The history of the development of Pingju opera singing
Pingju opera is known for its singing skills, clear enunciation, easy-to-understand lyrics, clear singing, strong life atmosphere, and friendly folk flavor. Its form is lively and free, and it is best at expressing contemporary people's lives, so it has a large audience in both cities and villages. In this issue of National Culture Opera Encyclopedia, we will learn about the development of Pingju opera singing.
The male and female accents of Pingju Opera are based on the music of Lotus Falling and Bengbeng Opera, and gradually absorb and learn from the singing methods of Bangzi and Peking Opera. The accompaniment is mainly Huhu (banhu), and the percussion instruments are roughly the same as those in Peking Opera. The female accent of Pingju Opera was created by Yue Mingzhu and others, and the male accent was created by Ni Junsheng and others.
Pingju opera singing is based on Tangshan folk songs, Lotus Falling and other folk music, and absorbs the musical elements of Northeastern Errenzhuan, Peking Opera, Hebei Bangzi and other local operas in the eastern Hebei and Beijing-Tianjin areas. It is characterized by strong lyricism, smoothness and naturalness, and strong local flavor. The singing style has a banqiang structure and is composed of four rhythm forms: one ban three eyes, one ban one eye, one ban no yan, and no ban no yan. Commonly used board styles include adagio, reverse adagio, two-six board, stacked board, flowing board, loose board, pointed board, etc.
Adagio is the basic tune of Pingju opera. It used to be reserved for Dan tune, but later it gradually developed into Dan tune and Sheng tune. Adagio consists of two musical phrases of four measures each, the upper and lower parts. Each sentence can be divided into three small clauses. Its characteristic is that it is often sung from the head (the second beat), and the clauses are often connected by small bridges. .
The reverse Adagio is developed based on the upright Adagio using modulation techniques. It has strong melodic and lyrical qualities and is often used to express sadness and mournful emotions.
Erliuban, one-on-one, is the most commonly used form in Pingju opera singing. It can be used both lyrically and narratively, and can be used in all walks of life. It can be divided into two forms: Xiaosheng Erliu and Yuanban Erliu. The upper and lower sentences of Xiaosheng Erliu each have six sections, and each sentence is often composed of two clauses. It is the main singing style of Shengxing. The upper and lower sentences of the original board 26 are four bars each, which is the main singing style of Danxing and is sometimes used in other lines.
Stacking board, one step at a time, is often used in Danqiang. It is characterized by a strong sense of rhythm, often with the board rising and falling, and the speed changes greatly. It is divided into two types: fast and slow: slow stacking board is good at Narrative, Kuai Duo Ban is good at expressing emotions, especially expressing exciting emotions.
Liushuiban is formal and has no eyes, and is used for Sheng and Dan. Its main point is that the lyrics and melody are closely combined, and it is colloquial, but the melody is not strong. Scattered, without plan, with freer rhythm, and greater changes in melody expansion and contraction. Due to the difference in accompaniment, it can be divided into fast playing and slow singing, slow playing and tight singing, etc.
The pointed board, without boards and eyes, is derived from the singing style of Hebei Bangzi. The starting bridge and gongs and drums still maintain the same format as Hebei Bangzi. In addition to these basic forms, many new forms were developed after the founding of the People's Republic of China, thus enriching the appearance of singing.
In terms of the use of various artistic means of singing, acting, chanting and fighting, the singing skills of Pingju Opera are the most outstanding. Early male dan actor Yue Mingzhu and actress Li Jinshun were all famous for their singing skills. Li Jinshun's "Li School" singing had a great influence on the younger generations. Under its influence, during the Fengtian Luozi period in the early 1930s, Bai Yushuang, the famous Pingju opera vocal innovator, emerged. She boldly used a low tone and developed the alto singing method of Pingju Opera, forming the "Bai School". At the same time as Bai Yushuang, Liu Cuixia created the high-pitched and crisp "Liu style" singing method, and Ailian Jun created the "Ai style" singing style. In addition, Xi Cai Lian, who faced Bai Yushuang in Beijing, created a gorgeous and fresh "Xi Pai" singing method. The four actresses were known as the "Four Famous Dancing Stars" of Pingju Opera before the founding of the People's Republic of China. Next came Xiao Bai Yushuang, who inherited and developed the "Bai Pai" singing style.
After the founding of the People's Republic of China, Xin Fengxia created many new singing styles while performing new plays such as "Xiao Erhei's Marriage", "Female in the Art Sea", "Xiang Lin's Wife" and "Liu Qiao'er". ?New School?.
Her singing voice is fresh and sweet, exquisite and graceful, and full of brilliance, creating a new group of women's images. She also cooperated with new literary and artistic workers to create new styles such as Dragonfly tune, Fanzi tune, and Songzi tune, which contributed to the enrichment and development of female Pingju opera singing. Tianjin's Xian Lingxia formed the Tianjin Dakouluozi "Xianpai" singing style based on the "Li Pai" and "Liu Pai"; Shenyang's Han Shaoyun, Hua Shulan and Xiao Junting also learned from each other's strengths after the founding of the People's Republic of China and formed the "Han Pai". ?Hua School? Xiao School? Danxiao Tune Art.
The male accent of Pingju Opera was incomplete before the founding of the People's Republic of China. There is no colorful singing voice and the Laosheng accent is not perfect. After the founding of the People's Republic of China, new literary and artistic workers, such as Ma Ke, participated in the innovation of Pingju opera music, reformed the accompaniment methods of Pingju opera, and worked hard to develop the male tune of Pingju opera. In the 1960s, with the joint efforts of Pingju opera actors and music workers, male Yue-tuned music forms such as anti-tone, Erbapan, slow-flowing board, A-key slow-playing, fast flowing water, and top seven-board were created. The famous actor Wei Rongyuan used two methods to sing Pingju opera Damian opera and Laosheng opera, which laid the foundation for Pingju opera Damianxiang Laosheng's melody and singing method, and created the "Wei style" singing style. Famous actors and Ma Tai formed the "Ma Pai" niche actor Zhang Defu also formed the "Zhang Pai" niche singing genre. Hong Ying in Tangshan, the birthplace of Ping Opera, formed the "Hong School" singing method for female students. The boys' singing has presented a gratifying scene of a hundred flowers blooming, which greatly enhanced the expressiveness of Ping Opera. ;