The music card is a unique music form of traditional music in China. As a product of musical life in the past dynasties, Qupa has a long history in China and has a long history. "Historical Records Confucius Family" says "305, Confucius is all about string songs". It can be seen that the compilation and description of Qupa can be traced back to the end of the Spring and Autumn Period when Confucius deleted the "Book of Songs". Unfortunately, the "Book of Songs" only recorded the lyrics, but the music scores were not handed down.
In the Tang Dynasty, Cui Lingqin's "Taofang Ji", etc., all described Qupai. The opera theoretician Wang Jide in the Ming Dynasty wrote "Music", which first clearly stated that "the name of the tone of the song, the popular name is" brand name "." There are vocal music cards and instrumental music cards in the tune, whichever comes first, there is no final conclusion. There is no doubt that they are all independent forms. The two widely exist in folk music, religious music, court music and literati music, and they absorb and transplant and adapt to each other in a "step-by-step" way, which constitutes a unique phenomenon in the spread and development of traditional music in China. The mutual penetration of vocal music and instrumental music cards reflects the internal logic of the development of traditional music in China, and it also conforms to the general laws of the development of music art. The "instrumentalized" transformation of Peking opera with vocal music cards clearly reflects this.
The so-called "instrumentalization" transformation means that the instrumental music plates of Peking Opera are based on the vocal music plates taken from the original vocal music plates, and the vocals of the original music plates are removed, and the instrumentalization of the vocal vocal tunes is used to turn the tune plates that originally relied on the vocal words to express the content into pure musical melody. Music image. This is what people are familiar with [Deep Night], [Chao Tian Zi] and so on. Peking Opera also uses the "instrumentalization" technique to add, delete, reorganize and adapt the prototypes of the vocal music plates cited, and organically integrate other musical elements, and then change into a new ecological instrumental music plate. For example, the "Qing Brand" in the instrumental music brand of Peking Opera, when absorbing the vocal music brand of Kunqu into a pure music song without singing, not only injected the "Peking Opera" factor, but also carried out the "instrumentalization" change, so that it relied on The expression of singing words is transformed into using a single melody to depict the music image.
Jinghu Qu [Deep Night] is a typical example of the addition, deletion and reorganization of the "instrumentalization" of the prototype of vocal music. The prototype of [Deep Night] is the [Wind Blowing Lotus Leaf] song card in the Kunqu Opera "Sifan", which was adapted and re-created by Jinghu Meiqinist Mei Yutian.
The specific date and time of Mei Yutian ’s compilation [Deep Night] is difficult to determine, but from this point of view, it should be composed for the accompaniment of You Heng ’s drumming in Tan Xinpei ’s (1847-1917) drama “Drumming and Scolding Cao”. At the end of the Qing Dynasty, because at that time Jinghu only officially replaced the flute accompaniment as the leading musical instrument of Beijing opera accompaniment. There is no record of [Wind Blowing Lotus Leaf] in the Meiyutian era, but considering that Kunqu has its own ergonomics and the inheritance of teachers, the singing is relatively stable, and we can speculate from the later than Meiyutian. [Wind blowing lotus leaf] When different actors sing, the melody decoration is different, and the most representative versions are Wang Yuanyuan's singing and Jiao Chengyun's singing. Wang Yuanyuan's artistic career cannot be tested at the moment; Jiao Chengyun (1902-1996) is an amateur Kunqu opera writer, named Xisi, Zi Chengyun, from Jiangdu (now Yangzhou). In the 1920s, he studied from the same village Baobomei. Work for Wudan, and sing Zhengdan, assassin, Liudan and niche. Self-recorded album "Sifan" [Wind Blowing Lotus Leaf] in 1923, especially known as Shi. In fact, the vocals of the two are very similar, only the melody decoration of the words "shen", "shi", "sitting", "person", "me" and "he" are different. Blowing Lotus Leaf] It should be very similar to the Mei Yutian era.
On this basis, it can be found that the adaptation of Jinghu Qu [Deep Night] to the Kunqu vocal tune [Wind Blowing Lotus Leaf], first of all, the "instrumental" reform and innovation of the multi-vocal vocals with only 8 degrees of range. A detailed comparison of the 24-bar singing vocal of the vocal music [Wind Blowing Lotus Leaf] and the instrumental melody of the Jinghu Qu [deep night] shows that the "instrumentalization" adaptation is mainly reflected in three aspects. First, add flower decoration and end of sentence filling. [Deep in the night] The start plays with a weak beat after hitting the “cang”, and moves upwards in four degrees, advancing with a mellow tone of the music, followed by a series of sixteenth notes with a melodic melody in one go. The desolate emotion of "being alone" changed into a high-spirited momentum. This melody of flower decoration has been running through the [Deep Night] full song. The melody filling at the end of the sentence is also very prominent. For example, the word "person" in "who is there", the melody at the end of the sentence has a filling change compared to the pitch of the vocal music card; in particular, "why" like "what kind of haircut?" , On the extension of the commercial sound, the instrumental melody is filled with a short bow of the sixteenth note, which enriches the enjoyment. Second, expand the sound range. [Wind blows lotus leaf] It takes place within 8 degrees, and the narrative singing voice shows the sadness and resentment of nun Sekong. [Deep in the Night] The 63-string Xipi performance is used to expand the range of sound to 10 degrees, and the use of small third-degree sliding fingers has strengthened the charm of Peking opera music. Third, the rhythm is changeable. [Wind blows lotus leaf] The lyrics and songs are closely combined, and the regular rhythm expresses the nun ’s self-satisfaction. And [Night Deep] gives full play to the flexible expression of instrumental music fingering and bowing, and is not constrained by the tone of the lyrics. The rhythm and melody are developed with the "night deep" musical thinking. The scale of the narrative of the musical scale expands to the melody of the musical scale of the seventh scale. Zheng Yin played with a bow-shaking, like a sudden rise in peaks, pushing the music to its climax.
Through the transformation of "instrumentalization", the 24-bar vocal of the vocal music card [Wind Blowing Lotus Leaf] developed into the 106-bar Jinghu tune card [Deep Night], completing the innovation of Beijing Opera instrumental music card. The "instrumentalization" adaptation of the vocal music brand provides us with the key to open our traditional artistic thinking and realize the innovative development of the times.
(Author: Yang Yuqin, the article series "Beijing Opera Tune origin and" opera of "innovative research" stage research in Shandong Province Social Science key project planning.)