"Haiyan Wenshu" is a transcript used in folk singing activities that are popular among people in Haiyan area. The entire singing process is called "Feng Wenshu" or "Singing Divine Songs". In the old days, it was usually sung in a kind of god-revering sacrificial activity called "Buddha" held on happy days such as marriage, birth of a child, adoption (adoption of godfather and godmother), repayment of vows when sick, birthday celebrations, etc. It was formed during the Song and Yuan Dynasties, became popular before the Republic of China, and has a long history. However, due to various reasons, by the end of the "Cultural Revolution", Haiyan Wenshu had basically stopped performing for a long time. Today, there are very few people who can sing; even if they can sing, they are all in their twilight years. It can be said that Haiyan Wenshu is about to face the same fate as Haiyan Tune - becoming a "swan song". Faced with this situation, knowledgeable folk literature and art workers such as Hu Yongliang, Gu Xijia, and Qian Jianzhong began rescue work in 1979. They excavated and collected nearly a hundred original manuscripts of Haiyan documents, which provided information for research. Physical information is of considerable academic value.

After investigation, there are nearly a hundred kinds of Haiyan writings, and there are sixteen rhymes in the lyrics: such as Tianxian, Tuanyuan, Tangxing, Shahua, etc. According to their basic characteristics, Haiyan documents can be divided into two categories: "official books" and "tang books".

"Zhengshu" is commonly known as "Book of Divine Songs". It is a hand-written secret book passed down from generation to generation or taught by teachers. The content of each book is about a certain god, Buddha or figure (the name of a famous local person is also known after his death). The legendary story of being canonized as a god). The content is rich and the plot is complete. Those without Bin Bai are called "small axis books", such as "Huaguang" and "Silkworm Flower"; those with Bin Bai are called "big axis books", which are long and include "Sheng", "Dan", "Jing", " "Mo" and other various roles are sung, similar to today's dramas. For an example, see "Zhi Nian Tai Sui" (copied in the fifth year of the Republic of China).

There are two lines at the beginning and end of each song in the main book, which are the starting tone and the falling tone. The two lines are "sandwiched" (some say "separated from the sand"), which are divided into "single" and "single". "Jia theory" and "Double clip theory". "Single-clip theory" is generally four sentences, and "double-clip theory" can be a variety of tunes, such as a section in "Chen San Niu": "The garden scenery is fragrant with flowers, with red peach and green willows and weeping poplars (starting tune). Spring Sedum" The flowers and plants are blooming, the butterflies are in pairs; the flower bed is colorful, the jasmine is fragrant (single sandwiched with sand), the purple swallows are wearing a pair of curtains, and the mandarin ducks are swimming in the lake in pairs." [4] (Note: "Haiyan Qiang Research" (internal information), edited by the Haiyan Qiang Art Museum Preparatory Group, Issue 6 (April 1998), page 20)

The introduction of "Soup Book" is called "Soup Head". , the latter part is "Soup Book". The format of "Soup Book" is relatively free. It can be interspersed, it can be sung to the end, it can be rhymed to the end, or it can be changed to another rhyme. In terms of tunes, the documents can be divided into four categories: "long and slow tunes", "tang tunes", "rapid tunes" and "miscellaneous tunes". 1. "Long tune and slow tune" is generally used in "official script" and accounts for the majority of tunes. There are four types of tunes: seven, eight, nine, and ten words. It has the characteristics of lyricism and slowness. The words are sparse and the tune is round, and the tune is composed of Xiangbang. My uncle helped sing "Lu Lai, Lu Li Lai" as the liner notes. Attachment. "Miscellaneous tunes" are either passed down from generation to generation or improvised. Generally, they are gradually evolved by artists after absorbing local and imported tunes during the singing process. They are mainly inserted into the main text and sung. Most of the Haiyan documents are in five-tone mode, mainly Gong mode and Yu mode, as well as Shang mode and Zheng mode. The melody is steady and there are many following behaviors. The author thinks this is related to the descending intonation of Haiyan dialect. For example, the tone of the sentence "Inner to Ali Qi? (Where are you going?)" is similar to "sol mi re re do". The melody goes from high to low, and the lyrics are beautiful. There are multiple steps and small jumps, mostly major second and minor third, and occasionally pure fourth and fifth. The pentatonic progression is used because the progressive melody is the softest, there is no sharp minor second in the melody, and the starting positions of the phrases are all on the top (strong rise), making it peaceful, smooth and catchy, such as the long tune "Beiyue" ·You Cao Wang".

In Haiyan documents, Uncle Xiangbang helped sing "Lu Lai, Lu Li Lai", which is very similar to Kun Opera, Jiangxi Haiyan tune and Haiyan tune recorded in cultural and historical materials, such as "White Rabbit". Of course , they are not entirely coincidental. Haiyan instruments are generally single-paragraph, with a narrow range, rarely exceeding an octave, and few rhythmic changes. In the past, appliqués and ascending notes were often used as decorative tones. There were almost no changes in tone, and there were many changes in beats, such as presto. "Narcissus". There are also very few rests. Occasionally, they are only placed on the last word of a sentence for breathing or pause, so the melody is basically filled out.

The musical language of Haiyan documents is relatively concise. If it is a large-scale script in the main book, various singing styles, poems, lyrics, rhymes and other means are comprehensively used to explain the plot and shape the characters. The tone is often determined according to the singer's own voice conditions. . When singing, the focus is on the combination of true and false voices, which is truly touching. At the same time, it also requires clear energy in the Dantian, clear articulation, and smooth coordination between singing and action performance. If it is a serious book, it usually has a plot, and often one person has to play two or three roles at the same time. First, he announces his family status, and then each character appears on the stage. There is a narration, which has the characteristics of a drama. It is different from folk ditties, and it can be seen that it is related to Haiyan accent. A relationship of the same origin. The author interviewed Mr. Wu Guanjin (1925-), heard and witnessed his singing, and felt that his breath was smooth, his voice had strong penetrating power (it can be seen that he achieved it after a certain degree of specialized training), and he enunciated his words clearly. It is also very exquisite and has great charm, and at the same time it has the characteristics of singing, words, emotion, flavor and spirit. Its content includes not only the five-seven-character poetry style of the Tang and Song Dynasties, but also the long and short sentence patterns of the Song and Yuan lyrics and music, as well as the long and short sentence patterns of the Song and Yuan Dynasties. of various tunes.

Haiyan Wenshu is different from ordinary Han folk songs. According to old artists, the "Buddha" sacrificial activities last for a long time, ranging from one day and one night to three days and three nights. According to legend, there are even seven days and seven nights. . No matter how long the song lasts, the song cannot be repeated, so one must be full of tunes to sing. At that time, most singers could sing dozens of musical instruments. Judging from the collected documents, there are only lyrics but no music score, and the singers are all male, known as "Mr. Saozi". It got its name from the "dragon boat" or "paper figure" that needs to be burned after singing, so it is called "burning paper" (a homophonic pronunciation for it); and because the singing is quite difficult, it is very respected and is called "Mr." . "Mr. Saozi" is usually passed down from ancestors, and is passed down from generation to generation or learned from teachers. Some of them started when they were five or six years old. The activities are often held during the slack seasons in winter and spring, and are semi-professional. It is a comprehensive art that uses local dialect rap as the main form of expression to narrate stories, shape characters, express thoughts and feelings, and reflect social life. Most of them are narratives and are loved by the common people. It has the same singing form as the Haiyan tune. It does not require silk and bamboo accompaniment. It is a cappella singing style in which one person sings in harmony and no makeup is required. The situation of being specially invited to sing at the residence of a wealthy gentry is like the time when Haiyan children went to the homes of dignitaries to sing the text in Haiyan accent. The content they sang has a strong flavor of opera. From this point of view, it somewhat reveals some of the legacy of Haiyan tune. Singers are different from wizards and monks. The gods worshiped include Confucianism, Buddhism, and Taoism. They are presided over by the master who can master the complete set of music texts and the skills of cutting, painting, writing, kneading, and tying. The rest are called guest masters. The ceremony is usually held in the host's hall. Held in the house, there are many sacred feasts, consisting of the Eight Immortals table, chairs, coffee table, etc. According to legend, the most popular banquets were the Thirteen Banquets (one hundred Eight Immortals tables were needed). In front of each banquet were various color-printed gods made of paper, called "horse banners", also known as "paper codes", such as the Jade Emperor and Guanyin. , land, etc. There are hundreds of sacrifices on the table, including whole pigs, chickens, fruits, etc. There are no gaps on the table. The whole ceremony is called "Buddha", which means entertaining the gods and Buddhas and praying for the blessings of the gods. It is both solemn and pious. Before receiving the god, clean the hall, wash the doors and windows, kill pigs and sheep, the men of the host family and clan bathe and change clothes, and the women stay away. After midnight, the god is received, holding a stick of sandalwood in hand, leaving the hall (another band was invited) and playing the suona. Welcome, firecrackers blasted together, extremely lively. After taking their seats, they offered incense and toasts, and Mr. Saozi began to sing non-stop. In the morning of the next day, various offerings were made from rice flour. At the end of the afternoon, the banquet song was served, and the first soup (tofu clothes) was served. The process of making tofu clothes was explained and the soup was made. What was sung was called the "Soup Book"; at midnight The second soup (Lantern Festival), the third soup (tea), there were also newly compiled soup books on current affairs that adapted to current events, such as "The Invasion of the Oriental People", "Robbers and Robbery in Kanpu City", which sharply criticized the reactionaries' excessive taxation, etc. He is very popular for criticizing the current ills. In the second half of the night, in order to send off the gods (because the legendary ghosts and gods appear at night), the dragon boat was sent to the river to be burned, shouting loudly and looking majestic all the way. Afterwards, they sang "Jiao Na" and knelt down before the feast to tell the gods to cancel this "wish". Various tunes were added and the song would not end until dawn. It was not until everyone sang "Lu Lai, Lu Li Lai" that the ceremony to worship the gods was completed. All over. Yong'an Lake (today's Nanbei Lake)

To sum up, Haiyan documents and Haiyan accent are indeed closely related, which can be roughly summarized as follows: 1. Both are popular in Haiyan County, and Haiyan accent is the most popular in China Opera occupies an important position in the history of development, and its influence is self-evident. What's more, in the same place, various art forms always penetrate each other.

2. Both are used on banquet occasions (places) for wealthy families, and the singers wear long gowns. The costumes of Haiyan tune can be seen in an illustration of Haiyan children performing a play in the Ming Dynasty version of "Jin Ping Mei Ci Hua". In the hall, guests from the gentry's family are drinking and watching a play on both sides, and the female family members are listening to the play indoors with curtains drawn. Two characters in the middle are performing in ancient costumes. 3. There are also traces of opera like Haiyan tune in "Haiyan Documents", including Sheng, Dan, Jing, Mo and Chou. When singing in Haiyan tune, gongs, drums, and clappers are used for accompaniment, without strings. Haiyan instruments generally do not have string accompaniment, and the singers often use their hands to secretly beat the time to master the rhythm. 4. Both have the singing form of one singer and the chorus, and both have the supporting singing line "Lu Lai, Lu Li Lai". This has been confirmed in the legendary engraving "The White Rabbit Chronicles of Liu Zhiyuan's Return Home" unearthed in Jiading, Shanghai in 1967. The first libretto at the beginning of this opera is: "Li Lu Lai Lu Lu Li Lai Lai Li Lu Li Lai Lu Lai Li Lai..." It can also be seen in Fujian's "Siping Diao" and Jiangxi Meng Opera's "Diao Wealth God" before the original version. 》. From this we can see the connection between the two. According to the law of national art development, generally speaking, Haiyan tune should have absorbed "Haiyan Shu" as its tune. 5. Both use long and short sentence patterns and various tunes. 6. Both tunes are smooth, smooth, lyrical and soft. Tang Xianzu of the Ming Dynasty said this: "Haiyan tune is quiet, graceful and charming." The difference is that Haiyan tune is sung in Mandarin. "Guest Words" says "...Haiyan has many Mandarin dialects, and people from the two capitals use Mandarin." Of". It was spread among the scholar-bureaucrat class, so it spread throughout the country; and "Haiyan Documents" are mostly sung in dialects (but when listening to Mr. Wu's singing, the author found that a few words are not entirely in Haiyan dialect), which is exactly what "Haiyan Documents" is. Reasons why it can be spread and maintained.

In short, there are traces of Haiyan accent in Haiyan documents, and the two are inseparably linked. In fact, even after Kunshan tune emerged and became popular all over the country, Haiyan tune was performed in parallel with it for 200 years. "Haiyan tune, like other tunes, can neither be created suddenly nor disappear inexplicably. At least a clue of evolution can be found. [5] (Note: Ye Changhai, "Quology and Drama", 1999 11 Page 50.)" We can imagine that various arts will inevitably penetrate into the forms of brother arts in their hometown. According to the music theorist Mr. Zhou Dafeng: "Haining (Haiyan Neighboring County) shadow puppetry came to the province for internal performances... and found a tune called 'Shou Opera', which seems to be similar to Kunqu Opera 'Douye Huang', old artists said The only Haiyan tune passed down from previous generations is the "ancestral tune". After research, there are indeed two types of tunes in Kun Opera, one is the "Double Diao Northern Opera" and the other is "Xian Lu Ru Shuang Diao Nan Guo Opera". They are all tunes of Southern Opera in the Song and Yuan Dynasties, and the Haiyan tune also has a north and a south tune. The front and back of the 'Shou tune' are connected, so it is of great research value."

It is true that experts and scholars generally believe that "Haiyan tune" is a tune. It is not extinct, but searching and excavation is a long-term and arduous task. In the absence of music scores and sound data, this kind of research is especially difficult. Today we are rescuing, collating and discussing the existing "Haiyan documents" in the Haiyan area that are about to disappear. This will undoubtedly have positive practical significance and historical value for the study of Haiyan dialect. In particular, we must hurry up and record the performances of the living old artists into VCDs and preserve them. We can also rehearse the entire "Buddha" ceremony and make it into a CD. This will contribute to the preservation of the precious cultural heritage of the Chinese nation. Because of this, the People's Government of Haiyan County attaches great importance to the research of Haiyan Qiang, and has specially established the "Haiyan Qiang Art Museum" (in preparation), edited and organized 24 issues of internal materials, and presented it in the scenery from June 7 to 10, 2000. The beautiful Nanbei Lake (the hometown of Yang Zi) held the "First Haiyan Opera Academic Seminar". More than 20 drama experts and scholars from all over the country observed the excerpts of Haiyan Operas performed in Jiangxi, the excerpts of Yongkun in Zhejiang, and the Haining Shadow Play. The video and the singing recording of "Haiyan Document" were conducted, and thesis exchanges were conducted. On May 22, 2002, Tang Xianzu Art Experimental Troupe of Fuzhou City, Jiangxi Province, the only theater troupe in the country that performs Haiyan tune, was invited to participate in the "China·Haiyan North and South Lake Tourism Festival". The wonderful performance caused a sensation in the local area. We believe that through everyone’s serious, meticulous, painstaking and sparing-out excavation, research, identification and refinement, Haiyan tune, an ancient tune, will regain its splendor and be passed down to future generations.