The repertoire of Chaozhou music is very rich. Although each of the five major categories has its own famous songs, the most famous ones are the ten sets of Chaozhou music. It is a representative masterpiece of Chaozhou music. The names of these ten sets are "Zhaojun's Resentment", "Jackdaw Playing in the Water", "Little Taohong", "Pingsha Falling Wild Goose", "Phoenix Seeking Phoenix", "Yue'er" "High", "Jade Link", "Oriole Ci", "Big Eight Banner", "Icing on the Cake". Most of these ten sets are ancient scores, with strict structure, clear paragraphs, simple and beautiful melodies, and completely retain the classical charm. There are about twenty kinds of musical instruments commonly used in Chaozhou music. The most local ones are erxian, suona, shenbo, etc. Representative repertoire include "Throwing a Net to Fish", "Double Biting Goose" (big gongs and drums), "Zhaojun's Resentment", "Little Taohong" (Xiyue), "Yandeng Tower" (Su Luogu), etc. The combination of instruments, performance techniques, musical structure, and variation techniques of Chaozhou music all have unique composition and aesthetic basis, making it a very valuable musical cultural heritage. The musical structure of Chaozhou music has national characteristics and conforms to national aesthetic habits. The spin method is mainly based on the five tones as the backbone. Although six and seven tones are used, the essence is based on the relationship between the five tones. The musical temperament basically uses the three-point gain and loss law, but in the heptatonic scale, because the si note is low and the fa note is high, 3/4 whole steps and 1/2 semitones often appear, so-called neutral fourths and neutral sevenths. The musical interval has gone beyond the limitations of the law of gain and loss in thirds. Due to the slight rise, fall and wandering of certain musical notes in pitch, the spin method pays great attention to modification and rhyme, causing all kinds of changes in mode and color, which are endlessly confusing.
In fact, it plays a similar role as a key signature. These tones are all named after the Yiyin variations of the 2nd and 4th notation, and each embodies a specific emotional atmosphere. Relatively speaking, light six represents relaxed and happy, heavy six represents deep emotion and excitement, live five represents lingering sadness, light three and heavy six represent brooding and longing, and reverse line represents ease and humor. The changes in the mode of these notes, which are the reflection of the color variations of Chaozhou music, are full of expressive meaning, which enhance the contrast and change of the mode. It also cleverly uses the expression technique of comprehensive mode, so it has a unique style. Including large gongs and drums, small gongs and drums, flute set gongs and drums, Su gongs and drums, eight-tone gongs and lantern gongs and drums, etc.
Chaozhou gongs and drums are a large-scale ensemble music variety with the drum as the center, a variety of percussion instruments, the suona as the leader, and orchestral music. It is rough and majestic, the music style is beautiful and clear, and the drumming art is unique. It can express major historical themes and enhance the festive atmosphere.
Chaozhou gongs and drums are popular in the Chaoshan area of ??Guangdong Province and developed from the form of gongs and drums in the Qing Dynasty. In the past, gong and drum halls were set up all over Chaozhou, and they were played at the annual Wandering God Festival. The instruments only used four gongs and two pairs of large cymbals, which belonged to the Qing Dynasty gong and drum style, commonly known as four gongs and two cymbals. Because the playing method was too simple, the artists added some string poems for suona playing, such as "Dragon Crossing the River", "Hundred Villages", etc. In this way, there was both playing and playing, and it developed into a form of playing and playing.
According to experts, Chaozhou gongs and drums are rooted in Chaozhou. Its formation can be traced back to the Tang and Song Dynasties. It has since been widely spread in eastern Guangdong, southern Fujian and Southeast Asia. It has a reputation as a treasure of Chinese folk music.
The big gongs and drums are an ensemble form based on percussion and accompanied by orchestral music. Those with suona as the main melody instrument are also called suona big gongs and drums. Big gongs and drums are the most popular and widely circulated in Chaozhou music.
In addition to large drums, the more distinctive gongs include Qinzi, Shenbo and Dou gongs; followed by Su gongs (larger in shape than horse gongs), Kang gongs, moon gongs, large cymbals, small cymbals, etc. Since each gong instrument has its own musical characteristics and a fixed pitch, the performance is full and coordinated, and has a simple harmonic effect. When playing in an orchestral ensemble, the music is both strong and soft, and the movement and stillness are appropriate. The traditional forms of gongs and drums are divided into long line sets and brand sets. Changxing sets are often used in festivals, grand gatherings, parades and other large occasions; brand sets are mostly derived from the Qupai gongs and drums of Zhengzi Opera. They were originally mainly used to express the plot of dramas and were composed of several brands connected to form a set. There are as many as eighteen sets of traditional repertoire, including Wen and Wu sets. Literary set. The literary set is quiet and gentle, good at expressing joys and sorrows, and the affection between men and women, such as "Throwing a Net to Fish", "Throwing a Hairpin", etc.; the martial arts set is majestic, bold and majestic, suitable for expressing fighting scenes on ancient battlefields, such as "Guan Gong Passes" "Five Passes", "Xue Gang's Grave Sacrifice", etc.
In order to enrich the repertoire, various gong and drum halls scrambled to hire musicians from the Zhengzi Opera Troupe to teach music, so they absorbed some of the instruments used in the opera band and added small suonas, Su gongs, deep waves and some commonly used string instruments. And so on, gradually formed the comprehensive wind and percussion band that is now equipped with blowing, percussion, lazing and playing.
Wind instruments include large suona, small suona, large flute (transverse flute), small flute (commonly known as flute), Xiao, etc.; percussion instruments include drum, Su drum, medium drum, large drum, Su gong, Shenbo, Douluo, Qinzi, Kang gong, Yue gong, large cymbal, small cymbal, bronze bell, cloud gong, etc.; stringed instruments include touxian, erxian, coconut Hu, Erhu, Huxian, etc.; stringed instruments include small Sanxian, Dasanxian, Pipa, Yueqin, Yangqin, etc.
The founders of Chaozhou Daluogu include Ou Xinu, Xie Nuzai, Wu Derun, etc. Among them, Ou Xinu made the greatest contribution. Ou Xinu was originally the leader of the Heqigu Pavilion in Chao'an Town. He was familiar with Zhengzi Opera music. When he was 24 years old, he was invited by the Luo and Drum Hall to teach the art and provided a lot of Zhengzi Opera music. Among the existing 18 sets of repertoire, most of them are Zhengzi Opera music ensembles.
Small gongs and drums are an ensemble form derived from the large gongs and drums by deleting strong and loud percussion instruments such as dou gong and su gong. It is light, bright and distinctive, such as "Thrush Jumping Frame" etc. .
Flute sets and large gongs and drums are popular in Chaoyang District, Shantou City. It uses a large transverse flute (4-8 pieces) as the lead, supplemented by sheng, Xiao, wind and other musical instruments. It has the characteristics of high-pitched, clear, soft and simple. Su gong and drum are named after the performance of Su gong and Su drum. Originally born out of the accompaniment of Waijiang Opera. In addition, there are eight tones, ten tones, lanterns, gongs and drums, etc.
Ancient music with flute sets
Popular in Miancheng, Chaoyang.
Ditao ancient music is popular in Miancheng, Chaoyang. At the end of the Southern Song Dynasty, Wu Bing (alias Ruguang, originally from Jiangxi), a court music official of the Song Dynasty, followed his army to Chaoyang. After the death of the Song Dynasty, Wu Bing settled in Miancheng, Chaoyang. The seeds of court music were sown in Chaoyang. After the musicians of the past dynasties, Their enrichment and development have formed the simple and elegant style and rich local characteristics of Chaoyang Ditao music.
In terms of its form of expression, Chaoyang ditao music can be divided into ditao music and ditao gongs and drums. Ditao music includes ditao ancient music (i.e. traditional ditao music) and ditao music that has been fused and evolved. Ditao ancient music retains the charm of ancient court music from the musical form structure to the melody progression. Its style is simple, solemn, elegant, quiet, beautiful and melodious, and has a strong traditional Chinese national color. The flute set of gongs and drums includes the flute set of small gongs and drums, the flute set of large gongs and drums, and the flute set of gongs and drums. The flute set of small gongs and drums refers to the flute set music paired with small and exquisite gongs and drums. The flute set of large gongs and drums refers to the flute set music paired with big drums and dou gongs. Large-scale percussion instruments with magnificent volume, such as cymbals and flute sets, and flute set Su Luo Gu refers to flute set music paired with Su gongs and drums.
In terms of its uniqueness, Chaoyang flute music is a musical variety in the form of a suite. It uses flute, pipe, sheng and xiao as its main instruments, and uses a large transverse flute to lead the music. The style is simple and elegant, with the flavor of palace music. According to legend, it was introduced from the Central Plains in the late Song Dynasty or the Ming and Qing Dynasties. Each suite is composed of several pieces of music. For example, "Four Scenes" consists of a loose part, an introduction, an overture (the first part is in slow 8/4 time), one scene of Liu Yaojin (the first part, the second part to the third part), and two scenes. It consists of the Golden Retriever Lion (the first board, second to third boards), the three scenes of Lantern Festival (the first board, the second to third boards), and the four scenes of Liu Qingniang (the first board, the second to third boards).
That is to say, every string poem suite basically uses the form of head board, copy beat, and third board as its relatively fixed formula for structure or melody variation. The introduction of the music is mostly loose board; the first board (or second board slow) has a 4/4 beat and is the main part of the music. It is generally not repeated or changes little when repeated; the copy beat is 1/4 beat and is an adagio. The main feature of the variation in rhythm and rhythm of the melody is the use of the second half of the beat, forming a duplex-like melody feature; the third board is a 1/4 (or 2/4) beat, which is also a variation in the rhythm and rhythm of the Adagio melody. , which is characterized by using a variety of urging techniques to repeatedly change the rhythm of the journey many times, gradually speeding up the speed, and ending the whole song in a climax.
The traditional music played in Chaozhou Xianshi mostly follows the ancient tunes of Zhongzhou. In the long historical development process, it also incorporates folk minor tunes, Buddhist tunes, flute sets and folk opera music from various places. It also incorporates Waijiang tune, Zhengzi tune, Cantonese tune, etc., and sometimes even absorbs folk songs, ditties and the like brought back from Southeast Asian countries by folk artists across the ocean. The ten famous pieces of Chaozhou string poetry are "The Resentment of Zhaojun", "Little Taohong", "Jackdaws Playing in the Water", "Oriole Ci", and "The Moon Is High". The above five pieces are all heavy 36 pieces; "Big Eight" "Board", "Goose Falling on the Sand", "Feng Qiu Phoenix", "Five Links", "Icing on the Cake", the above five songs are all light Sanliu music. Other popular music include "Liu Qingniang", "Langtaosha", "Lion Playing with Balls", "Thousands of Lanterns", "Pink Butterflies Picking Flowers", "Red Plum Head", "Pink Lotus", "Thrush Jumping Frame", " Deep Boudoir's Resentment" and so on.
The famous performers of Chaozhou Xianshi include Lin Yubo, Zhang Hanzhai, Su Wenxian, Lin Maogen, etc. Chaozhou Waijiang music refers to the music spread to Chaozhou from Jiangsu, Zhejiang, and the Huaihe River Basin. The drama is called Waijiang opera, the music is called Waijiang music, the gong and drum music is called Waijiang gongs and drums or Su gongs and drums, and the Buddhist music is called Waijiang Banfo music. The introduction of Waijiang music to Chaozhou did not occur in a certain era or a certain historical event. It should be a cultural migration event in a long historical period. Its beginning should be in the Southern Song Dynasty.
In the Southern Song Dynasty, dramas, folk operas, folk music, etc. developed with the development of economy. The prosperous coastal areas of Fujian and Guangdong were the rear areas of the Southern Song Dynasty. They also developed with the development of Suzhou and Hangzhou. Political, economic, and cultural exchanges were naturally more convenient and frequent than those in the Northern Song Dynasty. Southern Opera originated in Wenzhou during the Northern Song Dynasty, became popular in Lin'an and other cities during the Southern Song Dynasty, and spread to the south. According to Volume 38 of "Zhangzhou Fu Zhi", during the Southern Song Dynasty, Chen Chun (1153-1217), a disciple of Zhu Xi, wrote a letter to Fu Bocheng, the prefect of Zhangzhou, suggesting that local farmers be prohibited from gathering to perform plays. This letter not only explains the unprecedented development of Southern Opera at that time, but also provides strong evidence that during the Southern Song Dynasty, Southern Opera traveled southward from Suzhou and Hangzhou via Fuzhou and reached Zhang Chao.
Waijiang opera and Waijiang music were popular in Chaozhou from the late Qing Dynasty to the early Republic of China, but gradually declined in the 1950s.
Except for the existence of Waijiang music in a few places, most Waijiang music has been integrated into various forms of Chaozhou music.