Film is a comprehensive art, including music. "The Thirteen Hairpins" caused a craze for movie-watching. The episode "The Scene of Qinhuai" adapted from the original song of the Jiangnan folk tune "Wuxi Scene", "The Scene of Qinhuai", has infected countless movie fans and music lovers. It is conceivable that this song sung in dialect will become another classic of Chinese film music.

On the Internet, I saw many people talking about this piece of music, and quite a few of them were debating whether the dialect used to sing this piece of music was Suzhou dialect, Wuxi dialect, or Nanjing dialect. talk? Many people also ask me, is "Qinhuai Scene" considered a Suzhou Pingtan? Interestingly, two of my friends are from Suzhou.

Pingtan is a kind of traditional folk art in my country, and it is divided into Pingtan and Tanci. Pinghua is only spoken but not sung, while tanci is both spoken and sung. Pingtan sung in Suzhou dialect is called Suzhou Pingtan. Those who sing in Yangzhou dialect are called Yangzhou Pingtan, and those who sing in Nanjing dialect are called Nanjing Baiju. "Qinhuai Scene" uses the pronunciation and pronunciation of Suzhou Pingtan. However, it should be noted that the pronunciation of Suzhou Pingtan is slightly different from the pronunciation of Suzhou dialect we usually hear on the streets. The former has more "literary reading" , the "official voice" should be heavier. Wuxi dialect is similar to Suzhou dialect, and they are both dialects of Wu dialect. Therefore, it is not surprising that some people think that "Qinhuai Scene" is Wuxi dialect. Suzhou, Wuxi and Nanjing are both located in the south of the Yangtze River, but Nanjing dialect belongs to the northern Mandarin dialect and is different in nature. Some people question that the entire film "Jinling Thirteen Hairpins" is in Nanjing dialect, but why "Qinhuai Scene" is sung exclusively in Suzhou dialect? This is not difficult to explain, because there was indeed such a trend at that time. It was fashionable for higher-end prostitutes to be able to speak Suzhou dialect and hum a few Wu songs. What's more, the promiscuous women in the Qinhuai River are not necessarily Nanjing natives. There are many women who originally spoke Wu dialect among the famous "Eight Beauties of Qinhuai" in history.

So, does "Qin Huai Jing" count as Pingtan (Tanci) music? I don’t think so. It’s just a song that contains more elements of Pingtan music. We can call it “Pingtan”, but it’s not Pingtan. The reason is very simple, because in the movie, this piece of music cannot be seen to have anything to do with Pingtan, and there is no plot to explain that the Thirteen Beauties are not only prostitutes, but also Pingtan artists or fans. This is different from "Lust, Caution". There is indeed a Pingtan performance in "Lust, Caution". Those traitorous wives went to the teahouse just to listen to the Pingtan.

We all know that Pingtan, like movies, tells stories through the performances of actors. The story is the core, but the method of telling the story is different. Pingtan has the "telling method" of Pingtan, and the movie has The "narration" of movies, one belongs to traditional stage art and the other belongs to modern audio-visual art, each with its own characteristics. Whether it is Pingtan music or film music, they are not independent music, they all serve "storytelling". Music without movies is not movie music. Likewise, music without Pingtan performances cannot be called Pingtan. Even if a certain piece of music is recognized as a classic opening or excerpt in the Pingtan world, when it no longer serves the plot, it is just a song, a song sung by Pingtan actors.

On the contrary, if a piece of music can serve the story of Pingtan, I think that even if this piece of music is not composed and sung according to the traditional singing tunes of the Pingtan world, it should be counted as Pingtan music.

It is precisely because of this reason that outstanding Pingtan artists throughout the history, while inheriting traditional Pingtan music, will also learn from and absorb music from other categories to serve their own expressions, such as Mr. Xu Yunzhi’s Xu Diao The absorption of folk songs from the south of the Yangtze River, the reference of Zhang Jianting's tunes to Peking Opera, etc. We can even hear some pop music flavor from Mr. Xing Yanzhi’s singing.

The key lies in whether you understand Pingtan as an art, what is the most important and basic thing that distinguishes it from other arts. It’s also about folk art, and Zhou Libo is a good example. His success is not due to how well he performs traditional burlesque repertoire, who the master is, which genre, and whether it is authentic, but because he may have really understood the essence of Shanghai burlesque - or he may have accidentally encountered it and adapted it. carried forward. He said he was a newly founded "Shanghai Qingkou", but do you dare to say that it is not Shanghai Funny?

I have also discussed with some Pingtan artists, whether "Qin Huai Jing" is considered a Pingtan? Some say yes, some say no. But whether it is or not, few people think about it like me, but they are entangled in the Pingtan elements in "Qinhuai Scene", whether they are like the songs they often sing (the opening or the selection), such as the pronunciation of the pronunciation, the tunes of the tunes , sentence structure, instrumental music, etc. In this way, you will not get correct results, and you will even get into trouble. Because as mentioned before, Pingtan music serves narrative, and its style and form should be open, not rigid, and must have a fixed pattern.

But I still hope that "Qinhuai Jing", as a "Pingge", will attract more people to pay attention to and like Pingtan as a rap art because of its strong Pingtan flavor, just like the fifty-year-old Pingtan The "Pingtan Divine Comedy" "Die Lian Hua - A Reply to Li Shuyi" sung by Yu Hongxian and adapted from Mao's lyrics.

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Attachment: 1. "Wuxi Scene" adapted from "剉剉diao" sung by Xi Opera actors