Music has greatly enriched people's spare time life and played a very positive role in relieving people's emotions and cultivating people's sentiments. The following is what I collected for you. Welcome to read the reference!

The Significance and Enlightenment of Beijing Opera Music in Dazhaimen

In the play, Zhao Jiping composed music based on Peking Opera. Looking closely at his works, we can find that he is particularly good at exploring the national elements in the play to get close to the plot, and he is not limited to using only traditional techniques, but also incorporates many modern music styles, such as using Beijing Opera symphonies and Beijing Opera rhythms that match the plot.

First, the musical elements of Dazhaimen Peking Opera.

Beijing opera qupai is an important element in Beijing opera music. In the whole score of "Da Zhai Men", a lot of Beijing opera aria are used to express the characters' characters, such as Pulling Pulley, which is often sung by Bai Jingqi, which shows the hero's heroic character, and Liu Qingniang, which appeared when Bai Yuting was married, which shows Bai Yuting's unrequited love for acacia, and Two Scared Women and Fighting for Peace.

According to the changes of the plot, the music gongs and drums are constantly changing. For example, the four blowing heads, one of the most important bright gongs and drums in Beijing opera music, are widely inserted into the scenes where important people appear in the play. According to the plot, musical instruments also have different uses, such as banjo and drum. The leading instrument in this band also plays a role in guiding the plot at this moment. Other cymbals, wooden fish and suona also have different accompaniment effects.

Secondly, take the theme song of Dazhaimen as an example to illustrate the significance of modern Beijing songs.

The ending song of "Da Zhai Men" is the most famous song in this film. Ordinary people seldom come into contact with Peking Opera in their daily lives, but this Beijing song has been popular since its launch, and it is also popular because of its catchy Peking Opera tradition and the melody of modern pop music. This song is different from the Peking Opera we talked about before. It is a series of Beijing-style songs improved by modern orchestration and singing.

This song is presented to everyone in the form of ABBA. The song begins with a series of drums with a speed of 58, and the song appears deep and atmospheric in this part. Mainly accompanied by Beijing opera instrument Jinghu, the bass is laid. The singing method quoted the drawl of Peking Opera, and the intermission was replaced by gongs and drums.

This Beijing song skillfully combines Chinese and western musical styles. Although it is not strictly Beijing Opera, it has the basic musical elements of Beijing Opera. There are several major musical instruments in Beijing Opera: Jinghu, gongs and drums, and cymbals. There are even gongs and drums going through the gate. There are many songs like this Beijing song, such as Singing Face, Yongmei and the Tenth Five-Year Plan. Therefore, vigorously developing Beijing songs is also conducive to attracting young people who are used to listening to pop songs, so that they can also consciously or unconsciously appreciate the charm of traditional music. Today, the artistic value of traditional music is increasingly apparent, and our exploration of traditional art is far from reaching the height that should match it. Taking Kunqu Opera as an example, Kunqu Opera flourished because of the innovation of Wei Liangfu and others, but it also declined to the backwardness of singing and expressive force in later days. Therefore, traditional music should be synchronized with the times and recognized by the public, so as to achieve healthier and longer-term development, and modern Beijing opera art is undoubtedly at the forefront of Beijing opera art.

Third, Zhao Jiping's composing thinking.

Northern Shaanxi is Zhao Jiping's original creative treasure. When working with Zhang Yimou on Yellow Land, he went to Ansai to find the farmer singer He Yutang. Among them, Ansai waist drum expressed his familiarity and love for that land.

Zhao Jiping said that his creative thinking is to break away from convention and give people a refreshing feeling in orchestration, melody and timbre. When shooting Red Sorghum, Zhao Jiping played with dozens of suona and several sheng. With Jiang Wen's shout, it suddenly showed the northwest people's cry for life. In the meantime, Zhao Jiping adopted several vocal singing methods, and the tunes also used the materials of rammed songs, which just expressed the hearty personality of the people in northern Shaanxi.

Speaking of "Good Han Song", there are some legends in its creation process. Because he wanted to show the wild and unruly character of more than 100 heroes, Zhao Jiping was inspired to flash his familiar Shandong folk melody after hard thinking, coupled with the local dialect, and finally combined with the local minor "Seeing the Big Tank", which made the local flavor stronger. Then this song became popular all over the country with Water Margin. Including the story of autumn chrysanthemum combined with Qiang, Zhao Jiping found various folk artists and singers to make various bold innovations in the film, which also added icing on the cake to his creative path.

In addition, his musical instruments are also very distinctive, such as Lu, Suona, Nanyinba, Paixiao, waist drum and so on. It can be said that as long as he can think of creative techniques, he will try to use them This reflects Zhao Jiping's tolerance of various artistic means, including his accurate grasp of various artistic forms. It can also be seen that he not only inherited the idea of traditional art, but also did a lot of work to develop and improve it, injecting fresh blood into our local traditional art, which is the source of developing folk opera art in the future.

Fourthly, take "Da Zhai Men" as an example to illustrate the development of TV music.

In the early days of the founding of the People's Republic of China, the first TV series appeared in China, but by * * *, this budding art form was completely destroyed. It was not until after the reform and opening up that they began to be influenced by foreign countries and created the first real TV series in China, such as "The Edge of butterfly spring" and "Daughter Love". In 1990s, after more than ten years' economic development, the art of TV dramas in China became more and more perfect, and the soundtracks of TV dramas such as Come Back Early, Ask Love and Ask Thousand Times caused great repercussions.

Today, in 2 1 century, China has already possessed the soil for TV drama creation, but it has to be said that there are still many problems. Generally speaking, good music can bring the audience into the plot, even beyond the value of the TV series itself. Although there is a lot of music in various TV dramas, the quality of many works is still shoddy. For example, the soundtrack of TV series such as Soldier Assault is suspected of copying music from Japan and Europe, and some even directly use the background music of foreign online games. There are many such examples, and the reasons are not unique. First of all, copying other movies or game music has cost considerations. Secondly, the domestic music level needs to be improved, including the audience's demand and understanding of original TV drama music has not reached a certain height, and it is difficult to mobilize the creative enthusiasm of musicians without the audience market. Finally, our country's awareness of protecting the copyright of works is still insufficient, which also greatly hurts the development of original music.

One of the most important points is the nationality of our own music. Teleplays such as "Da Zhai Men" all use traditional national things, such as "Water Margin" and "Qiao Family Courtyard", which all carry forward this spirit very well. Therefore, the music of China's TV plays has original foundation and connotation. We can seek common ground while reserving differences for modern European and American soundtracks, and we should also vigorously promote local advantages. The combination of sound and picture is a necessary condition for a good TV play. A composer should have a conditioned response to the pictures in a movie. For example, when Zhao Jiping was creating, he followed the film from the script stage, so that the music was completely integrated into the plot. More importantly, he should also have his own local folk music foundation, because most of the movies we are exposed to are about what happened in our environment, and even many good TV dramas have no good national soundtrack to follow up, and then copy other music. When you are in contact with these daily things, you can create them imperceptibly.

Therefore, China's TV music needs to be improved, not only in quantity, but also in quality. Composers like Zhao Jiping are more precious in our modern TV music creation and future development, and his creative thinking is also an intangible wealth worth learning and learning from.

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