as mentioned earlier, China's music was locked in the halls before the Sui and Tang Dynasties. Although ordinary people are the creators of music and the providers of new music varieties, they can't finally enjoy them. This phenomenon finally changed in the Sui and Tang Dynasties. At that time, temple fairs in Buddhist monasteries and the like were accompanied by music activities for civilians, and restaurants also sang poems from time to time. After the Song Dynasty, there was a fundamental change. Due to the development of industry and commerce and the prosperity of the city, civilians represented by citizens have their own places of entertainment, which were called "tile market" and "Goulan" at that time. The "tile market" and "Goulan" are in the city, not only engaged in trade, but also engaged in performances of civilian art. If almost all the music before the Song Dynasty is represented by court performances, then the music after the Song Dynasty will be represented by these "tile market" and "Goulan", as well as the subsequent "theater" and "teahouse" performances; For history, court music has become insignificant. Therefore, the music history of China before the Song Dynasty was almost the history of court music, and it was actually the music history of citizens (or civilians) after the Song Dynasty.
Singing murals at Yanshang Temple in fan shi, Shanxi Province (insert Figure 37): Various folk music activities appeared in the vast towns and villages during the Song and Yuan Dynasties. There are Buddhist stories in the murals in the temple, and there are also palace castles, pavilions, houses and cottages, tea houses and wineries depicted according to social life. This is a restaurant painted on the west wall. There are several tea drinkers upstairs, and there are two women on the left. One is a female singer with a mallet tied to her hand and a clapper on a bracket. According to Wu Zimu's "Dream of Liang Lu", there were many people who used drums, clappers and other musical instruments to accompany and sing ditties in the city at that time: "There were three or five musicians in the market, holding one or two girls dancing and singing small words, and they rushed along the street ... or in restaurants, or prostitutes' houses in Liuxiang, Huajie, but they didn't have much money, which was called' barren drum board' This painting is the scene of an artist singing in a restaurant.
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"Washi", also known as "Washe" and "Wazi", actually refers to the trading market formed in the open field of the city (generally rubble field). There are a number of "Kanpeng" in the "Washi", that is, simple performance venues surrounded by rope nets or grass; Some "Kanpeng" centers have low railings to separate the audience from the performers. This kind of Kanpeng is called "Goulan" ("Goulan" is another name for the railing). In the Song Dynasty, there were entertainers who made a living by performing various acrobatics, rap stories and zaju in roadside venues, commonly known as "Luqiren". They also performed by watching the shed. "Watching the booth" does not sell tickets, but invites people to watch (hence the name "inviting the booth"). When a program ends or plays to a critical juncture, it stops, charges the audience and then continues to perform. There are many kinds of works of art performed in the "Kanpeng" ("Goulan"), among which there are many kinds of music, such as singing, singing, drum lyrics, various palace tunes, zaju and so on. These are all new music categories after the Song Dynasty.
singing and earning money are art songs. Pusing is a kind of music that takes ready-made tune words and performs singing through variation and tone sandhi. To earn money, some popular songs are selected and organized in the same palace tune, with an introduction before and an ending after, and the lyrics only use one rhyme from beginning to end. In other words, what you sing is a song with one palace, one rhyme, many songs and a head (introduction) and a tail (ending). The tunes selected for singing include Daqu and Song Daqu. Its lyrics are long and short sentences, which are different from the lyrics of Tang Daqu, which are five or seven words. Tunes should also be changed, which can't be the old appearance of the Tang Dynasty), Qu Po (Song Daqu and Qu Po are divided into two categories), Pu Song, Fan Qu (foreign music), etc., and these tunes have become Qupai. The accompaniment instruments earned by singing are flute (refers to the horizontal flute, the same below), drum and board. To earn money by singing, first, the qupai is combined, and thus a new musical structure is created.
Drum Ci and Zhugong Tune are both rap, and their speaking and singing have to revolve around certain story content. However, the music of Drum Ci is simple, and the same tune is often sung over and over again, but it has a accompaniment, which can reduce some monotony. Zhugong Tune is a big step forward than Guzi Ci, which was initiated by Kong Sanchuan, a native of Zezhou (now near Pingquan, Hebei Province), who worked as an entertainer in Bianjing, the capital of the Northern Song Dynasty (now Kaifeng, Henan Province) in the 11th century. The main feature of Zhugong Tune created by Kong Sanchuan lies in its structure, which combines some tunes (i.e. Qupai) of the same Gong Tune (raised) into a group; However, the Gongdiao of each group is different (so it is called "Zhugongdiao"). Its qupai comes from singing (including Song Daqu), lyrics and folk songs at that time. Obviously, Zhugong tunes are recreated on the basis of singing and earning. The accompaniment instruments of Zhugongdiao are the same as singing, namely flute, drum and board. The later Zhugongdiao in The West Chamber (about a century later than the biography of Kong San) has used 14 Gongdiao, with 151 basic tunes. What is more noteworthy is that the use of these qupai is not static, and sometimes breakthroughs are made in different aspects according to the needs of the content, such as variations, changing sentence patterns, etc. This is the variation of the basic qupai. On the basis of these 151 basic tunes, The Story of the West Chamber produced 293 variants. The overall creation of Zhugongdiao in the combination of tunes, the transformation of Gongdiao and the change of style has set a milestone for the development of China music.
The rap scene in Song Zhang Zeduan's The Riverside Scene at Qingming Festival (insert Figure 38), Qingming Festival depicts a day in Bianjing (Kaifeng, Henan), the capital of the Northern Song Dynasty, from comparison to the prosperity of the market in the city, which shows the face and life of people from all walks of life. The whole picture is a long scroll, and this part of the picture is the intersection of the city center, with wide streets, vendors selling goods by the roadside and carriages coming and going on the road. In front of a shop, a crowd of people stood and an old man was telling a book or singing.
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"Zaju" was first seen in the Tang Dynasty, and its meaning is similar to that of "Hundred Dramas" in the Han Dynasty, generally referring to various programs such as acrobatics other than singing and dancing. "Miscellaneous" means miscellaneous, and "hundred" also describes many things; "Drama" and "drama" have similar meanings, but neither of them has the meaning of "drama" today. In the Song Dynasty, "Zaju" gradually became the proper name of a new performance form; This new form can really be called "miscellaneous", including singing and dancing, music, teasing and acrobatics. It is divided into three parts: the first part is called "Yan Duan", and the performance content is familiar things in daily life, which is the introduction of the formal part; The second paragraph is the main part, probably performing stories, rapping or dancing; The third paragraph is called Sanduan, which is also called juggling, juggling, and technical harmony. It is funny, teasing, or acrobatics occasionally. The three paragraphs have the same content and are not coherent with each other. Some of the music of zaju is directly taken from Song Daqu, while others are from folk ditty. However, Song Daqu generally only takes a part of Tang Daqu, which is called "picking all over"; The structure of Song Daqu is much simpler than that of Tang Daqu.
Portraits of the Southern Song Dynasty's Zaju (insert Figures 39 and 4): One is two people bowing to each other, and the performance is unknown. On the right side of the picture, there is a flat drum, on which drums and arrows are placed. The handsome boy is made of four or five bamboo pieces tied, which is often used with bamboo boards. It is a common folk instrument in the north. Both flat drums and handsome men are used to accompany zaju. The other is the performance drama "Eye Drops Acid", and the plot seems to be that a person on the left is pretending to be an ophthalmologist and is seeing a doctor on the right.
after the northern song dynasty, some zaju moved south with the southern song dynasty, and some were inherited by Jin, who inherited the song zaju, which is also called the courtyard book, but it is no different from the song zaju in nature.
At the end of the Northern Song Dynasty and the beginning of the Southern Song Dynasty, that is, in the 12th century, a kind of opera, South Opera, which was different from Song Zaju, was also called Opera, and it was also called Wenzhou Zaju and Yongjia Zaju because it was produced in Wenzhou, Zhejiang. Southern Opera completely performs the story, and its structure can change with the story, unlike Song Zaju, which is basically composed of three sections. The music of Southern Opera is mainly composed of popular ditties and ballads in the south, and it was probably influenced by Song Zaju later, and some tunes of singing, intonation and Daqu were also adopted. Although Southern Opera does not pay attention to the palace tune, it has naturally formed the law of complete sets of songs after a long time, and the connection of songs and cards has been in a certain order. On the stage of southern opera, ordinary characters can also sing, so there are various forms such as solo, duet and chorus, and the way of music is broadened.
Porcelain figurines (insert Figure 42-47) of the Southern Opera in Poyang, Jiangxi Province, unearthed from Hongzicheng's tomb in the Southern Song Dynasty. The porcelain figurines written by Ziforehead are vivid in posture, delicate in expression and full of life breath. It is possible that there are several characters in the Southern Opera, and these porcelain figurines reflect the early performance form of the Southern Opera.
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In the Southern Song Dynasty, the confrontation between the northern and southern operas was originally Jin Yuan Ben (Zaju). In 1234, Jin died in Yuan Dynasty, thus forming a pattern of parallel development of Yuan Zaju and Southern Opera. Yuan Zaju is a new Zaju based on Song (Jin) Zaju and Zhugong Tune, which is different from Song Zaju and Nan Opera. The structure of Yuan Zaju takes "set" as the unit in music (its dramatic structure takes "fold" as the unit; Each "folding" play uses a "set". The so-called "set" is similar to a group of palace tunes, and it is formed by compiling a number of different tunes in the same palace tune. A set of lyrics also rhymes to the end, and almost every sentence rhymes, and less does not rhyme. Generally, Yuan Zaju consists of four "folds" and one "wedge" to form a coherent play. 4% off also has four sets of tunes. "Wedge" is inserted between one or two sets or three or four sets, or added in front of the set, but the wedge does not need a long set of tunes, and generally uses a song [Xianlu Shang Huashi] ("Xianlu" means that its palace tune belongs to "Xianlu tune" and "Shang Huashi" is the name of the tune. Many names of musical instruments come from the first few words of the lyrics when they first took the composer's card, so the names of musical instruments generally only have different meanings, or they add a song. (Some people say that the word "Yao" in "Yao pian" is an omission of the word "Hou" before and after. If we say it according to it, then "Yao pian" is equal to "Hou pian". But according to the music content, "Yao Pian" is actually a variant of the previous song. ) Qupai of Yuan Zaju has a wide range of sources, including Tang and Song Ci tunes, Zhugong tunes and some foreign national songs. Compared with the "Southern Song" used in the Southern Opera, the tune of Yuan Zaju is generally called "Northern Song". As mentioned earlier, the Romance of the Western Chamber (insert Figure 41) used 14 palace tunes. By the Yuan Dynasty, the Song Lun written by Yuan people listed 17 palace tunes, but the Central Plains Rhyme written by the same Yuan people only listed 12 palace tunes. In fact, Yuan zaju used fewer palace tunes, only 9 (only 7 commonly used). Even these nine palace tunes, according to legend, can be transferred to different heights due to different roles in actual use.
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The Gongdiao of Yan Music should have its limited meaning in pitch and sound sequence, but these meanings have been basically lost in Yuan Zaju, which may be related to the change of the main accompaniment instruments from the pipa of Tang Dynasty to the swaddle of Song Dynasty to the flute of Yuan Zaju (the accompaniment instruments of Yuan Zaju also use flute, board and drum. ) and zaju tunes must adapt to the voice conditions of individual singers.
The difference between Yuan Zaju and Nan Opera is that not only the former is "four folds and one wedge" in structure, but the latter is "out" as a unit, that is, there are as many as twenty or thirty plays in an ordinary play; Musically, the former is called "Northern Song" and the latter is called "Southern Song". Moreover, the former is always sung by a male lead ("the end of the song") or a female lead ("the end of the song"), while other roles can only talk but can't sing. Even if they sing, they can only sing short tunes unrelated to the lead's divertimento. However, as mentioned above, Southern Opera can be sung by ordinary characters, and there is no restriction on the tone. Obviously, Southern Opera is more plastic than Yuan Zaju, so it has more development potential. However, after the Yuan Dynasty destroyed the Song Dynasty, the north and the south were unified, and Yuan Zaju entered the south with its political and military forces, and the southern opera was covered for a while. However, in the mid-Yuan Dynasty, the Southern Opera, which was relatively free in form, first adopted the combination of Northern Opera and Southern Opera to form a "set number" (that is, a set of songs), which was called "the combination of North and South", so that the music of the drama had the advantages of both North and South. Generally speaking, the northern song is vigorous and vigorous, and the southern song is peaceful and soft. The style of China's music has always been the most remarkable difference between the north and the south. From The Book of Songs-Songs of the South to Songs of Harmony-Wu Ge and Xiqu, this point has been explained, but the style difference between the northern music and the southern music, which still exists today, is probably gradually formed after the Northern and Southern Dynasties. Yuan Zaju later used "North-South Combination", but at that time Zaju had begun to decline. The music of the above-mentioned singing, Zhugong tunes and Nanbei songs was reserved to some extent in the later Kunqu Opera. Rap music
With the commercialization of art, the rap music in Song and Yuan Dynasties continued to develop, and the appearance of this long rap music marked the maturity of rap music in China.
Zhugong Tune was originally a rap art performed in temples in the Tang Dynasty, but it has been performed in all corners of the city in the Song and Yuan Dynasties, such as the Wazi Goulan, tea houses and wine shops in the city, which are important places for performing rap. In these cities, to meet the needs of the citizens, the songs, singing, Zhugong tunes, zaju and instrumental solos and ensembles created by the people have developed rapidly.