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An outline of the development history of folk art music in Tianjin

A good environment for the emergence and development of folk art music - the demographic characteristics and folk arts of Tianjin before the founding of the People's Republic of China The relationship between music - the music development mechanism centered on actors and chord masters - Tianjin folk art music in the Qing Dynasty - Tianjin folk art music during the rule of Beiyang warlords - Tianjin folk art music during the rule of the Kuomintang - the period of the Anti-Japanese War and the War of Liberation Tianjin Folk Art Music - the relationship between the development of Tianjin's industry and commerce and population growth after the founding of the People's Republic of China and Tianjin Folk Art Music - an organized and planned drum music development mechanism centered on music designers - Tianjin Folk Art Music before the "Cultural Revolution" ——Tianjin Folk Art Music during the “Cultural Revolution” — Tianjin Folk Art Music after the “Cultural Revolution” — Diversity of Tianjin Folk Art Music — Openness of Tianjin Folk Art Music — Tianjinization of Tianjin Folk Art Music — Various genres

Tianjin is located in the northeastern part of the North China Plain, bordering the Bohai Sea to the east and the Yanshan Mountains to the north. The Ziya River, Daqing River, Yongding River, South Canal, and North Canal converge here to form the Haihe River, which flows into the Bohai Sea. It is the gateway to Beijing, an important port for maritime transportation in northern my country, and a transportation hub connecting North China, East China, Northeast China, Northwest China, Central South China, and all parts of North China. Due to this special geographical location, it has become the economic center of North China.

As a city, it does not have a long history. During the Jin, Yuan and Ming dynasties, it was only a water transportation hub and a military fortress. In order to shield Beijing and protect water transportation, the Jin Dynasty built Zhigu Village here; the Yuan Dynasty changed the Zhigu Village to Haijin Town; the Ming Dynasty built a city as a guard and named it Tianjin.

During the Yongzheng period of the Qing Dynasty, Tianjin Prefecture was first established, and then Tianjin Prefecture was changed to the Zhili Province. The government established Tianjin County, with the original state boundary as the county boundary. In 1913 (the second year of the Republic of China), the government was reduced. In 1928 (the seventeenth year of the Republic of China), Tianjin Special City was established in the center of Tianjin County, directly under the National Government; Tianjin County belongs to Hebei Province (in January 1934, the city and county were demarcated, and the four townships were Tianjin County). In June 1930 (the 19th year of the Republic of China), Tianjin Special City was renamed Tianjin City and placed under the Executive Yuan; in November of the same year, it was changed to a provincial city and became the capital of Hebei Province. In 1935 (the 24th year of the Republic of China), the provincial government moved to Baoding, and Tianjin City was once again subordinate to the Executive Yuan. During the Anti-Japanese War, the Japanese and puppets changed its name to Tianjin Special City. After victory, the original name was restored to this day. After the founding of the People's Republic of China, it has been a municipality directly under the central government, except for the period from February 1958 to January 1967 when it belonged to Hebei Province (it was once the provincial capital).

Tianjin’s administrative divisions have been adjusted many times. The minimum is limited to urban areas, and the maximum includes urban areas, Tanggu, Hangu, suburbs, as well as Wuqing, Jinghai, Huanghua, Cangxian, Yanshan, Baxian, Ningjin, Wuqiao, Jiaohe, Xianxian, Hejian, Ren Qiu and other twelve counties. Currently, the jurisdiction of Tianjin City includes: six central urban areas including Heping, Hexi, Hebei, Hedong, Nankai and Hongqiao; three coastal urban areas including Tanggu, Hangu and Beidagang; the eastern suburbs, southern suburbs, western suburbs and northern suburbs. There are four suburbs including Jixian, Wuqing, Ninghe, Jinghai and Baodi. It covers an area of ??approximately 11,000 square kilometers.

As a city, although Tianjin does not have a long history, its commercial prosperity began in the Yuan Dynasty. "Every day the grain boat arrives in Zhigu, Wu poppies fill the streets." Cao ships not only carried grain but also cargo. The area around Houjiahou and Guayi Street had become the most prosperous place in Tianjin at that time. In the Ming Dynasty, with the development of river and sea transportation, Tianjin's commercial trade became increasingly prosperous and became a distribution center for commodities in northern my country. The areas along the river outside the east gate and north gate of the old city had become a commercial center in the mid-Ming Dynasty. At the turn of the Ming and Qing Dynasties, Tianjin was already prosperous, as stated in Kangxi's "Tianjin Wei Zhi? Preface": "It is more than 200 miles from Tianjin to Shenjing. When the north and south are rushing, tens of thousands of canals transporting from the south pass through here. It is a place where boats bow to each other, where merchants gather, and where people from all directions mingle... Even though it is called Wei, it is a place that cannot be surpassed by a large city. "For more than three hundred years, Tianjin has become increasingly prosperous, especially since it opened as a port. Later, it developed even more rapidly and gradually became a world-famous industrial and commercial city.

As a transportation hub, the economic center of North China, a developed industrial and commercial city, and a prosperous metropolis, Tianjin provides a good social environment for the birth and development of folk music.

1. Tianjin Folk Art Music before the Founding of the People’s Republic of China

As a popular performing art, in general, the development of Tianjin Folk Art Music is closely related to Tianjin’s social stability, economic prosperity, proportional to the increase in population.

When talking about population, we must point out that the economic structure of old China and the development of population urbanization have caused a large number of agricultural people, mainly men, to flow into Tianjin. The consequence is that the gender ratio of Tianjin citizens is seriously imbalanced. For example: from 1903 to 1905 (from the 29th to the 31st year of Guangxu), the male and female ratios of Tianjin citizens were 150:26, 150:95, and 15:95 respectively. Another example is the gender ratio from 1937 to 1948. The lowest was 128:35 (1948), and the highest was 146:19 (1944). In order to kill their leisure time, a large number of male citizens flocked to entertainment venues. The low ticket prices and flexible performance methods of folk arts had a strong appeal to them. Their artistic hobby was an important driving force for the development of Tianjin folk music before the founding of the People's Republic of China.

At that time, the competition among actors for their livelihood was fierce. The main judges of competition success and failure are the audience.

Therefore, actors pay great attention to adjusting their singing according to the audience's feedback, retaining and developing singing styles that are popular with them. As a result, various genres and even new types of music have been produced, and a development mechanism of folk art music centered on actors and string musicians has been formed.

Due to historical reasons, the situation of Tianjin Folk Art Music before the Qing Dynasty cannot be tested at present. The development process of Tianjin folk art music before the founding of the People's Republic of China can be roughly divided into the following stages.

1. Tianjin Folk Art Music in the Qing Dynasty

According to the materials currently available, the earliest form of folk art music recorded by the Qing people was probably Dalianxiang. The 69th poem of Wang Hang's "Jinmen Miscellaneous Poems" says: "There is no need to worship a tutor when giving birth to a child. I only sing and play with the children when I live in a strange place. In the Qing Dynasty, the three wind commandments were particularly emphasized, and the mental effort was discarded and the rest was carved." There is a note after the poem: "Jinyi Ao "Son of man, every day he sings the couplets and plays with children. The new regulations prohibit it, and it gradually becomes Guangling Sanshi." "Jinmen Miscellaneous Poems" was first written in the early years of Qianlong (AD 1736) and published in the fourth year of Qianlong's reign. (A.D. 1739). At that time, due to the "new prohibition", it had "gradually become Guangling San". This shows that before Qianlong, at least during the Yongzheng period, Tianjin had already had the folk art form of Dalianxiang, and the "Jinyi Tuorenzi" used it as a way to make a living.

The "Nishang Xupu" published in Beijing in the 60th year of Qianlong's reign (AD 1795) also illustrates this point. "Nishang Xupu" is a collection of folk tunes, including 622 folk tunes and 30 kinds of tunes: Western tune, Chaqu, Ma Tou tune, Jian Indigo Flower, Die Luo Qian, Huang Le tune, Yugou tune, Split Jade tune. , Danhuang tune, Beihe tune, Fan tune, Xisicao, Yangzhou tune, Lijin tune, Panxiang tune, Bianguan tune, Yangko, Lotus falling, Qin blowing tune, Hualiu song, Yijiangfeng, Daupanjiang, Yinnusi, Yu'erang, Dazaogan, Snail Turn, Overlapping Sequence, Pink Lotus, Ya Ya Yo, Repeated Continuation, Two and a Half Sentences, etc. The composer is Yan Zide. Wang Tingshao, the author of the order, said: "The music master Yan from Sanhetang is from Jinmen. He was a young professional in music and memorized extensive knowledge. He found someone to write down everything he learned. He has been more than seventy this year. Check his case. Among them, I got a few copies. I don’t keep it to myself, but share it with others.” Obviously, these are all ditties that were sung during the Qianlong period. What was sung during the Qianlong period was not necessarily produced during the Qianlong period. Yan Zide "played music at a young age and memorized extensive knowledge. He found someone to write it down wherever he studied. He is already more than seventy this year." If he started practicing music when he was more than ten years old, there must be something in "Nishang Xupu" The ditties that were sung before the first year of Qianlong's reign, that is to say, there are tunes that were produced or sung during the Yongzheng and even Kangxi reigns.

Since Yan Zide is from Tianjin, and Beijing and Tianjin are not far apart and have convenient transportation, many of these ditties must have been sung in Tianjin. "Waist Festival" and "My Family Lives in Yangliuqing" reflect this point.

[Pingcha] My family lives in Yangliuqing. (Bai: Yes,) I am close to the Yuhe River. How do you say that I hired a slave in Duliu? It was also because of my previous creation that I was tortured. (Bai: Oh my god, it’s about time.) [Duliu Diao] There are more drums in the first watch, and there are more drums in the next watch. The life of Duliu refers to this, teaching the slaves to push the distillation block (Luqi), tired I'm really sad. Thinking about the poor life of the slave, thinking about the poor life of the slave, all the clothes are in tatters. I had to weave mats every day to get through the day, and I was helpless. My son-in-law had been away for more than two or three months, and he hadn't come back yet. I stamped my feet anxiously. [Chawei] My husband pulled short fibers and never came back. The slave's house is deserted and lonely. (Bai: Thinking about it, my father and mother ran out of ideas for a moment, ugh!) They believed in the matchmaker!

This song not only reflects the life of a young Tianjin fiber worker who was married from Yangliuqing to an independent family, but also uses the Tianjin dialect "raggyiluosao" and "自(儿)". . Apparently, it originated in Tianjin. This shows that Tianjin already had a form of folk art called Chaqu at that time. In addition, the tune "Duliu Diao" inserted in it, as the name suggests, is a kind of ditty produced in the Duliu area of ??Tianjin.

The "Eight Immortals Celebrating Birthday" performed at the "Huanghui" in Tianjin is also a kind of folk music sung before Qianlong. The Huanghui was originally called the "Empress Hui" and began during the Kangxi period. The so-called Empress is the legendary Poseidon Lin Mo. In the Yuan Dynasty, the imperial court named her the "Tianfei Tianfei who protects the country, benefits the society, is good, celebrates and Xianji", and built the "Tianfei Temple" in Tianjin (then called Haijin Town) to pray for her to protect the safety of the sea canal. In the 23rd year of Emperor Kangxi's reign in the Qing Dynasty (AD 1684), the Jin Dynasty named her the "Tianhou who protects the country and shelters the people, shows her spirit and responds to kindness" and changed the name of Tianfei Palace to "Tianhou Palace". Both Tianfei Palace and Tianhou Palace are commonly known as the Empress Palace. The so-called Empress's Fair is the temple fair of the Empress's Palace, which "is a reward for the hundreds of plays presented to the gods." Once, Qianlong went to the south of the Yangtze River and passed through Tianjin. It happened to be a meeting. After admiring it, he praised it very much. He gave each of the four drummers of the hometown temple "Quagu" a yellow mantle and gave each of the four crane boys of "He Ling" a gold collar. , and gave him two dragon flags. From then on, the Empress Club was renamed Huanghui. The Imperial Club performs "Hundred Operas", including dance, music, acrobatics, martial arts, and folk arts. The birthday celebration of the Eight Immortals is a form of folk art: "Children aged thirteen or fourteen dress up as the Eight Immortals in the Various characters walked on stilts and did not practice, but only sang suona songs to celebrate birthdays." The "Southeast City Corner Council to Celebrate the Birthday of the Eight Immortals" that performed this show was "also established before Qianlong of the Qing Dynasty."

Regarding the Tianjin folk art music form during the Jiaqing period, there are more records in Wenyu.

In the first year of Jiaqing (AD 1796), Yang Wukai wrote "Huanghui Lun". When talking about the various art forms of Huanghui, he believed that "the lotus falling is not bearable to watch." There is no time to pick up things later."

"Jinmen Xiaoling" published in the 23rd year of Jiaqing (1818 AD) has the following verses: "Singing songs about the best disciples", "Absurd stories telling the hammer" "Skin", "A piece of orchestral music plays tunes, ten rounds of gongs and drums play clear sounds". The author Fan Bin added one by one: "Those who do not apply makeup are called the disciples class." Nine links, the name of the ditty. "Singing by beating the skin drum is called mallet skin." Ten times of voiceless songs, with two drums in between, are also impressive. ” In other words, "Jinmen Xiaoling" records folk art music forms such as Jiulianlian, Dagushu, Dangdiao, and Qingyin.

With the increasing prosperity of the city, Tianjin's population has gradually increased. After the opening of the port, , the growth was particularly rapid. According to the statistics of "Jinmen Baojia Tushuo" compiled and published in the 26th year of Daoguang's reign (AD 1846), Tianjin County had a population of more than 440,000, including more than 95,000 in the city; and in the Chengguan area. There were nearly 200,000 people. By the time of the Sino-Japanese War, the population of Tianjin County had increased to nearly 570,000, an increase of nearly 25% from the population during the Opium War. 12 years later, the population of Tianjin urban area, four townships and concessions had increased to more than 800,000. . Among them, there are more than 384,000 people in the four townships; more than 356,000 people in the urban area; more than 61,700 Chinese residents and more than 6,300 foreign residents in the concession. Compared with the Sino-Japanese War of 1894-1899. , an increase of more than 220,000 people. In 60 years, the population has nearly doubled.

In order to meet the needs of the rapidly increasing urban population, various entertainment activities have developed rapidly, and various rap arts have developed accordingly. The Ziya River, Daqing River, Yongding River, South Canal, and North Canal flowed into Tianjin on an unprecedented scale from Hebei, Shandong, Beijing, and Jiangnan, forming an obvious historical feature of Tianjin folk music during this period. Most of the increased population in Tianjin came from rural areas in Hebei, Shandong, Henan, Shanxi and other places. Various folk arts and music in the north were particularly popular. The poem "Xiaoban" by Cui Xu of the Qing Dynasty said: "The piping helmets are crisp and flowing, and the singing voices are flowing." The style of study is young, and Xiaoqu has recently become popular in Northern tune, which won a roar when the banquet was held. "To a certain extent, it reflects the popularity of "Northern Diao" and people's preference for Northern Diao at that time.

According to incomplete statistics, in the late Qing Dynasty, the forms of folk art music that flowed into Tianjin from other places include Fengyang Huagu, Lotus Falling, etc. Buxian, Zidi Shu, Octagonal Drum, Xianzi Shu, Dang Diao, Tanhuang, Lianzhu Kuaishu, Wooden Board Dagu, Pinggu Diao, Meihua Diao (Beiban Dagu), Lihua Dagu, Xihe Dagu (not yet named at that time), and La Ha Diao, Qie Wu Geng, Xia Ban Qi, Shanxi Wu Geng, Ma Tou Diao, Huai Diao, Pink Lotus, Tan Qing Shui He, Hua Hua Diao, Jiulian Lian, etc.

In order to adapt to the Tianjin audience. Most of them have been improved to varying degrees, especially those folk art music forms from rural areas, which still maintain relatively strong characteristics of folk literature and art: lively, flexible, not conservative, good at borrowing, and courageous to absorb, although they are rough. , but it is full of vitality. Among them, through the efforts of Song Wu, Hu Shi, Huo Mingliang and others, the wooden drum developed into Jingyun drum (then called Wei Diao Dagu or Jing Diao Dagu). On this basis, Zhang Xiaoxuan formed his own unique style. Style: The articulation and pronunciation are mainly in Tianjin dialect, the singing tone is simple and vigorous, and the songs are loud and clear. When Xiyun Zishu Jing sings in Tianjin dialect, the ups and downs of the tune changes, becoming Wei Zidi Shu; Shi Yukun's Shi. The rhyme was transformed and developed into Xichengban with distinctive Tianjin characteristics.

At the same time, the local Guoshan tune and Yuanyang tune came into being, and after transformation, Laha tune, Qie Wugeng, etc. As the main tunes of Tianjin Shidiao, their formation and reform marked the birth of Tianjin Shidiao (Tianjin Shidiao was named after the founding of the People's Republic of China). The famous "singer" of the current tune. Gao Wugu reformed the Guoshan tune and changed the ending of the fourth line to a transition, thus changing its deficiencies of drag and fatigue, making the singing full, the words loud and full of charm; in the melody and In terms of rhythm, she replaced straightness and monotony with ups and downs, and was the first to adopt the liaoqiang technique. Qin Cuihong, with her outstanding talent and superb lubricating skills, pushed her singing in Guoshan Tune to a new height. . Her voice is round and deep, with a wide range, full of energy, strong articulation, and a strong Tianjin flavor. Her singing is rough and bold, with a masculine beauty.

2. During the period of the Beiyang Warlords' rule (1912-1928.6). Tianjin Folk Art Music

The development of Tianjin Folk Art Music during this period can be roughly divided into two stages.

In the early part of this period, social life was relatively stable. During this period (1914-1918), because the imperialist countries in Europe and the United States were busy with wars and had no time to look eastward, they temporarily relaxed their economic aggression against my country, allowing my country's national industry, especially that of Tianjin, to develop rapidly before the war. , Tianjin's national industry developed slowly, lagging behind Shanghai, Wuhan and Guangzhou in terms of the number of factories and mines, total capital, etc. By 1925, Tianjin had not only become the center of cotton spinning, flour, matches, chemicals and other industries in northern my country, but also became the center of the industry. It is the second largest industrial city in the country after Shanghai. The development of national industry has promoted the prosperity of commerce and provided sufficient conditions for the development of Tianjin folk art and music.

The iron drum, the plum blossom drum, the funny drum, a type of Beijing-style drum, and the two important schools of single strings, the He (Zhichen) school and the Rong (Jianchen) school, flowed into Tianjin.

The reform of Jingyun Dagu has made outstanding achievements. Liu Baoquan initially formed his own style of singing: he changed the dialect of Hebei and Tianjin to the Beijing accent, and the simple and straight singing style of Yi changed to gorgeous and graceful. His voice is round, sweet and crisp, with both high and low notes, rich and changeable accents, and is good at using high accents to enhance the atmosphere. His speaking is singing, and singing is speaking. The combination of rap and rap has a mellow charm. The Bai Pai Jingyun Dagu was also formed at this time. Bai Yunpeng's singing is mainly based on non-standard Beijing dialect. His singing style is simple but delicate, vigorous and tactful, and has more recitation colors, which is full of feminine beauty.

Tianjin time tune has also made great progress. Single minor tunes such as Luochi (such as "The Stepmother Beats the Children") and Luowu (such as "Sad Autumn in Qinlou") appear one by one. Yuanyang tune has evolved into a new Yuanyang tune with more complex tunes and a more soothing rhythm.

In the later period of this period, warlords fought in a melee and wars continued: in the two Zhili-Fengtian wars, Tianjin was a strategic location for competition. In April 1922, the Fengjun army occupied Tianjin; in early May of the same year, the Fengjun army was defeated and withdrew, and the Zhili army entered Tianjin; in November 1924, the Zhili army was defeated and the Fengjun army entered Tianjin; in December 1925, the Kuomintang army The army drove out of Tianjin; in March 1926, the Fengzhi-Zhili Allied Forces invaded Tianjin again; in June 1928, the warlord Yan Xishan took control of Tianjin.

The warlords' melee severely affected Tianjin's industry and commerce. The two Zhili-Fengtian wars disrupted the Tianjin-Puzhou and Beijing-Hankow railways for several months each time, causing "the import trade to shrink"; the export trade was also greatly affected due to "traffic obstruction". Domestic trade is even more depressed, and the market is full of depression.

Tianjin suffered from wars several times, and social life was extremely unstable. The army often invaded and occupied private houses and harassed the people. The defeated soldiers often looted shops and insulted women. Hooligans and gangsters fish in troubled waters. Martial law is often enforced in the concession. People took refuge one after another, and refugees from counties in eastern Hebei came to Tianjin one after another. "And Tianjin residents fled to the concessions one after another." From 1924 to 1928, Tianjin's population surged from 750,000 to 1.38 million, almost doubling. Warlords also used the pretext of planning military pay to levy exorbitant amounts of money and plunder property. They also issued military notes, treasury notes and other banknotes in large quantities. The Zhili-Shandong Allied Forces once issued 1 million yuan in military notes indiscriminately.

Due to the above reasons, people in Tianjin live in relatively difficult conditions. Take the winter of 1924 as an example: "Middle-class families" had no money to buy coal for heating, so the whole family had to sit around the quilt when it was cold. "The monthly requirements for rice, noodles and vegetables were reduced to the lowest level, just to make ends meet." Fullness is enough." The lives of ordinary working people can be imagined.

These will inevitably affect the business of the juggling garden. In November 1924, "most of the places such as Beihai Tower and Beiyang Shopping Mall, which are usually crowded and crowded, had no customers in one day." There are naturally no sideshows in the Beiyang Tea House. In June 1928, "Most of the seats in the theater are occupied by soldiers. Soldiers do not pay any money, and there are also ordinary people wearing symbols who sit among them. If you ask for money from them, it will not be called a certain agency, but a certain headquarters." . This naturally has a great impact on the development of Tianjin folk art music.

However, due to the surge in population, the number of folk performing arts audiences has not decreased. Under normal circumstances, they have maintained the reed industry in the juggling garden and the prosperity of Mingdi performances. In this context, Tiepian Dagu and Xihe Dagu developed their own singing styles.

Wang Peichen conquered the audience with his intelligent talent and unique style, and became a representative figure of the iron drum and drum. Her timbre is crisp and sweet; her bite is clear and powerful. She often uses flash, dig, and grab. Her rhythm is lively and changeable, and she likes to use words to express her accent. When moistening the tone, slide down the tone is often used. Therefore, the singing style is tactful, charming, clever and interesting, and was nicknamed "jealous drum" by the people at the time.

The Xihe Dagu Zhao School was also initially formed. Zhao Yufeng is good at rapping short beats and robes and big books. He abandoned the Hebei sound and switched to the Beijing sound, absorbing and drawing lessons from some tunes of the Beijing-yun drum, and formed his own singing method, focusing on the second and third boards, and trying not to sing the first board with a slow rhythm and long accents; according to his own Due to the different vocal conditions, the singer often uses his strengths and avoids his weaknesses, often singing high on the string and low on the string, adding lines on top of the string, and adding fill-ins between sentences to accentuate the singing. His articulation is clear and powerful, his rhythm is clear and vigorous, and his delivery is short and smooth.

In addition, during this period of time, Liu Baoquan completed his reforms, and the Liu School of Jingyun Dagu has reached a state of perfection through continuous improvement.

3. Tianjin folk art music during the Kuomintang rule (1928.7~1937.7)

Tianjin folk art music developed to its peak during this period.

Two new forms of folk art music were formed in Tianjin. Zhai Qingshan created Danqin Dagu (later named Qinshu, Beijing Qinshu) based on the tune of Xiaoquluo and dulcimer as the main accompaniment instrument. Pinggu Diao was sung in Baodi dialect by Liu Wenbin and others in the previous period, and was fused with some melodies of Luo Diao Diao, and evolved into Jingdong Dagu.

Some forms of folk art and music from other places continue to flow into Tianjin, such as Henan Zhuizi, Liaoning Dagu, Shandong Qinshu, etc. Among them, Henan Zhuizi and Liaoning Dagu have developed to a new peak in Tianjin.

In 1928, Qiao Qingxiu came to Tianjin, worked hard on short pieces, and worked hard on singing. She used the coloratura of the pear flower drum to transform the opening aria of the pendant, creating a fresh and lively "qiqiu". She enriched the aria of the pendulum with flexible and changeable techniques. In "Feng Yi Pavilion", "Three Halls Trial", In the arias such as "Han Xiangzi Du Lin Ying" and "Baochai Flying Butterflies", each section has its own characteristics in flat tune and duozi; she has widely absorbed things from Beijing drums, Peking opera, folk songs and pop songs, turning them into pendants and constantly adding Pendant Music brings in new blood. She has beautiful enunciation and bright and graceful accent. She pays special attention to the use of high notes, altos and voice changes. Her voice is known for its purity and sweetness.

In view of the shortcomings of Liaoning drums that are too euphemistic and lingering, but not clear and crisp, Zhu Xizhen first reformed the "opening". She changed the "eight big sentences" (eight big sentences) from slow and long to fast and short, and changed the long drawl of the seventh and eighth sentences that were too long into the new "four big mouths" or "six big mouths". Therefore, the "big mouth sentences" are directly transferred to the "small tone" without lengthy transitions. Secondly, she changed the "small tone" and "flow board" accordingly. The original singing voice not only has obvious sentence breaks, but also "a soup". She adopts the rising and falling singing method of lifting up and pressing down, making her singing tone graceful, tactful and lively. Third, she changed the speed of her singing from the original 70 beats per minute to 104 beats per minute, which eliminated the depression and dullness in the past. Fourth, pronounce words according to the Beijing pronunciation, distinguish labial and dental sounds, learn to deal with light and heavy sounds, and flat and oblique sounds, making up for the shortcomings of Liaoning Dagu sound wrapping words and using sounds to carry words, and achieve the true charm of words. Fifth, she reformed the "Xianzi Gua" together with string master Wang Haimen, emphasizing the sound and speed, expanding the sound range of the strings; adopting the method of adding flowers; absorbing the plucking techniques of other types of music, and using close-grained strings. For the main purpose, bounce fingering is used. As a result, it not only maintains the original melodiousness and delicacy, but also appears strong and distinct.

Music such as Plum Blossom Drum, Xihe Drum, Taiping Lyrics, Tianjin Seasonal Tune and other types of music have achieved great development during this period of time.

Hua Sibao cooperated with string master Lu Chengke to reform the plum blossom drum and formed the female singing method of plum blossom drum. She opened up a high-pitched vocal range and sometimes removed the modal particle "Ai na" at the beginning of slow sentences. In terms of singing, Yi is energetic and elegant, with a mellow and playful tone, and a mellow drawl. The rhythm is flexible and changeable, and the small syncopation rhythm is particularly distinctive; the stacking of characters on the rush board is clean and neat, especially the ending of the sentence between the upper board and the pheasant slip is crisp and handsome. This singing method quickly became popular in Beijing and Tianjin, and after the founding of the People's Republic of China, it almost formed a situation of "no plum blossoms, no flowers".

With the help of his father Ma Liandeng, Ma Zengfen also created a new genre of singing: "Three Sings" can be used flexibly and can be switched at any time, and it can be turned naturally and easily; The qiang, laqiang and qiangqiang have changed from transitional sentences into ups and downs that can be used at will and can be freely expanded. They have developed from subsidiary phrases into vibrant cadenza phrases, and appear from time to time in flat tunes, especially in those that express emotions and express emotions. Where the mood changes; when singing a flat tune, not only does the above new tune be incorporated, but also the character positions are often flexibly moved, the banyan is inverted, and cute sentences are used, thereby changing the repetitive and monotonous state and achieving a flat but not dull tune. It is light and ordinary but has a strange effect.

Wang Zhaolin changed the rigid singing method of Taiping lyrics, which consists of the first four characters of each sentence and the last three characters, and strengthened the melody. Dashboard is used for rhythm, Suoer is used for embellishment, and dispensable empty words are eliminated. As a result, this music form that has long been subordinate to cross talk broke away from cross talk, walked out of the Ming Dynasty, entered the juggling garden, and became an independent music genre.

Fashion artist Zhao Xiaofu has a sweet voice, euphemistic accent, and sincere expression of emotion. He wins with softness and has formed his own unique singing style.

During this period, many new music genres entered Tianjin. For example: Dong Guizhi and Cheng Yulan's Henan pendant, Lu Qiaoling's pear drum, Xie Ruizhi's single string, Wang Dianyu's big leila opera, etc.

Liu Baoquan, Bai Yunpeng, Jin Wanchang, Rong Jianchen, Chang Shutian (danxian), Gao Wugu, Qin Cuihong, Ge Zhenqing (Lianzhu Express), Shen Huating (Xicheng Ban), Yu Ruifeng ( Leaders of various music genres such as "Lotus Falls" are also constantly exploring and striving for excellence.

All this has written the most glorious page in the history of Tianjin folk music.

These achievements are achieved for the following reasons:

(1) The performance is prosperous.

During this period, social life was relatively stable, and industry and commerce developed greatly. In the 1930s, there were nearly 20,000 factories, shops, trading houses, warehouses, banks, banks, and banks of various types. There are nearly 3,000 foreign banks and foreign banks. Shopping malls, shops, bathhouses, dance halls, restaurants, hotels, theaters, cinemas... these have promoted the prosperity of folk art performances. According to incomplete statistics, there are more than 300 artists listed in performance advertisements published in newspapers. At that time, only those juggling gardens that were somewhat famous were advertised. Bookstores and Luozi Halls were the only ones that advertised. Most juggling gardens and low-level artists did not have this ability.

(2) The emergence of new folk art performance venues.

With the development of industry and commerce, a new audience group emerged. These are those employees, teachers, editors, reporters, as well as those small and medium-sized businessmen and capitalists who serve the financial industry, commerce, culture and education, the press and publishing industry, government agencies, transportation, postal and telecommunications departments.

They have a relatively fixed income and a relatively stable life; they have a high level of education and appreciation. I prefer those more elegant folk art programs. However, he was constrained by the artist's concept and was unwilling to get involved in ordinary vaudeville gardens for fear of losing his status. Similar to them, there are the lower-ranking warlords and politicians, former Qing princes, nobles, and their children who are concentrated in the concession. Most of these two types of people are active in the concession. At that time, the British and French Concessions were abnormally prosperous, and various buildings appeared one after another. The Quanyechang area in the French Concession quickly developed into the center and most prosperous place in Tianjin. To meet their needs, some new performance venues emerged, such as Tianxiang Stage, New World (renamed Xiao Guanghan in 1930), Song and Dance House (renamed Xiao Liyuan in 1934), Zhongyuan Company Juggling Department, Tianhuixuan ,etc. These performance venues offer relatively high salaries, and most of the artists they invite are first-rate. The programs they perform are relatively civilized and elegant, representing the highest level in Tianjin. In order to perform in these places and to satisfy these audiences, artists have to pay attention to the vulgarity and turn it into elegance. Specific to the singing, it gradually changes from simple, extensive and high-pitched to gorgeous, delicate and graceful. This promoted the standardization and beautification of Tianjin folk art music.

(3) The emergence of commercial radio stations.

In 1927, Tianjin Radio Station was launched and broadcast some folk art programs every day, but it had little impact. In the mid-1930s, stimulated by fierce commercial competition, four commercial radio stations, namely Renchang, YMCA, Zhonghua and Dongfang, appeared one after another. Because folk art is so popular among audiences and because of the simplicity of folk art singing, they all invite folk art artists to broadcast live broadcasts, and the artists broadcast product advertisements in the singing center of the program. As a means of mass communication, they have played an immeasurable role in the popularization of folk art, especially folk art music. First of all, it not only makes the original music types such as Jingyun Dagu and Danxian familiar to more listeners, but also makes newly introduced or newly created folk art music forms such as Henan Zhuizi, Liaoning Dagu, Jingdong Dagu, Shanqin Dagu and so on become household names. For example, the "Broadcasting Daily" on April 3, 1939 said: "Since Qiao Qingxiu sang Henan Zhuozi on the radio, the tone of Zhuozi has penetrated into the family." Secondly, it promoted actors and relied on the power of radio waves. The 14-year-old Ma Zengfen established her status in the Xihe drum circle with her song "Tongue Twister". Qiao Qingxiu quickly became popular in Sanjin. Liu Wenbin gained the support of a large number of housewives - especially the elderly. Favored by his wife, the names of Zhai Qingshan, Wang Jianyun (danxian), Shi Huiru (danxian) and others flew into thousands of households together with their singing voices.

(4) The result of fierce competition.

During this period, competition among theaters has reached fever pitch. In the past, folk art performances basically did not advertise in newspapers. With the gradual deepening of the awareness of product competition, large and medium-sized performance venues have realized the role of advertising. Therefore, the space occupied by folk art performance advertisements in the advertising columns of large and small newspapers has been expanding day by day. The actors, music genres, and programs that appeared in each of them did their best to promote them. They also borrowed Peking Opera’s “ranking system” to stimulate competition among actors. The so-called ranking system means that in advertisements and theater reports, actors are ranked from primary to secondary and from best to worst according to their grade and position in the entire performance. The determination of grade and location is mainly based on the actor's performance and popularity with the audience. For example: According to the advertisement of Xiaoliyuan published in "Yi Shi Bao" on September 13, 1936, Xiaocaiwu is still in the second position, and the first one is Zhang Shouchen and Hou Yichen (cross talk). In the advertisement on October 6, she surpassed Zhang and Hou and became the number one. Another example: On October 28, 1936, Liu Fengxia (Jingyun) ranked third, followed by Xiao Caiwu, Zhang Shouchen and Hou Yichen in first and second place; but by November 15, she dropped to eighth place. The ranking not only marks the actor's reputation and status, but also determines the actor's income. Therefore, actors strive to improve their skills and create artistic innovations based on their own expertise and the needs of the audience. The relatively stable social life at that time provided them with such conditions.

This kind of competition is the result of the law of value, so it cannot but bring side effects; some folk art forms, such as Lotus Falling and Dang Tiao, are group activities, and the theater only responds to the scene of the program. As time goes by, there are fewer and fewer actors, and they are gradually declining. Under the audience's demand for "both sex and art", female drum music artists emerged in batches, and their number far exceeded that of male artists. The world of drum music has begun to show a situation where actors are "yin-yin-yang-yang-waning". Taking the Zhongyuan Amusement Park as an example, in 1929, actresses accounted for 40%; in 1936, they accounted for more than 60%; by 1937, the number was as high as 70%. At that time, various folk music forms were performed on the same stage as cross talk, acrobatics, etc. Except for a few acrobats and Peking Opera a cappella singers, these 70% are all drummers. Most of the male actors, who account for 30%, are acrobats and crosstalk artists.

4. Tianjin’s folk art music during the Anti-Japanese War and the War of Liberation (1937.8~1949.1)

During this period, Tianjin’s folk art music began to decline rapidly.

During the period of enemy and puppet rule, many outstanding drum music artists died, including not only Liu Baoquan, Jin Wanchang, Gao Wugu, Chang Shutian, Chang Xujiu (Lianhualuo, Lianzhu Kuaishu) and other old artists, There are also Hua Si Bao, Qiao Qingxiu, Wang Jianyun and Lotus Girl (Taiping Lyrics) in their prime, almost all of whom are representatives of various genres.

Zhu Xizhen went to Northeast China, Lin Hongyu (Jingyun Dagu artist, known as the female drum king) went to Shandong, Zhang Cuifeng (Jingyun Dagu) went to Nanjing, Ma Zengfen and Sang Hong