Haiyan tune is a traditional opera tune. It is named after Haiyan, Zhejiang Province, which was formed during the Chenghua period of the Ming Dynasty. Together with Yuyao tune, Yiyang tune and Kunshan tune, it is also known as Ming Dynasty Southern Opera. Four loud voices. Follow my steps to learn about the relevant knowledge of Haiyan Qiang!

Introduction to Haiyan Qiang

The music of Haiyan Qiang has a Qupai couplet structure, with meridian and dan. , pure, poor and ugly. When singing, percussion instruments such as drums, boards and brass are used as accompaniment, without orchestral music. If it is a cappella singing, only use clappers or hand beats to accompany it, and the tone will be soft and tactful. During the development process, Haiyan Qiang had a certain influence on the evolution of Yiyang Qiang and Kunshan Qiang. After the Wanli Year of Ming Dynasty, it gradually declined and gradually disappeared.

Haiyan accent is soft and melodious, and is loved by bureaucrats and scholar-bureaucrats. When wealthy Jin gentry families entertained guests, they often invited Haiyan children to sing. If it is a cappella singing, gongs and drums are not used, only clappers or hand clappers are used instead. After the popularity of Haiyan tune and Yiyang tune, they gradually replaced the position of Beiqu opera on the opera stage and had an important impact on the development of Han opera vocal genres. When Wei Liangfu and others reformed Kunshan accent, they inherited and absorbed Haiyan and Yiyang accents, so there is a theory that the old tunes of Haiyan and Yiyang were changed into Kunshan accent. During the Wanli period, the new Kunshan tune became popular, with the accompaniment of strings and strings. It was "fluent and long-lasting, surpassing the three tunes of Haiyan, Yuyao and Yiyang. It is the most exciting to listen to." According to Xu Wei's "Nanci Chronicles", "Old Fan" Those who sing southern tunes all call it 'Haiyan'. Nowadays, 'Haiyan' is not popular, and they call it 'Kunshan'." Wang Jide's "Lü".

The origin of the development of Haiyan tune

Haiyan tune is an ancient Chinese opera singing tune, so named because it was formed in Haiyan. It was created by Yang Zi, a native of Haiyan Kanpu in the Yuan Dynasty, who was inspired by the opera musician Guan Yunshi and processed the popular northern and southern songs at that time. This soft and melodious new singing style became popular in the Ming Dynasty and became the first of the four major tunes of Southern Opera: Haiyan, Yuyao, Yiyang and Kunshan. It gradually replaced the dominant position of Beiqu Zaju, which was popular in the south, on the opera stage. The Haiyan boy "often got his family's skills and became famous in the right part of Zhejiang Province for his ability to sing songs". According to historical records, "Haiyan Opera Disciples" were in vogue at that time. This tune later spread to Zhejiang and even Jiangxi, Shandong and Beijing, and had an important influence on the formation and development of various tunes such as Kunshan tune in China. However, due to historical reasons, "Haiyan tune" gradually disappeared in Haiyan more than 300 years ago.

There are two old theories about the origin of Haiyan tune: ① Li Rihua's "Purple Tao Xuan Miscellanies" of the Ming Dynasty said that in the Southern Song Dynasty, Zhang Wei "built a garden pavilion in Haiyan to enjoy himself." , the so-called 'Haiyan Qiang'". This refers to the tunes sung by the singing boys in Zhang Bo's family music. In fact, what was sung at that time was only "ci tune" and could not be considered as a kind of Southern Opera tune. ② Wang Shizhen of the Qing Dynasty's "Xiangzu Notes" stated: "The so-called Haiyan accent in today's world actually originated in Guansuanzhai." Wang's statement is based on "Lejiao Whispers", which describes the relationship between Yang Zi and Guanyun Shi in the late Yuan Dynasty. It is said that Suizhai was a famous singer and was good at playing Yuefu and Santao. Yang Zi was taught by him. Later, the singing boys of the Yang family in Haiyan became famous for their good southern and northern songs. Wang Shizhen believes that Haiyan tune comes from this. This statement also needs further research. Due to insufficient historical data, academic circles have different opinions on the origin of Haiyan Tune, which remains to be studied.

The decline of Haiyan Qiang

Speaking of the decline of Haiyan Qiang, it should have a lot to do with the prosperity of Kunqu Opera. In the late Wanli period of the Ming Dynasty, Kunshan tune inherited the characteristics of "Haiyan tune" and formed a euphemistic and delicate tune, known as "Shuimo tune". The creations of the playwright Liang Chenyu at that time laid a solid literary foundation for Kun Opera. In terms of accompaniment, in addition to strings, instruments such as sheng, xiao, pipes, and flutes were added to form a combination of orchestra and string. This was a great improvement over other popular tunes at the time and was refreshing. As a result, Kun Opera quickly spread and expanded to various parts of Jiangsu and Zhejiang, becoming a genre that overwhelms other southern opera styles. Since "Haiyan Tune" is relatively simple, it is inevitably replaced by the perfect Kun Opera and gradually declines. In the book "Qu Lv" written in the 38th year of Wanli's reign, it is written: "In the old days, all those who sang southern tunes were called 'Haiyan'. Nowadays, 'Haiyan' has become less popular, and they are called 'Kunshan'". In fact, by the Kangxi and Qianlong reigns of the Qing Dynasty, it had disappeared into obscurity in its birthplace, Haiyan, Zhejiang.

The decline of Haiyan tune is not only because the musical form is not as rich as Kunqu opera, but more importantly, it is the lack of representative classic works handed down from generation to generation. To this day, people still feel regretful when studying it. Unfortunately, Haiyan Tune has left no scripts, repertoire and other materials, nor objects and props. This has brought more difficulties to scholars and experts who study this play. . For a long time, people thought that the real Haiyan cavity had become extinct. However, it is believed that the legacy of Haiyan tune may be preserved in the remaining Haining shadow puppet shows in Jiaxing area and in the tunes sung by Mr. Haiyan Saozi. Among them, Haiyan Saozi Opera is also known as "burning paper" and "throat", both of which are homophonic. It is a folk song for worshiping Buddha. The singer calls himself Mr. Saozi and the fragrance spreader. In the old days, when we got married, celebrated birthdays, made vows when we were sick, or invited the God of Wealth or the Silkworm Flower Lady for their birthdays, we would hold a banquet at home to offer sacrifices. We would invite singers to "serve the documents" to sing Saozi ballads, welcome the gods and send Buddhas, and pass incense to make offerings to the gods. and entertainment, praying for blessings and eliminating disasters. There are more than 100 books on Saozi known today, which are divided into two categories: one is "sacred books", which describe rituals and praise gods and Buddhas, such as "Jade Emperor", "Tathagata", "Guanyin", "Guandi", " "God of Wealth" and so on; the other is "Soup Book", soup is tea, which means after-show, including "Ten Rare Hopes in Kanpu City", "You Cao King", etc. The content is relatively lively and can be improvised. When he fell into the water, the crowd at the scene helped sing, and the brand band helped accompany the performance. The atmosphere was lively and the mood of the crowd was high. ?