Haiyan cavity belongs to French Qupai cavity. In other words, it is the "positive voice" of the Southern Opera, with clear pronunciation and mellow voice. So what does the script of this southern opera look like? First of all, we can get important information from the whole bottle of Mei Shi. According to the narrative in the 36th, 39th, 64th, 70th, 74th and 76th chapters of The Thorn, the scripts of Haiyan's dramas performed and sung by Haiyan's children are White Flour Collection, Yuhuan Collection, Huandai Collection, Fragrant Sack Collection, Four Knots Collection and Sword Collection, which are all produced by opera experts. More importantly, Yuan Chaoge in Xiangnang Collection and Thrush Preface in Yuhuan Collection, two complete lyrics of Hua Ci, are precious materials for us to discuss the inheritance and recognition of tune tunes.
However, only relying on this historical data provided by Hua thorn can not deduce and deduce the connotation of regularity, that is, it lacks the necessary conditions to accurately grasp and reveal the existing form, characteristics, scope and time limit of Haiyan Opera from a theoretical height. Therefore, it is self-evident to further study and explore the inherent confusion of Haiyan cavity characters.
Fortunately, the appearance of the legend "The Legend of Blue Bridge and Jade Shoes" in the late Ming Dynasty gave the historical value of thorns an opportunity to be activated. The third, fourth and fifth chapters of the script Fan Yi explain the characteristics of inheritance and identity between the legendary old tune, Haiyan tune and Kunshan tune from the perspective of "biographies", and under the control of this concept, outline the whole historical period of Haiyan tune script from the early Ming Dynasty to the late Ming Dynasty. In this sense, Blue Bridge and Jade Rolling is of great academic value.
The academic value of The Story of Blue Bridge Jade Shoes lies in clearly revealing the kinship among Haiyan Opera, Kunshan Opera and "Legendary Old Opera" from the tone of discourse.
"Every case" the third cloud:
This tune is the same as the old tune in Otawa's legend. Singers are the easiest to combine and don't need strong harmony.
The so-called "Ben Chuan Ci Diao" refers to the lyrics (lyrics form) and tunes (music form) of Qupai used in legend. The "legendary old tune" obviously refers to the old legendary tune before the play Blue. Since "the tone of this biography is mostly the same as the legendary old tune", the two are exactly the same, so the combination of the two is inevitable; It is also necessary to "sing until the kanban is the easiest to combine, and there is no strong harmony." It can be seen that this "Fan Yi" essentially clarifies that the qupai used in Haiyan Opera, Kunshan Opera and "Legendary Old Opera" belong to the same historical origin. In view of the fact that the tune based on Qupai, because of the identity characteristics of its lyrics and tunes, leads to the relationship between inheritance and inheritance, Blue Bridge and Nandiao before it appeared belong to the same system definition, which is of great significance in the development history of traditional opera tune. Nowadays, Fan Fan's clear expression has undoubtedly become a powerful basis for us to further explore the script of Dinghai Salt Room. In order to better clarify this problem, we will compare the Qupai ② used in Legend Old Tune with similar Qupai in Blue to illustrate its vertical inheritance.
Yuan Chao's songs have lace and willow edges, and the eaves are covered with fine silk. △ After the water in front of the mountain, the east wind immediately softens. ▲ It's better to sigh than to turn around, △ look forward to homesickness, ▲ Wild geese are heavy, who is full? △ The day is short, and the North Hall is full of dreams. ▲ (Together) Luoyang is far away .△ When are you going to Jiujin Classic, Jiujin Classic ▲?
-The sixth "Road Narration" in "The Fragrant Sack" (3)
The Yuan Opera is clear, and the soul of bouldering is still there. △ Love is deeply resentful, and beauty is even more unlucky. ▲ Cross-strait wind, full of rain rhyme, △ directly hit the heart of the sun. ▲ Flowers look very rich, so you can listen to the soul of moonlight. △ The sky is lonely and the city is urgent. ▲ (Together) A few dreams came to Conan, Ma Gudao, △ Who communicated, who communicated? ▲
-Article 23 of "Blue Bridge Jade Claw", "Singing according to regulations"
Xiangnang Ji is the script of Haiyan Opera described in The Thorn, and Lanqiao Yuhu Ji is the script used by Haiyan Opera and Kunshan Opera. The form and structure of Qupai words are consistent, and the inheritance relationship between them should be clear at a glance. Now, for another example, the same conclusion can be drawn:
Liangzhou Preface ④ Xinhua Pool Pavilion in Huaiyin Courtyard, which is separated by the rising red dust. ▲ Bilanxuan, Hanfei Yuquan, △ Consciously fragrant muscles without heat, quality and wind, small pole exhibition. ▲ It's good to be sleepy for a long time, and △ is suddenly shocked by the sound of chess. (Together) Sing "Golden wisp", blue tube exhortation, iceberg snow feast △, Qing Dynasty, be there or be square ▲?
-"Pipa" 22 "Qin v. Lotus Pond"
The order of Liangzhou is a tribute, and now it gives me a weak crown. △ Sorry, I went to heaven first. ▲ Send Wang northward, Chang 'an Road is fast. △ Take this opportunity to pick flowers, thunder fish, and wait for the head to change. ▲ The green robe was newly dyed and was provoked by the furnace smoke. △ Black Hat Palace Flower Lalexian. ▲ (Together) The cup is shallow and must be full. I take pains to give you advice. △ never say goodbye today, I don't know when. ▲
-"southwest accent" the second "judge Jin Lan"
Liangzhou is called "Ten Islands and Three Islands" in sequence, Jade Palace Hall, and the delta separates the east from the water. ▲ welcome the fairy to see the sea, when the clouds and water are far away, △ I think, if I take the sun and the moon, I will make a pot of dried Kun. I don't know if I let Kate go. ▲ Having lived in Hong Tao for many years, it is not easy to travel in the other side. ▲ (near) frequent sighs, Dan Qiu can't be reached by the red dust, △ shows the way, and the clouds are high. ▲
1 1. The Story of Blue Bridge and Jade Rolling, the tenth issue of "Wind and Thunder Popularization"
The number of words (excluding lines), sentences and rhymes of the above five songs are in line with the provisions of Shen Jing's Ci. The tune of "Blue Bridge Jade Shoes" is the same as that of pipa, sachet and Nanxixiang. Similarly, the tune of "Legend Old Tune" is inextricably linked with Haiyan tune and Kunshan tune.
Another academic value of "Blue Bridge Jade Pole" is to clarify the identity of Kunqu opera and Zhejiang-Jiangxi dialect words.
Article 4 of "Every Example" says:
The tone of this biography originally belonged to Kun and Zhejiang, while Kailu was plagiarized, and it was all about washing away the dust and pursuing elegance. A discerning person should distinguish right from wrong.
Essays on Sea Salt Cavity Research
The so-called tune, that is, cavity lattice, corresponds to cavity, which belongs to the basic tune, and cavity is the genre, that is, the actual singing effect. Haiyan and Kunshan belong to the same tone type (rhythm type) with the same tone. Now it is written in Fan Fan that "this biography is in tune with that of Kun and Zhejiang", so it can be seen that the two plays of Kun and Zhejiang are not far apart and should be very similar masterpieces. Therefore, "Autumn Leaves Essay" said: "There is no difference between the songs used in Haiyan Opera and those used in Kunshan Opera, and there is no difference between Haiyan Opera and Kunshan Opera." The author makes a rough statistics on the qupai used in the second biography of Blue Bridge and Huansha. The former is 1 13, and the latter is 187, among which 58 qupai have the same name, which can also be regarded as one of the evidences. In order to specifically analyze the horizontal identity between Haiyan and Kunshan, and prove that Qupai is basic, and the tunes of Qupai are subordinate to and attached to Qupai, this paper lists similar Qupai used in legends of the same period as a comparison, such as Huansha Ji and Yupanji, both of which were in the Jia and Long Dynasties. Nian Nujiao ⑦ Dan Maple Leaf Dyed, △ The lake is light and shallow, cool and born, ▲ Xidi swims in the green cover in the morning, △ accommodates 3,000 maids. ▲ The crimson color is charming in spring, the lead is dazzling, and the △ is broken. ▲ If it is awkward, △ Where is Huanshaxi? ▲
-The 30th issue of Huan Sha Ji is "Colored Shed"
The prosperity of Niannujiao is fleeting, like waking up from a dream, and people are separated from today. ▲ Hugh said that Zhumen is a good example. ▲ People wander around the fairy, and their families regret being old. ▲ frown, △ Who do you hate to comment on? ▲
-the fourth "death" in "The Jade Hairpin"
Another example is Peony Pavilion by Tang Xianzu of Linchuan School, Chivalrous Man by Shen Jing of Wujiang School, and Qing Opera of the same genre:
Lazy thrush is the most attractive spring this year. Say something vulgar, just draw a wall with high powder. It turns out that spring is everywhere. Sleeping on the thread of the skirt is just like a flower.
-"The Peony Pavilion" Part 12 "Seeking Dreams"
Lazy thrush did a bad thing in front of the curtain yesterday, and his eyes looked at each other. It hurts to slam the door in. Where the water flows, where the flowers go, and the road is separated by Taoyuan Cloud.
-"Chivalrous Man" Song 14 "Qiao Huan"
Lazy thrush slowly enters the air, and flowers meet the shadows in a hurry. It turned out that Xianlang took a ladder at night, looked at himself tonight and loved himself, but did not allow the ice wheel to improve his comfort.
-"Blue Bridge Jade House" The first song "laurel tree".
By comparing the types and structures of the above-mentioned series of Qupai, it can be seen that it is obviously certain that the regular Qupai cavity written according to the traditional method of "filling words according to sounds" has the same law of the same certificate and the same cavity, which is the same as Haiyan cavity and Kunshan cavity. The statement that "the keynote of this biography originally belonged to Kun Zhe" actually means that any script sung by Haiyan can be sung in Kunshan. In other words, the legendary plays adapted from Kunshan Opera can also be adapted from Haiyan Opera, which is another connotation of Fanfan Opera. Therefore, Zhan Mutao asserts that the relationship between Haiyan and Kunshan is "a whole", and Ye Changhai's analysis of Tang Xianzu's play "singing for Haiyan first" is superb.
Yong 'an Lake (now Nanbei Lake)
Article 5 of "Blue Bridge Jade Clutch" mentions that Haiyan and Kunshan Erqiang are only different from each other, which is worth noting: "The lyrics are different from those of Zhejiang and Kunming, so it is difficult to insist on a certain reason. But read the next sentence for viewing. " The Preface to Kunban, a collection of Zhejiang Banji, just illustrates the artistic charm of Kunshan cavity. After being processed by Wei Liangfu and others, Kunshan cavity was described by Ming people as "softer than sea salt, graceful and graceful, and the length of a word extended to several times". Therefore, Shen Chongsui's "Notes on Duqu" said Wei's innovation in Kunshan Opera: he angered the customs of Nanqu, washed his voice, did not open the hall, called a water mill and slapped cold dishes. The voice is soft, up, down and inward. The writer's head, abdomen and tail are well balanced, his works are profound, his breath is not smoky, his mouth is light and round, and his radio is pure and fine ... If he wants to sing differently, it is definitely not the voice of the theater.
The unique singing style of "water mill, beating the cold plate" is the key to distinguish the reformed Kunshan dialect from the long-standing "Haiyan old tune". The so-called "genre" can also be seen here. In this regard, "Fan Fan" explains the rhythm gap between the two cavities from the perspective of lyrics and song clappers, that is, the rapid change of plates will inevitably lead to the rapid change of pronunciation and tone, thus producing different singing effects. It is true that the glory of the school caused by the difference of the point board is only one of the important factors, and other factors such as the plasticity of the cavity caused by the region, dialect and tone are also factors that cannot be ignored. Therefore, the view that "Haiyan dialect is different from Kunshan in rhythm and dialect" is unique.
As mentioned above. The close relationship between the legendary old tune, Haiyan tune and Kunshan tune, whether it is vertical inheritance or horizontal identification, has been running through the Ming Dynasty from the early, middle and late Ming Dynasty. If the legend of the early and middle Ming Dynasty is
If you sing in Haiyan cavity, it will be used in Haiyan and Kunshan cavity in the late Ming Dynasty (after Longwan). Haiyan Opera is not only closely related to the legendary Laoqiang Opera and Kunshan Opera in tone, but also plays an important role in accompaniment.
However, in recent years, there have been quite a few different opinions on this point. In fact, there are inevitably Qupai in the tune of traditional Chinese opera, which is subject to the palace tune. Moreover, Haiyan tune is a regular Qupai tune, and there is no doubt that there is accompaniment on the field. Now from the following two aspects.
First of all, according to the records of the Ming Dynasty, Haiyan Opera is not only accompanied by a flute tube, but also made of different strings.
First, Nanqu in the popular era of Haiyan Opera (before Kunqu Opera) was accompanied by a flute tube. He Ming Liang Jun's "QuLun" cloud:
Yu Lingdun taught one or two songs of Aibo. Qu Yun said: "Aibo's songs are all sung by people, but these are all sung by later generations according to the tune, just like a person who is good at playing the flute and listening to people sing according to the tune. This is called' singing' ..."
And Shen Defu's "Ancient Songs Miscellaneous Words, Strings Into Songs" contains:
He also taught several women's rings, all of whom were good at Beiqu, and were rewarded by Dunren of Nanjiaofang. Leighton once entered Beijing with Wuzong, inheriting the legacy of the north and staying alone in the southeast; ..... his theory of music, namely: "Nanyin flute, pipe, that is,' singing tune' ...
According to He He and Shen Shi, they all refer to the pipa with a flute. Obviously, Nanqu in the popular era of Haiyan Opera has long been accompanied by a flute ("Boyi" is actually Haiyan Opera in He Wenli). See below).
In the literature of the Ming Dynasty, the accompaniment of the northern and southern songs can be divided into two categories: one is that the northern songs are accompanied by plucked instruments, and their tunes are called "string tunes"; First, Nanqu is equipped with a musical instrument, and its cavity is called "singing". At that time, the records of these two different forms of accompaniment have been found in relevant documents, such as "Qu Lun" written by Dunren:
The music of the strings in Jiugong is regular, or the strings with rolling strings, flower buttons, big cymbals are easy to enter new music ... The longer the flute tube is, the shorter the sound is, and the more or less the strings are, the board will get stuck. What does this mean?
In this regard, Shen Chongsui's "Notes on Duqu Melody" also pointed out: "Those who ask for strings in ancient times are different today. Today, there are no palace merchants with tacit understanding, but those who sing high and play high also use high harmony, and those who sing low also use low inheritance. It is really like a flute and a southern tune. There was no claim at first. " Wei Liangfu's Melody also mentioned: "Flutes and pipes should combine lyrics and songs according to the working scale ... It is extremely awkward to combine treble with treble and bass with bass."
The "positive note" here refers to the strings. In the notes of Ming Dynasty composers, the opposition between "singing tone" and "string string" was mentioned more than once. It should be pointed out that the key to the difference between the two accompaniment instruments lies in which instrument is the main accompaniment, that is, "stringed instruments" are mainly accompanied by plucked instruments such as pipa; "Singing Tone" is mainly accompanied by flute and other wind instruments. As far as the Ming Dynasty literature is concerned, the early Nanqu "aria" generally did not use stringed instruments, and it was not until the advent of Kunshan dialect that strings were added. However, the composers at that time did not agree with this, and there were many derogatory remarks, such as "Ancient Quzayan" cloud:
Young actor Wu Lan
Today's Nanyin is three-stringed, and also uses flutes and pipe leaves. This is what the Tang people said, "A cotton-padded jacket is worn on a brocade coat", and the poem of Taoist Jin Su on the golden statue, "Confucianism wears monk's hat and Taoist shoes". Xiao and Guan Neng entered the northern ci, but the chords did not enter the southern ci. The Southern Song Dynasty did not take chords as the rhythm. In the article cited above, stringed instruments can be equipped with flutes and pipes (that is, "flutes and pipes can enter the northern music"), so "stringed instruments" are called "stringed instruments" (or "orchestral instruments"), but "stringed instruments do not enter the southern music" does not mean that the southern music does not deserve wind music. In addition, the record of "thousands of families let their children die, play flute and sing songs, and cut their upper lips and even the tip of their noses" in the Historical Materials of Banned Novels and Dramas in Yuan, Ming and Qing Dynasties compiled by Mr. Wang Qili can be regarded as circumstantial evidence of Nanqu accompanying flute. Ye Dejun's Collection of Traditional Chinese Opera Novels said: "... What's the Four Friends Theory? Volume 39, on the Northern and Southern Song Dynasties, wrote:" If the pipe flute is slightly shorter than its sound, it must be on the board. Play one more string and play one less string to get stuck. "What is said between Jiajing and Jingjing. The southern melody of the flute is used here, which is unknown. " In fact, Ye's so-called "ring finger" is the "singing" of "Boyi".
It can be seen that if Nanyin before Kunqu Opera is quoted as the "aria" in pipa, it should be accompanied by a flute.
Secondly, "Yin Zhe" (sea salt cavity) once made a chord cavity.
Haiyan Opera is also called "Yin Zhe Opera" and "Zhejiang Opera". See Tang Xianzu's Notes on the Hall of the Drama God Qingyuan in Yihuang County for Yin Zhe;
"In the south, the second place in Kunshan is sea salt, and Wu is also a shooting festival"; Liu's "In the Garden Magazine": "Geyang Opera in Jiangxi and Haiyan Opera in Zhejiang are still ancient".
Tang said "Wuyin Kunshan" and "Zhejiang Haiyan" together, and Liu said "Haiyan Zhejiang accent". Obviously, "Yin Zhe" and "Zheqiang" recorded in the Ming Dynasty literature both indicate Haiyan who was accompanied by stringed instruments at the beginning, which is also clearly recorded in the Ming Dynasty literature. For example, Lu Cai's "On Ye Ke Cheng" said: "At the beginning of the country, there were Liu Se elders in the teaching workshop, who used Mao as a good Southern Song Dynasty and pretended to be a new tune, which was in tune with Zhejiang tune, so it has been passed down to this day. When I was still in Zhejiang, I abandoned the north and the south and did not enter the string. " Another example is Xu Wei's description of Nanci: "Laugh and say,' Pipa is like a mountain treasure and a sea fault, so you must be rich and responsible for your family' ... So people who are outstanding in the sky are allowed to perform, and they are not allowed to enter the string, and they are ordered to follow Shi Zhongji and write it as a sacrifice. Nanqu Beici can be covered by harps, but it is soft and scattered, unlike Beici. "
Accordingly, the story of the pipa before the "Song of the New Tone" in this paper is the "Zhejiang Sound" without strings, while the "New Tone" which is slightly in tune with the "Zhejiang Sound" refers to the strings of the pipa. In addition, He's Qu Lun said: "Recently, Haiyan Nanqu ... has been popular, and even the soil in the north has been removed, and even after several generations, the Northern Song Dynasty has disappeared." The "Haiyan Nanqu" referred to here is the "Nanqu" described in Wang Jide's "Qu Lv Xian Qu Yuan": "... (Nanqu) is graceful and charming, singing and sighing three times, so the beauty and goodness are combined into one, producing a very high tone ... Since your years, Zhao Yan's singers and dancers have abandoned their fierce plucking, making Nanyin exhausted, and
To sum up, we can see that "Yin Zhe", "Nanqu", "Haiyan Nanqu" and "Nansheng" all had the same meaning at that time. If it is further proved that the above words are "Modern Zhejiang accent, prostitutes may abandon the north and go south" in Ye's On Ke Cheng, then Zhejiang accent is the southern tune, and the southern tune is the Haiyan tune, which should be conclusive. So it should be true that Haiyan made a "new tune" for strings. From all kinds of compliments such as "graceful and charming, singing three sighs, ... so beautiful and harmonious, with extremely high tune", we can also know that Nanqu originally had a cavity, and it didn't come into being until "Yin Zhe" entered the string. For example, the so-called "Nanqu goes to many places" and "Example 4" in Duqu Explanation refer to the complete Nanci spectrum with three tones. The book Notes on the Rise and Fall of Qu Yun points out: "The ancient law is obscure, with brand names but musical scores or tests, with musical scores or without musical scores, or with musical scores but original tunes. If it is urgent, bumpy and various customs, how should we deal with it?" After that, this paper takes Ji Xianbin's low cavity and Bu Bujiao's high cavity as examples to illustrate. Therefore, due to the different names of Qupai, the musical form, the music board and the cavity lattice are also different. The saying that Nanqu has a cavity further proves that the "creating a new cavity" in Ye Ke Cheng Lun is well-founded.
Dai Bufan pointed out that "the drum board is an extremely important percussion instrument in performance". Moreover, in the oral circulation of folk artists, there is a saying that "drum plate" is called a troupe, and a pair of "drum plate" represents an accompaniment scene. For example, the "Drum Board Sedan" in Ruian, Wenzhou and the "Drum Board Pavilion" in Yongqiang, Wenzhou are all named after the "Drum Board", while the actual accompaniment instruments are flute, erhu and clapper.
In short, the word "drum board" is not a general term for "small drum" and "board", but a single understanding of it by composers in recent years, which is one of the important reasons for the different opinions on Haiyan's accompaniment.
"Drum board" is the accompaniment of "singing revenue" in Zhugong tune. After the Southern Opera absorbed several sets of Zhugong tunes, the three musical instruments of "singing income" were also inherited by the Southern Opera. Therefore, Haiyan and Kunshan in the Southern Opera all use "drums" as accompaniment scenes, and the three major musical instruments of Kunqu Opera are the inheritance of Haiyan Opera. On the one hand, the "Quxian" added to the accompaniment reflects the fact that Wei Liangfu absorbed stringed instruments on the basis of using "drum board" in Haiyan's drama; On the other hand, from the successful innovation of stringed instruments, it can be seen that the original Haiyan opera began to "create new tunes". Speaking of the accompaniment of Southern Opera in Song and Yuan Dynasties and Kunshan Opera, it is pointed out that there are both drums.
To sum up, Haiyan's drama script and its accompaniment not only have a clear and reproducible historical original appearance, but also write an indelible and brilliant page in the evolution history of opera tune.