Özet:

This paper examines the area of erhu pedagogy, looking at the two different styles of Northern and Southern China: Qin pai and Jiangnan pai. The development of Qin pai erhu since the 1950s has resulted in a regional style that reflects a strong Shaanxi local folk and traditional music genre. On the other hand, Jiangnan music is widely developed in Shanghai, Jiangsu province, and Zhejiang province in the area of folk music. The musical style of Jiangnan is melodious, with simplicity as its main character. Past literatures reveals some insights into the different styles of erhu playing, however, a detailed performance practice of two major repertoires Qinfeng and Jiangnan Chunse is absent. This paper discusses the unique playing style and techniques of Qin pai and Jiangnan pai. The differences between the two are analysed based on two representative repertoires, Qinfeng and Jiangnan Chunse. Methodology includes observation, score analysis, transcription and a discussion that includes a self-reflexive account on the performance of the two pieces. The outcome highlights various pedagogical concerns regarding playing techniques, stylistic features and interpretation that provide a reference for future scholars and erhu players.    

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