What is the name of a short section of Jinghu that often appears in Dazhaimen TV series? I want to find it.

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Beijing dialect and rhyme "Dazhaimen" —— Musical features of TV series "Dazhaimen"

Keywords: Dazhaimen movie and television music

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Content summary:

After carefully reading the novel script of Dazhaimen, watching the TV series Dazhaimen repeatedly, and understanding its artistic style of Beijing dialect and rhyme, this paper analyzes the music of 40 episodes of Dazhaimen by integrating the basic theoretical knowledge of music, drama, music and painting. Through the detailed audio-visual notes collected by myself, this paper specifically analyzes the good artistic effects achieved by using complete Peking Opera qupai and Peking Opera percussion music as the soundtrack of TV series in terms of characterization, setting off the atmosphere at the scene, combining sound and pictures, etc., and affirms that the music creation of TV series "Da Zhai Men" is on the road of nationalization of TV series music.

Topic source:

200 1 watched 40 episodes of CCTV TV series "Da Zhai Men". At that time, I thought this story about the rise and fall of the Bai family, a modern pharmaceutical family in China, was wonderful. The characters in the play are angular, the drama conflicts are ups and downs, and the story twists and turns are attractive. I am very addicted to the superb acting skills of many famous actors and the old Beijing style that spans decades. While lamenting that this is an excellent TV play, combined with my professional knowledge, I also noticed that the soundtrack in the play is so unique, with a large number of Beijing opera music and Beijing percussion music, which set off the Beijing dialect and Beijing rhyme of the play well. I think the soundtrack of this TV series, as a phenomenon of nationalization of TV music creation, deserves my careful taste and analysis.

In 2002, when I learned that I was lucky enough to be recommended as a graduate student in the direction of film and television music, I paid more attention to film and television music and entered the state of graduate school in advance. My contact with my tutor has also increased. From the teacher, I gradually absorbed more methods to analyze and study film and television music, that is, to grasp the different characteristics of music in different film and television dramas and truly grasp the artistic characteristics of film and television drama music from an aesthetic point of view. This makes me feel that my analysis has a starting point.

With the object and method worthy of analysis, I chose this topic and made a serious analysis of it.

Keywords: style, plastic music, Qupai, Liu Qingniang, tearing edge, four blowing heads, fierce wind,

Keywords audio-visual synchronization, theme song,

First, rich in style-Beijing dialect and Beijing rhyme.

The 40-episode TV series "Dazhaimen" tells the legendary story of a famous Chinese medicine family in Beijing from the late Qing Dynasty to the Republic of China, showing a magnificent and stirring family picture. It profoundly reveals the impermanence of the world, the shortness of life, the complicated joys and sorrows of contradictions and conflicts, the ups and downs of the fate of characters, and the epic hardships of life. With many vivid characters, it shows the complexity and diversity of human nature and the richness of the inner world in "Zhai Men". It is a work with heroic national momentum, rich folk knowledge and unique artistic style. The whole TV series shows the unique Beijing style and world-renowned Chinese medicine culture with authentic Beijing accent and Beijing taste, and depicts the ups and downs of the ancient capital Beijing for more than half a century. Generally speaking, this play has a prominent Beijing accent and phonology, whether it is the content, the performance of the actors, the theme song and music. It should be admitted that the strong and mellow Beijing accent and rhyme are a major artistic style of the TV series "Dazhaimen". In order to highlight the style characteristics of Beijing dialect and Beijing rhyme, the music creators of Dazhaimen deliberately used Beijing Opera Qupai and Beijing Opera Percussion Music, organically combined them with the plot of TV series, just shaped the characters, set off the plot content, and played the due artistic role of TV series music. In TV series, all kinds of functional music serve the story and dramatic movement of TV series. Storytelling and drama restrict the content and form of music, and restrict the expression and style of music. Judging from the content of the story, the characters in Dazhaimen have an indissoluble bond with Beijing Opera. For example, some plots put forward in the play: Bai Jingqi, the protagonist, not only loves to listen to Beijing Opera, but also is an unusual singer. He can sing a song by dressing up, and even likes to read the lines in Pulling Pulley in Beijing Opera in his life: "Look at that dark place, it must be a den of thieves. I want to catch up and kill it. Bai (Bai Jiasan's grandfather) became attached to Peking Opera all his life, especially when he recited the lines of Peking Opera before his death. Finally, the director arranged his death on the stage of singing concerts on weekdays. Jing Qi's sister Bai Yuting is the most obsessed with Peking Opera. She was obsessed with Peking Opera as a child, fell in love with the singer of Peking Opera (Wan Xiaoju) as an adult, and finally married the photo of the actor. Such a plot makes me feel that Peking Opera is the best way to set off the stories of such people. As director Guo Baochang said, "I filmed the whole story of" The Big House Gate ",which is the story of Beijing. Our whole style is also a style that advocates Beijing flavor. There is no doubt that Beijing-style music must be used in music, so I think Beijing opera and Beijing opera music are the most suitable. "Judging from the historical time when the story of" Dazhaimen "happened, it was the late Qing Dynasty and the early Republic of China, and it was during this historical period that Peking Opera rose. "Huizhou Class Four" took root in Beijing, and opera music was the mainstream music at that time, and Peking Opera was the most representative of opera. Therefore, the use of Beijing opera music in the TV series Dazhaimen, which reflects the story of the late Qing Dynasty and the early Republic of China, is more in line with the social atmosphere at this time. It can also be seen from the play that no matter whether the children are holding full moon wine, or the new house is completed, or Bai Wen's 70th birthday, the form of celebration has not left to invite the troupe to sing a concert, which shows the close relationship between the whole play and Beijing opera. This TV series uses Beijing Opera music and Beijing Opera percussion music as the soundtrack, which is conducive to giving play to the style characteristics of the TV series, combining the plot content and highlighting the characteristics of the times, so that the whole drama has formed a unified style in content and form. The right and wrong, gratitude and resentment in "Da Zhai Men" are also vividly interpreted in the comparison of Beijing opera music.

Second, set off Peking Opera Qupai and Peking Opera percussion in the whole drama style.

1, using Peking Opera Qupai to serve character modeling.

As a series of family scenes, there are vivid personalities in the big house door. Among them, Bai Yuting, the sister of the protagonist, has a small appearance, but a prominent personality. She has been obsessed with Peking Opera since childhood, and her euphemistic character is full of rebellion. Most of her appearances are related to "Beijing Opera". For example, when she watered the flowers, she was still humming Susan Qi Jie. She was carried into the house by her brother because she lost her shoes when she went to the theatre. The expression of going to the opera, which is her key performance in the theater, has become the main lens component to show her obsession with Beijing opera. As she grew older, Bai Yuting became infatuated with people who sang Beijing opera. For example, except Hua Dan Wan Xiaoju, no one else is go to the opera, so they leave the theater after listening to Wan Xiaoju's play. Later, this infatuation became more and more obvious, and it developed into crying while watching the drama, and even crying and throwing jewelry on the stage. The development of this drama paves the way for the story that she would rather marry Wan Xiaoju because her love can't be realized. She has a piece of plastic music of her own in the play-Beijing Opera brand Liu Qingniang;

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Such a figure who has such a fate with Beijing opera, using Beijing opera brand Liu Qingniang as her modeling music, can be said to make the figure more plump and harmonious. This qupai is a huqin qupai, which is played by Jing Hu. With Bai Yuting's emotional appearance and her performance, music focuses on the characteristics of the characters. Liu Qingniang, a sentimental qupai, has shaped the image of Bai Yuting in a formal way, and also created a performance space for the actors, so that this supporting role can be interpreted incisively and vividly. The director's design endows this Peking Opera with the meaning of some kind of character symbol. Let's see that in the music of TV series, it can play a good role in shaping the characters by combining the completely stylized Peking Opera music with the pictures and characters.

The first appearance of Qupai Liu Qingniang in the play was in the 26th episode, which set off the scene and emotional expression of Bai Yuting's first direct contact with Wan Xiaoju. At that time, the White House held a church meeting in the new house. Wan Xiaoju is taking off her makeup after singing. Yu Ting stood beside Wan, with a teapot in her hand, trying to feed water. After making some concessions, Wan Xiaoju did not accept it. Yuting went to help him unload his headdress again, but someone helped him tidy it up. Bai Yuting, who loves deeply, looks at Wan Xiaoju in the mirror with deep affection. Accompanied by Liu Qingniang, she asked softly, "Did you hear my applause?" It seems that she is eager for a satisfactory answer, but Wan Xiaoju praised Qi Jing as an expert. Yu Ting was disappointed, holding a handkerchief, and almost put her hand on Wan's shoulder several times, but she didn't. The music set off her small and elegant movements, fully showing her inner unknown infatuation.

In the 29th episode, Yu Ting's infatuation is beyond control. After the play, she followed Wan Xiaoju's car to his door and watched the three of them walk in. In pain, she sat in the carriage and fell into infinite fantasy. Qupai Liu Qingniang appeared again, accompanied by her fantasy and rehearsal in the yard, marrying him in the house and playing with Wan at the bedside. Music is so euphemistic, it seems that this fantasy is so sweet, and a thunder brings people back to reality. The sweetness of fantasy contrasts with reality, causing an impact in the hearts of the audience, making people feel sorry and helpless about her experience.

In the thirty-fifth episode, Bai Yuting, who is still unmarried at the age of 36, wants to marry the popular actress Wan Xiaoju, but failed to achieve it. Due to various reasons, under the social conditions at that time, it was impossible for a lady of Dazhaimen to marry a player with low social status. And this Wan Xiaoju also has a wife, even more afraid to marry Bai Yuting. At this time, infatuated Bai Yuting decided to marry Wan Xiaoju's photo. This piece of music played an extraordinary role in the wedding scene. The significance of the characters given by TV series to this piece of music has also reached the extreme here. This kind of qupai soothes the lyrical feeling, giving people a little sadness and even helplessness here. When Bai Yuting was helped into the bridal chamber by the girl and the veil was lifted, Liu Qingniang sounded, and the impact of music made the audience's heart tremble with Bai Yuting's movements, which made people excited by her infatuation and true feelings. Step by step, she walked towards the photo of Wan Xiaoju, and the close-ups and close-ups kept changing, which made people feel as if she was going to kiss the photo, but there was no result. On the contrary, Bai Yuting imitated Wan Xiaoju's common action when performing Rainbow Pass, and bit off the hydrangea in the photo. There is not a word in this play, all accompanied by Liu Qingniang. However, it is this Beijing-flavored Peking Opera music that sets off the actors' movements and carefully sets off Bai Yuting's character and her emotions.

It can be seen that this qupai has always appeared with Bai Yuting's emotional fluctuations in the play, and it has also reached the point of perfection at the wedding scene. In "Da Zhai Men", Liu Qingniang, a Beijing opera brand, has integrated Bai Yuting's emotion, personality, temperament and image development. People who love Beijing opera also follow. It can be seen that Beijing opera music can be used as a soundtrack in a suitable TV series, and it can also achieve good results in characterization.

2. Beijing Opera percussion sets off the mood and atmosphere.

"Emotional music" often exists in TV series in the form of short music films, which are mostly adapted to the development of the plot and the emotions of the characters. In Da Zhai Men, Beijing Opera percussion, as emotional music, is also consistent with the style of the whole play, which plays a very good role in setting off the emotional atmosphere at the scene. Percussion music in Beijing opera is dominated by rhythm, with stylized characteristics and its own emotions. When it participates in the plot, it has the additional functions of rendering the emotions of the characters in the play, setting off the atmosphere at the scene and increasing the expressive color of TV drama pictures.

In the third episode, Uncle Guan of the White House bears a grudge because his child was accidentally killed in the White House, and wants to be killed to save his life. Bai instigated him to go off and let him fall. The camera shows Guan holding in his hand, staring at the child's face, standing in the room. Although there is no language, his inner world should be extremely rich at this time. One side is the pain of the dead child, and the other side is a living child smiling at him in his hand. When the boy was sent to Guan, gongs and drums were loud:

Three pieces) 0( 0 warehouse

DuDu ~ ~ ~ Pull 0.

(Reporter)

It seems simple to rip off the edge sound, but in fact, the density, intensity, duration and the beginning and end of the music of the gongs and drums should be carefully played with the movements of the characters, and the facial expressions, inner rhythms, gestures and eyes of the actors are also integrated into the gongs and drums. In the play, when the children are sent to the customs, there is a strong tearing edge and dense drums, and a contradictory mood arises spontaneously. The chubby little white has been laughing at him, so it is unnecessary for Guan to shed tears on his smiling face. The pain of losing a child and unbearable emotions are intertwined into drums. At this time, the tearing speed slows down and the drum becomes soft. When Guan decided to return the child to Bai, he handed the child to the maid, walked out of the door quickly, tore the edge and reinforced it to show his determination, and finally ended with a big gong. The whole scene is only 17 seconds. Although there are no lines, the rhythm of drums shows the changes of characters' emotions. The music of Beijing opera gongs and drums knocks out the inner world of the characters here, which sets off the emotions of the characters well.

In the fourth episode, Zhu Shun of the Military Department was ordered to come to the White House to capture the framed uncle Bai Yingyuan. The officers and men lined up in two rows in the White House yard, which was very dignified. He explained his purpose to his father, and when he pushed the door out of the building, the music started with four words, and the gongs and drums were as follows:

Xiao Gong 0 Taiwan Province-Taiwan Province Taiwan Province 0

Just-just 0.

Dalong 0 0 Cang-Cang-Cang-Cang

The drum is big, big, big, big, big.

Drum 0 coat 0 big 0 big. Big 0.

(Stretch ~ ~ ~)

Reading method: large platform warehouse-only warehouse 0 warehouse

However, in order to arouse the emotions of the audience and set off the atmosphere of the scene, the four hitters here adjusted their own rhythm characteristics and slowed down to match the atmosphere of the TV drama scene. On the screen, Zhu Shunmai walked forward with vigorous steps and pushed open the flat door. The whole yard was silent, only to hear him shout: "Take Bai Yingyuan!" The four batters used his pace and voice to render the tense atmosphere of officers and men arresting people. Such a slow-paced, four-hit header stirred the hearts of the audience. Its application adapts to the atmosphere of this scene and blends well with the atmosphere of the scene.

There is also the fierce wind of Beijing opera gongs and drums, which is characterized by intense tension. It played a role in setting off the atmosphere in the TV series "Big House Gate": in the eleventh episode, after the investigation, the White House White Grass Room was undertaken by more than a dozen shareholders, who were having dinner together to discuss unfavorable countermeasures. However, someone was drunk and wanted to beat Bai, the third young master of the White House. He was one of the shareholders and did all the bad things. The scene was in chaos, and this confusion, coupled with the haste of Peking Opera, made this play without a leading role wonderful.

3. The synchronization of sound and picture embodied in the gongs and drums of Beijing Opera.

The beginning of this TV series is the scene where the movie hero Bai Jingqi was born. It is not surprising that he was born, but he only laughed when he was born, and the more he laughed, the worse he became. This abnormal phenomenon seems to show the importance of this character to the audience. Borrowing a sentence from the characters in the play is that "children can't cry, and they are born with a kind of rigidity; Born to laugh, is to see through the world. Having these two things will surely achieve great things. "When the white old man learned the news, he felt very strange, and even said a few strange words, ready to name the child. And this naming process is not spoken, but written. When the close-up shows the process of writing the name, there are already white words and landscape words on the white rice paper. Just as the old man wrote the first word, the gongs and drums struck four times. When writing the last stroke of Qi Zi, the four bumps just stopped. This process of percussion and naming forms a rhythmic sound and picture synchronization, which seems to indicate the emergence of an important person to us. Although the child has just been born, it can arouse the audience's great concern and feel his weight as a leading actor.

Similarly, there is another example in episode 10. Bai Jingqi, who has grown into a teenager, is stubborn and angry with several teachers in the teaching hall. Mr. Hu, the general manager of Zhaimen, went to great lengths to invite Mr. Ji Zongbu, a civil and military all-round man. When Mr. Ji first stepped into the house, he was about to show up. He stepped on the rhythm of four strokes and entered the gate. When the camera gave him a close-up, the four strokes ended, and the loud rhythm and the synchronization of the pictures made the audience shine. A short period of rhythm indicates to us that this teacher will play a decisive guiding role in Jing Qi's future growth.

From the ingenious application of Beijing Opera percussion music in Da Zhai Men, it can be seen that there is still great potential to choose Beijing Opera gongs and drums music in the soundtrack of TV series, which not only sets off the style of TV series, but also is conducive to the combination of sound and picture. Of course, there are still many problems worth studying in the music of Beijing Opera gongs and drums in Dazhaimen. For example, "the atmosphere of great events is full of gongs and drums, and everything that is urgent is urgent." For example, when the Qing Dynasty fell and the Republic of China was born, it could be represented by gongs and drums like the battlefield. In China traditional opera, the battlefield is mostly used for fighting scenes, especially for a long time, which shows its momentum. This seems to better reflect the great changes in this society. Unfortunately, the repeated use of one or two classic gongs and drums did not show the richness of Beijing opera gongs and drums. Of course, this is inseparable from the investment in TV drama music production, the audience acceptance considered by the director, and the unity of the whole TV drama.

Third, the theme song with full charm at the end of the film

Dominant music is a decisive music in TV series. Due to China people's traditional music acceptance habits and preference for vocal music forms, the "theme song" of vocal music forms has become the dominant mainstream music in today's TV dramas. The definition of "theme song" in Modern Chinese Dictionary is: "songs that can generally express the theme in movies, operas, dramas and TV dramas." (P 1643) According to the different positions of the theme songs in the play, there are opening theme songs, ending theme songs and theme songs echoing from beginning to end. They often use highly concise lyrics to summarize the ideological theme of the whole play, or comment on the events of the characters, or praise and lament the central figures of the whole play or praise and criticize the main events. The melody of the song is created according to the artistic conception provided by the lyrics and the specific characters, times, society and regional characteristics of the TV series, and according to the artistic rules of the song. Smooth and changeable notes and complete melody form the perfect art of songs.

The theme song at the end of "Dazhaimen" (the appendix soundtrack at the end of the article) summarizes the spirit of self-improvement that Dazhaimen, who lives on medicine and has a heroic national momentum, has been accustomed to after a hundred years of wind and rain. This summary, combined with the outline, summarizes and refines the specific stories and sublimates them into the spiritual field, so that the audience can savor this valuable spirit after watching the TV series. Because the theme song of TV series will be broadcast every episode, it has formed a powerful force of repeated rendering, which makes the "Zhaimen culture" embodied and sublimated:

Smile, love to open two doors, gone with the wind.

Life is much tempered, and men are rampant. When they stop, they are individuals.

Affection and responsibility, self-improvement, pride knocking.

Affectionate and responsible, helpless, I want to make the world fragrant by collecting medicine.

No regrets, no regrets, no regrets, no regrets, no regrets.

This is not only closely related to the plot and characters, but also shows a life outside the plot, which is the ideal realm of the theme song of TV series.

In the field of music art, songs are essentially a comprehensive art form of music and literature. The melody of this song just absorbed the Third Board of Beijing Opera, extracted the representative folk music tunes and styles, and sang with national singing. Although it is a female solo, the whole song is full of deep pride, which strengthens the national characteristics of this TV series and unifies the overall drama style. According to the plot and lyrics, the melody is enriched and developed by various creative means, such as orchestration, and the classic of Beijing opera gongs and drums, Urgent Wind, is used in the orchestration to highlight the artistic personality of Beijing dialect and phonology and achieve the purpose of deepening the theme of this TV series.

In this way, the fusion of lyrics and music makes it not only have the characteristics of literature (poetry), but also be endowed with a musical charm that can recite poetry. This musical feature makes lyrics as a literary form a special literary style. Similarly, the uncertainty of music itself has changed because of the literary style of expressing content in words. The concrete expression of lyrics endows the music melody with clear connotation, thus producing distinct and concrete certainty. "Feeling and responsibility, being helpless and striving for self-improvement" and "Standing is a person" are the portrayal of the protagonist Bai Jingqi.

Four. conclusion

The success of the TV series "Da Zhai Men" can not be separated from the use of distinctive TV music, which can be unified with the overall style of the TV series. Good TV plays and good TV music have been regarded as an inseparable artistic whole, whether it is the director of TV plays or the vast number of TV viewers. Tv drama music has gradually formed a new branch of music art coexisting with film music in audio-visual art, and the complete application of Beijing opera qupai and Beijing opera percussion music has left a deep impression on me and has strong characteristics. Also let me see that it has taken a step forward on the road of nationalization of TV drama music. In the past, there were many examples of using folk music as creative material to create film and television music. However, it is rare to choose a complete Peking Opera and Peking Opera percussion tune like Da Zhai Men. After being applied to the play, it is well integrated with the picture, story line and artistic style, which shows its rich artistic expression and operational feasibility in shaping characters, rendering the mood and atmosphere of the scene.

References:

1, bibliography:

Da Zhai Men Author: Guo Baochang Writers Publishing House

Acoustic Shock Vision Author: Li Zengtian Beijing University of Technology Press

-Exploration of Music Aesthetics in Film and Television Plays "

On percussion in Peking Opera by Lu Hua People's Music Publishing House

A Compendium of Peking Opera Qupai, edited by Zhang Yuci and Wu Chunli, China Drama Publishing House.

Editor-in-Chief of TV Music and Sound: Chen Yicheng China Radio and Television Publishing House

Encyclopedia of China

-Music and Dance Volume Encyclopedia of China Publishing House

2. Reference magazine:

Contemporary TV 200 1

People's Music 200 1

3. Audio and video materials:

The 40-episode TV series "Da Zhai Men" VCD was published by China International Television Corporation.

Note (1): The origin of Qupai is because in ancient and folk music activities in China, there is a common phenomenon that old songs are filled with new words and created according to new words to change old songs. Those songs that have been passed down after screening and are often used by later generations to fill in new words are called Qupai.

Note (2): Beating drums in turn makes them sound like tearing silks and satins, hence the name.

Note ③: Write the classical musical formula of gongs and drums according to the recitation of percussion instruments or traditional Chinese opera gongs and drums.