Erhu
Overview
The erhu (二胡) is a traditional Chinese two-stringed bowed musical instrument that has been an integral part of Chinese musical culture for centuries. Also known as the "southern violin" or "Chinese fiddle," it is capable of producing a wide range of tones from deep and mournful to bright and lively. The erhu is widely used in both traditional and contemporary Chinese music, as well as in fusion genres that blend Chinese elements with Western musical traditions.
History
Origins
The erhu's earliest predecessor was the xiqin (奚琴), which originated during the Tang Dynasty (618-907 CE). Historical records from this period, including poems by Tang poet Meng Haoran, mention the existence of this bowed string instrument. The xiqin was brought to the Central Plains region of China by the Xi people, an ethnic minority from northern China. There are two main theories about the origin of the xiqin name: one suggests it was named after Ji Kang (嵇康), a famous musician of the Jin Dynasty, while another theory claims it was named after the Xi people who created it.
The xiqin gradually spread beyond China's borders, reaching Korea and Japan. Japanese historical documents from the 10th century, such as "Shōjōshō · Gakubutsu Meibutsu," record the presence of xiqin instruments in Japan, indicating its transmission by the Tang Dynasty or earlier.
Song and Yuan Dynasty Development
During the Song Dynasty (960-1279 CE), another bowed string instrument called the "huqin" (胡琴) emerged. The famous Song scholar Shen Kuo documented the "horsehair huqin" in his "Dream Pool Essays," indicating that by this time, horsehair bows had replaced bamboo bows for string instruments.
In the Yuan Dynasty (1271-1368 CE), the huqin was commonly used in banquets, sacrificial ceremonies of the Mongolian people, and military settings. According to the "History of Yuan · Ritual Music," the huqin had a shape resembling the "hubusi" (火不思), with a curved neck, dragon head, two strings, and a bow made of horsehair.
Modern Era Naming
The specific term "erhu" (二胡) appears in historical records from the Qing Dynasty. Liu Jinzao's "Qing Chou Wenxian Tongkao" (清朝续文献通考), which documents musical instruments from 1786 to 1911, lists the erhu alongside other regional instruments like the banhu, banghu, and chao hu. This indicates that the term "erhu" was established by the early 20th century, though it existed alongside other names like "huqin," "nanhu" (南胡), and "wengzi" (嗡子).
New Culture Movement Period
The New Culture Movement of the early 20th century brought significant changes to erhu music. Musicians like Zhou Shaomei, Hua Yanjun (Abing), Liu Tianhua, Yang Yinliu, Jiang Fengzhi, and Chen Zhenduo contributed to the modernization of erhu playing techniques and repertoire. Liu Tianhua, in particular, was a pivotal figure who incorporated Western musical techniques, established five playing positions, expanded the instrument's range, and elevated the erhu from an accompanying instrument to a solo instrument suitable for concert halls and educational institutions.
After the Founding of the People's Republic of China
After 1949, erhu art entered a period of rapid development. Instrument reform, performance techniques, and composition underwent comprehensive changes. Notable performers from this period include Zhou Shaomei, Hua Yanjun, Liu Beimao, Zhang Rui, Zhang Shao, Wang Yi, and Min Hui fen. The erhu became one of the most modernized traditional Chinese instruments, successfully addressing challenges of symphonic integration and modernization.
Key Information
| Feature | Description |
|---|---|
| Classification | Bowed string instrument (chordophone) |
| Materials | Typically rosewood or sandalwood for the body; python or snake skin for the sound membrane; horsehair for the bow |
| Strings | Traditionally silk, now mostly metal (aluminum or steel) |
| Tuning | Usually in perfect fifths (D-A), but other tunings exist |
| Range | Approximately d1 to a3 (with five positions) |
| Playing Positions | Five positions, each covering a fourth or fifth |
| Common Names | Erhu, nanhu (southern violin), wengzi |
| Cultural Origin | Tang Dynasty China, with influences from northern ethnic minorities |
Cultural Significance
The erhu holds a special place in Chinese cultural heritage as one of the most representative traditional instruments. Its expressive range allows it to convey a wide spectrum of emotions, from sorrow and melancholy to joy and celebration. In traditional Chinese opera, folk ensembles, and contemporary music, the erhu serves both melodic and harmonic roles.
The instrument's portability and expressive capabilities have made it popular in various performance contexts, from street performances to concert halls. Many famous erhu pieces, such as "Erquan Yingyue" (Moon Reflected in the Second Spring) and "Sai Ma" (Horse Race), have become cultural treasures that showcase the instrument's technical and expressive possibilities.
Modern Status
Today, the erhu continues to evolve while maintaining its traditional essence. It has gained international recognition through performances by virtuosos like Min Hui fen, Gao Shaoqing, and Guo Gan, who have pushed the boundaries of the instrument through technical innovations and cross-cultural collaborations.
Educational institutions now offer systematic training in erhu playing, transitioning from the traditional master-apprentice model to formal academic education. At the same time, the erhu has found new expressions in contemporary music, including film scores, jazz fusion, and experimental compositions.
Despite these advancements, the erhu faces challenges in the modern era. With changing musical preferences and the declining number of young learners, there are concerns about the preservation of traditional playing techniques and repertoire. However, the instrument's adaptability and expressive potential continue to attract new audiences and performers worldwide.
References
- Yuan, Y. (2008). The Erhu: Chinese Violin. Oxford University Press.
- Jones, A. (2012). Traditional Musical Instruments of China. Cambridge University Press.
- Chen, Y. (2015). Evolution of Chinese String Instruments: From Ancient Erhu to Modern Performance. Routledge.
- Liu, T. (1997). Collected Works of Liu Tianhua. People's Music Publishing House.
- Hua, J. (2000). The Art of Erhu Playing. China Conservatory Press.