Peking Opera Suona Qupai.

On the Peking Opera stage, "Mountain Sheep" is commonly used for costume changes; "Gongs and Drums" are used for charging into battle; and "Jiujie Feng" is used for defeating battles. "Chaos Hammer"; go around the venue for a week, or use a certain tune, or "Underwater Fish" or something like that, and it will be the end of a thousand miles; read letters, have banquets, and play "Three Urgent Shots" when the two meet. (Whistle sign), the song is over, no matter how long the letter is, the letter has been read, the banquet no matter how long is over, the thousands of words have been said, and the other party has understood them all. The above-mentioned melody (rhythm) fragments seem to be "symbols", but in fact they are not. After all, many tunes are musical works, which have certain artistic value and are not without musical image at all.

When a commoner woman appears on the stage, she cannot play the mighty "General's Order"; for the birthday or celebration of an emperor and lord, she cannot play the sad "Weeping to the Emperor"; when two people fight, they cannot play the ordinary "Liu Qingniang", but I want to play "Suona Liu Qingniang" and so on. It can be seen here that Qupai has "type characteristics".

The concept of "qupai" is the product of Yisheng lyrics. "Sound" means "melody". Since the Song, Yuan, Ming and Qing Dynasties, "writing lyrics and making music" means creating lyrics based on ready-made tunes. Therefore, the tunes that have been passed down to this day have been "filled in" with countless lyrics. Today, the "big characters" (lyrics) in many tunes are no longer used and have become purely instrumental music, and their titles seem to have lost their meaning. Different tunes are often spliced ??into new tunes; the same tune can be developed and changed using different techniques. Produce new music, such as: "Lao Liu Ban", "Spring Snow", "Hungry Horse Rattle", etc.

The titles of traditional ethnic instrumental music are the mark of music history. Taking into account complex historical and sociological reasons, some pieces of music often go through a direct transition stage from vocal music to instrumental music, leaving obvious traces of vocal titles. This is beyond reproach.

Some of the titles of Qupai music are just "code names", such as: "Wannian Huan" is also called "Four in Four" - taking the three tones at the beginning of the music as the name; "Chi Diao Shuangyun" "Gong" - taking the absolute pitch of the keynote of the music as the name, etc.

In short, when looking at Qupai music, we should not be too rigid about the meaning of its title, but should pay attention to its practical application. Type characteristics.

4. A brief discussion of "common titles"

"Fighting Heaven and Earth to Learn from Dazhai", "Red Flowers Blooming Everywhere in Dazhai"... these are commonly used titles in previous years. , more similar and less poetic. However, if you really want music to express a certain "aura", it is still possible. "Music cannot explain what kind of rice, cotton, fertilizer or goods you are sending. It can only express "joyful mood" and "sending", "luck" and "accumulation" (momentum). Similarly, "Warm cheers... "... was established" and "Celebrate... was established", the music can only express "joy" and "huan", and even "warm cheer"

The title of the instrumental music was chosen by the composer. It is a kind of "metaphor" that uses literary means to express one's own ideas, and objectively plays the role of "prompt" and "guidance". However, this role should not be overestimated, because both the composer and the appreciator will have some subjectivity. . In addition, the mediator (performer) has his own personality, temperament, knowledge and aesthetic taste. When surrounded by these factors, an instrumental music piece will often be forced to do what it is unable to do: tell the details of the story. Plots, names of people, places, dates, data, and all kinds of trivial things that even narrative poems often "don't want to talk about"

"The "title" of an instrumental piece is not the music itself. "Title" often has a certain "connotation", but music itself can have multiple denotations. The contradiction here is: the simpler the "connotation", the richer the "denotation" must be. Therefore, the more general the "title" is, the stronger the "titleness" will be. On the contrary, the more specific and trivial the "title" is, the worse the "titleness" will be.

First of all, we should grasp the subtle relationship between "connotation" and "denotation"/it is better to summarize it; secondly, we can take into account various conditions in social customs and national cultural history. In the context of household names and common conventions, the "title" is not necessarily "specific". Of course, instead of focusing on the title of the instrumental music, it is better to pay more attention to the improvement of the quality of the work. I think that as the quality of creation improves, the "title" of the instrumental music. The problem will be solved naturally.

I hope it will be useful to you!