The formation of new music varieties and the comprehensive development of vocal instrumental music (960 AD - 1911 AD)
The characteristics of music development in the Song and Yuan Dynasties: not only the previously dominant song and dance music continued to have some It has developed and produced many new music varieties, which has enabled vocal music and instrumental music to develop in an all-round way and become the foundation of modern Chinese music.
As mentioned before, Chinese music had been locked in high-level mansions before the Sui and Tang Dynasties. Although ordinary civilians were the creators of music and the providers of new music varieties, they were not cannot ultimately enjoy them. This phenomenon finally changed in the Sui and Tang Dynasties. At that time, temple fairs in Buddhist temples and the like became incidental music activities for the common people, and poetry performances were also performed in restaurants from time to time. After the Song Dynasty, further fundamental changes occurred. Due to the development of industry and commerce, the city prospered, and the common people represented by citizens had their own entertainment venues. At that time, they were called "Wa City" and "Goulan". "Wa City" and "Goulan" were in the city, which not only engaged in trade, but also Perform civilian art performances. If the music before the Song Dynasty was almost all represented by palace performances, then the music after the Song Dynasty would be represented by these "tile markets", "goulan", and later "theaters", "teahouses", etc. Performances are representative; for history, court music has become insignificant. Therefore, the history of Chinese music before the Song Dynasty was almost a history of court music, while after the Song Dynasty it was actually a history of music for citizens (or common people).
Singing mural at Yanshang Temple in Fanzhi County, Shanxi Province (Insert Figure 37): During the Song and Yuan Dynasties, various folk music activities appeared in cities and villages. The murals in the temple include Buddhist stories, as well as palaces, palaces, pavilions, houses, cottages, teahouses and restaurants, etc. that are based on social life. This is a restaurant painted on the west wall. There are several people drinking tea and drinking upstairs. On the left are two women. One holds a mallet and beats a flat drum on a stand, and the other plays the clapper. They are female singers. According to Wu Zimu's "Mengliang Lu", many people in the city at that time used drums, clappers and other musical instruments to accompany them in singing small tunes: "There were musicians in teams of three or five in the market, with one or two girls dancing, singing small lyrics, and rushing along the street to take advantage of the music. ,...either in a restaurant or a prostitute in Huajie and Liuxiang, but the reward is not much, so it is called a 'barren drum board'." This painting shows the scene of an artist singing in a restaurant.
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"Washi" is also called "Washe" and "Wazi", which actually refers to the transactions formed in open spaces (usually rubble fields) in the city. There are numerous "watchstands" in the market and "tile market", which are simple performance venues with cloth tents and rope nets or straw fences around them; some "watchstands" have low railings in the center, The audience is separated from the performers, and this kind of viewing booth is called "Goulan" ("Goulan" is another name for the railing). In the Song Dynasty, there were buskers who made a living by performing various acrobatics, rap stories, dramas, etc. on roadside venues, commonly known as "Luqi people". They also used the "stand" to perform. "Viewing booths" do not sell tickets, but invite people to watch (so they are also called "inviting booths"). When a program ends or reaches a critical moment, it stops, charges the audience, and then continues the performance. There are many types of art performed in the "watch shed" ("goulan"), including music-related ones such as Pur singing, singing singing, Guzi Ci, Zhugong tune, Zaju and so on. These are all new music categories that emerged after the Song Dynasty.
Pu singing and singing to make money are art songs. Pur singing is a kind of music that takes the lyrics of ready-made songs and sings them through variations and key changes. For singing and making money, some popular songs are selected and organized in the same palace tune, with an introduction at the beginning and an ending at the end. The lyrics only use one rhyme from beginning to end. In other words, the songs sung by Changzhuo are songs with one palace, one rhyme, multiple songs, plus a beginning (introduction) and a tail (epilogue). The tunes chosen for singing include Daqu, Song Daqu. The lyrics are long and short sentences, which are different from the five or seven-character lyrics of Tang Daqu. The tune should also be changed, and it cannot be the same as the Tang Dynasty. Qupo (Song Daqu) It is divided into two categories with Qupo), Pur singing, Fanqu (foreign music), etc. These tunes have become Qupai. The accompaniment instruments for singing include flute (referring to transverse flute, the same below), drum and board. Changzhuo first combined the tunes and created a new musical structure.
Guzi Ci and Zhugong Diao are both raps, and their speaking and singing must revolve around certain story content. But Guzici music is relatively simple, and the same tune is often sung repeatedly. However, it has accompaniment, which can reduce the monotony. Zhugong Diao is a big step forward than Guzi Ci. It was first created by Kong Sanchuan from Zezhou (near today's Pingquan, Hebei) who performed in the Wazigolan in Bianjing (now Kaifeng, Henan), the capital of the Northern Song Dynasty, in the 11th century. The main feature of Zhugong Diao created by Kong Sanchuan is its structure. It combines some tunes (i.e. tunes) of the same palace tune (high key) into one group; but the palace tunes in each group are different (so it is called "Zhugong Diao"). ). Its music brand comes from singing (including Song Daqu), lyrics and folk songs of the time. Obviously, Zhugong Diao is a re-creation based on singing and making money. The accompaniment instruments of Zhugong Diao are also the same as those of singing and singing, including flute, drum and board. The later "Romance of the West Chamber" (about a century later than Kong San's biography) has used 14 palace tunes, with 151 basic tunes. What's more noteworthy is that the use of these tunes is not static. Sometimes breakthroughs are made in different aspects according to the needs of the content, such as variations, changes in sentence patterns, etc. These are variations of the basic tunes.
Based on these 151 basic tunes, "The West Chamber" has produced 293 variations. The overall creation of Zhugong Diao in many aspects such as the combination of tunes, transformation of palace tunes, and changes in postures has set a milestone in the history of Chinese music development.
The rap scene in Song Dynasty Zhang Zeduan's "Along the River During the Qingming Festival" (Insert Figure 38), "Qingming" depicts the day of Qingming Festival in Bianjing (Kaifeng, Henan), the capital of the Northern Song Dynasty, from comparison to the prosperous scene of the city's streets, vast It shows the faces and lives of people from all walks of life. The whole picture is a long scroll. This part of the picture is a crossroads in the city center. The streets are wide, there are vendors selling goods on the roadside, and there are horse-drawn carriages on the road. In front of a shop, surrounded by people, an old man stood telling stories or singing.
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"Zaju" was first seen in the Tang Dynasty. Its meaning is similar to the "Baixi" in the Han Dynasty. It generally refers to various programs other than singing and dancing, such as acrobatics. "Za" means miscellaneous and many, and "bai" also describes many; "play" and "play" have similar meanings, but neither of them has the meaning of "drama" today. By the Song Dynasty, "Zaju" gradually became the specific name for a new form of performance; this new form can indeed be called "Zaju", including singing, dancing, music, joking, and acrobatics. It is divided into three sections: the first section It is called "Yan Duan", and the content of the performance is familiar things in daily life, which serves as an introduction to the formal part; the second part is the main part, probably performing stories, raps or dances; the third part is called San Duan, also called miscellany. , Zawang, skilled and harmonious, performing funny, teasing, or occasionally acrobatic. Each of the three paragraphs has one content and is incoherent with each other. Some of the music in Zaju are directly taken from Song Daqu, while some are derived from folk ditties. However, Song Daqu generally only takes part of Tang Daqu, which is called "Zhaibian"; the structure of Song Daqu is also much simpler than that of Tang Daqu.
Southern Song Dynasty Zaju characters (insert pictures 39 and 40): One picture shows two people bowing to each other, and the play they are performing is unknown. There is a flat drum on the right side of the picture, with drum arrows and drums on the drum surface. Shuaizi is made of four or five bamboo pieces tied with ropes, often combined with bamboo boards, and is a commonly used folk instrument in the north. Both flat drums and shuaizi are used as accompaniments to dramas. The other picture is a performance play "Eye Drops". The plot seems to be that a person on the left is pretending to be an ophthalmologist and is treating a person on the right.
After the Northern Song Dynasty, some Zajus moved south with the Southern Song Dynasty, and some were inherited by the Jin Dynasty. The Song Zajus inherited by the Jin Dynasty are also called Yuanben, but they are no different in nature from Song Zajus.
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 different from Song Dynasty Zaju was also produced in the south. Drama. Southern opera completely performs the story, and the structure can change according to the story, unlike Song opera, which basically consists of three sections. The music of Southern Opera is mainly composed of ditties and ballads popular in the South. It was probably later influenced by the Zaju of the Song Dynasty, and also used singing, lyrics and some tunes of Daqu. Although Nan Opera does not pay much attention to palace tunes, over time it has naturally formed the rules of collecting songs into sets, and the connection of tunes and tunes has a certain order. On the stage of Nan Opera, ordinary characters can also sing, so there are various forms such as solo singing, duet singing, chorus, etc., and the way of music seems to be broadened.
Porcelain figurines of Southern Opera figures in Poyang, Jiangxi (insert pictures 42-47), unearthed from the tomb of Hong Zicheng in the Southern Song Dynasty. The porcelain figurines with "Zi Qu" are vivid in posture, delicate in expression, and full of life. Perhaps the stone figures represent the characters in Nan Opera, and these porcelain figurines reflect the early performance form of Nan Opera.
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During the Southern Song Dynasty, the conflict between northern and southern operas was initially the Jin Yuan version (zaju). In 1234, when the Jin Dynasty died in the Yuan Dynasty, a pattern of parallel development of Yuan operas and southern operas was formed. . Yuan Zaju is a new Zaju based on Song (Jin) Zaju and Zhugong Diao. It is different from Song Zaju and Southern Opera. The structure of Yuan Zaju is based on the musical unit of "set" (the drama structure is based on "fold"; each "fold" play uses a "set" of music). The so-called "set" is the same as the one of Zhugong Tune. Group images are formed by compiling a large number of different tunes into the same palace tune. The lyrics of a "set" also rhyme to the end, and almost every sentence rhymes, and there are fewer that do not rhyme. Yuan dramas generally consist of four "folds" and one "wedge" to form a coherent play. There are four "sets" of tunes in four folds. "Wedge" is inserted between one or two sets or three or four sets, or added in front of the set. However, the wedge does not need to be a long set of tunes. Generally, a song of "Xianlu·Flower Appreciation Time" is used ("Xianlu" refers to the palace tune of "Xianlu"). "Xianlu Diao" and "When Viewing Flowers" are the names of the tunes. Many names of the tunes come from the first few words of the lyrics when they were originally composed. Therefore, the names of the tunes generally have only different meanings and are different from the title of the title music) , or add a [what piece]. (Some people say that the "mo" in "Mo Pian" is an omission of the traditional Chinese character "Hou" before and after it. According to what they say, "Mo Pian" is equal to "Hou Pian". But according to the music content, " "Mo Pian" is actually a variation of the previous song.) Yuan Zaju's tunes come from a wide range of sources, including Tang and Song lyrics, Zhugong tunes and some foreign national songs. Compared with the "Southern Opera" used in Southern Opera, the tunes of Yuan Zaju are generally called "Northern Opera". As mentioned before, 14 palace tunes were used in "The Romance of the West Chamber" (insert picture 41). By the Yuan Dynasty, the "Singing Theory" written by the Yuan people listed 17 palace tunes, but the "Zhongyuan Yinyun" written by the Yuan people only listed 12 palace tunes. In fact, Yuan Zaju used fewer palace tunes, only 9 (commonly used Only 7). Even these 9 palace tunes, passed down to this day, can be assigned to different tunes and heights due to different roles in actual use.
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The palace tunes of Yan music should have had limited meanings in terms of pitch and tone sequence. By the Yuan Dynasty, these meanings had been basically lost. This may be related to the main reason. The accompaniment instruments changed from the pipa of the Tang Dynasty to the 筚篥 of the Song Dynasty and then to the flute of the Yuan Zaju. (The accompaniment instruments of the Yuan Zaju also used flutes, boards, and drums.) This is related to the fact that the tunes of the Zaju must adapt to the voice conditions of the individual singers.
The difference between Yuan Zaju and Nanxi opera is not only that the former is "four folds and one wedge" in structure, while the latter uses "out" as the unit. An ordinary play has as many as twenty or thirty outings; In terms of music classification, the former is called "Northern Opera" and the latter is called "Southern Opera", and the former is always sung by a male protagonist ("Zhengmo") or a female protagonist ("Zhengdan"), and other characters can only speak. You cannot sing, and even if you sing, you can only sing short tunes that have nothing to do with the protagonist's suite. However, as mentioned above, in Nan opera, ordinary characters can sing, and there are no restrictions on palace tunes. Obviously, Nan opera is more malleable than Yuan opera, so it has more potential for development. However, after the Yuan Dynasty destroyed the Song Dynasty, the north and the south were unified, and the Yuan opera entered the south along with its political and military power, and the Southern opera was almost eclipsed for a while. However, in the middle of the Yuan Dynasty, the relatively free-form Southern opera first used Northern and Southern operas to form a "set" (that is, a suite), which was called "North and South combination", so that the music of the drama had the advantages of both the north and the south. Generally speaking, the northern song is strong and vigorous, while the southern song is gentle and gentle. The style of Chinese music has always been most obvious between the north and the south. From the Book of Songs - "Chu Song", to "Xianghe Ge" - "Wu Song" and "Xiqu", this point has been illustrated, but it still exists today The difference in style between northern music, which is vigorous, and southern music, which is gentle, may have gradually formed after the Northern and Southern Dynasties. Later, Yuan Zaju also used "North and South combination", but by then Zaju had begun to decline. The above-mentioned music of Changzhuo, Zhugong Diao, and Northern and Southern Operas were retained to some extent in later Kun Opera. Rap music
With the emergence of art commercialization, rap music in the Song and Yuan Dynasties continued to develop. The emergence of this long-form rap music is a sign that our country's rap music has entered a mature period.
In the Tang Dynasty, Zhugong Diao was originally a rap art performed in temples. In the Song and Yuan Dynasties, it could be performed in every corner of the city, such as in the city's tile goulan, teahouses, wine shops, etc. important places. In these cities, in order to meet the needs of the citizen class, the tunes created by the people, singing songs, palace tunes, dramas, and instrumental solos and ensembles developed rapidly.
What are the characteristics and achievements of music development during the Qin, Han, Wei, Jin, Southern and Northern Dynasties:
In 221 BC, Qin unified the six kingdoms, ended the situation in which the feudal princes were separatist and dominated the Warring States period, and established The first unified centralized feudal state with Han as the main body in the history of our country. In order to consolidate unity, Qin Shihuang created a series of systems. In terms of music, the "Music of the Six Kingdoms" was concentrated in Xianyang Palace, vigorously promoted Baixi and traditional shamanic music, and set up a special institution "Yuefu" for this purpose, which contributed to the development of music art. However, Qin Shihuang and Qin II were both tyrannical kings and extremely cruel to the people. Therefore, they only existed for fifteen years before they were overwhelmed by the torrent of peasant revolution in the late Qin Dynasty.
The Western Han Dynasty, which succeeded the Qin Dynasty, accepted the lessons of the fall of the Qin Dynasty, implemented the policy of "quiet and inactive", rested with the people, and developed production, and accumulated a lot of social wealth. By the time of Emperor Wu of the Han Dynasty, (140 BC - 87 BC), with strong national power, prosperous economy and developed culture, it became a glorious era in the history of my country's feudal society.
The splendid Han culture - the music of the Han Dynasty represented by Yuefu was nurtured and grew up in this era. In the Yuefu, there are not only romantic and magical traditional shamanic music - suburban sacrificial music and house music; but also full of realistic emotions, Xianghe songs, drums, operas and folk music from all over the southwest and northwest, and from all ethnic groups. , they have been widely exchanged and improved, and based on Xianghe songs, large-scale music with high artistic quality-Xianghe Daqu and Danqu were produced.
From the end of the Western Han Dynasty to the early Eastern Han Dynasty, marked by Emperor Ai's Bilefu (6 BC) and the White Tiger Confucian Confucian Conference (79 AD), orthodox Confucianism gained dominance. They one-sidedly emphasized the social function of music and equated it with the superstition of prophecy; they tried their best to deny the actions of the Yuefu, believing that "all of them were applied to the imperial court with the sound of Zheng".
Chinese music ushered in a new spring probably from the late Eastern Han Dynasty to the Wei and Jin Dynasties in the Three Kingdoms. The orthodox Confucianism that entered into the Demonic Scriptures began to collapse, and the pursuit of beauty and the affirmation of "Zheng Sheng" became the trend of the times. It turns out that the folk music in the Yuefu of the Western Han Dynasty - Xianghe songs, drumming, etc. - has developed new development, and the art of playing the piano has also reached a very high level, producing famous music such as "Guangling San" and "Hu Qian Eighteen Pai".
In 317 AD, the Jin Dynasty was forced to move south, which was known as the Eastern Jin Dynasty in history. After the fall of the Eastern Jin Dynasty, four dynasties emerged in the south: Song, Qi, Liang, and Chen. After a long period of melee among more than a dozen small countries in the north, the Tuoba clan of Xianbei finally established the Northern Wei Dynasty. This period is known as the Northern and Southern Dynasties in history. It took more than 360 years before and after, and it was not until 589 AD that they were unified under the Sui Dynasty. This is an era of frequent wars and social turmoil in our country's history.
During this period, great changes are brewing in our country’s music. The music of ethnic minorities such as Gui (Qiū Yinqiu) Zi (Kuqa, Xinjiang), Xiliang (Wuwei, Gansu), Shule (Shule, Xinjiang), Xianbei, and the music of Goryeo (North Korea), Tianzhu (India) and other countries is widely spread in the Central Plains. Popularity.
Han music represented by Xianghe songs was combined with southern folk songs "Wu Sheng" and "Xiqu" to form "Qing Shang Music". The music of the North and the South was further integrated.
Since the Han and Wei dynasties, with the introduction of Buddhism, Buddhist music has also become very popular. Most of the original Buddhist music "Dharma music" came from countries such as Qiuci or Tianzhu in the Western Regions. In the Qi and Liang dynasties of the Southern Dynasties, "Qing Shang Yue" began to be used to serve Buddhism. Its further development was the "Faqu" of the Tang Dynasty.
With the introduction of music from various ethnic minorities and foreign music, musical instruments such as Quxiang pipa, 筚篥 (bìlì sound Bi Li), and Jie (jié syllable) drums have been widely used. In the theory of musical temperament, Qin uses pure temperament. Xunxu of Jin Dynasty (xù pronunciation) used the "Guankou Correction" method. He Chengtian of the Song Dynasty invented a "new law" close to the twelve equal temperaments. As a denial of Confucian orthodoxy, there emerged an outstanding treatise on music aesthetics - "Soundless Music Theory" written by Ji Kang in the late Wei Dynasty, and a famous general history of music - "Book of Song·Yue Zhi" written by Shen Yue during Qi and Liang Dynasties.