Yiyang tune, which belongs to the Nanxi system, also had an important impact on the basic structure of Banqiang. This influence is mainly reflected in the rolling tone. The basic structure of the rolling tone is the upper and lower sentence form of the Qiyan style. Therefore, from a structural point of view, the important role and significance of rolling tune is not only to break through the limitations of the combination of music and music, but also to act as an intermediary and catalyst for the transition to banqiang music, and to provide basic conditions and prerequisites for the change of banqiang. . The formal characteristics of the Qiyan style of rolling tune are also borrowed from folk rap literature and other art forms. He Wei said: "Musically speaking, the rhythm of rolling tunes is flowing, which is different from that of qupai, which mostly has three or one-eye boards. Therefore, rolling tunes are more recitative, while qupai are often more melodic. The structure of rolling tune is very flexible, and the number of sentences can be long or short. Unlike the Qupai style, which has a certain limit on the number of sentences... When the form of rolling tune appeared in the Qupai system, on the one hand, the original linkage was changed. The set of forms is a kind of enrichment. On the one hand, it is also a kind of destruction, which destroys its inherent form and breeds a new transformation." Tang Shi quoted the Qi Yan style "Qing Ci" in "The Story of the White Snake". "After a paragraph, he believed that rolling singing developed from these "local ballads with neat syntax". He used three versions of "Languandu" as examples to illustrate how rolling singing evolved into banqiang style: " The Ming Dynasty's Korean version of "The Stallion's Death, the Golden End" is a Qingyang opera version. There is a "Yizhi Hua" tune in the performance of the horse's death, which is nineteen sentences long and short. ("Dianhua") in "Chuidiao" (qiang), leaving only fifteen sentences, adding popular five- and seven-character sentences, reducing long and short sentences, that is, changing long and short sentences into neat sentences, in Qing Dynasty On the basis of Yanggun Diao Liushuiban, it is a step forward to Banqiang music; and now Anhui Provincial Troupe's "Languandu" is an Erhuang tablet script. This section is compressed into ten sentences and becomes "Plate Rolling Ban" , this book has much the same text as the previous two books, and the singing method is also in the same line. It maintains the "rolling singing" characteristics of the flow board, and it is all gone in one go; only later it turns to the melody of Luowei, but it is completely Siping tune, changing from flat tune to another. Banqiang tunes such as Yuanban and Huilong have entered the neat seven-character and cross syntax. "In other words, the emergence of rolling tune has caused a fundamental change in the structure of the tune, using the variation principle as the tune development technique. Moreover, "rolling tune expresses emotions with the rapid rhythm of flowing water and a singing tone close to spoken language." This highly narrative, interpretive and rendering singing method is already very close to banqiang style, and its powerful The narrative function enhances the drama of the music. This form of vocal cavity greatly influenced the formation of later Banqiang opera.
Rolling tune
From the perspective of tunes, the influence of rolling tune on Banqiang opera is mainly reflected in two aspects. On the one hand, it directly absorbs Han folk literature, especially poetry and rap literature or Qiyan style of folk songs and minor tunes, and incorporates them into singing. For example, Volume 7 of "Nishang Xupu" contains two chapters "Qin Blowing Songs of Flowers and Willows", one of which goes: "There is a temple on a high mountain, and the sister-in-law went to burn incense. The sister-in-law burned incense to pray for her children, and the sister-in-law burned incense to pray for the young man. Wait three more If you don't marry me in the next year, you'll run away to his mother with a baggage, but you will run away from his mother." Although "Nishang Xupu" was published during the Qianlong period of the Qing Dynasty, this Han folk song should have an earlier origin. It can be proved that it has been absorbed into operas and sung. For example, the eighteenth chapter "Looking Homeward" in the Qing Dynasty version of "Su Wu Shepherd" has two "Hui Hui" songs. The first one goes: "There is a temple on the high mountain, my sister-in-law." The two go to burn incense. The sister-in-law burns incense to beg men and women, and the aunt burns incense to recruit men." It can be seen that this song has been sung by Han folk for a long time. Although one is a Qin opera and the other is a "Hui Hui tune", the singing style may be different. The music and lyrics are the same, and the sentence structure is all seven words. For another example, the "What a flower" sung in the Peking Opera "Fengyang Flower Drum" is similar to the tune and phrases of "Jasmine Flower" that is widely circulated in various places today. It was published in "Flower Drum", the sixth episode of "Embellished with White Fur" during the Qianlong period. There are "Xianhua Tune", "Fengyang Song" and "Flower Drum Song". Among them, "Flower Drum Song" includes "What a Flower" and "What a Jasmine". The lyrics of Peking Opera are also similar to this play. , so Peking Opera should change from this.
Other minor tunes such as "Meng Jiangnu", "Tai Ping Nian", "Lotus Falls", etc. have varying degrees of survival in today's local operas. There are many similar cases where folk song minor tunes are directly incorporated into dramas, so I won't go into details here. On the other hand, influenced by rolling tunes, many tunes also tend to transform into Qiyan style. For example, the three-five-seven tunes in random playing and blowing tunes are a kind of transition from long and short sentences to upper and lower sentences. Singing form. The eleventh episode "Qingfeng Pavilion·Catching the Son" of "Embellished with White Fur" all uses the word "pizi", and this "pizi" is related to the formation of Xipi accent. In modern times, this trend has become more and more obvious. The high-pitched accents in Hunan, Sichuan, and Zhejiang already use neat syntax of seven-character sentences or cross sentences, either entirely or occasionally. For example, Hunan Changsha Gao Opera has seven-character sentences and cross sentences. Shaanxi Qin Opera has exactly the same words as Hunan Gao Opera's "Curse Yama", and also uses the same sentence pattern. In Bangzi tune, the syntax is basically seven-character or ten-character sentences. "Maitreya's Laughter" was written by Lü Gongpu in the 46th year of Qianlong's reign. It was all composed in the cross-tune Bangzi tune sung by actors both inside and outside Guan Dynasty at that time. During the Qianlong period, the Bangzi opera plays "Song Zhao" and "Crossing the Fortress" (from "The Story of the Green Tomb") are traditional plays of Yiyang Opera. The couplets of "Song Zhao" are "Yin" and "Za Ban Ling" , "Wutong Rain", "Sheep on the Hillside", "Zhuzhi Ci", "Mengjiang Yin Changtou", "Muyangguan", "Heimaxu", the couplet of "Crossing the Fortress" is "Western tune", "Western tune ditty" ", "Western tune", "Yiyang tune", "End", these are already Bangzi-tuned methods of combining music and music. Some tunes have been modified by Bangzi tune, such as "Bangzi Mountain Sheep" and "Bangzi Zaoluo Pao". The "Bangzi in Yunfei" in "Luodian" still uses the long and short sentence pattern of Bangzi singing style, while the "Bangzi" in "Killing Goods" and "Bangzi" in "Silu River·Xueshu" are already written in seven words. As the main body, "Slaying the Diao" appears in ten neat sentences. With the development of Pihuang and Peking Opera, the cross sentence has become the main form of syntactic structure.
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