As mentioned earlier, China's music was locked in the palace before the Sui and Tang Dynasties. Although ordinary people are music creators and providers of new music varieties, they can't enjoy music in the end. This phenomenon finally changed in the Sui and Tang Dynasties. At that time, temple fairs such as Buddhist temples were accompanied by folk music activities, and restaurants sang poems from time to time. After the Song Dynasty, there was a fundamental change. Due to the development of industry and commerce and the prosperity of the city, civilians represented by citizens have their own entertainment places, which were called "tile market" and "Goulan" at that time. Both "Washi" and "Goulan" are in the city, not only engaged in trade, but also engaged in folk art performances. If the music before the Song Dynasty was almost represented by court performances, then the music after the Song Dynasty was represented by these "Washi" and "Goulan", and later "Theater" and "Teahouse" performances; For history, court music has become insignificant. Therefore, the music history of China before the Song Dynasty is almost the history of court music, and it is actually the music history of citizens (or civilians) after the Song Dynasty.
Singing murals of Shang Yan Temple in Fan Shi, Shaanxi (Illustration 37): During the Song and Yuan Dynasties, various folk music activities appeared in vast villages and towns. There are Buddhist stories in the murals in the temple, as well as palaces and castles, pavilions, houses and cottages, teahouses, wineries and so on, which are depicted according to social life. This is a restaurant painted on the western wall. There are some tea drinkers upstairs and two women on the left. One is a female singer with a mallet tied to her hand and a clapper on the bracket. According to Wu's Dream, at that time, there were many people in the city who accompanied and sang ditties with drums, boards and other musical instruments: "There were three or five musicians in the market, leading one or two girls to dance, singing fine print and running down the street ... or in a restaurant or a prostitute's house in Liuxiang, Huajie, but they didn't have much money. This painting is called' barren drum board' and it is a scene where an artist sings in a restaurant.
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"Washi", also known as "Washe" and "Wazi", actually refers to the trading market formed on the open-air venues (generally gravel yards) of the city. There are a number of "watch sheds" in the "tile market", that is, simple performance venues surrounded by rope nets or grass recommendations; Some "Kampo" centers have low railings to separate the audience from the performers. This kind of canopy is called "Goulan" ("Goulan" is another name for railing). In the Song Dynasty, artists performed various acrobatics, rap stories and zaju in roadside venues to make a living, commonly known as "Luqi people". They also perform by looking at the shed. "Watching the booth" does not sell tickets, but invites people to watch it (hence the name "Please stand"). When a program ends or plays to a critical moment, it will stop, charge the audience and then continue to perform. There are many kinds of artistic works performed in "Goulan", among which there are many kinds of music, such as singing, singing, drumming, various palace tunes and zaju. These are all new music categories after the Song Dynasty.
Making money by singing is an art song. Pershing is a kind of music that is sung by variations and tone sandhi with ready-made tone words. In order to make money, some popular songs are selected and organized into the same palace tune, with an introduction before and an ending after, and the lyrics only use one rhyme from beginning to end. In other words, you are singing many songs with a beginning (introduction) and an end (ending). The selected tunes are Daqu and Song Daqu. Its lyrics are long and short sentences, which are five or seven words different from those of Tang Daqu. Tunes should also be changed, not the old appearance of the Tang Dynasty), Qupo (Song Daqu and Qupo are divided into two categories), Songpu, Fanqu (foreign music), etc., and these tunes have become Qupai. The accompaniment instruments earned by singing are flute (refers to the horizontal flute, the same below), drum and board. To earn money by singing, we must first combine the qupai, thus creating a new musical structure.
Drum lyrics and Zhu Gong tunes are both rap, and their speaking and singing should revolve around certain story content. The music of drum lyrics is relatively simple, often sung in the same tune repeatedly, but accompanied by accompaniment, which can reduce some monotony. Compared with Guzi Ci, Zhu Gong tune is a great progress. Guzi Ci was first created by Kong Sanchuan in Zezhou (now near Pingquan, Hebei Province), who was an artist in Bianjing, the capital of the Northern Song Dynasty (now Kaifeng, Henan Province) in the 20th century. The main feature of the tune created by Kong Sanchuan lies in its structure, which combines several tunes (namely Qupai) of the same gong tune (Yang) into a group; However, each group has different palace tunes (hence the name "Zhugong Tune"). Its qupai comes from the aria (including Daqu), lyrics and folk songs at that time. Obviously, Zhu Gong's tunes are recreated on the basis of singing and earning. The accompaniment instruments of Zhugongdiao are the same as singing, namely flute, drum and board. Later, 14 palace tunes were used in The Romance of the West Chamber (about a century later than the Biography of Confucius), and the basic tune was 1 tune. What is more noteworthy is that the use of these qupai is not static, and sometimes breakthroughs are made in different aspects according to the needs of the content, such as variations and sentence patterns. This is a variation of the basic qupai. On the basis of these 15 1 basic tunes, * * * produced 293 variants. The overall creation of Zhugongdiao has set a milestone for the development of China music in the aspects of the combination of tunes, the transformation of Gongdiao and the change of style.
In the rap scene in Zhang Zeduan's The Riverside Scene at Qingming Festival in Song Dynasty (see Figure 38), Tomb-Sweeping Day depicts a day in Bianjing (Kaifeng, Henan), the capital of Northern Song Dynasty, showing the face and life of people from all walks of life from the contrast to the prosperity of the market in the city. The whole picture is a long scroll. This part of the picture is the crossroads in the city center, the wide streets, the vendors selling goods on the roadside, and the carriages coming and going on the road. In front of a shop, a group of people are standing, and an old man is telling a book or singing.
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"Zaju" was first seen in the Tang Dynasty, and its meaning is similar to that of "Hundred Dramas" in the Han Dynasty, generally referring to acrobatics and other programs except singing and dancing. "Miscellaneous" means miscellaneous, and "hundred" also describes many things; "Drama" and "drama" have similar meanings, but neither of them has the meaning of "drama" today. In the Song Dynasty, "Zaju" gradually became the proper name of a new performance form; This new form can really be called "miscellaneous", including singing and dancing, music, teasing and acrobatics. It is divided into three parts: the first part is called "acting segment", and the performance content is familiar things in daily life, which is the introduction of the formal part; The second paragraph is the main part, probably performing stories, rapping or dancing; The third paragraph is called the third paragraph, which is also called juggling, juggling and technical harmony. It's just funny, teasing, or acrobatics occasionally. These three paragraphs have the same content and are not coherent with each other.
Some of the music of zaju is taken directly from Song Daqu and some from folk ditty. Song Daqu generally only takes a part of Tang Daqu, which is called "picking all over"; The structure of Song Daqu and Bitang Daqu is much simpler.
Portraits of characters in the Southern Song Dynasty Zaju (insert characters 39 and 40): one is that two people bow to each other, and the repertoire is unknown. There is a flat drum on the right side of the picture, with drums and arrows on it. Handsome guys are made of four or five bamboo tethers, which are often used with bamboo boards. It is a common folk musical instrument in the north. Both flat drums and handsome men are used to accompany zaju. The other is the performance drama "Eye Drops Acid". The plot seems to be that a person on the left pretends to be an ophthalmologist and is seeing a doctor on the right.
After the Northern Song Dynasty, some zaju moved southward with the Southern Song Dynasty, and some were inherited by Jin. Song Zaju inherited by Jin is also called, but it is no different from Song Zaju in nature.
At the end of the Northern Song Dynasty and the beginning of the Southern Song Dynasty, that is, in the12nd century, a kind of southern opera, also called operas, was produced in Wenzhou, Zhejiang Province, also known as Wenzhou Zaju and Yongjia Zaju. Southern Opera completely performs the story, and its structure can change with the story, unlike Song Zaju, which is basically composed of three sections. The music of Southern Opera is mainly composed of minor tunes and ballads popular in the south, and probably later influenced by Song Zaju, some tunes of singing, intonation and Daqu were also adopted. Although Southern Opera doesn't pay attention to the palace tune, it naturally forms the law of complete sets of songs after a long time, and the connection between songs and cards has always been in a certain order. On the stage of southern opera, ordinary characters can also sing, so there are many forms such as solo, duet and chorus, and the way of music is broadened.
Porcelain statues of Jiangxi Poyang South Opera unearthed from Hongzicheng's tomb in the Southern Song Dynasty (illustrations 42-47). Ziforehead's porcelain statues are vivid in posture, delicate in expression and full of life. It is possible that there are several figures in the southern opera, and these porcelain figurines reflect the early performance forms of the southern opera.
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During the Southern Song Dynasty, the confrontation between North and South operas was initially Jin (Zaju), and Jin died in Yuan Zaju on 1234, thus forming a pattern of parallel development of Yuan Zaju and South Opera. Yuan Zaju is a new kind of Zaju developed on the basis of Song (Jin) Zaju and tune, which is different from Song Zaju and Southern Opera. The musical structure of Yuan Zaju takes "set" as the unit (its dramatic structure takes "fold" as the unit; Each "folding" game uses a "set". The so-called "Ji" is similar to a group of Gongdiao, which is composed of several different tunes in the same Gongdiao. A set of lyrics rhymes to the end, almost every sentence rhymes, and few don't rhyme. Yuan Zaju generally consists of four "folds" and a "wedge" to form a coherent repertoire. There are also four sets of music at a 40% discount. "Wedge" is inserted between one or two episodes or three or four episodes, or added before the episode, but Wedge doesn't need a long set of music, and generally uses a song [Lu Xian Shang Huashi] ("Lu Xian" means that its palace tune belongs to "Lu Xian tune" and "Shang Huashi" is the name of the tune. The names of many musical instruments are derived from the first few words of the lyrics when they were just admitted to the composer's card, so the names of musical instruments generally only have different meanings, or a song is added. Some people say that the word "medicine" in Yaopian is an omission of the word "Hou" before and after. If we follow it, then "Medicine" is equal to "The Second Part". But according to the music content, Yaopian is actually a variation of the last song. Qupai of Yuan Zaju has a wide range of sources, including Tang and Song Ci tunes, tunes and some foreign national songs. Compared with the "Southern Song Dynasty" used in Southern Opera, the tunes of Yuan Zaju are generally called "Northern Song Dynasty". As mentioned earlier, The Romance of the West Chamber (insert Figure 4 1) uses 14 Gongdiao. In the Yuan Dynasty, Lun Song written by Yuan people listed 17 palace tunes, while Yinyun of Central Plains written by Yuan people only listed 12 palace tunes. In fact, Yuan Zaju uses fewer Gong tunes, only nine (only seven are commonly used). Even these nine Gongdiao, according to legend, will be adjusted to different heights due to different roles in actual use.
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Le Yan Gongdiao should have its limited significance in pitch and order, but these meanings have been basically lost in Yuan Zaju, which may be related to the main accompaniment instruments from the pipa in Tang Dynasty to the hairpin in Song Dynasty to the flute in Yuan Zaju (the accompaniment instruments in Yuan Zaju also use flute, board and drum). ) and zaju tunes must adapt to the singer's personal voice conditions.
The difference between Yuan Zaju and Nan Opera is that not only the former is "four folds and one wedge" in structure, but the latter is based on "going out", and there are as many as twenty or thirty ordinary operas; Musically, the former is called "Northern Song Dynasty" and the latter is called "Southern Song Dynasty". Moreover, the former is always sung by the leading actor ("Qu Wei") or the leading actress ("Qu Wei"), and other characters can only talk but can't sing. Even if you sing, you can only sing short notes that have nothing to do with the lead divertimento. However, as mentioned above, Southern Opera can be sung by ordinary characters, and there is no restriction on timbre. Obviously, Southern Opera is more plastic than Yuan Zaju, so it has more development potential. However, after the Yuan Dynasty destroyed the Song Dynasty, the North and the South were unified, and Yuan Zaju entered the South with its political and military forces, and the Southern Opera was once covered up. In the mid-Yuan Dynasty, the Southern Opera, which was relatively free in form, used the combination of North and South songs for the first time to form a "set number" (that is, a set of songs), which was called "the combination of North and South", so that the music of the drama had both the strengths of North and South. Generally speaking, the Northern Song Dynasty is vigorous and vigorous, while the Southern Song Dynasty is peaceful and soft. The style of China's music has always been the most striking difference between the north and the south. This point has been explained from The Book of Songs of the South to Hehe Wu Ge Opera, but the differences between the styles of North and South music that still exist today are probably formed gradually after the Northern and Southern Dynasties. Yuan Zaju later used "North-South combination", but at that time Zaju had begun to decline. The music of the above-mentioned aria, Zhu Gong accent and Nanbei songs was preserved to some extent in the later Kunqu Opera. Rap music
With the appearance of art commercialization, the rap music in Song and Yuan Dynasties continued to develop, and the appearance of this long-tune rap music marked the maturity of China rap music.
Zhugongdiao was originally a rap art performed in temples in the Tang Dynasty, but it has been performed in every corner of the city in the Song and Yuan Dynasties, such as the tile dog bar, teahouse and restaurant in the city, which is an important place to perform rap. In these cities, in order to meet the needs of citizens, songs, singing, Zhu Gong tunes, zaju and instrumental solos and ensembles created by the people have developed rapidly.