Beijing Rhythm Drums Detailed Information

Beijing Rhythmic Drum, one of the Chinese operatic arts. It was developed from the popular woodblock drums of Cangzhou and Heping in Hebei Province, and was formed in Beijing and Tianjin. After the Hebei woodblock drums were introduced to Tianjin and Beijing, Liu Baoquan changed to Beijing's voice tones to spit out the words, absorbed the stone rhyme book, the horse head tune and some of the singing of the Beijing Opera, to create a new cavity, specializing in singing short pieces, known as the Beijing Rhythmic Drums, which belongs to drums and lyrics category of musical music.

Jingyun Drum is mainly popular in North China and Northeast China, including Beijing and Tianjin, and is a high artistic achievement in northern China's rap music, and also occupies a fairly important position in the national rap music genre.

Basic introduction Chinese name: Beijing rhyme drum Origin: Wooden board drum Formation time: late Qing Dynasty Popular area: Beijing, Tianjin and Northeast China Main genres: Liu faction, Bai faction, Zhang faction, Shao Bai faction, Luo faction Representative repertoire: "Single Dagger Club", "Battle of Changsha", etc. Development history, artistic characteristics, famous artists of the genre, inheritance, representative repertoire, Development history Beijing rhyme drum is popular in the late Qing Dynasty by the Cangzhou, Hebei Province, Hetao region, and the development of the drum. It was developed from the popular woodblock drums of Cangzhou and Hetian in Hebei Province at the end of the Qing Dynasty, and was reformed by the artists. Beijing Rhythmic Drums The wooden board drums, or "timid drums", have been called by many names in the process of reform and development: in Beijing, they were once known as "Beijing Tune Drums", "Small Mouth Drums", "Sound Drums", and "Sound of the Voice Drums". In the process of reform and development, it has been called by many names: in Beijing, it has been called "Beijing Tune Drum", "Small Mouth Drum", "Sound Rhyme Drum", "Civilization Drum", "Flat Rhyme Drum", and in Tianjin, it has been called "Wei Tune In Tianjin, it was once called "Wei Tune", "Wei Tune Drum", "Wen Wu Drum" and "Jing Yin Drum". After the woodblock drums were introduced to Tianjin and Beijing, Liu Baoquan changed his voice to Beijing's tone to pronounce the words, absorbed some of the singing styles of Shi Yunshu, Ma Tou Tune and Beijing Opera, and created a new accent, specializing in short pieces. 1946 (35th year of the Republic of China), after the establishment of the Beijing Association of Chinese Music and Art, it was formally united under the name of "Beijing Rhythmic Drums". During the Xianfeng period of the Qing Dynasty (1851-1861), Jin Degui, an artist of flag origin, developed the wooden drums, which had a board and no eyes, into a board and one-eye board called double boards, and changed the sound of words into a voice close to Beijing's. He named it "Jingyun Drums". He once named it "Jing Qi Da Gui", but it was not popularized, and people still called what he sang as "Da Gui". During the years of Tongzhi and Guangxu (1862-1908), Hu Jintang (Hu X), an artist who lived in Beijing's Stone Hutong, began to transplant his son's book of lyrics, "Changbanpo," into the drums in order to improve the quality of the lyrics and adapt them to the needs of urban audiences. His singing voice is brittle and bright, and he is known as "a line", and his reputation is growing, and his representative repertoire includes "Fan Jinding Scolding the City" and "Gao Huaide Farewell Daughter". With the Hu Tong time to enjoy the name of the Three Kingdoms" short story of Huo Mingliang, he was originally a businessman, after the sea to sell their skills, but also transplanted some of the children of the book words such as "single knife will", "Battle of Changsha", etc. into the timid drums sing. He sang the bottom of the air, voice and punch and bright, best at singing martial arts paragraph. Later, they went to Tianjin to practice their art, and together with Song Yukun (Song Wu), a local goze artist, they were known as the Hu, Song, and Huo Families, collectively known as the Cowardly Drums. The 1920s was the heyday of the Jingyun Drums, with the formation of three major schools represented by Liu Baoquan, Bai Yunpeng, and Zhang Xiaoxuan. Among them, Liu Baoquan's attainments were the highest, and he was known as the "King of Drums". Later, a female artist Xiao Caimai (Luo Yusheng) rose in the drum world, she is compatible with Liu, Bai and other people's long, combined with their own characteristics, to create their own artistic style, especially in the bass spit true, clear voice, for the general female artists are not as good. She thus became the female drum king of the music world. After the founding of the People's Republic of China, in order to express the new life, shape new characters, express new ideas and feelings, Tianjin's Jingyun drum actors, musicians and new music workers into the reform work, such as Luo Yusheng's "Everest Red Flag", "Glorious Voyage", "Hershey's Bits", the small Lanyun's "Forced to the Liangshan Mountain", Yan Qiu Xia's "Fools Remove the Mountain" and so on, are to maintain the original characteristics of the song type and the genre style of innovation on the basis of the. All of them maintain the original characteristics of the genre and the style of the genre. After the founding of the People's Republic of China, Beijing Rhythm Drum has developed greatly and trained generations of young performers, who have inherited the traditions and boldly innovated, so that the art of Beijing Rhythm Drum has continued to develop. Artistic features After the development of the wooden board drums into Jingyun drums, the accompaniment instruments were added to the original basis, such as the three strings and the four hu, and the accompaniment was combined with the singing accent to ensure that the tone was rigorous and free; and changed the dialect of Hetao to the Beijing dialect, using the four tones of the Beijing tone system (yinping, yangping, upward, and downward) to say Jingbai, sing Jingyun and sing short pieces; and absorbed the tunes of all kinds of operas and tunes, and the pronunciation of the Peking Opera and part of the singing, and borrowed from the Peking Opera. It absorbs the tunes of various operas and miscellaneous tunes, the pronunciation and diction of Peking Opera, and part of the singing style, and draws on the performance program of Peking Opera to form a set of performance stances with the use of the eyes, facial expressions, and the sword and spear style of lifting the hands and raising the feet, and adopts a large number of "Zidishu" qu books. Jingyundagu has the following characteristics: elegant and vulgar ****appreciation of the form, rigid and flexible style, the combination of the method of rap, a song of multi-purpose singing and writing the performance of the spirit. The basic syntax of Jingyun Drum lyrics is seven-character sentences, some of which include embedded words, lining words and stacked sentences. There are about one hundred and forty to fifty lines in each piece of lyrics. The rhyme scheme is based on the Beijing Thirteen Rhymes, and most of the stanzas have one rhyme to the end. The basic singing style consists of slow tempo and slow and tight tempo. Jingyundagong is a combination of singing and speaking, and the rhymes are characterized by a rhythmic tone. The performance form is one person standing singing (after the liberation of the double singing form), since the drum plate; the main accompaniment is usually three people, the instruments for the big three strings, four hu, pipa, sometimes accompanied by low Hu. The singing style of the Jingyun Drums belongs to the plate style, which can be categorized into slow plate, fast plate, stack plate, and live plate. The basic cadences are the starting cadence, the flat cadence, the falling cadence, the high cadence, the long cadence, and the sad cadence. The flat cadence is suitable for narration, the high cadence expresses exciting emotions, and the falling cadence expresses gentle and relaxing emotions. Jingyun Drum is characterized by half-talking and half-singing, and there is talking in the singing and singing in the talking. Therefore, the lyrics also occupy an important position in the singing. Lyrics are basically seven-word sentences and cross sentences, mostly the repetition of the upper and lower sentences, and pay more attention to the tone and flavor, and the natural articulation of the singing. The main accompanying instruments are the big three-stringed string and the four-stringed hu, and sometimes also the pipa. The actors beat the drums themselves to master the rhythm. The accompanying music of Jingyun Drums can be divided into "overboard music" and "singing accompaniment music". (1) Overboard music: It is purely instrumental music passages, which are used at the beginning of the singing section and the sound of the section "overboard" between the sentence and the middle note or music teaser "small overboard" smaller than the small overboard is called "cushion point". ". (2) Singing accompaniment, can be accompanied by the cavity, and can be used to "basic accompaniment point". The accompaniment melody is the same as the melody of the singing voice, the extension of the flower, the link music is free, the singing voice accompaniment, in addition to the use of some of the accompaniment to enhance the atmosphere, the performance of a particular plot, such as "beating the drums and scolding Cao" in the "deep night" song. The main representative of the Jingyun Drum is Liu Baoquan, who is known as the "King of Drums", along with Bai Yunpeng and Zhang Xiaoxuan (Zhang Shiaoxuan), forming the Liu, Bai and Zhang Schools. Bai Fengming, a student of Liu Baoquan, was an early student of Liu Baoquan's singing style. His eldest brother, Bai Fengyan, who was Liu Baoquan's string master, absorbed and drew on Bai Yunpeng's singing art according to Bai Fenming's wider and lower voice, and created the "Shao Bai School" with Bai Fenming in the late 1920s***, which was characterized by the cool and mournful "Fan Zi Cavity", and contributed to the later "Shao Bai School" in Tianjin. The "Shao Bai School" was created together with Bai Fengming in the late 1920s*** and influenced the formation of the "Luo School" (Luo Yusheng) in Tianjin later on. In the early years of the Republic of China, Wang Wenrui, a famous teacher who specialized in teaching and singing the Beijing Rhythmic Drum, trained a group of female performers, and after the third year of the Republic of China (1914), Beijing Tianqiao established a bookstore for female performers to sing drums, which was also known as the Lok Zi Pavilion. After the fifth year of the Republic of China (1916), there were nearly ten of them, such as Huan Cui Xuan, Lotus-root Fragrance Salon and Zhen Hua Yuan. The most famous actresses (called drum girls at that time) were Feng Fengxi, Yu Ruifeng, Liang Xiaolou, Bai Yinbao, and He Jingui. After the 1930s, Li Lanfang, Wu Daping, and Wang Shuzhen sang in Tianqiao Deyixuan and Xicheng Taoliyuan. In the early 1940s, the actresses cultivated in Beijing, such as Little Black Girl, Little Lanyun, Little Yingxia, Yan Qiuxia, etc., went to Tianjin to perform, and some of them settled down in the area after becoming famous. Female artists who are famous for singing big drums in Tianjin include More Girls, Fu Guiqing, Wang Jinlan, Lin Hongyu, Zhao Baocui, Zhang Jinhuan, Sang Honglin and Xiao Caiyu. Inheritance After the founding of the People's Republic of China, in the early 1950s, the Central Broadcasting Rap Troupe, Beijing Opera Troupe and other professional opera performing groups established in Beijing, have made relatively significant achievements in the Jingyun Drum to push forward the new. The first innovation in lyrics, singing and performance was Sun Shujun's "Huang Jiguang", in which the insertion of a musical recitation was a success, and within a short period of time it was popularized in Beijing and Tianjin, and a record was made and distributed to the whole country. This was followed by a number of excellent pieces reflecting modern life, including Luo Shengjiao, Xu Xuehui, the Party's Good Daughter, Fishing Songs on the Sea, Xiang Xiuli, the Party's Good Daughter, Danshin, Han Ying, and new historical works such as Wild Boar Forest, Peach Blossom Village, and Yingtai Crying at the Grave. Actors such as Sun Shujun, Liang Xiaolou *** teacher Bai Fengyan, Han Defu, etc. participated in the artistic practice of the old and innovative. The form of performance was also sung by one person beating the drums, and the double singing form was introduced again. During this period, in addition to a number of veteran performers such as Liang Xiaolou, Sun Shuyun, Ma Shulin, and Xin Lanyun, a number of young and middle-aged performers such as Ma Jingyi, Meng Zhaoyi, and Moqi were also trained. Liu Chunai In the early 1980s there were successors such as Seed Yujie and Wang Yulan. In 2008, Jingyun Drum was selected as one of the second batch of national intangible cultural heritage list. Lu Yiqin and Liu Chunai, the outstanding heirs of the Luo School of Jingyun Drums, are recognized as the inheritors of this heritage. Representative repertoire The traditional repertoire of Jingyun Drums includes "The Meeting of the Single Dagger", "The Battle of Changsha", "The Slope of Bowang", "Zhao Yun Intercepts the River", "The Straw Boat Borrows an Arrow", "Trouble in Jiangzhou", "The Great Western Chamber", "The Sacrifice of the Harvest Moon", "The Sorrowful Autumn of Daiyu", and so on. There are "Chang Ban Po", "The City of the White Emperor", "Exploring the Harvest Moon", "Fan Jin Ding Scolding the City", etc., organized by Liu Baoquan and Bai Yunpeng according to the works of the children's books, and there are also some scenic and lyrical short segments, "The End of the Ugly and the Beginning of the Yin", and "Returning to the Boat in the Wind and the Rain". After the liberation, the Jingyun Drum has made relatively remarkable achievements in pushing the boundaries of modernization, and new reforms have been carried out in both singing and performance. Reflecting modern life, the excellent repertoire includes "Huang Jiguang", "Glorious Voyage", "Han Ying meets his mother", "Liu Hulan" and new historical works "Yugongyishan", "Full River Red", "Crouching to Taste the Gallows" and so on.