistic conception of "Weicheng is far away and the sound is low". I don't know how other students understand this song, but many people shed tears. his

Chinese PinYin : Dai Xiao Lian