Nanguan

Nanguan (Chinese: 南管; pinyin: Nánguǎn; Pe̍h-ōe-jī: Lâm-kóan; lit. 'southern pipes'; ti nanyin, nanyue, xianguan, bii nanqu) ti a aŋa n boi Chinese classical music ze’ele southern Chinese province of Fujian.A mԑ de la sԑla n kãre bɔna Taiwan, n kɔ’ɔm bɔna Lukang west puan coast, kelum ta pa’asԑ Overseas Chinese, Southeast Asia puan.

Nanguan

music genre

Subclass of	Chinese classical music
Country of origin	People's Republic of China
Intangible cultural heritage status	Representative List of the Intangible Cultural Heritage of Humanity
Described at URL	https://ich.unesco.org/en/RL/00199, https://ich.unesco.org/fr/RL/00199, https://ich.unesco.org/es/RL/00199

Fujian de la zoore n kãrekԑ bɔna coastal province of China puan. A de la tinkãtԑ ‘provincial capital’ n de Fuzhou, gee ti Quanzhou yuum dԑna major port 7th century CE puan, san sԑka n boi Sui la Tang eras tiŋasuka. Kɔ’ɔm dԑna nimmu’ure ‘maritime trade route’, a yuum de la conduit for elements of distant cultures. Ba n yuum nyԑ sԑla n ŋwana n de nanguan yuuma ‘music’, sԑla ti de zina ba dikԑ ti a dԑna archaic features zo’e zo’e.

A de la genre strongly associated la male-only community amateur musical associations (quguan bii "song-clubs"), ba za’a de la sԑla n de (formerly generally linked to a particular temple), ba bisԑ nyԑta ti la dԑna polite accomplishment la worthy social service, distinct n ze’ele world of professional entertainers.a de la sԑla n ani ŋwana maalam ‘slow, gentle, delicate la melodic, heterophonic gee mԑ kelum tara yԑla anaasi e de ‘basic scales’.

Ba yuum pa’alԑ Nanguan 2009 yuuni la puan n boi Representative List of the Intangible Cultural Heritage of Humanity doose UNESCO.

Styles la Instruments

Lahibaare yuum wa’ana ti Nanguan de la yԑla atã n tageletaaba, ti ba yi’ira ti chí, phó· la khiok (zhi, pu la qu Mandarin puan), n boi yima yima doose Yelesi’a puan n ni iŋԑ ti ba bisera bɔkera la, doose ba suŋa bii ba itegɔ puan, tibesum bii tuulum yԑla yuum dikԑ biŋԑ doose yuunyuuneba la, la ba nԑŋa duma la, la timbral natures.

·        Chí (指) de la sԑla ti ba to’e la nimmu’ure "serious" repertoire: a kɔ’ɔm dԑna la bunŋmԑ’ԑla ma’a n ni wɔgԑ gana mita pitã, ‘thirty minutes in length’, n tari yԑla ayi tari paԑ yila anuu wuu ba ni pugum ita se’em la, ba mi yilԑ woo ti la dԑna la cu bii dei ("piece"). Yilԑ woo dole me la yuunԑ n pa’alԑ makere n ani se’em, ŋwana wa yuum tari la pɔsega la yuuma bii opera wa’ana (song bii opera), gee zina wa chí de la nimmu’ure gee mԑ dԑna gilema lɔkɔ. Gee ya, yuunԑ kaalegɔ de la nimmu’ure gee mԑ dԑna naana ti ba tiisa.

·        Phó· (譜, pu in pinyin) vuure de la "notation", kɔ’ɔm dԑna la qingzou pu ("refined notation"), ba ni tara la bunŋmԑ’ԑla banuu(5) ti ba ŋwɔna taaba.Bunpigesi bana za’a ka tari yԑla ti ba gulese biŋԑ gongchepu notation puan. Bunŋmԑ’ԑla aŋa ba tari ba tuna mԑ chí puan zo’e zo’e gee ti la mԑ pa’ala technical display.

·        Khiok (曲) de la nuure tɔgum: kɔbesi tuya ayi (two thousand) n boi manuscript puan. a balegԑ gee mԑ gee mԑ ka ba’am tara buuri yԑla zo’e gana chí. Gee zina yelepigesi wa ni ita ŋwana la kalam kalam (fast common metre) la ni dikԑ la mita anuu ma’a ‘five minutes’.

Nanguan de la sԑla n ŋwɔni taaba gee me ni tara bunŋmԑ’ԑla anuu ‘five instruments’. Pie (拍, muban (木板) bii dɔɔrɔ ŋmԑ’a ‘wooden clapper’) ba ni de’ena e mԑ la yuunԑ. Ba naasi la mԑ, ba mԑ ba ti ba dԑna la téng-sì-kóan bii bunŋmԑ’ԑla banaasi ni ŋmԑ’ԑra zuna saazuon (four higher instruments), de la banaasi ‘‘four-stringed lute’’ (gî-pê, bii pipa 琵琶in Mandarin), ‘’a three-stringed, fretless, snakeskin-headed long-necked lute’’ n de ba sɔyaaba (ancestor) of the Japanese shamisen, yi’ire la sam-hiân, (sanxian三弦 Mandarin puan), flute de la se’em n de tintuu, (siau (簫), ba yi’ire ŋwana wa la tōng-siau), de la two-stringed "hard-bowed" instrument ti ba yi’ira jī-hiân, de la sԑla n boi la tɔka ze’ele Cantonese erxian二弦. Banaasi la za’a boi la ba yima la zina daare ti ba ita se’em la ba ta’am yi’ira ŋwana la "nanguan pipa" la yԑla zo’e zo’e. ba za’a waabi tari la itegɔ sore. Gî-pê tari la steady rhythmic skeleton, ba nyaa suŋera la sam-hiân. Siau, vuure la de, jī-hiân duma n ni dikԑ yԑla pa’asԑ bini, puts "meat on the bones" la colourful counterpoints.

Bunŋmԑ’ԑla de la nimmu’ure bɔ’ɔra genre, gee ti ē-sì-kóan (下四管) bunŋmԑ’ԑla banaasi n boi tiŋa wa ka tari ita bunpigesi la zi’an. Bunŋmԑ’ԑla a bana wa, chime (hiangzua響盞), pa’asԑ mԑ la chime la wood block ti ba yi’ira giaolo, a pair of small bells (xiangjin雙音) la ‘‘four-bar xylophone, de xidei. Transverse flute ba yi’ire ina la pin xiao (dizi Mandarin puan, 品簫 bii 品仔) la oboe-n de wuu aiya (噯仔) bii xiao ti ba ni dikԑ pa’asԑ de’eŋo la malema puan. sansԑka ti bayoobi wa nyaa ni ta wa’ana lagum banaasi la taaba, ba nyaa ni yi’ira ba ŋwɔni ni la cha̍p-im bii vooleduma pia "ten sounds".

Diaspora

Kɔ’ɔm ze’ele 17th century yuuni la pɔsega puan, Hoklo people sԑba n yuum ze’ele Fujian kiŋԑ Taiwan yuum dikԑ la folk music yuuma pa’asԑ la buuri la malema lɔgerɔ zo’e zo’e wa’ana ta pa’asԑ operatic n de (forms taught in amateur clubs), magese wuu beiguan la nanguan. Large Hoklo diaspora ba wan ta’am nyԑ Malaysia, Guangdong, Hong Kong, Philippines, Singapore, Burma, Thailand la Indonesia, zi’an ti ba dikԑ e ti a dԑna Hokkien.

Nanguan tari la tigera ayi Singapore puan gee ba zo’e zo’e yuum bɔna Philippines; Tiong-Ho Long-Kun-sia kelum ana mԑ ŋwana nyaԑ (active). Gang-a-tsui la Han-Tang Yuefu basԑ ti nanguan ti la ŋwɔna la solemitiŋa bono la. A Quanzhou nanguan yuuma wa’ana la 1960s yuuni la pɔsega puan, gee ti Fuzhou folk yuuma mԑ bɔna ŋwana bala miŋa nuu, a mԑ yuum pɔsԑ la 1990 yuuni la puan.